Suche:marco c

Madlib Invazion reissues Madlib’s collaboration with legendary Brazilian drummer Ivan “Mamao” Conti, propellant for lauded jazz fusion archetypes Azymuth. 5000 pressed for worldwide. Debuts on Black Friday. First released in 2008 on CD by the US based Mochilla imprint with vinyl being issued only in Europe on the Kindered Sprits label. Both formats are out of print with vinyl unavailble since its initial run. Alternate cover artwork, photography by B+. When Madlib went to Brazil in 2002 with Mochilla to participate in the production of Brasilintime his one mission was to meet Ivan “Mamao” Conti the drummer of the legendary trio Azymuth. Madlib had made an Azymuth tribute record he wanted to play for him. On a rainy night in Rio Mamao and Madlib went in the studio. Several hours later the rhythm tracks that make up Sujinho were laid and the process began. Featuring the music of Madlib, Mamao, Edu Lobo, Chico Buarque de Hollanda, Luiz Eca, Baden Powell, Vinicius De Moraes, Marcos Valle, Joao Donato, Dom Um Romao, Airto Moreira and even George Duke… and with guest vocals by Thalma De Freitas — Jackson Conti is a unique and classic record. Filled with the angularity and edge of a Madlib production and underwritten by the polyrhythmics of Mamao — Sujinho takes Brazilian music into places it has never been, bringing oft forgotten classics like Upa Neguinho to 21st century ears.

When Madlib went to Brazil in 2002 with Mochilla to participate in the production of Brasilintime his one mission was to meet Ivan “Mamao” Conti the drummer of the legendary trio Azymuth. Madlib had made an Azymuth tribute record he wanted to play for him. On a rainy night in Rio Mamao and Madlib went in the studio. Several hours later the rhythm tracks that make up Sujinho were laid and the process began. Featuring the music of Madlib, Mamao, Edu Lobo, Chico Buarque de Hollanda, Luiz Eca, Baden Powell, Vinicius De Moraes, Marcos Valle, Joao Donato, Dom Um Romao, Airto Moreira and even George Duke… and with guest vocals by Thalma De Freitas — Jackson Conti is a unique and classic record. Filled with the angularity and edge of a Madlib production and underwritten by the polyrhythmics of Mamao — Sujinho takes Brazilian music into places it has never been, bringing oft forgotten classics like Upa Neguinho to 21st century ears.

Transparent Yellow Vinyl, 2025 Repress

A Colourful Storm presents the first vinyl edition of Yahho no Potori, a treasured recording by one of the most cherished contemporary Japanese folk outfits, Eddie Marcon.

Comprised of the core duo of Eddie Corman and Jules Marcon, Eddie Marcon was formed in Himeji in 2001, following Corman's involvement in noise-rock duo Coa and Shinsuke Michishita's fabled psychedelic outfit, LSD March. Marking a stylistic shift into delicate, acoustic territories, the duo would release dozens of albums and singles, mostly self-released through their Pong-Kong imprint, that have seen little distribution outside of Japan.

Recorded over a particularly humid summer and autumn, Yahho no Potori sees Eddie Marcon drifting from the delicate psychedelia of their debut EP into traditional song-based structures. A touching document of joy, tenderness and wistfulness, Marcon's deft yet effortless strum sets a stylish backdrop for Corman's voice to ascend. Desirous yet self-assured, Corman breathes life into an intimate space adorned by the elegant instrumentation of Yashuhisa Mizatani, Yoriro Tatekawa, Ran Mizutani and Saya Ueno, whose ingenuous collaborative instinct has been gifted to listeners through collectives such as Tenniscoats, Maher Shalal Hash Baz and Spirit Fest. Here, she also lends her engineering prowess, having produced the album.

Devotees of ambitious yet beautifully understated songwriting, as well as followers of Reiko and Tori Kudo, Nagisa Ni Te and Ai Aso, will find much to adore in the songs of Eddie Marcon. An intense and devastating recording, A Colourful Storm is proud to give new life to a shimmering, underappreciated gem.

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

Swans kehren mit 'Birthing' zurück, dem neuesten Album, das im Laufe einer einjährigen Tournee 2023-2024 entstand.

'Birthing' wird über Mute und Young God Records veröffentlicht. Die Erstpressungen der Deluxe-Vinyl und CD enthalten eine Bonus-DVD mit Swans Live 2024 (Rope) The Beggar, einem Konzertfilm von Marco Porsia, der die letzte US-Tour der Band dokumentiert. Die DVD enthält außerdem 'I Wonder If I'm Singing What You're Thinking Me To Sing', eine Dokumentation von Christopher Nicholson über Michael Gira's Solotournee 2022.

'Birthing', das durch unerbittliche Improvisation und Live-Performance sowie neu komponierte Studiostücke verfeinert wurde, ist ein Zeugnis von Michael Giras kompromissloser klanglicher Vision. Die Songs, die als akustische Kompositionen begannen, wurden im Studio mit langjährigen Live-Mitgliedern und Kollaborateuren schrittweise erweitert und transformiert.

"Dieses Album, zusammen mit der kürzlich erschienenen Live-Veröffentlichung Live Rope, ist mein letzter Ausflug (als Produzent/Impresario) in die alles verzehrenden Klangwelten, die mich seit Jahren besessen haben. Wir werden in diesem Modus gegen Ende 2025 eine letzte Tournee machen, und das war's dann. Danach wird es mit Swans weitergehen, so lange ich dazu in der Lage bin, allerdings in einer deutlich reduzierten Form. Hinweise auf diese Richtung sind in einigen Momenten auf dem aktuellen Album zu finden. In der Zwischenzeit hoffe ich, dass die Musik eine positive und fruchtbare Atmosphäre bietet, in der man träumen kann." - Michael Gira / Swans

Produziert von Gira, wurde 'Birthing' in der Soundfabrik Berlin aufgenommen, im Candy Bomber Studio von Ingo Krauss gemischt und von Doug Henderson bei Micro-Moose gemastert.

Folwark is a duo composed of Francesco Marcolini (guitars, synths, vocals) and Tommaso Faraci (drums, theremin, vocals). Their music fuses syncopated rhythms, introspective loops, and psychedelic mantras, forging an intense connection with listeners that transcends sound, reaching into emotional and spiritual depths. "All Shadows Stretched" blends heavy grooves, psychedelic explorations, and deep spiritual themes, creating a rich and immersive listening experience. The band's signature dynamic setup of guitars, drums, theremin, synths, and vocals shapes a powerful, emotionally charged soundscape. Produced by Folwark, mixed and mastered by Lorenzo Stecconi (Amenra, Ufomammut, ZU).

Übercode Ouvre is the eagerly awaited album from Panzerballett, a unique jazz-metal quintet that fuses intricate metal riffs with jazz improvisation, humor, and high-level musicianship. The album pushes genre boundaries, featuring contributions from legendary drummers Virgil Donati, Marco Minnemann, Anika Nilles, Morgan Ågren, and others. It offers a thrilling listening experience for jazz fusion and progressive metal enthusiasts alike. Included are covers like "Bleed" from Meshuggah, "Alien Hip Hop" from Virgil Donati; re-imaginations of classical pieces like Beethoven's "Ode to Joy" and Vivaldi's "Summer"; as well as originals like "Seven Steps To Hell". They all showcase the band's blend of complex rhythms, virtuosic drumming, and unconventional arrangements. The album's diversity makes it stand out in the progressive metal and jazz scenes. Panzerballett, led by guitarist Jan Zehrfeld, has earned a cult following for their "Headbanging with Brain" approach to music, delivering not only technically advanced compositions but also humorous, organic reconstructions of well-known pieces. Their live performances are legendary for their energy and complexity, and Übercode Ouvre is poised to continue that legacy with tracks that balance intense technicality with an accessible groove. Übercode Ouvre is a musical journey and a perfect workout for developing brain-muscle connections with its meticulously constructed beats. If you want to experience one of the most innovative bands in progressive jazz and metal, having this album is a chance to own a piece of modern music history that challenges the boundaries of what metal can be and how jazz can speak to the heavy music world. Übercode Ouvre is the highly anticipated jazz-metal album by Panzerballett. A world-class line-up pushes genre boundaries more than ever. FFO The Aristocrats, Virgil Donati, Marco Minnemann, progressive metal etc, features legendary drummers Virgil Donati & Marco Minnemann

Das 1979 von Gian Piero Reverberi gegründete Italienische Orchester RONDO VENEZIANO verbindet weltweit einzigartig Musik im Stile der venezianischen Barockmusik mit modernen Elementen wie Schlagzeug, Gitarre und Synthesierklängen.

Für alle Fans von RONDO VENEZIANO gibt es jetzt wieder die großen Erfolge auf Vinyl. Zu hören sind u.a. Musica…

Fantasia, La Serenissima, Carrousel, La Piazza, San Marco.

Diese zeitlos schöne Musik hat auch im Jahr 2022 nichts an seiner Faszination verloren

Die Saarbrücker Singer-Songwriterin Colletti, bekannt als Gastsängerin bei PASCOW, meldet sich mit "Cabin In The Woods" solo zurück. Die Single ist eines von zehn Liedern ihres Debütalbums "Anything That Burns", die sie - wie auch schon die 2022 erschienene EP "Searching For Former Solace" und die 2023 veröffentlichte Single "Weeki Wachee (ft. Bo)" - mit Marco Kallenborn aufnahm. Kallenborn, selbst als Solo-Künstler Citizen Tim auf Barhill Records unterwegs, übernahm auch erneut das Mixing und Mastering des Albums.

2025 Repress

Mutual Rytm welcome back Swiss DJ/producer Chlär for a bustling, high-octane return as he unveils his latest six-track EP, 'Intrinsic Drive'.

Swiss artist and mastering engineer Chlär's last outing on Mutual Rytm, his 'Optimized Grooves' EP, was a standout success that made an impact far and wide across the techno realm. It was another big step for the fast-rising producer, who is also a dexterous DJ that plays across three and even four decks in the club. A craftsman of sounds, his take on techno is full throttle and has come on labels like Iceland's NIX and Stranger's Self Reflektion imprint. Always looking to improve his sounds, he hits a perfect sweet spot with a fresh and visionary approach across six fresh productions with his 'Intrinsic Drive' EP, again showcasing exemplary creative progression in his ever-impressing production skills.

Up first is 'Dopamine Rush', a quickened techno pumper with synths peeling off the straight-ahead drums and locking you into a state of hypnosis. The title track 'Intrinsic Drive' is a tightly woven mix of drums, hits and bass that never lets up, while the supple rhythm is overlaid with alien sound designs to up the intensity. 'For Marco' takes a heavier path with darkened and more weighty kick drums under eerie synth loops. There is a real swing in the drums of 'Steady Pace' as the crisp hits and vocal fragments all up the ante, before 'Greedy Man' delivers a tough panel beater with skewed synths and an industrial undertone. Digital bonus 'May I Dance?' rounds things out with raw textures and unhinged loops that take you to the heart of a strobe-lit dance floor, shaping up another
mighty fine statement of intent from the ever more vital Swiss native.

"In The Sand" is an 80s rare groove classic originally written by the British band iLevel, here given a lush post-disco treatment in a perfect S-Tone Inc. style, and receives here a well-deserved 'physical treatment' with this 7-inch record, backed with the unreleased original track "Tudo Pra Ela" (Everything for Her). "In The Sand" features once again Julia St. Louis on vocals - recently heard on the previous single "Pressure" - and Marco Brioschi on trumpet. "Tudo Pra Ela" sees Toco on vocals and Priscila Ribas adding a sensual feminine touch on backing vocals; Brazilian jazz bassist Edu Hebling plays disco-styled basslines, while Stefano Tirone on keyboards and guitars defines the main coordinates back to the early 80s, renovating his love for that sound.

Reissued here for the first time, "Cartão Postal" is one of the best and most sought-after Brazilian funk-soul albums from the early ’70s. It includes some outstanding uptempo gems like Marcos and Paulo Sergio Valle’s ‘Que bandeira’, and the stellar ‘Esperar Prá Ver’, co-written by Evinha’s brother Renato Corrêa who also happened to be a member of the Golden Boys. This is a classic Brazilian soul-funk title, right up there with all the greatest albums of the genre. Remastered from the original tapes and pressed on 180g vinyl. This release is part of a new reissue series that will include many other outstanding Brazilian classics. "Cartão Postal" was originally released on Odeon Brazil in 1971, a few years after Evinha started her solo career. From 1961 to 1968 she was a member of Trio Esperança, alongside her brothers Mário and Regina. In 1969 Evinha won first prize at the Festival Internacional da Cançao Popular and her discography for Odeon took off. "Cartão Postal", her third solo album, comprises some outstanding gems. Songs like ‘Que bandeira’, by Marcos Valle, Paulo Sérgio Valle and Mariozinho Rocha, that moves between funk/soul and bossa/MPB grooves; the stellar ‘Esperar Prá Ver’, co-written by Evinha’s brother Renato Corrêa who also happened to be a member of the Golden Boys, is a mid-tempo funk soul number that features stunning arrangements and an epic bassline that is hard to be forgotten… ‘Só Quero’ emanates samba soul sounds while songs like ‘Por Mera Coincidência’ or ‘Rico Sem Dinheiro’ resemble what Trio Esperança was doing at the time: vocal-driven groovy jams spiced with celestial strings arrangements and heavy-duty drums and basslines, which is not surprising since they both worked with the same producers and arrangers, as they were all Odeon artists. Ridiculously rare and expensive now, and at the top of many collectors’ wants lists for decades, it’s finally reissued here after years unavailable.

»Carpet Of Fallen Leaves« is an introduction to the folk-pop world of Eddie Marcon. It follows in the footsteps of other collections of Japanese artists on Morr Music, such as yumbo, Andersens, and the »Minna Miteru« compilations. »Carpet Of Fallen Leaves« draws together songs from Eddie Marcon’s twenty-two-year history, including fragile, yet rich in melody material, collected from a prodigious run of limited edition, self-released CD-Rs.

Eddie Marcon is the project of Eddie Corman and Jules Marcon, who met through their involvement in Japan’s underground music scene. Eddie was a member of noise-rock duo Coa, while both Eddie and Marcon were part of psych-rock collective LSD-March. Forming in 2001, Eddie Marcon’s sound is markedly different from these groups, though they do, at times, share a sense of psychedelic dislocation, through the gentle, limpid pace of their songs. But with Eddie Marcon, melody and gentleness is at the music’s core.

They’ve long marked out their own, unique territory within a worldwide community of psych-folk and folk-pop artists; sharing their music through a subterranean network of colleagues and friends, they count groups like The Pastels and The Notwist as their fans, and Eddie has collaborated with the likes of Shintaro Sakamoto, and Aki Tsuyuko (in Tondekebana, and with Marcon and Ippei Matsui in the quartet Wasurerogusa). Eddie Marcon have also recently worked with drummer Ikuro Takahashi, who’s played with groups such as Fushitsusha, Maher Shalal Hash Baz, and Nagisa Ni Te.

Across the songs on »Carpet Of Fallen Leaves«, Eddie Marcon’s songs are performed by Eddie on guitar, organ and vocals, and Marcon on bass; they’re variously joined by Takahashi, Yojiro Tatekawa (drums), Tomoko Kageyama (vibraphone), Yasuhisa Mizutani (flute), Madoka Asakura (vocals), and Ztom Motoyama (pedal steel). The arrangements are pared back to best serve the core of each song, and the playing is gorgeous – fluent but not showy; capable of great intricacy, but aware that simplicity is key to direct communication.

Songs like »Mayonaka No Ongaku« stretch their limbs languidly, the music shivering with beauty as guitar and cymbal drift across Eddie’s poised vocal delivery. »Tora To Lion« began as an improvisation, but it’s become a firm favourite of the group’s fans: as Eddie says, »it has become a very important song for us, to the extent that it can be said to be our representative song.«

Perhaps the most moving thing about »Carpet Of Fallen Leaves«, though, is the way it captures the subtle yet significant moments of everydayness that ask for our attention. »Shoujo«, a song for a beloved cat who passed away, possesses rare emotional resonance. »At the end of the song,« Eddie remembers, »I wanted to have her throat rumbling endlessly.« When the song was cut, a television voice appeared behind the purring, saying ›thank you‹. »For us, it felt like words from Poco-chan, and tears came to our eyes.«

Immersed in the encounters of Afro-Brazilian cultures and in the influences of yoga philosophy, Brazilian singer-songwriter Alvaro Lancellotti drew inspiration to create his new album: “Arruda, Alfazema e Guiné”. The songs merge the spiritual and musical realms as fundamental elements of its conception, yet remaining free from any fixed aesthetic. With a percussive strength connected to its sound, “Arruda, Alfazema e Guiné” was released by the American label Amor in Sound, led by Mario Caldato Jr. (Beastie Boys) and Samantha De Lucena-Caldato.

Alvaro Lancellotti is a multifaceted artist whose songs have been recorded by renowned artists such as Marcos Valle and Maria Rita. Among his collaborators are Rogê, Wado, Davi Moraes, his brother Domenico Lancellotti, and legendary artists spanning generations, such as Mateus Aleluia and his father, Ivor Lancellotti.

traverse is proud to announce the release of its first record - a compilation of six tracks from various artists, inspired by Pembroke King’s poem moving silhouettes, written for this occasion.

As the fourth volume of the compilation series “traversée”, moving silhouettes encourages artists to explore all corners of listening music and creative avenues that aren’t tied to any one convention.

Pembroke King’s poem sheds light on the mood of the compilation, and even though each artist brings its own interpretation of it, there is a beautiful harmony of it all - from Kate Miller’s atmospheric sounds to Teqmun’s drums-made-of-rain-drop-recordings or Ghjuliú’s nostalgic melodies, the listener travels around Pembroke’s words with each track.

As our first physical release, we feel honoured to collaborate with artists who have been involved in a way or another on traverse before such as Officium, Mika Oki and Alohn, but Kate Miller, Teqmun, and Ghjuliú, that we’ve been keeping close to our heart for a long time already.

Credits:
artwork: Gabriel Sauvageot
tracks produced and mixed by (in order of appearance): Alexis Tytelman, Tijmen Blokzijl, Alban Mercier and Yolek, Kate Miller, Ghjuliú, Mika Oki
mastered & cut: Marco Pellegrini at Analogcut
digital master: Umvral
distribution: Kuroneko

Aufgenommen in Londons berühmtem Hammersmith Apollo im Jahr 2004. Mit einem starken Line-up mit David Coverdale, Doug Aldridge und Reb Beach an den Gitarren, Timothy Druley an den Keyboards, Marco Mendoza am Bass und Tommy Aldridge am Schlagzeug.

2025 Blue Vinyl Repress

WRWTFWW Records is very honored to announce the official reissue of Grauzone's essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band's formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.

Ich möchte ein Eisbär sein...Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track

"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli's Cosmic C75 1982 mixtape online for a great example of this).

The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.

At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone's music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.

Grauzone and WRWTFWW will continue to collaborate on the band's 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.

Rickets EP is the second 12” and tenth release from the label signed by the Valladolid artist Alf.

“The theme of this EP revolves around the hyperactivity that both the capitalist system and ourselves demand of us, thinking that this ultra-productivity will make us feel happy and fulfilled at some point, how we isolate ourselves in our small fortresses and see foreigners as viruses that must be eliminated or expelled.”

The 5 original tracks on this EP have been designed with few tracks but processed thoroughly to create a powerful atmosphere ready for the dance floor.



The technical side of this work is once again the work of Dan Böhler, who has mixed and mastered this album and has also given us a “house brand” remix of the title track of the EP. The visual work is by Marcos Abella.

Entering its 26th year of activity, the morphing, Los Angeles based experimental outfit, Sissy Spacek, joins Shelter Press with Entrance, among the project's most captivating outings to date. Encountering the duo of John Wiese and Charlie Mumma joined in various configurations by an incredible cast of collaborators - Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, Ralf Wehowsky, and C Spencer Yeh - collectively transformed into a series a deeply intimate and delicate gestures of musique concrète, Entrance radically repositions the possibilities presented by group improvisation outside of time and place. Founded at the end of the last millennium, the Los Angeles based project, Sissy Spacek, initially emerged from the knotted, fiery context 1990s American noise and grindcore, producing sheets of visceral sonority that quickly set the scene on its head. Going through numerous evolutions, before eventually settling as a duo of John Wiese and Charlie Mumma - joined by a rotating and often recurring cast collaborators - over the last 25 years the band has continuously entered states of evolution that have defied the expectations of its own context, seeding the sonic extremes noise with subtle and sophisticated approaches to free improvisation and musique concrète. Fiercely positioning its efforts within the outer reaches of contemporary experimental music, while resisting the constraints of a singular sound or proximity, Wiese regards Sissy Spacek as being primarily centred around the practice of musique concrète and the pursuit of extremes. From its earliest releases - collage treatments of material gathered from the band's full throttle practice sessions - the project's conceptual framework has continuously evolved within a deeply engaged process of experimentation, not only reworking tactical approaches, but also definitions and perception regarding the location and action of their work. In recent years, this has led to an increasingly varied and diverse output. Percolating within, is a thread marked by a striking sense of delicacy and intimacy, driving forward while doubling as an unexpected challenge, in real time, to perceptions connected to the band's past. Entrance is the most recent of these. Embarking upon the four compositions that comprise the finalized four sides of Entrance, Wiese and Mumma enlisted longstanding collaborators, Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, and C Spencer Yeh, as well as new initiate, Ralf Wehowsky (of the seminal German electronic noise collective P16.D4), requesting a contribution of sounds from each, determined by a general set guidelines that dictated certain qualities the given sonorities, while allowing for the expression of each player's distinct creative voice. The sets of resulting recordings were then chopped, harvested, manipulated, and reassembled as the four tape compositions that make up the album - Web Of Unfolding Appearance, Figure Of Reflected Light, Trancher And The Inheritors, True Dimension (From The Opaque - Spike) - each blurring the lines of authorship and clear creative proximity in remarkable ways. Where historical gestures of musique concrète tend to draw upon non-instrumental sound sources - regarding its sonorous material as raw elements, unburdened by inherent meaning or association, to be transformed and imbued with musicality - Sissy Spacek turns this position on its head. Entrance comprises works of musique concrète that not only draw upon instrumental sound sources, with all their possible meanings or associations, but also individual characters and personalities of their players, crediting each resulting piece to its respective configuration of contributors. As such, Entrance is an effort of sound collage defined by a rare sense of intimacy and humanity: four pieces that often take on the resemblance of group improvisation, but have, in fact, been assembled outside of time and place. Bent under the ever-present hand of Wiese's tape treatments and manipulation, each of the album's four compositions unfurl startling states of sonic abstraction and percolating texture, marked by a striking sense of hard-shifting structure, that culminate as tense, driven manifestations of ambient music: scrapes, squeals, rattles feedback, rolling drums, bouncing tones, whispers, bent electronics, electric artefacts, and seemingly everything else under the sun, configured into immersive, sublime mediations in sound from the most improbable events.