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The cinematic opening track Inthenever starts off as a film >> somewhere on a desolate coast, where everything has already ceased. This is going to be an album with a story and depth, a fearless tour of the barren shores of our days // or is it possibly just a mirage conclusion of their razor-sharp sound brutalism? Tittingur's third album, Epiphany, is here, pounding with waves they had not done before.

It seems as though this dyad has disposed of all the genre confines that had locked them in, and have grasped the sound of new subject matters, for which the moniker of experimental techno is finally too narrow. With utter urgency and candid to their emblematic, thunderous sound, Dominik's and Matus's deafening mallets collide in beats which are now, more than ever, drenched in a mass of palpable gloom and anguish. As though we could touch the rising levels of the oceans, and smell the melting of the glaciers themselves.

In one way or another, the music of Tittingur has always been about nature, its fierce essence, and its stark contrast with the post-era that we have found ourselves living in. However, whereas before, it was the sound of old, weather-stained concrete, and the pounding of abandoned, overgrown buildings, now it is, unavoidably, their most direct and honest return to nature landscapes, and to human, age-old traditions, referenced in the Slovak folk motives, recordings and found sounds.

On Epiphany, Tittingur's sound becomes yet more abstract, in a sound world that is ambiguous but also unified, and works on its own. The duality of nature and technology, of inland human folklore and the trenches of deepest oceans, invite us to come closer and observe the volatile obliteration taking place. Can we even attempt to re-assess our position with nature, or is this whole experiment doomed to fail?

Unsurprisingly, in the echoes, all the ingredients of the classic Tittingur sound are still present, distilled into new forms >> the ever-present over-saturation, the exaggerated, maximalist approach and megalomania >> the sound of impending climate change, doom, and near-apocalyptic visions, the scent of borovička mixed with the wild North Sea, the agony of contemporary urban life, and the adventure of wilderness: ferocious synths, monumental beats, aggressive basslines and crumbling noise-scapes built of a found-sound, music concréte-like, collagist approach.

At moments, it seems the means have changed. Just until you realise that the sentences of this story are spoken in a new language. If you dive deep enough, and listen to the essence that the music of Tittingur articulates, it's surprisingly easy to understand >> although the notions and emotions are difficult to put into words. The profound narrative of Epiphany is that of an endless inner struggle of society, anxiety, crises, and ambiguously easy // difficult solutions in the post-modern global chaos. It is the calm before a storm. It is the storm. Is it the calm. It is all of it, in itself. credits

Following his blissfully abstract, piano-based collaborations with Harold Budd and Ruben Garcia over the last 20 years, The Arcades Project is John Foxx’s first solo piano album, released on vinyl for the first time. This latest work has a fresh sense of wonder, as if returning to the instrument after the raging analogue noise of his last major work, 2020’s Howl (by John Foxx And The Maths) necessitated a further retreat into quiet, minimal music. Reviews for The Arcades Project: “Delicate evocation of the ambience of a city’s galleried passages.’ Mojo 4 ****. 'This exquisite and refined solo piano work is a fine addition to a body of work made by an artist always investigating memory and imagination.’ The Quietus Album of the Month for April 2023. 'His most evocative music.’ Uncut Magazine 8/10. ‘Delicate, drifting and hypnotic.’ Record Collector 4 ****. ‘Unmissable’ Electronic Sound Magazine. 'Its minimalism is moving; its restraint rich in reverie. Foxx's 21st-century body of work grows ever more absorbing.’ Prog magazine. ‘An album that has the potential to be a classic of modern times and a reference point for classical ambient for years to come.’ Louder Than War. ‘Awed wonder . . . and frequently beautiful.’ Classic Pop. 'Foxx has created 12 stunning pieces of music . . . sparse, minimalistic, and extremely moving . . . It goes a long way in demonstrating just how much of a genius he is' Spill Magazine.

Acclaimed Japan “minyo footwork” duo WaqWaq Kingdom - aka Shigeru Ishihara (DJ Scotch Egg / Seefeel) and Kiki Hitomi (ex-King Midas Sound) - return with feverishly joyous new album Hot Pot Totto, a bubbling hot pot of dance music that responds to ecological anxiety.

“Two words are conjoined: hot pot and ottotto,” vocalist Kiki Hitomi tells us. “Ottotto is the Japanese equivalent of “oops”, or said when someone nearly falls over but manages to get their balance back: “it was dangerous but now we are safe!” Combined with the heady brew of their musical styles (“like a psychedelic Nabe hot pot: melting traditional Japanese Minyo with Jamaican dancehall, footwork, dub, techno, tribal polyrhythms and Super Nintendo soundtracks”), producer Shige Ishihara’s time in East Africa working with local musicians, and the dayglo hallucinogen of the duo’s visual aesthetic, WaqWaq Kingdom’s thumping, thrilling, irresistible third release is a unique ride.



Thematically - despite its ostensibly celebratory impact - Hot Pot Totto addresses the world’s grave ecological state. “Now our earth is on the way to catastrophe, as global warming becomes a serious problem through humanity’s fault. We are on the edge,” Hitomi writes. “We need to get back on the right track.” The ottotto of the album title refers to this experience - the need to get back on track. However, this is not lamenting music: it is fiercely defiant, full of colour and rapture, maintaining an optimism that we can.



Opening single “Hakke Yoi” ties treated voice, a floor-shaking beat, and a dizzying, transforming colour palette to a heart-quickening BPM. The track is named after the traditional cry of a sumo wrestling match, shouted by the referee to maintain tempo, commonly translated as “put some spirit into it!” The lyrics refer to humanity’s sacrifice of our planet for our own material gains. Later, key track “Buri Buri” features Ugandan experimental dance producer Catu Diosis and centres around the lyric “Turn disaster to our advantage / good fortune and happiness will come to those who smile,” offering not regret but encouragement and empowerment with its neon alien sonics and relentless vibrancy.



Kiki Hitomi was formerly a member of Ninja Tune / Hyperdub’s King Midas Sound (along with The Bug and Roger Robinson), and co-founded iconic Japanese dubstep-noise duo Dokkebi Q. She is also a celebrated illustrator and designer, having created artwork for countless record sleeves (including this one) and brands. Shigeru Ishihara - aka DJ Scotch Egg - has been orbiting the dance music galaxy for over a decade, releasing radiantly unpredictable solo records through Lightning Bolt’s Load Records, as a member of Warp Records’ legendary Seefeel, and performing with both projects across the world. He recently undertook a residency at the Nyege Nyege Villa in Uganda, working with Phantom Limb alumnus MC Yallah. More recently, Ishihara has been releasing music under the guise of Scotch Rolex, collaborating with the likes of Shackleton, Swordman Kitala, Lord Spikeheart and more.



Hot Pot Totto is WaqWaq Kingdom’s third release for Phantom Limb, following the rapturously received album Essaka Hoisa in 2019 and follow-up EP Dokkoisho in 2020. The band recently performed at the label’s sold out 5th anniversary event in London, setting an ecstatic venue alight with energy.








f B1 Buri Buri feat. Catu Diosis

A Colourful Storm begins 2024 with a luxurious suite of daydreaming introspection courtesy of Unchained, the longstanding solo project of Nathaniel Davis who was last seen on vinyl in the final Blackest Ever Black release. Recorded at home between 2020 and 2023, Gabbeh is the latest expression of Davis's guitar-based instrumental musings and represents a stylistic evolution of his self-released noise tapes and CD-Rs into romantic, bossa nova-influenced melody-making. He wrote the tracks sporadically, with minimal instrumentation and intervention. Electric guitar, bass improvisations and rhythms from an old drum machine are layered and given new life, the space between them softly breathing with minutiae of the everyday: the buzz of cicadas, the passing of cars, the whistling of passersby. The psychogeography of Grenoble, Davis' home since 2018, played a conscious role in the weaving of Gabbeh's fabric: "I think certain songs reflect, in ways, Grenoble's natural surroundings. 'Drac' is named after the river that flows from the mountains down to the city… 'Dru' is the name of a well-known peak near Chamonix". Opener 'Largo' sets the mood, its primitive samba rhythm concealed by a cloud of saudade. The bebop sensibility follows suit, the tension between its angular picks and percussive shuffle a wondrous balancing act, while the intoxicating sway of 'Rambler' is perhaps the most poignant expression of longing and loss we've heard in recent years. Highly recommended for fans of Durutti Column, Maurice Feebank, Toninho Horta.

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Ballads is an album that will never go out of style and never be unwelcome on any jazz lover's turntable.

You're about to experience Ballads at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition you'll also receive a !2" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall.

The intense passionate Coltrane interpretation of standards such as "All Or Nothing At All," "What's New," "It's Easy To Remember" and the Sinatra classic "Nancy (With The Laughing Face)" are the essence of Ballads. When asked why attempt such an undertaking, Coltrane replied "Variety."

While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s.

Recorded December 21, 1961 and September 18 & November 13, 1962 at Rudy Van Gelder Studios.

"It's impossible to sleepwalk through tracks like "You Don't Know What Love Is" and "I Wish I Knew" and impart them with even a fraction of the emotional heft that the Quartet achieves. This is the type of jazz album in which the music just washes over the listener with it's restrained grace and beauty, and while it may not have the adventurousness that some listeners think Trane should have had each and every time he recorded, I'd say it shows off a side of him that only makes us appreciate his more bold and daring albums even more." — The Jazz Record

Almost two years to the date of the release of their breakthrough album, Citizen return with their highly anticipated follow-up full-length, Everybody is Going to Heaven. Haunting these ten songs is a foreboding, dark atmosphere masterfully crafted by producer Will Yip, and an immediate, intense energy is palpable from even the first grimy seconds of the opener, "Cement." As with every one of Citizen's releases, Mat Kerekes' signature vocal delivery here is a trademark feature, demonstrating the emotional tension that boils over on this release. As cathartic as ever, he duels between a soft croon and a haunting scream, confronting his demons on tracks like "My Favorite Color" echoing the tormented refrain, "my heart still beats for nothing". And while most of the record is an intense and noisy onslaught, songs like "Heaviside" and "Yellow Love" act as armistices, each aching in reverb-drenched consonance. Everybody is Going to Heaven is a turning point for Citizen: once regarded as newcomers with undeniable potential, the band shows here that they have matured both abruptly and uniquely, with no end to their upward trajectory in sight.

Felix Machtelinckx is a singer, composer, producer and lyricist from Belgium. Featuring an array of film scores, dance soundtracks, pop, folk and electronic music, Felix's music resonates with a familiar, almost nostalgic patina, applied with a distinctly crooked touch. Through artistic collaboration, coaching and production, Felix has cut a dash in the pop and indie cult scenes of Belgium, especially with his band Tin Fingers, who are feted as one of the most promising indie acts of the moment. Night Scenes, Felix’s solo debut is, in contrast to his other work, more humble and less traditional, roughly hewn from a series of ambient soundscapes, earthy textures and playful structures. Felix’s voice, normally the flagship of his music, becomes more of a distant memory, an indistinct emotion feathered throughout the music. Many lyrics are improvised, sometimes unintelligible, conjuring haunted, uncertain undertones. Similarly, the album is innately peripatetic to the core, being created, written and recorded in Lithuania, Belgium, France, mastered in the US, and finally released in the UK. In the first instance, some of the tracks were created for the contemporary dance piece Doggy Rugburn by Brandon Lagaert of Kaiho and Peeping Tom; others were created enigmatically for a film that never surfaced; while the remainder are the product of more personal work and research. As Felix began to collect and review these disparate parts, the concept of a unified album began to evolve. With 'night' featuring as a suitably dark leitmotif, or backdrop to a series of emotionally fraught 'scenes', each track depicts a form of trauma, locked within the confines of the mind. Felix observes: "Imagine yourself in a dusty old room unable to sleep. Emotions, fears and other demons haunt your mind. This in-between state makes your mind reach for other worlds. This is Night Scenes." For the most part, Night Scenes was created using a variety of old, and rare, analogue equipment. With almost no digital editing, the record was primarily mixed through a vintage cassette desk, giving it a nostalgic character with a noisy undertone. Felix fully embraced the synergy of his emotional themes and retrograde gear, enthusing: "A lot of textures were created on an old Soviet synthesizer that causes a blackout when you hit the lowest note on the keyboard. The dysfunctionality of the synths was often used to create rhythm and texture." This unnerving ability Night Scenes has to comfort and confound the listener is summed up by Jordan Hudson, House Of Media producer, and music podcaster, when he concludes: "Some songs on the album have this sort of fleeting comfort and tonality, which dissolves into a subtle rhythmic/structural or modulated disarray the moment I settle into them - this really fits with my experience of the night .. This record is a winner, and will be something I'll listen to a lot from here on

Ennio Morricone in his long and wonderful career has composed a large number of soundtracks for Thrillers and Noir.

Here is a selection of ten scores which once again demonstrate his immense musical genius.

THE PALERMO CONNECTION by Rosi (1990), VIOLENT CITY by Sollima (1970), WHAT HAVE YOU DONE TO SOLANGE? by Dallamano (1972),

BEHIND THE TRIAL (1978-1980), THE FLOWER IN HIS MOUTH by Zampa (1975)

THE HUMAN FACTOR (1975), SHORT NIGHT OF GLASS DOLLS by

Lado (1971) ALMOST HUMAN (1974), THE DEATH DEALER (1974), THREE COLUMNS IN THE NEWS (1990) by Vanzina,

musically represent the entire dramatic and mysterious side of Ennio Morricone who wrote,

orchestrated and conducted soundtracks for two genres that always had a huge following of fans all over the world.

When Mick Mars stepped back from touring with Motley Crue - the band he co-founded more than 40 years ago - following their massive summer 2022 Stadium Tour, it seemed like the end of an era.

It was really the beginning of a new one...

The legendary guitarist, whose riffs, solos and overall devastatingly heavy sound powered the L.A. icons through four decades of world-conquering, multi-platinum sonic mayhem is, as he demonstrates on his debut solo effort, still a serious force to be reckoned with. Only now, listeners are reckoning with more Mars than ever before. "When it comes to my playing, there's the Motley side and the Mars side," the guitarist says. "Either way, I always have a very clear vision of what I want to do."

On the aptly- titled 'The Other Side of Mars', fans get that vision in its full, multifarious glory. To be sure, there are plenty of characteristically riff- tastic, tough-as-nails hard-rock anthems (the rampaging "Loyal to the Lie," the deep-in- the-pocket groove-rocker "Ain't Going Back," the hooky and melodic "Right Side of Wrong") to be heard on the record. But 'The Other Side of Mars' also shows the 71- year- old guitarist heading into new and uncharted territory, tearing through caustic, modern metal ("Broken On the Inside"), conjuring gothic- tinged soundscapes ("Undone"), digging into anguished, slow- burning power balladry ("Killing Breed") and unspooling bluesy, cinematic instrumental workouts (the album- closing guitar showcase, "L.A. Noir"). The music throughout the 10- track collection, meanwhile, is otherwise studded with slide guitars, violins, violas, keyboards, glitchy freak-outs and all manner of sonic surprises

Orange, yellow, cyan blue, aqua blue, baby blue vinyl. Limited to 400 copies
After being out of print for decades, End Hits Records has partnered with the Swedish hardcore punk legends ABHINANDA to re-release their complete discography on vinyl. Founded in 1992 in Umea, now recognized as a European punk hub, ABHINANDA played a significant role in shaping the history and development of the 90's hardcore scene. Alongside their contemporaries REFUSED (with whom they frequently shared and swapped members), they were instrumental in the international breakthrough and popularization of Scandinavian hardcore. Much credit for this goes to singer Jose Saxlund, who, along with Dennis Lyxzen (Refused, Int. Noise Conspiracy), operated the Straight Edge label "Desperate Fight" and played a vital role in consistently releasing recordings from the thriving Swedish scene. Finally, the entire ABHINANDA discography will be available once again, this time on strictly limited vinyl: The five-vinyl box set comes in an elegant cardboard slipcase, with each individual record housed in a gatefold cover and accompanied by a large-format poster. Additionally, there are numerous never-before-seen pictures, along with detailed liner notes/interviews featuring band members and contemporaries such as Dennis Lyxzen (Refused), Vique Simba (Revelation Records, Simba Zine+Records), Sara Almgren (Doughnuts, Int. Noise Conspiracy), and Kate Tucker-Reddy (108). The box set includes the three full-length albums "Senseless," "Self Titled," and "The Rumble," as well as a double LP featuring all demo recordings, EPs, and 7" tracks. The music has been completely remastered, and the artwork has been entirely updated.

The studies with Goffredo Petrassi and the association with Gruppo di Improvvisazione Nuova Consonanza let the Avant-garde playing an important role in the career of Ennio Morricone,

who wrote many contemporary pieces for himself, but then the author composed soundtracks where dissonance played a major role.

For the Italian edition of the film SPACE: 1999 (1975), the cult British TV series, he composed a very neurotic Jazz with muted horns.

Also for the science-fiction film THE HUMANOID (1979) Ennio Morricone created hallucinating strings scores mixed with electronic effects. For SACCO E VANZETTI (1971)

an electronic score by Walter Bianchi evokes all the drama of the undeserved death sentence of the two protagonists.

Experimental music of great impact in the film and off the screen for famous thrillers such as THE DEATH DEALER (1974), SHORT NIGHT OF GLASS DOLLS (1971).

Avant-garde music has always been present in Elio Petri’s films set to music by Morricone such as PROPERTY IS NO LONGER A THEFT (1973).

Avant-garde music in the noir cinema of VIOLENT CITY (1970) and A PURE FORMAL- ITY (1994) and in auteur films such as GARDEN OF DELIGHTS (1967) and SARAH’S LAST MAN (1972).

In his long and successful career Ennio Morricone composed many dance songs as it was in fashion in the late sixties and early seventies.

Themes that were usually not directly connected with the subjects of the soundtrack, but which were played in disco clubs, on jukeboxes,

turntables and on the radio.



This collection contains a selection of very cool pieces such as the brilliant main theme from GRAND SLAM (1967), the shake rock (opening credits) from

Dario Argento’s classic FOUR FLIES ON GREY VELVET (1971), the danceable from the noir film VIOLENT CITY (1970), the beat version of the opening

credits of “Pioggia sul tuo viso” by The Sorrows, from HOW I LEARNED TO LOVE WOMEN (1966), “Per Vittorio (Bossa)” elegant bossa nova with flute and

percussions from THE SUCCESS (1963), the tribal shake from I Cantori Moderni which winks at the Dies Irae from GARDEN OF DELIGHTS (1967),

“Scuola di ballo al sole” a wild surf piece from THE HAWKS AND THE SPARROWS (1966), the supreme bossa nova from ONE NIGHT AT DINNER (1969)

with the super iconic voice of Edda Dell’Orso, the shake music of “Ostinazione al limone” from WHAT HAVE YOU DONE TO SOLANGE? (1972),

“Donnabossa” from FULL HEARTS AND EMPTY POCKETS (1964), a delicate bossa nova with a prominent harpsichord.

CLAUDIO FUIANO

Always timely reissue of Muqata'a's first self-released EP from 2017. After years of fertile digital existence on his own Bandcamp, 'La Lisana Lah' now gets a much deserved tactile version through Souk, the Discrepant sublabel responsible for the already classic 'Inkanakuntu'. One of the most prominent figures of the Palestinian electronic scene, Muqata'a's trajectory has been one of resistance and urgency, leaving a sonic imprint of his own from pretty much the beginning.

Without anything tentative or vestigial about its sonic fictions, 'La Lisana Lah' deploys an arsenal of Muqata'a's traits that would be explored on subsequent releases: the glitchy thick textures verging on noise of 'Tib Al Huroof', the narcotic broken beats of 'Taqdirahu Anta' and 'Zyadet Naqs' or the alluring disruptive harmonic suspension of 'Dijla Wal Fada', everything cared for with an essential attention to space and evoking the heritage of Palestinian resistance through his use of samples and scales. A visionary from the get go.

"Waxwork Records is thrilled to present BODY DOUBLE Original Motion Picture Soundtrack by Pino Donaggio. Body Double is a 1984 American neo-noir erotic thriller film directed, co-written, and produced by Brian De Palma (Carrie, Scarface, Phantom of the Paradise). It stars Craig Wasson, Gregg Henry, Melanie Griffith, and Deborah Shelton. The film is a direct homage to the 1950s films of Alfred Hitchcock taking on plot lines and themes such as voyeurism and obsession.

The film tells the story of a struggling actor, Jake Scully, who is offered a gig house-sitting in the Hollywood Hills. While peering through the beautiful home’s telescope one night, he spies on a gorgeous woman dancing in her window. But, when Scully witnesses the woman’s murder, it leads him through an underworld of the adult entertainment industry on a search for answers, with porn actress Holly Body as his guide.

After fighting censorship boards over the rating of his film Scarface - initially rated X and having to battle to make it R - Brian De Palma resolved to make Body Double as a pushback. At the time he said, “If this one doesn’t get an X, nothing I ever do is going to. This is going to be the most erotic and surprising and thrilling movie I know how to make… I’m going to give them everything they hate and more of it than they’ve ever seen. They think Scarface was violent? They think my other movies were erotic? Wait until they see Body Double.”

The film’s memorable soundtrack by legendary composer Pino Donaggio (Carrie, Tourist Trap, The Howling, Don’t Look Now) features memorable and influential cues including the standout track “Telescope”. The dynamic soundtrack music also features striking and exciting orchestral cues that are a throwback to classic Hollywood thrillers coupled with synth driven, electronic dance cues which complement the excessive 1980’s neon-washed porn industry in which the film is set.

Waxwork Records is excited to present the complete Body Double film music by Pino Donaggio for the first time on vinyl as a deluxe double LP featuring 150 gram Body Double red and blue colored vinyl, heavyweight gatefold jackets with film laminate gloss finish, an 11”x11” insert, and artwork by Robert Sammelin. The cover features the film’s classic 1984 original poster art restored."

"7 Estrelas | quem arrancou o céu?" ("7 Stars | Who ripped the sky down?") is the fourth album of the Sao Paulo-based artist Luiza Lian, and her third collaboration with French/Brazilian music producer Charles Tixier. Nearly five years after the celebrated "Azul Moderno", the duo returns to the scene they materialized before a period of darkness that rewrote Brazil's history. And this new visit pushes the boundaries even further with resources that the singer-songwriter had only started exploring on the previous record. The tracks, "Tecnicolor" (featuring the only guest appearance on the album, as Luiza is joined by singer Céu) and "Homenagem" (Homage), continue to explore this new horizon, which becomes increasingly bizarre and deceptive. In addition to layering noises and electronic elements over her musicality, Luiza also explores the range of her vocals by digitally distorting them. The first tracks are just the initial steps in this new work: a profound reflection on how we distort our lives based on false reflections we see both digitally in our use of social media and materially in an increasingly consumerist society. The new album recreates this artificial context in an almost caricatured way, deliberately exaggerated distortions to generate the estrangement we should feel towards the values we cherish and reject based on this false reality we force ourselves to believe in.

Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou shares a more spiritual kinship with '90s proto-grunge bands like Nirvana, Alice in Chains, and Soundgarden (all of whom they've covered extensively, both in the studio and onstage). The band's aesthetic and political impulses reflect the obscure '90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc. From 2004 through 2016, the band has released four full-length albums, six EPs (some bordering on full lengths), two collaboration records with The Body, and enough material spread out over splits to make up another four or five LPs.

Sacred Bones Records is proud to present the new album, Magus, Thou's first full-length since 2014's Heathen. In the months leading into the new album, Thou will be releasing three drastically different EPs: The House Primordial on Raw Sugar, Inconsolable on Community Records, and Rhea Sylvia on Deathwish, Inc. Each record will focus on a particular sound—noisy drone, quiet acoustic, and melodic grunge—all of which is incorporated into the new LP, subsumed in the band's more standard doom metal.

While sonically, Magus may be a continuation of Heathen, thematically it stands as a stark rebuttal, a journey beyond the principles of pleasure and pain. It is more the culmination of these distinct EPs, which all orbit some internal black hole. FFO alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease.

Speak to most musicians about their motivations, inspirations and processes and you will, generally, get variations on a similar, broadly consensual, theme. Natasha Pirard is genuinely different. Her interest in sound goes way beyond the superficial and the ephemeral. She is fascinated by how and why sound makes us feel, the political implications of sound, noise pollution and the everyday sounds embedded in our immediate environment.

Contextually, this makes a lot of sense when confronted with her debut release for DEEWEE, Dream Cycles. A 120-minute exploration of sounds, loops, frequencies and waves, it’s an eight- part musical cycle split into 15-minute sections across four cassettes, she believes, reflects on this notion of cyclical, rather than linear, time. The eight song cycles are repetitive. They start off basic and functional and build over time. They begin with one sound but soon you hear other sounds. From there you get taken to another point, where you hear something else and so on and so forth. The circle is never-ending.

Natasha Pirard is a musicologist and composer from Ghent. She will be releasing her album Dream Cycles in February 2024, as a limited edition four cassette box set, marking her debut on the Ghent-based label DEEWEE.

The Body & Dis Fig are a natural pair. Each has pioneered instantly recognizable worlds of sound all their own that defy any traditional categorizations or boundaries. The Body, Lee Buford and Chip King, continually challenge any conventional conception of metal, collaborating with myriad artists and from the folk-leanings of their work with BIG|BRAVE to their groundbreaking work with the Assembly of Light Choir to the intensity of their collaborations with OAA or Thou. Dis Fig, aka Felicia Chen, pushes electronic music into dark extremes, from warped DJ sets to avant production, from being a member of Tianzhuo Chen’s performance-art series TRANCE to being the vocalist with The Bug. The Body and Dis Fig find kinship in reimagining what it means to make “heavy music”. Their debut Orchards of a Futile Heaven is the perfect synthesis of two forces, twisting melodicism and intoxicating rhythms, layering a dense miasma of distortion with intense beats and a soaring voice clawing its way towards absolution.

Orchards of a Futile Heaven’s walls of sputtering texture and tectonic booms are soaked in the reverence and melancholy of sacred spaces brought to life by palpable intensity by Chen’s voice. Crafted during a time of personal fragility, the album’s devastating force lies beyond any of the expected noise and abrasive textures typically associated with both The Body & Dis Fig. Suffused with a raw vulnerability and a longing for catharsis, Chen’s voice searches for escape in the midst of oppressive atmospheres as if determined to find relief from guilt. “Eternal Hours” patiently unfurls waves of surprising sounds, whispered undulations that are punctuated by sudden crashes, all beneath Chen’s haunting harmonies. “Dissent, Shame” evokes grief and shame with a minimalist drone dirge that gradually builds to an enchanting choral passage. King’s guitar on “Holy Lance” matches the uncanny drone of Chen’s accordion in an all-consuming blast, Chen’s voice transforming the moment from anguish to defiance and empowerment. The album’s arc finishes with “Coils of Kaa” acting as a kind of propulsive exorcism, breaking through a suffocating air before the funeral procession of “Back to the Water” lays the album to rest.

While sampling has long been essential to each, The Body & Dis Fig deftly meld their differing approaches to sampling and creating extreme sounds until the boundaries are entirely blurred. The two found kinship in their desire to find new avenues to make heavy music that looked beyond tropes of metal and electronic music by merging the two. “I always wanted the heavier stuff but I also didn’t really like heavier guitar music,” says Buford. “None of it really felt quite heavy enough to me. A human can’t be as heavy as a machine.” Chen counters, “I love the balance. You could never connect to just a machine as well as you could a human. Which is why the combination is so potent for me. I don’t want to hide. I think nothing connects you more empathetically than another human's voice.”

Orchards of a Futile Heaven affirms The Body & Dis Fig as skilled sound sculptors who have an exceptional ability to make deeply affecting music, bracing as it is touching, harrowing as it is awe-inspiring. Together, the two have harnessed their expansive artistry to make music that is profoundly emotional, and staggering in its beauty.

Black vinyl, DL card. Bardo Pond's extensive archive recordings series opens up once again with 'Volume 9', an incisive journey into their hypnotic sound. Recorded in the early 2000's it's a heady mix of acoustic ambience and menacing distortion. Infamous purveyors of longform stoner rock, Bardo Pond embrace their sludgestorms with graceful nods to Hawkwind, Earth and my bloody valentine. For anyone uninitiated with the band's tranquilizing sound, Volume 9 leans into their mesmeric practise with reckless abandon. Featuring two tracks recorded with ace percussionist Michael Zanghi (Kurt Vile/The War On Drugs) and the seminal two parter 'War Is Over', a lilting Floydian strum that's invaded - quite literally - by unreconstructed noise. The Zanghi collaboration is an Eastern-facing mantra with percussive flurries and distorted modal shifts - like listening on the other side of feedback. "Effortlessly combining psychedelic inspirations from Pink Floyd's original explorations to the more modern reachings into the beyond" AllMusic

Perifaerye is a multi-part work of art comprising of 18 soundscapes, 36 digital drawings and 24 writings. Perifaerye is at once a record release, a book, a website; in the autumn of 2023 a series of playlists were published on billboards, linking the online soundscapes to the real-life physical realm. This publication is an artistic hybrid: a vinyl record / book combining sound, image and text.

The 18 audio works condense the sounds of the urban periphery into a sonic cartography. In Hamburg-Eidelstedt, people live in smaller detached houses and in larger apartment blocks. New housing estates have been developed recently in direct neighbourhood to the motorway, and currently in the district centre; a district where post-war housing estates and architectural remnants from a village past co-exist. Even meadows and fields, surrounded by the noise of motorways and other traffic, aeroplanes (the airport is close by) and railways (passenger and und freight trains, long distance, regional and local services). This collection of soundscapes – each a short composition on its own – presents a sonic portrait of a contemporary urban area.

In spring 2023, Jorn Ebner recorded the urban spaces of the Hamburg district of Eidelstedt. For each audio piece there is an image. The artist’s writings reflect and accompany the creative process.

For this book and record, Sebastian Kokus and Thomas Korf created a very haptic design. Each part of the whole can be experienced as a single piece: the A2-sized poster is part of the outer sleeve; the booklet presents image and text (German only); the record is visible through the holes in the inner and outer sleeves and forms part of the cover.

A new type of sound from uhinged live-performer and a one-woman fun tribunal. It's glossy, noisy, raw, futuristic, sensual, frivolous, dark, wonky, slow and fast alike - yet in all those variations, rather suited for bigger PAs. Tracks on Cracked, serving assorted sweets make heaven utilize pummeling yet unequal kickdrums and vary in tempo.

Side A turns risky breaks into an oddly enjoyable experience while the tracks on B flip trance motifs into rather serious, darker futuristic ride.
Isabella's work also happens to be a link between Rhode Island's noise scene & pranksters from Börft Records, Herrensauna's dancefloors and halls of Berklee College of Music where she lectures.

30th year anniversary edition of Distorted Pony's industrial noise-rock classic 'Punishment Room, remastered by Bob Weston at Chicago Mastering Service in 2023. Back on vinyl for the first time in 30 years, recorded in 1992 by Steve Albini and originally released on Bomp!, this album is an absolute essential for any noise-rock aficionado. The Los Angeles band turned heads with their aggressive mix of industrial, post-punk, feedback assault on metal sheets and trashcans. The focal point of Distorted Pony (which formed in 1986 and called it quits in ’93) was Dora Jahr’s seething bass and the mix of screeching guitars from David U and Robert Hammer. "Distorted Pony was already history by the time Instant Winner was released, but with proper live-fast/die-young spirit the album leaves one hell of an impressive corpse — it’s easily the most potent of the three records

World Of Echo are proud to announce the long-awaited reissue, on 17th February, of the self-titled debut album by Bristol’s Movietone. Originally released in 1995 by Planet Records and reissued on CD in 2003 by The Pastels’ Geographic Music imprint, this is the first time Movietone has been reissued on vinyl. An expanded double-LP edition, it includes the extra tracks from the 2003 CD (their first two singles, and an unreleased demo of “Chance Is Her Opera”), and adds three more unearthed gems: demos of “Alkaline Eye” and “She Smiled Mandarine Like”, and an early take of “Late July”, recorded in a garden by Dave Pearce (Flying Saucer Attack) in 1993. Taken together, this is the definitive collection of music from the first phase of one of Bristol’s most remarkable groups.

Movietone was the cumulation of a series of events, explorations, and discoveries, starting at secondary school – the group’s core membership of Kate Wright, Rachel Brook, Matt Elliott and Matt Jones met at Cotham School in Bristol. As for many other groups, their early years were all about experimenting, and finding ways to ‘make do’, a DIY sensibility that would inform Movietone through their decade-long lifespan. From formative rehearsals in a shed in the garden of Brook’s family home, to recording early material to four-track in Redland Library, and on into the Whitehouse and Mr Grin’s studio sessions for their debut album, Movietone’s music fell together in a creatively unpredictable, yet conceptually rigorous manner.

By the time they released Movietone, they’d found a home with Bristol’s Planet, run by author Richard King and James Webster, who had both released their first two singles, “She Smiled Mandarine Like” and “Mono Valley”. There was other music happening around them in Bristol, too, from the Jones brothers’ avant-rock outfit Crescent (who were Movietone’s closest conspirators), through Elliott’s jungle/electronica project Third Eye Foundation, and Brook and Elliott’s membership of Flying Saucer Attack. A closely knit community, Movietone are the centre of this nestling architecture of groups.

The vision in the music, mostly, belongs to Wright, but Movietone ran in democratic creative consort. Listening back to Movietone, you can hear this democracy in action through the wildness of the music, which is balanced by the poetics of Wright’s lyrics and melodies. Full of half-captured memories and entangled abstractions, there’s an elliptical, ruminative quality to much of the writing here that shows the deep influence of the Beat Generation writers, along with a twilight environment captured in the songs that’s pure third-album Velvets, Galaxie 500, early Tindersticks, Codeine. Unpredictable interventions – the crashing glass in “Mono Valley”, the sudden explosions of “Orange Zero” – point towards the noise blowouts of My Bloody Valentine, the unpredictability of Sonic Youth; Wright’s understated vocal cadence suggest a deep, embodied understanding of John Cage’s Indeterminacy.

Movietone would go on to make three fantastic albums for Domino – Night & Day (1997), The Blossom Filled Streets (2000) and The Sand & The Stars (2003) – and their Peel Sessions were released early in 2022 by Textile. Still held in high regard by artists like Steven R. Smith, and The Pastels, whose Stephen McRobbie once described them as “one of the great unknown English groups,” it’s an absolute thrill to listen to Movietone anew – still inspired, still seductive, still magic, still mysterious.

Sydney, Australia- Melodic metalcore band BLOOM have announced new album Maybe In Another Life, out 15th February 2023- their first for new label, Pure Noise Records. Alongside the announcement is the release of the title track of the record, Maybe in Another Life. The track speaks to the anxiety that can be buried in fantasy. The lyrics contrast the experience of a sordid existence and the indulgence of what could have been, and what could be. The song moves from a dreaminess desire to a lament on the harshness of reality, the voice in the song is “Lost in the fantasy, Of being anyone but me.” The listener is left with a sense of longing at the climactic moments of the track, with soaring, symphonic instrumentation that fuels the words “ Let me start again, I'll make it count this time, Can I start over? Maybe in another life” "The song speaks to the characters anxieties and their methods of distracting through fantasy." says the band. "The lyrics contrast the experience of a sordid existence and the indulgence of what could have been. The song touches on a desire to lament on the harshness of reality. “Lost in the fantasy of being anyone but me”. The listener is left with a sense of longing at the climactic moments of the song with soaring, symphonic instrumentation that fuels the words “Let me start again, I’ll make it count this time. Can I start over? Maybe in another life”.

NYC speed rockers PONS are wound up and hot for skronk on The Liquid Self, a golden spiral into insanity at sea surfacing on cassette and streaming October 6, 2023. Besieged by a lighthouse panopticon of pummeling, engine-room percussion, The Liquid Self rises higher than the tides of destiny. These eleven songs churn like a gluttonous maelstrom consuming everything in its path. The Liquid Self chums indie rock’s murky waters with bloody chunks of Lightning Bolt, Van Halen and King Crimson to lure PONS’ mythical and unhinged rock ‘n roll creation to the surface. Harpoons in hand, the dual drums and guitar trio swing, shuffle and strut across oceanic horizons of playful, unhinged garage-prog-pop inhabited by a cast of unreliable narrators; bottom feeders carrying the entire ocean’s weight on their polyrhythms.

On the single “Coral King,” PONS usurp noise rock’s old guard while pledging fealty to the dystopia under the sea with a foamy, froth-mouthed manic industrial scuzz-prog rant seething with sludgy, dissonant bile oozing from every sour note. Furious violin-fuzz riffs and a chorus of lost souls lead the procession at this brutal coronation of the damned.

“Sinking Feeling” hangs ten with bright and beachy major chords anchored by fleet-flippered guitar solos breaching the surf like suppertime at SeaWorld. Chaos reigns on “Queen Conch,” soaking the splash zone with misty waves of undulating percussion and tsunami force sheets of six-string shredding. Barbed post-punk rager “Hooks” swallows the bait whole—and it turns out PONS fish with dynamite.

The UK avant-garde’s rising star, Bristol-based multi-instrumentalist Bingo Fury is announcing his debut album ‘Bats Feet For A Widow’ due out 16 February via tastemaking label state51. Filled with noir elegance, ‘Bats Feet For A Widow’ is an album that revels in extremity. The album was recorded in a local church in Bristol, taking inspiration from the musician’s complex relationship with his strong religious upbringing. The influence of the church building resonates throughout the album.

‘Bats Feet For A Widow’ is full of strange experiments, obscure references, offbeat one-liners, heart-breaking sentimentality and surging creativity. At the heart of it all is Bingo Fury’s crooning bass vocal, lending a vivid and slyly humorous voice to universal themes of love and pain.

Alongside the album announcement, Bingo Fury is releasing new single ‘Leather Sky’, a tender piano ballad charged with real emotion and a heartbreaking cornet refrain played by band member Harry Furniss. In this cinematic track full of paralysing despair, the musician sings: “You know I’m trying to give you everything / It all gets in the way.”

Bingo Fury on the single: “Leather Sky is a difficult song to describe succinctly. It’s about being separated from someone against both of your will. Somebody close to me became very unwell and communication became restricted, almost non-existent. The song took shape during that period. A few of the surreal lines ended up becoming reality.”

Although very much a solo songwriter, Bingo Fury’s compositional process relies on contributions from his entire band - bassist Megan Jenkins and drummer Henry Terrett have been playing together since their teens. In one of their various incarnations, they recruited local avant-jazz legend, cornet player Harry ‘Iceman’ Furniss, with guitarist and percussionist Rafi Cohen later completing the line-up.


The album announcement follows the release of the cacophonous single ‘Power Drill’, which garnered praise from The Line Of Best Fit and DIY. This comes after Bingo Fury’s debut EP, ‘Mercy’s Cut’, that came out last year to an abundance of critical acclaim from the likes of BBC 6 Music, The Quietus, Loud & Quiet, Clash, as well as earning himself a spot on the NME Top 100. Filled with rich, cinematic allure, the EP is both beautiful and unsettling and underlines Bingo Fury’s complete abundance of compositional ideas.

The UK avant-garde’s rising star, Bristol-based multi-instrumentalist Bingo Fury is announcing his debut album ‘Bats Feet For A Widow’ due out 16 February via tastemaking label state51. Filled with noir elegance, ‘Bats Feet For A Widow’ is an album that revels in extremity. The album was recorded in a local church in Bristol, taking inspiration from the musician’s complex relationship with his strong religious upbringing. The influence of the church building resonates throughout the album.

‘Bats Feet For A Widow’ is full of strange experiments, obscure references, offbeat one-liners, heart-breaking sentimentality and surging creativity. At the heart of it all is Bingo Fury’s crooning bass vocal, lending a vivid and slyly humorous voice to universal themes of love and pain.

Alongside the album announcement, Bingo Fury is releasing new single ‘Leather Sky’, a tender piano ballad charged with real emotion and a heartbreaking cornet refrain played by band member Harry Furniss. In this cinematic track full of paralysing despair, the musician sings: “You know I’m trying to give you everything / It all gets in the way.”

Bingo Fury on the single: “Leather Sky is a difficult song to describe succinctly. It’s about being separated from someone against both of your will. Somebody close to me became very unwell and communication became restricted, almost non-existent. The song took shape during that period. A few of the surreal lines ended up becoming reality.”

Although very much a solo songwriter, Bingo Fury’s compositional process relies on contributions from his entire band - bassist Megan Jenkins and drummer Henry Terrett have been playing together since their teens. In one of their various incarnations, they recruited local avant-jazz legend, cornet player Harry ‘Iceman’ Furniss, with guitarist and percussionist Rafi Cohen later completing the line-up.


The album announcement follows the release of the cacophonous single ‘Power Drill’, which garnered praise from The Line Of Best Fit and DIY. This comes after Bingo Fury’s debut EP, ‘Mercy’s Cut’, that came out last year to an abundance of critical acclaim from the likes of BBC 6 Music, The Quietus, Loud & Quiet, Clash, as well as earning himself a spot on the NME Top 100. Filled with rich, cinematic allure, the EP is both beautiful and unsettling and underlines Bingo Fury’s complete abundance of compositional ideas.

A raw-nerved hybrid of elemental Merseybeat, lugubrious surf-noir and sheer sonic assault, the remarkable legacy of Long Island's Mystic Tide has long been venerated within the '60s garage rock pantheon, even if their existential racket only slipped out on a series of painfully rare 45s. Now, the fruit of Joe Docko Jr and friends' cottage industry has been refurbished in best-ever sound, along with fresh insights as to how this singular brand of noise came to be.

A raw-nerved hybrid of elemental Merseybeat, lugubrious surf-noir and sheer sonic assault, the remarkable legacy of Long Island's Mystic Tide has long been venerated within the '60s garage rock pantheon, even if their existential racket only slipped out on a series of painfully rare 45s. Now, the fruit of Joe Docko Jr and friends' cottage industry has been refurbished in best-ever sound, along with fresh insights as to how this singular brand of noise came to be.

Danielle Boutet’s P »Pièces« is a mysterious artifact of Quebecois marginalia, self-released in 1985. Moving from languid ennui to high drama, »Pièces« is a dreamy gestalt, an album that borders Chanson, spoken-word, jazz noir, and minimalism, conjured from the chasm between acoustic and electronic realms. »Pièces« allows us a window into the highly intimate songcraft and compositional skill of an artist who longed to linger not in the public eye, but in relation with others and the world around her.

Born in Quebec City, Boutet studied music at the University of Montreal, where she focused on composition and percussion, before becoming involved in Montreal’s feminist and lesbian art scene. Primarily written, performed, and recorded by Boutet, with voice, guitar work, and technical assistance by Sylvie Gagnon, Pièces was created during a paradigm shift in home recording. Originally composed for the piano, Boutet and Gagnon utilized a consumer-friendly Tascam 4-track Portastudio and versatile Yamaha DX-7, alongside guitar, bass, marimba, and the human voice, to expand and contemporize the original composition’s scope.

Inspired by prog rock and British poet and musician Anne Clark, »Pièces« translates Boutet’s influence by moving between sunny, wistful fairytale and dark, wintry dirge. Filled with longing marimba, vertiginous, startling synth pads, and folk guitar, each track on Pièces offers a wholly unique proposition. Some are modal and rife with the ethereal psychological tension of a sci-fi soundtrack, while others are more like entering a smoke-laced lounge, the entertainer embodying seduction.

With the sprechgesang of artists like Serge Gainsbourg, there is an intense intimacy to Boutet’s delivery, sometimes as if she is performing for an audience of one. As one lyric goes, translated to English from French: “Like holograms/ Images from a world/ That inhales souls/ And exudes drama.” Another song contains an excerpt from The Tao of Physics: “The eastern sages specify clearly that they do not identify an ordinary void, but rather, a void having an infinite creative potential.”

To English-language audiences, the album’s title, »Pièces«, might seem to simply refer to the eleven different pieces. The title can also, of course, refer to parts of a larger whole, but Boutet is keen to point out that there is also another meaning: In French, a pièce is a room. On the cover of the original cassette, Boutet is seen sitting on a chair, alone in an empty apartment, a cable snaking at her feet. Listening to »Pièces« is like entering eleven different rooms: whether a study encased in shadow, a greenhouse left to wither in an eternal frost, or a divine nave.

Boutet sold a few dozen copies around Montreal, a scene mostly occupied by the new wave explosion de rigueur, but the inclusion of Pièces in the 1987 issue of Ladyslipper—the North Carolina-based mail order catalog that championed women musicians of all calibers and careers—led to more exposure throughout North America. “In the catalog,” Boutet says, “they included it in the New Age section, but I was, and still am, aware that this album is relatively unclassifiable.”

Boutet would release one more album, titled Musiques Urbaines, before getting pulled in the direction of interdisciplinary art and theory. “Although I never stopped making music, I lost all interest in public diffusion or performance,” Boutet says. Despite her departure from performance and publicly releasing music, she left behind a strange and enthralling document of Montreal’s 1980s feminist fringe, an aural document of the historic moment when self-recorded music and its practical potential became a prismatic reality.

Danielle Boutet’s Pièces arrives February 16, 2024 as part of uncommon¢ (“uncommon sense”), an open-ended, serialized endeavor from Freedom to Spend that provides new meaning for rarefied recordings from music’s outermost fringe.

With "Onaida", Natascha Rogers shares a liberating folk spell that draws inspirations from Yoruba spirits, Afro-Latin rhythms and her Native American ancestry. Born in the Netherlands to a Dutch mother and a father with Amerindian origins, Natascha Rogers dares to be intimate and unveils a highly spiritual chiaroscuro record, raising purity, care and reconciliation to the level of the art, through folk enchantments. Sensitive to the ancestral call of the drums, she travelled the Black Atlantic for several years and received the teachings of the greatest Mandingo and Afro-Cuban master percussionists. As a distinguished percussionist and vocalist, she has graced the stage and has accompanied artists around the world, but for Onaida she set out on her own, retreating to a studio to escape the noise, rush and fast information cycles of our modern world. This album marks a rebirth for Natascha Rogers, as it symbolizes her return to the piano, her first instrument. Channelling these inspirations for Onaida, Natascha Rogers, has created a space of her own, where themes of humanity, spirituality, nature and womanhood are centre stage while also paying tribute to her ancestors. Sung in English, Spanish, or Yoruba, the album is a tapestry of intimate ballads and universal prayers, drawing inspiration from dreams, Amerindian poetry (Joy Harjo), and Cuban santería with ritualistic batá drum pulsations. On the powerful folk-tinged song "The West", she invited gifted singer-songwriter Piers Faccini. Onaida is a true initiatory experience, a second birth for Natascha Rogers who finds balance and accuracy with this singular opus. Natascha Rogers headed to the quiet commune of Pommerit-le-Vicomte, to write this new release, accompanied by sound engineer Joachim Olaya and published on acclaimed French imprint No Format!

Remastered and first worldwide release (previously only limited availability in Iceland) Since first bursting onto the global punk scene in 2018, Icelandic trio GRÓA have thrilled audiences across the world by fully embracing an unruly freedom. Made up of sisters Hrafnhildur Einars Maríudóttir (aka Hrabba, age 22) and Karólína Einars Maríudóttir (aka Karó, age 20) and their childhood friend Fríða Björg Pétursdóttir (also 22), the Reykjavík-bred band merge elements of post-punk and noise-rock and art-pop with absolute abandon, arriving at an explosive yet magnificently arranged sound unlike any other. A local favorite, the Icelandic government has recently been sponsoring worldwide travel to share GRÓA with the rest of the world and in 2023 they have played shows around the world including in UK, Western and Eastern Europe as well as USA dates including Washington DC, Seattle, Chicago and New York City. They have recently recorded an in studio performance at KEXP which will be broadcast worldwide in January 2024 and more worldwide touring is planned for early 2024 to support the vinyl and CD releases. Listing iconoclasts like Sonic Youth, PJ Harvey, and Bikini Kill among their longtime inspirations, the Icelandic punk band GRÓA pursued their experimental impulses with more intensity and confidence on Í Glimmerheimi, matching the album’s shapeshifting sound with a surrealist but emotionally potent form of lyrical storytelling. “It’s about a girl who’s trying to escape the world she’s stuck in—this glitter world that looks so good on the surface, but it’s not where she’s meant to be,” says Karó in discussing the album’s concept. “There’s a song called ‘Jetpackstelpan,’ or ‘Jetpack Girl,’ where she leaves the world on a jetpack and flies away to the moon, and she’s never coming back again.” Opening on the kaleidoscopic rhythms and rowdy call-and-response vocals of “Fullkomið” (“Perfect”), Í Glimmerheimi brings that narrative to frenetic and dazzling life, ultimately closing out on “Skrímslið er að ná þér” (“The monster is getting you”): a serpentine and strangely mesmerizing epic whose swirling textures, otherworldly vocals, and sparse yet complex guitar tones illuminate the immense scope and depth of GRÓA’s artistry.

Two years after recording an EP on a guitar he didn't know how to play, Ujko releases a piano album without knowing how to play the piano. To add to that, Hudba k filmu is a soundtrack to a movie that doesn't exist.

If Ujko previously played with the clumsiness and exposed intimacy of outsider music, on Hudba k filmu he instead focuses on the emotional and dramaturgical possibilities of a film score. The movie may be hypothetical, but this album still imposes a narrative of melancholy and hopelessness, even more penetrating in the guise of a supposedly background music. It's also mostly instrumental, adding to ambiguity and potential projection // Hudba k filmu sneaks up on the listener and encumbers them with the weight of their own world.

Ujko thereby manages to mediate his despair without being as presumptuously overbearing as most film composers. Even the lack of instrumental skill is barely noticeable, enough so that Hudba k filmu doesn't fall for its own concept, but is instead an accomplished and complete work of film music, lacking nothing.

A musical project with roots in the work of cult underground collective Noize Konspiracy, Ujko is an alias of Mišo Ormos. Hudba k filmu is his second release on the world-weary label Weltschmerzen.

"Due to the huge success of the Original Source Series and due to frequent wishes by both fans and critics alike, DG have decided to launch a reprint of all four titles of Batch 1 – marked as “SECOND EDITION”. Same Quality, just without numbering. THE ORIGINAL SOURCE is a new series of celebrated albums reissued on vinyl. These new releases include Claudio Abbado’s fascinating interpretation of works by Debussy and Ravel with the Boston Symphony Orchestra (1 LP), the legendary recording of Brahms’s Piano Concertos Nos. 1 & 2 with Emil Gilels, the Berliner Philharmoniker and Eugen Jochum (2 LPs), and Verdi’s Messa da Requiem in the iconic version of Herbert von Karajan and Berliner Philharmoniker (2 LPs). The renowned Berlin-based Emil Berliner Studios are remastering 4-track recordings from the 1970s, using their own cutting-edge and 100% pure analogue techniques (AAA) to create versions of the highest possible audio quality. Compared to the original releases, the advantages in sound are outstanding: More clarity, more details and a better frequency response, less noise, less distortion, less compression – the highest possible audiophile quality which gives listeners the chance to enjoy this repertoire like never before.
Produced on 180g virgin vinyl by Optimal, these limited and numbered releases will be issued in deluxe gatefold editions featuring the original artwork and liner notes, with additional photos and facsimiles of the recording documentation on the inner sleeve. Furthermore, each release includes a note by Rainer Maillard/EBS detailing the technical background and procedure of the Original Source Series, and an additional insert with a photo of the original tape box. Each LP comes in a protective cellophane jacket with a sticker highlighting the

"Due to the huge success of the Original Source Series and due to frequent wishes by both fans and critics alike, DG have decided to launch a reprint of all four titles of Batch 1 – marked as “SECOND EDITION”. Same Quality, just without numbering. THE ORIGINAL SOURCE is a new series of celebrated albums reissued on vinyl. These new releases include Claudio Abbado’s fascinating interpretation of works by Debussy and Ravel with the Boston Symphony Orchestra (1 LP), the legendary recording of Brahms’s Piano Concertos Nos. 1 & 2 with Emil Gilels, the Berliner Philharmoniker and Eugen Jochum (2 LPs), and Verdi’s Messa da Requiem in the iconic version of Herbert von Karajan and Berliner Philharmoniker (2 LPs). The renowned Berlin-based Emil Berliner Studios are remastering 4-track recordings from the 1970s, using their own cutting-edge and 100% pure analogue techniques (AAA) to create versions of the highest possible audio quality. Compared to the original releases, the advantages in sound are outstanding: More clarity, more details and a better frequency response, less noise, less distortion, less compression – the highest possible audiophile quality which gives listeners the chance to enjoy this repertoire like never before.
Produced on 180g virgin vinyl by Optimal, these limited and numbered releases will be issued in deluxe gatefold editions featuring the original artwork and liner notes, with additional photos and facsimiles of the recording documentation on the inner sleeve. Furthermore, each release includes a note by Rainer Maillard/EBS detailing the technical background and procedure of the Original Source Series, and an additional insert with a photo of the original tape box. Each LP comes in a protective cellophane jacket with a sticker highlighting the
"

"Due to the huge success of the Original Source Series and due to frequent wishes by both fans and critics alike, DG have decided to launch a reprint of all four titles of Batch 1 – marked as “SECOND EDITION”. Same Quality, just without numbering. THE ORIGINAL SOURCE is a new series of celebrated albums reissued on vinyl. These new releases include Claudio Abbado’s fascinating interpretation of works by Debussy and Ravel with the Boston Symphony Orchestra (1 LP), the legendary recording of Brahms’s Piano Concertos Nos. 1 & 2 with Emil Gilels, the Berliner Philharmoniker and Eugen Jochum (2 LPs), and Verdi’s Messa da Requiem in the iconic version of Herbert von Karajan and Berliner Philharmoniker (2 LPs). The renowned Berlin-based Emil Berliner Studios are remastering 4-track recordings from the 1970s, using their own cutting-edge and 100% pure analogue techniques (AAA) to create versions of the highest possible audio quality. Compared to the original releases, the advantages in sound are outstanding: More clarity, more details and a better frequency response, less noise, less distortion, less compression – the highest possible audiophile quality which gives listeners the chance to enjoy this repertoire like never before.
Produced on 180g virgin vinyl by Optimal, these limited and numbered releases will be issued in deluxe gatefold editions featuring the original artwork and liner notes, with additional photos and facsimiles of the recording documentation on the inner sleeve. Furthermore, each release includes a note by Rainer Maillard/EBS detailing the technical background and procedure of the Original Source Series, and an additional insert with a photo of the original tape box. Each LP comes in a protective cellophane jacket with a sticker highlighting the
"

Doppel-Vinyl inklusive CD-Kopie! 2019 waren DESTINATION LONELY unermüdlich und schamlos kreativ, getrieben von vielen Shows und die durchgedrehte Situationen, welche derzeit auf unserem Planeten passierten. Sie buchten das Studio für zwei Wochen, nahmen 17 Songs auf, alles Killertracks, hauptsächlich Originale gespickt mit einigen Coverversionen u.a. von THE TROGGS (I Want You), THE STOOGES (Ann). Arthur Larregle (JC SATAN) und Stefano Isaia (MOVIE STAR JUNKIES) steuerten auch noch Songs bei. VVR/Beat-Man: "Ich könnte einige Track wegschneiden, um ein normales Album zu veröffentlichen, aber was solls !! Sie sind alle so verdammt gut !!! Deshalb haben wir beschlossen, dieses Doppelalbum heraus zu bringen, und du wirst nicht enttäuscht sein und es lieben, wie wir es auch Lieben. Das ist Raw Super Filthy Garage Noise Trash Rock'n'Roll in seiner besten Tradition, und für alle Gitarren-Wichser gibt es einen 13-minütigen Gitarren-Orgasmus (Nervous Breakdown). Und für alle ELECTRO- und SYNTH-Nerds haben wir hier den Re-Mix von Schizo MF !!! DESTINATION LONELY, drei Agressiv-Negativ Junge Männer aus Toulouse/Bordeaux, entsprungen einer reichen ROCK'N'ROLL GARAGE NOISE TRASH-Kultur in Südfrankreich. Sie spielten und formierten legendäre Bands wie "Blew Up", "THE FATALS", "Space Beatnicks", "Jerry Spider Gang", "Beach Bitches" oder "Kung Fu Escaelators", um nur einige zu nennen, im In- und Ausland tourten sie und veröffentlichen Schallplatten auf unzähligen Labels und sind jetzt auf dem Weg ins Nirgendwo als DESTINATION LONELY. Lo Spider hat sein eigenes Aufnahmestudio "Swampland", in dem er Bands wie THE SPITS, THE MONSTERS, MAGNETIX, BAD MOJOS oder DEAD GHOSTS aufnimmt, um nur einige zu nennen.

Musica Per Immagini is about to go beyond vinyl reissues of soundtracks and music libraries, with a brand new series of products.
From 2024 onwards, it will release a series of albums of contemporary and electronic music often "inspired by" different sources, both sonic, if not literary and cinematographic. A way to embrace the future without forgetting the past.

Heinrich Dressel's “Polarlys” is the first album of unreleased tracks published by Musica Per Immagini, or a soundtrack for a imaginary noir film set in the icy waters of northern Europe, inspired by the book “The Mystery of the Polarlys” by Georges Simenon. Drones and ethereal atmospheres are paired with a cinematic background in order to describe the frost of the northern seas and the restlessness of the journey: beyond the classic analog sounds, a specific use of additive and vector synthesis particularly in vogue during the Nineties and typical of vintage synthesizers.

Three years on from the desolate beauty of their debut, Quindi Records is proud to present the second album from Dead Bandit. The ghosts of their past endeavours still haunt their guitars, but on Memory Thirteen the duo's delicately dishevelled Southern gothic feels tonally distinct from their prior outing.
Dead Bandit is Ellis Swan and James Schimpl - the former a noted solo singer-songwriter from Chicago with a penchant for eerie, witching hour murder ballads and the latter an accomplished Canadian multi-instrumentalist with a bias towards heartworn, roaming soundscapes. Their instrumental collaboration has an open, lyrical quality which says as much as any spoken line, and on this album they've especially embraced the power of contrast as we're guided between scenes, sometimes within the confines of one track.
'Peel Me An Orange' is especially instructive in this regard, beginning as a blown-out paean to sonic degradation and the acute sense of hopelessness it projects, only to yield to a lilting tape loop of twanging guitar before entirely widening out in an emphatic burst of post-rock optimism.
Post-rock isn't noted for its banal cheeriness as a genre, and Dead Bandit aren't about to lay down feel-good drive-time anthems, but the sense of pulling at extremes of energy and introspection show Swan and Schimpl to be testing the emotional limits of their weatherbeaten sound. The cautiously sentimental mood of 'Blowing Kisses' hints at the hard-won light which can be encountered while pointedly driving into darkness.
Sometimes noise is a subtle device - a looming bed of unease under the forthright pluck of Swan's distinct guitar tone or the cracking round the edges of a beaten up drum machine. On 'Memory Thirteen' the distortion on the bass becomes a central figure in its haggard waltz, while 'Staircase' and 'Perfume' leave the signal wet until the delay feedback becomes the body of the riff. Either way, the sound is never left untouched as Swan and Schimpl grow more comfortable in their exchange, blurring their respective sonic languages as they expand their shared vocabulary to create an album of depth, difference and devoted distortion.

Formed in late 2018, the at the time 4-piece band from Denmark pursued the stylistic vein of the 90"s shoegaze scene with crusty distortion guitars, progressive drums, and supremely airy vocal figures. Only two years after their formation, the band self-released their lo-fi-heavy debut EP, Everytime; a daydreamy handful of songs with alluring atmospheres of heartbreak and self-disorientation, that was quickly discovered by the legendary platform KEXP through their digital sale on Bandcamp. Meltways" debut album, Nothing Is Real, is a strikingly infectious collection of explosively driven songs. Warm blankets of noisy guitars and oceans of reverb melt with Mathias" angsty, yet liberating lyrics. Recorded in Esbjerg at Tobakken Studio, mixed and engineered by Mathias, and mastered by Slowdives Simon Scott.