Buscar:not me

Mudline presents BRAINS (MUDL003) — the label’s first mixtape, curated by Leo Gibbon and Joshua Brinksman. A hazy transmission built from Sufferers Rock, Yard Lovers, and tough dancehall rhythms — music for vacant rooms and slow hearts.

Please note there are 5 different covers for the tape.

Mudline presents BRAINS - MUDL003.

First mixtape for the label, selected and assembled by Leo Gibbon and Joshua Brinksman.

A transmission dragged from dust and static - built from Sufferers Rock, Yard Lovers, and Tuff Dancehall.

Rhythms for vacant rooms and slow hearts.

All proceeds from the tape will be donated to support communities in Jamaica affected by the recent devastation of Hurricane Melissa.

Blu:sh back in Kalahari orbit for a third bite of the cherry.

This one’s dark and dank, with sultriness off the scales. The antithesis of the Frenchman’s output as Terra Utopia, it’s everything we’ve come to love from the project in 6 deadly traxxx.

Moody but never unruly. Taught, tough and rendered in the same seductive, turbulent vortex that’s defined all the Blush material to date.

Strapping earworm grooves set pace, as is tradition with these records. Not sparing on the menace either. Some of it sounds like Blu:sh on a villain arc. Whether you’re a cut-throat stalking the backstreets or looking for a mean streak of pure sci-fi dystopia, we got you covered.

Proper late nite hedonism. Oscillating between sensuous clubland fantasy and a volatile astral kinda flex, the sense of impending danger is unabating.

Orange Vinyl

The 10-track release, Collection Agency, is Curren$y’s first project of 2021. The album marks his 11th solo studio album, and 90th overall project. Even more impressively, the quality has remained consistent throughout his prolific career. The Louisiana rapper links up with several notable producers on the project including DJ.Fresh, Harry Fraud, Rsonist of The Heatmakerz, Trauma Tone, Purps, & Black Metaphor. We also see an appearance by longtime friend and collaborator, Larry June. At just under 24 minutes, Curren$y delivers another unforgettable round of smooth joints and cruising music.

Als Blackwater Holylight vor drei Jahren ihre Heimatstadt Portland, Oregon, verließen, war es ihr Ziel, der Tristesse des pazifischen Nordwestens und dem beruhigenden Komfort des Vertrauten zu entfliehen. Mit dem Ziel, das sonnigere Klima von Los Angeles zu genießen, fand sich die Band nicht nur in einer wärmeren Umgebung wieder, sondern auch in einer völlig neuen Landschaft - einer ohne Arbeitsplätze, langjährige Freundeskreise und die bequeme Zuflucht alter Gewohnheiten. Und genau hier, unbelastet von der Zufriedenheit der Sicherheit, begann Blackwater Holylight fleißig an ihrem vierten Album ,Not Here Not Gone" zu arbeiten. Wie schon ihre früheren Werke beschäftigt sich ,Not Here Not Gone" mit der Dualität von Licht und Dunkelheit - bedrohliche Riffs bilden das Fundament für betörende Melodien, dichte Wände aus Shoegaze-Gitarren paaren sich mit luftig-leichten Synthesizern, und schwere Themen werden durch sirenenhafte Gesänge vermittelt. Im Laufe des Albums verspürt der Zuhörer mal ein Gefühl der Stärke, mal ein Gefühl der Verletzlichkeit. Wie Schlagzeugerin Eliese Dorsay es beschreibt: ,In einigen Songs sind wir die Raubtiere, in anderen die Beute." Die Gegenüberstellung von Selbstvertrauen und Unsicherheit ist nirgendwo so deutlich zu spüren wie bei einer lebensverändernden Entscheidung, was vielleicht erklärt, warum der Umzug der Band ihr Studium der Kontraste auf ,Not Here Not Gone" zu neuen Höhenflügen intensiviert hat . ,Not Here Not Gone" wurde im Sonic Ranch außerhalb von El Paso, Texas, von Sonny Diperri (Narrow Head, DIIV, Emma Ruth Rundle) aufgenommen, wodurch die Band erneut ihre Komfortzone verlassen und sich an einem Ort isolieren konnte, an dem sie sich ausschließlich auf ihre Kunst konzentrieren konnte. Das Ergebnis ist das Kronjuwel von Blackwater Holylights Diskografie - eine reichhaltige und eindringliche Studie in tonalen Hell-Dunkel-Kontrasten, in der das Licht seinen Weg aus den Schatten findet.

Not of This Earth is the first studio album by guitarist Joe Satriani. Originally released in 1986, this all-instrumental album was making ripples in the guitar-playing community not long after it was issued. It’s easy to see why: superior compositions, a signature style, a unique tone, and playing that’s out of this world. The fiery sound of “Not of This Earth” and “Hordes of Locusts” is tempered by the cool, dark tone of “Driving at Night”. There isn’t a weak track on this disc, even though the world’s most commercially successful solo guitar performer was still maturing when he released it.

Available as a limited edition of 1500 numbered copies on transparent blue vinyl.

Hello Spiral returns to the same North London block, the same triangulated geometry of balconies and courtyard, but with a shift of orientation. His previous record looked outward from the eighth floor, these four new recordings move inside, into the building’s arteries. Joe explores the hallways of the complex where he has lived and listened for years, using the same tool as before, an iPhone and its voice memo app. The recordings were made in situ, each exactly eleven minutes, captured without ceremony.

The hallways feel different. Less private, less scenic, more neutral. They are the connective tissue between hundreds of domestic units, a space of transit rather than rest. The carpet absorbs certain frequencies. The fire doors catch and release pockets of air. The lights hum. Elevators drone in soft cycles of arrival and departure. These are the institutional sounds of shared living, yet once recorded they begin to behave strangely. A kind of internal weather appears.

As with the previous album, Joe remains attentive to what is often overlooked, irrelevant or discarded. The hallways, with their scuffs and signage, their coded access and polite functionalism, provide an unexpectedly rich field. The ambience is not shaped by storms or scaffolding, not by birds or street spill. Instead the material is the building’s own breath, its mechanical rhythms, the low frequency traces of neighbours, the occasional shuffle of footsteps that pass but do not return.

Joe talks about this record as a possible middle chapter in a trilogy. If so, it sits between the exposed openness of the balcony and whatever comes next. A hinge point. These recordings continue Joe’s long practice of defamiliarization, sharpening attention to the unnoticed while withholding narrative. They invite repeated listening, not for revelation, but for the subtle shifts that occur when a familiar space is treated as an instrument.

Technological agitation. Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow. The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019's best.) While Titanic Rising was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. "We're in a fully functional shit show," Mering says. "My heart is a glow stick that's been cracked, lighting up my chest in an explosion of earnestness." And in the Darkness, Hearts Aglow opens with the wistful, winsome "It's Not Just Me, It's Everybody," a song about the interconnectivity of all beings, despite the fraying of society around us. "I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up," Mering says. "Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal." Other tracks follow in kind. The lullaby-like "Grapevine" chronicles the splintering of a human connection. The otherworldly dirge "God Turn Me into a Flower" serves as allegory about our collective hubris. "The Worst Is Done" is an ominous warning, set against a deceivingly breezy pop melody. "Chaos is natural. But so is negentropy, or the tendency for things to fall into order," she says. "These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment."

Elvis Back In Memphis is an album by Elvis Presley, released in 2023. Elvis Back In Memphis includes a.o. the following tracks: “ Inherit The Wind”, “ Stranger In My Own Home Town”, “ You'll Think Of Me”, “ Without Love (there Is Nothing)” and more. The album is a Coloured Vinyl, High Quality rock & roll LP.

Whitelands' second album Sunlight Echoes builds on their elemental debut - that won them fans from Slowdive to David Jonsson - with a more expansive sound that takes them out of the shoegaze shadows to somewhere bigger, better and brighter. Produced by long-time collaborator Ian Flynn and mixed by double Grammy Award-winner Eduardo De La Paz (New Order, The Horrors, The Charlatans, The KVB, Drug Store Romeos), there are soaring string arrangements (by Iskra Strings) and Lush guest vocals from labelmate Emma Anderson. "We're coming back with a lot more maturity and realness," says singer and guitarist Etienne Quartey-Papafio of their step up. "It shows in how much more emotional our music has become." With maturity comes a newfound confidence, so not only are there stunning melodies everywhere, but Etienne's vocals are front and centre throughout. "It's been really cool to watch Etienne push through boundaries," adds bassist Vanessa Govinden. "I like the direction we've taken on this album. We're taking a risk. It's half and half." She's right - the first half of the album has an almost Britpop breeziness, that belies the serious subject matter that inspired the songs, while the second half gets heavier, in all senses, with added grit and gravitas."This album is one of enduring," says Etienne of the overarching theme. "We had family that were dying, I was broke, there was a shortage of my ADHD medication_ I was suffering, but not just me, everyone around me was too." "The last two years have been challenging," concludes Vanessa. "The universe really fucked with us. That's why there are themes of loss, disconnection, fragmentation and yearning, but on the other side there is also unity and hope." Sunlight Echoes is a poetic, melodic statement of intent from this formidable band. Whitelands have fought back and triumphed in the face of adversity.

The label ORED Recordings was founded in 2013 by Circassian friends and fellow musicians Bulat Khalilov and Timur Kodzoko, in order to start an activity which is dedicated to documenting and preserving the traditional and post-traditional music of the North Caucasus. Khalilov and Kodzoko, were just as excited about this music as it sounded like a force that transcends borders and in which time dissolves and community becomes the only compass.

Through hundreds of field recordings, which have been made at communal gatherings, local festivities or family meetings, the label has captured a wide range of individual voices and their unique acoustic manifestations. All recordings on this album capture the raw expressiveness of the mountainside villages. Music performances being played by people who dedicate their love to music and an additional willingness to share intimate emotions.

Whereas most academic ethnomusicologists travel around the world in order to study foreign cultures, Bulat Khalilov and Timur Kodzoko were fascinated by what they just heard in the familiar regions of their then home town Nalchik. In resolute contrast to Russian academic circles, they soon developed a DIY Punk ethos for their far reaching work, beginning to formulate their own language in the field of ethnomusicology and to push the traditions forward.

However, the label’s work goes far beyond mere preservation. »We started traveling around the North Caucasus and did recordings with people from many different ethnic groups. In the North Caucasus, our work had a political dimension because there used to be (and still are) a lot of conflicts between different ethnic groups. We quickly understood that our work is not just about music and art,« states Bulat Khalilov.

The work of the label aims to reflect not only the great music of the Caucasus and its various communities but also to tell the stories behind it. They are stories of struggle, of independence, of working with historical memory in the present times of the 21st century.

Since Bulat Khalilov and Timur Kodzoko are now based at the University of Göttingen, we were able to meet each other many times and to eventually exchange ideas which resulted in the release of this collection of recordings. The compilation »Music from the Caucasus« provides a first introduction to the comprehensive work of ORED Recordings. For this collaborative release on TAL the recordings are being made accessible for the first time ever on vinyl, CD and various digital formats, all coming with extensive liner notes and yet unpublished photographs.

Bulat Khalilov and Stefan Schneider, November 2025

"Ballad of a Small Player" ist eine der großen Veröffentlichungen von Netflix im Jahr 2025. Der Film mit Colin Farrell erzählt die Geschichte von Brendan Reilly, einem in Ungnade gefallenen irischen Finanzier, der sich als der aristokratische "Lord Doyle" ausgibt und in Macau lebt, nachdem er vor seinen Finanzverbrechen im Vereinigten Königreich geflohen ist. Reilly wechselt zwischen Hotels und Kasinos, während seine Abhängigkeit von Alkohol und Glücksspiel wächst.

Die Musik für diesen Film wurde von Volker Bertelmann komponiert, einem der bekanntesten zeitgenössischen Filmkomponisten. Nach "Conclave" und "All Quiet on the Western Front" ist dies die dritte Zusammenarbeit zwischen dem Komponisten und dem Regisseur Edward Berger. Bertelmann verleiht dem Film eine angespannte, paranoide Atmosphäre, die die Welt von Brendan Reilly perfekt einfängt.

"Ballad of a Small Player" ist auf Translucent Red Vinyl erhältlich und enthält eine Beilage.

Grupo um celebrate 50 years with release of lost dictatorship-era album nineteen seventy seven!

First time release - vinyl comes with printed innersleeves

Brazilian avant-jazz vanguardists Grupo Um celebrate their 50th anniversary, sharing a second previously lost 1970s album from the vaults. Nineteen Seventy Seven (titled after the year it was recorded) is another rip-roaring instrumental fusion treasure from the band which spawned from within Hermeto Pascoal’s famed mid-1970s São Paulo collective.

Like their debut album Starting Point, Grupo Um’s Nineteen Seventy Seven was recorded when Brazil's military dictatorship was at its most repressive. “There were no open doors to those who dreamt to be protagonists in creative instrumental music”, remembers drummer Zé Eduardo Nazario, “even popular composers and singers had to submit their songs to censors and many records were banned and confiscated from the stores.”

Just like Hermeto Pascoal's Viajando Com O Som (1977) and Grupo Um's previous album Starting Point (1975), both of which remained unreleased until the 21st century, Zé Eduardo asserts that the 1977 album was flatly 'without any chance to be released at that time."

Recorded at Rogério Duprat’s Vice-Versa Studios in São Paulo, the group were under both time and space restraints, “we chose the small Studio B,” Lelo Nazario recalls, “which had a Tascam (TE AC) 12x8 console and a 4-channel AMPEX AG 440 machine. Therefore, we had to record without overdubs, everything straight to tape.”

Expanding from a trio to a quintet, original Grupo Um members Lelo Nazario (keys), Zé Eduardo Nazario (drums), and Zeca Assumpção (bass) were joined by saxophonist Roberto Sion and percussionist Carlinhos Gonçalves. Carlinhos, Zé and Zeca had already played together in the group Mandala, while brothers Lelo and Zé had just finished a stint backing Hermeto Pascoal during his years in São Paulo.

Lelo was deeply immersed in modular synthesizer experimentation during this period, working extensively with the ARP2600 and EMS Synthi AKS. These electroacoustic explorations formed the sonic foundation for "Mobile/Stabile," one of his first compositions to merge modular synthesis with Brazilian music, a fusion that would ripple throughout the Brazilian jazz scene. The piece premiered at the first São Paulo International Jazz Festival in 1978, performed by Grupo Um with guest trumpeter Márcio Montarroyos. In a shocking moment, festival organizers interrupted the show mid-performance, sparking fierce backlash from both audience members and journalists who denounced the incident as artistic censorship during Brazil's era of political and cultural repression. The version on Nineteen Seventy Seven is the first recording of the composition.

Nineteen Seventy Seven combines Afro-Brazilian rhythm, modular synthesis and a plethora of whistles, percussion and effects pedals. Album opener “Absurdo Mudo” - so titled for the absurd difficulty it poses to the musicians performing it - starts out in a cloud of mysterious dissonance, before the haze breaks for a glorious keyboard and saxophone interplay atop an uptempo samba groove. “Cortejo dos Reis Negros (Version 2)” (Procession of the Black Kings), based on the maracatu rhythm, inverts the traditional jazz song structure by beginning with improvisations, which are followed by the theme and a final coda. “The studio also had two Parasound electronic reverb units,” Lelo notes, “and the timbre is very audible on the soprano sax and percussion.”

Grupo Um’s daring music represents a manifesto of resistance during the dictatorship years, but it’s one which remains just as relevant today. As Lelo puts it: “For me, the aesthetic issue has always been about combining contemporary avant-garde languages with Brazilian music, independent of categories and commercial interests. The result of this fusion takes music to a new level.”

Recording credits (1977)
Recorded at Vice-Versa B Studio, São Paulo, November 9, 1977
Produced by Lelo Nazario and Zé Eduardo Nazario
Engineered by Ricardo “Franja” Carvalheira



Lelo Nazario – Wurlitzer electric piano, acoustic piano, signal generator, percussion

Zé Eduardo Nazario – drums, percussion

Zeca Assumpção – electric bass

Carlinhos Gonçalves – percussion

Roberto Sion – soprano sax, clarinet

Release credits (2025)
Produced by UTOPIA Studio, São Paulo
Project Coordination in Brazil by Irati Antonio (Utopia Studio)
Tape Restoration and Digital Mastering by Lelo Nazario at Utopia Studio, July 2025
Liner Notes by Lelo Nazario and Zé Eduardo Nazario
Photography by Jorge Las Heras, Lelo Nazario, and artists' personal archives
Photo Restoration by Lelo Nazario
Artwork and Design by Alessandro Renaldin

On her debut LP 'Memoria', songwriter/producer Lilian Mikorey aka PILLBERT contemplates themes of identity and belonging, hardships and heartbreak in her signature blend of bendy folk guitars, field recordings and intimate vocals.
Moving to London from Munich, not yet 20 years old, Mikorey realized she was leaving her home behind for good. The subsequent state of being lost and alone in a place too temporary to start building the foundation for a new one led her to question the concept of home itself.
Is it friends? Family? A house?
"I started collecting objects, bones, sticks, stones and kept them close", she says, as to create a cosmos traveling with her.
"I was tracing the actual feeling of being home to the point where I built a dreamhouse in my head, as an idea, just to evoke that feeling." Soon enough she would learn that yielding to the yearning of actually going to that house, must be an inevitably sad experience.
A photo she took on a family visit to East-Munich became a reference and starting point for Memoria. It was a small house in her neighbourhood, the windows lit as dusk sets in. To Mikorey, it looked haunting, radiating warmth but somehow looking abandoned at the some time.
"I wanted to make music that sounds like this photo"
She started recording the sounds of the objects she had gathered and of her surroundings, building an archive and sonic material to work with.
From her mid-teens she had learned to produce with Ableton and now she picked up the guitar, too, learning it autodidactically by playing around, creating sounds.
At some point in the process, she realized it's okay to be lost for a while and by enduring the feeling, there's room for something new to grow, far off from any general idea of what home should mean.

The album, over the course of 10 tracks, traces these three phases of building a home in your head, realizing it's not a remedy, nor forever and coming to terms with it. You've grown in the process and the album is a guiding light for everyone who strives to do so, too.

Biblische Motive macht Vibrafonist Joel Ross zum Thema seines fünften Blue-Note-Albums, mit einem
erweiterten Set-Up seiner Band Good Vibes, feat. Josh Johnson (Alto-Sax), Maria Grand (Tenor-Sax),
Jeremy Corren (Piano), Kanoa Mendenhall (Bass) und Jeremy Dutton (Drums). Die Botschaft von Liebe
und Hoffnung vermitteln sie mit spirituellem, groovendem Jazz.
Das Album vereint die Komplexität früherer Alben des Vibraphonisten mit der Direktheit und Zugänglichkeit
seiner späteren Werke und kreiert so einen neuen, unverkennbaren „Joel-Ross-Sound“. Es erscheint, nachdem er sich in den letzten Jahren intensiv mit den theologischen und historischen Dimensionen seines
Glaubens auseinandergesetzt hat. Indem er einige seiner älteren, unveröffentlichten Kompositionen neu
interpretiert und im Lichte neuer Erfahrungen betrachtet, schuf er ein Album, das mehr denn je von seiner
Persönlichkeit offenbart. „Dies ist wohl das bisher mutigste Beispiel dafür, wie ich versuche, die biblische
Botschaft zu verkünden und gleichzeitig meinen Wurzeln Tribut zu zollen“, erklärt er.

This release resurrects a long-lost cornerstone of Seattle's early grunge history, showcasing Bundle of Hiss, featuring future Mudhoney and TAD guys and singer Jamie lane, one of the genre's missing links. Between 1986 and 1988, when Seattle was still a circuit of small clubs, four-track tapes and bands sharing drummers and singers, Jack Endino went in to record one of the most solid - and most unfairly invisible - outfits of that scene: BUNDLE OF HISS. Two sessions (1986 at Reciprocal and 1987/88 at Audio Design) fell into limbo, stored in the basement of Mudhoney-Drummer Dan Peters and for years they were a kind of pre-grunge legend, everyone knew they existed, but there was no record, until Loveless Records from NYC released both on CD. The second one, Audio Design Sessions, now sees the light of vinyl for the first time, just as it should have come out in the late '80s: a basement document turned into a collectible artifact. For those who want real grunge, not the domesticated version. It gathers the core of those 1987-1988 recordings done by Endino: the moment when the band is tighter, darker and closer to what the press would later call the "Seattle sound": minor-key melodies, thick fuzz, vocals on the edge, and that mix of hard rock, punk and Sabbath-like heaviness we'd later hear in Mudhoney, TAD or early Soundgarden. And Jack Endino himself summed up these sessions: "Vintage Seattle grunge from one of the original practitioners_ I always felt sad that this hard-working band never managed to get a record out and was almost lost to history. It was a pleasure -and a technical pain!- to resurrect all this." Kinda key release of the early grunge days, first-generation material, recorded by the scene's producer, at the exact moment Seattle was shifting from noisy punk to that heavy, shadowy rock that later blew up. It sounds raw, young and dangerous: this is not a polished compilation, it's a snapshot of the scene.

Continued Sound is proud to present The Shadow by Ojiji.
In 1979, Rupert “Ojiji” Harvey put out one of the most distinctly original albums of a generation. Combining progressive jazz-fusion arrangements with soul, funk, and reggae from his native Jamaica, Ojiji’s The Shadow is an album only he could create.
Ojiji, along with his brother Carl, were performing in nightclubs before they were old enough to legally enter. At just 15, Ojiji was tapped by reggae keyboard legend Jackie Mittoo to join his band The Cougars. Not long after, the Harvey brothers teamed up with other Cougars members to form the funk band Crack of Dawn. This union proved to be groundbreaking, not just in the soul/funk genre, but for Canadian music as a whole. In 1975, they were signed to a major label, Columbia Records, the first Black Canadian band in history to do so. Tracks like “It’s Alright” and “Keep the Faith” still echo in the halls of Canadian funk history.
Personal and industry differences caused Crack of Dawn to break up in 1977, and a young Rupert Harvey was without a band for the first time. However, the creative mind never rests. Outside of the band, Ojiji had been writing and composing his own personal songs since age 17. These songs were a fusion of the sounds and styles he’d soaked up during his time with his musical mentors mixed with new emerging musical influences he was hearing every day.
With the help of his brother Carl and some Crack of Dawn bandmates, he began recording his debut solo album The Shadow. The band's tightness heard in the intricate arrangements are a testament to their interwoven musicianship at the time. Many tracks were recorded in only one-take. Each song in The Shadow’s eclectic glory paints a picture of a young man's singular lived experience through music. Regaling us with where he’s been. Inviting us to where he’s going.

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!

Waiting is the essence of travel. Patience is its own reward.

Two people. A Telecaster guitar with a few effect pedals. A drum machine. An audio interface is connected to a laptop. The ingredients are simple yet effective.

But any suggestion of four-track cassette machines and vintage bedsit productions is quickly dispelled by digital dubbiness and refined arrangements. A tail of reversed echos. The crystalline flourish of octave-pitched delays. Riddled hi-hats tickle and taunt. A bass drum asserts its space.

Winkler's guitar patterns have a fragmented, almost haphazard connotation. Searching in a shimmer of reverb. Until the beat, the framework, sets in to reveal structure. Intentionality. Reihse's programmed rhythms go just to the point of a groove, holding the moment of tension, knowingly delaying the gratification. Beats that have scratchy patina anda subtly playful edge; their crispness stands in contrast to the contemplative drift of the guitar. Is it a trance? Or a dance? Yes.

There are some apparent references here: a good portion of Les Disques du Crépuscule, some kraut-esque electronica, even a smidgen of Morricone / Spaghetti Western, blending into a kind of Musique Noir – yet these serve as a set of orientational coordinates, rather than quotations.

This is so far the most assured release by Periode, perhaps eschewing some of the naiveté that was wilfully cultivated in earlier output – there is no cheeky cover version this time. And no singing either. The nine pieces have the quality of a series, a variation on a mood, or a subset of moods. What emerges is an inviting swagger in the face of bleakness. There is a profound melancholy, but it is not the darker kind, and does not exclude humour.

First impressions may suggest that this is purely nocturnal music. Yet it equally evokes the harsh sunlight and baking summer heat. Or a rainy day. And transportation: the music suggests the motion of travel, even if that travel only happens within the mind. And waiting. Waiting while doing nothing much. Because that's all you can do. (Alexander Paulick)

Audio taken from a live performance by Anar Band (Jorge Lima Barreto and Rui Reininho) with E.M. de Melo e Castro in November of 1978 at Cooperativa Árvore, Porto. The performance was filmed. A segment was included in »Obrigatório Não Ver«, a weekly programme presented by Ana Hatherly on Public Television’s Second Channel. It was not possible to determine the exact date of the event, and no documentation seems to be available in the relevant archives.

»Encontro que Tenho« and »Profissões«: these titles are specific to this release. Having failed to locate the respective poems after a thorough search in E.M. de Melo e Castro’s body of work, it was deduced both texts were created for the occasion.

Even without a full contextualisation, the sound transmits the spirit of cultural agitation proper to these sessions. When this show happened, Anar Band were Jorge Lima Barreto (ARP Odyssey synthesizer) and Rui Reininho (Ibanez double-neck guitar), with the addition of E.M. de Melo e Castro, whom we shall call a poet but whose creative intervention was far reaching. Besides poetry, also continued his efforts in linking up diverse artistic areas (painting, drawing, collage, performance, video) and his official training in textile engineering. He was one of the artists featured in Henri Chopin's »OU Revue« in 1966, establishing his natural connection to the European concrete/visual/sound-poetry avant-garde. Melo e Castro was also proficient in the agitation of minds and political awareness. A good example in »Profissões«, where initially separate professionals (an intellectual, a fisherman, a soldier, a factory worker) are gradually mixed in a show of interdependency. Symbolically, through his words one listens to a transformation of society, although the same conclusion arises twice: surplus always finds its way to the hands of the capitalists.

That was the state of affairs many were looking to change, an economic and social malaise that the 1974 Revolution in Portugal fully uncovered, when dissident voices could finally be heard in public. Each in his own way, all three participants in this recording were non-believers in the structure of society such as it was presented. Through his books and press writings, mainly concerned with Jazz, Jorge Lima Barreto pushed his way into Portuguese artistic and critical circles since the late 1960s. Consciously and unwittingly, he collected enemies and pointed them by name, people he labelled as reactionary, people who delayed progress, social and cultural mixes, the avant-garde; they even delayed the chaos from which new forms and attitudes arise.

Rui Reininho, a non-conformist by heart, experienced incomprehension from an early age. His anarchic ways, a tendency to baffle others, were revealed through the choice of clothes and accessories, public behaviour, and »real life« performances. Just as Lima Barreto, and even together with him, he enjoyed provoking the extremes: Maoists on one side, right-wing conservatives on the other. He translated leftist books and joined Anar Band precisely on the day a duck or swan or goose (one of them) was thrown on stage in Porto, 1976.

This record documents a concrete action, a snapshot of the agitation, something we have no problem calling punk activism, something which allowed two people with little to no musical training to play and record music. By then, Anar Band had managed to release their only LP in 1977. It’s this performance, however, that reveals the naked rawness of the music: improvisation, mutual listening, and choice of intervention between both musicians and Melo e Castro, clearly sensing when the synth has to change tone, the voice has to make pauses, the guitar punctuates both and finds the space to… scream. The sound was captured by the film crew, adding to the rawness: the instruments are palpable, the voice often too close to the mic. Everything was preserved. First time on disc.