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Few artists have done as much as Heinrich Dressel to rekindle the genre of soundtracks. Even fewer are as capable as the Italian at writing such silver screen scores. Yet, Valerio Lombardozzi is much more than just one style. He has shown this time and time again, doing so once more with The Obscure Cities. Works of fiction, rather than film, are the fount of inspiration with tracks drawing on the likes of J.G. Ballard, Francois Schuiten, Benoit Peeters and Valerio Mattioli. The listener is transported to worlds of Dressel’s own making, landscapes of melody, textures of bass punctuated by drums. “Galatograd” opens. From understated beginnings, the track expands into a symphony of strings as columns of warmth descend. Tempos rise for “Eden Olympia”. A different tone is set. Juddering arpeggios and clean snares are elevated by bright and hopeful keys that sparkle with an enthusiasm and innocence. Deep unctuous bass gives way to gliding notes for “Remoria”. A piece where melodies and memories melt in the morning dawn. “Mylos” is the last visit of the EP. Delicate, almost fragile, notes are buttressed by drum patterns in this hazy dreamlike finale.

Returning to Intrepid Skin after her brilliant debut EP, and following on from a string of acclaimed releases since then, Berlin-based producer, DJ, and label owner Valerie Ace presents four new cuts of powerful hard dance and techno. Strass and Stress is out 1st March as both vinyl and digital.

With a background in organising DIY raves and a commitment to community-led efforts in electronic music, Valerie carefully fuses references from a range of genres into a singular, contemporary take on techno. Guided by an instinctive ear for experimental, groove-driven frameworks, her strain of dance music is hard-edged but mischievous, playful but heartfelt.

Diving straight into the peak hours, opening track 'Taking a Risk' is a swirl of hard kicks, frantic alarms and distorted leads; a statement of intent for what is to follow. Hot on its heels is the aptly-titled 'Slay'- a marching roller with double drops of acid, warped sonics and echoing glitches. Plunging into a hazier zone, 'Anxious not Afraid' takes an intoxicated spin on psytrance, building a vast acoustic space with equal parts tension and release. Closing off the EP, 'How To Fit In' jumps back onto the floor with an unrelenting spiral of
industrial-leaning hard drum chaos.

Strass and Stress is an all gas no brakes package of four crucial cuts from a producer on top of her game.

With 8 tableaux, I tried to give musical form to a painting. Music is an art that takes place over time. Painting is a freeze-frame at a precise moment in the painter's creative flow.

So how do you combine these two art forms? Do you have to stop time? How do you stop time in music? By basing the structure of the pieces on cycles that recur again and again, we can make the listener believe that the music was there before, and that it will also be there afterwards.

With no beginning and no end, all that's left is this musical freeze-frame. In taking this approach, it became clear to me that music and painting both appeal to contemplation. Another concept I worked on for this record is the notion of randomness in music. Riopelle is often associated with the Automatist movement.

For me, his major works from the 50s are more reminiscent of romantic abstraction or even a great organic and organized chaos (a link to be made with nature here). It was on the basis of this reflection that I tried to integrate the notion of controlled chance or, rather, of chaos filtered through emotion.

Die EP ist eine Ansage des kolumbianischen Produzenten, der die Fäden zwischen den verschiedenen Schattierungen elektronischer Musik mit einer ganz eigenen Ästhetik verknüpft und dabei nahtlos Referenzen zusammenführt, die aus einem echten Engagement für die Musik stammen. Der kolumbianische Künstler Gotshell ist mit einem wahrhaft abwechslungsreichen Paket exzentrischer Produktionen und genreübergreifender Ausflüge zurück bei BPitch. Obwohl er stark vom Techno der ersten Welle der 90er Jahre inspiriert ist, ist Gotshells Produktionsansatz eine Genre-Synthese, die sich auf Stile von IDM und Acid bis hin zu Ambient und Dub stützt und stets von einem ehrlichen Engagement für intensive, erhebende Rave-Musik getragen wird. Sintaxis ist nach Rezagados (2021) und einem Auftritt auf der gefeierten We Are Not Alone-Compilation-Serie im letzten Jahr bereits seine zweite Veröffentlichung für BPitch, nachdem er bereits auf zahlreichen Labels veröffentlicht hat.

Top-Zusammenstellung von Tracks aus den Original-Soundtracks aller vier Staffeln der Netflix-Serie 'Sex Education', komponiert vom preisgekrönten RTS-Komponisten Oli Julian. Limitierte Auflage auf Baby-Pink-farbigem Vinyl.

Atlanta's original Eccentric Soul labels, Jesse Jones' Tragar & N ote concerns captured critical regional R&B, soul, and funk from 1968-1976. Compiling 34 tracks and sprawled across two LPs, this 15 year anniversary deluxe edition appears on vinyl for the first time. Featuring rareas- hens-teeth 45s by Eula Cooper, Tee Fletcher, Richard Cook, Frankie & Robert, Tokay Lewis, Nathan Wilkes, Chuck Wilder, Bill Wright, Sonia Ross, Sandy Gaye, Four Tracks, Young Divines, and several others we can't fit on a h ype sticker.

Hotlanta Orange Marble Color Vinyl.
Atlanta's original Eccentric Soul labels, Jesse Jones' Tragar & N ote concerns captured critical regional R&B, soul, and funk from 1968-1976. Compiling 34 tracks and sprawled across two LPs, this 15 year anniversary deluxe edition appears on vinyl for the first time. Featuring rareas- hens-teeth 45s by Eula Cooper, Tee Fletcher, Richard Cook, Frankie & Robert, Tokay Lewis, Nathan Wilkes, Chuck Wilder, Bill Wright, Sonia Ross, Sandy Gaye, Four Tracks, Young Divines, and several others we can't fit on a h ype sticker.

Die Schweiz war schon immer ein fruchtbarer Nährboden für Extreme Metal. Messiah wurden 1984 gegründet und veröffentlichten zwei bahnbrechende Alben auf Chainsaw Murder Records, "Hymn To Abramelin" im Jahr 1986 und "Extreme Cold Weather" ein Jahr später. In den frühen 1990er Jahren unterschrieben Messiah bei Karl Walterbachs Label Noise Records und veröffentlichten drei weitere Alben in voller Länge: "Choir Of Horrors" (1991), "Rotten Perish" (1992) und "Underground" (1994), bevor sie getrennte Wege gingen.

Im Jahr 2018 beschlossen Messiah, sich in der Originalbesetzung ihrer Noise Records-Alben mit Andy Kaina am Gesang, Steve Karrer am Schlagzeug, Patrick Hersche am Bass und Bandgründer R.B. Brögi an der Gitarre zu reformieren. Aufwendige Re-Issues von "Hymn To Abramelin" und "Extreme Cold Weather" erschienen auf High Roller Records, bevor 2020 ein neues Studioalbum mit dem Titel "Fracmont" veröffentlicht wurde. 2024 folgt nun endlich "Christus Hypercubus", das Opus Magnus von Messiah.

Am 4. November 2022 ereilte das Schicksal den ehemaligen Messiah-Sänger Andy Kaina, der im Alter von nur 53 Jahren an einem Herzinfarkt starb. Es war ein großer Schock für alle Beteiligten. Andys letzter Live-Auftritt mit Messiah fand am 20. November 2021 im Alten Capitol in Langenthal, Schweiz, statt. Gegen Ende des Jahres verließ Andy Messiah, weil er nach eigenen Worten "die Motivation verloren hatte, in der Band zu sein und sich auf andere Dinge im Leben konzentrieren wollte". Messiah und Andy Kaina blieben jedoch Freunde.

Messiah hatte sich aber bereits nach Andys Ausstiegsankündigung entschieden, die Band weiterzuführen. Marcus Seebach aus Chur wurde Ende 2021 der neue Messiah-Sänger. Kurze Zeit später begannen die Arbeiten an einem neuen Studioalbum. "V.O. Pulver renommierter Schweizer Plattenproduzent und derzeit auch zweiter Gitarrist bei Messiah und ich haben im Januar 2022 die Grundlagen für neue Songs geschaffen", erklärt Gitarrist und Gründungsmitglied Brögi. "Innerhalb von drei Wochen hatten V.O. und ich das gesamte neue Album geschrieben. Ich habe in dieser Zeit auch das ganze Konzept und die Texte entwickelt (bis auf einen Songtext, der von Marcus Seebach stammt). Es war wirklich eine sehr kreative Zeit."

"Wir haben es so gemacht, wie wir es immer machen", lacht Brögi, "wir haben die Songs für "Christus Hypercubus" einfach geschrieben und aufgenommen, ohne viel darüber nachzudenken, ganz spontan. Die Umstände waren dieses Mal allerdings etwas komplizierter, weil wir nicht alle zusammen im Proberaum waren, um das Material zu arrangieren. Das Schicksal schlug zu, da Steve Karrer aufgrund eines Skiunfalls sechs Monate lang nicht Schlagzeug spielen konnte. Insgesamt ist das neue Material härter und schneller als "Fracmont". Es gibt auch einen neuen Touch, der durch Marcus' Gesang entsteht, denn er ist in der Lage, diese hohen Schreie zu machen. Ich denke "Christus Hypercubus" repräsentiert unsere neue Situation sehr gut - es weht ein neuer Wind, aber wir haben nichts von den bewährten Messiah-Trademarks von früher verloren."

Hier und da tragen Songs wie das langsamere "Speedsucker Romance" oder "Christus Hypercubus" auch "progressive" Züge, was das Album interessant und frisch klingen lässt. "Das liegt wahrscheinlich daran, dass wir alle Regeln für das Arrangieren von Beats ignorieren", schmunzelt Brögi. "Wir fügen einfach verschiedene Ideen zueinander, meist angeführt von den Gitarren. Deshalb werden wir wohl auch nie einen Rockhit schreiben. Früher war es reines Chaos, heute ist es strukturierter und professioneller."

Die Schweiz war schon immer ein fruchtbarer Nährboden für Extreme Metal. Messiah wurden 1984 gegründet und veröffentlichten zwei bahnbrechende Alben auf Chainsaw Murder Records, "Hymn To Abramelin" im Jahr 1986 und "Extreme Cold Weather" ein Jahr später. In den frühen 1990er Jahren unterschrieben Messiah bei Karl Walterbachs Label Noise Records und veröffentlichten drei weitere Alben in voller Länge: "Choir Of Horrors" (1991), "Rotten Perish" (1992) und "Underground" (1994), bevor sie getrennte Wege gingen.

Im Jahr 2018 beschlossen Messiah, sich in der Originalbesetzung ihrer Noise Records-Alben mit Andy Kaina am Gesang, Steve Karrer am Schlagzeug, Patrick Hersche am Bass und Bandgründer R.B. Brögi an der Gitarre zu reformieren. Aufwendige Re-Issues von "Hymn To Abramelin" und "Extreme Cold Weather" erschienen auf High Roller Records, bevor 2020 ein neues Studioalbum mit dem Titel "Fracmont" veröffentlicht wurde. 2024 folgt nun endlich "Christus Hypercubus", das Opus Magnus von Messiah.

Am 4. November 2022 ereilte das Schicksal den ehemaligen Messiah-Sänger Andy Kaina, der im Alter von nur 53 Jahren an einem Herzinfarkt starb. Es war ein großer Schock für alle Beteiligten. Andys letzter Live-Auftritt mit Messiah fand am 20. November 2021 im Alten Capitol in Langenthal, Schweiz, statt. Gegen Ende des Jahres verließ Andy Messiah, weil er nach eigenen Worten "die Motivation verloren hatte, in der Band zu sein und sich auf andere Dinge im Leben konzentrieren wollte". Messiah und Andy Kaina blieben jedoch Freunde.

Messiah hatte sich aber bereits nach Andys Ausstiegsankündigung entschieden, die Band weiterzuführen. Marcus Seebach aus Chur wurde Ende 2021 der neue Messiah-Sänger. Kurze Zeit später begannen die Arbeiten an einem neuen Studioalbum. "V.O. Pulver renommierter Schweizer Plattenproduzent und derzeit auch zweiter Gitarrist bei Messiah und ich haben im Januar 2022 die Grundlagen für neue Songs geschaffen", erklärt Gitarrist und Gründungsmitglied Brögi. "Innerhalb von drei Wochen hatten V.O. und ich das gesamte neue Album geschrieben. Ich habe in dieser Zeit auch das ganze Konzept und die Texte entwickelt (bis auf einen Songtext, der von Marcus Seebach stammt). Es war wirklich eine sehr kreative Zeit."

"Wir haben es so gemacht, wie wir es immer machen", lacht Brögi, "wir haben die Songs für "Christus Hypercubus" einfach geschrieben und aufgenommen, ohne viel darüber nachzudenken, ganz spontan. Die Umstände waren dieses Mal allerdings etwas komplizierter, weil wir nicht alle zusammen im Proberaum waren, um das Material zu arrangieren. Das Schicksal schlug zu, da Steve Karrer aufgrund eines Skiunfalls sechs Monate lang nicht Schlagzeug spielen konnte. Insgesamt ist das neue Material härter und schneller als "Fracmont". Es gibt auch einen neuen Touch, der durch Marcus' Gesang entsteht, denn er ist in der Lage, diese hohen Schreie zu machen. Ich denke "Christus Hypercubus" repräsentiert unsere neue Situation sehr gut - es weht ein neuer Wind, aber wir haben nichts von den bewährten Messiah-Trademarks von früher verloren."

Hier und da tragen Songs wie das langsamere "Speedsucker Romance" oder "Christus Hypercubus" auch "progressive" Züge, was das Album interessant und frisch klingen lässt. "Das liegt wahrscheinlich daran, dass wir alle Regeln für das Arrangieren von Beats ignorieren", schmunzelt Brögi. "Wir fügen einfach verschiedene Ideen zueinander, meist angeführt von den Gitarren. Deshalb werden wir wohl auch nie einen Rockhit schreiben. Früher war es reines Chaos, heute ist es strukturierter und professioneller."

What the listener might encounter on this album goes all the way down to the sound of a neuron transmitting pain, beatitude or any one of the countless senses and impressions we feel on any one day of life. N E U R O is the debut album by CURA MACHINES, a new project by Daniel Lea whose tracks are at once scientific in their capturing of the morphing of body cells as well as the larger expanses of a poetic filmscape of the contemporary metropolis.

The name CURA MACHINES comes from a sign Lea saw on a trip to Ancona, Italy at an abandoned hospital: Prima E Dopo La Cura (Before and after the cure). The sound in between, of what was lost or found, transmuted in the heavily manipulated and pulsating synthesisers, is the restoration here. With a physically visceral mix by Ben Frost and soaring re-amped bass textures from Yair Elazar Glotman, the album is lush with trans-morphing apeggia that shudder, quack and soar into ashen sparks.

Back in the turn of the 20th century the poet Rilke posited that the suture patterns of fused skull plates could potentially be played by the then-new technology of the gramophone, with each of us having our own personal tonal source code or anthem etched onto our skulls. And with a track like 'Suture' we have such an embodied sound: the close-up exhumation of the neural brain casing, stitched and sewn together in fleeting pulses of whisper and alarm.
The individual is exposed and isolated, but not without the promise of succour.

Or one also has the soundtrack to the loneliness of a morose private eye – a pulp novel set in a future time of neurosis or washed out euphoric beauty. It is here in tracks such as 'Terminal Zone' or 'Inversion Layers', music that is blinking in celluloid frames. The plot could easily be a sci-fi, paranoid tale of brain emulation, transhumanist crimes against humanity itself. After all this is Lea's soundtrack to Los Angeles, the city of angels that has been captured in countless movies: the racing tracking shot of the 2nd Street Tunnel at night, the freeways spreading out in a glorious sprawl of lit up veins and arteries. The last track 'Zosa' marks out the boundary line that delineates between day and night, when the lunar strains wane, the tides subside and the city comes to life.

A pioneer of the home recording movement, Linda Smith released several collections of delicate, bewitching solo music on cassette in the 1980s and 90s. The 2021 release of Till Another Time: 1988-1996, Captured Tracks' compilation of Smith's work, has helped bestow rightful critical acclaim to the ahead-of-her-time artist. Now, Captured Tracks dives deeper into Smith's catalog with the release of two full-length companion albums, Nothing Else Matters and I So Liked Spring, available for the first time on vinyl & streaming formats. Recorded at Smith's home in Baltimore in 1995, Nothing Else Matters chronicles the tension between the mundanity of daily life and the creative impulse: Traffic noises on the charmingly boisterous "Little To Be Won" showcase this levity, as does the addition of playful hand claps and a laugh track to her striking cover of Young Marble Giants' "Salad Days." I So Liked Spring, recorded the following year, saw Smith experimenting with the unique challenge of putting another artist's words to music. She'd come across a biography of the English poet Charlotte Mew and found her wistful poetry rife for musical interpretation. The songs on I So Liked Spring are delightfully unpredictable, full of upbeat melodies and spellbinding vocal harmonies. This is perhaps best showcased on the title track, one of Smith's most popular songs to date, a lovelorn anthem that recalls the airy melodies of early dream pop. Both of these albums showcase the mesmerizing charm of Smith's songwriting, often compared to the likes of the Velvet Underground and Laurie Anderson. Home recording technology has come a long way since Smith first began recording demos on her tape machine, but her influence reverberates through the work of today's bedroom artists. The release of these two essential albums seeks to further illuminate this connection, welcoming a new generation of listeners to the work of this trailblazing artist.

Das neue Monkeytown-Signing, das NYC-via-Berlin-Duo Sha Ru, schöpft aus der in Protest und Befreiung verwurzelten Punk- und Dancemusik, gefiltert durch die Erweiterung und Fluidität der queeren Identität. Erste aufrührerische EPs und mitreißende Auftritte haben die Band zu einer ausgesprochenen Kraft der in elektronischen Musik gemacht, die dunkle Schattierungen und basslastige, zukunftsweisende Klänge erforscht, die ebenso an Post-Punk-/Industrial-Pioniere wie an alles im Club-Kanon erinnern. Die neue EP, ihre bisher gewagteste, ehrlichste und verletzlichste Arbeit, ruft eine Palette überwältigender Emotionen hervor, von platonischer und romantischer Liebe bis zu Herzschmerz und psychischem Leid, wiedergegeben in cleveren rhythmischen Architekturen und grollendem Bass, ausbalanciert mit sinnlichen Melodien und sanfteren Texturen.

Booker Ervin cut two stellar Blue Note records in the late-60s including Tex Book Tenor which had to wait until 2005 for its first standalone release. With a quintet featuring Woody Shaw, Kenny Barron, Jan Arnet, and Billy Higgins the Texas-born saxophonist slices through a set of captivating bandmember originals. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.

Tessen were folding fans with concealed outer spokes made of heavy iron plates. Some swordsmanship schools provided training of the tessen as a weapon. Besides using the razor-sharp spokes as an attacking tool, the tessen was also used as a throwing weapon, for fending off knives and darts and as a swimming aid. Samurai could also secretly take them to places where overt weapons were not allowed.

Dostrotime ist Spaß im Squarepusher-Stil. Schwere, intensive, herausreissende, experimentelle, elektronische Musik für pures Hochgefühl. Keine Entschuldigung nötig, eine für das Squarepunter-Massiv! Anfang 2020 hatte Squarepusher gerade sein letztes Album 'Be Up A Hello' mit großem Erfolg veröffentlicht und bereitete sich auf eine weltweite Tour mit einigen seiner bisher größten Shows vor. Dann kam die Pandemie und alles war vorbei ... Ohne Ablenkung begab sich der Künstler direkt in sein Studio, um mit neuen Aufnahmen zu beginnen. Er sagt: 'Ohne die üblichen Unterbrechungen verlief die Zeit anders.' Es ist eine Episode, die er Dostrotime nennt. Daher ist Dostrotime ein Versuch, die Besonderheit der durch den Lockdown katalysierten Musik als Teil der Feier des Endes des Lockdowns einzufangen.

EVERGREY - seit 30 Jahren bereichert das schwedische Schwergewicht die Musikwelt mit ausgezeichnetem Progressive Metal. Zeit, um eine kleine Handvoll ihrer Alben erneut auf Vinyl zu pressen, die es so noch nicht gab! Mit den Klassikern "The Dark Discovery", "Solitude, Dominance, Tragedy" & "The Atlantic" gehen gleich drei Kandidaten an die Startlinie und bieten dem Musikliebhaber hochwertige dreifarbige Vinyl im qualitativen Gatefold. Jetzt zuschlagen! Nur solange der Vorrat reicht!

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

dog-rose is an exploration of musical articulation and vocalization. Its themes can be felt gnawing at the surface of the world: people's clumsy everyday intimacies, the neverending pursuit of self-knowledge, God. Of foremost interest was the unreliability of memory as a tool through which we experience life, yielding an attempt to dismantle it into its minute elements.

"I arrived at a combination of diary entries in the form of field recordings, various, mostly acoustic, instruments through which I invoke different modes of memory // its associative functions, and my own voice, more an agent of introspection than any conventional vocal. The lyrics were originally written as pop-songs, but committed to the form of contemporary music they appear as field recordings made to be sung. They are field-songs."

"To me, musicmaking is a dialogue with sounds where I seek to understand their character and how to handle them. This is a performative process and admittedly also a projection – what I am actually discussing is myself. The recording took place at a remote cabin in the forests of Tribeč. Most of my work is created in isolation, regardless of the social distancing and lockdowns of the outside world."

Tomas Pristiak is a member of Tante Elze, Pain Palace (FKA Weltschmerzen), and dog-rose is his first solo album and the 11th release by contemplative label Weltschmerzen.

Each vinyl copy includes a download code for the release plus 2 digital bonus tracks.

RedBox is the second record in the colored BOX series by Elad Magdasi.

This release is red by all means, with a combination of dark synths and playful notes, Elad mixes his favorite styles while keeping the mood tooly and dancefloor oriented.

All the tracks are named by their position on the record, similar to the oldskool way, focusing on the music alone.
All RedBox tracks were produced at the same time, on the same wave of inspiration, they compliment each other though being completely different.

Front Left Love.

Complete with 10" vinyl record and booklet presenting Laurianne Bixhain's photographic work and text by Chloe Chignell.

Presented at the Mudam (Museum of Modern Art of Luxembourg) and initiated by a photographic exploration by Laurianne Bixhain, the work "The day begins with a loud boom" interrogates the manner and extent to which we are defined by our relationship to the physical environment, and the cultural import of the techniques of production. Its imagery follows the trajectories of the materials subjected to the processes of diamond cutting and automotive glassware fabrication, and presents the traces of human intervention of which those materials are both the object and the repository.

The interplay of its imagery, music and text constitutes a theatrical whole: both the staging of the text and the sonorities create an architectural space within which each constituent object is deployed. That spatiality is shared and complemented by the text’s sonorous and performative qualities. Likewise, the elements of texture and abstraction in the imagery invoke our sense of touch, as a means of material and spatial appreciation.

The succeeding reiterations of the ostinato the day begins with are treated graphically by its progressive effacement, evoking the tension in assembly line work between repetition and linearity, accumulation and exhaustion, trace and erasure. Such attrition is equally conveyed by the harsh, impassive, and architectural qualities of both the images and the music which accompany the text. The latter notably deploys a range of insidious effects, from the marriage of dissonance and unsettling rhythm evocative of the competing cycles of multiple industrial machines, to sensual and reassuring sonorities which are contaminated by their contrast with the harsh acoustic aesthetic elsewhere.

Blending sounds of early 70s Funk & Soul, Latin-Jazz, and Afrobeat, Mestizo Beat kicks the year off with a heavy dose of new material. First up is “She’s A Rose b/w Lotsapapa,” their next 45, offering two sides of masterful instrumental soul music written & produced by The Magaña Brothers out of their hillside studio, Spc 166 in Topanga, CA. Side A’s “She’s A Rose” takes us back to the golden years of the Blaxploitation film genre and the soundtracks we have grown to love. This song was inspired by the compositional and orchestral arrangements from the greats, such as Curtis Mayfield’s “Superbad,” Johnnie Pate’s “Shaft in Africa,” and Bobby Womack’s “Across 110 Street.” Featuring Tim Felten of Surefire Soul Ensemble on keys, with horns written and arranged by Jesse Audelo, Mestizo Beat takes the listener on an evolving journey, exploring the mood and cinematic elements of flute, saxophone, and wha’d-out guitar, topped off with a funky drum and percussion break. On the flip, “Lotsapapa” rounds out the B-Side, blending the musical styles of Latin and Nigerian disco-funk into a track that’s perfect for the dancefloor and those late nights out. Written about Bernard “Lotsapapa” Crowe, a notorious drug dealer who survived an attempted murder by Charles Manson, this side is sure to get the body moving with the afro-disco rhythms and chant vocals, dubbed out around a tightly arranged horn section written and arranged by Jesse Audelo and Jason Cressey. “Lotsapapa” features guests Steve Haney from Jungle Fire on Percussion and Cressey of the True Loves on trombone.

With each side highlighting the various talents of the ensemble, Mestizo Beat always stays true to their sound and recording techniques. Both tracks are mixed by Sergio Rios at Killion Sound and are featured on the forthcoming LP, Jaraguá, coming mid-2024.

Violet Vinyl

Das 3. Imperial State Electric Albums 'Reptile Brain Music' jetzt erhältlich als Ltd. Violet Vinyl. Imperial State Electric ist eine schwedische Rockband, die 2010 von Nicke Andersson (Entombed, The Hellacopters) mit Dolph de Borst (The Datsuns, The Hellacopters), Tobias Egge sowie Thomas Eriksson gegründet wurde. Empfehlung geht raus an alle Rock N Roll-, Power-Pop-, Hellacopters- und Beatles-Fans!

REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

■ "A Ghost Story" ist ein übernatürliches Drama aus dem Jahr 2017, verfasst und inszeniert von David Lowery, mit Casey Affleck und Rooney Mara in den Hauptrollen. Der Film erzählt die Geschichte eines Mannes, der nach seinem Tod zu einem Geist wird und im Haus verweilt, das er einst mit seiner Frau geteilt hat. Der Film erhielt lobende Kritiken und wurde mit mehreren Auszeichnungen geehrt, darunter von der Boston Society of Film Critics, dem Deauville Film Festival, den Houston Film Critics und dem Sitges Film Festival. Die Musik für "A Ghost Story" wurde von Daniel Hart (bekannt für "The Green Knight" und "Pete's Dragon") komponiert, wie bereits bei allen
vorherigen Filmen von Lowery.

Eine Limited Edition von 500 Exemplaren des Soundtracks ist auf Smoke Coloured Vinyl erhältlich und wird mit einem Druckbeileger geliefert.

LIMITED RED COLOURED VINYL!
REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

Burn Out - the latest release from Mini Trees - is a defiantly euphoric EP with the sonic and emotional bandwidth of a full-length record packed neatly into five new songs from Los Angeles-based songwriter Lexi Vega. Inspired by a relentless touring schedule that followed the release of her 2021 debut album Always In Motion, the songs of Burn Out confront questions of identity, exhaustion, and how to navigate creating art in an industry fixated on commodifying it.
A month away from music sparked Vega’s creativity and inspired her to return with long-time friend and producer Jon Joseph. Together they determined to push the limits of Mini Trees’ “bedroom pop” description, opening the door to a number of new

collaborators - keys from Zac Rae (Death Cab for Cutie, Lana Del Rey), arrangements from James McAllister (Sufjan Stevens, Taylor Swift), and even bass from longtime family friend Jimmy Johnson (James Taylor, Phil Collins). These songs shimmer in production, even as they’re saturated with the pervasive sense of fractured identity, disillusionment, and otherness that has shaped much of Vega’s sense of self. The overwhelming weight of these disparate identities is reflected in the EP’s cover art - a bed cluttered with clothes she’s chosen not to wear, familial heirlooms and mementos strewn at her feet.

Gwendoline werden nicht gern in Schubladen gesteckt. Wir tun es dennoch: Nu Wave with wit, Synthwave with edge, Postpunk with Pop. Als wenn Benjamin Biolay Molchat Doma vorstehen würde, ,I'm Not In Love" (Chrystal Castles) auf ,Anyway" (OTO) trifft, Ladytron mit DAF in den Urlaub fahren würden. Seit 2017 verfolgt das social medial scheue Duo Micka (a.k.a. Mikoune) und Pierre (a.k.a. Daniel) im eher verborgenen ihre Cold Wave-Vision. Das Debut wurde in reinster DIY-Manier zu Hause im Keller aufgenommen und ohne Umschweife in kurzer Zeit produziert. Lange Zeit gab es kaum was zu Gwendoline zu googlen, aber an den Kennnern ist es natürlich nicht vorbeigegangen. Das spanische Label Dead Wax Records fand das so super, veröffentlichte digital und sehr limitiert auf Vinyl, ein Reissue gab's auf bandeigenem Label 2022. Nun sind sie bei Born Bad gelandet und dabei in bester Gesellschaft mit Vox Low, Frustration und Bracco. Was macht Gwendoline einzigartig? Sicherlich ihre Wut und gleichzeitige Zurückhaltung, die sie mit Selbstkritik, Ironie und Humor vermischen, was sich in den Texten wie auch im Sound wiederspiegelt. LP-Version in klassich schwarz mit Download Code und Digipack-CD.

Maybe your demands of punk are a little too high. Maybe they're a little too exacting - you know what you want, but you don't know how to get it. Maybe you've got an itch that's needed scratching since you first heard '(I'm) Stranded' (sounds like a doctor needs to look at that, mind). Maybe all or none of these things are true and you're just in search of three or four chords and some righteous snot. Reader, you have come to the right place. Split System came sauntering out of Melbourne back in 2022 with a self-titled 7" and a debut LP (the sensibly-titled 'Vol. I'), and as a listener of exquisite taste, one or both of those items will have carved out their own spaces within easy access of your record player. With members of acer-than-ace garage punkas Stiff Richards and Speed Week among their number, not to mention the redoubtable Jackson Reid Briggs, they deal in a gloriously back-to-basics take on punk that's part Undertones, part Royal Headache and part Chris Bailey - all hooks and glory, all the time. They're so much more than the sum of their parts and they make this shit sound effortless. Well, here's an update for you: they're back! Second album (the equally-sensibly-titled 'Vol. II') is now upon us, and a thoroughly tremendous follow-up it is too. As soon as opener 'The Wheel' slams into your speakers, it's clear that they've lost none of the pep or power that made their debut such an essential listen; if anything they're even more raucous and revved-up than before. Yep, that's jargon for 'they rule hard', and let me add here that you could listen to this album 100 times in a row or simply try inserting dynamite sticks with lit fuses into your ear canal; either way, your poor little mind is gonna blow. It's an album made entirely of bangers (still on that explosion metaphor, are we?) - the concise questioning of 'End of the Night' is as pure a punk rock nugget as you could ever wish to uncover, and 'The Drain' is just energy distilled to a perfect series of hooks - with a passion for rock'n'roll in its most scintillating form. Just listen to it. That's all you need to do. Your demands have been met - here's your new favourite record.

First ever vinyl edition of the landmark 1980 cassette by synth wizard Don Slepian. Utilizing the fabled and notoriously complex Alles digital synthesizer at the Bell Laboratories scientific research center, Sea Of Bliss features two transcendent cascading sidelong tracks, to easily qualify as one of the ultimate pinnacles of the new age genre. Cut with care using the Direct Metal Mastering process, and featuring cover artwork by visionary artist Jonathan Meader.

In 1998, Carsten Nicolai, also known as Alva Noto, visited a sound installation created by Robert Lippok for a group exhibition in Weimar, Germany. Soon after, he invited Lippok to release music on his label raster-noton. "Open Close Open" was released in 2001 and marked the beginning of Lippok"s solo career. Before, Lippok had already played in Ornament und Verbrechen (with his brother Ronald Lippok) and To Rococo Rot (with Ronald Lippok and Stefan Schneider). The source material for "Open Close Open" initially served as a soundtrack for a video by Takehito Koganezawa, a visual artist from Japan. For this remastered vinyl reissue, Lippok revisited the original sound material and produced a new track called "Licht."

The Glass Hours are American songwriters Brad Armstrong and Megan Barbera. Their music blurs between Sunday afternoon country-folk and the Golden Age of the 1970s. With the exception of Sue Westcott on fiddle (Chet Atkins, Tom Jones), the album was written, performed, recorded and produced by Brad and Megan in Brad's home studio in Red Hook, New York.

Like much of the work they've done in their respective solo careers, the new album dances between this and that, drinking from the same wells as Gram Parsons and Emmylou Harris, Tom Waits and Lucinda Williams. The songs go where they want to go; Brad and Megan simply try to stay out of the way. Although it is nearly impossible, in this new world of niche artistry, not to pick a genre camp and pitch a tent, The Glass Hours seem intent on trying. Yet, there is a thread that ties the whole thing together: the constant tension and tapestry of their voices harmonizing. Every song on 'The Glass Hours' was written with the idea of this harmony and interaction, point and counterpoint. Two voices trying to come together as one.

Partiboi69 strikes poses, chords and hot irons. Australia’s spiciest export since INXS’s front man is a sensation on many (meta-)levels. Musically, aesthetically and hedonistically exhilarating, the man’s man shows his sensitive side on Running Back. Four tracks answer the Call of the Void with a showcase of sounds and moods that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void): surprisingly serious and simultaneously not-so-serious. Composed and executed with serious songwriting skills and an uncanny feel for the aural world of Running Back Records. A mutual pleasure, indeed.

Short: Partiboi69 strikes poses, chords and hot irons. Showing his sensitive side for Running Back with four tracks that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void). A sensation on many meta-)levels and a mutual pleasure, indeed.

Utter and complete FROG FRENZY on Studio Barnhus as Computer Station (label veteran Your Planet Is Next + label newcomer KABLAM) take you on a ribbeting ride, leaping right into a lily-pad-laden
wonderland where the basslines forever croak in unison. Club-optimised mixdowns, advanced computer graphics courtesy of Dennis Vera and not a BPM count under 149 guarantee that this record will make a proper splash in
the frogstep scene!

- Limited edition 12” vinyl of 300 copies

The "Economix" EP is a cherished item among collectors, embodying a golden era of rave. Released in 1992, it's oftencompared to other iconic EPs of the time, like 2-X-Treme's 'X-tremity EP' The tracks "Loop" and "Panic" particularly stand out for many.

"Loop" garners attention for its sampling of The S.O.S. Band and Alexander O'Neal's "The Finest", while "Panic" is notable for its two distinct samples: one from Hijack's "TheBadman Is Robbin'" and another from MC Duke and DJ Leader1's "I'm Riffin".

This hand stamped run of white label red vinyl represses catersto the enduring demand among the oldskool rave aficionados. Each track on the EP showcases a blend of hardcore, jungle,and house vibes, contributing to its revered status within the oldskool rave community.

Long out of print. Obi Strip and new liner notes

‘THE CONGREGATION - Jazz Alliance International’ compilation is the latest offering from Mono Jazz label. Compiled by Massimiliano ‘Jazzcat’ Conti - a DJ, broadcaster and internationally respected
selector with over 150,000 followers on Mixcloud - and featuring liner notes by Paul Bradshaw (from the iconic ‘Straight no Chaser’ magazine), ‘THE CONGREGATION’ is an innovative, largely
contemporary selection of tracks that they feel is representative of the current era - a true manifesto of the international jazz scene of the present days.

The release was received with great enthusiasm by some of the leading DJs and music critics of the scene – from the UK, to Germany, to Japan – getting early radio support by Patrick Forge (NTS), Colin
Curtis (Hitmix Radio), Kevin Beadle (TWR), Rainer Trüby (Compost Records), Shuya Okino (Kyoto Jazz Massive), Raffaele Costantino (Rai Radio 2), Ilya Rasskazov (Headz.FM), Michael Rütten (Soul Searching), David Patterson (JFSR), Simon Harrison (Basic Soul) & more.

Built around a near mythical, unreleased song by Japanese producer Yellowtail featuring legendary beat generation jazz singer Mark Murphy, the selection of tunes contained in this album ventures far and wide. Soulful offerings by Anthony Joseph and Jimetta Rose & The Voices of Creation, percussive and spiritual renditions by the likes of Malcolm Strachan, Right Tempo’s own Francesco Sotgiu and Nicola Conte, Latin-flavoured explorations by Mexican giant Tino
Contreras and Acid Jazz’s signed Mama Terra and a hip-hop spiced cut by Portuguese producer Azar Azar are some of the many moods that can be found in ‘THE CONGREGATION’

For a long time, the music of Congo-born Bony Bikaye had to be sought in the purgatory of "world music", where diamonds in the rough cohabited with bland nightmares of white dudes who froze rumba like fish sticks. Worse, they did put it on the menu, when so many longed to move on. Take Bikaye, who grew up listening to modern european music, digs Krautrock, struggles with tradition, obviously looking for trouble in the genre. In Brussels, he recorded a few albums with CY1 (Loizillon/Micheli), and brilliant defectors from Aksak Maboul, produced by Hector Zazou. Now it's up to french trio TONN3RR3 to take up the torch and build this project that proudly brags: "It's a bomb". Thought up at home by Guillaume Gilles (compo/keyboards), the album was finished at One Two Pass It studio, with Olivier Viadero and Gae"lle Salomon on percussion, Yoann Dubaud (machines & bass) and Guillaume Loizillon (synth of CY1 fame, and matchmaker of this affair). It's a deeply musical record, crafted by no-attitude reference players with nothing left to prove, and you can hear it. Floats well above the fray. "Keba na butu", beware. Indeed : beyond the simple pleasures of soukouss, or the rumba guitar riff that spins like a merry-go-round that skipped technical inspection, lie lush orchestrations. Freestyle, synthetic : something old, something new, something what-the- fuck-is-that-now. There's straight, there's syncopated, there's 808 and knee-jerk inducing bass patterns_with a vision. BIKAY3 plays his voice more than ever. His crazy vibrato has improved like hard liquor over the years. In "Zela" and "Balobi" in particular, he puts it to good use with flamboyant, Screamin' Jay Hawkins-style antics. He can also resort to pure storytelling : "La fore^t et les dieux", is a French-spoken excursion into the wild, moving along in grasslands of synths and percussion with TONN3RR3. A tale of gods and spirits, plain and simple. Nicole Mitchell brings the occasional flute in "Akei" for this trip in the bush of ghosts where lingala and kikongo rub with English and French. They saved "It's a bomb" for the end, a bastardized rumba, with rimshots that slap like a cool hand on willing skin. We're living in a golden age of reissues coming out in droves and satisfying our desire to catch up on our neighbors' musical heritage, but let's not miss the boat : it's now or never to listen to the music of the living. - Halory Goerger

. First edition on vinyl, remastered tracks and new artwork along with a 12“ size insert, 2x12“ size poster, sticker and DL-Card. Vocalist Chaka Malik and guitarist Chris Traynor met in the New York hardcore band Burn and began playing together as early as 1992. With an early version of Orange 9mm, the duo released a live EP in 1993. The recording earned the band a contract with East West, and after picking up bassist David Gentile and drummer Matthew Cross, Orange 9mm began recording. Driver Not Included was released in 1994, and the band spent time touring with Helmet before signing with Atlantic the following year. Gentile left later in 1995 and was replaced by Taylor McLam just after recording ended for Tragic, with production by Barkmarket's David Sardy. Tragic was released in 1996; it would be three years before Orange 9mm issued a follow-up, which bore the title of Pretend I'm Human

The Hardcore Vinylists are one of, if not the the biggest groups on facebook catering to Vinyl Djs spinning the classic sounds of early 90s Uk rave and new material made in the old skool style.The Hardcore Vinylists record label showcases new and emerging talent from producers connected to the group and here Zhute fresh from a previous vs Ep with Bino is back with 3breakbeat retro rave tracks with big pianos, big vocals and breakbeats firing off.

Montenegrin born in Istanbul, precocious pianist growing up in an embassy, brilliant musician. Prolific composer speaking eight languages, he arranged music for jazz, pop music, adopting multiple identities.
For one label, he is Andy Loore; for another, Emiliano Orti. For others, he is called Alan Blackwell or Johnny Montevideo, but behind all these aliases, there is only one man: Janko Nilovic.

Exploring the shelves of musical production, venturing into the less-illuminated corners of library music, Janko Nilovic's name lights up dozens of shelves on which his soundtracks, his records for Editions Neuilly or Sforzando, but above all his twenty albums for Editions Montparnasse, are stored. A considerable and imposing work, rich in orchestrations of keyboards, strings and brass instruments, themes, atmospheres and melodies. A repertoire in which the cinema, television and advertising have come to find their delight ...

Subjected to the sharp blades of samplers, reduced to a few effective seconds, joined with rhythmic beats, some of his tracks have infiltrated hip hop for a long time , leading the most curious to go back to the source to get the complete albums from which the precious loops had been taken.
Almost unknown to the general public, Janko Nilovic is a master for the initiated, whether they are at his side in the studio or comfortably seated in their armchair savouring the final result on their turntable. His discretion combined with his long years of silence on the record could lead one to believe that he had cleverly arranged his disappearance from the radar to make Janko Nilovic a mystery that has never been completely solved.

Until this message from The Soul Surfers.
A few miles away, in their studio fired up by analog funk, the Muscovites had been put back on the Nilovic track by multi-instrumentalist Shawn Lee. A few passionate discussions later, and the desire for a joint album was already lighting up the amps, making the bass strings shiver and the drum skins tighten.
Initiated by the coming and going of scores, the collaboration finally continued in studio for a real exchange, instantly bouncing off proposals, developing ideas in a live group dynamic that distance would have made impossible.
To feel the vibrations accumulated for decades at the CBE studio (like Chatelain Bisson Estardy), a mythical place founded in 1966, in which many albums, especially library, were immortalized. A place where consoles, equipment and instruments were kept as they were, accumulating in their wiring, meters and speakers, endless hours of experimentation and recording.

A place that Janko knew well and where an old acquaintance was waiting for him. A Hammond organ with a Leslie booth whose keys he had already flattered in the past and behind which an improvisation and a single take were enough to complete the eponymous title.
Together, Janko Nilovic and The Soul Surfers have built Maze Of Sounds, a musical labyrinth paved by the master's keyboards where the soul-funk groove of the fiery Russians is the listener's thread, his point of reference in this maze of atmospheres and emotions, at once cinematic, nostalgic, dancing, dreamlike and contemplative.

An album where, however, nothing is compartmentalized. Where, blown by the whirlwind strung by a violin quintet, the barriers move preparing the entrance of a Slavic choir, letting a screaming guitar come and go alongside the crystalline liveliness of the Fender Rhodes, organize some rhythmic aerations at the disposal of the samplers.

A fusion between the cleverly blackened scores, between the science of precisely written arrangements and the soul-funk feel of The Soul Surfers. An album such as Janko Nilovic has been dreaming of making for years.