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I cannot exactly remember when the idea of this album was born in my mind. What I am sure of is that I always wanted to complete such a project, which was to realize the dream of a vibraphone and marimba tribute to the music of my favorite musician composer, Frank Zappa. I met Marco Pacassoni about six years ago. I called him because we were looking for a vibraphonist for a tour with the artist Bungaro. We immediately developed a real friendship and when I told him about my idea and my fascination with Ruth Underwood, explaining that for me the best Zappa albums were the ones on which she played, he admitted that he knew only a part of that music, but that he would love to learn more. So I began to feed him tunes to listen to, sharing with him an imaginary track list. When Marco decided to really go for it (about two years ago), his first statement was that it was impossible not to include Peaches en Regalia and The Black Page on the album. That made me very happy because those are two of my favorites, and there was no better way to acknowledge the technical challenges behind this adventure. Marco studied Ionisation by Edgard Varese when he was in Conservatorio Rossini of Pesaro, even before he graduated in percussion at Berklee. It was strange for me that he could know more about Varese than about Zappa! I liked his idea of playing The Black Page alone at the marimba, just adding the beat, as if hearing the footsteps of an imaginary listener turning around. Who could it be My very first wish was to include Pink Napkins with Zappa's guitar solo played at the vibraphone.

We Are Mattimatti. Two Mattis Living In Different Countries - Sweden (malmö) And Germany (berlin). We Travel Around The World Playing Music While Asking Ourselves, 'who Are We'. The Answer Seems To Change Just As Our Surroundings Do. But The Music Stays With Us And So Does The Friendship. It Is Cliché That It's Hard To Put A Label On Music. And To Say It Has Almost Become A Cliche Itself. But Whole Meaning Of Music Is To Listen To It And Create Your Own World By It. To Create One's Own World One Needs Space. Space That Is Not Interrupted By Either Style Or Defining Categories. Mattimatti Is An Attempt To Step Into That Space Creating Music That Is Solely Built On Improvisation. Our Music Is An Invitation To Places Not Yet Known, Where Rhythmic, Suggestive And Meditative Soundscapes Meet The Present Moment. Music Represents Many Things For Us. First Of All, It Is In-sync With Our Friendship, When The Relationship Is Stuck So Is Our Music. Our Music Is Therapy. We Need To Be Authentic With The Music In Order To Have A Real Friendship And The Other Way Around. As Friends And Musicians We Welcome The Unexpected. This Has Lead Us To Places Where We Never Would Have Ended Up In If It Weren't For The Music. In That Way, Music And Life Walk Hand In Hand. If We Dare To Be Real About It. We Are Living In A World Full Of Confusion When It Comes To Identity. It's Easy To Loose Yourself. All Of A Sudden You Are Standing There Playing Music But Missing The Music At The Same Time, Or Hanging Out With Your Best Friend While Missing The Friendship. We Are Trying To Stay Connected. It Is A Constant Task. We Lose It But Then We Find It Again, Just Like Everybody Else. Sometimes It Ends Up In Music For The Moment. Sometimes It Ends Up In The Shape Of A Record. We Met On The Streets Of Berlin In Spring 2013 While One Of Us Was Playing On The Streets. After We Played The First Time Together, There Was No Question That We Would Travel A Musical Journey Together From That Day. Mattimatti Was Initiated. On Our Quest We Began Playing Improvised Tunes On Sitar And Hang On The Street While Travelling Through Sweden And Germany. This Lead Us To Be Invited To Numerous Festivals All Over Europe While Constantly Developing Our Music And Sound. Since Then Our Set Has Added New Instruments Such As A Drum Kit With Hang, African Harps, Sitar, Guitar, Harmonica, Clarinet, Hank Drum And Vocals On Top Of It Extending The Sound With A Space Echo. The Long, Intimate Tunes That We Are Creating Have An Original Structure And Sound. There Is A Certain Present Resting In The Music Which Is Hard To Describe But Easy To Experience If You Listen To It. Our Live Concerts Have Been Dubbed Mythical, Hypnotic, Magic And Epic. Traveling Is Our Biggest Influence On Music. Mattimatti Are Now Both Based In Berlin & Malmoe And Work Together With The Contemporary Circus, Dance And Music Group - kollektiv Knaster .

Transversales Disques presents KSHATRYA, (The Eye Of The Bird), never released before
recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of
major experimental albums in the 70's such as Logos, Docteur Faust, Hathor, Les Fous d'Or,
Nagual and Let's Start.
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft
Machine, and legendary choreographer Maurice Bejart having with him many conversations around
dance and music, human body and soul, spiritual path, collective life, new society, human evolution.
As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to
name a few. He's considered as one of the first French composer using synthesizers like Synthi
AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work
recorded in 1999 on his 'Mysterious Island 88' system. Esotheric, sacred and cosmic, KSHATRYA,
(The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of
electronic music. A must!

Life is all about rhythms. We don't know what we're dancing to until we're in so deep we can no longer control ourselves. The rhythm controls us.

Right now both Guti and the Martinez Brothers are dancing to the conga rhythm. Guti's third album, they've been dancing to it since the summer, teasing us with a whole slew of percussive new... And they'll continue throughout 2019. Chance are you will, too. Eventually the rhythm will control all of us. It's too infectious not to.

Here's the 411: 'The Year Of The Conga' is Guti's third and most rooted album to date. It came about through a personal request from brothers Chris & Steve Martinez. Both unapologetic Guti fans they wanted the very first album on their Cuttin' Headz label to be his. The result is a total reconnection back to his Argentinian foundations, his club roots and everything that first lured him to the dancefloor...

'I'm back to my roots and found my Latino groove again,' says Guti who wrote the album throughout 2018, starting it whilst bulleting through Japan by train, the majority crafted in the jungle of Dominican Republic, having collected and sampled native percussion instruments, and then finally mixing down on his return to Europe. 'Every song is full of rhythm and created to make you dance...'

He's not messing around; from the writhing snakelike percussion and rousing calls and cries of opener 'Aee' right through to the final mesmerising waves and farewell struts of finale 'Voladora' this an album is born both for and from the dancefloor. No overthinking, no purism, no exclusion; just unabashed physical hypnosis, fuelled for the floor, guided with gut instinct and years of groovecraft. It's the sound of an artist who's disconnected, explored and reconnected. He's older, he's wider and more in tune with his own pace and palette. One of the most diverse and explorative artists to come from Loco Dice's Desolat stable, this is Guti simplifying his passions down to an essence of everything that's magic about his roots and our shared dancefloor culture.

The highlights are in abundance; those hazy-but-persistent New Jersey organs on 'Telling The Truth', that wobbly sub on 'Red Eye', that shimmering sinewy acid line on 'Se Baila', the spicy pianos and wet horns of 'La Orchestra Fantasma', the list goes on. Each cut designed for deep mix pleasure, each cut rolling with a strong organic flavour and alluring percussive dynamics, each cut showing Guti at his most inspired, warmest, playful and ready to wrap you up so deep in a conga you'll soon lose yourself.

Cuttin Headz, cuttin straight to the chase but never cutting it fine... Let us be the first to wish you happy new year with the first ever album on the currently unstoppable label. We'll wish you a happy new conga, too. 2019's going to be a vintage and Guti and the Martinez Brothers are leading the charge.

Dim DJ returns on June Records with the long player Recurring Patterns after his first appearance on the label in 2015. This time he expands his classic acid house sound with slower, mystifying tracks that were recorded between 2015 and 2018 in Thessaloniki, Greece.

With a celestial voice that's been streamed over 3 million times thanks to acclaimed features with The Kite String Tangle, Golden Vessel and label mate Sampology, Brisbane-based artist Tiana Khasi (Kah-see) shares her debut EP, 'MEGHALAYA', out 29 March via Soul Has No Tempo.

The Sampology-produced debut is a rich tapestry of styles and influence, with inspiration drawing from themes of self-empowerment, family and heritage, collaborating with contemporary musicians while studying jazz. ''Meghalaya' is both geographic and spiritual. It's a place I creatively resort to seeking affirmation of my identity and for true holistic inspiration. I wanted to create a body of work that honestly showed where I was at musically and personally. I felt the growing pains of being a young woman, mixed race/Australian born and studying jazz. I was neither here nor there.'

'Nuketown', the first single from the forthcoming release, is out now following global premieres with Complex UK & London's Worldwide FM. Upon hearing early mixes, Gilles Peterson handpicked the track to feature on his most recent compilation, Brownswood Bubblers Thirteen, via Brownswood Recordings. Touted by local tastemakers and HypeMachine blog Purple Sneakers as "the debut single we didn't know we needed", 'Nuketown' has found airplay with national stations triple j & Double J, placement in Spotify's Just Chill playlist, rotation with Sydney's FBi Radio, and enthusiastic support from community radio and online media around the country and beyond.

"A flawless example of the kind of music we can expect from Tiana going forward. [Nuketown] creates something completely original, drawing elements from jazz but never chasing a particular sound or vibe. Everything comes naturally, taking you on a journey with the instrumentation matching the ebbs and flows of Tiana Khasi's sweet vocals. It serves as an exemplary debut for the young artist, and can only mean better things are on the horizon." - Complex UK

A keystone artist in her hometown whose live reputation precedes her via her work fronting local jazz/hip-hop collective Astro Travellers, Tiana Khasi's voice has been praised as "elegant" (Life Without Andy), "most dope" (Audiosteez) and "as venomous as it is honey-sweet" (Happy). A trained jazz vocalist, Tiana's unique sound is heavily influenced by her Samoan and Indian heritage, and has seen her support Jamaican-American "TrapHouseJazz" sensation Masego, Swedish soul artist Fatima and acclaimed Australian collective 30/70.

Rivertones - the recorded music of Caught by the River - have repressed their classic 2012 Dylan Thomas-in-dub 7" Under Dubwood by the Dubwood Allstars.

Although Under Dubwood might seem an incongruous mix - the words of Dylan Thomas, the voice of Richard Burton and the studio sounds of King Tubby - the resulting single actually makes perfect sense - a gloriously woozy psychedelic skank that places Llareggub somewhere just outside downtown Kingston, JA. Since its release five years ago, Under Dubwood has been a staple on BBC6 Music and was used as soundbed music for the BBC's coverage of Dylan Thomas' centenary in 2014. It remains hugely in demand from the Caught by the River shop and has been sold out for the last eighteen months. The identity of the Dubwood Allstars remains a mystery to all at Rivertones.

On the B-side of the Under Dubwood 7" is River Theme by the Time and Space Machine (aka acid house stalwart Richard Norris of the Grid and Beyond the Wizard's Sleeve). River Theme is a hypnotic, fuzzed-up garage groove that's equal parts Dirty Water Club and Trash.

Time Horizon's second episode enlists another team of dancefloor snipers delivering 5 brain-dancing tunes crafted appositively for late night use.
After his appearance on the first XCPT record, Andrea is back on the label with his unmistakable shuffling drums and a heavy square bassline followed by Anybody Anytime covering the uptempo-zone with a rotative junglistic tool dressed with celestial pads, closing the A side TANS reveals his new robot alias The Sympathizer' providing a neurotic electro progression fully based on his modular system.
Flipping the records you will find two XCPT homies bringing the audience straight into Matera landscapes: Farron gets a 909 unceasing toms orchestra surrounded by his atmospheric leads while Kreggo illustrates clearly his hypnotic mid-low vision of breakbeat locked by a mystic bass for the whole track.

ltd 250 hand-numbered units (12' + insert)
mastered by Marco Pellegrino at Analogcut Mastering Studio, Berlin

Serenace, a mysterious duo based in Chicago and Berlin joins the Shaw Cuts squad with 'The Flying Guillotine' - a weapon shaped like a hat with a blade rim and chain attached.
The weapon serves to brutally quash any defiance against the ironfisted Emperor Yung and his regime. The enforcers are twelve specially trained fighters, The Flying Guillotine squadron. 'Sheltered In Absence', its pushing drums and energetic synth elements, chimes to the cruel deeds of the squadron.
The guard Ma Teng flees when he witnesses the brutality unleashed by the men and the lethal weapon. The raging emperor commands his fighters to capture him, but Ma has disappeared into thin air. - Vitrine', a diverse groove combining swinging percussions and warm melodies circles over head, helping Ma to stay undercover.
The slaughter continues as the squadron relentlessly search for Ma. Ma turns back and confronts the army. Equipped with his own deadly weapon, he joins forces with Kreggo and his - 2in1' remix version, wiping out the squadron one by one.
- Spun Coral' sweeps in, drowning out the sound of guillotines gliding through the air until the last member falls. Silence reigns over the battlefield. But the myth of the fatal weapon remains.

FLOAT proudly welcomes their second artist into the fold. UK electronic artistand Szun Waves band member Luke Abbott, presents a special 10-track album tocelebrate Piano Day 2019 - an international event series initiated by NilsFrahm which acts as a platform for piano-related projects. 'Music From The Edge Of An Island' sees Abbott divert from his typicallyexperimental electronic style to explore a more compositional approach centredaround VST instruments. Rather than the usual themes of synthesis andimprovisation, the album is lead by piano motifs, structured around emotivemelodies and sparkling arrangements. The record began as a part of asoundtrack commission by producer / actor Jessica Hynes for her film 'TheFight' and ultimately became a fully-realised album. The film script had acoastal setting that created the record's thematic idea: "I had this ideaabout being on the edge of England, almost ready to fall off a cliff into thesea but keeping your balance on the edge." The idea of writing for the piano had been ruminating for some months asAbbott found himself spending an increasing amount of time playing on theinstrument. Without a piano of his own though, he found a strangely enchantingway to fulfil his creative impulse. "I used to have an upright piano, but I'dgiven it away when I last moved house, so I ended up using a piano VST in thecomputer, which I actually really enjoyed. Writing the music became a bit of aweird fantasy process, I was in an odd headspace for a few days." The writing process was remarkably quick, resulting in simple yet inspiredpieces that subtly blur the lines between MIDI computer music and liveperformance. 'Music From The Edge Of An Island' can be seen as a collection ofgentle reveries that sway between the twilight hours, marked by moments ofsoft, contemplative ballads and more active and expansive motions. Openingtrack 'Sea' begins with a mysterious piano waltz before unnerving synth dronestake over. 'Island continues with piano triplet figures plus addedorchestration of cello strokes and airy glass pads, before heading into themelancholic 'Tree', bringing in more strings and added pathos heard in therestless piano motif. Quieter passages are contrasted with the Gamelan-esque'Moments' and the uplifting 'On Rope', whilst more lyrical moments on thealbum can be found in tracks such as 'Adjustment' and closing track 'ADifferent Tree'.

Sounds From NoWhere is pleased to premiere a new Rendered' gem on 'Nocturnal Frequencies'.
Rendered is a new techno EBM/Industrial project created by Daniel Myer and Clément Perez at the end of 2016.
This fresh offering via 'Nocturnal Frequencies' combines both of their signature styles into a colossal and abrasive 6 minute rhythmic barrage.

- Limited vinyl only release - Including postcard with download code for another new album from Jacek Sienkiewicz.

IMOW, or 'In My Own Wave' - Atmospheric, cinematic, stirring and utterly engaging, this is surely Sienkiewicz's most personal work to date and very possibly his best!

IMOW, or 'In My Own Wave' is a moody record. Although overtly experimental in form, it's quite different to Sienkiewicz's abstract, improvisational albums recorded with Max Loderbauer or AtomTM. Clocking in only 35 minutes and comprising of eight tracks, 'IMOW' is several years of work distilled into a dense, concise whole. Atmospheric, cinematic, stirring and utterly engaging, this is surely Sienkiewicz's most personal work to date and very possibly his best: his constant struggle to find a perfect balance of flesh and machine, or to translate human emotions to sound by means of a modern studio is manifested here in its purest, most consistent and, surprisingly, very accessible form. From subtle drones, through chants and rhythms echoing in mountainous chambers, to innumerable insect-like sounds and tiny details, it's an encephalogram recorded to tape (or disk). With all its complexity, it's not overwhelming: the meticulously constructed compositions leave both space for the sounds to breathe, and for the listener to fully experience it, without being bored, tired, wishing for less or being hungry for more. And there's beauty in this record, and hope - in the world of overpowering darkness and constant noise 'IMOW' feels like a peaceful trip into the untouched nature with all its wonders - offering in equal parts rest, strength and inspiration.

Recorded Between The Release Of Sand (1977) And Lost Secrets(1981), Symphonic Songs Is A Formerly Unreleased Work That Chronicles The Dynamic Shift And Development In Experimental Swedish Composer Ragnar Grippe's Canon.

Following His Seminal Release Sandin 1977, Swedish Experimental Composer Ragnar Grippe Worked On Various Art And Performance Commissions, Often Returning To Stockholm During The Summer Months To Focus His Efforts On His Compositional Practice. It Was There At The Famed Ems Studioswhere He Began Employing The Buchla Synthesizer And The Facilities Multi-tracking Capabilities As New Instruments To Map His Mining Of Sound And Movement.

During The Late 1970's, Grippe Formed A Creative Collaboration With Choreographer Susan Buirge, Specifically Writing Compositions For Her Works restes And tamis, Thus Pushing Grippe To Start Working In A More Intricate Studio Environment. These Passages Inspired Grippe Into A More Complex Layering Process That Focused More On Placement And Structure, Rather Than The Aural Floods And Flourishes Of His Previous Sand Album, Eventually Germinating In His First Full 24-track Composition Entitled orchestra.

After Debuting orchestra In 1980 At The Electronic Music Festival In Stockholm, Grippe Holed Up At Ems Studios With Those Lessons And The Fussy Buchla Synthesizer, In Which Grippe Affectionately Recalls needed To Be Tuned And Calibrated Every 20-30 Minutes. He Emerged With A New Commission For Susan Buirge Later Formally Titled Symphonic Songs And Used In Her Avant-garde Theater Piece ci-déla Which Debuted In Paris In 1981.symphonic Songsshowcased Grippe's Sound Au Courant, Pushing Dense Against Sparse, Calm Into Cacophonous, Using Each Track As Its Own Intersecting Plane. Using The Machinations Of Studio And Structure To Drive Symphonic Songs' Voice, Grippe Culled A Haunting, Often Cinematic Electronic Work That Dots And Darts Into Unexpected Corners With Curious Aplomb.

Listen To The Words, Both Terms Have Their Root In Classical Music, But Not In Its Form But Because Now I Had So Many More Stems Or Voices That Could Be Played Simultaneously Compared To My Earlier Pieces. Coming From A Classical Background, But With Big Nostrils For Pop And Jazz Music, I Can Now See A Thread In Which Classical Got A New Costume, Dressed Up In Buchla Synthesizer And Real Bass Sounds Grippe Says. Since Its Live Theater Debut Over 37 Years Ago, Dais Records Releases For The First Time Symphonic Songs, One Of Grippe's Most Ambitious Compositions, As A Deluxe Double Vinyl Lp (with Limited Edition Color Variants) And On Digital Formats. Artwork Packaging By Artist J.s. Aurelius (ascetic House) With Reflective Linear Notes By Ragnar Grippe.

On March 15th Erased Tapes presents the invigorating and powerful debut solo album Lines of Sight by Australian-born, Liverpool-based composer, saxophonist and founder of Immix Ensemble, Daniel Thorne. Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles - effectively capturing what the birth (or death) of a planet might sound like.

In Daniel's own words, 'Thematically, this music was inspired by birds-eye aerial images and the idea of perspective - how something incredibly complex like a river or the surface of the ocean is reduced to a simple line or shape when viewed from the heavens. The line between natural and man-made becomes increasingly blurred.'

Every strand is fresh, vital and purposeful. The description 'seamless' might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical, a touch of jazz and traces of Wyatt-style contemporary folk come together, each occupying their own space while acquiescing with the whole.

'Several compositions are derived from ratios and processes, and are highly calculated, while others evolved in a much more organic way. I wanted to create music that blurred lines between acoustic and electronic, organic and synthetic, composition and improvisation.
I've long been a fan of studio-based composition, but have always found the infinite possibilities on offer daunting and, often, a stumbling block. To get around this I set myself a challenge of limiting myself to the physical instruments in my possession - a few different saxophones and a bass synth, with no more than four tracks to record them,' he adds.

Lines of Sight follows Thorne's work as artistic director of the acclaimed, collaboration-focussed group Immix Ensemble. Together with experimental electronic artist Vessel, he co-wrote Transition released on Erased Tapes in 2016, described by BBC Radio 6's Mary Anne Hobbs as 'a remarkable new piece of music'. More recently, he worked with acclaimed modular synth wizard Luke Abbott, to create a four-part suite, which was premiered live in June 2017. Immix Ensemble have also performed special live commissions with Kelly Lee Owens, Dialect, Jane Weaver and Bill Ryder-Jones, among others.

Prior to leaving Australia, Daniel was fortunate to work with some of the country's leading new music ensembles as both a composer and performer, receiving commissions from the TURA New Music Festival and the Australia Council, as well as being appointed as Composer in Residence at the Western Australian Academy of Performing Arts. In the UK he was the recipient of the prestigious Dankworth Prize for Jazz Composition, and also undertook a residency at Metal Liverpool, which provided him with the time and space to create Immix.

As the first track under Thorne's own name, 'Iroise' was recorded for the Erased Tapes 10th anniversary release 1+1=X, alongside works by Nils Frahm, Penguin Cafe, A Winged Victory For The Sullen and Rival Consoles. He also recently remixed Manu Delago, known as the live percussionist for Björk and Ólafur Arnalds. After a first solo performance at Sea Change Festival 2018, the new year will see Daniel tour across Europe, promoting the forthcoming release of Lines of Sight.

Cardinal Fuzz and Eiderdown Records are pleased to bring forth Prana Crafter and 'MindStreamBlessing' An electric mantra from the deep heart of the Pacific Northwest woods, "MindStreamBlessing" beckons you to relax and crack open your mind for a little while. Prana Crafter is Will Sol, practitioner of fine guitar spell-casting and audio fortune telling. A heady brew of guitar, drums, and organ that traces its majestic lineage from both the wayward strains of a cosmic Americana blues and the rustling sunshine daydreams of a future primitive past. The tunes contained herein drift and sway through the windmills of your mind, leaving the sweet aftertaste of pine and ocean mist. Accept this MindStreamBlessing as a balm for these troubled times.

The man, the myth, the legend that is Aldo Vanucci is back with a small black disc of wax for the ages. Yes, it's the very same individual who supplies samples to Fatboy Slim, who was voted Plymouths 14th best DJ and who has undertaken marathon 36 hour DJ sets for charity. Exactly. Yes it's that Aldo Vanucci...

With a vast back catalogue of releases already to his name on respected indie labels including Tru Thoughts, Catskills, Good Groove and his own Good Living Records he has established himself as one of the producers you can trust when it comes to quality.

And this release ahead of his forthcoming album on Jalapeno Records is no exception. The soulful strutter - 'Ponderosa' could have been extracted from a Tarantino movie taking a Morricone-esque score sample and flipping it into a modern slice of driving pop. The powerful top line from Dena Deadly adds some colourful imagery to enhancing the already cinematic sounds.

Flipside 'Knew You Were Coming' fuses an 80's disco boogie groove with a memorable top line that really shows off Mr. Vanucci's DJ credentials. It's a club bomb with enough power to detonate any dancefloor.

The Vinyl Debut Of Microm Records Is A New Era For Negocius Man And Microm Records N.e.g.o. They Are Very Special Songs With Different Styles Of High Quality Electro. It's My Cover Letter Around The World Hard, Raw, Dark, Robotic Vocoders, Detroit Sounds And Drexciyan Moments, Galactic Funk, Minimalist Atmosphere With Effects. They Are My Different Facets Making Electro But Not All, I Have A New Sound For 2019, Stay Alert And Enjoy!!! For Me Is A Timeless Disc, I Like It And I Always Will, All The Tracks Are Me: N.e.g.o.

Johnny's disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as 'farewell my johnny / left alone' and 'aya's samba' has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

following a cult classic jazz fusion album on bourbon records, king kong paradise delivered an album of alternative, left-field balearic rock that was way ahead of its time.

an anomaly that sticks out in johnny's disk's catalogue, the rare record may appeal more to new wave, reggae and rock fans than jazz heads—in fact, i wouldn't be surprised if people like dj harvey or theo parrish dropped this oddity in their sets.

if you dig the kind of weirdness that's being reissued by music from memory, you might find this record intriguing.

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Under pseudonym "Jean Eon,' Johnny Quinn Alston is the artist behind the project _ - / _ EON, a performance endeavor born out of an intense personal and familial experience in 2011.

_ - / _ EON is a portrait of the various manifestations of energy throughout the wide span of time and space we inhabit, from human experience to multidimensional mystery, as well as a peek into the many emanations that eternal power can create.

Jean Eon is merely a human form attempting to channel what bits of existential mystery he can interpret into sensual experiential form. He aspires to be as comfortable as possible with existence as a flawed, but striving, human being, and is not to be confused with the immortal and cosmically balanced EON itself.

_ - / _ EON is larger than Jean, and the EON is also you, we, and everything in between. We are all already avatars of the EON, and this project makes an attempt to shape truths of the great æther from which we are carved and will presumably* return to, however bittersweet or glorious that eternal promise may be.

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* do we ever really die

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The music released under NEW YORK TRAX 08 results from physical expression as . _ - / _ . EON focuses on channeling physiognomy over dictation. The EP explores pre-existing textural combinations discovered and rescued from stone as opposed to built step by step.

The initial inspiration for this EP arose from driving past randomly unfolding rural scenes. A majority of . _ - / _ . EON's resulting work similarly gravitates towards a series of landscapes discovering each other rather than 'arrangements' played on repeat.

In the back of your head, you know those blinking aircraft warning lights on towers, but how mysterious and ominous they look before you discover what they really are On the surface, this project represents the sound of being struck by the sight of something for the first time, and the ominous, transfixing, thrill of not knowing what it is.

" I used to live in rue de Clignancourt, and remember as a kid going to the 14th of July West Indian ball organized by my father rue André Del Sartre in Montmartre every year. There I would meet, among others, saxophonist Robert Mavounzy. Sticking to the area, my older brother had a band and often played at the famous venue La Cigale, where even Henri Salvador joined him for a jam from time to time."Since childhood Serge Fabriano bathed in music, to-ing and fro-ing between his native Guadeloupe and Paris where he grew up. He attended the music conservatory, learnt how to play bass, met and played with many musicians and was ultimately angling for a career as a music teacher. But Serge had wanderlust; he lived to meet new people and was passionate about travel.Thus, it was in a squat located rue de Flandres in the 19th district of Paris that Serge Fabriano met by chance zarb player Djamchid Chemirami, one of Iran's greatest percussionists, who invited him to the Arts Festival of Shiraz-Persepolis. After a month-long motorcycle journey, he and his guitar teacher, Roger Bénichou, arrived in Tehran. Sadly their guitars didn't survive the journey. It was there that he met, among others, Woody Shaw, Max Roach and his wife Abbey Lincoln. Serge also formed a friendship with saxophonist Gary Bartz and stayed on a month playing with the cream of the musicians who'd attended to the Festival.During the mid-70's, he alternated between teaching classes and live gigs, and performed in Germany with a funk band comprised of ex-GIs from the US Army. He also met the members of Chick Corea's group, Return to Forever, and especially Stanley Clarke who became a great source of inspiration to him.From 1978 onwards, Serge Fabriano put aside teaching and devoted more time to music. He became a musician's musician, doing studio recordings with rock bands. He also played with members of the Caribbean diaspora, which included the great drummer Marcel Lollia (known as Velo), Patrick Jean-Marie, Guy Conquette, Winston Berkley, Mino CineluDuring the "Ayatollah Comédie" musical comedy tour organized by the Journal Liberation, Serge met actor Pierre Clémenti (Il Gattopardo, Belle De Jour, The Conformist). This was a game-changer : "I was trying to record my first record. Clémenti suggested the Studio Beaubourg in Paris. "The group Fabriano Fuzion - Fabriano Unit Zion - was born.The band brought together some of the Caribbean's most inspired musicians: Martinican-born Mario Canonge on the piano (his first appearance on an album), Alain-Jean Marie on the synthesizer, Edouard and Pierre Labor on saxophones, Claude Vamur (Kassav ') on the drums, singer/percussionists Marie-Reine Lamoureux and Marie-Céline Lafontaine, percussionists Roger Raspail, Sully Cally and Hector Ficadière (Tumblack, Vent Levé) on Ka percussions.It is precisely the Gwo Ka - this ancestral 'root' music deeply embedded in the heart of the Guadeloupe musician - which constitutes the rhythmic backbone of this first opus. The Gwo Ka, the jazz, the poetry and the spiritual vibe are gathered here to form a splendid album; one of the true masterpieces to emerge from the French West Indies.Rarely will a band have borne its name so well than Fabriano Fuzion - its music is a multiple and collective work in which each element brings its identity and its richness, conferring to this major work a truly fusional dimension.

The Palm Trees Whistle In The Pink Meteor Shower. An Entanglement Of Nature's Mystical Tones Settle. Sonics Trigger Movement In The Oceans Crust While Giants
Filter The Earth's Waters, Thrusting The Waters With Their Gnarly Space Knobs. The Damsel In Distress Is A Hadronic Mechanical Design Like No Other, Moulded, Tested And Shaped By The Entheogen Melanges Of The Omegian Race. Many A
Cosmic Knight Whipped There Sword Out To Retrieve , But In Rightful And Aware Conquest The Dilation And Deja Vu Of Multidimensional Experiences Returned The Opal Tone To The Omega Men. The Midi Rain Will Dance , And The Grooving Aqua Orbs Of Life Will Continue On. - Eddie

Resilience is an album that calls on the classic rave sounds of Chrissy's Midwestern youth to explore themes of love, positivity, perserverence, acceptance, and the fight against cynicism. Get ready for big piano melodies, chopped breakbeats, heavy bass, and jacking Chicago drum programming, plus guest appearances from some of Chrissy's friends: vocalist Carrie Wilds, Portuguese DJ/producer/singer Maria Amor, and Berlin-based techno artist Dean Grenier. RAWAX will present it on three ep's!


Chrissy is a genre-bending DJ/producer with releases on Classic, Freerange, Razor N Tape, Hypercolour, and Planet Mu, and a 20-year DJ career spanning Chicago house, disco, rave, jungle, footwork, and more. He ran the influential 'My Year of Mixtapes' blog, and currently runs two record labels: The Nite Owl Diner and Cool Ranch.

'Chrissy is one of the best DJs to ever walk the earth and I am just going to keep saying it until everyone agrees with me.' — The Black Madonna.

Rian Treanor will release his anticipated debut album 'ATAXIA' on Planet Mu this March. The striking full-length follows singles for The Death Of Rave and Warp's Arcola imprint as well as live sets at Boilerroom x Genelec, Nyege Nyege festival, tours in India and various high profile EU shows.

The title 'ATAXIA' means 'the loss of full control of bodily movements' and relates to Rian's music which is 'intended to make people's bodies move in unpredictable ways.' He adds 'the angles in the letters, the phonetics seem to mirror the geometry and idiosyncratic patterns in the music.' Rian explains that components of the tracks were made by generating a series of irregular events and re-structuring them, or by destabilising a pattern that is constant.

When asked how the album compares with his previous releases, he says 'My earlier EPs share a similar interest in angular and asymmetrical rhythms that are designed for club sound systems,' adding 'they were more improvised, focusing on sequencing and pattern modulation, using standard drum sounds and synthesiser patches. ATAXIA is more focused and stricter, it's more co-ordinated in terms of the track selection and the rhythmic structures. I spent more time refining the synthesis and sound design, pushing it further than the previous releases.' He expresses an interest in exploring opposites in his music: 'fluidity and syncopation,' 'systematic and unpredictability,' 'reduction and extremity,' 'irregular symmetry,' 'easy listening and brutal'.
There's clear a conceptual backdrop, but the music itself is not overthought. There's an immediate joy to much of the album - check out ATAXIA_D3 with its wonderful cut-ups and modulations of the phrase 'people don't understand people.'

The roots of Rian's playful sound are directly linked to his love of the music he grew up with. Coming from Sheffield, you can hear elements of industrial, synth-pop, bleep, extreme computer music and speed garage at play. From Cabaret Voltaire to Warp and beyond; the sound of his city has been, and is, an integral part of his musical development and is still a direct influence.

Last year, he noted in an interview that "I'm not a computer programmer, I'm not an articulate person in that kind of way. I'm a visual artist." Now he elaborates 'I meant more that I'm a visual thinker.' Drawing and visual art have been a fundamental part of his life 'since I was a child. I got really into graffiti as a teenager and around the same time I got into mixing and these both developed together.' You can sense the mind of a visual artist at work in his music which is also reflected in the artwork he created for this project.

As well as his visual art, installations and multichannel sound works he is involved in numerous collaborations such as with composer Nakul Krishnamurthy exploring the common ground between Indian classical music and electronic music and his work with improv saxophonist Karl D'Silva, plus his time studying with Lupo at Dubplates and Mastering in Berlin (who taught him the 'importance of reduction') have all helped shape and push his sound into other unique and adventurous zones. Treanor is developing on different levels and in different forms all at the same time, re-imagining the intersection of club culture, experimental art and computer music, presenting an insightful and compelling musical world of fractured and interlocking components.

This was Charles Tolliver's first album as a leader. The setting is unique only because his second Freedom-Black Lion album 'The Ringer' and all of his subsequent albums on Strata-East featured his quartet Music Inc. with pianist Stanley Cowell. Here he is surrounded in quartet and quintet formats with a truly stellar cast of the leading players on the New York jazz scene.

Charles plays the role of leader, composer and trumpeter. But it is surely that last role that deserves the most attention. The trumpet is a brass instrument that leans toward a hard sound and staccato phrasing. Yet Tolliver is the quintessence of fluidity. While it may be undeniable that he has learned from his musical heritage and past trumpet masters, a trumpeter of such flow, tone, control, lyricism and creativity is, by definition, a major musician.

Charles Tolliver first came to the professional jazz scene in the mid-sixties, when he first met Jackie McLean. Under McLean's leadership, he played on a number of Blue Note record sessions, some of which have yet to be released. He contributed original tunes to many of those sessions.

Within a couple of years, Tolliver was a well known figure in New York circles, playing and/or recording with Booker Ervin, Archie Shepp, Andrew Hill, Roy Ayers, Art Blakey, Sonny Rollins, Willie Bobo, Gerald Wilson, McCoy Tyner, Hank Mobley, and many others. His compositions were getting recorded by many artists. He gained his greatest recognition during a two year stint with the Max Roach quintet that also included Gary Bartz and Stanley Cowell.

There is also a previously unreleased bonus track of the song, "Repetition", recorded by Charles for this LP which will be included on this new release of the album. This song was originally made famous by Charlie Parker's LP With Strings.

This album is certainly an important and lasting document in light of the musicians involved and in light of its unique context for Charles Tolliver. But basically, it is just a great album to listen to. Michael Cuscuna

fter giving the floor to the mysterious Scarpa and its ultra-saturated tribal rhythms, Istigkeit surrounds itself with 3 producers with a strong identity to deliver a raw punk electronic compilation. The criminals involved Shrouds, Artik and H880!

Repress ... !

Mega Hypnotic Groove From A Mysterious And Mercurial
Producer Slamming Deep House Monster Track For An
Intergalactic Exploration, Limited Hand Stamped Copies.

Following a long-player 'Orbiter' on Avenue 66 and an untitled single for Office Recordings earlier last year, mysterious producer Trux follows up with a brand new EP simply titled 'Eleven'.

Throughout the record, textures of mind-bending ambient, dreamy harmonics and crushed, lo-fi experiments are manipulated across the 8-track 12" marking Office's fifteenth release.

The record sits among a discography of artists that includes Iron Curtis, Christopher Rau and of course, label-owner Baaz.

Khaliphonic 11 Is A Truly Epic Release From One Of Our Most Prolific Artists, Brendon Moeller Aka Echologist, Aka Beat Pharmacy. In Just The Last Two Years, Moeller Has Released On Labels As Varied As Echocord, Silent Season, Kynant, And Rohs!, To Name Only The Most Well-known. Recognized Globally For A Singularly Organic And Dubwise Approach To Techno, We Are Proud To Have A Close Working Relationship With An Artist Who Coaxes Humanity And Warmth From Machines Like Few Others. The Dub Purpose Ep Is One Of His Finest Achievements.

As We Planned A Third Zamzam Release From Our Favorite Well Of Hardware Sonics, Four Tracks Emerged As Comprising A Set That Simply Did Not Want To Be Separated. The Four Tunes That Make Up This Ep Felt Like Chapters In A Single Gorgeous Narrative, And So A 12' Was Born.

We Asked Brendon How Dub Influences His Process, And What This Ep Specifically Is About. He Replied:

"dub Facilitates Whatever Vision I Have With Music, Which Is One Of The Reasons I Incorporate A Dub Approach In Everything I Do. Whether Infusing Nyabinghi Rhythms With Epic Strings, Roots Dub With Industrial Dread Or Grungy Modular Antics With Stepping Vibes, Dub Is The Glue That Keeps It Together. The Inspiration Behind These Tracks Are On-u Sound, Wordsound And Bill Laswell, Travellers Who Understood The Possibilities Of Dub."

The Dub Purpose Ep Does In Four Tunes What Many Lps Struggle To Do In Eight - It Builds A Cohesive Narrative Arc That Moves From Menace, To Exploration, Through Mystery, Closing With Beauty. And Just Wait Til You Hear It On A Proper Sound...

Mastered By Sam Precise.

Mysterious stuff in numbered hand-stamped sleeve

The 45 of Everyday People - World full of people is well known on the modern soul and funk scene and it relatively easy to find a copy for maybe 500 pounds. What was always less well known was that there was also an LP by the same band but labels as People Pleasure. I first came across this LP in Turku, Finland in the early 2000s when at the house of DJ and Collector Felix Manell who pulled a pile of rare and interesting bits that day. I did not really appreciate the true rarity until trying to source my own copy. The next copy I saw was in Japan in 2004 but was not going anywhere. Roll on 15 years, Russell Paine, collector, DJ and super record researcher called me saying he had finally unravelled the mystery and was talking to Bill brown & Al Hall Jr. Russel sets himself the hard task of only putting out unreleased material on his own label so we also work together on LPs and Singles on Athens of the North. After we managed to clear the rights the final hurdle was finding a clean copy, not an easy task. After asking loads of deep collectors, Zaf put me onto DJ Nick the Record who very kindly lent me his minty personal copy, a huge favour considering how rare this record is, almost impossible to replace. So we mastered from the vinyl (no tapes exist) and while it still sound pretty raw it is twice as good as the O.G. Been a long time coming.

New album from London-based Dutch-Zimbabwean pop
innovator Rina Mushonga.
Mushonga doesn't follow a linear path. The artist's music -
a blend of Afropop, indie and electro flourishes - is
informed by her own zigzagging life journey: Mushonga
emigrated from Zimbabwe to the Netherlands, then to the
diverse South London suburb of Peckham, where she now
lives and works.
Having read 'Metamorphoses' for the first time,
Mushonga's self-confessed 'year of transformation' ensued,
drawing upon myriad ideas and personal experiences.
Full of reflections on the cosmos and our place within it,
'In A Galaxy' is the musical embodiment of these musings,
whilst Mushonga also admits there's more than a passing
nod to the opening text on 'Star Wars' but on the whole
refers to how relative space and time are in how we
interact.
Four years in the making, 'In A Galaxy' was recorded in
Mushonga's adopted home in Peckham with producer Brett
Shaw, whilst having laid much of the foundations of the
tracks together with musical bestie and synth whisperer
Frans Verburg in his Rotterdam basement studio. The
resultant cornucopia of intelligent, diverse pop - that
Mushonga herself describes as sounding like 'Paul Simon
in a sweaty, African dancehall club' - is a welcome
introduction to 2019.
LP pressed on pink vinyl

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.


The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.


The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Following 1 or 2 small run / mailorder lathe cuts, Polytechnic Youth follow it's hugely successful 'Popcorn Lung' label compilation LP, with it's first full length of the new year, and man... this one is just wonderful! A mighty record to kick off what promises to be another hugely productive, constantly busy year for the Crouch End based synth label.

PY often likes to quote the artist directly in it's press releases, and this one is no exception. Gabe's own words, more than adequately explaining the path leading to this killer set for 2019; 'It feels a little ridiculous to pretend that the person introducing you to Gabe Knox is some kind of bigwig press agent and not just Gabe Knox himself, so let me, Gabe Knox, tell you a little about myself in that hopes that you'll give my music a listen.

In 2014, after years of moderate success as a local musician and club DJ in Toronto, Canada, I looked at my collection of barely functioning analogue synths and drum machines and said to myself 'Instead of trying to unsuccessfully make music you think other people will like, why don't you make something that you'd actually want to listen to for once' I wanted to make music that had the drive shaft of Neu!, the punishing low end of King Tubby, the interleaved melodic lines of Vince Clarke, the melancholic, otherworldly whimsy of Raymond Scott and Delia Derbyshire, the hypnotic drone of Spacemen 3, and the analogue intimacy of Le Car. I wanted to bring the euphoria and hypnosis of dance music to the rock kids, and the energy and excitement of rock music to the dance kids.

This was going to be a tough sell in the clique-y Toronto music scene, so I figured the best way to get the music out there would be by recording when I can and self-releasing a steady stream of EPs online. They would all be a series, a snapshot of the evolution of that initial idea. ABC represents a compilation of the best songs of the first three EPs, subtly remixed and remastered to best suit vinyl. I hope you love listening to it as much as I loved making it.'

This really is a remarkable record. Displaying all the PY traits of icy cool blasts of minimal synth, motorik grooves, melodic pop via passing nods to early mute and sky records. Never before did label head Dom think he'd get the chance to namecheck 2 musical heroes from wildly differing poles -Vince Clarke and Spacemen 3- into one LP PR sheet, so he's understandably excited for this one's release!

250 copies on yellow wax in hand numbered, reverse board sleeves. Sure to go real quick....

Welcome to Mystery Island...

There are some elements in electronic music that make them timeless, elements that if melted together they can give an impressive result, to the mind and to the body. Sawlin - Ursprung is the first album of the career of Sawlin, after his debut in 2010 he evolved like a wonderful orchid, an orchid that never followed the flow of the other flowers around him, but found his own way to the music. Ursprung is the result of an interminable evolution in the mind of the artist, 8 elements that complete a circle built on a very mysterious atmosphere, like a film that you never saw, but you always had in your head, something more bigger then a memory, and something more deep then a picture. This 8 elements are the blueprint of the work that comes from the background of the artist, Deep raw imaginary pictures, mixed with oldschool wallpapers of a new wall based on an old concrete. Sawlin Mix the new to the old in a way that no-one can do, and probably no-one risked to do. This is the power of an artist that needs more attention and more time, you can feel at the first listening that there is something really big going on, but you need time to understand what he wanted to create, meticulous details that he wanted to paint, in a way that we cannot see them at first, but we find them quite impressive after. Sawlin present himself in the most modern way he can, no compromises, he don't want to please you, he want to paint the future. in the most Artistic way possible.