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For his third album for Far Out Recordings, London based multi-instrumentalist and one of Europe's finest saxophonists Sean Khan ventures to Rio de Janeiro to collaborate with iconic Brazilian polymath Hermeto Pascoal. Taking its title from the escaped slave settlement 'Palmares' in the Northeast of Brazil during the 1600s, Palmares Fantasy is Khan's utopian jazz message for the world, and features Azymuth drummer Ivan 'Mamao' Conti, bassist Paulo Russo, guitarist Jim Mullen, and guest vocals from Brazilian chanteuse Sabrina Malheiros, and Cinematic Orchestra frontwoman Heidi Vogel.

Like Hermeto Pascoal, Sean Khan is a self-taught musician. Never able to afford his original dream of studying at Berklee, and having been turned away from Guildhall School of Music for being 'too raw', he became disillusioned with what he saw as the exclusivity, elitism and dangerous institutionalisation of the jazz world. Yet Sean's love for music and the drive to create never faltered.

Hermeto Pascoal, the man Miles Davis once dubbed the most impressive musician in the world', is a similarly independent artist. A true maverick whose ingenuity and freedom from conventional restraints is so great that he has essentially conceived his own musical language, made him the dream collaboration for Sean.

Aspiring to inclusivity and equality also informs the message in Khan's music. Inspired by the 17th Century settlement of Palmares in Brazil's Alagoas region, which was free from the Portuguese crown's murderous exploitation of South America for a century, Khan notes his fascination with the fact that while majoritively made up of escaped African slaves, many deserter conquistadors also joined the settlement.

Hearing the deep-grooving title track with this history in mind, the listener is transported to a futuristic musical eden, with Mamao's insatiable 10/8 rhythm back-boning Hermeto's wild improvised vocals, rhodes and whistles, while Sean's harmonically brilliant sax and flute add more layers of moody, characterful expression. 'Moment of Collapse' is Sean's poetic study on the uncertainties of modern day western civilisation, delicately presented by the gorgeous vocals of Heidi Vogel and drenched in lugubrious strings and Alice Coltrane-esque harp. The two covers on the album are of Hermeto's own 'Montreux' (on which Hermeto plays solos on a teapot and a pint of water), and an uplifting soulful jazz-funk take on Milton Nascimento & Lo Borges MPB classic 'Tudo Que Voce Podia Ser' featuring the vocals of pioneering nu-bossa voice Sabrina Malheiros.

The recording sessions for the album were part of an intensive and hugely productive eight-week excursion to South America for Far Out boss Joe Davis in the summer of 2016, which also saw the sessions for Azymuth's Fênix and a forthcoming album from Uruguayan fusion legend Hugo Fattoruso.

Fantastic' Gilles Peterson

Loving this!' Opolopo

Thank you!' Sassy J

Proper! Great track.' Colin Dale

this is great!' Yannick Elverfeld (RBMA / Needs Records)

I've enjoyed Sean Khan's earlier releases, but this really seems like he's grown into his fairly considerable talent.' Mark Sampson (Songlines)

His last album was his best so far, but I think this one may be even better.' Laurence Pragnell (Soul Brother Records)

dope!!!' Kyri (R2 Records)

this is great - really cool vibe!' Sam Redmore

wonderful track - can't wait to hear the lp.' Simon Harrison (Basic Soul Radio)

This is very tasty indeed.' Gavin Boyd (Soul Has No Tempo)

Stunning!!!' Mark Milz (Further In Fusion)

Oi Oi' Samuel Lloyd (Balamii Radio)

PRESS / ONLINE

VINYL FACTORY (UK) News (Anton Spice) 09/03/18 online

SOUNDS & COLOURS (UK) News (Gabriel Gahan) 09/03/18 online

THE WIRE (UK) Review confirmed (Joseph Stanard) print

EVENING STANDARD (UK) Review confirmed (Jane Cornwell) print + online

ECHOES MAGAZINE (UK) Review confirmed (Laurence Pragnell) print

LIBERATION (FR) Feature confirmed (Jacques Denis) print + online

MUSIC IS MY SANCTUARY (CA) Premiere confirmed (Mike Jones) online

JAZZ MAGAZINE (FR) Review confirmed (Frederic Goaty) print

SHINDIG! (UK) Review confirmed (Grahame Bent) print

MUSICA MACONDO (UK) Premiere confirmed (Tim Garcia) online

RAWCKUS MAGAZINE (USA) News (Randy Radic) online

KIND OF JAZZ (UK) Review confirmed (Fernando Rose) online

TONART MAGAZINE (DE) Review confirmed (Michael Moehring) print

WORLD MUSIC NETWORK (USA) Review confirmed (Raul Da Gama) online

BADD PRESS BLOG (USA) Review confirmed (Kevin Press) online

ORKESTER JOURNALEN (DK) Review confirmed (Patrik Sandberg) print

LIVE

WORLDWIDE FM (UK) Sean Khan live session confirmed (Gilles Peterson)

RADIO

BBC RADIO 6 (UK) Gilles Peterson - Palmares Fantasy (24/02/18) link

OTHER

BRITISH AIRWAYS On board BA flights (June 2018)

* The second in Joker's trio of special releases to commemorate 10 years of his Kapsize label is to release this coming May.
* Over the past decade, Kapsize has put out some of Joker's most defining work, including the iconic 'Purple City' (produced with Ginz) — a track widely recognised as ground zero for Joker's purple dubstep aesthetic — and 2015 album, 'The Mainframe', as well as early records from Asa & Sorrow and L-Wiz.
* To be released both on special edition vinyl, A-side 'Marching Orders' features legendary grime MC and producer, Footsie, who goes hard over Joker's monstrous instrumental — think relentless, hyper-distorted club hydraulics — even acknowledging him on the hook; 'Oi Joker this beat's sick, crazy'.

* On the flip, B-side 'Polka Dot' is equally as tough, despite the dizzying melodies and gentle tones of the track's opening throws, landing as a crunching melee of textbook Joker sounds.

Audio-visual artists Soundwalk Collective were granted exclusive access to the personal archive of the groundbreaking filmmaker and present their ambitious New Album and Remix EP: What We Leave Behind released on 18th & 25th May 2018.

The NYC and Berlin based group were invited to aurally explore the archive of the seminal French director Jean-Luc Godard and release their interpretations in an innovative new album What We Leave Behind. Drawing on Godard's personal collection of shot film, reel- to-reels and historical ephemera, the recordings reveal the moments before and after the camera rolls, from stage directions and on-set asides to rehearsals, false stars and outtakes.

'There are boxes filled with sounds, words, chaos, and also silence. For Godard sound is a musical composition and when I began listening to the tapes and heard his voice between takes, it was like little bits of life...each sound has its own value. It has always been part of our working practice to venture into untapped sonic territories, discover the poetics behind them, and explore how we (as humans) relate to it, it is part of a larger discourse.' - Stephan Crasneancki, Soundwalk Collective

Revealing much insight to the director's process and personality, the 6-track album will be followed by a remix EP, featuring unique reworks from Ricardo Villalobos, Jan Jelinek and Petre Inspirescu.

What We Leave Behind, and the subsequent remix EP, arrive 50 years to the day that the the Cannes Film Festival, 1968, was closed after Jean-Luc Godard, Francois Truffaut and Claude Lelouche, publicly announced their closing of the festival in solidarity with workers and students protesting across the country.

The LP features a conversation between Stephan Crasneanscki, of Soundwalk Collective, and Franc¸ois Musy, Jean-Luc Godard's sound engineer, printed on a translucent paper insert. The LP and Remix EP both contain imagery taken by Stephan Crasneanscki of the archives, which he has also filmed to create a series of mesmeric short music videos of original and remix tracks.

An international genre-bending group of artist-musicians with studios in New York City and Berlin, the three members of Soundwalk Collective (Stephan Crasneanscki, Simone Merli, and Kamran Sadeghi) formed in Manhattan to produce concept albums, sound installations, and live performances, and have worked with a diverse range of collaborators, from Nan Goldin and Patti Smith to Berghain and Zaha Hadid.

proper mixed bag this one.. soothing, grinding, banging, and disturbing!
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New York City by way of Miami, Alex Suarez delivers his debut lp the eight track "Autogolpe" for L.I.E.S. Autogolpe, is a term for military coup initiated by a dictator to take control of an existing government and Suarez uses this loose idea to create the sonic equivialent of the pain, strife, oppression, isolation, and joyous freedom associated with said act. Musically he expands on his prior releases for Bank and Primitive Languages as heavy industrialized sonic beatings sit next to somber passages, oil drum slow beat tribal clangers provide a back drop for screams shooting out of the dark. Musically it paints a distorted picture of world in decline, an exile from another land and arrivial to anothers in chaos or the clinging hope of something better on the other side.

Faitiche releases the album Improvisations And Edits, Tokyo 26.09.2001 on vinyl for the first time. For the original 2002 CD on Soup-Disk and Sub Rosa (Audiosphere), Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori - trumpet, Osamu Okubo - toys & electronics, Kei Ikeda - toys & electronics) presented eight tracks all recorded one afternoon in the trio's living room in Tokyo. They are excerpts from a joint group improvisation that subsequently underwent rudimentary editing, on which Jelinek and Computer Soup worked separately.

Jelinek met the three musicians at his first concert in Japan in 2001, at Tokyo's Yellow club, where Computer Soup performed as the support act. Delighted by their free improvisation on pocket-sized electronic toys, trumpet and oscillators, he arranged to meet Hori, Okubo and Ikeda a few days later for a session at their apartment. The resulting three-hour recording, made on their living room floor, formed the basis for Improvisations and Edits. A few days later, Jelinek returned to Berlin. Over the following months, they separately chose passages from the recording that were then edited and assembled into an album.

Formed in Tokyo in 1996 as a quintet (including Shusaku Hariya and Daisuke Oishi), Computer Soup began by performing with acoustic instruments on the streets of Shibuya. Ikeda und Okubo soon switched instruments, and from then on the group's minimalistic but densely woven sound was defined by electronic toys, oscillators and Satoru Hori's trumpet. Their first album was released in 1997 on the Japanese label Soup Disk. Eight further releases followed.

From the reviews of Improvisations and Edits, Tokyo 26.09.2001 in 2003:

"The mind-blowing first track Straight Life is perhaps the best example of what the album has to offer. Jelinek's trademark smears and washes occupy the midrange, like ghosted images of Joe Zawinul's electric piano floating quietly in the wind. DSP jazz modes are set against a walking bassline (possibly computer generated) and a gently tooted trumpet complete with Harmon mute, a dead ringer for Miles Davis' Prestige-era ballads. The effect is something like a three-dimensional film, with different realities on each layer, images of what jazz was manage to interact with a real-time demonstration of all it could be."
pitchfork, 2003

"Improvisations and Edits is a warm and mellow Ambient release with beautiful glitch fragments, static noise bursts and real trumpet intersections. However, there are times where it is the exact opposite, mainly effect-laden, overdriven and bouncy with a lack of melodies and focus, so be aware of these specific tracks."
ambientexotica, 2003

"Often deliciously dreamy and hazy, Improvisations and Edits is like listening to an exceptional instrumental jazz performance while half-conscious or under some sort of chemical influence. Computerised blips and bleeps, loops and treatments and murky sonic skips curl up around desolate horn notes and scattered instrumental noises that culminate in elegant music."
exclaim.ca, 2003

Black To Comm's Marc Richter returns under his Jemh Circs guise for a 2nd album of sonic abstractions. In contrast to Black To Comm's analogue tape and vinyl based sound, in Jemh Circs he works with digital sources by primarily sampling modern Pop Music (and various other oddities) on YouTube (et al.) and sending chunks of it through a variety of arcane transformations and mutations.Using similar esoteric methods as on his 2016 debut album but with very different results the record deconstructs the hypermodern sound of Pop Music with a Post Punk attitude, energy and primitivism. Richter's combining disparate elements that shouldn't really work together but somehow all the chaos is making strange sense creating a collection of oddly diverging sonic vignettes with a surreal and anarchic spirit. This is music deeply rooted in the present but still difficult to pinpoint to a certain year or style."(untitled) Kingdom" converts a seemingly one-dimensional concept into a complex puzzle of ideas, sounds and narratives, completely assimilating the original sources and transforming them into novel entities with an unexpected melodic and rhythmic quality.Some press clips for previous releases:The overall effect is quite remarkable. Each track is like a hologram of pop music itself, a tiny part that reflects the whole. You almost feel that you could open them out and re-create entire popular music cultures. We'll be grateful for that when the next solar storm fries all of our hard drives. (Ian Sherred / The Sound Projector) In that way Jemh Circs is a record about process - not just how Richter loops and distorts and mutates his samples, but how the sounds of pop music create a particular sonic signature, one that gets more interesting the farther they're pulled from their original context. (Marc Masters / The Out Door) Recycling random audio off YouTube, Jemh Circs' process couldn't be less sentimental, but the results turn out to be sneakily emotive. (Philip Sherburne / Pitchfork)

Transmitting treacherous local energy into his new creative undertakings, Bogdan now joins the Not An Animal force keeping the flame well and truly ignited. A'Parovoznikov' fires across all cylinders with a vigorous Italo-arp bass motor, driving it further down the cosmic highway, engine doused in fully-lubricated synth-pad oil.Justin Van Der Volgen's remix swiftly rips the wing mirror clean off with a zealous two-to-the-floor-hitting blowout. On the B, 'Listopad' cruises top down with a more Balearic approach. A dreamy square bass glissades alongside percussive hats and succulent pads that shuffle within the horizon, whilst computer bleeps chomp and add an intensifying clarity. Kito Jempere's remix closes the release with his first contribution to the label. It lifts up the original and drives towards sundown into moonlight. Warping bass tones squelch against fetching stabs and brash breaks keeping this track fully pulsating.

In those times of newfound experimental conformity, it is sometimes needed to go back to simplicity. This may be where DJ OIL is leading us to. You think you know what you can expect but common ground is not always in your head, it is sometimes under your feet.

This is the second 12' of the BREF AVENIR collection (to be released digitally later this month), our Southern activist using well-known tropes and samples to provide necessary confusion.

TELEPHUNK is nothing else than a monster breakbeat funk (away from the new Lynn Collins dictatorship), unfashionably cool if you see what we mean. If PARESSE is its twin dark sister, locking electro in its black music roots whilst remaining strangely 'European', then FALL is its downer baggy brother.

From the darkest corners of the RCA vaults we bring you this super rare and wonderful, tripped out cosmic-psych rarity on 45!
From 1977 this double-header is an Eastern themed, moog driven oddity from the mysteriously monikered Kamel Oil Company. Written by the legendary Bob Azzam, Eddie Barclay (founder of Barclay Records) & Greek record company owner Antoine Flamaritis, 'Mustapha' is an exotica soaked orchestral monster with choir vocals and string arrangements that only the big boys could call in. This is a serious left-field nugget from the vaults of one of the biggest majors, one ends up thinking - 'how did this come about!'. On the flip-side we have 'Petrolo En Bruto', which is the real gem here, undoubtedly this one will appeal to fans of the far flung reaches of world music and psych, even those of you who dig the various flavours of Funk from around the globe. A truly special and unique record here, often sought after by the deepest of the crate diggers and obscure sound searchers on a promo 45, this rare EP now sees a fully legit reissue. Made in conjunction with Above Board distribution and RCA this reissue is sourced from their vaults using original materials and remastered and repressed to the highest standard for 2018 and featuring all original 1977 RCA label artwork.

This record is special release for the label. It's a tune I have been chasing for years and just had to get released so that everybody can own a copy. Originally written in 2006, Snow Forest was a Slew Dem anthem and when I got to know Spooky in 2009 it was one of the first tunes I asked him for. Rarely given out to anyone, it was one of my favourite dubs but I always dreamt of putting it out on my label. After finding the original CD that Spooky gave me back in 2010 the time was right to finally get it pressed up on vinyl and in the shops. Backed with Funky Dub, a tune from 2009 that still gets a massive reaction.
This release shows that good music is timeless, simultaneously cartoonish and menacing with a blend of rudest bass and daftest melody in a proper UK style.

10" aqua green coloured translucent vinyl in pvc sleeve with sticker

Following our first release with Opal, which aimed at the dance and the bodies, we wanted with this second EP to reach to people's mind. As a Geneva-based techno label, it was fundamental to work with our local hero: Opuswerk. He's already been working outside of the country with artists like Fran ois X and labels such as ARTS, Semantica or Dement3d. It was time we involved him in our project. Through this EP, Opuswerk clearly shows what he knows and does best. Much like his DJ Sets, he connects dots and layers in unexpected ways, like a rhizome connecting different multiplicities. Inspiration for the original tracks came from designing systems of independent yet connected sounds, where events are triggered, un-triggered and alter other events, each behaving on their own. As one of those elements, the artist acts as a guide, directing them from one place to the next acting as and with the machines. The "mot d'ordre" is about becoming one of the machines, blending techniques with vibes and catching them like ever escaping dreams. The result is two uniquely sounding spaces, either filled with raw energy like on Extensum or with subtle and serene ever-evolving bleeps on Spatium. Those two extremes are fitting to how we want present the multiple dimensions of our artist's works to the world. The same logic went into choosing the remixers, with whom Opuswerk had a human connection with. Inland and Antigone need no introductions, having both established their sound on labels like Countercharge or Token. Each brought their own re-interpretations of the original tracks bringing them closer to the dancefloors.

The Afro-Funk side of the Latin Soul maestro!

Born in Gao (Mali), Boncana Maïga is one of the most talented and popular producer of West-African music since the 60's. He studied flute and Latin arrangements in Cuba during the 60's and founded the famous Les Maravillas du Mali' in 1968.

He became orchestra leader for the national Ivorian TV in Abidjan in the mid-seventies, and toured all over the world with the famous Africando band. During his recording sessions in NYC at the beginning of the 80's with a lot of Latin musicians' from Puerto Rico, Venezuela or Colombia, Boncana Maïga also recorded few rare Funky tracks with heavy breaks!

With the artist, we decided to reissue four rare tracks from 1978 to 1982 dedicated to dancefloor, including a really rare soundtrack for the oil company of Ivory Coast called Petroci'.

In 2018, he'll be back on tour with Les Maravillas du Mali', still have a weekly TV show on TV5 Monde and with this reissue will continue to warm your Afro-Funk parties!

Fully licensed, 12inch vinyl (45 RPM) including interview. Remastered by The Carvery!

Having been an electronic activist in Marseille for more two decades and more, DJ OIL is now a firm staple of LDDLM. Following the RAIN ep released in the summer 2016, here is the first 2018 outing from us: the already bubbling HERITAGE ep.
'Heritage' has been an Ivan Smagghe (and a few others) secret weapon for more than a year now, a strange sampladelic track featuring a full Marcus Garvey speech. A subtle yet powerful appropriation of early house clichés, the hit has one feet in tradition, one feet in political modernity.The EP comes with two more warped cuts: the slow guitar swamp of 'Brouillage' and the System 01/McKenna influenced 'May Be'. Psychedelics and sun.
A second 12' by DJ OIL will follow shortly, doubled with a full digital release of the two EP's with digital extras.
Expect new releases from our camp by Rheinzand, Init, Johnson and more...

"Invisible Cities", the first collaboration between AIDAN BAKER (NADJA, B/B/S) and bass clarinetist GARETH DAVIS (OISEAUX-TEMPÊTE), offers finest ambient / chamber jazz / subtle drones of a highly meditative quality. Available as 180gr LP and download.

Be it solo, as member of the drone duo NADJA or B/B/S (his trio with ANDREA BELFI and ERIK SKODVIN / SVARTE GREINER) or in various collaborations with artists like TIM HECKER or THISQUIETARMY: the Berlin-based Canadian is one of the most productive and versatile artists when it's about postrock, drone or ambient and without doubt a true master on his instrument, the guitar. In recent years BAKER also starting exploring new grounds as a composer of contemporary / ensemble music - e.g. his composition "An Instance Of Rising" was commissioned by SPÓLDZIELNIA MUZYCZNA CONTEMPORARY ENSEMBLE and SACRUM PROFANUM FESTIVAL for their 2017 edition. "Invisible Cities" marks BAKER's first collaboration with GARETH DAVIS whose eclectic oeuvrespans contemporary classical, free improvisation and orchestral music through to rock, noise and electronica. The bass clarinetist is a steady member of the critically acclaimed post-rock formationOISEAUX-TEMPÊTE and A-SUN AMISSA, interpreted compositions by ALVIN LUCIER with MACHINEFABRIEK, worked with BERNHARD LANG and PETER ABLINGER, performed with musicians likeNY Downtown veteran Elliott Sharp, MERZBOW or ROBIN RIMBAUD (aka SCANNER) and realized multimedia work with artists including CHRISTIAN MARCLAY and PETER GREENAWAY.

Recorded in November 2016 at MUZIEKHUIS, Utrecht, the four tracks create a calm, even meditative atmosphere in their reduced manner that gives much room to the individual instruments / sounds, occasionally spiced up by field recordings that intensify the overall chamber jazz / ambient moods.

Henrique Oliveira aka HNQO, is the man responsible for this exciting full album release on DOC Records.

HNQO

is one of the fastest rising young stars in the techno, house and indie dance scene in Brazil.
Causing much attention and hype with his recent EP release on DOC Records (Balinese Death - also featured in MAGNUM VOL 1) and having reach the

#1 spot at Hot Creations Top selling single, it is time to introduce his first album "The Old Door", (influenced by Marlin Stimming and Anders Trentemøller, two of his heroes).
A weird string sound marks the opening of "The OId Door".

By mixing old sounds with new ideas, while recording different instruments, the track shows HNQO's life and it features Urzula Amen in the vocals.

"The Death of the Elephant' is a soundtrack to remind us how destructive human kind has been to the nature. Using sounds of Pizzicato Violin, "40s Cartoon' continues to take us to a journey through the artist's imagination.


The album is filled with the Henrique life moments during the year it took to produce the album.

For an example in "Egyptian Lover" HNQO describes how nice it would have been to have a lover flying overnight.

On this track Russian singer Cotry interprets the lyrics.

"Fallen Angel" is a dramatic piece telling a story still about flying.

"If" is another collaboration with the amazing Urzula Amen.


As we get closer to the end, when its finally time, 'Light a Cigarette' reaches a melancholic state where all melodies were recorded with eyes shut and in complete darkness.

A spiritual moment that became Henrique's favourite track of this project.

The scratch of a match, the flame and then a foggy synth that releases all the feelings in sound waves.
The album cover was inspired on a door.

A door that HNQO was able to enter by playing certain keys on his synths, percussions and strings that allowed him to reach a organic level while making it all a bit more human in terms of groove construction.
A poem from Rai Knight was perfect fit to give the density for the digital bonus track.
To get a better feel of what this album has to say, HNQO invites you to open 'The Old Door"

Die klingt genau so, wie sie heißt: farbenprächtig, schwurbelig, episodenhaft und manchmal richtig schön beknackt. Siriusmo nistet sich auch mit seinem dritten Album wieder an seinem ganz eigenen Plätzchen in der elektronischen Musik ein, indem er alle möglichen Stile und Vorlieben durch seinen persönlichen Filter schickt, notorisch tiefstapelt, maßlos übertreibt und immer auf dem Punkt landet. Siriusmo ist der Vordenker, der gar keiner sein will. "Comic" ist ein perfekt unperfektes Selbstportrait und enthält - in des Meisters eigenen Worten - "14 bunte Geschichten zum Selbstausmalen. Aber keine Bange, diese Geschichten erwachen von ganz allein zum Leben. Vergleiche sind überflüssig, nur einer drängt sich auf: Sowohl melodische Vintage-Electro-Romanzen wie "Dagoberta" als auch fuchsteufelswilde Arrangements wie "Bleat" ziehen Parallelen zu alten Squarepusher-Platten. Statt Jazz und Jungle bestimmt bei Moritz eben die Berliner Sozialisation den Sound.

(en) Constantly on the move, never standing still. Always looking ahead and never back. Everything sooner rather than later. This is what our modern lifestyles feel like, keeping us prisoners in the wake of time while everything around us is in a permanent state of change. It seems as though Andrei Anto- nets, aka OID, could sing a song, or at least produce a track about it. But rather than the soundtrack to our hurriedness, the Russian musician has seemingly created the opposite with his new track - Perma- nent Departure'. He achieves this by letting various sounds meander alongside a bass drum for about eleven minutes. Guitars, pads, Hi-Hats, everything comes and goes, arranged with tremendous flair. Antonets has already proven his capability to do exactly this with his project Alexandroid or with his work on labels like Pampa and Sealt Records.
The French Band dOP's remix on the B-side is much shorter but sends us on the same trip as the ori- ginal. Shortened to just eight minutes with a slightly new route, the dOP remix takes us directly to the club and peak time for the advanced. If we have to have a departure, then this is the way.
Also available as a digital mini album together with the MMR 28 and four other tracks by OID.
(de) Stets auf Achse, immer unterwegs. Den Blick geradeaus, nie zuru¨ck. Und alles lieber heute als morgen. So fu¨hlt es sich an, das moderne Leben, das uns gefangen im Sog der Zeit und alles um uns herum im permanenten Aufbruch ha¨lt. Es scheint so, als ko¨nnte Andrei Antonets alias OID ein Lied davon singen - oder zumindest einen Track dazu produzieren. Doch statt den Soundtrack zur Hast, erschafft der Russe mit - Permanent Departure' lieber einen kontemplativen Gegenentwurf dazu. Knapp elf Minuten lang la¨sst er dafu¨r weitla¨ufige Sounds entlang der Bassdrum ma¨andern. Gitarren, Pads, Hi-Hats, alles kommt und geht, arrangiert mit massig Gespu¨r statt purem Geto¨se. Dass Antonets genau das kann, hat er bereits zuvor mit seinem Projekt Alexandroid oder auf Labels wie Pampa und Sealt Records bewiesen.
Fu¨r die Ru¨ckseite lo¨sen die drei Franzosen von dOP mit ihrem Remix von - Permanent Departure' hin- gegen nur ein Kurzstrecken-Ticket - das uns aber genauso auf einen Trip wie das Original schickt. Auf acht Minuten und eine neue Route verku¨rzt, steuert der dOP-Remix ohne große Umwege geradeaus gen Club und die Peaktime fu¨r Fortgeschrittene. Wenn schon Abfahrt, dann bitte so. Auch als digitales Mini-Album zusammen mit der MMR 28 und vier weiteren Tracks von OID erha¨ltlich.

Dark Entries is proud to release the latest offering from Bézier, a 3-track EP titled 'Primes'. Bézier is the moniker of San Francisco based musician Robert Yang, who is also part of the Honey Soundsystem crew. A multi-instrumentalist, Robert planted his roots in San Francisco in 2005. Over the years in SF he has built an impressive analog synth-based studio, which also serves as the creative hub for his riveting live performances.

'Primes' represents the theme of primordial origins and creation with three tracks that explore disparate, sonic environments in each song. The title track flows and ebbs like currents in an oil slick. Out of something messy (like primordial ooze) arises organized chaos. 'Stranger' is a moody dark electro/wave track for a sweaty night cruising on the west coast of Holland. Set against an underwater sound canvas the song features seductive guest vocals and lyrics by Nicole Ginelli. Doc Sleep of Jacktone Records provides additional production duties. The final track, 'Imperial Tranz Am', is an airy, ethereal slow burner clocking in at over 13 minutes. It originally appeared as the soundtrack to an experimental queer fantasy film of the same name by SF film maker Aron Kantor.

All songs have been mixed by Mark Pistel (Meat Beat Manifesto, Consolidated) at Room 5, San Francisco and EQed for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a jacket featuring a Quadtone pastel earthtone of pixelated celluar ooze designed by Eloise Leigh. Each EP includes a postcard with an image still from the 'Imperial Tranz-Am' movie. 'Do I hear what I see, is it real or just a feeling, a vibration of N-R-G.'