Search:painting

Welcome to the realm of creator and mentor Michael Wadada, the man behind the exotic manoeuvres of Suns of Arqa, one of the most sought after world beat fusion project of the early eighties. His main goal was to increase the vibrations of classical Indian raga with the rhythms of Niyabinghi drumming, epitomized in England by contemporary dub producers. Released in 1980 on Manchester’s own Rock Steady Records, Revenge Of The Mozabites is an essential masterpiece paving the way for future over the border contamination. Deeply informed by cosmic mysticism the album still reverberates with the hidden sounds of earth & soul.

The story of Del cuarto rojo (From The Red Room) began in March 2020, when the Peruvian composer and percussionist Manongo Mujica received a call notifying him that the visual artist Rafael Hastings, his friend of almost half a century, had passed away. Since then, and in the midst of the pandemic, Manongo Mujica began a personal journey searching for sounds, which has resulted in a new set of pieces that evoke the memory of a friendship. Del cuarto rojo (From The Red Room), subtitled Homenaje sonoro escuchando la pintura de Rafael Hastings (Sound Tribute Listening To Rafael Hastings' Paintings), is Manongo Mujica's new album, and it has also motivated the preparation of a new show by the dancer and choreographer Yvonne von Mollendorff, wife of Hastings. The history of this friendship dates back to 1974, when a young Manongo returned to Lima, after ten years living in London, while young Rafael Hastings and Yvonne von Mollendorff settled in Peru after a long period in Europe. Since then, the collaborations between these artists have been continuous, always marked by an experimental impetus. The attitude of listening to images and painting sounds was more than a metaphor and became a code that identified them and a way of working, where the crossing of disciplines set the tone, both in video works and in unusual visual / conceptual scores, works of dance and experimental music, in the context of a creative effervescence that renewed the arts and music in Lima in the 70s. Del cuarto rojo is an album that integrates many of the musical resources developed by Mujica. It is an amalgam that well sums up his own language: from the creation of environments with extended techniques and objects, to experiments in jazz fusion; from the use of field recordings and sound montages to compositions with string arrangements: everything around the hypnotic pulse of percussion and drums, which oscillate between moments of subtlety and explosive improvisation. The album features the participation of outstanding musicians such as Pauchi Sasaki (violin), José Quezada (cello), Terje Evensen (electronic effects), Jean Pierre Magnet (Saxophone), Cristobal, Daniel and Gabriel Mujica (sons of Manongo Mujica, on percussion, string and wind arrangements). It is published in vinyl LP and includes a full color 12-page booklet with a sample of Rafael Hastings' visual art, which also illustrates the album cover.

With its name indicative of the music's boundary-testing diversity and Southwestern inspiration, On the Border finds the Eagles leaving everything on the table and embracing a harder edge that takes the band out of more relaxed territory and establishes it as a group that knows how – and wants – to rock. Glenn Frey, Don Henley, new member Don Felder, and company immediately announce their intent on the defiant album-opening hit "Already Gone" and never look back, crafting a gem of a record that from start to finish is arguably their most consistent and balanced effort.

Limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's significance and enhances the experience for generations to come. Playing with reference sonics that elevate an effort revered by audiophiles, it provides a lively, dynamic, transparent, and intimate view of a release whose contemporary importance continues to grow. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and gorgeous presentation of the UD1S On the Border pressing befit its select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic Navajo cover painting to the meticulous finishes.

And with On the Border, there's plenty to take in and soak up. Declared by famed critic Robert Christgau as "the Eagles' best album," the 1974 set claims a rich backstory. Initially recorded amid tumultuous sessions with producer Glyn Johns in London shortly after the release of the group's sophomore Desperado set, On the Border took a new turn after the band elected to scrap most of the prior work, return to its native California, and team with producer Bill Szymczyk to give the material less of a smooth, polished sheen and more toughness. Szymczyk also afforded the Eagles more input and freedom in the arrangements, and suggested adding another guitarist to play on "Good Day in Hell." Felder got the call, and so won over the Eagles with his skills, he quickly became the fifth member of the band.

While the late-arriving Felder only plays on one other album cut, "Already Gone," his mates more than prove their muster on the remainder of a double-platinum affair that established the Eagles as a force whose range transcended the calmer country-leaning style it perfected on their first two LPs. Primarily written by Jackson Browne and shelved during the Desperado sessions due to its higher-energy nature, the throttle-twisting "James Dean" ricochets with barbed riffs and rebellious swagger. Listen without limits to how Szymczyk's raw production stamps the song with a leather-and-jeans cool befitting its protagonist. Similarly rugged, the slide-guitar-fueled "Good Day in Hell" boasts its own mean streak. And the funk-laced, boot-stomping title track cautions "don't you tell me 'bout your law and order." Throughout On the Border, the Eagles are in no mood to mess around.

Not that the band skirts sentimental territory. On one of the era's finest covers, the Eagles nail the bittersweet feelings and bring high-definition detail to the vivid scenery of Tom Waits' "Ol' '55," a song the group makes its own. The rustic ballad "My Man" serves as a tribute to the recently deceased Gram Parsons, with singer-guitarist Bernie Leadon taking the lead on the microphone as he pours his heart out to his former Flying Burrito Brothers mate. And when it comes to romance, is it possible to top "Best of My Love"? Graced with Henley's honey-dipped vocals, refined wordless group harmonies, brushed drums, and the gentle strum of acoustic guitars, the Johns-produced cut soared to Number One and set the stage for what would soon be the Eagles' reality: global dominance.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master recording. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

Vector Lovers has remained a firm favourite of the underground electronic music scene cognoscenti and holds a coveted place among the most hallowed of record shelves, and with good reason. Since the early 2000s Martin Wheeler has explored a sparse audio wasteland in order to develop a new sonic palette that looks outward to electro, IDM and ambient.

After self-releasing a handful of his own productions on the Iwari label, Wheeler’s career defining album was signed by British label Soma in 2005, leading to the first great revival of 90s IDM. Capsule for One' was an unrivalled masterpiece that perfectly synthesised the heritage of the Hardcore Continuum with renewed airs and degree of clarity that ushered in a new millennia and sound. It arrived as a worthy successor to the venerated Warp artists of the time, while embracing new panoramas and technologies.

Capsule for One' is a melancholic album, with an almost cosmic spirituality that provokes daydreaming. From its opening track 'City Lights From a Train' it welcomes the listener onto an infinite journey at the speed of light, connecting the past, present and future, folding time and space and painting neon cities populated by cyborgs. The album reaches its zenith with 'Melodies and Memory', featuring Wheeler’s very own voice, which has arguably become one of this century’s greatest electronic ballads to date. In fact, the impact of 'Capsule for One' was such that Tracey Thorn commissioned him to produce her song 'Easy', from the album 'Out of the Woods' Virgin, 2007.

For its forthcoming release on Lapsus Records, Martin Wheeler has remixed each and every song on 'Capsule for One', as well as adding two previously unreleased tracks 'A Simulation' and 'Perfect Score', both produced around the same epoch. This extra special release, with artwork redesigned by Josep Basora, features a double marbled vinyl and a limited edition insert print.

Compilation of our favorite Arvo Pärt pieces. All sparse and beautiful arrangements. Some solo piano pieces, some duets with piano, violin cello and viola and one string quartet. The pieces on this record are all unique to the style of Arvo Pärt - deceptively simple compositions that force you to live in the moment you are listening to them. A Pärt quote from the back of the record - "You can kill people with sound. And if you can kill, then maybe there is also the sound that is opposite of killing. And the distance between these two points is very big. And you are free -- you can choose. In art everything is possible, but everything is not necessary."

This record comes in a beautiful "tip on" old school cover with metallic gold foil and features an incredible painting from the 16th century manuscript Kometenbuch.

Ernest Hood’s Neighborhoods was released some two decades after the Portland, Oregon born and raised musician’s first forays into field recordings. These very recordings, and those captured over intervening years, define the universal sound and aural images of childhood, a theme memorialized by Hood’s privatelypressed opus of 1975.

Sprawling through a haze of zither, synthesizer melodies, and foraged pedestrian sound, Neighborhoods is both a score and documentary composed and directed by Hood to offer, in his words, joy in reminiscence. Hood’s nostalgic impulse ran parallel to the developments of other artists, writers, and filmmakers of the 1970s who were looking back to the 1950s to convey a collective memory of childhood. Unlike some of the widely embraced work of this nature, the music of Neighborhoods eschews irony or detachment for lucidity, striving above all for a dream-like return to the details of sensory memory.

Born into a musical lineage, Hood’s early, promising career as a guitarist in a globetrotting jazz outfit was cut short when he contracted polio in his late twenties. Moving from guitar to less physically-demanding stringed instruments in the late 1940s, Hood first began implementing field recordings in his jazz ensemble collaborations as early as 1956. In 1961, Hood and trumpeter Jim Smith collaborated on a local Portland television program, with their large, tight ensemble providing breakneck contemporary jazz for an action painting by famed West Coast modernist painter Louis Bunce. Hood incorporated his own field-recorded sounds of birds in the performance – an element that would resurface in Neighborhoods with great abundance among other found sounds.

Human Remains follows Creatures of the Deep and Black Sarabande as the final installment of a trilogy of piano based recordings by Robert Haigh for Unseen Worlds. The trilogy marks the end of the late era of solo albums by Haigh before he steps away from music production.

The title, Human Remains, was initially based on a painting of the same name by Haigh that is suggestive of an ancient structure resolute in the wake of overwhelming forces. As a metaphor for our current times, it could be interpreted as human frailty in the face of nature’s unyielding dominion. Conversely, it could represent the persistence of human spirit and resourcefulness in the midst of catastrophe and upheaval.

The ECM New Series debut of Evgueni Galperin is one of the most
strikingly original and evocative albums of the year
A composer of Russian and Ukrainian heritage, currently based in France,
Galperin is working with sound, texture and dynamics in new and powerfully
expressive ways. As he explains, the sound world of Theory of Becoming
represents an "augmented reality of acoustic instruments, created from
recordings made with real and virtual instruments. The numerous
transformations the instruments undergo allow me to capture their acoustic
nature while also adding techniques and colours impossible to produce in
reality..."
Galperin's compositions address wide ranging subjects: from the resilience of
hope in the face of destruction to meditations on the journey of the soul, as well
as travels through space and through the magical forests of Max Ernst's
paintings.
Theory of Becoming was recorded and mixed 2020-21 in Paris, at Studio EPG and
Studios de la Seine and was produced by Manfred Eicher.
Evgueni Galperine: composition
Maria Vasyukova: voice
Sergei Nakariakov: trumpet
Sebastien Hurtaud: cello

*Ltd Coloured Vinyl on Transparent Blue Vinyl* London-based musician and producer Ryan Lee West, aka Rival Consoles, creates driving, experimental electronic music that makes synthesisers sound human. His consistent desire to create a more organic, living sound, sees him forming pieces that capture a sense of songwriting behind the machines.

‘Now Is’ marks a new chapter in an ongoing quest for refinement and evolution. More playful and melodic, the album draws from much experimentation in minimalist songwriting and seamlessly blends synthesisers and acoustic instruments. “There are some pieces that are influenced quite strongly by the isolation and anxiety of these times. There are also pieces which are more optimistic and vibrant, which I think is a consistent attitude of my records, as I want art to express many aspects of life.”

From the elevating arrangements of ‘Beginnings’ and motorik beats of ‘World Turns’, to the isolation of ‘Frontiers’, influenced by the barren landscapes of Iceland, Rival Consoles’ eighth studio album subtly morphs and evolves. “The title of the record ‘Now Is’ interests me because it is the beginning of a statement, but it is incomplete. I like art that is open and suggestive of ideas even if they are inspired by very specific things. With my previous record ‘Overflow’ being very dark, heavy and almost dystopian, I wanted to escape into a different world with this music and ended up creating a record which is a lot more colourful and euphoric.”

For the sonic ‘Vision of Self’, West looked to create the kind of movement and colour a string section in an orchestra would construct, but with synthesisers. “I think there’s a lot of synergy between the two worlds. I wanted to create a hypnotic journey, where the synths and sounds weave in and out of each other, so you get lost in the music and don’t know where one sound starts or another ends.” This “journey” West refers to is symbiotic of the way he has approached music throughout a progressive career – an ongoing project that is never static and always moving forward.

A sense of euphoria is reached with the pulsating title track which bursts into colour like the appearance of the summer sun, while ‘Echoes’ is a vivid exploration of rhythm and sound for summer nights. The track starts with a dense collage of modular synths, fragmented metallic tones, broken sounding drums and a downcast melodic synth line. “This is a piece where the main melody has been in my head for a long time and was just waiting to come out. I kind of think of it as the sonic equivalent to an impressionist painting in that I wanted to explore the sensation of lots of small layers of different colours and textures that are constantly moving around each other.”

Rival Consoles is set to appear at festivals across Europe this summer, with headline shows expected to follow in the autumn.

Zopelar arrives on Tartelet with Charme - an album of effervescent machine funk harking back to a golden era of Brazilian party music, releasing October 21st.

The era of interest for Sao Paulo’s Pedro Zopelar begins in the 1980s in Rio de Janeiro, when a particular phenomenon caught on at suburban parties which became known as Charme. “Charme was like a mix of slow boogie, RnB and new jack swing,” explains Zopelar. “DJ Corello started calling ‘charme’ the moment of the party when he played slow grooves and felt that the people started dancing differently, with sexier synchronized moves. Some years later, charme evolved from an awaited moment of a night to a whole movement of parties just playing that kind of music. On this record I tried to make something that brings this emotional feeling to my music in a modern way.”

Much like the original genre-not-genre he drew inspiration from, Zopelar’s approach across his latest LP spans different moods and tempos. There’s blissful, sultry mystery lingering around ‘Clara’ and ‘Do You Feel?’ while OSAGIE lends some chops to the exquisite, Rompler-powered synth funk of ‘Chain Net’. The lead singles ‘Shibuya’, ‘Charme’ and ‘Passado’ all tap into varying shades of deep house, from slinky City Pop-tinted loungers to peak-time dance pop and Larry Heard-influenced flavours, with the constant being Zopelar’s immaculate production and the unbridled warmth of his compositions.

Continuing the Latin-rooted theme of the album, the artworkconception of Charme was realized by multidisciplinary artist and curator Ode, showcasing a popular style of street paintings made by anonymous artists throughout Latin America. It’s not about graffiti-culture but a popular solution utilized by small restaurants, bars and other establishments to use their own walls for commercial purposes, hiring artists to paint food and drink menus or other information about their products.

With an emotional sincerity stemming from his move to reconnect with the Brazilian dimension of his creative background, Charme arrives as Zopelar’s heartfelt celebration of life and music, of sentimental moments shared and good times enjoyed.

What is this?

This delight of flicker and bent landing so delicately upon the ear?

It’s “peeled”, JJ+JS’ first outing on Daisart. It’s their second album, following their 2020 debut release as a duo, “1”, which saw JJ – John Jones (AV Moves, Geo Rip, among others) – and JS – Jesse Sappell (of Motion Ward) – flex their collaborative energies across an album of deep, textured meanderings in rhythm and sound on the perennial Lillerne Tapes. “peeled” sees the two pick up where they left off and veer into a ~ place ~ of sound, of sorts.

This place is likely familiar to those following the duo's output and goings-on, as one together and as themselves apart, but with a tweak to the framing of projects past, naturally. Where we find ourselves with “peeled” is reflective of the two’s interest in jamming without a specific destination in mind, a distillation of the two’s interests in a range of sounds and styles.

And though there is some arcane resemblance to all manner of ethereal music of the past, on this vaporous dream of a record, the haze shimmers somehow; the shake’s shudder is dissimilar.

There’s a pair of key interventions on this collection: one a wistful vocal guesting from Izella on the not-quite-folk mood ‘Lily Pad’, the other on ‘Syntropy’, where Daisart’s J pitches layers of texture and chord in polyrhythmic impression. Both bring something refined to the table on which JJ+JS work air into mirage, color into scene, folding the mundane into the magical.

For those of you versed in the catalogs of picnic, Motion Ward, West Mineral, and Experiences Ltd, a wander akin awaits on “peeled” – but this is not a much of a muchness likeness; more so a refreshing, important addition to the expanding catalog these two artists are crafting.

– Nico Callaghan

Human Remains follows Creatures of the Deep and Black Sarabande as the final installment of a trilogy of piano based recordings by Robert Haigh for Unseen Worlds. The trilogy marks the end of the late era of solo albums by Haigh before he steps away from music production. The title, Human Remains, was initially based on a painting of the same name by Haigh that is suggestive of an ancient structure resolute in the wake of overwhelming forces. As a metaphor for our current times, it could be interpreted as human frailty in the face of nature's unyielding dominion. Conversely, it could represent the persistence of human spirit and resourcefulness in the midst of catastrophe and upheaval. The album opens with 'Beginner's Mind' - a semi-improvised motif develops into an impressionistic refrain. This is followed by "Twilight Flowers" and "Waltz On Treated Wire" - intimate, monochrome piano portraits. Later tracks such as "Lost Albion" and "Signs Of Life" build on skeletal piano motifs with subtle electronic washes, textures and field sounds. The album ends with the elegiac "On Terminus Hill" where a stately piano refrain explores a series of sparse harmonic variations evoking a sense of closure.

We, the label, asked Ben Wallers (ex-Country Teasers) to write a press release for his new album. "Press Release And Give Me The Disc as Peter said to Murphy said to Daniel said to Ash said to J said to the drummer subs please check name was it Martyn Atkins? No... scratch that please Roger, there's nothing funny about not knowing all the members of Bauhaus. Announcing the new album by The Rebel, yay! Wow! Fucking hell, great! How long is it this time? Oh it's getting on for the optimal 45 mins. Fit on side of a D90 but go bit wobbly near end of SA90. I am listening to my copy on vinyl record, it's much better than tape. That's the intro. Once upon a time there was a man/boy a sort of immature Peter's Pan type pan-pipe type who COULDNT WOULDNT grow up a bit like Keith Richards and who er where was i? The Vagina Museum is very near Maureen Paley's art gallery where if you hurry you can see some INCREDIBLY GOOD paintings/art. Anyway once upon a time it was february 2021 if that's last year or 2020 if it was the one before that, i've lost count, honestly this Covid thing is SO confusing isn't it? Anyway. Ducking fomestic crisis as usual reached boiling point again and i fucked off didn't i, did a runner, off to Turkey wiv a lih-ooh bih-uh ragarahn me ed, first of all 2 weeks on George's spare mattress, then 2 weeks in Merlin's magical tower, then a week in a fucking EasyJet Hotel with no windows, then at last my new exile retreat, Congreve Ho. Meanwhile Dad got me a new recording device the size of a VHS tape, the Tascam D-POO 8 S-E-X multitrack. Quality, oscar mike golf!! Urine for a surprise Listener/s! Ural b sayin "Y could ont he ov get 1 of these B4?" Well! Paid off the fuckin mortgage, didden Eye listenerz. Paid the fucking mortgage of. Dad said "Lets get you a reward Son! Anything name it!" Well i said ... can you fix it for me to touch Britney's hat? The one she wore for the Milkshake video. Great album. Recorded it in exile, from where i write this press release and give me the tape Kevin Haskins." And he did. Tracklist: 1. Nemo To Self 2. I’m Wok Inner Gdn.C 3. A Cretian Build-Up 4. Lays A Seamless Transition 5. A Bottle Of Timotei Hair-Shampoo 6. Long Way Off 7. Teulleodd Hapys (Dave 1) 8. I Aint Gonna Lie To Ya 1 9. Bisgeden Am Swper Eto (Dave 4) 10. Put Your Fucking Glasses On So You Can Fucking See 11. Happy Families (Dave 3) 12. Pyfgosycfs 2/Aquafauna 13. Dave Two Ukraine Nil 14. Nemo Self 2

Jozef Van Wissem- Lute, Electronics, Beats, Electric Guitar, Found Bird Sounds. In 2013 van Wissem won the Cannes Soundtrack Award at the Cannes Film Festival for Jim Jarmusch’s “Only Lovers Left Alive “. In December 2017 Jozef van Wissem was invited to perform the madrigal depicted in Caravaggio’s painting The Lute Player (1596) at the Hermitage museum of Saint Petersburg. In 2022 three of his works were used for in the soundtrack and trailer of Irma Vep (HBO). His completely unique musical world can be easily verified by his collaborations, especially that these relationships are also strengthening his own musical character. He worked together with Zola Jesus, Tilda Swinton, Jarboe as well as with his long-time collaborative partner, also his friend, Jim Jarmusch. “La Cinémathèque Française in Paris commissioned me to write and perform the score at the presentation of the restored version of Nosferatu. I was a bit overwhelmed by its success. It was sold out. I wasn’t going to repeat it. But people kept asking. In the beginning the soundtrack was more improvised and reactive to the images but after a few times the audience kind of showed me the way. To start with a few notes and building the score slowly to a dense slow metal ending. I found an old 7-inch single with recordings of extinct birds on a market, I electronically processed and added them to the score . “ Manipulating the sounds of electric guitar in alternate tuning he manages to create the feeling of fear, equal to the experience of the victims of Count Orlok. “To me Nosferatu personifies this Death Bird of the Plague. The Black Death depicted in the film offers a timeless parallel with contemporary society. The vampire Count Orlok infests the city with rats and people are infected with the plague. They must quarantaine. This provokes hysteria. Much like nowadays”. With a melodic almost medieval magic and mystery Jozef van Wissem has reignited the light through the filters of dark energy post punk and even black metal into a wondrous new melodramatic cinematic space…- John Robb (Louder Than War) Beginning with a solo played on the lute, his performance will incorporate electric guitar and distorted recordings of extinct birds, graduating from subtlety to gothic horror. – New York Times Delightfully macabre, intense and electrifying – MXDWN

Fronted by brothers Peter O'Doherty and Reg Mombassa, Dog Trumpet have been playing, writing and recording their
music since the early 90s. Reg and Pete were founding members of iconic Australian band Mental As Anything, who hit
the charts around the world with “Live It Up”. The band made a mark with their left field mix of music, art, video and
humour and leading eventually to ARIA awards and induction into the Hall of Fame in 2009.
• Recorded and produced by Peter at home in his 'South Road' studio, the brothers have created an inventive and original
body of work distinguished by an eccentric and offbeat harmonic warmth and melodic drive propelled by Reg's distinctive
slide guitar and Peter's elegant acoustic guitar and mandolin. Their poetic, yet at times absurdist lyrics are set against a
sonic backdrop that could loosely be described as a meld of rock and roll, psychedelic folk, country and semi-abstract
blues.
• “Shadowland” is the duo’s brand new album, recorded earlier this year, with the guys playing all the instruments
themselves. Amidst a group of songs with all sorts of subject matter (including the sheep of New Zealand, and Nina Simone)
is the very direct “F***ing Idiots”, about the human race and its continuing desire to wage wars.
• The inner sleeve features all the lyrics and wonderful paintings by both Reg and Peter.

Futurismo are proud to present a deluxe remastered vinyl package of the classic 1980 album: Red Exposure by the uncompromising Chrome.

Arguably considered the San Francisco bands greatest work, Red Exposure, the fourth album to feature core members Damon Edge

and Helios Creed, was the definitive version of Chrome’s idiosyncratic approach to sound: a projected vision of near future dystopia via an undefinable guise of experimental space rock and punk-tinged alien soundscapes. Here, the band simultaneously draw from the otherworldly noises of their past records, whilst pushing their synthesizers forward into, albeit oblique, pop song structures.


Edge’s vocals are structured more like an instrument than a voice, lyrics painting images of humanities future on the edge of total destruction. As Creed’s guitar work multilayersit’s way into a completely different aural spectrum, beautiful yet violent, slashing against rhythmic pulsations, loops and experimentations, to create a sound that even today feels beyond the here and now. This distillation of the bands repertoire seemed to envision a deconstruction of rock ‘n’ roll, aimed to break past the shell of cliché that it would of course eventually come to inhabit. Which is why despite it’s age Red Exposure remains a record that still sounds like the sonic product of a far off civilisation, making this disk of new wave nihilism vital for fans of Space rock, Krautrock, Throbbing Gristle, Cabaret Voltaire and Suicide.

The deluxe remastered version of this out of print 1980 LP is presented here in ltd edition coloured vinyl. It comes packaged in a chromed mirrorboard sleeve, contains a large screen printed poster printed with neon ink featuring unseen photographs of the band, and a bonus track.

Welcome to the world of Edward Blankman, a retired dentist who wrote elegant, minimalist jazz in obscurity circa 1970. At least that's the story. In truth, Edward Blankman's Cape Cod Cottage is the 2021 concept album from Echo Park composer Brendan Eder. A tender, wistful follow up to 2020's To Mix With Time, the Cape Cod Cottage sound evokes the spirit of Erik Satie, Miles Davis with Gil Evans, and Stevie Wonder, balanced with the accessibility of 1960s lounge-exotica. Eder created Blankman's story to channel his own grief, with bittersweet tenderness. Read the liner notes (or watch the mini-doc), and you'll be transported to the quiet shores of Cape Cod in the early 70s, where a lonely retiree mourns his late wife, Natalie, with walks in nature and evenings at his Wurlitzer. The story is brought to life with a meticulously crafted package sporting classic liner notes, faux 1970s photographs documenting Edward with the musicians (taken during the actual session), a make-believe jazz label, and a commissioned oil painting of Edward's cottage. Eder brought together a dream line up with a ton of chemistry for the project; drummer Christian Euman (Jacob Collier), saxophonist Josh Johnson (Jeff Parker, Leon Bridges), and bassist Alex Boneham (Billy Childs), who all studied together at the Hancock Institute of Jazz. Rounding out the group is flutist Sarah Robinson, a recurring player in Eder's ensemble, and Edward Blankman (Brendan) on the Wurlitzer. The cast was booked for a single date with coveted engineer Michael Harris (Kamasi Washington, Angel Olsen) at famed Electro-Vox Recording Studios. To create realism for Edward's story, the charts were purposefully withheld from the musicians until they arrived at the studio. The result is an authentic and natural performance delivered by players at the top of their game, captured on lauded vintage equipment including the legendary Neve-8028 console. This was, hands down, one of the very best records of last year so don't miss out on this extremely limited pressing for UK and Europe. Under license from Jazz Dad Records.

A new record from Turnover arrives this fall. Myself in the Way is the band’s fifth full-length album, and it follows their first pause in consistent touring in almost 10 years. While the world was shut down, Turnover’s four bandmates spent time meditating, painting, volunteer firefighting, skateboarding, and working in state parks - deepening interests and growing roots in places they hadn’t been able to while living life on the road for so long.

Over 18 months, these individual experiences acted as the soil in which Myself in the Way grew into Turnover’s next album. Returning to Pennsylvania to track with longtime friend and producer Will Yip, vocalist & guitarist Austin Getz cites Quincy Jones, Chic, and Dark

Opaque pink vinyl LP. For fans of: Tirzah, Caroline Polachek, Erika de Casier, Oklou, Smerz. Between the ages of 2 and 18, Cora Gilroy-Ware lived in a haunted place. On the outside, this small edge of Connecticut coastline was a quintessential New England town. Yet beneath its quaint surface was a netherworld that got steadily darker over the course of those sixteen years. From a serious drug problem to environmental pollution leading to deadly illnesses, frequent suicides and an above average number of fatal accidents, something about this place was cursed. Amid this world Cora was an outsider, someone who preferred pop and RnB to the music of her peers, who mostly subscribed to the dregs of a Deadhead culture that was more nihilistic than utopian. Still, she found herself on weekends drinking in the woods with the rest of them, playing along until it was time to leave. Christmas breaks and summer months were spent across the Atlantic in a completely antithetical environment. In London, the city of her birth, Cora spent her teen years taking the bus home at dawn after raves under the railroad arches, or riding the tube to her cousin’s house in Camden. For a long time, Cora’s life was composed of these two strands—ghostly East Coast suburbia and inner-city London—which she was forced to fold in and out of one another like a two-strand French braid. She quickly learned to adapt and be whoever the particular moment demanded. Her outsider status was intensified by the fact that, being of mixed Afro-Caribbean and European descent, her family didn’t look like the others in Connecticut. In the 2000s, this meant Cora had to contend with a deeply ingrained kind of folk-racism, both conscious and unconsciously expressed. Nobody talked about these things back then, and she internalized a lot of shame. The ability to shape-shift became integral to Cora’s artistic practice. Her survival mechanism at school was to carve out her own worlds through visual art and dance. Music was less of a creative outlet than a way of life, something like a form of religion for her family, who all played instruments and saw music as the form to which all art aspires. She studied violin and learned enough guitar chords to write her first songs. Cora always wanted to be a performer, but, having moved around constantly, craved stability and independence. Eager to make her own way in the world, she began to write about painting and sculpture, which eventually led to time spent working in Naples, Italy and a day job teaching the History of Art at university level. It wasn’t until 2018 that Cora first shared her first songs with the wider world. Having collaborated and played live with Jam City (Jack Latham, who has co-produced each of her releases), she finally embarked on a solo career, which for her felt inevitable, only a matter of time. Following four acclaimed EPs—Toxic Femininity (2018), Lashes in a Landfill (2019), Dreamcatcher (2020) and Maiden No More (2021), this year will see the release of her debut album The Golden Ass. For her artist name she chose, “Fauness”: a play on the Latin faunus, a woodland god with the body of a man and the horns, ears, and legs of a goat. The feminine equivalent—fauness—is a modern invention, made up by rococo sculptors in 18th century France. Cora was drawn to this pseudonym because of its temporal layers and amalgamation of beauty and beast, which, for her, captures something of her complex personal story. an utterly individual voice in underground pop music" - The FADER // "a sparkling sweet pop ride" – NYLON // “It is hard to write a perfect pop song. It’s even harder to make it look as easy as London artist Fauness” - GUARDIAN GUIDE // Tracks 01. Lonely 02. Mystery 03. Peaches 04. Hours 05. Siena 06. Grape & Grain 07. Laura 08. High 09. Cinnamon 10. Girl In The Moon

What Are People For? make the perfect kind of dystopic dance music for our times. Born from a collaboration between artist Anna McCarthy and musician/producer Manuela Rzytki, the band could be the illicit lovechild of Tom Tom Club and Throbbing Gristle, displaying the ideal balance of hip shaking vibes and dark provocative content.

On their collaborative debut, McCarthy and Rzytki share songwriting duties. The album was produced by Rzytki herself. They are joined by Paulina Nolte on backing vocals and Tom Wu on drums, while Keith Tenniswood mastered the record.

The whole project stems from a publication and exhibition by McCarthy laying the foundations for the content and lyrics of the album, which is humorous, poetic and political. As a lyricist, McCarthy uses her storytelling ability to explore anxieties and desires, digging into free surreal word associations reminiscent of Su Tissues’ tongue in cheek experiments with Suburban Lawns, but also explosive and gripping like a Kae Tempest rap.
Rzytki’s precise sonic palette and talent at penning structured bangers perfectly complement McCarthy’s playful and subversive language manipulations. Rzytki's beats are rooted in old school Hiphop loop principles and an authentic love for the analog. Her use of an array of synthesizers and other "real" instruments adds to WAPF's depth, soul and sincerity.

The album opens with a joyful anthem, full of energy and melodic hooks. The audience is confronted with the quintessential titular question What Are People For? and told that they are just a mere disposable commodity. Throughout the album, lyrical themes revolve around underground aspects of society, violence, political ideologies, sexuality and mysticism. The content is deep but the album is as danceable as it is biting.

73, with its drum machine hysteria and hypnotic synth basses is a a text collage written on the 73 bus through London, consisting of situations and conversation snippets encountered along the way. Drones indulges in the narrator’s paranoia as they feel they are being watched by cigarette machines, whilst the haunting choir is half spoken, half sung, ending on the orgasmic chanting of the word “mummy”. Nursery Rhyme brings more soothing incantations. There is definitely an affinity for fairytales, albeit adult ones and especially the anarchistic ones such as The Moomins, who were a consistent influence on the band. The artwork for the record, created by McCarthy, is a beautiful children's book-style painting of the group in a forest, seemingly about to engage in a magical encounter to which we are invited.

WAPF? have absorbed and digested a variety of influences. Trip hop, Punk and Techno are rubbing shoulders on Party Time. 1977 was coined “Summer of Hate” in the UK and unsurprisingly in WAPF?’s Summer of War, ethereal singing alternates with a powerful marching Garage/Grime chorus reminiscent of street protests and UK culture.

Mz. Lazy starts like an invitation to meditation and references Gertrude Stein’s book Ida in which she develops the idea that publicity is a new religion and people are now famous for being famous. Repressed anger explodes into violence and freedom at the end of the song as our heroine eventually grabs an axe to destroy her oppressors.
Fantasize, on its part, is raw, sexual and liberating while the closing track Bring Back the Dirt is a welcome hymn into a world that is becoming more and more sanitised.

While exploring deep subject matters throughout their album, WAPF? manage to remain satirical, exciting and funny. Each and everyone of their songs have a cathartic quality.

The visual identity of the band is intrinsic to their appeal. Live, they are eccentric, wild and unapologetic, wearing see-through costumes, bright miniskirts and intricate headpieces while delivering their songs with sharp intensity. Their performances radiate queer sexiness and transcend B52's thrift store aesthetics, creating a space for collective dreaming.

WAPF? is a rare combination of contemporary punk energy, irresistible groove, absurdist dry humour and astounding depth of field. They have the mighty power to create a party with their music and soon you will find yourself lifting your arms as if controlled by an external force, to chant: WAPF? WAPF? WAPF?

– Marie Merlet (Malphino, Little Trouble Girls, London)

After a crush at the Brussels World Fair in 1900, King Leopold II decided, for his own personal pleasure, to have the Japanese Tower and Japanese Gardens built. In order to create this little relocated Asian paradise, he had the wood, sculptures, paintings, ornaments, trees, workers, and their know-how imported. For a few years, he invited his entourage to enjoy it during large banquets and private receptions. He then had the idea of transforming the Japanese Tower into a luxury restaurant, but he died. This magnificent place remains closed to the public except during an annual opening.

"A Story of a Global Disease" is a short tale about artificial paradises of globalization, a melancholic walk through the exotic relics of free trade, where whim, appropriation, and appearances take precedence over otherness. Here, geishas eat chips, Europeans confuse Tokyo and Beijing, and tribal ceremonies begin with samples and drumkits.

These tracks have been initially recorded for the “ON THE GO” Beursschouwburg’s project in Oct. 2020. It has been originally and properly released on shiny pinky tape by the fantastic Bamboo Shows imprint and includes an unreleased track (Walk With Your Romance).

Naomie Klaus is a young artist from Marseille based in Brussels. In love with performance, constantly flirting with cinema and acting, Naomie seems to conceive her music as a big playground, a free zone of mischief in which she likes to experiment and interpret different identities, different characters. The result is funambulistic, a hybrid and synthetic form of a thousand influences that we can't really characterize: 90' Techno, loud Trip-hop, languid Pop, nonchalant Post-punk, dracular mass... Naomie Klaus doesn't know on which foot to dance and invites us to join a zone of in-between, has fun to plunge us in her strange tales for adults, where the princesses we meet are armed, hysterical, nymphos and badly dressed.

Following a B.F.E proposal to release on a limited vinyl edition, Teenage Menopause from France & Moli Del Tro from Brussels joined the project. Rude66 remastered these gems and Harrisson made the artwork.

'Razen is the collective consciousness of core members Brecht Ameel and Kim Delcour, who since 2010 have realized themselves through virtuoistic and highly expressive improvisations with lesser-heard instruments. Experimenting with repetition of tones through controlled breathing and phrasing, Razen arrive at a synesthetic playground of auditory textures and colorful imagery.

The ensemble is carefully orchestrated for every occasion with the intent and desire to escape to environments unbeknownst to them, taking shelter in the fleeting ego-dissolving moments that arise, whether divine or disturbing. While the formula of instrumentation and like-minded peers may appear mundane on paper, it’s Brecht and Kim’s outlook and imagination beyond musical references that’s the immeasurable catalyst to their peculiar pursuits. Conversations about paintings, books, or films ultimately manifest themselves into live performances or album recordings - with the philosophy of embracing playfulness and exploration through the lens of a child’s eye.

Only six collaborators have been invited to their inner circle to date. This is mainly attributed to the rarity of finding spiritual counterparts that are seeking freedom outside the confines of written musical scores. Trading notes and rhythms for strokes and color, the band embodies emotive and meditative drones that demand a deep listening state. Joined by Will Guthrie and Paul Garriau, Razen venture into their vision of Arcadia through Regression, proudly presented by Marionette. On this album, Brecht Ameel turns to his trusty prepared harmonium and celesta, while Kim Delcour controls air and breath on various wind and reed instruments. Featuring Will Guthrie on tuned and melodic percussion (timpani, glockenspiel, marimba, vibraphone), the recordings have a distinct flow and fluid movement when compared to some of Razen’s previous works where rhythm is taking a backseat. Hurdy-gurdy specialist, Paul Garriau, plays accompanying melodies and drones on Moon, Aether and Nebula.

The album's earthly elements deal with survival, timelessness, and simplicity; such as the life affirming rewards of finding refuge and the wonders of observing the interstellar. The unearthly elements pitch this narrative into the realm of mythology and superstition, in the hopes of trying to understand our primeval universe and thrive in the unknown. Regression also addresses Razen’s fascination with inhospitable places and how to adapt to the sorrows that come with this sort of brutalism. The resulting destination is a mind and time bending zone - one that can be reached by riding sound waves that transcend the past, future, and present.'

40th anniversary year of this (15 million + selling) classic release. Sony Music will be repromoting both formats. A 12 track double gatefold LP with 16 page booklet containing full script, lyrics, original paintings and credits. A double 17 song CD format. There is a 15 date UK arena tour in November/December, featuring Jason Donovan, Newton Faulkner, Adam Garcia and the 3D hologram of Liam Neeson. There is also a major 3 part adaptation of the H.G. Wells novel will on BBC 1 in late November/early December starring Eleanor Tomlinson, Robert Carlyle, Rafe Spall and Rupert Graves. National TV ad campaign across all networks to Xmas. Radio features, spot plays and ad campaign. Press ads and features. Online/social media activity. Poster campaign and database mailout.

Unlearn is the long awaited fourth album of DJ and producer 2econd Class Citizen. It marks the artist's return back to the newly relaunched label Equinox Records. Their previous collaborations achieved high acclaim for their genre bending fusion of hip hop, electronica and folk music.

The new album is an exploration of an artist journeying beyond their conventional confines. It is a musical adventure peppered with vintage samples concerning the perception of reality and our struggles with conforming to a broken society.

Unlearn is the most musically accomplished work of 2econd Class Citizen to date. As one would expect the drum programming, scratching and production is on point. Several tracks feature soothingly melodic and energetic passages of jazz saxophone from Leroy Horns and electric guitar riffs provided by long term collaborator Paul Drury.

2econd Class Citizen, real name Aaron Thomason, resides in Brighton, UK. He is also a painter and visual artist fascinated with abstraction and the chaos of mixing colours. His musical approach on the new LP draws many parallels to this creative process. An original painting from the artist forms the albums striking cover.

Equinox Records is run by DJ Scientist in Germany. The Unlearn project marks the 51st release and provides the perfect launch vehicle for the dormant label to rise again. The vinyl release of Unlearn as well as the single Be Together signify the first stops in a release plan which will please fans of the label.

FEEDBACK:

"Woah! It's sounds rad! Really heavy and cinematic!"
Kid Koala

"A dark and deep dive into a world of dense and diced samples and moody muted melodies. Would sit well next to Shadow's freakier forays into fractured funk. Or Format's last psychy LP, for sure."
DJ Moneyshot of The Allergies

"I love it. The new treatments with the additional instruments sound great, especially the horns. Glad to see that Equinox is back in action. Dope cover art."
Dday One

"It sounds like 2econd Class Citizen has been at a mountaintop retreat studying and meditating and came back with some superpowers."
Buddy Peace

Reflecting upon their new album Different Bridges, Nutrients discovered a
time capsule from the dullest days of the pandemic
The 10 hopeful songs manage to sonically sound as optimistic as their lyrics.
Unbeknownst to the band, they were composing an ode to the way life had once
been. Lyrically, Teeple subconsciously penned love letters to everything he had
taken for granted: parties, air travel, even just meeting new people. The band's
sun-drenched guitars continue to jingle and jangle on Different Bridges, yet this
time around, other ingredients are in the spotlight. Sean McKee's basslines
ecstatically bounce around on the album's title track opener, while Iulia Ciobanu's
ghostly harmonies and tense keys soar on the jazzy, lounge pop bop Nauseous.
Ben Fukuzawa's steady cadence and vivacious fills animate tracks like the spritely
closer, Kool Kat '22. Saxophone by guest Emily Steinwall shimmers alongside the
buoyant congas, bongos, and triangle added by percussionist Juan Carlos
Medrano. Still, guitar work on songs like the wordplay-adorned I and the nostalgic
House Fire Painting sturdily underpin Taylor Teeple and Will Hunter's smooth
songwriting. Compositionally, the band has freshened up forgotten cliches from
'70s soft rock and '80s new wave and incorporated them into a signature sound
listeners first discovered on their self- titled debut. Some of the more oblique
noodling may bring to mind bands like Steely Dan, while certain funk-lite grooves
evoke British pop groups like Orange Juice or Haircut 100. Contemporarily,
Different Bridges would likely find fans in listeners of fellow Canadians TOPS,
Video Age, or even Drugdealer. That optimism was perhaps a bit….well optimistic,
the band now recognizes. But they still believe that keeping a positive mindset is
key to creating music you can be proud of, and living a fulfilling life in general.

The 'Privacy Angels' dwell in a liminal zone, a folk magical world sprawling within some remote nodes of the digital universe. An a-chronic plane of contradictions in which the spiritual and the machinic exist in a contrast that, instead of leading to mutual annihilation or subjugation, produces weird forms of life and uncanny forms of beauty. Like flowers sprouting from glitching fluxes of data transmissions, in the corrupted memory of a heavenly landscape. It is the vision of Italian (though London-based) musician and multidisciplinary artist Nicola Tirabasso, channeled through his usual musical avatar VISIO, a dimension he came in contact with while retreating in his native Sibillini Mountains in Marche, central Italy. A type of forced hermitage dictated by the global pandemic and whose idyllic premises were constantly unbalanced and contaminated by the constant presence of the digital world. But again, it is by means of this contrast that art is born. While channeling the magic, the fables and even the superstitions the locals have imbued the region with, Tirabasso developed them into audial spirits of electronic abstraction. A juxtaposition of mystic retreat and information-age alienation that, for some brief, ineffable and baffling moments, seemed to make him able to hear the angels. The album itself is a collection of digitally broken folk songs and logarithmic chants of praise. Acoustic instruments are broken down, replicated and re-materialization, while computer-generated ghosts and synthetic tones are allowed to exist and resonate in ancient spaces. Most of the actual recordings have been in fact made at desecrated XVI church in a town near Montappone, not far from the birth place of XX century painter Osvaldo Licini, whose influence echoes all throughout the region. Licini’s idiosyncratic mix of primitivism, futurism and orphic realism similarly echoes all throughout the record, with VISIO even paying tribute to his painting ‘Angelo Ribelle’ in titling one of the tracks. Collaborations made in person and through file-swaps have traversed the album’s conception and enrich its palette by presenting different versions of reality. Haunter co-founder Daniele Guerrini (Heith) co-produced every track with Tirabasso and gave a fundamental contribution to the album’s final form. Elsewhere, City and Kenichi Iwasa evoke their own privacy angels and let them dance with VISIO’s. Be it, in the depths of the earth or in the dissolution of a digital cloud, it is just as possible to (un)know the divine. Genre: Electronic / Experimental Listen: Track list: 1. Moonchild 2. Extasi Exile 3. Youth Grows Forever 4. Untitled X 5. Blessed Mystery 6. Years Of Silence 7. angelo ribelle

New studio album from CMA, due out October 7th, 2022. Produced by Sam Evian. Following Old Flowers' 2020 Grammy nomination, and due to Covid restrictions, Courtney, for the first time in her young nomadic life, was forced off the road and to remain at home. What resulted was the publishing of her first book of poetry, the first gallery showings of her paintings, and a period of self-discovery leading to the new album, Loose Future. Whereas Old Flowers was a beautiful and emotional break-up record, CMA's return with Loose Future is a bright, dynamic, falling-in-love record. Courtney's got a new story to tell, backed by a strong new musical direction, and a show-stopping collection of songs. Loose Future was recorded at Sam Owen's upstate New York Flying Cloud Studios, with musicians Josh Kaufman (Bonny Lighthorseman), Chris Bear (Grizzly Bear), and Sam Owens (Sam Evian). On the honey shores of Cape Cod in a beach shack, Courtney Marie Andrews found self-love and her voice. Every morning, she’d walk 6-8 miles around the back trails of an island and meditate on her life, perusing old memories and patterns like browsing a used bookshop. After more than a decade on the road, the Phoenix-born songwriter, poet, and painter finally had the space to process all the highs and lows of a life of constants. She was finally ready to make a record of triumph, while not completely forgetting the years that made her. That record is the Sam Evian produced Loose Future.

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

Sublime unreleased soundtrack by Ron Geesin, to one of the most important and controversial films in British cinema history.
Standard black vinyl (750 Copies) with sleeve art taken from the 1971 film poster. Cool as fuck.
Side One is the score for Sunday Bloody Sunday, the controversial 1971 drama directed by John Schlesinger. Starring Peter Finch, Glenda Jackson and Murray Head, it tells the story of an open love triangle between a gay Jewish doctor, a divorced woman and a bisexual young male artist who makes glass fountains. Daniel Day Lewis also makes his uncredited screen debut as a yobbo scratching up posh cars. The films significance at the time of release lay in the depiction of a mature gay man who was both successful, well adjusted and at peace with his sexuality.

The music on Side Two comes from two different sources: tracks one to four are from the 1985 Channel Four documentary about Viv Richards. Simply called “Viv” it was directed by Greg Lanning, with words and narration by Darcus Howe. It was (and still is) a fascinating film recounting Richards’ rise from young talented Antiguan to global cricket superstar. It also explored the long history of West Indian players through the English game. Howe later recalled how seeing Viv Richards walking out to bat at the Oval (just down the road from where Howe lived in Brixton) without a helmet on no matter how fast the bowler was - and wearing his Rasta sweatbands of gold, green and red, was inspirational. The documentary was later re-titled ‘Viv Richards - King Of Cricket’ for the video market, and let’s face it, that’s a more commercial title. I’d strongly recommend trying to track it down to spend an hour or so in the company of Viv and Darcus. As I write this it’s still up on a popular online streaming site for free.

The last six cues of Side Two are from a 1970 BBC Omnibus film ‘Shapes In A Wilderness’. Directed by Tristram Powell this was a documentary about the importance and influence of art therapy in mental hospitals, tracing its origins from a painting hut in a wartime military hospital to its successful and widespread incorporation in institutions. It featured fascinating medical insights, disturbing imagery and Ron’s finely tuned accompaniment. On its original transmission John Schlesinger saw it and was heard to say “I must have that composer for my new film!”. And he got his way.

I could spend another paragraph analysing the music and stuff like that but you can listen and work all that out for yourself. But I will say that all the music just confirms the fact that Ron Geesin is one of the most underrated, inventive and versatile composers (and musicians) we have.

KR3 Records, is proud to welcome – Shuya – to its roster. The Japanese producer whose influences come mostly from the Noise Scene, began his sonic journey as a singer and guitarist with the experimental avant-garde group called Qujaku. With his s/h/u/y/a solo project he keeps a noise-industrial attitude to his electronic music productions. The beginning of his collaboration with KR3 was therefore inevitable. The artist and the label share a mutual approach to sound, with the processing of raw materials into scratchy, deep and mental beats playing a key part in their interpretation of Techno. The Sleeper EP – is the first vinyl release under this pseudonym. The cover art is curated by the designer Pablo I Prada, who says about his works: “I try to capture human evil in my paintings”. With his music, Shuya does exactly the same. His productions are a disturbing mixture of noise-techno that perfectly evokes the infernal spirit of human existence that also appears in the artwork. The Sleeper, is a cerebral, red-painted sonic assault. The intro and outro are composed by recordings of his voice and guitar riffs that show us how deep is his connection to his artistic origins. Written & Produced by Shuya Onuki Artwork by Pablo I Prada

Whether original or discovered, songs have always come into my life out
of need - I think every song in this record is about a beginning hidden in
an ending, hidden reclamations of ways I've disappointed myself
The record opens with Backup Plan… because I think being absolutely and freely
myself was always stupidly my back up plan. If I couldn't succeed at being the
person I was pretending to be, if I couldn't want the things I'd been pretending to
want, only then would I give myself permission to just be me. Then came Thérèse
and Mermaid Bar - Thérèse is about a misunderstood girl trapped in a painting
and Mermaid Bar is about a girl who tries to end her life by jumping into the
Hudson River and instead becomes a mermaid. Bloomed Into Blue was originally
a poem I had written with a friend in high school called the B-Word Muse. It was a
tribute to Ariel, to Eddie Sedgwick, Marie Thérèse, and so many more… Women
who were always the subject of art and not the creator. Worthy of being spoken
about but not worthy of being listened to. This record reckons with childhood in
Sweet Tooth and Driver, with regret in Luna Moth, Crazy Kid and Sticky Little
Words, with anger in South Elroy, Restless Moon and Over.Above all this record
wants to be about rebirth and acceptance.I'm crawling back to myself. Thank you
for watching- Maya Hawke
LP Translucent Orange Vinyl Tracks: Backup Plan / Bloomed Into Blue / Hiatus /
Sweet Tooth / Crazy Kid (featuring Will Graefe) / Luna Moth / South Elroy /
Thérèse / Sticky Little Words / Over / Restless Moon / Driver / Mermaid Bar

Joni Mitchell was at a turning point 50 years ago. After making four acclaimed albums with Reprise Records, including her 1971 masterpiece Blue, she left the label to join the brand-new Asylum Records in 1972. Over the next seven years, Mitchell would record some of the most acclaimed music of her career while changing her musical direction by adding more jazz elements into her song writing. The evolution culminated in 1979 with Mingus, her collaboration with jazz titan Charles Mingus, and her studio last album for Asylum.

The Asylum Albums (1972-1975), the next instalment in the Joni Mitchell archive series, explores the beginning of that prolific era. The collection features newly remastered versions of For The Roses (1972), Court And Spark (1974), the double live album Miles Of Aisles (1974), and The Hissing Of Summer Lawns (1975). All four were recently remastered by Bernie Grundman. The Asylum Albums (1972-1975 will be available on 23rd September on 5-LP 180-gram vinyl (Limited Edition Of 20,000) and as a 4CD set. The cover art for the set features a previously unseen painting by Mitchell. The set also includes an essay by friend and fellow Canadian Neil Young.

The Asylum Albums (1972-1975), follows Mitchell’s musical evolution over four albums as she embraced more jazz-inspired pieces and moved away from the folk and pop of her early years. It includes essential tracks like her first Top 40 hit, “You Turn Me On, I’m A Radio” and her highest-charting (#7) single “Help Me,” plus favourites like “Free Man In Paris,” “Raised On Robbery” and “In France They Kiss On Main Street.” Mitchell has been intimately involved in producing the collection, lending her vision and personal touch to every element.













l b6. Judgement Of The Moon And Stars (Ludwig’s Tune) 2022 Remaster











[x] e1. You Turn Me On I’m A Radio (Live) [2022 Remaster]
[y] e2. Big Yellow Taxi (Live) [2022 Remaster]
[2022 Remaster]
[xa] e4. Woodstock (Live) [2022 Remaster]
[xb] f1. Cactus Tree (Live) [2022 Remaster]
[xc] f2. Cold Blue Steel And Sweet Fire (Live) [2022 Remaster]
[xd] f3. Woman Of Heart And Mind (Live) [2022 Remaster]
[xe] f4. A Case Of You (Live) [2022 Remaster]
[xf] f5. Blue (Live) [2022 Remaster]
[xg] g1. Circle Game (Live) [2022 Remaster]
[xh] g2. People’s Parties (Live) [2022 Remaster]
[xi] g3. All I Want (Live) [2022 Remaster]
[xj] g4. Real Good For Free (Live) [2022 Remaster]
[xk] g5. Both Sides Now (Live) [2022 Remaster]
[xl] h1. Carey (Live) [2022 Remaster]
[xm] h2. The Last Time I Saw Richard (Live) [2022 Remaster]
[xn] h3. Jericho (Live) [2022 Remaster]
[xo] h4. Love Or Money (Live) [2022 Remaster]

Past Inside The Present co-founder Isaac Helsen - a multi-disciplinary artist from Michigan, creating photography and paintings as well as music - in action on this double cassette alone after a string of collaborations with labelmate 36 and fellow label co-founder zake. Helsen's sound works on a grand (electronically) orchestral scale at times, the proverbial cathedrals of sound coming to mind, at others (see 'Duniskwalgunyi') understated and intimate. On first listen, it's the simpler moments like 'Whisper At A Party' that grab you, but the 17 track selection slowly reveals itself to be quite special on repeated rotations.

Ryuichi Sakamoto, Daniel Lanois, Loscil, K Leimer, Deaf Center, Tangerine Dream, Arvo Pärt Wake is a distillation and reflection of the work of three Portland musicians thrown, like the rest of the world, into forced isolation by the continually-mutating curse of a natural world in disequilibrium. The product of involuntarily inward-looking emotional landscapes, Wake emerged sounding surprisingly expansive and confident. The trio uses a variety of instruments –including harp, fretless bass, piano, and a variety of synthesizers– to conjure sparkling panoramas of the imagination that are deep-pooled and impressionistic, bracing yet comforting. Mike Grabarak and Joshua Ward have performed together for years as a duo under the moniker of Location Services, while Derek Hunter Wilson has primarily worked as a solo composer in the classical realm. For the Points Of No Return compilation, Beacon Sound's 50th release and a benefit for the Beirut Musicians Fund, they recorded a collaborative piece entitled "Interdependence In Solitude" that was so promising the label offered to release an album if they continued down the path they had started upon. The resulting eight songs are simply mesmerizing. Made during a period of change and upheaval in the world and society where many people were disconnected from others, the album is the product of a collage-like dialogue built on trust and patience. While the musicians couldn’t physically be together for much of this time, they began sending musical ideas to one another in a conversational back-and-forth that acted as an anchor of stability – something they found they could turn to and depend on when things felt uncertain elsewhere. This comfort zone led to some transcendent moments of experimentation. “Delicate Need”, for example, features recordings of exaggerated pizzicato that were sampled and then run back through processing effects, which were then subsequently performed live over the original track. As things became less risky on the Covid front, they would occasionally meet for backyard rehearsals. Indeed, a recording of one of these rehearsals became the basis for the opening track “Photo Aware”. Wake will be available later this summer as a limited edition LP, with design work by Berlin-based Studio Bernhardt. The cover painting was created by Portland artist Nate Ethington. Highlights: – Derek was invited by the artist Gregory Euclide (Bon Iver, Erased Tapes) to participate in his label project, Thesis, along with artists such as Benoit Pioulard, Loscil, and Julianna Barwick. – Derek‘s first and second albums as a solo artist were released by Beacon Sound (Travelogue, 2017; Steel, Wood, & Air, 2019). – Location Services likewise released their 2019 album Reincorporate on the label. – The artists plan to tour together in 2023. Cascadia release shows TBA. Bios: Location Services is the Portland-based project of multi-instrumentalist Mike Grabarek (Magic Fades) and harpist Joshua Ward. They’ve released music on Beacon Sound and Beer On The Rug. They perform both written and improvised music. Derek Hunter Wilson is a composer and multi-instrumentalist based in Portland. He has released two solo albums on Beacon Sound and has also collaborated with visual artist Gregory Euclide for his Thesis Project label, resulting in a split 10" with Spanish musician Rauelsson. He has additionally collaborated with poets Zachary Schomburg and Brandi Katherine Herrera for several sound and performance pieces. He has performed live on the West Coast and in Berlin, sharing the stage with artists such as Colleen, Amulets, and Liima.

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

A legendary indie audio artist blurring his lifelong attachments, from spontaneous composition (in the late 70's with John Zorn) to experimental rock (with Bongwater and other bands in the 80's) alongside his recent inquiries into the intricacies of ambient-folk songcraft (with his most recent solo LP, "And The Wind Blew It All Away"), Kramer continues to explore the possibilities of shaping naturally occuring aural landscapes into intoxicatingly affecting music. Sound and language - not just melody and ambient textures - has been his raw material for decades. He nowjuggles them more deftly than ever on his newest ambient opus. In the ten compositions that comprise this new LP, mournful at times yet mysteriouslylife-affirming and generous in their scope, Kramer sees films where there arenone, and composes his accompanying ambient soundtracks in a state of interrupted grace. Words, text, complete screenplays, character arcs, shooting scripts and storyboards swirl through his head as he puts his imagery to sound, and the results evoke a world in which moths, drawn to the bright flickering lightsof Cinema and the low humming lights of Dreams, in Kramer's own words, "...might never die". The LP's nature reveals an interior dialogue between musician and choice. Each piece represents Kramer's encounter with the blank canvas of silence that greets him as a composer. Embracing sounds as objects and instruments of Truth, the end result of his process is as much about what is absent and what has been removed or edited away than what is left in its wake as artifacts of emotion. These pieces are the Spring frost of lost imaginings, vanitas to broken connections, visions nearly unrecordable by the human eye. Kramer envisions a music that functions to stoptime, as an event that always plays in the present and never needs a past to give it a reference point. It is music that communicates in the most intimate way possible, as intricately and as deeply as the way it blossoms and shifts and evades categorizationwhen exposed to thin air. Drawn toward the light of a multitude of influences, we hear echoes of the feverishly frozen dreams of composers Morton Feldman, Terry Riley, Brian Eno and Arvo Part, melting alongside the surreal cinemas of David Lynch and The Brothers Quay, all parts converging to evoke a time and place that does not exist outside of the mind's eye of the listener. These ten works are fluid adventures in fathomless landscapes, emotions distilled and offered as a paintless painting without a physical home. Each individual composition is an offering to a future memory, a chalice to be filled with the listener's own reactions to them. As a whole, the ten pieces form an image of ten circling planets in an expanding galaxy that colors itself anew with each subsequent listen. Movement, grace, and Peace.

Tape



»Mediocrity and the Master Narrative« is about coming to terms with having grown up with unrealistic expectations of life. Moose Malloy spent multiple years crafting this many-layered 19 minutes masterpiece by masterfully molding a plethora of reference points and influences. Ranging from minimal music to free-form sampling and the more spiritual kind of Jazz, to geographical influences they never visited (like Mongolia or Mali) and paintings by Lucian Freud or the film Koyaanisqatsi. In a way, this album is not even an album, it's many stories all at once. And they all tell us that our very own life's mediocrity can only be paradoxically dissolved by fully accepting it.

Now who would have thought? Pile are back with an experimental improv record that is pure bliss. Painting immense landscapes and mixing viola, cello an tape loops to create a beautiful ambient voyage through noise, emotional electronics, pulsating drones and kosmische atmospheres. Dive in.

The remarkable nine track debut from USELESS USERS is a lesson in style and eloquence. The band is comprised of former Sarah Records alumni, (members of Action Painting! and Secret Shine, and featuring Even As We Speak). This is sonically adventurous Pop Music, packed with melody, dreamscape swashes and élan. Bold and opulent, and brilliantly constructed, Useless Users are pushing the boundaries of preconception, poised to grasp attention and reward the listener. "Reminiscent of Pulp's Fire Records Years, in both chord choice and vocal delivery" The Quietus "..the odd twist or two along the way." Whispering and Hollering "... a real gem, a moody piece with debts owed to late Sixties psych" A Pessimist Is Never Disappointed RIYL - The Associates, Bowie, Dreampop...