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DJ Support: Dave Lee, Danny Krivit, Dj Harvey, Brian Tappert, Michael Gray, Opolopo, Jimpster, Moplen, Birdee, Hot Mood, Richard Earnshaw.

Amazing Jazz-Funk mini Album from Italian Musician Paolo Fedreghini aka FAM Disco. 'Jazz On The Moon' is a 6 tracks ep full of emotional sounds. Live Horns,bass,guitars and synthesizers take us to a magic Journey. A project well done with a touch of class. All tracks encapsulate the essence of Jazz Funk Disco and should appeal to a wide range of music fans old and young.

Von 1974 ("Autobahn") bis 1986 ("Electric Cafe") war Flür Mitglied von Kraftwerk, um sich danach als äußerst kreativer Electro-Pop Künstler zu etablieren. Sein viertes Album unter eigenem Namen enthält 13 hochmelodische, erzählerisch geführte Tracks, die inspirieren, unterhalten und zugleich die Grenzen seines einzigartigen Oeuvres ständig verschieben. Seine Musik ist eindringlich, mit einem feierlichen Optimismus und einer unermüdlichen, ansteckenden Hoffnung für die Menschheit.

2025 Repress

green vinyl
Coeo join the Shall Not Fade family with 6 luscious deep house anthems!

Bon Iver's debut full-length For Emma, Forever Ago has been making major waves in critics circles based on the strength of an early artist-pressed advance cd and a couple awe-inspiring sets at CMJ in October 2007. The New York Times called it "irresistible" and Pitchfork stamped its early review of the album with a Recommended tag. For those of you hiding away in a cabin of your own, it's time that you hear the story, and more importantly, the music. Bon Iver (pronounced: bohn eevair; French for "good winter" and spelled wrong on purpose) is a greeting, a celebration and a sentiment. It is a new statement of an artist moving on and establishing the groundwork for a lasting career. For Emma, Forever Ago is the debut of this lineage of songs. As a whole, the record is entirely cohesive throughout and remains centered around a particular aesthetic, prompted by the time and place for which it was recorded. Justin Vernon, the primary force behind Bon Iver, seems to have tested his boundaries to the maximum, and in doing so has managed to break free from any pre-cursing or finished forms. It wasn't planned. The goal was to hibernate. Vernon moved to a remote cabin in the woods of Northwestern Wisconsin at the onset of winter. He lived there alone for three months, filling his days with wood splitting and other chores around the land. This solitary time slowly began feeding a bold, uninhibited new musical focus. The days slowly evolved into nights filled with twelve-hour recording blocks, breaking only for trips on the tractor into the pines to saw and haul firewood, or for frozen sunrises high up a deer stand. All of his personal trouble, lack of perspective, heartache, longing, love, loss and guilt that had been stock piled over the course of the past six years, was suddenly purged into the form of song.

Madronas’ debut LP Erogenous Biome is an amorphous, murky, cathartic offering. A duet of modular synthesizer and winds that’s equal parts doom and ecstasy, it’s the sound of a majestic butterfly emerging from it’s slimy chrysalis just in time to catch the sun setting on the end of days, a bewitching, heavy ceremony, a power-wash of both mind and spirit.

Tracked in one continuous take at Brooklyn’s Heavy Meadow studio, individual tracks were gleaned from the purge and eschew predictable structures, making for a dense, fluid suite of improvisation, like dancing smoke ribbons in the dark. The duo's chosen sound sources are seemingly opposite - Ry Fyan’s modular’s coming from electronic oscillators, Isaiah Barr’s saxophone and various flutes originating with the breath - but the visceral, imprecise, alive quality to the sound of both lends the record a thrilling combination of rapturous harmony and gritty, intense friction.

Opening the session in ritualistic, foreboding fashion, Voluntary lurches to life with rattles and wandering, bassy arpeggios before a suona’s cry signals the seance has officially begun. Ostraca Loam spits explosive modular rhythms and eerie shrieks for the flute to float above, while Detritus Harp smudges mechanical whirring, pensive horn and wind chimes for an untethered drift. Petrified Microdot swells with menacing sci-fi sequences and breathtaking sax runs until they both run out of breath, and Negative Lingam starts out in a panic of breathy riffing before exhaling into one of the most sublime passages on the record. Rhythmic pounding and undulating flutes punctuate Lenticular Shroud, before The Preparation Of The Novel sets the winds aside for a synthesized dual fit for electric dreams. The title track dominates the B-side, it's shimmering levity slowly unfurling to reveal itself as a kind of post-apocalyptic devotional music, deep space drifting grounded by earthly flutes, and Vale Of Cashmere offers an ascetic, contemplative closure, sparse flute and chiming rhythms organic or electronic - by this time it’s hard to know, it doesn’t matter either way.

Erogenous Biome is a world of it’s own, and one Impatience is honored to offer a window into.

RIYL - Senyawa, witchcraft, Colin Stetson , Civilistjavel, Mars (the planet), Finis Africae, raga, Stephen O’Malley, modular synthesizer, Anthony Braxton, Shabaka.

Madronas is Ry Fyan and Isaiah Barr. Fyan is a painter and tattoo artist, this is his first release. Barr is a prolific instigator of the downtown New York scene, producing and playing saxophone in jazz circles with his group Onyx Collective, as a player and/or producer on records by Nick Hakim, David Byrne and Wiki, performing live with William Parker and as part of his projects Universal Space Jam and Cafe Dewanee.

Erogenous Biome was recorded and mastered by Griffin Jennings at Heavy Meadow, Brooklyn.

Vinyl was cut by Beau Thomas at Ten Eight Seven Mastering, Berlin.

Artwork is by Ry Fyan, typography and layout by Nicolas Turek.

Now and again, an album project with no home comes along out of the blue, demanding to be licensed and shared with the world.

It was unearthed on one of Paper's digging trips. BOM's album sounded like nothing else out there, only the future. Shrouded in mystery and country-of-origin unknown, Africa runs through its DNA, but sometimes mysteries are best left...

Ase - a Yoruba philosophy signifying the power that makes things happen and produces change; given to Gods, ancestors, spirits, humans, animals, plants, rocks, rivers, songs and prayers.
BOM takes influence from all corners of Africa and its diaspora, blending them with 25 years of Western electronic music into a melange of forward facing, leftfield afro futurism.
The album features one of Africa's brightest rising stars, Luka Productions (from Mali), cosmic poet Sirius Rush (UK) and master drummer & vocalist Felix Ngindu (DRC/Liverpool) for a journey into kaleidoscopic Afro-tech funk. Gqom, Shangaan electro and township funk rub shoulders with hip-hop, bass, deep house and dub for a psychedelic celebration of collaboration and possibility.

As geographical and musical barriers are broken down, BOM's 'Ase' album is leading the charge; London to Lagos, Lisbon to Sao Paulo, Bamako to Berlin, BOM captures the sound of the underground.

This incredible triple album is the result of decades of history, and many years of work, between the legendary Micky Finn and Vital Elements. It is a musical journey and a definitive document of the scene from the early rave years to modern jungle, in all its many aspects and styles, produced in a way that only a pioneers such as Micky Finn & Vital Elements could do.
Perfectly planned and beautifully executed, this album will never be repressed, and once stock is gone, it is gone.

Earthly Measures are very excited to bring to you 'Doroja', an album by Santiago Córdoba & The Bauls of Bengal. Different to past releases, EM explores another part of the world, introducing you to the traditional sounds of Bengal & its talented musicians.

Doroja, is the third album by Argentinian musician Santiago Córdoba, this time in collaboration with The Bauls of Bengal. Recorded at the Hansadhwani Studio in Calcutta, India, where Santiago arrived with only a synthesiser, some effects, and a Legüero Bass Drum (an Argentine percussive instrument used mostly in local folklore) - this album was first conceived in December 2017 during a residency in this mythical city, together with The Bauls of Bengal.

The Bauls believe the body and mind are the sources of all truths and that the expression of freedom cannot be restrained by the labelling of genres or religions, something which is evidently expressed in their music. This provides the perfect foundations for this album to develop without limitations and too effortlessly flow to whichever realms both Santiago and the Bauls of Bengal wish to take us too.

The album combines traditional songs of the Bauls, rhythmic Jhumar instrumental improvisations with the Argentinian legüero bass drum, and other compositions created together in the studio. The result is a melodic mixture/dialogue of cultures, folklore and ancestral sounds with modern influences that help create an experimental and addictive sound full of electronic textures.

Participating in these first recordings: Arpita Chakraborty (vocals), Chandan Ray (dotara), Pijush Baul (Vocals, Dubki) and Tanmoy Pan (percussion), who later, are joined by other artists from different latitudes to achieve a captivating fusion: Matías Romero on strings (Formosa, Argentina), Guilherme Peluci from Mineiro on winds and Daniel Guedes on percussion (Belo Horizonte, Brazil), Porteños Walter Broide on tabla and Cobra Rod on bass (both members of Poseidotica), and the Spanish Ángel Calvo on trumpet.

The album was mixed by Rodrigo Cursach at Delta Uno Estudio, mastered by Daniel Ovie, and the fascinating cover art is by Alejandro Sordi. It will be released on vinyl by the UK based label Earthly Measures, in addition to being available on all digital platforms.

‘Doroja’ means portal, and this album is indeed a magical portal to music, song and dance. Santiago's only means of communication with Bengali colleagues functioned as an astral portal to build the sounds of this journey through strange and unfathomable landscapes that captivate and surprise by building bridges between different cultures of our planet.

Santiago Córdoba is a multi-instrumentalist musician born in the city of Buenos Aires who has been developing his unique sound both with his solo project and with prominent bands from the Argentinian independent music scene. He has been developing his solo career through deep musical and spiritual searching, with the infinite journey as a primary objective.

In recent years, he has lived in places such as Madrid, Beirut and Berlin and has released two albums: ‘Corso’ (2015) and ‘En Other Places’ (2019).

Second volume of tributes from Kutmah.
A beat tape for the brotha from anotha planet, the most high Ras G & the Afrikan Space Program
All beats by Kutmah / Cover Photos By Kevin Ramos

Rock and Rock roots, deep down under You'd better believe it! The roots of Australian rockers AC/DC lie in the whirlwind of original fifties rock and roll.
In the early days the group would cut their teeth on the club circuit with a live set that would include a handful of band originals,a few Rolling Stones numbers plus many crowd pleasing Rock and Roll classics.
The Sydney club and bar scene was rough so you had to get the punters on your side.
With their original singer Dave Evans at the helm the group who play residencies at the likes of the New Hampton Court Hotel in Sydney entertaining with their own brand of loud guitar takes of 'Carol' and 'Bye Bye Johnny'by Chuck Berry,'Tutti Frutti'by Little Richard,as well as rocking standards like 'Shake,rattle and roll' and 'Blue Suede Shoes'.
Cranking out cover versions didn't die even when the group composed more original material,a version of 'School Days' by Chuck Berry would appear on their second album' TNT',whilst 'Baby Please Don't Go' would be pulled from their original 1975 debut album'High Voltage' and issued as a single in America.
These roots are the reason that AC/DC have become one of the best loved bands on the planet who never fail to deliver the goods everytime.......

Apollo / R&S are delighted to welcome back The Primitive Painter, aka the duo of Roman Flügel and Jörn Elling Wuttke for a timely reissue of their 1994 lost classic self-titled album of sonorous IDM.

Growing up in Frankfurt, in the 80s and 90s the duo met at an indie rock club in their home town of Darmstadt, bonding over their shared obsession with the first wave of acid, Chicago house and early Detroit techno as well as their patronage of now iconic Frankfurt club nights like The Omen or Dorian Gray or the infamous Delirium Record shop run by scene stalwarts Ata (Robert Johnson) and Heiko MSO (Playhouse).

Taking inspiration from the likes of The Black Dog and Transmat as well as seminal compilations such as Planet E’s Intergalactic Beats and Warp’s Artificial intelligence compilation the duo honed their inventive take on the Detroit techno blueprint under the monicker Acid Jesus, debuting on their freshly minted Klang Elektronik label. The label was started in conjunction with Ata and Heiko after Fluegel & Wuttke (regular patrons of the Delirium store) pressed a demo on them, muttering the immortal line; “Please listen to the tape, we are big Mr. Fingers fans.”

Through the mid ’90s the project flourished giving rise to a classic album and a brace of singles that number amongst the best of the era’s techno, winning them a influential fans most notably Sven Väth, David Holmes and Andrew Weatherall who invited them to play live at one of the legendary Sabresonic parties in London.

Alongside the success of the Acid Jesus project, the duo found great inspiration in outside of the club, including an ambient happening when the KLF came to play Frankfurt; “There were live sheep eating grass on stage while they played at Mark Spoon’s club XS”, as well as cinematic influence from the likes of Jim Jarmush and Wim Wenders. It was however the euphonic IDM grandeur of Apollo Recordings self titled compilation of 1993 that really got their creative juices flowing: “It was a ten track compilation with artists like David Morley, Model 500, Aphex Twin which still sounds so good today,” Jörn enthuses. “ It was really the trigger to go away from the Detroit sound and more towards the big melodies of B12 etc.”

Deciding to make their tribute to this style of music the duo turned out 10 tracks of gauzy, melodious electronica in a white hot fever, one after another over the ensuing months. Settling on a name for the new project they picked ‘The Primitive Painters’ taking inspiration from the band Felt. “We are both children of the C86 movement,” explains Jörn. “this attitude of noisy art school influenced rock like Primal Scream, MBV, The Jesus & Mary Chain really inspired us to take a DIY approach to our music.”

They sent the resulting demo cassette to Renaat at R&S / Apollo. “We really had no expectations,” Jörn explains. “So we were shocked and delighted when we received a fax saying that he wanted to release it”.

The resulting release was bungled by an R&S mix up that attributed the album to the duo’s own Klang Elektronik label which confused both fans and distributors alike, denying the release the critical boost and attention that it so richly deserved. Accordingly the release slipped out without much fanfare, with a chastened Fluegel & Wuttke returning to their Acid Jesus activities which would eventually lead to their blockbusting success as Alter Ego.

Over the ensuing years the reputation of The Primitive Painter album has only grown, with second hand copies (only 500 vinyl were pressed) changing hands for exorbitant amounts on Discogs, leading us to this opportune moment of a richly deserved ‘first’ release on the label for which the project was started, Apollo / R&S.

“This really brings us full circle,” says Jörn. “Apollo / R&S meant and means so much to us as artists and so it was bittersweet to not have the official release - to put that right all these years later feels really good.”

This new vinyl release comes in re-created original gatefold artwork and includes all original 10 tracks (Stoned Soul Picnic was previously on the CD only).

Over the course of a decade, Wata Igarashi has risen as one of techno's most accomplished DJs and producers. His highly aesthetic trademark sound is as heavily psychedelic as it's driven by its stern kinetic energy. It's often overlooked that Igarashi is much more than a torch bearer of the raw hypnotic techno he became known for. He's also a very accomplished and versatile musician with a deep understanding of the cause and effect of sound design. His skills are fully on display on 2023's full length "Agartha", a film score to a fictitious movie about the mythical underworld of planet Mars. It was a rather obvious idea to cross the bridge between this epic deep listening album and Wata Igarashi's techno persona by having him remix himself. As you might expect, the "Agartha Sorcery Acid Mix" has turned out to be a masterclass in psychedelic designer techno. It's slightly slower in BPM as the usual Igarashi fare but every bit as captivating. The "Floating Against Time Shimmering Mix" shows another intriguing facet of Wata's spectrum. Let's call it: Psychedelic Deep House. KOMPAKT's very own Michael Mayer couldn't resist to turn the Godzilla soundtrack-ish "Ceremony Of The Dead" into a positively hysterical minimal disco operette. And then there's the "Fusion Mix of Abyss x Darkness" by Philipp Stoffel, a fresh Cologne DJ producer whose AKTE club nights just spawned a label by the same name. He's definitely one to keep an eye on in 2025.
Im Laufe eines Jahrzehnts hat sich Wata Igarashi zu einem der versiertesten DJs und Produzenten im Bereich Techno entwickelt. Sein hochästhetischer, unverwechselbarer Sound ist ebenso stark psychedelisch entrückt wie von einer strengen kinetischen Energie angetrieben. Oft wird übersehen, dass Igarashi viel mehr ist als nur ein Fackelträger des rohen, hypnotischen Techno, für den er bekannt wurde. Er ist auch ein sehr versierter und vielseitiger Musiker mit einem tiefen Verständnis für Ursache und Wirkung von Sounddesign. Seine Fähigkeiten kommen auf dem Longplayer „Agartha“ von 2023 voll zum Ausdruck, einer Filmmusik zu einem fiktiven Film über die mythische Unterwelt des Planeten Mars. Es lag nahe, die Brücke zwischen diesem epischen Deep-Listening-Album und Wata Igarashis Techno-Persönlichkeit zu schlagen, indem man ihn sich selbst remixen ließ. Wie zu erwarten war, ist der „Agartha Sorcery Acid Mix“ eine Masterclass des psychedelischen Designer-Techno. Mit einer etwas geringeren BPM-Zahl als bei Igarashis üblicher Musik, aber genauso fesselnd. Der „Floating Against Time Shimmering Mix“ zeigt eine weitere faszinierende Facette von Watas Spektrum. Nennen wir es: Psychedelic Deep House. KOMPAKTs Michael Mayer konnte nicht widerstehen, den Godzilla-Soundtrack-ähnlichen Song „Ceremony Of The Dead“ in eine geradezu hysterische Minimal-Disco-Operette zu verwandeln. Und dann gibt es noch den „Fusion Mix of Abyss x Darkness“ von Philipp Stoffel, einem jungen Kölner DJ-Produzenten, aus dessen AKTE-Clubnächten gerade ein Label mit dem gleichen Namen hervorgegangen ist. Er ist definitiv einer, den man 2025 im Auge behalten sollte.

Whipped up in the dust of Rene & Rene’s Tejano tornado “Angelito,” the Dynamic label was just one among San Antonio record and real estate mogul Abe Epstein’s enterprises. Dynamic’s flagship outfit, the Commands, marched “No Time For You” up to the middle of the charts in 1966 with performance chops honed jet-sharp by the demanding Air Force Base circuit. That take off paved a runway for 20 more soulful Dynamic singles over an impressive 30-month campaign. Epstein’s open-door policy brought a diverse cross-section of Texas talent into convergence within his General McMullan Drive studio, as whites, blacks, and Latinos alike suited up for service in whichever new group the call of duty called for. Epstein’s Alamo City melting pot is ladled out here in 21 (28 on the 2LP) of Dynamic’s most intriguing dishes by the Tonettes, Little Jr. Jesse & the Tear Drops, Don & the Doves, Willie Cooper & the Webs, Bobby Blackmon & His Soul Express, and Doc & Sal. Lone Star pic sleeves, full-color dancehall photography, and rich ephemera plant a new flag for soul in soil that’s seen its share of hoisted banners.

In dem neuen Werk ''Shlimazl'' des Schweizer Komponisten Michael Wertmüller verschmelzen Sinfonieorchester und Big Band zu einem virtuosen, polymetrischen Organismus zusammen, der nicht nur Stile, sondern auch eine gefühlte Linearität der Zeit überwindet. Dabei knüpft er explizit an die reiche Tradition der Big Band an und belebt sie im sinfonischen Kontext unter neuen Vorzeichen wieder und lässt sie emporfahren. Alle Solisten agieren wie ein Bild im Bild der Big Band, die zwischen musikalischer Keimzelle, Ort der Konzentration und utopischem Freiraum oszilliert. Wertmüller beleuchtet die Doppeldeutigkeit des jiddischen Titels Shlimazl (dt.: Durcheinander) mit den strukturierenden Phrasen Mazely Shlimazl (dt.: Glück und Unordnung). Die stilistische Karombole und das Chaos der Polyphonie ohne Einheitlichkeit bergen nicht nur den überwältigenden Effekt der scheinbaren Unvereinbarkeit, sondern auch das Glück neuer Möglichkeiten des Miteinanders: aus der Kraft des Widerspruchs und der Reibung an irgendetwas, welches weder planbar noch vorstellbar ist. Ein Model, das in Zeiten zunehmender Unvereinbarkeit und Verhärtung die Vision eines konstruktiven Auswegs birgt. ''Shlimazl'' von Michael Wertmüller ist eine Auftragskomposition der Basel Sinfonietta und der Ruhrtriennale. Basel Sinfonietta & NDR Bigband Musical Director - Titus Engel Drums - Lucas Niggli E-guitar - Kalle Kalima

An air of ancient ritualism cloaks Modern Love’s midnight meeting between UK producer MOBBS and French-Egyptian spellcaster Susu Laroche, carving out a channel between hexed trip hop and shoegaze that’s one part DJ Screw, one part MBV, operating within a long shadow of influence cast by Curve, Leila, Cocteau Twins, Nearly God.

Clasping chiral energies on their debut collab, MOBBS brings a history spanning shadowy production work for big name artists to the grimly stylised vein of performance art and musick explored by Susu Laroche, an Egyptian-French with strong binds to chthonic contemporary London.

Their maiden sacrifice heightens the senses to blends of monotonic, sandalwood scented incantations and carpet-burned downbeats swept in slurred dub. Songs are subtly variegated in tone to spell out shifting plays of light evoking bedsit antechambers and warehouse innards lit by iPhone candle or extractor hood and emergency light bulbs on their last lumens.

It's music that's as elaborately serrated and blemished as early MBV, but positioned in a vastly different cultural landscape, drawing from hip-hop, drone, psych and basement noise. The pair’s range of cultural obsessions maintains a precarious balance between shadowy histories and an asphyxiating present; all too often, when the past is projected it's thru a mollifying, nostalgic lens, so their critical, prudent hybrid sound is a vital, chilling corrective.

From the bell-ringing, chain-rattle jag of ‘Throne’ thru the sleepwalker drift of ‘Roam’, and concrete plangency of ‘Forest’, the marriage of MOBBS’ illusive textures with Laroche’s feel for analog image and film (as evinced in her art for the likes of Blackhaine and Mica Levi) imprints their sound in gauzy layers that leave fleeting impressions on the mind’s eye. At their heaviest, Laroche’s arcane declarations descend in impressive enactments, undressing the excesses of over-glossed trip hop to reveal and revel in the sound at its starkest, sexiest, for new waves of washed up souls.

Black Fairy is a fairy tale, but not in the traditional sense. When writing this play, i did not want to re-create the types of fantasies which are so common in Childrens theater. There is no kind of magic that can relieve black children from the oppression that retards their development. However, i do feel giving them a better understanding of their heritage can help them achieve their true potential. And those of us who are concerned with their development should try to expose them to knowledge that gives them a positive sense of identity. Although i do feel a chldren's play should be entertaining, I also feel it should be educational. Also, because there are so few children's plays which reflect the black experience, I wanted to write a play that Black children could identify with.

"Black Fairy" is a musical drama about a black fairy who lacks pride in herself and feels she has to offer Black children. But when she meets Black Bird and Queen Mother (Who take her to ancient Egypt, East Afrika, a southern slave plantation and the streets of Harlem) she begins toget a better understanding of her heritage. Her journey through the past enables Black Fairy to meet Aesop, Brer Rabbit, Brer Fox, Uncle Remus, Stag-o-lee, Leadbelly and many other characters in Black folklore and Black history. At the end of her journey, Black fairy realizes that "Being Black is nothing to be ashamed of" and is then able to share her knowledge with other Black children. Even though Black Fairy doesn't completely resolve her dilemma, having a knowledge of her heritage does give her more confidence to cope with the future.

During ther summer of 1974 "Black Fairy" was performed for over four thousand children in Chicago. And, in April of 1975, it played to over two thousand children in Detroit at Mercy College.

"Black Fairy" is the only the first of many children's plays we hope to produce at the Better Boys Foundation. There is an Afrikan proverb which says: "Children are the reward of life". We at Better Boys Foundationm are dedicated to this belief, and feel that helping childrren to appreciate their heritage is one means of showing our concern for their development.

"BlackFilter is the project of Pellegrino Mazzucchi, a percussionist, DJ, and producer residing in Modena, Italy. Pellegrino became passionate about music at an early age, thanks to the influence of his mother, a Fado singer of Indo-Mozambican descent, and his older brother, a DJ of Latin and World music who encouraged him to study Afro-Cuban percussion. Drums, or "Batuki" (as his mother called them when she was getting mad at him for the continuous rhythm that echoed through the house at all hours of the day), served as Pellegrino's first means of expression. He later expanded his sound palette through experimentation with analog synthesizers and drum machines. The fusion of these elements over time gave birth to the distinctive sound of Black Filter and "Batuki": a dialogue between Afro-Caribbean rhythms and futuristic Jazz with hints of electro and disco, offering the listener a sonic and refreshing sound experience."
"Batuki" is out on Ragoo Records.

Founded by Robbie Redway and psychedelic researchers Mathieu Seynaeve and WaiFung Tsang, UK-based 'United Freedom Collective' has grown into a network of artists including Jordan Stephens, Falle Nioke, Eliza Shaddad, Labdi, William Rees and Facesoul. Originally conceived around psychedelic therapy sessions, online yoga and breathwork channels, the musical scope has expanded on each of the four EPs released on Maribou State's 'Dama Dama' label, and here continues with their debut on Multi Culti. This time Robbie takes the lead on production and sole vocal duties on all five tracks, presenting a range of influences and style. Lead single 'Between Memories' blends tropes of ecstatic dance with uplifting vocal piano house, somehow making flutes fit in with Detroit strings to epic, hands-in-the-air effect.' Title track ‘Bright Patterns’ bridges the gap between Jungle, Jai Paul, and Jamiroquai, a fusion of funky filtered disco-house and electroclash with side-chained pop vocal hooks. ’El Yo’ smooths things out, a dope, laid back groove with a measured reflection on psychedelic healing and the perils of spiritual bypassing. ‘Higher Drums’ warms things back up for the dancefloor with trumpet, afro-latin percussion, and flute flourishes. Finally, ‘Moonshine’ is a soaring, Amapiano-inflected post-desert-house ballad. Influenced, in their words, 'by birds, trees, Buddhism, yoga, headless way meditations, Jungian analysis, Zen Taoism, Chinese plant medicines, indigeneity, Amazonian and psychedelic cultures, icaros and world healing traditions,' the music is eclectic, ranging from afro-inspired jazz to Chinese folk, psych-rock to dub and dance music, an ambitious and inclusive range, collabs that extend well beyond the borders of western musical traditions. Their sound was described by Clash Magazine as an 'aural mosaic that glitters with colour and potential,' and while the sheen of the production and precision of the arrangements might seem a departure from Multi Culti's left-field endeavours, the psychedelic idealism and global connectivity make it a natural fit with the open-ended ethos of the label. Having already had radio support from KEXP, BBC6 Music (Laverne, Ravenscroft, Charles, Nemone, Letts), Jazz FM and Worldwide FM (Gilles Peterson), with a live show that sold out Dalston Curve Garde and The Waiting Room as well as supporting Maribou State for their recent comeback show at Islington Assembly Hall in London the collective's future is looking exceptionally bright.

DJ Support: Erol Alkan, Kenneth Bager, Leo Mas, FFan, Sean Johnston (ALFOS), Max Essa, Coyote, Ban Ban Ton Ton, Chris Coco

Hell Yeah series File Under Balearic Gabba continues its mission to bring some vital, previously digital-only Balearic Gabba weaponry to vinyl for the first time. This second volume has artwork by Planet Luke and features Wallace next to new school stars SIRS and Pedro Bertho.

Tartan Records label head and British talent Wallace opens up with a remix of Sewell And The Gong's 'Better Words' that has been a real summer hit for label head Marco Gallerani.

The original came on Jason Boardman's fine Before I Die label and is one of those jams that transcends genre and wins over techno heads, Adriatic beach groovers and festival main stages alike. It is 'proper Balearic Gabba' says Marco with its tropical percussion, humid pads and watery droplets all adding lush atmosphere to the dubby drums. The chords and reedy leads are beautifully delicate but get floors in a blissed-out, loved-up trance.

SIRS is an artist on fire right now and already impressed on this label with his remix of Aura Safari which is one of the year's standout Balearic house jams. He has a new single on the way for Hell Yeah but first flips label mate My Friend Dario's 'Tellaro' into a wobbly, psyched-out dub disco and breakbeat chugger. The zippy synths and shimmering keys are underpinned with a taught bassline and playful vocals that bring great fun and irresistible party vibes to any set.

Hell Yeah mainstay Verdo then has his 'Boulevardier' remixed by Pedro Bertho, a rising talent from Brazil with a steamy South American style. This one is a modern beach classic that unites both young and old heads with its frayed analogue drums and snappy percussion joining the dots between 80s Chicago house, new age and Balearic with its big piano chords and phased bass all getting hands the air.

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

Obliteration is imminent: As The World Dies return with their triumphant second offering. “Nebula” is a colossal lesson in crushing death metal and cosmic mysticism. “‘Nebula’ is the quintessence of what As The World Dies is all about,” band leader and scene veteran Scott Fairfax says. “We pushed our musical boundaries and wanted to create an album that was both brutal and thought-provoking. It’s heavier, darker and more profound than anything we’ve done before.”

While we go about our petty business, leading our small and insignificant live under the sun, death is hurtling towards us at breakneck speed: An asteroid names Apophis will come in very close contact with planet Earth in 2029. Aptly named after the Egyptian god of dissolution, darkness and chaos, it has the power to obliterate life as we know it. Seriously: it doesn’t get any more death metal than this.

Scott Fairfax is well aware of that. The death metal veteran of Memoriam fame is back with his other vehicle of death and destruction, As The World Dies. Three years after their earthshattering and star-studded debut “Agonist”, he’s taking things into space with “Nebula”, a cosmic death metal requiem of colossal proportions. Brought to life and recorded mostly by Scott Fairfax alone in his home studio, this isn’t so much of a band effort and rather the work of a dedicated individual pissed off by pretty much everything going on around him.

Angry, haunting and miserable songs are, though. “Nebula” is full of them. An album like an uncompromising alien threat to our planet, as unrelenting and indifferent as an asteroid. The end is coming, folks. Let’s all enjoy it while we can

Obliteration is imminent: As The World Dies return with their triumphant second offering. “Nebula” is a colossal lesson in crushing death metal and cosmic mysticism. “‘Nebula’ is the quintessence of what As The World Dies is all about,” band leader and scene veteran Scott Fairfax says. “We pushed our musical boundaries and wanted to create an album that was both brutal and thought-provoking. It’s heavier, darker and more profound than anything we’ve done before.”

While we go about our petty business, leading our small and insignificant live under the sun, death is hurtling towards us at breakneck speed: An asteroid names Apophis will come in very close contact with planet Earth in 2029. Aptly named after the Egyptian god of dissolution, darkness and chaos, it has the power to obliterate life as we know it. Seriously: it doesn’t get any more death metal than this.

Scott Fairfax is well aware of that. The death metal veteran of Memoriam fame is back with his other vehicle of death and destruction, As The World Dies. Three years after their earthshattering and star-studded debut “Agonist”, he’s taking things into space with “Nebula”, a cosmic death metal requiem of colossal proportions. Brought to life and recorded mostly by Scott Fairfax alone in his home studio, this isn’t so much of a band effort and rather the work of a dedicated individual pissed off by pretty much everything going on around him.

Angry, haunting and miserable songs are, though. “Nebula” is full of them. An album like an uncompromising alien threat to our planet, as unrelenting and indifferent as an asteroid. The end is coming, folks. Let’s all enjoy it while we can

On the first day of Spring 2025, LNFG are proud to plant, into your musical
consciousness, The Instant Garden by Dr Robert (The Blow Monkeys) & Matt
Deighton (Mother Earth)The Instant Garden is a sonic assortment of open
tuned acoustics and ferocious electrics with psychedelic melodies and bells
and bass
Imagine Fred Neil & Marc Bolan bonding over Five Leaves Left and you might conjure
something close to the intimate beauty of this record.
On the first day of Spring 2025, LNFG are proud to plant, into your musical
consciousness, The Instant Garden by Dr Robert (The Blow Monkeys) & Matt Deighton
(Mother Earth) - The Instant Garden is a sonic assortment of open tuned acoustics
and ferocious electrics with psychedelic melodies and bells and bass - Imagine Fred
Neil & Marc Bolan bonding over Five Leaves Left and you might conjure something
close to the intimate beauty of this record.

On the first day of Spring 2025, LNFG are proud to plant, into your musical
consciousness, The Instant Garden by Dr Robert (The Blow Monkeys) & Matt
Deighton (Mother Earth)The Instant Garden is a sonic assortment of open
tuned acoustics and ferocious electrics with psychedelic melodies and bells
and bass
Imagine Fred Neil & Marc Bolan bonding over Five Leaves Left and you might conjure
something close to the intimate beauty of this record.
On the first day of Spring 2025, LNFG are proud to plant, into your musical
consciousness, The Instant Garden by Dr Robert (The Blow Monkeys) & Matt Deighton
(Mother Earth) - The Instant Garden is a sonic assortment of open tuned acoustics
and ferocious electrics with psychedelic melodies and bells and bass - Imagine Fred
Neil & Marc Bolan bonding over Five Leaves Left and you might conjure something
close to the intimate beauty of this record.

Also includes a large double sided poster , colour inner sleeves and liner notes by Gerald V Casale.

Spuds rejoice. After years of requests, Futurismo are thrilled to announce a brand new limited pressing of the DEVO’s incredible Recombo DNA 4xLP with Mini CD Set, plus also available is a brand new 3xCD version.


For decades Devo have been working non-stop at Recombo DNA Laboratories on a new kind of research to keep up with the mutating world around us. That extensive research is now ready for public consumption once again. Futurismo were the first to bring you this on vinyl and now they present unhindered access into Devo’s labs, documenting the scientific analysis and demonstrations as conducted by the band between the years 1977-2008.



This tireless research has manifested itself in Recombo DNA…an unmissable collection of studio demos and unreleased rare tracks that span Devo’s entire recording career, from their original basement days to their famed ’Freedom Of Choice’ era, right the way through to unused demos from their last studio album. You may know the track ‘Baby Doll’ but do you know it’s original incarnation as ‘Satan’? If you submit to the findings of Recombo DNA Labs you will, Futurismo’s version of this compilation includes six bonus tracks taken from the archives that had never been released, or even heard before.



This limited edition 4xLP set is a sonic fusion of demos, alternate versions and outtakes, demonstrating the true breadth and talent of one of America’s most important bands. But this set doesn’t stop at four beautiful slabs of mutated vinyl, also included is ’The Somewhere Suite’ served up on the format it was originally intended to be back in the May of ‘89, advertised although never released, it’s contained here in all it’s full length glory on a 3” Mini CD. Recombo DNA is also coming on a 3xCD digipak version for the very first time from Futurismo, including all the wonderful artwork and bonus material. Devo’s Recombo DNA is an essential addition to the collection of any science fearing spud, and the perfect sister release to last years Art Devo. The original 2017 pressing of Recombo DNA sold out in less than 48 hours, so grab this while you can. Each set includes 4xLP on limited edition coloured vinyl and includes a Mini CD. This fantastic collection of devolved recordings and bonus tracks are contained within the gloss laminated wide spined sleeve, with newly tweaked artwork, a huge A1 poster, full colour inner sleeves and liner notes by Gerald V Casale. A 3xCD digipak version is also available. Submit to these findings and witness audio mutation in action.

It's hard to imagine El León Pardo, a loyal advocate of some of the most advanced projects in which folklore is the road map and the destination itself, without his kuisi. It's hard to see him with his hands free. Always holding on to that ancestral instrument, that pre-Colombian flute that survived the conquest and has become a symbol of resistance, overcoming the ravages of time, the imposition of ideologies, dogmas and religions. Despite all that, the kuisi continues with its liberating sound, the power of its cry, its invitation to dance, its sound a cure and a blessing. That's why it leads the way in this Viaje Sideral ("Space Voyage"), an astral journey in which the kuisi is the vehicle and the life force of the rhythm. Viaje Sideral feels like floating eternally in the infinite cosmos. This second long player from El León Pardo is inspired by humanity's relationship with the stars, escaping to mythical planes and led into a trance by Caribbean percussions, analog synths, deep bass, electric guitars and the hypnotic vibrations of the kuisis and trumpets that complete the soundtrack of this voyage. Through these nine songs, El León Pardo continues to create a sound of his own, evolving in his intention to pay tribute to the psychedelia of the tropical world of the Caribbean in the 1970s and 80s, but this time also taking as reference artists like Terry Riley, Kraftwerk and Mad Professor, including the roots of ambient and electronic music with the characteristic sound of the kuisi, an encounter of dreamlike and astral sounds, with the music of the bandas pelayeras of the tropics and figures like Pedro Laza and Juan Lara. In this new universe the Cartagena trumpeter dialogs with the past, processing the ideas that have emerged over the years and morphed into his personal search that gives an identity to his ideas, nurtured by figures like producer Diego Gómez (Llorona Records, Discos Pacífico, Cerrero) who awoke his interest in electronic instruments, Edson Velandia and kuisi maestros like Juan Carlos Medrano and Fredy Arrieta. In his sound there is a particular feature, one that contains histories of personal experiences, accompanied by the kuisi, including ancient Zenú flutes dating from between 600 and 800 AD and which helped create the atmosphere of "Invocación." "Viaje Sideral," the song that gives the album its name, was born from a dream in which two stars speed towards the earth and an imminent collision. As the record continues, the stellar connection becomes clear with songs like "Urmah" with Edson Velandia, inspired by an article about extra-terrestrial races and how the Urmah were a race of hominid felines, the greatest geneticists of the universe; and "Cumbia espacial," featuring rapping from N. Hardem, seeking to create that aura of immensity and consciousness of the infinity of the universe.

"Float like a butterfly and sting like a bee" said the famous boxer Mohammed Ali, in reference to his legendary strike. This punchline also works wonderfully in music, listening to Roseaux's third album. A French success story, created with all modesty and honesty by the Parisian trio: Emile Omar, Alex Finkin and Clément Petit.

The three musketeers of sound cultivate their know-how, now acclaimed by critics and an ever-growing audience since their first project in 2012. It took them time to take a step back and gain perspective in order to offer us a return that is both joyful and resounding.

Roseaux takes root on the banks of soul, folk, jazz, and songs from all eras, a cascade of inexhaustible sounds, where the three composers draw their inspiration and merge their experiences.

The leaves of Roseaux soar to the breath of wonderful voices, chosen with precision by the three friends, like that of the American singer Aloe Blacc, present since the beginning of the adventure, essential enchanter of the three episodes.

Conceived as a dreamlike escapade full of emotions, on the fringes of the massive, instantaneous and often disembodied production, Roseaux is a totally artisanal group, a sort of UFO in the French musical landscape, which operates on instinct and above all on desire.

Thus, Roseaux has become an expert in bringing together, for the duration of a record, the artists who specifically form the DNA of their host: captivating voices, a plot on the piano and cello, but also encounters and reunions, in a poetic and deliberately nebulous universe.

A welcoming nebula, where the listener is invited to listen and immerse themselves without hindrance, in a luxuriant, wild, exciting sound forest. This third album is the work of 3 music lovers, capable of switching roles: writing, arrangements, production, from which emerge this time, eleven tracks with chiseled melodies including three colorful and unusual instrumentals.

A journey between melancholy and euphoria, which led Roseaux to the ends of the planet, from the Caribbean to Europe via Africa to unearth other vibrations and unique performers: the captivating Grenadian-British singer Ala.ni, the little English afropop prince from Ghana, Ghetto Boy, and the disturbing Swedish Isabel Sörling, sign here a first flamboyant collaboration with the group.

While the talented Haitian-Canadian Mélissa Laveaux, the hypnotic Scandinavian singer Olle Nyman, the sparkling French-Canadian Anna Majidson and our remarkable national Ben, already present on the second part, still manage to create a surprise by revealing new aspects of their range.

Roseaux's voices are decidedly impenetrable and its magic is renewed today by making the strength of all these scintillating elements dialogue, to be discovered in a setting of softness and voluptuousness.

Nature is full of reeds, this one is unique.

With their debut album Channels on !K7 Records, Kassian (Joe Danvers-McCabe and Warren Cummings) have come full circle, focusing on the warmer, sample-based, and house-inspired sonics that brought them together. Kassian periodically revisited these initial pieces throughout the last five years until they felt able to journey deeper, using their rapidly developing craft and refined production techniques to build a debut album that momentarily steps away from some of their more club-focused excursions. “As we were writing, we realized that all the tracks had the unique potential to tell a story,” reflects Cummings, with Channels leading the listener through a series of different atmospheres and emotional terrains.

Essential to Channels is Kassian’s focus on time’s ability to reorient human perspective. Kassian worked on the album over an extended period, with instrumentation, field recordings, and percussion first constructed and then subsequently stripped away and refined.

Channels contains their early love of tube warm, sample based sounds and live instrumentation as the foundation for this album. The working process for these rippling pieces used both sequenced workflow and improvisational arrangement, live instrumentation inspired by an array of deeper emotional content. Both members of Kassian experienced great personal loss during the period of making this album, and a tenderness is felt throughout the record.

This record is an earthy thing, its naturalistic track names evoking recognisable and cyclically familiar moments, Kassian have provided a map for the listener at the forefronts of their minds. Channels features Ezra Collective’s Joe Armon-Jones on keys, and Timothy Kraemer on cello distilling this body of work into a deep stream between the organic and improvised, and the sequenced and planned.

Reinventing himself as a vocalist on his new album 'Silver Blue', Pomrad fuses 80s fusion funk, raw electro-dance, and 90s rave grooves to craft his unique style of cosmic crooners. For Fans of Prince, Hudson Mohawke and Herbie Hancock.

Drawing inspiration from a wide range of genres, the record pays homage to the iconic African American productions of the '80s-such as Prince, One Way, the Gap Band, and Whitney Houston-while also nodding to UK-styled genres like Street Soul (The Antipode), '90s R&B (Is It True) or even grotesque 2-step (Sad Dancer).

Throughout the album, layered synth textures from instruments like the Yamaha DX7, RolandD-50, Simmons SD-5, and Korg Opsix create otherworldly atmospheres (Silver Blue), as tracks swing from the playful funk naivety of an '80s TV show intro (How It Feels) to corny synth ballads (Sweet Dear Lucky) or happy clapping turned hardstyle (Suzy Got Lost).

Pomrad wrote the songs over the past few years in his home studio in the Antwerp area. After a seven-year hiatus, following his collaboration with Onra, he returns as a fearless singer and storyteller with a distinctly Belgian surrealist flair.

This album is produced by Neil Perch in the Alte Ziegelei studio and features the world reknowned Zion Train brass section along with vocals from Zion Train singer `Cara' and the award winning poet Roger Robinson. Featured on several tracks is Paolo Baldini playing guitars and bass guitar alongside veteran musicians - Trinny Fingers, Blacka Wilson, Dreada One and Professor Skank who hails from Crete. For this album Zion Train return to their roots with copious amounts of analogue Dub mixing performed by Perch on his TAC Scorpion vintage mixing desk. With mastering at the Pressure Mastering, and artwork by the highly acclaimed anarchist artist Marko Gin from Croatia, this album presents Zion Train at their creative, anarchic best. Zion train are one of the most unique and enjoyable live dub acts on the planet, their use of dynamic onstage dub mixing whilst performing alongside acoustic instruments and exceptional vocalists, make Zion Train one of a kind.

TC.KYLIE x The Hourglass brings dynamic jazz fusion music from her debut album, integrating Hong Kong, Japanese and British cultures. Kylie leads her band dynamically on stage playing keyboard and synth keytar, iconic in Japanese jazz rock & highly memorable to watch.TC.KYLIE, a jazz fusion pianist, performs regularly in both Hong Kong and London. Inspired by the likes of Shaun Martin and Robert Glasper, she also continues to write songs in the areas of Japanese acid jazz, following Fox Capture Plan, Jabberloop, Toconoma, Jizue and Bohemianvoodoo. Prior to becoming a performing artist, Kylie previously worked as a news documentary journalist for radio and TV networks in Hong Kong, She spent much of her time connecting human stories and investigating the connections between people and society which was inspiring and enlightening but also often heavy and difficult within increasingly tricky political landscapes unfolding around her.

Under the changing social environment in her hometown and with the hit of the pandemic, she decided to take an indefinite well-earned break in 2020 to take care of her own well-being & passions. During a stay at a jazz cafe and hostel in Lake Towada in Aomori, Japan, encouraged by the hostel owner as a jazz enthusiast; Kylie sat in front of the piano, contemplated and played scattered notes to express what she had been enduring during her time as a political/social reporter.

Finding herself joyfully picking up music in her life again after years of leaving it behind, she wrote the song "The Last Grief" a tribute to one of her deepest sorrows and in remembrance of her best friend in childhood who battled heavily with depression. This song went on to be an official selection for the International Toronto Music Video Festival as well as the Toronto Asian Independent Film Festival in 2023.

Network 23 - EP10 are 4 tracks by R-ZAC the tracks on the A-Side are made by Simon and on the B-Side by Seb. It goes without saying both sides are bangers and Stefan ZMK's remaster brings them up to nowadays standards.

Zur Feier des 50. Jubiläums von Venus and Mars wurde diese spezielle Vinyl-Edition mit halber Geschwindigkeit
geschnitten, wobei Miles Showell in den legendären Abbey Road Studios die Original-Masterbänder von
1975 in hoher Auflösung übertrug. Das Album ist eine sorgfältige Reproduktion der Originalpressung in
Großbritannien, mit Nachbildungen des originalen runden Aufklebers „Venus and Mars are alright tonight“
und des Lesezeichenaufklebers „comparative sizes of sun and planets“ und wird mit zwei Postern mit Fotografien von Aubrey Powell und Sylvia de Swaan geliefert. Das ikonische Album-Artwork von Hipgnosis
wurde sorgfältig nachgebildet und in einer Klapphülle präsentiert.

To celebrate the 50th anniversary of Venus and Mars, this special vinyl edition was cut at half speed using a high-resolution transfer of the original master tapes from 1975 by Miles Showell at the legendary Abbey Road Studios. The album is presented as a meticulous reproduction of the original UK pressing, with recreations of the original “Venus and Mars are alright tonight” circular sticker and “comparative sizes of sun and planets” bookmark sticker, and comes with two posters with photography by Aubrey Powell and Sylvia de Swaan. The iconic album artwork by Hipgnosis has been meticulously recreated and presented in a gatefold sleeve.

"The Beatles spread the use of electric guitars all through the world, and Bolivia was no exception. “The British Invasion” hit a politically convulsed country, and it fell upon a rich multi-cultural scene that was further expanded when the psychedelic counterculture youth movements coming from San Francisco also took the hearts of the country’s youngsters.
It was a big mixture of influences thrown in a cauldron that saw a link between the LSD drenched hippie generation and the country’s native ancestors. Bolivians were not new to mind-expanding experiences, the acid experiences promoted in the USA by Ken Kesey and Timothy Leary found their local counterpart in the old indigenous traditions of using plants such as the ayahuasca to open their doors of perception.
On this compilation you will find some of the more interesting young bands from a 1960s Bolivia bringing the sounds of a new generation and marrying them with the rich musical background of the country. The garage-sounding psychedelic beat made by these young musicians would soon open new horizons, and Bolivia would soon see how traditional sounds, like their local version of the cumbia, would evolve in a similar way as it would do in the neighboring country of Perú."

On their most explicit venture into music for moving image, Miles Whittaker & Sean Canty rudely fracture piano and vocal recordings by US filmmaker-musician Kristen Pilon in a short-circuiting of style and pattern.

Shredding up definitions of electro-acoustic opera, spectralist chamber musique and concrète rave, Demdike hit square between the eyes/ears of film music vernaculars on a startlingly strong addition to their unique oeuvre, now in its 16th year of elusive psychoacoustic strafes and jump-cuts across putative borders. The 13-part, hour-long album dislodges source material made for the experimental film ‘To Cut and Shoot’, by Kristen Pilon, an NYC-based musician and filmmaker, to farther refract the film’s themes of serendipity and the nature of ghosts and dreams with a flickering flux of sound-imagery and aleatoric weirdness appropriate to her original meditations, but also freely messing with their forms.

Situated just a few miles north of Houston, Cut and Shoot is a relatively insignificant Texas town with an unforgettably bizarre name. Pilon grew up not far from Cut and Shoot, and it's there where she ran into 65-year-old machinist and motorcyclist Robert Lewis Stevenson, better known as Bobbo, who's pictured on the album's cover. The meeting occurred a few months after Pilon recorded her improvisations on piano, strings and voice in the basement cellar of the Halle in Manchester, with Bobbo providing the necessary narrative heft the trio needed to inspire an experimental film and its accompanying soundtrack.

Responding to Kristen’s initial piano and operatic vocal recordings, Demdike return a volley of discrete parts tilting from typically cantankerous mayhem to quieter, more clandestine buzzes sliced with crazed interstices of the imagination, all marbled with the plasmic contrails of the paranormal which have long been peculiar to their work. With a poetic flair reflecting Pilon’s own phrasing and melding of mediums, Demdike unfold and expand her melodic fragments into temporal mazes, variously resembling the most messed-up ends of The Caretaker in ‘A Grave Fall (January)’, but also liable to skew into buckshot club turbulence, as with ‘Belly Up’, or the bittersweet bruk contortions of ‘Twist’.

The storyline wickedly frays and loops into itself with a non-linearity that recalls the mid-to-latter stages of Lynch’s ‘Mulholland Drive’ or waking from a sweaty fever dream only to pitch back into its thorny bush of ghosts, often within the space of one track. It’s testament to the ever-tighter binds of Demdike’s symbiotic vision that the results nevertheless hold a thread of logic that weaves in everything from their Jon Collin jams to reams of mixes and Gruppo edits with an unresolved, open-ended quality that still keeps us on our toes, perhaps more so than ever here.