Cerca:red 5

*RED VINYL*Of the plethora of touted "private press hard rock monsters'' out there, very few live up to the swaggering riff-fury of west coast blasters ODA. Commonly known as the "Black Album," the first clobbering platter by the quartet was released on their own tiny Loud Phonograph Records imprint and now commands large sums—but is actually worth the heavy hype. The band naturally centered around Randy Oda, a multi-talented ax shredder and keyboardist, and the lineup was filled out by his brother Kevin on drum assault, Art Pantoja on lead bellows and rhythm guitar, and galloping bassist Kyle Schneider. The Oda brothers were born in Alameda County, California, attending Kennedy High School in Richmond, and started the band while still teenagers at the beginning of the '70s. ODA was influenced by hard UK rockers like Deep Purple, Zep, Free, and the Who, and they gigged all over the Bay Area, with Randy garnering comparisons to Jeff Beck's molten six-string mastery. This 1971 self-titled LP (aka the Black Album) fully displays their blistering talents, but despite some local airplay on KSAN radio, the band packed it in by '73. This would not be the end of the Oda story, as Randy joined CCR's Tom Fogerty in the outfit Ruby afterwards, laying down his licks on two LPs that flirted with the mainstream, while staying true to his highly electric guitar muse. In 1983, ODA actually reformed for one more LP on Loud Phonograph, entitled Power Of Love. The comeback album delves a little deeper into radio friendly power pop, which makes sense, as in '82 Oda co-wrote "Think I'm In Love" with Eddie Money (which, let's face it, is Money's best song by like a mile). Randy would also collaborate with Fogerty as a duo, and the posthumous Sidekicks album (released after Fogerty passed) listed the clearly-integral Randy Oda as "arranger, composer, guitar (acoustic), guitar (electric), keyboards, primary artist, and producer.” In the 2000s, Randy would start another band with his brother called OPO which means "to lay a foundation" in Hawaiian, and ODA would reform to play a benefit in 2015 along with other obscure and heady/heavy Bay Area rockers like Savage Resurrection and Country Weather (some live footage of the event shows the band still rocking hard). At last, Riding Easy is legitimately reissuing ODA's first smoking, gargantuan LP with bonus tracks, so crank this one up in the '70s Camaro with the windows open, and some dirt weed joints a-blazin'. #

Leya Touch & soFa elsewhere aka Dream Baby Dream combine their left-of-centre musical perspectives on an otherworldly new self-titled album that arrives on Hell Yeah this September and will get a Japanese domestic release on CD. The duo's beguiling mix of occult synths and treated vocals ride dubbed-out mid-tempo rhythms on a retro-futurist record that blends cold wave, cosmic disco, dub and trance.

Dream Baby Dream describes themselves as "two children who refused to grow up" and now they offer a glimpse into their very own fantastic land of dreams. This journey into diverse flavours spontaneously started after a cosy dinner and after just three sessions resulted in the album presented here. Playful yet sometimes gloomy, this music echoes life, both imaginary and real - the highs, the lows, the dark moments and the joy, trance-inducted love zones, daydreams and everything in between. It is a coherent hole but one filled with surprising turns, moments of deja vu and plenty of outsider dance floor delights.

Leya Touch is a rising voice and live act on the Brussels alternative scene. Together with soFa, a veteran DJ and producer who released on many forward-thinking labels worldwide, they provide signature vocals and synths that challenge typical genre categorisations.

Opener 'Love Zone' sets a strangely seductive basic channel vs dreamy pop vibe with wispy cosmic melodies and oodles of echoes as Touch's vocals draw you in. Lose limbed percussive jumbled and sci-fi motifs define 'Badalamenti On Fries', 'Curry Con Sax' has an avant-guard sense of soul and melodic curiousness and 'Diskoteka' is a jittery mix of retro synth sounds and whispered vocal coos that shimmer like stars in the night sky. Elsewhere there's the malfunctioning Kraftwerkian electronics of 'Körperkonsum', goa-filter madness of 'Banana Trance' and the eerie interplanetary dub of 'Carpenter On The Beach' while 'Whale Rider' and 'The Rude Red Lady' bring warped lines and enchanting vocalisations that sound like nothing you have heard before.

This is an exultant album of new musical rituals, tiny soundscapes, dehumanised words and combinations of the past, present and future that never fail to excite and intrigue.

Limited to 300 copies

This Limited 2 LP set covers all the original versions of songs that inspired the Rolling Stones on their album, “Blue & Lonesome”, along with 27 remastered originals from England’s Newest Hit Makers in the early sixties. You can hear The Stones' versions of Muddy Waters' "I Just Want To Make Love To You" and Slim Harpo's "I'm A King Bee" appeared on England's Newest Hit Makers, Chuck Berry's "Come On" on their debut single, Dale Hawkins' Susie Q" on 12 X 5, Marvin Gaye's "Hitch Hike" on Out of Our Heads and Howlin' Wolf's "Little Red Rooster" on their second no. 1 single. Howlin’ Wolf’s “Little Baby” (‘Stripped’ 1995). There’s Allen Toussaint’s “Fortune Teller” (‘Got Live If You Want It’ 1966), Muddy Waters’ “Mannish Boy” (‘Love You Live’ 1977), The Coasters’ “Poison Ivy” (‘No Stone Unturned’ 1970) and the closing track on the album is “You Better Move On” from southern soul singer Arthur Alexander (‘December’s Children’). The blues as chosen by five young (blues)-rockers from London.

"Mama Africa," released in 1983 is now available on 1LP Red Recycled, is a celebration of African heritage and a call for unity and liberation. This album features a mix of upbeat tracks and heartfelt tributes to the African continent. The title track, "Mama Africa," is a poignant ode to the motherland, while songs like "Glass House" and "Not Gonna Give It Up" convey messages of resilience and determination. "Mama Africa" highlights Peter Tosh's ability to blend social consciousness with melodic reggae rhythms, reaffirming his role as a powerful voice for the African diaspora and global justice.

Hugo Race (Dirtmusic, Fatalists, ex-Bad Seeds) and Michelangelo Russo (True Spirit), fuse rock, blues, ambient and electronic sounds on their raw, compelling new album "100 Years".
In 2017, the duo released John Lee Hooker's World Today (Glitterhouse/Gusstaff Records), a tribute to the blues legend's delta blues legacy reinvented in a swirling mix of analog grit and deep trance pulses.

100 Years showcases the duo's sonic chemistry against Race's stark songwriting. Inspired by the raw majesty of early blues recordings, the album was recorded in two days in a non-stop live Hugo Race & Michelangelo Russo - 100 Years session. Amplified harmonica, open-tuned guitars, smoky vocals and primal foot beat walk us through a landscape of dreamlike devastation, a hypnotic wall of sound suspended in time and space celebrating endurance and redemption, hand-made from ancient roots. "Tradition does not mean passing the ashes, but the fire."

100 Years. Recorded November 1 & 2, 2023.
Engineered by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne.
Mastered by Giovanni Versari at La Maesta, Milano.
Published by Peermusic.

PRESS about former album:
Rock'n'Roll Monuments, Greece:
"Race and Russo's pioneering electronic atmospheres give the historical Blues something you never imagined possible."

Rolling Stone, Germany: 'Dark Eros and transcendental blues…'
Musikreviews.de, Germany: "A psychedelic ghost blues of a profound sort, a mature, sensitive interpretation of the music and lyrics of John Lee Hooker. (Race and Russo) have blown us away in slow motion, economically instrumented and with painfully beautiful intensity. "

Q, London: "A darkly singular experience then, and one of the best records (Race) has ever made..."

The Music, Australia: "A collection of bluesy, brooding songs from a talented singer-songwriter with three decades of musicianship under his belt."

Eclipsed, Germany: "Hypnotic rhythms and haunting guitars, this album tingles under your skin..."
Focus Kultur, Germany: "No one else makes music like this, and that in itself is an achievement..."

Rock and Folk, Paris: 'This traveler without borders advances through a menacing atmosphere of no-wave electro-acoustics. Here is the spirit, and he does not forget
the body and the soul ... '
Tom Tom Rock, Italy: "An almost epic attack, worthy of the soundtrack of an apocalyptic post-nuclear catastrophe film… a talking blues of the third millennium, filtered by years of psychedelia and industrial music - and the Berlin years of Hugo Race can certainly be felt - hypnotic and dark, but precisely for this reason enveloping and fascinating. A record in which the music of the legendary bluesman is completely transfigured, without, however, the fidelity to his "spirit" and his "message" being questioned in the slightest. In short, JLH is alive and fighting with us, if we find the strength to follow him."

Hugo Race (Dirtmusic, Fatalists, ex-Bad Seeds) and Michelangelo Russo (True Spirit), fuse rock, blues, ambient and electronic sounds on their raw, compelling new album "100 Years".
In 2017, the duo released John Lee Hooker's World Today (Glitterhouse/Gusstaff Records), a tribute to the blues legend's delta blues legacy reinvented in a swirling mix of analog grit and deep trance pulses.

100 Years showcases the duo's sonic chemistry against Race's stark songwriting. Inspired by the raw majesty of early blues recordings, the album was recorded in two days in a non-stop live Hugo Race & Michelangelo Russo - 100 Years session. Amplified harmonica, open-tuned guitars, smoky vocals and primal foot beat walk us through a landscape of dreamlike devastation, a hypnotic wall of sound suspended in time and space celebrating endurance and redemption, hand-made from ancient roots. "Tradition does not mean passing the ashes, but the fire."

100 Years. Recorded November 1 & 2, 2023.
Engineered by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne.
Mastered by Giovanni Versari at La Maesta, Milano.
Published by Peermusic.

PRESS about former album:
Rock'n'Roll Monuments, Greece:
"Race and Russo's pioneering electronic atmospheres give the historical Blues something you never imagined possible."

Rolling Stone, Germany: 'Dark Eros and transcendental blues…'
Musikreviews.de, Germany: "A psychedelic ghost blues of a profound sort, a mature, sensitive interpretation of the music and lyrics of John Lee Hooker. (Race and Russo) have blown us away in slow motion, economically instrumented and with painfully beautiful intensity. "

Q, London: "A darkly singular experience then, and one of the best records (Race) has ever made..."

The Music, Australia: "A collection of bluesy, brooding songs from a talented singer-songwriter with three decades of musicianship under his belt."

Eclipsed, Germany: "Hypnotic rhythms and haunting guitars, this album tingles under your skin..."
Focus Kultur, Germany: "No one else makes music like this, and that in itself is an achievement..."

Rock and Folk, Paris: 'This traveler without borders advances through a menacing atmosphere of no-wave electro-acoustics. Here is the spirit, and he does not forget
the body and the soul ... '
Tom Tom Rock, Italy: "An almost epic attack, worthy of the soundtrack of an apocalyptic post-nuclear catastrophe film… a talking blues of the third millennium, filtered by years of psychedelia and industrial music - and the Berlin years of Hugo Race can certainly be felt - hypnotic and dark, but precisely for this reason enveloping and fascinating. A record in which the music of the legendary bluesman is completely transfigured, without, however, the fidelity to his "spirit" and his "message" being questioned in the slightest. In short, JLH is alive and fighting with us, if we find the strength to follow him."

Saint of the Pit, Diamanda Galás" fifth studio album and the second in her trilogy, The Masque of the Red Death, is an urgent record. Its theme is essentially passion, in the sense of suffering, although here, and unlike the passion of Christianity, there is little to offer solace. Re-released on Galás" own Intravenal Sound Operations (ISO) after its initial release on Mute in November 1986, Saint of the Pit is a masterpiece of witness - ing, forged from grief and fury during the HIV-AIDS epidemic. While its precursor, The Divine Punishment (originally via Mute, now ISO), released only five months before in June 1986, invoked Old Testament laws around the clean and the unclean, as a way of raging against the inhumanity of systemic neglect of people with HIV-AIDS, this album is focussed on a more interior response.

Die Band, die ihre ursprünglichen Wurzeln im Thrash-Metal und Screamo immer noch stolz auf ihren Ärmeln trägt, hat ihren Sound stetig weiterentwickelt und euphorische Elemente aus Post-Rock und Shoegaze mit spektakulärem Effekt eingebaut. "Eunoia", ein Wort, das das gegenseitige Wohlwollen zwischen einem Redner und seinem Publikum beschreibt, nimmt diese Dichotomie von Ruhe und Chaos auf und destilliert sie noch weiter, indem es die Band wirklich in ihrem Element zeigt, sowohl auf der Bühne als auch im Studio. Das Album besteht nur aus Songs, die die Band auf der Bühne spielen kann und will. Es wurde um die Idee herum geschrieben, nach Hoffnung und Inspiration im täglichen Leben zu suchen, während man sich machtlos gegen das Gewicht der Welt fühlt. Die Leadsingle ,Beyond the Raindrops" war einer der ersten Songs, die für das Projekt geschrieben wurden, wurde aber erst in letzter Minute aufgenommen. Der epische Halftime-Groove und die schwebenden, klangvollen Gitarren sind ebenso melancholisch wie großartig, und Tetsus zu Herzen gehender Text wurde im Moment geschrieben, als ehrliche Antwort auf die eindringliche Melodie des Songs. In anderen Stücken wie Whiteout" werden die frenetischen Ursprünge von Envy mit einem pochenden Schlagzeugsolo, das eine stakkatoartige Post-Hardcore-Gitarrenarbeit einleitet, und einem Gesang, der wild zwischen gutturalem Gebrüll und einem Ansturm von gesprochenen Worten schwankt, kanalisiert. Der Eröffnungstrack 'Imagination and Creation' wird von ENVY als ,ein Schritt vorwärts in die Zukunft, der die Vergangenheit als Nahrung nutzt" beschrieben. Blastbeat-Drums und kreischende Gitarren treiben eine trotzige und ansteckend hoffnungsvolle Gesangsmelodie ins Ungewisse, während eine Band mit einer so geschichtsträchtigen Vergangenheit lernt, das Jetzt zu schätzen, um sich für das zu wappnen, was als nächstes passiert. "Eunoia", ENVYs achtes Album, ist wahrhaftig ein Meilenstein; die perfekte Balance zwischen Aggression und Begeisterung, in der das wiederbelebte Lineup der Band ein latentes Gefühl der Machtlosigkeit angesichts einer zerbrochenen und zunehmend gespaltenen Welt erforscht.

Die Band, die ihre ursprünglichen Wurzeln im Thrash-Metal und Screamo immer noch stolz auf ihren Ärmeln trägt, hat ihren Sound stetig weiterentwickelt und euphorische Elemente aus Post-Rock und Shoegaze mit spektakulärem Effekt eingebaut. "Eunoia", ein Wort, das das gegenseitige Wohlwollen zwischen einem Redner und seinem Publikum beschreibt, nimmt diese Dichotomie von Ruhe und Chaos auf und destilliert sie noch weiter, indem es die Band wirklich in ihrem Element zeigt, sowohl auf der Bühne als auch im Studio. Das Album besteht nur aus Songs, die die Band auf der Bühne spielen kann und will. Es wurde um die Idee herum geschrieben, nach Hoffnung und Inspiration im täglichen Leben zu suchen, während man sich machtlos gegen das Gewicht der Welt fühlt. Die Leadsingle ,Beyond the Raindrops" war einer der ersten Songs, die für das Projekt geschrieben wurden, wurde aber erst in letzter Minute aufgenommen. Der epische Halftime-Groove und die schwebenden, klangvollen Gitarren sind ebenso melancholisch wie großartig, und Tetsus zu Herzen gehender Text wurde im Moment geschrieben, als ehrliche Antwort auf die eindringliche Melodie des Songs. In anderen Stücken wie Whiteout" werden die frenetischen Ursprünge von Envy mit einem pochenden Schlagzeugsolo, das eine stakkatoartige Post-Hardcore-Gitarrenarbeit einleitet, und einem Gesang, der wild zwischen gutturalem Gebrüll und einem Ansturm von gesprochenen Worten schwankt, kanalisiert. Der Eröffnungstrack 'Imagination and Creation' wird von ENVY als ,ein Schritt vorwärts in die Zukunft, der die Vergangenheit als Nahrung nutzt" beschrieben. Blastbeat-Drums und kreischende Gitarren treiben eine trotzige und ansteckend hoffnungsvolle Gesangsmelodie ins Ungewisse, während eine Band mit einer so geschichtsträchtigen Vergangenheit lernt, das Jetzt zu schätzen, um sich für das zu wappnen, was als nächstes passiert. "Eunoia", ENVYs achtes Album, ist wahrhaftig ein Meilenstein; die perfekte Balance zwischen Aggression und Begeisterung, in der das wiederbelebte Lineup der Band ein latentes Gefühl der Machtlosigkeit angesichts einer zerbrochenen und zunehmend gespaltenen Welt erforscht.

LP - 180 Gram Vinyl Alex Rossi`s third solo album `Buenos Aires Sessions' , is a vibrant and soulful exploration of funky jazz, recorded in May 2023. He came upon the Harmonica in his childhood when passing a harmonica factory. The young musician developed his own technique by profiting of his basic musical knowledge, technical information given at the factory and by his musical experiments. Since then, he is traveling the world, giving courses and performing on stages with great names of the Blues circuit like Buddy Guy, Magic Slim, Koko Taylor, Smokin' Joe Kubek, Tutu Jones, Lucky Peterson, Texas Slim, Sam Meyers, Robert Ealey, and John Primer, Jeff Healey, the saxophonist Joshua Redman.

LP - 180 Gram Vinyl Alex Rossi`s third solo album `Buenos Aires Sessions' , is a vibrant and soulful exploration of funky jazz, recorded in May 2023. He came upon the Harmonica in his childhood when passing a harmonica factory. The young musician developed his own technique by profiting of his basic musical knowledge, technical information given at the factory and by his musical experiments. Since then, he is traveling the world, giving courses and performing on stages with great names of the Blues circuit like Buddy Guy, Magic Slim, Koko Taylor, Smokin' Joe Kubek, Tutu Jones, Lucky Peterson, Texas Slim, Sam Meyers, Robert Ealey, and John Primer, Jeff Healey, the saxophonist Joshua Redman.

Captures a night at London’s well known vintage venue Bush Hall when the stage was shared with Jerron ‘Blind Boy’ Paxton. Takes you on a musical journey through Mississippi and Louisiana performing music by artists such as Memphis Minnie, Blind Boy Fuller, Rev Gary Davis. Acoustic duo project of Sister Suzie and Andy Twyman. Part of a growing movement in the UK presenting stripped back acoustic blues. Be ready to be transported back to the 1920s with a show of early folk blues evoking the playfulness, power and soul of the music and the people who created it. The duo are singer/songwriter, guitarist, occasional member of Dana Gillespie’s Blues Band and sometime one-man-band Andy Twyman, and Sister Suzie, singer/songwriter and frontperson of The Right Band; both busy and popular artists in their own right. They have toured the UK and Europe extensively.

Nothing In Rambling as the project name is taken from a Memphis Minnie song which Sister Suzie describes as “very poignant – and like so many in that era, it sounds deceptively cheery and upbeat, but the lyrics are dark, telling a tale of danger and bravery in taking to the road rambling especially as a black person. and the struggles that women, especially black women, faced in that era.” Sister Suzie published a dissertation “Women In The Blues, Pre-1960’ detailing the struggle that women, especially black women, had against the ‘patriarchy’ and in their own sexual liberation. The latter element was often written about observing the ‘racy’ side of life, and on songs such as ‘Me And My Chauffeur’ and ‘Kissing In The Dark’ Sister Suzie takes the cue to deliver with particular juke joint panache. PRESS / ADDITIONAL SALES POINTS: Launched at The Sound Lounge (Sutton) September 12th - Feature published in September issue of Blues In Britain magazine - Reviews in Rock n Reel, Blues In Britain, Blues Matters - Radio play on IBBA and RMR stations - Live shows, and Festival appearances through 2024 – Red Rooster, Ealing Blues, Upton Blues, Tenby Blues, Glastonbury

"Mama Africa," released in 1983 is now available on 1LP Red Recycled, is a celebration of African heritage and a call for unity and liberation. This album features a mix of upbeat tracks and heartfelt tributes to the African continent. The title track, "Mama Africa," is a poignant ode to the motherland, while songs like "Glass House" and "Not Gonna Give It Up" convey messages of resilience and determination. "Mama Africa" highlights Peter Tosh's ability to blend social consciousness with melodic reggae rhythms, reaffirming his role as a powerful voice for the African diaspora and global justice.

“Deus É Mulher” was recorded between the Red Bull studios (São Paulo) and Tambor (Rio de Janeiro), produced by Guilherme Kastrup and co-produced by Romulo Fróes, Marcelo Cabral (bass and bass synth), Rodrigo Campos (cavaquinho and guitar), and Kiko Dinucci (guitar, synthesizer, and sampler). Reinforcing the album's feminine energy, the recordings featured Mariá Portugal (drums, percussion, and MPC) and Maria Beraldo (clarinet and clarone).

The album contains 11 new tracks, written by names such as Tulipa Ruiz, Pedro Luís, Alice Coutinho, and Rodrigo Campos, among others. Elza had a special appearance by the singer Edgar on “Exú nas Escolas” (Kiko Dinucci/Edgar), and the group Ilú Obá de Min contributed percussion and vocals on “Dentro de Cada Um” (Luciano Mello/Pedro Loureiro) and “Banho” (Tulipa Ruiz).

"Tre" is the new long-awaited 12-track album by The Dining Rooms out for Schema after two lps on the research label Milano2000, "Subterranean Modern" and "NumeroDeux" and a lot of appearances on the most important atmospheric-downtempo compilations. 12 tracks and 2 videos to be precise (Maria Arena is the brillant filmaker working with TDR). 12 elements redefining the borders of TDR music, drawing inspiration from Jazz, Africanism, Hip-Hop, House, Soul with true eclectism. "Tre" is a turning point in the history of TDR and represent a sort of change of perspectives.

"A Seamless Symphony of Harmonious Electronica" - Jazziz

Emerging from over a year of creative hibernation following their debut album, Stavroz's upcoming EP "Kick Up the Dust" jolts them back into action. The EP flows gently, yet the overall mood of the journey isn’t always easy to pinpoint. There’s a certain vagueness to Stavroz’ sound which allows for bizarre experiments to seep through without interrupting the course. “We like to keep it lightly twisted, like a wink with a frown,” says the band.



In the title track however, Stavroz boldly steers towards the heart of the dance floor: efficient, remorseless, powerful, intense and most of all... elegant. Guiding you harmoniously through the club is a delightful duet of trumpet and saxophone, timed perfectly to heal you where it hurts most.



"Her Eyes Were Red" does what it says on the cover. There's melancholy - without sadness. Power - without force. Love - without lust. Stavroz's music possesses a distinct power that feels both natural and organic, never resorting to brute force or aggression. In their own way, the Belgian quartet offers an astonishing journey of saxophone & duduk, supported by broken beats and chopped vocals.



In Dae-El, a track featuring the Brussels-based producer and sound designer Poltrock, ethereal-sounding synths and duduk are combined with ghostly high-pitch distortions. Despite a backbone of muffled beats, the tune has vaporous qualities, reverberations that wobble and tinkle into space – it’s an easy listening experience but in a trippy, spaced-out way. “We’re trying to go for the sweet spot between the couch and the club”.



Adding further depth to their EP, Stavroz collaborates with Brazilian singer and composer Castello Branco in "Valente." Here, intimate Sade-like vocals harmonize with rubbery scratches, acoustic guitar, and horn segments, crafting a lush lounge piece that seamlessly balances both relaxation and empowerment, transparency and provocation. It's a testament to Stavroz's versatility and their knack for creating music that defies easy definition, leaving listeners eagerly anticipating the next twist and turn in their captivating musical journey.

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.