quête:sol dat

Former member of Rodolfo Alchourrón and Gato Barbieri's bands, Cevasco's first solo effort is a combination of fusion jazz with a pinch of unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, still evoke a refreshing feel of modernity in the same vein as many other experimental Argentine and Uruguayan artists from the same era. Includes guest appearances from artists such as Litto Nebbia or Ruben Rada. Reissued on vinyl for the first time, including insert with liner notes and previously unseen photos. Details: Few musicians can boast of having played with "the greatest" without some eyebrows to be raised. The bass of Adalberto Cevasco has been heard in multiple concerts and recording sessions of artists as diverse as the Spanish divas Rocío Jurado and Isabel Pantoja, tango genius Astor Piazzolla or the cream of the Argentine jazz scene -from Pocho Lapouble, Gustavo Kerestezachi, Rubén López Furst or Andrés Boiarsky to the great Gato Barbieri- With the latter, as part of a dream band that included artists like Nana Vasconcelos as well as other Argentines such as Lapouble or Domingo Cura, he recorded two fundamental pieces in the Impulse! label catalogue in sessions held in Argentina and Los Angeles and also toured across various countries. The daily sold-out shows at the Regina Theater in Buenos Aires and their overwhelming performance at Montreux Festival are still well remembered. It is therefore out of question that Adalberto Cevasco belongs to that top-level league of musicians whose talent has also contributed to enhance those who accompany them. The history of this album begins with an encounter. Adalberto Cevasco joins Rodolfo Alchurrón's jazz-funk project Sanata y Clarificación as bassist and meets Litto Nebbia, who is invited to sing along. Some years on, when Nebbia's Melopea record company was developing, he would receive a cassette with a collection of demos recorded by Cevasco over the years. Some of the songs dated back to 1981 while others were made well into the decade and included such outstanding collaborations as that of the Uruguayan Rubén Rada, whom Adalberto Cevasco had met playing in a group of fusion candombe called Candonga. In addition to producing the complete album, Nebbia would also collaborate in a special way in one of the most outstanding tracks (Reencuentros Nº2) by adding to Cevasco's fusion jazz some unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, they still evoke a refreshing feel of modernity. As the Argentine press of the moment highlighted, it'd seem as if the influences received and developed by the bassist during his career as a freelance musician - from post-Piazzolla tango to proyección folclórica (a movement of revision and modernization of the Argentinian musical roots) - had been added to their superb rhythmic work in this album. "Pájaros Eléctricos" was never presented live and has remained as the only published work by Cevasco as a soloist since the date of its release.

Smith/Kotzen is the exciting partnership between guitarists & vocalists Adrian Smith (Iron Maiden) & Richie Kotzen (Solo artist, Winery Dogs, Mr Big, Poison). Part-time LA neighbours, full time friends with a healthy mutual respect - their music is evocative of the classic rock bands of the 70s brought bang up to date with punchy hooks, harmonies and sheer guitar virtuosity. Debut track ‘Taking My Chances’ sets the tone for this electrifying collaboration between two hugely admired rock music trail-blazers.

Smith/Kotzen is the exciting partnership between guitarists & vocalists Adrian Smith (Iron Maiden) & Richie Kotzen (Solo artist, Winery Dogs, Mr Big, Poison). Part-time LA neighbours, full time friends with a healthy mutual respect - their music is evocative of the classic rock bands of the 70s brought bang up to date with punchy hooks, harmonies and sheer guitar virtuosity. Debut track ‘Taking My Chances’ sets the tone for this electrifying collaboration between two hugely admired rock music trail-blazers.

Way nding is Christopher Bissonnette’s sixth solo studio release and his rst, of hopefully many, for 12k. The album embodies an evolution of Bissonnette’s work, moving from an exclusively synth-based series of explorations to an amalgam of electronics and acoustic methods. Each track seeks to nd grandeur on a diminutive scale. Bissonnette’s focus has shifted from sweeping pastoral drones to introspective passages with delicate melody and elusive harmonies interlaced with studio and eld recordings. This minute scale is also re ected in a photographic series that studies the domestic landscape of home. The sequence of images transforms the banality and insigni cance of the familial interior into expansive vistas and bucolic panoramas. Way nding is Bissonnette’s most intimate and gauzy work to date and executed with beautiful restraint.

Hedvig Mollestad Thomassen - guitar/Ellen Brekken - bass/Ivar Loe Bjornstad - drums. Only nine months after her momentous debut solo album Ekhidna, the guitarist is back fronting her trio. With their previous album, Smells Funny, this explosive and expansive trio experienced a breakthrough of sorts, having gone from strength to strength through five albums since their 2011 debut Shoot!, gathering respect from both rock and jazz camps, sharing big stages with the likes of John McLaughlin and Black Sabbath, and being equally comfortable on jazz and rock stages. Hedvig enforced this breakthrough with Ekhidna, appearing on both jazz and rock best of 2020 lists, like coming in third in Prog's "Album of the Year" poll. She was included in Downbeat's "25 for the future" and received heaps of international attention and great reviews.With the hypnotic title track, the spacious ballad Four Candles and generally a more varied mood, Ding Dong. You're Dead. is the trio's most dynamic album to date. That said there's still enough solid and creative riffing here to satisfy the headbangers, as well as the jazzheads, as they further explore the free and open landscapes most notably started with their Black Stabat Mater album and continued with Smells Funny. As Nate Chinen wrote about "Black Stabat Mater" in JazzTimes: Her trio, which has Ellen Brekken on bass and Ivar Loe Bjornstad on drums, caught my ear then with its audacious style references: the loose swagger of early Black Sabbath; the density and prowl of peak Led Zeppelin; the expeditionary urge of Jimi Hendrix; the incantatory fervor of John McLaughlin. As recent performances have shown, online and in the flesh, this trio radiates confidence and have become a surefire hit on the Norwegian live scene. Hedvig first picked up her mother's acoustic guitar at ten, before discovering a whole new world through her father's jazz and rock record collection as a teenager. She was given her first electric guitar and amplifier as a confirmation present. Hedvig met Ellen and Ivar at the Music Academy in Oslo and asked them to join her after she received the Young Jazz Talent of the Year award at Molde International Jazzfestival in 2009. They have stayed together since, and all previous albums have been released on Rune Grammofon to wide international acclaim.

Hedvig Mollestad Thomassen - guitar/Ellen Brekken - bass/Ivar Loe Bjornstad - drums. Only nine months after her momentous debut solo album Ekhidna, the guitarist is back fronting her trio. With their previous album, Smells Funny, this explosive and expansive trio experienced a breakthrough of sorts, having gone from strength to strength through five albums since their 2011 debut Shoot!, gathering respect from both rock and jazz camps, sharing big stages with the likes of John McLaughlin and Black Sabbath, and being equally comfortable on jazz and rock stages. Hedvig enforced this breakthrough with Ekhidna, appearing on both jazz and rock best of 2020 lists, like coming in third in Prog's "Album of the Year" poll. She was included in Downbeat's "25 for the future" and received heaps of international attention and great reviews.With the hypnotic title track, the spacious ballad Four Candles and generally a more varied mood, Ding Dong. You're Dead. is the trio's most dynamic album to date. That said there's still enough solid and creative riffing here to satisfy the headbangers, as well as the jazzheads, as they further explore the free and open landscapes most notably started with their Black Stabat Mater album and continued with Smells Funny. As Nate Chinen wrote about "Black Stabat Mater" in JazzTimes: Her trio, which has Ellen Brekken on bass and Ivar Loe Bjornstad on drums, caught my ear then with its audacious style references: the loose swagger of early Black Sabbath; the density and prowl of peak Led Zeppelin; the expeditionary urge of Jimi Hendrix; the incantatory fervor of John McLaughlin. As recent performances have shown, online and in the flesh, this trio radiates confidence and have become a surefire hit on the Norwegian live scene. Hedvig first picked up her mother's acoustic guitar at ten, before discovering a whole new world through her father's jazz and rock record collection as a teenager. She was given her first electric guitar and amplifier as a confirmation present. Hedvig met Ellen and Ivar at the Music Academy in Oslo and asked them to join her after she received the Young Jazz Talent of the Year award at Molde International Jazzfestival in 2009. They have stayed together since, and all previous albums have been released on Rune Grammofon to wide international acclaim.

American music icon releases her 50th solo studio album via Sony Legacy. The record premieres 13 new recordings of a career spanning selection of songs illuminating her vast repertoire. Collaborators include Reba McEntire, Carrie Underwood, Margo Price and Tanya Tucker. Lead single 'Still Woman Enough' is receiving specialist radio airplay. A superb 4* lead review in Mojo magazine and other strong reviews across country music specialist publications, plus broadsheets. Online/social media activity. Poster campaign and database mailout.

Soft Cell’s 2002 reunion album ‘Cruelty Without Beauty’ is set for reissue in new expanded and remastered 2CD format, as well as being released on vinyl for the very first time.

Long regarded by many fans as an overlooked masterpiece, the album features a lyrical outlook that was as true to Soft Cell’s maturity and perspective back in 2002 as it is relevant and accurate to the world situation in 2020. Harshly honest, fatalistic and bleakly humorous, Cruelty Without Beauty also preserves the band’s highly distinctive and edgy sound, and stands alongside their greatest work.

The new 2020 version includes tracks originally destined for the album, but for various reasons not on the final cut. It also includes brand new 2020 versions of album highlights Monoculture, Together Alone, Darker Times and Last Chance, updated this year by Dave Ball. Also included are a number of unreleased live versions of album tracks, plus rare remixes.

Cruelty WithoutBeauty, Soft Cell’s fourth studio album, and the first since their original split in 1984, happened after Marc Almond and Dave Ball reunited in the studio after Dave’s ‘other’ band The Grid (with Richard Norris). They worked with Marc on some tracks from his 1991 Tenement Symphony album, which eventually opened the door for some live Soft Cell dates and areunion in 2001. As well as this album release in 2002, the band toured thealbum extensively in the UK, and across Europe and the US, including many festival appearances throughout 2002 and 2003.

The album includes the singles Monoculture and a cover of Frankie Valli & The Four Season’s classic The Night, which became the band’s first Top 40 hit since since 1984.

Most recently in 2018, Soft Cell sold out London’s O2 Arena and were the subject of a career retrospective BBC documentary. They have recently signed to BMG and are currently recording a brand-new album, set for release in 2021. Before then, all of their classic Phonogram-era albums will be reissued in new expanded editions via Universal Music.

Marc Almond commented at the time of the album release ‘I always felt it was an unfinished story, and I’m glad we’re able to write another chapter’.

Dave Ball also commented ‘As soon as we work together, we become Soft Cell, you know’. I don’t know what the magic element is, but it just seems to be there’.

Xqui travels back one hundred years, navigating a twisted channel to the roaring Twenties. As this record crackles into life, sounds begin to melt and warp in a visceral transgression of time. Uncompromisingly immersive; startling; melancholic; confusing; beautiful - Twenties is the rebirth of a fading spirit song of ages. "Often when I have an idea for a new track with a new approach or sound, it snowballs into something bigger. Whether that be a longer track, an EP or even an album, each time I try to have a theme that carries through the project. Lleisiau was based around voices, Microchasm was my industrial ambient album and Ambients found me in a more reflective and serene state of mind. With Twenties it was simply the thought of using archive recordings and footage to expand into something more tangible. I found dozens of recordings from the 1920s which I thought worked well with some of my more trademark sounds. I was looking at images for the search term ‘1920s’ when I came across an image of a man from one hundred years ago who was wearing a facemask which was presumably from the time of the Spanish Flu pandemic. It was not until I saw it that I realised, with irony, that the same thing was happening here and now. The finding of the photo added another angle to the album, a little bit of horror, interference and mechanical sounds. I recorded and collated more field recordings and manipulated them to give the noise on the album. I feel it is probably my most complete work to date and I’m incredibly proud of it. I present to you, the Twenties." Xqui. Xqui first appeared in April 2018 with his Britannia EP which was swiftly followed by the Dragon album in May. Using field recordings which he manipulated via mobile phone and laptop, he created incredible soundscapes and was quickly compared to Eno, Basinski and Mansell. Since then, he has been in rich productive form with Twenties being his seventh full length album. Appearing in several Albums of the Year lists over the last three years, he has also remixed for the likes of Lark, Elizabeth Joan Kelly and Assassin of Sound as well as collaborated with Transmission 13, Radio Europa and Geiger von Muller to name but a few. His work with boycalledcrow under the moniker of Wonderful Beasts received massive critical acclaim resulting in the approach from a filmmaker to provide soundtrack material as well as a sold-out debut compact disc.

Legendary Chicagoan General Juke aka Gant-Man returns with Distorted Sensory, his brand new acid house adventure. A longtime veteran who's been behind the decks since before he was even a teen, he's been an essential part of Chicago dance music history since the Dance Mania days in the mid 90s, and a major pioneer in jumpstarting the juke movement that followed. This new single, and his debut solo releaseon the Teklife imprint explores the time honored tradition of jacking, channeling the very essence of house music though a modern lens. Employing an enigmatic 303 bassline that mutates and breathes as if it were alive, Gant plays malicious melodies that run up and down octaves in a freaky, hallucinatory manner. Squelchy synth movements are met by eerie FM tones, reminiscent of Cajmere's classic Chicago staple the Percolator. A rugged 909 drum kit bangs the track along in true jacking fashion, making it the perfect tool for shaking the floors of dark, sweaty warehouses. In addition to the original, two of the UK's finest contribute remixes as well. Hyperdub boss Kode9 puts things into overdrive with his 160 BPM warped vision of Gant's acid, sliced up to appeal more to the footworkers and fans of psycho tempos. Dubstep pioneer Loefah strips back the original percussion and lets the 303s float over a cloud of deep sub bass, adorned with lovely splashes of rolling snares and micro percussion. With an array of stone cold classics under his belt, from ghetto house anthem Juke Dat Girl to his brilliant collabs with the late DJ Rashad Heaven Sent and Juke Dat Juke Dat, Gant-Man is a true renaissance man. For over 20 years, he's consistently shown the world the complexity that makes up his city's dance culture, never sticking to one area or tempo. Distorted Sensory is a beautiful celebration of Chicago house music, a return to its true raw design, and a reminder of just how timeless an art form it really is.

Standard Light Rose LP! 'Flock' is the record that Jane Weaver always wanted to make, the most genuine version of herself, complete with unpretentious Day-Glo pop sensibilities, wit, kindness, humour and glamour. A consciously positive vision for negative times, a brooding and ethereal creation. The album features an untested new fusion of seemingly unrelated compounds fused into an eco-friendly hum; pop music for post-new-normal times. Created from elements that should never date, its pop music reinvented. Still prevalent are the cosmic sounds, but 'Flock' is a natural rebellion to the recent releases which sees her decidedly move away from conceptual roots in favour of writing pop music. Produced on a complicated diet of bygone Lebanese torch songs, 1980's Russian Aerobics records and Australian Punk. Amongst this broadcast of glistening sounds is 'The Revolution Of Super Visions', an untelevised Mothership connection, with Prince floating by as he plays scratchy guitar; it also features a funky whack-a-mole bass line and synth worms. It underlines the discordant pop vibe that permeates 'Flock' and concludes on 'Solarised', a super-catchy, totally infectious apocalypse, a radio-friendly groove for last dance lovers clinging together in an effort to save themselves before the end of the night. The musician's exposure to an abundance of lost records served as a reminder that you still feel like an outsider in this world and that by overcoming fears you can achieve artistic freedom. Jane Weaver continues to metamorphise_ "A mind-expanding delight, devoid of retro posturing." The Guardian "Ominous and luminous, expansively spacious and sonically imploding, scientific, ephemeral and eternal" The Quietus

The music on Dance Nos. 1-5 was originally conceived as a three-way collaboration between composer Philip Glass, choreographer Lucinda Childs and artist Sol LeWitt. Dance received its world premiere in Amsterdam on October 19, 1979 and its New York premiere at the Brooklyn Academy of Music on November 29, 1979.

Post-dating Einstein on the Beach - Glass’s 1975-76 collaboration with director Robert Wilson - Dance was another Glass collaboration, this time with choreographer Lucinda Childs, known for her austere, athematically exact dances, and artist Sol LeWitt, who provided a ghostly, gigantic black- and-white film for several of the piece’s five sections.














RELEASE: 5-3-2021





• 180 GRAM AUDIOPHILE VINYL
• DELUXE HEAVYWEIGHT SLEEVE WITH GLOSS LAMINATE
• PVC JACKET
• THE COMPLETE ALBUM, AVAILABLE ON VINYL FOR THE FIRST TIME IN ITS ENTIRETY ON A 3LP-SET
WITH FIVE SIDES OF MUSIC
• INCLUDES PHILIP GLASS CATALOGUE WITH INFO ON THE PHILIP GLASS SERIES ON MOV


SIDE A

Dance has an abstract purity that easily earned it the label “minimalist,” a term that Glass himself disavows but that seems appropriate, at least in this case. After Dance, Glass’s music took several turns, not so much in style as in the various new contexts in which it was presented: major opera commissions and film scores led him to write for forces other than those of the Philip Glass Ensemble. At the same time, an attempt to reach a wide audience resulted in some shorter, perhaps more accessible, narrative pieces. Dance marked the blossoming of the composer’s experimental work. Here, though, the music - particularly Dance Nos. “1”, “3” and “5”, all written for the Ensemble— has an unforgettable exuberance that somehow speaks all at once of joyful innocence, intense erotic desire, tenderness, regret and, finally, acceptance. On the other hand, Dance Nos. “2” and “4” see Glass composing several large-scale works for solo organ; for instance, Dance No. 2 originated as a 1978 work entitled Fourth Series Part Two. This piece, later incorporated into Dance, and Dance No. “4” as well, have a more subdued, more darkly romantic quality than the work’s other sections and are quite unlike anything Glass had previously written. Still, they too, with their mysterious tilts of time and key signatures, continue the exploration of polyrhythms and harmonic complexities within the context of Glass’s repetitive, “minimalist” style.

The complete Dance Nos. 1-5 album is now available on vinyl for the first time in its entirety on a 3LP-set with five sides of music. The 3 LP’s are housed in a heavyweight sleeve.

In early 2018, Nathan Jenkins returned from the coast of Arrábida to his new home studio in a cottage tucked behind the grand hotel setting of Wim Wenders’ Lisbon Story. Breaking for lunches under a Datura tree in the garden and a far cry from the Finsbury Park basement flat he rented the previous year, a set of recordings followed that galvanised into an EP - ‘We Had A Good Time’. Music informed by out-of-town trips in a 1987 Renault 9 Super, Pitchfork attributed “remarkable healing powers” to lead song ‘Hula’.

After leaving London for a spell in Portugal, Nathan lost his taste for the night life and drew a line under a long-running NTS radio show. Much of the time spent abroad was dedicated to a longstanding collaboration with Westerman, whose album they recorded in a remote part of the Algarve countryside in 2019. Nathan’s own discography opened in 2007 with ‘Pet Sounds: In The Key Of Dee’, before pivoting in a more electronic direction via ‘Get Familiar’ and ‘Young Heartache’. From the sampledelia of 2011’s ‘Too Right’, the new wave and rave of ‘Say Arr Ee’ to the Robert Wyatt-influenced ‘Love Me Oh Please Love Me’, he’s mapped a deliberately peculiar path. 2015’s ‘Rooster’ was Eno & Byrne’s ‘Bush Of Ghosts’ given a shangaan-electro lick and clip. While Nathan’s partnership with fellow out-there pop auteur Jesse Hackett, as Blludd Relations, staggered like a half-cut Prince.

Collaged, rhythmic alternatives. Syncopated avant-garde sambas. Off kilter Sci-Fi jazz. Think Asha Putli in the spot at the Star Wars cantina. Arty, angular. Rich, but uncluttered. Frenetic, electric, blurring the boundaries between what is sampled, what is played. Nathan’s is a wilfully weird Pop, showcased in 2016 on his album ‘Loop The Loop’. Wayward but woven with hooks that come out of nowhere. Lyrical, often beautiful, solos on violin, oboe and desiccated guitars. Songs that demonstrate a nose-thumbing playfulness, a refusal to sit still. Where there’s always the urge to interrupt a carnival beat with a burst of galloping horse hooves. Or juxtapose ambient chords with a kazoo.

A roll call of Nathan’s broader musical adventures encompasses work with Paul Epworth, Sampha, Westerman and Nilüfer Yanya. Commissioned remixes reach from Dita Von Teese to Model 500, Tricky, Todd Terje and Lee “Scratch” Perry. Solo efforts gracing labels Honest Jon’s, R&S, Young Turks, Whities and The Trilogy Tapes. ‘Blue Pedro’, on the latter, making it into Crack Mag’s Top 100 Tracks Of The Decade.

In 2012 Nathan started his own label, DEEK Recordings, assuming the role of inhouse producer to collaborators. The imprint’s tagline and aesthetic - Pop, not slop! - is illustrated by an ongoing playlist of the same name and further explored in a series of compilations where Nathan and friends cover and reinterpret unsung ‘unclassics’ from alt. country to obscure 80s European arthouse scores, bouncing between Captain Beefheart, The Pixies, Sade and Mazzy Starr. DEEK’s roster is equally eccentric, non-linear and pop-literate. Laura Groves and Nautic - the realization and crystallization of a shared love for the Cocteau Twins.

12” pressed on crystal clear vinyl.

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

“Our first ever show in the UK was the opening slot at Brixton Academy so this is just totally emblematic of the support that has grown overseas we are ever grateful for. It’s still the greatest show we have ever played and we will never forget that night. See you all soon! Stay safe.” DMA’S
On March 6th, 2020 a sold-out audience filled the O2 Academy Brixton’s cavernous space from wall-to-wall. The band played the biggest headline show of their career to date half a planet away from home, yet the show conjured the atmosphere of an intimate homecoming celebration.
The O2 Academy Brixton show was immediately hailed as one of the highlights of the band’s career so far, and it has taken on whole new significance given the events that have followed. For many fans it was their final show before live music events were halted.
From early favourites ‘In The Air’ and ‘Lay Down’ to new material such as ‘Silver’ and ‘Life Is A Game Of Changing’ from ‘THE GLOW’ The show is documented in the ‘Live at Brixton’ album, which will be released almost a year to the day later on March 5th. ‘Live at Brixton’ will be released on a striking smoke-effect pink/orange limited edition double vinyl. Its design was inspired by a flare that was set off during the show. The album offers a chance to reminiscence on the life-affirming power of live shows, and also an inspiring reminder of what we’re all looking forward to returning to.

Ståle Storlokken - Rhodes piano, Hammond organ, grand piano, Eminent 310, Mellotron, Continuum Nikolai Hængsle - Electric bass, electric and acoustic guitars Torstein Lofthus - Drums, percussion. After a solid run of five studio albums and 2019's two double live albums, Psychedelic Backfire I and II, Elephant9 had taken their groovy mix of high energy rock and power jazz as far as they could. In this respect Arrival Of The New Elders comes as a welcome and most timely addition to their recorded output. More varied, mature and reflective, don't let the self-ironic (?) title mislead you, they are as groovy as ever, but more structured and less jam oriented, with the longest track clocking in around the seven minute mark. Rather short, by their standards.Having built a solid live reputation even before their brilliant 2008 debut Dodovoodoo, the trio boasts what is probably the strongest rhythm section in Norway, complemented with keyboard magician extraordinaire, the one and only Ståle Storlokken. And boy, does he excel himself on this album, notably with more focus on the Rhodes than before. That said, this is nothing if not another strong group effort from what has been a very tight unit straight from the outset. Seven brand new compositions from Storlokken and one from Hængsle make way for what we consider to be their finest and most cohesive album to date. Arrival Of The New Elders was recorded by trusted stalwart Christian Engfelt, with early Dungen producer Mattias Glavå handling the mixing duties.Ståle started his musical journey in Veslefrekk with Jarle Vespestad and Arve Henriksen in the 90s, soon morphing into Supersilent with Helge Sten on board. He's also a member of Moster! and Humcrush, and have collaborated with a number of artists, most notably Motorpsycho. Nikolai is also a member of Bigbang, Needlepoint and Band Of Gold and have appeared on a couple of hundred records. The same goes for Torstein, an associate member of numerous bands ranging from pop and soul to free jazz. But Elephant9 has always been their special baby.

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

With North Star, Viking Metal pioneers EINHERJER release their eighth studio album on February 26, 2021, proving their status as the pioneers of blending Nordic Black Metal and Folk Metal genres once again. The album marks the band’s return to Napalm Records after 25 years, and their release of the legendary Dragons Of The North album (1996). The Norwegian metal outfit remains musically true to themselves and reinforces their exceptional position. North Star was recorded in the wake of the Covid-19 pandemic at the in-house Studio Borealis, owned by founding member and mastermind Frode Glesnes. The raw production ties in seamlessly with its predecessor Norrøne Spor and makes North Star probably the most powerful EINHERJER album to date! North Star is EINHERJER's musical mission towards something bigger - the search for guidance by the North Star in a constantly changing world that is searching for stability. The album’s opener, "The Blood And The Iron", peppered with uncompromising double-bass thunderstorms, pulls the listener in from the very first second, while "Stars" stomps through atmospheric soundscapes with dark chords. "West Coast Groove" underlines EINHERJER's technical songwriting sophistication with finest guitar solos. North Star will be available in black, blue/white inkspot and limited gold vinyl editions (gold limited to 300 copies). Founded in Norway in 1993, the band has significantly influenced the way of Viking Metal in the following years with Dragons Of The North - 25 years later, EINHERJER are stronger than ever and are bursting with energy on North Star! 1. SINGLE - EN Stomping drums and gloomy guitar chords, paired with ice-cold vocals by singer and guitarist Frode Glesnes - "Stars" draws the listener into the icy, dark world of EINHERJER! 2. SINGLE - EN With powerful double bass grooves, a catchy chorus and technically skilled guitar solos, EINHERJER are more uncompromising and harder than ever on "The Blood And The Iron"! 3. SINGLE - EN Old school vibes meet dark Viking Metal atmosphere in "West Coast Groove" - EINHERJER are in top form and still prove their status as genre pioneers after more than 25 years!

Delicate Sound Of Thunder encapsulates a band at their best. Alongside the classic live album and full concert film (restored and re-edited from the original 35mm film and enhanced with 5.1 surround sound), included in The Later Years box set, all stand-alone editions feature 24-page photo booklets, with the 4-disc box edition including a 40-page photo booklet, tour poster and postcards. The 3-LP 180-gram vinyl set includes 9 songs not included on the 1988 release of the album, while the 2-CD includes 8 tracks more than its original release.

In 1987, Pink Floyd made a triumphant resurgence. The legendary British band, formed in 1967, had suffered the loss of two co-founders: keyboardist / vocalist Richard Wright, who left after sessions for The Wall in 1979, and bass player and lyricist Roger Waters, who had left to go solo in 1985, soon after the 1983 album The Final Cut. The gauntlet was thus laid down for guitarist/singer David Gilmour and drummer Nick Mason, who proceeded to create the multi-platinum A Momentary Lapse Of Reason album, a global chart smash, which also saw the return of Richard Wright to the fold.

Originally released in September 1987, A Momentary Lapse Of Reason was quickly embraced by fans worldwide, who flocked to attend the live tour dates, which started within days of the album’s release. The tour played to more than 4.25 million fans over more than two years, and, as a celebration of the enduring talent and global appeal of David, Nick and Richard was unsurpassed at the time.

Filmed at Long Island’s Nassau Coliseum in August 1988 and directed by Wayne Isham, the 2020 release of the Grammy Award nominated Delicate Sound Of Thunder is sourced directly from over 100 cans of original 35mm negatives, painstakingly restored and transferred to 4K, and completely re-edited by Benny Trickett from the restored and upgraded footage, under the creative direction of Aubrey Powell/Hipgnosis. Similarly, the sound was completely remixed from the original multitrack tapes by longtime Pink Floyd engineer Andy Jackson with David Gilmour, assisted by Damon Iddins.

Pink Floyd’s stellar supporting cast for the live dates included: Jon Carin (Keyboards, Vocals), Tim Renwick (Guitars, Vocals), Guy Pratt (Bass, Vocals), Gary Wallis (Percussion), Scott Page (Saxophones, Guitar), Margret Taylor (Backing Vocals), Rachel Fury (Backing Vocals) and Durga McBroom (Backing Vocals).

Technical credits include: Film Producers: Curt Marvis and Carl Wyant; Director of Photography: Marc Reshovsky; Lighting Designer: Marc Brickman, with conceptual footage directed by Storm Thorgerson, except ‘Money’ directed by Storm Thorgerson, Barry Chattington and Peter Medak. Animation on 'Time' was by Ian Emes.

Altın Gün return with a masterful album that widens their critically acclaimed exploration of Anatolian rock and Turkish psychedelic stylings to include dreamy 80’s synth-pop and dancefloor excursions. Yol (Road) brings together all vectors of the AltınGün experience and delivers their most compelling and individual album to date.

Amsterdam’s Altın Gün have built a strong reputation for melding past and present to make brilliantly catchy, psychedelic pop music, as seen with their Grammy-nominated second album, Gece. They are also a renowned live band with strings of sold-out shows on three continents, who have consistently brought a muscular groove to their recordings. Yol, their third album in as many years, excitedly continues these trends; while also digging in deep to unveil a new palette of sonic surprises.

Though it draws from the rich and incredibly diverse traditions of Anatolian and Turkish folk music, Yol is not just a record that reframes traditional sounds for a contemporary audience. The album often presents a textured, avant-pop sound as evidenced by the debut single "Ordunun Dereleri.” Mysterious and atmospheric, the track is a thrilling evolution for the band. It patiently coaxes the listener into a resonant soundworld of down-tempo electro beats, majestic synths and Erdinç Ecevit's yearning vocal of unrequited love.

The album also signals a very different approach in making and recording for the band. Singer Merve Dasdemir takes up the story: “We were basically stuck at home for three months making home demos, with everybody adding their parts. The transnational feeling maybe comes from that process of swapping demos over the internet, some of the music we did in the studio, but lockdown meant we had to follow a different approach.”

Yol displays a noticeable dreaminess, maybe born from this enforced time to reflect. And select elements of late 1970s or early 1980s “Euro” synth pop also shines through. This new musical landscape was nurtured by certain instrument choices; namely the Omnichord, heard on ‘Arda Boylari’, ‘Kara Toprak’ and ‘Sevda Olmasaydi’, and the drum-machine, an instrument that is key to the gorgeous closing number, ‘Esmerim Güzelim’. Dasdemir once more: “bass player Jasper Verhulst loved the song. He said, ‘it doesn’t sound like Altın Gün, this sounds like a Turkish kindergarten music teacher from the 1980s using an 808!”

As ever, the tracks are the result of a true group effort, with ideas on Omnichord, 808 and other elements - such as field recordings and new age-esque ideas - continually kicked about between the six band members. At a safe distance of course. The record also owes something special to its production team, the band working this time with Asa Moto (the Ghent-based producer-crew, Oliver Geerts and Gilles Noë) who mixed the record. Before this Altın Gün always recorded on tape with their own sound engineer.

It would be wrong to say that what made Altın Gün such a loved and successful band has been left to one side. The pressure-cookers ‘Sevda Olmasaydı’ and ‘Maçka Yolları’ are classic cuts from the band. And their signature employment of a dizzying array of ideas and approaches can be heard with the marked Brazilian feel of ‘Kara Toprak’ and ‘Yekte’. Cosmic reggae filters through the grooves of ‘Yüce Dağ Başında’, and there is a steaming version of ‘Hey Nari’ which gives the traditional composition by Ali Ekber Çiçek a kick onto the dancefloor.

But with Yol, Altın Gün have maybe patented their own magical process of reimagining and sonic path-finding, one probably not heard since the late 1960s and early 1970s British folkrock boom. Less of a reworking than a seduction, their recordings transport the listener to a world where the original songs never previously inhabited. Merve Dasdemir again: “After we worked on them, they got a whole new life of their own. Maybe we went a little bit too far (laughs).”