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Idriss D welcomes to Memento Records UK electronic mavericks Dark Globe. The famed duo consisting of Pete Diggens and Matt Frost has been releasing influential music for the last 30 years, starting off with industrial noise inspired tunes and later developing their sound into an experimental blend of breakbeats and twisted melodies, in what they call “epic pop”, taking in influences from classical English composers to hip hop grooves. Collaborations with Television’s Tom Verlaine and Boy George add to the magic of their artistic journey.

For this special EP, Idriss D has acquired the licensing rights to Dark Globe’s own Take Me To The Sound: along with the original track, two exclusive remixes are included, one from Howie B. and one by Pete and Matt themselves.

The original version, although hailing directly from the early 90s, boasts timeless vibes and flavours: marching beats, drum rolls and analog squelching synth tones make it as relevant as ever, a sophisticated Electronica piece that would fit perfectly in every club compilation these days.

Howie B’s masterful version flows with a syncopated rhythm and trippy vibe, a stripped down rendition designed for an afterhour party in a dark basement. Dark Globe’s own remix features quieter vocals with reverb splashed over the 303.

The third album by RICO FRIEBE is a clearance, an outcry, an universe within itself, a hope and a message at once – sending out ANTHEMS FOR A LOST GENERATION!

After his preceding albums of intimacy WORD VALUE and FACES MEET, based on personal tragedies and the accompanying struggles, RICO FRIEBE has something to tell to a whole generation and delivers ten radiant and distinct top-notch productions that find a most modern and futuristic sound within different styles of pop music while his soft and emotive voice is hovering above all.

Originally, ANTHEMS FOR A LOST GENERATION has been recorded as an acoustic double-album, but RICO FRIEBE threw it all out, wrote new songs and found a truly more fitting sound after he realised that there could only be one musical outcome to tell these stories: Songs like BAD SEED, I LIKE MEMES, REDO, GAMES or LAZY, BORED AND SAD are milestones of capturing a complete zeitgeist and beyond. Each line within the lyrics is taken from close and personal experiences and interactions that made him undergo a whole spectrum of emotions, creating deep worries and sadness, but also a far hope.

Feel lost? Be found! With ANTHEMS OF A LOST GENERATION...

Stunning outernational funk for the psych breaks dancefloor featuring the mesmerizing vocals of Ukrainian jazz singer Mona. Sung in her mother language, "Moya Vode" is about the "ancient ritual to put a spell on water and remove all negativity through its power".

Mona and MC Fame, a well-known Ukrainian hiphop producer and activist, both left their hometown Kyiv last year and found a new home in the Hammerbrook district of Hamburg, Germany, where they quickly connected with the lively funk scene of the city. Together with the Mocambo crew they set off to work out some magic by combining universal funk grooves and Ukrainian folklore.

Mona's mystical soulful vocals are backed by the "Hammerbrook Sound Machine", a group featuring members of Bacao Rhythm & Steel Band and the Mighty Mocambos, with instruments like the Tsymbaly or Drymba added on top. The "folk-funk" continues more electronically on the instrumental flip side when MC Fame takes over the lead on Moog synthesizer. Dive into this spell!

With 'Why Don't You Go Home' Fingier produces a monster Rhythm & Blues tune that will take you straight to the King and Federal R&B sound, and for the B side, 'Cocktail De Medianoche' is the perfect mix of Boogaloo and Northern Soul. Percussion, flute and horns will make this a Fingier favourite for lovers of Latin grooves and Uptempo Soul.

Diane Ward is singer from USA, who grew up singing Gospel in her local church. Music was always a big part of her life, and she has always had a deep interest in Rhythm & Blues and Jazz. She lived in Argentina for a couple of years, and one night Kevin saw her perform and instantly her voice blew his mind. In his words:

“She’s a proper R&B singer, she reminded me to Ruth Brown, MaryAnn Fisher or Lula Reed. She has that potent and obscure soundthat took me to those lately 50s early 60s Popcorn tracks”

With two monster tracks, calling this a ‘Double Sider’ wouldn’t be enough, both with that '60s sound we've come to expect from Fingier Records.

Following on from debut album 'For Years' and previous Hemlock releases 'October/Macondo' and 'Shaded/Antipolo' we are proud to present the new release from Airhead.

'Lightness' marks a subtle yet precise shift into new sonic territory, beating at a higher tempo and releasing from much of the dominant of sub bass that propelled his earlier work. The refracted take on drum and bass was conceived while staring out over Laurel Canyon and realising the desire to float away. Once grounded, Rob set about trying to capture that feeling by removing all weight from the drums and letting the melodies drift through. Harmonically this is his most advanced record, drawing inspiration from studying and adapting some of the techniques from Joe Pass, Barry Harris, Ted Greene and Mick Goodrick to work for other instruments.

The overall sound is analog and highly dynamic, featuring tightly packed layers of guitar recordings and effects treatments. Clips of ethereal sounding experiments with synthetic voice software can be heard on 'Still Waiting For U' and 'Ghosts in CS' punctuating the sweetness with an air of uncertainty. The symphonic closing piece 'Unbearable Lightness' is a collaboration with American contemporary classical composer Nico Muhly.

Airhead operates uniquely within electronic music, as a session musician he regularly performs at iconic venues to huge crowds yet is still relatively unknown as a producer outside of UK underground circles. Lightness is his most bold and individual release to date and is destined to reach a wider audience.

Rare as hen's teeth digital dancehall from out of late 80s/early 90s NYC, via Cooly aka Koolindian aka Super Cat's cousin Andrew Maragh, originally released on his own Mad Indian Records - reissued here for Death Is Not The End sub-label 333.

Maragh sang in church choirs and on soundsystems in Jamaica before moving to New York in the 1980s where he quickly became involved on the underground music circuit, taking inspiration from his cousin the legendary Super Cat. "Freedom" was penned while he was incarcerated, and details the unfairness of the judicial system at that time, alongside the heartfelt need to "hustle everyday to make ends meet, whether that's picking up scrap metal or cutting lawns or voicing dubplates, whatever you do to make a dollar", says Maragh.

Having bought an Ampex tape in Manhattan, Maragh headed over to the legendary Philip Smart's HC&F studio on Long Island with the intention of laying down his lyrics on the version to Dennis Brown's "Children of Israel". After hearing the song however, Smart went ahead and built this one-away "Freedom" rhythm on the spot. The track was then carried to Count Shelly's Super Power Records where it was then pressed & distributed as the first and only release on the Mad Indian label around the turn of 1989/1990.

FFF touches down on Rupture for the first time, bringing big flavours from Rotterdam to London with his 'Big Request EP'.

A prolific producer and integral figure in the Dutch scene, FFF follows up past appearences at Rupture events with a debut release on the label.

The four track EP spans the full spectrum of his influences, drawing from dancehall to hardcore and beyond, cutting between hard edged breaks and teaming with pure energy.

DJ support from:

Ben UFO
Coco Bryce
Ivy Lab
Mantra
Double O
Doc Scott
J:Kenzo
Stretch
Felix K

Soft Walls is the solo recording project of Dan Reeves, who has spent his entire adult life kicking around in the dust of the UK's underground music scenes. Cutting his teeth in the South West's post-hardcore scene; centred around Exeter's The Cavern club, before moving to the South East and forming his own record label; Faux Discx, and the propulsive post-punk band: Brighton via London's Cold Pumas. Projects have come and gone over the years, but Reeves' Soft Walls has remained, an outlet for whatever musical whim takes his fancy.

'True Love' is Soft Walls' 4th album. Written and recorded at home, during breaks in work. During the aftermath of you-know-what.

For this album Dan leaned heavily in to his guitar playing, searching for those purest moments of true emotion and connection. Aiming to strike an instant blow. "Emotional guitar music. But not Emo." The result of falling in love with an instrument again and playing for the joy of it, much like he did as a teenager. Just older, wiser(?) and certainly more world-weary / teary-eyed.

Thematically, 'True Love' revels in stating its love for everything that is dear to Reeves. Odes to marriage, romance, unconditional love, parenthood and creativity pierce through the record's down-swings that tackle existential crisis and the feeling of falling in to depression. Each song attempts to encapsulate a vivid feeling, be it positive or negative. It's all part of a life worth living.

Although recorded at home, this album marks a leap in to digital mid-fidelity for Soft Walls, embracing a wider, richer sound beyond the tape hiss of earlier releases. That same spirt is still in the mix, but is presented wide-eyed and caffeinated in to clarity. Elevated by the input of a handful of collaborators contributing to the performances and helping to shape it sonically, 'True Love' ends up being the truest version of Soft Walls committed to (digital) tape thus far.

If there ever was a monicker apt for describing an artist’s behavior, that is Ghost Lemurs. Manifesting spottily in compilations and limited edition tapes, then returning to the shadows without much fanfare, the project has indeed demonstrated a ghostly behavior and a nature as puzzling as the animal it takes its name from. Wombs And Alien Spirits represents now their most public outing, one in which the duo of visual artist / producer Kareem Lofty and Daniele Guerrini (better known as Heith and as Haunter’s co-founder) are happy to showcase all the discoveries in a process of musical and spiritual research begun in 2019. Described by the artists themselves as an experiment in mediterranean psi-trance, the album makes use of an incredibly diverse number of traditions, sonic sources and techniques of musical experimentation, keeping its psychedelic intentions central to the whole creative endeavor. Moments of meditative relaxation are brought to unsettling new levels by cavernous basses and spaced out drones, while tight polyrhythms bring beautiful granular melodies to a sidereal ceremonial dance. As beautiful and captivating as it is, Wombs And Alien Spirits remains as chimeric and unrestrained as any previous effort by the two artists. It’s a type of folk music devoid of a specific homeland, but resulting from the authors’ heritages, simultaneously divided and united by the mediterranean sea, injected with all the trajectories of their personal journeys. It ends up sounding profoundly human and uncannily inhuman, tapping into the undiscovered alien element at the beginning of the experience of life. Genre: Electronic / Experimental Listen:

Grilchy Party presents another epic from Da Buze Bruvaz own Clever 1 and mysterious production wizard Lord Beatjitzu. This new adventure follows where the last one, Perverted and Drunken, left off. They have cooked up another album following the footsteps of their classic Perverted and Drunken LP. This new adventure follows where the last one left off. Introducing Master Sip, Legendary Teacher Of Bruce Lo Da First Drunken. It is illuminating one of the many chambers of their Drunken Fly Chi style, the martial arts mind states of Clever 1 and Lord Beatjitzu combining as the "Fly Chi School Of Da Drunken Artz". The duo pops the listener in the face With vicious, bloody Nunchuck Lyrics over high-velocity, swift kick-in-the-chest production. With these seasoned masters of their perspective arts, they form a powerful, unstoppable combo and truly take no prisoners in this Action-Packed sophomore foray. It's a pure Saturday morning Kung Fu sound theater where Wing Chun enters the world of Drunken Fist on Wax. Beware as you enter the Dojo and watch your step!

Vinyl release of the album from 2023. Black vinyl in a standard sleeve. Shadowgraphs is the new self-titled album from the Portland, Oregon based band. Representing a turning point, the album was created in the spirit of true collaboration. Written and recorded in the shadow of the global pandemic and the social justice movements that sprung up in its wake, the album finds the band grappling with the changing world and their place in it. Equally inspired by classic psychedelic pop and modern indie rock, the new album finds the band branching out and incorporating shoegaze, post-punk, and dream pop influences into their sound. Highly anticipated third album from Shadowgraphs. Press coverage includes reviews and features in New Commute, Psychedelic Baby, and more. UK/EU Publicity handled by Chris Carr & Mal Smith. “…sends the group’s holographic psychedelia into a deeper realm of tryptamine alchemy.” - New Commute

The cinematic opening track Inthenever starts off as a film >> somewhere on a desolate coast, where everything has already ceased. This is going to be an album with a story and depth, a fearless tour of the barren shores of our days // or is it possibly just a mirage conclusion of their razor-sharp sound brutalism? Tittingur's third album, Epiphany, is here, pounding with waves they had not done before.

It seems as though this dyad has disposed of all the genre confines that had locked them in, and have grasped the sound of new subject matters, for which the moniker of experimental techno is finally too narrow. With utter urgency and candid to their emblematic, thunderous sound, Dominik's and Matus's deafening mallets collide in beats which are now, more than ever, drenched in a mass of palpable gloom and anguish. As though we could touch the rising levels of the oceans, and smell the melting of the glaciers themselves.

In one way or another, the music of Tittingur has always been about nature, its fierce essence, and its stark contrast with the post-era that we have found ourselves living in. However, whereas before, it was the sound of old, weather-stained concrete, and the pounding of abandoned, overgrown buildings, now it is, unavoidably, their most direct and honest return to nature landscapes, and to human, age-old traditions, referenced in the Slovak folk motives, recordings and found sounds.

On Epiphany, Tittingur's sound becomes yet more abstract, in a sound world that is ambiguous but also unified, and works on its own. The duality of nature and technology, of inland human folklore and the trenches of deepest oceans, invite us to come closer and observe the volatile obliteration taking place. Can we even attempt to re-assess our position with nature, or is this whole experiment doomed to fail?

Unsurprisingly, in the echoes, all the ingredients of the classic Tittingur sound are still present, distilled into new forms >> the ever-present over-saturation, the exaggerated, maximalist approach and megalomania >> the sound of impending climate change, doom, and near-apocalyptic visions, the scent of borovička mixed with the wild North Sea, the agony of contemporary urban life, and the adventure of wilderness: ferocious synths, monumental beats, aggressive basslines and crumbling noise-scapes built of a found-sound, music concréte-like, collagist approach.

At moments, it seems the means have changed. Just until you realise that the sentences of this story are spoken in a new language. If you dive deep enough, and listen to the essence that the music of Tittingur articulates, it's surprisingly easy to understand >> although the notions and emotions are difficult to put into words. The profound narrative of Epiphany is that of an endless inner struggle of society, anxiety, crises, and ambiguously easy // difficult solutions in the post-modern global chaos. It is the calm before a storm. It is the storm. Is it the calm. It is all of it, in itself. credits

REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

LIMITED RED COLOURED VINYL!
REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

What the listener might encounter on this album goes all the way down to the sound of a neuron transmitting pain, beatitude or any one of the countless senses and impressions we feel on any one day of life. N E U R O is the debut album by CURA MACHINES, a new project by Daniel Lea whose tracks are at once scientific in their capturing of the morphing of body cells as well as the larger expanses of a poetic filmscape of the contemporary metropolis.

The name CURA MACHINES comes from a sign Lea saw on a trip to Ancona, Italy at an abandoned hospital: Prima E Dopo La Cura (Before and after the cure). The sound in between, of what was lost or found, transmuted in the heavily manipulated and pulsating synthesisers, is the restoration here. With a physically visceral mix by Ben Frost and soaring re-amped bass textures from Yair Elazar Glotman, the album is lush with trans-morphing apeggia that shudder, quack and soar into ashen sparks.

Back in the turn of the 20th century the poet Rilke posited that the suture patterns of fused skull plates could potentially be played by the then-new technology of the gramophone, with each of us having our own personal tonal source code or anthem etched onto our skulls. And with a track like 'Suture' we have such an embodied sound: the close-up exhumation of the neural brain casing, stitched and sewn together in fleeting pulses of whisper and alarm.
The individual is exposed and isolated, but not without the promise of succour.

Or one also has the soundtrack to the loneliness of a morose private eye – a pulp novel set in a future time of neurosis or washed out euphoric beauty. It is here in tracks such as 'Terminal Zone' or 'Inversion Layers', music that is blinking in celluloid frames. The plot could easily be a sci-fi, paranoid tale of brain emulation, transhumanist crimes against humanity itself. After all this is Lea's soundtrack to Los Angeles, the city of angels that has been captured in countless movies: the racing tracking shot of the 2nd Street Tunnel at night, the freeways spreading out in a glorious sprawl of lit up veins and arteries. The last track 'Zosa' marks out the boundary line that delineates between day and night, when the lunar strains wane, the tides subside and the city comes to life.

Montenegrin born in Istanbul, precocious pianist growing up in an embassy, brilliant musician. Prolific composer speaking eight languages, he arranged music for jazz, pop music, adopting multiple identities.
For one label, he is Andy Loore; for another, Emiliano Orti. For others, he is called Alan Blackwell or Johnny Montevideo, but behind all these aliases, there is only one man: Janko Nilovic.

Exploring the shelves of musical production, venturing into the less-illuminated corners of library music, Janko Nilovic's name lights up dozens of shelves on which his soundtracks, his records for Editions Neuilly or Sforzando, but above all his twenty albums for Editions Montparnasse, are stored. A considerable and imposing work, rich in orchestrations of keyboards, strings and brass instruments, themes, atmospheres and melodies. A repertoire in which the cinema, television and advertising have come to find their delight ...

Subjected to the sharp blades of samplers, reduced to a few effective seconds, joined with rhythmic beats, some of his tracks have infiltrated hip hop for a long time , leading the most curious to go back to the source to get the complete albums from which the precious loops had been taken.
Almost unknown to the general public, Janko Nilovic is a master for the initiated, whether they are at his side in the studio or comfortably seated in their armchair savouring the final result on their turntable. His discretion combined with his long years of silence on the record could lead one to believe that he had cleverly arranged his disappearance from the radar to make Janko Nilovic a mystery that has never been completely solved.

Until this message from The Soul Surfers.
A few miles away, in their studio fired up by analog funk, the Muscovites had been put back on the Nilovic track by multi-instrumentalist Shawn Lee. A few passionate discussions later, and the desire for a joint album was already lighting up the amps, making the bass strings shiver and the drum skins tighten.
Initiated by the coming and going of scores, the collaboration finally continued in studio for a real exchange, instantly bouncing off proposals, developing ideas in a live group dynamic that distance would have made impossible.
To feel the vibrations accumulated for decades at the CBE studio (like Chatelain Bisson Estardy), a mythical place founded in 1966, in which many albums, especially library, were immortalized. A place where consoles, equipment and instruments were kept as they were, accumulating in their wiring, meters and speakers, endless hours of experimentation and recording.

A place that Janko knew well and where an old acquaintance was waiting for him. A Hammond organ with a Leslie booth whose keys he had already flattered in the past and behind which an improvisation and a single take were enough to complete the eponymous title.
Together, Janko Nilovic and The Soul Surfers have built Maze Of Sounds, a musical labyrinth paved by the master's keyboards where the soul-funk groove of the fiery Russians is the listener's thread, his point of reference in this maze of atmospheres and emotions, at once cinematic, nostalgic, dancing, dreamlike and contemplative.

An album where, however, nothing is compartmentalized. Where, blown by the whirlwind strung by a violin quintet, the barriers move preparing the entrance of a Slavic choir, letting a screaming guitar come and go alongside the crystalline liveliness of the Fender Rhodes, organize some rhythmic aerations at the disposal of the samplers.

A fusion between the cleverly blackened scores, between the science of precisely written arrangements and the soul-funk feel of The Soul Surfers. An album such as Janko Nilovic has been dreaming of making for years.

First ever vinyl release of the album recorded in 1969/70 by UK prog-psych band Misty. Including their terrific mod-psych “Hot Cinnamon” 45.

A dazzling fusion of classically-inspired progressive rock and song-based psychedelic pop with an organ-based sound, in the vein of Procol Harum and The Nice.

“In October 1969, King Crimson released their debut, In The Court Of The Crimson King, Pink Floyd unleashed Ummagumma and Led Zeppelin put out their second LP. At the same time, Misty were in London’s Regent Sound Studios recording what turned out to be the only album of their career with producer, Adrian Ibbetson, who had cut his teeth as an engineer working with everyone from the Beatles to the Equals.

After only a handful of gigs, Misty signed a deal with Parlophone and began to gather momentum with the release of Hot Cinnamon. Although they received a lot of airplay, the single failed to chart and the band’s hopes of releasing their debut album were dashed. Reluctantly, Misty went their separate ways and the Here Again master tapes sat gathering dust on a shelf until Gelardi came across the original acetate and decided it was time for the album to finally see the light of day.

Bridging late psych and early prog, songs like Life Has Just Begun, Witness For The Resurrection and the title track were played with a perfect mix of high-flying experimentation and virtuosic musicianship. Blurring the fine lines between rock, jazz, classical and chamber pop, Here Again is a transcendent kaleidoscope of colour that is beyond definition.

Maybe you can tell an album is truly timeless when it takes half a century for it to be properly appreciated. Misty were a rare bird, a brilliant, truly original band who should have left an indelible mark instead of joining what now seems like the never-ending line of half-remembered and long-forgotten flotsam and jetsam of the psychedelic era.

Both the first and the final statement from a group who never really got their chance to be heard, Here Again is a slice of pristine psychedelic pop that so embodies the dizzying energy and the progressive spirit of the time, it’s astonishing that it stays afloat under the weight of its own intentions. But float it does, like mist in the air - a half-forgotten diaphanous dream slowly coming back to you after 50 years of silence.” – Jonathan Wingate

dog-rose is an exploration of musical articulation and vocalization. Its themes can be felt gnawing at the surface of the world: people's clumsy everyday intimacies, the neverending pursuit of self-knowledge, God. Of foremost interest was the unreliability of memory as a tool through which we experience life, yielding an attempt to dismantle it into its minute elements.

"I arrived at a combination of diary entries in the form of field recordings, various, mostly acoustic, instruments through which I invoke different modes of memory // its associative functions, and my own voice, more an agent of introspection than any conventional vocal. The lyrics were originally written as pop-songs, but committed to the form of contemporary music they appear as field recordings made to be sung. They are field-songs."

"To me, musicmaking is a dialogue with sounds where I seek to understand their character and how to handle them. This is a performative process and admittedly also a projection – what I am actually discussing is myself. The recording took place at a remote cabin in the forests of Tribeč. Most of my work is created in isolation, regardless of the social distancing and lockdowns of the outside world."

Tomas Pristiak is a member of Tante Elze, Pain Palace (FKA Weltschmerzen), and dog-rose is his first solo album and the 11th release by contemplative label Weltschmerzen.

Maybe your demands of punk are a little too high. Maybe they're a little too exacting - you know what you want, but you don't know how to get it. Maybe you've got an itch that's needed scratching since you first heard '(I'm) Stranded' (sounds like a doctor needs to look at that, mind). Maybe all or none of these things are true and you're just in search of three or four chords and some righteous snot. Reader, you have come to the right place. Split System came sauntering out of Melbourne back in 2022 with a self-titled 7" and a debut LP (the sensibly-titled 'Vol. I'), and as a listener of exquisite taste, one or both of those items will have carved out their own spaces within easy access of your record player. With members of acer-than-ace garage punkas Stiff Richards and Speed Week among their number, not to mention the redoubtable Jackson Reid Briggs, they deal in a gloriously back-to-basics take on punk that's part Undertones, part Royal Headache and part Chris Bailey - all hooks and glory, all the time. They're so much more than the sum of their parts and they make this shit sound effortless. Well, here's an update for you: they're back! Second album (the equally-sensibly-titled 'Vol. II') is now upon us, and a thoroughly tremendous follow-up it is too. As soon as opener 'The Wheel' slams into your speakers, it's clear that they've lost none of the pep or power that made their debut such an essential listen; if anything they're even more raucous and revved-up than before. Yep, that's jargon for 'they rule hard', and let me add here that you could listen to this album 100 times in a row or simply try inserting dynamite sticks with lit fuses into your ear canal; either way, your poor little mind is gonna blow. It's an album made entirely of bangers (still on that explosion metaphor, are we?) - the concise questioning of 'End of the Night' is as pure a punk rock nugget as you could ever wish to uncover, and 'The Drain' is just energy distilled to a perfect series of hooks - with a passion for rock'n'roll in its most scintillating form. Just listen to it. That's all you need to do. Your demands have been met - here's your new favourite record.

The Pheromoans are tenants of an unruly domain. Over the last 18 years the group have evolved from garage rock primitivists to auteurs of their own curious sound; a frothy brew of loose electronics, refractory rock and humdrum musing. Their songs are mutable, capricious, unreliable narrations, often withholding as much as they reveal. Russell Walker’s understated vocal has always been the band’s unifying focus, it is wry, unsparing and wilfully honest. Walker’s lyrics are an observational tour de force, sometimes droll, yet often tipping over into unlikely pathos. With previous releases on Upset The Rhythm, Convulsive and Alter, 2024 will witness The Pheromoans return with lucky album number 13, entitled ‘Wyrd Psearch’ (out March 1st on Upset The Rhythm).
‘Wyrd Psearch’ was recorded in Lewes throughout 2023. This was undertaken by founding member James Tranmer, his keen instinct for how the band should sound shaping many of the creative decisions. Joined by new guitarist Henry Holmes, the five piece doubled down on a decidedly breezy, melodic approach. Scott Reeve’s drumming is ever brisk, whilst Daniel Bolger explores AOR peripheries on keyboard and bass. “Wyrd Psearch finds us on relatively zestful form” affirms Walker “whether it be merrily recalling the Jason Williamson / Tim Lovejoy Covid summit, or mentally bathing in the pleasures of lunch hours spent strapped to a listening post in Borders.” With The Pheromoans there is always a familiarity at play, only broken and reassembled, like a bygone sitcom gone rogue in your memory. This contributes to the group’s peculiarly British outsider perspective, one that shouts from the sidelines, but never goes unnoticed.
Subjects covered lyrically on ‘Wyrd Psearch’ include “mid-life crises, male pattern baldness, and thwarted artistic and personal ambitions” according to Walker himself. “Nothing is off limits for scrutiny, even rural arts communities” he concludes. Lead single ‘Downtown’ swings with chiming guitars and finds Walker mid-breakdown trying to persuade a loved one to accompany him into the town centre to collect controlled medication and wind back the clock to happier times. “I want to keep you in cotton wool until pay day” he confides. ‘Cropped to Death’ and ‘Father Austin’ are ruminative and more relaxed in nature, whilst ‘Twibbon Wife’ is a more energetic effort, all jabbed synth chords, circuitous basslines and rampant drum fills. ‘Faith in the Future’ similarly bounds along with reverie.
Walker claims that the album’s title is an expression of his frustration at the ubiquity of people claiming things are eerie or weird / wyrd in the present cultural milieu. The artwork for the record is designed as an actual word search too, a knowing nod to how we all grapple for meaning amongst the absurdity of each day. Leaning into ‘weird’ as a coping mechanism is not on The Pheromoans’ agenda however. This album holds little sway with the supernatural, it’s not enough. The overriding impression given by ‘Wyrd Psearch’ is of a band renewed with ideas. There’s no trouble finding the right words, they’re hitting their mark, keeping up with the commentary. ‘Wyrd Psearch’ is a document of The Pheromoans mastering their unquiet moment.

Blending sounds of early 70s Funk & Soul, Latin-Jazz, and Afrobeat, Mestizo Beat kicks the year off with a heavy dose of new material. First up is “She’s A Rose b/w Lotsapapa,” their next 45, offering two sides of masterful instrumental soul music written & produced by The Magaña Brothers out of their hillside studio, Spc 166 in Topanga, CA. Side A’s “She’s A Rose” takes us back to the golden years of the Blaxploitation film genre and the soundtracks we have grown to love. This song was inspired by the compositional and orchestral arrangements from the greats, such as Curtis Mayfield’s “Superbad,” Johnnie Pate’s “Shaft in Africa,” and Bobby Womack’s “Across 110 Street.” Featuring Tim Felten of Surefire Soul Ensemble on keys, with horns written and arranged by Jesse Audelo, Mestizo Beat takes the listener on an evolving journey, exploring the mood and cinematic elements of flute, saxophone, and wha’d-out guitar, topped off with a funky drum and percussion break. On the flip, “Lotsapapa” rounds out the B-Side, blending the musical styles of Latin and Nigerian disco-funk into a track that’s perfect for the dancefloor and those late nights out. Written about Bernard “Lotsapapa” Crowe, a notorious drug dealer who survived an attempted murder by Charles Manson, this side is sure to get the body moving with the afro-disco rhythms and chant vocals, dubbed out around a tightly arranged horn section written and arranged by Jesse Audelo and Jason Cressey. “Lotsapapa” features guests Steve Haney from Jungle Fire on Percussion and Cressey of the True Loves on trombone.

With each side highlighting the various talents of the ensemble, Mestizo Beat always stays true to their sound and recording techniques. Both tracks are mixed by Sergio Rios at Killion Sound and are featured on the forthcoming LP, Jaraguá, coming mid-2024.

For the past five years, Projekt Ruiny has been rejuvenating abandoned and decaying industrial landmarks by using them for concerts, exhibitions and discussions. This refusal of disuse also defines the character of SILO by Kolektív Ruiny, which disposes of all aspects of such cultural urban exploration besides the two most monumental >> sound and time.

The trio of musicians // sound artists kept returning to sugar and brewery silos in Rimavská Sobota in southern Slovakia for over six months to listen to their sounds and reply with improvisations. The silos' ambience proves that these places in a state of decay are living environments that hear plenty themselves, both from outside and inside, and spread what they hear wholeheartedly.

Kolektív Runy builds on this acoustic generosity with a combination of empathy and boldness. The attitude is most apparent on the few tracks that are musically harsh, but still offer the same discernible respect towards their industrial venues as the most serene pieces on SILO. It is an homage to these places, teeming with attention and care, and the ninth release by the devout label Weltschmerzen.

For the five members of Punchlove - multi-instrumentalists Jillian Olesen, Ethan Williams, Joey Machina, Ian Lange-McPherson, and visual artist Viz Wel - moving into a maze of a house in Brooklyn together was the transition that created the album they had been writing their whole lives. Quietly evolving from a bedroom project to a headlining live phenom, Punchlove has geared up a densely layered bed of emotionally serrated pain-pop songs that coalesce around a digitally-stimulated, emotional brand of modern neoshoegaze. Channels, out March 1st on Kanine Records, is an album of deeply prepared sounds, sharply honed instrumentals, and a band performing them that knows each other all the way through. Having met studying music technology in college, multiple members of Punchlove work mixing live bands at prominent NYC venues and in the studio. Using that expertise, the inhouse production, mixing, and recording is a palpable highlight; mastered by 2000s shoegaze stalwart Kurt Feldman (The Depreciation Guild), the record melds DIY recording and experimental sonic visions with studio quality. Punchlove is dedicated to pushing the envelope of experimental sonic practices in live performances, where they can be seen performing with real-time audio reactive analog visuals, executing real-time sampling and looping, self-mixing onstage, running radios and tape loops through effects, improvising, and playing guitar with everything from double bass bows to vibrators. In their home recording environment, experimentation is at the core of their creative process, where they integrate self-programmed digital signal processing systems, psychoacoustic phenomena, tailored feedback, elements of 3D audio, immersive field recording soundscapes, early electronic instruments, and experimental recording and mixing techniques into the greater backdrop of pop songwriting. FOR FANS OF: Radiohead, Wednesday, Hum, DIIV, my bloody valentine, The Smashing Pumpkins, bdrmm, A Place to Bury Strangers

STUDIO4℃×Osamu Tezuka

A story of the love and adventure of a woman who lived for 1300 years.

``Phoenix'' Nostalgia Arc has been made into two animated works with different endings!

Theatrical release of the movie “Firebird Eden no Hana” / Disney Plus “Firebird Eden no Sora” world exclusive distribution

Master Osamu Tezuka is hailed as the "God of Manga" and is still revered all over the world. Of the 12 stories in the timeless masterpiece "The Phoenix," which became his masterpiece and life's work, the "Nostalgia Chapter," which depicts the future of the earth and the universe in which we live, will finally be made into an animated film for the first time. STUDIO4°C, which continues to create artistic video works, was the one who completed the spectacular spectacle, which took seven years to create. The voice actors include Rie Miyazawa, who plays the main characters Romi, Yosuke Kubozuka, Issey Ogata, Honoka Yoshida, Shintaro Asanuma, and Ryohei Kimura. A gorgeous voice actor team gathers to make a timeless masterpiece into a movie. The person in charge of the music is Takatsugu Muramatsu, who is active in a wide range of areas including film music and providing music for numerous artists. The music, which has both a grand scale and a poetic feel, gently envelops the story.

Since the early 80's Allan Crockford has been a major figure in Medway's garage rock scene, including playing for The Prisoners, Billy Childish's Thee Headcoats, the original line-up of the James Taylor Quartet, The Solarflares and many more. Since 2010 he has fronted his own band, The Galileo 7, as writer, guitarist, and lead vocalist. Their unique blend of powerful '60s garage rock'n'roll, psychedelic vocal harmonies and quality songwriting has now featured on no less than eight albums. Their ninth, You, Me and Reality, sounds like the work of a seasoned rock 'n' roll band dialling things up one and approaching its zenith. The group performances of the quartet of Allan Crockford, Viv Bonsels, Paul Moss and Mole ooze energy and dynamics - whether it's the garage ramalama of opener 'Can't Go Home', the woozy psychedelics of 'Slow Down', the chipper folk-rock of 'A Simple Man' or the '60s mod-pop stomp of the title track. As with 2019's last album proper, There Is Only Now, all four group members share lead vocal duties, with Viv's contributions adding an affecting indie-pop flavour that coyly suggests new directions. You, Me & Reality largely eschews its predecessor's predilection for ambling unplugged off the beaten path, instead sticking with up-tempo ensemble performances that showcase the players' musical chops and vocal interplay in the kind of warm, fizzy, analogue soundscape that's become a touchstone of many Medway bands.

The composer, percussionist and instrument builder Limpe Fuchs has spent six decades exploring the outer limits of sound and its effects on the listener. Born in Munich in 1941, Fuchs is part of a generation of German artists who sought radical new approaches to art, music and social organisation in the period following the Second World War.

Alloa, Bavarian for alone. Limpe likes to be alone, because she is never lonely. When she is not on concert tours, she cultivates the garden in front of the door or playfully handles her instruments in the house. Among these has recently been a restored concert grand piano, which she found orphaned at a performance venue in Switzerland and rescued from being scrapped in Peterskirchen. Since then it has been the center of Limpe's attention, is played daily, and can be heard on the recordings of this LP.

The music alternates between free improvisation and impromptu compositions, played also around fragmented recited poems. Beyond the boundaries of jazz, art song and classical music lies the freedom Limpe takes at the piano, laughingly commenting on her unorthodox, even carefree way of making music with a quote from Friedrich Gulda: "From seventy on, all pianists are bad."

Well, so what, Limpe is not a pianist anyway, she is much more than that. She is the most vivid proof of a long-lasting, versatile and intrepid musical career, the next chapter of which will also consist of Limpe no longer exclusively traveling through Europe heavily laden with all her self-made instruments, but every now and then light-heartedly from grand piano to grand piano, to then make music for everyone, as always but not necessarily alone.

Few artists have done as much as Heinrich Dressel to rekindle the genre of soundtracks. Even fewer are as capable as the Italian at writing such silver screen scores. Yet, Valerio Lombardozzi is much more than just one style. He has shown this time and time again, doing so once more with The Obscure Cities. Works of fiction, rather than film, are the fount of inspiration with tracks drawing on the likes of J.G. Ballard, Francois Schuiten, Benoit Peeters and Valerio Mattioli. The listener is transported to worlds of Dressel’s own making, landscapes of melody, textures of bass punctuated by drums. “Galatograd” opens. From understated beginnings, the track expands into a symphony of strings as columns of warmth descend. Tempos rise for “Eden Olympia”. A different tone is set. Juddering arpeggios and clean snares are elevated by bright and hopeful keys that sparkle with an enthusiasm and innocence. Deep unctuous bass gives way to gliding notes for “Remoria”. A piece where melodies and memories melt in the morning dawn. “Mylos” is the last visit of the EP. Delicate, almost fragile, notes are buttressed by drum patterns in this hazy dreamlike finale.

Following his blissfully abstract, piano-based collaborations with Harold Budd and Ruben Garcia over the last 20 years, The Arcades Project is John Foxx’s first solo piano album, released on vinyl for the first time. This latest work has a fresh sense of wonder, as if returning to the instrument after the raging analogue noise of his last major work, 2020’s Howl (by John Foxx And The Maths) necessitated a further retreat into quiet, minimal music. Reviews for The Arcades Project: “Delicate evocation of the ambience of a city’s galleried passages.’ Mojo 4 ****. 'This exquisite and refined solo piano work is a fine addition to a body of work made by an artist always investigating memory and imagination.’ The Quietus Album of the Month for April 2023. 'His most evocative music.’ Uncut Magazine 8/10. ‘Delicate, drifting and hypnotic.’ Record Collector 4 ****. ‘Unmissable’ Electronic Sound Magazine. 'Its minimalism is moving; its restraint rich in reverie. Foxx's 21st-century body of work grows ever more absorbing.’ Prog magazine. ‘An album that has the potential to be a classic of modern times and a reference point for classical ambient for years to come.’ Louder Than War. ‘Awed wonder . . . and frequently beautiful.’ Classic Pop. 'Foxx has created 12 stunning pieces of music . . . sparse, minimalistic, and extremely moving . . . It goes a long way in demonstrating just how much of a genius he is' Spill Magazine.

Partiboi69 strikes poses, chords and hot irons. Australia’s spiciest export since INXS’s front man is a sensation on many (meta-)levels. Musically, aesthetically and hedonistically exhilarating, the man’s man shows his sensitive side on Running Back. Four tracks answer the Call of the Void with a showcase of sounds and moods that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void): surprisingly serious and simultaneously not-so-serious. Composed and executed with serious songwriting skills and an uncanny feel for the aural world of Running Back Records. A mutual pleasure, indeed.

Short: Partiboi69 strikes poses, chords and hot irons. Showing his sensitive side for Running Back with four tracks that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void). A sensation on many meta-)levels and a mutual pleasure, indeed.

The eagerly awaited debut album from the London-based four-piece * At the forefront of the new generation of Black British guitar music with Big Joanie and Bob Vylan * Supporting Slowdive on their UK tour in February * Singles playlisted by BBC Radio 6 Music, Spotify and others Whitelands are Etienne, Jagun, Vanessa and Michael and they are ostensibly a shoegaze band ever since Etienne stumbled across Slowdive's KEXP session in his recommended videos on YouTube a few years ago. However, they come at the resurgent, Gen Z-soundtracking genre from a refreshingly different angle thanks to their mishmash of musical backgrounds. There's also the fact that their line-up is fully PoC in what is traditionally seen as a predominantly white genre. "There's an underlying narrative that it's OK for white men to be romantic, sensitive, emotional and make dreamy music and, by contrast, young Black men should be making angry music," says Vanessa. "We've all grown up with these stereotypes and therefore I think people are mystified when they see Whitelands." "I consume a lot of media," says Etienne of his wide range of influences. "Videogames, music, news, paintings, manga, animations and film are my go-to, especially anime. There is this drive to want to understand and feel the whole weight of an expression. So, the songs are based on other songs, pictures, aesthetics, 'vibes', an emotion someone else felt. Fundamentally, you are what you eat." As a result of this diet, the lyrics are stunning, dealing with everything from unbalanced relationships and vulnerability to depression, being diagnosed with ADHD and, on the new single 'Tell Me About It' (featuring vocals by Dottie from the band's Sonic Cathedral labelmates deary), trying to navigate love following that diagnosis. The album is bookended by two poetically political songs - 'Setting Sun' and 'Now Here's The Weather' - that deal with imperialism, racism and performative ignorance. "We've experienced tokenism, micro-behaviours, envy and resentment," concludes Vanessa. "So we feel we have to continually prove ourselves. We know we're making a positive impact, but I want Whitelands to really break some barriers."

"10th anniversary product suite for Nick Mulvey’s debut album, ‘First Mind’.“Nick Mulvey’s debut is a charmingly simple and rarely produced album full of beautiful melodies, extensive guitar skills and exotic ryhthms – it feels like the missing soundtrack for the beginning of a perfect summer.” NBHAP
“A total package of pop hooks, instrumental genius and gorgeous rhythms, Mulvey presents us with an intelligent record that demonstrates his passion for sounds outside of insular scenes.” THE LINE OF BEST FIT
“‘First Mind’ is captivating, full of intricacies and influences that should see it celebrated as one of the great albums of 2014.” CLASH"

RVDMNTL's first release, composed of energetic and functional cuts in which textures, the distortion of some elements and a sound synthesis coming from modulars and analog devices seek to push the tracks to the limit and provoke their disfigurement.

Previously protected under other artistic names and owner of the INCENSE label, the artist definitively adopts this pseudonym after some years exhibiting his sets in booths and in charge of productions that seek to shape the genre through his own conception. Now, he will go into a more personal, complex and focused on the dancefloor. Non-conformism, independence, originality and forcefulness remain a common element in the artistic figure and label he runs."

Mastered at Koschitzky Studio
Artwork by Malsombra

Hollow Coves are a dynamic indie-folk duo of Matt Carins and Ryan Henderson, who are brimming with their passion for travel and observing different shades of the world. The group's tender melodies and poignant lyrics have resonated with fans around the world with the band amassing over half a billion global streams to date. Hollow Coves have received acclaim from the likes of Billboard, Clash, Sunday Times, Ones To Watch, Under the Radar, and more and continue to connect with the hearts and minds of listeners across borders and time zones.

On their sophomore album, the earthy acoustics and breezy rhythms provide a soundtrack to the feeling of change. The essence of shifting one’s perspective is a theme Hollow Coves meditate on as they go through their own musical evolution. They invited friend and acclaimed Aussie artist Matt Corby to help co-produce and bring their new songs to life.

Nothing To Lose by Hollow Coves, released 1 March 2024, includes the following tracks: "Milk and Honey", "Harder to Fake it", "Purple", "Be Alright" and more.

This version of Nothing To Lose comes as a 1xCD in a(n) Digipak packaging.

Witch Trials will release his anticipated new EP CANNIBAL CULTURE on his own label, MYRYRS. The upcoming EP spans genres and journeys between contemporary dance, electronic, house, and breakbeat - showcasing the progression and expansion of a stand out artist continuing to evolve and reinvent his craft.

The new EP from Witch Trials delivers a time-traveling thrust of rave culture, melodic riffs and atmospheric beats that would work the dancefloor as hard as a solitary listener at home– experiencing the tracks in confinement.

“CANNIBAL CULTURE… it’s the voices in your head that guide you, the demons in the night or day I overcome, the time I close curtains to obscure the light. It's the carnivorous force that kills, it’s the kindness of the crowd on the dancefloor, it’s also the power to continue to create. After the madness, anxiety, and constrictions within or outside of my mind, life goeson.” - WITCH TRIALS

London-based, American-born, and Irish-raised artist Witch Trials releases the visual for his new EP CANNIBAL CULTURE. Confusing the lines that bound or bind art and music, the visual captures the fusion of trauma, light after dark, and a chthonic realm of solitude. The photographic concept and the sound world push distinct interpretations of the mediums and work alone or in harmony.

Les Disques Bongo Joe are happy to announce the release of Zonder Pardon, new album of our Amsterdam based superstar Don Melody Club. Crazy covers, amazing composition driven by his iconic drum machine groove, this album is sweet candy for music lovers. Sung in his native Dutch (as are all his songs), Tederheid is a celebration of the beauty and power of mutual affection. With its uptempo drum machine rhythms, pulsating basslines, and funky melodies, the synths and vocals echo the work of Talking Heads and Bryan Ferry (Roxy Music), but the result is unmistakably Don Melody Club. The wonky Koud Kwartier evokes memories of the Nederwave sound of Doe Maar, a Dutch pop band that combined punk, ska, and reggae influences, first formed in 1978.

Best known for his work for legendary Thai director Apichatpong Weerasethakul (he even designed the enigmatic “bang” in 2021’s labyrinthine ‘Memoria’), Japan’s Koichi Shimizu has been honing a unique musical language since the early ‘90s, where some of his earliest material can be found on a split LP with Yoshiteru Himuro via once-iconic imprint Worm Interface (itself home to music from Autechre side-line Gescom). ‘Imprint’, was initially released quietly back in 2021 and has been remastered for this new edition, removing one track and bumping it up with four more, making it all available on vinyl for the first time.

The album offers a perfect overview of Shimizu’s broad palette, ranging from fine-wrought keys to electronic brutalism and guttural rhythmic pulses, plotted with an underlying narrative cadence that evinces his ability to heighten the impact of moving image, whilst also colouring the imagination with ephemeral sound imagery. His tekkerz are in bracing, anticipatory effect on a retooled, expanded version of his music from ‘Memoria’ within the convulsive, swarming silhouette of ‘Imprint’, and ‘The Path’ finds his aural accompaniment to ‘Uncle Boonmee...’ given room to breathe and develop into an unexpected, OOBE-like experience. In ‘Moth’ he magnifies and anthropomorphises a winged insect with finely chiselled technical nous, and his exquisite arrangement to ‘Faded Sign’ is somehow comparable to the ephemeral emotional register of cinematic collaborations between Ryuichi Sakamoto and Carsten Nicolai.

Original-Soundtrack zum Horror-Hit "Talk to Me" mit der Originalmusik von Cornel Wilczek und der bei Fans beliebten Single "Le Monde" von Richard Carter. Mit Lentikular-Effekt-Cover und auf orangefarbenem Vinyl gepresst.

Known for his range of style and skilled songwriting, KxllSwxtch has become a household name in the underground community, and has become even more well-known in recent years by openly sharing his bouts with anxiety, depression, and bipolar disorder, in hopes of helping others who can relate. An enigmatic and genre-bending artist, blending elements rap, heavy metal, emo and grunge, KxllSwxtch first exploded onto the scene with a number of singles in 2017, followed by his debut album, KILL!, in 2020. His sophomore album, DISORDER, was released the following year in 2021, and included the viral hit song, “WASTE,” a dark and alternative driven sound inspired by a recent breakup. “WASTE” continues to remain a force, generating hundred of thousands of streams daily and remaining in the viral charts at TikTok. In celebration of it’s 2 year anniversary, DISORDER is finally getting the vinyl treatment. The album includes additional singles, “LIGHTS OUT,” & “CRYING IN THE CLUB,” as well as several other standout tracks such as “YASOPP,” & “BLACK LAGOON.” Pressed on Black & White Smash Vinyl and housed in a gatefold jacket, this first run anniversary pressing is limited to 500 copies.

First vinyl edition of the album Rhetorical Islands, originally released by Giuseppe Ielasi in 2012 as a limited-edition CD on his Senufo Editions label, with recordings made in 2011 as a commission for l’Audible Festival, Paris.

The album’s ten tracks have neither titles nor accompanying text, standing for themselves as what Ielasi himself has called “isolated sound worlds”. They are nonetheless unparalleled in their plasticity, acoustic events with a rare degree of tangibility. Ielasi evokes physical objects, some of which seem to have been constructed out of paper and cardboard, others based on a mechanics of elastic materials. Of course these objects are hallucinations, and precisely because Ielasi constructs them so masterfully there’s no need for any further information. Here’s to everyone creating their very own sculptures while listening to Rhetorical Islands!

The front and back cover features 0.058, a work on paper by the artists Thomas & Renée Rapedius. They make sculptures whose form and artistic inspiration are defined by their materials. Like Ielasi’s acoustic islands, their impact derives from self-referentiality, resulting in paradoxical objects that embody both a detailed material study and a potential for free association.