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Lamina is the moniker of multi-disciplinary French artist Clarice Calvo-Pinsolle. 'Olas Curativas' is Calvo-Pinsolle's first vinyl release. Taking influence from the natural world, works of hydrofeminism, and experiences with hypnotism, Calvo-Pinsolle prolifically performs and records her own refreshing take on ambient music alongside working as an established installation artist. She has previously released two full-length albums on Orila Records & Complex Holidays, as well as a joint LP with Kitchen Cynics, and a collaboration project with Bear Bones Lay Low under the moniker XAXI. Her discography is fleshed out by various contributions to compilations, including the opening track 'Soupire' on Twin System's 'Tendrils Lurched Purple In The Slush' tape series. Radio play of Laminas music includes Graham Dunning / NTS, Emil Mirzoev/ Kiosk Radio, Laura de Diaz / CAMPO BASE, xYsse / Radio Vacarme, Melina Despretz / Kiosk Radio, Chris Penty Alvarez / Noods Radio, Leoni Leoni / Radio Alhara, Laura Connant / Ola Radio, Bravo Tounky / Rootradio. Performances of material from 'Olas Curativas' include shows at Cafe Oto / London, Cosmos / Lisboa, TV Control Center / Athens, Iklektic / London, Braille Satellite / Lithuania, Slug Gallery / Leipzig, Spazio X / Treviso, Krut Festival / Ghent, Schiev Festival / Brussels, Woodblocks Festival / Brussels.


'Olas Curativas' was developed and written in 2022, with these pieces first heard as live jams at shows mainly around Brussels and Portugal, before being honed into this mesmeric full-length LP. Calvo-Pinsolle's effective use of manipulated field recordings and tape loops provide a backdrop for harmony that leans towards the mystical, brimming with melodies equal parts haunting and enchanting. Alongside harvesting a sound library over the past several years, Calvo-Pinsolle has developed an approach to composition using field recordings that informs both her musical and sculptural work. These recordings are transformed much like the ceramics seen in the record artwork; shaped, chiseled, and transformed. These ceramics were crafted and painted by Calvo-Pinsolle herself, and hints at this bridge between her two disciplines of music and sculpture. Although an expansive realm, throughout Calvo-Pinsolle's output there are consistent moods and qualities that are absolutely distinctive to this artist's creative worldview, and of which 'Olas Curativas' is a perfect encapsulation.

Ever wish you could travel back in time and be in the thick of the 1960s rock explosion? Well, until an actual TARDIS is perfected, this album is the next best thing. Recorded in the wee hours of May 26, 1966, A Session with the Remains is a no-holds barred romp through their club set, captured live-to-tape in Capitol Records' studios. Recorded as an audition for the label, the albums seethes and snarls, twists and shouts, rocks and rolls and generally embodies the force of nature that was the Remains. Performing a mix of originals and current hits, the band is in command at every step, rocking one minute and pausing to kibitz between songs the next.

In attempting to describe this album, reviewers have used words like "blazing," "explosive," "delirious" -- but honestly, none of these descriptions comes close to what is contained in the grooves. It's like trying to tell a stranger 'bout rock & roll, ya know? All you really need to do is listen. After all, one guitar lick is worth a thousand words.

This BLAZING, EXPLOSIVE, DELIRIOUS album was painstakingly sourced from the one-and-only original two-track analog mono master tape and wrestled onto high-quality vinyl and compact disc for your review. I'd like to thank you on behalf of the group and Sundazed for listening and I hope they pass YOUR audition!

"A religious totem of all that was manic and marvelous about mid-'60s pop." - Rolling Stone

"Blazing through a mix of originals and covers, the Remains explode in a torrent melody, searing guitar leads and furious drumming. This quartet's ability to play with such delirious abandon yet still nail the tunes' sharp hooks and abundant vocal harmonies marks it as one of rock's more talented and incendiary units. - Chicago Tribune -

RIYL: Portishead, Thom Yorke, BEAK>, SUUNS, TR/ST, Radiohead. Solo project of Robert Toher who was the creator of ERAAS. Covered by Quietus,Pitchfork, NME, Stereogum, Earmilk, The 405, Clash, BBC Radio, Clash and more.... Public Memory is a mixture of damaged and dubbed-out percussion, unfurling synths and sparse sampling - all strung together by producer Robert Toher's spectral tenor. The project's sophomore LP, Demolition follows 2017's Veil of Counsel EP and 2016's Wuthering Drum LP with cinematic fortitude. While Public Memory's prominent krautrock and trip-hop rhythms are represented here, Demolition explores a greater range of tempos and an expanse of alien emotions with layers of electronic drums, live drums, Korg synths and samples from nature. Themes of rebirth and reflection imbue the album's atmosphere, rich in tape delay, spring reverb, and textures that conjure a sci fi and supernatural narrative. Opener "The Line" sets the album in motion with a driving energy and introspective unease, as if estranged from the world it was created in. A meditation on impending collapse, "Red Rainbow" begins with an arpeggiated melody that hints at a sense of dread. Like the darkness of night descends, the track unfolds with haunting atmospherics and howling synths, finishing with an unexpected climax that ominously builds until at last it falls apart, quickly, softly, without incident. The slowtempoed "Aegis" reflects on the banal reality of love lost, with shuffling rhythms, lingering inflections and a growling synth at its core. Toher's adept use of space and tension articulates the world of Demolition as eerie, emotive, and above all, narcotic. Each track is an existential procession. "Turning out the lights on your illusion," Toher sings to close the album, accepting that change is an inescapable condition of being.

A classic of the genre, “Way Out West” was tenor saxophonist Sonny Rollins’ first album for west coast label Contemporary Records when released in 1957. The first album to employ the “strolling” technique, Rollins was backed by Ray Brown (bass) and Shelly Manne (drums). This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

Prepare for Another Groundbreaking Release From the Proteges of Skylax Records, the Maestros Behind the Acclaimed "Sting the Floor" and "Love Is Growing" EPs. Already Making Waves Among International DJs, Their Third Installment, "Madness Operator," Takes a Bold Detour While Maintaining the Signature Style That Has Captivated Audiences Worldwide. the Ep Kicks Off With the Monumental "Under Track," a Minimalist Masterpiece That Harkens Back to the Glory Days of Early '90s Chicago. Its Simplicity Is a Stroke of Genius, Resonating With the Raw Energy That Defined the Chicago Sound. "The Wanderer" on A2 Delves Deeper Into the Same Chicagoan Style but With Added Intricacies, Showcasing the Versatility and Maturity of Madness Operator's Sonic Palette. Flipping to the B-Side, "Café Barge at 7 Am" Emerges as a Masterpiece of Silky Deep House, Effortlessly Weaving a Sonic Tapestry That Immerses the Listener in a Serene, Early-Morning Atmosphere. Closing the Ep With a Flourish, "Baby Baby" Effortlessly Melds Disco and Jackin' House, Delivering a Hybrid Sound That Is Both Nostalgic and Forward-thinking."Madness Operator" Ep Is a Monumental Offering That Solidifies the Status of These Proteges as Pioneers in the Electronic Music Realm. From the Sheer Genius of "Undertrack" to the Captivating Diversity of the B-Side, This Ep Is a Testament to the Evolving Brilliance of Skylax Records' Rising Stars. Dive Into the Madness &Ndash; It's an Experience You Won't Forget. Available Now, Exclusively on Skylax Records....

San Jose slowcore/space rock outfit Duster returns with surprise album "In Dreams," continuing their of inclination of sonically capturing an open-ended question. These thirteen tracks hone in on their trademark dark, droning guitar tones, dialed back percussion, and alluring hard-panned vocals while expanding and exploring synth-heavy and drum machine avenues. it's the fifth duster album, ok

Aqua Tofana Colourless Vinyl. San Jose slowcore/space rock outfit Duster returns with surprise album "In Dreams," continuing their of inclination of sonically capturing an open-ended question. These thirteen tracks hone in on their trademark dark, droning guitar tones, dialed back percussion, and alluring hard-panned vocals while expanding and exploring synth-heavy and drum machine avenues. it's the fifth duster album, ok.

Hank Mobley was inspired by Birth of the Cool on his 1966 album A Slice of the Topfeaturing Duke Pearson’s arrangements for an octet that added euphonium and tuba to a group with James Spaulding on alto sax, Lee Morgan on trumpet, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

signed by Marshall Allen & limited to 500

Auf „Lights On A Satellite“ ist der unnachahmliche Groove dieses Ausnahmeorchesters in der vollen Besetzung von 24 Musikern zu hören, aufgenommen in einer Qualität, die alle Stimmen zur Geltung kommen lässt und die Musik in ihrer ganzen Schönheit präsentiert.

Mit diesen Vorgaben und 24 Musikern als Produzent ins Studio zu gehen, war ein Wagnis. Frank Kleinschmidt von IN+OUT Records hat mit „Lights On A Satellite“ seiner über 40-jährigen Verbundenheit mit dem Sun Ra Arkestra den innigsten Ausdruck verliehen. Was für ein großartiges Projekt!

This is the debut release from Danish Qbasic as a solo artist, and its likely the strongest lo-fi record to emerge straight out of Copenhagen.

The A-side brings a cheerful, feel-good disco vibe, based on an old Detroit sample that loops endlessly, accompanied by repetitive, uplifting woodwind instrument.

Flip over to the B-side, and youll encounter a strong contrast: dark, mean heavy, and gritty cassette tape samples create a dreamy, solitary journey through an urban nightscape. As you walk through the dark night you discover shadows of new, sleepy buildings appear, drawing you in, yet leaving you torn between approaching or retreating. You dont want to go towards them, but neither do you want to leave.

This is the debut release from Danish Qbasic as a solo artist, and its likely the strongest lo-fi record to emerge straight out of Copenhagen.

The A-side brings a cheerful, feel-good disco vibe, based on an old Detroit sample that loops endlessly, accompanied by repetitive, uplifting woodwind instrument.

Flip over to the B-side, and youll encounter a strong contrast: dark, mean heavy, and gritty cassette tape samples create a dreamy, solitary journey through an urban nightscape. As you walk through the dark night you discover shadows of new, sleepy buildings appear, drawing you in, yet leaving you torn between approaching or retreating. You dont want to go towards them, but neither do you want to leave.

Recorded one and a half years after his magnum opus Music For Animals—described by PopMatters as “a musical waterfall of monumental proportions”—Nils Frahm shares a new live album, due for release by his LEITER label on December 6. In what’s becoming a tradition, it follows 2013’s Spaces, a Pitchfork Album of the Year taped at shows over the preceding 18 months, and 2020’s Tripping With Nils Frahm, also released as a film. The latter, arriving in the wake of 2019’s All Melody and its 2020 companion, All Encores, was recorded during shows in Berlin’s grandiose Funkhaus Saal 1, once the largest studio in the former GDR’s radio complex. Paris, nonetheless, is Frahm’s first live album from a single night, March 21, 2024, and contains ten tracks over a running time of 84 minutes

Mastered on a reel to reel tape machine cut on 12" 180g green marbled vinyl.

Control Freak is delighted to present Medici Daughter's ‘113’ – an exercise in expansive musical worldbuilding from a uniquely talented & multifaceted artist.

Medici Daughter has been a close CF collaborator since the earliest days of the label. Now, the new album-length continuous piece ‘113’ sees them expanding their musical focus, exploding the constraints of any boundaries set by the titular BPM into a myriad of possibilities.

With a sound palette influenced by dub techno, minimalism & outsider house, the release is anchored in a series of continuously evolving rhythmic motifs, washed out in a sea of hazy texture – engineered for deep home listening & late-night ambient-room sessions.

The digital release of ‘113’ is accompanied by a highly limited run of tapes, presented in a clear case & sealed with a holographic RFID sticker.

For Fans Of: Actress, Huerco S., Loraine James

San Jose slowcore / space rock outfit Duster return with surprise album, ‘In Dreams’, continuing theirinclination of sonically capturing an open-ended
question.

These thirteen tracks hone in on the band’s trademark dark, droning guitar tones, dialled back percussion, and alluring hard-panned vocals while expanding and exploring synth-heavy drum machine avenues.

It’s the fifth Duster album.

LP available on Aqua Tofana coloured vinyl and black vinyl.