Search:the mon

Höga Nord Rekords proudly presents Birds from London. Birds or Katie Wilkinson is relatively new as a producer but has been DJ-ing and playing in bands for the last nine years, marinating herself in interesting underground music. This 7”, Transcendental Phases/Tunnel Vision is her first release on Höga Nord Rekords.

Birds is a declaration of love to electronic music and psychedelia. The vocals in Tunnel Vision bares traces from the psychedelic pioneers of the 60’s – Think Roky Erikson with a Roland 303! Birds’ music is powerful and monotonous and she creates a dirty, warm and monumental soundscape. The production is airy and dynamic

Wilkinson mean that “we must try and find harmony in what we have and try and aim towards something positive, despite the fact that we live in a society that’s been completed fucked via the selfish behaviour of others (and most probably, ourselves at times).” With Brexit and the new wave of racism, spreading over Europe Birds makes music for a generation left with little hope but with the desire for something too long for.

2x12"

Parisian label Another Moon are pleased to announce the imminent release of the second collaborative album by Scott Monteith aka Deadbeat and Paul St Hilaire aka Tikiman entitled 4 Quarters of Love and Modern Lash. When asked about about the album's motivations and production process, Monteith had the following to say: “I first heard Paul's voice back in 1996 when I stumbled upon the first Burial Mix 10 inch in a local shop, and it would be no exaggeration to say it has echoed in my mind ever since. We began working together in 2008, and it's fair to say the experience of performing and learning from him has left an indelible mark on my artistic process and my outlook on life in general. He is possessed of a truly electrifying spirit. I’ve had a folder on my hard drive called “For Tiki” for 14 years now, for those more often than not late night studio moments when I stumble upon a rhythmic or musical phrase and hear that unmistakable voice bubbling up in my mind. When that folder fills up with enough of those little magic moments I know it's time to call him, though strangely enough, he more often than not ends up calling me around those times. Such is his deep universal awareness.” “I wrote the initial sketches for what would eventually become this new album over the course of last year to a large extent as a way of trying to process what I perceived as a creeping darkness and sickness in both my own life and the world in general that desperately needed exorcising. When I received his initial responses I nearly fell off my chair. It goes without saying that Paul is a lyricist and poet second to none, and anyone familiar with his enormous body of work can attest to that. And yet, there was something in these latest pieces that hammered the proverbial nail clean through the wood. They perfectly captured this sense of rising tension, of a world that was getting almost psychedelically weirder and darker by the day, and both held a mirror up to this and offered some much needed release. Little did we know, nor could we possibly have imagined, that by the time the record actually hit the shelves, things would get exponentially weirder and darker still.” “It is my great hope that at some point in the coming months we will be able to get back on the road and share these new pieces with people in a live setting, as performing with Tiki is truly one of my greatest joys, and I think it’s where the fire in our work together truly burns brightest. In the meantime, it is my great hope that these 4 long form meditations might provide a little solace for people in their isolation, be it quietly, eyes closed lying on the coach, or cranked up, full on raving in their living rooms.”

Reemerging from the threshold of the cosmic vortex, Black Lodge returns with another sonic artifact that is charged with vigorous chaotic energy, known as EXPERIMENT_ZERO. Accounts of the radiant object's origin are as mysterious as the raw energy that utters from its core. Following a close study, the guardians of the portal suspect that "Experiment Zero" was a primordial experiment rooted in the slam jack pits and DIY warehouse rituals of ages passed. A sonic dialog constructed of various languages, spanning from roots-house jak to bare-knuckled electro are revealed across the artifact - a revolutionary tale that surpasses the constructs of ephemerality, with a refusal to be ignored. Across the release the listener is confronted with fearless acid lines that are underscored by a tone of revolution, and sets the stage for a human voice that switches between modes of a sharp and mutated presence. The power of such sonic objects are both celebrated and rejected by various tribal societies. It is all dependent on the belief structures and traditional histories of its members. Those that belong to the cult of Ron Hardy, Mad Mike Banks, Traxx, and JTC will welcomingly be drenched in its riotous energies. It is for the dedicated, not the light-hearted. After further research it has been discovered that, Experiment Zero is the product of Dona, aka Dj Plant Texture and Mike Tansella Jr. of Son of Traders, both products of the ancient mercantile city of Bari in Southern Italy. Previous works from these artists have been featured on Creme Organization, Gravitational Waves, Unknown to Unknown, and Illian Tapes. All sonic experimentation was recorded in one take to capture the raw energy of instantaneous collaborative sound craft operating in flux. Black Lodge's 4th release is sure to find a space in the music collections of those seeking to travel within the uncanny portals that unforgivingly defy the status quo. Mastered by: Alex J Michalski Label design: Kosmik Pressing: Deepgrooves (NL)

With Samosa’s disco imprints currently dominating the vinyl charts in all the best record shops across the globe it’s safe to say that their Funk imprint Daje Funk is also making waves that are hard to miss.

Just off the back of a stellar release with Paul Older and Musta Daje Funk Volume 6 see’s label boss De Gama teaming up with G.Markus for yet another top class funk get down.

First up is De Gama’s monster ‘Feel The Groove’. I’m not sure if that’s an order or a request but either way it’s impossible not to do just that. Featuring thumping drums, shoulder shaking guitars, filters in all the right places and a sax solo to die for this is just a sublime track which will cause some serious dancefloor scenes.

On the flip G.Markus, a pseudonym of the super talented Ben Gomori, drops a modern funk extravaganza in ‘Gwarn’. With those eponymous Funk wah guitars, yet more thumping drums, super tight percussion, some fierce keys and a bassline that just shakes this is true dance-floor gold.

Daje Funk’s catalogue is building into one very serious collection of music. Make sure you check out the other releases right now before they are gone forever.

The late engineer and producer Paul C’s fingerprints are all over this single from Ultramagnetic MC’s, perhaps the defining release of their career. While earlier records gave notice of their strange and unique talents, they were loveably messy affairs. This, however, is the real deal, as polished as their early sound would ever be.

‘Give the Drummer Some’ grabs a fistful of different elements – from James Brown, Dee Felice Trio and James Brown – but bends them to its own purpose. This is a song with a momentum of its own and endlessly quotable lyrics. One of which, of course, was sampled by The Prodigy – huge hip-hop fans – for ‘Smack My Bitch Up’ in 1997. The now hugely rare 7” of ‘Give the Drummer Some’ edits this out to make it more radio-friendly, but this reissue reverses that cut, giving you the original lyrics. If anyone knows why Kool Keith also changes the word ‘rappers’ to ‘monkeys’ for that edit, answers on a postcard…

The brilliant B-side harks back to the time when every group had a song dedicated to their DJ. ‘Moe Luv’s Theme’ sees Kool Keith at his most straightforward, singing the praises of the turntable skills of Moe Luv. It would be throwaway were it not for the effortless repurposing of Jackie Robinson’s oft-sampled ‘Pussyfooter’. That – and the presence of one of the world’s great MC’s at the height of his powers – elevates it far above a footnote.

After a way long and overdue pause with music the Sugarloaf Gangsters duo is back again where they belong...on GAMM!

Mark & Cliffy aka Sugarloaf Gangsters have a long history with Brazilian and world inspired dance music and have that magic touch when it comes to spotting rare tunes that needs their signature rework style.Â

The A side 'Temarasa' literally explodes from the first breakbeat with a big Brazilian funk-jazz monster, peak time music.
The flip is all about the drum! 'Chor Gway' is an African style percussive jam that's got everything from crazy chants, sound efx and DJ friendly tempo changes.Â

Another G.A.M.M sureshot !!

Actual Music is a Swiss record label with a focus on Detroit House, Deep House, and Nu Disco. Taking inspiration from the masters of Detroit, the label was started by Alexandre Gazzola & Michel Catanese in 2017.

Alex Mota is a DJ and producer based in Switzerland and as a member of Los Cruzeiros, he released on Crossfontier Audio, Monique Musique and Tenampa Recordings, working with Pier Bucci, Marc Poppcke, Hernan Cattaneo and Nima Gorji.

Here Mota provides us with a diverse four tracker. Opener ‘Senses’ is an uplifting nu disco stomper with nods to New Order with the vocal. ‘Buenos Aires’ fuses Flamenco guitar and Latin flavours a plenty fitting for the most Balearic dancefloor scenes, whilst working itself up into a rhythmic house beat too.

The relentless ‘Chicago’ goes heads down and four to the floor with some well-placed trumpet flourishes. Closing out the EP is ‘Bogota’. Latin flavoured House as the title would suggest, with scattered percussion and cheeky vocal samples.

For the second instalment of Subaltern’s 2020 program, we welcome one of the scene’s best-kept secrets – Imajika. The three hard-hitting tracks take listeners on a sonic journey through tribal rhythms, punchy drums and immaculate sound design. Calling upon ancient forces, Imajika makes a powerful statement with the Stagger EP.

Stagger
Ethereal glass chimes sing in the distance underneath an airy pulse to create an eerie intro until the groove enters to break the tension. We are offered a moment to breathe before being submerged by staggering drums driven by powerfully persistent bass-waves. Playful dubby FXs, gritty wobbles and naughty drum fills keep the head nodding throughout this stomper. After offering one last breath, the second drop hits with a relentless grunt that leaves us gobsmacked and then proceeds to devastate any sub to cross its path.

Unti Pundi
Mystical textures set a ghostly tone, overlaid by the meditative ‘Unti Pundi’. We are whisked through the caverns of time - space is created through reverbs and echoes of snares and droplets. A sinister pitch-oscillating synth takes your hand and as Imajika takes you deeper down the rabbit hole. Evolving basslines and masterfully placed drum fills add new depth to this monstrous beat before a shattering second drop wreaks havoc - Imajika shows no mercy.

Inside the Sycamore Root
Foreboding voices whisper in a secret language, seemingly summoning ancient spirits in a circular tree-based ritual. A cataclysmic drop fused with a tribal rhythm and propels us deep Inside the Sycamore Root. The spirits have been awoken. A gnarly bass pulsates as calls of the wild and menacing laser-synth stabs respond to the ancestral voices. The summoning continues and takes us even deeper into the wilderness as rumbling bass and tribal percussion take over - the descent into the great unknown continues.

Presenting a very special and unique collection of electronic and dance music aimed at assisting and honouring our brave and skilled NHS frontline workforce in this most challenging of times. Artists of all walks of life and of all musical persuasions and styles have contributed hand-picked tracks for inclusion on Care4Life free of charge. Through the challenges of the Covid19 pandemic we have all developed a new understanding and awareness about the role our frontline health professionals undertake, and as a nation we are all united in our appreciation of the incredible work they have delivered in the face of much adversity and pressure in the last couple of months. We hope the proceeds from this amazing collection of music can contribute to easing that pressure in some way.

Care4Life features lots of new, exclusive and unheard music from the vaults, hard drives and archives of UK artists as diverse as The Chemical Brothers, Nathan Fake, Groove Armada, Joe Goddard and Pete Tong alongside tracks from Radio Slave, Locossolus (DJ Harvey), Matthew Herbert, Crooked Man, Daniel Avery and many more. Care4Life is a truly varied and diverse listening experience that not only mirrors the collective talents involved, it wholeheartedly celebrates the openness and love that the NHS has shown us all at some stage throughout most of our lives here in Britain and beyond.

In the continued spirit of people coming together in this time of need the Care4Life project aims to give some much needed support to these frontline workers from our fellow artists and friends in the music industry and its surrounding community. Above Board Distribution is working in conjunction with Dispersion PR and Your Army Music is ensuring that 100% of the proceeds from the sale of this product, will be donated directly to NHS Charities Together (registered charity no.1186569). NHS Charities Together has been consulted throughout this process and are proud to be an official fundraising ‘commercial participator’.

Presenting a very special and unique collection of electronic and dance music aimed at assisting and honouring our brave and skilled NHS frontline workforce in this most challenging of times. Artists of all walks of life and of all musical persuasions and styles have contributed hand-picked tracks for inclusion on Care4Life free of charge. Through the challenges of the Covid19 pandemic we have all developed a new understanding and awareness about the role our frontline health professionals undertake, and as a nation we are all united in our appreciation of the incredible work they have delivered in the face of much adversity and pressure in the last couple of months. We hope the proceeds from this amazing collection of music can contribute to easing that pressure in some way.

Care4Life features lots of new, exclusive and unheard music from the vaults, hard drives and archives of UK artists as diverse as The Chemical Brothers, Nathan Fake, Groove Armada, Joe Goddard and Pete Tong alongside tracks from Radio Slave, Locossolus (DJ Harvey), Matthew Herbert, Crooked Man, Daniel Avery and many more. Care4Life is a truly varied and diverse listening experience that not only mirrors the collective talents involved, it wholeheartedly celebrates the openness and love that the NHS has shown us all at some stage throughout most of our lives here in Britain and beyond.

In the continued spirit of people coming together in this time of need the Care4Life project aims to give some much needed support to these frontline workers from our fellow artists and friends in the music industry and its surrounding community. Above Board Distribution is working in conjunction with Dispersion PR and Your Army Music is ensuring that 100% of the proceeds from the sale of this product, will be donated directly to NHS Charities Together (registered charity no.1186569). NHS Charities Together has been consulted throughout this process and are proud to be an official fundraising ‘commercial participator’.

Stix Records, a sub-label of Favorite Recordings, is back with some heavy dub cuts from label regular Mato.

Starting his reggae production career in 2006, Thomas Blanchot aka Mato has released music through various projects on EDR Records, Big Singles or Makasound... In the meantime he developed a real trademark: taking over classics French, Hip-Hop, or Pop song, into roots reggae-dub new versions. Besides since 2010, Mato has built a solid reputation thanks to his hot remixes of Hip-Hop classics on Stix Records.

Today, Mato is back with another target for his special skills as a tailor of reggae music, this time focusing on classic musical themes from R. Strauss’ "Also Sprach Zarathustra" and Herbie Hancock’s "Maiden Voyage ". It’s a great sensation to hear these melodies turned into superbly crafted Dub monsters. As Mato once said, "Play it loud and burn a chalice!"

After years of searching for the elusive sensation of heart-rending beauty, Avondlicht releases his debut album on 3 April, 2020 on all digital platforms. The LP will be out on 8/4.

Hyperromance is the culmination of an emotional and geographical journey, as Belgian producer Matthias Dziwak sought to find and examine idealised moments of true romance within the less-than-romantic reality of existence.

Having already achieved a great deal with his initial run of EPs for labels like PIAS, Fog Mountain and Unit Delta Plus, Antwerp-based Dziwak became obsessed with the concept of Hyperromance – “a moment or idea so heavily romanticised that it seems impossible to be really experienced.” The melancholic feeling it sparked in his heart set him off on a journey through Argentina, Chile and Uruguay, via a month-long stay in Amsterdam and finally to settling for six months in Portugal. Throughout this time he made field recordings and began writing pieces that would feed into the finished album. Along the way he found a full spectrum of moments that allowed him to view the world in a truly romantic way, from the majesty of the Andean mountains and the snow falling on the Amsterdamse Grachten to encountering love in Lisbon. At other times he found himself lost, adrift and heartbroken, pulled back to Earth, as is the cyclical nature of the human experience.

Musically, Hyperromance’s grapple with day-to-day reality and rose-tinted fantasy is embodied through the contrast between organic instrumentation and high-definition electronics. Dziwak began writing his songs as simple piano pieces, which then transferred to a staple of synths and sound processing as they became more wholly defined. Sonically, the sound sweeps from modern classical and bombastic electronica to evocative ambient, even touching on jungle and techno along the way. Rather than being defined by genre associations though, Hyperromance is shaped by the swooning beauty of its composition, as the music pulls you in and out of richly rendered moments of joy and pain following Dziwak on his personal journey of truth and beauty. With visceral life experiences woven into the fabric of the record, Hyperromance is expressive on the most intimate level. It’s a record that dazzles with searing bright wonderment and casts creeping shadows as the time passes – a journey as nuanced as life itself, elevated by romance and grounded by reality, beautifully told by Avondlicht.

The third vinyl-only release on Form&Terra Records is all about "Get together". Four artists gather on the 12 inch record to undertake a journey into electronic music together. First, Peter F. Spiess saddles his shimmering "Celluloid Pony" with minimal and techno vibes and rides high into the air via rough sound structures and flashing melodies. There Cie built his "Wolkenburg" and floats with it groovy and with great attention to detail into new layers of the atmosphere. On the B side, "Numbers Talk" by Prakash from Gran Canaria enchants with a wonderful groove that is as deep and blue as his home in the Atlantic Ocean. Markus Funke ushers in the final trip back to Cologne with his dubby techno monster "Levissima". Four wonderful tracks for all discoverer who have a thirst for adventure on the dance floor.

A Selection of the most iconic Tracks emanating from the unique-
and magic poolside of Pikes Hotel (Ibiza), reworked, retouched & edited for Maximum Aural Pleasure!

"Jazz N Palms" is the brand commissioned to warm up the monthly exclusive Ronnie Scott's (London) jazz concerts. Jazz Music fused with Latin, Funk, Rock & international Sounds, to be enjoyed under the palms- and sun of the Mediterranean Sea...

Presenting Shirley Scott’s deeply personal album, ‘One for Me’ - a defiant tribute to the music she always desired to create but was shrouded by the demands of her vibrant career. Thoughtful curation of the band, tracks, and completely self-funded, this project set off on an innovative trajectory supported by Harold Vick on tenor saxophone and Billy Higgins on drums. Originally released on the revolutionary artist-owned label, Strata-East Records, in January 1975, this unique project will be available to enjoy again on Arc Records from 15th May 2020.

The impetus for this record was a real desire for Shirley to express herself more freely and create something for herself, taking back the power she’d seemingly relinquished throughout her career. Maxine Gordon, Scott’s close friend, and executive producer on the original record, expresses thatthey often had intimate discussions about how Scott was being told what to play, what to wear, how to look and how to speak in public for many years. Having had enough of these restrictions, she created this record to please no one but herself.

As Scott expresses on the back of the original LP sleeve:

“All of the music recorded in this album is both personal and very purposeful to me, because it is the first step toward honesty about what and how I want to play. I’ve done a lot of other albums, a lot of different ways for a lot ofdifferent people and now, with the help of the Creator, in whom all things are possible, I have done one for me too.”

Having self-raised funds to make the record, with complete control over the masters, and with her dream band together, Scott recorded at Blue Rock Studio in November 1974. Harold Vick, often referred to as one of the “unsung tenor saxophonists” of his time, was cherry picked to bring Scott’s vision to life. Throughout his career, he released records on Blue Note, RCA as well as performing and recording with a string of legendary artists such as Ray Charles, and Aretha Franklin. Completing the dream trio was highly sought out drummer Billy Higgins, who is the most recorded drummer in the history of Blue Note Records, having played on 45 Blue Note albums. The key to their success was that Higgins tuned his drums to fit with the organ’s bass sound which, of course, Scott played with her feet.

Scott was also known as “Little Miss Half-Steps,” a name given to her by tenor saxophonist George Coleman, (who wrote a composition by that name in her honor) - she regularly played with both George & Harold. Coleman is known to have admired Scott’s half-steps (when you play two adjacent keys on the organ or piano) and their close bond and mutual respect is solidified on this record through a track titled ‘Big George’ - specifically written for Coleman.

“Queen of the Organ”, Shirley Scott was born in Philadelphia in 1934 and lived there most of her life until her early death in March 2002 at the age of 67. Having mastered the piano at an early age, Scott switched from piano to organ at the tender age of 21. Scott had a legendary recording career as a leaderwith 45 albums mainly released on Impulse and Prestige and is often remembered for her work with Eddie “Lockjaw” Davis and Stanley Turrentine.Boasting a thriving career as a musician and composer, Scott progressed to a professor at Cheyney University in her later years. She was a treasured mother and grandmother, and a cherished friend of music scholar, Maxine Gordon, who’s honour it is to collaborate with Arc Records on shining a new bright light on this monumental body of work.

White vinyl, picture sleeve, limited pressing of 500 copies, includes Peaking Lights remix

Montaine’s “Mount Nod” is a delicate, shimmering slice of DIY pop music. The lo-fi charm sits on that knife-edge between happy and sad, its repeated “I’m on the bottom line but I’m doing fine” changing meaning as the song goes on, plotting the course of Mr Montaine’s sensitivity. What starts out small gently unfolds into an understated English confidence by the end. On the B side Peaking Lights dive into the mysterious undercurrents beneath the surface of Montaine’s worldview. Like all good remixes it sets the artist in a parallel universe, this one a utopian disco slowscape, complete with bubbling clouds and dayglow fountains. We have to sincerely thank Sam Potter of 00s band Late of the Pier for coming to Be With with the story of February Montaine back in the spring of 2017. When we first heard “Mount Nod” our jaws dropped. We immediately thought of all the people that would love it. Of friends and family, far and wide. Of fans of timeless, soulful pop music everywhere. Championed by Trevor Jackson and Efficient Space, it’s perfect, addicitve pop which generously gifts the listener eternal goosebumps. Three years later, we are absolutely delighted to finally bring this out as the second release in our Be Pop series of 12″s. In Be Pop fashion it’s pressed on white vinyl and this time limited to 500 copies for the World.

Steel drum cover of Grace Jones. Steel drum cover of Erykah Badu. Third full length album coming in 2021. Bacao Rhythm & Steel Band is back with another crushing two-sider that is guaranteed to set dancefloors on fire and get heads nodding around the globe. The mysterious steel pan outfit hailing from Hamburg, Germany has become a staple in DJ sets from Europe to Japan, from the US to Brasil, and anywhere else these tunes have found their way to speakers. They have released a slew of classic 7”s and two critically acclaimed full length albums. With that they have set a high bar for themselves, one clearly they intend on pushing higher with this new offering. Side A is BRSB’s take on Grace Jones’ nightclub classic “My Jamaican Guy”. They take the tune to a new height from the first beat, laying down an infectious groove that will get people out of their seats immediately. Heavy duty drums and bass shake the speakers through the intro then the pans reveal what they are covering as they play the instantly recognizable top line of the original. Rhythm guitar, heavily echoed percussion hits, and the different pan sets all combine to make this yet another instant classic from Bacao. BRSB has received a lot of praise for their choices of covers. Occasionally reworking hits, but, most notably pulling the album cut gems from artists typically more championed by the underground. Well...here they go again, covering Erykah Badu’s homage to the late great J Dilla “The Healer”. This is the type of thing to make Spice Adams jump on his kitchen counter and scream. From the instant this comes on, necks will be snapping and faces will scrunch up as they take the original beat produced by Madlib and give it a run for its money. Shaking subwoofers with the eerie tremolo bass they replay E. Badu’s vocal melodies on the pans adding their own flourishes. Glockenspiel plays the downbeat and a clap like thunder keeps the two-step swaying, all coming together to make this another must have two-sider from Bacao Rhythm & Steel Band

Long-time collaborators, longer-time best friends, lifelong analog appreciators; the German duo Iron Curtis & Johannes Albert join cosmic forces once again for another LP mission 'Moon II', a heartfelt voyage through the sounds, movements, styles and machines that created this music in the first place.
Think late 80s New York, early 90s Sheffield and the perennial sounds of Italo and Detroit, 'Moon II' is a lunar safari that celebrates the deepest foundations of house, techno and electronic soul while resolutely refusing to get nostalgic. Written and recorded during an intense two-and-a-half month session in Berlin last autumn, there's a consistency and tangible narrative running throughout as the pair play inspiration ping-pong over the course of 10 tracks.
A little Drexcyian glacial nod here, a hazy Boards Of Canada wink there. The Other People Place, Kerrier District, Environ Records, the Hacienda, Sub Club, Heaven 17, classic electro… All these ingredients are constantly bubbling in the mix for both Curtis and Albert (as individuals and even more so as a duo) and the end result is an album that works as a proper album should. Peaks, troughs, dreamy departures and all beautiful things in between.
Taking off where their debut collaborative album 'Industrie & Zärtlichkeit' (soon to be retitled 'Moon I') left us three years ago, the opening modem sounds on the intro track 'Canggu Laundry Club' dial us into a special sense of time and space.
It's a space where anything feels possible; Visual-inspired acid lines on 'Tiger Trek', lino-spinning body pops and windmills to the street sounds electro style of 'The Ultimate Seduction', the club-focused, Traxx-style Cutie Schamuthie collaboration 'Hurting', the melancholy plucks and struts of 'Feingold', the provocative, slinky, smoky finale piece 'Nektar'… The list of intergenerational and cross-genre landmarks on this adventurous body of work go and on, each track complementing the last as they fuse to create a bigger collective picture. A picture that's charmed together through the consistent use of key classic studio machines.
They call it Introverted Electronic Body Music, we call it warm, free-spirited and ultimately timeless. Perfect for your sets, your afterhours or your headphones alike; it's time to let Iron Curtis and Johannes Albert take you to the Moon and back… Once again.

Uniting cosmic tones and lovely notes, unique sound collages and electronic noises, Muzak pour ascenseurs en panne ("Muzak for Broken Lifts"), Brigitte Barbu's first album, explores a dreamy universe, at the crossroads of electronica and the 70s’ post-tune-in/drop-out, echoing shadows of the peculiar doppelgänger; Pépé Bradock. Ça Plane pour Brigitte Barbu…

Resonant guitar notes, odd sounds, electronic hallucinations, and unexpected warm synth layers all gather together in Brigitte Barbu's first enigmatic album. Recorded and mixed during a reclusive one-week residency in a very special studio, under the benevolent cubic radiation of "Our Lady of the Ark of the Covenant,” using a computer, synthesizers, and various string instruments, giving birth to this resolutely unique album. The guitars were sharply disciplined, propelling strings into strange and hypnotic limbos, somewhere between a weightless journey through time and a fresh science lab experiment.

A perky cosmic album running away from rules and gravity.

"I wanted to compose an ethereal abstract Hip-Hop LP" says Brigitte, "with guitar as a brainwashed instrument, mirroring machines and computers, even if surely far from being unplugged". So much for that… With a real introspective dimension, the record stands out for its pure whimsical mood. The artist had strict rules for composing: “Each track is based on the association between a title chosen for its consonances, an open tuning, a random tempo and frequencies chosen for their supposed effects, real or imagined, on the mind, body & soul.” For example: Taro Patch -> Whale -> 93,75 BPM or Dobro -> Bear-> 118,125 BPM, Air Resistance -> Open Em -> Panther-> 480 BPM etc.

Brigitte surgically framed an electro-acoustic compendium, finding its atmospheric mothership… Brigitte Barbu, referring to a special interlude from a vintage release "Escalope de Dingue” (Fool’s Cutlet), explains that Muzak pour Ascenseurs en Panne is in fact a custom tribute to family, friends, triggered cosmonauts, René Clément and the card game where the winner is the bearded monarch nonchalantly stabbing himself in the head. It’s a lot!

We gladly present the long awaited debut album by kurdish multi-instrumentalist Philippos Sîpano and Frankfurt am Main’s mighty duo Dan Bay & Le Rubrique aka The MPC Orchestra. “The Spirit of Dilovan” pays tribute to Philippos Sîpano and Dan Bayat’s youth band “Spirit Of Dilovan”, sketches the different musical paths the two took over the years and finds its final form in their new collaboration with Dilovan Le Rubrique, a master in the studio and a true patchbay wizzard.

With multilayered arrangements based on different kurdish music traditions and inspired by their indivudual experiences of Pop- and Clubculture, Philippos Sîpano & The MPC Orchestra’s new album can be both perceived as diasporic Popmusic or epic dancefloor monster for experienced music lovers.

All songs were produced at Offenbach’s Upper Citycenter Studio and dedicated to all DIlovans* out there, hoping they will one day constitute the majority of all people and we will all find peace, love and habibtiness on planet earth.

* good-hearted people <3

Composed as a means to map the cultural translation between Chinese culture and European traditions, Piotr Kurek’s A Sacrifice Shall Be Made / All The Wicked Scenes is comprised of pieces composed between 2016 and 2018 specifically to accompany theatre performances directed by Tian Gebing (500m and The Decalogue) and Grzegorz Jarzyna (Two Swords). Kurek attended performance rehearsals in Beijing and Shanghai, with additional preparations and recording sessions taking place back in Warsaw.

While most of Kurek’s past work is unaccompanied by other musicians or outside help, A Sacrifice Shall Be Made / All The Wicked Scenes features various Polish and Chinese musicians both from classical and experimental scene (Barbara Kinga Majewska, Grzegorz Hardej, Łukasz Rychlicki and Hubert Zemler) as well as by actors of Paper Tiger Theatre Studio from Beijing. This approach of Kurek exploring new players and places is further juxtaposed as Kurek recycled samples from his own past, including various recordings with musicians he did throughout years, found sounds from the Internet, or cannibalised old solo work.

Recorded over the course of several years, this aural report of a monumental multi-disciplinary venture is in the end an enthralled and enthralling survey of a contemporary composer who is unencumbered by geographic or cultural boundaries. Concurrently, ditching any resemblance to local musical traditions and rearranging the compositions for all three performances, Kurek has formed an architecture that allows the phases of rituals to unfold while projecting social structure assumed in myth making. The regrouping of different moments in these stories is a curious way of narrating another myth — a synthetic, polyvalent story set in a city that strangely reassembles Beijing, Giza, and Prague at the same time.

Piotr Kurek is a Warsaw based musician and composer who straddles the world of electronic music taking inspiration from various genres but fitting comfortably in none. Through his unconventional use of a wide array of instruments both electronic and acoustic, he built a reputation for himself as a qualified inventor of hypnotic worlds drenched in uncanny arrangements.

Kurek has already released a range of idiosyncratic, forward-thinking works on a variety of imprints (including but not limited to Sangoplasmo, Black Sweat Records, Hands In The Dark, Dunno Recordings, Crónica, Foxy Digitalis) and participated in numerous music festivals including Unsound, CTM, OFF, TodaysArt and UH Fest as well as participating in extensive tours in Poland and abroad. In 2014 and 2015 he opened for Bonnie “Prince” Billy’s two European mini-tours. In 2016 he has been selected as a part of Shape platform for innovative music and audiovisual art from Europe.

The long awaited third album from much loved vintage synth maestros Billy Bainbridge and Mike Johnston, finally finds its home on Ghost Box Records. This is unironically joyful and melodic electronica; informed by library music, music for children’s TV and a deep passion for the history of music technology.

Plone are very much part of Ghost Box’s DNA. They were a central part of the 90s retro-futuristic scene in Birmingham that included Broadcast and Pram and to which the label has always had strong ties through graphic designer and co-manager, Julian House. They are also cited by the label’s other boss, Jim Jupp, as a major influence on his work as Belbury Poly.

The band was formed as a three-piece in the mid-90s and their debut single, Press a Key, was championed by John Peel. The first album, For Beginner Piano, was released on Warp Records in 1999. Their warm, witty and unfunky music stood out from the crowd, almost in defiance of the moody and masculine post-rave electronica of their contemporaries.

A selection of bootlegged demos from the early 00s was rumoured to be the follow up album, but it never materialised. After that Billy went on to tour with Broadcast and later formed Seeland with another former band member Tim Felton (also of Ghost Box’s Hintermass). Meanwhile Mike formed the ZX Spectrum Orchestra, released solo singles as Mike in Mono and was a member of The Modified Toy Orchestra.

Twenty years on and Plone have reconvened as a duo with a third album, Puzzlewood. It’s compiled from material recorded at various points since the “lost album”, right up to the present day.

Carving out an enviable reputation across the globe for his distinctive and highly personal brand of House music, Kiko Navarro's voyage of sonic discovery has been going strong for almost three decades now. From London to the Far East, Kiko has travelled far and wide with his music, embracing sounds from each continent as he goes. Kiko's new album, Afroterraneo- also named after his music label- defines the sound of his home. The album incorporates sounds touched by the Mediterranean Sea, drawing influences from Europe, Africa and his roots in the Balearic Islands. Afroterraneo is all about fusion. It includes Afro-Cuban songs like "Okere", "Karabali" and "Ekobio Monina", Midwest-African flavour on "Ihabogi Rawaly" and "Beréde", Flamenco with "La Fatiga", Balearic emotions with maestro Joan Bibiloni on "El Salto Del Martin" and "Vida", South African vibes on "Olwakhuthando", Afro Mbira lines with European TB303 acid blips on "Cacao Ceremony" and it all ends with his own tribute to his mother on "Para Mama". Born on Mallorca, Kiko's sound reflects the sun-drenched, slow living atmosphere of the Balearic island he still calls home. Obsessed from an early age with the more soulful side of US House music, Navarro's DJ skills soon attracted the attention of nightlife behemoth Pacha who offered him club residencies both in Palma and in Ibiza. Next came a monthly gig at Space Ibiza and the rest, as they say, is history. A true Renaissance Man; now also a family man, today's Kiko Navarro is perhaps even more focused and dedicated to his life in music than ever before. An album tour this year will see him play DJ sets in Italy, Bulgaria, Macedonia, Greece, Japan, South Korea, China with many more to be confirmed. Whether in the studio crafting records or in the club controlling the dance-floor, Kiko's musical mission has become the habit of a lifetime.

The classiest of deep spiritual soul on 45 for the first time. These tracks were previously unreleased until I found Avelino Pitts when working at jazzman a few years back who has since sadly passed away, but we are working with his wife Deborah to keep his wonderful music alive. Ocean of tears was always here to be a vanity project for my love of deep soul and slowys, so when listening to the LP in my car a few months back I was like WTF, why did i never do these on 45? So here we are, two sides of deep and well-produced soul, Rotary Connection comes to mind but it has its own sound. I have done 500 of these only, no repress. End of nighter, warm-up, radio, one to enjoy on your own with a glass of whisky at 2am.




a A1 You Are So Wonderful clip
b B1 Without You clip

Rome's Egisto Sopor has been making little waves with his releases for quite a while now. As Polysik, he’s put out music on Legowelt’s Strange Life Records, on 100% Silk label, and on Mike Paradinas' Planet Mu. As ‘TheAwayTeam’ he’s released a DVD ‘Relax & Sleep’ and a cd ‘Star Kinship’ on Japanese label Moamoo, and he's also one half of the low key video unit AAVV (whose work has graced many of the important releases of new lofi electronic movement). This time around he delivers another fine instalment to the Edizioni Mondo's kaleidoscopic catalogue. If you've been following Egisto Sopor's productions over the years, chances are you're already familiar with the visual, highly cinematic, quality of his works – it's music that don't evoke just emotions, it suggests landscapes, painting vivid pictures as it builds up. In the same way, Flora e Fauna tells the story of an extemporaneous, surreal walk in Rome. The 8-track album, organically navigates through imaginary urban and maritime scenarios, with an expansive sound palette that draws on deep and shimmering atmospheres, occasionally drifting from blissful textures and sub-aquatic, swirling moods to eerily quiet, suspended moments, often perfused by subtle field recordings of city life, wild animals and distant shores. Take a deep breath and soak away.

THE JUST BROTHERS were Jimmy and Frank Bryant and are best known for their throw-away instrumental 'Sliced Tomatoes' that first graced the scene at Blackpool Mecca. 'Carlena' is a different beast altogether, a powerful slice of gritty up-tempo soul propelled by various members of Motown's Funk Brothers. A collector's item that was first picked up by Wigan Casino DJ Richard Searling on a visit to Soul Bowl circa 1976-7, a trip that also produced the first copy of The Honey Bees' 'Let's Get Back Together', both on the Garrison label, reputedly part-owned by Mike Terry, and both incredibly rare, approaching a combined $5,000 in today's market!
THE HONEY BEES were an in demand, for-hire, backing vocal group working the New York circuit in the mid-Sixties and can be heard, in fine voice, supporting Jack Montgomery (real name Marvin Jones) on his superb Barracuda 45 'Don't Turn Your Back on Me'. Here they deliver their own, much deserved, recording, co-written by Don Mancha and Wigan's adopted son, the late, great Edwin Starr.

Marking their 20th year as a band, Maserati returns with their first new album in five years. Produced by the band and mixed by Grammy-winning producer, John Congleton (Explosions In The Sky, Swans, Angel Olsen), Enter The Mirror is Maserati's most compelling mélange of triumphant guitar hooks, abstract synth-pop, and Wax Trax-inspired noise anthems. The gated drums of Phil Collins and chorus-drenched guitars of INXS were prominent influences on Enter The Mirror, paired to magnificent effect with the increasingly dystopian lyrical themes (which, ironically, were also massive influences on popular music in the 1980s, and feel ever more relevant now). In addition to longtime members Coley Dennis, Matt Cherry, Chris McNeal, and Mike Albanese, Maserati are joined by friends and collaborators, Bill Berry (R.E.M.), Owen Lange, and Alfredo Lapuz Jr. Self-reflection and loss of control as both a positive and negative aspect of modern existence is at the heart of Enter The Mirror. It is Maserati's most efficient and cohesive album, and a monumental accomplishment for a band who have weathered many storms throughout their first two decades - and found the will to not just keep moving, but to move with style and chase.

THE ARTISTICS were a Chicago 4-piece harmony group who got their first break singing back-up for Major Lance on his 1963 hit 'Monkey Time'. They were signed to Okeh the same year and had their first hit in '65 with our top-side 'This Heart Of Mine' which reached No.25 in the Billboard R&B Chart. Their follow-up singles all missed and here we feature their farewell to Okeh in '66 'So Much Love In My Heart'. Fortunately the group signed to Brunswick and were back in the charts the same year with 'I'm Gonna Miss You'.

Known for his grainy, analogue dance floor hits, Hungarian artist Norwell has returned with a powerful and transcendent 4-track EP, releasing through Fanzine Records. "In Between" EP is a drum-heavy, intricate series of grooves and soundscapes that draw the listener in from the beginning. While remaining faithful to the tendencies of techno, this record brings something of its own to the table in the form of acidic basslines and retro Kosmiche synth parts, resulting in a stunning array of textures.

"Eastern Echoes" is the opening track on this EP, and it deserves that spot. Combining an intense, Aphex-esque drum beat with hazy, dreamlike Middle Eastern inspired vox and pads, this track is a pumped-up monster of an introduction to the EP. This is immediately followed up with "Evaporate Yourself", a dark and brooding beat with a serpentine bassline that creeps its way through the track and combines with the lush, ethereal ebb and flow of the detuned synths and horror-themed vocals. This track is as cosmic as it is industrial, and sits on the fence between the two in a very unique way. "Model 244" on the other hand utilises a much more 70's modular sound reminiscent of early Kraftwerk hits adapted to the modern age. The track builds layers upon layers of left-field percussion that dance around the central arpeggiated bass in a very pleasing way, and Norwell doesn't leave out his signature glitchy, mechanical soundscapes, which give the track its glorious tension and release. The EP is rounded off with "Repetition Void", potentially the most experimental of the four tracks. Flanged hi-hats dance around the listeners ears and hazy analogue keys induce a hypnotic trance, exacerbated by the almost Papal choir vocals that fit seamlessly into the background.

As Norwell's first release through the Fanzine Label, this EP is dark, it is foreboding, and with the unexpected turns the rhythm takes, it doesn't care about your feelings. If you're ready to be punched in the face by this sci-fi horror listening experience, watch for the release of this EP, Fanzine latest addition to their roster of tasty electronic jams.

Emerging from the epic Scottish house and techno scene of the 90s, George Thomson started his musical adventures as a promoter, bringing to Scotland DJs from Chicago, New York, Toronto, Paris and London to play at the legendary Tribal Funktion parties in Edinburgh.

Aside from co-founding Edinburgh's Underground Solushn record shop, he also started producing his own blend of techno and house in the mid-nineties. This led to a string of releases with seminal labels such as NRK, Stickman, 2020 vision, Crosstown Rebels, Tirk and more recently Greco-Roman and Output Recordings. His various monikers from then and now include Plastic Avengers, George Demure and more recently the George part of of Jeanga and George.

After a move to London in 2000 his George T moniker began a long hiatus. Nothing was heard until Joe Goddard released an EP of rediscovered hidden gems on Greco-Roman in 2017. This awoke the fire within and he’s back today with the first new George T material in 19 years.

The Midway EP was recorded in North London over a period of 2 years, using only analog gear and embracing memory, movement and the moment. These four tracks are a love letter to club life, both then and now. This love is best demonstrated with the four accompanying short films using either nightclub footage from 1996, slow motion lido footage or Bauhaus triadic ballet inspired time lapse choreography.

2x12" Pressed & Designed On Gold-Opaque Coloured Vinyl - Double Gatefold - LTD PRESSING OF 2000 WORLDWIDE - Featuring All The Classic Hits & Hard To Find Rarities ...

Benannt nach einer analogen Drum-Machine, die LA Priest aka Sam Dust aka Sam Esatgate sich selbst erträumt und gebaut hat, ist GENE der Nachfolger des von Trüffelschweinen gefeierten Debütalbums Inji aus 2015 und der Kollaboration mit Connan Mockasin, Soft Hair, in 2016. Und natürlich ist diese Drum-Machine, die Sam über zwei Jahre erdacht und ertüftelt hat, der Dreh-und Angelpunkt dieses Albums. Es ist die bisher vollständigste Umsetzung seiner Vision. Diese Songs sind auf der Suche nach Sinn, sie erforschen die Grenzen der Fähigkeiten ihres Schöpfers.

LTD Edition!

Benannt nach einer analogen Drum-Machine, die LA Priest aka Sam Dust aka Sam Esatgate sich selbst erträumt und gebaut hat, ist GENE der Nachfolger des von Trüffelschweinen gefeierten Debütalbums Inji aus 2015 und der Kollaboration mit Connan Mockasin, Soft Hair, in 2016. Und natürlich ist diese Drum-Machine, die Sam über zwei Jahre erdacht und ertüftelt hat, der Dreh-und Angelpunkt dieses Albums. Es ist die bisher vollständigste Umsetzung seiner Vision. Diese Songs sind auf der Suche nach Sinn, sie erforschen die Grenzen der Fähigkeiten ihres Schöpfers.

2x12"

since long, chilean/swiss producer and dj luciano is a prominent figure in the global electron-ic club music circle. already from a young age on he was exposed to music profoundly, as his father worked as a jukebox repairman and possessed a large record collection.

when he was twelve, his mother gifted him a guitar, that turned luciano shortly into a mem-ber of a school punk rock band. soon after, his passion for electronic music rose. infected by detroit techno and engaged by close friends like producer dandy jack, he started to play rec-ords in local santiago de chile dance clubs and became involved in the minimal techno scene around friends like ricardo villalobos.

when luciano moved back from chile to switzerland in 2000, he established a residency at weetamix club in geneva, started releasing his own productions on labels like mental groove and joining the cocoon team in ibiza to play at the famous monday night at club amnesia.

since then he is a regular on the balearic island, holding residencies at clubs like dc10 or, with his “vagabundos” serial, at ushuaïa. besides playing around the globe with the likes of carl craig, richie hawtin or loco dice, he is releasing groundbreaking minimal techno and house on his label cadenza since 2003, featuring music by artists like nsi, ricardo villalobos, pikaya, reboot, maayan nidam and himself.

his very own music, so far issued on three albums and countless eps, was always ambiguous. there is his club leaning creativity that can dance slightly into pop spheres while never for-getting the power of precise sliced rhythms and subtle bass sensations.

and then there is a calmer luciano, that displays his love for “music to listen at home, done for a spiritual travel, an inner universe and a moment paralyzed in ether”, as he describes it.

on his first ever mule musiq album release “luci neu house”, luciano now delivers meditative journey music full of repetitive patterns that slowly playing tricks on the listeners subcon-sciousness. “i love music that has a dimension more than music designed for the radio or tv format. mu-sic, that is designed to bring you a higher level of energy and creativity.

so, there is no pretentious things in it ... more just sounds and dimension that will lead your head into the fall of jupiter” he reveals about the one-hour long composition “luci neu house”, whose esoteric deepness reminds on the intensely meditative class of his older pro-ductions like “behind my soul” from 2010.

an epic tune cut on vinyl into four 15-minute long pieces, who shift slowly, almost unper-ceived, whilst absorbing the mind of close observers into a micro-sliced world of moving gen-tleness.

maelstrom magnetism against the gravity of time, that also can be found on the additional mule musiq 257 12inch, which functions as a soothing footnote to luciano’s album.

the almost 13 minutes long trip “flags of himalaya” opens with restful percussions that unhur-riedly start to dance with soft string, piano and horn melodies. on the opposite, the nine-minute long “the evasion of the spiritual soldier” grooves laidback with jazzy rhythms and italo leaning melodies.

a perfect tune for slow dance sensations and endless sunset seaside drives. at a total length of almost 90 minutes, all new mule musiq music composed by luciano distributes a mesmer-izing healing spirit, that grounds organically, even if it is totally rooted in the digital, soft-ware driven world of composing music. “check your buddha” tunes, that somehow sound novel during each new listening circle.

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

Kaluki brand co-owner Lee Spence aka Pirate Copy has forged a reputation in the dance music industry only a few can boast. Hailing from Manchester, the DJ / Producer & promoter has been responsible for some of the most legendary parties ever held in the city spanning the last 15 years. As a DJ he has spun in all 4 corners of the globe and has a trophy cabinet full of killer releases on labels such as Sola, Solid Grooves, Elrow and of course his own Kaluki Muzik.

For "PCB001", Spence delivers something special, dropping the exclusive to vinyl DJ tool that he’s been spinning at every show for the past 6 months to rapturous success. Utilising Sister Sledge’s “We Are Family” sample to great effect he delivers a modern-day rework of explosive proportions. Looping up that infamous guitar riff behind a stomping beat, adding hands in the air breakdowns, vocals screams and sultry strings it’s sure to ignite any dancefloor it’s put before. Coupled with the original, Spence also offers up the Dub Mix and Loop Tool to give all manner of options to unleash.

Who said that all Nigerian afrobeat from the 70s was dark and though provoking with a melancholic edge despite the ongoing powerful grooves and a more or less political message denouncing the the methods of the country’s leaders to increase their own wealth and power while the simple people suffer. Well, this 1978 album by bandleader Thony Shorby Nyenwi proves this idea wrong. What we have here is a sacredly rare gem, fetching 300 € for a copy in playable condition. A crown jewel of Nigerian afrobeat and funk music that is an utter joy listening to. Thony Nyenwi's music is a monument of the genre carved in rock.

* For fans of Fela Kuti, Ofege, Assagai, The Funkees, Mixed Grill, Bob Marley
* Reissue of a long lost afro beat and Nigerian funk classic from 1978
* A massive collection of captivating grooves and haunting melodies.

Despite this difficult time for everyone, one thing we all still have and need is music. Therefore after much thought we have decided to continue with the new Cod3 QR, providing a diverse style of electronic music that will hopefully help lift your spirits.

With previous releases including tracks from the likes of Agents of Time, JoeFarr, Nicolas Bougaieff, Madben and raising talent R.O.S.H; plus support from from Djs like Laurent Garnier, who licensed one of the previously released tracks to his Tsugi 'Electro' mix (Francois V ‘Electro’ taken from Cod3QR001) Cod3QR’s profile is steadily growing as a label releasing quality music.

With music being the main focus you'll have to wait another 2 months to find out who is behind this latest release. The curiosity continues.

Head to their Instagram page (ig: cod3qr) for clues to the artist identities of Cod3QR001, 002, 003, 004, 005, 006 & 007!

WRWTFWW Records is very happy to announce the official reissue of Motohiko Hamase’s astounding ambient house album Technodrome (1993). The album is sourced from original masters and available on vinyl for the first time ever as well as on CD. It comes with liner notes from the artist. This marks the fourth release from the ESPLANADE SERIES which focuses on the works of Yoshio Ojima, Motohiko Hamase and Satsuki Shibano. Inspired by John Cage, Jon Hassel, Brian Eno, and the emergence of house and techno music, Technodrome is jazz bassist turned electronic experimentalist Motohiko Hamase’s foray into what he calls ambient house or, as he explains, “using the gritty sensation inherent to the core of house music” to create an ambient record “aiming to express inverted images, optical illusions, and the sense of déjà vu that modern people can get in the city". Technodrome is constructed around innovative minimalism, a robotic funk orchestrated by bass lines and percussions, and monochrome moods. It’s the most intriguing project in Hamase’s discography, a ghostly ride set in 90s urban landscape, where repetition sets the groove and brings things to life, echoing Hamase’s deeper subtext for his compositions: “and attempt to recreate (as metaphor) the time in our mother’s womb". The album was initially released in 1993 by Newsic, the cult label started by Tokyo’s Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. It is now reissued in conjunction with Motohiko Hamase’s #Notes of Forestry and Anecdote albums.