quête:the project club

The clandescent Federico Sutera and Laurent Schmidhäusler form the insidious duo Rotkeller, known for their excursions into ponderous and maundering interpretations of electronic music. Their last release on Thrènes was an experimental and perplexing delight that perpetuated their virtuosity. The Swiss pair has returned to release a pressing technoid sound on the Thrènes imprint entitled Antimatter.

The project kicks off the track 'Antimatter'. It has distinctive and emphatic patterned percussions and a wandering pad that wistfully saunders in and out. There are clever uses of claps, crisp hats and insisted clicks. The track lays the foundation of the sound to expect from the EP with comprehensive yet wonderous beats.

'DipK' follows the opening track, which has a bit more body and sways. It was made for the waning hours of a club when it might be getting bright outside, but the crowd doesn't want to leave. It has a captivating synth that runs throughout and an infectious bassline; the sound allows the mind to roam free but rhythmic drums, hits and snares make the body move.

Midway through is the Kangding Ray remix of 'Tetra4'. The French-born but Berlin-based artist is known for his mastery in blurring the lines between techno and experimental, and this track is a testament to his talents. The cut has a classic underground club feel as it simply keeps up the tempo. The oscillating synth is compounded with spacy fluttering stabs with a kick drum that adds resounding velocity to the track.

The penultimate track, 'Skpp Skpp', features B.Skupin. It has an enchanting heavy breath prominent throughout the cut, accompanied by ethereal choir chants and a deep repetitive voice before being replaced by a siren-like synth. The beats fluctuate by dropping in and out, enhanced by the catalyst of deep drums and luring drops.

The final cut is the original mix of 'Tetra4', which keeps the same modus operandi of the remix. The telling differences come in the pensive drops and ability to slow tempo momentarily with hypnotic synths and drifting rhythms.

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

For his very first solo and vinyl EP, the Parisian DJ and producer NTBR offers three energetic, melodic and banging tracks, the whole embellished by a remix from Julian Muller. This EP is also a milestone for Raise Records, the production of its first vinyl, after five projects released in less than a year and a half. With Raise 001, the label launches a new series of solo EPs in order to showcase
Raise Agency artists.

Mastering duality, NTBRs productions balance between two sides, ravy and melodic, raw and subtle. Recognized and played by several artists and promoters in the biggest festivals, NTBR has already been able to perform in many of the leading venues of the European techno scene such as Griessmuehle, Fold, Rex Club and many others.

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

Alexia (real name Alessia Aquilani) was born in La Spezia (Italy). In 1990 she joined the DWA Team, first as a studio vocalist, singing on the hit song "Please don't go" by Double You, then she took part in the "ICE MC" project, a musical project with a rapper and Alexia as singer. All of Europe was dancing and singing to the songs "Take away the colour", "Think about the way" and "It's a rainy day" and everybody became familiar with Alexia's beautiful clear voice. In 1995 Robyx decided to compose a song especially for her. "Me and you" was her first single and within just days of its release, its presence was felt across Europe, reaching no.1 in Italy and in Spain.

As a follow-up to "Me and you", the new single, "Summer is crazy", came out in 1996. The song reached the top of the charts and became the signature tune for "Festivalbar", the most popular Italian summer music festival. It was no.1 in Italy, Spain and Finland, top 20 in France, top 40 in the rest of Europe and was one of the biggest summer successes of 1996.

As summer drew to a close it was time to create a new song fit for Alexia's incredible voice. In November 1996 Alexia released her third single, “Number One”. It proved to be a smash hit, going to no.1 in Italy and many other countries. In January 1997 recording of her first album “Fan Club” began. It was released in May 1997 together with a new single, "Uh la la la", for the imminent summer season. "Uh la la la" was the most played and danced song of that summer! It reached no.1 in Italy, Spain and Finland and made top ten throughout the rest of Europe. The album sold more than six hundred thousand copies and was awarded many gold and platinum discs.

CAIVA and Julian Muller deliver their first collaborative release on Live From Earth Klub. „Without You“ is an expressive work of art that transports CAIVA‘s vocals on driven and club ready dynamics. With the eponymous single the duo sets a high standard for post isolation dance energy. We are eager to present the project as well as interrelated performances in the future.

Rubicon marks the first physical edition of Galcher Lustwerk's driving-themed alias, Road Hog. Collecting tracks from seven releases spanning from 2014 to 2021, Rubicon serves as the project's Greatest Hits (for now). Including tracks from the Cleveland-dedicated album 'Tour De Hog' as well as the sharp toothed 'Spares' and 'More Spares' the pithy 'Haul Ass' plus some cinematic favorites from 'DWB' and 'On The Lam'. Originally meant to be digital only and listened to while driving, demand for certain tunes to be pressed to vinyl has risen with each release. From the Road to the Club, Lustwerk's got you covered.

INIT is Benedikt Frey & Nadia D`Alo. We are delighted to present their long delayed vinyl and digital album, NRGY.

Born out of various art performances and installations, INIT states a logical outcome of Berlin based duo Nadia D`Alo and Benedikt Frey. With heavy use of analogue synthesis and drum-machines, INIT rethinks its genre's sonic approach, unfolding a unique and organic, yet alienating sound, somewhere in the mysterious midst of Acid, Techno, Ambient and Kraut-Rock.

This is INIT's third album, following two releases on Hivern Discs, and performances at clubs such as Berghain, Robert Johnson and Pudel Club.

INIT say -

Module, NRGY, and Time were reverse extracted out of our live set and re-recorded and re-arranged after we realised how well they work in clubs. It is the first time we worked this way as we tend not to play our compositions live, like we produced them. Mostly we just extract loops out of our production to mess around with in a loose live project.

Snowglobe, Holes In My CV and N.O.D. were more built up from a studio jam plus a bulletproof-ish arrangement afterwards.

Tried and tested on dance floors this is a surefire hit album on the dancefloor, and at home. NRGY!

Yellow Vinyl

A Franco-Italian production of the latest vinyl de-luxe of Ryan Paris, recently released in a strictly limited edition in three colors (yellow, spottled, fuchsia). On the side A of the EP we find ''Tarzan Boy'' (Baltimora) which peaked at # 2 for 5 weeks in Musicbox live France and the 80's remake of ''Always On My Mind'' (Pet Shop Boys). On the flip side the Club Mix Version and the 80s disco-club remake of ''Dream'' by P. Lion (# 8 also in Musicbox live France)- The release also contains the autographed postcard of the Italo-disco icon Ryan Paris (Dolce Vita) for all the aficionados of the fantastic music of the 80s.

Cuba: Music and Revolution: Culture Clash in Havana: Experiments in Latin Music 1975-85 Vol. 2 is the new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that takes off in exactly the same vein as the much-acclaimed Vol. 1 – exploring the many styles that came out of Cuba in the 1970s as Latin and Salsa mixed with heavy doses of Jazz, Funk, and Disco to create some of the most dancefloor-friendly music ever made!

The album comes as a heavyweight 3xLP and deluxe 2xCD set, complete with extensive sleeve notes, and is jam-packed with heavy bass lines, synth and Wah-Wah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known
throughout the world.

Much of the music on this album is featured in the deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, released by Soul Jazz Books and also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records),
featuring the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.

The music on this new album features a host of rarities from legendary Cuban artists such as Los Van Van, alongside Grupo De Experimentación, Farah Maria, Ricardo Eddy Martinez, Juan Pablo Torres, Grupo Sintesis and Orquesta Riverside, most of whose names remain largely unknown outside of Cuba but have long been favourite club tracks and secret-weapons in Gilles Peterson’s record boxes!
The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s – all searching for a new Cuban identity and new musical forms reflecting both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba.
Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades – Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records

CircoLoco Records is proud to present the Monday Dreamin’ Vinyl Box Set, a 5-LP collection releasing on May 20, 2022.

Featuring heavy-hitting releases from visionaries of every era of CircoLoco’s 20-year party history, including Carl Craig, tINI, Kerri Chandler, Rampa, Sama' Abdulhadi, and other icons, the acclaimed debut compilation album from CircoLoco Records is presented in matte full color sleeves with box artwork designed by TOILETPAPER.

With support from DJ’s worldwide and accolades including back-to-back Essential New Tune awards from BBC Radio 1’s Pete Tong for Seth Troxler’s “Lumartes,” and DJ Tennis’ “Atlanta,” Monday Dreamin’ has already carved out a unique place in the world of dance music having been featured in the digital world of Los Santos in Rockstar Games’ blockbuster Grand Theft Auto Online: Los Santos Tuners which also featured Monday Dreamin’ artist Moodymann as a new character in the world.

Monday Dreamin’ is the first project from the pioneering partnership between global club culture icons CircoLoco and the creators of some of the world’s most popular and critically acclaimed video games, Rockstar Games, a partnership aimed at elevating and supporting dance music through the collective power of the two entertainment brands.

AOW is a new collaborative project from Dan Ghenacia and Tolga Fidan emerging from a new period of creativity and inspiration for the Lisbon-based artists.

Long time friends and fellow lynchpins of the European house and techno scene, Ghenacia and Fidan started working closely together through 2020 and 2021 while sharing studio space at Boa Lab. They found themselves at the heart of an artistic community of musicians, designers and engineers, which took shape around Ghenacia’s experiments with alpha wave generation, inspired by Bryon Gysin’s Dream Machine.

Ghenacia and engineer Anine Kirsten developed a modern update on Gysin’s 1950s design, which has been installed at exhibitions in London, Lisbon and Paris. At its heart, the project explores the natural hallucinatory effects of alpha wave projections on the eyelids, and the therapeutic benefits of the experience. Out of this spirit of psychedelically-charged experimentation, Ghenacia and Fidan have been working beyond the confines of their typical club-oriented material, creating ambient soundtracks to artist exhibitions in Boa and auditory backdrops to Alpha Wave Experience installations.

AOW bridges the gap between this new period of creativity and Ghenacia and Fidan’s life-long passion for electronic dance music. Compared to the strictures of house and techno they’re best known for, the three tracks on Hear the Light explore a more open, inquisitive sound with roots in UK electronica and West Coast psychedelic breaks (a seminal scene when Ghenacia was in the Bay Area in the 90s). Crucially though, it’s not a pointedly retro sound, but rather a result of rich streams of inspiration meeting and passing through crisp, modernist production techniques to offer something
genuinely fresh on the ears.

Working outside of their comfort zones and guided by creative philosophies springing from research, shared experience and community, Hear the Light marks a new step forward for Ghenacia and Fidan, with many more developments promised for the future.

“God Is A DJ” is the new full-length by Joe T Vannelli, an album the DJ and producer has been working on for years, 13 to be exact, since his latest LP came out. The album features sixteen unreleased tracks and features huge names from all over the musical scene, both italian and international. God Is A DJ is already a cult musical project, that the house music lovers all around the world have been waiting for for years.

The two LPs take the listener through a musical journey mixing different sounds and styles: the first four tracks on Side A lean towards a melodic house sound, the very same genre that JTV took to the top of the game with his “Live On Tour” series of streaming – 62 streamed gigs from different places in Italy, from April 2020 throughout the pandemic. Fifteen million views with a valuable representation of the italian territory.

Amongst the tracks on Side A, the 2022 remix of “Voice In Harmony”, one of JTV's biggest hits, and the long-awaited new version of “Children”, by Robert Miles, which was taken to the top of the charts by the same Joe T Vannelli in 1996.

Side B features collaborative works with some italian producers fresh off the top of international house charts: Moreno Pezzolato for “Doctor House” and “Paradise” remixed by Federico Scavo e Cassimm, licensed worldwide by Happy Music and Kontor Records.

Side C opens with the Angelo Ferreri remix of “Where Is My Man”, #1 on Traxsource, then moves on to two big featured artists: the first one is Saturnino. His bass is perfect, on this 70s funky style piece which echoes the biggest and boldest productions of music history. The second one is the remix of “Paradise” by Mario Biondi, made by JTV
himself who gives the track a soul/funky mood and an international sound inspired by Alicia Myers, who already worked as a muse for “Thank You” by Busta Rhymes. A song like “Sacrifice” by The Weeknd works along the same lines.

Side D, instead, is pure, distilled Vannelli-sound: house music for house music lovers, led by the afro-house beat by Silvano del Gado for “Booma Beat” and followed by the “Harlem” remix by Angelo Ferreri, and “Across The Universe” reinvented by the young producer from Veneto Reboq. The album closes with “Shavasana”, a meditative yoga number inspiring total relaxation.

Emotional Rescue looks back again with a 2022 repress, digging deep in to the early 80s Bristol post punk scene of Pig Pag, the Wild Bunch and the Dug Out club. A short lived project of just 3 releases, Mouth trail-blazed leftfield percussive jams in the rich vain of Liquid Liquid and ESG but in their own jazz-infused way.

Centered round the cultural melting post of the St Paul's district, it's pubs, clubs and blues parties threw together young and old to the sounds of dub, funk, jazz and soul and took the spark lit by punk rock and new wave and spawned music that still resonates today.

Consisting of a floating line up based around main members Andy Guy and Rob Merrill, alumina included a young Nellie Hooper before he would go on to be a founding member of the Wild Bunch and on to produce the likes of Bjork, U2 and Madonna.

Based around a hard tribal drumming, mixing guitar, trumpet, shouted vocals and effects, the thrown in the mix nature was inspired as much by avant-jazz than punk's do it yourself attitude.

Here then, on one EP are their complete recordings, including as the title cut, their best and deepest, Voyage To The Bottom Of The Sea. Featured on a compilation LP from the legendary Y Records, its bottom heavy dub sound is augmented by female and toasted vocals riding a top a heavy stepper style riddim.

This is followed by an increasingly dizzy array of percussion jams. Acab (Part 2) is all skips and trumpets, while the versions of Take Your Coat Off perfect skat vocal / tom interplay, before the finale busts out the rockabilly influences in full effect with jagged guitar, skipping hats meets double bass punk style.

24 Songs. A new project from The Wedding Present. A new 7” single every month throughout 2022. 24 Songs sees David Gedge writing with legendary Sleeper guitarist Jon Stewart for the first time, and a more perfect union could not have been predicted. The notion of a monthly 7” single is not new to The Wedding Present, but 24 Songs shows us that even classic concepts can be reinvented. The series also continues the band’s association with photographer Jessica McMillan, who has created stunning images and films as a visual accompaniment to the recordings. Explaining 24 Songs, David Gedge said: “In 1991, The Wedding Present were rehearsing in a studio in Yorkshire when we hit upon an idea that immediately thrilled us all. Our bass player Keith Gregory had been a member of the ‘Sub Pop Singles Club’ - a service that allowed subscribers to receive 7”s released by that Seattle label on a monthly basis. Keith wondered if we, as a band, could attempt a similar thing. In that instant, The Wedding Present’s Hit Parade series was born and, during 1992, we managed to release a brand new 7” single each and every month. “The Hit Parade went on to become something of a significant milestone in the history of the band and it’s a project about which I’m often asked. As its thirtieth anniversary approached, I began to wonder if we should celebrate it in some way. A ‘Hit Parade Part 2’ didn’t feel quite right, though. Then, someone said to me: “Other bands have released music in similar ways but there has been nothing like the Hit Parade.” And they were right! A 7” single a month seems, somehow, very ‘Wedding Present’. So, inspired by that little idea from three decades ago, we’ve embarked on this new project, 24 Songs. “Even though The Wedding Present have never been known for taking the easy route, the idea of recording 24 tracks and releasing them in this way could seem daunting to any band. However, I’ve been inspired by the music that has been written since Jon and Melanie joined the group. The thought of celebrating this exciting new line-up with an exciting new series has motivated us all… and I suppose we also didn’t want any of these songs to be hidden away in the middle of an album!”

Cocteau Twins, Jefre Cantu-Ledesma, Julia Holter, DIIV, Washed Out, Broadcast, Insides, Beach House, Drug Store Romeos. Introducing Beneather, a BAFTA-nominated composer from North London obsessively crafting sad, lo-fi, cinematic, ambient scandi-dreampop submerged in gently fuzzy tape loops. Much like the paintings of Gerhard Richter or a heavy mist rolling through a familiar landscape, the debut long player from Beneather obscures and blurs ten beautiful tracks beneath washes of cinematic, ambient scandi-dreampop – details emerge and fade, voices ooze and flow, tunes soothe and unnerve, metronomic beats click and swing. It would not be out of place on a David Lynch or Jim Jarmusch soundtrack. Inspired by the likes of Jefre Cantu-Ledesma, Hammock, Grouper, Low, GAS, Huerco S., Emeralds, Jenny Holzer, William Basinski & ABBA!! Beneather is the solo project of Lewis Young - composer and collaborator in The Leaf Library, drone pop from north London. As a composer, Lewis recently scored the British short ‘Lucky Break’ which found its way into the BAFTAs short list only to narrowly miss out on the gong. Lewis is a multi-instrumentalist, producer, designer and filmmaker currently living in Walthamstow, London. He started as a guitarist in noughties math-rockers Tea with the Queen, shifting to bass for multi-harmonied Naomi Hates Humans before returning to thumping roots as drummer for The Leaf Library. Objects Forever - the imprint label created by The Leaf Library - has provided Lewis with the vehicle to jump back into experimental song craft, inspiring the genesis of Beneather. “I just needed to make a project which spoke to all the aspects of music I’ve loved creating as a multi-instrumentalist. Plugging things into things to make satisfying little electronic loops, then layering extremely minimal bass and guitar lines with a lo-fi aesthetic. Melinda and I spent a few days in the studio - picking out objects, patterns… items that could inspire a thread of instinctive wordless melody. I took that expressionism and sliced it to pieces, rearranging it into ambient vocal hooks.” Beneather is an exercise in hypnotic simplicity. Experimental, dream-like music built on layers of scratchy electronic tape loops, chiming spacious guitars and abstract pulsing vocals. These cinematic songs combine Grouper's wistful deviations with the warm fuzz of Jefre Cantu-Ledesma, the nocturnal hum of Emeralds, the crackling collapse of William Basinski and Low's glacial pop melancholy. Outside of compositions for film, TV and Podcasts - Lewis plays with the indie drone-pop band The Leaf Library, featuring Matt Ashton from John Peel faves Saloon (“World-weary yet innocent, blissful dream-pop” - UNCUT - 8/10). Lewis has supported the likes of Lali Puna, Joanna Newsom, Lætitia Sadier & Alexis Taylor.

The dance floor as devotional is a trope as old as the club itself. But, with her new album, Jesus Was An Alien, Perel subverts the stakes of our collective communion: Who are our arms raised to? Who are we seeking salvation from?

“Jesus Was An Alien is a discourse about whether Jesus was an actual alien,” she explains, “but also a social debate about what is and implies religion today.” She offers up her provocative second record – her first on Kompakt – as a soundtrack for the listener’s own journey through the intricacies and ironies of modern belief.

Picking up on the themes she brought to her debut, the 2018’s LP Hermetica on DFA, Perel has created ten tracks rich with spirit and allusion. Her influences are myriad, from the indie dance hitmakers of the early 2000s – Hot Chip, Simian Mobile Disco, Justice – to rave compilations that predate her ascent to the DJ booth, to more abstract inputs. Living with synesthesia, she says, “I feel emotions and colors piling up inside me, then there’s a triggering sound or event that opens a valve. My tracks are color streams that tell a story.”

Jesus Was An Alien is not just multicolored – it’s multi-lingual too, slipping in and out of tongues in a single track, sometimes dispensing with words altogether (the ecstatic breakdown of “The Principle of Vibration”). The album features Perel’s voice almost entirely but for her special collaboration with Canadian songwriter Marie Davidson on the title track.

“Jesus Was An Alien” stirs like a late-night revelation, a heady discovery awakened in the dark. Perel lays out a fiercely disciplined electro pulse, with Davidson’s proclamations growing more fervent over the song’s sensual stride. “I already said everything with my synthesizers and the melodies I created,” Perel explains of the collaboration, but “somehow she gave the song a voice I couldn’t.”

Perel drives further not only spiritually but sonically across the ten tracks, taking thrilling production risks: standouts include her breathy vocals atop a melodic piano strut on “Matrix;” the delirious blur of ghostly chimes and disembodied voices of “Religion;” and the retro radiance of “The Principle of Vibration,” in which Perel exhorts us to “come on and vibe” over an athletic riff and shuffling percussion.

“Kill The System,” meanwhile, hits the listener with tense acid pulses, building to only an imagined release and calls out the end of patriarchy. Album closer “Am Kanal” starts as a pensive cloud of a track, finally breaking into a rich textural rain of synths and stabs.

The variety throughout Jesus Was An Alien underlines Perel’s purpose in this latest project; she’s experimenting her way to answers – or maybe just more questions. After all, she says, “questions are the beginning of something new.”

Ex RSD LP on transparent red vinyl, gatefold sleeve with lyric inner sleeve and DL card. Final copies now reduced to £7.99. The tracks on this album have never been officially released before now. The eight songs on this album were recorded in 1978 on a 2-track stereo Revox A77 tape recorder. The recordings are unashamedly analogue, using one microphone and guitars plugged directly into the tape recorder. Bouncing down tracks irreversibly as they went on, forced to make creative decisions that could not be undone. Some hard choices had to be made with the mix, but with no record company meant no record company agenda. TV Smith & Richard Strange could write and record whatever they wanted – and did! It has been an enormous pleasure to rediscover these recordings, the result of a friendship of two artists emerging from broken bands and each about to embark on a lifelong adventure in words and music. TV SMITH - I wasn’t having a lot of fun in 1978 when Richard asked me to collaborate on a song he was writing called “Summer Fun.” I was in the final stages of songwriting for the second Adverts album “Cast Of Thousands,” a project that already seemed doomed to failure given an unenthusiastic record company, a band in the throes of falling apart, and a dwindling audience - but my creative juices were in full flow and I was ready for something different. I already knew Richard, of course, from the Doctors Of Madness, who I’d followed in the years before punk when I was still living in Devon and they were one of the few bands to come and play in the area. I considered them a warped poetic glam band with gothic leanings, and was slightly surprised when the song I’d been invited to work on turned out to be a kind of California surf pastiche. But I was game to get involved, and after we’d finished it and ventured forward with regular writing and recording sessions over the following weeks it soon became clear that “Summer Fun” was just a gateway drug, and the songs that were emerging from our combined forces were going to quickly become much deeper and much darker // RICHARD STRANGE - Watching the remnants of a musical dream being swept away by the juggernaut of corporate punk rock in 1976, I felt a combination of jealousy and resentment towards many of the key players who had been responsible for our demise. The Sex Pistols had supported my band Doctors of Madness early in their career and nicked not only our future but £12.00 from a pair of trousers in our dressing room in Middlesbrough Town Hall! The Jam, who supported us over four shows at London’s fabled Marquee Club, were how I imagined The Who would be if they’d joined the Young Conservatives. Warsaw, our go-to support band in Manchester, had just changed their name to Joy Division, and Johnny and the Self-Abusers, our Scottish flag wavers, had become Simple Minds. All were being feted by the all-powerful music press, while we were being buried. But there was one punk band for whom I never had anything but the greatest affection…The Adverts.

The summer starts beating to our doors and now that the nightmare of the pandemic (looks like) is coming to an end, mysterious dj and producer Hal Incandenza has taken over the control of MM Discos in order to get the things warmer and rock the dance-floors and festivals around the world.

Besides his amazing skills as producer, Henry Saiz the man behind the project of Hal Incandenza, has also made his path in music as songwriter, musician, graphic designer and dj.

This time introduces us to "Incivitas", a killer track that oscillates between House and Nu-Disco ready to dinamite the peak time of the most selected clubs. Hypnotic, selvatic and very wild.

Things turn even wilder with "Ceremony", highly influenced by the legacy of Daft Punk while Marvin & Guy closes the EP with an epic italo-dance version of "Invicitas", if you wonder why the duo from Parma are one of the fitter guys when it comes to burn down the house, just have a listen.
Bomba EP!!

Repress !

(November Collective Title) Meditative but heaving with energy, Son Lux's third full-length weaves disparate elements into songs both strange and welcoming. On the heals of being named NPR's 'Best New Artist of the Year', Son Lux has created an album that sits as comfortably next to the compositions of Stravinsky, John Adams, David Lang and Ben Frost, as it does to those of Jamie Lidell, Björk, Flying Lotus, and Radiohead. Equal parts producer and composer, Son Lux (aka Ryan Lott) bridges an unusual gap between old-world music theory and next-level experimentation. Meditative but heaving with energy, 'Lanterns' finds a peculiar congruency between futuristic soul and ancient sentiment. Driving orchestral electronica (Lost It To Trying, No Crimes) is placed alongside creepy minimalism (Pyre), often starkly juxtaposing densely layered arrangements with Lott's fragile voice. In recent past Son Lux has gained notoriety both for his s/s/s project (with Sufjan Stevens and Serengeti), and from being named NPR's 'Best New Artist of the Year'. His third full-length album, and his first for Joyful Noise (Kishi Bashi, Sebadoh, etc.), positions Son Lux at the helm of an impressive ensemble of instrumentalists and singers, including Chris Thile (The Punch Brothers), Peter Silberman (The Antlers), DM Stith, Lily & Madeleine, Darren King (Mutemath), Ieva Berberian (Gem Club) and yMusic (Dirty Projectors, Bon Iver).