Search:the same

Yes, at last! Kinky keyboard porn! Whisper porn! Vinyl Porn! And all at the same time.! And what an ASMR treat we have for you here.
Recordings of 12 incredible bespoke mechanical keyboards made and recorded by the master of this modern art, Taeha Types. Yes, this is actual typing sounds on amazing future/retro/cutting edge keyboards. Every track different. Every keyboard different. Listen and weep - Or sleep - Or something ... An INCREDIBLE & UNIQUE listening experience. The first mechanical keyboard album EVER !!!

For the last few years a small scene has been growing. The mechanical keyboard scene. It’s now quite a big scene actually.
It makes total sense as most of us use keyboards everyday, so why not have an amazing keyboard to use instead of the total crap one you have. I mean just look down. It’s shit isn’t it. So, some people worked out that things could be improved - A lot. - So they started to make incredible, kinky keyboards, using both old and new tech: and the possibilities and options in construction are endless.

There are key cap options (GMK ABS, PBT etc etc), spring options (Cherry MX, Pandas, Alps etc etc) and even backplate options (steel, aluminum, copper etc etc), and of course case options too. And all these options make a big or little difference. And once made these keyboards are carefully lubricated spring by spring to give them that little extra smoothness and “ping”.

The results are beautiful, fetishistic, futuristic in an odd retro style, and they sound AMAZING when they are typed on. This is classic ASMR / whisper porn, the gentle click and rattle of carefully lubed springy keyboards make the hairs on the back of your neck rise. Either that or they gently woo you into a peaceful, sublime state. This is a classic and groundbreaking new Trunk album for our modern stressful times.

The recordings on this album are the first ever release of mechanical keyboard sounds. They are from a selection of (enhanced) keyboards from the 80s, 90s and now. They were recorded by the master maker of the modern mechanical keyboard, Nathan from Taeha Types.
He has a large following on Instagram, YouTube (videos of his hands typing on his keyboards hit 10K in just a couple of days after upload), and he now has over half a million views on his Twitch channel where he constructs keyboards live.

Sleevenotes on the album have been put together by Jonny Trunk and Stu London (AKA Futurecrime) from the London mechanical Keyboard scene. He knows what the fuck he is talking about. And you might not understand it, but you can catch up real quick - like I did.

- Album mastered by Jon Brooks, who also really understand these
sounds. And if you don’t, don’t worry - lots of others will.

Available for the first time outside Japan, Phosphorescent Dreams is another epic album of symphonic schizophrenic avant-rock from Univers Zéro. Originally released in 2014 - only on CD - through the Japanese label Arcàngelo.

Phosphorescent Dreams presents at the same time, in the same track, even on a single moment, the complex musical schemes and ways of Univers Zéro, ranging from maximalism to minimalism, classical avant-garde with a 2020 vibe in a constant flux.

In a blend of tension constantly emerging from a subtle dialogue between avant-rock and contemporary influences, harmonies and dissonance, Phosphorescent Dreams is a balanced formula of old-school know-how reshaped almost 40 years after the released of the seminal LP Univers Zéro.

Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music - most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.

I remember the first time I read W.E.B. DuBois eclectic masterpiece The Souls of Black Folk. The way in which this Weberian scholar flowed from personal account to prose to sociological analysis to music and even political intervention has had a lasting impact on my own work as a cultural anthropologist. It made me understand that as scholars we must use different means in order to give expression to the totality of the lived experience: There is only so much in an academic text.

The experience of alienation has always been at the heart of my scholarly and artistic practice. I have used academic writing, lecturing, theatre performance and electronic improvisation to understand and represent it as a theoretical concept, postcolonial condition and lived experience. I believe, some issues need to be told like a story, some analyzed in most abstract terms and others need to be sung like a gospel. The medium changes the message.

In this sense, I guess, I’m a singing cultural anthropologist.

For some time now I have been engaged in the use of dystopian themes and sounds to paint a sonic picture of structural racism and whiteness of our present. But recently I have grown weary of this Ballardian idea of Future Now and the resulting phantasmagorian aesthetics myself and others have been invested in. The widespread availability of Digital Audio Workstations, sequencers, loopers and delay pedals has lead us into a futuristic cul de sac best described by Mark Fisher as the very absence of future.

Likewise, I am most skeptical of the “naturalist” countermovement, the return of folk. Especially in Germany, I am convinced there is no such thing as an innocent or progressive folk musical expression as it is always connected to the idea of the homeland (“Heimat”) which in turn produces the colony. It seems to me, the current zeitgeist is stuck between a “museum of a dystopian future” and a “museum of an idealized past”, but I wanted to sing about the present.

So, I involuntarily returned to pop music in its two-folded meaning of something popular and addressing not an essentialist notion of “Volk” or its woke cousin “communities”, but society as a whole.

I entered the studio just with a few lo-fi sounding melodies and rhythms from my circuit bent CASIO synthesizer. I had no clue what the finished product would sound like. But as soon as Markus started drumming, in a way strangely reminding me of CAN’s Ethnographic Forgery Series, my uptight sounds were suddenly embedded within a warmer global sound spectrum. The alien at home and abroad and the strange overlapped: We were seeing one and the same sound differently but were gently held together by Tobias’ producing.

Making music is about building coalitions. It’s about suggesting an articulation of styles, sounds and people, that hasn’t materialized, yet, but may help us in the current crisis: I wanted Amon Düül II to send their drug induced archangel thunderbird to rescue the refugees, that had tried to escape the police by climbing up a tree in Munich in 2016. I wanted Sun Ra to taunt far-right protesters in Chemnitz in 2018. And I wanted to mourn the loss of a former kebab shop cum discotheque that served as proof that there is such a thing as a minoritarian universalism.

SCHLAND IS THE PLACE FOR ME is a pop album featuring songs of alienation, not only as a tragic experience, but as a pop-cultural promise. Maybe Bill Callahan sung it best, “I am Star Wars today, I am no longer English grey”. I want those who suffer from alienation to stand in alliance with those who seek alienation, and vice-versa. A coalition, that tolerates the possibility that we are moved by the same groove for contrary reasons.

Fehler Kuti
Munich, Autumn 2019

Music by Julian Warner, Markus Acher & Tobias Siegert
Saxophone on RINDERMARKT by Franz Brunner
Trombone on RINDERMARKT and IL by Matthias Götz
Recorded and mixed by Tobias Siegert in Munich.
SONTAGSFAVORIT mixed by Dario Albiez in Dusseldorf.
Mastered by Duphonic in Augsburg.
Artwork by Atelier Grande, Munich.

Beastly sounds for a zombie nation as classic 80s gaming soundtrack Shadow of the Beast gets debut vinyl edition with a recording taken from the original platform game, and new artwork from acclaimed illustrator Keith Rankin.

Composed by David Whittaker for the 1989 Amiga platformer of the same name, Shadow of the Beast sees its first ever vinyl release courtesy of the UK's Lag Records, presented in also its first mastered edition as directly taken from the original game system.

A prolific VGM composer, Whittaker holds more gaming soundtracks to his name than any other, with titles such as Lazy Jones to his name, as (in)famously sampled for the 1999 club hit Zombie Nation.  

Shadow of the Beast remains a prime example of his pioneering hands-on approach, programming music directly with instrumental samples of his own on a Korg M1 synthesizer. The tunes make for a singular combination of Spaghetti Western-style tension mixed with world beats. Tracks like The Plains play with harder rhythms like warped speed techno, while a hard-to-miss melancholy pervades the Underground suite.

The fiendishly difficult Shadow of the Beast itself was an interesting example of game design for its time, recorded at a frame rate to match arcade machines as opposed to monitors, and loaded with a 128 colour palette. Two sequels later followed in the 1990s, along with a 2016 remake for the Playstation console.

The soundtrack comes ready for a 2019 audience with mastering courtesy of Jerome Schmitt at the AirLab, and brand new artwork from acclaimed illustrator and musician Keith Rankin in collaboration with artist Ellen Thomas. Shadow of the Beast will also come on transparent purple vinyl, in standard LP format.

'Pulse Code EP' by Amberflame - Andrei Zakharov's (aka An-2) side project aimed at finding the right balance between organic yet experimental sound - is a selection of top-notch electronica with the flair of old-school disco and everything inbetween. The crafty and meticulous use of a variety of custom analogue hardware give way to keeping an open mind with production and sound design, which varies greatly, but at the same time, shares a coherent quality throughout the EP.

The opening track "Hope" sets the mood with its melancholic airy strings and pulsating arpeggios developing effortlessly until the groovy guitar bass kicks in lighting things up and giving the mix a completely new perspective.

Taking a more experimental edge 'Pulse Code' is a PCM-inspired leftfield electronica piece which goes a new direction with its solid synthwork and fluent drum programming.

The title of the closing cut 'Dreamscape' speaks for itself: it is a meditative electro-focused affair

'Lento', the first release of Fangodischi. A slow track, 115 bpm.
An obsessive hammering over a dystopian rhythmic layer that reaches its climax exploding in a drum roll, like a cleansing fire. An industrial sound, whiffs of steam, disturbing metallic noise.
A recall to the core of Fangodischi and the dual vision the artist has of his homeland: Venice, a “Disneyland” for tourists, and Marghera with its industries and poisons. Two faces of the same medal.

Form is Vision is a collection of music unified by the same vision but not by the same form. It’s the vision making the form, without being influenced by the form itself. Here, visionary electronic artists as Afrikan Sciences and Juju & Jordash meet cross over jazz bands like Hobby Horse and Where is Mr. R?!. The music was compiled by Autre & Two Thou, whose productions here form a bridge across different moods. The result is a synergistic leap away from genre-bound music.

The time of superficiality is over, we need another perspec- tive. The Tableau Vivant, that reenactment of painting by people, offers a new way of looking at things. A look into the depths, into the innermost of the artwork, a liveliness that jumps right out of the picture. Tableau, the project of the Kame House founder Infuso Giallo and Berlin musician Joshua Gottmanns, dedicates its debut »Double Dream Hands« to a new liveliness. While Infuso Giallo delivered a new interpretation of Moog-Exotica with his first release »Ode to Sansevieria«, Joshua Gottmanns is an »old hand« in the business and has proven his songwriting qualities in different projects for more than ten years, most recent- ly in his project Neuzeitliche Bodenbeläge together with Niklas Wandt. But it’s not about the merits of past records, but the here and now, about the moment. This may have passed in the next second and at the same time lasting an eternity. In four live sessions (the term »Jams« may also be applicable), quite independent entities have emerged that embrace life and come into contact with themselves: Within You, Without You. The congenial pairing of these two new masters of (almost) instrumental songwriting features excursions into New Beat and Percussive Exotica as well as Austro-Wave and Electronica and is promising a playful mix of travels at the edge of stasis with a peculiar musical drawl and abrupt, danceable explosions of ecstasy.

This leganday EP was originally entitled “No New Ideas” and was released as a very limited CD back in 2012. It is one of a very few Kniteforce catalogued releases that never saw vinyl. Each track on the EP has been rebuilt, and remade, with slight changes made to the tracks in either tempo or style, and is only available in limited numbers. Plus it has one new idea, for those that look for it….

Skyf Connection (pronounced skAyf) was a short lived project by long time friends Anthony Mthembu and Enoch Nondala. At the time they were working for Annic Music, an independent label run by married couple Anne and Nic Blignaut. Although the label was known mostly for Zulu, Sotho, Tsonga and other traditional styles, they had a few Disco releases on the label including groups like Keith Hutchinson’s Focus and Enoch’s discovery Lena, who went on to have huge success under the name Ebony a few years later.

In 1984, when an artist didn’t show up for a booked session they decided to make use of the studio time and began working on a demo. At the time Anthony and Enoch had been playing for a year at a new club called Gamsho, located on a farm on the outskirts of Kliptown Soweto. Along with Blackie Sibisi, Sepate Mokoena and Elijah “chippa” Khumalo they made up the resident house band. Due to cultural boycotts and American artists refusing to perform in the country, locals took it upon themselves to fill the market with the American sound the crowds demanded. The demo they recorded at Blue Tree Studios was going to be their product they could use to promote their brand of the American sound. They then took the demo to Universal Studios where their friend and trusted engineer Jan “fast fingers” Smit was working. It would be here that they would polish their demo into something they could take to their bosses and have pressed. Equipped with a DX 7, Linn Drum and some Juno synthesizers they were on their way. Jan lived up to his name and programmed the drums, it is rumoured he could program in almost real time, a skill that translated to the local arcade where he held high scores on many machines. Enoch would be singing and playing guitar while Anthony would do all the Bass and Keyboards. The result was 4 funky party anthems with synth work like no other recording at the time. Their take on what they believed the crowd would want to hear at the beloved club they called home.

From start to finish the 4 tracks portray what would have been a standard night at the Gamshu. Although the club would open earlier and the standard hours of most clubs was 6 to 6 , the band would start playing at 10pm. With their standard set time and Anthony and Enoch unique view on what a Disco should be, they chose the motto Ten to Ten as the album title because those were the hours when they were the stars and Disco ruled the dance floor. To get to the club was a bit difficult, you needed to drive along an empty road where thieves waited for any patrons trying their luck walking after dark. Since there was no transport during the night, the safest way to get home was to wait till the next morning to walk home. Even though in the summer months of Johannesburg light begins to peek in just after 4am, crowds refused to leave and stayed enjoying good music and company until 10am. The lead off track “Let’s Freak Together” has powerful lyrics encouraging people to let go of their worries, put aside any differences and let the music bring everyone to freak and dance together. The whole album is about the joy we can all feel when we share the same moments and how music can bring people together in a unique way, a philosophy shared with the original nightclubs of 70s New York. This approach to music is where the name Skyf Connection comes from, translating from slang to mean the connection we create through sharing, in this case Music and good times.

Skyf Connection would go on to play at Gamsho till the club’s closure in 1986. In those years their popularity lead to being booked for private events like weddings and birthday parties, as well as gigs in some other venues like Mofolo Hall. They would share the stage with many artists through the years learning artist’s songs and providing support as a backing band. After the club closed Anthony would go on to join the house band at The Pelican, another famous club located in Orlando East, as well as dabbling with songwriting for artists like Phumi Maduna and helping Enoch on many projects through the years. Enoch would ditch live music altogether and immerse himself in studio work, starting full time as a house producer and A&R for the recently formed Ream Music. He would go on to produce hit albums for pop artists like Percy Kay and Makwerhu but made his mark discovering countless artists that would become stars in the traditional market. They would remain friends until Anthony’s passing in 2016 and although Anthony is no longer with us his spirit lives in the grooves he left on this one of a kind record. His wife Vinolia will be accepting his portion of the profits on his behalf.

‘Portuguese electronic alchemist Bruno Silva aka Ondness aka Serpente lands his first ever vinyl release as Ondness on the ever-evolving SOUK imprint. The last year couldn’t have been better for Bruno Silva. Two major releases under his moniker Serpente, “A Noiva” (Tormenta Eléctrica) and “Parada” (Ecstatic) and a Ondness tape, “Not Really Now Not Any More” (Holuzam). “O Meio Que Sumiu” is the first vinyl release by Ondness, following more than a dozen releases on tape, CDRs and digital. He’s also graduating to vinyl on the Discrepant family, after his 2018 tape “Celas Death Squad” combining Serpente and Ondness works as a split.

“Meio Que Sumiu” can be translated as the “community that disappeared” and it alludes to the disappearance of outdoors communities and how it affects the music we listen (and how we listen to it). Ondness wanted to release an album less about himself and his inspirations and more about his aspirations about how dance music could be in an era of constant interactivity and information.

But also, how it fails to be that aspiration. Once again, like in “Not Really Now Not Any More”, Bruno works in the territory of science fiction. Investigating the present and future with nostalgia about how things could be and could evolve.
It’s music in the realm of non- existing, instead of raving nostalgia about dance music from the 1990s, Bruno explores the idea of possible futures with different approaches to dance/electronic music in each song.

In “Meio Que Sumiu” it’s obvious his music has matured and found its listenes. Bruno is no longer a bedroom musician. (He never was, but he sure worked on that idea. And very well, we might say). The dancefloor is now his, with music that explores the deeper immersion of ourselves. Communities may be changing, but the principles of dance music are always the same. Even with motion sickness for future nostalgia, like the music in “Meio Que Sumiu”.

On the hunt for timelessness we travel far and wide and realise only the wisest and stupidest of men never change. Brilliance borders lunacy. Extreme wisdom and extreme stupidity are the same. When u know everything u know nothing. Just as minus infinity reaches plus infinity and forms a circle. Just as extreme right wing and extreme left wing are basically the same but arrived from a different angle. Extremely bad taste becomes good, and extremely good taste is contrived. The truth is in the middle (yes i have come at an age where i can say that) so we have to embrace change to be the only constant. Everything and everyone always changes. So what does it mean “to be timeless”?

A very special thanks to Efdemin.
The story goes like this:
He gave us the strong winds remix. We told him its a bomb. We also said its a little sad maybe perhaps that it contains so little of the original. “Oh let me try something” was his answer. And the very next day we got sent the good winds mix. Of course we asked if we could include both mixes. How could we choose?

The teen girl falling in love with greasy biker melodrama that set The Shangri-Las on the scene was beaten to the core when English high society child Lynn Ripley -better known as Twinkle- took it to the next level on her own composition "Terry". Penned at the tender age of sixteen, Twinkle's lyrics were found so twisted and bad tasty that the song got the honour of being banned at the BBC thirteen years before the Sex Pistols ran the same luck with "God Save The Queen." A ban that, as you would have guessed, instead of hiding the song from the era's teenage record hunters made it even more coveted. Thus "Terry", Twinkle's first 45 issued on Decca in October 1964, became an instant top 5 hit in the UK and was released successfully worldwide as well as covered by many bands (like Claude François French version or Los Extraños cover sung in Spanish).



The success of "Terry" encouraged Decca to release other comositions by Twinkle, along with her recordings of songs by other songwriters, in 6 singles and one EP published between 1964 and 1966. Another of Twinkle great tunes, "Golden Lights", was covered by big Twinkle fan Morrissey and The Smiths in their 1986 "Ask" 12" EP.



The 14 songs from the Decca 45s are collected in this fatastic LP, housed in an amazing period style sleeve w/backflaps and including a gatefold insert with photos and first hand told liner notes by Twinkle's own sister Dawn James, a music journalist working for New Musical Express back in the 1960s.



It comes in a limited edition of only 500 copies : if you like sixties girl-pop sounds like those of The Shangri-Las, pop stars like France Gall, singer-songwriters like Margo Guryan and Phil Spector-ish productions you must get your copy of Twinkle's "Golden Lights" before it sells-out!

WRWTFWW Records is insanely happy to announce the first ever vinyl reissue for both volumes of Yoshio Ojima's superb environmental music project Une Collection des Chaînons I and II: Music For Spiral, originally released in 1988 on CD only. Each volume is sourced from original masters and comes as a double vinyl LP with liner notes in English and Japanese . This marks the inaugural release from the ESPLANADE SERIES by WRWTFWW Records which focuses on the works of Yoshio Ojima and friends.

Une Collection des Chaînons II (along with its complementary predecessor Une Collection des Chaînons I) gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle.

Named after its superb curled-shaped structures laid in a vast atrium, Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating the fusion of the notions of megastructures and organic biological growth - in essence, evolving designs and constructions, adapting to human needs naturally.

Evolving, organic, adapting, these are notions that perfectly describe Yoshio Ojima's divinely designed brand of environmental music. Continuing, embellishing and bringing the Collection des Chaînons (which translates as collection of links) full circle, this second volume approaches sound design in relation to various contexts, sizes, and shapes. The nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest feels like a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure. With each timbre selected with extreme precision, each element placed in space with the utmost care, and textures worked to allow a wide canvas of emotion for the listeners, Yoshio Ojima's music is the constantly transforming connecting point between humanity and architecture.

Sitting alongside Midori Takada's Through The Looking Glass, Satoshi Ashikawa's Still Way, Hiroshi Yoshimura's Green, or Yutaka Hirose's NOVA, Une Collection des Chaînons is a pivotal work of Japanese environnmental/ambient/minimalist music.

A note from Yoshio Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."

2024 Repress

While during the 1990s - higher, faster, further! - the straight bass drum has been shooted around the globe, there arose a number of variations of more or less contemplative slow- and sacred music from all kinds of corners at the same time. In a sense, it’s the other side of the medal: Chillout, Lounge, Easy Listening, Trance, Muzak and elevator music, electronic music and intelligent techno… and of course and in particular: Ambient. In classical and new variations.

Beside the constant pushing forward of the so called „Sound Of Cologne“- Minimal Techno in the home of Kompakt, there was also a strong faible for ambient sounds. Not only because of the labels origin and its operator’s preference for the pop music of the 70s and 80s, there was evolving a variety of ambient music, that added the aspect of pop to the confusing diversity of genres during that time. Not pop in the sense of actual classic pop music: Pop in the sense of subculture, of Pop Art and, first and foremost, in the sense of pop as an attitude. This was how Pop Ambient was launched and the way it established its own authentic music with a high recognition value. Pop Ambient is indulging the beauty and the timelessness. Pop Ambient is a sonic cosmos of attitude for itself and has no fears of contact with adjoining genres nor with kitsch, art or carnival. It’s ambient if you do it nevertheless. ^

Während sich im Laufe der 1990er Jahre die gerade Bassdrum immer höher, schneller, weiter einmal um den gesamten Planeten geballert hatte, kamen parallel dazu etliche Spielarten mehr oder weniger kontemplativer Erbauungs- und Verlangsamungsmusik aus allen möglichen Ecken auf. Gewissermaßen die andere Seite der Medaille. Chillout, Lounge, Easy Listening, Trance, Muzak und Fahrstuhlmusik, Elektronika und Intelligent Techno… und natürlich und vor allem Ambient. In altbewährten und neuen Variationen.

Auch im Hause Kompakt gab es neben dem steten Vorantreiben des sogenannten „Sound Of Cologne“ - Minimal Techno ein starkes Faible für ambiente Klänge. Nicht zuletzt aufgrund ihrer popmusikalischen Herkunft und einer besonderen Vorliebe für die Popmusik der 70er und 80er Jahre, kristallisierte sich bei den Kompakt-Machern ab dem Jahr 2000 eine Spielart ambienter Musik heraus, die den vielschichtigen, unübersichtlichen Genres dieser Zeit den Aspekt des Pop hinzu fügte. Nicht Pop im Sinne eigentlicher, klassischer Popmusik. Pop im Sinne von Subkultur, von Pop-Art und vor allem von Pop als Haltung. So wurde „Pop Ambient“ aus der Taufe gehoben und etablierte eine genuine Musik mit hohem Wiedererkennungswert. Pop Ambient frönte hemmungslos dem Schönen und der Zeitlosigkeit. Pop Ambient ist ein Klang- und Haltungskosmos für sich, und hat dabei keinerlei Berührungsängste, weder mit angrenzenden Genres, noch mit Kitsch, Kunst oder Karneval. Ambient ist wenn man’s trotzdem macht.

Omo Lewa is a delicious slice of Afrobeat blended with funk, jazz and Highlife in a style that has become synonymous with its creator Peter King, one of Nigeriaʼs most talented multi-instrumentalist.

Originally released on Sonny Robertsʼ Orbitone label in 1976, the album was one of Kingʼs two ʻAfrojazz' releases for the label.
It still sounds captivating more than 30 years later.

Omo Lewa is part of a series of Peter King reissues on Mr. Bongoʼs Classic African Recordings series.

The LP features fully reproduced original artwork. Produced on heavyweight, oldstyle packaging, the same as the original LP.

Original label art. Licensed from Clinton Roberts.

All Music Written & Recorded by David Drucker at The Skinny Apartment in Ridgewood, Queens, 2017
Featuring Mike Green (Mezzanine Swimmers) on guitars on "I Took Too Much Acid in 7th Grade," Cop Funeral on
electronics on "Seafood Special," Chris “Mr Transylvania” Shields on background vocals on "Massachusetts Is a Magical
Place," Eva “Nighttime” Goodman on violin & backing vocals on "The Ridgewood Ripper"
Painted Faces is the long (strange/trip) running voyage of weirdo David Drucker, began in Florida in 2009 and decamped
to NYC in 2011. It has sometimes been a loose band in the past with a revolving lineup of outsiders and interlopers
(known as The Freak Band), but is usually a solo endeavor, and the bulk of the recordings have been done as such. PF
has always been a home recording solo project, one-man-band style heavy on psychOdelic/outsider
folk/noise/experimental vibes. He started self releasing CD-Rs in the early days and quickly jumped to tapes on a variety
of labels including Already Dead, Lava Church, J&C, Null Zone, Tall Tapes. A "legendary" CD compilation on Gulcher
Records and an LP from Already Dead and Almost Halloween Time in Italy brings us to the here and now. Tales from the
Skinny Apartment is somewhere around the 20th or so Painted Faces release...he has long lost count.
Drucker runs/curates gigs (and records at) the Skinny Apartment, his dwelling place in Ridgewood Queens,
which some folks have called the "realest DIY zone in NYC." He also rips in Dead River Company, Big Hiatus, Shecky,
Canyon River Blues and countless other unknown subterranean improv zoner outfits. "Ripping" involves keeping it
freaky and weird and ripping sets wherever/whenever, i.e. always being down to perform whether in a kitchen or a
packed ballroom....no diva bullshit, just plugging in (or going sans electricity) and playing...always giving it your
all...Ridgewood Rippers are the crew of artists that populate Ridgewood and the loose "scene" around the Skinny
Apartment...much of it is in jest, a self-inflated mythology of nonsense which is pervasive in all rock and roll "scene"
histories. As a student of rock/pop history, Drucker is fascinated by the loose associations that connect folks from
various zones together...i.e. Miles Davis and The Grateful Dead...it's all the same though, the labels and genre
distinctions are completely arbitrary. We're all in this together, now more than ever...to be a "ripper" is simply to
"rip"...no nonsense!
Painted Faces has toured all over the USA and Canada numerous times, spreading the ripper gospels, and is
gearing up for their second European tour. He is known for falling apart on "stage," with performances heavy on humor,
horror, stoned digressions, and cathartic bouts of therapy, part performance art/part standup comedy, eradicating the
lines between performer, performance, and audience one show at a time

With their third album ‘Fluid Motion’, Melbourne’s 30/70 are set to soar into higher territory as the face of Australia’s newest wave of soul-influenced brilliance.

From the swirling opening pads of “Brunswick Hustle” all the way through to the sax-laden shimmer of “Flowers” at its close, ‘Fluid Motion’ is an instant classic, effortlessly shifting between neo-soul and languid, Dilla-esque tendencies, astral-facing jazz textures and authentic vignettes of UK club music history.

It’s a formula that those already caught in 30/70’s celestial web are fully aware of; first defined on the local heat of their 2015 debut ‘Cold Radish Coma’ and majestically expanded upon with their critically acclaimed 2017 release ‘Elevate’ on Bradley Zero’s Rhythm Section INTL (mixed by Hiatus Kaiyote’s Paul Bender). ‘Elevate’ did exactly that - elevating both the scope of the band’s sound as well as their standing in the local and international community.

Since the last record was released, the music has brought the band on world tours and to the attention of the wider public and key tastemakers alike. Strongly supported by the likes of Gilles Peterson, Tom Ravenscroft, Jamie Cullum, Matthew Halsall and Bradley Zero, the UK has become something of a second home for 30/70.

London in particular has openly embraced the soulful sounds of Melbourne, as evidenced by Gilles’ latest Brownswood compilation ‘Sunny Side Up’ which features three tracks from 30/70 members: Ziggy Zeitgeist, Horatio Luna and Allysha Joy. The record is a follow up to his era-defining survey of the UK Jazz scene ‘We Out Here’, the compilation that kickstarted a whole generation of London’s under-the-radar Jazz kids to global headlining heights. It would appear we’re about to witness this same effect take place for the Melbourne contingent, of which 30/70 lead the charge. The city’s invasion is well and truly upon us.

While London is undoubtedly in love with what’s happening in Melbourne right now, this is no one way love affair. The 30/70 collective have had their ears to the ground and plugged into the sound of the UK underground. This new album takes inspiration from the syncopation of Broken-Beat, the immediacy of Grime’s and Dub’s sonic aesthetic to create something that is a truly global amalgamation of local sounds, finessed by Allysha Joy’s instantly recognisable vocals; the rawest and realest of voices.

Third outing on Funclab Records, a dime bag of tunes that blends Hip- Hop and House while maintaining the same unpolished and crusty sound.

Nuova Musica Ostinata is the new Ep by Nordic/Mediterranean duo N.M.O.

This new Ep follows the N.M.O. heritage of merging acoustic drums with synthetic sounds in their self-called Military Space Music, as heard on past releases on labels such as Diagonal,The Death Of Rave and Anòmia, exploring fresh and undiscovered territories.

All three tracks are a lysergic caleidoscope of sound collage, dancehall, militaristic marches and kuduro, in a playful superimposition of patterns at 160 bpm and 128 bpm at the same time.

Nuova Musica Ostinata does exactly what it promises in its title, going head down into new directions, where white galleries and dark sweaty dancefloors coincide.

‘Green & Gold’ is the second collaborative release from Mr Key & Greenwood Sharps, the long awaited follow up to their
critically acclaimed 2015 album ‘Yesterday’s Futures’. The record was written and recorded between Greenwood Sharps’
cottage in the verdant English countryside and the off grid Finca in the foothills of the Andalusian Sierra Nevada, Spain where
Key is based.
The title has multiple meanings none of which are anything to do with weed or money. First and foremost, green and gold are
the colours which synesthete (a person who sees sound) Greenwood Sharps, composed the record in. It also alludes to the
dialogue between the green of the UK and the dusty gold of Andalucia which created the project. Finally green and gold speaks
of the dynamic between the sun and photosynthesising organisms, the driving force of life on earth.
‘Yesterday’s Futures’ took the listener on a meandering journey through a vast landscape of moods, sounds and ideas,
leading ultimately to redemption and the possibility of resolution. Thematically, ‘Green & Gold’ picks up where ‘Yesterday’s
Futures’ left off, but structurally it takes the opposite tack; an extended exploration of a single ubiquitous idea: universal love for
all things and all people and the challenge of maintaining these shiny ideals in day to day life, as our cynical side reasserts itself.
Key’s first output after an extended hiatus from releasing music makes it obvious that during this time he continued honing his
craft. The unique perspectives and disarming honesty which set him apart from his peers remain, but his technical prowess and
capacity to convey sentiment are notably enhanced. The same applies to Greenwood Sharps, who’s masterful production has
risen to new heights yet still maintains the rich and subtle sonic palette he has become known for.
Dropping alongside the EP is a short film featuring the works of long time collaborator Jamie Johnson, the man behind the
artwork for both ‘Green & Gold’ & ‘Yesterday’s Futures’. The short film is the visual counterpart to the EP and serves as the
perfect introduction to the world of ‘Green & Gold’ as it visually explores all the themes present in the music & provides a snap
shot of the incredible tracks on offer.
In a troubled and busy world, marred with anxieties and uncertainties, ‘Green & Gold’ comes as a breath of fresh air and offers some valuable food for thought for those searching for real heart felt substance rather than the sanitised, individualised &
commodified norm we have all become accustomed to.

The return of A Turntable Friend Records starts with an opulent 40 track retrospective compilation of their heydays in the 1909s. Peers of Sarah Records and Slumberland Records but far from copying their style, ATF Records always had their own musical identity allowing for a roster as diverse as Boyracer (with Even As We Speak), Secret Shine, The Claim, The Ropers, the Hellfire Sermons + Lorelei.

This compilation is a feast of highlights from the long-deleted back catalogue plus 8 unreleased tracks from the period. Many of the original 7s & 12s are much sought after collector items and several tracks appear on cd for the first time.
Indie guitar popof the best variety delivered by bands from the UK< USA, Australia + Japan.
The release is luxuriously packaged in a tri-fold sleeve for the triple vinyl, strictly limited to 500 for the world. It includes a 12 x 12 full colour booklet and a download code.
The double cd comes with the same tracks also in a gatefold sleeve with full colour booklet.
This compilation is a fundraiser for the William Wates Memorial Trust in the UK with all profits being donated.

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.

Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included.

- Sean McCann

The two collaborators, known separately for contemporary electronic music & free clarinet experimentations team up to create the delirious trip, Footfalls.

Two scenes are presented here, seemingly taken from different sides of the same desolated seaside setting, loosly inspired by poet and novalist T.S Elliot and Samuel Becket. In Towards the Door, Gareth Davis´ bass clarinet breathes slow, wave-like tones that merge with the oft-rythmic electronic textures from his counterpart. A third of the way in, Robin Rimbaud´s synth erupts into a Blade Runner-esque epic harmonic section that disappears as suddenly as it arrives - leaving ripples of oscillation in its wake, slowly unfolding into the sound of waves, as it arrives back where it begun : as a full circle, drawn in echo´s of sound.

Smokefall begins with the words „Invisible choirs“, subtly spoken by a woman’s voice among a blurred distant conversation, as textural sound effects creep forwards to the point where a slow progressing but steady LFO rhythm enters. Water, metal & smoke are absorbed into a creeping tribal passage, acompanied by long clarinet tones. The piece expands further and further into a state of ecstatic harmonic noise that fulfills all parts of your body – if played loud. Both artists from here on move into full on crushing electronics, all while Rimbaud´s Kilpatrick Phenol synth drives the background with its pulses and repetative bassline. The piece has an ellipse like rotation that makes one feel a sort of blissful vertigo that reverberates in your mind after the piece has ended.

Footfalls is an euphoric trip from two artists that – although prolific - manages to arrive at the perfect meeting point to deliver two hard to shake pieces of dizzying electro-acoustic perfection.

MA comes from the Tokyo rap & hiphop scene, and throughout the years he evolved into a more noisy and experimental beat making. He blends ritualistic ancient Japanese lyrics and vocal methods, on music that he creates using also his voice or field recordings. The result is alienating, weird and haunting but at the same time fascinating and futuristic. MA's Beehayden is being remixed by Sugai Ken, another outstanding artist and performer from Japan. MA made his first short live performance at Dommune Tokyo in may 2019, revealing his craft and performative side.

The newly-formed Icelandic record label LAHAR brings you a long-awaited 12" by Den Nard Husher, a collaboration of two stalwarts within the Icelandic techno scene - Octal Industries & Vector.
After a commemorative EP on Stobelight Network in 2016, Den Nard Husher strikes back with their first release since a 20-year production hiatus. It is enthralling to see how their fast-paced bustling techno renditions morph with time yet still encapsulate our body and imagination in that same meteoric signature.
Den Nard Husher sounds fresh, blistering in a seemingly never-ending post-Y2K aesthetics.

Mecanica Popular is back 9 years after their LP “Neguentropia” and 4 years after Dead Cert reissued their first LP “”Que Sucede Con El Tiempo”

Mecánica Popular is ’s an experimental and industrial band formed in the late 70s by Luis Delgado (Finis Africae, Ishinohana...) and Eugenio Muñoz (Randomize), who rapidly gained cult status between the genre fans. The band experienced a renovated international success after their record "Que Sucede Con El Tiempo" (1984) was repressed in 2015 in Andy Votel and Demdike Stare's Dead Cert imprint.

Arriving 9 years after “Neguentropia”, “Estridentismo” is the group’s fourth record and the product of new material that was developed over the last 3 years.

“Estridentismo” is based on the avant-garde movement of the same name that was born in Mexico during the early 1920s (known as Stridentism in English). Each track uses this lens to explore a different thematic concept, from “Jouer Avec Schaeffer,” based on musical pioneer Pierre Schaefer, to “Mikado,” which draws inspiration from the sounds of Mikado steam locomotives.

Following the sound of their previous releases while also introducing elements that reflect their continued evolution, “Estridentismo” is a record that owes as much to the Industrial movement as it does to the work of early electronic pioneers.

Mecánica’s inventive style, and their blending of older techniques like tape manipulation with newer digital technology, allows the record to incorporate Industrial and experimental aesthetics to create a sound that plays with categories and ultimately creates its own.

The record has received praise from the press and artist alike, and it has been played by the likes of JASSS, Demdike Stare, Cera Khin and Ossia.

“Estridentismo” comes in a luxury vinyl edition with a printed inner sleeve full of text and pictures.

KiNK presents Home! This aptly titled EP is the debut release on the newborn label Sofia. Founded by Strahil Velchev and Konstantin Petrov, Sofia is not only the physical location where this music was made, the city where they met and developed as artists, but also a paradox that is reflected in the art and music that comes from the place. Beautiful and ugly at the same time, clean and dirty, brutal as well as romantic, it’s a place where aesthetically seemingly incompatible styles come together in a twisted, yet unifying form. The photographs for the sleeves are made by influential local selector DJ Valentine, effortlessly capturing the local reality.

Those pieces of a paradox also are reflected in the music. The typical fine-grit of KiNK’s production skills meets his love for the elements of surprise and the classic building blocks and plaster of house and techno to create something that is very much his own, while breathing the spirit of early days and pioneering times. Hinged just before and after peak time, the tracks on this EP are cohesive, made to last and rounded off by the contemplativeness of yet another collaboration with Rachel Row called „The Beauty“. The first of many to come. And as always: Remember the future!

It’s been a busy eight months since Dampé’s debut on Dirt Crew Recordings. That time has seen the producer hold down monthly slots on Rinse FM, contribute a downtempo electronica/jazz edit to the S3A ‘Pages Remixes” EP as well as open big rooms for the likes of Surgeon and Blawan.

The intervening months have also seen the producer set up camp in the Rhythm Section studio in South East London, and the result of new access to studio gear can be heard all across ‘Garden’. Compared to the debut ‘Peach Shuffle’ this is a far more machine-led and darker listening experience. Snatches of acoustic instruments and space remain, but it’s never long before the disembodied vocals and oversaturated classic drum kits return reminding you this is music best enjoyed in the club.

‘A Basement, 10 Years Ago’ started just there. A bass line dimly recalled from a long-lost 6am jam is sequenced on a weighty analogue keyboard, while syrupy R&B vocals dance around mbira and gangsa, all slowly building and building together. ‘727 and Arp Breaks’ is a love letter to two of the producer’s favourite instruments from the studio. A TR-727 and an Arp Odyssey collide across dubbed out stabs to form some very rolling breaks.
Sunday Night Machines’ sees Dampé tame the box-of-physics that is the Arp Odyssey again with a sprawling meditation on two repeating arpeggios.

‘Garden’ is the one for the dancers. Four variations play with the same melodic theme in distinct sections, with the second variation being the deepest and most floor-ready the whole record gets. ‘France’ is a warped dub-come-hip hop beat that manages to conjure both Lil Jon and Yusef Lateef. We approached Liverpool’s finest ASOK (Lobster Theremin, M>O>S Delsin) for remix duties and to close out the record with a twisted bang. He turned in a propelling weapon that brings a whole new texture to the track listing. It’s very 90’s, very ravey and very raw, in a true IDM style.

With this eclectic mix of sounds we are entering another chapter of the Dirt Crew story and we hope you dig it as much as we do!

Having returned from a 4-year break in August with its latest release from GW & Henry, A&R Edits follows up with a debut for Moplen.
With a recent remix of Frankie Knuckles ft. Jamie Principle and a Salsoul Reworks EP, Luca Moplen has been gaining new traction of late, so it felt fitting to release two of his evergreen edits on vinyl for the first time. Moplen’s edit of Tavares’ classic disco stomper ‘It Only Takes A Minute’ coupled with Greg Wilson’s edit of Moplen’s edit of Larry Levan’s mix of David Joseph’s ‘You Can’t Hide (Your Love From Me)’, if you can follow all that!

An all brother group hailing from Providence, Rhode Island, Tavares were a band that evolved with the disco sound, hitting their peak in 1976 when both ‘Heaven Must Be Missing An Angel’ and ‘Don’t Take Away The Music’ became huge club favourites. They scored their first R&B #1 in ‘1974 with a cover of Hall & Oates ‘She’s Gone’ and in 1975 they returned to the top of the R&B chart whilst going top 10 pop and scoring a #2 Disco hit with ‘It Only Takes A Minute’.

In 1992 a cover by boy band Take That would gift them their first top 10 entry, many people unaware that this track had first been recorded 17 years earlier. Rising to prominence in Brit-funk band Hi-Tension, David Joseph soon found his footing as a solo artist after they’d split, with his first release being ‘You Can’t Hide (Your Love From Me)’ in February 1983.

That same month, Greg Wilson appeared on The Tube, mixing between two copies of this very record – the first time mixing had been demonstrated on British TV. It would subsequently enter the UK chart, climbing into the top 20. The track would then be remixed by legendary Paradise Garage DJ Larry Levan, resulting in a #2 placing on the Billboard Dance chart.

Upon hearing Moplen’s extended dub edit, Greg worked further into it reintroducing the song – given his history with the track it was unthinkable that he’d play it without the vocal. The result is a unique version where Moplen’s dub sets the vibe during the first half of the edit before the song is finally introduced.

2022 Repress

In future times, culture historians will refer to Gabor Schablitzki aka Robag Wruhme as a creator of a singular techno sound, a rock in the murky sea of arbitrary musical dullness that befell mankind in the early 21st century.

Furthermore, a lesser known quality of Schablitzki will be praised and explored: He was a relentless wordsmith, a deeply passionate inventor of elegant idioms that enriched German language. Take ‘Freggelswuff’ or ‘Wemmel’ as shining examples.

It’s within this context that a certain cultural artefact released on a Cologne based record label called KOMPAKT (which towards the end of the 21st century made a hardly publicised turn to manufacturing CO2-neutral wall plug systems) that went by the sonorous title ‘Topinambur’ has to be mentioned. Legend has it that Schablitzki claimed to have created the word ‘Topinambur’, unknowingly that local farmers have been marketing a root tuber under the same name since it got imported from America in 1610 AD. The following tenacious copyright lawsuit between Schablitzki and a large agricultural consortium lasted for many years. It isn’t considered as a highpoint in Schablitzki’s turbulent life but it still serves a staircase wit that is passed on from generation to generation amongst Black Forest moonshiners.

Kulturhistoriker künftiger Generationen werden Gabor Schablitzki alias Robag Wruhme als Schöpfer eines singulären Techno-Sounds preisen, als einen Fels in der Brandung der im frühen 21. Jahrhundert vorherrschenden Beliebigkeit. Als DJ und Produzent war ein Meister des deepen Abrisses, werden sie weiterhin formulieren, obschon es weitere 136 Jahre dauern wird, bis die subkulturelle Bedeutung des Wortes 'Abriss' zweifelsfrei geklärt werden konnte.

Es wird aber auch eine weitere einzigartige Qualität Gabor Schablitzkis hervorgehoben werden: Er war ein unermüdlicher Wortschöpfer, der die deutsche Sprache um elegante Idiome wie Freggelswuff oder Wemmel bereicherte. In diesem Zusammenhang findet meist eine Veröffentlichung des Kölner Labels KOMPAKT (welches im ausklingenden 21. Jahrhundert einen wenig bemerkenswerten Wandel zum Hersteller von CO2-neutralen Dämmstoffdübeln vollzog) Erwähnung. Diese Veröffentlichung erschien unter dem klangvollen Namen "Topinambur" und die Legende besagt, dass Schablitzki behauptete auch hier der Nachwelt eine neue Wortschöpfung hinterlassen zu haben, nicht wissend, dass europäische Landwirte bereits seit 1610 A.D. unter diesem Namen ein aus Amerika importiertes Knollengewächs vermarkteten. Der sich daran anschliessende Copyright-Streit zwischen Schablitzki und einem mächtigen Agrarkonzern, zählte nicht zu den rühmlichen Episoden seines bewegten Lebens, sorgt aber seit Generationen als Treppenwitz unter Schwarzwälder Schnapsbrennern für viel Geschmunzel.

How could we describe multi-instrumentalist Penelope Antena ? From her Lo-Fi sounding EP ‘Down the Habit Hole “, to her soul infused duo “Honey Drips” with Swiss producer Deheb, to the fragile and tormented melodies of “33-1 Oak” her first single out on the new Parisian label Kowtow Records.

Penelope can proudly say she takes from her mother Isabelle Antena when it comes to cross musical genre. Though the commun thread between all the worlds she cleverly navigates, would definitely be her vocals. Experimenting instinctively with different techniques, Antena uses her voice as a harmonic lab of emotions. Sometimes intimate, sometimes haunted. Always Original.

Her first LP Antelope - entirely self-produced - comes as proof that the music she makes changes and evolves to perfectly match her personal story. After a painful heartache, Antena settles alone in her parents house, lost in the woods somewhere in the south of France. Surrounded by her grand father’s instrument (Marc Moulin- great Belgian Composer from the 70’s ) she writes this 10 tracks album field with melancholia and broken love. Like on the branches of the Cedars around her house, It’s a folky electronic breeze that hallows onto this record.

New sound, same familiar feeling when listening to Antena (be it Mother or Daughter) : acoustic and electronic have rarely been so intertwined, beautifully combined. And if Bandcamp placed her song “Abuse” as one of the best of 2018, 2019 is sure set out to be a good year for this multi-facetted artist with narrative propension.

Yes, dear customers, your favourite instrumental-experimental-tropical quintet Satanique Samba Trio, known for its iconoclastic research on Brazilian traditional rhythms, is pushing the envelope on the low fidelity field once again! Friday September 13th 2019 will be remembered in Music History for the release of their new 10" vinyl Mais Bad, a conceptual sequel of the 2015 release Mó Bad. Mais Bad is a new collection of low fidelity bagatelles, forged into existence by Satanique Samba Trio's thirst for aesthetical deconstruction. All instruments in this 10-track vinyl have been recorded with the same cheap cell phone from the early 2000’s. It is meant to sound desperate, harsh and absolutely surreal. A little over the top, maybe? Yeah, but hey: that’s just how a country in crisis should look and sound like. Right? Greetings from Brasília, Brazil!

The boys from Satanique Samba Trio: Munha da 7 (electric bass and regency), Gustavo “Don Chavez” Elias (acoustic guitar), Jota Dale (cavaco), Lucas “Sombrio” Muniz (bass clarinet) and Lupa Marques (drums).

About The Word Collected Works

The Word is one of the better-kept secrets of 1980s Austrian disco music. Yet once you put the needle on this record, you notice that it sounds oddly familiar. The awe-inspiring signature piece “Lobster” has the same analogue, slow-moving aesthetic as Zenit’s timeless “Waiting” that was featured on Edition Hawara’s first release. The same goes for the three other wonderfully unconventional, proto-electronic songs: “Easy”, “All my life” and the eponymous “the word”. And there are even more commonalities with Zenit’s LP: The vocals are Linda Sharrock’s, who here teamed up with Karl “Charly” Ratzer and Peter Ponger, the twin brother of legendary Falco producer Robert Ponger. The result of this collaboration is, well, also quite legendary. How this kind of sound emerged in Vienna in 1984 is still a bit of a mystery, but clearly all the stars were aligned when Sharrock, Ratzer and Ponger were jamming in the studio. We at Edition Hawara are very proud to share this secret with you. Just as there are very few lobsters in landlocked Vienna, there are very few records like this

out there.

Southern Lord is proud to present reissues of the first two albums from iconic Portland-by-way-of-Nashville-based hardcore punk icons, From Ashes Rise.

Alongside related acts His Hero Is Gone and Tragedy, From Ashes Rise are one of the most iconic pioneer acts of the gloom-heavy American crust/hardcore sound born of the late 1990s.

Following their EPs on Clean Plate Records and Partners In Crime Records, the debut full-length Concrete & Steel was initially released through Feral Ward Records in 2000, followed by the release of their second album, Silence, through the same label later that same year.

Staples of the band’s catalogue, these two seminal LPs have not only stood the test of time, but lie as markers at the beginning of a now well-trodden path, making From Ashes Rise one of the founding acts of the sound so many modern acts continue to draw influence from.

The reissues of Concrete & Steel and Silence have been fully remastered by the band’s Brad Boatright at his revered Audiosiege in Portland, Oregon, the LP’s original covers formatted to tip-on jackets.

Southern Lord is proud to present reissues of the first two albums from iconic Portland-by-way-of-Nashville-based hardcore punk icons, From Ashes Rise.

Alongside related acts His Hero Is Gone and Tragedy, From Ashes Rise are one of the most iconic pioneer acts of the gloom-heavy American crust/hardcore sound born of the late 1990s.

Following their EPs on Clean Plate Records and Partners In Crime Records, the debut full-length Concrete & Steel was initially released through Feral Ward Records in 2000, followed by the release of their second album, Silence, through the same label later that same year.

Staples of the band’s catalogue, these two seminal LPs have not only stood the test of time, but lie as markers at the beginning of a now well-trodden path, making From Ashes Rise one of the founding acts of the sound so many modern acts continue to draw influence from.

The reissues of Concrete & Steel and Silence have been fully remastered by the band’s Brad Boatright at his revered Audiosiege in Portland, Oregon, the LP’s original covers formatted to tip-on jackets.

We’re proud to introduce “Afroderrick EP” by Voodoo Sound Club, the brand new 12” release on Mondo Groove. Afroderrick is a storming afrobeat track with special guest legendary italian trumpeter Roy Paci that originally came out on Guglielmo Pagnozzi’s Voodoo Sound Club project’s debut CD album on Cinedelic Records, “Same”, on 2011. The track became kind of a cult during the years with many DJ’s asking for a vinyl version. And here it is, in its full glory, the original itself opening the B side, followed by a solid breakbeat “Voodoo Strange Fruit Remix” by Detox, with the A side massive with another couple of interpretations, an euphoric house “Fresco Remix” done by Leo “Fresco” Beccafichi, DJ and producer and collaborator of Italian popstar Jovanotti, and another remix this time in trippy Afro style by heroes Daniele Baldelli and Marco Dionigi. You can’t miss this!

With SOUL FOOD II, KOGNITIF remains consistent with his previous release, and delivers once again, a high-powered Soul-Electro album.
The colorful, dancing universe of this beat-maker is filled with Hip-Hop, World Music and Jazz, mingled with Funky Trip-Hop beats.
This is food for the soul !

KOGNITIF is a self-taught musician and a Trip-Hop/Abstract Hip-hop producer.His music incorporates various influences and offers a plentiful Soul Groovy Funky Beats buffet.
After SOUL FOOD, his successful 3rd album, SOUL FOOD II comes as the second volume of a great collection with the same ingredients, but a different recipee.
KOGNITIF is now a major figure in the "à la française" Tip-Hop, in France and abroad.

Very few albums manage to unveil their roots so honestly and at the same time succeed in creating something utterly distinct. "Of All The Things" from Jazzanova is one of these albums.
Originally released in 2008 on Universal, it now gets a luxurious reissue on Sonar Kollektiv as a 3LP with pop-up gatefold cover including previously unreleased instrumentals.
This format corresponds perfectly with the elegant opulence of the music that shines even brighter eleven years after its initial release. At no time is it unclear that this album is a deep bow to soul from the 1960s and 70s as well as genres like jazz, brazil and pop music in the vein of the early Beatles.
Along these lines, "Of All The Things" is meant to be perceived as a tribute to the music that Jazzanova has been honoring affectionately in their DJ sets and which has always had a decisive influence on their own productions.
At the same time, the Jazzanova guys have been successful in casually creating elaborate musical pieces which convey a deeply contemporary vibe - not least because of the multifarious references to electronic productions.
The path to this sophomore long player, which features the contribution of over 50 studio musicians, had been laid out beginning with Jazzanova's first album "In Between" from 2002.