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Memento records is thrilled to announce "Hotter than Hell" a dancefloor twister release produced by Matteo Lago, Andrea Santini and Miky R, three DJs with more than e decade of experience behind the Booth. They are best known for their sweaty kinky party named Pandemonium that is soon becoming a record label as an output for their studio work.
"Make Some Changes" by Andrea Santini is a groovy hi-shuffled percussive track with a juicy acidic touch with an outbreak of good vibes and positive energy
"The Party Zone" by Matteo Lago is a killer cutting edge House track with an hypnotic synth, a full-bodied kick and sharp hi hats that lead straight into an anthemic 90s vocal hook
Miky R's techoid "Wild Flight' spreads elegant quirks rand clinks over a relentless sub bass and sophisticated uplifting Detroit-reminiscent chords.
Don't miss it! It's gonna make a Pandemonium!

RAMZi's 'hyphea', the new album by Montreal based artist Phoebé Guillemot. It is her latest sonic quest containing 10 new tracks, of which some are versions of the score she made for a documentary about mushrooms called 'Fun Fungi' (directed by Frederic Lavoie).

Recorded between November 2021 and May 2022, writing 'hyphea' started off somewhat as an attempt to escape boredom and frustrations imposed by the severe restrictions during the pandemic. For Phoebé it was a way to reconnect with RAMZi who's spirit brought her back to mystical feelings and gave hope for future magical adventures after having felt disconnected for a while.

RAMZi is a wild spirit from the forest and refers to a parallel autonomous world that keeps evolving. In her own words: “The music remains as a doorway to that world. It has never been about me, I always see that entity bigger than myself. The process of writing 'hyphea' was rather intuitive. I don’t think about styles of music before producing tracks. Those are more like an adventure in itself, each one set in a different ecosystem.”

Artwork by Marinka Grondel.

Presented together for the first time, American composer John McGuire’s Pulse Music series (1975-1979) blurs the popular narrative that Minimalism was a reaction against Europe’s angular, intellectual, inscrutable high-modernism. McGuire, born in California, studied at Occidental College in Los Angeles and UC Berkeley before going to Europe to study with Karlheinz Stockhausen, Krzysztof Penderecki, and Gottfried Michael Koenig. His compositions lock serialism’s warped geometries onto an evenly spaced grid, perfectly preserving serial music’s multi-dimensionality while smoothing its wildest disjunctures and sharpest angles. If serialism is Montreal’s Habitat 67 modular housing complex, McGuire’s Pulse Music compositions are the primary-colored grids of Le Corbusier’s L’Habitation apartment complex — an exuberant expression of the same materials and principles.

Every layer of pulses is made distinct through its timbre, register, and tempo. We hear them as a plurality, organized like stars in the sky. Every so often the sky rotates and the stars appear in a different arrangement. Our ear naturally starts to draw connections and, as it sweeps between one layer and another, what was discrete becomes continuous. Pulses become flows; quantitative reality becomes qualitative experience.

The moons of Saturn are the inspiration for this brooding, often soaring and searching odyssey of dark electronica.

The second largest planet in the solar system after Jupiter, and the sixth planet from the sun, Saturn is orbited by 53 confirmed moons, with another 29 that are unnamed and still being studied.

Saturnian is a suite of thirteen choral tracks taking their names from some of Saturn's known moons; Dione, Daphnis, Phoebe, Prometheus, Rhea, Janus, Titan, Enceladus, Tethys, Telesto, Mimas, Hyperion and Iapetus, all named after figures from Greek and Roman mythology, each loaded with their own turbulent back stories. It is the debut release by Holmes + atten Ash, written, recorded and produced remotely in Edinburgh and Bristol by the duo Simon Holmes and Paul Nash.

Their project began during the 2020 lockdown. For Simon, time was spent exploring the Pentland Hills south of Edinburgh. For Paul, the Mendip Hills, south of Bristol. Both would experience the darker side of our human impact on the environment. Simon observed the wilderness as a wasteland, finding discarded, rusting metal littering the Pentland Hills while Paul witnessed the decimation of the ancient woodland of the Mendips' King's Wood due to the destructive tree fungus ash dieback.

These field trips fuelled a desire to navigate not just the landscape, but the duo's emotional place within it. Their collaboration led to a concept album that explores the outer reaches of the solar system, while simultaneously grounding them in a specific place. Looking inwards as much as outwards, theycreated soundscapes based on deeply imagined and felt connections to their surroundings.

After Simon had created a choral piece to accompany Luke Jerram's enormous, world touring artwork Museum of the Moon, Saturnian was a natural progression. When Simon was sent an initial score for the ethereal track Enceladus, composed by Paul in Bristol, he added choral arrangements recorded in Edinburgh. Their shimmering, tense opus continued to evolve from there. Just as the discarded bed springs and abandoned car parts that Simon stumbled upon in the Pentland Hills seemed to him at once "horrible but also oddly beautiful", Saturnian melds together melancholy and levity, fusing moments of dark angst with a celestial calm.

Opening with the glistening, hopeful brightness of Dione, increasingly urgent rhythms give way to digital, otherworldly calls from what might be rainforest creatures chirping into life with robotic squawks and delicate keyboard lines on Phoebe, followed by slowed down, monastic song on Rhea. Tethys is a hypnotic blur of synthesiser and soft chanting, while Rhea is a mysterious, echoing chasm, lifted by melodic, gentle male vocals. Janus has a glowing, effervescent energy, swiftly followed by a sense of tension on Titan, which throbs with driving percussive unease.

The album artwork is a pencil drawing created by Edinburgh artist Simon Kirby. It was made by a robot drawing machine, using custom algorithms that bring to life recordings of the sound of magnetic waves near Saturn's icy moon, Enceladus. The lines in the centre of the drawing are distorted by sound captured by the Cassini spacecraft which studied Saturn for over a decade.

Much like Saturn and its frozen, rocky moons, this debut album from Holmes + atten Ash is mysterious and beguiling, with a hint of foreboding in the depths of its powerful beauty and epic scale.

Disco Volante is a new imprint created by Laila Moshiri (aka Laila), curator of the Disco Volante show on Ibiza Global Radio, aimed at merging different cultures, styles, personalities and their unique music frequencies.

The imprint's first EP - Aston Martin - is the result of the beautiful collaboration between Dandy Jack & Laila. Pursuing an intrinsic desire to flirt with deep and sensual music, Martin and Laila created a collection of tracks that span a multitude of genres, from laidback minimal to Detroit-tinged deep house.

Das Grammy-nominierte Produzentenduo ODESZA (Harrison Mills und Clayton Knight) gelten zurecht als eine der populärsten Gruppen im Bereich der elektronischen Musik und haben den Ruf, ihre Fans auf ihren regelmäßig ausverkauften Live-Konzerten besonders glücklich zu machen. Anfang September 2017 veröffentlichen sie ihr neues, 16 Stücke langes Album "A Moment Apart" welches über das Ninja Tune-Sublabel Counter Records erscheint. Anschließend präsentieren sie ihrem Publikum das neue Material auf einer ausgedehnten Welttournee.

"A Moment Apart" präsentiert sich gereift, ein Sound, der insbesondere auf Atmosphäre setzt, auf funkelnde Synth-Lines - und auf Gefühle wie Nostalgie, Zuversicht und Hoffnung. Die namhaften Gäste auf dem Album sind u.a. Leon Bridges, Regina Sektor und Ry X.

The second release of Distant Waters has been conceived with the idea of making something dynamic with flow and motions as a scene of sea hunting with several wild oceanic animals. So we collaborated with different inspired divers who came all around Europe to give their vision of our synchronized hunting. Solidwood the italian man behind the label Planet Tapes open this VA with a warm, stirring & progressive track. Then Sans Sucre strikes again, like a seagull who plunges into a big shoal of fish with a high energy track. The guys from Toulouse, Soyouz & Groenogen keep the flow going with a speedy micro-acid track that will make people dance as fast as a group of sardines trying to escape from their predators. English newcomer Human Logo close this EP with a shiny housy track with samples of whales which call for a hunting session.

Hospital Records proudly present the debut solo album from drum & bass icon Grafix. ‘Half Life’ is an introspective glimpse into the influences and sonic development of the Bristol-based producer, who over the years has established himself as a pinnacle of the dance music world. Grafix’s first ever studio longplayer as a solo artist consists of 14 hotly-anticipated pulse pounding anthems, featuring killer collaborations from the likes of Metrik, Lauren L’aimant, Reiki Ruawai and Chrissie Huntley in his hit singles ‘Somewhere’, ‘Feel Alive’ and ‘Skyline’.

High-octane dancefloor energiser ‘Skyline’ sees drum & bass titans Grafix and Metrik collide for a third time on this futuristic drum & bass cut infused with pure uplifting soundscapes. Enter a world of powerhouse synthesis, relentless basslines and Metrik’s very own vocal performance. This is just the follow up you needed from the mammoth success with the duo’s previous collaborations ‘Overdrive’ and ‘Parallel’.

Grafix draws upon his love for rave culture on the acid heavy ‘Blast Out’ - a no-holds-barred drum & bass system shocker. Skittery vocal chops, shredding bass hits and minimal-funk drums show the side of Grafix well known for tearing up the dance - never afraid to drop a wild card.

From the hypnotic and distorted energies on the likes of ‘CTRL’ and album title track ‘Half Life’, to the forward-facing vibes on LP numbers such as ‘Accelerate’ and ‘The Chance’, the versatile flavours supplied by Grafix throughout are a testament to his years of experience in the studio.

Other album highlights include two tracks with the immensely talented Lauren L’aimant who boasts previous releases on staple dance imprints including Anjunadeep, Colorize and Protocol Recordings. ‘Watch The Sky’ is an anthemic stepper home to Lauren’s spine-tingling vocals and Grafix’s catchy synth hooks. ‘Feel Alive’ captures the pair’s undeniable ability to strike up a euphorically cutting-edge dance music banger.

The ‘Half Life’ LP also features the previously released tracks ‘Radiance’ as well as radio hit ‘Somewhere’ featuring New Zealand’s very own Reiki Ruawai. Both tracks of which are no stranger to worldwide drum & bass listeners.

Grafix’s debut album marks a signature milestone within his musical journey as a solo artist and his achievements so far only scratch the surface. The first single ‘Somewhere (feat. Reiki Ruawai)’ to drop from his album racked up global airwave support with an impressive number of plays from radio tastemakers including Danny Howard, René LaVice, Mollie Collins, the George FM crew in New Zealand and of course, Fred V. With regular support from big hitters including Sub Focus, Wilkinson, Friction, Camo & Krooked and more, Grafix’s music continues to talk for itself when racking up countless DJ spins as well as consistent landings across pinnacle industry platforms such as UKF. Keep an eye out for Grafix at Snowbombing, Hospitality On The Beach Albania and more throughout 2022!

Son of Chi returns to Astral Industries, alongside Spanish artist Clara Brea, for the collaborative release of AI-29. A product of fate, chance experiments, but most of all, sensitive artistry - ’The Wetland Remixes’ exists as a confluence of two kindred musical spirits, a wayfaring epic that draws together a rich archive of ecological field recordings, live instrumentation and higher inspirations.

Ahead of Hanyo’s concert at Calma (Madrid) at the end of 2019, the curators organised a special dinner and arranged the meeting of Clara and Hanyo. As Hanyo recalls,“It was like stereochemistry. There was an instant match and understanding, and basically we decided in a split second to exchange recordings and to collaborate on future live and studio experiments.”

The auspicious meeting of the two ignited a remote exchange of materials and ideas, as the world descended into a series of pandemic-related lockdowns. The first of said recordings included the stems of Clara’s ‘Wetland Project’ - a site-specific audiovisual project originally produced for Eufonic Festival (Spain), using field recordings from the Ebro Delta nature reserve (one of the most threatened regions of climate change on the Iberian peninsula).

From this initial impetus, Hanyo began working on the first sketches of the album back in Rotterdam, Netherlands. Just like their meeting in Madrid, the project developed naturally and spontaneously with extraordinary ease. Later, Hanyo started adding field recordings from the Magic Cave and Wetlands of the ‘Kallikatsou’ (Patmos, Greece) as well as organic and acoustic overdubs, featuring bass, drums, percussion, guitars, oud, piano, hammond organ, wurlitzer, flutes, bells, and mouth harp.

In the distance, the sound of birds peak through the effervescent wash of the wetland soundscapes. The pass of running water flows deeper into a land full of secrets never told. On the strike of dusk, the silhouettes of shapely trunks and foliage melt slowly into the impenetrable darkness. As darkness passes, light emerges, with exquisite moments of tranquility that seemingly emerge from nothingness.

Beneath the shimmering veneer of textures, wildlife and melodies, one may hear the deeper references of ’The Wetland Remixes’. With credit to Clara’s input, for Hanyo the album process became a kind of refuge, and ultimately inspired the return to the core of Abstract Sound - what the Sufis call“Saut-i Sarmad.”Such references allude to the spiritual quality embedded in the music - the autonomous process of self-expression, the great mystery. Hanyo: “An ambience like this cannot be created by routine. There is no blueprint. The music has to find you. It’s like a blessing if it happens. You should not interfere, just observe and be impressed...”

Deep, luscious mind trips as per the classic Chi sound, ‘The Wetland Remixes’ beautifully correlates the interconnecting dots of geography, ecology, and mythology’s forgotten lore.

Three years after he released the incredible New Experience EP (picking up plaudits from Bill Brewster, Tim Sweeney, Laurent Garnier, Horse Meat Disco, Leo Mas & 6Music’s Tom Ravenscroft, among many more), Tokyo’s Kota Motomura returns to Hobbes Music for his debut LP, Pay It Forward. This is the first vinyl release on Hobbes Music since the much-loved ‘Aranath’ EP by Leonidas & Hobbes last Spring. While the label maintains the level of quality control for which it has become recognised, the artist continues to subvert electronic and dance music norms in his iconoclastic way on this extraordinary record.

He’s a mysterious character with an ear for idiosyncratic music that runs the gamut from ambient, exotica and jazz to disco, house and techno via post punk, new wave and funk. It’s highly original and all adds up to a confection perhaps best described as ‘Balearic’.

Album opener Paradise is a certified jazz-funk JAM. Destined for dance floors worldwide, this one’s been dropping well with DJs, Motomura demonstrating his piano chops alongside Mutsumi Takeuchi’s sax. Tropical pushes the boat in a more rhythmic direction, some pretty wild drum programming laced with more sounds of the, um, tropics, before mad vocal yelps suggest something yet more tribal. To Be Free initially resembles early 90s progressive house (pulsing bassline, synth-driven melodies), before the arrival of some new wave guitar licks a la classic Talking Heads/David Byrne and ooh ooh vocal chants take it to another dimension altogether.

B-side opener Emotion features Takeuchi again (on flute this time) and more vocal chants before things take a dramatic turn, threatening to open up into a full fanfare before calming and then bursting into wild life again with the exhortation that “C’mon, everybody dancing!” Rhythm flirts with an energy and pace more akin to a techno record: drums, drums, more drums plus a fair few yelps and chants - the kind of DJ tool that will send a simmering dance floor wild in the right hands. Flower closes things in a more melancholy style, familiar to fans of ‘Aboy’ from the New Experience EP, with plaintive acoustic guitar (performed by Akichi), birdsong and big piano chords.

Support from Bill Brewster, Leo Mas, Al Kent, Red Rack’em, Nick The Record, Phil Mison, Phat Phil Cooper, KZA, Sean Johnston (ALFOS), S/A/M, Dribbler, Joe Muggs, Monolith Cocktail and more…

‘Gonna review in MÜ mag... very fine stuff!’ JOE MUGGS
‘Will be reviewed on the blog’ MONOLITH COCKTAIL 
BILL BREWSTER played Flower on the DJ History podcast #641 (25.3.22)
'I really like this album, Flower and Paradise are my favourite' LEO MAS
‘I like Paradise’ AL KENT
‘Woo this is tasty. DEFO playing on my next radio show. The label’s A&R is defo getting better and better. HM has been putting out some dope stuff and this one seems really good quality’ RED RACK’EM
‘Paradise and Flower sounding good’ NICK THE RECORD
‘Tunes sound great!’ PHIL MISON
‘Going to include Paradise and Flower on my Sunday Ibiza global radio show PHAT PHIL COOPER (Nu Northern Soul)
‘Very nice album with influences from many different genres. I especially like To Be Free with nice synths and guitar cutting, and Flower, which is a chill vibe’ KZA (Mule Musiq, Endless Flight)　
'100% correct about the ALFOS potential of To Be Free!' SEAN JOHNSTON (A Love From Outer Space)
'Stunning, will fit perfectly with the vibe of my radio show’ S/A/M (Music For Dreams, DK; Playa Del Sol, Ibiza)
'Stellar work, i'll make a bet that Flowers is a Balaeric classic this summer' DRIBBLER (Breakfast Club, Ibiza)
‘It's cool in a nice smelling psycho sense, it was a very DEEP sound that I couldn't produce. Congrats!’ ALTZ (Altzmusica)
‘Paradise is my jam, it's deep, sunny and never boring. I'm interested to see how this will work on the dance floor. Overall a great album with solid composition and impressive use of live instruments!’ SOBRIETY (fka Chloé Juliette)
'Very tidy selection' ASTROJAZZ (Kelburn Garden Party, Wee Dub, Samedia Shebeen, Disco Makossa)
‘This is a lovely release. Follows on from New Experience in the best way possible. It's got lots of vibes going on but holds together as a cohesive piece of work. Love it’ JAMIE THOMSON (La Cheetah, Glasgow)
‘To Be Free is a track i could imagine Andy Weatherall playing in one of his sets at A Love From Outer Space’ KIRSTIE PATON aka She-Bang Rave Unit (Threads Radio, Radio Magnetic)

Like every record Superchunk has made over the last thirty-some years, Wild Loneliness is unskippably excellent and infectious. It’s a blend of stripped-down and lush, electric and acoustic, highs and lows, and I love it all. On Wild Loneliness I hear echoes of Come Pick Me Up, Here’s to Shutting Up, and Majesty Shredding. After the (ahem, completely justifiable) anger of What a Time to Be Alive, this new record is less about what we’ve lost in these harrowing times and more about what we have to be thankful for. (I know something about gratitude.

I’ve been a huge Superchunk fan since the 1990s, around the same time I first found my way to poetry, so the fact that I’m writing these words feels like a minor miracle.) On Wild Loneliness, it feels like the band is refocusing on possibility, and possibility is built into the songs themselves, in the sweet surprises tucked inside them. I say all the time that what makes a good poem the “secret ingredient” is surprise. Perhaps the same is

true of songs. Like when the sax comes in on the title track, played by Wye Oak’s Andy Stack, adding a completely new texture to the song. Or when Owen Pallett’s strings come in on “This Night.” But my favorite surprise on Wild Loneliness is when the harmonies of Norman Blake and Raymond McGinley of Teenage Fanclub kick in on “Endless Summer.”

It’s as perfect a pop song as you’ll ever hear sweet, bright, flat-out gorgeous and yet it grapples with the depressing reality of climate change: “Is this the year the leaves don’t lose their color / and hummingbirds, they don’t come back to hover / I don’t mean to be a giant bummer but / I’m not ready / for an endless summer, no / I’m not ready for an endless summer.” I love how the music acts as a kind of counterweight to the lyrics.

Because of COVID, Mac, Laura, Jim, and Jon each recorded separately, but a silver lining is that this method made other long-distance contributions possible, from R.E.M.’s Mike Mills, Sharon Van Etten, Franklin Bruno, and Tracyanne Campbell of Camera Obscura, among others. Some of the songs for the record were written before the pandemic hit, but others, like “Wild Loneliness,” were written from and about isolation.

I’ve been thinking of songs as memory machines. Every time we play a record, we remember when we heard it before, and where we were, and who we were. Music crystallizes memories so well: listening to “Detroit Has a Skyline,” suddenly I’m shout1singing along with it at a show in Detroit twenty years ago; listening to Overflows,” I’m transported back to whisper-singing a slowed-down version of it to my young son, that year it was his most-requested lullaby.

Wild Loneliness is becoming part of my life, part of my memories, too. And it will be part of yours. I can picture people in 20, 50, or 100 years listening to this record and marveling at what these artists created together beauty, possibility, surprise during this alarming (and alarmingly isolated) time. But why wait? Let’s marvel now. - Maggie Smith

Surrealism is more than an artistic style - it is an artistic
movement. In this sense, Lydia's third OAM was created
during the time of the COVID-19 pandemic. Lydia adapts her
own surrealism, which is re§ected in the artistic language
with the cover symbolized by the Las Pozas and the tracks
Excile and Uncontrol on the vinyl. She musically explains the
inner con§ict between rational choices and wild reverie in a
di¨cult time. Ben Sims rounds out the theme. Giving Lydia
another supporter from her personal favorite producer's box
for OAM.

In the early 21st century, a shadowy figure rose from the dust that settled atop forgotten record collections throughout Africa, leaving behind
a trail of clues in what seemed like a wild good chase, but in October 2013, Luaka Bop will unmask a phantom: the great William Onyeabor.

'...anyone out there making music at the moment will be quite excited by this...' Damon Albarn
'...a synth-slathered prog-funk killer...' - Pitchfork
"talk to @LuakaBop about details of the William Onyeabor comp they are working on today... gonna blow minds!!!!!!!!!' - Four Tet

Promotional Assets
Covers & Remixes by Devendra Banhart, Man Tear (DFA) & Hess Is More, Caribou, Dam-Funk, Justin Strauss, Scientist, Optimo, Prince Language, Illum Sphere, James Holden, Peaking Lights, etc.

Art collaborations with John Akomfrah, Njideka Akunyili, Harrison Haynes, Dave Muller, Odili Donald Odita, Xavier Simmons and music videos by Brian Baderman, Mike Sumner & Kindess. Partnership with Moog, Boiler Room, DubLab, Beats in Space & East Village Radio. Events at Moog Fest, Pop Montreal, Le Comptoir General

“Dance dance otherwise we are lost” is a raw and insightful EP with 5 non-conformist tracks ranging from the hard hitting yet poetic peak time 141bpm Trans TanzTheater to Orbits of Happiness 135bpm an unstoppable rhythmic force carrying the weight of a thousand lives. Woven by an orchestra of synths and their unescapable gravitational force, pulling you in – ever developing, ever growing.

Next up is Incessant Maze 139bpm a projection of the mind itself. A mechanism of transcendence and transformation. A raw and ready psychedelic techno assault to shake your mind out of your body and back into again.

Following the three originals are two very special remixes from Filmmaker and Polanski that bend time and space: a blissfully dark slow tempo remix of “Orbits of Happiness” by London’s experimental techno Producer/DJ/Promoter all-in-all powerhouse Polanski. At 120bpm, the “Is this happiness?” remix has had its question answered already by the sensational feedback received so far: A sultry timeless cut. There’s no way to escape. Not that you would want to, anyway.

Finishing it off, undoubtedly one of the standout artists in 2019 rising star Colombian producer Faunes Efes’ Filmmaker project has released a slew of incredible albums and EP’s this year already. Here he delivers “The Quandary” a wild and psychedelic cut of Incessant Maze merging hypnotic vocals with an ever driving percussive power that is already getting some special support in Europe and South America 130bpm.

With his raw, dark, cutthroat approach to Techno, EarToGround are very happy to introduce Spain's PWCCA to the label via four distinctive original tracks and remix work from label owner Gareth Wild.

With recent appearances on genre leading labels such as Oscar Mulero's Warm Up Records as well as Tsunami, Granulart, Faut Section and New Rhythmic he makes a perfect addition to London's ETG.

Double LP: Heavy 350gsm Sleeve, Liner Notes, Sticker

WRWTFWW Records is very happy to reissue Swiss cult band Grauzone's self-titled album in an expanded 40 Years Anniversary Edition packed with the original 1981 album plus 9 extra songs, as well as extensive liner notes by Swiss music historian Lurker Grand. The 19-track album is available as a double LP vinyl in heavy 350gsm sleeve and a digipack CD, both sourced from the original reels and put together under the supervision of band member and all around legend Stephan Eicher.

The pioneering band from Bern (Switzerland) had a short-lived but highly-regarded career which birthed a cult discography that still fascinates and resonates today. Consisting of core members Martin Eicher, Stephan Eicher, and Marco Repetto, and on-and-off participants Christian GT Trüssel, Claudine Chirac, and Ingrid Berney, the elusive group broke new grounds in the early 80s, experimenting with punk and industrial music, early techno sounds, minimalism, new wave, pop, and various electronics. With an innovative and polished approach to design, visuals, performance, and all around style and philosophy on top of their superb music, the constantly transforming unit developed a whole experience - the Grauzone experience: wild and unpredictable, yet sophisticated and cohesive, or as Swiss music historian Lurker Grand would call it, "an Art band with a Punk attitude".

Completely rejecting the music industry rules and refusing to play the game of promotion, touring, release schedules, and TV appearances even though they had a multi-platinum international hit with the song "Eisbär", the band quickly disintegrated in full convention-defying glory, leaving behind an inspiring music legacy for the world to discover and discover again, one generation after the other.

This extended version of their debut (and only) album beautifully crystallizes the Grauzone miracle/accident - where pop and youthful experimentation meet at (new/cold/no) wave and industrial crossroads, and where classic hits ("Eisbär", "FILM 2", "Raum", "Träume Mit Mir", "Der Weg Zu Zweit"…) flawlessly mesh with unconventional deep cuts ("In Der Nacht", "Film 1", "Maikäfer Flieg"…). Very simply put: GOOD timeless music with an edge.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and Sylvie Fleury, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.