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EUPHORIC STUDIES by Kamron Saniee ? SVS RECORDS SVS017

Positivity. Lucidity. Velocity. In his second solo release, Kamron Saniee presents six animated studies of concentrated, rhythmic electronica – Euphoric Studies – in search of an "everyday euphoria" for the sunlit hours.

The works are characterized by a playful yet incisive energy, harkening back to the exuberance of early 2000s post-techno experimentation. Bubbling synthesizer melodies and emergent textural grooves serve to guide listeners towards a lucid, stimulated state.

Saniee acknowledges his classical influences on the track 'Badinage', in which a theme by Marin Marais played back on the violin is repurposed and diffused into a radiating sonic tapestry.

On the 10-minute opus 'Rhythm Force', raining percussive elements and drifting, formant harmonies create a prolonged and invigorating environment. The use of overlapping meters in 'Amnion' creates a similarly buoyant energy.

In early 2018, Nathan Jenkins returned from the coast of Arrábida to his new home studio in a cottage tucked behind the grand hotel setting of Wim Wenders’ Lisbon Story. Breaking for lunches under a Datura tree in the garden and a far cry from the Finsbury Park basement flat he rented the previous year, a set of recordings followed that galvanised into an EP - ‘We Had A Good Time’. Music informed by out-of-town trips in a 1987 Renault 9 Super, Pitchfork attributed “remarkable healing powers” to lead song ‘Hula’.

After leaving London for a spell in Portugal, Nathan lost his taste for the night life and drew a line under a long-running NTS radio show. Much of the time spent abroad was dedicated to a longstanding collaboration with Westerman, whose album they recorded in a remote part of the Algarve countryside in 2019. Nathan’s own discography opened in 2007 with ‘Pet Sounds: In The Key Of Dee’, before pivoting in a more electronic direction via ‘Get Familiar’ and ‘Young Heartache’. From the sampledelia of 2011’s ‘Too Right’, the new wave and rave of ‘Say Arr Ee’ to the Robert Wyatt-influenced ‘Love Me Oh Please Love Me’, he’s mapped a deliberately peculiar path. 2015’s ‘Rooster’ was Eno & Byrne’s ‘Bush Of Ghosts’ given a shangaan-electro lick and clip. While Nathan’s partnership with fellow out-there pop auteur Jesse Hackett, as Blludd Relations, staggered like a half-cut Prince.

Collaged, rhythmic alternatives. Syncopated avant-garde sambas. Off kilter Sci-Fi jazz. Think Asha Putli in the spot at the Star Wars cantina. Arty, angular. Rich, but uncluttered. Frenetic, electric, blurring the boundaries between what is sampled, what is played. Nathan’s is a wilfully weird Pop, showcased in 2016 on his album ‘Loop The Loop’. Wayward but woven with hooks that come out of nowhere. Lyrical, often beautiful, solos on violin, oboe and desiccated guitars. Songs that demonstrate a nose-thumbing playfulness, a refusal to sit still. Where there’s always the urge to interrupt a carnival beat with a burst of galloping horse hooves. Or juxtapose ambient chords with a kazoo.

A roll call of Nathan’s broader musical adventures encompasses work with Paul Epworth, Sampha, Westerman and Nilüfer Yanya. Commissioned remixes reach from Dita Von Teese to Model 500, Tricky, Todd Terje and Lee “Scratch” Perry. Solo efforts gracing labels Honest Jon’s, R&S, Young Turks, Whities and The Trilogy Tapes. ‘Blue Pedro’, on the latter, making it into Crack Mag’s Top 100 Tracks Of The Decade.

In 2012 Nathan started his own label, DEEK Recordings, assuming the role of inhouse producer to collaborators. The imprint’s tagline and aesthetic - Pop, not slop! - is illustrated by an ongoing playlist of the same name and further explored in a series of compilations where Nathan and friends cover and reinterpret unsung ‘unclassics’ from alt. country to obscure 80s European arthouse scores, bouncing between Captain Beefheart, The Pixies, Sade and Mazzy Starr. DEEK’s roster is equally eccentric, non-linear and pop-literate. Laura Groves and Nautic - the realization and crystallization of a shared love for the Cocteau Twins.

12” pressed on crystal clear vinyl.

James Johnston (Gallon Drunk / Nick Cave / PJ Harvey) and Steve Gullick (renowned music photographer) are pleased to announce their new album out on the 26th Feb 2021. It's a dark but beautiful trip. After working together on an art show in late 2019, the idea of making music again immediately resurfaced. Without any firm strategy, Johnston and Gullick began recording, unprompted, drawing upon a shared love of noise, folk, and classical. After the first tracks began to evolve, however, they knew they’d unearthed something compelling and fresh, not to mention unexpectedly mysterious. This became WE TRAVEL TIME.The result is a deceptively crafted album that slowly reveals – and, more importantly, embraces – beauty in its cracks. Piano, voice, violin and guitar create a drifting haze, with the focus on these acoustic elements forging an imagined soundtrack which offers echoes of Big Star, Nico, Lee Hazlewood and Palace Brothers, as well as the gentle, haunting influence of contemporary minimal classical. Ambient sounds – birds, rain, cars, clocks, distant voices – also drift in and out, melting into the music’s fabric via windows left open during the early 2020 heatwave. WE TRAVEL TIME, nonetheless, resists definition, remaining enigmatically timeless.

If conceivable, imagine a collaboration between Brian Eno and Aphex Twin, both in their ambient periods, recording stock music for an Italian Library music label. If so, then behold Psycorama!, a collection of experimental music used to soundtrack a series of films and documentaries produced by the Italian filmmaker Roberto Rossellini. Composed by Mario Nascimbene, a name synonymous with the golden age of Italian film music, a composer whose grandiose scores of the 1950s and 60s defined the very essence of Cinecitta. While the widespread influence of these soundtracks is undeniable, it is beyond the commercial domain of the major studios where this compendium takes focus, revealing a deeper, darker and more complex composer. Forged on the 'Mixerama', a unique homemade sampling instrument, Nascimbene employed visionary techniques to deconstruct and render sound, sculpting pre-existing recordings into intense and evocative other-worldly soundscapes (most notably used for the 1971 existential TV drama Socrates and the 1969 Egyptian modernist film Al-Mummia (The Night Of Counting The Years). Previously unpublished except for a lone and mysterious Library music LP, the soundtrack cues are collected here for their first commercial release. Psycorama is a fascinating document of electro-acoustic music comparable to the beautifully dark music of fellow colleague Egisto Macchi. Including liner notes and rare photos.

Reissue of a rare Italian experimental Library LP.
Music used to soundtrack Roberto Rossellini films.
Pioneering sampling techniques and tape manipulation.
Brian Eno's Music For Airports meets Aphex Twin's Ambient Works II!

It is the simple thing that is so hard to do. This is the paradox that musician Lael
Neale has lived within throughout her development as an artist. It is the reason she
became enthralled with poetry. Poems are a distillation. Lael says, “this challenge to
winnow away what is unessential is the most maddening and, ultimately, rewarding
part of writing a song.”
Lael’s new album ‘Acquainted With Night’ is a testament to this poetic devotion.
Stripped of any extraneous word or sound, the songs are lit by Lael’s crystalline
voice which lays on a lush bed of Omnichord. The collection touches on themes that
have been thread into her work for years: isolation, mortality, yearning and reaching
ever toward the transcendent experience.
Lael grew up on a farm in rural Virginia but for nearly 10 years called Los Angeles
home. Those years were spent developing her songwriting and performing in venues
across the city but the right way to record the songs proved more elusive. She says,
“Every time I reached the end of recording, I felt the songs had been stripped of
their vitality in the process of layering drums, bass, guitar, violin, and organ over
them. They felt weighed down.”
In a moment of illumination, the solution presented itself: do the simple thing. In
early 2019, in the midst of major transition, she acquired a new instrument - the
Omnichord - and began recording a deluge of songs. Guy Blakeslee, who had been
an advocate for years, set up a cassette recorder in her bedroom and provided
empathic guidance, subtle yet affecting accompaniment and engineering prowess.
Limited to only 4-tracks and first takes, Lael had to surrender some of her
perfectionism to deliver the songs in their essence.
The first song she recorded was ‘For No One For Now’, which calls to mind the
agitated beat of driving fast on the freeway against the backdrop of the San
Fernando Valley’s bent palms. The song contrasts romantic idealizations with the
banality of folding sheets and toasting bread. It highlights her oft-thwarted attempts
to enjoy the day to day while her mind wanders off toward the dream, the ideal.
While Lael returned to her family farm in April 2020, Los Angeles is a player on this
album and ‘Every Star Shivers in the Dark’ is an ode to the sprawling city, the
outskirts of Eden. One can envision her walking from Dodgers Stadium to downtown,
observing strangers and her own strangeness but determined to find communion
with others. ‘Blue Vein’ is her personal anthem, a Paul Revere piece that gallops
through the town as a strident declamation. It is an amalgam of thoughts, concerns
and lessons as she nearly speaks the words, unmasked by flourishes, ensuring the
meaning cuts through.
Normally a morning person, Lael recorded most of these songs in the darkening of
the early evening, and so became ‘Acquainted With Night’.
CD in gatefold altpack.
LP first pressing on white vinyl.
Cassette with three-panel J-card in clear case.

It is the simple thing that is so hard to do. This is the paradox that musician Lael
Neale has lived within throughout her development as an artist. It is the reason she
became enthralled with poetry. Poems are a distillation. Lael says, “this challenge to
winnow away what is unessential is the most maddening and, ultimately, rewarding
part of writing a song.”
Lael’s new album ‘Acquainted With Night’ is a testament to this poetic devotion.
Stripped of any extraneous word or sound, the songs are lit by Lael’s crystalline
voice which lays on a lush bed of Omnichord. The collection touches on themes that
have been thread into her work for years: isolation, mortality, yearning and reaching
ever toward the transcendent experience.
Lael grew up on a farm in rural Virginia but for nearly 10 years called Los Angeles
home. Those years were spent developing her songwriting and performing in venues
across the city but the right way to record the songs proved more elusive. She says,
“Every time I reached the end of recording, I felt the songs had been stripped of
their vitality in the process of layering drums, bass, guitar, violin, and organ over
them. They felt weighed down.”
In a moment of illumination, the solution presented itself: do the simple thing. In
early 2019, in the midst of major transition, she acquired a new instrument - the
Omnichord - and began recording a deluge of songs. Guy Blakeslee, who had been
an advocate for years, set up a cassette recorder in her bedroom and provided
empathic guidance, subtle yet affecting accompaniment and engineering prowess.
Limited to only 4-tracks and first takes, Lael had to surrender some of her
perfectionism to deliver the songs in their essence.
The first song she recorded was ‘For No One For Now’, which calls to mind the
agitated beat of driving fast on the freeway against the backdrop of the San
Fernando Valley’s bent palms. The song contrasts romantic idealizations with the
banality of folding sheets and toasting bread. It highlights her oft-thwarted attempts
to enjoy the day to day while her mind wanders off toward the dream, the ideal.
While Lael returned to her family farm in April 2020, Los Angeles is a player on this
album and ‘Every Star Shivers in the Dark’ is an ode to the sprawling city, the
outskirts of Eden. One can envision her walking from Dodgers Stadium to downtown,
observing strangers and her own strangeness but determined to find communion
with others. ‘Blue Vein’ is her personal anthem, a Paul Revere piece that gallops
through the town as a strident declamation. It is an amalgam of thoughts, concerns
and lessons as she nearly speaks the words, unmasked by flourishes, ensuring the
meaning cuts through.
Normally a morning person, Lael recorded most of these songs in the darkening of
the early evening, and so became ‘Acquainted With Night’.
CD in gatefold altpack.
LP first pressing on white vinyl.
Cassette with three-panel J-card in clear case.

Laurel Halo, Donato Dozzy and Teheran sound artist Tegh give us their "Glassforms Versions"alongside a new edit by Max Cooper. The works of Philip Glass are reflected and refracted in a myriad of ways by some of the most renowned electronic artists alive, making for a blissful, multi-dimensional listening experience.


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With "Glassforms", Max Cooper and Bruce Brubaker set out on an intimate, nuanced exploration of the works of Philip Glass. The resulting recordings, developed in a fluctuating exchange between the American pianist and the Irish scientist-artist, are an astounding testament to the innovation that artistic collaboration can achieve and what depths are yet to discover in Philip Glass' compositions. The two artists did not just rework, but fundamentally rewired the original songs using algorithmic software to process and augment the musical data it received from Brubaker's piano live on stage.

When approaching his remix, Donato Dozzy also tapped into that inspiration to create something new rather than just reworking it, which is one of the core motives that emanates from "Glassforms". The Italian producer and label owner is known for his drive to explore: he develops installations for public spaces and museums, uses obscure musical instruments and collaborates with classical singers or visual artists. "I chose "Two Pages" for it's hypnotic feel in the notes repetition", he says, "but I did not want to merely sample the piano, but instead ask someone I trust and admire to carve it from scratch and even go further." So he followed the lead of Brubaker and Cooper and teamed up with the renowned Italian percussionist and jazz musician Daniele Di Gregorio to completely rewire "Two Pages" into a gorgeous piece of endlessly modulating ambient electronica.

Laurel Halo, the second remixer on "Glassforms Versions", does not need a long introduction either: the American musician is at the forefront of electronic music in 2020, a bright star today after releasing her debut "Quarantine" on Hyperdub in 2012. Her remix of "Opening" brings to mind the string section of an orchestra tuning their violins before the performance - forever. They glide in and out of tune, sometimes individually, then together, then are accompanied by keys that are most likely a ghostly representation of Brubaker's piano, sampled and pitched down, but sound almost jazzy in the context of Halo's remix. It's a blissful listening experience, calling to mind her recent collaboration with cellist Oliver Coates on "Raw Silk Uncut Wood" and showing a deep understanding of Philip Glass' work.

Sound artist Tegh is the third on the remix bill - the electronic musician from Teheran delivers his take on "ƒTwo Pages", once again showcasing how versatile, how inherently complex the works of Philip Glass are. They can be interpreted in a myriad of ways - Tegh's version is a bounding, brooding piece filled with raw energy that feels like it is performed live, just for you, every single time you listen. His version is, at first, much more focused on the underlying moods, electronic undercurrents of the original than Dozzy's version, and yet, when the piano finally does break through, it becomes clear that we are listening to Philip Glass, reflected manifold: through the piano of Bruce Brubaker, the synths of Max Cooper, and then again through the mind of the artist Tegh.

Concluding the new "Glassforms Versions" is a previously unheard edit of "Two Pages". It's difficult to edit a piece of minimalistic beauty without losing it's essence, but Max Cooper - after many efforts and close conversations with Bruce Brubaker - managed to bring these shorter edit into a satisfying, conclusive form.

Marika “Politissa” Frantzeskopoulou was a Greek singer from Constantinople, renowned for her precise, fluid and graceful performances and depth of feeling.
Backed by some of the best musicians of the era on lyra, violin, oud, kanonaki and guitar, Marika’s repertoire and techniques drew from Byzantine and Ottoman musical traditions.
She possessed an ability to devastate her audience through her expressions of grief, exile, and tragic love, running the gamut of cafe aman, torch songs, lilting and fragile odes to heartache, heavy Piraeus style rebetika, and ecstatic Near-Eastern climaxes, all with a visceral sense of atmosphere, emotion, and fatalism.
Marika’s voice is complimented beautifully by her backing musicians, creating a pulsing acoustic foundation over which her voice soars with clarity and purpose.

One of the most striking documents of Italy’s Minimalist movement, Giusto Pio’s "Motore Immobile" is a work with few equivalents. Produced by Franco Battiato in 1979, at the outset of a long and fruitful period of collaboration between the two composers, and issued by the legendary Cramps Records, its triumphs were met by silence, before falling from view.

"Motore Immobile" now sits within a reappraisal of a large neglected body of efforts made by the Italian avant-garde during the second half of the 1970’s and early 80’s. It is singular, but not alone. It resonates within a collective world of shimmering sound, one familiar to fans of Battiato, Lino Capra Vaccina, Luciano Cilio, Roberto Cacciapaglia, Francesco Messina and Raul Lovisoni.

An exercise in elegant restraint - note and resonance held to the most implicit need. Where everything between root and embellishment has been stripped away. A sublime organ drone, against interventions of deceptively simple structural complexity - executed by Piano, Violin, and Voice. A sonic sculpture reaching heights which few have touched. A thing of beauty and an album as perfect as they come.

Melbourne-based violist/violinist and orchestral composer, Tamil Rogeon, returns to his jazz roots on his soaring and celestial new album, Son Of Nyx coming soon on Greg Boramans' new imprint Soul Bank Music (part of the !K7 Music Group). From conducting the Melbourne Symphony Orchestra at the 2500-seated Hamer Hall to writing and co-producing his first full-length album in three years and one of the very few viola-led jazz LPs of our time, Rogeon joins forces with several stars of Melbourne's thriving and acclaimed jazz scene (Allysha Joy, Sam Anning et al.), channeling the cosmic energy of Yussef Lateef, Herbie Hancock and the like. Whilst often not an instrument typically associated with jazz, violin greats from Jean-Luc Ponty, Stéphane Grappelli to Billy Bang, have gone on to become iconic figures in the jazz canon, yet little can be said for the viola. Often considered the older sibling to the violin, the viola is larger in size and the tone is a lot deeper, something Rogeon was keen to make use of on Son Of Nyx. "I didn't want to make a bebop record. I wanted to make a modal jazz record and there just aren't that many on viola. I wanted to speak with a heavier voice, more akin to a tenor saxophone. The viola is darker and thicker. It speaks slower".

Limited edition 12” LP - 180 gram silver marble vinyl. In response to a
world struggling with disruption and discord, Tony Tixier has instinctively turned towards his music as a way to re-establish the sundered
connections of everyday existence.
‘I Am Human’, a series of remotely records duets - available only on limitededition vinyl - was created when he returned from a sell-out US tour to find himself locked down in his Paris apartment.
An escape route appeared out of a happy combination of chances: a loan of a new piano from Yamaha and an encounter with a neighbour, David Freiss, who turned out to be an expert sound engineer. Tixier conceived a plan to spontaneously record a series of pieces, all in one take, and then send them out across the world to a chosen band of his closest musical accomplices - Scott Tixier, Hermon Mehari, Ben Leifer, Logan Richardson and Adrien Soleiman - musicians with whom he felt so closely in tune that the enforced separation of time and space could be overcome - and invited them to overdub a response to create a series of virtual duet recordings “Each track is dedicated to a friend, someone I feel close to - I sent them the track in the morning, and by the afternoon I had the track back with their parts.”
Each side of the vinyl release is opened with a performance of an original solo piece by Tixier, both recorded back to back. ‘Leaking Life’ is a meditation on the passing of time and a call to action to make the most of every day. ‘Humain’ is an expression of his own identity “A presentation of myself - I don’t see myself as mixed race - I am 100% black, 100% white, 100% human.”
Tixier has travelled the world with the likes of Christian Scott and Keyon Harrold and performed for audiences across four continents, but this is his most personal, direct work to date. Reaching out across the world, sustained by a network of friends, he has delivered a statement for our times that transcends the limitations of remote recording with the sheer force of its emotional connection. Personnel: Tony Tixier (piano), Scott Tixier (violin), Hermon Mehari
(trumpet), Ben Leifer (double bass), Logan Richardson (alto saxophone), Adrien
Soleiman (tenor saxophone)

From co-founder of the Lumineers, Jeremiah Fraites, Piano Piano is a collection of songs that’s been in the works for the better part of a decade, featuring gorgeous, intimate piano-centric instrumental songs capturing Fraites’ reflective moments from his Denver home. Piano Piano is an achingly gorgeous set of songs, emotionally direct yet profoundly revealing. Fraites’ songwriting reaches into deeply personal spaces with moving grace and stark elegance, retaining the folk-inspired melodicism so familiar from his work in The Lumineers, transported into a more classically sophisticated setting. In addition to piano, Fraites plays nearly every instrument on the album, including guitar, drums, synths, and programming. It was co-produced and engineered by David Baron (Jade Bird, Vance Joy, Shawn Mendes) and features other collaborators such as The Lumineers’ violinist Lauren Jacobson, cellists Rubin Kodheli and Alex Waterman, and Macedonia’s 40-piece FAME’S Orchestra.

Monster grooves, driven by a perfect symbiosis of fiery oriental rhythms and the deep, relaxed heartbeat of the bass line, with virtuosic, intoxicating solos on bouzoukis, Farfisa organs, clarinets and violins. This is the sound of laika, Greek-oriental pop music from the 60s and early 70s that sets every dance floor on fire!

These 20 carefully selected songs serve as an introduction to this mind-blowing music for the non-aficionado, as it is the first album of its kind to be released outside of Greece or the Greek migrant communities. The extended and illustrated liner notes take you back to the heyday of Greek pop music and put this cultural movement into an historical perspective.

incl. 12 pages booklet

Along with the publishing of the complete soundtrack of Grandia, Wayô Records is trilled to announced this official tribute album celebrating 30 years of music by Japanese video game composer legend Noriyuki Iwadare. From Grandia, Lunar to Langrisser and beyond, get ready to embark on a journey of sounds, filled with nostalgia and discovery!

Wayô Records presents you a brand new album featuring some of his most memorable and iconic melodies, beautifully arranged for violin and piano. Performed by multi-award-winning superstar pianist Benyamin Nuss, international concert violinist Shauno Isomura, and arranged by renowned composers including Michiru Oshima (ICO, Fullmetal Alchemist), Eric Roth (A New World: intimate music from FINAL FANTASY, Distant World: music from FINAL FANTASY) and many more. Also included in the album, a world premiere track Overcome composed especially for this album by Noriyuki Iwadare himself.

Itzhak Perlman, the supreme violinist of his time, performs the supreme works for unaccompanied violin. In preparing the Bach Sonatas and Partitas, Perlman sought authenticity through the score itself, not through musicological research: “Music is a language, and, performed responsively, with musical logic as guide, it will make sense.”

Bach’s Sonatas and Partitas are a landmark not only of the solo violin repertoire but of all music history. No composer before or since has created a comparable architectural miracle, or made better use of the violin’s polyphonic capabilities, than did Bach in this set of six works. The improvements in instrument-making introduced by such experts in the field as Niccolò Amati and his pupil Antonio Stradivari meant that performers and composers could now push the tone and power of the violin to bold new limits. The Second Partita also includes a Chaconne which appears to stand outside space and time. Its complexity, power and splendor make it in a way the keystone of the entire musical edifice — a magnificent set of variations on a single theme which exploits the violin’s full harmonic and contrapuntal potential. While the great virtuosos of the nineteenth century, Paganini chief among them, expanded the instrument’s technical capabilities, Bach had already established its limits in terms of polyphony.
Perlman made several earlier attempts at recording the set, none of which was ever released, then performed it live on stage at venues around the world. In other words, he had the wisdom to wait until he had achieved a level of excellence in both performing and understanding this music before committing it to disc. The most practised of ears may detect a subtle difference in tone between the C major and A minor Sonatas, which he recorded on the “Soil” Stradivarius, and the other four works, recorded on the Guarneri del Gesù “ex-Sauret”.

“Instead of landscape sketches I wanted to go into more personal areas of my reality,” says Jim Ghedi of his third album In The Furrows Of Common Place. “To hold up certain aspects of society that were laying bare in front of me.”

Whilst Ghedi’s previous idiosyncratic take on folk has often been instrumental, exploring the natural world and his relationship to it through his music as seen on 2018's A Hymn For Ancient Land. His new album In The Furrow Of Common Place is a deeper plunge inside himself to offer up more of his voice to accompany his profoundly unique and moving compositions. “There were things I was seeing around me and being affected by in my daily life,” he says. “Socially and politically I saw defiance but also hopelessness. I wanted to be honest with the frustration and turmoil I was experiencing.”

The decision to include more of Ghedi’s vocals was a conscious one and driven by a need to say something. However, this isn’t a brash raging political polemic. As is now customary with Ghedi’s work, it is rich in nuance, history, poetry and allegory. Musically, the album is equally locked into this ongoing sense of evolution. Ghedi’s intricate yet deft guitar playing still twists and flows its way through the core, weaving in and out of gliding double bass, sweeping violin, gentle percussion and vocals that shift from tender solos to overlapping harmonies.

As with much of Ghedi’s work, there’s a rich connection between the past and the current. Musically, he continues to sit in a singular position of sounding distinctly contemporary yet also with a touch of traditional flair. This expands itself into the lyrical terrain here too. “I've been exploring contemporary issues and in that process discovering sources that correlate with similar issues in the past,” he says. “Which proves that these issues throughout history - environmental destruction, working class poverty etc - are ongoing.”

For all the socio-political and historical backdrop to the record it is not one that feels overwhelmed by it. Much like Ghedi’s work when it was largely instrumental - and some of it still is here - it flows and unfurls thoughtfully, with space still being utilised masterfully, creating room to pause and reflect. It’s another inimitable record from an artist that truly sounds like nobody else right now.

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• Issued in 1967, “We Are Paintermen” was the only Creation LP released during their original 60s incarnation, and then only in Germany. With the exception of “Making Time” and “Try And Stop Me”, this release features the 2016 stereo mixes of Creation classics “Through My Eyes”, “Biff Bang Pow”, “Can I Join Your Band?” and “Painter Man” (as later covered with huge success by Boney M).
• Pressed on 140 gram clear vinyl, the inner sleeve features 60s photos of The Creation from the collection of designer Phil Smee.

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• Alongside the “We Are Paintermen” LP, “How Does It Feel To Feel” rounds up the remainder of the recordings they made with Shel Talmy. This LP features the 2016 stereo mixes of Creation classics “How Does It Feel To Feel” (both the UK and US versions), “Life Is Just Beginning” and “Sylvette”. The last 60s lineup of The Creation, which featured future Face and Rolling Stone Ron Wood, is represented by all four sides of their two single releases.
• Pressed on 140 gram clear vinyl, the inner sleeve features 60s photos of The Creation from the collection of designer Phil Smee.

a A1. How Does It Feel To Feel UK version


[d] A4. How Does It Feel To Feel [US version]

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• In January 1985, The Mark Four reformed for a one-off show in Cheshunt, and subsequently Eddie Phillips and original lead vocalist Kenny Pickett reunited to make some new Creation recordings. At the time, only two tracks – “Spirit Called Love” and a new version of “Making Time” – were issued as a single in 1987, before the record label went out of business. These two tracks plus the remainder of the recordings were finally issued as the album “Psychedelic Rose” in 2004.
• The album is pressed on 140 gram clear vinyl.






[f] B1. Making Time [new version]

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• Creation Records founder Alan McGee named his label after the band, and named his band Biff Bang Pow after one of their songs. So perhaps it was no surprise when in 1995 he came up with the idea of The Creation recording a song called “Creation” to be released on the Creation label. In the wake of reunion shows at The Mean Fiddler in 1993 and 1995, the original line-up re-convened, and the recordings expanded into an album. “Power Surge” was released in 1996.
• The album is pressed on 140 gram clear vinyl.