Suche:virus

Electribe south sound ! A melt of bassline and South tribe groove.
Funk & Rebel :)

After his first appearance on Specimen Records as a part of the, SPECTRO-017 with his track “React”, Arsonist Recorder now comes with a first solo-EP on the label, Arsonist Recorder now comes with a first solo-EP on the label, in which the producer reaches back into some deeper, almost trippy states of mind, accompanied by some ultimately addictive electro grooves.

The first track, “Vaxxer”, which also titles the EP, puts up a warehouse-worthy beat, handing out bass-punches as it moves along. A rude hi-hat pattern shuffles the groove, and once the rhythm has you hooked, some lush eerie synth patterns start to emerge transporting the listener to the rooftop of a skyscraper in a dystopian city.

Next up is “Oxidant”, which was written with a close friend in mind who was going through some difficult times. The strong determination of the pulsating bass, overlayed by a very emotional melodic element leads you from the contrast to unity, refecting, pushing forward.

“Multiverse” comes in with a thunderous boom, reminiscent of a huge spaceship landing, which could be a metaphor for events that land on top of our heads, which we have no control over and have to deal with. The track introduces an infectious 808-groove, building up, and some chilling synths warp their way straight into your mind to de-program all the viruses in there and set you free from any mind-control.

Finally, finishing off is “Shiffty”. It lands straight away with a heart-pounding beat, with bass-bots bouncing, adding an ultra-funky bassline that will keep your feet moving. Waves of synthy-bliss wash over as this groove connects all your individual elements together.

Kinder Der Sonne is the title of the new album by Alva Noto featuring music composed for the score of the theater piece ‘Komplitzen' by Simon Stone.
The album title comes from Maxim Gorky's plays “Children of the Sun” written in the context of the 1905 Russian Revolution. Simon Stone wrote the new play for the Burgtheater ensemble, on the basis of this drama. Across fourteen compositions, Alva Noto’s 'Kinder Der Sonne' takes the listeners into a sonic journey of emotional tensions and release, reflecting the social upheavals of our days.

"Death Age" behält die bis an die Zähne bewaffnete, wilde Militanz des früheren Materials von LA's Kommand bei - mit mehr grausamer, kriegerischer Brutalität als je zuvor in feindliches Gebiet vorgedrungen. Die koordinierte Bombardierung eines ganzen Kontinents ankündigend, ist "Death Age" eine Luftangriffssirene für eine bevorstehende Katastrophe!

Die bedrohliche Atmosphäre von "Death Age" kündigt das Ziel an: zerschlagen, zerstören und vernichten, ohne Rücksicht auf Verluste. Death Metal dieser Art beruft sich auf die primitivsten, ungezähmten Instinkte und rückt vor wie ein Panzerkonvoi durch besetztes Gebiet, rücksichtslos gegenüber allem und jedem, der sich ihm in den Weg stellt.

Vom Opener "Final Virus" bis zum abschließenden "Collapse Metropolis" beschwören Kommand die Vision einer dystopischen Höllenlandschaft mit Städten, die permanent von schweren Waffen unter Beschuss stehen, und jenen Unglücklichen, die den Ansturm überlebt haben. "Death Age" hinterlässt somit einen endgültigen Epitaph auf dem blutigen Müllhaufen der nahen Zukunft.

- Zweites Album nach dem 2020er Debüt 'Terrorscape', veröffentlicht über Maggot Stomp.
- Europatournee 2022 mit Auftritt beim Kill Town Death Fest
- Gemischt und gemastert von Arthur Rizk (Dream Unending, Gravesend, Daeva)
- FFO: Bolt Thrower, Asphyx, Acephalix, Vastum, Hail of Bullets, Stormcrow, Hellshock, Sanctum

"Death Age" behält die bis an die Zähne bewaffnete, wilde Militanz des früheren Materials von LA's Kommand bei - mit mehr grausamer, kriegerischer Brutalität als je zuvor in feindliches Gebiet vorgedrungen. Die koordinierte Bombardierung eines ganzen Kontinents ankündigend, ist "Death Age" eine Luftangriffssirene für eine bevorstehende Katastrophe!

Die bedrohliche Atmosphäre von "Death Age" kündigt das Ziel an: zerschlagen, zerstören und vernichten, ohne Rücksicht auf Verluste. Death Metal dieser Art beruft sich auf die primitivsten, ungezähmten Instinkte und rückt vor wie ein Panzerkonvoi durch besetztes Gebiet, rücksichtslos gegenüber allem und jedem, der sich ihm in den Weg stellt.

Vom Opener "Final Virus" bis zum abschließenden "Collapse Metropolis" beschwören Kommand die Vision einer dystopischen Höllenlandschaft mit Städten, die permanent von schweren Waffen unter Beschuss stehen, und jenen Unglücklichen, die den Ansturm überlebt haben. "Death Age" hinterlässt somit einen endgültigen Epitaph auf dem blutigen Müllhaufen der nahen Zukunft.

- Zweites Album nach dem 2020er Debüt 'Terrorscape', veröffentlicht über Maggot Stomp.
- Europatournee 2022 mit Auftritt beim Kill Town Death Fest
- Gemischt und gemastert von Arthur Rizk (Dream Unending, Gravesend, Daeva)
- FFO: Bolt Thrower, Asphyx, Acephalix, Vastum, Hail of Bullets, Stormcrow, Hellshock, Sanctum

Sintering or frittage is the process of compacting and forming a solid mass of material by heat or pressure without melting it to the point of liquefaction. The material produced by sintering is called sinter. The word sinter comes from the Middle High German sinter, a cognate of English cinder.

Born in the mid-60s, German musician and sound designer Uwe Zahn came on the scene of electronic music with his debut full-length album for DIN, titled “Atol Scrap.” In the very same year of 2000, the influential City Centre Offices label has signed Arovane for his majestic “Tides,” which has withstood the test of time for over two decades now. Back then, electronic music was split between the dance floors and the bedroom listening, with the latter carrying the now-famous acronym for Intelligent Dance Music. And Zahn’s compositions were indeed just that – more than a gimmicky, knob-twisting, stuttering randomization of experimental rhythms and tone, Arovane’s music evoked real emotion which has assembled his followers from around the globe. But his arrival on the scene was more than a predictable trajectory. Zahn’s sound began to take shape in the late 80s when the cut-up hip-hop beats were layered with synthesizer pads and looped samples. This experimentation progressed into what the 90s coined as breakbeat and glitch.

As the 2000s rolled over, and the monumental imprints, such as Skam and Warp, honed their staple repertoire defining the future of electronic music, City Centre Offices had a staple of their own. Often referenced alongside Boards of Canada and Autechre, Arovane’s sound quickly gained a discerning audience, tuning into his melancholic melodies, advanced textures, and complex polyrhythms. The pinnacle of his production was released in 2004, when suddenly, on “Lilies,” Zahn signed off with the final track, which he has titled “Good Bye Forever.” And then there was silence. For nearly nine years, the scene and yours truly mourned the loss of Arovane, assuming that he’s given up. That is until, in 2013, Zahn came out with a brand new album, “Ve Palor,” on the surviving post-IDM imprint, n5MD.

While on hiatus, Uwe spent his time researching, reconnecting, and reflecting on all he’s built. The sound experiments went on, and so did the music scene, morphing, dissolving, re-shaping itself into a new form for new followers. During that time, Zahn spent some time with sound design, creating patches for Access Virus TI, as well as sample packs for various sound developers. After “Ve Palor,” Zahn began collaborating with various musicians from around the world, exploring, directing, and fusing their distinguished sound with his own. On his subsequent releases, he shared credits with ambient artists Porya Hatami, Hior Chronik, Darren McClure, and even yours truly. During our collaboration, Zahn often described the process of building a new vocabulary for our very own defined language, with which my piano spoke through sound.

With nearly two dozen studio releases under his belt, numerous EPs and singles, and just as many appearances on various compilations, Zahn continues to split his time between his fascination with sound design, sonic programming, and musical composition, which sees the light via his ongoing projects, releases, and contributions towards audio plug-ins, software synths, and sound sets for advanced hardware. It’s effortless to slot Zahn’s sound between the genres, scenes, and names, but very difficult to peel apart, define, and then express the essence using words. However, what is simple and essential for the ones who understand, is recognizing, admiring, and subsequently falling in love with all that is encompassing of Arovane. (by Mike Lazarev)

Pentiments continues its work spotlighting post-conceptual artist and writer Joseph Nechvatal. They have already dropped a retrospective Selected Sound Works album that spans 1981-2002 and now comes a companion across two slabs of wax that focus on more recent audio works. This is in cahoots with Andrew Deutsch and it makes use of anonymous reading of Virginia Woolf's 'Orlando' as an anchor point around which the "virus-modelled artificial life audio material" from Nechvatal's 2006 piece viral symphOny: the enthrOning is reanimated. The second then uses a rather controversial record performance of Antonin Artaud's radio play To Have Done with the Judgement of God which the artist takes apart and reweaves into something radically new.

Bllack Vinyl Version / 2x12'' / mokum printed sleeve.

Uncomon Mokum sound ?
oh no...
this is the original start again vibe.
Limited 150 Autoprod.

Acid architects joined their force to build up this second Opus.
Mental to hardfloor !
Acid to acidcore !

After a devastating opening salvo of 19 modernist rave mutations on a double tape pack for Sneaker Social Club, Minder lands on Hypercolour with another 19 cybernetic fever dreams still reeling from the open season NRG of hardcore.

If you need to understand where Minder wants to take you, strap in for the labyrinth narrative of ‘Knotted’, a smudged, 15-minute breakbeat suite barrelling through lurid dystopian street scenes with only a blown-out bass sprite as a guide. Throughout Sanctuary, bass is the constant when all else is chaos. It comes in thick, warped Reese tones on ‘Simulated Hunt’, gets twisted out through angry filters on ‘Popcorn Lover’, comes on wobbly in true 2-step style underneath grimey garage anti-anthem ‘Ard’.

There’s a lot to take in across the spread of Sanctuary. It’s the sound of every rave genre slowly digested over 30-plus years, until the lactic acid metabolises every snare rush, every searing lead line, every chipmunk vocal lick, and everything gets mashed up and spat back out into a gnarly signal chain at the flash point of inspiration. The time taken is key – this is the sound of a life in front of the speaker stack manifesting in something too wild and weird to be derivative. You’ll hear snatches of familiarity thrown into unfamiliar contexts, but for all the detectable lineage, Minder’s sound is unsettling in its originality.

Dislodged ragga jungle techno, muffled hardcore nightmares, hard n’ haggard acid trance, junked up jump up – you could write an essay on the sounds you can spot and the way they’ve been twisted. Aside from the omnipresent low-end, it’s the unflinching honesty of Korron’s repeat appearances on the mic throughout which bring Minder’s disturbing patchwork into focus. For all the futurism attached to these sounds, it’s also caked in a very human filth which can only come from this earth. The roots run deep, and the fruit is rotten, and isn’t that how it should be?

This 40 year anniversary collection traces Brother Culture's career and includes some of his biggest hits, with remastered versions of these classics. The album includes his hits Jump Up Pon It (25 million streams), Supanova (15 million streams), My Selecta (2 million streams), and some of his most listened-to tracks ever released on vinyl.

A composition simply means things being put together. In music, we usually think of composition as a classical idea. But in recent years, the possibilities of what ‘composing’ can be, have dramatically increased. Based in Oslo, Norway, Deathprod (aka Helge Sten) has been making his own forms of music with no compromise since the early 90s. His specialty is a deeply atmospheric, grainy minimalism that slows time down and explores the very particles of sound itself. This music can sound forbidding and alien at first, but compared to his more brutal output, it’s an extraordinarily close and intimate experience. The first new Deathprod studio project since 2019’s OCCULTING DISK, Compositions is the result of an intense period at his legendary Audio Virus Lab studio in central Oslo. All tracks are released in chronological order – in other words, the order in which they were recorded. Helge used a personal, unique combination of obsolete digital audio processors and sound generators, combined with his own secret-sauce tuning system. Like gazing at the wonders revealed by an electron microscope with Helge compositional control directs your attention to a succession of ever more spellbinding details and textures. Helge adopted the Deathprod alias in 1991. A complex array of homemade electronics, samplers, sound processing and analogue effects – cumulatively known as the ‘Audio Virus’ – combined with obsolete samplers and playback devices, to distort and transform sounds into unrecognizable relatives of their former selves. On the new album Compositions, the virus has evolved into even more fascinating and kaleidoscopic new strains. Electronically generated sounds vibrate and tremble like undiscovered metals ringing and resonating together. Sonic forms attract or repel each other as if under the influence of a strange magnetism. None of the tracks are over four minutes, but no way are these ‘miniatures’. Each one contains its own fully-formed galaxy of tones and clusters, while all tracks audibly belong in the same universe. These are 17 compositions in search of a sonic ideal. His off-grid audio control centre created a parallel acoustic universe which he filled with mutated samples and electronic textures. Even the gaps between the tracks are part of that universe. Helge left the almost silent, twitching crackles of his snoozing analogue gear intact, ensuring a smoother transition between them. Helge is continually striving to find new parameters and possibilities for what music can be – what you can affect with the medium of sound. From the intricate homemade miniatures of Treetop Drive to the bonecrushing electronic barrage of Morals and Dogma and OCCULTING DISK, the different sides of Deathprod are all products of the same obsessive focus and self-discipline in pursuit of sonic exploration. His Compositions are private rather than public music: like introspective chamber or solo compositions instead of the more strident, outward-looking tones of a symphony. Helge is a founder of Norwegian improvising group Supersilent and has produced records by Motorpsycho, Susanna, Jenny Hval, Arve Henriksen and others. He recently composed music for Harry Partch’s legendary instruments, which can be heard on Sow Your Gold in the White Foliated Earth, released in 2022 on Smalltown Supersound.

Erstpressung auf pinkem Vinyl. "Breaking The Balls Of History" ist das insgesamt zehnte Album von QUASI, das am zehnten Februar, zehn Jahre nach ihrer letzten Platte, erscheint. Drei Zehner, was sich mit den dreißig Jahren deckt, die sie zusammenspielen. Sam Coomes und Janet Weiss sind zu Ikonen des pazifischen Nordwestens geworden, und QUASI hat sich immer so beständig angefühlt - ihre dauerhafte Freundschaft so generativ, ihre Energie unendlich, jedes Album rauer und eingängiger und wilder und lustiger als das letzte. Aber wir haben uns geirrt, QUASI jemals für selbstverständlich zu halten. Eine Zeit lang dachten sie, dass das komplizierte "Mole City" von 2013 ihr letztes Album sein könnte. Sie würden mit einem großartigen Album abtreten und weiterziehen. Dann, im August 2019, krachte ein Auto in Janets Haus und brach ihr beide Beine und das Schlüsselbein. Dann kam ein tödlicher Virus über uns, und niemand wusste, wann oder ob Live-Musik, wie wir sie kannten, jemals wieder würde stattfinden können. "There's no investing in the future anymore", erkannte Janet. "The future is now. Do it now if you want to do it. Don't put it off. All those things you only realize when it's almost too late. It could be gone in a second." Während des Lockdowns standen die Straßen von Portland still, Flugzeuge verschwanden, wilde Tiere tauchten auf. Und mit der ausgelöschten Normalität kam ein unerwartetes Geschenk: ununterbrochene Zeit, Stunden am Tag, um Kunst zu machen. QUASI konnten nicht auf Tournee gehen, also hatten sie eine Idee: Sie taten so, als wären sie auf Tournee und spielten jeden Tag zusammen. Jeden Nachmittag verschanzten sich Sam und Janet in ihrem winzigen Übungsraum und kanalisierten die Verwirrung und Absurdität dieser fremden neuen Welt in Songs. Sie beschlossen, dass sie die Songs live und gemeinsam aufnehmen würden, um einen Moment einzufangen. Das unglaubliche Ergebnis dieser Sessions ist "Breaking The Balls Of History", aufgenommen in fünf Tagen und produziert von John Goodmanson. Hier sind zwei Künstler*innen in ihrer Blütezeit, jede*r ein menschlicher Fundus an musikalischem Wissen und Erfahrung, völlig unverwechselbar in ihrem Songwriting und Sound. In der QUASI-Form wird die Band alchemistisch noch größer als die Summe ihrer Teile. Mitten in einem katastrophalen sozialen und politischen Moment haben sie exquisite, melodische Songs geschaffen, die vor Wut, wildem Humor und Intelligenz nur so sprühen, angetrieben von einem großen, zerschundenen, pochenden Herzen. "A last long laugh at the edge of death", singt Sam zu Beginn des Albums, und dieser fröhliche Trotz - der genauso gut der Logbuch-Eintrag unserer Gegenwart sein könnte - gibt den Ton für die kommenden Songs an. Es klingt düster, und das ist es auch, weil es sich dem Moment stellt. Aber es ist auch eine Platte, die vor Energie, Vergnügen und Freude nur so strotzt.

Hat eigentlich schon irgendwer darüber nachgedacht, ob es nach all den Jahren deutschsprachigen Pop-Zusammengehörigkeitsgefühls mal Zeit wird, weiter als von Fußball-WM zu Fußball-WM zu denken und mit dem irren Gedanken aufzuräumen, dass schon alles gut wird, wenn wir uns bloß Alle immer ständig sagen, dass wir das schon hinkriegen?!

Vielleicht war’s Zeit für Jupiter Jones, die Brücke zwischen dem Punk aus den alten Tagen von vor mittlerweile zwanzig Jahren und dem Pop aus den neueren Alben zu schlagen, um eine Melange aus beidem zu schaffen, die sich nicht daran stört, ob irgendwelche Genre-Dogmen eingehalten werden und die sich nicht scheut, auch unkomfortable Themen in komfortablere Töne und Wörter zu packen? Weil Pop eben nicht da aufhört, wo Normativität ihre Grenzen findet.

Sei’s in Songs wie „Überall waren Schatten“, „Bleibt zusammen“, „Wenn’s nicht wehtut“ oder „Melatonin“, die all die Gründe aufleben lassen, wegen denen die Band im Jahre 2002 überhaupt gegründet wurde: Nämlich der Frage nach dem Warum-zum-Teufel-nochmal?

Oder in Songs wie „Vielleicht“, „Ja sicher“, „Oh! Philia“ oder „Der wichtigste Finger einer Faust“, die ganz bewusst Tanzbarkeit mit dem Gefühl verbinden, sich unbedingt mal für mehrere Stunden hinzulegen und die Wand anzustarren?

Oder eben in Songs wie „Atmen“, „Der Nagel“, „Mein Viel und dein Vielleicht“ und „So hat noch jedes Ende angefangen“, die im weitesten, wie im nähesten Sinne Liebeslieder sind. Lieder für und gegen die Liebe, Lieder mit und ohne.

„Die Sonne ist ein Zwergstern“ ist nicht das Corona-Album von Jupiter Jones. Auch, wenn das Revival der Band ziemlich zeitgleich mit dem Virus kam und die Songs dementsprechend ausnahmslos in dieser Zeit geschrieben wurden. Es ist das Album, das einen Blick auf die Welt wirft, einen Blick auf das Innere und einen Blick auf die Verbindung von beidem. Es ist das Album, dem mehr als jedem Album der Band zuvor egal ist, wo die Grenzen verschwimmen. Es ist entschlossen, laut und leise zugleich und es ist alles, nur kein Kompromiss.

Ganz sicher ist es das Ergebnis aus der Erkenntnis, dass wir alles wieder zusammen machen und schaffen können, sobald wir gecheckt haben, dass wir erst mal wir selbst sind. Und dass sich all das lohnt.

Hat eigentlich schon irgendwer darüber nachgedacht, ob es nach all den Jahren deutschsprachigen Pop-Zusammengehörigkeitsgefühls mal Zeit wird, weiter als von Fußball-WM zu Fußball-WM zu denken und mit dem irren Gedanken aufzuräumen, dass schon alles gut wird, wenn wir uns bloß Alle immer ständig sagen, dass wir das schon hinkriegen?!

Vielleicht war’s Zeit für Jupiter Jones, die Brücke zwischen dem Punk aus den alten Tagen von vor mittlerweile zwanzig Jahren und dem Pop aus den neueren Alben zu schlagen, um eine Melange aus beidem zu schaffen, die sich nicht daran stört, ob irgendwelche Genre-Dogmen eingehalten werden und die sich nicht scheut, auch unkomfortable Themen in komfortablere Töne und Wörter zu packen? Weil Pop eben nicht da aufhört, wo Normativität ihre Grenzen findet.

Sei’s in Songs wie „Überall waren Schatten“, „Bleibt zusammen“, „Wenn’s nicht wehtut“ oder „Melatonin“, die all die Gründe aufleben lassen, wegen denen die Band im Jahre 2002 überhaupt gegründet wurde: Nämlich der Frage nach dem Warum-zum-Teufel-nochmal?

Oder in Songs wie „Vielleicht“, „Ja sicher“, „Oh! Philia“ oder „Der wichtigste Finger einer Faust“, die ganz bewusst Tanzbarkeit mit dem Gefühl verbinden, sich unbedingt mal für mehrere Stunden hinzulegen und die Wand anzustarren?

Oder eben in Songs wie „Atmen“, „Der Nagel“, „Mein Viel und dein Vielleicht“ und „So hat noch jedes Ende angefangen“, die im weitesten, wie im nähesten Sinne Liebeslieder sind. Lieder für und gegen die Liebe, Lieder mit und ohne.

„Die Sonne ist ein Zwergstern“ ist nicht das Corona-Album von Jupiter Jones. Auch, wenn das Revival der Band ziemlich zeitgleich mit dem Virus kam und die Songs dementsprechend ausnahmslos in dieser Zeit geschrieben wurden. Es ist das Album, das einen Blick auf die Welt wirft, einen Blick auf das Innere und einen Blick auf die Verbindung von beidem. Es ist das Album, dem mehr als jedem Album der Band zuvor egal ist, wo die Grenzen verschwimmen. Es ist entschlossen, laut und leise zugleich und es ist alles, nur kein Kompromiss.

Ganz sicher ist es das Ergebnis aus der Erkenntnis, dass wir alles wieder zusammen machen und schaffen können, sobald wir gecheckt haben, dass wir erst mal wir selbst sind. Und dass sich all das lohnt.

Experimental once-sludge metal duo branch out further with an album influenced by Middle East / North African / Asian pop and traditional music. Nazm sees Jucifer deploy their familiar studio tactic: writing, arranging, producing, engineering, and playing all instruments themselves to create a sprawling concept album. This time, it’s to celebrate their shared love for the Middle East and North Africa (MENA) and central / south / west Asian traditional and pop music cultures with fourteen highly textured, intensely personal and passionately delivered original songs. Fans of the band likely know they can expect surprises with each album, as well as recordings which differ drastically at times from their live sound. In this tradition, Nazm strays far from the brutal excess of a Jucifer show (and of their recent releases Futility and District Of Dystopia) but, as with all Jucifer’s recordings, the point is not to imply any static trait of the band but instead to bring to life a story they’re telling. Track Listing: 1. Return 2. Mood 3. Un Occupied 4. Welcome 5. Sahel 6. Endure 7. Pulverization (Becoming) 8. Displaced 9. Jucifer – Divided 10. Notice (Warning) 11. Water Woman 12. Mitochondria 13. The World Is A Sword 14. To The Lost

“A Dream In A Dream” is the debut LP by DJ Piper, also known as Felix Wagner of techno superstar duo FJAAK.
One might be surprised about this all hip-hop instrumental album looking at Felix’ all dance music focussed musical resumé. Nevertheless, he has been crafting rap beats ever since he started producing as a teen, but had his childhood friends freestyle over the tracks solely. It took until 2020 when he teamed up with Lukas and
Jonathan Nixdorff of Kommerz Records to release his first solo track “Iluminay”, which was part of “Kommerz Season 1: Anti-Virus” compilation and shared by B-Real of Cypress Hill right away.

Now, 2022, marks the right moment to share his debut album, a waltzing ode to hip-hop’s golden era. The Berlin- Spandau original merges the legacies of both Pete Rock and Dr. Dre, while funky breakbeats meet laid back SoCal “Chronic” vibes. 12 instrumental tracks and 2 skits strong, his album tells the story of a young man, who lives up to his wildest teenage dreams. Most of the track ideas came up while being on tour with FJAAK. Between international transit areas, making inspirational new friends and bizarre encounters all over the world, beat making became DJ Piper’s safe space to process all the positive madness around him. As a result, “A Dream In A Dream” breathes that raw, untamable creative energy around Felix’ extraordinary day-to-day life, while being heavily influenced by the sound of his childhood, 90s and 2000s rap.

To visualize “A Dream In A Dream” DJ Piper and Kommerz Records joined forces with Raman Djafari, a childhood friend of the artist, who illustrated music videos for Dua Lipa and Elton John (no joke!) and worked for New Release Information Adult Swim. Raman’s supernaturalistic aesthetics bring life to DJ Piper’s somewhat psychedelic, somewhat nostalgic fantasy, locating the album in an otherworldly version of Spandau, hometown to both of the artists.
As one half of FJAAK Felix became an icon of Berlin techno conquering major festival stages and mainstream audiences while heavily representing underground D.I.Y. mentality up to this very day. As an initiator of Spandau20 label and collective, Felix pushes his creative family and day 1’s regardless of commercial potentials.
The same ethos and love for culture fuels the DJ Piper project. No matter if it’s FJAAK or DJ Piper, techno or hiphop… Integrity is key!

Pressed on Red vinyl and presented in gloss laminated gatefold sleeve.
Double album set contains the original LP plus 13 bonus tracks taken from their first four singles and the re-recorded version of In Purgatory which originally appeared on the PINK compilation E.P “It sells or it smells” plus bonus 7” a reproduction colour vinyl copy of McCarthy’s first 7” “In Purgatory”
All three tracks have been remastered from the original master tape and presented in a wraparound sleeve, just like the incredibly rare “Wall Of Salmon” original.
Also Includes
20 page 12x12” full colour booklet containing all the lyrics and packed full with photos, many previously unpublished. Press clippings and other memorabilia. Introduction by Nicky Wire of the Manic Street Preachers and track by track commentary by Malcolm Eden.
8 x 10 Black & White press photo
Reproduction European Tour poster “The Well Of Loneliness” Promo poster McCarthy sticker
By the time McCarthy appeared on the NME’s C86 cassette they had already been playing together for a couple of years and released two excellent singles. Their debut “In Purgatory” and the indie masterpiece “Red Sleeping Beauty” (both included on this release). The following year McCarthy released the brilliant “Frans Hals” before unleashing their debut album “I Am A Wallet”
Now recognised as an indie pop masterpiece it has gone on to achieve cult status, receiving praise from the likes of Nicky Wire (Manic Street Preachers) as one of the most important albums of the 80s. Known by today's indie acolytes as the band that spawned Tim Gane and Leititia Sadier (who of course went on to form Stereolab).
It’s a seamless album reminiscent of the Byrds. Wonderful, if slightly twee, jangly guitars with complex and rarely rhyming lyrics, Malcolm Eden’s strident left wing political views are manifest on I Am A Wallet. Cloaked in pretty guitar and propulsive drums, Eden sets about attacking the pillars of the day, MPs, Prince Charles, Fleet Street, religion, the response to AIDS and on almost every song, capitalism. The horrors and inequalities of the capitalist system are laid bare for all the see. The system which enables some to get rich at the expense of others is reviled and attacked.

Saxophone player Jakob "Dino" Dinesen and bass player Anders "AC" Christensen have been household names on the Danish jazz scene since the nineties, where they played together in the now legendary Once Around the Park. Here they are joining up with drummer Laust Sonne. Sonne is one of the most versatile musicians in Denmark and he has been the drummer in the popular Danish rock band, D-A-D, for over 20 years. He has also played drums in the avant jazz rock outfit, Bugpowder, and has made a career for himself with his own rock band, Dear. He has also recorded two solo albums and in 2007 he received the prestigious Danish music award, Ken Gudman Prisen. Anders "AC" Christensen has been a member of Paul Motian's ensemble and has played in Polish jazz legend Tomasz Sta?ko's band. In Denmark, he has played with the Hess brothers in Spacelab, for over 25 years. In 2009 he made his only solo album so far, 'Dear Someone', featuring Aaron Parks and Paul Motian. "AC" is highly in demand among Danish jazz musicians and he has even played in a lot of rock bands, like Sort Sol and The Raveonettes. Jakob Dinesen has made a long string of albums in his own name and has received several prizes. He has played with loads of internationally acclaimed jazz musicians, such as Paul Motian, Kurt Rosenwinkel, Eddie Gomez, Ben Street, Tony Allen, Nasheet Waits and Steve Swallow. He has also been a member of the acclaimed Danish jazz groups Hugo Rasmussen Allstarz and Beautiful Day and has played with Danish musicians as distinct as Thomas Blachman, Thomas Helmig and Lars H.U.G.. The three musicians have known each other for many years. In their younger days, they often ended up together, playing late night jams and gigs at parties. The corona outbreak in the first half of 2020 finally brought the three musicians together again, as most of their other plans were cancelled because of the virus. As a blessing in disguise, they began to play together again, in the rehearsal room. They found, and created, a space for their thoughts and ideas. A space for listening and playing.