Other People

1- Format: LP Special remarks: OBI-strip 2. GENRE/S: Electronic / Experimental 3. TRACKLISTS: > A1 / 1. A Orelha do Mundo > A2 / 2. Clarão > A3 / 3. Antes eu não sabia como dizer tudo que eu digo agora > A4 / 4. Falando, eu me lembro > A5 / 5. Lebrina > B1 / 6. Hush > B2 / 7. Estilhaço > B3 / 8. Patrimonium > B4 / 9. O Avanço em Retorno > B5 / 10. Una 4. SHORT INFO: Highlighting a decade of working together as ‘Fronte Violeta’, Brazilian transdisciplinary artist Anelena Toku and musician and sound artist Carla Boregas are set to release the album ‘Fronte Violeta’, a captivating blend of aural compositions, scents and experiences. Switching the moniker name to the album title serves as a way to showcase the culmination of their multidisciplinary project’s journey, developed from compiling fragments, sounds and intentions from their previous body of work comprising electroacoustic and electronic music composition, moving image, scent, installation and live performances. ‘Fronte Violeta’ is a sonic amalgam where synthesized sounds, percussion, voice, feathers, branches and other non-human sonorities coalesce. Toku and Boregas have skillfully woven together those elements creating a rich tapestry of interconnected sounds that tension our perception as something always in motion, never fully settling into an established form. Composed and performed by Anelena Toku and Carla Boregas. Anelena Toku : synth, sampler, voice Carla Boregas : synth, electronics, tape, taishogoto, gong, feedback, voice, amplified objects Juliana R. : voice (track 7) Caio Vinícius : gong, feather (track 1 and 3) Barata : drums (track 6) Recorded by Anelena Toku, Carla Boregas, Felipe Pato and Bruno Palazzo Produced by Carla Boregas Mixed by Carla Boregas and Nicolás Jaar Mastered by Patrick Higgins Design by Maziyar Pahlevan

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

12" 2. GENRE/S: Dub Techno 3. TRACKLISTS: > A1 / 1. Drainage Overflow > B1 / 2. Basic User Charge 4. SHORT INFO: Delectable and on point dub techno, 'Advanced Surface Habitat' is the debut EP by French duo Surface Access

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

1. Format: LP 2. GENRE/S: Electronic / Experimental 3. TRACKLISTS: > A1 / 1. A Void > A2 / 2. Flare and Coil > A3 / 3. Needle Pierces the Threshold > B1 / 4. The Face of Others > B2 / 5. Embers Kiss the Eye > B3 / 6. Dorothy > B4 / 7. Din Dian Redux 4. SHORT INFO: Enxin/Onyx, the duo of Nicky Mao/Hiro Kone and Tot Onyx (formerly group A), joins Other People with their debut album "In Rupture," capturing the same mesmerizing energy for which their live sets have become known. “In Rupture” is not painless but in rupture lies possibility. The elasticity of this time pitching us across unknown terrain, revealing new potentialities, eclipsing static being. Whether in breach, collision,shimmer or severance, Enxin/Onyx explores these as occasions for transformation. Peeling back the layers through discord and harmony, exciting the inversion of expectation, towing the listener to depths and back up again to illuminate the senses. At times metallic and feral, at others murky and sharp, each song serves as an offering for all that is in rupture; body, spirit, land, ecosystem. The opening track “A Void” calls to mind some mutation in its mechanical ecstasy, but for what purpose remains unknown. Even in the near moments of stillness, “Needle Pierces the Threshold” breathes a forceful disquietude. Tommi’s vocals pulling the listener down into some subterranean madness, to unravel upwards from all sides, flooding the once parched landscape. In “Embers Kiss the Eye”, all of time emerges in one moment, compelling the subject’s gaze towards a new horizon. The album follows its subjects through exile, exhumation and discovery. Through this process plates shift, fissures are revealed and what once appeared to be indomitable absolutes crack, pointing towards their inevitable collapse. To be in rupture is regeneration, to be in rupture is to return. 5. VITAL SALES POINTS: Debut album by Enxin/Onyx (Nicky Mao/Hiro Kone and Tot Onyx, formerly one half of group A) “Despite its thunderous sonics, the EP derives its intensity from restraint. On her records as Hiro Kone, Nicky Mao often allows her modular synth programming to tip into chaos, crashing layers upon layers of sound into one another. Here, each sound feels considered. And rather than simply reacting to what's coming from Mao's rig, Tokyo works to integrate her caustic and creaking vocalizations. At points throughout the EP it's hard to discern between voice and electronics. Dorothy might be a harrowing 20 minutes, but it's thrilling in its hive-mind execution, where two distinctive artists effortlessly melt into each other.” RA review Dorothy EP NTS mix https://www.nts.live/shows/guests/episodes/enxin-onyx-2nd-may-202

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LP. 180G BioVinyl, 2 LP + Sticker , includes Download to 3/12 h Radio Play "Archivos De Radio Piedras" 2. GENRE/S: Electronic 3. TRACKLISTS: > A1 / 1. Cangilón > A2 / 2. Piedras > A3 / 3. Aquí > A4 / 4. Agua pa fantasmas > B1 / 5. Rio de las tumbas > B2 / 6. Viento > B3 / 7. Mi viejita > B4 / 8. No Hope> C1 / 1. Radio Chomio (con Eli Wewentxu) > C2 / 2. Rio radio correspondencia anfibia > C3 / 3. 3eee > C4 / 4. F Collect > C5 / 5. Even heaven is uneven > C6 / 6. El azar > D1 / 7. I, you > D2 / 8. Heterodina > D3 / 9. Sin Conexión > D4 / 10. SSS1 > D5 / 11. SSS2 > D6 / 12. SSS3 4. SHORT INFO: The initial seed for this project was planted in 2020 when Nicolás Jaar wrote the song “Piedras” for a concert at the Museum of Memory & Human Rights in Santiago, Chile, which commemorates the victims of human rights violations during the military dictatorship led by Augusto Pinochet between 1973 and 1990. Between 2022-2023 it took on a new form as a radio play entitled 'Archivos de Radio Piedras', which was shared on a dedicated Telegram channel. In 2024, the play was converted into a 24 channel installation at the University Museum of Mexico City (MUAC), where it was exhibited for 5 months. Piedras 1 and 2 is a collection of the tracks featured within the play, all new music by Jaar, but partly presented within the play as the music of Salinas Hasbún (the name a composite homage to Jaar's grandmothers, Graciela Salinas and Miriam Hasbún). The play follows two friends mourning the disappearance of Salinas Hasbún, a musician and writer who vanished in the early 2020s. Although they live in a future where technology is advanced, they resort to DIY radio methods because the anonymous group “Las 0cho” has launched a worldwide attack on undersea internet cables, causing a global internet blackout. The play's central theme revolves around the idea that truths, memories and identities speak from the cracks (“rasgaduras”), or the "in-between" spaces ("en el entre"). This concept is supported by the way much of the narration unfolds - in the liminal spaces between radio frequencies. The instability and transitory nature of a constantly shifting radio dial becomes not just a metaphor but the structure of the play itself. It’s in these moments of noise, static and interference that the deeper revelations of the story emerge. This disjointed, ever-changing medium mirrors the way memory and trauma operate within the play - non-linear, slipping through the gaps, found in fragments or ordinary moments, rather than direct transmissions of “official” historical accounts. This notion reaches its climax at the end of the narrative, when a text is discovered in which Salinas speaks of finding a new number in a small pond in a cave mentioned in the first episodes of the radio play. This pond, inside the “cochlea of the world”, is seen as a way to introduce real-life randomness to computation. Embodied in the salt lakes of northern Chile, home to the world’s oldest bacteria, this randomness disrupts the rigid order of binary code, paving the way for a transformation of digital life. 5. VITAL SALES POINTS: First solo release by Nicolás Jaar since 2020’s Telas and Cenizas.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LP GENRE/S: Electronic / Experimental TRACKLISTS: > A1 / 1. Borga > A2 / 2. Mentor > A3 / 3. Judgement (feat. Okwui Okpokwasili) > A4 / 4. Principalities I > A5 / 5. Fruit Bat > B1 / 6. Lifted > B2 / 7. Principalities II> B3 / 8. Agnate > B4 / 9. Libate > B4 / 10. Bones SHORT INFO: Okokon returns to Other People with his sophomore album, 'Offering', delving deeper into the lush and cinematic soundscapes he first explored on his debut album, 'Turkson Side'. While primarily working in visual arts, Africanus Okokon, who records under his surname, bridges his artistic practices in 'Offering', using his masterful collage techniques to create his most personal work yet. Defying easy categorization, the album melds influences from dream pop, avant-garde folk, psychedelia, trip hop, and dub, with traces of field recordings seamlessly blended throughout to form a cohesive whole. 'Offering' sees Okokon confronting and negotiating a sudden and unexplained death that occurred in his childhood and the complex emotions left in its aftermath, acting as his main inspiration when making the album. This ambiguity is something that permeates throughout, with Okokon wanting to explore the ambivalence and sometimes uneasiness of contradicting emotions appearing simultaneously, alluded to in the album title. This is also reflected in how the album tracks each inhabit different narrators with varying perspectives on the same events. The result being a hauntingly beautiful album, with recurring themes of death, growth, sacrifice and spirituality ever present. VITAL SALES POINTS: Follow up to 2015’s Turkson Side. released on Other People, which garnered favourable reviews from the press “standout album with an electrifying mixture of modernity and tradition, with chimes, drums, and keyboards sparkling through a warm, nostalgic production haze.” PopMatters “Turkson side is by no means a dystopian epic, rather a gooey slice of lighthearted experimentation” The Wire

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LP. 180G BioVinyl, Obi Tag, Printed Inner Sleeves, Special Pantone Colors 2. GENRE/S: Electronic / Dark Ambient 3. TRACKLISTS: Side A (1) Versus (18'26") Side B (2) Antinome (6'57") (3) In Situ (5'18") Side C (4) Sirocco (16'35") (5) Catalyst (4'58") Side D (6) Faceless (pulse) (5'31") (7) The Outside Doesn't Dream of Itself (9'30") (8) Little One (4'21") (9) Aporia (5'44") 4. SHORT INFO: PATRICK HIGGINS is an American composer, guitarist, and producer from New York City, known for his work in experimental and contemporary classical music. Higgins plays guitar and composes in the band Zs, described by The New York Times as "one of the strongest avant-garde bands in New York." Heralded as a "formidable concert music composer" (Boston Globe) and "one of the most gifted guitarists working today" (The Quietus), Higgins has received attention for bridging traditions including baroque chamber music, contemporary noise, electronics and 20th century minimalism. His work has been performed in over 25 countries internationally, and he has composed works for some of the world's leading ensembles, ranging from chamber orchestra works, percussion cycles, and string quartets to smaller ensembles and soloists. He has scored works for television, museum exhibitions, and films both short-form and feature-length. Since 2013, he has operated Future-Past Studios, a recording studio in upstate NY. He recently had a solo exhibition of artworks and sheet music, as well as two world premiers, at The Clark Museum in MA, USA. In 2019, he was a curator and headliner of the Le Guess Who festival in Holland. Higgins has performed and presented works at many of the world's largest festivals and venues across the past 12 years, including The Broad Museum (LA), The Warhol Museum, SF MOMA, Unsound Festival (Poland), Pioneer Works (NYC), Monom Berlin, Sony Ginza Park (Tokyo), ReWire (Holland), Cleveland MOCA, ICA Boston, Teatro Carignano (Torino IT), Sacrum Profanum (Kracow), Merriweather Post Pavillion, Donau Festival (Austria), Paula Cooper Gallery (NYC), Club Unit (Tokyo), Shakespeare Theater (Gdansk), The Netherlands Philharmonic Orchestra and many more. 5. VITAL SALES POINTS: Higgins currently records for the Other People label, and has previously worked with NNA Tapes, Northern Spy, and Telegraph Harp records. He is the founding member of AEAEA, a new duo project with electronic musician Nicolás Jaar. "Patrick Higgins composes with a scholar's historical perspective and a punk's sense of abandon." - PITCHFORK "one of the prime movers of the avant-garde" - The New Yorker "a pioneer of modern experimental music" - East Village Radio (NYC)

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LP 2. GENRE/S: Electronic / Trip Hop / Breaks 3. TRACKLISTS: 1 - Time To Hold Better 2 - This Time Last Year 3 - We Keep Us Safe 4 - Melancholy Sabotage 5 - Measures 6 - We Don't Owe 7 - Breaking Points 8 - Eviction The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full length debut and return to Nicolas Jaar's Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. The album came to life while Solpara was living alone in a Brooklyn loft, collecting unemployment checks and viewing ample free time as the artist residency he'd dreamed of; he'd previously been forced to make music in odd windows between numerous jobs and the unmerciful pace of city life. Free from obligations, he would wake up early to take Arabic lessons online, read Tracey Thorn's autobiography, and skateboard the deserted streets, then come home and design sounds until he had a track that felt like it needed to be released. While this easy going lifestyle was peaceful in many ways, Solpara found more complex inspiration in the emotion that stemmed from participation in Black Lives Matter protests and the 2020 Beirut Port explosion, which rocked all of his extended family members in Lebanon. Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it. "Time To Hold Better" points to neglect on both personal and group levels. "This Time Last Year" is a personal time capsule. "We Keep Us Safe" is about solidarity, autonomy, and care witnessed within protest groups. "Melancholy Sabotage" is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. "Measures" is a more fluid exploration of the latter after the initial storm has passed. "We Don't Owe" points to bigger bodies inflicting harm on populations that we owe nothing to. "Breaking Points" harkens the times that we may lose focus while pushing to transcend melancholy. "Eviction" is about being pushed out of a space unwillingly while simultaneously being forced to move forward. Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara's most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara's uneasiest outing to date. The record pinpoints the duality at the heart of Solpara's sound, which is as plaintive as it is searing. 5. VITAL SALES POINTS: Solpara launched the label and event series Booma Collective with Oren Ratowsky and Valentin Stip - a lowkey institution in the international techno circuit. His 2015 EP, Swing, marked both a sonic and professional turning point. It split the difference between noisy techno and spacey ambience, capturing the essence of a young artist settling into a singular lane. Issued by Nicolas Jaar's esteemed Other People label, it solidified Solpara's place as an inimitable up-and-comer. "Nicolas and I met in high school, played in a band together, and have been exchanging music ever since," he says. In part thanks to Jaar's powerful co-sign, subsequent Solpara releases landed on imprints such as Quiet Time Tapes and Bruta?. Solpara fuses elements of post-punk, ambient, house, and dub techno. While plenty of his cuts would fit within the context of an energizing DJ set, many are arrhythmic and avant-garde. When asked about his influences, Solpara cites artists ranging from Laurel Halo to Laurie Spiegel to Massive Attack to Denis Mpunga to Lily Tchiumba. His eclectic tastes were nurtured while studying film and philosophy in college, with German expressionism, Tarkovsky, and Chris Marker's La Jetee allowing him to realize the atmosphere he had been searching for. This curiosity was further encouraged by Booma Collective members and his roommate Jurg Haller, who went on to found the label Forbidden Planet Records. Later, after Solpara returned to his New York City hometown, he worked as a buyer for the now-shuttered record store Halcyon. In that job, he listened to copious amounts of music every day. His deep knowledge of culture has had a strong impact on a sound that is simultaneously fluid and commanding.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Cassette GENRE/S: Alternative / Electronic / Soundscapes TRACKLISTS: 1. Antena magne?tica captando campos electromagneticos I 2. Antena magne?tica captando campos electromagne?ticos II 3. Micro?fono de contacto captando vibracio?n del puente Llacole?n 4. Micro?fono de contacto captando la interaccio?n entre el viento y un a?rbol 5. Micro?fono de contacto en elementos vibrantes 6. Micro?fonos de contacto captando granizos 7. Micro?fonos de contacto en autobu?s 8. Hidro?fono bajo el fondo del mar 9. Vibraciones de materiales Geofon II 10. Vibraciones de materiales Geofon I 11. Vibraciones de materiales Geofon III 12. En la direccio?n del viento 13. Ronroneo de selai 14. Rai?l 15. Efectos sonoros en la naturaleza SHORT INFO: Valentina Villarroel is a sound artist and phonographer who explores the intricate dynamics within various Southern ecosystems. Her work revolves around the profound potential of acoustic ecology, particularly in the face of encroaching real estate development on natural spaces. She also delves into the consequences of sound pollution on numerous species, contributing to their decline or disappearance. In recent years, her focus has extended to urban soundscapes and significant sonic events, such as the October 18th protest in Chile. With a solid background in bioacoustics applied to both human and animal well-being, Valentina assumes the role of co-director at AOIR Sound Laboratory. There, she spearheads an interdisciplinary initiative that centers sound as its core element. This includes the creation of the sonic cartography portal aoir.cl, as well as the development of handmade electronic devices like the Bowerbankii and the creation of various experimental microphones. VITAL SALES POINTS: Available only on limited cassette

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

2LP with Printed PVC Sleeve GENRE/S: Alternative / Electronic TRACKLISTS: LP1: A1 / 1. Ale Hop - Head Transplant A2 / 2. Daniela Huerta - Tza Tun Tzat A3 / 3. Debashis Sinha - For the waters ever taste the heavens up parts I-V B1 / 4. Hexorcismos - ¿Acaso de veras se vive con raíz en la Tierra? B2 / 5. Hexorcismos & El Irreal Veintiuno - Interferencias B3 / 6. Jessika Khazrik - Gebera LP2: C1/ 7. Khyam Allami - Mix v6 C2 / 8. Kloxii Li - Anhaga C3 / 9. KMRU - hidden options C4 / 10. MAF - What's heard once entered (Nommo) D1 / 11. Portrait XO - MUTUALISM_151122 D2 / 12. Simina Oprescu - Granularities D3 / 13. Visions of Lizard - Barranca del muerto SHORT INFO: For the last seven years, sound artist, technologist, and electronic musician Moisés Horta Valenzuela (aka Hexorcismos) has been studying artificial intelligence and generative art, wondering how these new technologies might be augmented into his musical process. Born in Tijuana and currently based in Berlin, Hexorcismos has long attempted to break down the permeable borders between musical styles and expressions, using the spaces in between to reinforce his politics and worldview. And on 'MUTALISMX - becoming sonic network', he expands his vision, inviting artists from across the globe to collaborate on work that questions the biases inherent in AI models, offering a collective alternative that could serve as a blueprint for further research. The majority of AI art at this stage works with "big data", taking ideas from the cultural canon and muddying them with our contemporary reality. But if we accept that mass culture is always politically biased, always swaying towards historical prejudices, then there must be a counter-narrative. Hexorcismos began to develop a bottom-up approach, using "small data" to interrogate his idiosyncratic approach to art; he built a tool called SEMILLA.AI based on neural audio synthesis that could not only mimic his sonic fingerprint but transform it into another. So when he offered the synth to his network of collaborators, he gave them the option of either using only their data or sharing the signatures of each other artist involved in the project, blurring their identities into a mutual voice. The result is a compilation that unspools with the coherence and fluidity of a single-artist album or adventurous DJ mix, genreless and boundless but unified by a singular message. Hunanese-American artist Kloxii Li for example takes rugged percussion and tense, industrial ambience, smudging her soundscape into a swirling gust of ghostly dissonance. Hexorcismos himself contributes two compositions: the lengthy, hypnotic 'Acaso de veras se vive con raíz en la Tierra', an AI-powered scramble of his pointed tribal guarachero experiments; and 'Interferencias', a collaboration with Mexican club veteran Bryan Dálvez, aka El Irreal Veintiuno that drives intense dancefloor rhythms into a dense haze of frozen drones and radio static. Elsewhere, Berlin-based Lebanese artist and writer Jessika Khazrik dissolves her voice into a mesh of obscured rhythms and dissociated whirrs, blending the organic with the artificial but retaining an overpowering sense of humanity. Some artists were drawn to the nebulous aspects of the technology, searching for truth in a soup of different sounds, while others, such as KMRU, used Hexorcismos's synthesizer the examine their output. On 'hidden options', the Kenyan sound artist fed his immense catalog into the neural net, bringing out his mannerisms and tendencies in the process. Each track is singular but myriad, prompting both mutual respect and a sonic becoming, a feedback process between the artist and the tool, the individual and the collective. Data sets are made by people, and by engaging directly with musicians, Hexorcismos suggests a new way of utilizing a technology demonized and glorified without careful examination. Each artist owns their AI model, and alongside the album Hexorcismos will release SEMILLA.AI to the public (with custom-made models to start the process), allowing anyone to access this revolutionary technology. Even the album's artwork reflects the political message, conceptualized by Chilean duo hypereikon, who used AI processes to develop a visual reflection of the technology and its possibilities. Operating outside of academia and capitalist enterprises, MUTUALISMX proposes an alternative future - one without borders that's not beholden to the Western canon, where independent labor can be prioritized and celebrated, and where creativity can truly flourish.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LP, Artwork with Obi Tag, Vinyl made of BioVinyl 2. GENRE/S: Alternative / Electronic 3. TRACKLISTS: A 1. Intiha - 3:50 2. Nazar Se - 4:14 3. Muddat - 6:30 4. Raat Bhar - 2:58 B 5. Dard - 7:30 6. Chiragh - 5:46 7. Lagta Nahi - 2:10 8. Dono Jahan - 3:32 4. SHORT INFO: Singer, songwriter and author Ali Sethi had been entranced by Jaar's music long before they began collaborating. He'd absorbed the sounds over a number of years, listening casually and taking in their subtleties in bars and rooftop parties across Lahore and London. "It felt familiar to me, that sense of adventure you have when you hear his music, like a tale that teases you and plays with your expectations as it unfolds," says Sethi. "In that sense it resembled the leisurely improvised ghazals and qawwalis I grew up hearing in Pakistan." So when the two were finally introduced by Indian visual artist Somnath Bhatt, a regular Jaar collaborator who also handled the album's artwork, Sethi was well prepared. He began to sketch out voice notes using loops snipped from Jaar's acclaimed 2020 album 'Telas', improvising vocalizations and seductive Urdu poems over Jaar's weightless, time-bending productions. Jaar was astonished by the result; "It was what 'Telas' had been missing," he explains. Improvisation has been important to the Chilean artist for many years. Before he had even started making electronic music, Jaar jammed on accordion with friends on the street in New York City. It's at the core of his practice, "a moment in time," in his own words. 'Intiha', the opening track on the album, is the first they finished together, and positions Sethi's evocative phrases over Jaar's faded, metallic percussion. It's a perfect proof of concept, re- imagining the world of 'Telas' and augmenting it with a sense of ancestral melancholy and giddy euphoria that's truly transformational. Sethi is best known globally for his attempts to revive the ghazal, an ancient poetic form that was taken by Sufi mystics from the Arab world to Persia and throughout the Indian subcontinent, where it captivated the royal court. It's been unfashionable in the last few decades, a mannered style associated with decadence, and Sethi offers it a new lease of life through his playfully revisionist covers and renditions. (His most popular single 'Pasoori' is a global phenomenon, one of the most Googled songs of 2022, with hundreds of millions of listeners tuning into its timeless message of forbidden love.) Sethi updates the ghazal form by using his years of training in raga music, lifting metaphors that reflect his journey as an out-of- place queer kid in Pakistan who became a US citizen and now lives in New York City. 5. VITAL SALES POINTS: Critically acclaimed musician Nicolas Jaar collaborates with Pakistani artist Ali Sethi for a reworking of his original album Telas Ali Sethi song "Pasoori" was the most googled song in 2022. It has over a billion streams across his profiles

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

160 Pages Book (Boodk/Auduio Combination sold as "Merch Item"), containing 13 QR codes to download 13 songs. Aho Ssan debuts on Other People with second solo album and book 'Rhizomes' featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more 2. GENRE/S: Electronic / Alternative 3. TRACKLIST: 1. Ouverture feat Nyokabi Kariuki 2. Rhizome I Feat Josefa Ntjam 3. Cold Summer Part I Feat Blackhaine 4. Le Tremblement Feat Nicolás Jaar & Resina 5. Memoria Feat R?n C?p ?uôi & Richie Culver 6. Till The Sun Down Feat clipping. & Resina 7. Rhizome II Feat Lafawndah 8. Hero Once Been Feat 9 Antiope 9. Tetsuo I feat James Ginzburg 10. Tetsuo II 11. Away feat Exzald S & Valentina Magaletti 12. Rhizome IV Feat Moor Mother, Angel Bat Dawid & Mondkopf 13. Fermeture Nyokabi Kariuki 4. SHORT INFO: Aho Ssan debuts on Other People with second solo album and book 'Rhizomes' featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more Paris based composer Aho Ssan, the artist moniker of Niamké Désiré, presents his new full-length 'Rhizomes' on the Other People label following his debut LP 'Simulacrum' (2020) and collaborative record 'Limen' (2022) with fellow musician KMRU. 'Rhizomes' draws inspiration from a concept coined and developed between Gilles Deleuze and Felix Guatarri. The idea of an ever evolving structural model, constantly in motion and spreading out in all directions at once. It has no beginning and no end, but always remains in a middle, through which it grows and overflows. "The root thought is the one that kills everything around itself while the rhizome is the root that stretches out to meet other roots," Désiré explains considering the works of French writer Édouard Glissant who addresses questions of identity, crossbreeding of cultures and its evolution. Much like the name it borrows, Aho Ssan's 'Rhizomes' is a multimedia project that embarks on a myriad of disparate, unique musical and artistic partnerships. This piece adapts this concept to explore the influence of sound materials on creation, the appropriation of a sound object, and the collaborative nature of a composition that responds to modernity. "Rhizome represents an underground stem system that fosters connections between various organisms and allows them to flourish collectively. It's an album that celebrates collaboration and brings together a diverse group of talented artists," Désiré continues. Aho Ssan collaborated with a comprehensive cast of artists to create a musical rhizome including Nyokabi Kariuki, Josefa Ntjam, Blackhaine, Nicolás Jaar, Resina, R?n C?p ?uôi, Richie Culver, clipping., Lafawndah, 9T Antiope, James Ginzburg, Exzald S, Valentina Magaletti, Moor Mother, Angel Bat Dawid and Mondkopf. Cooperation and community are at the root of this project and the lens through which all the compositions can be understood through. Aho Ssan will present 'Rhizomes' AV show together with visual artist Sevi Iko Dømochevsky at Berlin Atonal 2023. 'Rhizomes' received a Honorary Mention at Prix Ars Electronica 2023 Digital Music 5. VITAL SALES POINTS: In conjunction with the album, 'Rhizomes' comes complete with a set of illustrations by Kim Grano in a book release. The drawings become a hybrid language, each an emotional response to the musical half. The book contains an extended version of the album with 3 additional songs and 2 longer versions of the album songs. It also includes a sample pack by Aho Ssan and a collection of solo tracks by Elliot Blaise, KMRU, Lamin Fofana, Brodinski & Se?bastien Forrester, Valence Drake, 9T Antiope, Exzald S and Valentina Magaletti. The extended version package is only accessible through the QR codes in the book.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LP [Limited Edition Vinyl] GENRE/S: Alternative / Electronic / Noise TRACKLISTS: 1. At The Opposite Pole of Architectural Virtue 2. In One Corner The Male Relatives 3. Serene Company 4. Tiles of The Façade 5. Chafing Dish 6. Such Gardens There Are 7. Capping Verse 8. Overdose Ferocious 9. Patience Of A Traitor 10. Bareekullah Picnic 11. In Thrall SHORT INFO: Tehran-born, NY based brothers Mohammad and Mehdi collaborate with Ian McDonnell, a.k.a. Eomac on a new record entitled "Patience of a Traitor". Inspired by the traditional bath houses in their native Tehran, the brothers say: "This record speaks to preserving the things that are timeless, through revisiting the past. The traditional Persian bath house - its architecture, the role it played in keeping, building community, the bathing rituals - served as our ultimate symbol. Now we drink from one cup, and fill the jar with the other."

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LP [Limited Edition Vinyl] GENRE/S: Alternative / Electronic / Ambient TRACKLIST: 1. Addio 2. Felicitazioni 3. Piccolo e Cattivo 4. Mio Signore 5. Tranquillo 6. Oboe Vento e Rumore 7. Ti Saluto Parte 2 8. Contacto 9. Casa di Emma 10. Ti Saluto Parte 1 SHORT INFO: Dienne's 'Addio' is a 32 minute study on loss and mourning. Following the death of her grandmother due to covid, and unable to say a proper goodbye due to travel restrictions, Dienne set out to give her "Addio" through musical form. She lets objects fall, leaves windows open, and lets the wind dust off the shelves. This is the sound of everyday mourning, a taste instead of an event. A lingering, broken and patient work of undeniable beauty. Credits: Artwork by Africanus Okokon and Maziyar Pahlevan. Mastering by Gert Van Hoof. Bio: Dienne is a Belgian composer, vocalist and multi-instrumentalist. She builds songs and soundscapes portraying images & stories that play behind her eyes. Starting with the oboe as a child, before adding the piano and flute to her repertoire, she later produced soundtracks for theater and dance performances. Her debut 'Addio' will be released on 'Other People'.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LTD 2LP [Includes Art Prints by Zofia Kulik] Compiled on vinyl for the first time GENRE/S: Library / Ambient TRACKLISTS: 1. Krzysztof Knittel: Lapis (1985) 2. Bohdan Mazurek: Canti (1973) 3. Magdalena Dàugosz: Yes and No (1990) 4. Barbara Zawadzka - Greya - III (1991) 5. Barbara Zawadzka Greya - IV (1990) 6. Barbara Zawadzka Greya - II (1987) 7. Rudnik - Epitaph of Stones (1984) 8. Boguslaw Shaeffer - Symphony. Elec…e (perf. by Wolfram) (1964-66) - I 9. Boguslaw Shaeffer - Symphony. Elec… (perf. by Wolfram) (1964-66) - II 10. Boguslaw Shaeffer - Symphony. Elec…(perf. by Wolfram) (1964-66) - III 11. Boguslaw Shaeffer - Symphony. Elec… (perf. by Wolfram) (1964-66) - IV SHORT INFO: Would It Sound Just As Bad If You Played It Backwards?" A Collection of Sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001) Art by Zofia Kulik "Would it sound just as bad if you played it backwards?" assembles a collection of audio experi-ments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the century. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early 70s. While PRES and Kulik remain touchstones in the recent history of the Polish avant-garde, presenting them togeth-er in one release may not have seemed like an obvious choice. There are, of course, some histori-cal intersections-the most notable being a shared interest in Polish artist and architect Oskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants. Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room," a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room-it mostly worked in theory but not in practice. What is it then that makes the two work together? Within the realm of art history, Kulik's work is often divided into two periods: her early, artistic endeavours connected to Open Form, and the KwieKulik collaboration (with Przemys?av Kwiek), followed by her later turn towards a closed form, characterised by a departure from pro-cessual art in favour of material works of art. Yet these terms don't necessarily bring out the es-sence of Kulik's works. The artist explained that Hansen's Open Form was important for how it opened his students to perceive their environments in a different way. Reminiscing about those times, she states, "I wanted to catch the moment when the object I was looking at was real. I de-cided that as a static item it can never be real-it's possible only in the process of looking at it. That translates to the object being recorded and presented in certain sequences [...] there's the astonishment at the materiality of objects, colours, transformations." Kulik's works chosen for this release are taken from two projects, Lady Halina and Cones (1968-71) and Excursion with White Screen. Route: Cemetery, The Palace of Culture, which were in-cluded in Kulik's diploma at the Sculpture Department of the Academy of Fine Arts in Warsaw. The projects consisted of slide projections presented on three screens, with specific temporal se-quencing. Lady Halina and Cones presents a woman's body, its forms, geometrical figures, and shapes undergoing a process of transformation. About Excursion with White Screen, Kulik says "this white sheet was supposed to signify an empty screen in different spatial situations in the city. I thought that I would later project a slide onto that screen, imposing another image after-wards, like a collage, but suddenly that screen became a material object instead of an abstract, pure idea of a potential image within an image. It became an object in itself and I began to notice that the screen sometimes wrinkles in the cemetery, and sometimes moves with the wind." A myriad of new meanings and references arise in the twenty-first century from Kulik's sequenced films. From the perspective of a young woman, Lady Halina and Scones poses questions about the objectification of women, the boundaries of their agency, and the recognition of their subjec-tivity within the patriarchal world in which their bodies often functioned as objects of control. In Excursion with White Screen the symbolism of a white sheet placed against a background image of a cemetery or the Palace of Culture questions the role of these religio-political monuments, the white screen acting as an empty, and potentially alternative, space between them. The music chosen for "Would it sound just as bad if you played it backwards?" spans most of the history of the Polish Radio Experimental Studio, including tracks as early as W?odzimi-erz Koto?ski's "Concrete etude, Study for One Cymbal Stroke," and ending chronologically with Wolfram's rendition of Bogus?aw Schaeffer's "Symphony. Electronic Music." Just as with Kulik's works, the contemporaneity of the music presented is astonishing. The album opens and closes with Krzysztof Knittel's 1980s compositions, "Lapis" and "Poko," and perfectly encapsu-late his descriptions of his experiences in the studio: "We acted without any initial plans or elec-tronic scores, there were no goals to be achieved, no creative method defined in advance. We used our aesthetic and technological knowledge freely, the shapes of tracks emerged during our shared work in the studio." The album also includes "Mictlan I" (1987) and "Yes and No," (1990) two stunning works by Magdalena D?ugosz, who studied composition with Krystyna Moszuma?ska-Nazar and music theory with Józef Patkowski. Since 1979 she has been teaching in the Electroacoustic Music Stu-dio at the Academy of Music in Kraków. Also featured is the avant-garde composer El?bieta Sikora, Knittel's fellow member from the KEW Composers' Group, with her stark pieces "Letters to M" and "View from the Window," (1971), and Barbara Zawadzka, whose "Greya" (1988) is meant to evoke different sequencings of the colour grey. In this piece, particularly, it's hard not to appreciate the similarity to Kulik's notion of sequencing and transformation of objects. Bernadetta Matuszczak's "Libera me" (1991) is an example of a somewhat different creative ex-perience. In a radio interview conducted by Marek Zwyrzykowski in 1992, the composer stated that she wasn't intending to discover any "extraordinary electronic effects"; instead, she focused on the piece's "expressive layer." With the help of Tadeusz Sudnik from PRES, she incorporated into "Libera Me" the characteristic melody from the Polish version of the Orthodox hymn "Holy God, Holy Mighty, Holy Immortal" and then combined it with sounds of explosions and instru-mental recordings, a veiled response to the US's interventions during the Gulf War. Eugeniusz Rudnik, the composer and sound engineer whose name is among those most strongly associated with PRES, contributes with his "Epitaph for Stones," (1984) a dedication to Jerzy Popie?uszko, the Polish Roman Catholic priest associated with the Solidarity trade union and an-ti-communist movement who was murdered by the Security Service. Bohdan Mazurek, who took over the reins of the studio from Rudnik in 1962 is also included with his piece "Canti" (1973). As mentioned above, the album also includes W?odzimierz Koto?ski's seminal "Concrete etude, Study for One Cymbal Stroke," a piece sourced from the single stroke of a mid-sized Turkish cymbal; it is often considered to be an important starting point for the development of experi-mental music in Poland. And, finally, the album features two performances of Bogus?aw Schaeffer's "Symphony. Electronic Music," the first by Bohdan Mazurek which remains very close to the composer's score, and a contemporary version by Wolfram, which takes much more creative liberties. In a text about his seminal work, Schaeffer stated that he "decided to include the factor of inter-pretation in a work that was greatly precise by nature" underlining the importance of shifting el-ements: "the development of music lies in individual elements shifting in the hierarchy of their functions." Indeed, an interest in shifting hierarchies seems present in Kulik's powerful images and most of the sound pieces contained in this release. When the Polish Radio appointed Eu-geniusz Rudnik to present PRES's technical capabilities to a conservative delegation of Soviet composers, he was met with a bitter reply: "Would it sound just as bad, if you played it back-wards?" asked the rigid composers. Rudnick's answer was to create "Skalary," (1966) a multi-version piece which could be played from start to finish and from finish to start, at different speeds, as well as with altered left and right channel distribution. This modular openness calls to mind the empty sheet in Kulik's images. Whatever the context, its static emptiness creates space for a different reality than that which those in power had in mind. This brings us back to Kulik's thoughts on her experiences as a student in the late 60s, a pivotal time in which she determined the process of looking and listening was central to reality itself, thereby shattering the rigidity of traditional forms and religio-political power: "I decided that as a static item, an object can never be real-it's possible only in the process of looking at it."

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LTD 2LP [Includes Art Prints by Zofia Kulik] Compiled on vinyl for the first time GENRE/S: Library / Ambient TRACKLISTS: 1. Wlodzimierz Kotonski - Study for One Cymbal Stroke (1951) 2. Symphony. Electronic music, part I (performed by Bohdan Mazurek) (1966) 3. Elzbieta Sikora - Letters to M. (1980) 4. Bernadetta Matuszczak - Libera me (1991) 5. Elzbieta Sikora - View from the Window (1978) 6. Magdalena Dlugosz - Mictlan I (1987) 7. Barbara Zawadzka - Greya part V (1991) 8. Krzysztof Knittel - Poko (1986) SHORT INFO: Would It Sound Just As Bad If You Played It Backwards?" A Collection of Sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001) Art by Zofia Kulik "Would it sound just as bad if you played it backwards?" assembles a collection of audio experi-ments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the century. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early 70s. While PRES and Kulik remain touchstones in the recent history of the Polish avant-garde, presenting them togeth-er in one release may not have seemed like an obvious choice. There are, of course, some histori-cal intersections-the most notable being a shared interest in Polish artist and architect Oskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants. Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room," a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room-it mostly worked in theory but not in practice. What is it then that makes the two work together? Within the realm of art history, Kulik's work is often divided into two periods: her early, artistic endeavours connected to Open Form, and the KwieKulik collaboration (with Przemys?av Kwiek), followed by her later turn towards a closed form, characterised by a departure from pro-cessual art in favour of material works of art. Yet these terms don't necessarily bring out the es-sence of Kulik's works. The artist explained that Hansen's Open Form was important for how it opened his students to perceive their environments in a different way. Reminiscing about those times, she states, "I wanted to catch the moment when the object I was looking at was real. I de-cided that as a static item it can never be real-it's possible only in the process of looking at it. That translates to the object being recorded and presented in certain sequences [...] there's the astonishment at the materiality of objects, colours, transformations." Kulik's works chosen for this release are taken from two projects, Lady Halina and Cones (1968-71) and Excursion with White Screen. Route: Cemetery, The Palace of Culture, which were in-cluded in Kulik's diploma at the Sculpture Department of the Academy of Fine Arts in Warsaw. The projects consisted of slide projections presented on three screens, with specific temporal se-quencing. Lady Halina and Cones presents a woman's body, its forms, geometrical figures, and shapes undergoing a process of transformation. About Excursion with White Screen, Kulik says "this white sheet was supposed to signify an empty screen in different spatial situations in the city. I thought that I would later project a slide onto that screen, imposing another image after-wards, like a collage, but suddenly that screen became a material object instead of an abstract, pure idea of a potential image within an image. It became an object in itself and I began to notice that the screen sometimes wrinkles in the cemetery, and sometimes moves with the wind." A myriad of new meanings and references arise in the twenty-first century from Kulik's sequenced films. From the perspective of a young woman, Lady Halina and Scones poses questions about the objectification of women, the boundaries of their agency, and the recognition of their subjec-tivity within the patriarchal world in which their bodies often functioned as objects of control. In Excursion with White Screen the symbolism of a white sheet placed against a background image of a cemetery or the Palace of Culture questions the role of these religio-political monuments, the white screen acting as an empty, and potentially alternative, space between them. The music chosen for "Would it sound just as bad if you played it backwards?" spans most of the history of the Polish Radio Experimental Studio, including tracks as early as W?odzimi-erz Koto?ski's "Concrete etude, Study for One Cymbal Stroke," and ending chronologically with Wolfram's rendition of Bogus?aw Schaeffer's "Symphony. Electronic Music." Just as with Kulik's works, the contemporaneity of the music presented is astonishing. The album opens and closes with Krzysztof Knittel's 1980s compositions, "Lapis" and "Poko," and perfectly encapsu-late his descriptions of his experiences in the studio: "We acted without any initial plans or elec-tronic scores, there were no goals to be achieved, no creative method defined in advance. We used our aesthetic and technological knowledge freely, the shapes of tracks emerged during our shared work in the studio." The album also includes "Mictlan I" (1987) and "Yes and No," (1990) two stunning works by Magdalena D?ugosz, who studied composition with Krystyna Moszuma?ska-Nazar and music theory with Józef Patkowski. Since 1979 she has been teaching in the Electroacoustic Music Stu-dio at the Academy of Music in Kraków. Also featured is the avant-garde composer El?bieta Sikora, Knittel's fellow member from the KEW Composers' Group, with her stark pieces "Letters to M" and "View from the Window," (1971), and Barbara Zawadzka, whose "Greya" (1988) is meant to evoke different sequencings of the colour grey. In this piece, particularly, it's hard not to appreciate the similarity to Kulik's notion of sequencing and transformation of objects. Bernadetta Matuszczak's "Libera me" (1991) is an example of a somewhat different creative ex-perience. In a radio interview conducted by Marek Zwyrzykowski in 1992, the composer stated that she wasn't intending to discover any "extraordinary electronic effects"; instead, she focused on the piece's "expressive layer." With the help of Tadeusz Sudnik from PRES, she incorporated into "Libera Me" the characteristic melody from the Polish version of the Orthodox hymn "Holy God, Holy Mighty, Holy Immortal" and then combined it with sounds of explosions and instru-mental recordings, a veiled response to the US's interventions during the Gulf War. Eugeniusz Rudnik, the composer and sound engineer whose name is among those most strongly associated with PRES, contributes with his "Epitaph for Stones," (1984) a dedication to Jerzy Popie?uszko, the Polish Roman Catholic priest associated with the Solidarity trade union and an-ti-communist movement who was murdered by the Security Service. Bohdan Mazurek, who took over the reins of the studio from Rudnik in 1962 is also included with his piece "Canti" (1973). As mentioned above, the album also includes W?odzimierz Koto?ski's seminal "Concrete etude, Study for One Cymbal Stroke," a piece sourced from the single stroke of a mid-sized Turkish cymbal; it is often considered to be an important starting point for the development of experi-mental music in Poland. And, finally, the album features two performances of Bogus?aw Schaeffer's "Symphony. Electronic Music," the first by Bohdan Mazurek which remains very close to the composer's score, and a contemporary version by Wolfram, which takes much more creative liberties. In a text about his seminal work, Schaeffer stated that he "decided to include the factor of inter-pretation in a work that was greatly precise by nature" underlining the importance of shifting el-ements: "the development of music lies in individual elements shifting in the hierarchy of their functions." Indeed, an interest in shifting hierarchies seems present in Kulik's powerful images and most of the sound pieces contained in this release. When the Polish Radio appointed Eu-geniusz Rudnik to present PRES's technical capabilities to a conservative delegation of Soviet composers, he was met with a bitter reply: "Would it sound just as bad, if you played it back-wards?" asked the rigid composers. Rudnick's answer was to create "Skalary," (1966) a multi-version piece which could be played from start to finish and from finish to start, at different speeds, as well as with altered left and right channel distribution. This modular openness calls to mind the empty sheet in Kulik's images. Whatever the context, its static emptiness creates space for a different reality than that which those in power had in mind. This brings us back to Kulik's thoughts on her experiences as a student in the late 60s, a pivotal time in which she determined the process of looking and listening was central to reality itself, thereby shattering the rigidity of traditional forms and religio-political power: "I decided that as a static item, an object can never be real-it's possible only in the process of looking at it."

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LP CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN MIXING BY NICOLAS JAAR AND PATRICK HIGGINS * In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s. 8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music 8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole 9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now. NICOLAS JAAR BIOGRAPHY NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path. For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others). In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY. In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH) Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ. In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE. Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE Tracklist: 1 Vanish 2 Menysid 3 Cenizas 4 Agosto 5 Gocce 6 Mud 7 Vacíar 8 Sunder 9 Hello, Chain 10 Rubble 11 Garden 12 Xerox 13 Faith Made of Silk

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

- 2LP is mastered for Exceptional Sound LTD Edition includes : 2LP + Book + OCard + Clear PVC Sleeve CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN MIXING BY NICOLAS JAAR AND PATRICK HIGGINS * In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s. 8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music 8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole 9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now. NICOLAS JAAR BIOGRAPHY NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path. For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others). In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY. In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH) Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ. In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE. Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE Tracklist: 1 Vanish 2 Menysid 3 Cenizas 4 Agosto 5 Gocce 6 Mud 7 Vacíar 8 Sunder 9 Hello, Chain 10 Rubble 11 Garden 12 Xerox 13 Faith Made of Silk

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LTD CD : CD + Book + Clear PVC Sleeve CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN MIXING BY NICOLAS JAAR AND PATRICK HIGGINS * In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s. 8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music 8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole 9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now. NICOLAS JAAR BIOGRAPHY NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path. For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others). In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY. In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH) Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ. In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE. Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE Tracklist: 1 Vanish 2 Menysid 3 Cenizas 4 Agosto 5 Gocce 6 Mud 7 Vacíar 8 Sunder 9 Hello, Chain 10 Rubble 11 Garden 12 Xerox 13 Faith Made of Silk

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

CD Version CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN MIXING BY NICOLAS JAAR AND PATRICK HIGGINS * In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s. 8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music 8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole 9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now. NICOLAS JAAR BIOGRAPHY NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path. For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others). In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY. In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH) Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ. In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE. Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE Tracklist: 1 Vanish 2 Menysid 3 Cenizas 4 Agosto 5 Gocce 6 Mud 7 Vacíar 8 Sunder 9 Hello, Chain 10 Rubble 11 Garden 12 Xerox 13 Faith Made of Silk

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

AAL 3LP '2017-2019' on Other People featuring Lydia Lunch. F = vinyl-only edit Tracklist 3LP A1. Fantasy A2. If Loving You Is Wrong B. With An Addict C1. If You Can't Do It Good, Do It Hard feat. Lydia Lunch C2. Alarm C3. Deeeeeeefers D. Faith E1. Penny E2. You (Forever) F. Vinyl-Only Edit

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

AAL Single 12" on Other People featuring Lydia Lunch and FKA twigs. Tracklist EP A Illusions Of Shameless Abundance Featuring – Lydia Lunch B Alucinao Feat. Estado Unido & FKA twigs

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Tracklist LP: 1. In Praise Of Shadows 2. Figure 3. Distance 4. Rest 5. Weight 6. South 7. Tides Sary Moussa is an electronic musician who has been active in the Beirut underground scene since 2008. He released his first full-length album Issrar in October of 2014 under the moniker radiokvm. His latest record Imbalance, finds Moussa revisiting the soundscapes of his childhood; from the echoes of political unrest, to Greek-Catholic chants, and the quiet nights of a secluded Southern village. The album combines sound design with intricate melodic arrangements to create a choir of synthesizers and noise singing in and out of sync. In addition to his solo work, Moussa has also composed music for theatre and dance performances, short films, and museum installations.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LP “Bandiera Di Carta” represents the ongoing collaboration between instrument builder and composer Pierre Bastien and the London based experimental duo Tomaga (Valentina Magaletti and Tom Relleen). Bastien has been called a “mad musical scientist with a celebrity following” by The Guardian (UK) having collaborated with the likes of filmmaker Pierrick Sorin, fashion designer Issey Miyake, singer and composer Robert Wyatt as well as Aphex Twin, who released three of his albums on his label Rephlex. Tomaga have made more than a dozen records since forming in 2014, pursuing a path of fearless experimentation and sonic brinksmanship that has won them fans and plaudits from far and wide, including Thurston Moore, with whom they collaborated on the CAN Project with Malcolm Mooney, Deb Goodge and others in 2017, as well as Wire, Silver Apples and Stereolab, with whom they toured extensively in summer 2019. The artistic collaboration between Pierre and Tomaga began with two commissions: from Fructose Festival in Dunkirk and the revered underground festival Supersonic in Birmingham UK. Recording initially at a studio in the industrial port of Dunkirk, the uneasy bond between borders and states seems to have been a theoretical motor to the collaborative sessions, as well as the bleak landscape of the seaport frontier. This inspiration found further manifestation in the cover image for ‘Bandiera Di Carta’. Resembling a white paper flag, it is, in fact, a photograph of Bastien’s paper and air sound machine installed on stage at Teatro Carignano in Turin as part of the trio’s performance there. This charged, ambivalent image of a blank flag evokes the transcendence of the national, a prescient visual motif that meditates on the contemporary uncertainty around notions of national identity and borders but perhaps also a ‘carte blanche’ for the artists involved, in which they can deviate from the confines of their usual practice into new and strange territories. For each piece, Bastien’s unique sonic style: by turns his kinetic mechanoid motors, capriciously arrhythmic pipes, or the peculiar susurrus of paper, creates a world in which Tomaga introduce their musical palette. Magaletti’s percussion anchors these sometimes chaotic forces into beguiling syncopations, with Relleen’s synthesizer and organ work creating harmonic counterpoints and interruptive provocations, to which Bastien responds with lyrical turns on prepared trumpet, rubber band, tin foil and bass ocarina. The results are curiously evocative of free jazz by the likes of Sun Ra or Art Ensemble of Chicago paired with the percussive sound worlds of artists like Francis Bebey or Muslimgauze along with unique and sometimes bizarrely exotic tonal landscapes of composers like Catherine Christer Hennix, Carl Stone, or Egisto Macchi. All three musicians seem to find space to bloom in ways that are markedly different from their individual work and the resulting album is a strikingly original and powerfully bold affirmation of what can happen when venturing beyond the normal in pursuit of the other.All tracks written & produced by Tomaga (Tom Relleen & Valentina Magaletti) & Pierre Bastien. Mixed and mastered by Rashad Becker. Tracklist A1 Senza A2 Pipes Of Dunkirk A3 andiera Di Carta A4 The Meeting B1 Machines With Ideas B2 Paper Ritual B3 Doldrum B4 Circles In The Ruins

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

LP vtgnike is danil avramov, born in Vladimir,russia. started actively making music in 2010 after moving to moscow. after releasing couple of eps under different monikers, got a few vtgnike d.i.y. cds(one of those probably got into nico's ears in NY) i've got beautifull DUBNA LP on other people(yes really still think its a great record) and few month after its release got in jail because of drug charges dated 2009. long story here. im 100% on weed legalization and decriminalization of other drugs in a logically gentle and mentally stable sociaty(and the world is not equal, its diversed and i respect all non violent cultures :-). got free in 2016(THANKS TO EVERYONE INVOLVED AND NICO) and got another album with a gostzvuk fam. i am a proud resident of NII club. in producing i've been switching music genres all my life ) electronic music that has a flow in it, dosnt need to be glued to any specific range of bpm, etc. Tracklist 1. Vechermix 2. Sentimental Geometry 3. Sweep 4. Sausemix 5. VVK 6. Nervnii RnB 7. Can't Tell 8. Slowshit 9. Primechord

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

AAL record on Other People. Pressed on to wax due to popular demand. Tracklist: A 1. THIS OLD HOUSE IS ALL I HAVE 3:39 A.A.L (AGAINST ALL LOGIC) 2. I NEVER DREAM 6:46 A.A.L (AGAINST ALL LOGIC) 3. SOME KIND OF GAME 6:47 A.A.L (AGAINST ALL LOGIC) B 4. HOPELESS 5:41 A.A.L (AGAINST ALL LOGIC) 5. SUCH A BAD WAY 4:53 A.A.L (AGAINST ALL LOGIC) 6. FLASH IN THE PAN 7:28 A.A.L (AGAINST ALL LOGIC) C 7. CITYFADE 5:41 A.A.L (AGAINST ALL LOGIC) 8. NOW U GOT ME HOOKED 5:51 A.A.L (AGAINST ALL LOGIC) 9. KNOW YOU 4:25 A.A.L (AGAINST ALL LOGIC) D 10. YOU ARE GOING TO LOVE ME AND SCREAM 5:35 A.A.L (AGAINST ALL LOGIC) 11. RAVE ON U 9:56 A.A.L (AGAINST ALL LOGIC)

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Deluxe Cover Art 1 LP Vinyl Track List - (songs should be titled exactly as given after the numbers below): (1) Flat File (12:20 min) (2) Pitch Black (12:10 min) (3) [[ redact__ion ]] (06:44 min) (4) White Lie (18:15 min)

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Beautiful Deluxe Artwork, Limited ot to not to is an experimental RnB project by VA native Ian Mugerwa that combines low fidelity electronic recording techniques with unconventional song structures to produce music that serves as homage to dusty old blues recordings. At 19, Ian left his hometown of Fairfax for Richmond, where he slept on friends' floors for several months while recording Goshen. During the day he would "hunt dussy" and during the night he would haul borrowed equipment over to the VCU music facilities and record until the morning. He was moderately successful on both fronts. The resultant recordings form a coming of age album, a snapshot of Ian from the ages of nineteen to twenty. Ian's goal was to explore new aesthetics in black music through use of nontraditional methods, creating less polished, less sterile RnB in the process. Such methods included layering 40+ cello tracks to create the illusion of an orchestra, or collaging four, separate, 4-minute tracks of improvised percussion into one. Most drums were recorded last. Despite the focus on experimentation, it was important to Ian that he be crafting pop music. It is his belief that an impactful artist has, at least to some degree, a moral responsibility to deliver their art to the maximum amount of people (to efficiently help art as a whole progress). In other words, if restraint can be exercised, it ought to be. Similar artists include James Blake, Phil Elvrum, Mark Hollis, and D'Angelo. Tracklist: 1. Withdrawal and Restraint 2. Mamama 3. Little One 4. Regretta II 5. Addiction and Indulgence 6. Never 7. Ever (Kalimba II) 8. Regretta I (ft Noah Smith)

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Beautiful Deluxe Artwork, Limited, 180g Vinyl High Water, all around you. Crush is great flood music, an emotional deep-dive by way of sonic spell. It is the debut album by High Water high priest Will Epstein, who has strung his folksy, bare-souled heartsongs across a starry firmament and WAY DOWN into a bottomless blue. The sound is a mongrel, electro-acoustic jazz: crisp production that cradles Epstein's silvery holler and the fingerpicked click-clack of his electric Rhodes piano. His distinctive, loping cadence cuts through the noise and ferries us up a pilgrim path, yearning for a present truth, a pure love. He sings: "through the mask and through the fire, through the red now take me higher." Epstein is a son of downtown Manhattan who came of age speaking in saxophone. For many moons, he recorded, performed, and alchemized the pregnant silence with Nicolas Jaar, a dear friend since childhood, long before either knew how to spin a tune. The High Water multi-instrumentalist solo-style gestated while opening up several tours for Darkside, Jaar's band with Dave Harrington. He is active in the NYC improv scene: he regularly shrieks the sweet horn and tweezes the waveforms, jams live scores to cinema reels, and collaborates liberally with fellow aural voyagers-especially Harrington, whose lightning rod guitar work peppers Crush. John Coltrane is his patron saint, and John Zorn his relentless guru. He has grown a deep love for Bob Dylan and his endless, shape-shifter's myth. These three titanic influences share a spiritualism-a volatile energy to create and destroy the self, to sublimate raw humanity into something impossible and eternal. He sings: "dream about me from ahigh, call me names I can't contain." And such is the spirit of Crush: familiar sounds are stretched past their limits, and lyrics are charged with the power of a ritual text. These nine songs are incantations that conjure little worlds, mikrokosmos, circular love letters that appeal to the rain, the grain, the moon and its dream, the sun. Epstein employs elemental language, as well as the oblique Americana of railroad songs, rising rivers, and "sleepwalking through the pines." The local past melts into the primordial then wormholes back to the hot present, cutting crop circles into an alien Earth. He proclaims himself "a demon with a moonlight mind." High on lunar energy, the whole self is laid bare and heart is open, equally ready to make love and to be pulverized into a creaturely dust. It's a vulnerable state, one that is heightened and transpersonal, an ecstatic skin-shedding dervish. He sings: "You make me cry with all your laughter, you make me dance in this crazy way/ I try endless entertainment, you try everlasting pain." Crush is a beguiling, evocative music that, from track to track, recalls a series of short films, a sculptural forest, or a kaleidoscopic fever dream. The gentle lull that begins "Moonlight Mind" kabooms into a pulsing beat with a soulful twitch. Snappy drums are chopped and reassembled; Harrington's guitar pinches tones in bitcrushed screams and inspired blue country twangs. The soft "Forecast," pooled in reverb, spikes under synthesized high beams and sputtering organ. A guttural sax masquerades as a digital insect frantically cleaning its mandibles-later the horn returns as a distant wheeze, a watery figment. A soft-dub rework of Lucinda Williams' "Changed the Locks" confirms the love/hurt essence of Crush. Ancient murals spell "Seattle," a distant place where sensual heat is felt and peaceful melodies fume out of dark tombs. Through all this and the last three songs-- the contemplative final stanza--the prevailing imagery is that of the rain. The album is laced in a life-affirming naturalism, and whenever the gale-force productions come to a head, the pillowy clouds of sound burst into a cleansing shower, drizzling like a granulated rainstick. We are comforted by the knowledge of this self-preserving, regenerative eco-system-that no matter how tumultuous the feeling, deep down, we're hard to CRUSH. Tracklist: 01 Moonlight Mind , 02 Bad Touch , 03 Forecast , 04 Woman In The Dunes , 05 Changed The Locks , 06 Seattle , 07 Run Around You , 08 Railroad Song (reprise) , 09 Crush

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Deluxe Artwork, Limited, 180g Vinyl Tracklist EP: 1. Unofficial Megastructures , 2. Through The Looking Glass 3. Collapse , 4. Morning Crisis PRESS RELEASE: Vaghe is a man of few words. He wanders, seemingly endlessly, through a lonely, gargantuan labyrinth of concrete and steel, fighting off ghosts and other futuristic nightmares, searching only for something called The Full Stream Ahead. Who is this quiet, determined man and what are these Ghosts he seeks? The small communities he finds tucked into the crevices of this towering, dystopic ruin hardly give him leads on his treasure, driving him to find larger enclaves of civilization where people can reveal more about the world he lives in and the quarry he seeks. If Vaghe is going to find the treasure he seeks, he will need more help and information than the inhabitants of these beleaguered outposts can offer. He needs to find a larger cluster of civilization, but he'll have to survive the trip to get there, first... Following his 2014 'Sweet Sixteen', and his 2015 'Abstract Speed + Sound' Other People is pleased to announce The Full Stream Ahead: The Prologue by Turin's Daniele Mana aka Vaghe Stelle. Previously associated with Italian label Gang of Ducks and a current member of production group One Circle with fellow nationals Lorenzo Senni and A:RA, Daniele's roots in the emerging Italian production scene run deep and place him at its center.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
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Deluxe Cover Art 1 LP Vinyl, 180g Tracklist LP: A1 WHITE HEAT , A2 SLIDES , A3 THE PROPHET , A4 CITIES OF THE RED NIGHT B1 STEELS , B2 BECOME ALIVE , B3 SPECTRUM , B4 ALL I CAN DO Dave Harrington’s long-standing musical career is impressive and varied, yet the New York-native has never released an album of his own work. Today, Harrington is pleased to announce his first solo endeavor, Dave Harrington Group, and the release of his debut album, Become Alive, which will be released April 15th on Other People. With today’s announcement, Harrington offers up the first taste of the album with its title track – listen below Dave Harrington grew up immersed in jazz, from his father’s love of it, to later studying with Kelvyn Bell, Brad Jones, JD Parran, Daniel Bernard Roumain, and Dave Zinno. Upon his return to NYC after university, Harrington dove headfirst into his hometown of New York’s musical underworld, where scenes and bands rub together and cross-pollinate with abandon. From there, he fell into the electronic music milieu, collaborating with Nicolas Jaar on Darkside’s celebrated blending of techno, prog-rock and space disco. For Become Alive, Harrington was inspired by the classic jazz albums of the late 60s and early 70s, which experimented with contemporary studio recording techniques and effects. He assembled about a dozen players and recorded days of improvised material, later manipulating it into something that, while fundamentally live, takes full advantage of Harrington’s penchant for electronic manipulations of organic sound - the same conceptual approach he takes with his heavily effected and live-sampling guitar work, applied to an entire group. Each track is the unique product of Harrington’s unorthodox musical make-up – jazz training and ability, a collaborative, free-minded spirit, and a personal vision of mixing and post-production techniques to tie it together. “This record is the result of improvising with different combinations of people, and then processing and re-sculpting those improvisations - isolating passages, turning them into something new, overdubbing layers of myself, maybe taking something from another piece and superimposing it out of its original context. But each track is always me interacting with other people, sometimes just one or two… sometimes ten. There was flute, vibes, organ, fender rhodes, guitar, bass, two drummers, percussion, sax… just full-on, over-blown energy. I took all that and treated it as raw material in the mixing stage… But when you have ten people in a room, you can only edit so much. Everything is in every microphone anyway – it’s all connected, so it’s about turning it into whatever it wants to be.” “It’s all just about making improvisational music in a way that is personal and true,” offers Harrington when asked about his specific influences. “Derek Bailey is one name I will mention, though, because he has very little to do with what I do stylistically. He really wrote the book on free improvisation guitar playing - it was not jazz, not swing and not rock, it was just pure personality. Nobody else could do it. That’s something I hear in the records that most inspire me – when you don’t hear something and think, oh, well that’s this thing, when you just hear the ideas coming straight at you.” Much of the initial mixing and editing of the album was done during the height of Darkside touring, “Nico and I were improvising together on stage basically every night,” Harrington says, “it was a very focused period of time. Ultimately, this album is very personal. This is my first LP with my name on it. It’s me and a dozen of my favorite musicians and closest friends. That was the spirit of making this record… Bringing people together and playing, improvising, being present.”

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With their new album entitled Trembling Air, Hungarian electroacoustic duo 12z (onetwozed) present an eclectic palette of intricate, improvisatory tone poems. This is the first of two upcoming full-lengths with the label and the second,Trembling Air, will follow in just a few months. As pure improvisors, Bálint Szabó and Márton Kristóf have constructed a substantial body of work, including film scores, studio recordings, and a significant archive of 12z [sessionz] — weekly improvised jams with a shifting cast of collaborators. These [sessionz] were compiled into a self-released podcast which followed their self-titled debut on Hungarian label Farbwechsel. All this is not even to mention their live work, which is at the foundation of 12z’s craft and artistry. With Bálint on guitar, Márton on electronics, and guest member Áron Porteleki often joining on drums, they fluctuate between jagged rhythmic passages, floating moments of harmonic tension, and any other form that emerges, always chiseling structure from the chaos. Trembling Air marks another direction in 12z's work, being their first entirely electronic recording. The album was sparked by György Pálfi’s film Free Fall, for which it was recorded as a potential score, but it stands strong independently, conjuring its own strange images. Tracklist 1 - Flying Across The Globe , 2 - Seeing From Above , 3 - Thousands Below , 4 - Like Endless Patterns , 5 - Making Their Endless Practices , 6 - Of Roots Hardly Known , 7 - With No Directions , 8 - Names Or Labels , 9 - Thus They Celebrate , 10 - Speechless Yet Echoing , 11 - The Ancient And Continuous , 12 - Trembling Of The Air

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Beautifully Designed 1LP, 180g Vinyl Press kit: Following his Extended Play EP on Other People last year, Jream House is the turbulent and spiritual debut LP of Mark Hurst aka A Pleasure. Blending mathematical composition with an unrestrained studio experimentalism, the sound of A Pleasure charts a space where formative influences confront the most immediate performative impulse. Using a process of numerical transposition, the names of personally significant bands and composers are converted into drum patterns. He then lets loose, improvising around these structures with a variety of traditional and unorthodox instruments: bass and guitar, bowed cymbals, drum machines juggled like turntables, blowtorch on aluminium, to name but a few. With his influences as start-points, he builds rhythmic structures literally in their namesake, blasting their hulls with walls of noise, monolithic basslines and any other jam-yielded shrapnel. Despite the chaos and complexity of the process, the results sound neither clinical, nor garbled. The tracks always find their way to an emotive melody or strong groove. Lush guitar strums and yearning keys ride the high-speed beat of "Slow Channel", which seems to soar through cloud-cover as one snaking mass. "The Order of Things" folds a cosmic guitar-part into a backdrop of heavily side-chained noise. "Arthur Russell" features a neck-snapping rim-shot and crushed snare that splash up the bits of an elegiac vocal part. Through violent and idyllic atmospheres, Jream House jettisons its inspirations like landing shuttles, always in search of new ground. These are songs, not just experiments. Tracklist 01 Durutti Gottsching, 02 Arthur Russel, 03 The Order of Things, 04 Grace , 05 Idoru, 06 Slow Channel, 07 Am Me Evol Eye

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Teenage Jesus and the Jerks began to formulate their visionary brand of aural catharsis sometime during the first half of 1977, amidst the sordid ruins of a then fully down-and-out Lower Manhattan. The mastermind behind this juggernaut of sonic libertinage was a barely pubescent but world-weary runaway who called herself Lydia Lunch. Influenced strongly by the Marquis de Sade and Henry Miller, Lunch shrewdly decided to graft the existential horror of her own writing onto harsh, atonal music after being exposed to the room-clearing live output of other contemporary rock-music deconstructionists like Suicide and Mars. With an agenda of conjuring nightmarish intensity in lieu of technical instrumental ability, Teenage Jesus instantly made the supposedly "nihilistic" and "raw" current wave of so-called Punk acts sound like slick, good-timey pop music by comparison. Teenage Jesus and the Jerks were The Texas Chainsaw Massacre, lisa, She Wolf of the SS, and Salò, or the 120 Days of Sodom, transliterated into a blatant mockery of the increasingly tired, basic rock-band format. Posthumously, there have been numerous reissues of the primary Teenage Jesus corpus, namely the first side of the Lydia Lunch double compilation album Hysterie (CD Presents, 1986), a very incomplete anthology titled Everything (Atavistic, 1995) and Shut Up and Bleed (Cherry Red/Atavistic, 2008), which also featured Beirut Slump tracks. These less-than-fastidious documents contained reverb-laden transcriptions of the studio cuts directly from vinyl copies, as well as random live tracks of mediocre fidelity. This particular collection about to be released on Other-People is meticulously edited and mastered from rare bootlegs taped during the initial 1977-1979 period of classic band, and only one title (Crown of Thorns from January 17,1979) has been legitimately released to date, albeit in a completely different sound quality. Almost every known Teenage Jesus and the Jerks composition appears on this compendium and Ms. Lunch herself is quite satisfied that this just might be the final nail in the coffin…. If it is the sound of deliberately organized and deployed agony you are seeking, your bath has been drawn and the razor awaits. Weasel Walter, Brooklyn, NY, June 30, 2015 Tracklist - 1. Less of Me / 2. My Eyes / 3. Popularity Is So Boring / 4. Orphans / 5. Eliminate By Night / 6. Freud In Flop / 7. Burning Rubber / 8. I Woke Up Dreaming / 9. Crown Of Thorns / 10. Baby Doll / 11. Race Mixing / 12. Don't Talk About Love / 13. No Morality / 14. Instrumental / 15. Baby Doll / 16. Freud In Flop / 17. Race Mixing / 18. Crown Of Thorns / 19. Red Alert / 20. The Closet / 21. Instrumental / 22. Freud In Flop / 23. Burning Rubber / 24. Red Alert / 25. Orphans / 26. Eliminate By Night / 27. The Closet

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Teenage Jesus and the Jerks began to formulate their visionary brand of aural catharsis sometime during the first half of 1977, amidst the sordid ruins of a then fully down-and-out Lower Manhattan. The mastermind behind this juggernaut of sonic libertinage was a barely pubescent but world-weary runaway who called herself Lydia Lunch. Influenced strongly by the Marquis de Sade and Henry Miller, Lunch shrewdly decided to graft the existential horror of her own writing onto harsh, atonal music after being exposed to the room-clearing live output of other contemporary rock-music deconstructionists like Suicide and Mars. With an agenda of conjuring nightmarish intensity in lieu of technical instrumental ability, Teenage Jesus instantly made the supposedly "nihilistic" and "raw" current wave of so-called Punk acts sound like slick, good-timey pop music by comparison. Teenage Jesus and the Jerks were The Texas Chainsaw Massacre, lisa, She Wolf of the SS, and Salò, or the 120 Days of Sodom, transliterated into a blatant mockery of the increasingly tired, basic rock-band format. Posthumously, there have been numerous reissues of the primary Teenage Jesus corpus, namely the first side of the Lydia Lunch double compilation album Hysterie (CD Presents, 1986), a very incomplete anthology titled Everything (Atavistic, 1995) and Shut Up and Bleed (Cherry Red/Atavistic, 2008), which also featured Beirut Slump tracks. These less-than-fastidious documents contained reverb-laden transcriptions of the studio cuts directly from vinyl copies, as well as random live tracks of mediocre fidelity. This particular collection about to be released on Other-People is meticulously edited and mastered from rare bootlegs taped during the initial 1977-1979 period of classic band, and only one title (Crown of Thorns from January 17,1979) has been legitimately released to date, albeit in a completely different sound quality. Almost every known Teenage Jesus and the Jerks composition appears on this compendium and Ms. Lunch herself is quite satisfied that this just might be the final nail in the coffin…. If it is the sound of deliberately organized and deployed agony you are seeking, your bath has been drawn and the razor awaits. Weasel Walter, Brooklyn, NY, June 30, 2015 Tracklist - 1. Less of Me / 2. My Eyes / 3. Popularity Is So Boring / 4. Orphans / 5. Eliminate By Night / 6. Freud In Flop / 7. Burning Rubber / 8. I Woke Up Dreaming / 9. Crown Of Thorns / 10. Baby Doll / 11. Race Mixing / 12. Don't Talk About Love / 13. No Morality / 14. Instrumental / 15. Baby Doll / 16. Freud In Flop / 17. Race Mixing / 18. Crown Of Thorns / 19. Red Alert / 20. The Closet / 21. Instrumental / 22. Freud In Flop / 23. Burning Rubber / 24. Red Alert / 25. Orphans / 26. Eliminate By Night / 27. The Closet

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Beautifully Designed 1LP, 180g Vinyl Just waking up and everything sounding slower. Holes in the wall. The unknown in the familiar. The shock of the new. Just-turned rubble. Thick clouds of recall. Muted high-life, de-centered hip-hop, and disparate conversation. Heavy, sinking jazz and dissected infomercials. Too much chewing gum? Not quite anything, or half of something. Reminds me of. Smells like…? Turkson Side is Africanus Okokon's first album. It is almost entirely sample-based, made largely within a simple, custom-made playback software with each track recorded in one take with very little editing. "Wrake" is the only exception, a recording of him playing an Ethopian krar inside his house. Africanus is no stranger to the label. Primarily a visual artist with background in video, animation, and collage, he's designed most of Other People's recent site graphics and a number of release covers. In part, this album as Okokon is a translation of a developed aesthetic to an unfamiliar medium. Like his collage and animation work , it's rough-hewn yet deliberate, consciously inclusive of digital processing and sampling artifacts for their unique texture and visceral affect. Throw the means aside, though, and what you've got is an evocative collection of craggy, trance-inducing concréte-poetry that act equally well as soundscapes for late-night or early-morning. "Asphalt" starts things, a near-fifteen-minute "multi-movement" (if you will) piece that moves through zones of blasted commercial intro FX, alien telecast High-Life, gibberish spoken word, and xylophonic skeleton dance march music, lingering at every interstice. Shorter, more singular pieces follow, each swathing and detailing a particular rhythmic structure with choice loops: the detritus of film soundtracks, warped conversation, gain-pumped jazz-shuffles, and old, mystic drum tapes that glitch and squeeze through the software's un-sanded synapses. Higher volumes are recommended to bring out the record's finer imperfections. Tracklist LP: A1. Asphalt , A2. Cushion , A3. Host B1. Flipcam , B2. Wrake , B3. Soft , B4. Perspiration , B5. Contelest , B6. Sargassum

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Limited 180g Vinyl Tracklist EP: A1. Na 7 , A2. Pod 3 , A3. Pro 2 B1. U 1 , B2. V 4 BIOGRAPHY: Other People is excited to debut the work of 19-year-old Russian producer Gena Volgarev, aka InLensk, with the Obratno EP. Translated as backward, or conversely, Obratno seems obsessed with and frustrated by a sense of nostalgia that can never lock its focus. Finely etched, highly detailed rhythms retain a cerebral cool fluttering over, under, and around melancholic digital melodies that bend and degrade sporadically. Meanwhile, the tactile use of filtering, extreme pans, and hypnotic microprogramming reveals an interest in sound’s ability to shift temporal perception and evoke a purely neural response. Yet there’s an intuitive warmth to a track like “U 1”, where a percolating guitar-line seeps through the austerity of a woody, lo-bit groove. Inspired by the artist’s childhood in the provincial village of Lensk (thus the pseudonym), Obratnoliterally looks backward for its world. The track titles codify minute, yet impactful aspects of Gena’s past. “V 4”, for example, translating to “in 4”, references his tight quartet of best friends, skipping along with an appropriately jocular bassline, tottering cowbell, and a deep, accentual “Hahaha.” Wherever wistfulness appears there’s also anxiety, manifest acutely in the unpredictable percussion. A snatch of Amen break cuts to a strike of open hi-hat and then a roll of heavy toms, never repeating texturally, even if there is a constant pulse. It’s the contrast of speed and weight, between the drums and the melody, that creates a provocative air of avid melancholia — grasping for something not too far in the past that’s fading faster than it should.

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UPC:827170581067 , Release Date: August 3rd.2015 , 180g Vinyl Tracklist: A1. let/forget - B1. 96 Description: Look at you. We have become the people that we hate, scuffing and cursing at the world. You run away but you can never walk. You speak the word but you can never talk. You limp on a hill and spill all that she's left you on a saw. Rip the shreds into pieces too, why don't you. Eat them sweet and raw. If love first brought us together why shouldn't it still? We are human in the end and what makes us dance is no other thing than love. As long as we live, we will love. Mrs Jones stands as a dedication to man's ability to love, to dance.

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In alphabetical order, Terepa is no less than: Rashad Becker, Charlotte Collin, Lucrecia Dalt, Laurel Halo, Julia Holter, Kohei Matsunaga, and Grégoire Simon. Packaging: Limited to 500 Doublesided Picture Discs in printed PVC sleeve. both beautifully crafted... Tracklist EP: A. 28th october 2014 B. 8th august 2014 BIOGRAPHY: In alphabetical order, Terepa is no less than: Rashad Becker, Charlotte Collin, Lucrecia Dalt, Laurel Halo, Julia Holter, Kohei Matsunaga, and Grégoire Simon. Following a method conceived by Kohei Matsunaga (aka NHK'Koyxen) years ago out of a desire to collaborate with people living distantly, the seven artists recorded two sessions in disparate locations across Los Angeles, Berlin, Osaka, and Paris, the only creative parameter being that they all begin recording simultaneously for a twenty-minute period and that they use no means of communication or monitoring outside of their own telepathic capacities. The recordings were later gathered, layered, and mixed, resulting in two lucid, essentially chance-based compositions that Other People is thrilled to present pressed to two sides of white vinyl. The septet repeated the process for a drawing session, the result of which is printed directly onto the surface of record. Side-one begins with murky piano, soft-plucked strings, delicate, high-pitched drone, and the sound of distant brass, all working in remarkable counterpoint. The whole slow-cooks and smears over fifteen-minutes, with recognizable timbres melting away and pooling into a milieu of pitched face-relations. Side-two is lighter, aerated by faint voice, subby purr, dull chimes, and bulbous trombone accents. While one artist's signature may simmer to the top for a moment, the gravitas lays in how all seven voices fold together, warping into a swampy, mist-brushed ecosystem that, value of parts given, is more than the sum.

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Tracklist: A - Swim B - Mistress Description: Swim / Mistress Recorded in New York City between 2011 - 2015

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Tracklist: A1 - The three sides of Audrey and why she’s all alone now B1 - No one is looking at U Description: The three sides of Audrey and why she´s all alone now/No one is looking at U Recorded in New York City between 2011 - 2015

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Release Date: May 4th, 2015, 180 G Mini LP Tracklist: A1 - 'I Just Got Back From Los Angeles...' , B1 - 'Why, Why Was I Born An American..;' , B2 - 'American Invasion' (Lydia Lunch, Walter Weasel, Nicolas Jaar) Description: Nicolas Jaar and Lunch re-issue Lydia’s classic early spoken word CD C.O.W. (1990) on vinyl on his label Other People. Includes the new remix of Why Was I Born An Americanfeaturing Weasel Walter’s invasion.

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Cat #: OP021 UPC: 827170573864 Release Date: April 6th Tracklist: 1. Disquiet Movement I 2. Disquiet Movement II 3. Disquiet Movement III Description: John Bence’s Disquiet is a composition in three movements for soprano voice and cello, but what you hear is not that composition. After scoring and recording the full piece, the 19-yearold composer manipulated the recordings to produce something new. Then he wrote a new score, re-recorded, manipulated, and re-scored again ... and again. This Disquiet is a layering of many — the process is the result: a slow-churning, microtonal wash, at once liquid and brilliantly crystalline in affect. Two timbres fracture into many. A tectonic drone slides below and aerates a chorus as vocals flicker in and out of being, wrestling with silence. Cacophony blends into order as subtle harmonies appear. What Bence has written falls somewhere between an electronic production and a classical composition. Where these two forms intersect is where Disquiet occurs.

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UPC: 827170580961, Release Date: 09.03.2015 , 180g Vinyl Music by Nicolas Jaar, Words by Thomas Kendricks Tracklist 12": A) Ghetto B) Ghetto Dub From Pitchfork, Nov 30th,2014 : Nicolas Jaar has shared a new track from Chicago ghetto house/juke veteran DJ Slugo. It's called "Ghetto", and it was produced by Jaar. That's it above via Other People. According to Jaar, it was made "in light of recent events".

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UPC Code: 827170557666 Release Date: January 26th 2015 Tracklist: 1. The Descent 2. Swing 3. Vitamin D 4. Short Circuit 5. Seahorses Description: Other People is excited to announce Solpara's Swing EP, the debut solo release by New York born and based artist Paul Sara. Paul recently returned to his New York base after spending five years in Montreal studying, working, and composing. There, he co-founded Booma Collective with Oren Ratowsky and Valentin Stip, a local group of musicians and sound artists, as well as a music label. Swing is a sort of summation of Paul’s time in Montreal and his first full solo release outside of Booma. For Paul, Swing is movement, sound, and hypnosis. That fine, affective modulation, as present in a drum machine or a drummer’s hand, plays a role. But so too does Paul’s memory of winter sessions in Booma’s studio (ironically named “The Furnace”), where he and his friends had to swing their bodies back and forth to keep warm. The five tracks on Swing evoke warmth within cold, cavernous spaces. “Descent” begins the EP with a one synth panning and undulating quietly left and right before the drop of a gentle, knowing beat. Next, “Swing” bursts open with a tremendous kick looming over tumultuous layers of bass frequency filigreed by glowing chords. The gruff, calloused percussion of “Vitamin C” sounds like its rattling inside the case of a grenade. And “Short Circuit,” the longest track here and an awesome demonstration of polyrhythmic capacity, doubles as jagged sound sculpture. “Seahorses” ends the EPlike it began — a single synth swaying to and fro.

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UPC 827170572362 Release Date: 24.11.2014 - 10" Valentin Stip plays a piano interpretation of his debut album Sigh released last February on Other People.

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UPC NONE Release Date: OCT6th , 2014 , 180g Vinyl Tracklist 12":A1. A.A.L. (Against All Logic) - You Are The One first edit on nicolas jaar´s other people label - a very modern and dance floor take on Footwork/Disco - Limited Edition 1 Sided !

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LP - OP017LP UPC: 8827170557864 Release : 29.09.2014 LP with Gatefold Sleeve and silver hotfoil spine. Short info: Nearing its first birthday, Other People is celebrating the only way it knows how: Work. The label has put out new material every Sunday since it launched with last year's Trust compilation, and the culminating Work comp doesn't break that streak-consisting almost entirely of new material from Other People's artist roster, and a few remixes from some special guests. Work is not, however, an uncooked mash of music. It's sequencing is deliberate and its selection purposefully not encompassing. In fact, Work is more an album than anything else. Kicking off the affair is Soul Keita, whose roots run back to the days of Nicolas Jaar's first label, Clown & Sunset. Dave Harrington follows with a cover of the Nick Drake song 'Things Behind The Sun' with the singer Tamara. His amorphous chords flow right into the tight groove of VISUALS' 'A Pixel', produced by Nico and featuring some guitar by Dave. Darkside also pay their dues with two unreleased tracks from their Psychic sessions-'What They Say' and 'Gone Too Soon'. Putting a nail in the coffin, German pyro-techno duo Ancient Astronaut do battle with a troupe of remixers. The first comes in snarling at the hands of Powell. The second builds gently with the subtle touch of Jenilek. And last comes a deadly dub mix by Francis Harris and Gabriel Hedrick. Work paid off. Tracklist 2x 12": A1. Nicolas Jaar - The President's Answering Machine A2. Soul Keita - Freedom A3. Dave Harrington feat. Tamara - Things Behind The Sun A4. VISUALS - A Pixel B1. DARKSIDE - What They Say B2. Ancient Astronaut vs. Powell - SSCS (Powell's 'Lift Off' Mix) B3. DARKSIDE - Gone Too Soon C1. Ancient Astronaut vs. Jelinek - B2 (Jelinek Remix) C2. Dave Harrington - Form And Affect D1. Ancient Astronaut vs. Francis Harris & Gabriel Hedrick - B2 (Dub) D2. Nicolas Jaar - The Boy Who Asked Too Much

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CD - OP017CD - UPC: 827170145023 - Release :29.09.2014 short info: Nearing its first birthday, Other People is celebrating the only way it knows how: Work. The label has put out new material every Sunday since it launched with last year's Trust compilation, and the culminating Work comp doesn't break that streak-consisting almost entirely of new material from Other People's artist roster, and a few remixes from some special guests. Work is not, however, an uncooked mash of music. It's sequencing is deliberate and its selection purposefully not encompassing. In fact, Work is more an album than anything else. Kicking off the affair is Soul Keita, whose roots run back to the days of Nicolas Jaar's first label, Clown & Sunset. Dave Harrington follows with a cover of the Nick Drake song 'Things Behind The Sun' with the singer Tamara. His amorphous chords flow right into the tight groove of VISUALS' 'A Pixel', produced by Nico and featuring some guitar by Dave. Darkside also pay their dues with two unreleased tracks from their Psychic sessions-'What They Say' and 'Gone Too Soon'. Putting a nail in the coffin, German pyro-techno duo Ancient Astronaut do battle with a troupe of remixers. The first comes in snarling at the hands of Powell. The second builds gently with the subtle touch of Jenilek. And last comes a deadly dub mix by Francis Harris and Gabriel Hedrick. Work paid off. Tracklist CD: 1. Nicolas Jaar - The President's Answering Machine 2. Soul Keita - Freedom 3. Dave Harrington feat. Tamara - Things Behind The Sun 4. VISUALS - A Pixel 5. DARKSIDE - What They Say 6. Ancient Astronaut vs. Powell - SSCS (Powell's 'Lift Off' Mix) 7. DARKSIDE - Gone Too Soon 8. Ancient Astronaut vs. Jelinek - B2 (Jelinek Remix) 9. Dave Harrington - Form And Affect 10. Ancient Astronaut vs. Francis Harris & Gabriel Hedrick - B2 (Dub) 11. Nicolas Jaar - The Boy Who Asked Too Much

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Germany
Contact: gpsr@wordandsound.net

UPC 827170557567 Rel date 27.10.2014 Tracklist 12”: A1. Lucrecia Dalt - Esotro B1. Lucrecia Dalt - Veta Description: Following and expanding upon the line of thought put forward in her 2013 album Syzygy, Lucrecia Dalt ends in a place familiar, yet noticeably different on her new self-titled EP. Its two tracks, “Esotro” and “Veta”, continually defy expectation — haunting vocal ballads that trickle into clouds of white noise — but for an acquainted listener that won’t surprise. What may are the music's newly raw textures and palpable weight, counterbalancing the carefully wrought beauty that’s always been there. You wouldn't be totally wrong to call Dalt a "bedroom producer," but anyone can grab a laptop, a production software, and begin experimenting in the comfort of their own home. It’s rare to find a “bedroom producer” like Dalt with so sharp an ear, matching intimacy with technical rigor beat for beat. Her music is honest, for sure, but also impeccably engineered. To that point, everything on this EP Dalt crafted herself — no samples, no Ableton Live presets. Her composition process, much like her live set, is an improvisation structured by the tools at hand. Sounds are routed and rerouted, filtered and trimmed, finally emerging as envisioned, or, as often, not. Take the vocal textures on “Veta”: “Ahs and Ohs” made by people throughout the world that she compiled through an open call made on her tumblr. But regardless of method, she always produces crystal-clear, ever surprising, seemingly inevitable music. At every stage, she's an original.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

UPC 827170557765 Release Date: August 25th, 2014 , 180g Vinyl Tracklist 12": A. Pendule (LoVil remix) Max Loderbauer and Ricardo Villalobos B. Tableau II (Oren Ratowski & Solpara remix) IN BRIEF Earlier this year, the 21yearold Valentin Stip unveiled his debut album on Nicolas Jaar’s Other People Records. On ‘Sigh’, Stip presented classical piano, lightly sputtering grooves and intimate found sounds into an album of compositional grace and emotional honesty. Now comes reinterpretations from LoVil who are the combined talents of Max Loderbauer and Ricardo Villalobos, creating an elegant and organic movement that takes the static fizzes of ‘Pendule’ to new heights. Additionally an equally bold and experimental rework of ‘Tableaux II’ comes courtesy of Oren Ratowsky & Solpara. BACKGROUND o+ Valentin Stip emigrated to New York City in middle school and immediately fell in with a creative crowd including then fledgling producer and future Other People label head, Nicolas Jaar. Upon learning the ins and outs of electronic production, Stip discovered a new, personal way of interpreting the darkly shaded piano music he'd been writing. He soon released a string of melancholy, beatbased EPs on Nicolas Jaar's Clown & Sunset label, Anytime Will Do (2011) and Angst (2013), and toured alongside Jaar, all while he was still in college. o+o Paul Sara AKA Solpara is part of Valentin Stip’s label collective, Booma. He is also half of Pavla & Noura with Valentin who have previously released on Jaar’s Clown & Sunset label on the Don't Break My Love Compilation and has forthcominh material coming up as an EP for Other People in 2015.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

UPC 82717053206 Release Date: June 30th, 2014 Tracklist 12”: A1. From The Back 2009 A2. Get Down (What The Fuck) B1. Work Them Jaw B2. Worker Info: On the mean streets of Chicago’s infamous Southside, a music pioneer was born… DJ Slugo, born Thomas Kendricks, is most famous for his influential and fundamental position as the original King of Ghetto House. With 20+ years in the game, over 20 albums in his pocket and over 50 CDs on the street, began a journey that lead him to become one of the original creators of a style of music commonly known as Ghetto House, more recently regarded as Juke.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net