2LP 180g bio vinyl

2. GENRE/S: Electronic / Experimental

3. TRACKLISTS:
A1 - Garden Of Eden
A2 - Construction
A3 - Pass The Time
A4 - Survival

B1 - The Fool And His Harem
B2 - Nothingness
B3 - Near Death
B4 - Beasts Of This Earth

C1 - Fall Into Time
C2 - Folie à Deux
C3 - Screams at the Edge of Dawn
C4 - Divorce
C5 - Three Windows
C6 - TouristsD1 - Shame

D1 - Shame
D2 - Tower of Sin
D3 - Club Kapital
D4 - Volver
D5 - Spirit
D6 - Muse

4. SHORT INFO:

It's been 10 years since Pomegranates - Nicolás Jaar's unofficial/alternative soundtrack to
Sergei Parajanov's 1969 film The Color of Pomegranates - was first released, and to highlight
this occasion we are reissuing the album on vinyl, with the first edition (a collaboration with
the label Mana) having long been out of print.

Longer and slower-releasing than his other albums, Pomegranates often parallels the
cinematic epic on which it’s based, with ideas pursued over long timelines and
across dark landscapes, assembling elements and moods from the aesthetic and folkloric
landscapes of Armenia. Jaar’s identity is perceived within this, folding in his heritage as
Palestinian and Chilean as he attempts to build a musical architecture outwards that frames
as much of the mess and sprawl of life as possible; using a language that investigates the
movement and fluctuation of his own artistic career and character similarly to the film’s tracing
of the coming of age of the young poet, Sayat-Nova.

At times, Pomegranates feels profoundly intimate, as though looking through the archive of a
friend’s music and discovering the accent and common currency that lives within each of
these tracks. Much of Jaar’s most elegant and touching melodic work is nestled here, its
power residing in its simplicity and willingness to speak to the heart and not the mind of the
listener.

In the text document included in the first freely distributed version of the album in 2015, Jaar
writes that the album was conceived during a moment of change, and that the pomegranate
became an icon that heralded that passage of time. The physical publication of Pomegranates
closes one door whilst opening another, keeping promises and marking a significant point in
the career of an artist who restlessly reinvents himself, with a document that illustrates a
common language of lyricism, freedom, and emotional resonance linking his many paths and
projects

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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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After the Crystal Clear edition sold out in Presales - here´s the New Editon in 180G Black Vinyl

Special remarks :

- Limited Ten Year Edition
- 180G Black Vinyl
- Gatefold Sleeve
- Double Vinyl 45rpm recut
- Download Code

- RA's Album Of The Year in 2011
- Pitchfork's Top 20 in 2011
- Pitchfork's Best 200 Best Albums of the 2010's


It has been 10 years since Nicolas Jaar released his celebrated debut album, Space Is Only Noise here on Circus Company. With countless accolades, forays, and dips into other waters both preceding its arrival one decade ago and since with many musical ventures this LP still stands as not only a unique and verified-classic release in the artist's own expansive catalog as well as ours, but also amongst the general pantheon of electronic music of the 21st Century on the whole.

What better way to celebrate this milestone than with an immaculate must-have re-release package, with the music now spread out over double discs and cut at 45rpm on 180g Black vinyl to let the glacial top-end soar as originally intended, and the air of the general proceedings expand, once again, into the ears and consciousness of electronic music lovers the world over. Along with this technical upgrade recut, the distinct artwork has also received a facelift fit for the occasion, and will now be found adorning a full gatefold cover, inked lovingly in reverse on inside-out heavyweight paper including printed inner sleeves for a total collector's gem front-to-back.

While Nicolas Jaar's own recent online musings of the origin of the album title and lead track has us imagining playful plexiglass-letterings and a fresh sense of abstract calm before soon-to-be career storms, the music itself feels to have not aged a day past its prime of creation. From the unanimous crowdpleaser "Colomb" to "Keep Me There" indeed doing just that, with Jaar keeping us right where he left us last go-round, to the luminous titular track "Space Is Only Noise If You Can See" and omni-prophesy of "Specters Of The Future" - please join us in a warm welcoming return to this universally acclaimed classic LP, which garnered coveted spots in both RA's Album Of The Year and Pitchfork's Top 20 in 2011, now in its unmissable pristine new vinyl form, sounding as fresh as ever, a solid 10 years later.


Tracklist LP:

A1. Être
A2. Colomb
A3. Sunflower
B1. Too Many Kids Finding Rain In The Dust
B2. Keep Me There
B3. Problem With The Sun

C1. Space Is Only Noise If You Can See
C2. Almost Fell
C3. Balance Her In Between Your Eyes
D1. Specters Of The Future
D2. Trace
D3. Variations
D4. ^tre




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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: [email protected]More

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: [email protected]More

- 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



Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

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



Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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DE - 22113 Hamburg
Germany
Contact: [email protected]More

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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Nicolas Jaar has graduated-- Space is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music's most exciting producers.
Tracklisting:
01 . être
02 . Colomb
03 . Sunflower
04 . Too many kids finding rain in the dust
05 . Keep me there
07. Problems with the sun
08. Space is only noise if you can see
09. Almost fell
10 . Balance her in between your eyes
11 . Specters of the future
12 . Trace
13 . Variations
14 . ^tre



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DE - 22113 Hamburg
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2014 ONE TIME repress/re-rerelease of CS007 in it´s original sleeve /art/ labeldesign!

In the dead of winter, I visited Nico in his apartment in Providence, Rhode Island. He had just finished composing "Don't Break My Love," the A-side of his new EP and his first song since Space is Only Noise. He seemed solemn, but I didn't ask why. The next night, I witnessed a rare occurrence: Nico DJ-ed a small party. We danced all night in a brick-walled loft as snow fell outside. Half a year later and a continent away, the B-side, "Why Didn't You Save Me," arrived. Nico wrote it one sleepless night after a show in Germany. He spent the rest of the tour developing the song, letting it grow.
The rhythms on the EP unravel slowly. As the songs progress, they fill up with rapid-fire hi-hats and mechanical percussion. The faster strikes meet slower beats and the songs seem to stretch; they feel pulled in both directions almost ad infinitum. After the tour, I re-listened to the EP, a ten inch vinyl, with Nico in his apartment in New York. He told me he had been singing more and more, and sampling less. The EP foreshadowed an evolving sound within Clown & Sunset, he explained, and previewed an upcoming compilation by the same name, replete with new talent.
When the B-side wound down, and the clavinet faded out, Nico placed his finger tip on the edge of the record, slowing it to a crawl. With the resonance of our feelings, we remained still for a while after, as silence enveloped us.
Tracklisting:
A: Don't Break My Love
B: Why Didn't You Save Me


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A1 Too Many Kids Finding Rain In The Dust - Pépé Bradock's Blind Pig Mix A2 Too Many Kids Finding Rain In The Dust - Pépé Bradock's Train Fantôme Poke B1 Space Is Only Noise If You Can See - Dave Aju remix
After the roaring success of Nicolas Jaar's Space is only Noise album the fine curatorial heads at Circus Company HQ have enlisted 2 of their nearest, dearest and most talent co-conspirators for the first round of remix duties. Having built a cult following and peerless reputation for his remixes of everyone from Roy Ayers to Cassius, Pépé Bradock turns in no less than 3 versions of Too Many Kids Finding Rain in the Dust. The proceedings begin with his Blind Pig mix, an echoing tunnel of balkan strings and dusty samples connecting the lands of disco and hip hop to blinding effect. The Train Fantôme Poke follows and is certain to find it's way into many a discerning DJ bag in the weeks and months to come, with it's Mathew Herbert-esque syncopations and grinding industrial scrapes and psychedelic whispers. Dave Aju takes up the baton on the flip turning the album's title track into the kind of late 80s dance floor work out Martin Hannet would have been proud of, certain to appeal to fans of recent work by Matias Aguayo, Rebolledo and the Comeme camp. Finally, the bonus cut for the digital release, Mirandapella, sees Bradock doing away with the beats entirely and letting is fx units and sanity slip out the window into full cinematic free fall.

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Genre: House - Minimal

Tracklist:
A. Timecrowave
B. Serpentoute

Short Info:
Montreal duo Flabbergast—aka Guillaume Coutu Dumont and Vincent Lemieux—return to Circus Company, the label where it all began with their debut EP in 2015. Now seasoned veterans of leftfield club experimentation, they deliver Weirdo Active, a two-track vinyl release that distills their signature
blend of groove, absurdity, and refined weirdness.
On the A-side, “Timecrowave” is a swung, syncopated burner built around fragmented drum programming, warbled synth textures, and subtly detuned atmospheres. It's a tool that thrives in the inbetween moments of a set—unpredictable yet fluid.
On the B-side “Serpentoute,” a slinky groove laced with dubwise processing and modular squelch, maintaining tension through micro-edits and playful FX. Perfect for after-hours transitions or more openminded floors.
Following standout releases on Yoyaku, Copier/Coller, and Chapelle XVI, Flabbergast continue to offer up dance music that’s deeply heady, subtly unhinged, and always full of intent. A finely sculpted dose of dancefloor surrealism—just the way Flabbergast likes it.


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Genre: Alternative, Pop

Tracklist LP:
A1. Préliminaires - A2. La montée - A3. Le cri - A4. Le plaisir des sources - A5. Ronde génitale - B1. Grand frisson - B2. Branle [Censuré] - B3. La petite mort - B4. Simulation Blues - B5. Le calme après l'œuvrette


Bonnie Banane and Joseph Schiano di Lombo present L'Orguasme, an album of bawdy and devotional songs accompanied by the organ of the Cité de la Musique / Philharmonie de Paris. Literally composed and written for pleasure, this work (of the flesh, naturally) pays tribute to the most spectacular expression of ecstasy - a paradise so near and yet so misunderstood. From the most restrained sighs to the most dazzling vocal outbursts, from the foreplay to the eruption, not to mention the bliss that follows the incandescence, Bonnie and Joseph sing about the art of reaching seventh heaven, of genuflection and "la petite mort" ("little death" a French expression for "climax") without shying away from the darker areas: those of guilty, forbidden, feigned, or selfish pleasures, for instance.
By turns light, explosive, mystical, burlesque, and poetic, this music diverts the organ from its centuries-old habits, achieving a union of the profane and the sacred, the crass and the beautiful, the body and the spirit, early music and pop - reminding us of the essential truth: it's better to come than to cry.
While the minimalism of the arrangements initially strikes the ear - no instruments other than the organ accompany these musical escapades - the album is infused with numerous unexpected influences: R&B (La petite mort), swing (Le cri), gospel (Simulation blues), jazz (Le calme après l'œuvrette), medieval ballads (Ronde génitale, Au plaisir), and even a famous 16th-century folk dance called the branle (Branle [Censored]).
A sexy, lush, stripped-down, and unabashed opus, glorifying what remains glorious: love, music, and the boundless joy of creation.


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Genre: Electronic, Jazz, Ambient

Tracklist LP:
A1. Of Florals - A2. The Garden's Humble - A3. Five Folk - A4. Polka Gigue - A5. For the Faint of Heart - A6. Moonlit - A7. Gnome Worthy - A8. Dance of the Petals - B1. Brook - B2. Hidden Glow - B3. Of Giving - B4. Waltz of the Clocks - B5. Locust Tale - B6. Travelers Gift - B7. More Clocks

Short Info:
Acclaimed musicians Nitai Hershkovits and Daniel Dor will release their highly anticipated album, “The Garden Suite”, on Circus Company. Following their previous collaboration on Daniel Dor’s debut album, “Four Petals”, this new project sees the duo exploring uncharted musical territory with an innovative, Moog-based sound.
Inspired by the groundbreaking work of synth pioneer Malcolm Cecil, “The Garden Suite” marries electronic textures with the richness of orchestral sound. Drawing from a vast range of influences, including the works of Benjamin Britten and Fredrick Delius, Hershkovits and Dor meticulously composed each track, layering Moog synthesizer melodies to emulate various instruments from the orchestra - from French horn to percussion, guitar, brass, and woodwinds. The result is a sound that is lush yet light, deeply textured yet not dense.
“The Garden Suite” marks a significant evolution in the partnership between Hershkovits and Dor, with their new compositions shifting from the rhythmic focus of “Four Petals” to a more texture-driven approach. The album showcases their ability to create genre-defying soundscapes, blending Daniel’s rhythmic system, “The Flower,” with lush, ambient layers of sound created on the Moog.
Nitai Hershkovits, known for his extensive work in jazz and classical music, began his musical journey as a clarinetist before transitioning to piano at the age of 15. His early passion for improvisation and jazz earned him several jazz competition awards in Tel Aviv. Nitai’s career highlights include his fiveyear tenure with the Avishai Cohen Trio, and his numerous projects as a solo artist, including work with ECM and his band Apifera.
Daniel Dor, a drummer and multi-instrumentalist, was born into a family of musicians in Tel Aviv. He began exploring rhythm at the age of 10, building his first drum set out of household objects. His innovative rhythmic method, “The Flower”, gained attention with his debut solo piano album, “Four Petals”, which led to his collaboration with Hershkovits. Daniel has performed with notable artists such as NOA, Avishai Cohen, and Chano Dominguez, and regularly lectures on rhythmic symmetry and music.
With “The Garden Suite”, Hershkovits and Dor offer a unique listening experience that challenges traditional genre boundaries. Their seamless fusion of rhythm, melody, and texture creates a soundscape that is as experimental as it is captivating.

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Genre: Beats, Ambient, Electronica
Tracklist LP:
A1. Sing a Storm - A2. Que Rico - A3. Heart of a Canary - A4. Deeper Filth - A5. Just Another Kid - A6. Arp on a Table -
B1. Boulevard - B2. Vessel Plans - B3. JP Ate Culture - B4. Mountain Range - B5. nEw fAme - B6. That Old Fuck - B7. Burger Time - B8. Umpah Band - B9. Don’t Wake Me Up Bro - B10. Not Lost - B11. GoinF4er

Short Info:
High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the
beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to
Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples
chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original
collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie.
Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His collages marry the corporeal world with an updated, digitalized age of
reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz
(Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with
the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle
can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

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Genre: Beats, Ambient, Electronica

Tracklist Cassette:
SIDE A
01. Sing a Storm - 02. Que Rico - 03. Heart of a Canary - 04. Deeper Filth - 05. Just Another Kid -06. Arp on a Table - 07. Time Changes (Bonus Track)
SIDE B
01. Boulevard - 02. Vessel Plans - 03. JP Ate Culture - 04. Mountain Range - 05. nEw fAme - 06.That Old Fuck - 07. Burger Time - 08. Umpah Band - 09. Don’t Wake Me Up Bro - 10. Not Lost -
11. GoinF4er

Short Info:
High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the
beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to
Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples
chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original
collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie.
Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His collages marry the corporeal world with an updated, digitalized age of
reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle
can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

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2024 Repress

UPC: 827170460461

A1. Hands On Hips A2. Tout Doux A3. Blue Curtain A4. Sleeper Train A5. Quietude A6. Qui Sait
B1. Matin B2. Up To The Sky B3. Under The Lake B4. Furioso B5. La Ligne B6. Piano Box B7. Divine


Divine : The immobile odyssey.
For a long time before the success of Nôze led him to discover the rest of the world, Ezechiel Pailhès remained a prophet in: his country. For a long time as well, he worked on creating what became his first solo album, waiting for the right moment when he could no longer contain all the melodies that populate this 14-leg epic. A voyage in a free world, where creation knows no formal constraints, where everything mutates according to the determined inspiration of the moment. Transforming the original pieces without knowing in advance how they will end up, disguising the instruments so that they are mistaken for others, nothing frightens this intrepid sailor whose ship is nevertheless securely moored at home, Ezechiel composes and plays at home in Paris. Sole master on board, the tinkerer illusionist prepares his piano with mechanic's tools (scotch tape, rubber, percussion, wooden claves adrift over the strings), obtaining instruments that do not sound where we expect them. This adventure is, he says, a fiction he wants to believe in.The result is equal to the creator and his character.14 captivating melodies like siren songs, sometimes dressed in a simple lala or lyrics by David Lafore, 14 ports of call offering a sweetness that is at times extremely melancholy, 14 pieces whose implacable refrains take root the first time you listen to them. This is indeed a divine crossing people with wide-ranging references (Serge Regianni, D Angelo, Bernard Hermann, Timber Timbre, Stevie Wonder but also Henri Duparc, Moondog, Keith Jarett or Tony Benett ) that we are invited to share with Ezechiel whose career as a pianist has evolved on the stages where he has been performing for years as a duo with Nicolas Sfintescu (Nôze).
A succession of landscapes, of cinematographic images, some of the pieces were composed for movies and remained at the dock when others made their way to the silver screen (Bancs Publics co-written with David Lafore for Denis Podalydès )… A voyage that successively makes you want to dance, to dream, simply to listen the way you gaze at the horizon seated on the deck of a sailboat. There is the heady sailors' nostalgic longing (Quiétude, inspired by a sonnet of W. Shakespeare ) but also their cheerfulness, their lightness, the festive nature of the ports where things swing and the emotion of the infinite contemplated, the heart stirred by the swell. Divine is the companion for all trips, the disk you take to the deserted island and to the loft in Berlin, the disk that you play constantly without tiring of it because each listening reveals places you were unaware of, sounds that had not yet been discovered, because it thrills music lovers. Divine is the road songs that you want to share with your pals, but whose story you keep to yourself, this song reminds me of this, another takes me there. With the top up or down.
And you embark without resistance, Ezechiel is at the helm, you can travel calmly.


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Genre: House

Tracklist:
A1. Losing Track
A2. Climbers Pit (Feat. Joli B & Danuel Tate)
B1. Losing Track (Dave Aju Remix)
B2. Youandthekitten

Short Info:
New music by The Mole. High Dreams contains four tracks, three originals and one remix from Circus Company favourite Dave Aju. The Mole savours dreaming and welcomes the mystical landscapes of
the mind with High Dreams, a collection of uptempo dance pieces inhabited by ghosts and welcoming creatures from the deeps. This unpretentious collection cuts straight with the rhythms, and carries long
with the arrangements. Dancefloor sizzle. Subsonic rumble. Ghosts! Your body moving requisites lie within this simple plate of wax. Turn up your amps and bathe in it.
The Mole is known for his “hits” (Baby You’re The One, Hippy Speedball, In My Song, Lockdown Party) and his “work” with many Top labels (Perlon, Kompakt, Wagon Repair, Maybe Tomorrow, Ostgut Ton)
is played by many Top DJs. Only his third release with Circus Company (Little Sunshine, The River Widens), this Ep is a reminder that the Mole is still at it, and a warning. There’s a new album upcoming.
And it sounds nothing like this…
With his 19th release with the label since 2003, Dave Aju is one of the pillars of modern Circus Company. Aju amplifies Losing Track, adding percussion and fresh, modern programming, giving the remix a whole
new purpose while maintaining the erie cries, calling out, desperate - don’t leave me hang ’n … of the original. A certain go to for the Deep Heads.



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Genre: Alternative, Electronic, Piano Solo

Tracklist LP:
A1. Unless - A2. Piccolo - A3. Sway - A4. Almost There (Piano Version) - A5. Ventas Rumba - A6.
Pianovado - A7. La ligne (Modular Version) - B1. Opus 53 - B2. Eclair - B3. Flat Feet - B4. La valse
des singes - B5. Louanges - B6. Fly Finger - B7. Ferveur

Short Info:
With his new instrumental album Ventas Rumba, the French composer (and singer) returns to his signature instrument, the piano, blending it with warm synth tones. This album represents a "return to his roots ", allowing Ezéchiel Pailhès to reinvent himself in a seamless way while still exploring ballads and ritornellos, halfway between light-heartedness and melancholy. Ezéchiel Pailhès has been meaning to write a solo piano album for as long as he can remember. Hardly surprising, of course, for this academically-trained pianist, brought up on classical music and then studied jazz. Yet, since his 2001 debut with the electro-pop duo Nôze, and his subsequent four albums, the artist had constantly postponed this project that was so close to his heart. Then in 2022, just as he was getting ready to start producing an album of new songs, this long-standing aim finally materialized.
The melodies he wrote seemed to stand on their own naturally, spurring him on to compose this series of fourteen tracks, recorded in sessions split between France and Latvia.
A new piano: the Una Corda
Ezéchiel wanted this project dedicated to the piano to begin a new narrative, to explore new instrumental terrain and new tones, something far removed from the familiar piano he has been playing all his life. He opted for the Una Corda piano, designed by David Klavins, a groundbreaking instrument builder renowned for his distinctive pianos with vertical shapes and frames.

The Una Corda, created in 2014, is an upright piano with a single string per note (unlike three strings on traditional pianos). Enticed by the "crystalline and unique" tones of this instrument, which is hard to find in France, Ezéchiel travelled to Kuldiga, Latvia (where David Klavins set up his workshops and studios), to record the first part of the album. Although the title of the album may initially conjure up images of a distant, sensual dance, the reality is quite different. Ventas Rumba indeed refers to the waterfall and rapids (in Latvian: rumba) of the river Ventas, which runs near this small village in the western part of the country. Ezéchiel chose to blur the lines, as the sound and musicality of the title likely evoke both his short stay in the Baltic country, and also a form of distant exotic imagery perfectly in tune with his own mischievous wit. Tracks as short stories

Back in France, Ezéchiel enhanced the first tracks recorded in Kuldiga with subtle synth tone layers, and added other tracks composed and recorded at his Montreuil studio. The album reflects a deliberate and sensitive orchestration of piano, synth keyboards and digital effects, as he puts it: "playing to erase the differences between the tones of the various instruments", as if each instrument's texture echoed the others. According to Ezéchiel, you can listen to Ventas Rumba as you would leaf through "a collection of short stories", through compositions that rarely exceed three minutes and evoke figures of movement, lightness, curves or modulation, such as "La ligne", "La valse des singes" or "Fly Finger". Others more seriously relate to a kind of spirituality, which quietly infuses such different tracks as "Ferveur", "Éclair" and "Louanges". Ezéchiel adds: “I’m by no means religious, but I like what God has managed to get musicians to achieve (laughs)". "Louanges", for instance, despite its electronic edge, "refers to Olivier Messiaen, a very devout composer who I greatly admire". Other tracks are directly inspired by the classical music he listens to on a daily basis. For example, Chopin's “8th Nocturne” formed the backdrop of “Pianovado”. Likewise, the harmonic structure of Beethoven's “Waldstein Sonata No. 21” inspired “Opus 53”. Aside from these multiple references and inspirations, which quickly recede behind a style that is uniquely his, Ezéchiel Pailhès keeps exploring ideas already found on his first solo albums, this time in an instrumental format, undoubtedly purer, fostering an imaginary world that evokes the shapes and themes of ballads, ritornellos, light-heartedness, passing time, reverie or a universal subdued melancholy.

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Genre: Alternative, Electronic, Piano Solo

Tracklist CD:
01. Unless - 02. Piccolo - 03. Sway - 04. Almost There (Piano Version) - 05. Ventas Rumba - 06.
Pianovado - 07. La ligne (Modular Version) - 08. Opus 53 - 09. Eclair - 10. Flat Feet - 11. La valse
des singes - 12. Louanges - 13. Fly Finger - 14. Ferveur

Short Info:
With his new instrumental album Ventas Rumba, the French composer (and singer) returns to his signature instrument, the piano, blending it with warm synth tones. This album represents a "return to his roots ", allowing Ezéchiel Pailhès to reinvent himself in a seamless way while still exploring ballads and ritornellos, halfway between light-heartedness and melancholy. Ezéchiel Pailhès has been meaning to write a solo piano album for as long as he can remember. Hardly surprising, of course, for this academically-trained pianist, brought up on classical music and then studied jazz. Yet, since his 2001 debut with the electro-pop duo Nôze, and his subsequent four albums, the artist had constantly postponed this project that was so close to his heart. Then in 2022, just as he was getting ready to start producing an album of new songs, this long-standing aim finally materialized.
The melodies he wrote seemed to stand on their own naturally, spurring him on to compose this series of fourteen tracks, recorded in sessions split between France and Latvia.
A new piano: the Una Corda
Ezéchiel wanted this project dedicated to the piano to begin a new narrative, to explore new instrumental terrain and new tones, something far removed from the familiar piano he has been playing all his life. He opted for the Una Corda piano, designed by David Klavins, a groundbreaking instrument builder renowned for his distinctive pianos with vertical shapes and frames.

The Una Corda, created in 2014, is an upright piano with a single string per note (unlike three strings on traditional pianos). Enticed by the "crystalline and unique" tones of this instrument, which is hard to find in France, Ezéchiel travelled to Kuldiga, Latvia (where David Klavins set up his workshops and studios), to record the first part of the album. Although the title of the album may initially conjure up images of a distant, sensual dance, the reality is quite different. Ventas Rumba indeed refers to the waterfall and rapids (in Latvian: rumba) of the river Ventas, which runs near this small village in the western part of the country. Ezéchiel chose to blur the lines, as the sound and musicality of the title likely evoke both his short stay in the Baltic country, and also a form of distant exotic imagery perfectly in tune with his own mischievous wit. Tracks as short stories

Back in France, Ezéchiel enhanced the first tracks recorded in Kuldiga with subtle synth tone layers, and added other tracks composed and recorded at his Montreuil studio. The album reflects a deliberate and sensitive orchestration of piano, synth keyboards and digital effects, as he puts it: "playing to erase the differences between the tones of the various instruments", as if each instrument's texture echoed the others. According to Ezéchiel, you can listen to Ventas Rumba as you would leaf through "a collection of short stories", through compositions that rarely exceed three minutes and evoke figures of movement, lightness, curves or modulation, such as "La ligne", "La valse des singes" or "Fly Finger". Others more seriously relate to a kind of spirituality, which quietly infuses such different tracks as "Ferveur", "Éclair" and "Louanges". Ezéchiel adds: “I’m by no means religious, but I like what God has managed to get musicians to achieve (laughs)". "Louanges", for instance, despite its electronic edge, "refers to Olivier Messiaen, a very devout composer who I greatly admire". Other tracks are directly inspired by the classical music he listens to on a daily basis. For example, Chopin's “8th Nocturne” formed the backdrop of “Pianovado”. Likewise, the harmonic structure of Beethoven's “Waldstein Sonata No. 21” inspired “Opus 53”. Aside from these multiple references and inspirations, which quickly recede behind a style that is uniquely his, Ezéchiel Pailhès keeps exploring ideas already found on his first solo albums, this time in an instrumental format, undoubtedly purer, fostering an imaginary world that evokes the shapes and themes of ballads, ritornellos, light-heartedness, passing time, reverie or a universal subdued melancholy.

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Genre : Electronic - Downtempo

Tracklist :

A1. Jail Time with Mr. Murd (Feat. Yonatan Albalak) - A2. Graveyard Party - A3. Your Tissue SVP - A4. SNG PLSTN - A5. - I Think This Is Reasonable - A6. HRTSPC - B1. NOZPLZ - B2. Dada’s Bone - B3. OCNC XTR - B4. EZ PPL 4 TRTH - B5. Don’t Forget to Not Remember Who

Yuval Havkin, also known as Rejoicer, is one of the foremost exponents of downtempo music, inspired by the fusion of jazz and hip-hop. His new album thus draws on his early influences while exploring the world of calm, melodic electronic music that borders on ambient.

This Is Reasonable has a chill-out feel to it, a record filled with melodies and atmospheres that, throughout its eleven tracks, conveys a sense of calm and floating, akin to ambient music. Stripped of the clichés of the genre, the album is built around subtle melodies and rich harmonies from keyboards and synths, which borrow as much from the spirit of jazz as from the inventions of electronica, whilst being supported by a gentle groove. This equilibrium is perfectly captured by Rejoicer's moniker, a term that evokes both the idleness of artificial paradises and a soft, caring form of spirituality.

Musical path
Yuval Havkin was born in Israel in 1985, and grew up in England before returning to his homeland. He began studying classical piano as a child, but was put off by such conservative teaching and turned to hip-hop and beatmaking in his teens. Throughout the 2000s, he learned his skills "on the job", working with musicians he met in Tel Aviv, a local scene that nurtured a sense of community and emulation. Back then, he was particularly impressed by the grooves and electronic inventions of Detroit producer Dabrye, who had a revelatory effect on him, before he discovered legendary musicians Madlib and Jay Dee aka J Dilla, who led him down the path of beatmaking.

Yuval Havkin's music career got off to a more serious start in the late 2000s with the creation of his own label, Raw Tapes, both based in Tel Aviv. Blending jazz, funk and hip hop, whilst still embracing pop influences, the label's productions showcased the richness of the new Israeli scene combining cool, elegance, playfulness, and a degree of research and inventiveness, thanks to the talent of artists and bands such as Duo Brothers, Maya Dunietz, iogi, Nitai Hershkovits, the Buttering Trio and Rejoicer, the artist's most personal project.

In 2018, Rejoicer's warm and engaging sounds caught the attention of the prestigious Los Angeles label Stones Throw, renowned for having signed his idols Madlib and J Dilla, not to mention Aloe Blacc and Peanut Butter Wolf (its founder). Two albums followed, Energy Dreams (2018) and Spiritual Sleaze (2020), both of which demonstrate his instrumental mastery, jazz culture and lush orchestrations. Both albums are on a par with more renown sampling prodigies of the beat scene, and gave him his first international recognition.

Now based between Los Angeles and Savyon, near Tel Aviv, this hyperactive and instinctive artist simultaneously pursues a career as a composer, musician and label owner, member of numerous bands and collective projects (Apifera, PlayDead, collaborations with Jimi Prasad and Avishai Cohen) while also offering his studios and production skills to other artists. “Fela Kuti meets Aphex Twin”

This new Rejoicer album, which follows three earlier jazz-tinged records, marks a new and more personal musical direction for an artist who previously favored group work and collaborations. Yuval chose here to delve into a more electronic and sequenced style of music, playing Prophet 6 and 8 synths, a Juno 60, a Minimoog and his Fender Rhodes keyboard, in contrast with the more organic sounds of his previous albums. While a few tracks on this new album may sound like a laid-back version of some of the Warp label's early electronic classics by Aphex Twin or Boards of Canada, Yuval Havkin claims to have also been inspired by the great Fela Kuti, particularly in his search for harmonies between bass, keyboards and
percussion, and by his elder trumpet-playing friend Avishai Cohen, a musician he particularly admires.

Beyond these various influences, This Is Reasonable is an album of compelling and bewitching melodies. The moods, peacefulness and sheer beauty of This Is Reasonable are, indeed, quite paradoxical, in stark contrast to the country's tragedies (the title explicitly refers to recent political disputes in Israel) and the war currently raging less than a hundred miles from his studio. A paradox fully embraced by the artist, who views his music as a response to the violence of our times.


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Double Vinyl LP (incl. printed inner sleeve)

Tracklist 2LP:
A1. The Pull of Time - A2. Parallax - B1. The Color of Static - B2. Begin Again - C1. I Need You -
C2. Beacon - D1. Are We Not Above It? (Feat. NiQ E & L_cio) - D2. The Mycorrhizal Network -
D3. Augmented Dreams

Short Info:
Alan Abrahams aka Portable returns to the label in fine form with his latest full-length LP, Augmented
Dreams. The title refers to the use of everyday technological advancements to achieve what were once
only dreams or visions of past generations, making this an explorative concept album that is equal parts
not-too-distant science fiction, and about as topical as it gets.
From the gorgeous opening string layers of “The Pull of Time” to the classy 4/4 grooves of “Begin Again”
or lead single “Guiding Me”, into the apropos and angular sci-fi broken beat feels of “Parallax” and “The
Color of Static”, fitting Detroit-influenced love taps like “Beacon” and “The Mycorrhizal Network”, the
politically-inspired “Are We Not Above It?” referencing the lingering effects of colonization featuring NiQ
E from South Africa on vocals and L_cio from Brazil on flute, through to the futurist pop elegance of the
dreamy duet recorded with Alexey Kochetkov “I Need You” and the conclusive titular track, it is clear
that both the in-depth concept and immaculately-crafted musical content in Portable’s inimitable style
are balanced in significance and expressive effect. This also functions as a timely statement in itself, as
today’s iceberg-tip evolution of AI technology is currently impending over the arts and many of our
existing realities.
This ten-song album serves as an imaginative yet hyperrealist narrative on how humanity’s fascination
with and reliance on ever-advancing technology defines the times we find ourselves in, while the skillful
sonic displays and present-era production techniques along with Abraham’s knack for timeless emotive
songwriting offer up this solid soundtrack for the ages.

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Genre: House, Minimal

Tracklist:

A1. Guiding Me (Original Mix) FR2T02300025
B1. Guiding Me (Lawrence remix) FR2T02300026
B2. Vigor FR2T02300027

Short Info:

The ever-prolific and established artist Alan Abrahams aka Portable makes a swift and very welcome return to Circus Company with the impressive lead single "Guiding Me", giving us an early taste of his forthcoming album Augmented Dreams to be released in the fall.

Conceptually the direction of this new project refers to the use of technology to alter our dreams, inadvertently or not, as so much tech advancement becomes available and ingrained in our daily lives. The timely lead single here inspired by Abraham's South African ancestors the Khoi San people and the guidance they provide, appropriately exuding both futurist formed sonics and dream-like tenderness in content, led by his dulcet-toned vocals and delivered with the super solid production we've come to expect. Wonderful multi-purpose electronic music which will find itself right at home on late-night discerning dance floors, or indeed guiding the listener through their respective travels, solo meditations or get-downs in headphones.

Along with the excellent "Guiding Me" original mix, we are graced with a masterful remix by Hamburg's Lawrence of Smallville and Dial fame, who takes the track into an even more floor-focussed realm with his patented rolling sub-bass lines which will guarantee plenty of summertime sound system finessing, as well as the EP-exclusive B2 track "Vigor" in which Portable goes even deeper in tone with classic styled vocal cut-ups and repurposed shards of tasty sound design added to keep the dancers endlessly entranced when and wherever they may be.



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Genre: Ambient, Electronica, Experimental

Tracklist CD:
01. Venus - 02. Marché - 03. Foule - 04. Saloperie - 05. So Dad… - 06. Fluids - 07. Bonnes nouvelles des étoiles -
08. Flirty - 09. Audio Sexual Part 1 - 10. Science imbécile - 11. Maternaliste - 12. Gravos - 13. Wesh Finn Zerb -
14. Comput - 15. Aliens - 16. Fruit Cakes - 17. Vol plané


Short Info:
Deepening the comic tones using cosmic relief, and lively vibes, La Science des Imbéciles
(Ludicrous System), Brigitte Barbu’s sophomore sonic adventure, manifest a blurry creation
intersecting orbital audio paths and damaged smoking instruments. Could have easily been
called Birdless Science but it wouldn’t be funny…
Reverberating estranged arrangements, bizarre sounds, electronic fantasies, « hallucinationalism »,
and crypto poppy stratums all party together in Barbu's second explicit sensual album. Recorded and
digested during a gastro-reclusive residency in an Un-Orthodox Union Spacy Workstation, under the
benign diffraction of "Californian psychedelia» and medieval Cyrillic capharnaüm. Due to historic
geographical confusions and incorrect spellings, any specific detail will stay confidential. Using a
powerful branded calculator, digital converters, boutique preamps and various synthetic substitutions,
this extra album is blooming for spring cleaning. The guitar was accidentally ravaged, propelling
supervision into a strange but dope alt verse, still somewhere between an impromtu voyage through
scattered chronology and a poetic analytical research.
A cheerful memento escaping from pressure and weight like one of those fancy diets.
"I wanted to compose an intangible Pop LP" says Brigitte, « with guitar as an alibi, blending arrogant
synthesizers and humble plug-ins.… ». With a genuine thoughtful dimension, this record freaks as out
audiences with its neat mischievous mood. Jazzing the Mushing Rooms while testing the Acid Tweaks,
initially, the Artist had ambiguously vague rules for composing: but slowly, offending beardless
academics became the motto.
Ingrédients: orgasmic pads, sublime beaches, distorted nostalgia, frustrated markets, perfect
crowds, shady brews, body fluids, magnificent news, fried stars, hairy spouses, loud flirts, cosmicNew Release Information
crumbs, healed sons, dumb technology, rare games,underground motherships, Turkish tarot, fat bits
and heavy cream, fresh herbs, exotic invectives, a stuttering abacus, lamb’s bread, silent farts,
croissants chauds, extended outsiders, incongruous «patisseries», condescending muffs, violent
eardrums, hijacked bytes, macho bakers, epic fails, viennese bass, very large ears, hilarious gliding,
what else ??

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Genre: Ambient, Electronica, Experimental

Tracklist LP:
A1. Venus - A2. Marché - A3. - Foule - A4. - Saloperie - A5. So Dad… - A6. Fluids - A7. Bonnes
nouvelles des étoiles - A8. - Flirty - A9. Audio Sexual Part 1 - A10. Science imbécile - B1.
Maternaliste - B2. Gravos - B3. Wesh Finn Zerb - B4. Comput - B5. Aliens - B6. Fruit Cakes - B7.
Vol plané

Short Info:
Deepening the comic tones using cosmic relief, and lively vibes, La Science des Imbéciles
(Ludicrous System), Brigitte Barbu’s sophomore sonic adventure, manifest a blurry creation
intersecting orbital audio paths and damaged smoking instruments. Could have easily been
called Birdless Science but it wouldn’t be funny…
Reverberating estranged arrangements, bizarre sounds, electronic fantasies, « hallucinationalism »,
and crypto poppy stratums all party together in Barbu's second explicit sensual album. Recorded and
digested during a gastro-reclusive residency in an Un-Orthodox Union Spacy Workstation, under the
benign diffraction of "Californian psychedelia» and medieval Cyrillic capharnaüm. Due to historic
geographical confusions and incorrect spellings, any specific detail will stay confidential. Using a
powerful branded calculator, digital converters, boutique preamps and various synthetic substitutions,
this extra album is blooming for spring cleaning. The guitar was accidentally ravaged, propelling
supervision into a strange but dope alt verse, still somewhere between an impromtu voyage through
scattered chronology and a poetic analytical research.
A cheerful memento escaping from pressure and weight like one of those fancy diets.
"I wanted to compose an intangible Pop LP" says Brigitte, « with guitar as an alibi, blending arrogant
synthesizers and humble plug-ins.… ». With a genuine thoughtful dimension, this record freaks as out
audiences with its neat mischievous mood. Jazzing the Mushing Rooms while testing the Acid Tweaks,
initially, the Artist had ambiguously vague rules for composing: but slowly, offending beardless
academics became the motto.
Ingrédients: orgasmic pads, sublime beaches, distorted nostalgia, frustrated markets, perfect
crowds, shady brews, body fluids, magnificent news, fried stars, hairy spouses, loud flirts, cosmicNew Release Information
crumbs, healed sons, dumb technology, rare games,underground motherships, Turkish tarot, fat bits
and heavy cream, fresh herbs, exotic invectives, a stuttering abacus, lamb’s bread, silent farts,
croissants chauds, extended outsiders, incongruous «patisseries», condescending muffs, violent
eardrums, hijacked bytes, macho bakers, epic fails, viennese bass, very large ears, hilarious gliding,
what else ??

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Genre: Electro, House

Tracklist:
A1. Firesound - B1. Lost Sonar - B2. Light Blooming

Short Info:
Following well-received collaborative outings for us as 1/2 of the SF dynamo duo Moniker whose classic
“Billy D” anthem and respective Patrice Scott remix graced the early catalog, followed by the galactic
flex Straylight EP with Cali brethren Dave Aju on velvet vocoder vox b/w a stellar Kai Alcé remix on the
Another offshoot imprint, and of course his indelible contributions to the arrangements/derangement of
the wondrous KAMM LP Cookie Policies, Kenneth Scott is essentially an extended family household
name for our camp and so we’re beyond proud to present his initial solo release for the Circus Company
label proper. Schooled as always in the deepest of electronic music roots and classiest of track
traditions, the three pieces that form the Light Blooming EP puzzle display all the prized synth wizardry
and production ingenuity we’ve come to expect from the Berlin-based veteran.
“Firesound” kicks us off in fine form, with a glistening array of pads and tight arpeggios that give way to
a soulful funk strut that any fan of Detroit-style electro flavors will enjoy to the fullest. We then move to
the stylized 4/4 pulse of the aptly-titled “Lost Sonar”, an extended live set for Lost Sonar Collective
skillfully condensed and finessed into a smooth-as-silk true deep house cut, where warm synth tones
set the sound bed while shards of sharper percussion and angular textures flash and fizz throughout,
creating an ultra-fresh contrasting feel while a rock-solid groove grinds us along faithfully. Scott then
finally closes out the set with the powerful and titular “Light Blooming” which begins with a similar rising
pad intro before unleashing fierce and raw overdriven drum programming, teasing us out to the two
minute mark when the mighty sub bass line and multi-layered arps drop in to devastating effect, bubbling
and building to a bold harmonic apex, before eventually bringing us down softly and somehow with ease
after such a glorious rise.
Filled with early-Warp feels and futurist sci-fi hopes in equal measure, the Light Blooming EP is three
tracks of pure funk precision and expressive musical class from the man Kenneth Scott

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Double LP (incl. download code)

Genre: Beats, Ambient, Electronica

Tracklist LP:
A1. X-pert Profat - A2. Break for Ma - A3. Drums 2002 - A4. Ducklings 2 - A5. #ew_horseplay -
A6. Jo Barker - A7. AR Day - B1. New Family - B2. Repepepater (feat. Joli B) - B3. Clean Father -
B4. Ambient Jams 3 - C1. July 11 Creepy (feat. Ted Pilsner) - C2. Brain Bed - C3. Roxy Dancer -
C4. Summer Storm - C5. They Work for Mr. O - C6. Tricky Dees Dumm Dumm -
C7. Ufos Over Egypt (feat. Cristobal) - D1. Weak Stranger - D2. XMods in the Living Room - D3. Being a Total Warm Up

Short Info:
One of our all-time favourite artists and extended Circus Company member The Mole returns to the
label for a proper presentation of his album The River Widens. Originally a limited, cassette-only
release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory
for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works
checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting
tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love
The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking
the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle,
midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels
inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled
Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the
brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated
to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild
shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets,
from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable
of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with
another limited edition cassette run - we hope you enjoy the ride as much as we do!

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LP

Tracklist:

A1: A Sylph
A2: Gasper
A3: Alaska
A4: Guesthouse
A5: Avoska
B1: Garfitti
B2: A Salve
B3: I Don't Fade
B4: Taipei Dubble

Short info:

Efficient Space continues to bind its mind with Altered States Tapes, offering another service to How So?, Th Blisks' 2022 debut in home-cooked experimentation. A blurring of three vastly different heads into a single disjointed, but fluid organism, How So? finds Yuta Matsumura (The Lewers, Keanu Nelson), Amelia Besseny (Troth, Impatiens) and Cooper Bowman (Troth, CD3) working with vocals, melodica, deeply pulled samples, guitar, drum machine, synths and resourceful percussion. An Elixa-blueprint of sideways ambient rituals, fog-thick melodica dub and paranoid trip hop by way of Sydney's pioneering industrial collagists, the LP recirculates beyond its original 150-copy confines for those who missed its first apparition.



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Nicolas Jaar has graduated-- at least from the trappings of any young electronic music producer (his graduation from Brown University is 18 months away). Four years after his debut on the Brooklyn label Wolf + Lamb, and the much lauded follow up 'Time for Us', whose glacial slow-jam take on house sent journalists scrambling for adjectives, the 20 year old New Yorker by way of Chile returns to Circus Company with Space is Only Noise, an uncompromising manifesto on traces of the past, love lost, and specters of the future. Having previously contributed to the catalog twice with his 'Marks and Angels' EP as well as the sublime 'Your Waltz' on the Snuggle and Slap compilation, we are delighted to present his first foray into the realm of the long player. Jaar has made it quite apparent over the course of his nascent catalog and increasingly sought after live sets that challenge is an intrinsic part of his creative discourse. Few are the producers of any age with the cohones to ride a sub-100-bpm tempo at peak time in the techno Mecca of Berlin, and fewer still are those who receive an ecstatic hands-in-the-air response for their precocious efforts. It is precisely this sense of risk which elevates Space is Only Noise beyond the realm of valiant first effort or crossover dance music oddity. Those looking to wade through the sea of Jaar's potential influences will quickly find themselves in the deep waters of golden age Factory records, home spun digitalism of Mille Plateaux, Endtroducing era DJ Shadow and Eric Satie. Jaar gently coaxes his listener into the experience from the opening sounds of rolling waves on 'être', but quickly transitions into the sophisticated percussion and meandering melodies that characterise his sound. Jaar seeks, and often finds, beauty in melancholy on the first few tracks of the album. As the album begins to accelerate with 'Too many kids finding rain in the dust', Jaar confronts us with the often forgotten reality that our sadness is not mutually exclusive from the dance floor. Suddenly, on 'Keep me there', Jaar's voice appears over the delicious, rumbling melody. "We're in a really bad bed, right?" he remarks. "Mm-- it's not really a bed. It's like a balloon" responds a sultry female voice as they both crumble away in laughter. Though your hips stir to the relentless bassline and the sexiness of the voices, your heart is jolted out of its luxurious malaise when horns erupts seconds later. "How can you talk about a landscape without showing the sky and the earth?" a voice asks, translating from the French on 'être'. So Jaar concludes, revisiting the same track to end the album. Complete landscapes such as these are only realised in contrast- the indulgent against the reserved, the sky against the earth; lightness and darkness. Space is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music's most exciting producers.
Tracklisting:
01 . être
02 . Colomb
03 . Sunflower
04 . Too many kids finding rain in the dust
05 . Keep me there
06 . I got a woman
07. Problems with the sun
08. Space is only noise if you can see
09. Almost fell
10 . Balance her in between your eyes
11 . Specters of the future
12 . Trace
13 . Variations
14 . ^tre



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After the Crystal Clear edition sold out in Presales - here´s the New Editon in 180G Black Vinyl

Special remarks :

- Limited Ten Year Edition
- 180G Black Vinyl
- Gatefold Sleeve
- Double Vinyl 45rpm recut
- Download Code

- RA's Album Of The Year in 2011
- Pitchfork's Top 20 in 2011
- Pitchfork's Best 200 Best Albums of the 2010's


It has been 10 years since Nicolas Jaar released his celebrated debut album, Space Is Only Noise here on Circus Company. With countless accolades, forays, and dips into other waters both preceding its arrival one decade ago and since with many musical ventures this LP still stands as not only a unique and verified-classic release in the artist's own expansive catalog as well as ours, but also amongst the general pantheon of electronic music of the 21st Century on the whole.

What better way to celebrate this milestone than with an immaculate must-have re-release package, with the music now spread out over double discs and cut at 45rpm on 180g Black vinyl to let the glacial top-end soar as originally intended, and the air of the general proceedings expand, once again, into the ears and consciousness of electronic music lovers the world over. Along with this technical upgrade recut, the distinct artwork has also received a facelift fit for the occasion, and will now be found adorning a full gatefold cover, inked lovingly in reverse on inside-out heavyweight paper including printed inner sleeves for a total collector's gem front-to-back.

While Nicolas Jaar's own recent online musings of the origin of the album title and lead track has us imagining playful plexiglass-letterings and a fresh sense of abstract calm before soon-to-be career storms, the music itself feels to have not aged a day past its prime of creation. From the unanimous crowdpleaser "Colomb" to "Keep Me There" indeed doing just that, with Jaar keeping us right where he left us last go-round, to the luminous titular track "Space Is Only Noise If You Can See" and omni-prophesy of "Specters Of The Future" - please join us in a warm welcoming return to this universally acclaimed classic LP, which garnered coveted spots in both RA's Album Of The Year and Pitchfork's Top 20 in 2011, now in its unmissable pristine new vinyl form, sounding as fresh as ever, a solid 10 years later.


Tracklist LP:

A1. Être
A2. Colomb
A3. Sunflower
B1. Too Many Kids Finding Rain In The Dust
B2. Keep Me There
B3. Problem With The Sun

C1. Space Is Only Noise If You Can See
C2. Almost Fell
C3. Balance Her In Between Your Eyes
D1. Specters Of The Future
D2. Trace
D3. Variations
D4. ^tre




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2018 Reissue, 3LP , Gatefold, Complete Tracklisting 1st Time on Vinyl!
Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.

Tracklist:
A1. Take Me Into Your Skin
A2. Vamp
B1. Evil Dub
B2. Always Something Better
C1. While the Cold Winter Waiting
C2. Nightwalker
D1. Like Two Strangers
D2. The Very Last Resort
E1. Snowflake
E2. Chameleon
F1. Into The Trees (Serenetti Part 3)
F2. Moan
F3. Miss You

Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.
Trentemøller's debut album remains one of the few genre-defining and groundbreaking
albums in many regards. It's still being praised for its composition and sounddesign alike and sounds as fresh and breathtaking today as it did when it was originally released in 2006.
The Last Resort - a beautifully crafted, astonishing masterpiece, that will leave you breathless. The 13
instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It
manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods. Although it's an electronic album, it also incorporates live-drums, guitars, bass and other acoustic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. The album received fantastic acclaim from both music fans and journalists around the world and made it into the top-lists of the month, the year, the decade - alongside an array of awards for best production or best album.
Back in 2006, the original pressing only included a selection of songs from the original 13-track album release. It missed out on songs which had been released on singles or didn't "fit" on the so called "vinyl edition". Due to 'public demand' and simply because this album deserves a proper vinyl
release we are happy to finally present, for the first time, the full album on vinyl. It spans of three vinyl discs and is packed in a beautiful gatefold sleeve which also holds a download-code. The recut has been carefully crafted from first generation, orignal masters by Calyx in Berlin. Since the album has been praised for its fantastic sound the primary directive was to cut the lacquers for the re-issue so that they would sound exactly the same as the original release, which has been the CD version of the album. No 'digital remastering' or any other alterations have been applied.
All 13 songs of the classic album on one vinyl release for the first time. Triple-Vinyl edition. Gatefold sleeve. download code. original sound-quality. NO digital remastering.



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