Label:Quindi Records
Cat-No:QUI005
Release-Date:25.02.2022
Genre:Electronic
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Barcode:4251804127288
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Cat-No:QUI005
Release-Date:25.02.2022
Genre:Electronic
Configuration:LP Excl
Barcode:4251804127288
1
Woo - Let It All In
2
Woo - The Motorik Mirror
3
Woo - Cadenza D'Innocenza
4
Woo - Gold Star
5
Woo - Paradise In Pimlico
6
Woo - Moment To Moment
7
Woo - Even More Notes
8
Woo - In Case Love Fails
After their celestial Arcturian Corridors opened proceedings on Quindi, London-based brothers Clive and Mark Ives are back with a new record. When Woo first began recording at home in the early 70s, Clive and Mark were the embodiment of furtive genius. Since re-emerging in 2013, they've released scores of albums, collaborated with Seahawks, and have now struck up a productive relationship with Quindi.
On Paradise In Pimlico, you're hearing a very different sound to the one gently creaked out on early classics like Into The Heart Of Love. This is fulsome, contemporary production rich in detail and artful sound design, but crucially, Clive and Mark's gorgeously melodic approach remains open and inquisitive, even with the sheen and shimmer of modern studio techniques.
Woo sound more confident than ever in their composition, too. The crystalline, fragile tones of 'Cadenza D'Innocenza' glide through key changes that spell out an engrossing narrative, while the cascading melodies on 'Moment To Moment' pirouette across the space between notes with masterful poise. 'Paradise In Pimlico' is an illustrious suite of orchestral composition played out with the lightest touch, framed by the slightest of synthesized fauna and topped off with tender sax and flute. Album closer 'In Case Love Fails' takes on a subtly cinematic urgency with its undercurrents of walking bass and the strike of the string section (synthetic or otherwise).
There's space for markedly new approaches, too. The rhythm section on 'The Motorik Mirror' clunks and pops with a tactile, high-definition quality which teeters between electronic sculpture and clockwork, organic machination. The deft, lightly-brushed drums coursing through 'Even More Notes' see Clive and Mark step into a different mood, celebrating the beat as another fluid, tonally-rich texture in the mix and adding a smoky, jazzy hue to the Woo repertoire.
It's far from a drum-focused exercise though. At every turn, you're confronted with aching beauty and timbral surprises. If there's one constant throughout Paradise In Pimlico, it's the omnipresent chimes. These twinkling drops of light scattered throughout are something of a hallmark of Woo, ensuring the lilting, lullaby-like magic of their music persists whichever direction they head in.
Tracklist LP:
A1 Let It All In
A2 The Motorik Mirror
A3 Cadenza D'Innocenza
A4 Gold Star
B1 Paradise In Pimlico
B2 Moment To Moment
B3 Even More Notes
B4 In Case Love Fails
More
On Paradise In Pimlico, you're hearing a very different sound to the one gently creaked out on early classics like Into The Heart Of Love. This is fulsome, contemporary production rich in detail and artful sound design, but crucially, Clive and Mark's gorgeously melodic approach remains open and inquisitive, even with the sheen and shimmer of modern studio techniques.
Woo sound more confident than ever in their composition, too. The crystalline, fragile tones of 'Cadenza D'Innocenza' glide through key changes that spell out an engrossing narrative, while the cascading melodies on 'Moment To Moment' pirouette across the space between notes with masterful poise. 'Paradise In Pimlico' is an illustrious suite of orchestral composition played out with the lightest touch, framed by the slightest of synthesized fauna and topped off with tender sax and flute. Album closer 'In Case Love Fails' takes on a subtly cinematic urgency with its undercurrents of walking bass and the strike of the string section (synthetic or otherwise).
There's space for markedly new approaches, too. The rhythm section on 'The Motorik Mirror' clunks and pops with a tactile, high-definition quality which teeters between electronic sculpture and clockwork, organic machination. The deft, lightly-brushed drums coursing through 'Even More Notes' see Clive and Mark step into a different mood, celebrating the beat as another fluid, tonally-rich texture in the mix and adding a smoky, jazzy hue to the Woo repertoire.
It's far from a drum-focused exercise though. At every turn, you're confronted with aching beauty and timbral surprises. If there's one constant throughout Paradise In Pimlico, it's the omnipresent chimes. These twinkling drops of light scattered throughout are something of a hallmark of Woo, ensuring the lilting, lullaby-like magic of their music persists whichever direction they head in.
Tracklist LP:
A1 Let It All In
A2 The Motorik Mirror
A3 Cadenza D'Innocenza
A4 Gold Star
B1 Paradise In Pimlico
B2 Moment To Moment
B3 Even More Notes
B4 In Case Love Fails
More
More records from Woo
Label:Palto Flats
Cat-No:PF013
Release-Date:07.07.2023
Genre:World Music
Configuration:2LP
Barcode:
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Genre:World Music
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1
Woo - Hopi
2
Woo - Taizee
3
Woo - Make Me Tea
4
Woo - A Little Long Way
5
Woo - Frogs Of Fandango
6
Woo - When You Find Your Love
7
Woo - Complex Art
8
Woo - Trishas Return
9
Woo - Into The Heart Of Love
10
Woo - Love On Other Planets
11
Woo - Don't Delay
12
Woo - Woo Woo
13
Woo - The Subtle Shadow
14
Woo - Sarah
15
Woo - Are You Falling
16
Woo - It's Love
17
Woo - Mountains
18
Woo - Gentle Actions
19
Woo - The Return Journey
20
Woo - The Heart Of Love Lullabye
21
Woo - The Heart Sleeps
22
Woo - Spaces We Breath
23
Woo - It's Love (Vocal)
Absolutely essential. Deluxe 2LP edition of this impeccable album from 1988. The spot glossed Gatefold jacket features artwork including archival photos & drawings from Woo’s archives as well as liner notes by Clive Ives (one half of the band). Issued for the first time in its entirety on vinyl, spread over two LPs, and remastered from newly discovered hi-quality DAT sources, we’re thrilled to present the definitive version of Woo’s most fully-formed album. A cosmic testament to the healing power of love, utilizing vocoded clarinets, pastoral guitars, homespun folk lullabies, and lilting electronics, coalescing into a an hour plus long journey through their otherworldly soundscapes. A prime entry point to Woo’s sound, containing some of their most beloved songs, such as ‘Make Me Tea,’ ‘It’s Love,’ ‘Hopi’ and many others, and also including a never-before heard bonus track – the vocal version of ‘It’s Love.’
Into The Heart Of Love was originally self-released on cassette in 1988, with a wider cassette release in 1990. Compiled from home recordings from the preceding years, and released during a transitional point for the band, the Ives brothers see this album as their most complete work, offering space to the listener to stretch out and immerse themselves into the warmth of their sound.
Woo is the uncategorizable project of Clive and Mark Ives from Brighton, UK. Since the 1970s, the duo have been recording a plethora of eclectic sounds, most falling under the blanket genre of new age, but spiraling out toward notions of ambient sounds, jazz, and other spiritual takes on modern music. They received some acclaim for their early releases, including 1982's Whichever Way You Are Going, You Are Going Wrong and 1989's It's Cosy Inside, but their work began to receive renewed appreciation during the 2010s, when labels such as Drag City and Palto Flats reissued the band's albums. The brothers remained active all the while, digitally self-issuing material. More
Into The Heart Of Love was originally self-released on cassette in 1988, with a wider cassette release in 1990. Compiled from home recordings from the preceding years, and released during a transitional point for the band, the Ives brothers see this album as their most complete work, offering space to the listener to stretch out and immerse themselves into the warmth of their sound.
Woo is the uncategorizable project of Clive and Mark Ives from Brighton, UK. Since the 1970s, the duo have been recording a plethora of eclectic sounds, most falling under the blanket genre of new age, but spiraling out toward notions of ambient sounds, jazz, and other spiritual takes on modern music. They received some acclaim for their early releases, including 1982's Whichever Way You Are Going, You Are Going Wrong and 1989's It's Cosy Inside, but their work began to receive renewed appreciation during the 2010s, when labels such as Drag City and Palto Flats reissued the band's albums. The brothers remained active all the while, digitally self-issuing material. More
12" Excl
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Label:Altrimenti
Cat-No:ATM003
Release-Date:02.06.2023
Genre:House
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Barcode:4251804142045
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Cat-No:ATM003
Release-Date:02.06.2023
Genre:House
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Barcode:4251804142045
1
Woo - Cadenza d'Innocenza (Tagliabue Evasione Totale Remix)
2
Woo - Even More Notes (Leeway Remix)
3
Woo - Gold Star (Other Lands & Linkwood Remix)
Following the partnership between Altrimenti and Quindi for a suite of remixes of Cabaret du Ciel, the two Italian labels collaborate once again to explore three vivid versions of tracks from Woo's exquisite album Paradise In Pimlico. The verdant, delicate musicality of Woo's original material offers an abundance of riches for remixers, and the results are true to Altrimenti's stated purpose to explore and experiment in the fusion of different approaches to electronic music.
On the A side, Joseph Tagliabue offers up a snaking, psychedelically charged dancefloor vision of 'Cadenza d'Innocenza'. Milan-based Tagliabue has developed a potent sonic signature across releases for labels like Invisible Inc. and Sound Metaphors before starting his own Blue Sea Studio as an outlet for his expanding work into the field of contemporary soundtracks. That cinematic sensibility comes through in waves on this subtly trance-licked epic - a soaring set piece for the most dramatic of party situations.
On the B side, Leeway opens proceedings with his remix of 'Even More Notes'. As the founder of Wain Records and the Scram club night, the London-based producer is fostering a culture of leftfield dance music with an organic sensibility. On his interpretation of Woo, he offers up a more experimental, dub-informed strain of 4/4 club rhythms.
Completing the set, Other Lands & Linkwood join forces for their approach to 'Gold Star'. Other Lands is also known as Fudge Fingas, and alongside Linkwood he helped shape the warm, deeply rooted house sound of seminal label Firecracker Recordings. The duo's affinity for soulful musicianship and the disco roots of house music comes through in this spiralling, hazy rendition perfectly pitched at moments when a softer, more spiritual approach is needed without losing the guidance of an insistent groove.
Once again the overarching theme on this collection of remixes remains quality - a pursuit of meaningful expression, originality and open-hearted musicality. From the source material to the resulting remixes, the pursuit was a successful one.
A1 Cadenza d'Innocenza (Tagliabue Evasione Totale Remix)
B1 Even More Notes (Leeway Remix)
B2 Gold Star (Other Lands & Linkwood Remix)
More
On the A side, Joseph Tagliabue offers up a snaking, psychedelically charged dancefloor vision of 'Cadenza d'Innocenza'. Milan-based Tagliabue has developed a potent sonic signature across releases for labels like Invisible Inc. and Sound Metaphors before starting his own Blue Sea Studio as an outlet for his expanding work into the field of contemporary soundtracks. That cinematic sensibility comes through in waves on this subtly trance-licked epic - a soaring set piece for the most dramatic of party situations.
On the B side, Leeway opens proceedings with his remix of 'Even More Notes'. As the founder of Wain Records and the Scram club night, the London-based producer is fostering a culture of leftfield dance music with an organic sensibility. On his interpretation of Woo, he offers up a more experimental, dub-informed strain of 4/4 club rhythms.
Completing the set, Other Lands & Linkwood join forces for their approach to 'Gold Star'. Other Lands is also known as Fudge Fingas, and alongside Linkwood he helped shape the warm, deeply rooted house sound of seminal label Firecracker Recordings. The duo's affinity for soulful musicianship and the disco roots of house music comes through in this spiralling, hazy rendition perfectly pitched at moments when a softer, more spiritual approach is needed without losing the guidance of an insistent groove.
Once again the overarching theme on this collection of remixes remains quality - a pursuit of meaningful expression, originality and open-hearted musicality. From the source material to the resulting remixes, the pursuit was a successful one.
A1 Cadenza d'Innocenza (Tagliabue Evasione Totale Remix)
B1 Even More Notes (Leeway Remix)
B2 Gold Star (Other Lands & Linkwood Remix)
More
Label:Quindi Records
Cat-No:QUI005CD
Release-Date:25.03.2022
Configuration:CD Excl
Barcode:4251804135269
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Label:Quindi Records
Cat-No:QUI005CD
Release-Date:25.03.2022
Configuration:CD Excl
Barcode:4251804135269
1
Woo - Let It All In
2
Woo - The Motorik Mirror
3
Woo - Cadenza D'Innocenza
4
Woo - Gold Star
5
Woo - Paradise In Pimlico
6
Woo - Moment To Moment
7
Woo - Even More Notes
8
Woo - In Case Love Fails
After their celestial Arcturian Corridor opened proceedings on Quindi, London-based brothers Clive and Mark Ives are back with a new record. When Woo first began recording at home in the early 70s, Clive and Mark were the embodiment of furtive genius. Since re-emerging in 2013, they've released scores of albums, collaborated with Seahawks, and have now struck up a productive relationship with Quindi.
On Paradise In Pimilico, you're hearing a very different sound to the one gently creaked out on early classics like Into The Heart Of Love. This is fulsome, contemporary production rich in detail and artful sound design, but crucially, Clive and Mark's gorgeously melodic approach remains open and inquisitive, even with the sheen and shimmer of modern studio techniques.
Woo sound more confident than ever in their composition, too. The crystalline, fragile tones of 'Cadenza D'Innocenza' glide through key changes that spell out an engrossing narrative, while the cascading melodies on 'Moment To Moment' pirouette across the space between notes with masterful poise. 'Paradise In Pimlico' is an illustrious suite of orchestral composition played out with the lightest touch, framed by the slightest of synthesized fauna and topped off with tender sax and flute. Album closer 'In Case Love Fails' takes on a subtly cinematic urgency with its undercurrents of walking bass and the strike of the string section (synthetic or otherwise).
There's space for markedly new approaches, too. The rhythm section on 'The Motorik Mirror' clunks and pops with a tactile, high-definition quality which teeters between electronic sculpture and clockwork, organic machination. The deft, lightly-brushed drums coursing through 'Even More Notes' see Clive and Mark step into a different mood, celebrating the beat as another fluid, tonally-rich texture in the mix and adding a smoky, jazzy hue to the Woo repertoire.
It's far from a drum-focused exercise though. At every turn, you're confronted with aching beauty and timbral surprises. If there's one constant throughout Paradise In Pimilico, it's the omnipresent chimes. These twinkling drops of light scattered throughout are something of a hallmark of Woo, ensuring the lilting, lullaby-like magic of their music persists whichever direction they head in.
Genre: Ambient, Electronic, New Age, NeoClassical, Downbeat
Tracklist:
1_Let It All In
2_The Motorik Mirror
3_Cadenza D'Innocenza
4_Gold Star
5_Paradise In Pimlico
6_Moment To Moment
7_Even More Notes
8_In Case Love Fails
More
On Paradise In Pimilico, you're hearing a very different sound to the one gently creaked out on early classics like Into The Heart Of Love. This is fulsome, contemporary production rich in detail and artful sound design, but crucially, Clive and Mark's gorgeously melodic approach remains open and inquisitive, even with the sheen and shimmer of modern studio techniques.
Woo sound more confident than ever in their composition, too. The crystalline, fragile tones of 'Cadenza D'Innocenza' glide through key changes that spell out an engrossing narrative, while the cascading melodies on 'Moment To Moment' pirouette across the space between notes with masterful poise. 'Paradise In Pimlico' is an illustrious suite of orchestral composition played out with the lightest touch, framed by the slightest of synthesized fauna and topped off with tender sax and flute. Album closer 'In Case Love Fails' takes on a subtly cinematic urgency with its undercurrents of walking bass and the strike of the string section (synthetic or otherwise).
There's space for markedly new approaches, too. The rhythm section on 'The Motorik Mirror' clunks and pops with a tactile, high-definition quality which teeters between electronic sculpture and clockwork, organic machination. The deft, lightly-brushed drums coursing through 'Even More Notes' see Clive and Mark step into a different mood, celebrating the beat as another fluid, tonally-rich texture in the mix and adding a smoky, jazzy hue to the Woo repertoire.
It's far from a drum-focused exercise though. At every turn, you're confronted with aching beauty and timbral surprises. If there's one constant throughout Paradise In Pimilico, it's the omnipresent chimes. These twinkling drops of light scattered throughout are something of a hallmark of Woo, ensuring the lilting, lullaby-like magic of their music persists whichever direction they head in.
Genre: Ambient, Electronic, New Age, NeoClassical, Downbeat
Tracklist:
1_Let It All In
2_The Motorik Mirror
3_Cadenza D'Innocenza
4_Gold Star
5_Paradise In Pimlico
6_Moment To Moment
7_Even More Notes
8_In Case Love Fails
More
Label:Quindi Records
Cat-No:QUI001
Release-Date:19.06.2020
Configuration:LP Excl
Barcode:4251648417958
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Label:Quindi Records
Cat-No:QUI001
Release-Date:19.06.2020
Configuration:LP Excl
Barcode:4251648417958
1
Woo - A1: Arc I 4.48
2
Woo - A2: Arc II 4.14
3
Woo - A3: Arc III 3.57
4
Woo - A4: Arc IV 3.40
5
Woo - A5: Arc V 4.16
6
Woo - B1: Love On Other Planets (Woo Remix) 5.13
7
Woo - B2: AC V (Wino Wagon Remix) 7.42
8
Woo - B3: AC II (Ultramarine Remix) 4.18
Tracklist:
A1: Arc I 4.48
A2: Arc II 4.14
A3: Arc III 3.57
A4: Arc IV 3.40
A5: Arc V 4.16
B1: Love On Other Planets (Woo Remix) 5.13
B2: AC V (Wino Wagon Remix) 7.42
B3: AC II (Ultramarine Remix) 4.18
Release Info
The premise for Quindi Records is simple – to represent music with a universality at its core.
Without adhering to specific genre tropes, the releases are intended to have a meaning and
purpose in all kinds of situations – a social soundtrack as much as a stimulating experience,
feeding emotions and the psyche with a sentimental palette of sounds. Lovers’ music, loners’
music, music for friends and family alike.
Woo makes for a perfect choice to meet this loose concept head-on – the music of Clive and
Mark Ives straddles disparate worlds and finds its own peculiar balance. On one hand it’s
delicate synthesizer music with a minimalist bent, while on the other their joyous, twinkling
harmonies have an immediacy that speaks to the soul. You can detect privacy in their craft – the
brothers originally recorded their music in relative isolation in London in the 70s, 80s and early
90s. It’s only in recent years their sublime work has enjoyed a wider audience through an
extensive run of reissues.
Arcturian Corridor
? presents a rare, previously unreleased piece of music from Woo – the
expansive suite of the title track that unfurls across five parts. It’s an enchanting listen that
shows a new breadth and depth to the duo – detailed drum programming and a broader palette
of synth tones cascading in elegant unison. The name refers to Arcturus, the fourth brighteststar in the night sky. As Woo themselves explain, “The Arcturian Corridor is said to be a channel
of light that brings unconditional love and wisdom from Arcturus to Earth.”
In addition to the 20-minute A-side piece, Woo also presents a new version of “Love On Other
Planets”, a standout piece from their 1990 album ?Into The Heart of Love? . The fragile subtlety of
the original has been embellished here with rich new passages that turn it into a kind of
electronica epic, although still marked out with the sensitivity one expects from a Woo record.
Two remixes complete the set, both furthering Quindi’s modus operandi as a genre-agnostic
force for cosmically charged music. Dublin’s Wah Wah Wino collective present their Wino
Wagon manifestation for a tastefully strange house version of the fifth part of “Arcturian
Corridor” that channels the freakiness of Pepe Bradock, the robo-funk of Metro Area and a
soupcon of pop nous. British duo Ultramarine maintain the stylistic ambiguity as they channel
decades of expressive experimentation between live band dynamics and machine soul on their
version of the title track’s second chapter. More
A1: Arc I 4.48
A2: Arc II 4.14
A3: Arc III 3.57
A4: Arc IV 3.40
A5: Arc V 4.16
B1: Love On Other Planets (Woo Remix) 5.13
B2: AC V (Wino Wagon Remix) 7.42
B3: AC II (Ultramarine Remix) 4.18
Release Info
The premise for Quindi Records is simple – to represent music with a universality at its core.
Without adhering to specific genre tropes, the releases are intended to have a meaning and
purpose in all kinds of situations – a social soundtrack as much as a stimulating experience,
feeding emotions and the psyche with a sentimental palette of sounds. Lovers’ music, loners’
music, music for friends and family alike.
Woo makes for a perfect choice to meet this loose concept head-on – the music of Clive and
Mark Ives straddles disparate worlds and finds its own peculiar balance. On one hand it’s
delicate synthesizer music with a minimalist bent, while on the other their joyous, twinkling
harmonies have an immediacy that speaks to the soul. You can detect privacy in their craft – the
brothers originally recorded their music in relative isolation in London in the 70s, 80s and early
90s. It’s only in recent years their sublime work has enjoyed a wider audience through an
extensive run of reissues.
Arcturian Corridor
? presents a rare, previously unreleased piece of music from Woo – the
expansive suite of the title track that unfurls across five parts. It’s an enchanting listen that
shows a new breadth and depth to the duo – detailed drum programming and a broader palette
of synth tones cascading in elegant unison. The name refers to Arcturus, the fourth brighteststar in the night sky. As Woo themselves explain, “The Arcturian Corridor is said to be a channel
of light that brings unconditional love and wisdom from Arcturus to Earth.”
In addition to the 20-minute A-side piece, Woo also presents a new version of “Love On Other
Planets”, a standout piece from their 1990 album ?Into The Heart of Love? . The fragile subtlety of
the original has been embellished here with rich new passages that turn it into a kind of
electronica epic, although still marked out with the sensitivity one expects from a Woo record.
Two remixes complete the set, both furthering Quindi’s modus operandi as a genre-agnostic
force for cosmically charged music. Dublin’s Wah Wah Wino collective present their Wino
Wagon manifestation for a tastefully strange house version of the fifth part of “Arcturian
Corridor” that channels the freakiness of Pepe Bradock, the robo-funk of Metro Area and a
soupcon of pop nous. British duo Ultramarine maintain the stylistic ambiguity as they channel
decades of expressive experimentation between live band dynamics and machine soul on their
version of the title track’s second chapter. More
Label:Emotional rescue
Cat-No:erc050
Release-Date:05.07.2017
Configuration:LP
Barcode:
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Label:Emotional rescue
Cat-No:erc050
Release-Date:05.07.2017
Configuration:LP
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For the label's 50th release, Emotional Rescue returns to the music of Woo to close a trilogy of reissue collaboration albums, in A La Luna. Following Whichever Way You Are Going (1982) and Into The Heart Of Love (1990), their opus A La Luna (1991) was the last of the bands song based albums and represents a wonderful way to close this association. Reworked, re-ordered and remastered especially for this first time vinyl release, brothers Mark and Clive Ives again present their unique, ground-breaking and at the time, heart-wrenchingly overlooked music, that seems to fit the folk-new age-electronics of today as well, if not better, than when first released. Across 20 plus songs Mark's guitar, clarinet and vocals are as ever drenched in Clive's mixing desk mastery. Echo and reverb shimmer as the short pieces rise and fall like the wind blowing across nighttime trees. With no song going much beyond three minutes, A La Luna flows as one piece. The unmistaken sound of Woo wraps itself around you in an essence, warmth and glow that is addictive, meditative and uplifting. Featuring the original vocal performance of Mark's love ode, Magic In The Dark stands as a centerpiece where, as with all their albums, vocals appear at a minimum, as part of the musical journey. The underlying somber nature of the album comes as the band ended more than a decade of recording with little critical or commercial success. The fact they did not release a full album again and moved towards a more meditation outlook was a loss, however, their recent rediscovery and the excellent releases by Drag City and Palto Flats included, has finally given the Ive's brothers not just a place in appreciation, but has shown that there really is no one like Woo. Enjoy the magic.
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Label:emotional rescue
Cat-No:erc019
Release-Date:22.09.2014
Configuration:LP
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Cat-No:erc019
Release-Date:22.09.2014
Configuration:LP
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Emotional Rescue and Woo once again come together, this time to reissue their masterpiece, the previously cassette-only album Into The Heart Of Love. A joyous, uplifting ode to love in all it's forms, the trials and tribulations and ultimately the triumphs are all encapsulted in Woo's unique soundscapes. Of all the myriad of released and unreleased Woo recordings, Into The Heart Of Love is without a doubt their most complete and cohesive body of work. Full of Woo's quirky analogue dub electronics, there is also a very English sense of folk. With more vocals then their other albums, the structure and softness of mood quintessentially comes from the Mother Isle. Mark's guitar craft is at its most expressive, entwined with subtle bass, a breadth of clarinet and touches of piano. This is all mixed and merged beautifully with Clive's now recognisable desk and synthesiser mastery. As individual as anything you'd hear coming from the Black Ark. More peaceful and uplifting than Whichever Way You Are Going, You Are Going Wrong and encompassing than It's Cosy Inside, the album presented as Into The Heart Of Love is exactly that. Drawing you into it's swirls and layers upon layers, slowly wrapping you in it's own special, spectral soundcape. It is love indeed that permeates throughout. Again and again the titles lead the way, but it's more than that. The lilting hopes, joy, optimism and peace expressed in songs like When Your Find Your Love, Sarah and The Heart Of Love show Woo in all their glory. Of all Woo's songs and craft, their best is all included. The simplicity but detailed interplay between the two brothers is as telepathic as imagined. Pushing and pulling together to represent a wondrous album. Of course, it had to be. It's Love.
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Cat-No:erc018
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Label:emotional rescue
Cat-No:erc014
Release-Date:25.06.2013
Configuration:LP
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For the first time ever, the ive’s brothers cult debut album is reissued, here in remastered format. Spread across 13 folk electro-acoustic pieces, an english love ode mixed with a melonconic darkness that transcends any simple happy-hippy pigeon-holing to offer much more. Emotional Rescue is delighted to announce welcoming the enigmatic, electo-acoustic duo Woo to the roster. Consisting of brothers Mark and Clive Ives, Woo will be releasing no less than three albums with the label, Whichever Way You Are Going being the first. Hard to catagorise, their personal folktronica is the result of Mark’s melodic guitar, clavinet, bass and vocals running through Clive’s array of synthesisers. filters and effects, creatingsomething unique and sadly still, an largely unknown genius.Described as sounding like the music the Durutti Column would of made with Penguin CafeOrchestra if produced by Brian Eno, Woo have recorded over 1,500 tracks, however here for the first time is the remastered reissue of their cult and cryptically titled debut album. With percussion that echoes elements of Kosmiche’s rolling rhythms, the subtle and often brooding textures and moods hint at fully formed songs that are in reality a series of instrumental vignettes which together create a cinematic whole.More than simple ambient minimalism, the liquid sounds seep in to your brain to offer a particular take of the English new age meditative mindset - the green and pleasant land maybe but with a twist of darkness not expected across 13 laconic pieces.Released on both screen printed vinyl and CD, Whichever Way will be followed by what could be their masterpiece, Into The Heart Of Love. Previously only available on cassette this will be a collectors dream, while an in production third album promises further intrigue, bringing together the Ives brothers and fellow space travellers the Seahawks. Close your eyes.
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Label:Quindi Records
Cat-No:QUI013
Release-Date:19.07.2024
Genre:Folk
Configuration:LP Excl
Barcode:4251804181419
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Label:Quindi Records
Cat-No:QUI013
Release-Date:19.07.2024
Genre:Folk
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1
Nový Svet - Tibidabo
2
Nový Svet - Raja
3
Nový Svet - Ciudacanta
4
Nový Svet - Suenos, Anos, Despues
5
Nový Svet - Alarma
6
Nový Svet - Rexistencia
7
Nový Svet - Tierra (Sanguine II - Noticias)
8
Nový Svet - Lo Que Tu 1
9
Nový Svet - Solo Un Sueno
10
Nový Svet - Torbellinos
11
Nový Svet - No Mas
12
Nový Svet - Lo Que Tu 2
13
Nový Svet - Tampoco
14
Nový Svet - Al Fuego
LTD to 150 copies!
After having finished recordings for "Desde Infiernos De Flores", Nový Sv?t immediately began putting down new songs for a follow-up album, which they planned to finalise benefitting from time won by releasing "Desde Infiernos De Flores" in slices (of CD EPs) over a period of some months.
J. Weber's and Frl. Tost's return to an earlier life in their hometown Vienna brought a new deck of cards into play and those by then already mixed new pieces, rumoured to circle around all things dream and sleep and (waking up in) nightmares, suddenly were regarded as "too spanish", hence "inappropriate" for release. Instead in late 2007 surprisingly a synth-only album named "Todas Las Últimas Cosas" ("All the last things"), accompanied by a collection of early demos entitled "Todas Las Primeras Cosas", was announced by the acclaimed german label Treue Um Treue / Reue Um Reue.
During the following seven years it took Nový Sv?t to present their next album "Mono", tons of unreleased music were made available on various formats. But none of the tracks being abandoned in 2007 showed up.
Years after their making those recordings were saved from a disintegrating master and compiled for the album "DeGenerazione", which when it much later showed up online caught the attention of Quindi Records, now making the album available for the first time on the intended LP format, presenting a missing link in the Austrians' discography and the final part of a musical triptych, the so-called Spanish Trilogy, a reflection on transition, begun with "Fin.Finito.Infinito" back in Vienna, where it now would also find an end.
Although noisy and rhythmic in parts, "DeGenerazione" closes the passage of Nový Sv?t's exile on an overall introspective note. It stands as a document of a band at the point of implosion, another dark hole - in a story full of them - illuminated and evidence that J. Weber's Spanish did not improve a bit. Not even living there. A triumph of the will.
VITAL SALES POINTS:
Following Jota Solo's debut on the label late last year, Quindi is honoured to present DeGenerazione, the final album of the infamous Spanish trilogy and the final musical testament of the defunct Austrian cult industrial-folk band, of which J(ota). Weber was the founder, Nový Sv?t - just three years after "Desde Infiernos De Flores", their latest archive release on Brannten Schnüre's Quirlschlängle label - now finally revealed to the universe and available on vinyl.
A1. Tibidabo
A2. Raja
A3. Ciudacanta
A4. Suenos, Anos, Despues
A5. Alarma
A6. Rexistencia
B1. Tierra (Sanguine II - Noticias)
B2. Lo Que Tu 1
B3. Solo Un Sueno
B4. Torbellinos
B5. No Mas
B6. Lo Que Tu 2
B7. Tampoco
B8. Al Fuego
B9. Mierdamaquina
More
After having finished recordings for "Desde Infiernos De Flores", Nový Sv?t immediately began putting down new songs for a follow-up album, which they planned to finalise benefitting from time won by releasing "Desde Infiernos De Flores" in slices (of CD EPs) over a period of some months.
J. Weber's and Frl. Tost's return to an earlier life in their hometown Vienna brought a new deck of cards into play and those by then already mixed new pieces, rumoured to circle around all things dream and sleep and (waking up in) nightmares, suddenly were regarded as "too spanish", hence "inappropriate" for release. Instead in late 2007 surprisingly a synth-only album named "Todas Las Últimas Cosas" ("All the last things"), accompanied by a collection of early demos entitled "Todas Las Primeras Cosas", was announced by the acclaimed german label Treue Um Treue / Reue Um Reue.
During the following seven years it took Nový Sv?t to present their next album "Mono", tons of unreleased music were made available on various formats. But none of the tracks being abandoned in 2007 showed up.
Years after their making those recordings were saved from a disintegrating master and compiled for the album "DeGenerazione", which when it much later showed up online caught the attention of Quindi Records, now making the album available for the first time on the intended LP format, presenting a missing link in the Austrians' discography and the final part of a musical triptych, the so-called Spanish Trilogy, a reflection on transition, begun with "Fin.Finito.Infinito" back in Vienna, where it now would also find an end.
Although noisy and rhythmic in parts, "DeGenerazione" closes the passage of Nový Sv?t's exile on an overall introspective note. It stands as a document of a band at the point of implosion, another dark hole - in a story full of them - illuminated and evidence that J. Weber's Spanish did not improve a bit. Not even living there. A triumph of the will.
VITAL SALES POINTS:
Following Jota Solo's debut on the label late last year, Quindi is honoured to present DeGenerazione, the final album of the infamous Spanish trilogy and the final musical testament of the defunct Austrian cult industrial-folk band, of which J(ota). Weber was the founder, Nový Sv?t - just three years after "Desde Infiernos De Flores", their latest archive release on Brannten Schnüre's Quirlschlängle label - now finally revealed to the universe and available on vinyl.
A1. Tibidabo
A2. Raja
A3. Ciudacanta
A4. Suenos, Anos, Despues
A5. Alarma
A6. Rexistencia
B1. Tierra (Sanguine II - Noticias)
B2. Lo Que Tu 1
B3. Solo Un Sueno
B4. Torbellinos
B5. No Mas
B6. Lo Que Tu 2
B7. Tampoco
B8. Al Fuego
B9. Mierdamaquina
More
Label:Quindi Records
Cat-No:QUI011
Release-Date:09.02.2024
Configuration:LP Excl
Barcode:4251804144834
in stock
Last in:06.02.2024
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in stock
Last in:06.02.2024
Label:Quindi Records
Cat-No:QUI011
Release-Date:09.02.2024
Configuration:LP Excl
Barcode:4251804144834
1
Dead Bandit - Two Clocks
2
Dead Bandit - Memory Thirteen
3
Dead Bandit - Blackbird
4
Dead Bandit - Circus
5
Dead Bandit - Staircase
6
Dead Bandit - Peel Me An Orange
7
Dead Bandit - Quickscene
8
Dead Bandit - Somewhere To Wait
9
Dead Bandit - Revelstoke
10
Dead Bandit - Wabansia
11
Dead Bandit - Perfume
12
Dead Bandit - Blowing Kisses
13
Dead Bandit - Across The Road
Three years on from the desolate beauty of their debut, Quindi Records is proud to present the
second album from Dead Bandit. The ghosts of their past endeavours still haunt their guitars, but
on Memory Thirteen the duo's delicately dishevelled Southern gothic feels tonally distinct from their
prior outing.
Dead Bandit is Ellis Swan and James Schimpl - the former a noted solo singer-songwriter from
Chicago with a penchant for eerie, witching hour murder ballads and the latter an accomplished
Canadian multi-instrumentalist with a bias towards heartworn, roaming soundscapes. Their
instrumental collaboration has an open, lyrical quality which says as much as any spoken line, and
on this album they've especially embraced the power of contrast as we're guided between scenes,
sometimes within the confines of one track.
'Peel Me An Orange' is especially instructive in this regard, beginning as a blown-out paean to
sonic degradation and the acute sense of hopelessness it projects, only to yield to a lilting tape
loop of twanging guitar before entirely widening out in an emphatic burst of post-rock optimism.
Post-rock isn't noted for its banal cheeriness as a genre, and Dead Bandit aren't about to lay down
feel-good drive-time anthems, but the sense of pulling at extremes of energy and introspection
show Swan and Schimpl to be testing the emotional limits of their weatherbeaten sound. The
cautiously sentimental mood of 'Blowing Kisses' hints at the hard-won light which can be
encountered while pointedly driving into darkness.
Sometimes noise is a subtle device - a looming bed of unease under the forthright pluck of Swan's
distinct guitar tone or the cracking round the edges of a beaten up drum machine. On 'Memory
Thirteen' the distortion on the bass becomes a central figure in its haggard waltz, while 'Staircase'
and 'Perfume' leave the signal wet until the delay feedback becomes the body of the riff. Either
way, the sound is never left untouched as Swan and Schimpl grow more comfortable in their
exchange, blurring their respective sonic languages as they expand their shared vocabulary to
create an album of depth, difference and devoted distortion.
Tracklist:
A1. Two Clocks
A2. Memory Thirteen
A3. Blackbird
A4. Circus
A5. Staircase
A6. Peel Me An Orange
B1. Quickscene
B2. Somewhere To Wait
B3. Revelstoke
B4. Wabansia
B5. Perfume
B6. Blowing Kisses
B7. Across The Road
More
second album from Dead Bandit. The ghosts of their past endeavours still haunt their guitars, but
on Memory Thirteen the duo's delicately dishevelled Southern gothic feels tonally distinct from their
prior outing.
Dead Bandit is Ellis Swan and James Schimpl - the former a noted solo singer-songwriter from
Chicago with a penchant for eerie, witching hour murder ballads and the latter an accomplished
Canadian multi-instrumentalist with a bias towards heartworn, roaming soundscapes. Their
instrumental collaboration has an open, lyrical quality which says as much as any spoken line, and
on this album they've especially embraced the power of contrast as we're guided between scenes,
sometimes within the confines of one track.
'Peel Me An Orange' is especially instructive in this regard, beginning as a blown-out paean to
sonic degradation and the acute sense of hopelessness it projects, only to yield to a lilting tape
loop of twanging guitar before entirely widening out in an emphatic burst of post-rock optimism.
Post-rock isn't noted for its banal cheeriness as a genre, and Dead Bandit aren't about to lay down
feel-good drive-time anthems, but the sense of pulling at extremes of energy and introspection
show Swan and Schimpl to be testing the emotional limits of their weatherbeaten sound. The
cautiously sentimental mood of 'Blowing Kisses' hints at the hard-won light which can be
encountered while pointedly driving into darkness.
Sometimes noise is a subtle device - a looming bed of unease under the forthright pluck of Swan's
distinct guitar tone or the cracking round the edges of a beaten up drum machine. On 'Memory
Thirteen' the distortion on the bass becomes a central figure in its haggard waltz, while 'Staircase'
and 'Perfume' leave the signal wet until the delay feedback becomes the body of the riff. Either
way, the sound is never left untouched as Swan and Schimpl grow more comfortable in their
exchange, blurring their respective sonic languages as they expand their shared vocabulary to
create an album of depth, difference and devoted distortion.
Tracklist:
A1. Two Clocks
A2. Memory Thirteen
A3. Blackbird
A4. Circus
A5. Staircase
A6. Peel Me An Orange
B1. Quickscene
B2. Somewhere To Wait
B3. Revelstoke
B4. Wabansia
B5. Perfume
B6. Blowing Kisses
B7. Across The Road
More
LP Excl
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Label:Quindi Records
Cat-No:QUI010 / SAB108
Release-Date:15.12.2023
Configuration:LP Excl
Barcode:4251804142830
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Last in:01.12.2023
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in stock
Last in:01.12.2023
Label:Quindi Records
Cat-No:QUI010 / SAB108
Release-Date:15.12.2023
Configuration:LP Excl
Barcode:4251804142830
1
Fortunato Durutti Marinetti - Lightning On A Sunny Day
2
Fortunato Durutti Marinetti - The Flowers
3
Fortunato Durutti Marinetti - Misfit Streams
4
Fortunato Durutti Marinetti - The Movie Of Your Life
5
Fortunato Durutti Marinetti - Clerk Of Oblivion
6
Fortunato Durutti Marinetti - Smash Your Head Against The Wall
7
Fortunato Durutti Marinetti - Tomorrow's Poem
8
Fortunato Durutti Marinetti - I Need You More
With its tenth record from Fortunato Durutti Marinetti, Quindi, in collaboration with Soft Abuse, continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he’s found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022’s Memory’s Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi’s renewed approach is instantly apparent as album opener ‘Lightning On A Sunny Day’ unfurls, informed greatly by producer Sandro Perri’s input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can’t help but think of John Martyn’s slide into the digital sound of Sapphire or Kraftwerk’s bittersweet synthetic tenderness.
Within this sound, there’s still space for the energy to fluctuate according to the whims of songs. ‘The Flowers’ turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. ‘Misfit Streams’ and first single ‘Clerk Of Oblivion’ savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener’s heart. It’s at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer’s inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - ‘Smash Your Head Against The Wall’ snarls its rhythm section before the strings sow their aching beauty to cool the song’s temper, winding up as a track of distinct halves jabbing at each other. “I Need You More’ leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi’s unique exploration of his muse.
The artist himself dubs his musical expression as “poetic jazz rock” with a sideways glance - it’s not exactly poetry, far from trad jazz and it doesn’t really rock, yet the tag feels uncannily like it fits, just like the curious music it’s used to describe.
VITAL SALES POINTS:
Produced by Sandro Perri, Canadian singer-songwriter Fortunato Durutti Marinetti releases his third album on the Italian label Quindi together with American label Soft Abuse, following the successful release in 2022 of his previous work entitled "Memory's Fool", moving from synth pop songs to his characteristic "poetic jazz rock' style.
“For an introduction to Fortunato Durutti Marinetti, there’s no better way to start than letting Eight Waves wash over you” Jess Locke - Aquarium Drunkard
“With an hybrid of analog and synthesized sounds, Turin-born Daniel Colussi creates sophisticated, smooth art pop brimming with emotion” New & Notable - Bandcamp
“It’s a smooth ride, but it’s still a journey” Rosy Overdrive
“Each part of the whole, despite its diversity (from synthetic beats to jazzy interweavings), contributes to creating a compositional balance and achieving sonic organicity: many small musical worlds in one.” Kalporz
Tracklist:
A1. Lightning On A Sunny Day
A2. The Flowers
A3. Misfit Streams
A4. The Movie Of Your Life
B1. Clerk Of Oblivion
B2. Smash Your Head Against The Wall
B3. Tomorrow's Poem
B4. I Need You More
More
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he’s found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022’s Memory’s Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi’s renewed approach is instantly apparent as album opener ‘Lightning On A Sunny Day’ unfurls, informed greatly by producer Sandro Perri’s input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can’t help but think of John Martyn’s slide into the digital sound of Sapphire or Kraftwerk’s bittersweet synthetic tenderness.
Within this sound, there’s still space for the energy to fluctuate according to the whims of songs. ‘The Flowers’ turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. ‘Misfit Streams’ and first single ‘Clerk Of Oblivion’ savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener’s heart. It’s at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer’s inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - ‘Smash Your Head Against The Wall’ snarls its rhythm section before the strings sow their aching beauty to cool the song’s temper, winding up as a track of distinct halves jabbing at each other. “I Need You More’ leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi’s unique exploration of his muse.
The artist himself dubs his musical expression as “poetic jazz rock” with a sideways glance - it’s not exactly poetry, far from trad jazz and it doesn’t really rock, yet the tag feels uncannily like it fits, just like the curious music it’s used to describe.
VITAL SALES POINTS:
Produced by Sandro Perri, Canadian singer-songwriter Fortunato Durutti Marinetti releases his third album on the Italian label Quindi together with American label Soft Abuse, following the successful release in 2022 of his previous work entitled "Memory's Fool", moving from synth pop songs to his characteristic "poetic jazz rock' style.
“For an introduction to Fortunato Durutti Marinetti, there’s no better way to start than letting Eight Waves wash over you” Jess Locke - Aquarium Drunkard
“With an hybrid of analog and synthesized sounds, Turin-born Daniel Colussi creates sophisticated, smooth art pop brimming with emotion” New & Notable - Bandcamp
“It’s a smooth ride, but it’s still a journey” Rosy Overdrive
“Each part of the whole, despite its diversity (from synthetic beats to jazzy interweavings), contributes to creating a compositional balance and achieving sonic organicity: many small musical worlds in one.” Kalporz
Tracklist:
A1. Lightning On A Sunny Day
A2. The Flowers
A3. Misfit Streams
A4. The Movie Of Your Life
B1. Clerk Of Oblivion
B2. Smash Your Head Against The Wall
B3. Tomorrow's Poem
B4. I Need You More
More
Label:Quindi Records
Cat-No:QUI009
Release-Date:08.12.2023
Genre:PostRockNouvelleVague
Configuration:LP Excl
Barcode:4251804142496
in stock
Last in:01.12.2023
+ Show full info- Close
in stock
Last in:01.12.2023
Label:Quindi Records
Cat-No:QUI009
Release-Date:08.12.2023
Genre:PostRockNouvelleVague
Configuration:LP Excl
Barcode:4251804142496
1
American Cream Band - Sirens
2
American Cream Band - Dr Doctor
3
American Cream Band - Banana
4
American Cream Band - Royal Tears
5
American Cream Band - Birds Don't Try
6
American Cream Band - Taste What We Taste
7
American Cream Band - Suave In Ultra Pink
8
American Cream Band - Words Would Handcuff Us
At once a spiritually-charged journey and a shit-kicking party record, American Cream Band comes to Quindi covering all the bases.
American Cream Band was formed by Twin-Cities musician Nathan Nelson around 10 years ago, taking the form of improvised live shows and albums Frankensteined from these sessions into exultant, fully-formed records you can sink your teeth into. The trick with improvised music is to start with intentions, however abstract they might be, and Nelson leads his rolling cast of collaborators into the creative fray with subtle guidance which drives the impulsive musical moment forward.
The band's previous records have manifested on labels like Moon Glyph and Medium Sound, and now Presents arrives in a freewheeling flash of snappy new wave, skronky sax, call and response sass and some krautrock-minded sonic cosmology. The album came together in December 2021, when Nelson took ten musicians to legendary studio Pachyderm in Cannon Falls, Minnesota. Living together, eating together, and with Nelson quietly setting up his low-key magick intentions around Jupiter's planetary frequency and the studio's abundance of elephant statues and carpets, they laid down some drum-heavy sessions that became the building blocks of the record.
'Taste What We Taste' is the perfect example of an exuberant groove pounded on skins as a vessel for a joyous get-down, with the singers and players free to freak out on top. Nelson remains at the centre of the melee, throwing half-sardonic, half-heartfelt calls out for connection. 'Banana' celebrates nonsense and holds down the most serious of beats - a disco-not-disco deadeye dripping in late night sleaze and lysergic potential. On 'Royal Tears', the jagged guitar chops call back to Gang Of Four, while the hot n' heavy sax from Cole Pulice baits James Chance and all the other angular New York un-jazz misfits.
Amongst his other implied intentions for the recordings, Nelson wanted to channel opposites, not least the distinct male-female energies in his vocal sparring with the girls on assistance duties. It wouldn't be right to call them backing singers as they shoot back at his punchy mantras, bringing a certain fierce femininity that tips its hat to The B-52's Cindy Wilson and Kate Pierson, not to mention iconic post-punk bands like Au Pairs, Delta 5 and Bush Tetras.
There's space for the dreamier kosmische which has crept into the American Cream oeuvre in the past, as 'Sirens' opens the album up in a swirling pond of rag tag percussion and molten synths. 'Words Would Handcuff Us' cools the whole riotous assembly down in unmoored perfection, a strung-out Bossa nova seance dusted with celestial drips from analogue spaceships.
Equally treading the line between light and dark, conscious and unconscious, the sacred and profane, Presents is a life-affirming, creep-under-the-skin listening experience - a joyously transient chapter in the evolution of American Cream Band.
Tracklist:
A1. Sirens
A2. Dr Doctor
A3. Banana
A4. Royal Tears
B1. Birds Don't Try
B2. Taste What We Taste
B3. Suave In Ultra Pink
B4. Words Would Handcuff Us
VITAL SALES POINTS:
"For Presents at least, Nelson and his constellation of talented collaborators clearly have whatever "it" is, as they hit the mark with impressive regularity while organically embodying everything that is good and cool about raw, decadent, and spontaneous rock music."
Anthony D'Amico - Brainwashed
"Of course, with such a combination you are open to creating a complete mess, but Nelson and his crew seem to know exactly what they are doing here, creating something like an open-ended mutant 'kosmiche' disco. The one that works."
Echoes & Dust
"Presents" feels longer than its relatively brief runtime-not in a "it's not over yet?" way, mind you, in a "I can't believe we just went through all that in 28 minutes" kind of way."
Rosy Overdrive
More
American Cream Band was formed by Twin-Cities musician Nathan Nelson around 10 years ago, taking the form of improvised live shows and albums Frankensteined from these sessions into exultant, fully-formed records you can sink your teeth into. The trick with improvised music is to start with intentions, however abstract they might be, and Nelson leads his rolling cast of collaborators into the creative fray with subtle guidance which drives the impulsive musical moment forward.
The band's previous records have manifested on labels like Moon Glyph and Medium Sound, and now Presents arrives in a freewheeling flash of snappy new wave, skronky sax, call and response sass and some krautrock-minded sonic cosmology. The album came together in December 2021, when Nelson took ten musicians to legendary studio Pachyderm in Cannon Falls, Minnesota. Living together, eating together, and with Nelson quietly setting up his low-key magick intentions around Jupiter's planetary frequency and the studio's abundance of elephant statues and carpets, they laid down some drum-heavy sessions that became the building blocks of the record.
'Taste What We Taste' is the perfect example of an exuberant groove pounded on skins as a vessel for a joyous get-down, with the singers and players free to freak out on top. Nelson remains at the centre of the melee, throwing half-sardonic, half-heartfelt calls out for connection. 'Banana' celebrates nonsense and holds down the most serious of beats - a disco-not-disco deadeye dripping in late night sleaze and lysergic potential. On 'Royal Tears', the jagged guitar chops call back to Gang Of Four, while the hot n' heavy sax from Cole Pulice baits James Chance and all the other angular New York un-jazz misfits.
Amongst his other implied intentions for the recordings, Nelson wanted to channel opposites, not least the distinct male-female energies in his vocal sparring with the girls on assistance duties. It wouldn't be right to call them backing singers as they shoot back at his punchy mantras, bringing a certain fierce femininity that tips its hat to The B-52's Cindy Wilson and Kate Pierson, not to mention iconic post-punk bands like Au Pairs, Delta 5 and Bush Tetras.
There's space for the dreamier kosmische which has crept into the American Cream oeuvre in the past, as 'Sirens' opens the album up in a swirling pond of rag tag percussion and molten synths. 'Words Would Handcuff Us' cools the whole riotous assembly down in unmoored perfection, a strung-out Bossa nova seance dusted with celestial drips from analogue spaceships.
Equally treading the line between light and dark, conscious and unconscious, the sacred and profane, Presents is a life-affirming, creep-under-the-skin listening experience - a joyously transient chapter in the evolution of American Cream Band.
Tracklist:
A1. Sirens
A2. Dr Doctor
A3. Banana
A4. Royal Tears
B1. Birds Don't Try
B2. Taste What We Taste
B3. Suave In Ultra Pink
B4. Words Would Handcuff Us
VITAL SALES POINTS:
"For Presents at least, Nelson and his constellation of talented collaborators clearly have whatever "it" is, as they hit the mark with impressive regularity while organically embodying everything that is good and cool about raw, decadent, and spontaneous rock music."
Anthony D'Amico - Brainwashed
"Of course, with such a combination you are open to creating a complete mess, but Nelson and his crew seem to know exactly what they are doing here, creating something like an open-ended mutant 'kosmiche' disco. The one that works."
Echoes & Dust
"Presents" feels longer than its relatively brief runtime-not in a "it's not over yet?" way, mind you, in a "I can't believe we just went through all that in 28 minutes" kind of way."
Rosy Overdrive
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Label:Quindi Records
Cat-No:QUI008
Release-Date:21.04.2023
Genre:Indie Rock/Alternative
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Barcode:4251804140492
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1
Monde UFO - Rectory
2
Monde UFO - Government Employee
3
Monde UFO - Visions Of Fatima
4
Monde UFO - Instruments
5
Monde UFO - Air Quality
6
Monde UFO - The Woods Behind St. Marthas
7
Monde UFO - Instruments 2
8
Monde UFO - Garden Of Agony
9
Monde UFO - Cement and Reasoning
10
Monde UFO - I'm So Tired
Heralding 2023 from way out west, Monde UFO land on Quindi with a distinctive album of dream pop vignettes and outer rim punk exotica.
Hailing from the same Californian heat haze as recent Quindi signings Bondo, Monde UFO have manifested in the past four years through a series of DIY releases including their 2021 album 7171 and last year's set of Fugazi covers, 4 Songs. The loose fit project centres around the singing, playing and songwriting of Ray Monde and Kris Chau and features Kern Haug on drums. The resulting sound arrives as a resourceful analog of plush 60s pop captured through the modest means of a truly independent musical endeavour.
The sound rendered on Vandalized Statue touches on dubby atmospherics, the lilting breeze of bossa nova and the introverted muse of US indie rock, but the end result is a natural, cohesive whole centered around the songwriting. Imagine the girl from Ipanema sat toking in a comfortable spot in the corner of the dive bar while someone weaves her a tall tale or two, and you might be somewhere in the right direction. The stories in the lyrics unfurl as meandering narratives taking you through everyday exchanges and far-fetched, cosmic scenarios alike. At every turn the cosy musicality gives everything a relatable, homespun charm, even as the mixing desk becomes a mess and the lo-fi FX crash into each other.
The album will be fronted by three singles which reflect the wide reach of Monde UFO's sound. 'Visions of Fatima' is one of the more melancholic pieces on the album, fronted by laconic organ and centring on cracked vocals with an off key charm that indirectly evokes Jeffrey Lee Pierce. 'Government Employee' is a sun-kissed trip of low-key lounge surrealism, bizarro storytelling and shuffling exotica splendour which broadly defines the woozy mood of Vandalized Statue. 'Garden Of Agony' is a more delicate but no less dreamy piece matching electric tremolo with acoustic fingerpicking balladry which hides its considerable depths behind a seemingly simple arrangement.
At once intimate and projected into the cosmos, Monde UFO add to the particular path Quindi is taking through hidden corners of independent music with a romantic, restless spirit.
VITAL SALES POINTS:
Second album by LA combo Monde UFO on the italian imprint Quindi, a collection of dream pop vignettes and outer rim punk exotica.
TRACKLIST:
A1. Rectory
A2. Government Employee
A3. Visions Of Fatima
A4. Instruments
A5. Air Quality
B1. The Woods Behind St. Marthas
B2. Instruments 2
B3. Garden Of Agony
B4. Cement and Reasoning
B5. I'm So Tired
More
Hailing from the same Californian heat haze as recent Quindi signings Bondo, Monde UFO have manifested in the past four years through a series of DIY releases including their 2021 album 7171 and last year's set of Fugazi covers, 4 Songs. The loose fit project centres around the singing, playing and songwriting of Ray Monde and Kris Chau and features Kern Haug on drums. The resulting sound arrives as a resourceful analog of plush 60s pop captured through the modest means of a truly independent musical endeavour.
The sound rendered on Vandalized Statue touches on dubby atmospherics, the lilting breeze of bossa nova and the introverted muse of US indie rock, but the end result is a natural, cohesive whole centered around the songwriting. Imagine the girl from Ipanema sat toking in a comfortable spot in the corner of the dive bar while someone weaves her a tall tale or two, and you might be somewhere in the right direction. The stories in the lyrics unfurl as meandering narratives taking you through everyday exchanges and far-fetched, cosmic scenarios alike. At every turn the cosy musicality gives everything a relatable, homespun charm, even as the mixing desk becomes a mess and the lo-fi FX crash into each other.
The album will be fronted by three singles which reflect the wide reach of Monde UFO's sound. 'Visions of Fatima' is one of the more melancholic pieces on the album, fronted by laconic organ and centring on cracked vocals with an off key charm that indirectly evokes Jeffrey Lee Pierce. 'Government Employee' is a sun-kissed trip of low-key lounge surrealism, bizarro storytelling and shuffling exotica splendour which broadly defines the woozy mood of Vandalized Statue. 'Garden Of Agony' is a more delicate but no less dreamy piece matching electric tremolo with acoustic fingerpicking balladry which hides its considerable depths behind a seemingly simple arrangement.
At once intimate and projected into the cosmos, Monde UFO add to the particular path Quindi is taking through hidden corners of independent music with a romantic, restless spirit.
VITAL SALES POINTS:
Second album by LA combo Monde UFO on the italian imprint Quindi, a collection of dream pop vignettes and outer rim punk exotica.
TRACKLIST:
A1. Rectory
A2. Government Employee
A3. Visions Of Fatima
A4. Instruments
A5. Air Quality
B1. The Woods Behind St. Marthas
B2. Instruments 2
B3. Garden Of Agony
B4. Cement and Reasoning
B5. I'm So Tired
More
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Label:Quindi Records
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1
Bondo - Container
2
Bondo - Egoizing
3
Bondo - Instrument
4
Bondo - Zion Gate
5
Bondo - Mind Room
6
Bondo - Lo Tek
7
Bondo - New Brain
8
Bondo - Pipecleaner
Bondo is four Los Angeles musicians collaging displaced tempos and fractured melodies. Their sparsely vocalised music conspires to bring into view a practical enlightenment, evoking the sandy contentment of an exhausted marine sunset. The organically mechanical compositions wander with the intention not to be aimless, but to be consumed in Process.
Bondo comes to Quindi Records to release its first full-length album, Print Selections, and it is saturated in the communal consciousness of the band. The songs call for the individuals to dissolve to make way for the music.
The lyrical content of the record tells of a mind made anew, cleared of its data & ego to witness nothing in particular. Bringing the past with them, the band makes clear allusions to their influences - their tones reminiscent of outfits like Duster, Unwound, Acetone & Fugazi, but also has heavy nods to more formless genres like the dub melodies of King Tubby and the jazz of Archie Shepp.
The music feels like the dusty bed of a scanner, plays like the light leaking from underneath its lid.
Track List:
A1 Container
A2 Egoizing
A3 Instrument
A4 Zion Gate
B1 Mind Room
B2 Lo Tek
B3 New Brain
B4 Pipecleaner
More
Bondo comes to Quindi Records to release its first full-length album, Print Selections, and it is saturated in the communal consciousness of the band. The songs call for the individuals to dissolve to make way for the music.
The lyrical content of the record tells of a mind made anew, cleared of its data & ego to witness nothing in particular. Bringing the past with them, the band makes clear allusions to their influences - their tones reminiscent of outfits like Duster, Unwound, Acetone & Fugazi, but also has heavy nods to more formless genres like the dub melodies of King Tubby and the jazz of Archie Shepp.
The music feels like the dusty bed of a scanner, plays like the light leaking from underneath its lid.
Track List:
A1 Container
A2 Egoizing
A3 Instrument
A4 Zion Gate
B1 Mind Room
B2 Lo Tek
B3 New Brain
B4 Pipecleaner
More
Label:Quindi Records
Cat-No:QUI006
Release-Date:07.10.2022
Genre:Electronic
Configuration:LP Excl
Barcode:4251804137461
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1
Ellis Swan - Basement Suite
2
Ellis Swan - Down By The Reservoir
3
Ellis Swan - Horses Bones
4
Ellis Swan - Swing
5
Ellis Swan - Chinatown
6
Ellis Swan - It Could Be Worse
7
Ellis Swan - She's My Sweet Summer Storm
8
Ellis Swan - Hospice
9
Ellis Swan - Arizona
10
Ellis Swan - Puppeteers Tears
11
Ellis Swan - Evening Sun
12
Ellis Swan - Something
13
Ellis Swan - 3am
14
Ellis Swan - Down In The Dirt
Drawing the night in around his private, unnerving vigil, Ellis Swan returns to Quindi Records with an album of cracked beauty and haunted balladry. The Chicago-based singer-songwriter debuted on the label last year with a collaborative project called Dead Bandit, a vividly produced instrumental set in thrall to the badlands and a laconic, languid Americana.
Under his own name, Swan records intimate, poetic songs in a stark fashion, so fragile they might disintegrate in between your fingers were you to pick them up. He draws the microphone close to pick up every whisper and drags the music through layer upon layer of tape fuzz, leaving room for atmospheric impressions which loom out of the walls like the ghosts of past misdeeds. These pieces play on the natural distortion and delirium which occurs at the farthest end of the night - the hour before dawn might hope to break the veil of darkness.
Swan's is a hauntological sound, but like the late Israeli rockabilly icon Charlie Megira his process strikes a spooked tone past revivalism and out of time or place. The only anchor which places Swan anywhere is the subtle presence of Katherine Swan providing lyrics to '3am' and lyrics and backing vocals to 'It Could Be Worse'.
The impression cast is of one man and his guitar, but there are other textures tucked into the music - the muffled murmur of a drum machine or a low frequency organ hum, some desolate piano, other treated percussive impulses which might well have been the work of incidental sprites while the four-track was rolling.
There are fuller cuts like 'Evening Sun' and the title track '3am' which play with structural dynamics and creep out of the shadows a touch, while passages of plaintive, instrumental unease such as the hypnotic, mantra-like 'Chinatown' protract the space between songs. 'Swing' lolls between moments of bottomless silence and a discernible, rickety funk, and 'Puppeteers Tears' teases out a buried drama. But primarily, it's the light touch of 'Horses Bones' and tin can tenderness of 'She's My Sweet Summer Storm' which spell out the spellbinding character of 3am; a singular creation fusing the best qualities of folk, blues and Americana with a fearlessly experimental sound palette.
Tracklist LP:
A1_Basement Suite
A2_Down By The Reservoir
A3_Horses Bones
A4_Swing
A5_Chinatown
A6_It Could Be Worse
A7_She's My Sweet Summer Storm
B1_Hospice
B2_Arizona
B3_Puppeteers Tears
B4_Evening Sun
B5_Something
B6_3am
B7_Down In The Dirt
More
Under his own name, Swan records intimate, poetic songs in a stark fashion, so fragile they might disintegrate in between your fingers were you to pick them up. He draws the microphone close to pick up every whisper and drags the music through layer upon layer of tape fuzz, leaving room for atmospheric impressions which loom out of the walls like the ghosts of past misdeeds. These pieces play on the natural distortion and delirium which occurs at the farthest end of the night - the hour before dawn might hope to break the veil of darkness.
Swan's is a hauntological sound, but like the late Israeli rockabilly icon Charlie Megira his process strikes a spooked tone past revivalism and out of time or place. The only anchor which places Swan anywhere is the subtle presence of Katherine Swan providing lyrics to '3am' and lyrics and backing vocals to 'It Could Be Worse'.
The impression cast is of one man and his guitar, but there are other textures tucked into the music - the muffled murmur of a drum machine or a low frequency organ hum, some desolate piano, other treated percussive impulses which might well have been the work of incidental sprites while the four-track was rolling.
There are fuller cuts like 'Evening Sun' and the title track '3am' which play with structural dynamics and creep out of the shadows a touch, while passages of plaintive, instrumental unease such as the hypnotic, mantra-like 'Chinatown' protract the space between songs. 'Swing' lolls between moments of bottomless silence and a discernible, rickety funk, and 'Puppeteers Tears' teases out a buried drama. But primarily, it's the light touch of 'Horses Bones' and tin can tenderness of 'She's My Sweet Summer Storm' which spell out the spellbinding character of 3am; a singular creation fusing the best qualities of folk, blues and Americana with a fearlessly experimental sound palette.
Tracklist LP:
A1_Basement Suite
A2_Down By The Reservoir
A3_Horses Bones
A4_Swing
A5_Chinatown
A6_It Could Be Worse
A7_She's My Sweet Summer Storm
B1_Hospice
B2_Arizona
B3_Puppeteers Tears
B4_Evening Sun
B5_Something
B6_3am
B7_Down In The Dirt
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Label:Quindi Records
Cat-No:QUI005CD
Release-Date:25.03.2022
Configuration:CD Excl
Barcode:4251804135269
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1
Woo - Let It All In
2
Woo - The Motorik Mirror
3
Woo - Cadenza D'Innocenza
4
Woo - Gold Star
5
Woo - Paradise In Pimlico
6
Woo - Moment To Moment
7
Woo - Even More Notes
8
Woo - In Case Love Fails
After their celestial Arcturian Corridor opened proceedings on Quindi, London-based brothers Clive and Mark Ives are back with a new record. When Woo first began recording at home in the early 70s, Clive and Mark were the embodiment of furtive genius. Since re-emerging in 2013, they've released scores of albums, collaborated with Seahawks, and have now struck up a productive relationship with Quindi.
On Paradise In Pimilico, you're hearing a very different sound to the one gently creaked out on early classics like Into The Heart Of Love. This is fulsome, contemporary production rich in detail and artful sound design, but crucially, Clive and Mark's gorgeously melodic approach remains open and inquisitive, even with the sheen and shimmer of modern studio techniques.
Woo sound more confident than ever in their composition, too. The crystalline, fragile tones of 'Cadenza D'Innocenza' glide through key changes that spell out an engrossing narrative, while the cascading melodies on 'Moment To Moment' pirouette across the space between notes with masterful poise. 'Paradise In Pimlico' is an illustrious suite of orchestral composition played out with the lightest touch, framed by the slightest of synthesized fauna and topped off with tender sax and flute. Album closer 'In Case Love Fails' takes on a subtly cinematic urgency with its undercurrents of walking bass and the strike of the string section (synthetic or otherwise).
There's space for markedly new approaches, too. The rhythm section on 'The Motorik Mirror' clunks and pops with a tactile, high-definition quality which teeters between electronic sculpture and clockwork, organic machination. The deft, lightly-brushed drums coursing through 'Even More Notes' see Clive and Mark step into a different mood, celebrating the beat as another fluid, tonally-rich texture in the mix and adding a smoky, jazzy hue to the Woo repertoire.
It's far from a drum-focused exercise though. At every turn, you're confronted with aching beauty and timbral surprises. If there's one constant throughout Paradise In Pimilico, it's the omnipresent chimes. These twinkling drops of light scattered throughout are something of a hallmark of Woo, ensuring the lilting, lullaby-like magic of their music persists whichever direction they head in.
Genre: Ambient, Electronic, New Age, NeoClassical, Downbeat
Tracklist:
1_Let It All In
2_The Motorik Mirror
3_Cadenza D'Innocenza
4_Gold Star
5_Paradise In Pimlico
6_Moment To Moment
7_Even More Notes
8_In Case Love Fails
More
On Paradise In Pimilico, you're hearing a very different sound to the one gently creaked out on early classics like Into The Heart Of Love. This is fulsome, contemporary production rich in detail and artful sound design, but crucially, Clive and Mark's gorgeously melodic approach remains open and inquisitive, even with the sheen and shimmer of modern studio techniques.
Woo sound more confident than ever in their composition, too. The crystalline, fragile tones of 'Cadenza D'Innocenza' glide through key changes that spell out an engrossing narrative, while the cascading melodies on 'Moment To Moment' pirouette across the space between notes with masterful poise. 'Paradise In Pimlico' is an illustrious suite of orchestral composition played out with the lightest touch, framed by the slightest of synthesized fauna and topped off with tender sax and flute. Album closer 'In Case Love Fails' takes on a subtly cinematic urgency with its undercurrents of walking bass and the strike of the string section (synthetic or otherwise).
There's space for markedly new approaches, too. The rhythm section on 'The Motorik Mirror' clunks and pops with a tactile, high-definition quality which teeters between electronic sculpture and clockwork, organic machination. The deft, lightly-brushed drums coursing through 'Even More Notes' see Clive and Mark step into a different mood, celebrating the beat as another fluid, tonally-rich texture in the mix and adding a smoky, jazzy hue to the Woo repertoire.
It's far from a drum-focused exercise though. At every turn, you're confronted with aching beauty and timbral surprises. If there's one constant throughout Paradise In Pimilico, it's the omnipresent chimes. These twinkling drops of light scattered throughout are something of a hallmark of Woo, ensuring the lilting, lullaby-like magic of their music persists whichever direction they head in.
Genre: Ambient, Electronic, New Age, NeoClassical, Downbeat
Tracklist:
1_Let It All In
2_The Motorik Mirror
3_Cadenza D'Innocenza
4_Gold Star
5_Paradise In Pimlico
6_Moment To Moment
7_Even More Notes
8_In Case Love Fails
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Label:Quindi Records
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Release-Date:11.03.2022
Genre:Electronic
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Genre:Electronic
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1
Cabaret du Ciel - Raintears (Piano Version)
2
Cabaret du Ciel - A New Day
3
Cabaret du Ciel - Time Of The Twins Pt I
4
Cabaret du Ciel - Time Of The Twins Pt II
5
Cabaret du Ciel - A Delvaux Postcard
6
Cabaret du Ciel - Raintears II
Limited edition of 90 copies with cyan blue vinyl & handmade cover!
Tracklist 10":
A1 Raintears (Piano Version)
A2 A New Day
A3 Time Of The Twins Pt I
B1 Time Of The Twins Pt II
B2 A Delvaux Postcard
B3 Raintears II
Info:
Quindi Records returns once more to the swooning romanticism of Cabaret du Ciel, the long-running project from Andrea Desidera and Gian Luigi Morosin. After the contemporary material which made up long-player The Breath Of Infinity, Raintears heads back into the group's archives and focuses on a limited cassette release from 1991.
Originally released on Morosin's own Ionisation Tapes, Raintears is described as heralding a new phase for Cabaret du Ciel following their earlier Solarisation and Weather Colours cassettes. This revised, expanded version of the release opens with 'Raintears (Piano Version)', which originally came out on an Ionisation compilation entitled Imago Sonora 1. Truly evoking the spirit of the track and its meaning, it was recorded on a rainy Sunday afternoon when Desidera's friend and trained pianist Francesco Martignon heard the original melody for 'Raintears' and proceeded to improvise on the theme, with Desidera and Morosin embellishinbg Martignon's exquisite playing with subtle touches of synth and sampling. In its fragile, tape-worn repose, the piece is loaded with the delicate ambience a rainy Sunday afternoon implies - calm, melancholic and wistful.
'A New Day' is a piece cast in light and shade, contrasting two core melodic phrases expressed through synth and guitar, with a light touch of speech sampling adding to the cinematic poise of the track. 'Time Of The Twins' originally appeared as a single track on the cassette release, but here it's framed as two distinct parts which meet in the middle. The first half is patient, gliding ambience rich in the harmonic interplay and winding narratives which typifies Cabaret du Ciel overall. The second half opens up like a flower looking for the sun, all pronounced keys pirouetting across the fundamental chord progression established in the first chapter.
'A Delvaux Postcard', previously titled 'East Roads', takes on a spectral, spacious form as it passes by slow, rhythmic pulses and freewheeling synths, momentarily joined by scattered shards of sampled voice layered and filtered in a manner which reminded Morosin of Belgian surrealist painter Paul Delvaux. The EP closes with the original version of 'Raintears' (billed here as 'Raintears II'), a plaintive and disarmingly beautiful ambient piece centered on Desidera's light and poignant playing. As Morosin himself describes, "Andrea is in a full state of grace, touching the listener through his fingers with the notes into [their] deepest emotions. The first time I listened to the basic version, I was just speechless."
More
Tracklist 10":
A1 Raintears (Piano Version)
A2 A New Day
A3 Time Of The Twins Pt I
B1 Time Of The Twins Pt II
B2 A Delvaux Postcard
B3 Raintears II
Info:
Quindi Records returns once more to the swooning romanticism of Cabaret du Ciel, the long-running project from Andrea Desidera and Gian Luigi Morosin. After the contemporary material which made up long-player The Breath Of Infinity, Raintears heads back into the group's archives and focuses on a limited cassette release from 1991.
Originally released on Morosin's own Ionisation Tapes, Raintears is described as heralding a new phase for Cabaret du Ciel following their earlier Solarisation and Weather Colours cassettes. This revised, expanded version of the release opens with 'Raintears (Piano Version)', which originally came out on an Ionisation compilation entitled Imago Sonora 1. Truly evoking the spirit of the track and its meaning, it was recorded on a rainy Sunday afternoon when Desidera's friend and trained pianist Francesco Martignon heard the original melody for 'Raintears' and proceeded to improvise on the theme, with Desidera and Morosin embellishinbg Martignon's exquisite playing with subtle touches of synth and sampling. In its fragile, tape-worn repose, the piece is loaded with the delicate ambience a rainy Sunday afternoon implies - calm, melancholic and wistful.
'A New Day' is a piece cast in light and shade, contrasting two core melodic phrases expressed through synth and guitar, with a light touch of speech sampling adding to the cinematic poise of the track. 'Time Of The Twins' originally appeared as a single track on the cassette release, but here it's framed as two distinct parts which meet in the middle. The first half is patient, gliding ambience rich in the harmonic interplay and winding narratives which typifies Cabaret du Ciel overall. The second half opens up like a flower looking for the sun, all pronounced keys pirouetting across the fundamental chord progression established in the first chapter.
'A Delvaux Postcard', previously titled 'East Roads', takes on a spectral, spacious form as it passes by slow, rhythmic pulses and freewheeling synths, momentarily joined by scattered shards of sampled voice layered and filtered in a manner which reminded Morosin of Belgian surrealist painter Paul Delvaux. The EP closes with the original version of 'Raintears' (billed here as 'Raintears II'), a plaintive and disarmingly beautiful ambient piece centered on Desidera's light and poignant playing. As Morosin himself describes, "Andrea is in a full state of grace, touching the listener through his fingers with the notes into [their] deepest emotions. The first time I listened to the basic version, I was just speechless."
More
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1
Cabaret du Ciel & Barbara - Like A Fool
2
Cabaret du Ciel & Barbara - Inside Loneliness
Tracklist 7":
A1 Like A Fool
B1 Inside Loneliness
Released in conjunction with the reissue of the Raintears EP, Quindi is proud to present further archival finds from Italian experimental project Cabaret du Ciel. Like a Fool / Inside Loneliness is a single shining a light on the brief collaboration between Andrea Desidera, Gian Luigi Morosin and singer Barbara Volpato.
After years working as an instrumental outfit, the sessions with Volpato from 1991 were the first time Desidera and Morosin's project had welcomed in a vocalist. Of the many tracks written and recorded at that time, the best two were selected and carefully restored from the original tapes, now immortalised on vinyl and expanding the public impression of Cabaret du Ciel.
'Like A Fool' re-imagines the hazy serenity of Cabaret du Ciel in a dream pop context, injecting the soft-focus synth work with the energy of bold drums to provide a suitable framework for Volpato's voice. The crisp twang of new wave guitar completes the picture, while the trademark progression intrinsic to Cabaret du Ciel lends itself to the traditional song structures of pop.
'Inside Loneliness' is a natural companion to the A side, redolent with the heavy-hearted synth-pop romanticism of the late 80s and early 90s. The DIY sound on the track conveys an intimacy that can only come from artists recording in their own private environment, pouring their hearts and souls into a four-track recorder without a conceit other than pure, honest expression.
More
A1 Like A Fool
B1 Inside Loneliness
Released in conjunction with the reissue of the Raintears EP, Quindi is proud to present further archival finds from Italian experimental project Cabaret du Ciel. Like a Fool / Inside Loneliness is a single shining a light on the brief collaboration between Andrea Desidera, Gian Luigi Morosin and singer Barbara Volpato.
After years working as an instrumental outfit, the sessions with Volpato from 1991 were the first time Desidera and Morosin's project had welcomed in a vocalist. Of the many tracks written and recorded at that time, the best two were selected and carefully restored from the original tapes, now immortalised on vinyl and expanding the public impression of Cabaret du Ciel.
'Like A Fool' re-imagines the hazy serenity of Cabaret du Ciel in a dream pop context, injecting the soft-focus synth work with the energy of bold drums to provide a suitable framework for Volpato's voice. The crisp twang of new wave guitar completes the picture, while the trademark progression intrinsic to Cabaret du Ciel lends itself to the traditional song structures of pop.
'Inside Loneliness' is a natural companion to the A side, redolent with the heavy-hearted synth-pop romanticism of the late 80s and early 90s. The DIY sound on the track conveys an intimacy that can only come from artists recording in their own private environment, pouring their hearts and souls into a four-track recorder without a conceit other than pure, honest expression.
More
Label:Quindi Records
Cat-No:QUI003
Release-Date:18.06.2021
Genre:Electronic
Configuration:LP Excl
Barcode:4251804124973
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Genre:Electronic
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1
Dead Bandit - Mud
2
Dead Bandit - Handsome Willie
3
Dead Bandit - When I Looked Around
4
Dead Bandit - Instrumental 1
5
Dead Bandit - These Clouds
6
Dead Bandit - Untitled
7
Dead Bandit - Valentine
8
Dead Bandit - FF M
9
Dead Bandit - Child Ballads
10
Dead Bandit - I See Her There
11
Dead Bandit - Sedated
12
Dead Bandit - Crickets
Includes Download Code and Special Insert Drawing !
Quindi Records continues to yield intriguing prospects as we reach the third edition, moving from Woo's astral ruminations via Cabaret Du Ciel's sonorous meditations on to the dusty, dusky mantras of Dead Bandit. Maintaining the ambiguous creative practices of the label's previous releases, From The Basement r eaches to the earth for the malleable grit of post-rock while making the most of the broader sonic outlooks afforded by kosmische and electronic effects processes.
Dead Bandit are Chicagoan songwriter Ellis Swan and Canadian multi-instrumentalist James Schimpl. Swan has previously released solo works including the stunning, inward-looking album I'll Be Around, a lo-fi Southern gothic dragging the husk of country ballads through battered signal chains. In Dead Bandit, Swan and Schimpl's artistic vision casts its gaze outwards on a vast expanse, where the distortion has space to stretch its legs and the drums pound out into open space. There's a common tonality at work here, the duos guitars telling a thousand hard-bitten tales where Swan's voice falls silent. It's no surprise to learn Swan and Schimpl's reference points include Neil Young's Dead Man soundtrack, SF noise rockers Chrome and the imperial work of the late, great Mark Sandman of Morphine.
You can sense Jim Jarmusch's America just lingering behind the road-weary thrum of 'These Clouds' and detect the shadow of Tom Waits lurking in the raunchy lurch of 'FF M'. The pointedly titled 'Sedated' calls to mind the slowcore movement and its rejection of rock n' roll's fixation on speed. Instead, tonality and atmosphere are key across From The Basement , although the ambient lull of 'I See Her There' is the exception rather than the rule. Dead Bandit's desert sound has vibrancy and immediacy to match its moodiness, from the sultry swagger of opening track 'Mud' to the bold and borderline bombastic 'When I Looked Around'.
Like the previous Quindi releases, this record is inherently experimental in nature, but not at the expense of its warmth and instant appeal. From the basement, an inquisitive pair with primitive tools look out and imagine a colossal plain as the canvas on which to paint their picture
Tracklist LP:
A1 - Mud
A2 - Handsome Willie
A3 - When I Looked Around
A4 - Instrumental 1
A5 - These Clouds
A6 - Untitled
B1 - Valentine
B2 - FF M
B3 - Child Ballads
B4 - I See Her There
B5 - Sedated
B6 - Crickets
More
Quindi Records continues to yield intriguing prospects as we reach the third edition, moving from Woo's astral ruminations via Cabaret Du Ciel's sonorous meditations on to the dusty, dusky mantras of Dead Bandit. Maintaining the ambiguous creative practices of the label's previous releases, From The Basement r eaches to the earth for the malleable grit of post-rock while making the most of the broader sonic outlooks afforded by kosmische and electronic effects processes.
Dead Bandit are Chicagoan songwriter Ellis Swan and Canadian multi-instrumentalist James Schimpl. Swan has previously released solo works including the stunning, inward-looking album I'll Be Around, a lo-fi Southern gothic dragging the husk of country ballads through battered signal chains. In Dead Bandit, Swan and Schimpl's artistic vision casts its gaze outwards on a vast expanse, where the distortion has space to stretch its legs and the drums pound out into open space. There's a common tonality at work here, the duos guitars telling a thousand hard-bitten tales where Swan's voice falls silent. It's no surprise to learn Swan and Schimpl's reference points include Neil Young's Dead Man soundtrack, SF noise rockers Chrome and the imperial work of the late, great Mark Sandman of Morphine.
You can sense Jim Jarmusch's America just lingering behind the road-weary thrum of 'These Clouds' and detect the shadow of Tom Waits lurking in the raunchy lurch of 'FF M'. The pointedly titled 'Sedated' calls to mind the slowcore movement and its rejection of rock n' roll's fixation on speed. Instead, tonality and atmosphere are key across From The Basement , although the ambient lull of 'I See Her There' is the exception rather than the rule. Dead Bandit's desert sound has vibrancy and immediacy to match its moodiness, from the sultry swagger of opening track 'Mud' to the bold and borderline bombastic 'When I Looked Around'.
Like the previous Quindi releases, this record is inherently experimental in nature, but not at the expense of its warmth and instant appeal. From the basement, an inquisitive pair with primitive tools look out and imagine a colossal plain as the canvas on which to paint their picture
Tracklist LP:
A1 - Mud
A2 - Handsome Willie
A3 - When I Looked Around
A4 - Instrumental 1
A5 - These Clouds
A6 - Untitled
B1 - Valentine
B2 - FF M
B3 - Child Ballads
B4 - I See Her There
B5 - Sedated
B6 - Crickets
More
Label:Quindi Records
Cat-No:QUI002
Release-Date:15.01.2021
Genre:Electronic
Configuration:LP Excl
Barcode:4251804123327
in stock
Last in:11.12.2020
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Label:Quindi Records
Cat-No:QUI002
Release-Date:15.01.2021
Genre:Electronic
Configuration:LP Excl
Barcode:4251804123327
1
Cabaret du Ciel - Skydiver
2
Cabaret du Ciel - Different_Suns
3
Cabaret du Ciel - Lakota
4
Cabaret du Ciel - Theatre Azure
5
Cabaret du Ciel - Climatic_Variations
6
Cabaret du Ciel - Horses
7
Cabaret du Ciel - Meredith
8
Cabaret du Ciel - Sunset_Parade_March
9
Cabaret du Ciel - Highlands
10
Cabaret du Ciel - Sentimental_Dub
11
Cabaret du Ciel - Great_Plains
12
Cabaret du Ciel - The_Breath_Of_Infinity
Following the stellar trip through Woo’s Arcturian Corridor , Quindi Records continues to explore intimate, inviting
sounds with an experimental bent by facilitating the return of overlooked Italian duo Cabaret du Ciel.
Initially formed in 1986, Cabaret du Ciel’s debut album Skies In The Mirror was a low-key and extremely rare cassette
release of spellbinding electro-acoustic ambient music created by Gian Luigi Morosin and Andrea Desiderà. A reissue
on Hybride Sentimento in 2018 brought renewed attention to the startling music contained within this unique project.
The Breath Of Infinity is an album comprised of new works recorded over the past year, either as new pieces or
reworked from old ideas with the assistance of Giorgio Ricci. Morosin and Desiderà’s natural instincts as
multi-instrumentalists shine through across the record as they did on Skies in the Mirror , although these tracks were
in fact composed as raw live takes using electronic workstations (with a little additional fretless bass provided by a
close friend Giampaolo Diacci on “Different Suns” and “Climatic Variations”).
There is a crisp, digital timbre to the worlds Cabaret du Ciel shape out on The Breath Of Infinity – utopian pastures
with an air of optimism similarly expressed in the first waves of ambient electronica. Folk traditions exert a guiding
influence on the sparkling, ethereal melodies and full-frequency harmonisation, but this is music enamoured with
timeless plateaus rather than hackneyed interpretations of the past, present or future.
It’s also an album of variety. “Different Suns” tumbles with a pastoral, elemental earthiness thanks to the interwoven
rhythmic murmuring of percussion and live bass, while “Lakota” pivots in sharply rendered bio-mechanical formations.
There’s a widescreen bombast to “Theatre Azure” which calls to mind mid-90s US electronica, while “Meredith”
reclines in a blissful bath of plush 80s FM synthesis. “Sunset Parade March” has a distinct sense of propulsion thanks
to its overdriven, broken techno rhythm and “Highlands” skips with an infectious energy despite not using any formal
kind of percussion, but even in these more kinetic moments a preference for mellow musicality maintains the
dreamlike mood.
Consider The Breath of Infinity like an archipelago, where each track functions as its own distinct island of ideas while
being intrinsically interconnected to the others. In a similar fashion to acts such as Ultramarine (who appeared as
remixers on Quindi 001), Cabaret du Ciel emphasise the musicality in their electronic music, shaping out an
evocative, imaginative environment to idly glide through or attentively explore.
A1. Skydiver
A2. Different Suns
A3. Lakota
A4. Theatre Azure
A5. Climatic Variations
A6. Horses
B1. Meredith
B2. Sunset Parade March
B3. Highlands
B4. Sentimental Dub
B5. Great Plains
B6. The Breath Of Infinity More
sounds with an experimental bent by facilitating the return of overlooked Italian duo Cabaret du Ciel.
Initially formed in 1986, Cabaret du Ciel’s debut album Skies In The Mirror was a low-key and extremely rare cassette
release of spellbinding electro-acoustic ambient music created by Gian Luigi Morosin and Andrea Desiderà. A reissue
on Hybride Sentimento in 2018 brought renewed attention to the startling music contained within this unique project.
The Breath Of Infinity is an album comprised of new works recorded over the past year, either as new pieces or
reworked from old ideas with the assistance of Giorgio Ricci. Morosin and Desiderà’s natural instincts as
multi-instrumentalists shine through across the record as they did on Skies in the Mirror , although these tracks were
in fact composed as raw live takes using electronic workstations (with a little additional fretless bass provided by a
close friend Giampaolo Diacci on “Different Suns” and “Climatic Variations”).
There is a crisp, digital timbre to the worlds Cabaret du Ciel shape out on The Breath Of Infinity – utopian pastures
with an air of optimism similarly expressed in the first waves of ambient electronica. Folk traditions exert a guiding
influence on the sparkling, ethereal melodies and full-frequency harmonisation, but this is music enamoured with
timeless plateaus rather than hackneyed interpretations of the past, present or future.
It’s also an album of variety. “Different Suns” tumbles with a pastoral, elemental earthiness thanks to the interwoven
rhythmic murmuring of percussion and live bass, while “Lakota” pivots in sharply rendered bio-mechanical formations.
There’s a widescreen bombast to “Theatre Azure” which calls to mind mid-90s US electronica, while “Meredith”
reclines in a blissful bath of plush 80s FM synthesis. “Sunset Parade March” has a distinct sense of propulsion thanks
to its overdriven, broken techno rhythm and “Highlands” skips with an infectious energy despite not using any formal
kind of percussion, but even in these more kinetic moments a preference for mellow musicality maintains the
dreamlike mood.
Consider The Breath of Infinity like an archipelago, where each track functions as its own distinct island of ideas while
being intrinsically interconnected to the others. In a similar fashion to acts such as Ultramarine (who appeared as
remixers on Quindi 001), Cabaret du Ciel emphasise the musicality in their electronic music, shaping out an
evocative, imaginative environment to idly glide through or attentively explore.
A1. Skydiver
A2. Different Suns
A3. Lakota
A4. Theatre Azure
A5. Climatic Variations
A6. Horses
B1. Meredith
B2. Sunset Parade March
B3. Highlands
B4. Sentimental Dub
B5. Great Plains
B6. The Breath Of Infinity More
Label:Quindi Records
Cat-No:QUI001
Release-Date:19.06.2020
Configuration:LP Excl
Barcode:4251648417958
in stock
Last in:18.06.2020
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in stock
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Label:Quindi Records
Cat-No:QUI001
Release-Date:19.06.2020
Configuration:LP Excl
Barcode:4251648417958
1
Woo - A1: Arc I 4.48
2
Woo - A2: Arc II 4.14
3
Woo - A3: Arc III 3.57
4
Woo - A4: Arc IV 3.40
5
Woo - A5: Arc V 4.16
6
Woo - B1: Love On Other Planets (Woo Remix) 5.13
7
Woo - B2: AC V (Wino Wagon Remix) 7.42
8
Woo - B3: AC II (Ultramarine Remix) 4.18
Tracklist:
A1: Arc I 4.48
A2: Arc II 4.14
A3: Arc III 3.57
A4: Arc IV 3.40
A5: Arc V 4.16
B1: Love On Other Planets (Woo Remix) 5.13
B2: AC V (Wino Wagon Remix) 7.42
B3: AC II (Ultramarine Remix) 4.18
Release Info
The premise for Quindi Records is simple – to represent music with a universality at its core.
Without adhering to specific genre tropes, the releases are intended to have a meaning and
purpose in all kinds of situations – a social soundtrack as much as a stimulating experience,
feeding emotions and the psyche with a sentimental palette of sounds. Lovers’ music, loners’
music, music for friends and family alike.
Woo makes for a perfect choice to meet this loose concept head-on – the music of Clive and
Mark Ives straddles disparate worlds and finds its own peculiar balance. On one hand it’s
delicate synthesizer music with a minimalist bent, while on the other their joyous, twinkling
harmonies have an immediacy that speaks to the soul. You can detect privacy in their craft – the
brothers originally recorded their music in relative isolation in London in the 70s, 80s and early
90s. It’s only in recent years their sublime work has enjoyed a wider audience through an
extensive run of reissues.
Arcturian Corridor
? presents a rare, previously unreleased piece of music from Woo – the
expansive suite of the title track that unfurls across five parts. It’s an enchanting listen that
shows a new breadth and depth to the duo – detailed drum programming and a broader palette
of synth tones cascading in elegant unison. The name refers to Arcturus, the fourth brighteststar in the night sky. As Woo themselves explain, “The Arcturian Corridor is said to be a channel
of light that brings unconditional love and wisdom from Arcturus to Earth.”
In addition to the 20-minute A-side piece, Woo also presents a new version of “Love On Other
Planets”, a standout piece from their 1990 album ?Into The Heart of Love? . The fragile subtlety of
the original has been embellished here with rich new passages that turn it into a kind of
electronica epic, although still marked out with the sensitivity one expects from a Woo record.
Two remixes complete the set, both furthering Quindi’s modus operandi as a genre-agnostic
force for cosmically charged music. Dublin’s Wah Wah Wino collective present their Wino
Wagon manifestation for a tastefully strange house version of the fifth part of “Arcturian
Corridor” that channels the freakiness of Pepe Bradock, the robo-funk of Metro Area and a
soupcon of pop nous. British duo Ultramarine maintain the stylistic ambiguity as they channel
decades of expressive experimentation between live band dynamics and machine soul on their
version of the title track’s second chapter. More
A1: Arc I 4.48
A2: Arc II 4.14
A3: Arc III 3.57
A4: Arc IV 3.40
A5: Arc V 4.16
B1: Love On Other Planets (Woo Remix) 5.13
B2: AC V (Wino Wagon Remix) 7.42
B3: AC II (Ultramarine Remix) 4.18
Release Info
The premise for Quindi Records is simple – to represent music with a universality at its core.
Without adhering to specific genre tropes, the releases are intended to have a meaning and
purpose in all kinds of situations – a social soundtrack as much as a stimulating experience,
feeding emotions and the psyche with a sentimental palette of sounds. Lovers’ music, loners’
music, music for friends and family alike.
Woo makes for a perfect choice to meet this loose concept head-on – the music of Clive and
Mark Ives straddles disparate worlds and finds its own peculiar balance. On one hand it’s
delicate synthesizer music with a minimalist bent, while on the other their joyous, twinkling
harmonies have an immediacy that speaks to the soul. You can detect privacy in their craft – the
brothers originally recorded their music in relative isolation in London in the 70s, 80s and early
90s. It’s only in recent years their sublime work has enjoyed a wider audience through an
extensive run of reissues.
Arcturian Corridor
? presents a rare, previously unreleased piece of music from Woo – the
expansive suite of the title track that unfurls across five parts. It’s an enchanting listen that
shows a new breadth and depth to the duo – detailed drum programming and a broader palette
of synth tones cascading in elegant unison. The name refers to Arcturus, the fourth brighteststar in the night sky. As Woo themselves explain, “The Arcturian Corridor is said to be a channel
of light that brings unconditional love and wisdom from Arcturus to Earth.”
In addition to the 20-minute A-side piece, Woo also presents a new version of “Love On Other
Planets”, a standout piece from their 1990 album ?Into The Heart of Love? . The fragile subtlety of
the original has been embellished here with rich new passages that turn it into a kind of
electronica epic, although still marked out with the sensitivity one expects from a Woo record.
Two remixes complete the set, both furthering Quindi’s modus operandi as a genre-agnostic
force for cosmically charged music. Dublin’s Wah Wah Wino collective present their Wino
Wagon manifestation for a tastefully strange house version of the fifth part of “Arcturian
Corridor” that channels the freakiness of Pepe Bradock, the robo-funk of Metro Area and a
soupcon of pop nous. British duo Ultramarine maintain the stylistic ambiguity as they channel
decades of expressive experimentation between live band dynamics and machine soul on their
version of the title track’s second chapter. More
Customers who bought this also bought this
Label:Quindi Records
Cat-No:QUI001
Release-Date:19.06.2020
Configuration:LP Excl
Barcode:4251648417958
in stock
Last in:18.06.2020
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Label:Quindi Records
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Release-Date:19.06.2020
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Barcode:4251648417958
1
Woo - A1: Arc I 4.48
2
Woo - A2: Arc II 4.14
3
Woo - A3: Arc III 3.57
4
Woo - A4: Arc IV 3.40
5
Woo - A5: Arc V 4.16
6
Woo - B1: Love On Other Planets (Woo Remix) 5.13
7
Woo - B2: AC V (Wino Wagon Remix) 7.42
8
Woo - B3: AC II (Ultramarine Remix) 4.18
Tracklist:
A1: Arc I 4.48
A2: Arc II 4.14
A3: Arc III 3.57
A4: Arc IV 3.40
A5: Arc V 4.16
B1: Love On Other Planets (Woo Remix) 5.13
B2: AC V (Wino Wagon Remix) 7.42
B3: AC II (Ultramarine Remix) 4.18
Release Info
The premise for Quindi Records is simple – to represent music with a universality at its core.
Without adhering to specific genre tropes, the releases are intended to have a meaning and
purpose in all kinds of situations – a social soundtrack as much as a stimulating experience,
feeding emotions and the psyche with a sentimental palette of sounds. Lovers’ music, loners’
music, music for friends and family alike.
Woo makes for a perfect choice to meet this loose concept head-on – the music of Clive and
Mark Ives straddles disparate worlds and finds its own peculiar balance. On one hand it’s
delicate synthesizer music with a minimalist bent, while on the other their joyous, twinkling
harmonies have an immediacy that speaks to the soul. You can detect privacy in their craft – the
brothers originally recorded their music in relative isolation in London in the 70s, 80s and early
90s. It’s only in recent years their sublime work has enjoyed a wider audience through an
extensive run of reissues.
Arcturian Corridor
? presents a rare, previously unreleased piece of music from Woo – the
expansive suite of the title track that unfurls across five parts. It’s an enchanting listen that
shows a new breadth and depth to the duo – detailed drum programming and a broader palette
of synth tones cascading in elegant unison. The name refers to Arcturus, the fourth brighteststar in the night sky. As Woo themselves explain, “The Arcturian Corridor is said to be a channel
of light that brings unconditional love and wisdom from Arcturus to Earth.”
In addition to the 20-minute A-side piece, Woo also presents a new version of “Love On Other
Planets”, a standout piece from their 1990 album ?Into The Heart of Love? . The fragile subtlety of
the original has been embellished here with rich new passages that turn it into a kind of
electronica epic, although still marked out with the sensitivity one expects from a Woo record.
Two remixes complete the set, both furthering Quindi’s modus operandi as a genre-agnostic
force for cosmically charged music. Dublin’s Wah Wah Wino collective present their Wino
Wagon manifestation for a tastefully strange house version of the fifth part of “Arcturian
Corridor” that channels the freakiness of Pepe Bradock, the robo-funk of Metro Area and a
soupcon of pop nous. British duo Ultramarine maintain the stylistic ambiguity as they channel
decades of expressive experimentation between live band dynamics and machine soul on their
version of the title track’s second chapter. More
A1: Arc I 4.48
A2: Arc II 4.14
A3: Arc III 3.57
A4: Arc IV 3.40
A5: Arc V 4.16
B1: Love On Other Planets (Woo Remix) 5.13
B2: AC V (Wino Wagon Remix) 7.42
B3: AC II (Ultramarine Remix) 4.18
Release Info
The premise for Quindi Records is simple – to represent music with a universality at its core.
Without adhering to specific genre tropes, the releases are intended to have a meaning and
purpose in all kinds of situations – a social soundtrack as much as a stimulating experience,
feeding emotions and the psyche with a sentimental palette of sounds. Lovers’ music, loners’
music, music for friends and family alike.
Woo makes for a perfect choice to meet this loose concept head-on – the music of Clive and
Mark Ives straddles disparate worlds and finds its own peculiar balance. On one hand it’s
delicate synthesizer music with a minimalist bent, while on the other their joyous, twinkling
harmonies have an immediacy that speaks to the soul. You can detect privacy in their craft – the
brothers originally recorded their music in relative isolation in London in the 70s, 80s and early
90s. It’s only in recent years their sublime work has enjoyed a wider audience through an
extensive run of reissues.
Arcturian Corridor
? presents a rare, previously unreleased piece of music from Woo – the
expansive suite of the title track that unfurls across five parts. It’s an enchanting listen that
shows a new breadth and depth to the duo – detailed drum programming and a broader palette
of synth tones cascading in elegant unison. The name refers to Arcturus, the fourth brighteststar in the night sky. As Woo themselves explain, “The Arcturian Corridor is said to be a channel
of light that brings unconditional love and wisdom from Arcturus to Earth.”
In addition to the 20-minute A-side piece, Woo also presents a new version of “Love On Other
Planets”, a standout piece from their 1990 album ?Into The Heart of Love? . The fragile subtlety of
the original has been embellished here with rich new passages that turn it into a kind of
electronica epic, although still marked out with the sensitivity one expects from a Woo record.
Two remixes complete the set, both furthering Quindi’s modus operandi as a genre-agnostic
force for cosmically charged music. Dublin’s Wah Wah Wino collective present their Wino
Wagon manifestation for a tastefully strange house version of the fifth part of “Arcturian
Corridor” that channels the freakiness of Pepe Bradock, the robo-funk of Metro Area and a
soupcon of pop nous. British duo Ultramarine maintain the stylistic ambiguity as they channel
decades of expressive experimentation between live band dynamics and machine soul on their
version of the title track’s second chapter. More
Label:Alter K
Cat-No:AK61
Release-Date:07.04.2023
Configuration:LP Excl
Barcode:3516628242816
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Last in:05.06.2024
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Label:Alter K
Cat-No:AK61
Release-Date:07.04.2023
Configuration:LP Excl
Barcode:3516628242816
1
Black Devil - "H" Friend
2
Black Devil - Timing, Forget The Timing
3
Black Devil - One To Choose
4
Black Devil - We Never Fly Away Again
5
Black Devil - Follow Me (Instrumental)
6
Black Devil - No Regrets
Territories: WW minus FR
Tracklist :
A1 - "H" Friend
A2 - Timing, Forget The Timing
A3 - One To Choose
B1 - We Never Fly Away Again
B2 - Follow Me (Instrumental)
B3 - No Regrets
Release Info:
Disco Club is a groundbreaking 1978 EP of experimental electronic disco created by Bernard Fevre and his collaborator under their tongue-in-cheek aliases Joachim Sherylee and Junior Claristidge. The Aphex Twin-backed Rephlex label notably reworked a handful of Disco Club tracks in 2004, however this is the first ever reissue of the EP in its complete, originally intended sequence. So synonymous is Fèvre's career with this release, he continues to perform internationally as Black Devil Disco Club today. An impossibly rare piece, this edition has been treated to a remaster from the original tapes by Fèvre himself. More
Tracklist :
A1 - "H" Friend
A2 - Timing, Forget The Timing
A3 - One To Choose
B1 - We Never Fly Away Again
B2 - Follow Me (Instrumental)
B3 - No Regrets
Release Info:
Disco Club is a groundbreaking 1978 EP of experimental electronic disco created by Bernard Fevre and his collaborator under their tongue-in-cheek aliases Joachim Sherylee and Junior Claristidge. The Aphex Twin-backed Rephlex label notably reworked a handful of Disco Club tracks in 2004, however this is the first ever reissue of the EP in its complete, originally intended sequence. So synonymous is Fèvre's career with this release, he continues to perform internationally as Black Devil Disco Club today. An impossibly rare piece, this edition has been treated to a remaster from the original tapes by Fèvre himself. More
LP Excl
in stock
Label:MG.ART
Cat-No:mg.art904
Release-Date:23.09.2016
Configuration:LP Excl
Barcode:4260017599041
in stock
Last in:14.06.2024
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Label:MG.ART
Cat-No:mg.art904
Release-Date:23.09.2016
Configuration:LP Excl
Barcode:4260017599041
LP 180g, beautiful embossed Chess Board Artwork Print, inner sleeve with artist picture and text by David Elliott, Sounds June 16, 1984
In anticipation of the 35th anniversary next year one of electronic music´s most influential recordings, the legendary E2-E4, from 12.12.1981 does get an official rerelease by Manuel Göttsching on his own Label MG.ART.
Carefully overseen by the Master himself
Total Time: 59:34
Tracks:
Ruhige Nervosität 13:00, Gemäßigter Aufbruch 10:00, ... und Mittelspiel 07:00, Ansatz 06:00, Damen-Eleganza 05:00, Ehrenvoller Kampf 03:00, Hoheit weicht (nicht ohne Schwung...) 09:00, ... und Souveränität 03:00, Remis 03:00
More
In anticipation of the 35th anniversary next year one of electronic music´s most influential recordings, the legendary E2-E4, from 12.12.1981 does get an official rerelease by Manuel Göttsching on his own Label MG.ART.
Carefully overseen by the Master himself
Total Time: 59:34
Tracks:
Ruhige Nervosität 13:00, Gemäßigter Aufbruch 10:00, ... und Mittelspiel 07:00, Ansatz 06:00, Damen-Eleganza 05:00, Ehrenvoller Kampf 03:00, Hoheit weicht (nicht ohne Schwung...) 09:00, ... und Souveränität 03:00, Remis 03:00
More
Label:Be With Records
Cat-No:bewith037lp
Release-Date:15.04.2022
Genre:Classics
Configuration:LP Excl
Barcode:5050580697898
in stock
Last in:24.01.2023
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Last in:24.01.2023
Label:Be With Records
Cat-No:bewith037lp
Release-Date:15.04.2022
Genre:Classics
Configuration:LP Excl
Barcode:5050580697898
1
BUARI - Karam Bani (4:27)
2
BUARI - Them Yebtheyet (5:12)
3
BUARI - Ku Ka Maria (2:45)
4
BUARI - Advice From Father (5:47)
5
BUARI - Iro Le Pa (4:55)
6
BUARI - Ye Koaba (4:27)
7
BUARI - Peace (3:00)
8
BUARI - Oh! Africa (5:37)
2022 repress
Format Notes: 180g vinyl, mastered from the original tapes
Track List:
A1 : Karam Bani (4:27)
A2 : Them Yebtheyet (5:12)
A3 : Ku Ka Maria (2:45)
A4 : Advice From Father (5:47)
B1 : Iro Le Pa (4:55)
B2 : Ye Koaba (4:27)
B3 : Peace (3:00)
B4 : Oh! Africa (5:37)
Release Notes:
A surefire Afro-Funk classic, long treasured by collectors across the globe, the fantastic self-titled LP from Ghanaian singing/percussion sensation Sidiku Buari nevertheless remains a criminally hard-to find gem. We’re honoured to present the first ever officially licensed vinyl reissue of this undoubted masterpiece.
Originally released on RCA in 1975, this is, quite simply, a ridiculous record. This super-rare album boasts an all-star cast of top funk instrumentalists playing alongside Buari as he blends heavy African rhythms with American soul-funk grooves. The arrangements and the playing are incredibly tight and the album is stacked with killer tracks including “Advice From Father” (sampled brilliantly by Kenny Dope) and “Ku Ka Maria”, with its intense, neck-snapping breaks and funky drumming from legend Bernard ‘Pretty’ Purdie. Purdie is in the pocket for the entirety of this stunning LP - the drumming is just straight out of hand; so varied yet so precise.
It’s not hard to fathom why these tracks have always been huge on the b-boy/breaking scene. Other standouts include the wonderful disco-tinged afro monsters “Karam Bani” and “Iro Le Pa” plus the cool laidback groove of “Them Yebtheyet”.
With access to the original analogue tape transfers, the stellar mastering by Simon Francis elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.
More
Format Notes: 180g vinyl, mastered from the original tapes
Track List:
A1 : Karam Bani (4:27)
A2 : Them Yebtheyet (5:12)
A3 : Ku Ka Maria (2:45)
A4 : Advice From Father (5:47)
B1 : Iro Le Pa (4:55)
B2 : Ye Koaba (4:27)
B3 : Peace (3:00)
B4 : Oh! Africa (5:37)
Release Notes:
A surefire Afro-Funk classic, long treasured by collectors across the globe, the fantastic self-titled LP from Ghanaian singing/percussion sensation Sidiku Buari nevertheless remains a criminally hard-to find gem. We’re honoured to present the first ever officially licensed vinyl reissue of this undoubted masterpiece.
Originally released on RCA in 1975, this is, quite simply, a ridiculous record. This super-rare album boasts an all-star cast of top funk instrumentalists playing alongside Buari as he blends heavy African rhythms with American soul-funk grooves. The arrangements and the playing are incredibly tight and the album is stacked with killer tracks including “Advice From Father” (sampled brilliantly by Kenny Dope) and “Ku Ka Maria”, with its intense, neck-snapping breaks and funky drumming from legend Bernard ‘Pretty’ Purdie. Purdie is in the pocket for the entirety of this stunning LP - the drumming is just straight out of hand; so varied yet so precise.
It’s not hard to fathom why these tracks have always been huge on the b-boy/breaking scene. Other standouts include the wonderful disco-tinged afro monsters “Karam Bani” and “Iro Le Pa” plus the cool laidback groove of “Them Yebtheyet”.
With access to the original analogue tape transfers, the stellar mastering by Simon Francis elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.
More
Label:Be With Records
Cat-No:bewith151lp
Release-Date:24.11.2023
Genre:Soul/Funk
Configuration:LP Excl
Barcode:4251804140690
in stock
Last in:19.10.2023
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![](/covers/146762_1C2F8B11.jpg?p=cover_thumbnail_width_only_nocrop)
in stock
Last in:19.10.2023
Label:Be With Records
Cat-No:bewith151lp
Release-Date:24.11.2023
Genre:Soul/Funk
Configuration:LP Excl
Barcode:4251804140690
1
Vecchio - Megaton (5:01)
2
Vecchio - Renegade (5:05)
3
Vecchio - Facade (3:18)
4
Vecchio - Chabati (3:11)
5
Vecchio - Green Hell (6:41)
6
Vecchio - Boss (3:55)
7
Vecchio - Nsambei (4:00)
8
Vecchio - Waboco (3:29)
9
Vecchio - Cult (4:37)
10
Vecchio - Ngoma-ku (7:04)
Territories: Worldwide no restrictions
Format Notes:
Part of Music De Wolfe Reissue Campaign, 2023 first time reissue, 140g vinyl
Track List:
SIDE ONE
Megaton 5:01
Renegade 5:05
Facade 3:18
Chabati 3:11
Green Hell 6:41
---
SIDE TWO
Boss 3:55
Nsambei 4:00
Waboco 3:29
Cult 4:37
Ngoma-ku 7:04
Release Notes:
Vecchio's Afro-Rock is one big horn-heavy, bass-blasting, Latin groove funk-rock party. Only now, you're all invited because this, ladies and gentleman, is officially...a grail no more. With copies currently starting at 400 Euros for an original, this beautifully presented reissue, part of Be With's fresh campaign with Music De Wolfe, is well overdue. A magnificent and somewhat obscure library set that's just a total, cohesive joy from start to finish, this here is the soundtrack to all your smokin' summer BBQs and communal cookouts.
Afro-Rock is the debut album by Argentine keyboardist Luis Vecchio. Recorded for the sound library label De Wolfe, the album is frequently mentioned in hushed reverence among the beat digger DJ collecting crowd. It features fiery brass charts, funky bass lines, fluttering flute, choppy organ and additional hand tribal percussion. The band let loose too and jam hard; yet there's a certain thread of solidity that runs throughout, the tracks just belong together, not disparate sound and rhythm experiments like some library records; this is just straight up, no messin', consistent funk-rock FIRE! Hips will sway, heads will nod to the steady vibes. It's insanely good.
The humid, building funk of the appropriately titled "Megaton" is a dramatic explosion of swirling, dazzling organ lines, ferocious beats and heavy horns throughout. It just don't stop. The tempo slows slightly for the deep and deeply addictive "Renegade". It's all heavy jazz horn refrains, always triumphant, coupled with devastating percussive breakdowns and killer guitar riffing. It's an insistent organ-led juggernaut. The frenetic "Facade", up next, is no less driving, horns high up in the mix over rattling percussion and brilliant organs lines. Just sensational. The bright "Chabati" is another glorious extension of the optimistic Vecchio sound, the organs wilder than ever before. The moody "Green Hell" is a real highlight and closes out the A-Side with some outrageously funky refrains - be it horns, organ or guitars - and is complimented by gorgeous flute work that galvanises the piece, elevating it to downright heavenly status.
Knowing full well that he's on to a surefire thing, Vecchio opens the flipside in much the same vein. Indeed, "Boss" is yet another uptempo highlight, a sensual orgy of proud horns, hand percussion and melodic flute playing over driving organ and guitars. It's followed by "Nsambei", which is rightly adored for its briefly open drum break, fantastically propulsive percussion breakdowns throughout and the jazzy, loose organ and guitar shreds. The bright "Waboco" ups the tempo and the pressure, hanging on one hell of a guitar hook and infectious horn refrain. Perhaps foreseeing how this album would come to be viewed, the aptly-titled "Cult" is possibly the finest song on the record. Which is saying something, because this record is insanely good. Riding a steady, confident organ groove straight out the gate, the kinda melancholic flute line over the top serves as a beautiful counterpoint which the horns often come in and imitate/riff off. Goddamn this is so so good, it needs to be played everywhere. The overwhelmingly mighty 7-minute jam "Ngoma-ku" rounds out this quite staggering record brilliantly in its heavy, mid-tempo blues with countless extended solos.
The audio for Afro Rock has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. More
Format Notes:
Part of Music De Wolfe Reissue Campaign, 2023 first time reissue, 140g vinyl
Track List:
SIDE ONE
Megaton 5:01
Renegade 5:05
Facade 3:18
Chabati 3:11
Green Hell 6:41
---
SIDE TWO
Boss 3:55
Nsambei 4:00
Waboco 3:29
Cult 4:37
Ngoma-ku 7:04
Release Notes:
Vecchio's Afro-Rock is one big horn-heavy, bass-blasting, Latin groove funk-rock party. Only now, you're all invited because this, ladies and gentleman, is officially...a grail no more. With copies currently starting at 400 Euros for an original, this beautifully presented reissue, part of Be With's fresh campaign with Music De Wolfe, is well overdue. A magnificent and somewhat obscure library set that's just a total, cohesive joy from start to finish, this here is the soundtrack to all your smokin' summer BBQs and communal cookouts.
Afro-Rock is the debut album by Argentine keyboardist Luis Vecchio. Recorded for the sound library label De Wolfe, the album is frequently mentioned in hushed reverence among the beat digger DJ collecting crowd. It features fiery brass charts, funky bass lines, fluttering flute, choppy organ and additional hand tribal percussion. The band let loose too and jam hard; yet there's a certain thread of solidity that runs throughout, the tracks just belong together, not disparate sound and rhythm experiments like some library records; this is just straight up, no messin', consistent funk-rock FIRE! Hips will sway, heads will nod to the steady vibes. It's insanely good.
The humid, building funk of the appropriately titled "Megaton" is a dramatic explosion of swirling, dazzling organ lines, ferocious beats and heavy horns throughout. It just don't stop. The tempo slows slightly for the deep and deeply addictive "Renegade". It's all heavy jazz horn refrains, always triumphant, coupled with devastating percussive breakdowns and killer guitar riffing. It's an insistent organ-led juggernaut. The frenetic "Facade", up next, is no less driving, horns high up in the mix over rattling percussion and brilliant organs lines. Just sensational. The bright "Chabati" is another glorious extension of the optimistic Vecchio sound, the organs wilder than ever before. The moody "Green Hell" is a real highlight and closes out the A-Side with some outrageously funky refrains - be it horns, organ or guitars - and is complimented by gorgeous flute work that galvanises the piece, elevating it to downright heavenly status.
Knowing full well that he's on to a surefire thing, Vecchio opens the flipside in much the same vein. Indeed, "Boss" is yet another uptempo highlight, a sensual orgy of proud horns, hand percussion and melodic flute playing over driving organ and guitars. It's followed by "Nsambei", which is rightly adored for its briefly open drum break, fantastically propulsive percussion breakdowns throughout and the jazzy, loose organ and guitar shreds. The bright "Waboco" ups the tempo and the pressure, hanging on one hell of a guitar hook and infectious horn refrain. Perhaps foreseeing how this album would come to be viewed, the aptly-titled "Cult" is possibly the finest song on the record. Which is saying something, because this record is insanely good. Riding a steady, confident organ groove straight out the gate, the kinda melancholic flute line over the top serves as a beautiful counterpoint which the horns often come in and imitate/riff off. Goddamn this is so so good, it needs to be played everywhere. The overwhelmingly mighty 7-minute jam "Ngoma-ku" rounds out this quite staggering record brilliantly in its heavy, mid-tempo blues with countless extended solos.
The audio for Afro Rock has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. More
12"
backorder
Label:Galaxiid
Cat-No:GXD005LTD
Release-Date:08.12.2023
Genre:Electronic
Configuration:12"
Barcode:
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Last in:18.06.2024
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Last in:18.06.2024
Label:Galaxiid
Cat-No:GXD005LTD
Release-Date:08.12.2023
Genre:Electronic
Configuration:12"
Barcode:
1
species of fishes - Init v1.0
2
species of fishes - Sh-Sh-Sh v1.0
3
species of fishes - Sh-Sh
4
species of fishes - [Ctrl+S]
5
species of fishes - Init v2.0
6
species of fishes - Sh-Sh-Sh v2.0
Tracklisting
A1 species of fishes - Init v1.0
A2 species of fishes - Sh-Sh-Sh v1.0
A3 species of fishes - Sh-Sh
B1 species of fishes - [Ctrl+S]
B2 species of fishes - Init v2.0
B3 species of fishes - Sh-Sh-Sh v2.0
Sales Note
muslimgauze vs species of fishes
The story of this unexpected collaboration dates back to the summer and autumn of 1998 when Bryn Jones AKA Muslimgauze, the politically conscious music genius from Manchester, discovered Species Of Fishes' albums through the Dutch label Staalplaat. Jones embarked on a journey of reinventing the Muscovites' tracks, infusing them with hypnotizing noise pulsations that were both harsh and sharp, yet profoundly humane, while evoking ethereal Arab echoes.
The original remixes became the inaugural release on Species Of Fishes' self-titled label in 1999, with a limited circulation of 500 CDs. Another edition was later released in the United States in 2007 by Tourette Records, with a circulation of 1000 CDs. The first edition featured a selection edited from the original DAT cassette, accompanied by minor revisions, while the second one faithfully reproduced the entire studio session, providing insight into the creative process rather than focusing solely on the final result.
In this new reissue, Species Of Fishes have curated the tracks, discarding repetitions, unsuccessful takes, and technical pauses. The result is a more dynamic compilation that retains the core elements of the original work while reducing the total duration by almost half.
'Trip Trap', 'Some Songs of a Dumb World', and 'muslimgauze vs species of fishes' comprise three chapters of Species Of Fishes' album triptych, which unveils the originality of the Russian duo, pioneers of the unparalleled electronic scene who were ahead of their time. More
A1 species of fishes - Init v1.0
A2 species of fishes - Sh-Sh-Sh v1.0
A3 species of fishes - Sh-Sh
B1 species of fishes - [Ctrl+S]
B2 species of fishes - Init v2.0
B3 species of fishes - Sh-Sh-Sh v2.0
Sales Note
muslimgauze vs species of fishes
The story of this unexpected collaboration dates back to the summer and autumn of 1998 when Bryn Jones AKA Muslimgauze, the politically conscious music genius from Manchester, discovered Species Of Fishes' albums through the Dutch label Staalplaat. Jones embarked on a journey of reinventing the Muscovites' tracks, infusing them with hypnotizing noise pulsations that were both harsh and sharp, yet profoundly humane, while evoking ethereal Arab echoes.
The original remixes became the inaugural release on Species Of Fishes' self-titled label in 1999, with a limited circulation of 500 CDs. Another edition was later released in the United States in 2007 by Tourette Records, with a circulation of 1000 CDs. The first edition featured a selection edited from the original DAT cassette, accompanied by minor revisions, while the second one faithfully reproduced the entire studio session, providing insight into the creative process rather than focusing solely on the final result.
In this new reissue, Species Of Fishes have curated the tracks, discarding repetitions, unsuccessful takes, and technical pauses. The result is a more dynamic compilation that retains the core elements of the original work while reducing the total duration by almost half.
'Trip Trap', 'Some Songs of a Dumb World', and 'muslimgauze vs species of fishes' comprise three chapters of Species Of Fishes' album triptych, which unveils the originality of the Russian duo, pioneers of the unparalleled electronic scene who were ahead of their time. More
Vinyl Album Excl
in stock
Label:MG.ART
Cat-No:MG.ART901
Release-Date:23.09.2016
Configuration:Vinyl Album Excl
Barcode:4260017599010
in stock
Last in:01.02.2024
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Last in:01.02.2024
Label:MG.ART
Cat-No:MG.ART901
Release-Date:23.09.2016
Configuration:Vinyl Album Excl
Barcode:4260017599010
Special Remarks: LP 180 G Vinyl
Remastered by Göttsching, Long deleted Vinyl Reissue.
Remastered by Manuel Göttsching and released on his own label MG ART. Inventions for Electric Guitar is Manuel Göttsching´s first solo album, recorded: July-August 1974.
The album was written and performed entirely by Göttsching on electric guitar, hence the title. Manuel played his guitar and used a 4 track TEAC A3340, Revox A77 for echoes, WahWah pedal, volume pedal, Schaller Rotosound and Hawaiian steel bar.
Tracklist:
Echo Waves 17:45, Quasarsphere 06:34, Pluralis 21:36
More
Remastered by Göttsching, Long deleted Vinyl Reissue.
Remastered by Manuel Göttsching and released on his own label MG ART. Inventions for Electric Guitar is Manuel Göttsching´s first solo album, recorded: July-August 1974.
The album was written and performed entirely by Göttsching on electric guitar, hence the title. Manuel played his guitar and used a 4 track TEAC A3340, Revox A77 for echoes, WahWah pedal, volume pedal, Schaller Rotosound and Hawaiian steel bar.
Tracklist:
Echo Waves 17:45, Quasarsphere 06:34, Pluralis 21:36
More
LP Excl
in stock
Label:WRWTFWW
Cat-No:wrwtfww029
Release-Date:08.03.2019
Configuration:LP Excl
Barcode:4251648410997
in stock
Last in:11.04.2019
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in stock
Last in:11.04.2019
Label:WRWTFWW
Cat-No:wrwtfww029
Release-Date:08.03.2019
Configuration:LP Excl
Barcode:4251648410997
1
Normal Brain - M-U-S-I-C
2
Normal Brain - Frottage "One Way"
3
Normal Brain - You Are Busy, I Am Easy
4
Normal Brain - K-300
5
Normal Brain - Frottage "SW"
6
Normal Brain - Fragment
WRWTFWW Records is immensely happy to announce the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain.
LP: Kraft Sleeve, Liner Notes, Sticker
Tracklisting LP
A1. M-U-S-I-C
A2. Frottage "One Way"
A3. You Are Busy, I Am Easy
A4. K-300
A5. Frottage "SW"
B1. Fragment
Info
WRWTFWW Records is immensely happy to announce the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain, available on vinyl, digipack CD (for the first time ever), cassette, and digital, with liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.
Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzuru’s fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance…), Lady Maid is a testament to the creativity of the early 80s’ Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules.
Entirely imagined and brought to life by an inspired Yukio Fujimoto, the 6-track opus was conceived with a Korg MS-20, a Korg SQ-10, a Boss Dr. Rhythm DR-55, and…a Texas Instruments Speak & Spell! It’s elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The a-side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the b-side - a 20 minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous!
More
LP: Kraft Sleeve, Liner Notes, Sticker
Tracklisting LP
A1. M-U-S-I-C
A2. Frottage "One Way"
A3. You Are Busy, I Am Easy
A4. K-300
A5. Frottage "SW"
B1. Fragment
Info
WRWTFWW Records is immensely happy to announce the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain, available on vinyl, digipack CD (for the first time ever), cassette, and digital, with liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.
Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzuru’s fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance…), Lady Maid is a testament to the creativity of the early 80s’ Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules.
Entirely imagined and brought to life by an inspired Yukio Fujimoto, the 6-track opus was conceived with a Korg MS-20, a Korg SQ-10, a Boss Dr. Rhythm DR-55, and…a Texas Instruments Speak & Spell! It’s elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The a-side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the b-side - a 20 minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous!
More
LP Excl
in stock
Label:Be With Records
Cat-No:bewith155lp
Release-Date:12.04.2024
Genre:Soul/Funk
Configuration:LP Excl
Barcode:4251804144421
in stock
Last in:02.02.2024
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![](/covers/149355_DEC4AED2.jpg?p=cover_thumbnail_width_only_nocrop)
in stock
Last in:02.02.2024
Label:Be With Records
Cat-No:bewith155lp
Release-Date:12.04.2024
Genre:Soul/Funk
Configuration:LP Excl
Barcode:4251804144421
1
Tommy Guerrero - B.W.s Blues
2
Tommy Guerrero - So Blue It's Black
3
Tommy Guerrero - Keep On Keepin On
4
Tommy Guerrero - Azule
5
Tommy Guerrero - Black Sheep Blues
6
Tommy Guerrero - 30
7
Tommy Guerrero - Pollo Caliente
8
Tommy Guerrero - Never
9
Tommy Guerrero - Solow
10
Tommy Guerrero - Introspection Section
11
Tommy Guerrero - Gone
12
Tommy Guerrero - In My Head
13
Tommy Guerrero - Soul Miner
Format Notes: Part of Be With x Tommy Guerrero Reissue Campaign, 2024 first time vinyl reissue with original artwork, 140g vinyl
Track List:
A1 B.W.s Blues
A2 So Blue It's Black
A3 Keep On Keepin On
A4 Azule
A5 Black Sheep Blues
A6 30
B1 Pollo Caliente
B2 Never
B3 Solow
B4 Introspection Section
B5 Gone
B6 In My Head
B7 Soul Miner
Release Notes:
Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.
A laidback, fusionistic ride replete with loopy drum tracks underpinning Tommy's trademark reflective guitar stylings, Loose Grooves & Bastard Blues remains powerfully evergreen. Originally released in 1997, there's elements of jazz, trip hop, rock and downtempo groove. All shot through with a heavy dose of soul. Thirteen tracks of lo-fi (mostly) instrumental freshness fused with Cuban, Latin and blues, it's a must for fans of Money Mark, J Dilla, RJD2, DJ Shadow and Pete Rock. As ever with Tommy's records, the title sums up the music contained within most aptly. And writing about his songs, his vibes, is one of the trickier things to do, it has to be said. It's just all gorgeous!
A total vibe throughout, to blast Loose Grooves & Bastard Blues is a majestic experience, one that suits a start-to-finish listen and renders the picking out of highlights totally redundant. Featuring nagging, deeply melodic guitar lines - both electric and acoustic - over simple rhythms with such sumptuous elegance, the hypnotic playing against unrushed percussion releases a crystal clear stream of healing frequencies. It's ust divine. This album laid the blueprint from which Tommy Guerrero would subsequently explore further on A Little Bit of Somethin' and Soul Food Taquiera.
Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. More
Track List:
A1 B.W.s Blues
A2 So Blue It's Black
A3 Keep On Keepin On
A4 Azule
A5 Black Sheep Blues
A6 30
B1 Pollo Caliente
B2 Never
B3 Solow
B4 Introspection Section
B5 Gone
B6 In My Head
B7 Soul Miner
Release Notes:
Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.
A laidback, fusionistic ride replete with loopy drum tracks underpinning Tommy's trademark reflective guitar stylings, Loose Grooves & Bastard Blues remains powerfully evergreen. Originally released in 1997, there's elements of jazz, trip hop, rock and downtempo groove. All shot through with a heavy dose of soul. Thirteen tracks of lo-fi (mostly) instrumental freshness fused with Cuban, Latin and blues, it's a must for fans of Money Mark, J Dilla, RJD2, DJ Shadow and Pete Rock. As ever with Tommy's records, the title sums up the music contained within most aptly. And writing about his songs, his vibes, is one of the trickier things to do, it has to be said. It's just all gorgeous!
A total vibe throughout, to blast Loose Grooves & Bastard Blues is a majestic experience, one that suits a start-to-finish listen and renders the picking out of highlights totally redundant. Featuring nagging, deeply melodic guitar lines - both electric and acoustic - over simple rhythms with such sumptuous elegance, the hypnotic playing against unrushed percussion releases a crystal clear stream of healing frequencies. It's ust divine. This album laid the blueprint from which Tommy Guerrero would subsequently explore further on A Little Bit of Somethin' and Soul Food Taquiera.
Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. More
LP Excl
in stock
Label:Be With Records
Cat-No:bewith114lp
Release-Date:30.09.2022
Genre:Soul/Funk
Configuration:LP Excl
Barcode:4251804128056
in stock
Last in:10.08.2022
+ Show full info- Close
![](/covers/136766_BF2E4E9F.jpg?p=cover_thumbnail_width_only_nocrop)
in stock
Last in:10.08.2022
Label:Be With Records
Cat-No:bewith114lp
Release-Date:30.09.2022
Genre:Soul/Funk
Configuration:LP Excl
Barcode:4251804128056
1
Klaus Weiss - Wide Open Space Motion (2:19)
2
Klaus Weiss - Incessant Efforts (2:28)
3
Klaus Weiss - Pink Sails (2:09)
4
Klaus Weiss - Relaxed Mood (4:18)
5
Klaus Weiss - Transiency (1:14)
6
Klaus Weiss - Driving Sequences (3:26)
7
Klaus Weiss - Action And Suspense (2:06)
8
Klaus Weiss - Southern Mentality (2:43)
9
Klaus Weiss - Hovering (2:13)
10
Klaus Weiss - Bows (4:30)
11
Klaus Weiss - Outset (1:39)
12
Klaus Weiss - Constellation (1:38)
13
Klaus Weiss - Changing Directions (2:39)
14
Klaus Weiss - Neutral Position (1:49)
15
Klaus Weiss - Departure For Universe (2:10)
Format Notes: 2022 re-issue, 140g vinyl, mastered for vinyl with audio from the original tapes
Territories: Worldwide no restrictions
Track List:
A1 : Wide Open Space Motion (2:19)
A2 : Incessant Efforts (2:28)
A3 : Pink Sails (2:09)
A4 : Relaxed Mood (4:18)
A5 : Transiency (1:14)
A6 : Driving Sequences (3:26)
A7 : Action And Suspense (2:06)
B1 : Southern Mentality (2:43)
B2 : Hovering (2:13)
B3 : Bows (4:30)
B4 : Outset (1:39)
B5 : Constellation (1:38)
B6 : Changing Directions (2:39)
B7 : Neutral Position (1:49)
B8 : Departure For Universe (2:10)
Release Notes:
They say: "Contemporary synthesizer sounds illustrating wide open space activities, environment and research."
We say: Panoramic proto-techno underwater-electro library dynamite.
One of the hardest pulls on the seminal Coloursound, Open Space Motion (Underscores) isn't just regarded as one of the best releases from library-funk overlord Klaus Weiss. It's one of the very best library records ever.
As cult as it gets when it comes to library music, the Klaus Weiss sound was built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums. AND YET! Open Space Motion departs from his drum-heavy approach by being completely...BEATLESS! That's right, the virtuoso beat smith, Mr "drumcrazy of Deutschland", a man known for snapping necks at will, crafted one of the most horizontally sumptuous, elegantly sweeping electronic masterpieces, sans-drums, a good decade before chill-out rooms became a thing. It features organic instruments married to pulsing synth bass atop brilliantly subdued yet irresistibly funky percussion. Possessing a very special vibe, that's at once futuristic yet cinematic, it overflows with atmosphere.
The highlights - unsurprisingly - are many. The very first track - the unstoppable "Wide Open Space Motion" - is a sinister, string-fried electro bomb that rides an unrelenting bass loop. "Incessant Efforts" is more reflective, with pastoral yet probing flutes atop strutting synth chords and head-nod percussion that really swings. The heavenly, uber-kosmiche "Pink Sails" hovers over swirling neon-synthy-strings and yet more unobtrusive percussion. The beautiful "Transiency" is a dramatic piano-led underscore, its creeping unease created by patient strings, unhurried percussion and some wonderfully strident keys. "Driving Sequences" is perhaps the key tune here, and if the Detroit crew weren't listening to this staggering piece then, well, imagine if they *were*.
The bubbling rhythms of "Southern Mentality", at first ominous, give way to a more optimistic vibe as the movement progresses. The lush, gorgeous "Bows" is deep-sea slow-motion magic whilst the bright-eyed "Outset" feels as fresh as the dawn, and no less beautiful. How these tracks haven't been gobbled up by sample-driven producers is beyond us. Equally calming is the sweeping majesty of "Constellation", again conjuring images of being at one with and fully beguiled by the wonders of nature, of space, of underwater worlds. "Changing Directions" is another fidgety, propulsive non-Detroit beatless bomb.
As with all our library music re-issues, the audio for Open Space Motion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.
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Territories: Worldwide no restrictions
Track List:
A1 : Wide Open Space Motion (2:19)
A2 : Incessant Efforts (2:28)
A3 : Pink Sails (2:09)
A4 : Relaxed Mood (4:18)
A5 : Transiency (1:14)
A6 : Driving Sequences (3:26)
A7 : Action And Suspense (2:06)
B1 : Southern Mentality (2:43)
B2 : Hovering (2:13)
B3 : Bows (4:30)
B4 : Outset (1:39)
B5 : Constellation (1:38)
B6 : Changing Directions (2:39)
B7 : Neutral Position (1:49)
B8 : Departure For Universe (2:10)
Release Notes:
They say: "Contemporary synthesizer sounds illustrating wide open space activities, environment and research."
We say: Panoramic proto-techno underwater-electro library dynamite.
One of the hardest pulls on the seminal Coloursound, Open Space Motion (Underscores) isn't just regarded as one of the best releases from library-funk overlord Klaus Weiss. It's one of the very best library records ever.
As cult as it gets when it comes to library music, the Klaus Weiss sound was built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums. AND YET! Open Space Motion departs from his drum-heavy approach by being completely...BEATLESS! That's right, the virtuoso beat smith, Mr "drumcrazy of Deutschland", a man known for snapping necks at will, crafted one of the most horizontally sumptuous, elegantly sweeping electronic masterpieces, sans-drums, a good decade before chill-out rooms became a thing. It features organic instruments married to pulsing synth bass atop brilliantly subdued yet irresistibly funky percussion. Possessing a very special vibe, that's at once futuristic yet cinematic, it overflows with atmosphere.
The highlights - unsurprisingly - are many. The very first track - the unstoppable "Wide Open Space Motion" - is a sinister, string-fried electro bomb that rides an unrelenting bass loop. "Incessant Efforts" is more reflective, with pastoral yet probing flutes atop strutting synth chords and head-nod percussion that really swings. The heavenly, uber-kosmiche "Pink Sails" hovers over swirling neon-synthy-strings and yet more unobtrusive percussion. The beautiful "Transiency" is a dramatic piano-led underscore, its creeping unease created by patient strings, unhurried percussion and some wonderfully strident keys. "Driving Sequences" is perhaps the key tune here, and if the Detroit crew weren't listening to this staggering piece then, well, imagine if they *were*.
The bubbling rhythms of "Southern Mentality", at first ominous, give way to a more optimistic vibe as the movement progresses. The lush, gorgeous "Bows" is deep-sea slow-motion magic whilst the bright-eyed "Outset" feels as fresh as the dawn, and no less beautiful. How these tracks haven't been gobbled up by sample-driven producers is beyond us. Equally calming is the sweeping majesty of "Constellation", again conjuring images of being at one with and fully beguiled by the wonders of nature, of space, of underwater worlds. "Changing Directions" is another fidgety, propulsive non-Detroit beatless bomb.
As with all our library music re-issues, the audio for Open Space Motion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.
More
4LP
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Label:Soundway Records
Cat-No:SNDWLP087
Release-Date:11.11.2022
Configuration:4LP
Barcode:5056032306622
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Release-Date:11.11.2022
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REPRESS!! 3LP+7"
You like African disco/boogie? Then this comp. is for you.. No need to drop crazy amounts of cash on the originals. This one holds winners only!
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You like African disco/boogie? Then this comp. is for you.. No need to drop crazy amounts of cash on the originals. This one holds winners only!
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Label:Strangelove
Cat-No:SL105LP
Release-Date:29.05.2020
Configuration:LP Excl
Barcode:4251648413271
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in stock
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Label:Strangelove
Cat-No:SL105LP
Release-Date:29.05.2020
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1
VARIOUS - A1- Kim Blackburn- Lizards in Love
2
VARIOUS - A2- The Kiwi Animal- Woman & Man Have Balance
3
VARIOUS - A3- Rupert- Soul Brothers
4
VARIOUS - A4- Stiff Herbert- I Could Hit the Ceiling
5
VARIOUS - A5- Drone- Nothing Dominant
6
VARIOUS - A6- Norma O'Malley- Some Tame Gazelle
7
VARIOUS - B1- The Headless Chickens- Throwback
8
VARIOUS - B2- Blam Blam Blam- Respect
9
VARIOUS - B3- Roger Knox- Whole Weird World
10
VARIOUS - B4- Tom Ludvigson & Graeme Gash- Ulläng Jnr
11
VARIOUS - B5- Ballare- Dancing
Special remarks:
Follow up to the labels previous release - Frank Harris & Maria Marquez 'Echoes' First local NZ dig for Strangelove. For fans of Flying Nun more quirky/ electronic output., contains songs reissued on vinyl for the first time from cult Kiwi bands Blam Blam Blam, Headless Chickens and Chris 'Roger' Knox.
Track list:
A1- Kim Blackburn- Lizards in Love
A2- The Kiwi Animal- Woman & Man Have Balance
A3- Rupert- Soul Brothers
A4- Stiff Herbert- I Could Hit the Ceiling
A5- Drone- Nothing Dominant
A6- Norma O’Malley- Some Tame Gazelle
B1- The Headless Chickens- Throwback
B2- Blam Blam Blam- Respect
B3- Roger Knox- Whole Weird World
B4- Tom Ludvigson & Graeme Gash- Ulläng Jnr
B5- Ballare- Dancing
Short info:
Strangelove's personal Inventory of NZ 1980's odd pop; 'Kiwi Animals' recasts the local charts in a parallel universe of misfit melodics, gonzo-tronics & strange waves. Channelling South Pacific voodoo and edge of world melancholia, the album highlights electronic tangents from iconic NZ groups Blam Blam Blam & Headless Chickens. It dredges the cassette revelations of art avante-gardists' Drone & Kim Blackburn, alongside bittersweet moments from Rupert & Norma O'Malley. There's the infectious minimal wave of Ballare and a reprised electro-boogie dance suite (?!) from Tom Ludvigson & Graeme Gash. The furthest depths of Flying Nun's catalog are also plundered- a brilliant earworm from Stiff Herbert and a mysterious "Roger" Knox birthday promo. Mining disparate seams of a local indie label awakening, the various tangents of 'Kiwi Animals' congeal with a future/primitive sensibility and an underlying Antipodean mischievousness…
More
Follow up to the labels previous release - Frank Harris & Maria Marquez 'Echoes' First local NZ dig for Strangelove. For fans of Flying Nun more quirky/ electronic output., contains songs reissued on vinyl for the first time from cult Kiwi bands Blam Blam Blam, Headless Chickens and Chris 'Roger' Knox.
Track list:
A1- Kim Blackburn- Lizards in Love
A2- The Kiwi Animal- Woman & Man Have Balance
A3- Rupert- Soul Brothers
A4- Stiff Herbert- I Could Hit the Ceiling
A5- Drone- Nothing Dominant
A6- Norma O’Malley- Some Tame Gazelle
B1- The Headless Chickens- Throwback
B2- Blam Blam Blam- Respect
B3- Roger Knox- Whole Weird World
B4- Tom Ludvigson & Graeme Gash- Ulläng Jnr
B5- Ballare- Dancing
Short info:
Strangelove's personal Inventory of NZ 1980's odd pop; 'Kiwi Animals' recasts the local charts in a parallel universe of misfit melodics, gonzo-tronics & strange waves. Channelling South Pacific voodoo and edge of world melancholia, the album highlights electronic tangents from iconic NZ groups Blam Blam Blam & Headless Chickens. It dredges the cassette revelations of art avante-gardists' Drone & Kim Blackburn, alongside bittersweet moments from Rupert & Norma O'Malley. There's the infectious minimal wave of Ballare and a reprised electro-boogie dance suite (?!) from Tom Ludvigson & Graeme Gash. The furthest depths of Flying Nun's catalog are also plundered- a brilliant earworm from Stiff Herbert and a mysterious "Roger" Knox birthday promo. Mining disparate seams of a local indie label awakening, the various tangents of 'Kiwi Animals' congeal with a future/primitive sensibility and an underlying Antipodean mischievousness…
More