1
Conrad Schnitzler - Auf dem schwarzen Kanal
2
Conrad Schnitzler - Fabrik
3
Conrad Schnitzler - Der Wagen rollt
4
Conrad Schnitzler - Elektroklang
"Auf dem schwarzen Kanal" is one of the most outstanding, most sought-after releases in Conrad Schnitzler’s
extensive catalogue. It was the only Schnitzler record to appear on a major label and saw him flirting with the
experimental new wave sound that was emerging in 1980, particularly on the title track. Nevertheless, it still managed
to sound idiosyncratically unlike any other music around at the time.
Recorded with Wolfgang Seidel at Peter Baumann’s Paragon Studio in Berlin, the four tracks take us on a caustic,
dissonant mutant disco trip which has lost none of its fascination in the years since.
It gives us at Bureau B great pleasure to reissue this long lost work!
Tracklisting
A1. Auf dem schwarzen Kanal
A2. Fabrik
B1. Der Wagen rollt
B2. Elektroklang More
extensive catalogue. It was the only Schnitzler record to appear on a major label and saw him flirting with the
experimental new wave sound that was emerging in 1980, particularly on the title track. Nevertheless, it still managed
to sound idiosyncratically unlike any other music around at the time.
Recorded with Wolfgang Seidel at Peter Baumann’s Paragon Studio in Berlin, the four tracks take us on a caustic,
dissonant mutant disco trip which has lost none of its fascination in the years since.
It gives us at Bureau B great pleasure to reissue this long lost work!
Tracklisting
A1. Auf dem schwarzen Kanal
A2. Fabrik
B1. Der Wagen rollt
B2. Elektroklang More
More records from Conrad Schnitzler
1
Conrad Schnitzler - Untitled 1
2
Conrad Schnitzler - Untitled 2
3
Conrad Schnitzler - Untitled 3
4
Conrad Schnitzler - Untitled 4
5
Conrad Schnitzler - Untitled 5
6
Conrad Schnitzler - Untitled 6
7
Conrad Schnitzler - Untitled 7
8
Conrad Schnitzler - Untitled 8
9
Conrad Schnitzler - Untitled 9
10
Conrad Schnitzler - Untitled 10
11
Conrad Schnitzler - Untitled 11
12
Conrad Schnitzler - Untitled 12
13
Conrad Schnitzler - Untitled 13 (Bonus)
14
Conrad Schnitzler - Untitled 14 (Bonus)
Die Chronologie von Schnitzlers Solo-Veröffentlichungen in den 70er und vor allem in den 80er Jahren gleicht einem Buch mit sieben Siegeln. In zeitweise sehr kurzen Abständen brachte Schnitzler seine Musik teils auf analogen Kassetten, teils auf LPs heraus, nicht selten als "private releases", das heißt in eigener Regie und ohne Hilfe eines Labels oder professioneller Vertriebe. Das gelbe Album beispielsweise erschien 1981 als LP auf dem Label der Kunstgalerie von René Block in Berlin, nachdem Schnitzler bereits eine Reihe anderer Tonträger auf diversen Labels herausgebracht hatte. Tatsächlich ist die Musik des gelben Albums aber bereits 1974 als "The Black Cassette" in wahrscheinlich sehr geringer Stückzahl von Schnitzler selbst vertrieben worden. Das gelbe Album hat den Untertitel "12 Stücke aus dem Jahr 1974". Schon das deutet auf etwas Neues hin, denn bis dahin gingen Schnitzlers Stücke grundsätzlich über die ganze Platten- bzw. Kassettenseite. Hier versucht er sich nun erstmals an einer kürzeren Form. Außerdem neu: Schnitzler lässt auf mehreren Stücken nicht mehr nur automatische Klangprozesse ablaufen, sondern benutzt seine Keyboards offensichtlich auch, um "mit der Hand" gespielte melodie- ähnliche Improvisationen in seinen musikalischen Kosmos zu integrieren. Die eigentlich so kristalline, anorganische Kunstwelt Schnitz- lers wird damit um ein organisches, fast menschliches Element berei- chert. Durch die Musik des gelben Albums weht ein durchaus laues, freundliches Lüftchen, zum Glück meilenweit entfernt von den senti- mentalen Plattitüden der gebrauchsfertigen Ambient-Musik der 80er. Das gelbe Album ist nicht nur durch und durch freundlich, sondern es dokumentiert auch einen wichtigen Schritt in Schnitzlers musikalischer Entwicklung. Das späte Erscheinen als LP (1981) und die fehlenden diskografischen Angaben ließen diesen Gesichtspunkt etwas in den Hintergrund rücken. Aufmerksamen Hörern und Schnitzler-Kennern war jedoch sofort klar, dass das Album eine besondere Wegmarke darstellte, die einen deutlichen Weg in die Zukunft wies. Schnitzler hatte begonnen, sich aus dem Korsett der orthodoxen Konzeptkunst zu befreien, um in lichte Weiten unentdeckter musikalischer Gebiete vorzustoßen.
More
1
Conrad Schnitzler - Die Rebellen Haben Sich In Den Bergen Versteckt
2
Conrad Schnitzler - Jupiter
Limited Anniversary Edition: embossed, reverse board, hand numbered, limited edition blue vinyl, 500 copies available!
Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany"s electronic music avant-garde. A student of Beuys, he founded Berlin"s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The blue album ("Blau") from 1974 was Schnitzler"s second solo LP More
Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany"s electronic music avant-garde. A student of Beuys, he founded Berlin"s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The blue album ("Blau") from 1974 was Schnitzler"s second solo LP More
1
Conrad Schnitzler - Meditation
2
Conrad Schnitzler - Krautrock
Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany"s electronic music avant-garde. A student of Beuys, he founded Berlin"s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The red album ("Rot") from 1973 was Schnitzler"s first solo LP.
More
"Conrad & Sohn" (1981) is a joint project featuring Conrad and his son Gregor. Each recorded one side of the album using the same equipment. Liner notes by Asmus Tietchens. Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germanys electronic music avant-garde. A student of Joseph Beuys, he founded Berlins legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums.
More
More
The Works of Conrad Schnitzler will always be important. Not only for m=minimal. Ricardo Villalobos and Max Loderbauer were so fascinated by the "Zug" that they immediatly accepted to deliver two reshapes of this milestone of electronic music. (We already released Zug on vinyl - mm-001lp) Max Loderbauer is a veteran of the Berlin "techno" scene, who became known with his project "Sun Electric". For his current project NSI and as a member of the "Moritz von Oswald Trio" Max Loderbauer enjoys a worldwide reputation. His great cooperation with Ricardo Villalobos, for the legendary ECM label, appears in many "Best of 2011" lists. Richardo Villalobos is one of the leading techno DJ / producer / musicians. He influenced the scene for more than 15 years. The "aktion" mix targets with 100 percent certainty on the dance floor, but is also suited to wake you up in the morning. DJs need this twenty minute mix as a tool. Burner. The "Sorgenkind" mix is not for the mainfloor but for fans of the broken beats. Everybody who enjoyed the RE-ECM work of the two will love this 15 minutes mix. Schnitzler / Loderbauer / Villalobos = Dreamteam
More
Only a few days before Conrad Schnitzler passed away, he created this unique, almost 70 minutes long work. Gatefold cover / Incl. Download Coupon / first 500 copies contain special bonus art print by Conrad Schnitzler.
More
More records from Bureau B
1
Conrad Schnitzler - Untitled 1
2
Conrad Schnitzler - Untitled 2
3
Conrad Schnitzler - Untitled 3
4
Conrad Schnitzler - Untitled 4
5
Conrad Schnitzler - Untitled 5
6
Conrad Schnitzler - Untitled 6
7
Conrad Schnitzler - Untitled 7
8
Conrad Schnitzler - Untitled 8
9
Conrad Schnitzler - Untitled 9
10
Conrad Schnitzler - Untitled 10
11
Conrad Schnitzler - Untitled 11
12
Conrad Schnitzler - Untitled 12
13
Conrad Schnitzler - Untitled 13 (Bonus)
14
Conrad Schnitzler - Untitled 14 (Bonus)
Die Chronologie von Schnitzlers Solo-Veröffentlichungen in den 70er und vor allem in den 80er Jahren gleicht einem Buch mit sieben Siegeln. In zeitweise sehr kurzen Abständen brachte Schnitzler seine Musik teils auf analogen Kassetten, teils auf LPs heraus, nicht selten als "private releases", das heißt in eigener Regie und ohne Hilfe eines Labels oder professioneller Vertriebe. Das gelbe Album beispielsweise erschien 1981 als LP auf dem Label der Kunstgalerie von René Block in Berlin, nachdem Schnitzler bereits eine Reihe anderer Tonträger auf diversen Labels herausgebracht hatte. Tatsächlich ist die Musik des gelben Albums aber bereits 1974 als "The Black Cassette" in wahrscheinlich sehr geringer Stückzahl von Schnitzler selbst vertrieben worden. Das gelbe Album hat den Untertitel "12 Stücke aus dem Jahr 1974". Schon das deutet auf etwas Neues hin, denn bis dahin gingen Schnitzlers Stücke grundsätzlich über die ganze Platten- bzw. Kassettenseite. Hier versucht er sich nun erstmals an einer kürzeren Form. Außerdem neu: Schnitzler lässt auf mehreren Stücken nicht mehr nur automatische Klangprozesse ablaufen, sondern benutzt seine Keyboards offensichtlich auch, um "mit der Hand" gespielte melodie- ähnliche Improvisationen in seinen musikalischen Kosmos zu integrieren. Die eigentlich so kristalline, anorganische Kunstwelt Schnitz- lers wird damit um ein organisches, fast menschliches Element berei- chert. Durch die Musik des gelben Albums weht ein durchaus laues, freundliches Lüftchen, zum Glück meilenweit entfernt von den senti- mentalen Plattitüden der gebrauchsfertigen Ambient-Musik der 80er. Das gelbe Album ist nicht nur durch und durch freundlich, sondern es dokumentiert auch einen wichtigen Schritt in Schnitzlers musikalischer Entwicklung. Das späte Erscheinen als LP (1981) und die fehlenden diskografischen Angaben ließen diesen Gesichtspunkt etwas in den Hintergrund rücken. Aufmerksamen Hörern und Schnitzler-Kennern war jedoch sofort klar, dass das Album eine besondere Wegmarke darstellte, die einen deutlichen Weg in die Zukunft wies. Schnitzler hatte begonnen, sich aus dem Korsett der orthodoxen Konzeptkunst zu befreien, um in lichte Weiten unentdeckter musikalischer Gebiete vorzustoßen.
More
1
Günter Schickert - Aprico Brandy
2
Günter Schickert - Kriegsmaschinen, fahrt zur Hölle
3
Günter Schickert - Wald
1
eat-girls - On A Crooked Swing
2
eat-girls - Unison
3
eat-girls - Canine
4
eat-girls - A Kin
5
eat-girls - Everything Goes In Diagonal
6
eat-girls - Saints' Discards
7
eat-girls - Earthcore
8
eat-girls - Para Los Pies Cansados
9
eat-girls - Omens
10
eat-girls - Trauschaft
Area Silenzio is eat-girls' debut record and it is both haunted and haunting. For the past four years, the French trio have been crafting their songs into little self-contained worlds with the patience of entomologists, taking them out all over the country and Europe to confront them with the wilderness of a live audience. The ten resulting tracks are a collection of electronic madrigals, groove-driven songs played on a mischievous multi-speed Victrola, ranging from languid dub drips to full-on drum machine cavalcades.
More
1
Harald Grosskopf - Bureau 39
2
Harald Grosskopf - Blow
3
Harald Grosskopf - Später Strom
4
Harald Grosskopf - After The Future
5
Harald Grosskopf - Stylo Kraut
6
Harald Grosskopf - Gleich Strom
7
Harald Grosskopf - Um Pah Pah Uh
8
Harald Grosskopf - Stromklang
White Vinyl.
Kaum zu glauben: Harald Grosskopf gibt es jetzt schon ein Dreivierteljahrhundert. Anlässlich seines 75. Geburtstags erscheint nicht nur im Ventil Verlag seine Autobiographie "Monsieur Séquenceu" - sondern auch endlich wieder ein neues Album vom Elektronik-Altmeister. Man muss zu diesem Mann eigentlich nicht viel sagen: Mitbegründer von "Wallenstein", ergo Drummer auf mindestens zwei der wunderbarsten Krautrockalben (nämlich "Mother Universe" und "Cosmic Century"), Mitglied der legendären "Kosmischen Kuriere", Platten mit Ash Ra Temple und Klaus Schulze. Schließlich wechselt Harald Grosskopf dann von den Drums zu den Sequencern und schafft Atemberaubendes. Und nun: "Strom". Die Evokation der Elektrizität, der Virtuosität der Schaltung, die Mensch und Maschine kunstvoll verschraubt und der über ihrem Triumphzug verödeten musikalischen Digitalität entgegengestellt wird. Wer genau hinhört, der erkennt den Ingenieur hinter den Klanggebilden sogleich.
Previews:
https://www.youtube.com/watch?v=04FrqpgVbhE
https://www.youtube.com/watch?v=V8Bh4Kv3MNg More
Kaum zu glauben: Harald Grosskopf gibt es jetzt schon ein Dreivierteljahrhundert. Anlässlich seines 75. Geburtstags erscheint nicht nur im Ventil Verlag seine Autobiographie "Monsieur Séquenceu" - sondern auch endlich wieder ein neues Album vom Elektronik-Altmeister. Man muss zu diesem Mann eigentlich nicht viel sagen: Mitbegründer von "Wallenstein", ergo Drummer auf mindestens zwei der wunderbarsten Krautrockalben (nämlich "Mother Universe" und "Cosmic Century"), Mitglied der legendären "Kosmischen Kuriere", Platten mit Ash Ra Temple und Klaus Schulze. Schließlich wechselt Harald Grosskopf dann von den Drums zu den Sequencern und schafft Atemberaubendes. Und nun: "Strom". Die Evokation der Elektrizität, der Virtuosität der Schaltung, die Mensch und Maschine kunstvoll verschraubt und der über ihrem Triumphzug verödeten musikalischen Digitalität entgegengestellt wird. Wer genau hinhört, der erkennt den Ingenieur hinter den Klanggebilden sogleich.
Previews:
https://www.youtube.com/watch?v=04FrqpgVbhE
https://www.youtube.com/watch?v=V8Bh4Kv3MNg More
1
Harald Grosskopf - Bureau 39
2
Harald Grosskopf - Blow
3
Harald Grosskopf - Später Strom
4
Harald Grosskopf - After The Future
5
Harald Grosskopf - Stylo Kraut
6
Harald Grosskopf - Gleich Strom
7
Harald Grosskopf - Um Pah Pah Uh
8
Harald Grosskopf - Stromklang
Black Vinyl.
Kaum zu glauben: Harald Grosskopf gibt es jetzt schon ein Dreivierteljahrhundert. Anlässlich seines 75. Geburtstags erscheint nicht nur im Ventil Verlag seine Autobiographie "Monsieur Séquenceu" - sondern auch endlich wieder ein neues Album vom Elektronik-Altmeister. Man muss zu diesem Mann eigentlich nicht viel sagen: Mitbegründer von "Wallenstein", ergo Drummer auf mindestens zwei der wunderbarsten Krautrockalben (nämlich "Mother Universe" und "Cosmic Century"), Mitglied der legendären "Kosmischen Kuriere", Platten mit Ash Ra Temple und Klaus Schulze. Schließlich wechselt Harald Grosskopf dann von den Drums zu den Sequencern und schafft Atemberaubendes. Und nun: "Strom". Die Evokation der Elektrizität, der Virtuosität der Schaltung, die Mensch und Maschine kunstvoll verschraubt und der über ihrem Triumphzug verödeten musikalischen Digitalität entgegengestellt wird. Wer genau hinhört, der erkennt den Ingenieur hinter den Klanggebilden sogleich.
Previews:
https://www.youtube.com/watch?v=04FrqpgVbhE
https://www.youtube.com/watch?v=V8Bh4Kv3MNg More
Kaum zu glauben: Harald Grosskopf gibt es jetzt schon ein Dreivierteljahrhundert. Anlässlich seines 75. Geburtstags erscheint nicht nur im Ventil Verlag seine Autobiographie "Monsieur Séquenceu" - sondern auch endlich wieder ein neues Album vom Elektronik-Altmeister. Man muss zu diesem Mann eigentlich nicht viel sagen: Mitbegründer von "Wallenstein", ergo Drummer auf mindestens zwei der wunderbarsten Krautrockalben (nämlich "Mother Universe" und "Cosmic Century"), Mitglied der legendären "Kosmischen Kuriere", Platten mit Ash Ra Temple und Klaus Schulze. Schließlich wechselt Harald Grosskopf dann von den Drums zu den Sequencern und schafft Atemberaubendes. Und nun: "Strom". Die Evokation der Elektrizität, der Virtuosität der Schaltung, die Mensch und Maschine kunstvoll verschraubt und der über ihrem Triumphzug verödeten musikalischen Digitalität entgegengestellt wird. Wer genau hinhört, der erkennt den Ingenieur hinter den Klanggebilden sogleich.
Previews:
https://www.youtube.com/watch?v=04FrqpgVbhE
https://www.youtube.com/watch?v=V8Bh4Kv3MNg More
1
Tolouse Low Trax - Subghosts (Tolouse Low Trax Rework)
2
Tolouse Low Trax - A Song And A Photo Novela (Simo Cell 'Fabulous Santa' Edit)
3
Tolouse Low Trax - Dawn Is Temporal (Beat Detectives Dawn Redub)
4
Tolouse Low Trax - Milk In Water (Grim Lusk's Dub Version)
5
Tolouse Low Trax - Rushing Into Water (Joakim's Elemental Edit)
6
Tolouse Low Trax - Tristeros Empire (Ido Plumes Blazer Quest Mix)
7
Tolouse Low Trax - Make Friends (Froid Dub Rework)
Parisian-by-choice Detlef Weinrich aka Tolouse Low Trax turns the page again. Always willing for a new episode, notion, impulse, idea, ideal. Searching for some light out there. Now Kiosque Versions, a compilation compiled by himself, featuring seven edits by friends and treasured artists. They renew some rare TLT tunes, as well as hits, that never took the charts by storm.
More
1
Faust - For Schlaghammer
2
Faust - Künstliche Intelligenz
3
Faust - Sunny Night
4
Faust - Kriminelle Kur
5
Faust - Die 5. Revolution
6
Faust - Kratie
After dipping into the archive to deliver a series of essential reissues, Bureau B continue to encourage the chaotic brilliance of Faust with an LP of brand new music curated by originator Zappi Diermaier and a band of musical friends, including fellow founder Gunther Wüsthoff. Over the years Faust has become many things, each as separate as the fingers, but as together as the hand which makes up their eponymous fist. From 1971 to 1974 the Hamburg band blazed a bold sonic trail, helping to create the distinct and delirious strand of German music we"ve come to know as Krautrock. Uncompromising, innovative and experimental, their releases in that period, and the stories accompanying their creation, are nothing short of legendary, and the fact that after a hiatus, the band returned and remained active in a variety of separate and simultaneous incarnations is entirely fitting for these musical revolutionaries. On Blickwinkel, Diermaier"s incarnation embrace synchronicity and chance in order to capture the moment in a six track snapshot of industrial churn, unsettling ambience and psychedelic motorik.
More
1
Heiko Maile + Julian Demarre - Patience
2
Heiko Maile + Julian Demarre - Reflection (Dark Horses)
3
Heiko Maile + Julian Demarre - Number Stations
4
Heiko Maile + Julian Demarre - Serengeti Ostinato
5
Heiko Maile + Julian Demarre - Universal Universe
6
Heiko Maile + Julian Demarre - Helios
7
Heiko Maile + Julian Demarre - Melancholia
8
Heiko Maile + Julian Demarre - Between Trees
9
Heiko Maile + Julian Demarre - Hollow Earth
10
Heiko Maile + Julian Demarre - Eternal Drift
Tip!
"Like everyone else in 2020, all of a sudden we found ourselves in the midst of a global pandemic and weeks of isolation at home, and so NEOSTALGIA also serves as our personal Corona diary. We got interrupted in between by film projects, so it took a little longer to get to the finish line. Which makes us all the happier today to finally hold this album in our hands." - Heiko Maile + Julian Demarre More
"Like everyone else in 2020, all of a sudden we found ourselves in the midst of a global pandemic and weeks of isolation at home, and so NEOSTALGIA also serves as our personal Corona diary. We got interrupted in between by film projects, so it took a little longer to get to the finish line. Which makes us all the happier today to finally hold this album in our hands." - Heiko Maile + Julian Demarre More
1
Jimi Tenor - Theme Sax
2
Jimi Tenor - Crazy Hammond
3
Jimi Tenor - Union Ave
4
Jimi Tenor - Take Me Baby
5
Jimi Tenor - Matti B
6
Jimi Tenor - Teräsmies
7
Jimi Tenor - Voimamies
8
Jimi Tenor - Travelin Dem Spaceways
Sähkömies is Jimi Tenor's solo debut from his NYC period in early 90's. Sähkömies (Electrician) is a mixture of great melodies embedded to Tenor's first ideas of his SunRa-flavoured jazz tableau. The album is combining Tenor's smokey sax with lo-fi electronics and experimentations with techno synths like Roland 303&606.
More
1
Jimi Tenor - Theme Sax
2
Jimi Tenor - Crazy Hammond
3
Jimi Tenor - Union Ave
4
Jimi Tenor - Take Me Baby
5
Jimi Tenor - Matti B
6
Jimi Tenor - Teräsmies
7
Jimi Tenor - Voimamies
8
Jimi Tenor - Travelin Dem Spaceways
Limited Clear Vinyl!
Sähkömies is Jimi Tenor's solo debut from his NYC period in early 90's. Sähkömies (Electrician) is a mixture of great melodies embedded to Tenor's first ideas of his SunRa-flavoured jazz tableau. The album is combining Tenor's smokey sax with lo-fi electronics and experimentations with techno synths like Roland 303&606. More
Sähkömies is Jimi Tenor's solo debut from his NYC period in early 90's. Sähkömies (Electrician) is a mixture of great melodies embedded to Tenor's first ideas of his SunRa-flavoured jazz tableau. The album is combining Tenor's smokey sax with lo-fi electronics and experimentations with techno synths like Roland 303&606. More
1
Supersempfft - Roboterwerke
2
Supersempfft - We Found It Out
3
Supersempfft - Fantasia
4
Supersempfft - Pipedreams On A Lilypad
5
Supersempfft - Let's Beam Him Up
6
Supersempfft - I'm Gonna Make You Big
7
Supersempfft - Be A Man You Frog
8
Supersempfft - Supersempfft
9
Supersempfft - Out Of Time
10
Supersempfft - The Best Thing Is To Get High
Nachdem 2023 der technotropische Pop von Supersempfft durch die Wiederveröffentlichung der zweiten LP "Metaluna" (1981) vorgestellt wurde, beamt sich das Hamburger Label Bureau B 2024 ein paar Jahre zurück, um mit "Roboterwerke" (1979) das herausragende Debüt der Hessener Band zu präsentieren. Das kollaborative Vehikel karrt durch den Kosmos wie ein Hochleistungsclownsauto, das gewagte Akkordprogressionen, technische Innovationen und einen Haufen Hooks hinter seinem Cartoon-Chassis verbirgt und die glücklichen Hörer*innen mit auf seine Spritztour nimmt.
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1
Cluster - Hollywood
2
Cluster - Caramel
3
Cluster - Rote Riki
4
Cluster - Rosa
5
Cluster - Caramba
6
Cluster - Fotschi Tong
7
Cluster - James
8
Cluster - Marzipan
9
Cluster - Rotor
10
Cluster - Heiße Lippen
Limited Anniversary Edition: 180g vinyl, hand numbered, 1000 copies available!
In 1974, Cluster entered the sugar era. This doesn"t mean that they had finally arrived in their promised land, but they had simply moved from Berlin to the country, to a small place called Forst on the river Weser. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit ("sugar era") launched a revolution for Cluster. More
In 1974, Cluster entered the sugar era. This doesn"t mean that they had finally arrived in their promised land, but they had simply moved from Berlin to the country, to a small place called Forst on the river Weser. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit ("sugar era") launched a revolution for Cluster. More
1
Conrad Schnitzler - Die Rebellen Haben Sich In Den Bergen Versteckt
2
Conrad Schnitzler - Jupiter
Limited Anniversary Edition: embossed, reverse board, hand numbered, limited edition blue vinyl, 500 copies available!
Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany"s electronic music avant-garde. A student of Beuys, he founded Berlin"s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The blue album ("Blau") from 1974 was Schnitzler"s second solo LP More
Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany"s electronic music avant-garde. A student of Beuys, he founded Berlin"s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The blue album ("Blau") from 1974 was Schnitzler"s second solo LP More
1
Ja, Panik - Lost
2
Ja, Panik - Mama Made This Boy
3
Ja, Panik - Kung Fu Fighter
4
Ja, Panik - Dream 12059
5
Ja, Panik - Hey Reina
6
Ja, Panik - Teuferl
7
Ja, Panik - Changes
8
Ja, Panik - Facism Is Invisible (Why Not You?)
9
Ja, Panik - Die Angst Des Archivars Vor Der Sichtung Der Welt
10
Ja, Panik - Every Sun That Shines
11
Ja, Panik - Ushuaia
Ja, Panik sind zurück! Während das letzte, experimentellforschende und in viele Richtungen mäandernde Pop-Album "Die Gruppe Ja, Panik" (2021) ihr überraschendes Comeback nach siebenjähriger Kreativpause markierte, ist "Don"t play with the rich kids" nun so etwas wie ihre Rückkehr als RockBand. Als die Gang aus dem Burgenland, die sich spätestens seit "The Angst And The Money" (2009) in unser aller Herzen gespielt hat. Wir sehen Stefan Pabst, Sebastian Janata, Laura Landergott und Andreas Spechtl auf dem Cover-Foto sanft umhüllt von einem Tuch am Strand von Nirgendwo. Es hält die Band nach innen zusammen und weist gleichzeitig eine klare Grenze nach außen: Wir sind hier, und Du bist da! Und es scheint nahezu unmöglich, in diesen inner circle hineinzukommen. Eleganter lässt sich das weltweit grassierende Klassismus-Problem wohl kaum darstellen. wohl auch irgendwann einmal mit auf den Weg gegeben. Während Ja, Panik früher das System immer wieder von innen heraus zerstören wollten, mit sehr viel Glam und lustvoll vorgetragener Autoaggression, haben sie ihre Marke noch einmal gründlich relaunched, um es im Werbe-Sprech der 90er-Jahre zu formulieren. Ihr Nihilismus made in Austria als Grundgefühl ist immer noch wichtiger Markenkern, aber er wird nun wesentlich reflektierter vorgetragen. Und das inzwischen ganz selbstverständliche Mitverhandeln der eigenen Privilegien scheint die Band in ihren neuen Songs regelrecht zu beflügeln. Denn diese Rich Kids sind schließlich auch sie selbst. Davon lässt sich selbstbewusst erzählen. Wobei das natürlich unbedingt im globalen Maßstab zu sehen ist. Wir alle wissen, was eine vierköpfige, linkspolitische Indie-Rock-Band zwischen Berlin und Wien mit ihrer Musik so verdient. Und auch wenn laut Spechtl nach wie vor "1.000 Kämpfe in seinem Körper kämpfen", von denen er nach eigener Feststellung keinen einzigen je gewinnen kann, scheint ihm seine neue Rolle als Zen-Rocker und selbsternannter Kung-Fu-Fighter umgeben von seinen alten Bandkolleg:innen in ausgezeichneter Form sehr gut zu tun. Tja, viele Menschen in ihrem Alter besitzen inzwischen ein Haus in Brandenburg oder eine Eigentumswohnung in Berlin, aber wer kann sich schon Mitglied der Gruppe Ja, Panik nennen? Kulturelles Kapital, von dem viele Menschen nicht mal zu träumen wagen.
More
1
Kreidler - Polaris
2
Kreidler - Tanger Telex
3
Kreidler - Diver
4
Kreidler - Loisaida Sister
5
Kreidler - Arithmétique
6
Kreidler - Hands
7
Kreidler - Hopscotch
8
Kreidler - Mount Mason
9
Kreidler - Kandili
Kreidlers siebte Langspielplatte für Bureau B ist eine Affaire elektronischer Popmusik genährt in Jetztzeit-Clubs und wurzelnd in rheinischem Kraut, britischem Post-Punk (mit einem Hauch NYC und Brüssel) und internationaler Polyrhythmik. Im dreißigsten Jahr der Bandgeschichte hat "Düsseldorfs zweitberühmteste Band" (Boomkat) auf Twists (a visitor arrives) auf vier von neun Stücken mit den Gästen Khan Of Finland, Maxim Bosch, Natalie Beridze und Timuçin Dündar zusammengearbeitet; die Covergestaltung legten sie in die Hände von Fette Sans.
More
1
Moebius - Contramio
2
Moebius - Hasenheide
3
Moebius - Rattenwiesel
4
Moebius - Transport
5
Moebius - Etwas
6
Moebius - Nervös
7
Moebius - B 36
8
Moebius - Furbo
9
Moebius - Sinister
10
Moebius - Immerhin
Limited to 500 handnumbered copies on red vinyl!
Dieter Moebius is one of the most important protagonists of avant-garde electronic music in Germany (He is/was part of Cluster and Harmonia). "Tonspuren" dates back to 1983 and was his first solo album. It features meticulously fabricated pearls of electronic music with a sense of pop melody. More
Dieter Moebius is one of the most important protagonists of avant-garde electronic music in Germany (He is/was part of Cluster and Harmonia). "Tonspuren" dates back to 1983 and was his first solo album. It features meticulously fabricated pearls of electronic music with a sense of pop melody. More
1
Conrad Schnitzler - Meditation
2
Conrad Schnitzler - Krautrock
Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany"s electronic music avant-garde. A student of Beuys, he founded Berlin"s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The red album ("Rot") from 1973 was Schnitzler"s first solo LP.
More
Im Schatten von Neo-Kraut und Diskurs-Pop wuchs in den letzten 10 Jahren im Unterholz deutscher Klangtopographien fast unbemerkt ein sonderbares Myzel aus dem Boden. Aus diesem unterirdischen Geflecht treten eine Handvoll Projekte mit so geheimnisvollen und poetischen Namen wie Brannten Schnüre, Baldruin, Kirschstein, Freundliche Kreisel und Balint Brösel hervor. Die Compilation "Gespensterland" archiviert und anthologisiert erstmalig ihre magischen Arbeiten, die an der Grenze zwischen Folklore, experimenteller Elektronik und (Alb- )Traum operieren und besitzt als Zeitdokument schon jetzt das Potential, die Strahlkraft von Kultsamplern wie etwa Pordenones "The Great Complotto" zu entwickeln
TRACKLIST
1.1 Freundliche Kreisel - Gespensterland
1.2 Kirschstein - Komet über Sch(r)attenberg
1.3 Baldruin - Reich der Illusionen
1.4 Kirschstein - Ach, Du große Nachtmusik
1.5 Freundliche Kreisel - Abbild
1.6 Baldruin - Elektrische Kräuter
1.7 Kirschstein - Futura Narkotica
1.8 Brannten Schnüre - Ich versäum' doch nichts
1.9 Kirschstein - Mouches Volantes oder die tanzenden Mücke
1.10 Kirschstein - Gold der Liebe
1.11 Brannten Schnüre - Supermarkt
1.12 Freundliche Kreisel - Spannung
1.13 Baldruin - In heimlichen Winkeln
1.14 Balint Brösel & Brannten Schnüre - Disco
1.15 Freundliche Kreisel - Entwirklichung More
TRACKLIST
1.1 Freundliche Kreisel - Gespensterland
1.2 Kirschstein - Komet über Sch(r)attenberg
1.3 Baldruin - Reich der Illusionen
1.4 Kirschstein - Ach, Du große Nachtmusik
1.5 Freundliche Kreisel - Abbild
1.6 Baldruin - Elektrische Kräuter
1.7 Kirschstein - Futura Narkotica
1.8 Brannten Schnüre - Ich versäum' doch nichts
1.9 Kirschstein - Mouches Volantes oder die tanzenden Mücke
1.10 Kirschstein - Gold der Liebe
1.11 Brannten Schnüre - Supermarkt
1.12 Freundliche Kreisel - Spannung
1.13 Baldruin - In heimlichen Winkeln
1.14 Balint Brösel & Brannten Schnüre - Disco
1.15 Freundliche Kreisel - Entwirklichung More
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Anarcho Punk was the one sub-genre of Punk that emerged in isolation from the rock & roll establishment. During its pioneering days of the early 1980s it thrived in opposition to the music industry, existing as a fiercely underground alternative to the bands, labels and venues of the commercialised mainstream Punk scene. It continues to do so. Anarcho Punk represented one of the last truly underground and autonomous music movements ever witnessed and remains a movement that has never sold out and has never gone away.
The major differentiation between the Anarcho Punk acts and the more traditional Punk outfits was that for the former, albeit often more due to musical limitation than intent, the message was more important than the music. Standard song structures were often dispersed with in favour of a relentless lyrical polemic accompanied by a similarly uncompromising aural assault. As the scene grew, so did the diversity of records that emerged under the Anarcho Punk umbrella: from D & V (drums & vocals) to the proto-EBM synth-pop of Belfast’s one-man Hit Parade and the Dadaist Beefheart hybrid of The Cravats. In later days the two biggest acts of the scene, Flux of Pink Indians and Crass themselves, both released LPs which had more in common with improv Jazz than hardcore punk.
The resounding victory of Anarcho Punk is that it is now a the unifying soundtrack to a culture of resistance that spans Scotland to Indonesia and remains without compromise. It is still as removed from mainstream music and oppositional to conventional culture as it was over forty years ago and shows no sign of changing. Quite the opposite: the more popular Anarcho Punk becomes the less it has to engage with the music establishment and the more control it can enjoy. In 2023, that message remains as uncompromising as ever.
This is a double vinyl retrospective compilation of some of the most radical music ever made, a musical force that changed lives. Covering the years 1979 - 86 and including classic tracks from Crass, Poison Girls, Flux Of Pink Indians, The Mob, Zounds, Annie Anxiety, The Ex, ATV plus 10 more, all newly remastered by iconic Punk mastering engineer Daniel Husayn. It has been lovingly compiled by JD Twitch and Anarcho legend Chris Low and was ten years in the making. There are also a couple of previously unreleased mixes included. It comes as a high quality double vinyl pressing, and has a full colour sleeve with back and front images designed by the legendary Gee Vaucher. It also comes with a 6 page fold out poster on one side with detailed sleeve notes, recollections and essays on the other side.
The compilation is a fundraiser for Faslane Peace Camp. Not so far from Glasgow Faslane Naval Base is home to Britain's abhorrent Trident nuclear missiles. The camp has been there, protesting since 1982 and is still active to this day. We hope in our lifetime we will see those missiles leave Scottish soil. We have so much respect for those who have dedicated their lives to protesting these weapons and it seemed an obvious choice that the proceeds from this release should go to help them, and the Scottish Campaign for Nuclear Disarmament. More
The major differentiation between the Anarcho Punk acts and the more traditional Punk outfits was that for the former, albeit often more due to musical limitation than intent, the message was more important than the music. Standard song structures were often dispersed with in favour of a relentless lyrical polemic accompanied by a similarly uncompromising aural assault. As the scene grew, so did the diversity of records that emerged under the Anarcho Punk umbrella: from D & V (drums & vocals) to the proto-EBM synth-pop of Belfast’s one-man Hit Parade and the Dadaist Beefheart hybrid of The Cravats. In later days the two biggest acts of the scene, Flux of Pink Indians and Crass themselves, both released LPs which had more in common with improv Jazz than hardcore punk.
The resounding victory of Anarcho Punk is that it is now a the unifying soundtrack to a culture of resistance that spans Scotland to Indonesia and remains without compromise. It is still as removed from mainstream music and oppositional to conventional culture as it was over forty years ago and shows no sign of changing. Quite the opposite: the more popular Anarcho Punk becomes the less it has to engage with the music establishment and the more control it can enjoy. In 2023, that message remains as uncompromising as ever.
This is a double vinyl retrospective compilation of some of the most radical music ever made, a musical force that changed lives. Covering the years 1979 - 86 and including classic tracks from Crass, Poison Girls, Flux Of Pink Indians, The Mob, Zounds, Annie Anxiety, The Ex, ATV plus 10 more, all newly remastered by iconic Punk mastering engineer Daniel Husayn. It has been lovingly compiled by JD Twitch and Anarcho legend Chris Low and was ten years in the making. There are also a couple of previously unreleased mixes included. It comes as a high quality double vinyl pressing, and has a full colour sleeve with back and front images designed by the legendary Gee Vaucher. It also comes with a 6 page fold out poster on one side with detailed sleeve notes, recollections and essays on the other side.
The compilation is a fundraiser for Faslane Peace Camp. Not so far from Glasgow Faslane Naval Base is home to Britain's abhorrent Trident nuclear missiles. The camp has been there, protesting since 1982 and is still active to this day. We hope in our lifetime we will see those missiles leave Scottish soil. We have so much respect for those who have dedicated their lives to protesting these weapons and it seemed an obvious choice that the proceeds from this release should go to help them, and the Scottish Campaign for Nuclear Disarmament. More
1
NO MORE - Suicide Commando
2
NO MORE - In A White Room
Format: 7" / 1000 copies, purple vinyl, additional stamp on label
Tracklist
A1: Suicide Commando
B1: In A White Room
File under: PostPunk / Wave
Release Info:
The year is 1981. The Kiel-based PostPunk / Wave underground outfit NO MORE releases their second ever single „Suicide Commando“ and their world changes forever. Well, not only their world – THE world.
What began as an independently published 7“ single became a cult classic, a genre defining – and defying – song, an all-time dancefloor favorite of many, a timeless signature piece that escaped its original realm of PostPunk x Wave x Indie x Alternative to also become engrained
in the DNA of modern electronic dancefloor culture most prominently in the beloved late 90s permutation presented by DJ Hell which became a classic in its own right.
Now the year is 2021. Four decades have passed and NO MORE's „Suicide Commando“ is back once again - well... the song actually never left! -, this time harking back to the very beginning, the original vibe and the original format.
Remastered and re-released with the original tracklisting and paying homage to the original artwork „Suicide Commando“ will be available in 7“ format for the first time since 1981.
And staying true to the underground blueprint this 40th anniversary re-release edition once again is put out on the circuit through a small independent label: the Intrauterin Recordings offspring El Caballo Semental which also released NO MORE's „123456789 *baze.djunkiii
& Herr Brandt Dream A NuDream Remix“ as a limited to 200 copies one-sided, colored whitelabel 7“ edition in 2019.
More
Tracklist
A1: Suicide Commando
B1: In A White Room
File under: PostPunk / Wave
Release Info:
The year is 1981. The Kiel-based PostPunk / Wave underground outfit NO MORE releases their second ever single „Suicide Commando“ and their world changes forever. Well, not only their world – THE world.
What began as an independently published 7“ single became a cult classic, a genre defining – and defying – song, an all-time dancefloor favorite of many, a timeless signature piece that escaped its original realm of PostPunk x Wave x Indie x Alternative to also become engrained
in the DNA of modern electronic dancefloor culture most prominently in the beloved late 90s permutation presented by DJ Hell which became a classic in its own right.
Now the year is 2021. Four decades have passed and NO MORE's „Suicide Commando“ is back once again - well... the song actually never left! -, this time harking back to the very beginning, the original vibe and the original format.
Remastered and re-released with the original tracklisting and paying homage to the original artwork „Suicide Commando“ will be available in 7“ format for the first time since 1981.
And staying true to the underground blueprint this 40th anniversary re-release edition once again is put out on the circuit through a small independent label: the Intrauterin Recordings offspring El Caballo Semental which also released NO MORE's „123456789 *baze.djunkiii
& Herr Brandt Dream A NuDream Remix“ as a limited to 200 copies one-sided, colored whitelabel 7“ edition in 2019.
More
1
Läuten Der Seele - Molch, Pfütze, Schilf & Stein
2
Läuten Der Seele - Knochen, Mond, Buchstabe & Tropfen
Somewhere in the Lower-Franconian vineyards lies a hidden and mostly unknown canyon, a place that often returns to the thoughts and dreams of Läuten der Seele’s Christian Schoppik. Though a much rarer occurrence now as a consequence of environmental change, chance encounters upon the area in the past would sometimes reveal small ponds amongst the reeds, teeming with life and populated by colonies of newts and the now endangered yellow bellied toad. The transience of the water and the wildlife it hosts, dependent on season or climate, lends the area an almost fantastical, dream-like quality. Was it ever even there at all? A secret place that may or may not be present holds vast appeal to some enquiring minds… Ertrunken Im Seichtesten Gewässer, the third Läuten der Seele album in two years, is inspired directly by these experiences. Translating as ‘drowned in the shallowest stretch of water’, a title as pregnant with dread as it is wonder, the themes present speak both to personal memories and a wider understanding of place and time, and how we might interpret our own position within an ever-changing, sometimes disappearing world.
The record is presented as two long-form pieces divided into four separate movements, each titled so as to reflect this natural environment and its intersection with imagination, relying on processes of collage that draw from myriad indeterminable samples, field recordings and various recorded instruments. Those familiar with Schoppik’s work, both as Läuten der Seele and with Brannten Schnüre, will find present many of his signature tropes - the way deeply layered collages render abstracted visions of the past alive in the present - though what is always significant about his approach is not so much aesthetic as the wider concepts it attempts to express and emote. Indeed, emotional response is key to the Läuten der Seele sound, how overlapping notions of nostalgia, memory and identity calibrate experience and understanding of who we are and the world around us, whether it’s a world that’s gone or another imagined into being. If you observe the artwork closely enough, you may find a clue as to the canyon’s location, though such specifics are besides the point. The music itself infers a wider sense of the impermanence that characterises hidden worlds, wherever they might be or whoever they might belong to. More
The record is presented as two long-form pieces divided into four separate movements, each titled so as to reflect this natural environment and its intersection with imagination, relying on processes of collage that draw from myriad indeterminable samples, field recordings and various recorded instruments. Those familiar with Schoppik’s work, both as Läuten der Seele and with Brannten Schnüre, will find present many of his signature tropes - the way deeply layered collages render abstracted visions of the past alive in the present - though what is always significant about his approach is not so much aesthetic as the wider concepts it attempts to express and emote. Indeed, emotional response is key to the Läuten der Seele sound, how overlapping notions of nostalgia, memory and identity calibrate experience and understanding of who we are and the world around us, whether it’s a world that’s gone or another imagined into being. If you observe the artwork closely enough, you may find a clue as to the canyon’s location, though such specifics are besides the point. The music itself infers a wider sense of the impermanence that characterises hidden worlds, wherever they might be or whoever they might belong to. More
1
Mutabor! - No Title
2
Mutabor! - No Title
East London record shop World of Echo debuts on the other side of the counter with a reissue of Two Wishes, the solitary 12" by Anglo-German collective, Mutabor!.
This is essential stuff, reminding us here at Rubadub of New York No-Wave and early A Certain Ratio and Section 25 More
This is essential stuff, reminding us here at Rubadub of New York No-Wave and early A Certain Ratio and Section 25 More
1
Tara Clerkin Trio - Brigstow
2
Tara Clerkin Trio - World in Delay
3
Tara Clerkin Trio - Marble Walls
4
Tara Clerkin Trio - The Turning Ground
5
Tara Clerkin Trio - Once Around
Repress!
Not far off two years from the day, Bristol's Tara Clerkin Trio return to World of Echo and the EP format for a five song collection of quixotic, emotional redolence. But do not mistake their absence for inertia. If their musical output has been a little sparse during those in-between years, limited to a few solo ventures and an astonishing ten minute long piece as a trio, their time has otherwise been richly spent: continuous writing and recording, extensive live performances across Europe and Japan, a cultivation of local and more far-flung artistic connections (musical and otherwise), and a monthly NTS show that, through the voice of others, speaks most obviously to their own unorthodox interests. It's the conflux of that winding activity that leads indirectly to On The Turning Ground, 26 minutes of probing, thoughtful composition that draws from no one specific source.
Their inspirations might be centreless, but the trio still possess a very obvious anchor in the form of their hometown. Bristol stands as a city of multitudes, heterogenous and vibrant in such a way as to allow it to renew and remake time and again. Tara Clerkin Trio drink from that same well, duly reflecting a rich musical heritage built on fwd-facing electronic subcultures and experimental urges. As such, On The Turning Ground finds them subject to their own subtle internal evolution, the pervasive sense that you've caught them mid-bloom, on their way to becoming but never anything but themselves.
The two instrumental pieces that bookend the EP stand as a perfect case in point, displaying an increasing mastery of compositional space. Pensive and restrained, 'Brigstow' and 'Once Around' both emanate an interstitial quality that's not so much after- as in-between-hours, miniature dub-folk symphonies held together by the kind of tacit understanding that remains the preserve of only the closest of family units. If those two tracks are shaped by a sense of shifting temporality, then the three vocal-led pieces that comprise the record's core feel like a gentle ossifying of aesthetic into something approaching their own unique form of avant-pop. 'Pop' is, of course, a broadly subjective concept, but there's no avoiding the overt sparkling melodicism of songs like 'Marble Walls' and 'The Turning Ground', undeniable re-directions of that late 90s impulse to bend pop sensibilities into off-centre terrain, to render the familiar new again. This is what Tara Clerkin Trio do, gently pulling the ground from under your feet, turning you to face something you'd not quite seen before. To view the world as they do: sideways, sometimes, all of the time. More
Not far off two years from the day, Bristol's Tara Clerkin Trio return to World of Echo and the EP format for a five song collection of quixotic, emotional redolence. But do not mistake their absence for inertia. If their musical output has been a little sparse during those in-between years, limited to a few solo ventures and an astonishing ten minute long piece as a trio, their time has otherwise been richly spent: continuous writing and recording, extensive live performances across Europe and Japan, a cultivation of local and more far-flung artistic connections (musical and otherwise), and a monthly NTS show that, through the voice of others, speaks most obviously to their own unorthodox interests. It's the conflux of that winding activity that leads indirectly to On The Turning Ground, 26 minutes of probing, thoughtful composition that draws from no one specific source.
Their inspirations might be centreless, but the trio still possess a very obvious anchor in the form of their hometown. Bristol stands as a city of multitudes, heterogenous and vibrant in such a way as to allow it to renew and remake time and again. Tara Clerkin Trio drink from that same well, duly reflecting a rich musical heritage built on fwd-facing electronic subcultures and experimental urges. As such, On The Turning Ground finds them subject to their own subtle internal evolution, the pervasive sense that you've caught them mid-bloom, on their way to becoming but never anything but themselves.
The two instrumental pieces that bookend the EP stand as a perfect case in point, displaying an increasing mastery of compositional space. Pensive and restrained, 'Brigstow' and 'Once Around' both emanate an interstitial quality that's not so much after- as in-between-hours, miniature dub-folk symphonies held together by the kind of tacit understanding that remains the preserve of only the closest of family units. If those two tracks are shaped by a sense of shifting temporality, then the three vocal-led pieces that comprise the record's core feel like a gentle ossifying of aesthetic into something approaching their own unique form of avant-pop. 'Pop' is, of course, a broadly subjective concept, but there's no avoiding the overt sparkling melodicism of songs like 'Marble Walls' and 'The Turning Ground', undeniable re-directions of that late 90s impulse to bend pop sensibilities into off-centre terrain, to render the familiar new again. This is what Tara Clerkin Trio do, gently pulling the ground from under your feet, turning you to face something you'd not quite seen before. To view the world as they do: sideways, sometimes, all of the time. More
1
Blueboy - A1. Clearer
2
Blueboy - A2. Alison
3
Blueboy - A3. Popkiss
4
Blueboy - A4. Chelsea Guitar
5
Blueboy - A5. Fearon
6
Blueboy - B1. Meet Johnny Rave
7
Blueboy - B2. Elle/Air France
8
Blueboy - B3. Try Happiness
9
Blueboy - B4. A Gentle Sigh
10
Blueboy - B5. Stephanie
11
Blueboy - C1. River
12
Blueboy - C2. Nimbus
13
Blueboy - C3. Hit
14
Blueboy - C4. Dirty Mags
15
Blueboy - C5. Loony Tunes
16
Blueboy - D1. Toulouse
17
Blueboy - D2. Love Yourself
18
Blueboy - D3. Melancholia
19
Blueboy - D4. Marco Polo
20
Blueboy - D5. What Do People Do All Day?
2LP Gatefold sleeve, Artwork Insert, Postcard
A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.
Tracklist
A1 Clearer
A2 Alison
A3 Popkiss
A4 Chelsea Guitar
A5 Fearon
B1 Meet Johnny Rave
B2 Elle/Air France
B3 Try Happiness
B4 A Gentle Sigh
B5 Stephanie
C1 River
C2 Nimbus
C3 Hit
C4 Dirty Mags
C5 Loony Tunes
D1 Toulouse
D2 Love Yourself
D3 Melancholia
D4 Marco Polo
D5 What Do People Do All Day?
Shortinfo:
"One Sunday afternoon in 1990, I had a phone call from Keith saying that Sarah Records had received the demo cassette the two of us had recorded on a 4-track in a friend's shed and were interested in putting out two of the songs as a single. They were Clearer and Alison. Delighted by this news, we booked some recording time with a studio we'd regularly used in our previous incarnation as Feverfew, the White House in Weston-super-Mare. This was the first time we'd ever played a note of music that was using someone else's money, so the pressure was being felt. We recorded Clearer, Fearon and Chelsea Guitar, with Clearer becoming Sarah 55, the first of eight singles for the band across two labels. At that time, we were still toying with a name for ourselves and had settled with the Art Bunnies. While driving us back home from Weston, though, I declared that I really couldn't see how people would take us seriously with a name like that. Disappointed, Keith (Girdler) then got out a piece of paper upon which he'd written several other contenders. These included Opal Trumpet, the Smiling Monarchs and (thankfully) Blueboy."
A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.
More
A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.
Tracklist
A1 Clearer
A2 Alison
A3 Popkiss
A4 Chelsea Guitar
A5 Fearon
B1 Meet Johnny Rave
B2 Elle/Air France
B3 Try Happiness
B4 A Gentle Sigh
B5 Stephanie
C1 River
C2 Nimbus
C3 Hit
C4 Dirty Mags
C5 Loony Tunes
D1 Toulouse
D2 Love Yourself
D3 Melancholia
D4 Marco Polo
D5 What Do People Do All Day?
Shortinfo:
"One Sunday afternoon in 1990, I had a phone call from Keith saying that Sarah Records had received the demo cassette the two of us had recorded on a 4-track in a friend's shed and were interested in putting out two of the songs as a single. They were Clearer and Alison. Delighted by this news, we booked some recording time with a studio we'd regularly used in our previous incarnation as Feverfew, the White House in Weston-super-Mare. This was the first time we'd ever played a note of music that was using someone else's money, so the pressure was being felt. We recorded Clearer, Fearon and Chelsea Guitar, with Clearer becoming Sarah 55, the first of eight singles for the band across two labels. At that time, we were still toying with a name for ourselves and had settled with the Art Bunnies. While driving us back home from Weston, though, I declared that I really couldn't see how people would take us seriously with a name like that. Disappointed, Keith (Girdler) then got out a piece of paper upon which he'd written several other contenders. These included Opal Trumpet, the Smiling Monarchs and (thankfully) Blueboy."
A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.
More
1
Liaisons Dangereuses - Mystère Dans Le Brouillard
2
Liaisons Dangereuses - Los Niños Del Parque
3
Liaisons Dangereuses - Etre Assis Ou Danser
4
Liaisons Dangereuses - Aperitif De La Mort
5
Liaisons Dangereuses - Kess Kill Fé Show
6
Liaisons Dangereuses - Peut Être ... Pas
7
Liaisons Dangereuses - Avant-Après Mars
8
Liaisons Dangereuses - El Macho Y La Nena
9
Liaisons Dangereuses - Dupont
10
Liaisons Dangereuses - Liaisons Dangereuses
A milestone in electronic music, is finally receiving its well-deserved re-release: Liaisons Dangereuses’ legendary self-titled debut album still fascinates today, through its innovative sound and the mystery encompassing it. Since its release in 1981, it has become a classic in electronic music. The 10 electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) – reinforced by Krishna Goineau’s French and Spanish Speech-Attack-Lyrics – created a unique style. The album – anything other than a Berlin or Düsseldorf ‘thing’ – was propelled to an international favourite. Songs such as “Peut Être... Pas” and “Los Niños Del Parque” played a decisive role in the development of Detroit and Chicago’s house sound, as well as various forms of European techno.
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
Non Exclsuive LP
1. Absolute Power
2. Earth Girls
3. Fearless Like A Child
4. Kids Today
5. Intermezzo X – Wheel Of Fortune
6. Sweet Smell Of Success
7. Obnoxiously Talented
8. Avoid Heaven
9. Take Me To Your Leader
10. They Will Pay
11. Pompeii
“The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin
prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“
Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme
is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering
solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of
the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.
Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the
centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to
grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar
Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career.
“Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls
has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness
bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his
prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the
female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator
surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to
learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I
feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in
places like Texas, it’s simultaneously angry and full of love.
Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the
eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s
shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it,
this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power
and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's
an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of
encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll
call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s
even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a
method of upending the power structures who need things to be perfect.
They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk
pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect
in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith,
or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the
heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of
Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning
small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of
jewels, it might be the shining star.
Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love More
1. Absolute Power
2. Earth Girls
3. Fearless Like A Child
4. Kids Today
5. Intermezzo X – Wheel Of Fortune
6. Sweet Smell Of Success
7. Obnoxiously Talented
8. Avoid Heaven
9. Take Me To Your Leader
10. They Will Pay
11. Pompeii
“The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin
prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“
Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme
is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering
solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of
the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.
Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the
centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to
grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar
Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career.
“Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls
has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness
bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his
prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the
female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator
surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to
learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I
feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in
places like Texas, it’s simultaneously angry and full of love.
Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the
eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s
shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it,
this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power
and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's
an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of
encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll
call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s
even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a
method of upending the power structures who need things to be perfect.
They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk
pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect
in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith,
or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the
heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of
Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning
small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of
jewels, it might be the shining star.
Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love More
2 LP
Nada! is the third studio album by English neofolk band Death in June. It was released on 12 October 1985 through record label New European Recordings.
Tracklist
A1 The Honour Of Silence
A2 The Calling (Mk II)
A3 Leper Lord
A4 Rain Of Despair
A5 Foretold
B1 Behind The Rose (Fields Of Rape)
B2 She Said Destroy
B3 Carousel
B4 C'est Un Rêve
B5 Crush My Love
C1 Last Farewell
C2 The Torture Garden
C3 Doubt To Nothing
C4 The Calling
D1 Born Again
D2 Carousel (Bolt Mix)
More
Nada! is the third studio album by English neofolk band Death in June. It was released on 12 October 1985 through record label New European Recordings.
Tracklist
A1 The Honour Of Silence
A2 The Calling (Mk II)
A3 Leper Lord
A4 Rain Of Despair
A5 Foretold
B1 Behind The Rose (Fields Of Rape)
B2 She Said Destroy
B3 Carousel
B4 C'est Un Rêve
B5 Crush My Love
C1 Last Farewell
C2 The Torture Garden
C3 Doubt To Nothing
C4 The Calling
D1 Born Again
D2 Carousel (Bolt Mix)
More
1
Tara Clerkin Trio - Done Before
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Tara Clerkin Trio - Night Steps
3
Tara Clerkin Trio - Memory
4
Tara Clerkin Trio - In Spring
Repress!
In spring,
Again.
But it's true this time.
In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.
If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.
Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.
"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel More
In spring,
Again.
But it's true this time.
In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.
If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.
Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.
"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel More
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
Non Exclsuive LP (Yelllow Vinyl)
DBL Gatefold LP w/ MP3, Galaxy Vinyl (Clear with Black smoke detail) &
Edition of 1000
2021 Vinyl aRepress, to co-incide with Molly Nilsson's new studio album and reissues of The Travels and Europa. First time this edition has been on CD
It would be easy to say that Molly Nilsson needs no introduction, but These Things Take Time is an introduction. Originally self-released in 2008 on a limited CDR run with hand-folded sleeve, Nilsson's debut album has slowly taken over the hearts of many. In 2014 this modern classic of autonomous, DIY pop and punk-as-you-like attitude is presented on vinyl for the first time in a beautiful edition featuring unreleased bonus tracks across two discs, an exclusive screen printed A2 poster and new sleeve notes from the artist.
Molly Nilsson's first recordings under her own name have grown in stature to occupy a prominent positioning in the global pop underground despite initially only being available on CDr. Though Nilsson's songwriting prowess and commandeering of other genres has grown since 2008, her unique voice is seen in raw form on These Things Take Time. Many of the themes she would develop later were inked first here: the romance of loneliness on "The Lonely," "Whisky Sour," "Hey Moon!", the folly and intoxication of youth seen in "Joyride," "Poisoned Candy" and dogged self-reliance as on "The Diamond Song" or "Wounds Itch When They Heal." Also included here are unreleased recordings from the same period that were left off the original release, a further window into a turbulent, exciting time for an artist just discovering her power to touch and communicate with the listener.
These Things Take Time tracklist:
A1 The Lonely
A2 The Diamond Song
A3 8000 Days
A4 Wounds Itch When They Heal
B1 Whiskey Sour
B2 Poisoned Candy
B3 (Won't Somebody) Take Me Out Tonight
B4 Hey Moon!
C1 The Home Song
C2 Joyride
C3 We're Never Coming Home
C4 Dinosaur Tears
C5 My Dream From Last Night
D1 Zur Tränen Bar
D2 Lend Me Your Love
D3 Some Need Powder
D4 Nightlife
More
DBL Gatefold LP w/ MP3, Galaxy Vinyl (Clear with Black smoke detail) &
Edition of 1000
2021 Vinyl aRepress, to co-incide with Molly Nilsson's new studio album and reissues of The Travels and Europa. First time this edition has been on CD
It would be easy to say that Molly Nilsson needs no introduction, but These Things Take Time is an introduction. Originally self-released in 2008 on a limited CDR run with hand-folded sleeve, Nilsson's debut album has slowly taken over the hearts of many. In 2014 this modern classic of autonomous, DIY pop and punk-as-you-like attitude is presented on vinyl for the first time in a beautiful edition featuring unreleased bonus tracks across two discs, an exclusive screen printed A2 poster and new sleeve notes from the artist.
Molly Nilsson's first recordings under her own name have grown in stature to occupy a prominent positioning in the global pop underground despite initially only being available on CDr. Though Nilsson's songwriting prowess and commandeering of other genres has grown since 2008, her unique voice is seen in raw form on These Things Take Time. Many of the themes she would develop later were inked first here: the romance of loneliness on "The Lonely," "Whisky Sour," "Hey Moon!", the folly and intoxication of youth seen in "Joyride," "Poisoned Candy" and dogged self-reliance as on "The Diamond Song" or "Wounds Itch When They Heal." Also included here are unreleased recordings from the same period that were left off the original release, a further window into a turbulent, exciting time for an artist just discovering her power to touch and communicate with the listener.
These Things Take Time tracklist:
A1 The Lonely
A2 The Diamond Song
A3 8000 Days
A4 Wounds Itch When They Heal
B1 Whiskey Sour
B2 Poisoned Candy
B3 (Won't Somebody) Take Me Out Tonight
B4 Hey Moon!
C1 The Home Song
C2 Joyride
C3 We're Never Coming Home
C4 Dinosaur Tears
C5 My Dream From Last Night
D1 Zur Tränen Bar
D2 Lend Me Your Love
D3 Some Need Powder
D4 Nightlife
More
"Mannequin Records and Platform 23 come together to start a series of stand-alone reissues of the music of post-punk / industrialists Bourbonese Qualk, starting with their 1983 album Laughing Afternoon.
Formed in Southport during the late-70s, the band came to prominence out of South London's squat scene via their own Recloose Organisation. Early releases including the band's first experiments put to tape and the now highly sought after Sudden Departure compilation featuring luminaries Colin Potter, Eg Oblique Graph (Bryan Jones) and Lol Coxhill, laid the foundations of their burgeoning sound.
Recorded and produced at the Recloose Studios in Camberwell in 1983, Simon Crab, Julian Gilbert and Steven Tanza infused their music with politically charged atmospherics, instrumental exploration, heavily laden reverb and dub, all projected by drum machine rhythms to assemble a musical collage which encapsulated strands beyond contemporary music.
Track titles decipher little, as with the music, a discourse not belonging to a set style or movement, but crossing boundaries of supposition, pushing distortion and outernational leanings towards something else, a primordial discant.
While tape loops warp the ears and spoken vocals propel songs like Blood Orange Bargain Day and To Hell With The Consequences and contrasting guitar acoustics pierce the mood on Qualk Street and Spanner In The Works, the overall embrace is claustrophobic, embedding a foreboding for the times. This unique, indulgent, cross genre melting pot where pounding rhythms, wailing trumpets, mournful melodica and electronic pulses all spiral in a contagious dissonance that heralded Bourbonese Qualk to the wider world. More
Formed in Southport during the late-70s, the band came to prominence out of South London's squat scene via their own Recloose Organisation. Early releases including the band's first experiments put to tape and the now highly sought after Sudden Departure compilation featuring luminaries Colin Potter, Eg Oblique Graph (Bryan Jones) and Lol Coxhill, laid the foundations of their burgeoning sound.
Recorded and produced at the Recloose Studios in Camberwell in 1983, Simon Crab, Julian Gilbert and Steven Tanza infused their music with politically charged atmospherics, instrumental exploration, heavily laden reverb and dub, all projected by drum machine rhythms to assemble a musical collage which encapsulated strands beyond contemporary music.
Track titles decipher little, as with the music, a discourse not belonging to a set style or movement, but crossing boundaries of supposition, pushing distortion and outernational leanings towards something else, a primordial discant.
While tape loops warp the ears and spoken vocals propel songs like Blood Orange Bargain Day and To Hell With The Consequences and contrasting guitar acoustics pierce the mood on Qualk Street and Spanner In The Works, the overall embrace is claustrophobic, embedding a foreboding for the times. This unique, indulgent, cross genre melting pot where pounding rhythms, wailing trumpets, mournful melodica and electronic pulses all spiral in a contagious dissonance that heralded Bourbonese Qualk to the wider world. More