Territories: WORLD EXCL FRANCE

Tracklist CD :
1_The Key To The Exit - 06:36
2_Each day - 05:40
3_Six as oil - 06:05
4_Complain - 05:03
5_Violence for free - 06:15
6_Naive - 08:40
7_Pre Island - 06:13

Short Info:

Building off of the themes of identity, storytelling and experimentation on her critically acclaimed debut album, Khonnar (2018), Deena Abdelwahed’s upcoming album Jbal Rrsas is the next chapter of a reimagining of what club music could be. The album spans seven tracks of bass, techno, and experimental music, with Abdelwahed consulting with masterminds like Tunisian composer and multi-instrumentalist Khalil Hentati, aka Khalil Epi, and Iraqi-British multi-instrumentalist, composer, and researcher Khyam Allami, as well as Egyptian mastering engineer Heba Kadry, to help realise her vision.

Jbal Rrsas starts with the seductively apocalyptic opener, The Key to the Exit, a deconstructed sha’bi production. With tracks like Six as Oil and the delightfully intense Violence for Free, Abdelwahed leads users to a desert rave, where industrial rhythms are left unbridled. Abdelwahed’s vocals on Complain and Pre-Island are powerful and exposed, confidently placed on dizzying avant-garde productions. The Wire previously said “[Khonnar is] an assured debut that sits on the edge of a whole swathe of possibilities, not only sonic but also geographical, social and political.” With Jbal Rrsas finds Abdelwahed deftly navigating through those possibilities, frequently pushing against genres, labels, and social identifiers, while elevating club music to otherworldly heights.


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DE - 22113 Hamburg
Germany
Contact: [email protected]More

2023 Re Issue

Territories : World excl. FR

TRACKLISTING LP

01- Saratan - 03:42
02- Ababab - 05:40
03- Tawa - 03:53
04- Fdhiha - 05:51
05- Ken Skett… - 05:12
06- Al Hobb Al Mouharreb - 05:37
07- 5/5 - 04:40
08- A Scream In The Consciousness - 07:01
09- Rabbouni - 02:45


Deena Abdelwahed's first album is shifting the epicenter of contemporary electronic music south: "Khonnar" will be released on November 16, 2018 by InFiné.

Pronounced "Ronnar" (an essential detail so as to avoid facile misinterpretation by French-speakers) it is a term that makes the most of Tunisia's cultural and linguistic spectrum. It evokes the dark, shameful and disturbing side of things, the one we usually seek to hide, but which Deena instead sticks our noses in with her debut. It is a testament to Deena's coming into her own as a world citizen, and as an artist. A self-construction made of frustrations and constraints, borne of retrograde mindsets, which are not the prerogative of either the East or the West, and which she tirelessly strives to expose and break.

Throughout the 45 minutes of "Khonnar", Deena breaks down the codes of bass, techno and experimental music, and writes the manifesto for a generation that does not seek to please or to conform, taking back control of its identity - with all the attendant losses and chaos. A new creative world order is taking shape, a new tilting point between north and south, the response of a connected and liberated youth who takes the control of the new decolonization.

About Deena Abdelwahed
A Tunisian producer and DJ, Deena Abdelwahed arrived in France at the age of 26 after earning her stripes on the Tunis scene and as part of the Arabstazy collective. Her hybridized DJ sets, on the outer reaches of sub-cultures, and especially the one she performed at Sonar 2017 (one of the edition's Top 10 according to the New York Times), propelled the young artist into the clubbing universe's most demanding spheres (Boiler Room, Concrete, Room for Resistance, Säule/Berghain…). As a producer, she was the creator of an acclaimed performance at the CTM Berlin Festival ("All Hail Mother Internet"). Her first EP "Klabb", released in early 2017 on InFiné, was met with critical acclaim from the blogosphere and electronic media. That same year, she collaborated on the tracks "Plunge" and "An Itch" from Fever Ray's second album.

Mask and photography by London based artist Judas Companion, whose work is about transformation of human identity. She makes masks and masked portraits to create different layers of the human being.


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World excl. France


Tracklist EP:

A1_ Deena Abdelwahed - Lila Fi Tounes - 05:28
A2_ Deena Abdelwahed - Ah'na Hakkeka - 05:41
B1_ Deena Abdelwahed - Insaniyti - 04:34
B2_ Deena Abdelwahed - Zardet Sidi Bagra - 03:42


Short Info:
Tunisian leftfield experimentalist Deena Abdelwahed returns with an EP that takes her message back to the dancefloor. Straying away from personal identification, these tracks focus in on the sonic influences of her home region, be it in terms of rhythmic structure, sampling or other local sources. A highly versatile package for any forward-thinking DJ and further proof of this producer 's unique ability to fuse Arabic music references with club music.


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Includes Poster - Territories : World excl. GER - FRA - BEN - UK

TRACKLISTING LP

01- Saratan - 03:42
02- Ababab - 05:40
03- Tawa - 03:53
04- Fdhiha - 05:51
05- Ken Skett… - 05:12
06- Al Hobb Al Mouharreb - 05:37
07- 5/5 - 04:40
08- A Scream In The Consciousness - 07:01
09- Rabbouni - 02:45


Deena Abdelwahed's first album is shifting the epicenter of contemporary electronic music south: "Khonnar" will be released on November 16, 2018 by InFiné.

Pronounced "Ronnar" (an essential detail so as to avoid facile misinterpretation by French-speakers) it is a term that makes the most of Tunisia's cultural and linguistic spectrum. It evokes the dark, shameful and disturbing side of things, the one we usually seek to hide, but which Deena instead sticks our noses in with her debut. It is a testament to Deena's coming into her own as a world citizen, and as an artist. A self-construction made of frustrations and constraints, borne of retrograde mindsets, which are not the prerogative of either the East or the West, and which she tirelessly strives to expose and break.

Throughout the 45 minutes of "Khonnar", Deena breaks down the codes of bass, techno and experimental music, and writes the manifesto for a generation that does not seek to please or to conform, taking back control of its identity - with all the attendant losses and chaos. A new creative world order is taking shape, a new tilting point between north and south, the response of a connected and liberated youth who takes the control of the new decolonization.

About Deena Abdelwahed
A Tunisian producer and DJ, Deena Abdelwahed arrived in France at the age of 26 after earning her stripes on the Tunis scene and as part of the Arabstazy collective. Her hybridized DJ sets, on the outer reaches of sub-cultures, and especially the one she performed at Sonar 2017 (one of the edition's Top 10 according to the New York Times), propelled the young artist into the clubbing universe's most demanding spheres (Boiler Room, Concrete, Room for Resistance, Säule/Berghain…). As a producer, she was the creator of an acclaimed performance at the CTM Berlin Festival ("All Hail Mother Internet"). Her first EP "Klabb", released in early 2017 on InFiné, was met with critical acclaim from the blogosphere and electronic media. That same year, she collaborated on the tracks "Plunge" and "An Itch" from Fever Ray's second album.

Mask and photography by London based artist Judas Companion, whose work is about transformation of human identity. She makes masks and masked portraits to create different layers of the human being.


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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Territories : World excl. GER - FRA - BEN - UK

TRACKLISTING CD

01- Saratan - 03:42
02- Ababab - 05:40
03- Tawa - 03:53
04- Fdhiha - 05:51
05- Ken Skett… - 05:12
06- Al Hobb Al Mouharreb - 05:37
07- 5/5 - 04:40
08- A Scream In The Consciousness - 07:01
09- Rabbouni - 02:45


Deena Abdelwahed's first album is shifting the epicenter of contemporary electronic music south: "Khonnar" will be released on November 16, 2018 by InFiné.

Pronounced "Ronnar" (an essential detail so as to avoid facile misinterpretation by French-speakers) it is a term that makes the most of Tunisia's cultural and linguistic spectrum. It evokes the dark, shameful and disturbing side of things, the one we usually seek to hide, but which Deena instead sticks our noses in with her debut. It is a testament to Deena's coming into her own as a world citizen, and as an artist. A self-construction made of frustrations and constraints, borne of retrograde mindsets, which are not the prerogative of either the East or the West, and which she tirelessly strives to expose and break.

Throughout the 45 minutes of "Khonnar", Deena breaks down the codes of bass, techno and experimental music, and writes the manifesto for a generation that does not seek to please or to conform, taking back control of its identity - with all the attendant losses and chaos. A new creative world order is taking shape, a new tilting point between north and south, the response of a connected and liberated youth who takes the control of the new decolonization.

About Deena Abdelwahed
A Tunisian producer and DJ, Deena Abdelwahed arrived in France at the age of 26 after earning her stripes on the Tunis scene and as part of the Arabstazy collective. Her hybridized DJ sets, on the outer reaches of sub-cultures, and especially the one she performed at Sonar 2017 (one of the edition's Top 10 according to the New York Times), propelled the young artist into the clubbing universe's most demanding spheres (Boiler Room, Concrete, Room for Resistance, Säule/Berghain…). As a producer, she was the creator of an acclaimed performance at the CTM Berlin Festival ("All Hail Mother Internet"). Her first EP "Klabb", released in early 2017 on InFiné, was met with critical acclaim from the blogosphere and electronic media. That same year, she collaborated on the tracks "Plunge" and "An Itch" from Fever Ray's second album.

Mask and photography by London based artist Judas Companion, whose work is about transformation of human identity. She makes masks and masked portraits to create different layers of the human being.


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

Territories: WORLD EXCL FRANCE

Tracklist CD :
1_The Key To The Exit - 06:36
2_Each day - 05:40
3_Six as oil - 06:05
4_Complain - 05:03
5_Violence for free - 06:15
6_Naive - 08:40
7_Pre Island - 06:13

Short Info:

Building off of the themes of identity, storytelling and experimentation on her critically acclaimed debut album, Khonnar (2018), Deena Abdelwahed’s upcoming album Jbal Rrsas is the next chapter of a reimagining of what club music could be. The album spans seven tracks of bass, techno, and experimental music, with Abdelwahed consulting with masterminds like Tunisian composer and multi-instrumentalist Khalil Hentati, aka Khalil Epi, and Iraqi-British multi-instrumentalist, composer, and researcher Khyam Allami, as well as Egyptian mastering engineer Heba Kadry, to help realise her vision.

Jbal Rrsas starts with the seductively apocalyptic opener, The Key to the Exit, a deconstructed sha’bi production. With tracks like Six as Oil and the delightfully intense Violence for Free, Abdelwahed leads users to a desert rave, where industrial rhythms are left unbridled. Abdelwahed’s vocals on Complain and Pre-Island are powerful and exposed, confidently placed on dizzying avant-garde productions. The Wire previously said “[Khonnar is] an assured debut that sits on the edge of a whole swathe of possibilities, not only sonic but also geographical, social and political.” With Jbal Rrsas finds Abdelwahed deftly navigating through those possibilities, frequently pushing against genres, labels, and social identifiers, while elevating club music to otherworldly heights.


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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Territories: WORLD EXCL FRANCE

Tracklist CD:
1_Bengue
2_LoBa
3_Ndomè
4_Li Yanga
5_Wata
6_Nop
7_Hola Mè
8_Séa
9_Bissaï
10_Touye
11_Mètam
12_Lep

Short Info:

African Singer-songwriter Blick Bassy is back with a fifth album, again sung in the Baasa language of Cameroon. Madíbá brings together twelve songs in the form of fables, dedicated to the theme of water, in which his high and angelic voice dominates, carried by delicate guitar, synthesizer melodies, and sober brass arrangements. The cuts are diaphanous and nevertheless modernist songs, which testify to a contemporary and poetic Africanity at the crossroads of soul, folk, and electro.

Blick Bassy’s albums have a humanist and universal dimension. His fifth and new solo album, titled Madíbá, which means water in the Douala language of Cameroon, comes in the form of songs close to the fable, in which Bassy explores "a theme shared by all” of water, the source of life. The fables of the album, all born in the imagination of Blick, explore in a more concrete way different themes related to water, its rarity, its necessity, its energy or its vital power. The twelve songs all bring together a series of figures, animals, or various characters, embodied in turn by Blick Bassy. "I have fun stepping into the shoes of a bird, a cat conversing with an elephant, a flower worrying about its declining beauty, a monkey looking for a spring or a storyteller with his grandchildren. In these texts, water can even take on a human appearance.”

Beyond the tale, the texts of the album also refer to our climate crisis, or to the problems of access to water, a way for the artist to approach serious subjects through a poetic form which avoids didactic or moralizing speeches.


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DE - 22113 Hamburg
Germany
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Territories: WORLD EXCL FRANCE

Tracklist LP:


A_side
A1_Bengue
A2_LoBa
A3_Ndomè
A4_Li Yanga
A5_Wata
A6_Nop

B_side
B1_Hola Mè
B2_Séa
B3_Bissaï
B4_Touye
B5_Mètam
B6_Lep

Short Info:

African Singer-songwriter Blick Bassy is back with a fifth album, again sung in the Baasa language of Cameroon. Madíbá brings together twelve songs in the form of fables, dedicated to the theme of water, in which his high and angelic voice dominates, carried by delicate guitar, synthesizer melodies, and sober brass arrangements. The cuts are diaphanous and nevertheless modernist songs, which testify to a contemporary and poetic Africanity at the crossroads of soul, folk, and electro.

Blick Bassy’s albums have a humanist and universal dimension. His fifth and new solo album, titled Madíbá, which means water in the Douala language of Cameroon, comes in the form of songs close to the fable, in which Bassy explores "a theme shared by all” of water, the source of life. The fables of the album, all born in the imagination of Blick, explore in a more concrete way different themes related to water, its rarity, its necessity, its energy or its vital power. The twelve songs all bring together a series of figures, animals, or various characters, embodied in turn by Blick Bassy. "I have fun stepping into the shoes of a bird, a cat conversing with an elephant, a flower worrying about its declining beauty, a monkey looking for a spring or a storyteller with his grandchildren. In these texts, water can even take on a human appearance.”

Beyond the tale, the texts of the album also refer to our climate crisis, or to the problems of access to water, a way for the artist to approach serious subjects through a poetic form which avoids didactic or moralizing speeches.


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

Territories: WORLD EXCL FRANCE

Tracklist CD:
1_Tanger
2_Body
3_Jah
4_Shop
5_Period Point Blank
6_Kesh Feat. Crystallmess
7_Clémence
8_Rapture
9_Legit
10_Eclipse
11_Trust
12_Al Hadr
13_Goodbye Feat. Bonnie Banane

Short Info:

On Al Hadr, Sabrina Bellaouel taps into myriad influences: from spirituality, astrology to club culture, romance, the body and self-love. Creating a balance between places, identities and sounds is a huge part of the charm of Al Hadr. As a true Libra, she’s finding a balance between honoring her roots and carving out her future.

Following two solo EPs, also on InFiné — 2020’s We Don’t Need To Be Enemies and 2021’s Libra — the French-Algerian producer and vocalist’s unique style of electronic R&B blossoms with Al Hadr, a 13-track album featuring collaborations with dance producer Basile3, experimental club DJ and writer Crystallmess, jazz musician Monomite and pop singer Bonnie Banane, among others.

Born, raised and based in Bagneux, outside the southern périphérique of Paris, Bellaouel lives between worlds. At home, her Algerian heritage and Muslim faith have fused tight familial bonds and a keen sense of history and culture; as “Berbers”, she speaks French and Arabic. In her headphones, she finds comfort in the sparse experimentalism of Radiohead and romantic tales of Jill Scott. On the hot club dance floors of Paris, driving house beats connect her to her body.

In swirling these private and public passions together on Al Hadr — which translates from Arabic as “the present time” — Bellaouel is the most vulnerable she’s ever been on record. Classic neo-soul and silken R&B blend with club electronics. Tender harmonies are sung and rhymes are spoken in English, French and Arabic, exploring love, faith and identity. Samples of drum machines are the backbone for wisps of woodwind, strings, keys and environmental ‘found sounds’, including Bellaouel’s own live recordings.

Creating a balance between places, identities and sounds is a huge part of the charm of Al Hadr. As a true Libra, she’s finding a balance between honoring her roots and carving out her future.






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World excl. France

01_Inside - 13:57
02_Beyond - 11:59


Scaphandre' is the story of an image found in a lost time on the internet a few years ago. It inspired two sound pieces conceived so that one can dive into it as into the sea.
Once their composition was finished, I looked for the origin of this image. It is one of the very first submarine pictures in history, taken by Louis Boutan in 1893 in the bay of Banyuls-sur-Mer... my home town. The original photo as well as a fantastic series of archives documenting this event can be found at the Arago Laboratory, where I often went as a child, after school, amazed by what the researchers were showing me. They just had never told me this story.
This is how this record found its scenery.
Gaspar Claus


The two pieces Gaspar Claus brought together on Scaphandre form an abstract and mysterious B-side of Tancade, released in the fall of 2021. Both composed during the long, initial period of his first album's conception, this mini album's two episodes, each tinged with minimal and noisy abstractions, unfold more than 10 minutes of total immersion into the abyss of experimental music on the first, and drone for the second.

In their own way, these tracks are a form of raw, unadorned escape, a film negative of the cellist's surface creations, which we know are bathed in sunshine and fresh air.

'Inside' is a moment of distraction while Gaspar worked on a film soundtrack. The title took time to mature in the musician's head, abandoned then picked up again and modified until it found its signature progression of strings where time seems suspended. The reverberations dress its fourteen-minute sound canvas in a way that is reminiscent of endless, sub-marine darkness.

'Beyond' was recorded in three takes during a writing session for his first album with David Chalmin in the Basque Country. The post-production phase required a long process of refinement to obtain this invasive sound material that cuts the listener off from their real environment and films them with a hypnotic feeling of depths and apnea.

Taken in 1898 by Louis Boutan a few dozen kilometres from the beach of Tancade in Banyuls sur mer - Gaspar's family village - the photographs of Scaphandre seal the vinyl sleeve with a unique auditory experience presenting the submerged side of the cellist. Obscure, dense, haunting, excitingly weightless.


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Territories: WORLD EXCL FRANCE

Tracklist CD:

1_Philip Glass - The Poet Acts
2_Moondog - Sea Horses
3_ Ryuichi Sakamoto - Solitude
4_Philip Glass - Etude 4
5_Philip Glass - Etude 2
6_Nico Mulhy - Quiet Music
7_Camille Pépin - Number 1
8_Léo Ferré - Opus X
9_Melaine Dalibert - Six + Six
10_Sylvain Chauveau - Mineral

Short Info:
French pianist Vanessa Wagner collects solo piano studies of graceful minimalism and rare finesse for new album Mirrored.

Quickly following March 2022’s Study of the Invisible album, Vanessa Wagner returns with a new collection of work that paints in many colours. The application of shadow in Mirrored evokes haunting poignancy; the care and delicateness of its negative space leaves room for undulating melodic motifs to ebb and flow; its bold splashes of luminescence are striking and rich. And while the album collates re-interpretations of works by composers as varied as Philip Glass, Nico Muhly, Moondog, Leo Ferré and Camille Pepin, the potency and effect of the collection as a whole reflects only Vanessa Wagner and the extraordinary breadth of her abilities.

Performing solo, exposed to timbre, tempo and clarity, many of the pieces here - such as “Sea Horses” by (Vanessa’s one-time mentor) Moondog or Philip Glass’ “Etude 4” - demand virtuosic abilities as a performer and interpreter. But in Vanessa Wagner’s hands, they are not only made her own, but made mesmeric and magical by the sensitivity of her touch.






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Working with artists like David August and Daniel Brandt, Frieder Nagel is known for managing projects in venues ranging from theatres to clubs, for concerts to audiovisual experiments. He finally signs his first solo work “Distract Robots” to be released on January 18 on InFiné and invites his listeners to get lost in an universe that spans from euphoric to devastating excitement. - mastered by Zino Mikorey, the magician behind Nils Frahm’s latest album.

TRACKISTING
01 They Kept Walking , 02 Blossom , 03 Obey feat. Mima , 04 Run, 05 Evolve (live)

Frieder Nagel invites his listeners to get lost in a universe that spans from euphoric to devastating excitement. He is known for managing projects in venues ranging from theatres to clubs, for concerts to audio-visual experiments - working with artists like David August, La Boum Fatale and Daniel Brandt (Brandt Brauer Frick). The first time he appeared on stage, in 2016 at Berlin's infamous Radialsystem V, armed with several synthesizers, effects, drum machines, one grand piano; and backed by the German Symphony Orchestra (DSO). This critically acclaimed debut was streamed by Boiler Room later and led to further collaborations with Philharmonie Essen or his ensemble show at Reeperbahn Festival.

Now finally Nagel ´s first solo work “Distract Robots” will be released by French label InFine´. This 12" has become an album in miniature with a final polish by mastering guru Zino Mikorey – known for his work for Nils Frahm ´s All Melody. This EP offers up a mystical world, full of warm synths and detailed sound clusters morphing into each other to form utterly dark and dystopian ballads. Nagel gets lost in obsessively endless sessions with his instruments. He isolates himself and spends night after night drifting away from reality. The result is that his tracks carry moments of utterly deep relief and deliverance, as well as despairing sadness and stoical escapism.

Having grown up in the music scene of Southern Germany, Nagel spent his childhood mainly backstage - sleeping in cars while his father played in jazz clubs, or bored out of his mind during the endless orchestra rehearsals of his mother. While he never took proper classes to learn an instrument, the young autodidact could always count on his hearing. After moving to Berlin at 17, Nagel soon started working in the music business - at first with small student-jobs and later as a producer. He created his studio Resonant Workshop, a self-built wooden room-in-room construction to craft music and sound design.

After years of being in charge, controlling the process of artistic creation for others, it was not always easy for Nagel to focus on his own music. No sooner had he started to press record - he had to leave his studio due a serious water leak from ceiling causing him to be displaced to create. Trying to turn this throwback into an advantage, Nagel focussed mainly on improving his improvisational skills and started to work in different locations, and musicians he found in many directions. As a result, Distract Robots creates its dense atmosphere out of all kind of musical sources like field recordings, jam sessions, and analog machinery.

Despite its melodic complexity, improvisational skills and vivid drums, Distract Robots is rooted with one foot in the basement of an underground club featuring loops building up with unescapable pressure, majestic voice samples, and analog sawtooth wavefronts – while still reminding listeners of an electrified music combo playing live. This EP has become Nagel ´s long-awaited step away from behind the studio desk to finally addressing the audience directly. Lining up with the exquisite cast of euphoric-melancholic artists from InFine´ - like Rone, Apparat, Arandel or Murcof - inevitably feeding his hunger for acoustic sessions and electronic gear, the audience can be sure to hear more from Frieder Nagel.



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Self Fulfilling Prophecy remixes recasts in vinyl version the Techno esprit of La Fraicheur´s original album with four reworks, which condition the dancers to unstoppable footwork as much as they open the listeners ‘minds up. Four remixers each fighting against wordly injustice in their own way.

TRACKISTING
1. The Movements (Scalameriya Remix)
2. Renegade (Noncompliant Remix)
3. Eaux Troubles (VTSS Remix)
4. The New Is Not Born Yet (Soukie & Windish Remix)

With her debut album Self Fulfilling Prophecy, released by InFiné last June, the French producer closed the
loop on the first sequence of her life. A sequence filled with transformations, encounters and
collaborations: her successive moves to Montréal and Berlin (where she was closely involved with feminist
activism), and her foundational residency at Detroit’s Underground Resistance, among others, informed
her authentic, global-minded techno aesthetic. The aptly-named Self Fulfilling Prophecy is thus the honest
expression of a artist who has found herself at the center of techno activism, an eloquent testimonial to
“how today’s electronic is made.” With the necessary hindsight and application, La Fraicheur has created
an opus that blends raging techno with more atmospheric moments. An opus that is now being reviewed in
light of the electronic scene’s main pillar: the dancefloor.
"Self Fulfilling Prophecy remixes" recasts in vinyl version the Techno esprit of La Fraicheur´s original album
with four reworks, which condition the dancers to unstoppable footwork as much as they open the
listeners ‘minds up.
On the A-side, an activist of the Polish scene, VTSS is a leading figure in the protest against conservatism,
racism and ambient homophobia and one of the founders of the Brutaz parties in Warsaw. She rocks “Eau
Troubles” in an "industrial" soundscape, as disturbing as fascinating. Noncompliant (also known as Dj
Shiva), an icon of US techno rave scene of the 80s, today widely supported by the demanding international
Technosphere (with releases on Dark entries or Fidel Two) is animated by the same fury instilled by worldly
injustices. Her remix for “Renegade” is propelled by an unstoppable steamroller of offensive analogic
sounds and a weird hi-hat.
On the flipside, Serbian producer Scalameriya (Genesa Records, Perc Trax) takes over “The Movements” in
a chokehold that evokes techno’s struggle against space and bodies. In conclusion, Fritz Windish & Nayan
Soukie divert the metronomic kick of “The New is Not Born Yet”, with a good dose of insouciance tinged
with psychedelism, classic ingredients of the Berlin set deejays at sunrise.

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Tracklist:
1. Mirapolis (Johannes Brecht Remix) 06:33
2. Mirapolis (Matias Aguayo Remix) 06:21
3. Mirapolis (Laurent Garnier Remix) 09:19
4. Mirapolis (Video Edit) 03:14

The flamboyant and off-kilter title track from Rone's latest album, "Mirapolis" is one of the last
solo tracks that the producer composed in the spring of 2017: "it's one of the rare tracks on the
album for which I thought about the live performance. While putting the final touches to it in the
studio, I imagined myself at festivals via memories of previous tours. I wanted to record a festive
track, which completely stands by its ‘funfair’ vibe.” With this new four-track EP (including three
remixes), combined with a new video by Aurélie Castex, Rone extends the carnival of electronic
cultures of his latest musical citadel to the dancefloor – and our screens.
Johannes Brecht, shadow craftsman of the Hamburg label Diyanamic's studios, offers a refined
reading throbbing with cerebral pulsations. Appropriating the main theme in a subtle way, coated
with multiple harmonic layers, his textures alternate white noise with organic basses that builds up
to a delightfully classical cello outro.
German-based figurehead of the South American scene, Comeme label boss and founding
member of the late Closer Music project, Matias Aguayo, has never ceased throughout his career
to set off little revolutions on the planet of demanding dancefloors. Playful and wild, Aguayo
sweeps in with a ritornello of chiptune sounds and orchestral arrangements, washing it over with a
huge wave of analog synthesizers that destroys everything in its path.
French techno scene boss Laurent Garnier embraces the original piece in all its meticulousness
and its psychedelic lifeblood. A hypnotic and mischievous loop infiltrates itself without warning into
the reptilian cells of the listener's brain who surrenders to the ecstasy of the remix, forgetting the
futility of everyday problems and tapping into the universal energy of the dancefloor. Garnier
couldn't have given Mirapolis a better gift.
This release of Mirapolis Remixes is set to coincide with the release of a new video by Rone’s
sister Aurélie Castex, draftswoman for French magazines like Elle. The radiant quadricolour
odyssey will be available on Apple Music from August 28, and everywhere else on the Web from
September 5.

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About Versus: Monumental symphonic versions of Carl Craig?s? classic material, re-enforced and magnified by Les Siecles Orchestra. Iconic French conductor François-Xavier Roth is at the helm of the symphony whilst InFiné mainstay Francesco Tristano supports on piano. From an initial recording in 2010, the project evolved into a full album that has been tweaked further in the studio by Craig himself. The re-works reveal the timelessness of `At Les´ and `Darkness´ through tense yet fragile new arrangements, along with two original compositions by Tristano ? ?Barcelona Trist? and ?The Melody? Versus first took form as a captivating live concert on May 18th, 2008 at Paris? Cité de la Musique, featuring this very same line-up. The hedonism of club culture made a rare incursion into the hallowed grounds of more serious traditional music, merging the vocabularies and syntaxes of two genres that seem to be from their own faraway galaxies, but actually turned out to be more porous than expected as they collided into one another. A bemused Carl Craig recalls that the ?audience stopped just short of snapping their fingers to the rhythm. Everyone was literally on the verge of dancing, and François-Xavier was getting his first taste of that thrill that DJs get when they are playing for a room. We were like two kids rummaging through a candy shop ? I toured him through my universe and he showed me his.? The album?s release is also set to coincide with the launch of the Versus Synthesiser Ensemble, a back-to-basics live performance featuring six synthesisers and a piano, as directed by Craig. Detroit?s Movement Festival will be the tour?s launching pad, allowing for the possible grafting of a full symphonic orchestra as time progresses. The Versus universe is thus one that is predicated on transforming, remixing and reinterpreting, on creating of new forms of expression, but also on breaking down hierarchies to confront genres and worlds that seem further apart than they really are. An optimistic, if not idealistic project, with a title that was perfectly chosen to echo Carl?s mantra: ?the point is to change the audience?s perceptions, to surprise people, but also blow the dust off the conventional wisdom about music, its place in the world, and its audience ? without demagoguery and with fresh and new arguments.? This much awaited new studio album will be available worldwide on May 5th as a 2LP gatefold vinyl, a limited edition 3LP edition that incudes a bonus vinyl of stripped back versions (2000 copies only) and CD.

SPECS: 3LP in 8mm gatefold vinyl sleeve with download card (digital download is the full CD version)
Limited edition vinyl (2000 units worldwide)

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About Versus: Monumental symphonic versions of Carl Craig?s? classic material, re-enforced and magnified by Les Siecles Orchestra. Iconic French conductor François-Xavier Roth is at the helm of the symphony whilst InFiné mainstay Francesco Tristano supports on piano. From an initial recording in 2010, the project evolved into a full album that has been tweaked further in the studio by Craig himself. The re-works reveal the timelessness of `At Les´ and `Darkness´ through tense yet fragile new arrangements, along with two original compositions by Tristano ? ?Barcelona Trist? and ?The Melody? Versus first took form as a captivating live concert on May 18th, 2008 at Paris? Cité de la Musique, featuring this very same line-up. The hedonism of club culture made a rare incursion into the hallowed grounds of more serious traditional music, merging the vocabularies and syntaxes of two genres that seem to be from their own faraway galaxies, but actually turned out to be more porous than expected as they collided into one another. A bemused Carl Craig recalls that the ?audience stopped just short of snapping their fingers to the rhythm. Everyone was literally on the verge of dancing, and François-Xavier was getting his first taste of that thrill that DJs get when they are playing for a room. We were like two kids rummaging through a candy shop ? I toured him through my universe and he showed me his.? The album?s release is also set to coincide with the launch of the Versus Synthesiser Ensemble, a back-to-basics live performance featuring six synthesisers and a piano, as directed by Craig. Detroit?s Movement Festival will be the tour?s launching pad, allowing for the possible grafting of a full symphonic orchestra as time progresses. The Versus universe is thus one that is predicated on transforming, remixing and reinterpreting, on creating of new forms of expression, but also on breaking down hierarchies to confront genres and worlds that seem further apart than they really are. An optimistic, if not idealistic project, with a title that was perfectly chosen to echo Carl?s mantra: ?the point is to change the audience?s perceptions, to surprise people, but also blow the dust off the conventional wisdom about music, its place in the world, and its audience ? without demagoguery and with fresh and new arguments.? This much awaited new studio album will be available worldwide on May 5th as a 2LP gatefold vinyl, a limited edition 3LP edition that incudes a bonus vinyl of stripped back versions (2000 copies only) and CD.



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About Versus: Monumental symphonic versions of Carl Craig?s? classic material, re-enforced and magnified by Les Siecles Orchestra. Iconic French conductor François-Xavier Roth is at the helm of the symphony whilst InFiné mainstay Francesco Tristano supports on piano. From an initial recording in 2010, the project evolved into a full album that has been tweaked further in the studio by Craig himself. The re-works reveal the timelessness of `At Les´ and `Darkness´ through tense yet fragile new arrangements, along with two original compositions by Tristano ? ?Barcelona Trist? and ?The Melody? Versus first took form as a captivating live concert on May 18th, 2008 at Paris? Cité de la Musique, featuring this very same line-up. The hedonism of club culture made a rare incursion into the hallowed grounds of more serious traditional music, merging the vocabularies and syntaxes of two genres that seem to be from their own faraway galaxies, but actually turned out to be more porous than expected as they collided into one another. A bemused Carl Craig recalls that the ?audience stopped just short of snapping their fingers to the rhythm. Everyone was literally on the verge of dancing, and François-Xavier was getting his first taste of that thrill that DJs get when they are playing for a room. We were like two kids rummaging through a candy shop ? I toured him through my universe and he showed me his.? The album?s release is also set to coincide with the launch of the Versus Synthesiser Ensemble, a back-to-basics live performance featuring six synthesisers and a piano, as directed by Craig. Detroit?s Movement Festival will be the tour?s launching pad, allowing for the possible grafting of a full symphonic orchestra as time progresses. The Versus universe is thus one that is predicated on transforming, remixing and reinterpreting, on creating of new forms of expression, but also on breaking down hierarchies to confront genres and worlds that seem further apart than they really are. An optimistic, if not idealistic project, with a title that was perfectly chosen to echo Carl?s mantra: ?the point is to change the audience?s perceptions, to surprise people, but also blow the dust off the conventional wisdom about music, its place in the world, and its audience ? without demagoguery and with fresh and new arguments.? This much awaited new studio album will be available worldwide on May 5th as a 2LP gatefold vinyl, a limited edition 3LP edition that incudes a bonus vinyl of stripped back versions (2000 copies only) and CD.

SPECS: 2LP in 5mm gatefold vinyl sleeve with download card (digital download is the full CD version)

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Double LP: Heavy 350gsm Sleeve, Liner Notes, Sticker
- Official reissue of Grauzone's album with 9 bonus songs including the megahit "Eisbär" and more, straight from the original reels!

Genre: Post-Punk, Electronic, New Wave, Cold Wave, Pop, Synth, Industrial, Experimental

Tracklisting Double LP Album

A1. Film 2
A2. Schlachtet!
A3. Hinter Den Bergen
A4. Maikäfer Flieg
A5. Marmelade Und Himbeereis
B1. Wütendes Glas
B2. Kälte Kriecht
B3. Kunstgewerbe
B4. Der Weg Zu Zweit
B5. In Der Nacht
C1. Eisbär
C2. Ich Lieb Sie
C3. Moskau
C4. Ein Tanz Mit Dem Tod
D1. Traüme Mit Mir
D2. Ich Und Du
D3. Wütendes Glas (Maxi Version)
D4. Raum
D5. Film 1

WRWTFWW Records is very happy to reissue Swiss cult band Grauzone's self-titled album in an expanded 40 Years Anniversary Edition packed with the original 1981 album plus 9 extra songs, as well as extensive liner notes by Swiss music historian Lurker Grand. The 19-track album is available as a double LP vinyl in heavy 350gsm sleeve and a digipack CD, both sourced from the original reels and put together under the supervision of band member and all around legend Stephan Eicher.

The pioneering band from Bern (Switzerland) had a short-lived but highly-regarded career which birthed a cult discography that still fascinates and resonates today. Consisting of core members Martin Eicher, Stephan Eicher, and Marco Repetto, and on-and-off participants Christian GT Trüssel, Claudine Chirac, and Ingrid Berney, the elusive group broke new grounds in the early 80s, experimenting with punk and industrial music, early techno sounds, minimalism, new wave, pop, and various electronics. With an innovative and polished approach to design, visuals, performance, and all around style and philosophy on top of their superb music, the constantly transforming unit developed a whole experience - the Grauzone experience: wild and unpredictable, yet sophisticated and cohesive, or as Swiss music historian Lurker Grand would call it, "an Art band with a Punk attitude".

Completely rejecting the music industry rules and refusing to play the game of promotion, touring, release schedules, and TV appearances even though they had a multi-platinum international hit with the song "Eisbär", the band quickly disintegrated in full convention-defying glory, leaving behind an inspiring music legacy for the world to discover and discover again, one generation after the other.

This extended version of their debut (and only) album beautifully crystallizes the Grauzone miracle/accident - where pop and youthful experimentation meet at (new/cold/no) wave and industrial crossroads, and where classic hits ("Eisbär", "FILM 2", "Raum", "Träume Mit Mir", "Der Weg Zu Zweit"…) flawlessly mesh with unconventional deep cuts ("In Der Nacht", "Film 1", "Maikäfer Flieg"…). Very simply put: GOOD timeless music with an edge.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and Sylvie Fleury, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.




Points of interests

- For fans of electronic, post-punk, new wave, cold wave, Swiss wave, no wave, Neue Deutsche Welle (Welle means wave!), synth, pop, industrial, proto-techno, 80s, Stephan Eicher, Marco Repetto, Liaisons Dangereuses, Tristesse Contemporaine, Young Marble Giants, The Cure but weirder, Switzerland, romance, mountains, polar bears, contemporary art, wearing nice (white) shoes in dirty basement squats, and xerox machines.

- New release from WRWTFWW Records (Grauzone's Eisbär and Raum, Midori Takada's Through The Looking Glass, Kenji Kawai's Ghost in the Shell Original Soundtrack, John Carpenter's Dark Star Soundtrack, Ryo Fukui's Scenery, Dominique Guiot's L'Univers de la Mer, Bernard Parmegiani soundtracks and more).


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2023 Re Issue

Territories : World excl. FR

TRACKLISTING LP

01- Saratan - 03:42
02- Ababab - 05:40
03- Tawa - 03:53
04- Fdhiha - 05:51
05- Ken Skett… - 05:12
06- Al Hobb Al Mouharreb - 05:37
07- 5/5 - 04:40
08- A Scream In The Consciousness - 07:01
09- Rabbouni - 02:45


Deena Abdelwahed's first album is shifting the epicenter of contemporary electronic music south: "Khonnar" will be released on November 16, 2018 by InFiné.

Pronounced "Ronnar" (an essential detail so as to avoid facile misinterpretation by French-speakers) it is a term that makes the most of Tunisia's cultural and linguistic spectrum. It evokes the dark, shameful and disturbing side of things, the one we usually seek to hide, but which Deena instead sticks our noses in with her debut. It is a testament to Deena's coming into her own as a world citizen, and as an artist. A self-construction made of frustrations and constraints, borne of retrograde mindsets, which are not the prerogative of either the East or the West, and which she tirelessly strives to expose and break.

Throughout the 45 minutes of "Khonnar", Deena breaks down the codes of bass, techno and experimental music, and writes the manifesto for a generation that does not seek to please or to conform, taking back control of its identity - with all the attendant losses and chaos. A new creative world order is taking shape, a new tilting point between north and south, the response of a connected and liberated youth who takes the control of the new decolonization.

About Deena Abdelwahed
A Tunisian producer and DJ, Deena Abdelwahed arrived in France at the age of 26 after earning her stripes on the Tunis scene and as part of the Arabstazy collective. Her hybridized DJ sets, on the outer reaches of sub-cultures, and especially the one she performed at Sonar 2017 (one of the edition's Top 10 according to the New York Times), propelled the young artist into the clubbing universe's most demanding spheres (Boiler Room, Concrete, Room for Resistance, Säule/Berghain…). As a producer, she was the creator of an acclaimed performance at the CTM Berlin Festival ("All Hail Mother Internet"). Her first EP "Klabb", released in early 2017 on InFiné, was met with critical acclaim from the blogosphere and electronic media. That same year, she collaborated on the tracks "Plunge" and "An Itch" from Fever Ray's second album.

Mask and photography by London based artist Judas Companion, whose work is about transformation of human identity. She makes masks and masked portraits to create different layers of the human being.


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LP (WW-FR-USA-UK-AU)

Tracklist: 1. War On The Mind / 2. Faraway / 3. The Start Of The End / 4. The Eternal / 5. Body Electric / 6. Mantra / 7. Sovereign

For fans of: Spectrum / Recurring Era Spacemen 3, Loop, AR Kane, MBV, bdrmm, Cocteau Twins, Telescopes and early 90s Creation records.



Following a series of meditative explorations in the form of the Singularity Zone series of releases, The Oscillation have returned with a new sense of vigour and purpose. Refreshed and re-energized, the result is The Start Of The End, an album that casts more light and shade than ever before to create a mood of hope and re-birth.



At once warm and welcoming, The Start Of The End is an album quite unlike anything that The Oscillation have ever released before. Fuelled by optimism and taking stock of what’s good about life and what needs to be jettisoned, the record is a result of spiritual and physical re-charging and cleansing.



Leaving the claustrophobic environs of the big city for a more bucolic backdrop, the change in location has left a profound mark on Demian Castellanos, the creative force behind The Oscillation. Where the exorcism of dark emotions of previous album Untold Futures left Castellanos wondering if he’d ever make music again, his new surroundings stirred something within him.



“When I made my new home, I allowed myself time to do nothing for a while,” says Castellanos, “and I then started some new songs without worrying about them being on an album. I just wrote with the mindset to put out something positive.”



He continues: “I did a lot of reflecting on the past and really wanted to change something in myself, but not knowing how and thinking that a lot of people must be feeling the same way.”



Recalling the creation of The Start Of The End, Castellanos says, “Writing and recording in an environment where I had little contact with people, no hanging out or partying or even having conversations was very interesting.”



The result is an album that’s recognisably the work of The Oscillation while pointing to a variety of new directions. Be it the celestial majesty of the title track, the melodic infusions that drive opening track ‘War On The Mind’ or the pulsing grooves underpinning ‘Faraway’ and ‘Body Electric’ or even hypnotic repetition at the heart of ‘Mantra’ and ‘The Eternal’, this music brimming with zeal and confidence. And to crown it all, closer ‘Sovereign’ is akin to communing with angels.



The Start Of The End is a line in the sand and one that points to a better tomorrow.

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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

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Non Exclsuive, LP, LTD 300

1. In Real Life
2. You Always Hurt The One You Love
3. I Hope You Die
4. Bottles Of Tomorrow
5. Hiroshima Street
6. Intermezzo: The Party
7. Hotel Home
8. City Of Atlantis
9. Qwerty (Censored Version)
10. The Clocks
11. Skybound


“I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us
at the exact same time”
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade
YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in
her canon and arguably a classic of the 21st Century underground music panorama.While the methodology on
History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s
home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the
emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an
intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has
excavated the modern psyche so clearly and perfectly.
The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves
as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life
crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s
excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in
love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title
into a tale of doomed romance, a relationship based on miscommunications and the thrill of the other. It’s also
one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived
on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On
Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society
leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing
trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to
comment on the patriarchal rendering of history by power. With by now trademark panache, she turns
complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful tool that
propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer
is never at home, living life on the road, content that “the world will find me when the time is ripe.”
There’s never been a greater time.

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Non Exclsuive LP (Yelllow Vinyl)

The Travels represents a signpost in the continuing journey that is the songs of Berlin-based artist
Molly Nilsson.
Starting out by hand-dubbing CDrs and forging a singular path in the global pop underground, Nilsson’s
art has grown to the extent where hers is a precise songwriting devoid of unnecessary flourish. Her songs
are perfect silhouettes of feelings everyone shares but that few can articulate with such heart-rending, icy
pathos.
Journeys offer change - the possibility of renewal - and accordingly on The Travels Molly Nilsson’s
resonant voice is found curling around a new sense of optimism and wide-eyed discovery that was only
alluded to in her previous work. Songs like “Dear Life” might be spiked with a barbed sense of the
dejected, but the presiding feeling is one of optimism, of being in love with life despite a shield of
cynicism. “Dirty Fingers” brings a melancholy recognisable from previous work but with an incessant beat
and ecstatic underpinning it becomes apparent that a new force is at play here. In case the listener
missed it, “The Power Ballad” brings an endearing, sincerity to proceedings that also offers a tantalising
question: can you be sceptical about love but still be bewitched?
On her 5th long-player, Nilsson’s perspective is challenged and manipulated by changes in
environment and psychological space: like any other traveller the protagonist brings their own set of
values and emotional states to new places, colouring them with a wash of subjectivity. Like any other
traveller Molly Nilsson reacts to her environment and shares her unique version of it to other people.
Based loosely on Marco Polo’s “Travels” and reading like a map of the protagonist’s geographical and
inner journey, The Travels reveals new places and new emotions that are never the same to the
beholder. Nilsson’s art is in turning this subjectivity into a cloak that almost anyone can don for the trip

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Modern Obscure Music presents "Sakuraza," a live album featuring Eiko Ishibashi (flute and electronics), Jim O'Rourke (electronics), Kei Matsumaru (alto saxophone), Tatsuhisa Yamamoto (drums), and Giovanni Di Domenico (piano). Recorded at the Sakuraza jazz club in Kofu, Japan, this dynamic and sophisticated performance blends jazz, electronic music, and pop elements.
Giovanni Di Domenico, a frequent visitor to Japan, organized this June 2023 concert with long-time collaborators Ishibashi, O'Rourke, and Yamamoto, and invited saxophonist Matsumaru. The warm, intimate setting of Sakuraza provided the perfect backdrop for their unedited, improvisational session.
"Sakuraza" captures the deep musical connection and spontaneity of these artists, offering an immersive auditory experience. Recorded on June 14, 2023.

TRACKLISTS:
A Sakuraza part I 16:29MIN
B. Sakuraza part II 22:19MIN


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territories:WW-US,CA,UK, BENELUX

Limited White Vinyl LP, LTD 400

Tracklist

1. Prologue - Proud Destiny
2. Excalibur
3. Palestine
4. Jackboots Return
5. Wetcheeks
6. Red Telephone
7. Naming Names
8. The Communist Party
9. The Beauty Of The Duty
10. Point Doom

Un-American Activities is the 11th Studio album by Molly Nilsson. Written and recorded entirely on location in
California at the former home of writer, poet and early opponent of the National Socialist regime in 1930s Germany,
Lion Feuchtwanger and his wife Marta. An album of experimentation, genre-mashing and, above it all, Nilsson’s
instantly recognisable melodic skill and empathy, it continues the songwriter’s explorations of power, freedom,
oppression and its opposing force, a love unbound.
After accepting an artist residency as part of the Villa Aurora program, Nilsson began work crafting a new album
from scratch in a new environment, afforded the freedom, space and time to challenge her practice and take her
music into new territory. The resulting work, Un-American Activities, is a love note not only to the artist who was
among the very first to be declared an “enemy of the state” by the Nazi regime but also to both the eternal struggle
he fought and the human spirit that pervades all of Nilsson’s best work. It is also a double-pointed poison pen
letter: a critique of the new forms of oppression wielded by her temporary adopted country of the USA but also an
acknowledgement of the promise it always offers but never fulfils.
Along with the novel use of colour and photography in the artwork for Un-American Activities, there are swathes of
new techniques, genres and timbres new to Molly Nilsson’s music in evidence, 16 years into her music career. On
Jackboots Return is an icicle-cold New Beat track that deals directly with the current situation in Germany and
the resurgent Nazi-affiliated AfD. The question the song asks is, what’s the timeframe we’re talking about? Is this
the 30s, or somewhere a lot closer to home? The beat is picked up on The Communist Party, Nilsson’s deepest
bow to House music, evoking the early 90s Rave pioneers, Belgian 80s music and Vogue-era Madonna. Here the
lyrics are direct quotes from the McCarthy-era, anti-Communist pamphlet 100 Things You Should Know About
Communism in the U.S.A. The Beauty Of The Duty does to pounding Electro what Nilsson’s last album Extreme
did to Metal: subsume it into the Molly Nilsson aesthetic. It goes hard.
While Un-American Activities finds Nilsson experimenting, creating instinctive music on a first-thought-bestthought basis there are still “classic” Molly moments liberally spread throughout. Excalibur feels like the Molly of
old, an absolute star of a chorus refrain smudged with the vaseline of fuzz and hope, Red Telephone is wide-eyed,
slathered in reverb and chorus effects, distorted with soaring melody, a heart-tugger that tugs the body upwards to
the heavens with each evolving wave. Glistening digital tones wash through the album, providing a Y2K
etherealness to Nilsson’s audacious Stars and Stripes reference to Wetcheeks. Perhaps the album’s standout,
however, is Palestine (Somewhere Over The Rainbow), which is suffuse with empathy, solidarity and, in
referencing the classic socialist-penned canon song from The Wizard Of Oz, speaks directly to the tradition of
fighting oppression with full hearts of hope.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Format: LP

1. In The Mood For A Tattoo
2. The Revenge Of The Stalker
3. More Certain Than Death
4. When I Have No Words
5. Berlin, Berlin
6. Europa
7. I Whisper In My Ear
8. The Crisis
9. Asleep In Stockholm

“Is the future any brighter? Is the darkness any lighter?
When Molly Nilsson began recording her second album Europa in 2009 the world seemed to be at a turning point and
she along with it. In the aftermath of a global financial crash, at the dawn of a new decade, the Stockholm-born, Berlinbased singer was busy moulding her songwriting into an idiocyncratic, personal mythology that would take her to every
continent, speaking directly to hearts in every corner of the globe. The first album on her own Dark Skies Association
imprint, the first recorded in her home studio The Lighthouse, Europa broke new ground for Molly Nilsson at the time. But
also it spoke earnestly to the world about an idealism, an openness and hope that has not dimmed in the 11 years since
its release. Europa contains the songs of a young, idealistic songwriter coming to terms with her genius for cutting to the
chase, saying it as it is and, most importantly, as it should be. Over 10 years on the artists’ vim and urge for change has
only got stronger but here you can see the bright hope begin to dawn.
Europa saw Molly Nilsson move away from the minimal primitivism of her debut These Things Take Time and
remastered by James Plotkin for it’s 2021 reissue it reveals a growing depth in her songwriting. Opener In The Mood For
A Tattoo, with synth overdubs on top of impeccable vocal harmonising, boasts a killer chorus hook before melting into
The Revenge Of The Stalker, with its shades of 80s synth pop building layered dynamics out of simplicity. More Certain
Than Death is a song of youthful rebellion, even if you didn’t know it at the time, forever searching for a way out of youth
while young. Of course now, over a decade since their release, these songs have been canonised in the alternative pop
realm like all of Molly Nilsson’s catalogue. The DIY aspect of these recordings may place them firmly in the milieu they first
gained popularity – the exploding world of DIY pop, blog-based music discovery and the seemingly endless possibilities of
the beginnings of of social media – but Europa’s songs are really made to be sung to and by people, they’re statements of
intent, of togetherness and defiance.
The album’s title track is a kernel of righteousness, an archetypal Molly Nilsson moment that contains all hope in its fist,
which steadily opens outstretched to everyone who listens. Europa was written in 2009 about the ongoing refugee crisis,
an open love letter to humanity. “The borders are only lines in the sand, the borders are divided by land (and invented by
men.)” Europa praises the idea of people coming together to make things better, to help each other. It’s not about this
Europe but the idea of having no borders to imprison people. Think of Europa as an alternate universe, where no one is
illegal, but free. It’s heady stuff to sum up in a song but of course Nilsson’s effortless chorus-writing render all these
notions and feelings in a few simple words. This is of course her chief talent, whether singing about heartbreak or global
financial meltdown and it is in abundance here.
Europa is idealism never dimmed, hope never blunted.
Europa is the final album in Molly Nilsson’s catalogue to be reissued.
25% of all profits will be donated to sea- watch.org, A non-profit organization that conducts civil search and
rescue operations in the Central Mediterranean

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