On their third seven-inch release, the band dares to reimagine a true soul classic — Jon Lucien’s timeless masterpiece “Would You Believe in Me” — with an irresistible disco twist.
This stunning double-sider delivers two distinct moods built on the same hypnotic backing track.
On the A-side, the ever-soulful Kiko, one of Portuguese finest jazz voices, breathes new life into Lucien’s original lyrics with heartfelt emotion and silky smooth delivery.
Flip it over and discover the B-side, a fresh Portuguese reinterpretation, passionately performed by Brazilian-born powerhouse Denize Machado from the ultra-militant Bamba Social.

With “Would You Believe in Me,” The Bam Jam Band bridges eras, continents, and grooves — paying homage to 70s soul while keeping the dancefloor burning.

A heartfelt tribute. A daring remake. A must-have for every modern soul lover.

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Among the vast underworld of 1970s jazz-funk rarities, one name quietly resonates with collectors and rare groove DJs: Fire Water. With just one known, self-titled 7"—independently released in the early 1980s, the group remains shrouded in mystery. It’s the kind of hidden gem you might stumble upon in a dusty record shop or hear deep in a seasoned selector’s set.

Musically, Fire Water "Twilight" sits at the crossroads of spiritual jazz, soul jazz, and atmospheric funk, with meditative grooves and arrangements reminiscent of Weldon Irvine, Roy Ayers, or Doug Carn. The instrumentation leans heavily on Fender Rhodes, warm and hypnotic basslines, subtle horn sections, and Afro- Latin percussion.

The result is a sound both introspective and cosmic, yet urban in pulse—equally suited for solitary reflection or a sophisticated dance floor.

Little is known about the musicians or the backstory behind the 45s. Likely pressed in limited quantities and distributed locally, the original 7" has become a cult item over the decades, circulating among aficionados of obscure American independent music. For those in search of authentic, deep sounds beyond the commercial radar, Fire Water offers a sonic journey worth chasing—an aural relic that captures the free, inventive spirit of an era when jazz merged with soul, funk, and sonic mysticism.

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Essential Funk, Soul, and Jazz grooves finally unearthed
Highly regarded lost classics — never reissued until now.
At last, here they are in all their Funky glory!

Download card included!

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Citation - "Inspiration of My Life"

Led by Nate Jones, Citation was a vocal group from Highland Park, on the outskirts of Detroit, Michigan, that recorded two seven-inches on the seventies. Sean Brown, Terence Forsyth, Clayton Hooker and Walter Jones were the other voices of this band that gave us the highly collectable “Inspiration of live”, pressed 1977, by Red Line Records, the small independent that also unveiled North by Northeast's “Disco unusual”.
A superb midtempo Harmony Soul stepper that gives you goosebumps every time is played.
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Cho-Ko "Tried and Cried"

There´s almost no clues about Cho-Ko.
It seems the band must have been active on the early eighties on Waterford, a small town on the outskirts of Detroit, Michigan.
They only recorded one single, in 1982, which also is the sole edition of Alternating Current, a label they must have created to put it on the market.
Once again, “Tried and cried” is a b side and the only reason for this elusive seven-inch to be on the wantlists of most of Modern Soul collectors.
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The Aferton Project -"Nowhere"

Dave Hoffman, Tom Deglman, Mark Janas, Boe Perry, Ken White, Kevin McGlennon and the great jazzy voice of Jill Kennedy were the core members of The Aferton Project, but also of Aferton Records, a small label from Springfield, Illinois.
Created by Hoffman as an output of Deglman's Drc Studio, the two LPs and nine singles released by Aferton Records, being Prog or Jazz Rock, AOR, Soul or Funk, credited to Satchitananda, The Force or Boe Perry, are all linked to these musicians.
“Nowhere” came out as a seven-inch in 1978 and was used as the opening track of “The Aferton Project Volume One”, the band's double LP release one year later, and it's the masterpiece signed by the collective.
A beautiful slice of “Blue-Eyed Jazzy Modern Soul”, with masterful musicianship, amazing arrangements, sublime vocals and a sharp use of the synth, that's perfect for the most discerning dancefloors.
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Ice-O-Matic - "Bein' Nice"

Conrad Johnson, Charlie Sporck, Eddie Dodds, Rooty Van Overen, Alvin Reed and Windfield Scott formed Ice-O-Matic, in Monterey, California, at the end of the seventies.
Trying to break through, the band booked a session at the Super Sound Studios, a local institution where The Beach Boys registered some records in 1978.
The two songs recorded there would be self-released on a seven-inch, that is their only record. “Bein' nice” is the b side of this record, pressed by their own Cold Cut Productions, it's a Modern Soul Masterpiece.
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Coleus – "Wonder why"

The only seven-inch recorded by Coleus is as much of a mystery as the band itself. The names in the credits of the label don't add much info, even if some state that Bobby Green, one of the composers of “Vegetatian delight”, the male Funk a-side of the record is the sax player on Webster Lewis' band on part of the seventies.
“Wonder why”, the b female side of this record pressed by Bell Tree Productions, is a true Soul Jazz masterpiece.
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Clonzo May’s Sextet – “Your Heaven is Too Late”

“Your Heaven Is Too Late" by Clonzo Mays' Sextet is a soulful ballad released in 1977 on Gibraltal Records. The track was issued as a 7" vinyl single, paired with the B-side "We Are Naturally High" . This release has become a sought-after item among collectors of rare soul and funk music.
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Oasis II Oasis – “I miss you”

“I miss you” It's the only thing Oasis II have done, the only thing RePete Records launched, the song Elvester Hobdy had written and the only record Lepoleon Peterson and Lonnie Reaser ever produced.
“I miss you” is the B-side of this rare and collectable seven-inch, pressed in 1979 at Deltron Record Pressing in Lafayette, Tennessee, and it's a fabulous Soul ballad comp'd for the first time in this exclusive collective.
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Arejay – “Kansas City Girl”

Arejay is an alias of Robert James, a brother of Larry James, the leader of Fat Larry's Band.
Unlike his brother, Arejay had a very successful career: with his band, but also playing with the legendary Delfonics, The Blue Magic or even as a manager of Slick, Robert only recorded this rare and collectable record, pressed on a seven-inch and on an almost impossible to get twelve-inch, that had only 100 copies.
“Kansas city girl” is the b side of this pearl recorded in 1983, at Hitman Studios in Hollywood, California. A supreme stepper that assured this Philly born singer a cult status amongst the connoisseurs in the Soul community.
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M & M Co. - Devoted to you

Very little is known about Carl McIntyre, Sam Moncivaiz and their M & M Co. project.
We know they were both Christians devotees. And that their only LP is a collection of religious songs, that reflect the AOR sound of the moment. It was recorded in 1980, at The Sound House in Hollywood, California.
There are no clues about Carl McIntyre but Sam Moncivaiz had a previous recording experience as leader of the family based Moncivaiz Singers, a group from Arizona, that, in 1979, went to San Antonio, Texas, to issue their sole record through Amen Records.
“Devoted to you” is a great AOR song, perfect for today's Modern Soul scene, that borrows its title for the highly collectable LP of M & M Co.
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Frank Pisani – Please don't make it funky

Chicago native Frank Pisani did it all!
Between the mid-fifties and the beginning of the the eighties, he recorded almost twenty 45s and two LP, starting in Doo-Wop, Rockabilly, Teen Songs to finally embrace Soul and AOR Sounds, either solo or with The Highlights.
Pressed in 1980 by Happy Day Records, from Oak Park, Illinois, “Please don't make it funky” is a brilliant midtempo Blue-Eyed Soul beauty that earned him cult status from the more forward-thinking DJs of the Modern Soul scene.
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Sonny Khoeblal – “Arrival/Born Again”

Sonny Khoeblal is a distinguished Surinamese pianist, composer and educator renowned for his contributions to jazz, fusion, R&B, and world music. Khoeblal began his musical training at the age of six in Suriname and further honed his skills at the Berklee College of Music in Boston.

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1981 Angola Killer Jazz-Funk

Jazz-Funk at its best and now re-edit by digei de bairro. You can't miss this jazz-funk gem made in Angola

In 1969 Duo Ouro Negro went on tour to the United States. Their experience there was decisive for what we would come to know three years later.
“Don't forget your blackground” Raul Indipwo would exclaim in 1972, the voice of ‘Blackground’, the Angolan band's landmark album. Awakened to the activism of Black Power, attentive to the jazz that was being created on American soil, combined with an interest in the independence movements of the African colonies, what was then the most international of Portuguese bands recorded an album in Lisbon that was a vibrant cultural statement through music. In 1981, “Blackground” was revised with new arrangements, including the instrumental “Iemenjá” and “Aruandaí”.

Acoustic Guitar – Milo MacMahon, Raúl Indipwo
Bass – Steve Neil
Drums – Zézé M'Gambi
Flute – Perikles
Guitar – João Maló
Organ – Terinho M'Umbanda
Piano – Emílio Robalo
Producer – Raúl Indipwo
Saxophone – Perikles

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Super Rare library recorded in 1980 by the powerful duo of percussionist Daniel Humair, one of the most avant-garde in the Swiss jazz evolution experiment, and the familiar and talented cellist Jean-Charles Capon (ex-Baroque Jazz Trio), who is associated with Jef Gilson and Henri Texier. A total of 15 songs that are a masterpiece in which the two performers' eye-opening acrobatics, including unexpected electric modulation, create an insanely hip groove at the edge of indigestion.

This magical production work was done by Christian Bonneau, a genius in the French radio music world who has worked on many national treasure-class libraries for Dominique Andre and Yan Tregger.

Licensed by Daniel Humair.

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RARE ISLANDS FUNK SOUL

Great soulful vocal ghetto-vibed funkiness from Barbados

Reissued for the First time

Watch out for funky version of Kool & The Gang's “Kool Reggae” and favorite songs of many DJs, such as “World of Tomorrow” or “Making a Living”.

Licensed by Phil Dino

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ANOTHER KILLER DISCO FROM THE BAM JAM BAND

After taking by storm the global Disco community, with their quickly sold-out debut seven-inch, The Band Jam Band returns with another solid double sider.

"Keepin' on" it's a peak time raw and funky Disco Jazz instrumental, with a Latin inspired piano, a Gospel organ and a psychedelic synth solo, that will blow away the most discerning dancefloors.

"Something about love" is a meditative midtempo jam, perfect for a spiritual and soulful journey.

Already got support from Darryn Jones, Jacques Renault, Mike Sawe, Red Greg and Waxist!

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BOOGIE JAZZ FUNK AT ITS BEST

Rare 1985 session from guitarist Eddie Fisher, the East St. Louis native whose best known for the jazz/funk albums “The Next One Hundred Years” and “The Third Cup”. Fisher, who died in 2007, never really achieved major stardom, but has become a cult figure over the last years, thanks in large part to DJs and crate diggers who discovered his music and spread the word.

Perhaps the most obscure item in his catalog, “The Promise” was issued only on vinyl in 1985 on Fisher's own Nentu label and has been out of print for years . Boogie Jazz Funk at its best.

Licensed by Christina Fisher

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ANGOLA KILLER JAZZ-FUNK

Milo MacMahon and Raúl Indipwo, arrived to Portugal in 1959 and, over next three decades, they developed an international career in the music industry.

In addition to Portuguese and the various Angolan languages, the group recorded songs such as “Sylvie”, “La Kwela” and “Le Palmier” in French, among others, and also covered Latin American, Spanish-speaking, Brazilian and even North American repertoires, where on their various tours they came into contact with the struggle for the Civil Rights of the black population.

In 1969 Duo Ouro Negro went on tour to the United States. Their experience there was decisive for what we would come to know three years later. “Don't forget your blackground”, Raul Indipwo would exclaim in 1972, the voice of ‘Blackground’, the Angolan band's landmark album. Awakened to the activism of Black Power, attentive to the jazz that was being created on American soil, combined with an interest in the independence movements of the African colonies, what was then the most international of Portuguese bands recorded an album in Lisbon that was a vibrant cultural statement through music.

In 1981, “Blackground” was revised with new arrangements, including the instrumental “Dança do Robalinho”. Jazz-Funk at its best and now reissued for the first time in 7” format.
You can't miss this jazz-funk gem made in Angola.

Licensed by Ana Vitória Pereira

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180g vinyl + Deluxe hard-cardboard sleeve + OBI + resealable outer sleeve

This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.



The album ‘Som, Sangue e raça’ paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.

Tracklist:
Side A: A1.Uma Vida – A2. Guanabara – A3. Hei! Você – A4. Som, Sangue E Raça – A5. Tema Pro Gaguinho – A6. O Rio
Side B: B1. Evo – B2. Number One – B3. Folia de Reis – B4. Moeda, Reza E Côr – B5. Samba Do Malandrinho – B6. Tio Macrô



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DELUXE HARD-CARDBOARD SLEEVE COVER + 180g VINYL + OBI + DOWNLOAD CARD

Mad About Records officially reissues super rare private press Quintessence’s 1981 LP. With every famous jazz recording, many others remained on the shelf of oblivion without ever receiving the recognition they deserved, and this is the case of Quintessence.

Led by Ron Ancrum, with George Sovak, David Gaedeke, Winston Johnson and Steve Muse recorded an exceptional and fundamental album of 80's jazz.

If you are into Fender Rhodes, this is an LP to be collected.

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DELUXE HARD-CARDBOARD SLEEVE COVER + 180g VINYL + OBI

Private pressings have always been objects of demand and research by record collectors. In most cases, print runs were no more than 300 copies, and despite the total lack of recognition, this movement can be seen as a countercurrent act to the mass music industry. Private presses are non-commercial print runs distributed as a promotion or sold at concerts.

This was the case of Belair that, in 1980, recorded and sold the album “Relax, You're Soaking In It” at their own risk and distributed it in the San Francisco area. At the time, 1000 copies were pressed, which have become rare and highly desirable for collectors.



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DELUXE HARD-CARDBOARD SLEEVE COVER + 180g VINYL + OBI

Majoie Hajary is an atypical musician. Born in Paramaribo (Suriname) to Indian parents and raised in Amsterdam. In 1970, in France, accompanied by the best Jazz musicians and with arrangements by Roger Guerin, she recorded “La Passion Selon Judas”.

The result was an incredible fusion of Psych, Funk, Indian and Jazz elements – deep religious Jazz in the vein of Jef Gilson.

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LP DELUXE EDITION

180g. VINYL + HARD CARDBOARD COVER + OBI

Killer French Boogie, Jazz-Funk album by the prolific arranger/composer Christian Gaubert, feat. Some of the key musicians of the French jazz scene of the 70s.

French Soul masterpiece with the Rare Groove classic “Sweet Maryline” and “Sweet and Fool Like a Child” beautifully reissued here and remastered from the original master tapes.
_____________________________________________________
released October 9, 2023

Piano [Fender Rhodes], Piano, Synthesizer – Christian Gaubert
Arranged By – Christian Gaubert
Baritone Saxophone – Jean-Louis Chautemps, Romain Mayoral
Bass Guitar – Jannick Top
Drums – Dino Latore
Drums, Percussion – Jean Schultheis
Electric Guitar – Claude Engel, Raymond Gimenes
Percussion – Marc Chantereau
Tenor Saxophone – Alain Hatot, Jean Pierre De Barba, Patrick Bourgoin
Trombone – Christian Guizien, Hamid Belhocine, Jacques Bolognesi
Trumpet – André Lidli, Freddy Houseplan, Kako Bessot, Tony Brenes
Vocals – Last Exit

Licensed by GM Musipro

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LP DELUXE EDITION 180g. VINYL + HARD CARDBOARD COVER + OBI + REPLICA OF THE ORIGINAL INSERT + DOWNLOAD CARD

Fernando Oly is a musician who was part of Lô Borges' band and took part in the recording of the album "Via Láctea" in 1979. He placed one of his compositions among the album's tracks: "Chuva na Montanha", whose original version was also included on “Tempo Prá Tudo”


Licensed by Fernando Oly

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80g. VINYL + HARD CARDBOARD COVER + OBI + DOWNLOAD CARD

“300 MPH” debut album by Namaz was originally released in 1981 by German group led by guitarist Werner Goos. Jazz Fusion at its best with a Latin-Brazilian touch.

Licensed by Werner Goos

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GATEFOLD LP DELUXE EDITION
180g. VINYL + HARD CARDBOARD COVER + OBI

Leila Pinheiro is a legendary Brazilian singer, songwriter, and pianist. Over her 41-year career, she has released over 20 albums, showcasing her musical versatility and creativity. Her debut album, "Leila Pinheiro,” included the boogie anthem “Tudo em cima”, which featured the participation of renowned musicians such as Tom Jobim, Ivan Lins, Francis Hime, João Donato, and Lincoln Olivetti.


In 1970, Leila began her piano studies under the guidance of the legendary Guilherme Coutinho.

As part of celebrating the 40th anniversary of this important milestone in Brazilian music, Mad About Records presents a worldwide vinyl reissue for the first time.

Under exclusive License by Leila Pinheiro

Acoustic Guitar – Tunai, Toninho Horta, Alberto Arantes
Electric Guitar – Hélio Capucci
Electric Piano – Lincoln Olivetti
Guitar – Luiz Claudio, Hélio Capucci
Bass – Luiz Alves
Drums – João Cortez
Piano – Luís Avelar, Gilson Peranzzetta, Reinaldo Arias, Francis Hime, Antonio Carlos , Jobim Ivan Lins, João Donato
Bass – Jamil Joanes
Percussion – Ariovaldo
Bagpipes – Mauricio Einhorn
Producer [Direção de Produção] – Raymundo Bittencourt
Arranged By – Luís Avelar, Dori Caymmi
Technician [Técnicos de Gravação] – Eduardo Ramalho
Mixed By – Célio Martins, Max Pierre
Liner Notes – Billy Blanco
Gravado nos Estúdios da Sigla - RJ


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Grupo Medusa was one of the best instrumental bands in Brazil during the 70s and 80s, blending Jazz, African Influences, and traditional Brazilian Rhythms.

Formed By Chico Medori, Claudio Bertrami, Amilson Godoy and Heraldo do Monte.

Original release in 1981, reissued for the first time Worldwide.

Tracklist:
A1. Baiana – A2. Zeby – A3. Caminhos – A4. Medusa
B1. Pé No Ch?ão – B2. Asa Delta – B3. Uma Viagem – B4. Ponto de Fusão

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Caribbean-Belgian composer, producer and musician Nala Sinephro announces her debut album Space 1.8 with lead track “Space 3”. Space 1.8 will be released on 3rd September via Warp Records.

The instrumental “Space 3” is a short clip from a 3 hour improvised session with drummer Eddie Hick (Sons of Kemet) and producer/multi-instrumentalist Dwayne Kilvington on synths bass (Wonky Logic, Steam Down) culminating in a synth driven, particle-splitting, rapture. Speaking about the track, Sinephro explains: “We recorded it in the start of spring, it was a magical day. The day after recording I collaged the drums, added fifteen synths, produced and mixed it at home and it was all done.”

Sinephro’s music fuses meditative sounds, jazz sensibilities, folk and field recordings. Her musical practice is rooted in the study of frequency and geometry and guided by the premise that sound moves matter. Her debut album Space 1.8 takes shape as a metaphysical structure, where each curative space is a womb-like cocoon created by Sinephro in service of relief and affirmative, ecstatic freedom. Space 1.8 was composed, produced, performed, engineered, recorded, mixed by Sinephro at age 22. On the album, she plays modular synths and pedal harp alongside her friends James Mollison, Shirley Tetteh, Nubya Garcia, Eddie Hick, Dwayne Kilvington, Jake Long, Lyle Barton, Rudi Creswick and more.

Following electrifying live performances across the London scene, word of Nala Sinephro’s playing quickly spread throughout the UK jazz scene, consequently landing her performances as part of the celebrated jazz night Steam Down, alongside playing with and supporting the likes of Demae, Eun, Coby Sey, Rosie Turton, Robert Ames, London Contemporary Orchestra, Touching Bass, Spitfire Audio, Nadeem Din-Gabisi. She was touted as one of The Guardian’s artists to watch in 2020, has garnered support from the likes of Gilles Peterson; and is a resident DJ on NTS sharing monthly selections of celestial sounds. In 2021, she joined the innovative Warp Records roster where she continues to weave her unique sound world.

- Specs Black vinyl 12" in printed inner in printed 3mm spine outer with download card insert

TRACKLIST:
A1. Space 1
A2. Space 2
A3. Space 3
A4. Space 4
A5. Space 5
B1. Space 6
B2. Space 7
B3. Space 8

QUOTES:
“A benchmark in ambient jazz featuring outstanding players and delicately woven arrangements” - 8.3 - Pitchfork (Best New Music)
“Space 1.8 is a healing sound bath full of rigorous psychoacoustic knowledge and elegant playing” - The Observer (One to watch)
“Very few records have this capacity to make you temporarily fearless, but on Space 1.8, Sinephro harnesses the power of sound to move and heal the listener in ways that are real, and expansive.” - 9/10 - Loud & Quiet
"What sticks with Space 1.8 is the focus of its vision: precise like mathematics but imbued with a rich cosmic breadth." - 9/10 - UNCUT
'Her debut album sits at a slight angle to anything else you may have heard coming out of the UK in recent years” - Stereogum
"A calming, restorative and mind-expanding blend of jazz and ambient" - Resident Advisor (RA Recommends)

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Z Records is back with another instalment of badass Funk from the Disco era with Supafunkanova Volume 3 which has been selected by prolific DJ, producer, remixer and record collector Woody Bianchi.



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On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colours and paints), on a vinyl double LP for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period.
A Polaroid. Still life with tangled leads and consumer electronics, late twentieth century. Black and various shades of dirty white are the dominant non-colours. The image’s spatial depth remains diffuse, the links between its elements speculative. A note stuck to the wall (a legend, perhaps, or an all-explaining blueprint in text form?) is impossible to decipher. You can’t see what connects the picture’s signs. You have to hear it.

farben says: Every sound is a text. A bearer of meaning in search of a reader. Hoping the ideas inscribed in its autonomous existence will be understood as intended. While its beauty lies precisely in misunderstanding, in reading the coded message a new way every time. A thousand colours of sound, a thousand different ways to hear, to see, to understand.

On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colours and paints), on a vinyl double LP for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period. Another new element is the Polaroid, showing the origins of a world: Jelinek’s home studio in Berlin at the time.

farben says: Move your body! The project has its roots in Jelinek’s love of house as a reductionist vision of soul. Of four to the floor as a proposition that can be accessed anywhere. Of electronic dance music as a realm of possibility that can be continually expanded. farben was written as contemporary house music. As a text about excitement and euphoria. The arrangements were made directly while recording to DAT, on a twelve-channel mixing desk. Several track titles suggest a link to live concerts, coupled with the context of machine music and bedroom recording. Others affirm pop music’s most extravagant stock phrases about various states of love.

Jelinek produced the tracks with the aim of making music for dancefloors. An idea that failed very productively. In the locations to which it was originally addressed, the project barely figured. But people did listen, and they listened all the more closely to this music that opened up new acoustic and associative scope for house. farben is the opposite of genre: a music spawning new terms (clicks & cuts, micro-house) that never manage to fully capture it.

farben says: Signifiers. The four CMYK EPs are designed as a network of references that cannot be missed but that can also never be precisely deciphered. The vectors of sound, word and image point to Isaac Hayes and Ornette Coleman, to Detroit and the first generation of the Red Army Faction, to Karl Marx and Friedrich Engels. So multifarious that they are distorted to the point of recognition. Overall we hear sonic docufictions whose appealing vagueness derives precisely from this oscillation between clarity and ambiguity, which is also the source of their poetry: the lyricism of the pure circulation of signs.

The artwork is based on photographs of former Red Army Faction members, broken down into the four colours of the CMYK model. The motifs dissolve into individual dots of a single colour, so close to the faces that their expressions are only hinted at. Taken together, the individual colours compose a new whole out of fragmentary material, defying definition and thus maintaining their vibrancy. The same occurs on the level of sound. The sampler Jelinek used for these tracks had to be fed with floppy disks, imposing a memory limit of 1.44 megabytes per audio quotation from soul or jazz records. As a necessary consequence of this, the individual references, like the dots of colour, are dissolved into details and abstractions. They appear as splinters that recombine in new ways to create new meanings. The joy of collapsing metaphors.

farben says: New departures. Even two decades after its original release, textstar+ does not come across as an epitaph to the modern era. Instead, it appears as a euphoric affirmation of the utopias of the twentieth century, translated into new sound texts via the aesthetic strategies of abstraction, collage, networking and speculation. 1.44 megabytes of history, one thousand signifiers, one album. From “Live ...” to “... Love”.

Arno Raffeiner, 2021

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