Genre: Ambient, Post Rock, Downtempo

Capturing phantom drones behind dusty beats and haunted twangs, Ellis Swan and James Schimpl return for their third album as Dead Bandit. Locked into a musical language unique to their collaboration, the duo once again put us out to pasture across broad sonic plains, drums flapping like loose fence panels in the prairie breeze and bass rumbling like distant thunder. True to their previous two records, Swan and Schimpl keep the strung out guitars at the front of what they do, whether playing a naked, desolate strum or running six strings through disruptive effects processing until they're barely recognisable.
But while there are details of disturbance when listening to Dead Bandit's self-titled record up close, the wider impression is a smoother, more direct affair that toys with post-rock complexity and matches it with the emotional weight of melodic simplicity, gentle grooves and conscious arrangements. 'Weeds' offsets its languid fuzz guitar with shimmering sustained notes before settling into a patient, heavy-hearted composition charged with heartbreak leads pealing out in the middle distance.
By comparison, 'Glass' has a smoky, half-hidden backroom quality. Its brushed whisper of a beat, lingering guitar drones and subtle sub bass come on like a dub wise flip of a sad-eyed country ballad. The mood maintains on 'Half Smoked Cigarette', which captures the grey sky sullenness of post-punk and reframes it in the seductive isolation of rural America. While there's a thickness to the sound on these most direct of tracks on the album, there's also fragility inherent to the sound world Dead Bandit have been shaping out over these past few years.
'Buttercup' swaps sadness for sinister undercurrents, once more drawing on fulsome low end to fill out the sparse threads of instrumentation up top. 'Pink' finds a steady momentum for its own brand of brooding mystery, the sharp end of the beat bringing focus to the many-layered approaches to the guitar which roundly define the Dead Bandit sound. There's an even clearer direction mapped out in the vintage drum machine pulse of 'Koyo', all the better to carry swirling effects treatments and moody melodic figures. Even in these ominous climes there's space for plaintive, endearing hooks which land as the most direct phrases in Dead Bandit's musical lexicon to date.
The fundamental sound across this album holds true, but Dead Bandit are never bound to a singular practice. 'Lucien's Bitters' strikes up a pronounced drum machine beat which comes on like 90s downtempo, and it feels like a natural vessel for the heavy, shoegaze tinted lament of the guitars. At every turn, Swan and Schimpl prove their affinity for all kinds of approaches, and yet the end product is a deeply cohesive, immediate listen that shows just how clear their creative vision really is.


Tracklist:

A1 Milk
A2 Weeds
A3 Glass
A4 Half Smoked Cigarette
A5 Miles
A6 Sheets
A7 Buttercup
A8 Pink
B1 Amer Picon
B2 The Bug
B3 Up To Your Waist
B4 Spidery Ways
B5 Koyo
B6 Let The Dog Decide
B7 Lucien’s Bitters
B8 One Eyed


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DE - 22113 Hamburg
Germany
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Includes Download Code and Special Insert Drawing !
Quindi Records continues to yield intriguing prospects as we reach the third edition, moving from Woo's astral ruminations via Cabaret Du Ciel's sonorous meditations on to the dusty, dusky mantras of Dead Bandit. Maintaining the ambiguous creative practices of the label's previous releases, From The Basement r eaches to the earth for the malleable grit of post-rock while making the most of the broader sonic outlooks afforded by kosmische and electronic effects processes.
Dead Bandit are Chicagoan songwriter Ellis Swan and Canadian multi-instrumentalist James Schimpl. Swan has previously released solo works including the stunning, inward-looking album I'll Be Around, a lo-fi Southern gothic dragging the husk of country ballads through battered signal chains. In Dead Bandit, Swan and Schimpl's artistic vision casts its gaze outwards on a vast expanse, where the distortion has space to stretch its legs and the drums pound out into open space. There's a common tonality at work here, the duos guitars telling a thousand hard-bitten tales where Swan's voice falls silent. It's no surprise to learn Swan and Schimpl's reference points include Neil Young's Dead Man soundtrack, SF noise rockers Chrome and the imperial work of the late, great Mark Sandman of Morphine.
You can sense Jim Jarmusch's America just lingering behind the road-weary thrum of 'These Clouds' and detect the shadow of Tom Waits lurking in the raunchy lurch of 'FF M'. The pointedly titled 'Sedated' calls to mind the slowcore movement and its rejection of rock n' roll's fixation on speed. Instead, tonality and atmosphere are key across From The Basement , although the ambient lull of 'I See Her There' is the exception rather than the rule. Dead Bandit's desert sound has vibrancy and immediacy to match its moodiness, from the sultry swagger of opening track 'Mud' to the bold and borderline bombastic 'When I Looked Around'.
Like the previous Quindi releases, this record is inherently experimental in nature, but not at the expense of its warmth and instant appeal. From the basement, an inquisitive pair with primitive tools look out and imagine a colossal plain as the canvas on which to paint their picture


Tracklist LP:

A1 - Mud
A2 - Handsome Willie
A3 - When I Looked Around
A4 - Instrumental 1
A5 - These Clouds
A6 - Untitled
B1 - Valentine
B2 - FF M
B3 - Child Ballads
B4 - I See Her There
B5 - Sedated
B6 - Crickets


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DE - 22113 Hamburg
Germany
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Genre: Ambient, Post Rock, Downtempo

Capturing phantom drones behind dusty beats and haunted twangs, Ellis Swan and James Schimpl return for their third album as Dead Bandit. Locked into a musical language unique to their collaboration, the duo once again put us out to pasture across broad sonic plains, drums flapping like loose fence panels in the prairie breeze and bass rumbling like distant thunder. True to their previous two records, Swan and Schimpl keep the strung out guitars at the front of what they do, whether playing a naked, desolate strum or running six strings through disruptive effects processing until they're barely recognisable.
But while there are details of disturbance when listening to Dead Bandit's self-titled record up close, the wider impression is a smoother, more direct affair that toys with post-rock complexity and matches it with the emotional weight of melodic simplicity, gentle grooves and conscious arrangements. 'Weeds' offsets its languid fuzz guitar with shimmering sustained notes before settling into a patient, heavy-hearted composition charged with heartbreak leads pealing out in the middle distance.
By comparison, 'Glass' has a smoky, half-hidden backroom quality. Its brushed whisper of a beat, lingering guitar drones and subtle sub bass come on like a dub wise flip of a sad-eyed country ballad. The mood maintains on 'Half Smoked Cigarette', which captures the grey sky sullenness of post-punk and reframes it in the seductive isolation of rural America. While there's a thickness to the sound on these most direct of tracks on the album, there's also fragility inherent to the sound world Dead Bandit have been shaping out over these past few years.
'Buttercup' swaps sadness for sinister undercurrents, once more drawing on fulsome low end to fill out the sparse threads of instrumentation up top. 'Pink' finds a steady momentum for its own brand of brooding mystery, the sharp end of the beat bringing focus to the many-layered approaches to the guitar which roundly define the Dead Bandit sound. There's an even clearer direction mapped out in the vintage drum machine pulse of 'Koyo', all the better to carry swirling effects treatments and moody melodic figures. Even in these ominous climes there's space for plaintive, endearing hooks which land as the most direct phrases in Dead Bandit's musical lexicon to date.
The fundamental sound across this album holds true, but Dead Bandit are never bound to a singular practice. 'Lucien's Bitters' strikes up a pronounced drum machine beat which comes on like 90s downtempo, and it feels like a natural vessel for the heavy, shoegaze tinted lament of the guitars. At every turn, Swan and Schimpl prove their affinity for all kinds of approaches, and yet the end product is a deeply cohesive, immediate listen that shows just how clear their creative vision really is.


Tracklist:

A1 Milk
A2 Weeds
A3 Glass
A4 Half Smoked Cigarette
A5 Miles
A6 Sheets
A7 Buttercup
A8 Pink
B1 Amer Picon
B2 The Bug
B3 Up To Your Waist
B4 Spidery Ways
B5 Koyo
B6 Let The Dog Decide
B7 Lucien’s Bitters
B8 One Eyed


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

GENRE/S: No Wave, Noise, Experimental, Punk

In a continued disruption to the airwaves following releases from Bondo and Monde UFO, Quindi returns to the Californian noise rock scene-not-scene to dig on the gnarled riffs of Expose. On their new release, the LA outfit double-down on a unique blend of bloated guitar fuzz and grimy analogue synths, and come out with a curiously cosmic kind of kick-ass.
If there was a dreamy, sun-bleached quality to Bondo and Monde UFO, their label mates Expose sound more wrought from sweat-drenched jam sessions under halogen strip lights in grease-stained garages. But the guttural quality of their blown-out guitar tone is matched for vibrancy by the dexterity of their playing, bringing angular free jazz to post hardcore and sludge rock, capped off with the unearthly sonic possibilities of flamboyant synthesis.
This dual-layered wall of sound lends extra weight to the likes of shit-kicking 'Speed Dial', which thunders like a kosmische juggernaut with amped up leads and a dead-eyed vocal condensed into a visceral minute, all with enough time for a dramatic breakdown, synth eruption and a final thrust. Similarly scooped out of the trash compactor, 'Description' rides for longer with one foot pressed firmly on the fuzz pedal, letting the electronics squeal around the punked-up rush of the guitars.
But Expose are not a one-dimensional band constantly thrashing it out. By contrast, 'The Constant' hits a crushing emotional note in its more structured push and pull between delicacy and heaviness, hitting bittersweet notes along the way throughout the peaks and troughs of the arrangement. 'Self Terror' washes languid, discordant guitar strum into swirling FX accompanied by sax from Monde UFO's Ray Monde.
Smart as a whip, sharp as a tack and boiling over with an untameable urgency, Expose make their presence felt in brilliant, bruising form on this particularly fierce addition to the Quindi catalogue.

VITAL SALES POINTS:

Quindi returns to the Californian noise rock scene-not-scene to dig on the gnarled riffs of Expose, bringing angular free jazz to post hardcore and sludge rock, capped off with the unearthly sonic possibilities of flamboyant synthesis. A unique blend of bloated guitar fuzz and grimy analogue synths, and come out with a curiously cosmic kind of kick-ass.


Tracklist:

A1 Dutch Coast
A2 Speed Dial
A3 The Constant
A4 Road Railing
A5 Description
A6 Reverse 3
B1 Self Terror
B2 MBB
B3 No Adrenaline
B4 Sink
B5 Glue
B6 Zero To Zero


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Turning their gaze to the buoyant culture of wyrd, modernist German folk music, Quindi welcome a spectacularly idiosyncratic offering from Johannes Schebler, aka Baldruin. Bewildering narrative twists, high drama and intricate delicacy make Mosaike der Imagination an engrossing listen from the outset, as baroque atmospheres and tumbledown drums intertwine with tactile string plucks and needlepoint synthesis in an authoritative bridging of ancient and hypermodern sonic sensibilities.
Schebler's catalogue as Baldruin is extensive, reaching back to the late 00s and covering a lot of ground through cassette albums on respected underground labels like SicSic, A Giant Fern and Lullabies For Insomniacs. Meanwhile, his work has been recognised as part of a broader movement of experimental electronic music in Germany taking inspiration from folk traditions, as documented on last year's essential Bureau B compilation, Gespensterland. Beyond his solo work, Schebler also works with Jani Hirvonen as Grykë Pyje (mappa), and both collaborate with Paul Wilson as Yayoba (Not Not Fun). Christian Schoppik of leading dark folk project Brannten Schnüre joins him as Freundliche Kreisel (STROOM). It's a tangled, fascinating and evocative sound world which Mosaike der Imagination offers a compelling window into.
No two tracks on the album follow the same pattern or palette, whether gliding through the Giallo synth undulations and post rock tonal arcs of 'Stimme des Wegelagerers' or spelling out miasmic incantations through flickering flames on 'Aus dem Feuer, aus dem Licht'. 'Hinein, hinaus, hinüber' revolves around meditative drum mantras and cascading melodic phrasing, densely layered and evolving with purpose. 'Gemeinsam hindurch' flicks between swooping strings and pizzicato plucks in a purely romantic expression of orchestration, 'Mit verbundenen Augen' is a bewildering choral voice study and 'Im Sternstrom' revels in ecstatic synth arpeggios. Nothing can be predicted except the vibrancy and clarity of Schebler's vision.
It's a vision which extends to the front cover artwork for Mosaike der Imagination — a glorious tapestry created by Finnish artist Jan Anderzén, with a responding design and layout from Schebler adorning the rear sleeve.
Stepping to the side of the cosy daydream reveries that inhabit much of the Quindi output, Mosaike der Imagination indulges the label's penchant for sophistication in a freakily fascinating new framework from the heart of an exciting movement in experimental folk music.

Tracklist:
A1 Zwischen Planeten
A2 Stimme des Wegelagerers
A3 Aus dem Feuer, aus dem Licht
A4 Immer wieder im Kreis
A5 In den Tiefen
A6 Hinein, hinaus, hinüber
A7 Fantasiegebilde
A8 Der verwunschene Hain
A9 Blick nach Drüben
B1 Innerlich außerhalb
B2 Schimmernde Chimäre
B3 Gemeinsam hindurch
B4 Mit verbundenen Augen
B5 Purpur-Trank
B6 Im Sternstrom
B7 Schlingerling
B8 Endstation Sehnsucht

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DE - 22113 Hamburg
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Black Vinyl 10" Limited to 109 hand numbered copies!

Matching breezy, Bossa nova-tinged sophistication with softly spiralling psychedelia, Testbild! arrive in the Quindi lounge as though they've always been there. On their 12th album, Bed Stilt, the Swedish collective cast their attention back to the earlier days of their 25-year trip through sweetly mysterious pop-not-pop rendered in warm tones and shot through with surrealism. It's tricky to get a precise fix on the story and structure of Testbild! The project was spearheaded by Petter Herbertsson in his hometown of Malmö in the late 90s, although the story on their website credits the inspiration and source material to a chance meeting and unpublished manuscript from a retiring scientist. The collective's evolution since then is a tangled web of facts and fiction spun by a revolving cast of collaborators including Siri af Burén, Katja Ekman, Rikard Heberling, Douglas Holmquist, Mattias Nihlén and Petter Samuelsson. Along the way, their music has touched on chamber pop, post-punk and modern jazz with the elaborate harmonies and catchy songwriting charm of the Canterbury scene. The tracks which make up Bed Stilt were in fact track recorded in Malmö back in the mid- 00s, lying in wait for the right opportunity to be brought to light with some delicate overdubs and finishing flourishes in the here and now. The core musicians working on the record were Herbertsson and Douglas Holmquist on a similarly expansive list of vocals, guitars, bass, synths and keys, Siri af Burén on lead vocals and Mattias Nihlén on synths and additional mixing. Meanwhile Tomas Bodén - better known as Civilistjavel - lent some additional synth work as well as mastering the record. Musically, Testbild! stay true to their idiosyncratic approach on Bed Stilt with six immaculately rendered sojourns through lilting harmonies and brushed rhythms, feeling nostalgic but beguiling in equal measure. Theirs is a luxurious sound, not least on the opening strains of 'The First New Years Eve,' which purrs to life draped in silky Rhodes and chiming vibes. Behind this comfortable veneer the enigmatic lyrical themes unfurl through Herbertsson, Holmquist and af Burén's vocal harmonies like fractalized puzzles waiting to be solved. The finger-picking delicacy and languid harmonica of 'Streams' strike a pastoral mood neatly countered by the elegant slide into dislocated ambience for the track's final stretch. By contrast, 'And Her Eyes Are Red' surges with a big beat urgency which plays beautifully with the mellow jazziness of the chord sequences, boldly toying with song structure to dart down curious tangents without losing the immediate impulse of a great pop record. Somewhere in this tension between clarity and chaos we can understand the addictive charm of Testbild! - a band steeped in the considerable craft of making accomplished and unconventional music so very easy to sink into. If that doesn't make for a perfect addition to the Quindi catalogue, we don't know what does.

Tracklist:
A1. The First New Years Eve
A2. Streams
A3. And Her Eyes Are Red
B1. Cardamom Song
B2. Soft Winged and Frail
B3. Water On The Moon


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LTD to 150 copies!

After having finished recordings for "Desde Infiernos De Flores", Nový Sv?t immediately began putting down new songs for a follow-up album, which they planned to finalise benefitting from time won by releasing "Desde Infiernos De Flores" in slices (of CD EPs) over a period of some months.

J. Weber's and Frl. Tost's return to an earlier life in their hometown Vienna brought a new deck of cards into play and those by then already mixed new pieces, rumoured to circle around all things dream and sleep and (waking up in) nightmares, suddenly were regarded as "too spanish", hence "inappropriate" for release. Instead in late 2007 surprisingly a synth-only album named "Todas Las Últimas Cosas" ("All the last things"), accompanied by a collection of early demos entitled "Todas Las Primeras Cosas", was announced by the acclaimed german label Treue Um Treue / Reue Um Reue.

During the following seven years it took Nový Sv?t to present their next album "Mono", tons of unreleased music were made available on various formats. But none of the tracks being abandoned in 2007 showed up.

Years after their making those recordings were saved from a disintegrating master and compiled for the album "DeGenerazione", which when it much later showed up online caught the attention of Quindi Records, now making the album available for the first time on the intended LP format, presenting a missing link in the Austrians' discography and the final part of a musical triptych, the so-called Spanish Trilogy, a reflection on transition, begun with "Fin.Finito.Infinito" back in Vienna, where it now would also find an end.

Although noisy and rhythmic in parts, "DeGenerazione" closes the passage of Nový Sv?t's exile on an overall introspective note. It stands as a document of a band at the point of implosion, another dark hole - in a story full of them - illuminated and evidence that J. Weber's Spanish did not improve a bit. Not even living there. A triumph of the will.


VITAL SALES POINTS:


Following Jota Solo's debut on the label late last year, Quindi is honoured to present DeGenerazione, the final album of the infamous Spanish trilogy and the final musical testament of the defunct Austrian cult industrial-folk band, of which J(ota). Weber was the founder, Nový Sv?t - just three years after "Desde Infiernos De Flores", their latest archive release on Brannten Schnüre's Quirlschlängle label - now finally revealed to the universe and available on vinyl.


A1. Tibidabo
A2. Raja
A3. Ciudacanta
A4. Suenos, Anos, Despues
A5. Alarma
A6. Rexistencia
B1. Tierra (Sanguine II - Noticias)
B2. Lo Que Tu 1
B3. Solo Un Sueno
B4. Torbellinos
B5. No Mas
B6. Lo Que Tu 2
B7. Tampoco
B8. Al Fuego
B9. Mierdamaquina


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With its tenth record from Fortunato Durutti Marinetti, Quindi, in collaboration with Soft Abuse, continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.

Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he’s found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022’s Memory’s Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.

Colussi’s renewed approach is instantly apparent as album opener ‘Lightning On A Sunny Day’ unfurls, informed greatly by producer Sandro Perri’s input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can’t help but think of John Martyn’s slide into the digital sound of Sapphire or Kraftwerk’s bittersweet synthetic tenderness.

Within this sound, there’s still space for the energy to fluctuate according to the whims of songs. ‘The Flowers’ turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. ‘Misfit Streams’ and first single ‘Clerk Of Oblivion’ savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener’s heart. It’s at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer’s inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.

The emotional direction of each track is never linear - ‘Smash Your Head Against The Wall’ snarls its rhythm section before the strings sow their aching beauty to cool the song’s temper, winding up as a track of distinct halves jabbing at each other. “I Need You More’ leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi’s unique exploration of his muse.

The artist himself dubs his musical expression as “poetic jazz rock” with a sideways glance - it’s not exactly poetry, far from trad jazz and it doesn’t really rock, yet the tag feels uncannily like it fits, just like the curious music it’s used to describe.

VITAL SALES POINTS:

Produced by Sandro Perri, Canadian singer-songwriter Fortunato Durutti Marinetti releases his third album on the Italian label Quindi together with American label Soft Abuse, following the successful release in 2022 of his previous work entitled "Memory's Fool", moving from synth pop songs to his characteristic "poetic jazz rock' style.
“For an introduction to Fortunato Durutti Marinetti, there’s no better way to start than letting Eight Waves wash over you” Jess Locke - Aquarium Drunkard
“With an hybrid of analog and synthesized sounds, Turin-born Daniel Colussi creates sophisticated, smooth art pop brimming with emotion” New & Notable - Bandcamp
“It’s a smooth ride, but it’s still a journey” Rosy Overdrive
“Each part of the whole, despite its diversity (from synthetic beats to jazzy interweavings), contributes to creating a compositional balance and achieving sonic organicity: many small musical worlds in one.” Kalporz

Tracklist:

A1. Lightning On A Sunny Day
A2. The Flowers
A3. Misfit Streams
A4. The Movie Of Your Life
B1. Clerk Of Oblivion
B2. Smash Your Head Against The Wall
B3. Tomorrow's Poem
B4. I Need You More




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At once a spiritually-charged journey and a shit-kicking party record, American Cream Band comes to Quindi covering all the bases.
American Cream Band was formed by Twin-Cities musician Nathan Nelson around 10 years ago, taking the form of improvised live shows and albums Frankensteined from these sessions into exultant, fully-formed records you can sink your teeth into. The trick with improvised music is to start with intentions, however abstract they might be, and Nelson leads his rolling cast of collaborators into the creative fray with subtle guidance which drives the impulsive musical moment forward.
The band's previous records have manifested on labels like Moon Glyph and Medium Sound, and now Presents arrives in a freewheeling flash of snappy new wave, skronky sax, call and response sass and some krautrock-minded sonic cosmology. The album came together in December 2021, when Nelson took ten musicians to legendary studio Pachyderm in Cannon Falls, Minnesota. Living together, eating together, and with Nelson quietly setting up his low-key magick intentions around Jupiter's planetary frequency and the studio's abundance of elephant statues and carpets, they laid down some drum-heavy sessions that became the building blocks of the record.
'Taste What We Taste' is the perfect example of an exuberant groove pounded on skins as a vessel for a joyous get-down, with the singers and players free to freak out on top. Nelson remains at the centre of the melee, throwing half-sardonic, half-heartfelt calls out for connection. 'Banana' celebrates nonsense and holds down the most serious of beats - a disco-not-disco deadeye dripping in late night sleaze and lysergic potential. On 'Royal Tears', the jagged guitar chops call back to Gang Of Four, while the hot n' heavy sax from Cole Pulice baits James Chance and all the other angular New York un-jazz misfits.
Amongst his other implied intentions for the recordings, Nelson wanted to channel opposites, not least the distinct male-female energies in his vocal sparring with the girls on assistance duties. It wouldn't be right to call them backing singers as they shoot back at his punchy mantras, bringing a certain fierce femininity that tips its hat to The B-52's Cindy Wilson and Kate Pierson, not to mention iconic post-punk bands like Au Pairs, Delta 5 and Bush Tetras.
There's space for the dreamier kosmische which has crept into the American Cream oeuvre in the past, as 'Sirens' opens the album up in a swirling pond of rag tag percussion and molten synths. 'Words Would Handcuff Us' cools the whole riotous assembly down in unmoored perfection, a strung-out Bossa nova seance dusted with celestial drips from analogue spaceships.
Equally treading the line between light and dark, conscious and unconscious, the sacred and profane, Presents is a life-affirming, creep-under-the-skin listening experience - a joyously transient chapter in the evolution of American Cream Band.

Tracklist:

A1. Sirens
A2. Dr Doctor
A3. Banana
A4. Royal Tears
B1. Birds Don't Try
B2. Taste What We Taste
B3. Suave In Ultra Pink
B4. Words Would Handcuff Us



VITAL SALES POINTS:

"For Presents at least, Nelson and his constellation of talented collaborators clearly have whatever "it" is, as they hit the mark with impressive regularity while organically embodying everything that is good and cool about raw, decadent, and spontaneous rock music."
Anthony D'Amico - Brainwashed

"Of course, with such a combination you are open to creating a complete mess, but Nelson and his crew seem to know exactly what they are doing here, creating something like an open-ended mutant 'kosmiche' disco. The one that works."
Echoes & Dust

"Presents" feels longer than its relatively brief runtime-not in a "it's not over yet?" way, mind you, in a "I can't believe we just went through all that in 28 minutes" kind of way."
Rosy Overdrive


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Heralding 2023 from way out west, Monde UFO land on Quindi with a distinctive album of dream pop vignettes and outer rim punk exotica.
Hailing from the same Californian heat haze as recent Quindi signings Bondo, Monde UFO have manifested in the past four years through a series of DIY releases including their 2021 album 7171 and last year's set of Fugazi covers, 4 Songs. The loose fit project centres around the singing, playing and songwriting of Ray Monde and Kris Chau and features Kern Haug on drums. The resulting sound arrives as a resourceful analog of plush 60s pop captured through the modest means of a truly independent musical endeavour.
The sound rendered on Vandalized Statue touches on dubby atmospherics, the lilting breeze of bossa nova and the introverted muse of US indie rock, but the end result is a natural, cohesive whole centered around the songwriting. Imagine the girl from Ipanema sat toking in a comfortable spot in the corner of the dive bar while someone weaves her a tall tale or two, and you might be somewhere in the right direction. The stories in the lyrics unfurl as meandering narratives taking you through everyday exchanges and far-fetched, cosmic scenarios alike. At every turn the cosy musicality gives everything a relatable, homespun charm, even as the mixing desk becomes a mess and the lo-fi FX crash into each other.
The album will be fronted by three singles which reflect the wide reach of Monde UFO's sound. 'Visions of Fatima' is one of the more melancholic pieces on the album, fronted by laconic organ and centring on cracked vocals with an off key charm that indirectly evokes Jeffrey Lee Pierce. 'Government Employee' is a sun-kissed trip of low-key lounge surrealism, bizarro storytelling and shuffling exotica splendour which broadly defines the woozy mood of Vandalized Statue. 'Garden Of Agony' is a more delicate but no less dreamy piece matching electric tremolo with acoustic fingerpicking balladry which hides its considerable depths behind a seemingly simple arrangement.
At once intimate and projected into the cosmos, Monde UFO add to the particular path Quindi is taking through hidden corners of independent music with a romantic, restless spirit.


VITAL SALES POINTS:
Second album by LA combo Monde UFO on the italian imprint Quindi, a collection of dream pop vignettes and outer rim punk exotica.

TRACKLIST:

A1. Rectory
A2. Government Employee
A3. Visions Of Fatima
A4. Instruments
A5. Air Quality
B1. The Woods Behind St. Marthas
B2. Instruments 2
B3. Garden Of Agony
B4. Cement and Reasoning
B5. I'm So Tired



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Bondo is four Los Angeles musicians collaging displaced tempos and fractured melodies. Their sparsely vocalised music conspires to bring into view a practical enlightenment, evoking the sandy contentment of an exhausted marine sunset. The organically mechanical compositions wander with the intention not to be aimless, but to be consumed in Process.
Bondo comes to Quindi Records to release its first full-length album, Print Selections, and it is saturated in the communal consciousness of the band. The songs call for the individuals to dissolve to make way for the music.
The lyrical content of the record tells of a mind made anew, cleared of its data & ego to witness nothing in particular. Bringing the past with them, the band makes clear allusions to their influences - their tones reminiscent of outfits like Duster, Unwound, Acetone & Fugazi, but also has heavy nods to more formless genres like the dub melodies of King Tubby and the jazz of Archie Shepp.
The music feels like the dusty bed of a scanner, plays like the light leaking from underneath its lid.


Track List:

A1 Container
A2 Egoizing
A3 Instrument
A4 Zion Gate
B1 Mind Room
B2 Lo Tek
B3 New Brain
B4 Pipecleaner



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Drawing the night in around his private, unnerving vigil, Ellis Swan returns to Quindi Records with an album of cracked beauty and haunted balladry. The Chicago-based singer-songwriter debuted on the label last year with a collaborative project called Dead Bandit, a vividly produced instrumental set in thrall to the badlands and a laconic, languid Americana.

Under his own name, Swan records intimate, poetic songs in a stark fashion, so fragile they might disintegrate in between your fingers were you to pick them up. He draws the microphone close to pick up every whisper and drags the music through layer upon layer of tape fuzz, leaving room for atmospheric impressions which loom out of the walls like the ghosts of past misdeeds. These pieces play on the natural distortion and delirium which occurs at the farthest end of the night - the hour before dawn might hope to break the veil of darkness.

Swan's is a hauntological sound, but like the late Israeli rockabilly icon Charlie Megira his process strikes a spooked tone past revivalism and out of time or place. The only anchor which places Swan anywhere is the subtle presence of Katherine Swan providing lyrics to '3am' and lyrics and backing vocals to 'It Could Be Worse'.

The impression cast is of one man and his guitar, but there are other textures tucked into the music - the muffled murmur of a drum machine or a low frequency organ hum, some desolate piano, other treated percussive impulses which might well have been the work of incidental sprites while the four-track was rolling.

There are fuller cuts like 'Evening Sun' and the title track '3am' which play with structural dynamics and creep out of the shadows a touch, while passages of plaintive, instrumental unease such as the hypnotic, mantra-like 'Chinatown' protract the space between songs. 'Swing' lolls between moments of bottomless silence and a discernible, rickety funk, and 'Puppeteers Tears' teases out a buried drama. But primarily, it's the light touch of 'Horses Bones' and tin can tenderness of 'She's My Sweet Summer Storm' which spell out the spellbinding character of 3am; a singular creation fusing the best qualities of folk, blues and Americana with a fearlessly experimental sound palette.

Tracklist LP:

A1_Basement Suite
A2_Down By The Reservoir
A3_Horses Bones
A4_Swing
A5_Chinatown
A6_It Could Be Worse
A7_She's My Sweet Summer Storm
B1_Hospice
B2_Arizona
B3_Puppeteers Tears
B4_Evening Sun
B5_Something
B6_3am
B7_Down In The Dirt



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After their celestial Arcturian Corridor opened proceedings on Quindi, London-based brothers Clive and Mark Ives are back with a new record. When Woo first began recording at home in the early 70s, Clive and Mark were the embodiment of furtive genius. Since re-emerging in 2013, they've released scores of albums, collaborated with Seahawks, and have now struck up a productive relationship with Quindi.

On Paradise In Pimilico, you're hearing a very different sound to the one gently creaked out on early classics like Into The Heart Of Love. This is fulsome, contemporary production rich in detail and artful sound design, but crucially, Clive and Mark's gorgeously melodic approach remains open and inquisitive, even with the sheen and shimmer of modern studio techniques.

Woo sound more confident than ever in their composition, too. The crystalline, fragile tones of 'Cadenza D'Innocenza' glide through key changes that spell out an engrossing narrative, while the cascading melodies on 'Moment To Moment' pirouette across the space between notes with masterful poise. 'Paradise In Pimlico' is an illustrious suite of orchestral composition played out with the lightest touch, framed by the slightest of synthesized fauna and topped off with tender sax and flute. Album closer 'In Case Love Fails' takes on a subtly cinematic urgency with its undercurrents of walking bass and the strike of the string section (synthetic or otherwise).

There's space for markedly new approaches, too. The rhythm section on 'The Motorik Mirror' clunks and pops with a tactile, high-definition quality which teeters between electronic sculpture and clockwork, organic machination. The deft, lightly-brushed drums coursing through 'Even More Notes' see Clive and Mark step into a different mood, celebrating the beat as another fluid, tonally-rich texture in the mix and adding a smoky, jazzy hue to the Woo repertoire.

It's far from a drum-focused exercise though. At every turn, you're confronted with aching beauty and timbral surprises. If there's one constant throughout Paradise In Pimilico, it's the omnipresent chimes. These twinkling drops of light scattered throughout are something of a hallmark of Woo, ensuring the lilting, lullaby-like magic of their music persists whichever direction they head in.


Genre: Ambient, Electronic, New Age, NeoClassical, Downbeat

Tracklist:

1_Let It All In
2_The Motorik Mirror
3_Cadenza D'Innocenza
4_Gold Star
5_Paradise In Pimlico
6_Moment To Moment
7_Even More Notes
8_In Case Love Fails


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Limited edition of 90 copies with cyan blue vinyl & handmade cover!

Tracklist 10":

A1 Raintears (Piano Version)
A2 A New Day
A3 Time Of The Twins Pt I
B1 Time Of The Twins Pt II
B2 A Delvaux Postcard
B3 Raintears II

Info:

Quindi Records returns once more to the swooning romanticism of Cabaret du Ciel, the long-running project from Andrea Desidera and Gian Luigi Morosin. After the contemporary material which made up long-player The Breath Of Infinity, Raintears heads back into the group's archives and focuses on a limited cassette release from 1991.

Originally released on Morosin's own Ionisation Tapes, Raintears is described as heralding a new phase for Cabaret du Ciel following their earlier Solarisation and Weather Colours cassettes. This revised, expanded version of the release opens with 'Raintears (Piano Version)', which originally came out on an Ionisation compilation entitled Imago Sonora 1. Truly evoking the spirit of the track and its meaning, it was recorded on a rainy Sunday afternoon when Desidera's friend and trained pianist Francesco Martignon heard the original melody for 'Raintears' and proceeded to improvise on the theme, with Desidera and Morosin embellishinbg Martignon's exquisite playing with subtle touches of synth and sampling. In its fragile, tape-worn repose, the piece is loaded with the delicate ambience a rainy Sunday afternoon implies - calm, melancholic and wistful.

'A New Day' is a piece cast in light and shade, contrasting two core melodic phrases expressed through synth and guitar, with a light touch of speech sampling adding to the cinematic poise of the track. 'Time Of The Twins' originally appeared as a single track on the cassette release, but here it's framed as two distinct parts which meet in the middle. The first half is patient, gliding ambience rich in the harmonic interplay and winding narratives which typifies Cabaret du Ciel overall. The second half opens up like a flower looking for the sun, all pronounced keys pirouetting across the fundamental chord progression established in the first chapter.

'A Delvaux Postcard', previously titled 'East Roads', takes on a spectral, spacious form as it passes by slow, rhythmic pulses and freewheeling synths, momentarily joined by scattered shards of sampled voice layered and filtered in a manner which reminded Morosin of Belgian surrealist painter Paul Delvaux. The EP closes with the original version of 'Raintears' (billed here as 'Raintears II'), a plaintive and disarmingly beautiful ambient piece centered on Desidera's light and poignant playing. As Morosin himself describes, "Andrea is in a full state of grace, touching the listener through his fingers with the notes into [their] deepest emotions. The first time I listened to the basic version, I was just speechless."


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Tracklist 7":

A1 Like A Fool
B1 Inside Loneliness

Released in conjunction with the reissue of the Raintears EP, Quindi is proud to present further archival finds from Italian experimental project Cabaret du Ciel. Like a Fool / Inside Loneliness is a single shining a light on the brief collaboration between Andrea Desidera, Gian Luigi Morosin and singer Barbara Volpato.

After years working as an instrumental outfit, the sessions with Volpato from 1991 were the first time Desidera and Morosin's project had welcomed in a vocalist. Of the many tracks written and recorded at that time, the best two were selected and carefully restored from the original tapes, now immortalised on vinyl and expanding the public impression of Cabaret du Ciel.

'Like A Fool' re-imagines the hazy serenity of Cabaret du Ciel in a dream pop context, injecting the soft-focus synth work with the energy of bold drums to provide a suitable framework for Volpato's voice. The crisp twang of new wave guitar completes the picture, while the trademark progression intrinsic to Cabaret du Ciel lends itself to the traditional song structures of pop.

'Inside Loneliness' is a natural companion to the A side, redolent with the heavy-hearted synth-pop romanticism of the late 80s and early 90s. The DIY sound on the track conveys an intimacy that can only come from artists recording in their own private environment, pouring their hearts and souls into a four-track recorder without a conceit other than pure, honest expression.


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After their celestial Arcturian Corridors opened proceedings on Quindi, London-based brothers Clive and Mark Ives are back with a new record. When Woo first began recording at home in the early 70s, Clive and Mark were the embodiment of furtive genius. Since re-emerging in 2013, they've released scores of albums, collaborated with Seahawks, and have now struck up a productive relationship with Quindi.

On Paradise In Pimlico, you're hearing a very different sound to the one gently creaked out on early classics like Into The Heart Of Love. This is fulsome, contemporary production rich in detail and artful sound design, but crucially, Clive and Mark's gorgeously melodic approach remains open and inquisitive, even with the sheen and shimmer of modern studio techniques.

Woo sound more confident than ever in their composition, too. The crystalline, fragile tones of 'Cadenza D'Innocenza' glide through key changes that spell out an engrossing narrative, while the cascading melodies on 'Moment To Moment' pirouette across the space between notes with masterful poise. 'Paradise In Pimlico' is an illustrious suite of orchestral composition played out with the lightest touch, framed by the slightest of synthesized fauna and topped off with tender sax and flute. Album closer 'In Case Love Fails' takes on a subtly cinematic urgency with its undercurrents of walking bass and the strike of the string section (synthetic or otherwise).

There's space for markedly new approaches, too. The rhythm section on 'The Motorik Mirror' clunks and pops with a tactile, high-definition quality which teeters between electronic sculpture and clockwork, organic machination. The deft, lightly-brushed drums coursing through 'Even More Notes' see Clive and Mark step into a different mood, celebrating the beat as another fluid, tonally-rich texture in the mix and adding a smoky, jazzy hue to the Woo repertoire.

It's far from a drum-focused exercise though. At every turn, you're confronted with aching beauty and timbral surprises. If there's one constant throughout Paradise In Pimlico, it's the omnipresent chimes. These twinkling drops of light scattered throughout are something of a hallmark of Woo, ensuring the lilting, lullaby-like magic of their music persists whichever direction they head in.

Tracklist LP:

A1 Let It All In
A2 The Motorik Mirror
A3 Cadenza D'Innocenza
A4 Gold Star
B1 Paradise In Pimlico
B2 Moment To Moment
B3 Even More Notes
B4 In Case Love Fails




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Includes Download Code and Special Insert Drawing !
Quindi Records continues to yield intriguing prospects as we reach the third edition, moving from Woo's astral ruminations via Cabaret Du Ciel's sonorous meditations on to the dusty, dusky mantras of Dead Bandit. Maintaining the ambiguous creative practices of the label's previous releases, From The Basement r eaches to the earth for the malleable grit of post-rock while making the most of the broader sonic outlooks afforded by kosmische and electronic effects processes.
Dead Bandit are Chicagoan songwriter Ellis Swan and Canadian multi-instrumentalist James Schimpl. Swan has previously released solo works including the stunning, inward-looking album I'll Be Around, a lo-fi Southern gothic dragging the husk of country ballads through battered signal chains. In Dead Bandit, Swan and Schimpl's artistic vision casts its gaze outwards on a vast expanse, where the distortion has space to stretch its legs and the drums pound out into open space. There's a common tonality at work here, the duos guitars telling a thousand hard-bitten tales where Swan's voice falls silent. It's no surprise to learn Swan and Schimpl's reference points include Neil Young's Dead Man soundtrack, SF noise rockers Chrome and the imperial work of the late, great Mark Sandman of Morphine.
You can sense Jim Jarmusch's America just lingering behind the road-weary thrum of 'These Clouds' and detect the shadow of Tom Waits lurking in the raunchy lurch of 'FF M'. The pointedly titled 'Sedated' calls to mind the slowcore movement and its rejection of rock n' roll's fixation on speed. Instead, tonality and atmosphere are key across From The Basement , although the ambient lull of 'I See Her There' is the exception rather than the rule. Dead Bandit's desert sound has vibrancy and immediacy to match its moodiness, from the sultry swagger of opening track 'Mud' to the bold and borderline bombastic 'When I Looked Around'.
Like the previous Quindi releases, this record is inherently experimental in nature, but not at the expense of its warmth and instant appeal. From the basement, an inquisitive pair with primitive tools look out and imagine a colossal plain as the canvas on which to paint their picture


Tracklist LP:

A1 - Mud
A2 - Handsome Willie
A3 - When I Looked Around
A4 - Instrumental 1
A5 - These Clouds
A6 - Untitled
B1 - Valentine
B2 - FF M
B3 - Child Ballads
B4 - I See Her There
B5 - Sedated
B6 - Crickets


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Following the stellar trip through Woo’s Arcturian Corridor , Quindi Records continues to explore intimate, inviting
sounds with an experimental bent by facilitating the return of overlooked Italian duo Cabaret du Ciel.
Initially formed in 1986, Cabaret du Ciel’s debut album Skies In The Mirror was a low-key and extremely rare cassette
release of spellbinding electro-acoustic ambient music created by Gian Luigi Morosin and Andrea Desiderà. A reissue
on Hybride Sentimento in 2018 brought renewed attention to the startling music contained within this unique project.
The Breath Of Infinity is an album comprised of new works recorded over the past year, either as new pieces or
reworked from old ideas with the assistance of Giorgio Ricci. Morosin and Desiderà’s natural instincts as
multi-instrumentalists shine through across the record as they did on Skies in the Mirror , although these tracks were
in fact composed as raw live takes using electronic workstations (with a little additional fretless bass provided by a
close friend Giampaolo Diacci on “Different Suns” and “Climatic Variations”).
There is a crisp, digital timbre to the worlds Cabaret du Ciel shape out on The Breath Of Infinity – utopian pastures
with an air of optimism similarly expressed in the first waves of ambient electronica. Folk traditions exert a guiding
influence on the sparkling, ethereal melodies and full-frequency harmonisation, but this is music enamoured with
timeless plateaus rather than hackneyed interpretations of the past, present or future.
It’s also an album of variety. “Different Suns” tumbles with a pastoral, elemental earthiness thanks to the interwoven
rhythmic murmuring of percussion and live bass, while “Lakota” pivots in sharply rendered bio-mechanical formations.
There’s a widescreen bombast to “Theatre Azure” which calls to mind mid-90s US electronica, while “Meredith”
reclines in a blissful bath of plush 80s FM synthesis. “Sunset Parade March” has a distinct sense of propulsion thanks
to its overdriven, broken techno rhythm and “Highlands” skips with an infectious energy despite not using any formal
kind of percussion, but even in these more kinetic moments a preference for mellow musicality maintains the
dreamlike mood.
Consider The Breath of Infinity like an archipelago, where each track functions as its own distinct island of ideas while
being intrinsically interconnected to the others. In a similar fashion to acts such as Ultramarine (who appeared as
remixers on Quindi 001), Cabaret du Ciel emphasise the musicality in their electronic music, shaping out an
evocative, imaginative environment to idly glide through or attentively explore.

A1. Skydiver
A2. Different Suns
A3. Lakota
A4. Theatre Azure
A5. Climatic Variations
A6. Horses
B1. Meredith
B2. Sunset Parade March
B3. Highlands
B4. Sentimental Dub
B5. Great Plains
B6. The Breath Of Infinity

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Tracklist:
A1: Arc I 4.48
A2: Arc II 4.14
A3: Arc III 3.57
A4: Arc IV 3.40
A5: Arc V 4.16
B1: Love On Other Planets (Woo Remix) 5.13
B2: AC V (Wino Wagon Remix) 7.42
B3: AC II (Ultramarine Remix) 4.18

Release Info
The premise for Quindi Records is simple – to represent music with a universality at its core.
Without adhering to specific genre tropes, the releases are intended to have a meaning and
purpose in all kinds of situations – a social soundtrack as much as a stimulating experience,
feeding emotions and the psyche with a sentimental palette of sounds. Lovers’ music, loners’
music, music for friends and family alike.
Woo makes for a perfect choice to meet this loose concept head-on – the music of Clive and
Mark Ives straddles disparate worlds and finds its own peculiar balance. On one hand it’s
delicate synthesizer music with a minimalist bent, while on the other their joyous, twinkling
harmonies have an immediacy that speaks to the soul. You can detect privacy in their craft – the
brothers originally recorded their music in relative isolation in London in the 70s, 80s and early
90s. It’s only in recent years their sublime work has enjoyed a wider audience through an
extensive run of reissues.
Arcturian Corridor
? presents a rare, previously unreleased piece of music from Woo – the
expansive suite of the title track that unfurls across five parts. It’s an enchanting listen that
shows a new breadth and depth to the duo – detailed drum programming and a broader palette
of synth tones cascading in elegant unison. The name refers to Arcturus, the fourth brighteststar in the night sky. As Woo themselves explain, “The Arcturian Corridor is said to be a channel
of light that brings unconditional love and wisdom from Arcturus to Earth.”
In addition to the 20-minute A-side piece, Woo also presents a new version of “Love On Other
Planets”, a standout piece from their 1990 album ?Into The Heart of Love? . The fragile subtlety of
the original has been embellished here with rich new passages that turn it into a kind of
electronica epic, although still marked out with the sensitivity one expects from a Woo record.
Two remixes complete the set, both furthering Quindi’s modus operandi as a genre-agnostic
force for cosmically charged music. Dublin’s Wah Wah Wino collective present their Wino
Wagon manifestation for a tastefully strange house version of the fifth part of “Arcturian
Corridor” that channels the freakiness of Pepe Bradock, the robo-funk of Metro Area and a
soupcon of pop nous. British duo Ultramarine maintain the stylistic ambiguity as they channel
decades of expressive experimentation between live band dynamics and machine soul on their
version of the title track’s second chapter.

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Non Exclsuive LP (Yelllow Vinyl)

DBL Gatefold LP w/ MP3, Galaxy Vinyl (Clear with Black smoke detail) &
Edition of 1000

2021 Vinyl aRepress, to co-incide with Molly Nilsson's new studio album and reissues of The Travels and Europa. First time this edition has been on CD

It would be easy to say that Molly Nilsson needs no introduction, but These Things Take Time is an introduction. Originally self-released in 2008 on a limited CDR run with hand-folded sleeve, Nilsson's debut album has slowly taken over the hearts of many. In 2014 this modern classic of autonomous, DIY pop and punk-as-you-like attitude is presented on vinyl for the first time in a beautiful edition featuring unreleased bonus tracks across two discs, an exclusive screen printed A2 poster and new sleeve notes from the artist.

Molly Nilsson's first recordings under her own name have grown in stature to occupy a prominent positioning in the global pop underground despite initially only being available on CDr. Though Nilsson's songwriting prowess and commandeering of other genres has grown since 2008, her unique voice is seen in raw form on These Things Take Time. Many of the themes she would develop later were inked first here: the romance of loneliness on "The Lonely," "Whisky Sour," "Hey Moon!", the folly and intoxication of youth seen in "Joyride," "Poisoned Candy" and dogged self-reliance as on "The Diamond Song" or "Wounds Itch When They Heal." Also included here are unreleased recordings from the same period that were left off the original release, a further window into a turbulent, exciting time for an artist just discovering her power to touch and communicate with the listener.

These Things Take Time tracklist:
A1 The Lonely
A2 The Diamond Song
A3 8000 Days
A4 Wounds Itch When They Heal
B1 Whiskey Sour
B2 Poisoned Candy
B3 (Won't Somebody) Take Me Out Tonight
B4 Hey Moon!
C1 The Home Song
C2 Joyride
C3 We're Never Coming Home
C4 Dinosaur Tears
C5 My Dream From Last Night
D1 Zur Tränen Bar
D2 Lend Me Your Love
D3 Some Need Powder
D4 Nightlife







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Following the successful release of debut album "The Rising and Setting of the Heavenly Bodies" (sold-out limited vinyl run), here is the second album by TREN on "not meant to happen" label. Sentimental journey through memories, dreams, space and time.

Tracklist:

1. Tren - Opening Loop
2. Tren - Scalar
3. Tren - Sands of Time
4. Tren - Essays in Idleness
5. Tren - In Bloom (Rework)
6. Tren - Tensor
7. Tren - Mono no Aware
8. Tren - The Immensity of the Heavens
9. Tren - Closing Loop

- Tour Dates:
10.12.2023 - ambientorium @ mlodsza siostra - warsaw, poland
16.12.2023 - morevi night @ bassiani/horoom - tbilisi, georgia
23.03.2024 - transition @ ://about blank - berlin, germany


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Format: 1 x LP | Deluxe Handmade Tip-On sleeve | Analogue Remastered
Versions:
Limited Natural Transparent Vinyl Edition
Tracklist:
Side A
A1 Sweet Thang
A2 Teffany
A3 Time And Place
A4 Hang Loose
A5 Steppin' Out
Side B
B1 Sweet Lovely Girl
B2 Get Up
B3 Leanin
B4 Rise
Release Notes:
Originally released on Blue Candle Records in 1977, Steppin' Out by the 13th Floor is a true
treasure that deserves a cherished place in the collection of every soul and funk connoisseur.
This long-awaited reissue brings back the original magic, preserving the essence and impact
it had on the music scene.
Its profound influence on bands like the Red Hot Chili Peppers is undeniable, solidifying its
status as an essential gem in the annals of musical history. Now, with this reissue, you have
the opportunity to experience the same captivating rhythms and infectious melodies that
captivated audiences decades ago.
Are you ready to awaken your boogie spirit and infuse your living room with the long-lost
spark of the mid-seventies? Brace yourself for an immersive experience as you surrender to
the timeless grooves and soulful vibes that will transport you to a bygone era of musical
enchantment. Allow the music to ignite your soul, reigniting the vibrant energy of the past
and instilling in you an irresistible urge to groove like never before.

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2xLP, Gatefold Jacket, Black Vinyl

The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop's smoothest figures.

Key Marketing/Selling:
- Larry June & The Alchemist are each extremely respected and notable individual artists in the Hip-Hop community
- Album activations in LA, SF, CDMX and NY during release week, with multiple exclusive merch drops planned alongside each release
- The Alchemist routinely sells out of physical product on each drop - CD/CS/LP
- Larry June's previous releases, Orange Print & Spaceships On The Blade, have done exceptionally well at retail
- The Alchemist has put together some of the most sought after physical releases over the last 3+ years
- All production is handled by The Alchemist, with additional production on Track 6 by frequent Griselda collaborator, Beat Butcha
- Features include notable rap luminaries Action Bronson, Big Sean, Slum Village, Ty Dolla $ign, Boldly James, Evidence, Wiz Khalifa, Jay Worthy, Joey Bada$$, & Curren$y
- Extensive press write ups published throughout album rollout such as Rolling Stone, HipHopDX, Billboard, Okayplayer, The Source, BrooklynVegan, Yahoo, Vibe
- Extensive outdoor campaign with multiple billboards secured from all major DSPs
- Each single has been featured and placed on numerous playlists and obtained multiple playlist covers across all DSPs
- Multiple videos released with more on the way
- "Making of" Documentary released in support of album rollout
- 89 Earthquake has over 2.3M streams on Spotify alone since release on 3/1/23 (3/29/23)
- 47 date nationwide tour planned in support of the album, with multiple dates already sold out and additional shows already added. European dates are expected to follow shortly
- Larry June has over 3.3M monthly listeners on Spotify
- The Alchemist has over 6.8M monthly listeners on Spotify

Tracklist:
A1/1. Turkish Cotton
A2/2. 89 Earthquake
A3/3. Solid Plan (feat. Action Bronson)
A4/4. Palisades, CA (feat.Big Sean)
B1/5. Summer Reign (feat. Ty Dolla $ign)
B2/6. Orange Village (feat. Slum Village)
B3/7. Porsches in Spanish
B4/8. Art Talk (feat. Boldy James)
C1/9. Ocean Sounds
C2/10. Left No Evidence (feat. Evidence)
C3/11. What Happened To The World? (feat. Wiz Khalifa)
C4/12. Éxito (feat. Jay Worthy)
D1/13. 60 Days
D2/14. Barragán Lighting (feat. Joey Bada$$ & Curren$y)
D3/15. Margie's Candy House


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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

LP

-Debut album by Icelandic artist Sunna Margrét

GENRE/S: Art pop / Leftfield pop / Experimental pop

TRACKLISTS: Chocolate / Come With Me / Í Kviði / 4 Year Itch / Figure / Hibiscus / I've Been Drinking / Those Who Wonder / I, Here In Distance

SHORT INFO:
Icelandic musician and visual artist Sunna Margrét is set to release her debut full-length album, Finger on Tongue, via No Salad Records. Citing influences from krautrock legends CAN and Neu!, outsider synth pop artist The Space Lady and electronic music pioneers Suzanne Ciani and Eliane Radigue, Finger on Tongue is a masterclass in experimental pop, capturing an authentic Icelandic essence through its electronic and spellbinding sounds. Some tracks offer softness and peace while others invite you to dance, and the album homogeneity is precisely ensured by the rigorous approach to writing.

VITAL SALES POINTS:

-Debut album by Icelandic artist Sunna Margrét
-Release on No Salad Records
-UK/US PR by Someone Great
-French PR by Le Gospel



Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

LP
- Second album from Faada Freddy

Territories: WW except France, Andorre, Belgique, Luxembourg, Monaco, Switzerland

GENRE/S: Soul / Pop

TRACKLISTS:
1 GOLDEN CAGES
2 THE ONE FOR ME
3 TABLES WILL TURN
4 AFRICA NANGADEF
5 BEAUTIFUL
6 HAPPY TOGETHER
7 DAY TO DAY STRUGGLE
8 WHOLE LOT OF TRUTH
9 SO AMAZING
10 ALADDIN
11 MASSILO
12 STRANGER TO MYSELF


SHORT INFO:
Senegalese singer Faada Freddy releases a new album entitled "Golden Cages" after a seven-year hiatus. With an organic approach, he uses mainly his voice, hand-clapping and body percussion. The album features original tracks that reflect his critical yet benevolent thinking, tackling themes such as the standardization of thought, lack of reflection and dehumanization in today's society. Faada Freddy defends the idea of freedom, combining conscience and emotion, reflection and wonder. The album also celebrates the singer's African roots and expresses his attachment to his country and continent. "Golden Cages" is an ode to freedom and harmony, a vibrant love song for overcoming divisions.



Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Vinyl Only Release lim. to 500 copies worldwide!

There are mysterious records. Records hiding and showing something at the same time. This is one of them. It is made from two records that were most probably released in the mid-1970s, most probably primarily by Turkish Roma.
It brings together what Anadolu pop music lovers always dream of: Anatolian geleneksel (traditional folk tunes), disco and funk, jazz and hard rock, psychedelic sounds, hard-hitting drums, Arabesk percussion, and hip-hop friendly breaks. Put together in a careful, smooth production with a warm, relaxed and dance-friendly vibe.
Here you get it: Roma-nized instrumental Turkish pop music in all its facets of the 1970s.

Track Titles:

A1 Yagmur Yagdi Kac
A2 Adana Ücayak

B1 Sis Kebabi
B2 Hint Geceleri

C1 Cilli
C2 Kalaycilar

D1 Fesuphanallah
D2 Zühtü
D3 Harmandali



Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore