1
Chrystabell & David Lnych - She Knew
2
Chrystabell & David Lnych - The Sky Falls
3
Chrystabell & David Lnych - You Know The Rest
4
Chrystabell & David Lnych - So Much Love
5
Chrystabell & David Lnych - Two Lovers Kiss
6
Chrystabell & David Lnych - The Answers To The Questions
7
Chrystabell & David Lnych - With Small Animals
8
Chrystabell & David Lnych - Reflections In A Blade
9
Chrystabell & David Lnych - Dance Of Light
10
Chrystabell & David Lnych - Sublime Eternal Love
Tip!
The origin of Chrystabell and David Lynch’s album Cellophane Memories comes from a vision that David experienced during a nighttime walk through a forest of tall trees, over the tops of which he saw a bright light. As he recalls it, the light became the lilt of Chrystabell’s voice and revealed a secret to him. It is from these mysterious convergences of light and sound, day and night, starry sky and black forest that Chrystabell and David’s collaboration has continued to blossom.
For Cellophane Memories, the two have traveled through different portals. Fittingly, many of the songs are set in fairytale forests, mountain peaks, swimming holes, crepus-cular highways and darkened bedrooms. These are the abodes of both loneliness and romance, the sorts of sublime landscapes where people often travel alone in search of a wayward lover. But they are also shapeless atmospheres—of color, weather and breath: blue and white skies, red roses, darkening thunderheads, swirling winds and summer perfumes, which quickly immerse the traveler in the supernatural sensations of other worlds.
Time is a mercurial creature in Chrystabell and David’s songs. The characters are little more than oblique sketches of time’s quotidian melodramas: people arrive and depart as strangers, strangers fall into despair and love, lovers part at the crossroads and re-unite in a dream. In this quantum matinee of everyday life, each character is both a star and a background extra. Elisions in time reappear over and over within Chrystabell’s vocals, which emerge and dissolve and loop back in layers of harmony and history. They are mantled by David’s, and late composer Angelo Badalamenti’s, orchestra of waldeinsamkeit-inspired strings, oneiric guitar glissandi and clouds of reverb, whose melodies are like the sensation of time pausing for a first kiss.
As with much of Chrystabell and David’s work from the past, Cellophane Memories returns us to a central question: what is a mystery? Alas, the riddle remains unanswered. But all mystery contains slivers of those conceits and feelings described above: the departing and the coming-back, the landscape, atmosphere and breath, the topsy turvy mechanisms of time, memories of the bygone, a distant light radiating from darkness, music within silence, love. More
The origin of Chrystabell and David Lynch’s album Cellophane Memories comes from a vision that David experienced during a nighttime walk through a forest of tall trees, over the tops of which he saw a bright light. As he recalls it, the light became the lilt of Chrystabell’s voice and revealed a secret to him. It is from these mysterious convergences of light and sound, day and night, starry sky and black forest that Chrystabell and David’s collaboration has continued to blossom.
For Cellophane Memories, the two have traveled through different portals. Fittingly, many of the songs are set in fairytale forests, mountain peaks, swimming holes, crepus-cular highways and darkened bedrooms. These are the abodes of both loneliness and romance, the sorts of sublime landscapes where people often travel alone in search of a wayward lover. But they are also shapeless atmospheres—of color, weather and breath: blue and white skies, red roses, darkening thunderheads, swirling winds and summer perfumes, which quickly immerse the traveler in the supernatural sensations of other worlds.
Time is a mercurial creature in Chrystabell and David’s songs. The characters are little more than oblique sketches of time’s quotidian melodramas: people arrive and depart as strangers, strangers fall into despair and love, lovers part at the crossroads and re-unite in a dream. In this quantum matinee of everyday life, each character is both a star and a background extra. Elisions in time reappear over and over within Chrystabell’s vocals, which emerge and dissolve and loop back in layers of harmony and history. They are mantled by David’s, and late composer Angelo Badalamenti’s, orchestra of waldeinsamkeit-inspired strings, oneiric guitar glissandi and clouds of reverb, whose melodies are like the sensation of time pausing for a first kiss.
As with much of Chrystabell and David’s work from the past, Cellophane Memories returns us to a central question: what is a mystery? Alas, the riddle remains unanswered. But all mystery contains slivers of those conceits and feelings described above: the departing and the coming-back, the landscape, atmosphere and breath, the topsy turvy mechanisms of time, memories of the bygone, a distant light radiating from darkness, music within silence, love. More
More records from Chrystabell & David Lnych
1
Chrystabell & David Lnych - She Knew
2
Chrystabell & David Lnych - The Sky Falls
3
Chrystabell & David Lnych - You Know The Rest
4
Chrystabell & David Lnych - So Much Love
5
Chrystabell & David Lnych - Two Lovers Kiss
6
Chrystabell & David Lnych - The Answers To The Questions
7
Chrystabell & David Lnych - With Small Animals
8
Chrystabell & David Lnych - Reflections In A Blade
9
Chrystabell & David Lnych - Dance Of Light
10
Chrystabell & David Lnych - Sublime Eternal Love
Tip!
Limited Clear Vinyl!
The origin of Chrystabell and David Lynch’s album Cellophane Memories comes from a vision that David experienced during a nighttime walk through a forest of tall trees, over the tops of which he saw a bright light. As he recalls it, the light became the lilt of Chrystabell’s voice and revealed a secret to him. It is from these mysterious convergences of light and sound, day and night, starry sky and black forest that Chrystabell and David’s collaboration has continued to blossom.
For Cellophane Memories, the two have traveled through different portals. Fittingly, many of the songs are set in fairytale forests, mountain peaks, swimming holes, crepus-cular highways and darkened bedrooms. These are the abodes of both loneliness and romance, the sorts of sublime landscapes where people often travel alone in search of a wayward lover. But they are also shapeless atmospheres—of color, weather and breath: blue and white skies, red roses, darkening thunderheads, swirling winds and summer perfumes, which quickly immerse the traveler in the supernatural sensations of other worlds.
Time is a mercurial creature in Chrystabell and David’s songs. The characters are little more than oblique sketches of time’s quotidian melodramas: people arrive and depart as strangers, strangers fall into despair and love, lovers part at the crossroads and re-unite in a dream. In this quantum matinee of everyday life, each character is both a star and a background extra. Elisions in time reappear over and over within Chrystabell’s vocals, which emerge and dissolve and loop back in layers of harmony and history. They are mantled by David’s, and late composer Angelo Badalamenti’s, orchestra of waldeinsamkeit-inspired strings, oneiric guitar glissandi and clouds of reverb, whose melodies are like the sensation of time pausing for a first kiss.
As with much of Chrystabell and David’s work from the past, Cellophane Memories returns us to a central question: what is a mystery? Alas, the riddle remains unanswered. But all mystery contains slivers of those conceits and feelings described above: the departing and the coming-back, the landscape, atmosphere and breath, the topsy turvy mechanisms of time, memories of the bygone, a distant light radiating from darkness, music within silence, love. More
Limited Clear Vinyl!
The origin of Chrystabell and David Lynch’s album Cellophane Memories comes from a vision that David experienced during a nighttime walk through a forest of tall trees, over the tops of which he saw a bright light. As he recalls it, the light became the lilt of Chrystabell’s voice and revealed a secret to him. It is from these mysterious convergences of light and sound, day and night, starry sky and black forest that Chrystabell and David’s collaboration has continued to blossom.
For Cellophane Memories, the two have traveled through different portals. Fittingly, many of the songs are set in fairytale forests, mountain peaks, swimming holes, crepus-cular highways and darkened bedrooms. These are the abodes of both loneliness and romance, the sorts of sublime landscapes where people often travel alone in search of a wayward lover. But they are also shapeless atmospheres—of color, weather and breath: blue and white skies, red roses, darkening thunderheads, swirling winds and summer perfumes, which quickly immerse the traveler in the supernatural sensations of other worlds.
Time is a mercurial creature in Chrystabell and David’s songs. The characters are little more than oblique sketches of time’s quotidian melodramas: people arrive and depart as strangers, strangers fall into despair and love, lovers part at the crossroads and re-unite in a dream. In this quantum matinee of everyday life, each character is both a star and a background extra. Elisions in time reappear over and over within Chrystabell’s vocals, which emerge and dissolve and loop back in layers of harmony and history. They are mantled by David’s, and late composer Angelo Badalamenti’s, orchestra of waldeinsamkeit-inspired strings, oneiric guitar glissandi and clouds of reverb, whose melodies are like the sensation of time pausing for a first kiss.
As with much of Chrystabell and David’s work from the past, Cellophane Memories returns us to a central question: what is a mystery? Alas, the riddle remains unanswered. But all mystery contains slivers of those conceits and feelings described above: the departing and the coming-back, the landscape, atmosphere and breath, the topsy turvy mechanisms of time, memories of the bygone, a distant light radiating from darkness, music within silence, love. More
More records from Sacred Bones
1
Chrystabell & David Lnych - She Knew
2
Chrystabell & David Lnych - The Sky Falls
3
Chrystabell & David Lnych - You Know The Rest
4
Chrystabell & David Lnych - So Much Love
5
Chrystabell & David Lnych - Two Lovers Kiss
6
Chrystabell & David Lnych - The Answers To The Questions
7
Chrystabell & David Lnych - With Small Animals
8
Chrystabell & David Lnych - Reflections In A Blade
9
Chrystabell & David Lnych - Dance Of Light
10
Chrystabell & David Lnych - Sublime Eternal Love
Tip!
Limited Clear Vinyl!
The origin of Chrystabell and David Lynch’s album Cellophane Memories comes from a vision that David experienced during a nighttime walk through a forest of tall trees, over the tops of which he saw a bright light. As he recalls it, the light became the lilt of Chrystabell’s voice and revealed a secret to him. It is from these mysterious convergences of light and sound, day and night, starry sky and black forest that Chrystabell and David’s collaboration has continued to blossom.
For Cellophane Memories, the two have traveled through different portals. Fittingly, many of the songs are set in fairytale forests, mountain peaks, swimming holes, crepus-cular highways and darkened bedrooms. These are the abodes of both loneliness and romance, the sorts of sublime landscapes where people often travel alone in search of a wayward lover. But they are also shapeless atmospheres—of color, weather and breath: blue and white skies, red roses, darkening thunderheads, swirling winds and summer perfumes, which quickly immerse the traveler in the supernatural sensations of other worlds.
Time is a mercurial creature in Chrystabell and David’s songs. The characters are little more than oblique sketches of time’s quotidian melodramas: people arrive and depart as strangers, strangers fall into despair and love, lovers part at the crossroads and re-unite in a dream. In this quantum matinee of everyday life, each character is both a star and a background extra. Elisions in time reappear over and over within Chrystabell’s vocals, which emerge and dissolve and loop back in layers of harmony and history. They are mantled by David’s, and late composer Angelo Badalamenti’s, orchestra of waldeinsamkeit-inspired strings, oneiric guitar glissandi and clouds of reverb, whose melodies are like the sensation of time pausing for a first kiss.
As with much of Chrystabell and David’s work from the past, Cellophane Memories returns us to a central question: what is a mystery? Alas, the riddle remains unanswered. But all mystery contains slivers of those conceits and feelings described above: the departing and the coming-back, the landscape, atmosphere and breath, the topsy turvy mechanisms of time, memories of the bygone, a distant light radiating from darkness, music within silence, love. More
Limited Clear Vinyl!
The origin of Chrystabell and David Lynch’s album Cellophane Memories comes from a vision that David experienced during a nighttime walk through a forest of tall trees, over the tops of which he saw a bright light. As he recalls it, the light became the lilt of Chrystabell’s voice and revealed a secret to him. It is from these mysterious convergences of light and sound, day and night, starry sky and black forest that Chrystabell and David’s collaboration has continued to blossom.
For Cellophane Memories, the two have traveled through different portals. Fittingly, many of the songs are set in fairytale forests, mountain peaks, swimming holes, crepus-cular highways and darkened bedrooms. These are the abodes of both loneliness and romance, the sorts of sublime landscapes where people often travel alone in search of a wayward lover. But they are also shapeless atmospheres—of color, weather and breath: blue and white skies, red roses, darkening thunderheads, swirling winds and summer perfumes, which quickly immerse the traveler in the supernatural sensations of other worlds.
Time is a mercurial creature in Chrystabell and David’s songs. The characters are little more than oblique sketches of time’s quotidian melodramas: people arrive and depart as strangers, strangers fall into despair and love, lovers part at the crossroads and re-unite in a dream. In this quantum matinee of everyday life, each character is both a star and a background extra. Elisions in time reappear over and over within Chrystabell’s vocals, which emerge and dissolve and loop back in layers of harmony and history. They are mantled by David’s, and late composer Angelo Badalamenti’s, orchestra of waldeinsamkeit-inspired strings, oneiric guitar glissandi and clouds of reverb, whose melodies are like the sensation of time pausing for a first kiss.
As with much of Chrystabell and David’s work from the past, Cellophane Memories returns us to a central question: what is a mystery? Alas, the riddle remains unanswered. But all mystery contains slivers of those conceits and feelings described above: the departing and the coming-back, the landscape, atmosphere and breath, the topsy turvy mechanisms of time, memories of the bygone, a distant light radiating from darkness, music within silence, love. More
Label:Sacred Bones
Cat-No:SBRLP336
Release-Date:03.05.2024
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLP336
Release-Date:03.05.2024
Genre:Alternative/Electronic
Configuration:LP
1
John Carpenter - My Name Is Death
2
John Carpenter - Machine Fear
3
John Carpenter - Last Rites
4
John Carpenter - The Burning Door
5
John Carpenter - He Walks By Night
6
John Carpenter - Beyond The Gallows
7
John Carpenter - Kiss The Blood Off My Fingers
8
John Carpenter - Guillotine
9
John Carpenter - The Domn's Shadow
10
John Carpenter - Shadows Have A Thousand Eyes
Preview: https://www.youtube.com/watch?v=TDBnBdNyYiM
It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green’s trilogy of Halloween reboots. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.
Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it. “Some of the music is heavy guitar riffs, which is not in old noir films,” Davies notes. “But somehow, it’s connected in an emotional way.”
The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.
“This is who we are, I think,” John summarizes. “Daniel’s the adventurer. He pushes for new sounds, new directions. He tries things that I haven’t thought of. He’s a lot more daring than I am, and he enriches the whole thing. Cody’s the musician. He’s a savant at music. He understands music. We depend on him to rescue us.”
And what about John’s contribution? With characteristic understatement, he concludes: “I’m the experience. I’ve done music for movies before.” More
It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green’s trilogy of Halloween reboots. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.
Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it. “Some of the music is heavy guitar riffs, which is not in old noir films,” Davies notes. “But somehow, it’s connected in an emotional way.”
The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.
“This is who we are, I think,” John summarizes. “Daniel’s the adventurer. He pushes for new sounds, new directions. He tries things that I haven’t thought of. He’s a lot more daring than I am, and he enriches the whole thing. Cody’s the musician. He’s a savant at music. He understands music. We depend on him to rescue us.”
And what about John’s contribution? With characteristic understatement, he concludes: “I’m the experience. I’ve done music for movies before.” More
Label:Sacred Bones
Cat-No:SBRLP331
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLP331
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
1
Anja Huwe - Skuggornas
2
Anja Huwe - Rabenschwarz
3
Anja Huwe - Pariah
4
Anja Huwe - Exit
5
Anja Huwe - O Wald
6
Anja Huwe - Zwischenwelt
7
Anja Huwe - Sleep With One Eye Open
8
Anja Huwe - Living In The Forest
9
Anja Huwe - Hideaway
After Xmal Deutschland’s success with four albums on cult labels such as 4AD, Huwe abandoned music to pursue her visual art career. But leaving her legacy in the past was not so easy.
Invited by her long-time friend Mona Mur, Huwe reconsidered her decades-long hiatus from music and decided to join Mur in her studio in Berlin. Together, they worked for a year and a half, composing, performing and producing the tracks from scratch, which would eventually become the album ‘Codes’. Integral to the overall sound experience was the input of Manuela Rickers who added her famed signature guitar style.
Initially inspired by the diary entries of Moshe Shnitzki, who, at the age of 17, left his home in 1942 to live in the cavernous White Russian forests as a partisan, Codes is about the human experience and what extremes can do to an individual. "The result is a poetic, musical cosmos that encompasses the following themes: forest, fear, pain, loss, violence, and loneliness but also beauty, longing, hope and the will to survive,” Huwe explains. These thematic extremities cause an erraticism to Codes- a passing thunderstorm, a cyclonic burst of nature’s force - but one that exudes anticipation amidst the chill.
With elegant production by Mur and Huwe and mixing and mastering by Jon Caffery (Joy Division, Gary Numan, Einstürzende Neubauten) epic builds crash and disseminate, the sleek synthesized drones of sound even feel claustrophobic at times.
Xmal Deutschland, now marked as forerunners of the post-punk movement, were never complacent but consistently ravenous in their attack throughout the 1980s. Huwe’s return is no different. Unexpected but long overdue, Codes is that missing page from post-punk’s history books, the freshly splayed paint across the decades-old canvas - it is the product of the tireless will to survive on her own terms. More
Invited by her long-time friend Mona Mur, Huwe reconsidered her decades-long hiatus from music and decided to join Mur in her studio in Berlin. Together, they worked for a year and a half, composing, performing and producing the tracks from scratch, which would eventually become the album ‘Codes’. Integral to the overall sound experience was the input of Manuela Rickers who added her famed signature guitar style.
Initially inspired by the diary entries of Moshe Shnitzki, who, at the age of 17, left his home in 1942 to live in the cavernous White Russian forests as a partisan, Codes is about the human experience and what extremes can do to an individual. "The result is a poetic, musical cosmos that encompasses the following themes: forest, fear, pain, loss, violence, and loneliness but also beauty, longing, hope and the will to survive,” Huwe explains. These thematic extremities cause an erraticism to Codes- a passing thunderstorm, a cyclonic burst of nature’s force - but one that exudes anticipation amidst the chill.
With elegant production by Mur and Huwe and mixing and mastering by Jon Caffery (Joy Division, Gary Numan, Einstürzende Neubauten) epic builds crash and disseminate, the sleek synthesized drones of sound even feel claustrophobic at times.
Xmal Deutschland, now marked as forerunners of the post-punk movement, were never complacent but consistently ravenous in their attack throughout the 1980s. Huwe’s return is no different. Unexpected but long overdue, Codes is that missing page from post-punk’s history books, the freshly splayed paint across the decades-old canvas - it is the product of the tireless will to survive on her own terms. More
Label:Sacred Bones
Cat-No:SBRLPC331
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLPC331
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
1
Anja Huwe - Skuggornas
2
Anja Huwe - Rabenschwarz
3
Anja Huwe - Pariah
4
Anja Huwe - Exit
5
Anja Huwe - O Wald
6
Anja Huwe - Zwischenwelt
7
Anja Huwe - Sleep With One Eye Open
8
Anja Huwe - Living In The Forest
9
Anja Huwe - Hideaway
Oxblood Red Vinyl!
After Xmal Deutschland’s success with four albums on cult labels such as 4AD, Huwe abandoned music to pursue her visual art career. But leaving her legacy in the past was not so easy.
Invited by her long-time friend Mona Mur, Huwe reconsidered her decades-long hiatus from music and decided to join Mur in her studio in Berlin. Together, they worked for a year and a half, composing, performing and producing the tracks from scratch, which would eventually become the album ‘Codes’. Integral to the overall sound experience was the input of Manuela Rickers who added her famed signature guitar style.
Initially inspired by the diary entries of Moshe Shnitzki, who, at the age of 17, left his home in 1942 to live in the cavernous White Russian forests as a partisan, Codes is about the human experience and what extremes can do to an individual. "The result is a poetic, musical cosmos that encompasses the following themes: forest, fear, pain, loss, violence, and loneliness but also beauty, longing, hope and the will to survive,” Huwe explains. These thematic extremities cause an erraticism to Codes- a passing thunderstorm, a cyclonic burst of nature’s force - but one that exudes anticipation amidst the chill.
With elegant production by Mur and Huwe and mixing and mastering by Jon Caffery (Joy Division, Gary Numan, Einstürzende Neubauten) epic builds crash and disseminate, the sleek synthesized drones of sound even feel claustrophobic at times.
Xmal Deutschland, now marked as forerunners of the post-punk movement, were never complacent but consistently ravenous in their attack throughout the 1980s. Huwe’s return is no different. Unexpected but long overdue, Codes is that missing page from post-punk’s history books, the freshly splayed paint across the decades-old canvas - it is the product of the tireless will to survive on her own terms. More
After Xmal Deutschland’s success with four albums on cult labels such as 4AD, Huwe abandoned music to pursue her visual art career. But leaving her legacy in the past was not so easy.
Invited by her long-time friend Mona Mur, Huwe reconsidered her decades-long hiatus from music and decided to join Mur in her studio in Berlin. Together, they worked for a year and a half, composing, performing and producing the tracks from scratch, which would eventually become the album ‘Codes’. Integral to the overall sound experience was the input of Manuela Rickers who added her famed signature guitar style.
Initially inspired by the diary entries of Moshe Shnitzki, who, at the age of 17, left his home in 1942 to live in the cavernous White Russian forests as a partisan, Codes is about the human experience and what extremes can do to an individual. "The result is a poetic, musical cosmos that encompasses the following themes: forest, fear, pain, loss, violence, and loneliness but also beauty, longing, hope and the will to survive,” Huwe explains. These thematic extremities cause an erraticism to Codes- a passing thunderstorm, a cyclonic burst of nature’s force - but one that exudes anticipation amidst the chill.
With elegant production by Mur and Huwe and mixing and mastering by Jon Caffery (Joy Division, Gary Numan, Einstürzende Neubauten) epic builds crash and disseminate, the sleek synthesized drones of sound even feel claustrophobic at times.
Xmal Deutschland, now marked as forerunners of the post-punk movement, were never complacent but consistently ravenous in their attack throughout the 1980s. Huwe’s return is no different. Unexpected but long overdue, Codes is that missing page from post-punk’s history books, the freshly splayed paint across the decades-old canvas - it is the product of the tireless will to survive on her own terms. More
Label:Sacred Bones
Cat-No:SBRLP3050
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLP3050
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
1
Xmal Deutschland - Schwarze Welt
2
Xmal Deutschland - Die Wolken
3
Xmal Deutschland - Großstadtindianer
4
Xmal Deutschland - Kälbermarsch (From The Compilation "Lieber Zuviel Als Zuwenig")
5
Xmal Deutschland - Incubus Succubus
6
Xmal Deutschland - Zu Jung Zu Alt
7
Xmal Deutschland - Blut Ist Liebe
8
Xmal Deutschland - Allein (From The Compilation "Nosferatu Festival")
"Gothics” - a time before the word goth had even taken shape - believed in the do-it-yourself punk ethos that anyone could pick up an instrument. Gray clouds were starting to form and in the unlikely city of Hamburg, a brazen and haunting gang of five women formed Xmal Deutschland. As any true punk would, Xmal Deutschland’s members Caro May, Rita Simon, Manuela Rickers, Fiona Sangster and Anja Huwe, started the band despite any previous musical experience.
The “Schwarze Welt” seven-inch was released on the local punk label, ZickZack, in 1981 and introduced the band as an unsettling swarm of intensity. There’s an urgency in its repetitive dirge, a swirling mania that persists on the b-side with “Die Wolken” and “Großstadtindianer” whose crude synthesizer noises escalate intention. Most of all, Huwe’s uniquely venomous German vocals quickly became embedded in the unbridled and burgeoning scene of glamorous gloom.
Punk’s independence from the stiff grip of tradition allowed the band to find solace in anti-establishment art and music, far from the conventions of the past.With their peacocked hair and thick kohl-lined eyes, Xmal Deutschland’s music retained both a restlessness and delicacy, transcending any confines of the “Neue Deutsche Welle” movement (much like their colleagues and friends DAF and Einstürzende Neubauten) with the release of the “Incubus Succubus”single in 1982. It instantly became a post-punk classic. The guitar’s buzz ransacks through the melody as the ghoulish primitiveness of Huwe’s voice teases that maybe, just maybe, she is the nightmarish creature of which to be aware. The b-sides, “Zu Jung Zu Alt” and “Blut Ist Liebe,” keep strict militaristic dance beats as they teem in agitation.
That same year, the band performed in London as support for the Cocteau Twins; it was the platform they needed to ricochet into the arms of the ripped fishnet masses. Early Singles (1981-1982), is a map of the foundational movements of Xmal Deutschland, just seconds before takeoff. Bonus tracks on the compilation, “Kaelbermarsch” and a gritty live version of “Allein,” further accentuate their fusion of toughness with the quixotic decadence of atmospheric synthesizers.
The band’s pursuit of something greater is palpable with this release, a reflection of a time that introduced accessibility to new means of making music following the onset of punk. More
The “Schwarze Welt” seven-inch was released on the local punk label, ZickZack, in 1981 and introduced the band as an unsettling swarm of intensity. There’s an urgency in its repetitive dirge, a swirling mania that persists on the b-side with “Die Wolken” and “Großstadtindianer” whose crude synthesizer noises escalate intention. Most of all, Huwe’s uniquely venomous German vocals quickly became embedded in the unbridled and burgeoning scene of glamorous gloom.
Punk’s independence from the stiff grip of tradition allowed the band to find solace in anti-establishment art and music, far from the conventions of the past.With their peacocked hair and thick kohl-lined eyes, Xmal Deutschland’s music retained both a restlessness and delicacy, transcending any confines of the “Neue Deutsche Welle” movement (much like their colleagues and friends DAF and Einstürzende Neubauten) with the release of the “Incubus Succubus”single in 1982. It instantly became a post-punk classic. The guitar’s buzz ransacks through the melody as the ghoulish primitiveness of Huwe’s voice teases that maybe, just maybe, she is the nightmarish creature of which to be aware. The b-sides, “Zu Jung Zu Alt” and “Blut Ist Liebe,” keep strict militaristic dance beats as they teem in agitation.
That same year, the band performed in London as support for the Cocteau Twins; it was the platform they needed to ricochet into the arms of the ripped fishnet masses. Early Singles (1981-1982), is a map of the foundational movements of Xmal Deutschland, just seconds before takeoff. Bonus tracks on the compilation, “Kaelbermarsch” and a gritty live version of “Allein,” further accentuate their fusion of toughness with the quixotic decadence of atmospheric synthesizers.
The band’s pursuit of something greater is palpable with this release, a reflection of a time that introduced accessibility to new means of making music following the onset of punk. More
Label:Sacred Bones
Cat-No:SBRLPC33050
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLPC33050
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
1
Xmal Deutschland - Schwarze Welt
2
Xmal Deutschland - Die Wolken
3
Xmal Deutschland - Großstadtindianer
4
Xmal Deutschland - Kälbermarsch (From The Compilation "Lieber Zuviel Als Zuwenig")
5
Xmal Deutschland - Incubus Succubus
6
Xmal Deutschland - Zu Jung Zu Alt
7
Xmal Deutschland - Blut Is Liebe
8
Xmal Deutschland - Allein (From The Compilation "Nosferatu Festival")
Purple Vinyl!
"Gothics” - a time before the word goth had even taken shape - believed in the do-it-yourself punk ethos that anyone could pick up an instrument. Gray clouds were starting to form and in the unlikely city of Hamburg, a brazen and haunting gang of five women formed Xmal Deutschland. As any true punk would, Xmal Deutschland’s members Caro May, Rita Simon, Manuela Rickers, Fiona Sangster and Anja Huwe, started the band despite any previous musical experience.
The “Schwarze Welt” seven-inch was released on the local punk label, ZickZack, in 1981 and introduced the band as an unsettling swarm of intensity. There’s an urgency in its repetitive dirge, a swirling mania that persists on the b-side with “Die Wolken” and “Großstadtindianer” whose crude synthesizer noises escalate intention. Most of all, Huwe’s uniquely venomous German vocals quickly became embedded in the unbridled and burgeoning scene of glamorous gloom.
Punk’s independence from the stiff grip of tradition allowed the band to find solace in anti-establishment art and music, far from the conventions of the past.With their peacocked hair and thick kohl-lined eyes, Xmal Deutschland’s music retained both a restlessness and delicacy, transcending any confines of the “Neue Deutsche Welle” movement (much like their colleagues and friends DAF and Einstürzende Neubauten) with the release of the “Incubus Succubus”single in 1982. It instantly became a post-punk classic. The guitar’s buzz ransacks through the melody as the ghoulish primitiveness of Huwe’s voice teases that maybe, just maybe, she is the nightmarish creature of which to be aware. The b-sides, “Zu Jung Zu Alt” and “Blut Ist Liebe,” keep strict militaristic dance beats as they teem in agitation.
That same year, the band performed in London as support for the Cocteau Twins; it was the platform they needed to ricochet into the arms of the ripped fishnet masses. Early Singles (1981-1982), is a map of the foundational movements of Xmal Deutschland, just seconds before takeoff. Bonus tracks on the compilation, “Kaelbermarsch” and a gritty live version of “Allein,” further accentuate their fusion of toughness with the quixotic decadence of atmospheric synthesizers.
The band’s pursuit of something greater is palpable with this release, a reflection of a time that introduced accessibility to new means of making music following the onset of punk. More
"Gothics” - a time before the word goth had even taken shape - believed in the do-it-yourself punk ethos that anyone could pick up an instrument. Gray clouds were starting to form and in the unlikely city of Hamburg, a brazen and haunting gang of five women formed Xmal Deutschland. As any true punk would, Xmal Deutschland’s members Caro May, Rita Simon, Manuela Rickers, Fiona Sangster and Anja Huwe, started the band despite any previous musical experience.
The “Schwarze Welt” seven-inch was released on the local punk label, ZickZack, in 1981 and introduced the band as an unsettling swarm of intensity. There’s an urgency in its repetitive dirge, a swirling mania that persists on the b-side with “Die Wolken” and “Großstadtindianer” whose crude synthesizer noises escalate intention. Most of all, Huwe’s uniquely venomous German vocals quickly became embedded in the unbridled and burgeoning scene of glamorous gloom.
Punk’s independence from the stiff grip of tradition allowed the band to find solace in anti-establishment art and music, far from the conventions of the past.With their peacocked hair and thick kohl-lined eyes, Xmal Deutschland’s music retained both a restlessness and delicacy, transcending any confines of the “Neue Deutsche Welle” movement (much like their colleagues and friends DAF and Einstürzende Neubauten) with the release of the “Incubus Succubus”single in 1982. It instantly became a post-punk classic. The guitar’s buzz ransacks through the melody as the ghoulish primitiveness of Huwe’s voice teases that maybe, just maybe, she is the nightmarish creature of which to be aware. The b-sides, “Zu Jung Zu Alt” and “Blut Ist Liebe,” keep strict militaristic dance beats as they teem in agitation.
That same year, the band performed in London as support for the Cocteau Twins; it was the platform they needed to ricochet into the arms of the ripped fishnet masses. Early Singles (1981-1982), is a map of the foundational movements of Xmal Deutschland, just seconds before takeoff. Bonus tracks on the compilation, “Kaelbermarsch” and a gritty live version of “Allein,” further accentuate their fusion of toughness with the quixotic decadence of atmospheric synthesizers.
The band’s pursuit of something greater is palpable with this release, a reflection of a time that introduced accessibility to new means of making music following the onset of punk. More
Tracklist:
1.Intro Descent
2.Live Eternal
3.Bigger, Stronger, Faster
4.Capture
5.Main Titles
6.The Brothers
7.Drone Interrogation
8.A Symbol of Life
9.Heavy Weight
10.Reflective Dreams
11.Infinity Techno
12.Escaping Suite
13.Aftermath
14.Rip Fights
15.Final Fight
16.Ascend Finale
17.Divinity 2 Infinity: The Odyssey (DJ Muggs featuring Kool Keith) - https://www.youtube.com/watch?v=mfSAHFtG3FE
Legendary hip hop pioneer DJ Muggs and frequent David Lynch collaborator Dean Hurley join forces for the original score to the 2023 Sundance premiering feature film Divinity. Equal parts sonically punishing and ethereal, the soundtrack delivers a unique punch that further intensifies the mind-bending, acid-trip experience of the film.
Divinity Is a sci-fi dystopian odyssey produced by Steven Soderbergh and helmed by visionary director Eddie Alcazar. Set in the distant future, scientist Sterling Pierce dedicated his life to the quest for immortality, slowly making progress developing a serum named Divinity. Jaxxon Pierce, his son, now controls and profits from his father’s once benevolent dream. Society on their barren planet has been entirely perverted by the supremacy and pervasiveness of the drug. Two mysterious brothers arrive with a plan to abduct the mogul, and with the help of a woman named Nikita, they set on a trajectory hurtling toward true immortality.
Amidst the film’s extraordinary tapestry of stark aesthetics and themes, the score is a ten tonbarbell of sonic weight. Crafted with 8-bit samplers, Wavestation synths, extended choir and string techniques, the soundtrack manages to swing wildly between the arenas of both music and sound design. Like all rich soundtracks, listening to the score on its own reconjures the imagery of the film in the screen of the listener’s mind, an aural experience that manages to encapsulate and pulse a matched intensity of the film.
Tracks like ‘The Brothers’ and ‘Reflective Dreams’ cascade Vangelis-esque tones, painting with broad strokes of cinematic grandeur and ethereal wonder. ‘Main Titles’ and ‘Infinity Techno’ conversely swing hard into relentless, punishing sonics; with brutal, pulsing energy representative of the twisted, relentless pursuit of immortality. A standout of the album is undoubtedly “Divinity 2 Infinity: The Odyssey,” featuring cult hip-hop hero and lyrical-savant Kool Keith. Written for the film’s end credits, the track is a satisfying throwback to the 90’s original soundtrack cut bespoke-tailored to the film’s narrative themes.
DJ Muggs and Dean Hurley’s synergy yields a soundtrack that takes Divinity beyond the screen and into a multi-dimensional experience, inviting its listener along uncharted auralterrain for an unforgettable odyssey in sound. More
1.Intro Descent
2.Live Eternal
3.Bigger, Stronger, Faster
4.Capture
5.Main Titles
6.The Brothers
7.Drone Interrogation
8.A Symbol of Life
9.Heavy Weight
10.Reflective Dreams
11.Infinity Techno
12.Escaping Suite
13.Aftermath
14.Rip Fights
15.Final Fight
16.Ascend Finale
17.Divinity 2 Infinity: The Odyssey (DJ Muggs featuring Kool Keith) - https://www.youtube.com/watch?v=mfSAHFtG3FE
Legendary hip hop pioneer DJ Muggs and frequent David Lynch collaborator Dean Hurley join forces for the original score to the 2023 Sundance premiering feature film Divinity. Equal parts sonically punishing and ethereal, the soundtrack delivers a unique punch that further intensifies the mind-bending, acid-trip experience of the film.
Divinity Is a sci-fi dystopian odyssey produced by Steven Soderbergh and helmed by visionary director Eddie Alcazar. Set in the distant future, scientist Sterling Pierce dedicated his life to the quest for immortality, slowly making progress developing a serum named Divinity. Jaxxon Pierce, his son, now controls and profits from his father’s once benevolent dream. Society on their barren planet has been entirely perverted by the supremacy and pervasiveness of the drug. Two mysterious brothers arrive with a plan to abduct the mogul, and with the help of a woman named Nikita, they set on a trajectory hurtling toward true immortality.
Amidst the film’s extraordinary tapestry of stark aesthetics and themes, the score is a ten tonbarbell of sonic weight. Crafted with 8-bit samplers, Wavestation synths, extended choir and string techniques, the soundtrack manages to swing wildly between the arenas of both music and sound design. Like all rich soundtracks, listening to the score on its own reconjures the imagery of the film in the screen of the listener’s mind, an aural experience that manages to encapsulate and pulse a matched intensity of the film.
Tracks like ‘The Brothers’ and ‘Reflective Dreams’ cascade Vangelis-esque tones, painting with broad strokes of cinematic grandeur and ethereal wonder. ‘Main Titles’ and ‘Infinity Techno’ conversely swing hard into relentless, punishing sonics; with brutal, pulsing energy representative of the twisted, relentless pursuit of immortality. A standout of the album is undoubtedly “Divinity 2 Infinity: The Odyssey,” featuring cult hip-hop hero and lyrical-savant Kool Keith. Written for the film’s end credits, the track is a satisfying throwback to the 90’s original soundtrack cut bespoke-tailored to the film’s narrative themes.
DJ Muggs and Dean Hurley’s synergy yields a soundtrack that takes Divinity beyond the screen and into a multi-dimensional experience, inviting its listener along uncharted auralterrain for an unforgettable odyssey in sound. More
Tracklist:
1.Chariots of Pumpkins (Halloween III)
2.69th St. Bridge (Escape from New York)
3.The Alley (War) (Big Trouble in Little China)
4.Wake Up (They Live)
5.Julie’s Dead (Assault on Precinct 13)
6.The Shape Enters Laurie’s Room (Halloween II)
7.Season of the Witch (Halloween III)
8.Love at a Distance (Prince of Darkness)
9.The Shape Stalks Again (Halloween II)
10.Burn it (The Thing)
11.Fuchs (The Thing)
12.To Mac’s Shack (The Thing)
13.Walk to the Lighthouse (The Fog)
14.Laurie’s Theme (Halloween)
By now everyone should know, John Carpenter is not only a celebrated filmmaker but also a musical maestro whose soundtracks have become synonymous with the genres of horror, suspense, and science fiction.
Anthology II (Movie Themes 1976-1988) continues the celebration of his compositional genius via an excellently sequenced collection of some of his most iconic pieces of music from his extensive filmography, all newly recorded with his musical collaborators Daniel Davies and Cody Carpenter.
The compilation includes selections from Escape From New York, Big Trouble in Little China, The Thing, They Live, Assault on Precinct 13, Prince of Darkness, The Fog, Halloween (and its sequels), and beyond. Among its highlights are the three lost cues from The Thing, previously unreleased and now re-recorded. The Thing marks one of the rare occasions that John Carpenter stepped away from scoring duties and entrusted the task to another composer, the legendary Ennio Morricone. Upon receiving Morricone’s score Carpenter felt that the film would benefit from the inclusion of additional music and took the initiative to record and insert multiple synth driven cues.
Anthology II (Movie Themes 1976-1988) represents just a fraction of John Carpenter's impressive musical repertoire. His ability to capture the essence of his films through evocative melodies, atmospheric soundscapes, and innovative use of synths has solidified his status as one of the most influential composers in the history of cinema. With each haunting note and pulsating beat, his soundtracks continue to resonate with audiences, forever etching his name in the annals of film music history. More
1.Chariots of Pumpkins (Halloween III)
2.69th St. Bridge (Escape from New York)
3.The Alley (War) (Big Trouble in Little China)
4.Wake Up (They Live)
5.Julie’s Dead (Assault on Precinct 13)
6.The Shape Enters Laurie’s Room (Halloween II)
7.Season of the Witch (Halloween III)
8.Love at a Distance (Prince of Darkness)
9.The Shape Stalks Again (Halloween II)
10.Burn it (The Thing)
11.Fuchs (The Thing)
12.To Mac’s Shack (The Thing)
13.Walk to the Lighthouse (The Fog)
14.Laurie’s Theme (Halloween)
By now everyone should know, John Carpenter is not only a celebrated filmmaker but also a musical maestro whose soundtracks have become synonymous with the genres of horror, suspense, and science fiction.
Anthology II (Movie Themes 1976-1988) continues the celebration of his compositional genius via an excellently sequenced collection of some of his most iconic pieces of music from his extensive filmography, all newly recorded with his musical collaborators Daniel Davies and Cody Carpenter.
The compilation includes selections from Escape From New York, Big Trouble in Little China, The Thing, They Live, Assault on Precinct 13, Prince of Darkness, The Fog, Halloween (and its sequels), and beyond. Among its highlights are the three lost cues from The Thing, previously unreleased and now re-recorded. The Thing marks one of the rare occasions that John Carpenter stepped away from scoring duties and entrusted the task to another composer, the legendary Ennio Morricone. Upon receiving Morricone’s score Carpenter felt that the film would benefit from the inclusion of additional music and took the initiative to record and insert multiple synth driven cues.
Anthology II (Movie Themes 1976-1988) represents just a fraction of John Carpenter's impressive musical repertoire. His ability to capture the essence of his films through evocative melodies, atmospheric soundscapes, and innovative use of synths has solidified his status as one of the most influential composers in the history of cinema. With each haunting note and pulsating beat, his soundtracks continue to resonate with audiences, forever etching his name in the annals of film music history. More
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Eiko Ishibashi / Jim O'Rourke / Tatsuhis - Sakuraza part II
Modern Obscure Music presents "Sakuraza," a live album featuring Eiko Ishibashi (flute and electronics), Jim O'Rourke (electronics), Kei Matsumaru (alto saxophone), Tatsuhisa Yamamoto (drums), and Giovanni Di Domenico (piano). Recorded at the Sakuraza jazz club in Kofu, Japan, this dynamic and sophisticated performance blends jazz, electronic music, and pop elements.
Giovanni Di Domenico, a frequent visitor to Japan, organized this June 2023 concert with long-time collaborators Ishibashi, O'Rourke, and Yamamoto, and invited saxophonist Matsumaru. The warm, intimate setting of Sakuraza provided the perfect backdrop for their unedited, improvisational session.
"Sakuraza" captures the deep musical connection and spontaneity of these artists, offering an immersive auditory experience. Recorded on June 14, 2023.
TRACKLISTS:
A Sakuraza part I 16:29MIN
B. Sakuraza part II 22:19MIN
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Giovanni Di Domenico, a frequent visitor to Japan, organized this June 2023 concert with long-time collaborators Ishibashi, O'Rourke, and Yamamoto, and invited saxophonist Matsumaru. The warm, intimate setting of Sakuraza provided the perfect backdrop for their unedited, improvisational session.
"Sakuraza" captures the deep musical connection and spontaneity of these artists, offering an immersive auditory experience. Recorded on June 14, 2023.
TRACKLISTS:
A Sakuraza part I 16:29MIN
B. Sakuraza part II 22:19MIN
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LP 180g, beautiful embossed Chess Board Artwork Print, inner sleeve with artist picture and text by David Elliott, Sounds June 16, 1984
In anticipation of the 35th anniversary next year one of electronic music´s most influential recordings, the legendary E2-E4, from 12.12.1981 does get an official rerelease by Manuel Göttsching on his own Label MG.ART.
Carefully overseen by the Master himself
Total Time: 59:34
Tracks:
Ruhige Nervosität 13:00, Gemäßigter Aufbruch 10:00, ... und Mittelspiel 07:00, Ansatz 06:00, Damen-Eleganza 05:00, Ehrenvoller Kampf 03:00, Hoheit weicht (nicht ohne Schwung...) 09:00, ... und Souveränität 03:00, Remis 03:00
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In anticipation of the 35th anniversary next year one of electronic music´s most influential recordings, the legendary E2-E4, from 12.12.1981 does get an official rerelease by Manuel Göttsching on his own Label MG.ART.
Carefully overseen by the Master himself
Total Time: 59:34
Tracks:
Ruhige Nervosität 13:00, Gemäßigter Aufbruch 10:00, ... und Mittelspiel 07:00, Ansatz 06:00, Damen-Eleganza 05:00, Ehrenvoller Kampf 03:00, Hoheit weicht (nicht ohne Schwung...) 09:00, ... und Souveränität 03:00, Remis 03:00
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1
Molly Nilsson - 1. Summer Cats
2
Molly Nilsson - 2. Perfect Past
3
Molly Nilsson - 3. Punks In Paradise
4
Molly Nilsson - 4. Plaza Italia
5
Molly Nilsson - 5. Blue Dollar
6
Molly Nilsson - 6. Maximo Says
7
Molly Nilsson - 7. Bar Roma
8
Molly Nilsson - 8. Malaysian Airlines
LP - Black Vinyl
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
1
Molly Nilsson - 1. Summer Cats
2
Molly Nilsson - 2. Perfect Past
3
Molly Nilsson - 3. Punks In Paradise
4
Molly Nilsson - 4. Plaza Italia
5
Molly Nilsson - 5. Blue Dollar
6
Molly Nilsson - 6. Maximo Says
7
Molly Nilsson - 7. Bar Roma
8
Molly Nilsson - 8. Malaysian Airlines
LP - Limited White VInyl Version
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
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Susumu Yokota - B3. Tambarin (2024 Remaster)
7
Susumu Yokota - C1. Oponchi (2024 Remaster)
8
Susumu Yokota - C2. Ao-oni (2024 Remaster)
9
Susumu Yokota - C3.3. Akafuji (2024 Remaster)
10
Susumu Yokota - D1. Alphaville (2024 Remaster)
11
Susumu Yokota - D2. Tanuki (2024 Remaster)
12
Susumu Yokota - E1. Floating G (2024 Remaster)**
13
Susumu Yokota - E2. H (2024 Remaster)**
14
Susumu Yokota - E3. B (2024 Remaster)**
15
Susumu Yokota - F1. F (2024 Remaster)**
16
Susumu Yokota - F2. 2 H (2024 Remaster)**
Triple gatefold heavyweight 180g vinyl, Remastered original LP , Incl. 5 unreleased tracks released for the 1st time on vinyl`see tracklist below for details!
"A mesmerizing Japanese ambient techno masterpiece that that completely rewires how you perceive music" Electronic Beats
"A mountainous Masterpiece. A powerful testament to rave culture's establishment and the birth of a new scene in Japan emerging in the mid '90s. One of Yokota's most celebrated work that merges Japanese new age and minimal techno"
Alex From Tokyo (Japan Vibrations, world famous, Paris)
GENRE/S: Techno, Acid, Ambient
New liner notes by Alex From Tokyo
On July 26th Susumu Yokota's venerated 1994 classic 'Acid Mt. Fuji' is reissued in expanded, deluxe fashion, as part of the 30th anniversary celebrations of the label that originally presented it. Japan's Musicmine - specifically it's electronic subsidiary Sublime Records - released the album on June 29th 1994, simultaneously with Ken Ishii's 'Reference To Difference', as their inaugural joint offering.
'Acid Mt. Fuji' is an enchanting mix of mystical ambient acid and futurist minimal techno, taking the listeners on a psychedelic pilgrimage, where 303, synths and electronic percussion are scented with reverb, echo and forest recordings. Merging Japanese new age and sparse electronica, the recording is free, organic, and energized - proffering a unique blend of early 90s western styles and the essence of his home country.
Yokota originally planned an ambient record, but 'Acid Mt. Fuji' evolved into a concept work featuring the Roland TB-303, which he recorded live at home alongside a sampler, yielding experimental and innovative results.
The longplayer found its muse in the famed 18th-19th century artist Hokusai's red rendition of Mt. Fuji, known as 'Red Fuji' or 'Akafuji'. Part of the painter's renowned 'Thirty Six Views of Mt. Fuji' series from the 1830s, 'Red Fuji' depicts the iconic sacred mountain aglow in red at dawn, symbolizing spirituality and creativity. With references to Japanese folklore, nature and shrines, tracks like 'Kinoko' and 'Meijijingu' invite the listener to immerse themselves in the album's spiritual depths.
Yokota's own homage-to-Hokusai drawing graces the record's cover, and was inspired by the concept of wa (harmony) - highlighting his diverse skills not only as a musician, but an artist and designer too.
'Acid Mt. Fuji' is a powerful testament to the establishment of rave culture in Japan, which rapidly developed within just two years, from 1992 to 1994. Largely due to praise for the breathtaking originality of the LP, within this burgeoning national techno scene, Yokota rose to prominence as one of its key figures.
He then became one of the most renowned artists to emerge from his homeland and enter the global electronic pantheon. He inspired a new wave of Japanese producers and DJs, contributing significantly to the growth of the techno movement in Japan.
Yokota was a solitary figure, an artist who expressed his life through the continuous creation of music. For those seeking something different; mystical, soothing, pristinely ergonomic and uniquely Japanese, this record stands as iconic as Mt. Fuji itself.
-
This triple vinyl Deluxe Edition includes the original album's eleven tracks alongside five raw and jacking rare gems, available on wax for the first time, which were previously included only in the Japanese 2016 Deluxe Edition CD.
There are also two digital-only bonus tracks. One is a live performance by Yokota, titled 'Live at Shibuya Beam Hall', which was recorded at Sublime Records' label launch party, held in September 1994. It was previously only released on the aforementioned 2016 Japanese CD edition. This event, titled 'Sublime Records Presents New Style of Electronic Ambient Party' featured performances by Susumu Yokota, Ken Ishii, Yoshihiro Sawasaki, Speedy J and DJ Wada. This ten minute long, rare live recording captures Yokota playing a dynamic, fast paced acid house live jam, using two TB-303s and a drum machine. The other digital only bonus track is an alternative version of 'H', which was discovered recently whilst excavating a DAT.
The liner notes are written by DJ/producer Alex From Tokyo, who was a good friend of Yokota, and experienced the 90s Tokyo club scene first-hand as an insider. His compilation 'Japan Vibrations Vol. 1' captures this golden era, and features music by Prism (Susumu Yokota), Ryuichi Sakamoto, Haruomi Hosono, Yasuaki Shimizu, Quadra (Hiroshi Watanabe) and more.
3LP Vinyl
Catalogue no: MMDS24004LP
Side A
1. Zenmai (2024 Remaster)
2. Kinoko (2024 Remaster)
3. Meijijingu (2024 Remaster)
Side B
1. Saboten (2024 Remaster)
2. Oh My God (2024 Remaster)
3. Tambarin (2024 Remaster)
Side C
1. Oponchi (2024 Remaster)
2. Ao-oni (2024 Remaster)
3. Akafuji (2024 Remaster)
Side D
1. Alphaville (2024 Remaster)
2. Tanuki (2024 Remaster)
Side E
1. Floating G (2024 Remaster)**
2. H (2024 Remaster)**
3. B (2024 Remaster)**
Side F
1. F (2024 Remaster)**
2. 2 H (2024 Remaster)**
**= 5 unreleased tracks released for the 1st time on vinyl.
New liner notes by Martyn Pepperell
More
"A mesmerizing Japanese ambient techno masterpiece that that completely rewires how you perceive music" Electronic Beats
"A mountainous Masterpiece. A powerful testament to rave culture's establishment and the birth of a new scene in Japan emerging in the mid '90s. One of Yokota's most celebrated work that merges Japanese new age and minimal techno"
Alex From Tokyo (Japan Vibrations, world famous, Paris)
GENRE/S: Techno, Acid, Ambient
New liner notes by Alex From Tokyo
On July 26th Susumu Yokota's venerated 1994 classic 'Acid Mt. Fuji' is reissued in expanded, deluxe fashion, as part of the 30th anniversary celebrations of the label that originally presented it. Japan's Musicmine - specifically it's electronic subsidiary Sublime Records - released the album on June 29th 1994, simultaneously with Ken Ishii's 'Reference To Difference', as their inaugural joint offering.
'Acid Mt. Fuji' is an enchanting mix of mystical ambient acid and futurist minimal techno, taking the listeners on a psychedelic pilgrimage, where 303, synths and electronic percussion are scented with reverb, echo and forest recordings. Merging Japanese new age and sparse electronica, the recording is free, organic, and energized - proffering a unique blend of early 90s western styles and the essence of his home country.
Yokota originally planned an ambient record, but 'Acid Mt. Fuji' evolved into a concept work featuring the Roland TB-303, which he recorded live at home alongside a sampler, yielding experimental and innovative results.
The longplayer found its muse in the famed 18th-19th century artist Hokusai's red rendition of Mt. Fuji, known as 'Red Fuji' or 'Akafuji'. Part of the painter's renowned 'Thirty Six Views of Mt. Fuji' series from the 1830s, 'Red Fuji' depicts the iconic sacred mountain aglow in red at dawn, symbolizing spirituality and creativity. With references to Japanese folklore, nature and shrines, tracks like 'Kinoko' and 'Meijijingu' invite the listener to immerse themselves in the album's spiritual depths.
Yokota's own homage-to-Hokusai drawing graces the record's cover, and was inspired by the concept of wa (harmony) - highlighting his diverse skills not only as a musician, but an artist and designer too.
'Acid Mt. Fuji' is a powerful testament to the establishment of rave culture in Japan, which rapidly developed within just two years, from 1992 to 1994. Largely due to praise for the breathtaking originality of the LP, within this burgeoning national techno scene, Yokota rose to prominence as one of its key figures.
He then became one of the most renowned artists to emerge from his homeland and enter the global electronic pantheon. He inspired a new wave of Japanese producers and DJs, contributing significantly to the growth of the techno movement in Japan.
Yokota was a solitary figure, an artist who expressed his life through the continuous creation of music. For those seeking something different; mystical, soothing, pristinely ergonomic and uniquely Japanese, this record stands as iconic as Mt. Fuji itself.
-
This triple vinyl Deluxe Edition includes the original album's eleven tracks alongside five raw and jacking rare gems, available on wax for the first time, which were previously included only in the Japanese 2016 Deluxe Edition CD.
There are also two digital-only bonus tracks. One is a live performance by Yokota, titled 'Live at Shibuya Beam Hall', which was recorded at Sublime Records' label launch party, held in September 1994. It was previously only released on the aforementioned 2016 Japanese CD edition. This event, titled 'Sublime Records Presents New Style of Electronic Ambient Party' featured performances by Susumu Yokota, Ken Ishii, Yoshihiro Sawasaki, Speedy J and DJ Wada. This ten minute long, rare live recording captures Yokota playing a dynamic, fast paced acid house live jam, using two TB-303s and a drum machine. The other digital only bonus track is an alternative version of 'H', which was discovered recently whilst excavating a DAT.
The liner notes are written by DJ/producer Alex From Tokyo, who was a good friend of Yokota, and experienced the 90s Tokyo club scene first-hand as an insider. His compilation 'Japan Vibrations Vol. 1' captures this golden era, and features music by Prism (Susumu Yokota), Ryuichi Sakamoto, Haruomi Hosono, Yasuaki Shimizu, Quadra (Hiroshi Watanabe) and more.
3LP Vinyl
Catalogue no: MMDS24004LP
Side A
1. Zenmai (2024 Remaster)
2. Kinoko (2024 Remaster)
3. Meijijingu (2024 Remaster)
Side B
1. Saboten (2024 Remaster)
2. Oh My God (2024 Remaster)
3. Tambarin (2024 Remaster)
Side C
1. Oponchi (2024 Remaster)
2. Ao-oni (2024 Remaster)
3. Akafuji (2024 Remaster)
Side D
1. Alphaville (2024 Remaster)
2. Tanuki (2024 Remaster)
Side E
1. Floating G (2024 Remaster)**
2. H (2024 Remaster)**
3. B (2024 Remaster)**
Side F
1. F (2024 Remaster)**
2. 2 H (2024 Remaster)**
**= 5 unreleased tracks released for the 1st time on vinyl.
New liner notes by Martyn Pepperell
More
1
Ken Ishii - A1. Into The Inside (2024 Remaster)
2
Ken Ishii - A2. Fading Sky (2024 Remaster)
3
Ken Ishii - A3. Non Essential (2024 Remaster)
4
Ken Ishii - B1. Finite Time (2024 Remaster)
5
Ken Ishii - B2. Interjection (2024 Remaster)
6
Ken Ishii - B3. Scene One (2024 Remaster)
LP 180g Heavyweight vinyl, Remastered, with original track-list available on vinyl for the first time
"Ken Ishii has risen to be one of techno's biggest names" Bandcamp Daily
"A pivotal moment in the history of techno, ambient and electronic music from Japan. An important milestone in a journey to explore the endless possibilities of music and a precious result of our passion and adventure at the time" Manabu Yamazaki (Sublime Records)
GENRE: Techno, Ambient
Tracklist:
1. Into The Inside (2024 Remaster)
2. Fading Sky (2024 Remaster)
3. Non Essential (2024 Remaster)
Side B
1. Finite Time (2024 Remaster)
2. Interjection (2024 Remaster)
3. Scene One (2024 Remaster)
New liner notes by Martyn Pepperell
The musician and DJ Ken Ishii sits right at the pinnacle of techno's most noteworthy, but although a game changer for the artist personally - and for Japanese electronic music in general - his 1994 album 'Reference to Difference' is something of an unsung gem today.
Now reissued and remastered, released to mark the 30th anniversary of Musicmine / Sublime Records, and available on vinyl with its original track-list for the first time, this stunning, lesser-known classic is ripe for rediscovery.
Born 1970 in Sapporo, Ishii was introduced to electronic music at a young age through arcade games, and Japanese and German pioneers like Yellow Magic Orchestra, Isao Tomita and Kraftwerk. During his teens, he absorbed new wave, synth-pop, EBM and industrial, before making a life-changing discovery of Detroit techno in the late 80s.
As the 1990s dawned, so did his introduction to Black Dog Productions and Warp Records' Artificial Intelligence compilations. Blown away by the emerging British and American IDM, braindance, and ambient techno movements, he quickly folded their influence into his still-developing but cultivated aesthetic.
A futuristic confluence of unplaceable ambient atmospheres, space age techno, IDM and minimalist composition, 'Reference To Difference' unfolds as an effortless series of exercises in pristine synth textures, robust man/machine rhythm and understated melodies. It teleports the listener back to a golden moment in the mid-1990s, when a dedicated generation rose out of Tokyo's storied clubs and took the innovation, energy, and creativity of Japan's unique techno culture to the world.
Opened in 1993, Maniac Love was a new nightclub where Manabu Yamazaki aka DJ Yama promoted the Sublime parties, which soon became a crucial hub within the burgeoning Tokyo underground. It was here where Yamazaki rubbed shoulders with peers including Ishii and Susumu Yokota, and the trio's future became intertwined.
Much like Ishii, the late Susumu Yokota began his musical career by reaching out to Europe. Not long before Ishii released his debut longplayer 'Garden On The Palm' through Belgium's R&S, Yokota released his debut LP 'The Frankfurt-Tokyo Connection' through Harthouse, the German label co-founded by Sven Väth. In the wake of both records' overseas success, Ishii and Yokota set a benchmark for techno in Japan.
By 1993, as they both became in-demand producers and DJs, it felt like their dreams were coming true. Through talking with Ishii and Yokota, Yamazaki became emboldened to transform Sublime into a record label.
Soon after, Yamazaki partnered with Hideoki Amano, who was on the verge of founding Musicmine, a now respected and longstanding independent Japanese music company. As Yamazaki tells it, Amano helped him turn his dream into a reality: Sublime Records.
For Musicmine and Sublime Records' inaugural album releases, Yamazaki and Amano approached both Ishii and Yokota, resulting in the simultaneous drop of 'Reference To Difference' and 'Acid Mt. Fuji' respectively, on June 29th 1994.
Yamazaki remembered 'Reference To Difference' being well received by DJs, listeners, record store buyers and journalists, stating "people were excited by this new wave of music coming out of Japan, and had high praise for its unique sound."
With the pair of LPs further stamping Japan on the contemporary musical globe, the scene was beginning to boom at home too. Specialist record stores, and club music magazines like Ele-King and Loud spread the word, and in the wake of Maniac Love's impact, new nightclubs like the legendary Liquid Room were opening up, bringing a steady stream of world-famous DJs to the Japanese capital.
"Without a doubt, I think the arrival of Ken Ishii was a major turning point for the Japanese music industry in the 1990s," Amano reflected. "Nowadays, the Western club music scene is rediscovering Japanese techno from the 1990s, and digging our music is a common sight, but before Ken Ishii, no Japanese DJ was in sync with the global club music scene. He was the catalyst."
"Looking back, I can tell it was meaningful that this was one of the first techno albums by a Japanese artist that was released on a Japanese label," Ishii reflects. "Maybe I did something that bridged between old school Japanese electronic music and 'new school' techno in line with the Detroit sound with this record" he adds, in modest understatement.
The new liner notes were written Martyn Pepperell, a well-regarded music journalist who has covered Susumu Yokota for Wax Poetics and Midori Takada for Dazed, amongst numerous other articles.
Ken Ishi DJ dates:
Fri 14 June Tokyo, Japan : MUSICMINE 30th Anniversary @ WWW
Sat 15 June Nagano Pref, Japan : Re:birth Festival 2024 @ Kurumayama-Kogen Skypark Resort
Sat 22 June Tbilisi, Georgia : Tbilisi Open Air (Khidi Stage) @ Lisi Wonderland
Fri 12 July Tokyo, Japan : TECHNOH LAB. @ Suigian (*Non+techno performance with Manjiro Tatsumi)
Fri 12 July Tokyo, Japan : @ Vent
Fri 26 July Tokyo, Japan : @ Shinjuku Loft
Sun 28 July Naeba, Japan : @ Fuji Rock Festival
Sat 31 August Amsterdam, The Netherlands : Wooferland 2024 @ Houtrak Halfweg
More
"Ken Ishii has risen to be one of techno's biggest names" Bandcamp Daily
"A pivotal moment in the history of techno, ambient and electronic music from Japan. An important milestone in a journey to explore the endless possibilities of music and a precious result of our passion and adventure at the time" Manabu Yamazaki (Sublime Records)
GENRE: Techno, Ambient
Tracklist:
1. Into The Inside (2024 Remaster)
2. Fading Sky (2024 Remaster)
3. Non Essential (2024 Remaster)
Side B
1. Finite Time (2024 Remaster)
2. Interjection (2024 Remaster)
3. Scene One (2024 Remaster)
New liner notes by Martyn Pepperell
The musician and DJ Ken Ishii sits right at the pinnacle of techno's most noteworthy, but although a game changer for the artist personally - and for Japanese electronic music in general - his 1994 album 'Reference to Difference' is something of an unsung gem today.
Now reissued and remastered, released to mark the 30th anniversary of Musicmine / Sublime Records, and available on vinyl with its original track-list for the first time, this stunning, lesser-known classic is ripe for rediscovery.
Born 1970 in Sapporo, Ishii was introduced to electronic music at a young age through arcade games, and Japanese and German pioneers like Yellow Magic Orchestra, Isao Tomita and Kraftwerk. During his teens, he absorbed new wave, synth-pop, EBM and industrial, before making a life-changing discovery of Detroit techno in the late 80s.
As the 1990s dawned, so did his introduction to Black Dog Productions and Warp Records' Artificial Intelligence compilations. Blown away by the emerging British and American IDM, braindance, and ambient techno movements, he quickly folded their influence into his still-developing but cultivated aesthetic.
A futuristic confluence of unplaceable ambient atmospheres, space age techno, IDM and minimalist composition, 'Reference To Difference' unfolds as an effortless series of exercises in pristine synth textures, robust man/machine rhythm and understated melodies. It teleports the listener back to a golden moment in the mid-1990s, when a dedicated generation rose out of Tokyo's storied clubs and took the innovation, energy, and creativity of Japan's unique techno culture to the world.
Opened in 1993, Maniac Love was a new nightclub where Manabu Yamazaki aka DJ Yama promoted the Sublime parties, which soon became a crucial hub within the burgeoning Tokyo underground. It was here where Yamazaki rubbed shoulders with peers including Ishii and Susumu Yokota, and the trio's future became intertwined.
Much like Ishii, the late Susumu Yokota began his musical career by reaching out to Europe. Not long before Ishii released his debut longplayer 'Garden On The Palm' through Belgium's R&S, Yokota released his debut LP 'The Frankfurt-Tokyo Connection' through Harthouse, the German label co-founded by Sven Väth. In the wake of both records' overseas success, Ishii and Yokota set a benchmark for techno in Japan.
By 1993, as they both became in-demand producers and DJs, it felt like their dreams were coming true. Through talking with Ishii and Yokota, Yamazaki became emboldened to transform Sublime into a record label.
Soon after, Yamazaki partnered with Hideoki Amano, who was on the verge of founding Musicmine, a now respected and longstanding independent Japanese music company. As Yamazaki tells it, Amano helped him turn his dream into a reality: Sublime Records.
For Musicmine and Sublime Records' inaugural album releases, Yamazaki and Amano approached both Ishii and Yokota, resulting in the simultaneous drop of 'Reference To Difference' and 'Acid Mt. Fuji' respectively, on June 29th 1994.
Yamazaki remembered 'Reference To Difference' being well received by DJs, listeners, record store buyers and journalists, stating "people were excited by this new wave of music coming out of Japan, and had high praise for its unique sound."
With the pair of LPs further stamping Japan on the contemporary musical globe, the scene was beginning to boom at home too. Specialist record stores, and club music magazines like Ele-King and Loud spread the word, and in the wake of Maniac Love's impact, new nightclubs like the legendary Liquid Room were opening up, bringing a steady stream of world-famous DJs to the Japanese capital.
"Without a doubt, I think the arrival of Ken Ishii was a major turning point for the Japanese music industry in the 1990s," Amano reflected. "Nowadays, the Western club music scene is rediscovering Japanese techno from the 1990s, and digging our music is a common sight, but before Ken Ishii, no Japanese DJ was in sync with the global club music scene. He was the catalyst."
"Looking back, I can tell it was meaningful that this was one of the first techno albums by a Japanese artist that was released on a Japanese label," Ishii reflects. "Maybe I did something that bridged between old school Japanese electronic music and 'new school' techno in line with the Detroit sound with this record" he adds, in modest understatement.
The new liner notes were written Martyn Pepperell, a well-regarded music journalist who has covered Susumu Yokota for Wax Poetics and Midori Takada for Dazed, amongst numerous other articles.
Ken Ishi DJ dates:
Fri 14 June Tokyo, Japan : MUSICMINE 30th Anniversary @ WWW
Sat 15 June Nagano Pref, Japan : Re:birth Festival 2024 @ Kurumayama-Kogen Skypark Resort
Sat 22 June Tbilisi, Georgia : Tbilisi Open Air (Khidi Stage) @ Lisi Wonderland
Fri 12 July Tokyo, Japan : TECHNOH LAB. @ Suigian (*Non+techno performance with Manjiro Tatsumi)
Fri 12 July Tokyo, Japan : @ Vent
Fri 26 July Tokyo, Japan : @ Shinjuku Loft
Sun 28 July Naeba, Japan : @ Fuji Rock Festival
Sat 31 August Amsterdam, The Netherlands : Wooferland 2024 @ Houtrak Halfweg
More
1
Solomun - Can't Stop
2
Solomun - Follow The Disco Ball
3
Solomun - Can't Stop (Dub)
Tracklist
A. Can't Stop
B1. Follow The Disco Ball
B2. Can't Stop (Dub)
Can't Stop .There seems no better way to describe the work, party and music ethic of Solomun. Carrying the mirror ball on his shoulders like Atlas, it is impossible to imagine the modern disco world without his dynamics. While his countless DJ sets give fresh impetus to the many shades of house, techno and their siblings, conversely they are a driving force behind his studio and remix excursions. Can't Stop provides an impressive insight into his musical universe.
Resulting from a rather casual after-dinner-listening-session during a car ride on Ibiza with a zesty Gerd Janson, who coaxed the title track out of Solomun making use of their friendship to full capacity, it is a triptych of direct, functional and free-spirited dance floor approach. After some back and forth in the search of the missing pieces to make it so, Solomun managed to deliver the perfect Running Back peak time record.
While Can't Stop channels UK dance music highs through German engineering values, which makes it perfect for dance hall and car rides (yes, indeed!) alike, its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball leads us back to the aforementioned Greek titan and can be read as a love letter to the genre that can be found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. We repeat: the perfect Running Back peak time record. Can't Stop, won't stop!
Short: Solomun on Running Back. Dance floor fanatics at work. A triptych of fun, friendship and functionality. Can't Stop channels UK dance music highs through German engineering values. Perfect for dance hall and car rides alike. Its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball can be read as a love letter to the genre that is found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. The perfect Running Back peak time record. Can't Stop, won't stop! More
A. Can't Stop
B1. Follow The Disco Ball
B2. Can't Stop (Dub)
Can't Stop .There seems no better way to describe the work, party and music ethic of Solomun. Carrying the mirror ball on his shoulders like Atlas, it is impossible to imagine the modern disco world without his dynamics. While his countless DJ sets give fresh impetus to the many shades of house, techno and their siblings, conversely they are a driving force behind his studio and remix excursions. Can't Stop provides an impressive insight into his musical universe.
Resulting from a rather casual after-dinner-listening-session during a car ride on Ibiza with a zesty Gerd Janson, who coaxed the title track out of Solomun making use of their friendship to full capacity, it is a triptych of direct, functional and free-spirited dance floor approach. After some back and forth in the search of the missing pieces to make it so, Solomun managed to deliver the perfect Running Back peak time record.
While Can't Stop channels UK dance music highs through German engineering values, which makes it perfect for dance hall and car rides (yes, indeed!) alike, its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball leads us back to the aforementioned Greek titan and can be read as a love letter to the genre that can be found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. We repeat: the perfect Running Back peak time record. Can't Stop, won't stop!
Short: Solomun on Running Back. Dance floor fanatics at work. A triptych of fun, friendship and functionality. Can't Stop channels UK dance music highs through German engineering values. Perfect for dance hall and car rides alike. Its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball can be read as a love letter to the genre that is found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. The perfect Running Back peak time record. Can't Stop, won't stop! More
1
Chrystabell & David Lnych - She Knew
2
Chrystabell & David Lnych - The Sky Falls
3
Chrystabell & David Lnych - You Know The Rest
4
Chrystabell & David Lnych - So Much Love
5
Chrystabell & David Lnych - Two Lovers Kiss
6
Chrystabell & David Lnych - The Answers To The Questions
7
Chrystabell & David Lnych - With Small Animals
8
Chrystabell & David Lnych - Reflections In A Blade
9
Chrystabell & David Lnych - Dance Of Light
10
Chrystabell & David Lnych - Sublime Eternal Love
Tip!
Limited Clear Vinyl!
The origin of Chrystabell and David Lynch’s album Cellophane Memories comes from a vision that David experienced during a nighttime walk through a forest of tall trees, over the tops of which he saw a bright light. As he recalls it, the light became the lilt of Chrystabell’s voice and revealed a secret to him. It is from these mysterious convergences of light and sound, day and night, starry sky and black forest that Chrystabell and David’s collaboration has continued to blossom.
For Cellophane Memories, the two have traveled through different portals. Fittingly, many of the songs are set in fairytale forests, mountain peaks, swimming holes, crepus-cular highways and darkened bedrooms. These are the abodes of both loneliness and romance, the sorts of sublime landscapes where people often travel alone in search of a wayward lover. But they are also shapeless atmospheres—of color, weather and breath: blue and white skies, red roses, darkening thunderheads, swirling winds and summer perfumes, which quickly immerse the traveler in the supernatural sensations of other worlds.
Time is a mercurial creature in Chrystabell and David’s songs. The characters are little more than oblique sketches of time’s quotidian melodramas: people arrive and depart as strangers, strangers fall into despair and love, lovers part at the crossroads and re-unite in a dream. In this quantum matinee of everyday life, each character is both a star and a background extra. Elisions in time reappear over and over within Chrystabell’s vocals, which emerge and dissolve and loop back in layers of harmony and history. They are mantled by David’s, and late composer Angelo Badalamenti’s, orchestra of waldeinsamkeit-inspired strings, oneiric guitar glissandi and clouds of reverb, whose melodies are like the sensation of time pausing for a first kiss.
As with much of Chrystabell and David’s work from the past, Cellophane Memories returns us to a central question: what is a mystery? Alas, the riddle remains unanswered. But all mystery contains slivers of those conceits and feelings described above: the departing and the coming-back, the landscape, atmosphere and breath, the topsy turvy mechanisms of time, memories of the bygone, a distant light radiating from darkness, music within silence, love. More
Limited Clear Vinyl!
The origin of Chrystabell and David Lynch’s album Cellophane Memories comes from a vision that David experienced during a nighttime walk through a forest of tall trees, over the tops of which he saw a bright light. As he recalls it, the light became the lilt of Chrystabell’s voice and revealed a secret to him. It is from these mysterious convergences of light and sound, day and night, starry sky and black forest that Chrystabell and David’s collaboration has continued to blossom.
For Cellophane Memories, the two have traveled through different portals. Fittingly, many of the songs are set in fairytale forests, mountain peaks, swimming holes, crepus-cular highways and darkened bedrooms. These are the abodes of both loneliness and romance, the sorts of sublime landscapes where people often travel alone in search of a wayward lover. But they are also shapeless atmospheres—of color, weather and breath: blue and white skies, red roses, darkening thunderheads, swirling winds and summer perfumes, which quickly immerse the traveler in the supernatural sensations of other worlds.
Time is a mercurial creature in Chrystabell and David’s songs. The characters are little more than oblique sketches of time’s quotidian melodramas: people arrive and depart as strangers, strangers fall into despair and love, lovers part at the crossroads and re-unite in a dream. In this quantum matinee of everyday life, each character is both a star and a background extra. Elisions in time reappear over and over within Chrystabell’s vocals, which emerge and dissolve and loop back in layers of harmony and history. They are mantled by David’s, and late composer Angelo Badalamenti’s, orchestra of waldeinsamkeit-inspired strings, oneiric guitar glissandi and clouds of reverb, whose melodies are like the sensation of time pausing for a first kiss.
As with much of Chrystabell and David’s work from the past, Cellophane Memories returns us to a central question: what is a mystery? Alas, the riddle remains unanswered. But all mystery contains slivers of those conceits and feelings described above: the departing and the coming-back, the landscape, atmosphere and breath, the topsy turvy mechanisms of time, memories of the bygone, a distant light radiating from darkness, music within silence, love. More
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Charlotte de Witte - Roar
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Charlotte de Witte - How You Move
3
Charlotte de Witte - Rewind
“How You Move” is a testament to de Witte’s signature style of pushing boundaries and encapsulating the raw essence of the techno genre. The release boasts a fusion of pulsating acid and a mesmerizing energy that promises to resonate deeply with listeners, mirroring the intense, adrenaline-fueled experiences of her live performances.
More
1
FINIS AFRICAE - Radio Tarifa
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FINIS AFRICAE - El Secreto de las 12
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FINIS AFRICAE - Luna
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FINIS AFRICAE - Zoo Zulu
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FINIS AFRICAE - Juana y Rosalía
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FINIS AFRICAE - Hybla
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FINIS AFRICAE - Managua
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FINIS AFRICAE - Bahía de los Genoveses
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FINIS AFRICAE - El Viento que Mece los Juncos
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FINIS AFRICAE - Costa de la Muerte
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FINIS AFRICAE - Petróleo, Petróleo
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FINIS AFRICAE - Las Reglas de la Regata
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FINIS AFRICAE - El Viaje de Iradier
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FINIS AFRICAE - Alma Ata
15
FINIS AFRICAE - Los Restos del Naufragio
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FINIS AFRICAE - El Pulso de la Madera
17
FINIS AFRICAE - Geosinclal
2 LP
TRACKLIST
A1 Radio Tarifa
A2 El Secreto De Las 12
A3 Luna
A4 Zoo Zulu
B1 Juana Y Rosalía
B2 Hybla
B3 Managua
B4 Bahía De Los Genoveses
C1 El Viento Que Mece Los Juncos
C2 Costa De La Muerte
C3 Petróleo, Petróleo
C4 Las Reglas De La Regata
D1 El Viaje De Iradier
D2 Alma Ata
D3 Los Restos Del Naufragio
D4 El Pulso De La Madera
D5 Geosinclal
"Pulso de la Madera" comes as the definitive official reissue of the first album by the legendary band, along with previously unreleased remastered material, on a double LP with extensive liner notes and previously unseen pictures of the band. Essential to revisit the work of a band that inspired fourth world and organic ambient as we know it today; these tunes sound immersive and still contemporary.
On their short but influential career, Finis Africae proposed an informal and decentralized model of creativity that was decades ahead of current practices linked to technological advances; they explored unknown worlds and imagined landscapes of the “fourth world” apart from their present; they neither affirmed nor denied any of the labels they were to assign to them (“New Age”, “ethnic music”, “world music”, etc.); they recreated, used, and nourished foreign cultures without fear.
And most importantly - they shaped a sound “finis”. Your own space. Where there were no rules. A dimension in which the collective was submerged in long sessions of improvisation; where they could be goblins and magical entities; a place where they could imagine scales and structures unreal; where they could play any instrument in the known world; where they could tour the Mediterranean, Africa, and the Middle East in a blink of an eye; where they could be themselves without caring about anything that happened outside.
The unreleased tracks come as a careful selection of a deep-dive over hundred tracks and demos, compiled by Urba and Glossy Mario. The license comes from Juan Alberto Arteche's family. More
TRACKLIST
A1 Radio Tarifa
A2 El Secreto De Las 12
A3 Luna
A4 Zoo Zulu
B1 Juana Y Rosalía
B2 Hybla
B3 Managua
B4 Bahía De Los Genoveses
C1 El Viento Que Mece Los Juncos
C2 Costa De La Muerte
C3 Petróleo, Petróleo
C4 Las Reglas De La Regata
D1 El Viaje De Iradier
D2 Alma Ata
D3 Los Restos Del Naufragio
D4 El Pulso De La Madera
D5 Geosinclal
"Pulso de la Madera" comes as the definitive official reissue of the first album by the legendary band, along with previously unreleased remastered material, on a double LP with extensive liner notes and previously unseen pictures of the band. Essential to revisit the work of a band that inspired fourth world and organic ambient as we know it today; these tunes sound immersive and still contemporary.
On their short but influential career, Finis Africae proposed an informal and decentralized model of creativity that was decades ahead of current practices linked to technological advances; they explored unknown worlds and imagined landscapes of the “fourth world” apart from their present; they neither affirmed nor denied any of the labels they were to assign to them (“New Age”, “ethnic music”, “world music”, etc.); they recreated, used, and nourished foreign cultures without fear.
And most importantly - they shaped a sound “finis”. Your own space. Where there were no rules. A dimension in which the collective was submerged in long sessions of improvisation; where they could be goblins and magical entities; a place where they could imagine scales and structures unreal; where they could play any instrument in the known world; where they could tour the Mediterranean, Africa, and the Middle East in a blink of an eye; where they could be themselves without caring about anything that happened outside.
The unreleased tracks come as a careful selection of a deep-dive over hundred tracks and demos, compiled by Urba and Glossy Mario. The license comes from Juan Alberto Arteche's family. More
Rights : World excluding Fr
180 Grs Black Vinyl EP – Limited Edition -
Packaging: 1 x 12’’ Heavyweight Black vinyl, printed 3mm spine sleeve, 45 rpm.
PRODUCT INFORMATION/ SHORT BIOG
• “Collector run – 180 grs Black 12’’ vinyl / 2 tracks – 45rpm.
• “Chiroptera” is the soundtrack of « Acte 2 : Retour à la Caverne », a creation by JR with Thomas Bangalter and choregraph Damien Jalet , performed in Paris in front of the Opéra de Paris (Opéra Garnier) on November 12th, 2023 by more than 150 dancers.
TRACKLISTING
Face A :
1 - CHIROPTERA
Face B :
1 - CHIROPTERA (Solo Intro)
More
180 Grs Black Vinyl EP – Limited Edition -
Packaging: 1 x 12’’ Heavyweight Black vinyl, printed 3mm spine sleeve, 45 rpm.
PRODUCT INFORMATION/ SHORT BIOG
• “Collector run – 180 grs Black 12’’ vinyl / 2 tracks – 45rpm.
• “Chiroptera” is the soundtrack of « Acte 2 : Retour à la Caverne », a creation by JR with Thomas Bangalter and choregraph Damien Jalet , performed in Paris in front of the Opéra de Paris (Opéra Garnier) on November 12th, 2023 by more than 150 dancers.
TRACKLISTING
Face A :
1 - CHIROPTERA
Face B :
1 - CHIROPTERA (Solo Intro)
More
1
Lee Stevens - Run Away
2
Das Komplex - Ennio
3
Space Echo - Woo Disco
4
Siggatunez - Love N' Affection
Special remarks: handstamped vinyl, cover sticker
Tracklist 12":
A1. Lee Stevens - Run Away
A2. Das Komplex - Ennio
B1. Space Echo - Woo Disco
B2. Siggatunez - Love N' Affection
Short Info:
Just in time for festival season, another batch of Disco Biscuits has landed on Luv Shack Records.
This time the maitre de’s Lee Stevens, Das Komplex, Space Echo and Siggatunez have whipped up extra delicious treats using only their favourite recipes to ensure maximum satisfaction on the dancefloor!
More
Tracklist 12":
A1. Lee Stevens - Run Away
A2. Das Komplex - Ennio
B1. Space Echo - Woo Disco
B2. Siggatunez - Love N' Affection
Short Info:
Just in time for festival season, another batch of Disco Biscuits has landed on Luv Shack Records.
This time the maitre de’s Lee Stevens, Das Komplex, Space Echo and Siggatunez have whipped up extra delicious treats using only their favourite recipes to ensure maximum satisfaction on the dancefloor!
More