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

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

Non Exclsuive, LP, LTD 300

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


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

Non Exclsuive LP

1. Absolute Power
2. Earth Girls
3. Fearless Like A Child
4. Kids Today
5. Intermezzo X – Wheel Of Fortune
6. Sweet Smell Of Success
7. Obnoxiously Talented
8. Avoid Heaven
9. Take Me To Your Leader
10. They Will Pay
11. Pompeii

“The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin
prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“
Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme
is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering
solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of
the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.
Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the
centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to
grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar
Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career.
“Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls
has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness
bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his
prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the
female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator
surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to
learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I
feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in
places like Texas, it’s simultaneously angry and full of love.
Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the
eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s
shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it,
this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power
and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's
an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of
encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll
call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s
even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a
method of upending the power structures who need things to be perfect.
They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk
pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect
in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith,
or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the
heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of
Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning
small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of
jewels, it might be the shining star.
Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love More

Non Exclsuive LP (Red Vinyl)
1. Tender
 Surrender
2. Let’s
 Talk
 About
 Privileges
3. Mona-­Lisa’s
 Smile
4. Memory
 Foam
5. American
 Express
6. Money
 Never
 Dreams
7. Not
 Today
 Satan
8. Think
 Pink
9. Modern
 World
10. Inner
 Cities
11. Theory
 Of
 Life
12. After
 Life

That we live in a world changed is beyond question. Since 2015’s Zenith, Berlin-based songwriter Molly Nilsson
has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political
landscape and imagining a better world. For an artist who has so successfully created her own environment and
gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings,
engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into
the internal language of the solo auteur. Imaginations is not escapism, it’s a kaleidoscope and an alternative
view, an agent of change.
Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson’s
best songs a collision between the political and personal. Though potentially a love song, there’s a glowing anger
in the lines “I want your ruin, I want destruction, I won’t be through until we mend this…” this is rapturous
transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel
and this is no different… Who else could write a song about privilege (Let’s Talk About Privileges) and make a
heart-rending chorus of “It’s never being afraid of the police, it’s expecting every thank you, every please.” The
artist’s vision on this album is perhaps more forceful than the emotionally fragile moments of previous album
Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of
nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there’s overt
anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there’s
also seams of optimism sewn into the album’s genetic code. Any revolutionary will tell you that anger alone
achieves nothing - Nilsson’s mission on Imaginations is to offer some alternatives we can hold close. Not Today
Satan is a song about accepting love as the agent of change; “Don’t be sad, but do get mad at all the small men
who act so tall, in the end they always fall; there ain’t no sin in giving in to love, that’s just how we’re winning the
fight.” Love can be visceral, a weapon with which to fight the power.
On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to
live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism
about the future when we need it the most. “New boys, new girls.. give me your smile and I’ll give you mine”
Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we’re never alone in the
process More

Non Exclsuive LP (Yelllow Vinyl)

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

Non Exclsuive LP (Yelllow Vinyl)

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

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

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

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

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





More

Non Exclsuive CD

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

Non Exclsuive LP

1. Absolute Power
2. Earth Girls
3. Fearless Like A Child
4. Kids Today
5. Intermezzo X – Wheel Of Fortune
6. Sweet Smell Of Success
7. Obnoxiously Talented
8. Avoid Heaven
9. Take Me To Your Leader
10. They Will Pay
11. Pompeii

“The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin
prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“
Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme
is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering
solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of
the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.
Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the
centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to
grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar
Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career.
“Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls
has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness
bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his
prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the
female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator
surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to
learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I
feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in
places like Texas, it’s simultaneously angry and full of love.
Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the
eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s
shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it,
this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power
and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's
an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of
encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll
call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s
even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a
method of upending the power structures who need things to be perfect.
They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk
pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect
in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith,
or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the
heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of
Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning
small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of
jewels, it might be the shining star.
Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love More

Format: LP

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

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

Format: LP

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

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

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

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

LP - The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.

1. Fly! Little Black Thing
2. Love
3. Confessions From A Soul
4. Thoughts
5. Thunder In Heaven
6. In My Room
7. The Song Of Summer
8. JohnJohn
9. Alright
10. You, An Illusion


The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.
A beguiling dreamscape of crackles, spluttering, love-struck Casios presided over by the the spectral vocal and guitar
work of Huang, Yuching sings love songs at the end of this world and the beginning of the next. Recorded during a
hiatus from her group Aemong (a duo with artist Henrique Uba) in Berlin, these songs elevate Huang’s unique vocal
style and grasp of atmospherics. The Crystal Hum deconstructs balladry, Garage, guitar music and reforms it into a
unified ghostly otherworld version of these languages.

The Crystal Hum thrums with buried desire, trails of nocturnal reverb seeping out of apartment windows, diaristic vocal
performances and deeply emotive, evocative Western-style strings. Formulated by Yuching Huang after periods of frustration
and experimentation, the album is an exercise in minimalism and paring back, with some tracks like JohnJohn featuring little
else than an elastic bass, spring reverb trails, an interjecting vocal and swelling, dislocated synths. The effect is spellbinding,
the soundtrack to getting lost in the labyrinthine, closed streets of Venice, Taipei, Hong Kong, or mirror versions of them in the
imagination.

On opener Fly! Little Black Thing, a subterranean funk bassline roots Huang’s singing, a rudimentary, unreliable beat
floundering in whimsy underneath. Demure, dream Dance music, Huang references classic lo fi experimenters Suicide and
Arthur Russell as well as Night School label mates The Space Lady and Ela Orleans. In fact, after the release of Aemong’s
third album Crimson, Huang credits the direction of The Crystal Hum to being enchanted by The Space Lady’s Greatest Hits,
the landmark lo-fi recording made by Susan Dietrich Schneider in 1990. The new, minimalist approach to her sound world
reveals and shrouds in equal measure. On the heart-melter Love, a sultry mid-tempo Casio + bass backing drops into the ether
with Huang’s vocal swimming in preternatural void before emerging anew, in awe at the world. Every chord change heralds new
perspectives, every guitar flurry swells and drips emotion, nothing is wasted and space billows out from between the grooves.
Huang never reveals more than necessary, making this an in-between love album: the right amount of mystery and darkened
mirror shines wanely on The Crystal Hum while remaining fragile and vulnerable in the sweet spots. Turning over in pillowing
smoke and night in the dark corners, Huang sings in both Mandarin and English. The songs speak of earthly matters seemingly
at the edge of dissipating into nothing. Distorted, beguiling Sambas warble like sweating dancehalls in an imagined Lynchian
60s, as on Thoughts. Closer You, An Illusion warps a classic 60s Girlgroup bassline beloved of the likes of Les Rallizes

Denudes into a slight ballad on the edge of the void, held back by the teary-eyed, wistful and enveloping vocal cooed by
Huang. Each song feels like a love song dedicated to the bits between worlds, between beats, the negative space between
people where desires, feelings and loss hangs in the air, resolute and unresolved. More

2LP, LTD 500 , Black Vinyl - RSD 2024 , DO NOT SELL BEFORE 20.04.2024 - Territories: WW-US,UK,FR

1. Soldier
2. Love Dies
3. Turn Off The Light
4. Haunting
5. Fear Becomes You
6. October Faul
7. Wishing Stone
8. Nomadic Man
9. Epiphany
10. Angel
11. Sleep Now Forever


Sleep Now Forever is the second and final album released by Sorrow, the post-Strawberry Switchblade group fronted
by singer Rose McDowall. Originally released in 1999 and long since deleted it is a cornucopia of pastoral, elegiac folk
music, swirling atmospherics, hymnal compositions and above it all the alternating towering and fragile vocal
performances of McDowall. Recorded in the late 90s with fellow band member and co-songwriter Robert Lee, Sleep
Now Forever is the definitive statement by the now defunct group and Rose McDowall’s most complete long-form work
to date.
Released through the group’s own Piski Disk Records, Sleep Now Forever was distributed by World Serpent which
struggled through the early 2000s with financial woes, eventually folding due to bankruptcy in 2004. Due to the company’s
troubles, Sleep Now Forever was never distributed widely and was a victim of the company’s failure. Released on CD only,
original copies are now rare and only traded on second hand channels. Remastered by Mikey Young for a limited vinyl release,
Sleep Now Forever will be released on April 20th on double vinyl format, with one side an exclusive etching by Glasgow artist
Holly Allan.
Despite its rarity, Sleep Now Forever enjoys a firm cult following. The album’s textures are expansive, lush, deliciously detailed
and celestial. Recorded in home study Velvet Hole by Rose McDowall and then-husband Robert Lee, the album enlists an
array of players from the underground Neo-folk / industrial scene: Nigel McKernaghan (Uilleann pipes, Whistles), Susan
Franknel (Bassoon), John Contreras (Cello) and Lawrence Frankel (Oboe, Cor Anglais). The eleven songs here revolve
around McDowall’s instantly recognisable voice. Brought up singing in the Catholic Church, McDowall’s vocals are impeccable
and angelic, particularly on tracks like Turn Off The Light where her experiences with religion are canted over soaring oboe
and guitar backing. By far the most evolved and realised version of Sorrow’s vision, it feels somewhat criminal that music this
beautiful could be lost to time until now.
McDowall’s lyrics throughout Sleep Now Forever deal frankly with mental health, depression, altered states, death and
redemption. Wave upon wave of harmony drench each song, McDowal’s vocal multi-tracked and imperious. Opener Soldier
benefits from Robert Lee’s use of the studio as instrument, summoning forth a lilting group performance of sparkling guitar and
percussion that recalls the Velvet Underground. Mikey Love’s master treats the compositions to brand new frequency
dynamics and space. Harmonium and string drones form the counter to McDowall’s vocal on Love Dies, a slow, lurching
lament that feels transcendent. On Haunting, the arrangement is orchestral and aching, bleeding into Fear Becomes You, with
chord and harmony structure that recalls the baroque sixties pop of West Coast Pop Experimental Art Band or the 60s
psychedelic folk movement. A towering, beautiful statement, this elegy for times lost and moonlit-illumination is finally
resurfacing from the darkness.
Sleep Now Forever is being released on 2LP on April 20th, 2024. Limited to 500. More

Mini LP, LTD 500 , Clear Vinyl - RSD 2024, No sales to UK,USA,FR, Benelux

1. All Shook Up
2. Slapback Boomerang
3. Puttin’ On The Ritz
4. Radar Love
5. 20th Century Fox
6. Shakin’ All Over


Since her re-discovery in 2013 via cult favourite The Space Lady’s Greatest Hits, The Space Lady’s mission of galactic
peace and celestial harmony has grown into a world-wide underground phenomenon. Recorded in 1990, The Space
Lady’s original repertoire is a parallel universe greatest hits: songs familiar are transmogrified into shimmering bliss
while new compositions amplify the message. The Space Lady’s Other Hits, released on April 20th for Record Store Day
2024, constitutes the songs recorded by Susan “The Space Lady” Dietrich Schneider as part of that repertoire that
never made the original Greatest Hits, save for a limited bonus CD on the first CD pressing. Remastered by Mikey Love
for vinyl, The Space Lady’s Other Hits completes the picture.

The Space Lady began her odyssey on the streets of Boston in the late 70s, then San Francisco ten years later, playing
versions of contemporary pop music with an accordion and dressed flamboyantly. Following the theft and destruction of her
accordion , The Space Lady invested in a then-new Casio keyboard, complete with a phase shifter, delay pedal and headset
mic, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its
leading exponents ever since.

The Space Lady’s Other Hits were recorded as they were played on the street, live, one-take, with Schneider playing, singing
and simultaneously manipulating the various effects. Beginning with Elvis Presley’s iconic All Shook Up, the walking bassline
underpinning the vocal, phasing in and out of this dimension, providing a fragile, extraterrestrial shadow to Presley’s original
lust-driven performance. Slapback Boomerang is an original composition, written by Schneider’s then-husband Joel Dunsany
a Rock ’n’ Roll pounder that could have been performed by The Cramps, its tale of relationship turmoil changed into a
meditation on the nature of echo and feedback. There are moments where Schneider performs vocal caesuras, swimming in
delay and phase for the pleasure of it, a pantomime drama performance that rings out. Closing Side B, Puttin’ On The Ritz is
Irving Berlin’s 20s smash hit manipulated into a sombre ballad with its latent class struggle narrative brought to the fore.

A staple of The Space Lady’s performances to this day, Golden Earring’s 70s global hit Radar Love retains something of the
original’s driving gallop but in The Space Lady’s telling it is shorn of the tight-trousered, taut machismo. The Space Lady coos
and reaches up into the heavens away from the road, the phaser waves drenching the composition with transcendence.
Schneider’s falsetto performances in the choruses do nothing but lift the spirits ever-arching upwards. Next, The Space Lady
emasculated Jim Morrison’s performance in The Doors’ 20th Century Fox. Faithfully playing Ray Manzarek’s keyboard parts on
her Casio, Schneider disintegrates Morrison’s lust into waves of echo and delay, creating a Dubbed out version of the song,
sounding eroded and decayed in all its ghostly glory. Pioneering Rock ’n’ Roll outfit Pete & The Pirates’ 1960 hot Shakin’ All
Over, something of a response to Elvis’ All Shook Up, is blown out in warm fuzz and the celestial hug of The Space Lady’s
spirit.

The Space Lady’s Other Hits is released on April 20th 2024 on clear vinyl 12”, limited to 500. More

LP, LTD 300 , Restrictions: UK,USA, AUS/NZ


1. Hotel Suite
2. Full Stops
3. Sensory
4. Wrong Planet
5. Electrix Blue
6. Precious Boy
7. Apocalypse
8. YouTube Trip
9. Slinky
10.Caviar


From out of nowhere - if nowhere is the febrile, warped and twilit imagination of Julia McFarlane - comes Whoopee, the second album by J.McFarlane’s Reality Guest. Whoopee is an esoteric, kaleidoscopic movie in music form directed by Julia McFarlane and co-conspirator Thomas Kernot. Full of life, breakbeats and smokey vignettes on the fragile nature of interpersonal relationships, Whoopee is a stylistic evolution from everything McFarlane has done before. Surreal, beautiful in parts and replete with the aching wisdom McFarlane’s songwriting has always promised, this Reality Guest pulls back the curtain on a whole scene of naked truth.

Recorded in Melbourne in bursts since the release of 2019’s Ta Da, Whoopee features a new sound palette and band member
in Kernot. The duo dive deep into electronic pop tropes, mining digital synths, samples, breakbeats and deep bass grooves,
largely dispensing with live instrumentation. If Ta Da took twists and turns with your expectations, offering a Dada-ist,
monochromatic take on pop music, Whoopee is McFarlane’s subterranean love-sick pinks, reds, greens, purples and blues.
Becoming something of a tradition, the album starts with an instrumental intro pilfered from a 90s’ spy film or cinema intro
music, puffing up the listener for the heart-squeezing bathos of Full Stops. Over a bleary backdrop of walking bass lines, jazzinflected keys and smoked-out atmosphere, McFarlane’s poetry narrates the fragile state of a relationship: “You put a full stop
where I thought there’d be a comma, I want the story to continue even with all the drama.” Over a palpable pain, the narrator is
revelling in the drama of a relationship, addicted to tumult and heightened emotion. On Sensory, a space age bachelor lounge
pad ballad, the converse state of the previous song is explored, here the narrator is battling the numbness of being out of the
drama, stuck in a sensory-deprivation tank, anaesthesized and battling to emerge from the fog. Wrong Planet explores an
otherworldly pop music, hewing a bright hook out of a sense of confusion. A bona-fide, sing-along chorus bursts out of the
narrator musing on the absurdity of existing in this reality. It speaks of one of Julia McFarlane’s main talents, her knack of
inspecting human relationships and states with a clear perspective, like an alien visiting Earth and realising everything we are is
really, really strange.

Whoopee is both more accessible than previous Reality Guest work and somehow more obfuscated. Where the production on
Ta Da was dry, sharp and strange, this Reality Guest is blurred, almost smeared with the effluvium of 90s+00s culture and
existence. Through it all, it’s hard to deny the undeniable pull of the songs. Precious Boy carries on the lounge theme with a
whole sampler of cut up sounds fading in and out of the haze as McFarlane’s voice is right up to the speaker cooing and freeassociating, maybe in love or maybe in confusion… maybe they’re the same thing? Sometimes the listener is invited to just
bathe in the tone of the vocal, as on Apocalypse, where the texture and timbre of the vocal is luxurious, bathing in piano tinkles
and double bass throb. On lead single Slinky, a cut up beat reminiscent of Washingtonian Go-Go drum patterns leads, the
song slipping through your fingers, elusive and presenting sound as pure pleasure. Closer Caviar jumps back into the broken
breakbeats of a surreal funk, fuelled by the sensory pleasure of the music, a hedonistic whirl in rapture, the narrator now living
life to the fullest in all its giddy heights and deep troughs. This is the album’s main character fully-actualised and in the terrible,
beautiful moment. You don’t emerge from this cinema with any new knowledge, but you see the world how it really is. Until the
next time.
More

LP LTD 400


1. Circles
2. Plume
3. Flower of the Mountain
4. Blood Moon Myrtle
5. Like an Apple
6. Fireworks
7. Child of Nature
8. Lamento
9. New Water



Circular patterns morphing through time, loop and ritual form the fabric of Proserpine, the latest work by Leeds-based musician, Teresa Winter. Recorded from a summer to a winter through 2021 and 2022, Proserpine is Winter's most cohesive, focused music to date: confidently revelling in space, fixating on isolated sounds and giving way to satisfying, swirling waves of vocal and electronic buzz. Proserpine is Teresa Winter's debut recording for Glasgow-based label, Night School.

On Proserpine, musical patterns revolve and intersect with each other, transmogrifying the music's narrative. Over-arching themes emerge: continual change, elusiveness. Insubstantiality emerges into concrete reality in the form of recognisable field recordings: the purring of a pet cat, the hum of a live cable. The loops and patterns are sometimes just out of sight, the click and whirl on Child Of Nature is the backdrop to hymnal vocalisations by Winter, who intones spell-like text in conversation with herself. On opener Circles, Winter's vocal is pre-linguistic, detached syllables falling into flowing streams, before Plume's field recordings seem to juxtapose nocturnal and diurnal wildlife. "You said I was a Flower Of The Mountain" sings Winter, as James Joyce's Molly Bloom does but the carpe diem desire in Ulysses is dissipated here, spread out by gauzy, droning organs. Here desire is blown up and out, changed into something undefinable but no less powerful.

Change is at the heart of the album. The Roman goddess Proserpine, herself a reimagined version of the earlier Greek goddess Persephone, is always between: between summer and winter, the land of the living and the underworld, constantly emerging into new states of being. It's a fitting metaphor for Winter's work. Like an Apple feels like it soundtracks this in-between state, long, trailing reverb smudging synth keys and Winter's achingly beautiful vocal performance. The effect is stirring but flitting in and out of perception, sometimes Winter's presence feels of this world, of musical instruments and practises and at others it feels like the music is about to phase into a different plane, a different universe.

While Proserpine references the myths and cults of the classical, pre-Christian era, Winter's restless preoccupation with the mechanics of religion informs the album in other ways. Ritual is present through out, either in the mantra-like vocalisations or even the private rituals we are invited to witness: on Fireworks the listener eave drops into the protagonist's private bonfire. On the stunning Lamento, layers of Choral vocal interlock in celestial patterns that recall catholic mass: it's an overt effect that simulates the ecstasy of religious fervour and also reminds the listener of the use of vocal that runs through Proserpine. Winter's vocals often echo with the euphoria of obliteration, of disintegrating in an awful bliss. It's an effect achieved with finality by the closer New Water as the piece begins with voice before burning up in the atmosphere of elegiac violins and enveloping undertows of whirring synth patterns and ghostly pads. Proserpine is forever turning, changing, always elusive and quietly revelatory.

More

Non Exclsuive,Mini LP, LTD 300

1. Flowers In The Sea
2. Ski Resort
3. Backworth Golf Club
4. Hymn
5. Surprise Party


‘Life And Death - The Five Chandeliers Of The Funereal Exorcisms’ pulls back the veil unto a nocturnal
scene populated by shadows, embers burning coldly in the underworld. Marina Zispin is your guide, siren
and protector both. Marina Zispin is the negative space between musicians Bianca Scout and Martyn Reid.
Life And Death is the duo’s debut release, five chandeliers of melancholic, vibrant synth pop twinkling in
the inky blackness.
Both originally hailing from the North East of England and forming a musical partnership before lockdown, Bianca
Scout and Martyn Reid initially worked remotely. Having relocated to South London and Newcastle respectively,
Marina Zispin was born in earnest after the duo could begin writing and practising in the same space. Bianca
Scout is a celebrated musician and dancer with a number of solo and collaborative works in her discographywhile
Martyn Reid is a mainstay of the UK noise and power electronics scene, most recently with solo project Depletion.
Marina Zispin largely eschews both Scout’s deconstructed approach to song and Reid’s focus on visceral, noisebased productions; the result is a new entity, the underground pop star that exists only in darkened dreams.
Marina Zispin, then, is an avatar cajoled, nurtured and directed by Scout and Reid. Analogue electronics redolent
of the early 80s Cold Wave and Synth Pop era form the base of the Zispin worldview, with Bianca Scout donning
the Marina disguise, embodying the character over five songs of swooning drama, playful melodic interplays and
tear-stained, doe-eyed sentiment. Flowers In The Sea opens with an austere 4/4 beat and hypnotic synth parts
before Scout/Zispin floats in across the lagoon. Scout’s vocal tone is an instant winner, sweet like honey pouring
down over the cold, robotic productions and stereo-panned synth work. We can almost see the petals drift into the
horizon before being pulled under by the artist’s sadness. Ski Resort bursts out with a Jacno-inspired bassline
and backing that could have been buried in a French disco in 1982 (think Stereo or Linear Movement) before
Scout’s narrative details frivolousness and regret before a magical shift for the final coda into major key.
Backworth Gold Club closes Side A, a mysterious rigid beat and minor chord synth arpeggios swimming in
space, floating and obscure.
On Side B, Hymn carries the tone on, church-like synths holding down the pattern for Zispin/Scout to float above
in a flowing gown of reverb. The marriage of Reid’s cold musical backbone and Scout’s effortless vocal and coproduction is in full flow here, the vocals at times rising to the rafters of this nocturnal place of worship, at other
points they’re fuzzy samples cutting in and drifting out or sung with an extreme autotune, abstract and perfect in
the moment. Surprise Party is the most straightforward pop bullet, Scout/Zispin’s vocal peering out more from the
fog, perhaps revealing more than usual: vulnerability, maybe, the wandering muse of the artists behind the veil or
just another layer of mystery behind the enigma?
Marina Zispin’s Life & Death - The Five Chandeliers Of The Funereal Exorcisms ends as it began, scintillating in
obscurity, leaving everything unanswered but open. More

Non Exclsuive, LP, LTD 300

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


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

Non Exclsuive, LP, LTD 300

1. Saturday Night, Still Breathing
2. Rely On Me
3. Spit Pit
4. People Make This City
5. Natural Angel
6. Disease To Please
7. Nothing But Perfect
8. Summer Of ’03
9. Feel Good (You Can Make Me)

'Prisoners Of Love And Hate' is an offering to community, to desires that imprison and liberate, to people in
all their divinity and ugliness. Apostille - aka Night School Records’ captain Michael Kasparis - presents his
third album with a bang, a bursting ball of NRG, empathy and bristling living.
Like its predecessor 'Choose Life', 'Prisoners…' was recorded at Full Ashram Celestial Garden in Glasgow with
Lewis Cook (Free Love) through 2022. A nine song treatise on pop music, trauma, ecstasy and the mundanities
between the extremes, Kasparis takes on classic 80s synth pop, 90s house music, 00s trance, wistful balladry, 70s
power pop. The thread that runs through the album is a boundless energy, an openness to the moment, to living
the pains and joys equally, open armed.

This is a place of no judgement, of possibility, challenge and comfort. The nine songs on 'Prisoners…' can be
read as separate ruminations on the feelings and desires that imprison our experience. Through it all the narrator
struggles against them, transported and fooled by love and longing, peering through the bars of anguish, flailing in
a cell of emotions. 'Saturday Night, Still Breathing' breaks the album open with an invigorating scream and
pounds into the night with a nod to Whigfield, Kasparis’ punk roots and house music. Over a thumping 909 kick
and bassline, Kasparis pens a love letter to being with people, the collective energy of hearts in a room, thrumming
together, making it through together. Written as private ritual magic, manifesting community during a time of
isolation, it’s as if the party is the most important thing in the world. 'Rely On Me' imagines 80s Mute synth pop,
Erasure fronted by Bruce Springsteen, romance doomed and forever perfect in the mind. 'Spit Pit' completes
the opening triptych of fast paced rollercoasters, an ode to childhood forged out of change and discomfort told
with a bold, epic production by Lewis Cook, AFX breakbeats, 160BPM kicks and a commanding vocal
performance.

On 'People Make This City', Kasparis eases off the gas, lets the mist blowing in from the Clyde River blow over his
version of Glasgow. A wistful ballad about small town gossip and coming through anger to leaving it all behind, it
provides some shadow to the bright light of the vibrancy of the album. 'Natural Angel' owes much to 70s and 80s
power pop, guitar melodrama, Thin Lizzy and Rick Springfield through the prism of co-dependence in
relationships. It’s a theme that’s picked up in slow burner 'Nothing But Perfect', a hazy synth soul-inflected song
about building your own mythology, constructing a dream to hide in, to hold on to. The most surprising track of the
album, 'Summer of ’03' re-imagines the trance music of early noughties Europe into a lament for an eternal
summer or as a fan once put it, “Meat Loaf with a donk on it.” A recognition that all ecstasy has tragedy laced
within it, it’s a theme that is sewn throughout the LP and continued on the final song 'Feel Good (You Can Make
Me)'. Referencing Shalamar’s 1982 mega hit by way of N-Trance’s piano riffs, the epic closer is riddled with
heartbreak, vulnerability and power. It’s a testament to the new confidence in Kasparis’s songwriting, sure, but also
to the enduring power of people to come together in mutual dependence and love. If ecstasy is always laced with
tragedy, then 'Prisoners of Love and Hate' can always reach out between the bars to meet in the middle, the
eternal now.
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Non Exclsuive LP

1. Absolute Power
2. Earth Girls
3. Fearless Like A Child
4. Kids Today
5. Intermezzo X – Wheel Of Fortune
6. Sweet Smell Of Success
7. Obnoxiously Talented
8. Avoid Heaven
9. Take Me To Your Leader
10. They Will Pay
11. Pompeii

“The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin
prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“
Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme
is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering
solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of
the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.
Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the
centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to
grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar
Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career.
“Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls
has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness
bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his
prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the
female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator
surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to
learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I
feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in
places like Texas, it’s simultaneously angry and full of love.
Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the
eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s
shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it,
this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power
and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's
an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of
encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll
call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s
even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a
method of upending the power structures who need things to be perfect.
They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk
pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect
in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith,
or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the
heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of
Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning
small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of
jewels, it might be the shining star.
Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love More

Non Exclsuive LP (Red Vinyl)
1. Tender
 Surrender
2. Let’s
 Talk
 About
 Privileges
3. Mona-­Lisa’s
 Smile
4. Memory
 Foam
5. American
 Express
6. Money
 Never
 Dreams
7. Not
 Today
 Satan
8. Think
 Pink
9. Modern
 World
10. Inner
 Cities
11. Theory
 Of
 Life
12. After
 Life

That we live in a world changed is beyond question. Since 2015’s Zenith, Berlin-based songwriter Molly Nilsson
has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political
landscape and imagining a better world. For an artist who has so successfully created her own environment and
gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings,
engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into
the internal language of the solo auteur. Imaginations is not escapism, it’s a kaleidoscope and an alternative
view, an agent of change.
Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson’s
best songs a collision between the political and personal. Though potentially a love song, there’s a glowing anger
in the lines “I want your ruin, I want destruction, I won’t be through until we mend this…” this is rapturous
transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel
and this is no different… Who else could write a song about privilege (Let’s Talk About Privileges) and make a
heart-rending chorus of “It’s never being afraid of the police, it’s expecting every thank you, every please.” The
artist’s vision on this album is perhaps more forceful than the emotionally fragile moments of previous album
Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of
nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there’s overt
anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there’s
also seams of optimism sewn into the album’s genetic code. Any revolutionary will tell you that anger alone
achieves nothing - Nilsson’s mission on Imaginations is to offer some alternatives we can hold close. Not Today
Satan is a song about accepting love as the agent of change; “Don’t be sad, but do get mad at all the small men
who act so tall, in the end they always fall; there ain’t no sin in giving in to love, that’s just how we’re winning the
fight.” Love can be visceral, a weapon with which to fight the power.
On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to
live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism
about the future when we need it the most. “New boys, new girls.. give me your smile and I’ll give you mine”
Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we’re never alone in the
process More

Non Exclsuive LP (Yelllow Vinyl)

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

Non Exclsuive LP (Yelllow Vinyl)

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

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

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

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

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





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Non Exclsuive LP, Black Vinyl


1. Háromszorra Jövök Össze
2. Interlude I
3. Spolu
4. Interlude II
5. Gyöngyvirág
6. Interlude III
7. Sloboda
8. Na Jar Sa Všetko Roztopí
9. Voda Sa Vráti Tie

“Ostensibly speaking, Szabadság, the debut album from Adela Mede, is an avant-garde/experimental composition
record with a deep interest in voice. Peel back the layers, and it’s also an art-pop record that reaches for the stars.”
- Dazed
“The vocals on Szabadság navigate between three languages: Hungarian, Slovak, and English. But the melancholy
inflexion in her voice transcends meanings, words, and linguistic systems across any borders.” - The Quietus
“It’s an exploration of what it means to find home across different countries, cities and languages, revelling in the
dis/comfort of a life stretched across borders” - The Wire
Slovak-Hungarian musician Adela Mede explores the interplay between voice and technology with field recordings.
She sings in three languages (Slovak, Hungarian and English). Intimate ambient utterances with themes of spiritual
growth accompanied by experimental electronics with a wide scope of influences; from minimalism to folklore.
Initially released in early 2022 to universal acclaim on digital and cassette, Night School is extremely excited to
share Szabadság on vinyl. Mastered by Rupert Clervaux for vinyl, the clearer format teases out new nuances in the
music, revealing a physicality and permanence to Mede’s first masterwork.
"Szabadság is a navigation. This debut by Adela Mede, recorded in her family home on the Slovakian border with
Hungary, searches through the personal, familial, cultural, folkloric and geographic of her past and present.
Examining both the vulnerability and determination of her voice - as it leaves the lips, raw, and in the ways it can
be transformed with digital processing - the embodied memories of language, of utterance, are explored.
Airy, open sound worlds and tentative strings of improvised naked vocal transform themselves into insistent
repetition. Fizzing, sparkling electronics are set against the beautiful grainy depth of field recordings. The locations,
these places, are found and lost - home is found and lost - in a dance of fragmented vocal harmonies. Three
languages (English, Hungarian, Slovak) weave a song of spring, nature, forgiveness, togetherness and rebirth.”
– words by Lisa Busby
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-NO SALES TO JAPAN-
LP: 180g vinyl, half speed mastered, heavy sleeve, obi

Tracklisting LP
A1. Sonora
A2. Stella by Starlight
A3. Speak Low
A4. Nobody Knows The Trouble I’ve Seen
B1. Old Country
B2. Soultrane
B3. Chasin’ The Bird
B4. Be My Love

Info:

We Release Jazz is delighted to announce the official reissue of Ryo Fukui’s final album, the very personal contemporary jazz offering, A Letter from Slowboat, sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD.
Known for his miraculous albums Scenery (1976) and Mellow Dream (1977), legendary Hokkaido pianist Ryo Fukui, with the help of his wife Yasuko, opened his very own jazz club in Sapporo in 1995, Slowboat. This is where Ryo Fukui spent the latter half of his career, playing again and again, welcoming peers for unforgettable sessions, and perfecting the craft he lived for: jazz.

A Letter from Slowboat is a poetic, soulful, and honest love letter to Hokkaido, to Fukui’s jazz club, and to endless hours of practicing artistry in a place called home. Backed by longtime collaborators Takumi Awaya on bass, and Ittetsu Takemura on drums, Ryo Fukui flows through classics and originals with natural class, fluidity and absolute precision, expressing a smooth balance between skills and heart. Slowboat, full of breathtaking solos and exquisite moments of clarity, is another crucial piece in the career of one of the most fascinating jazzmen to ever grace the piano. It was released in 2016, sadly the year Ryo Fukui passed away, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still happens to this day.

This is reissued in conjunction with Ryo Fukui’s Ryo Fukui in New York (1999), also available via We Release Jazz.


Points of interests

- For fans of jazz, soul jazz, modal, hard bop, piano, Japanese jazz, boats, Sapporo, Scenery, jazz clubs and very personal letters.

- Official reissue of the final album by legendary Hokkaido pianist Ryo Fukui.

- 8th release from We Release Jazz, following Ryo Fukui’s Scenery and Mellow Dream, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin’s Pla-cebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada’s Through The Looking Glass and Lunar Cruise with Masahiko Sato, MKWAJU ensemble’s KI-Motion, Jun Fukamachi’s Nicole, Bruno Spoerri’s Voice of Taurus and The Sound of the UFOs, Piero Umiliani’s Tra Scienza e Fantascienza and Il Mondo Dei Romani…)


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2xLP, Gatefold Jacket, Black Vinyl

About:
I Care 4 U is the first posthumous compilation album by the "Princess of R&B," Aaliyah. Following her tragic and untimely passing, Blackground Records released a posthumous record including songs from her studio albums and previously unreleased tracks and demos, as well as hit singles and recordings that ultimately did not land on any previous albums. The compilation album was a commercial success and debuted at number three on the Billboard 200 and was certified platinum. It features the previously unreleased "Miss You."
LP Tracklist:
A1. Back & Forth
A2. Are You That Somebody
A3. One In A Million
A4. I Care 4 U
B1. More Than A Woman
B2. Don't Know What to Tell Ya
B3. Try Again
B4. All I Need
C1. Miss You
C2. Don't Worry
C3. Come Over (feat. Tank)
C4. Erica Kane
D1. At Your Best
D2. Got To Give It Up (Remix)
D3. We Need A Resolution (feat. Timbaland)
D4. Rock The Boat
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Tracklist:

A1. Dance Of Enjoyment
A2. Let The Music Take Control
A3. Let The Music Take Control (DJ Tool)
B1. Change Of Heart
B2. Digital Illusion
B3. Digital Illusion (Bonus Beats)




Finally, it‘s happening: the „other“ Gerd appears on Running Back. Not counting in his remix for Losoul‘s Open Door and not to be confused with the label owner Gerd Janson. Based in the Netherlands and strongly associated with the Clone complex, Gerd has been releasing countless tracks and records since the dawn of the nineties. A true child of the „techno“ Zeitgeist back then, he is keeper of a dozen monikers, project names and joint ventures that tend to connect the dots between house and techno, functionality and avantgarde electronics. Gerd‘s frame of mind is second to none, when it comes to sound research, inspiration and imagination.
For Running Back he decided to put his own spin on some of the label’s signature dishes.
The opener Dance of Enjoyment is exactly that. Based on a cleared sample from Shakira by Quinton Madlala and imported by early South African kwaito and house, it is exactly that. Life-affirming dance-floor fun or pogo time for piano people.

Let the Music Take Control dials the peak time slightly back to being a party starter with its retrofuturistic speak and spell command and some evergreen breakbeats. An additional DJ tool allows to spread the gospel elsewhere, too.

Speaking of which, the flipside deals with that in the realm of an Italian influenced theme park. Sitting neatly between the disco and the house appendix of “italo“, Change Of Heart and Digital Illusion are sugar frosted and masterful produced versions of a style that might never go out of fashion. Earnest characters might be happy with the included bonus beats on their own. All’s well that ends well: Gerd and Running Back are here to save a party near you!






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