Seeking out the inspirational intersection between free improvisation, rave and ancient mysticism, Plants Heal deliver an album of kaleidoscopic, organic beatdowns to Quindi.
Plants Heal is a collaborative project between Dan Nicholls on synths, Dave De Rose on drums and Lou Zon (aka Louise Boer) on visuals. The roots of the project are entwined with Dan and Lou's London-based event Free Movements, which began in 2018 to explore how instrumental music could merge with live electronics and DJ sets. Dave and Dan found themselves playing together frequently at the event and as part of Dave's free improv project Agile Experiments, with their accomplished track records as multi-instrumentalists reaching across many layers of music culture. The particular synergy of their partnership taps into the subliminal, surreal and transcendental soundscapes, but they're reliably anchored by instinctive rhythms and driven by a natural flow-state.
From the tentative steps of their first collaborations, Dan and Dave coalesced Plants Heal as a more pronounced project with Lou's live visuals, culminating in a first self-released album in 2021 and since organically fed and watered through continued performances across adventurous festivals and intimate club spaces. Every incremental step along the path of the project yielded new surprises and the deepening sense of a unique, powerful energy. The trio opted to pour this energy into two days of studio sessions at Sonic Playground Studios in Athens, maintaining their unplanned approach and letting the music and visuals unfold in the moment. The end result is Forest Dwellers, a sincere document of truly free music that uses the rhythmic structure of dance and trance music as a springboard into heightened consciousness.
Throughout the album you can hear hints of the familiar - dub techno shimmers, trip hop boom-bap, kosmische momentum, snarling bass modulation, new age ambience and even the odd sizzle of disco. But none of these references are explicit, and they weave in and out of less placeable expressions deeply bedded into Dan and Dave's sonic practices. The end result is a swirling tapestry of unspooling groove, wide open and agile enough to shift gears mid-flow - just as comfortable letting the propulsion melt away as locking into a four-to-the-floor throwdown. From the slippery syncopation of 'Avena Moon' to the angular bait-and-switch of 'Alien Hardware', 'Yarrow's starry-eyed reverie and the rolling, warm-hearted funk of 'Space Ballad', the Plants Heal sound world is expansive and equally enthusiastic for immediate musical motifs as much as wild abstraction.
Lou's visual practice is an intrinsic part of the project. During performances she improvises with analogue footage from her library run through video mixers and synthesisers, focused on medicinal plants such as yarrow, hawthorn, nettle and thistle. All those plants feature in processed form on the cover of the record, which was designed in collaboration with Lou's brother Arthur Boer. Meanwhile, Lou recorded additional footage in Athens during the recording sessions to feed into the continued cycle of the project's live evolution.
Forest Dwellers' meaning honours this cycle and its reflection of the eternal undulations of the natural world. It's also a sincere tribute to the spiritual importance and radical potential of the dancefloor, drawn from the freedom taught by jazz and dedicated to reclaiming lost ideas about community, agency, bodies and the enduring allure of the unknown.


A1 Avena Moon
A2 Kyoot
A3 Alien Hardware
A4 Low Nova
B1 Yarrow
B2 Forest Dwellers
B3 Thistle
B4 Space Balla



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

WW excl. North / South America!

Known on both sides of the Atlantic for his baroque, poetic approach to songwriting, Fortunato Durutti Marinetti returns with Bitter Sweet, Sweet Bitter-his most sweeping, absurd, and emotionally acute statement to date. Calling it Poetic Jazz Rock-at once a private joke and an honest descriptor-the Toronto-via-Turin cantautore (Italian for singer-songwriter) delivers an album of maximalist grace, gilded sorrow, and lyrical intensity.
The title, Bitter Sweet, Sweet Bitter, nods to Anne Carson's Eros: The Bittersweet, a book that launches a thousand ideas into the air: the impossibility of translation, the contradictions at the heart of desire, and the fluid spectrum between seeming opposites. That duality animates this album-from its two-headed dog cover art to its songs that twirl between beauty and grotesquerie, euphoria and dread.
While his previous album, Eight Waves In Search Of An Ocean, sought sonic hybridity, Bitter Sweet, Sweet Bitter marks Marinetti's dive into excess. Written with the intent to push his songwriting to absurdist extremes, the album features long, chorus-less compositions swirling in 6/8 time, packed with words, brass, and string flourishes. Recorded live with a nimble six-piece band in a cramped Toronto attic studio, the record captures raw performances-often tracked in first or second takes-and overlays them with meticulous arrangements.
Inspired by the iconoclasts-Annette Peacock, Rickie Lee Jones, Donald Byrd, Brigitte Fontaine, Fabrizio De André-Marinetti follows his craft wherever it leads. There are echoes of Destroyer and Tindersticks here, but also something singularly his: Maximally Graceful Funky Eloquence, as he puts it.
The songs on Bitter Sweet, Sweet Bitter grapple with empathy, ego, surveillance, spiritual exhaustion, and love in its various shades of delusion. Lead single "Full of Fire" opens the album with an explosive ode to romantic recklessness in the tradition of Thelma & Louise. Elsewhere, "Beware" offers bitter advice for bitter times, "Call Me the Author" references Joan Didion by way of Brigitte Fontaine, and "My Funeral" imagines a self-delivered eulogy set to sombre jazz-noir. The instrumental themes ("Theme I" and "Theme II") give the band room to stretch, underscoring the record's musical vitality. The album features contributions from a revolving cast of heavy-hitters, including New Chance (co-vocals on "Beware") and Jay Arner (clavinet on "Beware"), who also mixed the entire record. A longtime friend and collaborator of Colussi's, Arner (of Energy Slime, also on We Are Time) brings a deep familiarity to this fourth recorded collaboration, giving Bitter Sweet, Sweet Bitter its surreal, shimmering final polish.

A1 Full of Fire
A2 Beware
A3 Do You Ever Think?
A4 Call Me The Author
A5 Theme I ( Alex's Theme)
B1 A Perfect Pair
B2 A Rambling Praye
B3 Theme II
B4 My Funeral

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

Emerging from the Minneapolis underground and heading straight towards the sky, IE arrive on Quindi with a full-length album of sparkling, sophisticated wonder. Touching on kosmische grandeur, Riley-esque cyclical patterns, lounge pop and dubbed out psychedelia, the five-piece allow their songs to unfurl with a natural, hypnotic elegance which can take many different forms.
There's a loose, live quality to the recordings IE's members commit to record, which reflects their steady presence gigging in Minneapolis and the surrounding area. Since putting out their first release in 2016, they've glided from drone and synth-led jam band ambience (2018's Pome) to strung out, stoner-tinted slowcore (on 2023's outstanding Junk Body). For Reverse Earth they strike a smoky note that wraps itself around your skull across extended run times that evolve with a meditative poise.
From the deceptively driving 4/4 thrum of the opening title track through 'Divination Bag's snaking tryptamine mantras on to 'Simplify's slow and smouldering indie-soul, IE's sound is bathed in a sumptuous warm glow that rounds out the lows and the mids, creating a nocturnal shroud in which their nebulous song structures can feel deliciously endless.
Meredith Gill's drums provide rolling and tumbling undercurrents for the slowly shifting phases of the instrumental players, as Michael Gallope and Travis Workman trade keyboard parts and Workman and Sam Molstad chop and pick at their six-strings. Atop the thrum of her bass, Mariel Oliviera's vocal adapts to the scenery, from a distant, dreamlike siren song on 'Reverse Earth' to a spoken word meditation on 'Babel'.
There's space in each track for every instrument to cut through and have its moment, from a spiralling key vamp to a chicken-scratch guitar flex. The gently twisting, head-feeding groove exercises of the first four tracks give way to a slow and powerful march on 'Dark Rome', closing the record on a noirish anti-ballad fit to peal out in the closing slot at Twin Peaks' Roadhouse (circa season three).
As much as the tracks teem with composition, musicianship, and production to savor, a sound like IE's has a soporific quality that soaks in unconsciously. It's an evocative portal where the band feel as if they could just play on each piece ad infinitum - where the time itself seems to dislodge from its moorings.


A1 Reverse Earth
A2 Divination Bag
A3 Simplify
B1 Babel
B2 Dark Rome


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

Genre: Ambient, Post Rock, Downtempo

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


Tracklist:

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


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

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

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

VITAL SALES POINTS:

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


Tracklist:

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


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

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

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

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

LTD to 150 copies!

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

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

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

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

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


VITAL SALES POINTS:


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


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


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

Three years on from the desolate beauty of their debut, Quindi Records is proud to present the
second album from Dead Bandit. The ghosts of their past endeavours still haunt their guitars, but
on Memory Thirteen the duo's delicately dishevelled Southern gothic feels tonally distinct from their
prior outing.
Dead Bandit is Ellis Swan and James Schimpl - the former a noted solo singer-songwriter from
Chicago with a penchant for eerie, witching hour murder ballads and the latter an accomplished
Canadian multi-instrumentalist with a bias towards heartworn, roaming soundscapes. Their
instrumental collaboration has an open, lyrical quality which says as much as any spoken line, and
on this album they've especially embraced the power of contrast as we're guided between scenes,
sometimes within the confines of one track.
'Peel Me An Orange' is especially instructive in this regard, beginning as a blown-out paean to
sonic degradation and the acute sense of hopelessness it projects, only to yield to a lilting tape
loop of twanging guitar before entirely widening out in an emphatic burst of post-rock optimism.
Post-rock isn't noted for its banal cheeriness as a genre, and Dead Bandit aren't about to lay down
feel-good drive-time anthems, but the sense of pulling at extremes of energy and introspection
show Swan and Schimpl to be testing the emotional limits of their weatherbeaten sound. The
cautiously sentimental mood of 'Blowing Kisses' hints at the hard-won light which can be
encountered while pointedly driving into darkness.
Sometimes noise is a subtle device - a looming bed of unease under the forthright pluck of Swan's
distinct guitar tone or the cracking round the edges of a beaten up drum machine. On 'Memory
Thirteen' the distortion on the bass becomes a central figure in its haggard waltz, while 'Staircase'
and 'Perfume' leave the signal wet until the delay feedback becomes the body of the riff. Either
way, the sound is never left untouched as Swan and Schimpl grow more comfortable in their
exchange, blurring their respective sonic languages as they expand their shared vocabulary to
create an album of depth, difference and devoted distortion.


Tracklist:

A1. Two Clocks
A2. Memory Thirteen
A3. Blackbird
A4. Circus
A5. Staircase
A6. Peel Me An Orange
B1. Quickscene
B2. Somewhere To Wait
B3. Revelstoke
B4. Wabansia
B5. Perfume
B6. Blowing Kisses
B7. Across The Road


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

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

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

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

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

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

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

VITAL SALES POINTS:

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

Tracklist:

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




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

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

Tracklist:

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



VITAL SALES POINTS:

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

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

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


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

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


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

TRACKLIST:

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



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

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


Track List:

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



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

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

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

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

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

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

Tracklist LP:

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



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

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

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

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

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

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


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

Tracklist:

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


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

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

Tracklist 10":

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

Info:

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

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

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

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


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

Tracklist 7":

A1 Like A Fool
B1 Inside Loneliness

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

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

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

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


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

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

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

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

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

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

Tracklist LP:

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




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

Territories: Worldwide no restrictions

Format Notes:

Part of Bobby Caldwell Reissue Campaign, 2023 first time reissue, 140g vinyl


Track List:

A1 Special To Me 4:00
A2 My Flame 3:30
A3 Love Won't Wait 4:00
A4 Can't Say Goodbye 5:20

B1 Come To Me 2:52
B2 What You Won't Do For Love 4:45
B3 Kalimba Song 2:00
B4 Take Me Back To Then 3:30
B5 Down For The Third Time 3:30

Release Notes:

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

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

Jean-Baptiste de Laubier, aka Para One, has always been an hyperactive guy. He first started as no-nonsense hip-hop producer in the mid-nineties, making beats for undeground rap artists. His recording studio was actually his one-room apartment in Southern Paris, where MCs were coming on a daily basis, crammed around a mic, an MPC and a battered convertible.
At the turn of the century, he began producing his own instrumental tracks and soon got in touch with the TTC people, then at the core of the burgeoning French indie rap scene. This was the beginning of a new exploration in sound for him : from traditional rap, Para One switched to IDM and techno-infused beats, fizzing with 8-bits FX and deconstructed grooves.
After TTC's first LP Ceci n'est pas un disque, in 2002, for Ninja Tune's rap sublabel Big Dada, Para produced L'Atelier's (an indie rap supergroup) album for seminal Parisian label Institubes, with his boy Tacteel, whom with he also started a live electronic project named FuckALoop.
In 2003 came the massive " Beatdown EP ", and then TTC's 2nd album in 2004, Bâtards Sensibles, two records that definitely proved how rap attitude and electronic wizardry could be melt into one single sound - an idea many people didn't quite buy at the time. In 2005, Laubier graduated from the FEMIS film school, and found the time to start working on his first solo LP, the critically acclaimed Epiphanie, that came out in 2006 on Institubes.
Intense touring years followed, both as a DJ and live act, all over Europe, North America, Japan, alongside other Institubes artists such as Surkin and Bobmo. He played at Coachella twice, Pukkelpop, Calvi on the Rocks, Primaverra. Reknown for his heavy technical skills, he also became a hot remixer (Daft Punk, Bloc Party, Justice, Boys Noize, etc.) and a hot producer (Birdy Nam Nam, Slice & Soda and now Mickey Green). In 2007, he composed the soundtrack for his Femis friend Céline Sciamma's movie Water Lilies, and directed his own film in 2010, It Was On Earth That I Knew Joy. After the demise of Institubes in early 2011, he and his mates Bobmo and Surkin set up a new imprint called Marble, for which Para already produced or co-produced a dozen tracks. He simulteanously worked on his second album, called Passion, that'll be out in a few weeks.
This a new shift again in Para One's career : the album feels much warmer and confortable than his previous work. It's also much poppier and has a fine number of true hits, complete with vocals from Tekilatex, Irfane and Jaw.
The Euro-neurotic's tension is still there sometimes, but the muscle softened and the flesh took over. This is basically uptempo, futuristic R&B with an unmissable sexy touch : it's teeming with round-shaped sounds, wet textures and gentle aural strokes. The whole movement is mid-paced and light-headed, and it's clearly a home-listening, or even bed-listening, slow jam album. The tenderness often gets spaced up or angularized, though. The beats sometimes manage to sound both smooth and rough, easy and intricate, and ghosts of Para's rap training can be heard everywhere.There's also hints of 2-step, deep house, IDM and boogie funk, yet it's a singular, idiosyncratic record, made with an extremely cohesive approach.
It's an almost serene effort, and it's certainly generous and loving in the way it unfurls its numerous ideas. This is an album you get deep into, but there's nothing dramatic to it - it's just unadultered, voluptuous pleasure
Tracklisting:
Side A:
1. Ice Cold
2. Wake Me Up
3. Every Little Thing (feat Irfane and Teki Latex)
4. Vibrations followed by Poisoned Apples (Interlude)
5. When the Night (feat. Jaw)
6. Sigmund
Side B :
1. Love Ave (feat. Additional vocals by Jaw)
2. You
3. Albatros
4. Lean On Me (feat. Teki Latex)
5. The Talking Drums
6. Empire


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

On their debut album as DOVS, Tin Man and AAAA summon the ethereal spirit of acid.

Tracklist:
A1 – Rad Glyers Above All
A2 – Distant Buildups
A3 – Fluffy Designs
B1 – Nostalgic Oblivion
B2 – Rene Figures
C1 – Portal Vein
C2 – Sixteenth Shelters
C3 – Whining Acid
D1 – Atlantis Drive
D2 – Dysphoric Fix
D3 – Diazepam Blues

Release Info:
On their debut album as DOVS, Tin Man and AAAA summon the ethereal spirit
of acid. Tin Man, AKA Johannes Auvinen, has been studying the emotional potential of the Roland TB-303 for 15 years now, and AAAA (Gabo Barranco), a fixture of the Mexico City underground, might as well be his acolyte. While the coincidental similarities of their studio and live approaches make this collaboration feel natural, even expected, Silent Cities is anything but.

We recognize most of the elements here—the ubiquitous acid box and hardware drum machines—yet Auvinen and Barranco arrive in new, mysterious territory this time out. Lush arpeggiation, breakbeats and atmosphere imbue tracks like "Nostalgic Oblivion" with a widescreen grandeur. "Rene Figures" recalls Specific Momentific-era Cristian Vogel, symphonic, melodic techno with a kick heavy enough for dark, cavernous rooms. Meanwhile, beatless cuts like "Whining Acid" are as intricately crafted as Tin Man's well-loved classical work (Vienna Blues). But as a duo, they craft a virtuosic harmonic narrative almost solely with 303s.

Tin Man and Donato Dozzy's "Nonneo" was the first release on Acid Test, setting the tone for the label and unlocking new potential for the genre. DOVS' closer on Silent Cities, “Diazepam Blues”, is the label's new melancholic acid anthem and a statement of purpose for Tin Man and AAAA, two hardware masters who have created an album of remarkable emotional depth.



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

Listen: https://open.spotify.com/album/5pkKFWqL6M7fGUJOPkhIFK?si=DAuDVC8QQrK2usVZhUtk5Q

Over the last few years Theravada has been making a very strong name for himself, with a unique human touch and deep lyricism, the rapper-producer proved to be a man of many hats and is standing tall as a one of a kind artist in today's musical landscape, having collaborated with artists such as Evidence, Earl Sweatshirt, Yungmorpheus, Your Old Droog and Navy Blue just so name a few, as well as his 2000 Entertainment home team alongside Rob Chambers, TOP$ and Kluse. On his brand new full-length "Waste Management", he has teamed up with RRR Music Group representative Zoomo to produce the entire project. The two have crafted 10 killer joints, with Theravada handling all mic duties on his own and Zoomo's soulful productions providing the perfect soundscape for his transcendent bars to resonate and bring you on an epic journey.

Tracklisting

A1. Household
A2. Sus Tain
A3. Resource Recovery
A4. Environmental Impact
A5. Human Health

B1. Industrial
B2. Carbon Copy
B3. Municipal
B4. The Night
B5. Research Funding

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

2021 Repress / Full Cover

Tracklist
A1 Miracle (Original Mix)
A2 Miracle (Open Up Mix)
B Tempest

Shortinfo:
After his acclaimed contribution to the Permanent Vacation 10 years anniversary compilation, Pional
returns to the label with the "Miracle" EP just to reach new heights in this fruitful relationship. Madrid
born and raised Miguel Barros established himself as an outstanding producer with his great pop
sensibility and attentions to rich details whether with his solo EPs, his on-going collaboration with the
like minded John Talabot or his remixes of fellow artists. On the title track "Miracle" (comes in two
different versions) Pional is able to perfect his emotive dancefloor approach with a blend of poppy
melodies and his distinctive singing voice, but all passionately rooted in club music. On "Tempest"
these roots grow even more accentuated making it a highly effective dancefloor monster already
heavily road tested to great success and completing this EP.

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

WORLD EXCLUDING GERMANY, SWITZERLAND, AUSTRIA (GSA) , AUSTRALIA, NEW ZEALAND

Special remarks :

Lenticular-Cover
2x12" 180g black
Gatefold
2x printed Innersleeves
Dl-Card
D1 "Running" exclusive track - only available via album vinyl

Genre: Electronica/Dance

Tracklist 12":
A Side
1. Laura
2. The Prey
3. We Don´t Sleep
4. Harlem River

B Side
1. Into The Glow
2. Otherside
3. Don´t Hold Back

C Side
1. Falling
2. Under Dark
3. Reflections

D Side
1. Running
2. Regen (Interlude)
3. Take Me Away



Short Info:
Released in 2018, Monolink's debut album, Amniotic, has collected over 100 million combined streams to date. The project was largely supported through remixes from the titans of the modern house and techno scenes such as Patrice Bäumel, Tale Of Us, Rodriguez Jr, Ben Bohmer, Artbat, Adam Beyer and Nicole Moudaber. These remixes all went on to achieve Beatport Top 10 placings, with Artbat's remix of 'Return to Oz' reaching a staggering 43 million combined streams.
"Under Darkening Skies" will pick up where "Amniotic" ended.


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

Release Title: When all you want to do is be the fire part of fire

Territories: ww -fr -uk -benelux

LP

When all you want to do is be the fire part of fire… say it to yourself and then say it again. Repeat it like a mantra. It’s what UTO did.

Anyone familiar with the UTO’s lauded 2022 debut Touch The Lock, which Pitchfork praised for its “prismatic synth pop”, will be aware of the variegated nature of what they do. This album is just as colourful, with Neysa’s vocalwork sparking similarities to Kim Gordon’s off-kilter vocals, which they both ceremoniously jets through a post-electronica blender mixing stylized indie sleaze productions with 90s breakbeats.

While they might appear as a singular entity to others, UTO wrote large sections of this album apart, converging by the fireside to discuss the day’s work before coming together to hone and finish the songs. 2023 was, by their own admission, a difficult year, and that’s reflected in the Dantean themes expressed in songs such as the lead single ‘Zombie’, which arrived at the end of November as a taster for the new record; the latter’s dark heart is belied by the skittering beats, glitchy electronics and pummeling sequencers that elevate it from the void.
From fire, early man’s discovery, to AI, humanity’s next great adventure - with all of the wonders and complexities of human relationships in between - When all you want to do is be the fire part of fire really is about life, the universe and everything. Just remember, be the flame, not the moth.


SIDE A (18’27’’)
A1_Art&Life - 03:17
A2_Plumbing - 02:56
A3_2MOONS - 04:26
A4_Unshape - 04:12
A5_Zombie - 03:36

SIDE B (12’30’’)
B1_Midway - 02:45
B2_Napkin - 04:08
B3_Lyrics - 02:32
B4_Bredouille Feat. HSRS - 03:03






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

Tracklist

A1. Subtle Body
A2. Nightfall (Instrumental)
B1. The Light Of Jesus
B2. Room ’96 (Recorded live at Room Nightclub, Hull)

Release Info:
Hot on the heels of last year’s Mermaids reissue retrospective, Hull’s deep listening house forerunners return: this time revisiting a pair of originals as well as previously unreleased versions.

It’s testament to the depth of feeling that Steve Cobby and David McSherry can conjure, that these tracks sound as potent and impactful as they did when they first came out - and not just for the dance. Throughout their 30+ years, the Yorkshire duo have produced ten albums amid many more collaborations, and transformed the remix into an artform, putting their fingerprints on everyone from Busta Rhymes to The Orb to Radiohead.

This EP collection finds them at the full scope of their powers: from disembodied mood music, to tripped-out dubby beats and raw house sessions for the club. The title track Subtle Body sounds like it drifted in through the window in the middle of a snowy night. Its layered chimes, looped delay feedback and floaty chords (played on a Wurlitzer Electronic Piano that Steve bought from Bill Nelson), mark it out as an enduring piece of ambient music, and a favorite for film-makers, able to soundtrack both haunted memories and afterparty comedowns with finesse. It precedes an unreleased instrumental version of Nightfall from Fila Brazillia’s 2002 album Jump Leads (named Mixmag’s chill album of the year), and as an instrumental, the chunky electro bass and mix of ephemeral tones and bird-like chirrups are brought clearly into focus. The attention to detail is what makes Fila Brazillia’s sound palette so rich, and Nightfall a certified smokers’ anthem.

On the B side, the tempo and temperature rises, and we’re treated to The Light Of Jesus, a favorite from Fila Brazillia’s 1994 debut LP Old Codes: New Chaos. Atop a bumping house groove, the song weaves together smooth organ pads and electrified guitar licks with syrupy bass and gospel-tinged exaltations from Charles Bukowski. The EP rounds out with Room ‘96, a live house jam from Hull’s Room nightclub, and a veritable time capsule back to the halcyon ‘90s rave days, when the lights were still on, everyone was home, and anything seemed possible.

The songs here on Subtle Body might be a window into a time long past, but they remain in the present: and as long as bodies seek pleasure, and dancers want to keep going til sunrise, Fila Brazillia will endure, and soundtrack those moments for us all to get lost in.






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

Finally the Disco-House project "Leinad" gets the long-awaited reissue! Enjoy the original Leinad-sound of 1997 with the reissue of the whole album "Electric City" on 2x12" vinyl with a special matt/glossy sleeve and a digital release including 4 new bonus tracks. If you like this moments of house-music - you will love the worldwide first musical survival game "Leinad" for PC. It will be released in the spring of 2024. For more information check the official website www.leinad.de.

Tracklist:

A1 - In Trouble
A2 - Freak Tonight
A3 - Back 2 The 80's
B1 - Pretty Young Thing
B2 - Let's Snip!
B3 - Voice Spectrum
C1 - Loving People
C2 - Bombers
C3 - Out Of Phase
D1 - Electric City
D2 - So Called Artists
D3 - Let's Do It


- Reissue of the Leinad album "Electric City" from 1997
- high demand on discogs and prices up to 300 €
https://www.discogs.com/de/release/1050315-Leinad-Electric-City-The-Album
- part of the original soundtrack of the PC-Game "Leinad"
- 4 unreleased bonus tracks on the digital album


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