NON EXCL LP , Black Vinyl

he Last Question is the first album by electronics master Tim Clark. It collects his early works, when he was the Music Director of the Strasenburgh Planetarium in Rochester, N.Y. These tunes were the soundtrack to the planetarium’s adaptation of Isaac Asimov’s The Last Question short stoy. The idea was conceived by Von Del Chamberlain, director of teh Abrams Planetarium, and was taken to fruition in a joint venture bewtween the Abrams and Strasenbergh Planetariums, were the shows were premiered in 1972.



Clark composed and produced the works in the Strasenberg Planetarium’s own sound studio, equipped with three Ampex 440 recorders, a 4-channel mixing board with 18 inputs and a Moog Synthesizer. The album was released as a private pressing in 1973 and it has since become an elusive collector’s piece among electronic music afficionados. Comes with remastered sound and straight reproduction of the original artwork.



ULTRA RARE OUTER SPACE PRIVATE PRESS!



RIYL : Tonto’s Expanding Head Band, Iasos, Peter Davidson, Michael Stearns, Steve Roach...



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

NON EXCL LP , Black Vinyl

he Last Question is the first album by electronics master Tim Clark. It collects his early works, when he was the Music Director of the Strasenburgh Planetarium in Rochester, N.Y. These tunes were the soundtrack to the planetarium’s adaptation of Isaac Asimov’s The Last Question short stoy. The idea was conceived by Von Del Chamberlain, director of teh Abrams Planetarium, and was taken to fruition in a joint venture bewtween the Abrams and Strasenbergh Planetariums, were the shows were premiered in 1972.



Clark composed and produced the works in the Strasenberg Planetarium’s own sound studio, equipped with three Ampex 440 recorders, a 4-channel mixing board with 18 inputs and a Moog Synthesizer. The album was released as a private pressing in 1973 and it has since become an elusive collector’s piece among electronic music afficionados. Comes with remastered sound and straight reproduction of the original artwork.



ULTRA RARE OUTER SPACE PRIVATE PRESS!



RIYL : Tonto’s Expanding Head Band, Iasos, Peter Davidson, Michael Stearns, Steve Roach...



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

NON EXCL LP . Black Vinyl

f this LP exists it is thanks to the vision, energies, work and perseverance of Thomas M. Lopez, aka Meatball Fulton. He is the president and one of the founding members of the ZBS Foundation (ZBS stands for Zero Bullshit), where the audio dramas written by Lopez himself were born. Dramatic programs with stories that blended noir, comedy and science-fiction genres such as Ruby The Galactic Gumshoe or Jack Flanders were produced to critic and public acclaim. It was in Ruby The Galactic Gumshoe that the Android Sisters, who would later have their own spin-off series, first appeared. The characters represent two robotic siblings that Tom Lopez created under big influence from Do Androids Dream of Electric Sheep?, the Philip K. Dick novel that was taken to cinema by Ridley Scott in Blade Runner. The Androids were performed by actresses Ruth Maleczech and Valeria Wasilewski.



The big success of these “cosmic and comic” sci-fi series, as they are described in the ZBS Foundations website, led to the releasing of cassette tapes, CDs, USBs and podcasting of the stories. Along with these, several music albums were also released in different formats. One of them is Songs Of Electric Despair, the first of two released by the Android Sisters. The songs contained are written by Tom Lopez and his long time collaborator experimental musician Tim Clark.



The Android Sisters Songs Of Electronic Despair LP was originally released as a ZBS Foundation cassette and also as a vinyl LP on Vanguard in 1984. It featured 11 compositions (two bonus tracks not on the original LP have been added to the Wah Wah reissue) on which the experimental synthesizer music of Tim Clark finds a perfect counterpoint in the deliciously surrealistic, cosmic social satire of Tom Lopez’s texts, magically performed by the robotic, yet sensual voices of the Android Sisters as performed by Maleczech and Wasilewski. Clark composed and performed the backing tracks on the Synclavier II synthesizer.



The Wah Wah reissue comes with two bonus tracks not on the original 1984 LP, respects the beautiful original album artwork and enhances it with a 4 pages full colour insert with notes and lyrics of the songs.



BARBARELLA MEETS PHILLIP K. DICK!



RIYL : SYNTH POP CYBERPUNK with DEVO’s sense of humor, LOGIC SYSTEM, FRANK CHICKENS or even some 1990s things to come such as LIKE A TIM or ARPANET.

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

NON EXCL LP . Limited Orange Vinyl - Tracklist and snippets identical with LPS252 (see there)

f this LP exists it is thanks to the vision, energies, work and perseverance of Thomas M. Lopez, aka Meatball Fulton. He is the president and one of the founding members of the ZBS Foundation (ZBS stands for Zero Bullshit), where the audio dramas written by Lopez himself were born. Dramatic programs with stories that blended noir, comedy and science-fiction genres such as Ruby The Galactic Gumshoe or Jack Flanders were produced to critic and public acclaim. It was in Ruby The Galactic Gumshoe that the Android Sisters, who would later have their own spin-off series, first appeared. The characters represent two robotic siblings that Tom Lopez created under big influence from Do Androids Dream of Electric Sheep?, the Philip K. Dick novel that was taken to cinema by Ridley Scott in Blade Runner. The Androids were performed by actresses Ruth Maleczech and Valeria Wasilewski.



The big success of these “cosmic and comic” sci-fi series, as they are described in the ZBS Foundations website, led to the releasing of cassette tapes, CDs, USBs and podcasting of the stories. Along with these, several music albums were also released in different formats. One of them is Songs Of Electric Despair, the first of two released by the Android Sisters. The songs contained are written by Tom Lopez and his long time collaborator experimental musician Tim Clark.



The Android Sisters Songs Of Electronic Despair LP was originally released as a ZBS Foundation cassette and also as a vinyl LP on Vanguard in 1984. It featured 11 compositions (two bonus tracks not on the original LP have been added to the Wah Wah reissue) on which the experimental synthesizer music of Tim Clark finds a perfect counterpoint in the deliciously surrealistic, cosmic social satire of Tom Lopez’s texts, magically performed by the robotic, yet sensual voices of the Android Sisters as performed by Maleczech and Wasilewski. Clark composed and performed the backing tracks on the Synclavier II synthesizer.



The Wah Wah reissue comes with two bonus tracks not on the original 1984 LP, respects the beautiful original album artwork and enhances it with a 4 pages full colour insert with notes and lyrics of the songs.



BARBARELLA MEETS PHILLIP K. DICK!



RIYL : SYNTH POP CYBERPUNK with DEVO’s sense of humor, LOGIC SYSTEM, FRANK CHICKENS or even some 1990s things to come such as LIKE A TIM or ARPANET.

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

NON EXCL LP , Black Vinyl

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :



- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!



- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)



One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.



By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :



- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)

- Derek Wadsworth, Ray Premru (trombones)

- Dick Hart (tuba)

- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)

- John Clementson (oboe)

- Bunny Gould (bassoon)

- Dave Gelly (glockenspiel)

- Neil Ardley (prepared piano)

- David Snell, Sidonie Goossens (harp)

- Stan Tracey (piano, celeste)

- Karl Jenkins (electric piano)

- Alan Branscombe (harpsichord)

- Frank Ricotti (vibraphone, percussion)

- Chris Laurence, Jeff Clyne (bass)

- Jon Hiseman (drums, percussion)

- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)

- Ken Essex (viola)

- Charles Tunnell, Francis Gabarro (cello)

- Ivor Cutler (narrator)

- Norma Winstone (vocal)

- Jack Rothstein, Neil Ardley (conductors)



The Wah Wah reissue features newly mastered sound from the original tapes, an insert with liner notes and one bonus track not on the original edition.

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

NON EXCL LP , Black Vinyl

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :



- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!



- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)



One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.



By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :



- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)

- Derek Wadsworth, Ray Premru (trombones)

- Dick Hart (tuba)

- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)

- John Clementson (oboe)

- Bunny Gould (bassoon)

- Dave Gelly (glockenspiel)

- Neil Ardley (prepared piano)

- David Snell, Sidonie Goossens (harp)

- Stan Tracey (piano, celeste)

- Karl Jenkins (electric piano)

- Alan Branscombe (harpsichord)

- Frank Ricotti (vibraphone, percussion)

- Chris Laurence, Jeff Clyne (bass)

- Jon Hiseman (drums, percussion)

- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)

- Ken Essex (viola)

- Charles Tunnell, Francis Gabarro (cello)

- Ivor Cutler (narrator)

- Norma Winstone (vocal)

- Jack Rothstein, Neil Ardley (conductors)



The Wah Wah reissue features newly mastered sound from the original tapes, an insert with liner notes and one bonus track not on the original edition.

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

NON EXCL LP , Black Vinyl

The Soulful Trio, a band from Barcelona made up of three musicians with an international background (Spain, Holland, Argentina, USA, France) after playing their repertoire live in different venues for several months, with their songs well shot, have decided to record "Said & Done", in one of the best studios of Barcelona, nine original compositions of Soul-Jazz with derivations towards funk and blues.

Music reminiscent of the classics of the Hammond B3 organ trio such as Jimmy Smith, Jack McDuff, Lonnie Smith, Richard “Groove” Holmes or Big John Patton, reinventing the sound and bringing it closer to today with their vibrant fusion of genres full of energy.

Enjoy this instrumental Soul-Jazz album with these young veterans Homero Tolosa (drums), Pablo Sánchez (guitar) and Lucas Herrera Fernández (Hammond B3) in all their splendor with their respective instruments including the exciting & dynamic sounds of the Hammond B3, the great electric guitar groove of solos and huge variety of rhythms, playing a music that is always intense and made from their hearts.

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

NON EXCL LP , Black Vinyl

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.



Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.



Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!



RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

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

NON EXCL LP ,TRANSPARENT PURPLE VINYL - Tracklist and snippets identical with LPS254 (see there)

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.



Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.



Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!



RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

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

NON EXCL LP

Tracklist:
A1 Apricot Brandy
A2 Kriegsmaschinen, Fahrt zur Hölle
B1 Wald

’Samtvogel’ has been out of stock for a while but it is still one of more requested releases, so here is an updated pressing with availability in ultra limited 100 only runs of 3 different colored vinyl options. And because we do love old black vinyl, also a limited run in black. Chose your colour or collect the whole set! ;-)



By far one of the most important Krautrock experimental albums made during the ’70s. There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. “Samtvogel” is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. “When I was recording “Samtvogel” in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.”



Thanks to these three months of work, between June and September of 1974, ‘Samtvogel’ was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork –titles added to the front cover, which weren’t on the original private pressing. Brain also reissued it on the label’s “Rock On Brain” LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret – however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago’ era.



The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!



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

NON EXCL LP - Transparent Red Vinyl

Tracklist:
A1 Apricot Brandy
A2 Kriegsmaschinen, Fahrt zur Hölle
B1 Wald

’Samtvogel’ has been out of stock for a while but it is still one of more requested releases, so here is an updated pressing with availability in ultra limited 100 only runs of 3 different colored vinyl options. And because we do love old black vinyl, also a limited run in black. Chose your colour or collect the whole set! ;-)



By far one of the most important Krautrock experimental albums made during the ’70s. There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. “Samtvogel” is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. “When I was recording “Samtvogel” in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.”



Thanks to these three months of work, between June and September of 1974, ‘Samtvogel’ was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork –titles added to the front cover, which weren’t on the original private pressing. Brain also reissued it on the label’s “Rock On Brain” LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret – however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago’ era.



The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!



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

NON EXCL LP - Transparent Yellow Vinyl

Tracklist:
A1 Apricot Brandy
A2 Kriegsmaschinen, Fahrt zur Hölle
B1 Wald

’Samtvogel’ has been out of stock for a while but it is still one of more requested releases, so here is an updated pressing with availability in ultra limited 100 only runs of 3 different colored vinyl options. And because we do love old black vinyl, also a limited run in black. Chose your colour or collect the whole set! ;-)



By far one of the most important Krautrock experimental albums made during the ’70s. There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. “Samtvogel” is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. “When I was recording “Samtvogel” in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.”



Thanks to these three months of work, between June and September of 1974, ‘Samtvogel’ was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork –titles added to the front cover, which weren’t on the original private pressing. Brain also reissued it on the label’s “Rock On Brain” LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret – however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago’ era.



The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!



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

NON EXCL LP , 50th Anniversary Reissue! AVAILABE AS A LIMITED EDITION IN BLACK VINYL

Tracklist:
1 I've Gotta Tell You Mama
2 I Am Busy
3 Un Sen~or Llamado Fernandez De Cordoba
4 Woman Mine
5 It's All Right
6 I Don't Know
7 Crazy Machine
8 Experiencia Sin Organo

Probably the most astonishing hard rock LP out of 1970s Spain, repressed by popular demand and this time offering a very limited transparent blue colour run.



THE STORM hailed from Sevilla and were acclaimed by both audience and press reviewers as one of the best rock bands from Spain. The combo was formed by the Ruiz Geniz brothers (Angel and Diego), on guitar and drums respectively, plus Luis Genil (organ) and José Torres (bass).



Their debut album, originally released on Basf in 1974, is one of the Crown jewells of Spanish hard rock, and changes hands for a small fortune among collectors all over the world, especially since its inclusion in Hans Pokora's 'Record Dreams' books.



This LP really rocks. It's high energy hard rock that follows the line marked by the big organ outfits of the era such as DEEP PURPLE, ATOMIC ROOSTER, BRAM STOKER, MEGATÓN...



It has also a deep classic prog sound root, which reaches the top on 'Un Señor Llamado Fernández De Córdoba'.



We are talking of one of the seminal Spanish hard rock LPs.

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

NON EXCL LP

Tracklist:
SIDE A
Calling All Beginners
Fleeing To the Poles
Ashes
Rouler ma Bosse
Sunday Machinery

SIDE B
Lucid Dreams
Twisted Maze
Rolla Bolla
Chinese Forecast


Band Of Nowhere is a new constellation project by Juanjo Sánchez, together with other collaborators with whom he had previously worked. It is worth mentioning Bob Drake on drums, former member of the legendary formation Thinking Plague (also on Hail, 5UU's, The Science Group) who has also mastered the project from their studio in the Midi-Pyrénées and also to mention the guitarist Jordi Cabayol (Camino al Desván) both Juanjo and Jordi began their career in a significant band of Barcelona of the early eighties, such as Entr'acte.



The becoming of Juanjo Sánchez would take him to other latitudes as a member of Alondra Satori and without losing the lighthouse of his city, he would collaborate with other outstanding musicians such as Quicu Samsó (Koniec, Macromassa).



The fluidity and chromaticism of his previous album Gonza Magilla is still perceived in here, but in a much more electrified way with guitars that are sometimes expansive, other times exuberant wrapped up with contagious synthesizer modulations and very marked rhythms. The production and especially the arrangements are fantastic with those special presences of synthesizers that are not common around here.



Its original improvisation and experimentation is skilfully adjusted by Juanjo Sánchez, giving a much more playful result with unexpected combinations, very much in continuity with a certain European Art Rock such as Aksak Maboul, Etron Fou, Zamla,The Work or the mischievous resonances of The League of Gentlemen; all this mapping the sound transit, to an unpredictable and vibrant non-place.



Housed in it's original hand made artwork with the little upgrade twist of silk-screen printing textured grey cardboard and including a insert colour with photos and text provided by Juanjo Sánchez.



Housed in it's original hand made artwork with the little upgrade twist of silk-screen printing in Plastic clear cover and including a insert colour with photos and text provided by Juanjo Sánchez.

Javier Hernando

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NON EXCL LP , LP IN FOLD OUT POSTER SLEEVE + INSERT

Susana Baron Supervielle was born in Buenos Aires in 1910, but she lived in Brazil most of her life. Creation with electroacoustic means represented one more step in her search for renewal and a new articulation of her triple cultural horizon articulated between São Paulo, Buenos Aires and Paris. The results open a new dimension in the interstices of the sound montage. Susana had been a follower of Pierre Schaffer and his peers in the Groupe de Recherche de Musique Concrète from Paris since they began in the early 1950s.



Baron Superveille’s catalogue of works, as selected by the artist herself, shows nine compositions for magnetic tape. With one exception (1977’s Continuo variante), the pieces are in the personal archives of the composer filed in the Archivo del Instituto Nacional de Musicología “Carlos Vega”, in Buenos Aires, which depends on the Ministry of Culture of the Republic of Argentina. This edition on Wah Wah Records is a coproduction with the Instituto Nacional de Musicología “Carlos Vega” and recovers all the available electroacoustic works composed between 1974 and 1980. While most of the collected works premiered in both Buenos Aires and São Paulo on dates close to those of their composition, there are not any previous known releases of these recordings, so this LP is not only an exception, but also a novelty.

Tracklist:
SIDE A
Vida
Encontro
Melancolía
Marabá

SIDE 2
Acuario
Allí
Angustia
Espiral


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NON EXCL-LP+INSERT+SINGLE
LIMITED TO 500COPIES

Nirvana's third LP is a masterpiece of late UK sixties popsike turning into symphonic pop, but not having received proper promotion despite being equally good as, if not better than their previous releases, it also marked the end of the collaborations between Patrick Campbel-Lyons and Alex Spyropoulos back in 1969.



Nirvana presented it to Island boss Chris Blackwell under the title of Black Flower. Blackwell, however, decided to turn it down for release, but gave the masters to Campbell-Lyons and Spyropoulos so they could find a new label to release the album. That was to happen in the USA through Metromedia Records in 1969. At that time, the label's owner went through a scandal due to the payola days, which left Nirvana's third offering without any promotion - as a result of that, very few copies were pressed. There was also a UK release on PYE and it was even released by Metromedia in Japan. However, for years it remained as "the lost" Nirvana release, with the added fact that none of the released editions launched the album under its original title of Black Flower but under the rather cryptic Dedicated To Markos II (read why in the liner notes!).



Musically, this is Nirvana at their best. The tune that should have been the title track, Black Flower, is an incredible piece of symphonic psychedelia and probably the best produced Nirvana track ever. Campbell-Lyons and Spyropoulos were backed for the occasion by Spooky Tooth, who played on many tracks of the album, and big orchestral arrangements mesmerize the listener in one of the duo's darkest offerings. This song aside, the rest of the album was deemed as sounding too much like a French soundtrack by Island, which may do at some points –without that being a bad thing,– but there is a lot more to it, since Nirvana have not lost that popsike edge that characterised their sound in their two previous outings.



This is also a record that was widely acclaimed in the hip hop scene. And samplers of it have been used by several artists, most notably DJ Shadow used Love Suite in his 1996 debut album Endtroducing.



The Wah Wah edition has been remastered from the original tapes by Roger Prades @ Prades Mastering and comes with a bonus 7" EP and a four page colour insert with liner notes by Malcom Dome, plus a sheet with the lyrics of the songs. First ever official vinyl reissue since 1970 in a limited edition of 500 copies only!

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NON EXCL-LP+INSERT
LIMITED TO 500COPIES

In his youth days, Gontran lived on the road. He describes himself as a member of the alternative hippie generation, not of those who claimed wanted to change the world, but of those who actually took an alternate way of living. He travelled, took any jobs available to make some money to live wherever he was, and wrote beautiful songs accompaining himself on guitar. From time to time, when the stars aligned, when there was the chance, he would rent some studio time and lay down his compositions, always in a pretty bare way with little arrangements added on the spot, mostly by musicians who happened to be there and who improvised their parts - one take, we have it. With this procedure he released Funambule in 1975 and L'envol in 1977. He also worked with Dominique Le Roux on a joint venture LP in 1979.



On offer here is the first ever vinyl reissue of Gontran's second album L'envol, recorded in two hours on a Paris studio with a bass player (F.D. Aldonse) and two female vocalists whose surnames have been lost in the depths of time - Victorine and Theodorine. As the other Gontran albums, it was self released in a limited run private pressing which has nowadays become an elusive piece in the collectors market - so rare that it doesn't even appear on Phileas Folk's great The French Folk Magic Time Guide book.



The beautiful music contained within is a delightful sample of Gontran's excellent singer-songwriter qualities and his commitment to portray his inner world and livings through his musicated poems. He names as his biggest influences big names like Leonard Cohen, who he had the chance to meet and chat with when in Mumbai back in 1999, Bob Dylan or Jack Kerouak, but Gontran was centered in his vivences and commited to his need to express himself that he really doesn't sound like anyone but Gontran.



Amazing homemade folk sounds from an artist who, ironically, was always traveling abroad and stayed little at home!



A very rare private pressing, recently featured in Hans Pokora's last Record Collector Dreams book, valuing an original copy with 4 stars!



The Wah Wah reissue has been made with the great help of Gontran himself and features a faithfull reproduction of the original album artwork with the addition of an insert with photos, lyrics and liner notes. It is an edition of 300 copies only!





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NON EXCL-LP+Gatefold+INSERT
LIMITED TO 500COPIES
Recorded in 1973 at the Church of Saint Mary Magdalene in Paddington, London, Unfinished Picture is Rupert Hine's second LP. The songs where all composed by Hine with lyrics by David McIver and Simon Jeffries. On its sessions, Hine was surrounded by a host of outstanding musicians that included Simon Jeffes (Penguin Cafe Orchestra), Mike Giles (Giles, Giles & Fripp / King Crimson), Mick Waller (Cyril Davis, The Steampacket, Jeff Beck Group), Ray Cooper (Eric Clapton, Elton John) among others.



Rupert Hine's recording adventures started with the release of a 7" 45 by the folk duo Rupert & David "The Sounds Of Silence". In 1971 he was approached by Purple Records for the release of his debut solo LP Pick Up A Bone, which despite its lack of commercial success featured a strong collection of critically acclaimed compositions that made Purple Records want him to record a second album - Unfinished Picture, on which Hine showed a fantastic evolution to a more conceptual, cinematic approach. Echoes of Ray Davies, Kevin Ayers or hints of Nick Drake taken to a more 'happy' territoire mix with beautiful strings by The Martyn Ford Orange Ensemble and even some ARP synth explorations to build a fantastic collection of sounds that take the listener on a trip through the worlds of folk, psych and prog.



Hine's career would soon take off as a famed producer, he did work with Kevin Ayers, Milla Jovovich, Jonesy, Steve Tilston, Anthony Phillips, Camel, Saga, Rush, Tina Turner, Howard Jones, Bob Geldof, Suzane Vega, and many others.



The Wah Wah reissue offers the original artwork in its gatefold cover & insert and is limited to 500 copies only!



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NON EXCL-LP - First ever release with Moncollin's art on cover and liner notes by himself. Limited to 500 copies only!

ADN Ckrystall is the pseudonym of French synth experimentalist Érick Moncollin. Armed with a Crumar, Multiman 52 with brass pedal and sustain/volume pedal, two Kawai Synthi 100-F, Roland CR-65, Korg PS-3200, Roland Jupiter-4, a Boss flanger, MXR phasing and a TEAC 8-track recorder he produced his first LP, Jazz'Mad, with the help of synth expert sound engineer benoit Hutin. The LP was self-released in 1982 to critic aclaim and generated a fan base that has turned it into a timeless classic, having been reissued four times since then.



But what most people don't know is that Moncollin produced a second album with songs written 1982/1983 that has remained unreleased ever since. Only recently he found the tapes in his parents' house and transfered them for it's first ever vinyl release.





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25th Anniversary Vinyl Reissue (May 2025)
A sonic time capsule wrapped in summer grooves

When Since Then first arrived in 2000, it felt like opening a window to somewhere sun-drenched and far away—a place where gentle Brazilian rhythms danced effortlessly with the pulse of deep house. Now, a quarter-century later, the album returns to vinyl for the first time, not as a relic, but as a timeless companion.

This reissue spins more than just music—it breathes new life into a moment when sound, place, and feeling merged into something unforgettable. Pooley was ahead of his time, weaving breezy South American textures into club-ready arrangements. Tracks like “900 Degrees” and “Balmes (A Better Life)” still shimmer with warmth and clarity, their melodies floating with an ease that refuses to age.

Tracklist:

A1 Since Then
A2 Bay Of Plenty
A3 Venasque
B1 Coração Tambor
B2 Balmes
C1 Visions
C2 Spicy Snapper
D1 900 Degrees
D2 Sundowner

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WORLD EXCLUDING GERMANY, SWITZERLAND, AUSTRIA (GSA)

Special remarks :

2LP
Gatefold + 180g + Downloadcard

Genre: Electronic/Indie Dance

Tracklist LP:
A1-WhoMadeWho - The Fall
A2-WhoMadeWho & Rampa - UUUU
A3-WhoMadeWho – Silence & Secrets

B1-WhoMadeWho – Moon After Moon
B2-WhoMadeWho feat. Kat Frankie – Elsewhere
B3-WhoMadeWho – Ojo De Agua

C1-WhoMadeWho – LIFE
C2-WhoMadeWho & Rampa – Everyday
C3-WhoMadeWho – Never Alone

D1-WhoMadeWho – Summer (Album Edit)
D2-WhoMadeWho – Hera
D3-WhoMadeWho – Mermaids
D4-WhoMadeWho feat. AVA4K – 11-11


SHORT INFO:

In the years since their formation, WhoMadeWho have established themselves as one of the most important underground bands of their generation. The Danish group, consisting of Tomas Høffding, Tomas Barfod and Jeppe Kjellberg, has an exceptional sense of emotional depth, heartbreaking melodies and brilliant songwriting, boasting an expansive discography currently spanning a total of six albums and a plethora of EPs, singles and remixes released on labels such as Kompakt, Innervisions and Life & Death. On the road, they are internationally renowned for their professionalism and outstanding live performances and have become regular fixtures at some of the world’s most notable musical festivals, including Roskilde, Sonar, Melt! and Burning Man to name just a few.
The in-demand Scandinavian outfit now confirm details of their upcoming long player, UUUU. Set for worldwide release on Friday, May 27, via long standing German record label Embassy One, UUUU is the seventh full-length studio album from WhoMadeWho. A beautifully crafted record featuring thirteen original productions.


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Selah Sue was not destined to become an artist. "I grew up in a really little town in Belgium, and none of my family was into music," reveals the twenty-one year old, with refreshing sincerity. "As a kid, I wanted to be a ballerina. I danced from the age of six to twelve".
Even without romanticising it, her story is like a fairy tale. It's the story of a young musician who ignores her fate, and pours her anxieties into her songs and her guitar. "I had all these worries and depressions that I wrote down, it was a way of structuring my thoughts".
She turns her doubts into soul, funk and reggae melodies, trying hard to be worthy of her idols, Lauryn Hill, Erykah Badu and Bob Marley. She sings in local clubs on the weekend and attends high school during the week. She records in home-studios, at friends houses, and publishes drafts of her songs on Myspace, without a thought of making a career in music.
What happens next seems almost unreal. Thousands of fans respond to her on the net, attracting the attention of professionals, and the interest of Because Music, which eventually leads to a record deal for the young musician. Then Farhot (Nneka) and Patrice take on the production of her first album. Meshell Ndegeocello stays with her in the studio for two days to produce the track "Mommy". Cee-Lo Green agrees to accompany her on a duet and ends up asking her to put the track ("Please") on his own album. And, last but not least, last autumn Prince offered her a coveted support slot at his show in Antwerp, Belgium.
To put it in a nutshell, in just two years, Selah Sue has fulfilled her dreams. To keep her grounded, she has insisted on keeping the songs she wrote during her teens for her debut album. It's a way of reminding the world that she has not been unfairly spoiled by destiny and that before Prince, Cee-Lo Green, radio play and incredible press, there was just a teenage girl, with her guitar, who was chosen spontaneously by fans on the net.
For example, her first single "Raggamuffin" is one of her oldest songs and was viewed more than a million times online. "This track symbolizes me" she explains. "It shows my soulful and singing side, but also my hard side, between rap and ragga. When my manager asked me who I wanted to work with, I said Farhot straight away, as I'm a fan of Nneka. But I also wanted an intimate, dark, melodious record, with light and lively beats. Farhot is crazy about digital sounds and Patrice, who I know well, was the ideal man for the melodious part. They were my two accomplices in the studio."
Her first album is ambitious. It is a smart melting pot between electric rock, organic hip-hop and soul-funk. The twelve tracks shift from poignant ballads like "Mommy" to wilder styles like "Crazy Vibes". Like Janelle Monae, M.I.A. or Aloe Blacc, Selah Sue belongs to a new generation for whom music has no boundaries. Selah Sue will tour her new record in the Spring.
Tracklisting:
A Side
This World
Peace of Mind
Raggamuffin
Crazy Vibes
Black Part Love
Mommy
B Side
Explanations
Please feat. Cee Lo Green
Summertime
Crazy Sufferin Style
Fyah Fyah
Just Because I Do


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2024 Repress

Tracklist:
A1. Lonely Planet A2. Trance Encounters A3. Today ft. Sui Zhen
A4. Warp Odyssey B1. Voices B2. Kingdom Animalia B3. Healing Feeling

Info:
The eye of the storm: welcome to Tornado Wallace's debut album! The accumulation of about four years of work, with tracks written in Berlin and Melbourne, 'Lonely Planet' is nothing like you may have expected from the Australian expat. No stranger to fans and followers of ESP Institute, Beats in Space and Music From Memory's sister Label Second Circle, Tornado Wallace's strain of releases so far merged functionality with a musical playfulness that led him to find himself as one of the producer's behind José Padilla's International Feel album. Here, he leaves the needs of the dance floor behind in order to create a magical mystery tour de trance into his and our inner jungle.

How about some references? New Age sounds meet new wave melodies, Grace Jones runs into the Dire Straits at Compass Point, while a Korg Mini Pops and a Roland CR78 make amends for Sly & Robbie's absence, Michael Mann pictures Joseph Conrad's 'Heart of Darkness', Robert Rauschenberg tries his luck at naturalism and an imagined Wally Badarou echoes through all of it.

Sandwiched between the title track and the yearning beauty of the album's final point 'Healing Feeling', you get all of that as well as collaborations with and contributions of NO ZU, David Hischfelder and the voice of Sui Zhen on 'Today', who would easily make Anna Domino take her proverbial hat off.

Tornado Wallace created an album that supersedes the requirements and expectations of a debut. Like a lost Island Records or a never released Made to Measure album, 'Lonely Planet' soundtracks notions and ideas that recall the nostalgic future in the past as much as it looks ahead.


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GENRE/S: Disco, funk, house

TRACKLISTS:
A1. Big Feelings
A2. Keep Pushing
B1. Turndown Service
B2. Sarará Crioulo

SHORT INFO:
4 disco weapons straight from Brooklyn's groove master. Serious heat!





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2025 repress

Tracklist:

A: Blume Der Nacht
B: Rue Burnout


DJ Koze doesn't aim for technical perfection for its own sake, but rather to serve the purpose of giving birth to great music. On his debut 'Rue Burnout EP' from his own Pampa label, he plays with finesse and sophistication, and implicitly understands the importance of subtlety, leading from dreamy and restrained parts to a noisy frenzy at the end. 'Blume der Nacht' starts with a looped piano solo from Arabian dodecaphony, interwoven with bangs of violine bows, piercing high-pitched strings, almost shrieking glissandi, deep angel chants and obsessive sharp rhythms. The 37 year old constantly horny wunderkind producer has made a habit of creatively foiling expectations, and works also under the pseudonyms Adolf Noise, Swahimi and recently Madima Lokkah to redefine the boundaries of electronic music. This daring concept works perfectly in the title track 'Rue Burnout' - it is very rare that you find house music this excitingly light-fooded and precisely transparent. The musician cuts the pigtail off the term 'Kackmusik' for good, and demonstrates how sounds are capable of creating the most delicate musical interplay.
Amen.
DJ Koze, Germany, April 2010.


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Tracklist 12":

A1) Nostalgia
A2) Breeze (Bamboo Tribute)
B1) Meet Me At The Cascades
B2) Nostalgia (Stump Valley Remix)

COEO back on Toy Tonics! The German duo has been part of Toy Tonics since day one. Now they celebrate their return to Toy Tonics with an outstanding EP full of timeless, contemporary house music that also marks their 10th contribution to the label after their first release on the imprint 10 years ago. Their house vibes have been defining the sound of the Toy Tonics label for many years and still now they regularly play the Toy Tonics events around the world. (The Toy Tonics Jams).

On this new EP one more time the boys dive deep into the Italo & Piano House world- getting more electronic than ever. This EP is 100% in the vibe of now. With great piano chord drops that make everybody scream on the dance floor, with horn and synth melodies that you can sing along after you heard them one time only and with classic house beats that are THE sound of today.

The main title “Nostalgia” is inspired by and a tribute to all the intimate and ecstatic moments they were able to share over the years with music lovers on festivals and in clubs around the world. While the piano house theme on the A1 brings you in that festive mood of your last summer festival you have been to with your closest friends, the second track of the EP „Breeze“ takes it on a higher energetic level and combines a funky bass guitar with progressive house elements. Remember that special moment when you were attending your first full moon party in that far away country after you have finished school? That gentle wind blowing through the trees? „Breeze“ could be the soundtrack of that adventure.

On the B side Italo house influenced „Meet me at the cascades“ captivates through an hypnotic approach and unfolds dreamy synth pads and arpeggios to take you on a imaginary journey to your favourite retreat, a place you feel safe.

The EP features 3 original tracks and also a remix by COEO friends Stump Valley. The former Dekmantel artists who now joined Toy Tonics. Stump Valley btw are Francesco and Aleksei. Aleksei also works under the name of Brian de Palma and will release a solo album soon on Peggy Gou’s label Gudu. Stump Valley‘s remix of „Nostalgia“ rounds up the EP with its stand out piano solo and marks the perfect end to an EP that is meant to stay in your head just like all those intense memories which life in general evokes.














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Format Notes: Hyper-limited (500 only) vinyl release, originally commissioned for the Sonoton Music Library, 140g vinyl.

Territories: Worldwide no restrictions

Track List:

A1 Golden Verses
A2 Lyre Lyre
A3 Dolorous Stroke
A4 Plain Paper
A5 Grapes Draped
A6 Xanix Annum
A7 Painting Rose
A8 Rotunda Garden
A9 Flowry Orb

B1 Theia Mania
B2 Painting Percy
B3 For Archetypes
B4 Ars Memoriae
B5 Mirrored Seven
B6 Pure Ornament
B7 Brave Boy
B8 Waxen Waned

Release Notes:


WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

2024 Repress

Oliver Koletzki's most successful album will be finally released on vinyl.

Tracklist:
A-Seite
1. This is Leisure feat. Mieze Katz
2. Zuckerwatte feat. Juli Holz
3. U-Bahn feat. Axel Bosse
4. Kusskompatibel
5. Warschauer Straße

B-Seite
1. Hypnotized feat. Fran
2. Kleines Zwischenspiel
3. Headshaped Box feat. Kate Mosh
4. These Habits feat. Pyur
5. Die Raketen - Nimm mich mit (Oliver Koletzki Remix)


The Berlin-based techno and house producer and DJ Oliver Koletzki has fully committed himself to his roots for this album. They can be traced back to pop music of the 80ies and 90ies, while his productions still manage to transport the fresh energy of today's electronic music productions. "Großstadtmärchen" is a perfect example for a producer's album: Oliver Koletzki has created a musically compact long player while working together with many different singers. Both established artists like Mieze Katz from the German electro-pop outfit MIA., the hot German pop-rock-singer Axel Bosse, critically acclaimed indie band Kate Mosh as well as newcomers such as Fran, Pyur and Juli Holz have contributed to the album. The result are ten songs that easily fluctuate between catchy pop tracks, modern house grooves and 80ies synthesizer pop yet still maintaining a very own Koletzkieske sound dynamic.

"Großstadtmärchen", which translates as "The tale of the big city" starts off with "THIS IS LEISURE". Famous pop singer Mieze Katz has put down her sexy voice on a guitar-based song pattern that functions as an ideal introduction into the craziness of the big city tales. After hearing this, the listener is directly fully drawn into this world when hearing Juli Holz's softly whispering voice singing about the dilemmas of love in the big city on "ZUCKERWATTE" (Single release date: 7.9.09). This is a very fine electro-pop tune. Coming up next Oliver Koletzki and Axel Bosse board an underground train that takes them around the Berlin U-Bahn system and back. Axel Bosse, who has had a massive success with his song "3 Millionen" adds his melancholic voice to this groovy pop anthem and sings about the poetic magic of public transport, while we hear the sounds of the trains on top. Of course, Oliver Koletzki has added some purely instrumental tracks on his album, too: "KUSSKOMPATIBEL" and "WARSCHAUER STRASSE" are a journey back to Oliver's first years in Berlin and his love for house music. "KLEINES ZWISCHENSPIEL" also celebrates the energetic sound of electronic music. Then there is another great shine of bright light with the pop track "HYPNOTIZED" that is already making airwaves on German radio. It features the newcomer singer Fran that turns this track into a wonderful electronic love story. In her beautiful crystal clear voice Fran tells the story of those moments during the night that decide where it's going to end: a song about love, passion and the energy between male and female, a catchy pop anthem about the first dance, the first kiss and that special moment when the night turns into day. Oliver has equipped this song with a wonderful piano melody and a very smooth and poppy electronic beat. Actually it sounds like Fran and Oliver have never been doing anything else than produce wonderfully fresh pop songs together.

The tale of the city carries on with a very appealing mixture of indie rock and electronic music. "HEADSHAPED BOX" encapsulates what Indietronic sounds like in the year 2009: symphonic, melodic and simply unique. On "THESE HABITS" the just seventeen-year-old singer Pyur makes her debut. This down-beat triphop-groove is a wonderful hit for the late summer. Last up is a bonus track: Oliver Koletzki remixes "NIMM MICH MIT" by the electronic boy-band Die Raketen.

"Großstadtmärchen": This title is chosen for a reason. The story behind Oliver Koletzki is also a magical tale of believing in yourself. Since he is 12 years old, Oliver makes music, by himself or in bands: it is the love for the energy of soundwaves that makes him work hard on himself. In 2005 Oliver Koletzki celebrates the big breakthrough by releasing his hit "Mückenschwarm" on the label of techno grand daddy Sven Väth Cocoon Records. It becomes not only the biggest tune of the year, but also the best selling single on Cocoon Records ever. With this success in mind, Oliver directly realises his dream of starting his own label to promote newcomers. Stil vor Talent also becomes the platform for the release of his first album "Get Wasted" in 2007. One year later, Oliver proves his intuition for pop music when he signs the track "3 Tage Wach" by Lützenkirchen. He makes a low-budget-video for the track that gets an astronomically large half a million views on YouTube within the first three weeks. At least from here it is obvious: Oliver Koletzki is not your average techno producer. His productions and his sense for orginal music also have a deep rooting within pop culture. Thus "Großstadtmärchen" is the logical consequence from two decades of intense musical production: here comes a mature, yet still playful pop album that manages to combine many different influences into one harmonious oeuvre. It shows just how close the dancefloor and pop music really always were, and still are.






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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

NON EXCL LP , Black Vinyl

he Last Question is the first album by electronics master Tim Clark. It collects his early works, when he was the Music Director of the Strasenburgh Planetarium in Rochester, N.Y. These tunes were the soundtrack to the planetarium’s adaptation of Isaac Asimov’s The Last Question short stoy. The idea was conceived by Von Del Chamberlain, director of teh Abrams Planetarium, and was taken to fruition in a joint venture bewtween the Abrams and Strasenbergh Planetariums, were the shows were premiered in 1972.



Clark composed and produced the works in the Strasenberg Planetarium’s own sound studio, equipped with three Ampex 440 recorders, a 4-channel mixing board with 18 inputs and a Moog Synthesizer. The album was released as a private pressing in 1973 and it has since become an elusive collector’s piece among electronic music afficionados. Comes with remastered sound and straight reproduction of the original artwork.



ULTRA RARE OUTER SPACE PRIVATE PRESS!



RIYL : Tonto’s Expanding Head Band, Iasos, Peter Davidson, Michael Stearns, Steve Roach...



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