1
Velv.93 - Lobellia
2
Velv.93 - True Blue
3
Velv.93 - Star Grain
4
Velv.93 - Glitter
5
Velv.93 - Maidstone
6
Velv.93 - Last Dive
7
Velv.93 - Medway
8
Velv.93 - Green Wind
9
Velv.93 - Aging Cycle
10
Velv.93 - Us
11
Velv.93 - Resist
12
Velv.93 - Naked Eye
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Germany
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More records from Stroom
1
Svitlana Nianio Phanton - Fake
2
Svitlana Nianio Phanton - Manyspace
3
Svitlana Nianio Phanton - Quiet Place
4
Svitlana Nianio Phanton - Polit Svitlyaki
5
Nyano Ginerv Taran, Nianio Geenerve Ta.. - Whispering Wall
6
Nyano Ginerv Taran, Nianio Geenerve Ta.. - Tired River
7
Solar - Your Secret
8
Solar - Three Steps
9
Solar - August Samba
10
Taran - Death And Bachelor
"I got to know visual artist, musician, and producer Guido Erfen and sound engineer, acoustic artist, and percussionist Michael Springer as part of a group of five by the name of SHM1. The members of the group organised concerts at Rhenania, a disused grain silo, where I performed with The Absurd in 1988 and 1989. The band was also featured on one of Erfen's tape releases. Erfen and Springer met when they were still at the same secondary school and soon became close friends and musical allies. With the other members of SHM they built an independent network for creating and distributing music beyond the mainstream in Cologne. Rent at Rhenania was incredibly low, allowing a recording studio to be established there.
The first traces of the Ukrainian Underground arrived at Erfen's door via a cassette tape with three bands from Kharkiv and Kyiv, the package including a long essay which detailed the rock scene in the two cities by Sergey Myasoyedow. In 1986, Myasoyedow, together with Sasha Panchenko, had founded the “Novaya Scena“ rock club in Kharkiv, presenting bands inspired by punk, the avant-garde, dadaism, and even medieval melodies. If Erfen hadn't been part of the independent mail-art scene, he wouldn't have had the chance to discover this unorthodox music. It was the summer of 1990, shortly before the Soviet Union collapsed and Ukraine became an independent state the following year.
In 1991, singer and keyboard player Soloveyka from Kharkiv arrived in Cologne and gave Erfen half a dozen cassettes with underground bands from Ukraine and a handful with bands from the Soviet Union. Intrigued by the original music of many of the acts, he visited Ukraine twice, made friends there, compiled a tape with his favourite tracks and finally succeeded in convincing Hamburg label boss Alfred Hilsberg to present underground music from Ukraine on the CD “Novaya Scena“ via his label What's So Funny About (the original home of Einstürzende Neubauten).
The album compiled 20 tracks recorded between 1986 and 1992 by 14 bands out of Kharkiv and Kyiv– music beyond the usual Perestroika records, often with jarring dissonances over grooves that fans of Captain Beefheart or The Fall would certainly enjoy.
On the other hand, there are tracks featuring flute and trumpet that seem inspired by folk, classical music, and punk. Ghostly chamber prog miniatures by Cukor Belaya Smert (lit. Sugar White Death) from Kyiv featuring, among others, the classically trained pianist and singer Svitlana Nianio (née Ochrimenko) and guitarist, visual artist, and spokesman Yewgeny "Yenia" Taran. Nianio sang in her native Ukrainian, as did two more of the bands. Today, this seems more relevant than ever, more culturally and historically significant from a Ukrainian point of view than it was even in 1993. Young Ukrainians were amazed at that time that rock music sung in their native tongue could work!
It is in the aftermath of the “Novaya Scena“ album that the music on this LP was created. About a year after the release of the CD in August 1993, Nianio and Taran came to Cologne to work on music for the dance production "Transilvania Smile" by the dance theatre ensemble Pentamonia2.
The seeds for the Traces of Ukrainian Underground in Cologne were sown. Starting in 1994, a series of informal recording sessions took place at Michael Springer’s Phanton Studio and at SHM studio in Rhenania. Together, these sessions formed the basis of the four different incarnations of the Ukraine-Cologne connection heard on STROOMS’s compilation.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
The first traces of the Ukrainian Underground arrived at Erfen's door via a cassette tape with three bands from Kharkiv and Kyiv, the package including a long essay which detailed the rock scene in the two cities by Sergey Myasoyedow. In 1986, Myasoyedow, together with Sasha Panchenko, had founded the “Novaya Scena“ rock club in Kharkiv, presenting bands inspired by punk, the avant-garde, dadaism, and even medieval melodies. If Erfen hadn't been part of the independent mail-art scene, he wouldn't have had the chance to discover this unorthodox music. It was the summer of 1990, shortly before the Soviet Union collapsed and Ukraine became an independent state the following year.
In 1991, singer and keyboard player Soloveyka from Kharkiv arrived in Cologne and gave Erfen half a dozen cassettes with underground bands from Ukraine and a handful with bands from the Soviet Union. Intrigued by the original music of many of the acts, he visited Ukraine twice, made friends there, compiled a tape with his favourite tracks and finally succeeded in convincing Hamburg label boss Alfred Hilsberg to present underground music from Ukraine on the CD “Novaya Scena“ via his label What's So Funny About (the original home of Einstürzende Neubauten).
The album compiled 20 tracks recorded between 1986 and 1992 by 14 bands out of Kharkiv and Kyiv– music beyond the usual Perestroika records, often with jarring dissonances over grooves that fans of Captain Beefheart or The Fall would certainly enjoy.
On the other hand, there are tracks featuring flute and trumpet that seem inspired by folk, classical music, and punk. Ghostly chamber prog miniatures by Cukor Belaya Smert (lit. Sugar White Death) from Kyiv featuring, among others, the classically trained pianist and singer Svitlana Nianio (née Ochrimenko) and guitarist, visual artist, and spokesman Yewgeny "Yenia" Taran. Nianio sang in her native Ukrainian, as did two more of the bands. Today, this seems more relevant than ever, more culturally and historically significant from a Ukrainian point of view than it was even in 1993. Young Ukrainians were amazed at that time that rock music sung in their native tongue could work!
It is in the aftermath of the “Novaya Scena“ album that the music on this LP was created. About a year after the release of the CD in August 1993, Nianio and Taran came to Cologne to work on music for the dance production "Transilvania Smile" by the dance theatre ensemble Pentamonia2.
The seeds for the Traces of Ukrainian Underground in Cologne were sown. Starting in 1994, a series of informal recording sessions took place at Michael Springer’s Phanton Studio and at SHM studio in Rhenania. Together, these sessions formed the basis of the four different incarnations of the Ukraine-Cologne connection heard on STROOMS’s compilation.
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Enno Velthuys - Something Special
2
Enno Velthuys - Underneath A Dark Sky
3
Enno Velthuys - For Max
4
Enno Velthuys - Open Mind
5
Enno Velthuys - Thin Air
6
Enno Velthuys - In The West
7
Enno Velthuys - Moonlight Serenade
8
Enno Velthuys - Morning Walk
9
Enno Velthuys - Highlands
10
Enno Velthuys - Flight Of The Seagull
11
Enno Velthuys - Eternity
12
Enno Velthuys - Releave
13
Enno Velthuys - Uplands Unplugged
A collection of previously unreleased material (between '75 & '90) by Enno Velthuys.
Compiled by Hessel Veldman.
"Hello boys and girls, my name is Enno Velthuys and I am the idiot of the group (and also the
most intelligent, the most sensitive, the most artistic and he who has to carry the heaviest
load, because this boy's luggage, DAMN, it's pretty heavy).
Luckily, I had already been through a lot when I got this ‘knock in the head’. Sex, drugs, lots
of rock and roll and a sunny childhood with beautiful views I look back on with nostalgia.
Later on I lost my focus and I only thought about one thing: how to get out of it (that damn
problem, my shifted reality, my blind spot, that piece of poisoned apple of forbidden
knowledge choking my throat)!
But I can't think my way out of it, psychiatrists are just ordinary people, and very heavy pills
suppress everything (I'll just take my pills) FLASH!
You ask me what it takes to create music or art that is meaningful and tells a story. It’s hard
when you haven't had enough setbacks, nothing more than maybe a little blues. I'm not
saying it was the right path, but at least I've come a long way. And now I'm a fish in a pool.
Please understand that this is very disturbing. It's not my waterway. A fish belongs in a river.
And my star sign is fish. >))D
See you soon, EnnO"
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Germany
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Compiled by Hessel Veldman.
"Hello boys and girls, my name is Enno Velthuys and I am the idiot of the group (and also the
most intelligent, the most sensitive, the most artistic and he who has to carry the heaviest
load, because this boy's luggage, DAMN, it's pretty heavy).
Luckily, I had already been through a lot when I got this ‘knock in the head’. Sex, drugs, lots
of rock and roll and a sunny childhood with beautiful views I look back on with nostalgia.
Later on I lost my focus and I only thought about one thing: how to get out of it (that damn
problem, my shifted reality, my blind spot, that piece of poisoned apple of forbidden
knowledge choking my throat)!
But I can't think my way out of it, psychiatrists are just ordinary people, and very heavy pills
suppress everything (I'll just take my pills) FLASH!
You ask me what it takes to create music or art that is meaningful and tells a story. It’s hard
when you haven't had enough setbacks, nothing more than maybe a little blues. I'm not
saying it was the right path, but at least I've come a long way. And now I'm a fish in a pool.
Please understand that this is very disturbing. It's not my waterway. A fish belongs in a river.
And my star sign is fish. >))D
See you soon, EnnO"
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
The Thinking Of The World Began Pounding - Say What You Want To
2
The Thinking Of The World Began Pounding - Haze
3
The Thinking Of The World Began Pounding - Moon
4
The Thinking Of The World Began Pounding - Walk Away
5
The Thinking Of The World Began Pounding - Wish You Were
6
The Thinking Of The World Began Pounding - Forever
7
The Thinking Of The World Began Pounding - Et The Tears Roll
8
The Thinking Of The World Began Pounding - Maybe
9
The Thinking Of The World Began Pounding - Voice Memo
10
The Thinking Of The World Began Pounding - Take 4
11
The Thinking Of The World Began Pounding - World Loop
12
The Thinking Of The World Began Pounding - Who Is This
"The Thinking of the World Began Pounding in Our Ears the Moment We Hit Shore is a studio-constructed album developed as a project rather than a band.
Created by Florian TM Zeisig between 2022 and 2025, the record draws on sessions and material contributed by a small group of collaborators. Recordings were gathered across different contexts and brought together through an extended studio process, with writing, production, arrangement, and assembly treated as a continuous activity.
The album took shape gradually through selection, editing, and re-placement of material over time. Individual pieces were revisited, reshaped, and recontextualized until they formed a unified body of work.
Contributions to the project include work by Mari Rubio (More Eaze), Róisín Berkeley, Don Lyons, Cal Fish, K, Seán Being, and JQ. All tracks were produced, written, arranged, and mixed by Florian TM Zeisig, with co-songwriting contributions noted per track."
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Created by Florian TM Zeisig between 2022 and 2025, the record draws on sessions and material contributed by a small group of collaborators. Recordings were gathered across different contexts and brought together through an extended studio process, with writing, production, arrangement, and assembly treated as a continuous activity.
The album took shape gradually through selection, editing, and re-placement of material over time. Individual pieces were revisited, reshaped, and recontextualized until they formed a unified body of work.
Contributions to the project include work by Mari Rubio (More Eaze), Róisín Berkeley, Don Lyons, Cal Fish, K, Seán Being, and JQ. All tracks were produced, written, arranged, and mixed by Florian TM Zeisig, with co-songwriting contributions noted per track."
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Ciro Vitiello - A Day In Your Life Feat. Antonina Nowacka
2
Ciro Vitiello - Jellyfish Light A Big Blue Lie
3
Ciro Vitiello - Days Feat. Heith
4
Ciro Vitiello - Slices Of Wind
5
Ciro Vitiello - Miles Of Silence Feat. Antonina Nowacka
6
Ciro Vitiello - The Lighthouse Ghost Feat. Martyna Basta Heith
7
Ciro Vitiello - Airbus 2021
8
Ciro Vitiello - Music For Airdrop Feat. Renato Grieco
9
Ciro Vitiello - Please Please Please Dear Seagull
10
Ciro Vitiello - Iced-Eye Clown
"Recorded in Naples historic recording studio Auditorium Novecento ‘notes from the air’ is the second Ciro Vitiello full-lenght album, that turns around the ambiguous figure of the seagull, a coastal apparition both ridiculous and divine, foolish and sacred, graceful in flight yet uneasy on land, something that knows more than it shows, carrying both wonder and threat in its gaze.
The album breathes through that tension, the desire to fly and the fear of falling, the suspicion of having already crashed somewhere unseen.
Wind, creaking ropes, invisible currents: these become signals from another uncoding state, reminders that air can be both home and haunting. The record lingers in suspension. Each track feels like a fragment carried by wind, a message blurred, a memory misplaced, something approaching meaning but never arriving.
The record drifts between orchestral gestures and dream-pop/post-rock shadows, guided by Ciro Vitiello’s fascination with shoegaze textures and cinematic atmospheres, and features contributions by Heith, Renato Grieco, Stefano Costanzo, Caraluce and Daniel Kinzelman. Vocal features include Martyna Basta, Heith and Antonina Nowacka, alongside Ciro’s own voice."
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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The album breathes through that tension, the desire to fly and the fear of falling, the suspicion of having already crashed somewhere unseen.
Wind, creaking ropes, invisible currents: these become signals from another uncoding state, reminders that air can be both home and haunting. The record lingers in suspension. Each track feels like a fragment carried by wind, a message blurred, a memory misplaced, something approaching meaning but never arriving.
The record drifts between orchestral gestures and dream-pop/post-rock shadows, guided by Ciro Vitiello’s fascination with shoegaze textures and cinematic atmospheres, and features contributions by Heith, Renato Grieco, Stefano Costanzo, Caraluce and Daniel Kinzelman. Vocal features include Martyna Basta, Heith and Antonina Nowacka, alongside Ciro’s own voice."
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Oko DJ - Exolition
2
Oko DJ - La Colline Au Ciel
3
Oko DJ - emai i den emai (feat. Onarrivenow)
4
Oko DJ - formentera
5
Oko DJ - je suis la terre qui absorbe dieu - 1644
6
Oko DJ - ivres
7
Oko DJ - erotic love triangle
8
Oko DJ - Parfois, Dans la Lumière...
"Feeding from countless hours of historically informed digging, being able to convey this knowledge to all sorts of audiences and understanding the very direct effects of sound, OKO DJ delivers an album that gives off this ecstatic feeling of travelling through very specific moods and soundscapes with the use of a wide range of production techniques. The listener is constantly stimulated by the spoken word narrative, the play on the tape hiss and dynamics, the out of field elements emerging erratically yet brilliantly included in the mix. Going from primitive DIY tape montage to modern day home-studio tricks and everything in between, As Above, So Bellow doesn’t show us anachronic references to different inspirations, but actually tells a timeless and hard to pin down story from a truly unique point of view."
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Florian T M Zeisig - Life's A Spiral
2
Florian T M Zeisig - Thank You Pharoah
3
Florian T M Zeisig - Eternal Shore
4
Florian T M Zeisig - Diddy's Lament
5
Florian T M Zeisig - Earth Loop
6
Florian T M Zeisig - Die Große Natur
7
Florian T M Zeisig - Embody Source Energy
"A New Life is not an album. It does not belong to a ‘genre.’ Not aesthetic, not ironic, not for consumption. Not intellectual—it is felt. It speaks from coherence—structure beneath the noise. Grief, anger, stillness are not flaws here—they belong. Featuring harp and saxophone by Róisín and Cathal Berkeley. A return to truth. To be human without the mask. Integrated, not performed or bypassed."
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Paul Lowe - Let's Work It Out
2
Paul Lowe - Make Things Better
"Electronic soul / funk from 1979. Made in Guyana via Surinam!"
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DE - 22113 Hamburg
Germany
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DE - 22113 Hamburg
Germany
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1
Ben Bertrand - Microwave Background
2
Ben Bertrand - Event Horizon
3
Ben Bertrand - GW 150721
4
Ben Bertrand - Stereo A
5
Ben Bertrand - Big Bounce
6
Ben Bertrand - Stereo B
7
Ben Bertrand - GW 190905
The occasion of possibility runs through Ben Bertrand's new album Relic Radiation. It is all backdrops and layers. Hints of the emotive and the distant. Confronting the classical with what is new, looking for an expressive space. Melancholy, not melancholy. Contemplation on a midnight blizzard. Dust motes in a sunbeam. Sand dunes and microwaves.
Ever since 2018 and the release of his first solo album, Ben Bertrand has been working up his own interpretation of the bass clarinet as an instrument of the avant-garde. Touching upon ambient and cosmic as well as earthy sceneries, his is a gentle musical paradox come to life. Let go of explicit pleasantries, Relic Radiation is the polymathic interpretation of a frozen intercom, of a subdued intent of contact. The music is competent and familiar, distant without being distant. There is no predefined form or context here. It is a different kind of colour.
As musical moments and modi become enormous, things break down into exploration. On the crystal shores of perception, Relic Radiation leaves a lot of space for interpretation. It is never loud, although it works loud. An at times almost sequenced feel to treated and overdubbed bass clarinet and clarinet notes adds to a feeling of paradox. Every voice, every gesture indicates a way in. The electron is now an immeasurable wave."
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
Ever since 2018 and the release of his first solo album, Ben Bertrand has been working up his own interpretation of the bass clarinet as an instrument of the avant-garde. Touching upon ambient and cosmic as well as earthy sceneries, his is a gentle musical paradox come to life. Let go of explicit pleasantries, Relic Radiation is the polymathic interpretation of a frozen intercom, of a subdued intent of contact. The music is competent and familiar, distant without being distant. There is no predefined form or context here. It is a different kind of colour.
As musical moments and modi become enormous, things break down into exploration. On the crystal shores of perception, Relic Radiation leaves a lot of space for interpretation. It is never loud, although it works loud. An at times almost sequenced feel to treated and overdubbed bass clarinet and clarinet notes adds to a feeling of paradox. Every voice, every gesture indicates a way in. The electron is now an immeasurable wave."
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Liebigstrasse 2-20
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Germany
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1
Gajek - Dig it All Up Again
2
Gajek - Until It Was No More
3
Gajek - Phantom Memory
4
Gajek - Hardcore Dis-Continuum
5
Gajek - Postmodern Trippin
6
Gajek - Slightly Out of Joint
7
Gajek - Exist In A Soundless Room
8
Gajek - Never Been More Fearless
9
Gajek - Software For Ossis
"I imagine that one of the first things I heard in the world was theexplosion of a Russian ammunitions factory on the outskirts of myhometown. It blew up the night I was born a new GDR-citizen. I´m notsure I heard a noise when the Wall came down, but it still echoes in mybody. The echo contains many frequencies. Some of them sound like Gabberplaying in my childhood room over the speakers my grandfather once stolefrom a Leipzig radio station. Some of them sound like me and my friendsrunning through the streets. They sound like my mother laughing andconsoling women in the women´s shelter where she worked in 1992. Theysound like birds: my father swears after the Reunification the greatcrested grebes on the town lakes lost all fear of humans. Some of themsound like these recordings."
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Germany
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1
Voice Actor & Squu - You
2
Voice Actor & Squu - Dyn
3
Voice Actor & Squu - Last Drop Rule
4
Voice Actor & Squu - Nekk
5
Voice Actor & Squu - Cut
6
Voice Actor & Squu - Lust Is Stronger Than Us
7
Voice Actor & Squu - Rattle
8
Voice Actor & Squu - Moving On Moving On
9
Voice Actor & Squu - Fields
10
Voice Actor & Squu - Da Em
11
Voice Actor & Squu - Look Nice
12
Voice Actor & Squu - Hle
13
Voice Actor & Squu - Flows
14
Voice Actor & Squu - Barbara
"Farming, often associated with toil and drudgery, can also be a surprisingly sensual and playful activity. The rhythm of the seasons, the tactile experience of working the land, and the shared sense of accomplishment can all contribute to a heightened sense of intimacy and pleasure. Consider the act of planting seeds. The gentle touch of fingers on delicate seedlings, the anticipation of growth, and the nurturing care required can create a deeply satisfying and sensual experience.
Harvesting, too, can be a sensual affair, as one plucks ripe fruits and vegetables from the earth, feeling their warmth and succulence. Beyond the physical aspects, farming can also foster emotional intimacy. Couples can work together in the garden, sharing laughter, sweat, and a sense of shared purpose. The feeling of accomplishment that comes from growing one's own food can also strengthen bonds and create a sense of shared pride."
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Harvesting, too, can be a sensual affair, as one plucks ripe fruits and vegetables from the earth, feeling their warmth and succulence. Beyond the physical aspects, farming can also foster emotional intimacy. Couples can work together in the garden, sharing laughter, sweat, and a sense of shared purpose. The feeling of accomplishment that comes from growing one's own food can also strengthen bonds and create a sense of shared pride."
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1
NSRD - Schwenn
2
NSRD - Karstvina Recepte
3
NSRD - Kaadaa Riitaa
4
NSRD - Plava
5
NSRD - Kastanis
6
NSRD - Decembra Sesija Part 2
7
NSRD - Baanuuzhi Part 2
8
NSRD - Sieviete Ar Casio
9
NSRD - Kurmja Aptuvenie Celji
10
NSRD - Kina
11
NSRD - Levadmuuzika Maskavas TV Programmai LAIKS
12
NSRD - Guia Expedit
Repress!
Juris Boiko (1954-2002) and Hardijs Ledi ¡ (1955-2004) were the core members of the NSRD, which is best known as Latvian avant-garde, postmodern, experimental and underground music group active in 1980s. BIG TIP! STROOM BRINGING IT...! comes with download code.
Their activities were widely multidisciplinary and they can not be considered as purely musicians since none of them had a professional musical education. Their creativity was manifested through variety of media – music, performance and action art, visual arts, poetry, samizdat, the introduction video art in Latvia etc. NSRD also made a significant contribution to the explanation of the theoretical aspects of art in the interpretation of the postmodernist movement, and developed the independent concept of “Approximate Art”. At the end of the 80s, NSRD got connected and performed with several artists and musicians living in West Germany, including Indulis BilzÄ“ns, Micky Remann and Maximilian Lenz aka Westbam and others.
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Juris Boiko (1954-2002) and Hardijs Ledi ¡ (1955-2004) were the core members of the NSRD, which is best known as Latvian avant-garde, postmodern, experimental and underground music group active in 1980s. BIG TIP! STROOM BRINGING IT...! comes with download code.
Their activities were widely multidisciplinary and they can not be considered as purely musicians since none of them had a professional musical education. Their creativity was manifested through variety of media – music, performance and action art, visual arts, poetry, samizdat, the introduction video art in Latvia etc. NSRD also made a significant contribution to the explanation of the theoretical aspects of art in the interpretation of the postmodernist movement, and developed the independent concept of “Approximate Art”. At the end of the 80s, NSRD got connected and performed with several artists and musicians living in West Germany, including Indulis BilzÄ“ns, Micky Remann and Maximilian Lenz aka Westbam and others.
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1
Merope - Koumu Lil
2
Merope - Namopi Feat. Laraaji And Shahzad Ismaily
3
Merope - Lopsine Feat. Bill Frisell
4
Merope - Vija
5
Merope - Spindule
6
Merope - Aglala
7
Merope - O underhill Feat. Shahzad Ismaily
8
Merope - Rana
Merope's most experimental and open-minded full length to date, Vejula is a celebration of collaboration and playfulness, and features appearances from Shahzad Ismaily, Laraaji and Bill Frisell. Like its predecessors, the duo's fifth album still roots itself in Lithuanian folk forms, but sprouts out spiritedly from that point into unfamiliar landscapes, muddling ancient themes with contemporary philosophies, concepts and technology. Delicate instrumental sequences and ethereal vocals are woven into a rich tapestry of subtle synth work and evocative field recordings. On 'Kouma lil', Indre Jurgeleviciute and Bert Cools experiment with digital images of the kankles (a traditional Lithuanian chordophone), and Jurgeleviciute's voice, blurring the boundary between the organic and the artificial, while on 'Suiakmo, French percussionist Toma Gouband adds percussion from his custom-made sounding stones to Jurgeleviciute's gentle words and Cools' surreal, sensuous electronics. 'Vejula' is an album that reaches into the unknown without loosing its tight grip on the past. Merope are in a new creative phase of their career, and they've never sounded quite so universal, or so vital.
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Germany
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1
Anton Friisgaard - Syrati
2
Anton Friisgaard - Havun
3
Anton Friisgaard - Cemille
4
Anton Friisgaard - Erantai
5
Anton Friisgaard - Kampaka
6
Anton Friisgaard - Lavitir
7
Anton Friisgaard - Kunyikke
8
Anton Friisgaard - Solesia
Teratai Åkande' explores electronic techniques transforming sounds, melodies, and rhythms from balinese gamelan. It's an interaction and synthesis of acoustic and electronic expressions, exploring an imagined territory between two otherwise separate cultural worlds.
On 'Teratai Åkande' the Copenhagen-based producer and electronic musician Anton Friisgaard travels new paths, as he explores gamelan music from his own artistic perspective in close collaboration with Balinese musicians, afliated with Ubud’s acclaimed Gamelan scene.
After experiencing a concert with the Gamelan ensemble 'Gamelan Salukat' at Roskilde Festival in 2018, Friisgaard became inspired to contact Dewa Alit from the ensemble. With the aim of bringing forth a unique expression through the meeting of two distinct musical traditions, Friisgaard traveled to Ubud, Bali to record, compose and improvise in close collaboration with artists from the esteemed Gamelan scene in Ubud. The result is 'Teratai Åkande', which features Pande Made Gangga Sentana, I Nyoman Suwida, Dewa Badukz, Suryana Putra and Pande Made Gangga of Gamelan Salukat.
Anton Friisgaard (fka Hviledag) is an electronic producer and musician based in Copenhagen. Known primarily for his experimental work with tape loops and ambient soundscapes, he’s become an established figure both in the Danish music scene as well as internationally.
Composed, edited and processed in Copenhagen, Denmark from 2018 - 2024.
Here, the recordings and compositions changed shape multiple times over the years, until finally reaching their current state.`
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On 'Teratai Åkande' the Copenhagen-based producer and electronic musician Anton Friisgaard travels new paths, as he explores gamelan music from his own artistic perspective in close collaboration with Balinese musicians, afliated with Ubud’s acclaimed Gamelan scene.
After experiencing a concert with the Gamelan ensemble 'Gamelan Salukat' at Roskilde Festival in 2018, Friisgaard became inspired to contact Dewa Alit from the ensemble. With the aim of bringing forth a unique expression through the meeting of two distinct musical traditions, Friisgaard traveled to Ubud, Bali to record, compose and improvise in close collaboration with artists from the esteemed Gamelan scene in Ubud. The result is 'Teratai Åkande', which features Pande Made Gangga Sentana, I Nyoman Suwida, Dewa Badukz, Suryana Putra and Pande Made Gangga of Gamelan Salukat.
Anton Friisgaard (fka Hviledag) is an electronic producer and musician based in Copenhagen. Known primarily for his experimental work with tape loops and ambient soundscapes, he’s become an established figure both in the Danish music scene as well as internationally.
Composed, edited and processed in Copenhagen, Denmark from 2018 - 2024.
Here, the recordings and compositions changed shape multiple times over the years, until finally reaching their current state.`
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1
Pablo's Eye - Breezes Were Polar Storms
2
Pablo's Eye - Stories Are What They Are
3
Pablo's Eye - Red Light Returning
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Pablo's Eye - The Adventure
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Pablo's Eye - The Mirror
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Pablo's Eye - Nadar
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Pablo's Eye - The Dog Days Are Long Gone
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Pablo's Eye - The Girls From Peoria
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Pablo's Eye - The Deep Dark Days Of September
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Pablo's Eye - A Horn Heard Through Fog
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Pablo's Eye - Locked Away
12
Pablo's Eye - Leonora Hotel
13
Pablo's Eye - Mysterious City
14
Pablo's Eye - Sonar Vestapol
*new material (2023) from the enigmatic, Pablo's Eye
A group of friends go sailing and one disappears. The others start
searching for her. But it gradually becomes apparent that she won’t
be found. So the friends return home one by one. Only the missing
girl’s lover and her best friend remain.They have begun an affair.
As the lovers come together the girl’s disappearance is all but
forgotten.
From Michelangelo Antonioni — “Auteur of eerie angst”
(L’Avventura) by Richard Skinner from Vade Mecum Essays,
Reviews & Interviews (Zero books, 2015).
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A group of friends go sailing and one disappears. The others start
searching for her. But it gradually becomes apparent that she won’t
be found. So the friends return home one by one. Only the missing
girl’s lover and her best friend remain.They have begun an affair.
As the lovers come together the girl’s disappearance is all but
forgotten.
From Michelangelo Antonioni — “Auteur of eerie angst”
(L’Avventura) by Richard Skinner from Vade Mecum Essays,
Reviews & Interviews (Zero books, 2015).
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Germany
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1
Sissi Rada - Lil
2
Sissi Rada - Epitelous
3
Sissi Rada - Sunnefo
4
Sissi Rada - Sappho
5
Sissi Rada - Little Party
6
Sissi Rada - Poso
7
Sissi Rada - Stasis
8
Sissi Rada - Sissi Rada
9
Sissi Rada - Lonely Plan
10
Sissi Rada - Delayed Mausoleum
LTD to 400 copies
Sissi Rada's humble manifestations of the miracle of life, the troubles of love, the thoughts that span through a human mind while performing simple tasks, educated by her love and natural inclination to poetry, read like small vignettes, or marginalia notes on a diary that is of constant flux.
Recorded, mixed and produced by Sissi alone, in her Athens’ home, using a spartan but powerful instrumentation of harp, a Prophet synthesizer, and first and foremost her intimate and enchanting voice, ‘
Aporia’ stands out with its simplicity and familiarity, like a page out of a diary, shared with a blush and a witty smile."
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Sissi Rada's humble manifestations of the miracle of life, the troubles of love, the thoughts that span through a human mind while performing simple tasks, educated by her love and natural inclination to poetry, read like small vignettes, or marginalia notes on a diary that is of constant flux.
Recorded, mixed and produced by Sissi alone, in her Athens’ home, using a spartan but powerful instrumentation of harp, a Prophet synthesizer, and first and foremost her intimate and enchanting voice, ‘
Aporia’ stands out with its simplicity and familiarity, like a page out of a diary, shared with a blush and a witty smile."
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1
W.A.T. - Les Enfants
2
W.A.T. - Summer And The Empty Playground
It's never too late to celebrate love.
"I could climb every mountain. Cross the mighty sea. Refuse water from the fountain. To have you here with me. And I know I'll endure it. I'll be waiting at your gate." A liminal love message between Ad & Frankie from W.A.T.. Both folk country'ish songs made in the mid 80's"
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"I could climb every mountain. Cross the mighty sea. Refuse water from the fountain. To have you here with me. And I know I'll endure it. I'll be waiting at your gate." A liminal love message between Ad & Frankie from W.A.T.. Both folk country'ish songs made in the mid 80's"
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Alex Deforce & Charlotte Jacobs are overtaking emptyness in shades of silence. Language has something to say here. Voices combined in poetic levels of belgitude. Poetry rewriting days and nights.
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1
Sonoko - Meditation
2
Sonoko - Un Homme Et Une Femme
"Two elevator bangers to get through the gloomy holiday season by Japanese artist, Sonoko, probably made somewhere in the 90's. Merry ye ye"
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A collection of previously unreleased material (between '75 & '90) by Enno Velthuys.
Compiled by Hessel Veldman.
"Hello boys and girls, my name is Enno Velthuys and I am the idiot of the group (and also the
most intelligent, the most sensitive, the most artistic and he who has to carry the heaviest
load, because this boy's luggage, DAMN, it's pretty heavy).
Luckily, I had already been through a lot when I got this ‘knock in the head’. Sex, drugs, lots
of rock and roll and a sunny childhood with beautiful views I look back on with nostalgia.
Later on I lost my focus and I only thought about one thing: how to get out of it (that damn
problem, my shifted reality, my blind spot, that piece of poisoned apple of forbidden
knowledge choking my throat)!
But I can't think my way out of it, psychiatrists are just ordinary people, and very heavy pills
suppress everything (I'll just take my pills) FLASH!
You ask me what it takes to create music or art that is meaningful and tells a story. It’s hard
when you haven't had enough setbacks, nothing more than maybe a little blues. I'm not
saying it was the right path, but at least I've come a long way. And now I'm a fish in a pool.
Please understand that this is very disturbing. It's not my waterway. A fish belongs in a river.
And my star sign is fish. >))D
See you soon, EnnO"
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Compiled by Hessel Veldman.
"Hello boys and girls, my name is Enno Velthuys and I am the idiot of the group (and also the
most intelligent, the most sensitive, the most artistic and he who has to carry the heaviest
load, because this boy's luggage, DAMN, it's pretty heavy).
Luckily, I had already been through a lot when I got this ‘knock in the head’. Sex, drugs, lots
of rock and roll and a sunny childhood with beautiful views I look back on with nostalgia.
Later on I lost my focus and I only thought about one thing: how to get out of it (that damn
problem, my shifted reality, my blind spot, that piece of poisoned apple of forbidden
knowledge choking my throat)!
But I can't think my way out of it, psychiatrists are just ordinary people, and very heavy pills
suppress everything (I'll just take my pills) FLASH!
You ask me what it takes to create music or art that is meaningful and tells a story. It’s hard
when you haven't had enough setbacks, nothing more than maybe a little blues. I'm not
saying it was the right path, but at least I've come a long way. And now I'm a fish in a pool.
Please understand that this is very disturbing. It's not my waterway. A fish belongs in a river.
And my star sign is fish. >))D
See you soon, EnnO"
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Germany
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Svitlana Nianio Phanton - Fake
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Taran - Death And Bachelor
"I got to know visual artist, musician, and producer Guido Erfen and sound engineer, acoustic artist, and percussionist Michael Springer as part of a group of five by the name of SHM1. The members of the group organised concerts at Rhenania, a disused grain silo, where I performed with The Absurd in 1988 and 1989. The band was also featured on one of Erfen's tape releases. Erfen and Springer met when they were still at the same secondary school and soon became close friends and musical allies. With the other members of SHM they built an independent network for creating and distributing music beyond the mainstream in Cologne. Rent at Rhenania was incredibly low, allowing a recording studio to be established there.
The first traces of the Ukrainian Underground arrived at Erfen's door via a cassette tape with three bands from Kharkiv and Kyiv, the package including a long essay which detailed the rock scene in the two cities by Sergey Myasoyedow. In 1986, Myasoyedow, together with Sasha Panchenko, had founded the “Novaya Scena“ rock club in Kharkiv, presenting bands inspired by punk, the avant-garde, dadaism, and even medieval melodies. If Erfen hadn't been part of the independent mail-art scene, he wouldn't have had the chance to discover this unorthodox music. It was the summer of 1990, shortly before the Soviet Union collapsed and Ukraine became an independent state the following year.
In 1991, singer and keyboard player Soloveyka from Kharkiv arrived in Cologne and gave Erfen half a dozen cassettes with underground bands from Ukraine and a handful with bands from the Soviet Union. Intrigued by the original music of many of the acts, he visited Ukraine twice, made friends there, compiled a tape with his favourite tracks and finally succeeded in convincing Hamburg label boss Alfred Hilsberg to present underground music from Ukraine on the CD “Novaya Scena“ via his label What's So Funny About (the original home of Einstürzende Neubauten).
The album compiled 20 tracks recorded between 1986 and 1992 by 14 bands out of Kharkiv and Kyiv– music beyond the usual Perestroika records, often with jarring dissonances over grooves that fans of Captain Beefheart or The Fall would certainly enjoy.
On the other hand, there are tracks featuring flute and trumpet that seem inspired by folk, classical music, and punk. Ghostly chamber prog miniatures by Cukor Belaya Smert (lit. Sugar White Death) from Kyiv featuring, among others, the classically trained pianist and singer Svitlana Nianio (née Ochrimenko) and guitarist, visual artist, and spokesman Yewgeny "Yenia" Taran. Nianio sang in her native Ukrainian, as did two more of the bands. Today, this seems more relevant than ever, more culturally and historically significant from a Ukrainian point of view than it was even in 1993. Young Ukrainians were amazed at that time that rock music sung in their native tongue could work!
It is in the aftermath of the “Novaya Scena“ album that the music on this LP was created. About a year after the release of the CD in August 1993, Nianio and Taran came to Cologne to work on music for the dance production "Transilvania Smile" by the dance theatre ensemble Pentamonia2.
The seeds for the Traces of Ukrainian Underground in Cologne were sown. Starting in 1994, a series of informal recording sessions took place at Michael Springer’s Phanton Studio and at SHM studio in Rhenania. Together, these sessions formed the basis of the four different incarnations of the Ukraine-Cologne connection heard on STROOMS’s compilation.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
The first traces of the Ukrainian Underground arrived at Erfen's door via a cassette tape with three bands from Kharkiv and Kyiv, the package including a long essay which detailed the rock scene in the two cities by Sergey Myasoyedow. In 1986, Myasoyedow, together with Sasha Panchenko, had founded the “Novaya Scena“ rock club in Kharkiv, presenting bands inspired by punk, the avant-garde, dadaism, and even medieval melodies. If Erfen hadn't been part of the independent mail-art scene, he wouldn't have had the chance to discover this unorthodox music. It was the summer of 1990, shortly before the Soviet Union collapsed and Ukraine became an independent state the following year.
In 1991, singer and keyboard player Soloveyka from Kharkiv arrived in Cologne and gave Erfen half a dozen cassettes with underground bands from Ukraine and a handful with bands from the Soviet Union. Intrigued by the original music of many of the acts, he visited Ukraine twice, made friends there, compiled a tape with his favourite tracks and finally succeeded in convincing Hamburg label boss Alfred Hilsberg to present underground music from Ukraine on the CD “Novaya Scena“ via his label What's So Funny About (the original home of Einstürzende Neubauten).
The album compiled 20 tracks recorded between 1986 and 1992 by 14 bands out of Kharkiv and Kyiv– music beyond the usual Perestroika records, often with jarring dissonances over grooves that fans of Captain Beefheart or The Fall would certainly enjoy.
On the other hand, there are tracks featuring flute and trumpet that seem inspired by folk, classical music, and punk. Ghostly chamber prog miniatures by Cukor Belaya Smert (lit. Sugar White Death) from Kyiv featuring, among others, the classically trained pianist and singer Svitlana Nianio (née Ochrimenko) and guitarist, visual artist, and spokesman Yewgeny "Yenia" Taran. Nianio sang in her native Ukrainian, as did two more of the bands. Today, this seems more relevant than ever, more culturally and historically significant from a Ukrainian point of view than it was even in 1993. Young Ukrainians were amazed at that time that rock music sung in their native tongue could work!
It is in the aftermath of the “Novaya Scena“ album that the music on this LP was created. About a year after the release of the CD in August 1993, Nianio and Taran came to Cologne to work on music for the dance production "Transilvania Smile" by the dance theatre ensemble Pentamonia2.
The seeds for the Traces of Ukrainian Underground in Cologne were sown. Starting in 1994, a series of informal recording sessions took place at Michael Springer’s Phanton Studio and at SHM studio in Rhenania. Together, these sessions formed the basis of the four different incarnations of the Ukraine-Cologne connection heard on STROOMS’s compilation.
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Germany
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Ciro Vitiello - A Day In Your Life Feat. Antonina Nowacka
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The album breathes through that tension, the desire to fly and the fear of falling, the suspicion of having already crashed somewhere unseen.
Wind, creaking ropes, invisible currents: these become signals from another uncoding state, reminders that air can be both home and haunting. The record lingers in suspension. Each track feels like a fragment carried by wind, a message blurred, a memory misplaced, something approaching meaning but never arriving.
The record drifts between orchestral gestures and dream-pop/post-rock shadows, guided by Ciro Vitiello’s fascination with shoegaze textures and cinematic atmospheres, and features contributions by Heith, Renato Grieco, Stefano Costanzo, Caraluce and Daniel Kinzelman. Vocal features include Martyna Basta, Heith and Antonina Nowacka, alongside Ciro’s own voice."
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Germany
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The album breathes through that tension, the desire to fly and the fear of falling, the suspicion of having already crashed somewhere unseen.
Wind, creaking ropes, invisible currents: these become signals from another uncoding state, reminders that air can be both home and haunting. The record lingers in suspension. Each track feels like a fragment carried by wind, a message blurred, a memory misplaced, something approaching meaning but never arriving.
The record drifts between orchestral gestures and dream-pop/post-rock shadows, guided by Ciro Vitiello’s fascination with shoegaze textures and cinematic atmospheres, and features contributions by Heith, Renato Grieco, Stefano Costanzo, Caraluce and Daniel Kinzelman. Vocal features include Martyna Basta, Heith and Antonina Nowacka, alongside Ciro’s own voice."
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Caterina Barbieri & Bendik Giske's At Source resounds music as wellspring, that which is essential and unknowable, and yet utterly primary. It finds two acclaimed composer-musicians building a world together in self-contained collaboration between analogue synthesis and an extended approach to the saxophone that conjures its own universe of sound.
Listen: https://listen.k7.com/1c1166cc-68f0-4afc-a273-479eb8ac10b1
Tracklist:
A1 Intuition, Nimbus
A2 Alignment, Orbits
B1 Impatience, Magma
B2 Persistence, Buds
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Listen: https://listen.k7.com/1c1166cc-68f0-4afc-a273-479eb8ac10b1
Tracklist:
A1 Intuition, Nimbus
A2 Alignment, Orbits
B1 Impatience, Magma
B2 Persistence, Buds
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1
Zero Netcost - Ten Years Later
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Zero Netcost - Ten Years Later (Funki Porcini Instrumental Remix)
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Zero Netcost - Ten Years Later (Bent Latin Remix)
Zero Netcost returns with “Ten Years Later”: an elegant downtempo cut driven by delicate piano and a spellbinding vocal. To beef up the maxi, the legendary duo Bent reunites once again with Zero Netcost, delivering two remixes packed with warm, finely textured detail. And there’s more heavy company: Funki Porcini drops an instrumental version with an oblique, late-night twist. A vinyl made to glide from warm-up to after-hours without losing the thread.
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1
Abul Mogard - Against A White Cloud
2
Abul Mogard - In Ture Contemplation
3
Abul Mogard - Along The River
4
Abul Mogard - Along The River (Reduction) (Digital Bonus Track)
Edition of 500 copies, biovinyl, incl. download.
Soft Echoes presents the first physical edition of ‘In a Few Places Along the River’ by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release.
Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space.
‘Against a White Cloud’ and ‘In True Contemplation’ open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece ‘Along the River’, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn't break the wilful suspension of disbelief: you stay in its trance.”
“Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of ‘Along the River’ was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.”
After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.”
Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note.
The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s ‘Slow Walker’ audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film ‘Soixante-sept millisecondes’.
Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.
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Soft Echoes presents the first physical edition of ‘In a Few Places Along the River’ by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release.
Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space.
‘Against a White Cloud’ and ‘In True Contemplation’ open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece ‘Along the River’, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn't break the wilful suspension of disbelief: you stay in its trance.”
“Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of ‘Along the River’ was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.”
After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.”
Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note.
The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s ‘Slow Walker’ audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film ‘Soixante-sept millisecondes’.
Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.
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Germany
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1
Cantoma - Way to The Sun (Calm’s Mellow Mellow Acid Dub)
2
Aura Safari - Sur Mon Balconnet (Calm’s Mellow Mellow Acid Remix)
3
Dream Baby Dream - Banana Trance (Calm’s Mellow Mellow Acid Remix)
4
Michele Mininni - Vertigo (Calm Remix)
5
Meitei Mahi - Dounika Kounika (Calm's Mellow Mellow Acid Remix)
6
Gallo - Abysso (Calm’s Beatless Dub)
7
Seahawks - Blue Surround (Calm's Mellow Mellow Acid Remix)
8
Yuichiro Kato - Kiss of Life (Calm Remix)
To honour the enduring appeal of a great musical rework, Hell Yeah is launching The Art of Remix. This essential new series collects the best remixes from a range of label favourites. First up is Japanese downtempo master Calm with exclusive, never-before-on-vinyl versions of originals by Cantoma, Aura Safari, DJ Sofa’s Dream Baby Dream, Seahawks, Gallo, Yuichiro Kato and more. The release comes with rich liner notes by the authoritative Dr Rob from Ban Ban Ton Ton, and a second volume from Is It Balearic's Coyote will follow soon.
Remixes have always been at the heart of Hell Yeah's output as a way of reworking classic sounds into different contexts, allowing artists to explore outside their usual remit and also to introduce new talents. Clam has long perfected the art with his famously laidback takes on all sorts of Balearic, house, dub and acid under the Mellow Mellow Acid subtitle. He's remixed many a Japanese legend but also a wealth of artists from across the world, and eight of those reimagined gems balance euphoria with solitude on this first volume.
First, his take on Cantoma's 'Way To The Sun' infuses drones and chimes with bubbly acid. 'Sur Mon Balconett' shimmers with Spanish guitar and sultry sax, ghosts of yesterday still shuffling. 'Banana Trance' jolts with breakbeats while taking a Balearic leap into hedonism. Mininn’s 'Vertigo' drifts dubwise, from monastic chants to operatic bursts. Maho’s 'Bakuhatsu' growls dark and sleazy as acid and riffs collide, 'Abysso' floats with strings and sirens in symphony, 'Blue Surround' lulls before exploding with jazz fire and Kato’s 'Kiss of Life' closes with a cosmic, romantic serenade. Calm's The Art of Remix sets a high standard for a series which will soon turn to Coyote and Scandi-house great Bjorn Torske.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Remixes have always been at the heart of Hell Yeah's output as a way of reworking classic sounds into different contexts, allowing artists to explore outside their usual remit and also to introduce new talents. Clam has long perfected the art with his famously laidback takes on all sorts of Balearic, house, dub and acid under the Mellow Mellow Acid subtitle. He's remixed many a Japanese legend but also a wealth of artists from across the world, and eight of those reimagined gems balance euphoria with solitude on this first volume.
First, his take on Cantoma's 'Way To The Sun' infuses drones and chimes with bubbly acid. 'Sur Mon Balconett' shimmers with Spanish guitar and sultry sax, ghosts of yesterday still shuffling. 'Banana Trance' jolts with breakbeats while taking a Balearic leap into hedonism. Mininn’s 'Vertigo' drifts dubwise, from monastic chants to operatic bursts. Maho’s 'Bakuhatsu' growls dark and sleazy as acid and riffs collide, 'Abysso' floats with strings and sirens in symphony, 'Blue Surround' lulls before exploding with jazz fire and Kato’s 'Kiss of Life' closes with a cosmic, romantic serenade. Calm's The Art of Remix sets a high standard for a series which will soon turn to Coyote and Scandi-house great Bjorn Torske.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
bvdub & East of Oceans - We Stood in Fields of Light
2
bvdub & East of Oceans - We Felt the Glowing Rain
3
bvdub & East of Oceans - We Remembered When We Danced
4
bvdub & East of Oceans - And Then We Disappeared
Tracklisting
A1 bvdub & East of Oceans - We Stood in Fields of Light
B1 bvdub & East of Oceans - We Felt the Glowing Rain
C1 bvdub & East of Oceans - We Remembered When We Danced
D1 bvdub & East of Oceans - And Then We Disappeared
Sales Note
Replicant Memories is the seismic fallout from the clash between bvdub and East of Oceans: two of Brock Van Wey's three aliases representing different stylistic directions, while being vessels for the same unbridled oceanic creativity.
Within the four chapters of this epic, the bottomless emotion of bvdub melts into the euphoria of East of Oceans, electricity discharging and mists rising from their collision while they together reach new heights of intensity.
This music changes you. Like being exposed to forces of nature, there is no holding back and no place to hide within its wild embrace. It is music for surrendering into. And be left in gratitude for.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
A1 bvdub & East of Oceans - We Stood in Fields of Light
B1 bvdub & East of Oceans - We Felt the Glowing Rain
C1 bvdub & East of Oceans - We Remembered When We Danced
D1 bvdub & East of Oceans - And Then We Disappeared
Sales Note
Replicant Memories is the seismic fallout from the clash between bvdub and East of Oceans: two of Brock Van Wey's three aliases representing different stylistic directions, while being vessels for the same unbridled oceanic creativity.
Within the four chapters of this epic, the bottomless emotion of bvdub melts into the euphoria of East of Oceans, electricity discharging and mists rising from their collision while they together reach new heights of intensity.
This music changes you. Like being exposed to forces of nature, there is no holding back and no place to hide within its wild embrace. It is music for surrendering into. And be left in gratitude for.
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
1
SASCHA DIVE - I WAS DEEP IN MY LAST LIFE
2
SASCHA DIVE - DUB CHRONICLES #7
3
SASCHA DIVE - THE RUSH (FEAT. ROBERT OWENS)
4
SASCHA DIVE - DIABLA
Special remarks: ORANGE COLORED // LIMITED // VINYL ONLY // 180G VINYL // PRINTED KRAFTPACK SLEEVE
Tracklist 12":
A1 I WAS DEEP IN MY LAST LIFE
A2 DUB CHRONICLES #7
B1 THE RUSH (FEAT. ROBERT OWENS)
B2 DIABLA
“I WAS DEEP IN MY LAST LIFE” - LIMITED COLORED REPRESS - VINYL ONLY RELEASE
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist 12":
A1 I WAS DEEP IN MY LAST LIFE
A2 DUB CHRONICLES #7
B1 THE RUSH (FEAT. ROBERT OWENS)
B2 DIABLA
“I WAS DEEP IN MY LAST LIFE” - LIMITED COLORED REPRESS - VINYL ONLY RELEASE
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
1
Derek Hunter Wilson - Fort Stevens
2
Derek Hunter Wilson - Battery 247
3
Derek Hunter Wilson - Salish Sea
4
Derek Hunter Wilson - Cape Disappointment
5
Derek Hunter Wilson - Deception Pass
6
Derek Hunter Wilson - Benson Beach
Scupltures is composer and pianist Derek Hunter Wilson’s third solo album, an ode to the ancient and contested shorelines of the Pacific Northwest. Deeply embedded in place, the six longform pieces that make up the album reflect the artist’s journey through grief (including losing his father) and the passage of time, each one built upon loops created from extended sessions with harpist Joshua Ward. Like the foggy, moss-encrusted locations that inspired the album, Sculptures has a timeless feel to it, shadowed by the rumblings of a colonial system in decay.
Award-winning poet Mathias Svalina composed a poem for the album, entitled “A Dream for Sculptures”. It is reproduced on an insert that accompanies each LP.
Derek Hunter Wilson is a composer and multi-instrumentalist based in Portland. He has released two solo albums on Beacon Sound (Travelogue, 2017; Steel, Wood, & Air, 2019), as well as a collaborative album with Location Services entitled Wake (2022). In 2018 he collaborated with visual artist Gregory Euclide for his Thesis Project label, resulting in a split 10" with Spanish musician Rauelsson. He has additionally worked with poets Zachary Schomburg and Brandi Katherine Herrera for several sound and performance pieces, and has performed live on the West Coast and in Berlin, sharing the stage with artists such as Colleen, Amulets, Patricia Wolf, Pulse Emitter, and Liima.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Award-winning poet Mathias Svalina composed a poem for the album, entitled “A Dream for Sculptures”. It is reproduced on an insert that accompanies each LP.
Derek Hunter Wilson is a composer and multi-instrumentalist based in Portland. He has released two solo albums on Beacon Sound (Travelogue, 2017; Steel, Wood, & Air, 2019), as well as a collaborative album with Location Services entitled Wake (2022). In 2018 he collaborated with visual artist Gregory Euclide for his Thesis Project label, resulting in a split 10" with Spanish musician Rauelsson. He has additionally worked with poets Zachary Schomburg and Brandi Katherine Herrera for several sound and performance pieces, and has performed live on the West Coast and in Berlin, sharing the stage with artists such as Colleen, Amulets, Patricia Wolf, Pulse Emitter, and Liima.
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
1
Hawksmoor - Amygdala Opening
2
Hawksmoor - Golden Dolphins
3
Hawksmoor - Flooding A Maze (In Slow Motion)
4
Hawksmoor - Urdhva Hastasna
5
Hawksmoor - Infinite Tapestry
6
Hawksmoor - Ti Kallisti
7
Hawksmoor - Adviata
8
Hawksmoor - Clear Light
9
Hawksmoor - Into The White Sun
10
Hawksmoor - Astomeria
You will be aware of the work of James McKeown and his Hawksmoor project. A catalogue of 13 significant and substantial records made in less than a decade.
James can be said to be operating in the realm of ambient music.
There are song structures and often beautiful melodies deployed - and more often than you might expect. He can be psycho-geographical, and woozily hauntological at times. There are shades of Eno, Tangerine Dream, Cluster and Michael Rother - but nothing is ever copied. It's detailed, textured deep and often emotionally affecting. He's made records inspired by Victorian religious architecture, geopolitical instability, JG Ballard, dreams and alternate states of consciousness; prescription drugs, new town neurosis and a secretly prehistoric Milton Keynes.
Musically, it always somehow reflects the subject matter. He's primarily about analog synthesis, old drum boxes, razor and tape, tangled wires and real instruments. Perhaps a post-digital Druid who emerged from the strange recesses of the natively insurrectionist Bristol scene. There are records backed up and ready to go. A modern British electronic genius of sorts.
Which brings us here to BID13 and another record about drugs. Am I Conscious Now? is perhaps a companion piece to 2021's oddly melancholy On Prescription.
The subject matter at hand is specifically the psychedelic variant 5-MeO-DMT. James dutifully did his research - experimenting with the drug - with a view to exploring the impact it might make on his music. Hold up, I hear you cry, musicians have been using psychedelics at least since the Maggot Brained Funkadelic freed our minds in the hope our asses would follow. Can't forget Spacemen Three's brilliantly definitive 'Taking Drugs To Make Music To Take Drugs To'. James McKeown has made a record which deserves to enter this stoned immaculate pantheon. But 5-MeO-DMT is very different.
"It overrides the body and forces surrender. As a person, it completely changed my life, outlook, perspective".
It was first documented in the 1930s, is very different to your 'standard' LSD variants. No colour wheel intensity, no flying about seeing little green men with massive heads calling you into infinity. It doesn't flood the mind but rather, it empties it. Scarily for some, 5-MeO-DMT is said to strip away all sensation as it acts on the brain in specific relation to Serotonin. It lasts sometimes only minutes, though the individual's internal perception of time is obviously exploded. As, 'the Mount Everest of Psychedelics', it's no groovy cartoon loon pant Purple Haze then, man. All of which persuaded our intrepid hero to give it a go. It specifically inspired the music you can hear by clicking on the links above.
"Psychedelics are for me tools for healing, spiritual connection and creativity. It's not about hedonism, flashing lights, patterns, the cliches. It's very unique.
Language doesn't really work to explain it. It's everything and nothing. Some experience a state of pure bliss. I experienced a terrifying feeling of dying, and then a sense of unity, like I was connected to everything. I hesitate to use the term, but I'd describe it as being a sense of being reborn".
If like Lennon and our man here you truly surrender to The Void, you'll know you are everything and nothing too. So tell me, which album by Gary Barlow is going to gift you all this?
Hawksmoor is building an important body of work notable for its deep integrity.
This is an extraordinary record. Its intensity is an instant hit and, once you are sucked into its orbit, it's routinely mesmerising.
Beyond that it is not, kids, an ad for the drug. As Frank Zappa advised re. the Yellow Snow, make your own informed decisions.
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
James can be said to be operating in the realm of ambient music.
There are song structures and often beautiful melodies deployed - and more often than you might expect. He can be psycho-geographical, and woozily hauntological at times. There are shades of Eno, Tangerine Dream, Cluster and Michael Rother - but nothing is ever copied. It's detailed, textured deep and often emotionally affecting. He's made records inspired by Victorian religious architecture, geopolitical instability, JG Ballard, dreams and alternate states of consciousness; prescription drugs, new town neurosis and a secretly prehistoric Milton Keynes.
Musically, it always somehow reflects the subject matter. He's primarily about analog synthesis, old drum boxes, razor and tape, tangled wires and real instruments. Perhaps a post-digital Druid who emerged from the strange recesses of the natively insurrectionist Bristol scene. There are records backed up and ready to go. A modern British electronic genius of sorts.
Which brings us here to BID13 and another record about drugs. Am I Conscious Now? is perhaps a companion piece to 2021's oddly melancholy On Prescription.
The subject matter at hand is specifically the psychedelic variant 5-MeO-DMT. James dutifully did his research - experimenting with the drug - with a view to exploring the impact it might make on his music. Hold up, I hear you cry, musicians have been using psychedelics at least since the Maggot Brained Funkadelic freed our minds in the hope our asses would follow. Can't forget Spacemen Three's brilliantly definitive 'Taking Drugs To Make Music To Take Drugs To'. James McKeown has made a record which deserves to enter this stoned immaculate pantheon. But 5-MeO-DMT is very different.
"It overrides the body and forces surrender. As a person, it completely changed my life, outlook, perspective".
It was first documented in the 1930s, is very different to your 'standard' LSD variants. No colour wheel intensity, no flying about seeing little green men with massive heads calling you into infinity. It doesn't flood the mind but rather, it empties it. Scarily for some, 5-MeO-DMT is said to strip away all sensation as it acts on the brain in specific relation to Serotonin. It lasts sometimes only minutes, though the individual's internal perception of time is obviously exploded. As, 'the Mount Everest of Psychedelics', it's no groovy cartoon loon pant Purple Haze then, man. All of which persuaded our intrepid hero to give it a go. It specifically inspired the music you can hear by clicking on the links above.
"Psychedelics are for me tools for healing, spiritual connection and creativity. It's not about hedonism, flashing lights, patterns, the cliches. It's very unique.
Language doesn't really work to explain it. It's everything and nothing. Some experience a state of pure bliss. I experienced a terrifying feeling of dying, and then a sense of unity, like I was connected to everything. I hesitate to use the term, but I'd describe it as being a sense of being reborn".
If like Lennon and our man here you truly surrender to The Void, you'll know you are everything and nothing too. So tell me, which album by Gary Barlow is going to gift you all this?
Hawksmoor is building an important body of work notable for its deep integrity.
This is an extraordinary record. Its intensity is an instant hit and, once you are sucked into its orbit, it's routinely mesmerising.
Beyond that it is not, kids, an ad for the drug. As Frank Zappa advised re. the Yellow Snow, make your own informed decisions.
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
1
Th Blisks - A1: A Sylph
2
Th Blisks - A2: Gasper
3
Th Blisks - A3: Alaska
4
Th Blisks - A4: Guesthouse
5
Th Blisks - A5: Avoska
6
Th Blisks - B1: Garfitti
7
Th Blisks - B2: A Salve
8
Th Blisks - B3: I Don't Fade
9
Th Blisks - B4: Taipei Dubble
LP
Tracklist:
A1: A Sylph
A2: Gasper
A3: Alaska
A4: Guesthouse
A5: Avoska
B1: Garfitti
B2: A Salve
B3: I Don't Fade
B4: Taipei Dubble
Short info:
Efficient Space continues to bind its mind with Altered States Tapes, offering another service to How So?, Th Blisks' 2022 debut in home-cooked experimentation. A blurring of three vastly different heads into a single disjointed, but fluid organism, How So? finds Yuta Matsumura (The Lewers, Keanu Nelson), Amelia Besseny (Troth, Impatiens) and Cooper Bowman (Troth, CD3) working with vocals, melodica, deeply pulled samples, guitar, drum machine, synths and resourceful percussion. An Elixa-blueprint of sideways ambient rituals, fog-thick melodica dub and paranoid trip hop by way of Sydney's pioneering industrial collagists, the LP recirculates beyond its original 150-copy confines for those who missed its first apparition.
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: A Sylph
A2: Gasper
A3: Alaska
A4: Guesthouse
A5: Avoska
B1: Garfitti
B2: A Salve
B3: I Don't Fade
B4: Taipei Dubble
Short info:
Efficient Space continues to bind its mind with Altered States Tapes, offering another service to How So?, Th Blisks' 2022 debut in home-cooked experimentation. A blurring of three vastly different heads into a single disjointed, but fluid organism, How So? finds Yuta Matsumura (The Lewers, Keanu Nelson), Amelia Besseny (Troth, Impatiens) and Cooper Bowman (Troth, CD3) working with vocals, melodica, deeply pulled samples, guitar, drum machine, synths and resourceful percussion. An Elixa-blueprint of sideways ambient rituals, fog-thick melodica dub and paranoid trip hop by way of Sydney's pioneering industrial collagists, the LP recirculates beyond its original 150-copy confines for those who missed its first apparition.
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