LP

2. GENRE/S: Electronic

3. TRACKLISTS:
> A1 / 1. Mutosy
> A2 / 2. Zur
> A3 / 3. Truth Is Possible
> A3 / 4. Glass Teeth 94
> B1 / 5. La Nesque
> B2 / 6. Dar Shab
> B3 / 7. Divân
> B4 / 8. Slow Eaters (ft Quelque Bourdon)

4. SHORT INFO:
Cinna Peyghamy unveils new album fusing Persian tombak and modular synthesis
Five years in the making, "Music For Tombak & Synth" bridges heritage, technology, and personal
identity. The project, initiated in 2019 during Peyghamy's master's thesis research on contact
microphones, was conceived as a means to reconnect with his Persian roots while exploringexperimental sound design. In the album, Peyghamy seamlessly blends the traditional Persian
tombak with modular synthesis and digital signal processing, creating a distinctive musical landscape
that bridges live improvisation and studio production. The album’s genesis traces back to Peyghamy’s
exploration of improvised electronic music and his desire to craft a performance-ready setup. Over
several years, the project evolved from capturing the energy of his live shows into a fully composed
studio work.

"Music For Tombak & Synth" stands as the first record where Peyghamy unites his dual identities as a
live performer and producer, resulting in a body of work that reflects his deep connection to family,
memory, and cultural heritage. The album features personal elements such as his father’s voice
reciting the poetry of Ahmad Shamlo on the track Dar Shab ,?? ??collaborations with long-time friend
Quelque Bourdon on clarinet, and the evocative sounds of the Persian setar, all anchored by the
physicality and rhythms of the tombak. A sentiment further reflected in the album cover; a photograph
taken by his father, Khosrow ‘Payram’ Peyghamy, picturing both his parents and grandparents.

With this release, Peyghamy moves beyond conventional boundaries of "traditional versus
contemporary" or "acoustic versus electronic," instead offering a nuanced exploration of identity
through sound. Each track serves as a keepsake, referencing cherished memories, emotions, and
musical influences that define his experience as a French-born artist of Iranian descent, unable to visit
his home country. "Music For Tombak & Synth" invites listeners to engage with a deeply personal
narrative, rooted in both cultural history and sonic innovation.

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Special remarks: 10” bio vinyl

2. GENRE/S: Electronic

3. TRACKLISTS:
A1 - Lune
A2 - You Have the Voice
B1 - A Hair Braiding For Submerging In The Oceans Of Dreams
B2 - Underworld Sustained by the Storm
B3 - Undoing the Spell

4. SHORT INFO:
Period Music is a research process involving Susanna Gonzo, Merma Suelo, Tuce Alba, Elizabeth
Gallon Droste, Agnese Menguzzato, and Farah Hazim. The six artists aim to attune to the different
temporalities experienced through our bodies, drawing from multiple meanings of period – from the
menstrual cycle to musical repetitions and astronomical revolutions.r'tu
A central meaning of the Sanskrit word for ritual, r'tu, is menstruation, the original ritual. The root of
r'tu is in arithmetic and rhythm1.
Period Music has been staying with essential matters on how we listen to time and rhythms in our
bodies and in the world. Questioning the tempo of everyday life in an accelerated system like that of
modern society, the group has opened up co-creation spaces to listen to embodied memories.
Through dialogue, improvisation and jam sessions, the six artists attuned to each other’s processes,
composing music, word scores and drawings – ultimately sounding together.
This work embodies other notions of community through archetypes, embracing the impermanence
that reveals the countless rhythms of life. Period Music speaks of friendship and connection, and
invites you to take on a journey of interconnectedness between our rhythms and the broader social
structures influencing our lives.
The project emerges from conversations that began in Berlin in the fall of 2023, including a one-week
residency at Atelier Josepha in Ahrenshoop by the Baltic Sea in April 2024. The first physical iteration
of this project will consist of a book and a vinyl. The album features looping improvisational
compositions encoded with messages about multiple temporalities. The accompanying book gathers
poetic memories, letters, photographs, symbols, and drawings that emerged during the process

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Book/Merch

1. Special remarks: 116 pages A5 format, risograph printing with thread binding, exposed spine

2. GENRE/S: Poetry/Art/Photography

3. SHORT INFO:

Period Music is a research process involving Susanna Gonzo, Merma Suelo, Tuce Alba, Elizabeth
Gallon Droste, Agnese Menguzzato, and Farah Hazim. The six artists aim to attune to the different
temporalities experienced through our bodies, drawing from multiple meanings of period – from the
menstrual cycle to musical repetitions and astronomical revolutions.

r'tu
A central meaning of the Sanskrit word for ritual, r'tu, is menstruation, the original ritual. The root of
r'tu is in arithmetic and rhythm1.

1Judy Grahn, Blood, Bread, and Roses: How Menstruation Created the World (Boston: Beacon Press,
1993), 45.Period Music has been staying with essential matters on how we listen to time and rhythms in our
bodies and in the world. Questioning the tempo of everyday life in an accelerated system like that of
modern society, the group has opened up co-creation spaces to listen to embodied memories.
Through dialogue, improvisation and jam sessions, the six artists attuned to each other’s processes,
composing music, word scores and drawings – ultimately sounding together.
This work embodies other notions of community through archetypes, embracing the impermanence
that reveals the countless rhythms of life. Period Music speaks of friendship and connection, and
invites you to take on a journey of interconnectedness between our rhythms and the broader social
structures influencing our lives.

The project emerges from conversations that began in Berlin in the fall of 2023, including a one-week
residency at Atelier Josepha in Ahrenshoop by the Baltic Sea in April 2024. The first physical iteration
of this project will consist of a book and a vinyl. The album features looping improvisational
compositions encoded with messages about multiple temporalities. The accompanying book gathers
poetic memories, letters, photographs, symbols, and drawings that emerged during the process

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12" 180g bio vinyl

2. GENRE/S: Techno

3. TRACKLISTS:
> A1/1. Isolation Depth
> B1/2. Exposition Zero

4. SHORT INFO:
Another fine slab of dub techno from Surface Access

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2LP 180g bio vinyl

2. GENRE/S: Electronic / Experimental

3. TRACKLISTS:
A1 - Garden Of Eden
A2 - Construction
A3 - Pass The Time
A4 - Survival

B1 - The Fool And His Harem
B2 - Nothingness
B3 - Near Death
B4 - Beasts Of This Earth

C1 - Fall Into Time
C2 - Folie à Deux
C3 - Screams at the Edge of Dawn
C4 - Divorce
C5 - Three Windows
C6 - TouristsD1 - Shame

D1 - Shame
D2 - Tower of Sin
D3 - Club Kapital
D4 - Volver
D5 - Spirit
D6 - Muse

4. SHORT INFO:

It's been 10 years since Pomegranates - Nicolás Jaar's unofficial/alternative soundtrack to
Sergei Parajanov's 1969 film The Color of Pomegranates - was first released, and to highlight
this occasion we are reissuing the album on vinyl, with the first edition (a collaboration with
the label Mana) having long been out of print.

Longer and slower-releasing than his other albums, Pomegranates often parallels the
cinematic epic on which it’s based, with ideas pursued over long timelines and
across dark landscapes, assembling elements and moods from the aesthetic and folkloric
landscapes of Armenia. Jaar’s identity is perceived within this, folding in his heritage as
Palestinian and Chilean as he attempts to build a musical architecture outwards that frames
as much of the mess and sprawl of life as possible; using a language that investigates the
movement and fluctuation of his own artistic career and character similarly to the film’s tracing
of the coming of age of the young poet, Sayat-Nova.

At times, Pomegranates feels profoundly intimate, as though looking through the archive of a
friend’s music and discovering the accent and common currency that lives within each of
these tracks. Much of Jaar’s most elegant and touching melodic work is nestled here, its
power residing in its simplicity and willingness to speak to the heart and not the mind of the
listener.

In the text document included in the first freely distributed version of the album in 2015, Jaar
writes that the album was conceived during a moment of change, and that the pomegranate
became an icon that heralded that passage of time. The physical publication of Pomegranates
closes one door whilst opening another, keeping promises and marking a significant point in
the career of an artist who restlessly reinvents himself, with a document that illustrates a
common language of lyricism, freedom, and emotional resonance linking his many paths and
projects

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- Record Of The Week in "The Quietus" in Release week -

1. LP, Special Gatefold LP cover with inside pocket (slot) to hold the insert Poem booklet inclusion

2. GENRE/S: Electronic
3. TRACKLISTS:
> A1/1. On Memory
> A2/2. Glass Skin
> A3/3. Early Road
> A4/4. Anatomy of a Straight Line
> A5/5. Untamed
> A6/6. Motherland
> A7/7. Tear Gas Clouds
> B1/8. Evangelina
> B2/9. Inward
> B3/10. When We Were Diamonds
> B4/11. A Body Like a Home
> B5/12. Dream of Fire
> B6/13. Going South4. S

SHORT INFO:

Following a string of acclaimed collaborations, including Agua Dulce with percussionist Laura Robles
and Mapambazuko alongside Congolese guitarist Titi Bakorta, Peruvian artist Alejandra Cárdenas
(aka Ale Hop) returns with her most personal work to date yet, A Body Like a Home. Marking her first
album under her birth name, the project is a sonic memoir exploring the tangled realms of trauma,
recovery, and love through autobiographical soundscapes.

A Body Like a Home is the artist at her most exposed. Comprising 13 songs and 15 poems, the album
sees her set aside collaborative fusions for solo catharsis, channeling years of turbulence -
intergenerational scars left by colonialism, racism, domestic violence, and alcoholism - into a work
that oscillates between brutality and tenderness. Cárdenas states:
“I grew up under Alberto Fujimori’s dictatorship, when a veil of hopelessness seemed to settle over
everything. This is the backdrop of the album. The songs and poems trace the inevitable loop
between private wounds - addiction, domestic violence, fractured intimacy - and Peru’s national scars,
carved by colonialism. It’s not a straight story or a resolution. Writing and composing became a ritual
of digging for meaning, into what’s buried, disguised, or renamed, until the body itself became a living
archive.”

At the heart of the album is Cárdenas’s own voice - part witness, part confessor - reciting over layers
of electric guitars, electronic textures, the haunting violin of Mexican musician Gibrana Cervantes, and
a collage of field recordings, from rainfall, muffled whispers, broken glass, to archival protest footage
from Peru. The result is a work that resonates like a diary written in sound.

The first single, "Motherland", is a searing testimony where Cárdenas voice cracks under the weight
of history and personal loss. Amid a storm of distorted guitars, she traces the cyclical legacies of
colonialism, from state massacres branding Indigenous bodies as “terrorists” to the spiral of addiction
as an unavoidable future. The lyrics draw parallels between political and domestic violence: a
mother’s drunken knife pressed to her chest, and a motherland where racism is currency. She utters:
“sacrifice demands a body.” Yet, amid the wreckage, a willful grip on love and faith persists.

Ultimately, A Body Like a Home is a document of transformation. Tracks like "Evangelina" and the title
piece "A Body Like a Home" hold space for resilience, spirituality, and love, while "Early Road" and
"Going South" thread subtle nods to Peruvian folklore, opening up bright vignettes into a sense of
belonging.

The poetry chapbook accompanying A Body Like a Home (five of its pieces are also recited on the
album) extends the work, building a parallel architecture. Oscillating between the documentary and
the mythic, the intimate and the forensic, the profane and the oniric, these poems practice a theology
of the ordinary, where everyday objects - cameras, knives, moth-eaten cotton - are charged withspiritual and historical weight. Here, the body is land, house, battlefield, collective pain, geological
territory; and trauma is, in contrast, archival, cellular, ritualistic, inherited. Read alongside the music,
the stories refract across two mediums: songs give them breath and poems give them bone.

Credits:
Guitar, voice, and electronics by Alejandra Cárdenas
Violin on all songs (except "Motherland") by Gibrana Cervantes
Percussion on "Early Road," "Anatomy of a Straight Line," "Untamed," and "Evangelina" by Laura
Robles
Composed by Alejandra Cárdenas
Except “When We Were Diamonds,” composed by Alejandra Cárdenas and Gibrana Cervantes
Mastering by Mike Grinser at Manmade Mastering, Berlin
Cover photo by Raúl García Pereira
Graphic design by Maziyar Pahlevan

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1. LP

2. GENRE/S: Electronic

3. TRACKLISTS:
> A1/1. Yodo (Veneno)
> A2/2. Obelisco Elysium
> A3/3. Desaparición Incompleta
> A4/4. Via Negativa
> B1/5. Prospero
> B2/6. El Sol Mal
> B3/7. Somitas
> B4/8. Cometierra
> B5/9. Yodo (Remedio)


4. SHORT INFO:

Following up a string of releases on labels such as Mana, Sun Ark, Orange Milk Records and Abyss,
Other People are honoured to present the new album Fobia by Argentinian musician and sound artist
aylu, real name Ailin Grad.

Inspired in part of Grad's many collaborative projects over the last few years, Fobia sees her
collecting and rearranging the music and sounds fostered within these to create an intimate, spiritually
charged album that turns personal struggle into collective resistance and resilience. What initially
started as a way for Grad to process her own experiences with agora- and claustrophobia, and an
attempt to navigate feelings of shame and a perceived demand to keep these feelings bottled up and
hidden from the world, she began to realise how mental health struggles are not isolated incidents but
part of broader systems of collective suffering and injustice.

“It took a long time for me to discover that my issues were part of a system that produces these kinds
of symptoms and that it takes a lot of courage to find a way around them. I have the feeling that more
and more people suffer from these kind of things in some way or another, and what was at first taught
as something you should be silent about and keep private, I discovered that the more you talk about it
and share it with people you trust, the more you realise that it’s part of something much bigger.”
This tension and constant pull between fear and joy, light and dark, is present throughout the album.
From the strained breathing featured in opening track Yodo echoing the suffocating feeling from
claustrophobia interspersed with the lighter textures of Obelisco Elysium and Prospero offering up a
sense of relief, to the almost cacophonous, immersive soundscapes of El Sol Mal, mirroring the
complex, often contradictory emotions when navigating mental health challenges.
Fobia invites listeners to move through pain with honesty, finding strength in shared experiences.

Credits:
Produced by Ailin Grad
Tenor and alto saxophone: Rosa Nolly Bustos
Flute: Luciano Vitale
Vocals: Luciano Vitale / Ailín Grad / Juan Onofri
Electric guitar: Ailin Grad
Breathing, vocalization and movements: Juan Onofri (recorded by Joaquín Segade)
Trombone/trumpet/percussion: artificial
Artwork by Andres Bruck
Design by Maziyar Pahlevan

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Cassette

GENRE/S: Electronic / Experimental
TRACKLISTS:
> 1. I
> 2. II
> 3. III
> 4. IV
> 5. V
> 6. VI
> 7. VII
> 8. VIII

SHORT INFO:
Earth Sounds Now is a collective made up of community activist and musician Stefan Christoff,
drummer, composer, scholar, and bandleader Asher Gamedze, music producer Nicolás Jaar, pianist
and composer Büsra Kayikçi, and novelist, poet, and sound performer Kaie Kellough.

Over 13 months, they met online to share sounds, readings, writings, and drawings, resulting in
Convergence—a project reflecting their collaborative process. Each member submitted different
works, including paintings, poetry, field recordings, and musical experiments, taking turns responding
to each other's contributions.

Member Stefan Christoff highlights the importance of listening in these sessions:
"Sometimes we would listen all together, so there was also silence on the online call as we all listened
on headphones to the sounds from our respective places. I am underlining listening here, which the
world needs much more of."

These submissions were organized into a sound library and finally mixed into record format by Jaar,
capturing the essence of their exchanges across global soundscapes.

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1- Format: LP
Special remarks: OBI-strip

2. GENRE/S: Electronic / Experimental

3. TRACKLISTS:
> A1 / 1. A Orelha do Mundo
> A2 / 2. Clarão
> A3 / 3. Antes eu não sabia como dizer tudo que eu digo agora
> A4 / 4. Falando, eu me lembro
> A5 / 5. Lebrina
> B1 / 6. Hush
> B2 / 7. Estilhaço
> B3 / 8. Patrimonium
> B4 / 9. O Avanço em Retorno
> B5 / 10. Una

4. SHORT INFO:

Highlighting a decade of working together as ‘Fronte Violeta’, Brazilian transdisciplinary artist Anelena
Toku and musician and sound artist Carla Boregas are set to release the album ‘Fronte Violeta’, a
captivating blend of aural compositions, scents and experiences.
Switching the moniker name to the album title serves as a way to showcase the culmination of their
multidisciplinary project’s journey, developed from compiling fragments, sounds and intentions from
their previous body of work comprising electroacoustic and electronic music composition, moving
image, scent, installation and live performances.

‘Fronte Violeta’ is a sonic amalgam where synthesized sounds, percussion, voice, feathers, branches
and other non-human sonorities coalesce. Toku and Boregas have skillfully woven together those
elements creating a rich tapestry of interconnected sounds that tension our perception as something
always in motion, never fully settling into an established form.

Composed and performed by Anelena Toku and Carla Boregas.
Anelena Toku : synth, sampler, voice
Carla Boregas : synth, electronics, tape, taishogoto, gong, feedback, voice, amplified objects
Juliana R. : voice (track 7)
Caio Vinícius : gong, feather (track 1 and 3)
Barata : drums (track 6)

Recorded by Anelena Toku, Carla Boregas, Felipe Pato and Bruno Palazzo
Produced by Carla Boregas
Mixed by Carla Boregas and Nicolás Jaar
Mastered by Patrick Higgins

Design by Maziyar Pahlevan

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1- Format: LP
Special remarks: Vinyl made out of 140G Bio Vinyl

2. GENRE/S: Electronic / Electro-acoustic

3. TRACKLISTS:
> A1 / 1. I Will Never Write a Song About You
> A2 / 2. Everywhere At Once
> A3 / 3. White dust
> B1 / 4. Violence
> B2 / 5. Everything Inside a Circle
> B3 / 6. A Storm, a Gift

4. SHORT INFO:

"Wind, Again" is Sary Moussa’s fourth studio album and second album on Other People. Based
between France and Lebanon, Moussa returns with a riveting electro-acoustic album informed by his
ever-changing relationships to space, listening, and resonance as well as his growing interest in the
study of harmonics in electronic and electro-acoustic music.

Years in the making, “Wind, Again” approaches distinct musical worlds and languages by bringing
together improvisations by musicians performing on Western and West Asian instruments such as the
Hammond organ, clarinet, saz, and buzuk with electronic arrangements and textures. Rather than
force a rapprochement of these musical worlds through the instruments, and keenly aware of the
weighty sonic histories they carry, Moussa proposes another way through which they can exist
together in contemporary electronic composition.

Composed of six tracks, each of which demonstrate an array of recording and processing techniques,
the album generates moments of tension produced by the synthesis of textural, tonal, and harmonic
encounters that Moussa calls “shadows”, which outline an impressionistic musical language, existing
at the edge of familiarity. Such moments permeate tracks like “Everywhere at once” and “Violence”
that open with the Hammond organ and the saz respectively and slowly reveal an expansive field of
sounds that showcases each of the musicians’ characteristic performances and Moussa’s densely
layered textures. It is a latent yet unrelenting tension through which the composer invokes rather than
represents a collective experiential state, especially familiar to those who know his environment. In
“Wind, Again” these shadows are articulations of sounds steeped in traditions they are never quite
tethered to. Such articulations are implied and alluded to, they play within a musical reference without
the latter explicitly existing in the recording, always teetering, never completely here nor there.
Sonically and musically, the album is fueled by the cultural, social, and personal realities that Moussa
was brought up and lives in.

Both personal and musical ties with the musicians who feature on the album is central to Moussa’s
practice. In the title track “I will never write a song about you”, musician Julia Sabra opens with rolled
piano chords, followed by Paed Conca on clarinet and Abed Kobeissy on buzuk, before Moussa’s
electronic processing pieces together, lifts, and sustains the melodic direction of the track that
emerged from the musicians’ separate improvisations. For Moussa: “The initial connection between
the three performances was made on a track that no longer existed, the original recording was both
an obstacle and necessary step for the track we hear on the record. It’s as if we were all telling
different stories and I pulled on the thread that held them together”. The track, and more generally the
record, is tinged with a melancholy of things lost, though it never fully succumbs to it.
“Everything inside a circle”, Moussa’s most personal track and for which he provides the only vocals
on the record, harkens back to a childhood memory of listening to music with his mother in a car:
“There was a sound I was looking for — a memory of a sound and how I first heard it. This track is a
hybrid of that memory and what I wanted to make of it”. The track relies heavily on generativesystems and perhaps embodies most the ambiguous quality of the record’s music in its refusal to be
pinned down by one musical tradition or another.
“Wind, Again” is both familiar and alien, cold and warm; it pays homage to the mechanics, materials,
and tactility of the instruments and converges acoustic and synthetic spaces. What anchors the sound
of the album are the elements of a whole that cannot find its own idiosyncrasy and that is precisely
why Moussa’s album is a tour de force.

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12"

2. GENRE/S: Dub Techno

3. TRACKLISTS:

> A1 / 1. Drainage Overflow
> B1 / 2. Basic User Charge

4. SHORT INFO:
Delectable and on point dub techno, 'Advanced Surface Habitat' is the debut EP by French duo
Surface Access

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1. Format: LP

2. GENRE/S: Electronic / Experimental
3. TRACKLISTS:
> A1 / 1. A Void
> A2 / 2. Flare and Coil
> A3 / 3. Needle Pierces the Threshold
> B1 / 4. The Face of Others
> B2 / 5. Embers Kiss the Eye
> B3 / 6. Dorothy
> B4 / 7. Din Dian Redux

4. SHORT INFO:
Enxin/Onyx, the duo of Nicky Mao/Hiro Kone and Tot Onyx (formerly group A), joins Other People with
their debut album "In Rupture," capturing the same mesmerizing energy for which their live sets have
become known.

“In Rupture” is not painless but in rupture lies possibility. The elasticity of this time pitching us across
unknown terrain, revealing new potentialities, eclipsing static being. Whether in breach, collision,shimmer or severance, Enxin/Onyx explores these as occasions for transformation. Peeling back the
layers through discord and harmony, exciting the inversion of expectation, towing the listener to
depths and back up again to illuminate the senses. At times metallic and feral, at others murky and
sharp, each song serves as an offering for all that is in rupture; body, spirit, land, ecosystem.
The opening track “A Void” calls to mind some mutation in its mechanical ecstasy, but for what
purpose remains unknown. Even in the near moments of stillness, “Needle Pierces the Threshold”
breathes a forceful disquietude. Tommi’s vocals pulling the listener down into some subterranean
madness, to unravel upwards from all sides, flooding the once parched landscape. In “Embers Kiss
the Eye”, all of time emerges in one moment, compelling the subject’s gaze towards a new horizon.
The album follows its subjects through exile, exhumation and discovery. Through this process plates
shift, fissures are revealed and what once appeared to be indomitable absolutes crack, pointing
towards their inevitable collapse. To be in rupture is regeneration, to be in rupture is to return.

5. VITAL SALES POINTS:
Debut album by Enxin/Onyx (Nicky Mao/Hiro Kone and Tot Onyx, formerly one half of group A)
“Despite its thunderous sonics, the EP derives its intensity from restraint. On her records as Hiro
Kone, Nicky Mao often allows her modular synth programming to tip into chaos, crashing layers upon
layers of sound into one another. Here, each sound feels considered. And rather than simply reacting
to what's coming from Mao's rig, Tokyo works to integrate her caustic and creaking vocalizations. At
points throughout the EP it's hard to discern between voice and electronics. Dorothy might be a
harrowing 20 minutes, but it's thrilling in its hive-mind execution, where two distinctive artists
effortlessly melt into each other.” RA review Dorothy EP

NTS mix
https://www.nts.live/shows/guests/episodes/enxin-onyx-2nd-may-202


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LP. 180G BioVinyl, 2 LP + Sticker , includes Download to 3/12 h Radio Play "Archivos De Radio Piedras"

2. GENRE/S: Electronic

3. TRACKLISTS:

> A1 / 1. Cangilón
> A2 / 2. Piedras
> A3 / 3. Aquí
> A4 / 4. Agua pa fantasmas
> B1 / 5. Rio de las tumbas
> B2 / 6. Viento
> B3 / 7. Mi viejita
> B4 / 8. No Hope> C1 / 1. Radio Chomio (con Eli Wewentxu)
> C2 / 2. Rio radio correspondencia anfibia
> C3 / 3. 3eee
> C4 / 4. F Collect
> C5 / 5. Even heaven is uneven
> C6 / 6. El azar
> D1 / 7. I, you
> D2 / 8. Heterodina
> D3 / 9. Sin Conexión
> D4 / 10. SSS1
> D5 / 11. SSS2
> D6 / 12. SSS3
4. SHORT INFO:

The initial seed for this project was planted in 2020 when Nicolás Jaar wrote the song “Piedras” for a
concert at the Museum of Memory & Human Rights in Santiago, Chile, which commemorates the
victims of human rights violations during the military dictatorship led by Augusto Pinochet between
1973 and 1990. Between 2022-2023 it took on a new form as a radio play entitled 'Archivos de Radio
Piedras', which was shared on a dedicated Telegram channel. In 2024, the play was converted into a
24 channel installation at the University Museum of Mexico City (MUAC), where it was exhibited for 5
months.

Piedras 1 and 2 is a collection of the tracks featured within the play, all new music by Jaar, but partly
presented within the play as the music of Salinas Hasbún (the name a composite homage to Jaar's
grandmothers, Graciela Salinas and Miriam Hasbún).

The play follows two friends mourning the disappearance of Salinas Hasbún, a musician and writer
who vanished in the early 2020s. Although they live in a future where technology is advanced, they
resort to DIY radio methods because the anonymous group “Las 0cho” has launched a worldwide
attack on undersea internet cables, causing a global internet blackout.

The play's central theme revolves around the idea that truths, memories and identities speak from the
cracks (“rasgaduras”), or the "in-between" spaces ("en el entre"). This concept is supported by the
way much of the narration unfolds - in the liminal spaces between radio frequencies. The instability
and transitory nature of a constantly shifting radio dial becomes not just a metaphor but the structure
of the play itself. It’s in these moments of noise, static and interference that the deeper revelations of
the story emerge. This disjointed, ever-changing medium mirrors the way memory and trauma
operate within the play - non-linear, slipping through the gaps, found in fragments or ordinary
moments, rather than direct transmissions of “official” historical accounts.

This notion reaches its climax at the end of the narrative, when a text is discovered in which Salinas
speaks of finding a new number in a small pond in a cave mentioned in the first episodes of the radio
play. This pond, inside the “cochlea of the world”, is seen as a way to introduce real-life randomness
to computation. Embodied in the salt lakes of northern Chile, home to the world’s oldest bacteria, this
randomness disrupts the rigid order of binary code, paving the way for a transformation of digital life.
5. VITAL SALES POINTS:
First solo release by Nicolás Jaar since 2020’s Telas and Cenizas.

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LP
GENRE/S: Electronic / Experimental
TRACKLISTS:
> A1 / 1. Borga
> A2 / 2. Mentor
> A3 / 3. Judgement (feat. Okwui Okpokwasili)
> A4 / 4. Principalities I
> A5 / 5. Fruit Bat
> B1 / 6. Lifted
> B2 / 7. Principalities II> B3 / 8. Agnate
> B4 / 9. Libate
> B4 / 10. Bones

SHORT INFO:
Okokon returns to Other People with his sophomore album, 'Offering', delving deeper into the lush
and cinematic soundscapes he first explored on his debut album, 'Turkson Side'. While primarily
working in visual arts, Africanus Okokon, who records under his surname, bridges his artistic practices
in 'Offering', using his masterful collage techniques to create his most personal work yet. Defying easy
categorization, the album melds influences from dream pop, avant-garde folk, psychedelia, trip hop,
and dub, with traces of field recordings seamlessly blended throughout to form a cohesive whole.
'Offering' sees Okokon confronting and negotiating a sudden and unexplained death that occurred in
his childhood and the complex emotions left in its aftermath, acting as his main inspiration when
making the album. This ambiguity is something that permeates throughout, with Okokon wanting to
explore the ambivalence and sometimes uneasiness of contradicting emotions appearing
simultaneously, alluded to in the album title. This is also reflected in how the album tracks each inhabit
different narrators with varying perspectives on the same events. The result being a hauntingly
beautiful album, with recurring themes of death, growth, sacrifice and spirituality ever present.

VITAL SALES POINTS:
Follow up to 2015’s Turkson Side. released on Other People, which garnered favourable reviews from
the press
“standout album with an electrifying mixture of modernity and tradition, with chimes, drums, and
keyboards sparkling through a warm, nostalgic production haze.” PopMatters
“Turkson side is by no means a dystopian epic, rather a gooey slice of lighthearted experimentation”
The Wire

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LP. 180G BioVinyl, Obi Tag, Printed Inner Sleeves, Special Pantone Colors


2. GENRE/S: Electronic / Dark Ambient

3. TRACKLISTS:

Side A
(1) Versus (18'26")

Side B
(2) Antinome (6'57")
(3) In Situ (5'18")

Side C
(4) Sirocco (16'35")
(5) Catalyst (4'58")

Side D
(6) Faceless (pulse) (5'31")
(7) The Outside Doesn't Dream of Itself (9'30")
(8) Little One (4'21")
(9) Aporia (5'44")

4. SHORT INFO:

PATRICK HIGGINS is an American composer, guitarist, and producer from New York City, known for his work in experimental and contemporary classical music. Higgins plays guitar and composes in the band Zs, described by The New York Times as "one of the strongest avant-garde bands in New York." Heralded as a "formidable concert music composer" (Boston Globe) and "one of the most gifted guitarists working today" (The Quietus), Higgins has received attention for bridging traditions including baroque chamber music, contemporary noise, electronics and 20th century minimalism. His work has been performed in over 25 countries internationally, and he has composed works for some of the world's leading ensembles, ranging from chamber orchestra works, percussion cycles, and string quartets to smaller ensembles and soloists. He has scored works for television, museum exhibitions, and films both short-form and feature-length. Since 2013, he has operated Future-Past Studios, a recording studio in upstate NY.
He recently had a solo exhibition of artworks and sheet music, as well as two world premiers, at The Clark Museum in MA, USA. In 2019, he was a curator and headliner of the Le Guess Who festival in Holland. Higgins has performed and presented works at many of the world's largest festivals and venues across the past 12 years, including The Broad Museum (LA), The Warhol Museum, SF MOMA, Unsound Festival (Poland), Pioneer Works (NYC), Monom Berlin, Sony Ginza Park (Tokyo), ReWire (Holland), Cleveland MOCA, ICA Boston, Teatro Carignano (Torino IT), Sacrum Profanum (Kracow), Merriweather Post Pavillion, Donau Festival (Austria), Paula Cooper Gallery (NYC), Club Unit (Tokyo), Shakespeare Theater (Gdansk), The Netherlands Philharmonic Orchestra and many more.

5. VITAL SALES POINTS:

Higgins currently records for the Other People label, and has previously worked with NNA Tapes, Northern Spy, and Telegraph Harp records.
He is the founding member of AEAEA, a new duo project with electronic musician Nicolás Jaar.

"Patrick Higgins composes with a scholar's historical perspective and a punk's sense of abandon." - PITCHFORK
"one of the prime movers of the avant-garde" - The New Yorker
"a pioneer of modern experimental music" - East Village Radio (NYC)



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LP

2. GENRE/S: Electronic / Trip Hop / Breaks


3. TRACKLISTS:

1 - Time To Hold Better
2 - This Time Last Year
3 - We Keep Us Safe
4 - Melancholy Sabotage
5 - Measures
6 - We Don't Owe
7 - Breaking Points
8 - Eviction

The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full length debut and return to Nicolas Jaar's Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. The album came to life while Solpara was living alone in a Brooklyn loft, collecting unemployment checks and viewing ample free time as the artist residency he'd dreamed of; he'd previously been forced to make music in odd windows between numerous jobs and the unmerciful pace of city life. Free from obligations, he would wake up early to take Arabic lessons online, read Tracey Thorn's autobiography, and skateboard the deserted streets, then come home and design sounds until he had a track that felt like it needed to be released. While this easy going lifestyle was peaceful in many ways, Solpara found more complex inspiration in the emotion that stemmed from participation in Black Lives Matter protests and the 2020 Beirut Port explosion, which rocked all of his extended family members in Lebanon.

Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it.

"Time To Hold Better" points to neglect on both personal and group levels. "This Time Last Year" is a personal time capsule. "We Keep Us Safe" is about solidarity, autonomy, and care witnessed within protest groups. "Melancholy Sabotage" is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. "Measures" is a more fluid exploration of the latter after the initial storm has passed. "We Don't Owe" points to bigger bodies inflicting harm on populations that we owe nothing to. "Breaking Points" harkens the times that we may lose focus while pushing to transcend melancholy. "Eviction" is about being pushed out of a space unwillingly while simultaneously being forced to move forward.

Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara's most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara's uneasiest outing to date. The record pinpoints the duality at the heart of Solpara's sound, which is as plaintive as it is searing.



5. VITAL SALES POINTS:

Solpara launched the label and event series Booma Collective with Oren Ratowsky and Valentin Stip - a lowkey institution in the international techno circuit.

His 2015 EP, Swing, marked both a sonic and professional turning point. It split the difference between noisy techno and spacey ambience, capturing the essence of a young artist settling into a singular lane. Issued by Nicolas Jaar's esteemed Other People label, it solidified Solpara's place as an inimitable up-and-comer. "Nicolas and I met in high school, played in a band together, and have been exchanging music ever since," he says. In part thanks to Jaar's powerful co-sign, subsequent Solpara releases landed on imprints such as Quiet Time Tapes and Bruta?.

Solpara fuses elements of post-punk, ambient, house, and dub techno. While plenty of his cuts would fit within the context of an energizing DJ set, many are arrhythmic and avant-garde. When asked about his influences, Solpara cites artists ranging from Laurel Halo to Laurie Spiegel to Massive Attack to Denis Mpunga to Lily Tchiumba. His eclectic tastes were nurtured while studying film and philosophy in college, with German expressionism, Tarkovsky, and Chris Marker's La Jetee allowing him to realize the atmosphere he had been searching for. This curiosity was further encouraged by Booma Collective members and his roommate Jurg Haller, who went on to found the label Forbidden Planet Records. Later, after Solpara returned to his New York City hometown, he worked as a buyer for the now-shuttered record store Halcyon. In that job, he listened to copious amounts of music every day. His deep knowledge of culture has had a strong impact on a sound that is simultaneously fluid and commanding.




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Cassette

GENRE/S: Alternative / Electronic / Soundscapes

TRACKLISTS:

1. Antena magne?tica captando campos electromagneticos I
2. Antena magne?tica captando campos electromagne?ticos II
3. Micro?fono de contacto captando vibracio?n del puente Llacole?n
4. Micro?fono de contacto captando la interaccio?n entre el viento y un a?rbol
5. Micro?fono de contacto en elementos vibrantes
6. Micro?fonos de contacto captando granizos
7. Micro?fonos de contacto en autobu?s
8. Hidro?fono bajo el fondo del mar
9. Vibraciones de materiales Geofon II
10. Vibraciones de materiales Geofon I
11. Vibraciones de materiales Geofon III
12. En la direccio?n del viento
13. Ronroneo de selai
14. Rai?l
15. Efectos sonoros en la naturaleza


SHORT INFO:

Valentina Villarroel is a sound artist and phonographer who explores the intricate dynamics within various Southern ecosystems. Her work revolves around the profound potential of acoustic ecology, particularly in the face of encroaching real estate development on natural spaces. She also delves into the consequences of sound pollution on numerous species, contributing to their decline or disappearance. In recent years, her focus has extended to urban soundscapes and significant sonic events, such as the October 18th protest in Chile. With a solid background in bioacoustics applied to both human and animal well-being, Valentina assumes the role of co-director at AOIR Sound Laboratory. There, she spearheads an interdisciplinary initiative that centers sound as its core element. This includes the creation of the sonic cartography portal aoir.cl, as well as the development of handmade electronic devices like the Bowerbankii and the creation of various experimental microphones.

VITAL SALES POINTS:

Available only on limited cassette


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Artwork and Typography by Stefan Marx

Tracklist:
A1 Angels
A2 Ray
B1 Ocean Drive
B2 Poppies

Don't miss Lawrence revisiting familiar ground on Smallville with four timeless tracks, gently pushing his sound forward, restrained poetic and unmistakably his own.
Including a full Cover Artwork by Stefan Marx.


All tracks written & produced by Peter M. Kersten
Vinyl cut by Helmut Erler at Lathesville


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NO VINYLE OF ANY MANU CHAO ALBUM HAS BEEN AVAILABLE ON SALE FOR AGES. ALL STUDIO & LIVE ALBUMS ARE BACK ON DOUBLE VINYL GATEFOLD FEAT. THE CD
TRACKLIST
A1. CLANDESTINO - A2. DESAPARECIDO - A3. BONGO BONG - A4. JE NE T’AIME PLUS - B1. MENTIRA... - B2. LAGRIMAS DE ORO - B3. MAMA CALL - C1. LUNA Y SOL - C2. POR EL SUELO - C3. WELCOME TO TIJUANA - C4. DIA LUNA... DIA PENA - D1. MALEGRIA - D2. LA VIE A 2 - D3. MINHA GALERA - D4. LA DESPEDIDA - D5. EL VIENTO

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black vinyl

Tracklist
A Silk Route part 1
B Sleeplearnin

Release Info:
Berlin party series and label AWAY Music continues its limited vinyl series called "Reissued", dedicated to re-releasing iconic cuts from the vast collaborative catalog of Move D & Pete Namlook. The second installment "Reissued 2", which follows the series' inaugural EP from 2019, features again some exceptional pieces that were previously only available on CD.
Move D and Pete Namlook are electronic visionaries whose 26-album relationship explored and intertwined psychedelic synthscapes, deep house and techno, future jazz, and downtempo on Namlook's cult imprint Fax Records. Their innovative and influential works keep inspiring electronic music producers today, showcasing their willingness to collaborate and push the boundaries of electronic music.
"Silk Route Part 1", which comes from their 2008 album "Travelling The Silk Route", occupies the A-side with a 12-minute journey full of jazz-infused ambient soundscapes meeting oriental melodies with sophisticated percussion patterns. A truly immersive listening experience!
On the flip, "Sleeplearnin'" was described as psycho-active electronica when it first came out on the "Sons of Kraut" album 17 years ago. Translated, we're talking about minimal house that carries their warm trademark sound, enriched by pulsating echoes, space noises, and relapsing vocoder shreds. It conveys the pair's unique energy that embraces the improvisational moment to create a hypnotic flow that's nothing but timeless.
"Reissued 2" is a true testament to the innovative spirit and pioneering work of Move D and Pete Namlook. With these tracks now available on vinyl for the first time, AWAY's limited series is a must-have for old and new fans alike.



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Genres: Rock / Folk / Psych

2LP

Tracklist:

1. Sharkey - Someone Like Me
2. Lynne Ann Kingan - If You Love Me - Hate Me
3. James Thornbury - So Tan
4. Jim Huxley - Only A Song
5. Charlie Webster - Snodland
6. The Bob Hughes Band - You Broke My Heart
7. Goldrust - Going Yesterday
8. Jim Kennedy - You Are The Reason
9. Jon Betmead - Marie Elene
10. Charles Murphy - The Foot That's Holding Me Down
11. Remnant - I Will Set You Free
12. Fred Potts - Following Rainbows
13. The Superwomen - Lowlands
14. Robison Kaplan Ltd. - Don't Say Goodbye
15. Gary Ramey - You Are His
16. John Agostino - Loss of Love
17. Ritchie Tierney - Please Stop Breaking Me Down

Short info:

A humanity-reminding suite of miracle moments, Someone Like Me unites a geographically unbound cast of real people in pursuit of a meaningful connection. Taping their lived experience in economic studios in quiet English counties, Pacific Northwest woodland retreats and the big city bustle of Sydney and Los Angeles, these kindred spirits rendered sheer beauty in the process. Custom pressed folk songs of love, loss and the lord saviour.

Illuminating minor works from seasoned players such as former Syndicate Of Sound chart-topper Sharkey and late-era Canned Heat lynchpin James Thornbury, the collection simultaneously honours the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realised her loose bubblegum rocker on campus time, while U.S. Navy recruit Fred Potts cut his unconditionally serene ballad remotely stationed on a Spanish naval base. Spartan production continues to reign with Jon Betmead’s hair-raising gospel, howling into infinite space, and Goldrust’s stripped back garden hymn.

Throughout the hour-long reflection, faith has an intermittent yet revelatory presence, most overtly with the divine choral soul of Seventh-day Adventist quartet Remnant. More subtly, Gary Ramey and Jim Kennedy both turned to song in their spiritual quests, offering their all to a universal power. An irrefutable compilation cornerstone, the National Office For Black Catholics showcased Charles Murphy’s lionhearted account of the Black experience at a 1971 concert. Five years earlier, high school seniors The Superwomen would use their hauntingly angelic harmonies to address racial inequity with a breathless take on ‘Lowlands’.

Reaching the furthest corners, Someone Like Me secures the inaugural licence of three homespun masterpieces. Discovered by fluke in the digital haystacks of Youtube and Soundcloud, Jim Huxley’s bedroom pop earworm melds peacefully into Charlie Webster’s synthesized reverie. Meanwhile, Hollywood’s John Agostino introduces us to the bizarre world of tax scam records, with the artist only now learning that his tender psych-folk demos were leaked via a 1977 bootleg.

Compiled and lovingly restored by armchair digger Mikey Young (Eddy Current Suppression Ring/The Green Child), Someone Like Me pays due service to seventeen rarefied journals of truth and devotion. Adorned with visual artist Chris Fallon’s figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a forward from San Franciscan poet Rod Roland.


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LP WW-US/UK/FR

Lp, 2024 Repress


First time ever release on vinyl format. 180 GRAM BLACK VINYL. After The Sabres of Paradise split in 1995 Andrew Weatherall underwent one of many reinventions. He began working with Keith Tenniswood as Two Lone Swordsmen which released several records on the Warp label, set up a new electronic imprint under the Rotters Golf Club banner and fully explored new DJ personas departing from his house-based sets into dub, electronica and rockabilly. Renowned for unconventional sets where he’d raise the roof dropping an unexpected but exactly right track into the mix, he’d push the audience to new heights by introducing them to music they’d never even thought of exploring. The experiments went down especially well in Japan where he’d tour playing solo sets as well as performing alongside pioneers like Underworld, Adrian Sherwood and The Orb. In 2003 his new label, Rotters Golf Club, was approached by the Italian fashion house Emigliano Zegna to create some music to help launch their first foray into Japan. Andrew always had a keen eye for quality and agreed to provide some music. At the time it wasn’t envisaged as an album. He’d just grabbed some tracks he and Keith had been working on, polished them up and swapped them for a small advance and a large raid on their Bond Street store. He then let them get on with the release and turned his attention to the next TLS album proper. This was Double Gone Chapel where rock and psychobilly were mixed in with electronica and controversially Andrew added his own vocals. The Zegna album ‘Still My World’ was sidelined by a live band and a whole new direction. Andrew’s untimely death refocused attention on his historical recordings and ‘Still My World’, previously only released on CD in Japan, now sees the light of day in the rest of the world.





International Girl's Not Here

The Crescents

From Behind Bandages

Don't Remember Leaving

The Night I Was A Booby Prize

Arturo's Attitude

And Then The Walls Fell

Compulsion

Live From Rotten Towers

Still My World

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

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


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

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

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

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

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2LP, 2nd Pressing

Black Vinyl, one side etched.

Limited to 300 only.

With Lyric insert, matt sleeve with spot varnish front detail.- Territories: WW-US,UK

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


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

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LP - Black Vinyl
Territory: WW-US-UK-FR-BNLX

Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.


Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.


Tracklist:

1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines

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

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


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

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

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

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

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

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2LP Gatefold sleeve, Artwork Insert, Postcard

A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.



Tracklist


A1 Clearer
A2 Alison
A3 Popkiss
A4 Chelsea Guitar
A5 Fearon
B1 Meet Johnny Rave
B2 Elle/Air France
B3 Try Happiness
B4 A Gentle Sigh
B5 Stephanie
C1 River
C2 Nimbus
C3 Hit
C4 Dirty Mags
C5 Loony Tunes
D1 Toulouse
D2 Love Yourself
D3 Melancholia
D4 Marco Polo
D5 What Do People Do All Day?

Shortinfo:
"One Sunday afternoon in 1990, I had a phone call from Keith saying that Sarah Records had received the demo cassette the two of us had recorded on a 4-track in a friend's shed and were interested in putting out two of the songs as a single. They were Clearer and Alison. Delighted by this news, we booked some recording time with a studio we'd regularly used in our previous incarnation as Feverfew, the White House in Weston-super-Mare. This was the first time we'd ever played a note of music that was using someone else's money, so the pressure was being felt. We recorded Clearer, Fearon and Chelsea Guitar, with Clearer becoming Sarah 55, the first of eight singles for the band across two labels. At that time, we were still toying with a name for ourselves and had settled with the Art Bunnies. While driving us back home from Weston, though, I declared that I really couldn't see how people would take us seriously with a name like that. Disappointed, Keith (Girdler) then got out a piece of paper upon which he'd written several other contenders. These included Opal Trumpet, the Smiling Monarchs and (thankfully) Blueboy."

A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.









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- LP , STICKER, 2022 RE CUT OVERSEEN BY MANUEL GÖTTSCHING
- 50th Anniversary Re-Edition
- Original Release: 1973
- It was the last recording ever where Klaus Schulze (who sadly passed away this Year) played the Drums and also
Hartmut (the Hawk) Enke soon after quit the Bass and music forever.
Join Inn marks the end of the collaboration with Klaus Schulze and is the last Ash Ra Tempel recording in it´s original
line-up.

GENRE/S: Krautrock, Kosmische, Early Progressive-/Psychedelic-Rock, Early Ambient.

TRACKLIST:
1. Freak ’n’ Roll (19:14)
2. Jenseits (24:14)
All tracks composed by Manuel Göttsching, Hartmut Enke and Klaus Schulze.

SHORT INFO:
After the 2021 Re-Release of “Schwingungen” (MG.ART612) and together with “Seven Up” (MG.ART613) we proudly
announce “JOIN INN” as Part3 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“JOIN INN” is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr
Musik-Produktion, catalogue number OMM 556032. Each side of the LP comprises one long track.
In 1972 ASH RA TEMPEL teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album,
and after one of the recording sessions, ASH RA TEMPEL members: Enke, Göttsching and Rosi, together with Klaus
decided to "play it again" in a late night session. This recording led to the birth of the “JOIN INN” album, as well as two
legendary last concerts in February 1973 in Paris and Cologne.
Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for
him to play his guitar, especially here to hear on “Freak'n' Roll”, that was ingenious and not to replace ever since.
It was the last recording ever where Klaus Schulze (who sadly passed away this Year) played the Drums and also
Hartmut (the Hawk) Enke soon after quit the Bass and music forever.
Join Inn marks the end of the collaboration with Klaus Schulze.
However, together with Ash Ra Tempel, their eponymous first album, which will be released in 2023 as the final edition of
our Series, it is considered a highlight of the Krautrock movement.
As for the music itself we again refer to Julian Cope´s review from his book “Krautrocksampler” (published by Head
Heritage, 1st ed. 1995):
""Freak’n’roll” fades in like it never started - just was always there from the beginning of time, a dry wah-guitar freerock
riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none
of them have a blues context. Manuel Gottsching’s guitar is so confident that he sometimes drops down to a simple
major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it’s
the return of Klaus Schulze on drums which propels “Freak’n’roll” to its height. No-one but Klaus has the ability to
transcend rock’n’roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it.
-> continued on page 2“Freak’n’roll” is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo
pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and
expressionist for just long enough before slipping back into the musical fabric of the song.
As usual with Ash Ra Tempel, the other side is an enormous drift piece called “Jenseits (The Next World)”, a beautiful
Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers’
meeting with Timothy Leary. Gradually, the pulsing guitar becomes increasingly intense and turbulent, but Rosi never
sounds less than freaked out. Essentially, “Jenseits” is a precursor to Klaus Schulze’s later spacey minor-key grooves.
Unfortunately, this was the last Ash Ra Tempel album in its particular ‘series.
(…) After “JOIN INN”, Manuel Gottsching took over the Ash Ra Tempel mantle alone.”

Ashra Tempel – Join Inn
HARTMUT ENKE - Gibson bass
MANUEL GÖTTSCHING -guitar
KLAUS SCHULZE-drums, synthesizers & electronics
ROSI MÜLLER-voice

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Germany
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