After the Crystal Clear edition sold out in Presales - here´s the New Editon in 180G Black Vinyl

Special remarks :

- Limited Ten Year Edition
- 180G Black Vinyl
- Gatefold Sleeve
- Double Vinyl 45rpm recut
- Download Code

- RA's Album Of The Year in 2011
- Pitchfork's Top 20 in 2011
- Pitchfork's Best 200 Best Albums of the 2010's


It has been 10 years since Nicolas Jaar released his celebrated debut album, Space Is Only Noise here on Circus Company. With countless accolades, forays, and dips into other waters both preceding its arrival one decade ago and since with many musical ventures this LP still stands as not only a unique and verified-classic release in the artist's own expansive catalog as well as ours, but also amongst the general pantheon of electronic music of the 21st Century on the whole.

What better way to celebrate this milestone than with an immaculate must-have re-release package, with the music now spread out over double discs and cut at 45rpm on 180g Black vinyl to let the glacial top-end soar as originally intended, and the air of the general proceedings expand, once again, into the ears and consciousness of electronic music lovers the world over. Along with this technical upgrade recut, the distinct artwork has also received a facelift fit for the occasion, and will now be found adorning a full gatefold cover, inked lovingly in reverse on inside-out heavyweight paper including printed inner sleeves for a total collector's gem front-to-back.

While Nicolas Jaar's own recent online musings of the origin of the album title and lead track has us imagining playful plexiglass-letterings and a fresh sense of abstract calm before soon-to-be career storms, the music itself feels to have not aged a day past its prime of creation. From the unanimous crowdpleaser "Colomb" to "Keep Me There" indeed doing just that, with Jaar keeping us right where he left us last go-round, to the luminous titular track "Space Is Only Noise If You Can See" and omni-prophesy of "Specters Of The Future" - please join us in a warm welcoming return to this universally acclaimed classic LP, which garnered coveted spots in both RA's Album Of The Year and Pitchfork's Top 20 in 2011, now in its unmissable pristine new vinyl form, sounding as fresh as ever, a solid 10 years later.


Tracklist LP:

A1. Être
A2. Colomb
A3. Sunflower
B1. Too Many Kids Finding Rain In The Dust
B2. Keep Me There
B3. Problem With The Sun

C1. Space Is Only Noise If You Can See
C2. Almost Fell
C3. Balance Her In Between Your Eyes
D1. Specters Of The Future
D2. Trace
D3. Variations
D4. ^tre


More

Special remarks :

- Limited Ten Year Edition
- Crystal Clear Vinyl
- Gatefold Sleeve
- Double Vinyl 45rpm recut
- Download Code

- RA's Album Of The Year in 2011
- Pitchfork's Top 20 in 2011
- Pitchfork's Best 200 Best Albums of the 2010's


It has been 10 years since Nicolas Jaar released his celebrated debut album, Space Is Only Noise here on Circus Company. With countless accolades, forays, and dips into other waters both preceding its arrival one decade ago and since with many musical ventures this LP still stands as not only a unique and verified-classic release in the artist's own expansive catalog as well as ours, but also amongst the general pantheon of electronic music of the 21st Century on the whole.

What better way to celebrate this milestone than with an immaculate must-have re-release package, with the music now spread out over double discs and cut at 45rpm on crystal clear vinyl to let the glacial top-end soar as originally intended, and the air of the general proceedings expand, once again, into the ears and consciousness of electronic music lovers the world over. Along with this technical upgrade recut, the distinct artwork has also received a facelift fit for the occasion, and will now be found adorning a full gatefold cover, inked lovingly in reverse on inside-out heavyweight paper including printed inner sleeves for a total collector's gem front-to-back.

While Nicolas Jaar's own recent online musings of the origin of the album title and lead track has us imagining playful plexiglass-letterings and a fresh sense of abstract calm before soon-to-be career storms, the music itself feels to have not aged a day past its prime of creation. From the unanimous crowdpleaser "Colomb" to "Keep Me There" indeed doing just that, with Jaar keeping us right where he left us last go-round, to the luminous titular track "Space Is Only Noise If You Can See" and omni-prophesy of "Specters Of The Future" - please join us in a warm welcoming return to this universally acclaimed classic LP, which garnered coveted spots in both RA's Album Of The Year and Pitchfork's Top 20 in 2011, now in its unmissable pristine new vinyl form, sounding as fresh as ever, a solid 10 years later.


Tracklist LP:

A1. Être
A2. Colomb
A3. Sunflower
B1. Too Many Kids Finding Rain In The Dust
B2. Keep Me There
B3. Problem With The Sun

C1. Space Is Only Noise If You Can See
C2. Almost Fell
C3. Balance Her In Between Your Eyes
D1. Specters Of The Future
D2. Trace
D3. Variations
D4. ^tre


More

LP

CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.


8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music

8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole

9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.


NICOLAS JAAR BIOGRAPHY

NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE

Tracklist:

1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk

More

CD Version

CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.


8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music

8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole

9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.


NICOLAS JAAR BIOGRAPHY

NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE

Tracklist:

1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk

More

LTD CD : CD + Book + Clear PVC Sleeve

CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.


8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music

8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole

9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.


NICOLAS JAAR BIOGRAPHY

NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE

Tracklist:

1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk

More

- 2LP is mastered for Exceptional Sound

LTD Edition includes : 2LP + Book + OCard + Clear PVC Sleeve

CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.


8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music

8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole

9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.


NICOLAS JAAR BIOGRAPHY

NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE

Tracklist:

1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk

More

Tracklist:
A1 - The three sides of Audrey and why she’s all alone now
B1 - No one is looking at U

Description:
The three sides of Audrey and why she´s all alone now/No one is looking at U Recorded in New York City between 2011 - 2015 More

Nicolas Jaar Vinyl- 2nd Flush! Now available again...
A1 . Être A2 . Colomb A3 . Sunflower A4 . Too Many Kids Finding Rain in the Dust A5 . Keep me There
B1. Problems with the Sun B2. Space is Only Noise if You Can See B3. Almost Fell B4 . Balance Her in Between Your Eyes B5 . Specters of the Future B6 . Trace B7 . Variations B8 . ^tre
More

Nicolas Jaar has graduated-- Space is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music's most exciting producers.
Tracklisting:
01 . être
02 . Colomb
03 . Sunflower
04 . Too many kids finding rain in the dust
05 . Keep me there
07. Problems with the sun
08. Space is only noise if you can see
09. Almost fell
10 . Balance her in between your eyes
11 . Specters of the future
12 . Trace
13 . Variations
14 . ^tre

More

2014 ONE TIME repress/re-rerelease of CS007 in it´s original sleeve /art/ labeldesign!

In the dead of winter, I visited Nico in his apartment in Providence, Rhode Island. He had just finished composing "Don't Break My Love," the A-side of his new EP and his first song since Space is Only Noise. He seemed solemn, but I didn't ask why. The next night, I witnessed a rare occurrence: Nico DJ-ed a small party. We danced all night in a brick-walled loft as snow fell outside. Half a year later and a continent away, the B-side, "Why Didn't You Save Me," arrived. Nico wrote it one sleepless night after a show in Germany. He spent the rest of the tour developing the song, letting it grow.
The rhythms on the EP unravel slowly. As the songs progress, they fill up with rapid-fire hi-hats and mechanical percussion. The faster strikes meet slower beats and the songs seem to stretch; they feel pulled in both directions almost ad infinitum. After the tour, I re-listened to the EP, a ten inch vinyl, with Nico in his apartment in New York. He told me he had been singing more and more, and sampling less. The EP foreshadowed an evolving sound within Clown & Sunset, he explained, and previewed an upcoming compilation by the same name, replete with new talent.
When the B-side wound down, and the clavinet faded out, Nico placed his finger tip on the edge of the record, slowing it to a crawl. With the resonance of our feelings, we remained still for a while after, as silence enveloped us.
Tracklisting:
A: Don't Break My Love
B: Why Didn't You Save Me
More

A1 Too Many Kids Finding Rain In The Dust - Pépé Bradock's Blind Pig Mix A2 Too Many Kids Finding Rain In The Dust - Pépé Bradock's Train Fantôme Poke B1 Space Is Only Noise If You Can See - Dave Aju remix
After the roaring success of Nicolas Jaar's Space is only Noise album the fine curatorial heads at Circus Company HQ have enlisted 2 of their nearest, dearest and most talent co-conspirators for the first round of remix duties. Having built a cult following and peerless reputation for his remixes of everyone from Roy Ayers to Cassius, Pépé Bradock turns in no less than 3 versions of Too Many Kids Finding Rain in the Dust. The proceedings begin with his Blind Pig mix, an echoing tunnel of balkan strings and dusty samples connecting the lands of disco and hip hop to blinding effect. The Train Fantôme Poke follows and is certain to find it's way into many a discerning DJ bag in the weeks and months to come, with it's Mathew Herbert-esque syncopations and grinding industrial scrapes and psychedelic whispers. Dave Aju takes up the baton on the flip turning the album's title track into the kind of late 80s dance floor work out Martin Hannet would have been proud of, certain to appeal to fans of recent work by Matias Aguayo, Rebolledo and the Comeme camp. Finally, the bonus cut for the digital release, Mirandapella, sees Bradock doing away with the beats entirely and letting is fx units and sanity slip out the window into full cinematic free fall. More

Nicolas Jaar has graduated-- at least from the trappings of any young electronic music producer (his graduation from Brown University is 18 months away). Four years after his debut on the Brooklyn label Wolf + Lamb, and the much lauded follow up 'Time for Us', whose glacial slow-jam take on house sent journalists scrambling for adjectives, the 20 year old New Yorker by way of Chile returns to Circus Company with Space is Only Noise, an uncompromising manifesto on traces of the past, love lost, and specters of the future. Having previously contributed to the catalog twice with his 'Marks and Angels' EP as well as the sublime 'Your Waltz' on the Snuggle and Slap compilation, we are delighted to present his first foray into the realm of the long player. Jaar has made it quite apparent over the course of his nascent catalog and increasingly sought after live sets that challenge is an intrinsic part of his creative discourse. Few are the producers of any age with the cohones to ride a sub-100-bpm tempo at peak time in the techno Mecca of Berlin, and fewer still are those who receive an ecstatic hands-in-the-air response for their precocious efforts. It is precisely this sense of risk which elevates Space is Only Noise beyond the realm of valiant first effort or crossover dance music oddity. Those looking to wade through the sea of Jaar's potential influences will quickly find themselves in the deep waters of golden age Factory records, home spun digitalism of Mille Plateaux, Endtroducing era DJ Shadow and Eric Satie. Jaar gently coaxes his listener into the experience from the opening sounds of rolling waves on 'être', but quickly transitions into the sophisticated percussion and meandering melodies that characterise his sound. Jaar seeks, and often finds, beauty in melancholy on the first few tracks of the album. As the album begins to accelerate with 'Too many kids finding rain in the dust', Jaar confronts us with the often forgotten reality that our sadness is not mutually exclusive from the dance floor. Suddenly, on 'Keep me there', Jaar's voice appears over the delicious, rumbling melody. "We're in a really bad bed, right?" he remarks. "Mm-- it's not really a bed. It's like a balloon" responds a sultry female voice as they both crumble away in laughter. Though your hips stir to the relentless bassline and the sexiness of the voices, your heart is jolted out of its luxurious malaise when horns erupts seconds later. "How can you talk about a landscape without showing the sky and the earth?" a voice asks, translating from the French on 'être'. So Jaar concludes, revisiting the same track to end the album. Complete landscapes such as these are only realised in contrast- the indulgent against the reserved, the sky against the earth; lightness and darkness. Space is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music's most exciting producers.
Tracklisting:
01 . être
02 . Colomb
03 . Sunflower
04 . Too many kids finding rain in the dust
05 . Keep me there
06 . I got a woman
07. Problems with the sun
08. Space is only noise if you can see
09. Almost fell
10 . Balance her in between your eyes
11 . Specters of the future
12 . Trace
13 . Variations
14 . ^tre

More

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
More

2LP with Printed PVC Sleeve

GENRE/S: Alternative / Electronic

TRACKLISTS:

LP1:
A1 / 1. Ale Hop - Head Transplant
A2 / 2. Daniela Huerta - Tza Tun Tzat
A3 / 3. Debashis Sinha - For the waters ever taste the heavens up parts I-V

B1 / 4. Hexorcismos - ¿Acaso de veras se vive con raíz en la Tierra?
B2 / 5. Hexorcismos & El Irreal Veintiuno - Interferencias
B3 / 6. Jessika Khazrik - Gebera

LP2:
C1/ 7. Khyam Allami - Mix v6
C2 / 8. Kloxii Li - Anhaga
C3 / 9. KMRU - hidden options
C4 / 10. MAF - What's heard once entered (Nommo)

D1 / 11. Portrait XO - MUTUALISM_151122
D2 / 12. Simina Oprescu - Granularities
D3 / 13. Visions of Lizard - Barranca del muerto



SHORT INFO:

For the last seven years, sound artist, technologist, and electronic musician Moisés Horta Valenzuela (aka Hexorcismos) has been studying artificial intelligence and generative art, wondering how these new technologies might be augmented into his musical process. Born in Tijuana and currently based in Berlin, Hexorcismos has long attempted to break down the permeable borders between musical styles and expressions, using the spaces in between to reinforce his politics and worldview. And on 'MUTALISMX - becoming sonic network', he expands his vision, inviting artists from across the globe to collaborate on work that questions the biases inherent in AI models, offering a collective alternative that could serve as a blueprint for further research.

The majority of AI art at this stage works with "big data", taking ideas from the cultural canon and muddying them with our contemporary reality. But if we accept that mass culture is always politically biased, always swaying towards historical prejudices, then there must be a counter-narrative. Hexorcismos began to develop a bottom-up approach, using "small data" to interrogate his idiosyncratic approach to art; he built a tool called SEMILLA.AI based on neural audio synthesis that could not only mimic his sonic fingerprint but transform it into another. So when he offered the synth to his network of collaborators, he gave them the option of either using only their data or sharing the signatures of each other artist involved in the project, blurring their identities into a mutual voice.

The result is a compilation that unspools with the coherence and fluidity of a single-artist album or adventurous DJ mix, genreless and boundless but unified by a singular message. Hunanese-American artist Kloxii Li for example takes rugged percussion and tense, industrial ambience, smudging her soundscape into a swirling gust of ghostly dissonance. Hexorcismos himself contributes two compositions: the lengthy, hypnotic 'Acaso de veras se vive con raíz en la Tierra', an AI-powered scramble of his pointed tribal guarachero experiments; and 'Interferencias', a collaboration with Mexican club veteran Bryan Dálvez, aka El Irreal Veintiuno that drives intense dancefloor rhythms into a dense haze of frozen drones and radio static. Elsewhere, Berlin-based Lebanese artist and writer Jessika Khazrik dissolves her voice into a mesh of obscured rhythms and dissociated whirrs, blending the organic with the artificial but retaining an overpowering sense of humanity.

Some artists were drawn to the nebulous aspects of the technology, searching for truth in a soup of different sounds, while others, such as KMRU, used Hexorcismos's synthesizer the examine their output. On 'hidden options', the Kenyan sound artist fed his immense catalog into the neural net, bringing out his mannerisms and tendencies in the process. Each track is singular but myriad, prompting both mutual respect and a sonic becoming, a feedback process between the artist and the tool, the individual and the collective. Data sets are made by people, and by engaging directly with musicians, Hexorcismos suggests a new way of utilizing a technology demonized and glorified without careful examination. Each artist owns their AI model, and alongside the album Hexorcismos will release SEMILLA.AI to the public (with custom-made models to start the process), allowing anyone to access this revolutionary technology.

Even the album's artwork reflects the political message, conceptualized by Chilean duo hypereikon, who used AI processes to develop a visual reflection of the technology and its possibilities. Operating outside of academia and capitalist enterprises, MUTUALISMX proposes an alternative future - one without borders that's not beholden to the Western canon, where independent labor can be prioritized and celebrated, and where creativity can truly flourish.
More

LP, Artwork with Obi Tag, Vinyl made of BioVinyl

2. GENRE/S: Alternative / Electronic

3. TRACKLISTS:

A
1. Intiha - 3:50
2. Nazar Se - 4:14
3. Muddat - 6:30
4. Raat Bhar - 2:58

B
5. Dard - 7:30
6. Chiragh - 5:46
7. Lagta Nahi - 2:10
8. Dono Jahan - 3:32


4. SHORT INFO:

Singer, songwriter and author Ali Sethi had been entranced by Jaar's music long before they began collaborating. He'd absorbed the sounds over a number of years, listening casually and taking in their subtleties in bars and rooftop parties across Lahore and London. "It felt familiar to me, that sense of adventure you have when you hear his music, like a tale that teases you and plays with your expectations as it unfolds," says Sethi. "In that sense it resembled the leisurely improvised ghazals and qawwalis I grew up hearing in Pakistan." So when the two were finally introduced by Indian visual artist Somnath Bhatt, a regular Jaar collaborator who also handled the album's artwork, Sethi was well prepared. He began to sketch out voice notes using loops snipped from Jaar's acclaimed 2020 album 'Telas', improvising vocalizations and seductive Urdu poems over Jaar's weightless, time-bending productions. Jaar was astonished by the result; "It was what 'Telas' had been missing," he explains.

Improvisation has been important to the Chilean artist for many years. Before he had even started making electronic music, Jaar jammed on accordion with friends on the street in New York City. It's at the core of his practice, "a moment in time," in his own words. 'Intiha', the opening track on the album, is the first they finished together, and positions Sethi's evocative phrases over Jaar's faded, metallic percussion. It's a perfect proof of concept, re- imagining the world of 'Telas' and augmenting it with a sense of ancestral melancholy and giddy euphoria that's truly transformational.
Sethi is best known globally for his attempts to revive the ghazal, an ancient poetic form that was taken by Sufi mystics from the Arab world to Persia and throughout the Indian subcontinent, where it captivated the royal court. It's been unfashionable in the last few decades, a mannered style associated with decadence, and Sethi offers it a new lease of life through his playfully revisionist covers and renditions. (His most popular single 'Pasoori' is a global phenomenon, one of the most Googled songs of 2022, with hundreds of millions of listeners tuning into its timeless message of forbidden love.) Sethi updates the ghazal form by using his years of training in raga music, lifting metaphors that reflect his journey as an out-of- place queer kid in Pakistan who became a US citizen and now lives in New York City.


5. VITAL SALES POINTS:

Critically acclaimed musician Nicolas Jaar collaborates with Pakistani artist Ali Sethi for a reworking of his original album Telas

Ali Sethi song "Pasoori" was the most googled song in 2022. It has over a billion streams across his profiles


More

160 Pages Book (Boodk/Auduio Combination sold as "Merch Item"), containing 13 QR codes to download 13 songs.

Aho Ssan debuts on Other People with second solo album and book 'Rhizomes' featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more

2. GENRE/S: Electronic / Alternative



3. TRACKLIST:

1. Ouverture feat Nyokabi Kariuki
2. Rhizome I Feat Josefa Ntjam
3. Cold Summer Part I Feat Blackhaine
4. Le Tremblement Feat Nicolás Jaar & Resina
5. Memoria Feat R?n C?p ?uôi & Richie Culver
6. Till The Sun Down Feat clipping. & Resina
7. Rhizome II Feat Lafawndah
8. Hero Once Been Feat 9 Antiope
9. Tetsuo I feat James Ginzburg
10. Tetsuo II
11. Away feat Exzald S & Valentina Magaletti
12. Rhizome IV Feat Moor Mother, Angel Bat Dawid & Mondkopf
13. Fermeture Nyokabi Kariuki




4. SHORT INFO:

Aho Ssan debuts on Other People with second solo album and book 'Rhizomes' featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more

Paris based composer Aho Ssan, the artist moniker of Niamké Désiré, presents his new full-length 'Rhizomes' on the Other People label following his debut LP 'Simulacrum' (2020) and collaborative record 'Limen' (2022) with fellow musician KMRU.

'Rhizomes' draws inspiration from a concept coined and developed between Gilles Deleuze and Felix Guatarri. The idea of an ever evolving structural model, constantly in motion and spreading out in all directions at once. It has no beginning and no end, but always remains in a middle, through which it grows and overflows.

"The root thought is the one that kills everything around itself while the rhizome is the root that stretches out to meet other roots," Désiré explains considering the works of French writer Édouard Glissant who addresses questions of identity, crossbreeding of cultures and its evolution.

Much like the name it borrows, Aho Ssan's 'Rhizomes' is a multimedia project that embarks on a myriad of disparate, unique musical and artistic partnerships. This piece adapts this concept to explore the influence of sound materials on creation, the appropriation of a sound object, and the collaborative nature of a composition that responds to modernity.

"Rhizome represents an underground stem system that fosters connections between various organisms and allows them to flourish collectively. It's an album that celebrates collaboration and brings together a diverse group of talented artists," Désiré continues.

Aho Ssan collaborated with a comprehensive cast of artists to create a musical rhizome including Nyokabi Kariuki, Josefa Ntjam, Blackhaine, Nicolás Jaar, Resina, R?n C?p ?uôi, Richie Culver, clipping., Lafawndah, 9T Antiope, James Ginzburg, Exzald S, Valentina Magaletti, Moor Mother, Angel Bat Dawid and Mondkopf. Cooperation and community are at the root of this project and the lens through which all the compositions can be understood through.

Aho Ssan will present 'Rhizomes' AV show together with visual artist Sevi Iko Dømochevsky at Berlin Atonal 2023. 'Rhizomes' received a Honorary Mention at Prix Ars Electronica 2023 Digital Music


5. VITAL SALES POINTS:

In conjunction with the album, 'Rhizomes' comes complete with a set of illustrations by Kim Grano in a book release. The drawings become a hybrid language, each an emotional response to the musical half. The book contains an extended version of the album with 3 additional songs and 2 longer versions of the album songs. It also includes a sample pack by Aho Ssan and a collection of solo tracks by Elliot Blaise, KMRU, Lamin Fofana, Brodinski & Se?bastien Forrester, Valence Drake, 9T Antiope, Exzald S and Valentina Magaletti. The extended version package is only accessible through the QR codes in the book.

More

LP [Limited Edition Vinyl]
GENRE/S: Alternative / Electronic / Noise

TRACKLISTS:

1. At The Opposite Pole of Architectural Virtue
2. In One Corner The Male Relatives
3. Serene Company
4. Tiles of The Façade
5. Chafing Dish
6. Such Gardens There Are
7. Capping Verse
8. Overdose Ferocious
9. Patience Of A Traitor
10. Bareekullah Picnic
11. In Thrall

SHORT INFO:

Tehran-born, NY based brothers Mohammad and Mehdi collaborate with Ian McDonnell, a.k.a. Eomac on a new record entitled "Patience of a Traitor". Inspired by the traditional bath houses in their native Tehran, the brothers say: "This record speaks to preserving the things that are timeless, through revisiting the past. The traditional Persian bath house - its architecture, the role it played in keeping, building community, the bathing rituals - served as our ultimate symbol. Now we drink from one cup, and fill the jar with the other."

More

LP [Limited Edition Vinyl]

GENRE/S: Alternative / Electronic / Ambient

TRACKLIST:

1. Addio
2. Felicitazioni
3. Piccolo e Cattivo
4. Mio Signore
5. Tranquillo
6. Oboe Vento e Rumore
7. Ti Saluto Parte 2
8. Contacto
9. Casa di Emma
10. Ti Saluto Parte 1

SHORT INFO:

Dienne's 'Addio' is a 32 minute study on loss and mourning. Following the death of her grandmother due to covid, and unable to say a proper goodbye due to travel restrictions, Dienne set out to give her "Addio" through musical form. She lets objects fall, leaves windows open, and lets the wind dust off the shelves. This is the sound of everyday mourning, a taste instead of an event. A lingering, broken and patient work of undeniable beauty.

Credits:
Artwork by Africanus Okokon and Maziyar Pahlevan.
Mastering by Gert Van Hoof.

Bio:
Dienne is a Belgian composer, vocalist and multi-instrumentalist. She builds songs and soundscapes portraying images & stories that play behind her eyes. Starting with the oboe as a child, before adding the piano and flute to her repertoire, she later produced soundtracks for theater and dance performances. Her debut 'Addio' will be released on 'Other People'.

More

LTD 2LP [Includes Art Prints by Zofia Kulik]

Compiled on vinyl for the first time

GENRE/S: Library / Ambient

TRACKLISTS:

1. Krzysztof Knittel: Lapis (1985)
2. Bohdan Mazurek: Canti (1973)
3. Magdalena Dàugosz: Yes and No (1990)
4. Barbara Zawadzka - Greya - III (1991)
5. Barbara Zawadzka Greya - IV (1990)
6. Barbara Zawadzka Greya - II (1987)
7. Rudnik - Epitaph of Stones (1984)
8. Boguslaw Shaeffer - Symphony. Elec…e (perf. by Wolfram) (1964-66) - I
9. Boguslaw Shaeffer - Symphony. Elec… (perf. by Wolfram) (1964-66) - II
10. Boguslaw Shaeffer - Symphony. Elec…(perf. by Wolfram) (1964-66) - III
11. Boguslaw Shaeffer - Symphony. Elec… (perf. by Wolfram) (1964-66) - IV


SHORT INFO:

Would It Sound Just As Bad If You Played It Backwards?"

A Collection of Sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001)
Art by Zofia Kulik



"Would it sound just as bad if you played it backwards?" assembles a collection of audio experi-ments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the century. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early 70s. While PRES and Kulik remain touchstones in the recent history of the Polish avant-garde, presenting them togeth-er in one release may not have seemed like an obvious choice. There are, of course, some histori-cal intersections-the most notable being a shared interest in Polish artist and architect Oskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants. Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room," a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room-it mostly worked in theory but not in practice. What is it then that makes the two work together?

Within the realm of art history, Kulik's work is often divided into two periods: her early, artistic endeavours connected to Open Form, and the KwieKulik collaboration (with Przemys?av Kwiek), followed by her later turn towards a closed form, characterised by a departure from pro-cessual art in favour of material works of art. Yet these terms don't necessarily bring out the es-sence of Kulik's works. The artist explained that Hansen's Open Form was important for how it opened his students to perceive their environments in a different way. Reminiscing about those times, she states, "I wanted to catch the moment when the object I was looking at was real. I de-cided that as a static item it can never be real-it's possible only in the process of looking at it. That translates to the object being recorded and presented in certain sequences [...] there's the astonishment at the materiality of objects, colours, transformations."

Kulik's works chosen for this release are taken from two projects, Lady Halina and Cones (1968-71) and Excursion with White Screen. Route: Cemetery, The Palace of Culture, which were in-cluded in Kulik's diploma at the Sculpture Department of the Academy of Fine Arts in Warsaw. The projects consisted of slide projections presented on three screens, with specific temporal se-quencing. Lady Halina and Cones presents a woman's body, its forms, geometrical figures, and shapes undergoing a process of transformation. About Excursion with White Screen, Kulik says "this white sheet was supposed to signify an empty screen in different spatial situations in the city. I thought that I would later project a slide onto that screen, imposing another image after-wards, like a collage, but suddenly that screen became a material object instead of an abstract, pure idea of a potential image within an image. It became an object in itself and I began to notice that the screen sometimes wrinkles in the cemetery, and sometimes moves with the wind." A myriad of new meanings and references arise in the twenty-first century from Kulik's sequenced films. From the perspective of a young woman, Lady Halina and Scones poses questions about the objectification of women, the boundaries of their agency, and the recognition of their subjec-tivity within the patriarchal world in which their bodies often functioned as objects of control. In Excursion with White Screen the symbolism of a white sheet placed against a background image of a cemetery or the Palace of Culture questions the role of these religio-political monuments, the white screen acting as an empty, and potentially alternative, space between them.

The music chosen for "Would it sound just as bad if you played it backwards?" spans most of the history of the Polish Radio Experimental Studio, including tracks as early as W?odzimi-erz Koto?ski's "Concrete etude, Study for One Cymbal Stroke," and ending chronologically with Wolfram's rendition of Bogus?aw Schaeffer's "Symphony. Electronic Music." Just as with Kulik's works, the contemporaneity of the music presented is astonishing. The album opens and closes with Krzysztof Knittel's 1980s compositions, "Lapis" and "Poko," and perfectly encapsu-late his descriptions of his experiences in the studio: "We acted without any initial plans or elec-tronic scores, there were no goals to be achieved, no creative method defined in advance. We used our aesthetic and technological knowledge freely, the shapes of tracks emerged during our shared work in the studio."

The album also includes "Mictlan I" (1987) and "Yes and No," (1990) two stunning works by Magdalena D?ugosz, who studied composition with Krystyna Moszuma?ska-Nazar and music theory with Józef Patkowski. Since 1979 she has been teaching in the Electroacoustic Music Stu-dio at the Academy of Music in Kraków.

Also featured is the avant-garde composer El?bieta Sikora, Knittel's fellow member from the KEW Composers' Group, with her stark pieces "Letters to M" and "View from the Window," (1971), and Barbara Zawadzka, whose "Greya" (1988) is meant to evoke different sequencings of the colour grey. In this piece, particularly, it's hard not to appreciate the similarity to Kulik's notion of sequencing and transformation of objects.

Bernadetta Matuszczak's "Libera me" (1991) is an example of a somewhat different creative ex-perience. In a radio interview conducted by Marek Zwyrzykowski in 1992, the composer stated that she wasn't intending to discover any "extraordinary electronic effects"; instead, she focused on the piece's "expressive layer." With the help of Tadeusz Sudnik from PRES, she incorporated into "Libera Me" the characteristic melody from the Polish version of the Orthodox hymn "Holy God, Holy Mighty, Holy Immortal" and then combined it with sounds of explosions and instru-mental recordings, a veiled response to the US's interventions during the Gulf War.

Eugeniusz Rudnik, the composer and sound engineer whose name is among those most strongly associated with PRES, contributes with his "Epitaph for Stones," (1984) a dedication to Jerzy Popie?uszko, the Polish Roman Catholic priest associated with the Solidarity trade union and an-ti-communist movement who was murdered by the Security Service. Bohdan Mazurek, who took over the reins of the studio from Rudnik in 1962 is also included with his piece "Canti" (1973).

As mentioned above, the album also includes W?odzimierz Koto?ski's seminal "Concrete etude, Study for One Cymbal Stroke," a piece sourced from the single stroke of a mid-sized Turkish cymbal; it is often considered to be an important starting point for the development of experi-mental music in Poland. And, finally, the album features two performances of Bogus?aw Schaeffer's "Symphony. Electronic Music," the first by Bohdan Mazurek which remains very close to the composer's score, and a contemporary version by Wolfram, which takes much more creative liberties.

In a text about his seminal work, Schaeffer stated that he "decided to include the factor of inter-pretation in a work that was greatly precise by nature" underlining the importance of shifting el-ements: "the development of music lies in individual elements shifting in the hierarchy of their functions." Indeed, an interest in shifting hierarchies seems present in Kulik's powerful images and most of the sound pieces contained in this release. When the Polish Radio appointed Eu-geniusz Rudnik to present PRES's technical capabilities to a conservative delegation of Soviet composers, he was met with a bitter reply: "Would it sound just as bad, if you played it back-wards?" asked the rigid composers. Rudnick's answer was to create "Skalary," (1966) a multi-version piece which could be played from start to finish and from finish to start, at different speeds, as well as with altered left and right channel distribution. This modular openness calls to mind the empty sheet in Kulik's images. Whatever the context, its static emptiness creates space for a different reality than that which those in power had in mind. This brings us back to Kulik's thoughts on her experiences as a student in the late 60s, a pivotal time in which she determined the process of looking and listening was central to reality itself, thereby shattering the rigidity of traditional forms and religio-political power: "I decided that as a static item, an object can never be real-it's possible only in the process of looking at it."




More

LTD 2LP [Includes Art Prints by Zofia Kulik]

Compiled on vinyl for the first time

GENRE/S: Library / Ambient

TRACKLISTS:

1. Wlodzimierz Kotonski - Study for One Cymbal Stroke (1951)
2. Symphony. Electronic music, part I (performed by Bohdan Mazurek) (1966)
3. Elzbieta Sikora - Letters to M. (1980)
4. Bernadetta Matuszczak - Libera me (1991)
5. Elzbieta Sikora - View from the Window (1978)
6. Magdalena Dlugosz - Mictlan I (1987)
7. Barbara Zawadzka - Greya part V (1991)
8. Krzysztof Knittel - Poko (1986)



SHORT INFO:

Would It Sound Just As Bad If You Played It Backwards?"

A Collection of Sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001)
Art by Zofia Kulik



"Would it sound just as bad if you played it backwards?" assembles a collection of audio experi-ments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the century. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early 70s. While PRES and Kulik remain touchstones in the recent history of the Polish avant-garde, presenting them togeth-er in one release may not have seemed like an obvious choice. There are, of course, some histori-cal intersections-the most notable being a shared interest in Polish artist and architect Oskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants. Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room," a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room-it mostly worked in theory but not in practice. What is it then that makes the two work together?

Within the realm of art history, Kulik's work is often divided into two periods: her early, artistic endeavours connected to Open Form, and the KwieKulik collaboration (with Przemys?av Kwiek), followed by her later turn towards a closed form, characterised by a departure from pro-cessual art in favour of material works of art. Yet these terms don't necessarily bring out the es-sence of Kulik's works. The artist explained that Hansen's Open Form was important for how it opened his students to perceive their environments in a different way. Reminiscing about those times, she states, "I wanted to catch the moment when the object I was looking at was real. I de-cided that as a static item it can never be real-it's possible only in the process of looking at it. That translates to the object being recorded and presented in certain sequences [...] there's the astonishment at the materiality of objects, colours, transformations."

Kulik's works chosen for this release are taken from two projects, Lady Halina and Cones (1968-71) and Excursion with White Screen. Route: Cemetery, The Palace of Culture, which were in-cluded in Kulik's diploma at the Sculpture Department of the Academy of Fine Arts in Warsaw. The projects consisted of slide projections presented on three screens, with specific temporal se-quencing. Lady Halina and Cones presents a woman's body, its forms, geometrical figures, and shapes undergoing a process of transformation. About Excursion with White Screen, Kulik says "this white sheet was supposed to signify an empty screen in different spatial situations in the city. I thought that I would later project a slide onto that screen, imposing another image after-wards, like a collage, but suddenly that screen became a material object instead of an abstract, pure idea of a potential image within an image. It became an object in itself and I began to notice that the screen sometimes wrinkles in the cemetery, and sometimes moves with the wind." A myriad of new meanings and references arise in the twenty-first century from Kulik's sequenced films. From the perspective of a young woman, Lady Halina and Scones poses questions about the objectification of women, the boundaries of their agency, and the recognition of their subjec-tivity within the patriarchal world in which their bodies often functioned as objects of control. In Excursion with White Screen the symbolism of a white sheet placed against a background image of a cemetery or the Palace of Culture questions the role of these religio-political monuments, the white screen acting as an empty, and potentially alternative, space between them.

The music chosen for "Would it sound just as bad if you played it backwards?" spans most of the history of the Polish Radio Experimental Studio, including tracks as early as W?odzimi-erz Koto?ski's "Concrete etude, Study for One Cymbal Stroke," and ending chronologically with Wolfram's rendition of Bogus?aw Schaeffer's "Symphony. Electronic Music." Just as with Kulik's works, the contemporaneity of the music presented is astonishing. The album opens and closes with Krzysztof Knittel's 1980s compositions, "Lapis" and "Poko," and perfectly encapsu-late his descriptions of his experiences in the studio: "We acted without any initial plans or elec-tronic scores, there were no goals to be achieved, no creative method defined in advance. We used our aesthetic and technological knowledge freely, the shapes of tracks emerged during our shared work in the studio."

The album also includes "Mictlan I" (1987) and "Yes and No," (1990) two stunning works by Magdalena D?ugosz, who studied composition with Krystyna Moszuma?ska-Nazar and music theory with Józef Patkowski. Since 1979 she has been teaching in the Electroacoustic Music Stu-dio at the Academy of Music in Kraków.

Also featured is the avant-garde composer El?bieta Sikora, Knittel's fellow member from the KEW Composers' Group, with her stark pieces "Letters to M" and "View from the Window," (1971), and Barbara Zawadzka, whose "Greya" (1988) is meant to evoke different sequencings of the colour grey. In this piece, particularly, it's hard not to appreciate the similarity to Kulik's notion of sequencing and transformation of objects.

Bernadetta Matuszczak's "Libera me" (1991) is an example of a somewhat different creative ex-perience. In a radio interview conducted by Marek Zwyrzykowski in 1992, the composer stated that she wasn't intending to discover any "extraordinary electronic effects"; instead, she focused on the piece's "expressive layer." With the help of Tadeusz Sudnik from PRES, she incorporated into "Libera Me" the characteristic melody from the Polish version of the Orthodox hymn "Holy God, Holy Mighty, Holy Immortal" and then combined it with sounds of explosions and instru-mental recordings, a veiled response to the US's interventions during the Gulf War.

Eugeniusz Rudnik, the composer and sound engineer whose name is among those most strongly associated with PRES, contributes with his "Epitaph for Stones," (1984) a dedication to Jerzy Popie?uszko, the Polish Roman Catholic priest associated with the Solidarity trade union and an-ti-communist movement who was murdered by the Security Service. Bohdan Mazurek, who took over the reins of the studio from Rudnik in 1962 is also included with his piece "Canti" (1973).

As mentioned above, the album also includes W?odzimierz Koto?ski's seminal "Concrete etude, Study for One Cymbal Stroke," a piece sourced from the single stroke of a mid-sized Turkish cymbal; it is often considered to be an important starting point for the development of experi-mental music in Poland. And, finally, the album features two performances of Bogus?aw Schaeffer's "Symphony. Electronic Music," the first by Bohdan Mazurek which remains very close to the composer's score, and a contemporary version by Wolfram, which takes much more creative liberties.

In a text about his seminal work, Schaeffer stated that he "decided to include the factor of inter-pretation in a work that was greatly precise by nature" underlining the importance of shifting el-ements: "the development of music lies in individual elements shifting in the hierarchy of their functions." Indeed, an interest in shifting hierarchies seems present in Kulik's powerful images and most of the sound pieces contained in this release. When the Polish Radio appointed Eu-geniusz Rudnik to present PRES's technical capabilities to a conservative delegation of Soviet composers, he was met with a bitter reply: "Would it sound just as bad, if you played it back-wards?" asked the rigid composers. Rudnick's answer was to create "Skalary," (1966) a multi-version piece which could be played from start to finish and from finish to start, at different speeds, as well as with altered left and right channel distribution. This modular openness calls to mind the empty sheet in Kulik's images. Whatever the context, its static emptiness creates space for a different reality than that which those in power had in mind. This brings us back to Kulik's thoughts on her experiences as a student in the late 60s, a pivotal time in which she determined the process of looking and listening was central to reality itself, thereby shattering the rigidity of traditional forms and religio-political power: "I decided that as a static item, an object can never be real-it's possible only in the process of looking at it."
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LP

CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.


8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music

8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole

9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.


NICOLAS JAAR BIOGRAPHY

NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE

Tracklist:

1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk

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- 2LP is mastered for Exceptional Sound

LTD Edition includes : 2LP + Book + OCard + Clear PVC Sleeve

CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.


8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music

8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole

9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.


NICOLAS JAAR BIOGRAPHY

NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE

Tracklist:

1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk

More

LTD CD : CD + Book + Clear PVC Sleeve

CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.


8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music

8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole

9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.


NICOLAS JAAR BIOGRAPHY

NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE

Tracklist:

1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk

More

CD Version

CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.


8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music

8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole

9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.


NICOLAS JAAR BIOGRAPHY

NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE

Tracklist:

1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk

More

AAL 3LP '2017-2019' on Other People featuring Lydia Lunch.
F = vinyl-only edit

Tracklist 3LP

A1. Fantasy
A2. If Loving You Is Wrong
B. With An Addict
C1. If You Can't Do It Good, Do It Hard feat. Lydia Lunch
C2. Alarm
C3. Deeeeeeefers
D. Faith
E1. Penny
E2. You (Forever)
F. Vinyl-Only Edit More

AAL Single 12" on Other People featuring Lydia Lunch and FKA twigs.

Tracklist EP


A Illusions Of Shameless Abundance
Featuring – Lydia Lunch

B Alucinao
Feat. Estado Unido & FKA twigs
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Tracklist LP:

1. In Praise Of Shadows
2. Figure
3. Distance
4. Rest
5. Weight
6. South
7. Tides

Sary Moussa is an electronic musician who has been active in the Beirut underground scene since 2008. He released his first full-length album Issrar in October of 2014 under the moniker radiokvm. His latest record Imbalance, finds Moussa revisiting the soundscapes of his childhood; from the echoes of political unrest, to Greek-Catholic chants, and the quiet nights of a secluded Southern village. The album combines sound design with intricate melodic arrangements to create a choir of synthesizers and noise singing in and out of sync.
In addition to his solo work, Moussa has also composed music for theatre and dance performances, short films, and museum installations.


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3x12" Gatefold White Vinyl (Download Code Inside)


1. Extrawelt - Dark Side Of My Room (DE-Q20-08-00161)
2. Extrawelt - Wippsteert (DE-Q20-08-00162)
3. Extrawelt - Trümmerfeld (DE-Q20-08-00165)
4. Extrawelt - Must Attack (DE-Q20-08-00164)
5. Extrawelt - Wolkenbruch (DE-Q20-08-00166)
6. Extrawelt - Added Planet (DE-Q20-08-00167)
7. Extrawelt - Daten Raten (DE-Q20-08-00169)
8. Extrawelt - Lost In Willaura (DE-Q20-08-00170)
9. Extrawelt - Kurt Curtain (Skit) (DE-Q20-08-00168)
10. Extrawelt - One Tree Hill (DE-Q20-08-00160)
11. Extrawelt - Messy Machinery (Rough Mix) (DE-Q20-00-01376)
12. Extrawelt - Homing (DE-Q20-08-00171)
13. Extrawelt - Bright Side Of My Room (DE-Q20-22-00014)



Including all the tracks from the original release. But adding "Bright Side Of My Room" to the list as a counterpart of "Dark Side Of My Room" makes this release even more attractive. And to top it all off, as another treat, there's the "Messy Machinery" Rough Mix instead of the Original Mix.

It's all about hooking up our music to the emotional world of electronic music at the beginning of the Nineties, however, without falling for nostalgic references. We don't want to do cowardly Zeitgeist Techno, we want to have the heart to dare big sounds and more melodies. Sunrise scenarios, energy, revolution, and kaput-ness, all these are parts of the Extrawelt." (Extrawelt, 2008)

However, don't panic even if the aesthetics of the debut album of the two Hamburg-born artists Arne Schaffhausen and Wayan Raabe is affected by the attentive observation of electronic dance music over the last fifteen years, the "Schöne Neue Extrawelt" is above all this: Premium Techno 2008! The Hamburg-based producer team has been unmistakably imprinting the last three years' club sound with widely noticed releases on Border Community ("Sooper Track"), Traum Schallplatten ("Doch Doch") and Cocoon Recordings ("Titelheld") as well as with remixes for Gregor Tresher, Minilogue or Alexander Kowalski - last but not least due to an excellent live presence, that resulted in the second rank in the Groove Live Act Charts, even still without the accompanying long-player.

The work on "Schöne Neue Extrawelt" started more than two years ago for Schaffhausen and Raabe. "The initial idea was to present an album covering all styles of electronic music between Ambient, Breakbeats, and Techno. When we had 25 tracks for the album ready, we had to realize that this approach did not work for us. Insofar, we finally decided to use the 4/4 bass drum in all tracks except in the little intermezzo "Kurt Curtain". We have tested all tracks live over the last three months and constantly re-interpreted them. So, the 'danceability' is clearly in our focus, but the sound spectrum and the dramaturgy of the titles should not be solely functioning in the club. Our intention was definitely not to deliver an album full of superficial peak time hits."

Those twelve tracks on "Schöne Neue Extrawelt", all unreleased, are therefore primarily representing a pleasurable 'in-between', the organic development of hypnotically compressed dance music that is more than "just" Minimal Techno, reduced Trance or electronic listening sounds of the Warp era - even all those elements have left their marks. From the richly decorated musical-clock-intro "One Tree Hill" via the stereo singing bowl of "Trümmerfeld" to the Asian-sounding creaking of "Daten Raten", Extrawelt celebrate a vision of futuristic melancholy with organic detail richness, which is permanently in motion but is nevertheless seeming to be well-balanced. However, in the Extrawelt universe, one gets along quite well with antagonisms. "We have always been polarizing, not only in the Techno scene but also in the Trance scene. Because in the end, "Schöne Neue Extrawelt" - freely adapted from Aldous Huxley - is now not only a big neon-colored future but is likewise positioned in the often-disillusioning grey of the here and now."



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- Limited 1000 copy 2018 Edition in CRYSTAL CLEAR "View Through the Looking Glass" Type Vinyl , Crystal Clear Vinyl + 2x 180g !
- Limited editionUltra Deluxe 45rpm Cut Edition with Gatefold "Tip On" Sleeve
- housed in heavy cardboard old Stoughton tip-on jacket (Gatefold)
- 45 rpm cut for superior Sound (than 33rpm) made by Emil Berliner Studios
- sticker

*** TERRITORY RESTRICTION - NO SALES TO JAPAN ***

Tracklisting:
1. Mr. Henri Rousseau's Dream
2. Crossing
3. Trompe-l'œil
4. Catastrophe £

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WRWTFWW & Palto Flats Records are ecstatic to announce the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient / minimal album "Through The Looking Glass", originally released in 1983 by RCA Japan.

Considered a Holy Grail of Japanese music by many, "Through The Looking Glass" is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience.

The fully licensed reissue is available as a single 33rpm LP and a limited 45rpm DLP, both cut directly from the original studio reels (AAA), at Emil Berliner (formerly the in-house recording department of renowned classical record label Deutsche Grammophon) for the 45rpm DLP, and at the equally famous Frankfurter SST Studio for the LP. It is also available in CD format for the first time. All versions come with extensive liner notes.

Bio

Midori Takada is a composer, multi percussionist, and theater artist renowned in Japanese vanguard circles. She will tour Europe this year.

Midori released two solo albums: "Through The Looking Glass" and "Tree Of Life" and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments.

She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad.

In the 1980s Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh.

In the past 20 years, Midori Takada spent more time in theaters than in concert halls - composing and performing live music for theater. She regularly works with Tadashi Suzuki and his Suzuki Company of Toga on their adaptations of "Electra" and "King Lear".

Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality.

Every live performance Midori Takada gives is unique and prepared especially for that occasion.


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Double LP: Heavy 350gsm Sleeve, Liner Notes, Sticker
- Official reissue of Grauzone's album with 9 bonus songs including the megahit "Eisbär" and more, straight from the original reels!

Genre: Post-Punk, Electronic, New Wave, Cold Wave, Pop, Synth, Industrial, Experimental

Tracklisting Double LP Album

A1. Film 2
A2. Schlachtet!
A3. Hinter Den Bergen
A4. Maikäfer Flieg
A5. Marmelade Und Himbeereis
B1. Wütendes Glas
B2. Kälte Kriecht
B3. Kunstgewerbe
B4. Der Weg Zu Zweit
B5. In Der Nacht
C1. Eisbär
C2. Ich Lieb Sie
C3. Moskau
C4. Ein Tanz Mit Dem Tod
D1. Traüme Mit Mir
D2. Ich Und Du
D3. Wütendes Glas (Maxi Version)
D4. Raum
D5. Film 1

WRWTFWW Records is very happy to reissue Swiss cult band Grauzone's self-titled album in an expanded 40 Years Anniversary Edition packed with the original 1981 album plus 9 extra songs, as well as extensive liner notes by Swiss music historian Lurker Grand. The 19-track album is available as a double LP vinyl in heavy 350gsm sleeve and a digipack CD, both sourced from the original reels and put together under the supervision of band member and all around legend Stephan Eicher.

The pioneering band from Bern (Switzerland) had a short-lived but highly-regarded career which birthed a cult discography that still fascinates and resonates today. Consisting of core members Martin Eicher, Stephan Eicher, and Marco Repetto, and on-and-off participants Christian GT Trüssel, Claudine Chirac, and Ingrid Berney, the elusive group broke new grounds in the early 80s, experimenting with punk and industrial music, early techno sounds, minimalism, new wave, pop, and various electronics. With an innovative and polished approach to design, visuals, performance, and all around style and philosophy on top of their superb music, the constantly transforming unit developed a whole experience - the Grauzone experience: wild and unpredictable, yet sophisticated and cohesive, or as Swiss music historian Lurker Grand would call it, "an Art band with a Punk attitude".

Completely rejecting the music industry rules and refusing to play the game of promotion, touring, release schedules, and TV appearances even though they had a multi-platinum international hit with the song "Eisbär", the band quickly disintegrated in full convention-defying glory, leaving behind an inspiring music legacy for the world to discover and discover again, one generation after the other.

This extended version of their debut (and only) album beautifully crystallizes the Grauzone miracle/accident - where pop and youthful experimentation meet at (new/cold/no) wave and industrial crossroads, and where classic hits ("Eisbär", "FILM 2", "Raum", "Träume Mit Mir", "Der Weg Zu Zweit"…) flawlessly mesh with unconventional deep cuts ("In Der Nacht", "Film 1", "Maikäfer Flieg"…). Very simply put: GOOD timeless music with an edge.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and Sylvie Fleury, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.




Points of interests

- For fans of electronic, post-punk, new wave, cold wave, Swiss wave, no wave, Neue Deutsche Welle (Welle means wave!), synth, pop, industrial, proto-techno, 80s, Stephan Eicher, Marco Repetto, Liaisons Dangereuses, Tristesse Contemporaine, Young Marble Giants, The Cure but weirder, Switzerland, romance, mountains, polar bears, contemporary art, wearing nice (white) shoes in dirty basement squats, and xerox machines.

- New release from WRWTFWW Records (Grauzone's Eisbär and Raum, Midori Takada's Through The Looking Glass, Kenji Kawai's Ghost in the Shell Original Soundtrack, John Carpenter's Dark Star Soundtrack, Ryo Fukui's Scenery, Dominique Guiot's L'Univers de la Mer, Bernard Parmegiani soundtracks and more).
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2023 repress

Format Notes: 140g vinyl, remastered from the original tapes

Territories:
Worldwide no restrictions

Track List:

A1 : Flying High (3:35)
A2 : Going Home (2:46)
A3 : Walking In The Dark (4:42)
A4 : Fighting For Life (3:37)
A5 : Feeling Tense (4:05)

B1 : Running Fast (4:42)
B2 : Loving Tenderly (3:27)
B3 : Fearing Much (3:35)
B4 : Being Friendly (2:54)
B5 : Having Fun (4:00)

Release Notes:

More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.

Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.

No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.

Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.

The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.

“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.

The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.

The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.

“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.

“Feelings” is a profoundly appropriate title for such an emotionally funky and genuinely affecting record. Groove-laden bass, irrepressible horns, sweet flute lines, warm Rhodes, lush string arrangements, blaxploitation-styled wah-wah guitars and so, so much more make this one of the finest instrumental soul LPs of the 70s, if not of all time.

The audio for this re-issue of Feelings comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis and cut by Pete Norman. The same care has been taken by the Be With team to restore that glorious original Carosello sleeve. Feelings is almost too good to be true. Feels good all over.
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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. INTRO - A2. BIENVENIDA A TIJUANA - A3. MACHINE GUN - A4. POR DONDE SALDRA EL SOL? - A5. PELIGRO - A6. WELCOME TO TIJUANA - A7. EL VIENTO - A8. CASA BABYLON - B1. POR EL SUELO - B2. BLOOD AND FIRE - B3. EZLN… PARA TOD@S TODO… - B4. MR BOBBY - B5. BONGO BONG - B6. RADIO BEMBA - B7. QUE PASO QUE PASO - B8. PINOCCHIO (VAGGIO IN GROPPA AL TONNO) - B9. CAHI EN LA TRAMPA - C1. CLANDESTINO - C2. RUMBA DE BARCELONA - C3. LA DESPEDIDA - C4. MALA VIDA - C5. RADIO BEMBA 2 - C6. QUE PASO QUE PASO 2 - C7. PINOCCHIO 2 (VAGGIO IN GROPPA AL TONNO) - D1. LA PRIMAVERA - D2. THE MONKEY - D3. KING KONG FIVE - D4. MINHA GALERA - D5. PROMISCUITY More

Special remarks :

- Limited Ten Year Edition
- Crystal Clear Vinyl
- Gatefold Sleeve
- Double Vinyl 45rpm recut
- Download Code

- RA's Album Of The Year in 2011
- Pitchfork's Top 20 in 2011
- Pitchfork's Best 200 Best Albums of the 2010's


It has been 10 years since Nicolas Jaar released his celebrated debut album, Space Is Only Noise here on Circus Company. With countless accolades, forays, and dips into other waters both preceding its arrival one decade ago and since with many musical ventures this LP still stands as not only a unique and verified-classic release in the artist's own expansive catalog as well as ours, but also amongst the general pantheon of electronic music of the 21st Century on the whole.

What better way to celebrate this milestone than with an immaculate must-have re-release package, with the music now spread out over double discs and cut at 45rpm on crystal clear vinyl to let the glacial top-end soar as originally intended, and the air of the general proceedings expand, once again, into the ears and consciousness of electronic music lovers the world over. Along with this technical upgrade recut, the distinct artwork has also received a facelift fit for the occasion, and will now be found adorning a full gatefold cover, inked lovingly in reverse on inside-out heavyweight paper including printed inner sleeves for a total collector's gem front-to-back.

While Nicolas Jaar's own recent online musings of the origin of the album title and lead track has us imagining playful plexiglass-letterings and a fresh sense of abstract calm before soon-to-be career storms, the music itself feels to have not aged a day past its prime of creation. From the unanimous crowdpleaser "Colomb" to "Keep Me There" indeed doing just that, with Jaar keeping us right where he left us last go-round, to the luminous titular track "Space Is Only Noise If You Can See" and omni-prophesy of "Specters Of The Future" - please join us in a warm welcoming return to this universally acclaimed classic LP, which garnered coveted spots in both RA's Album Of The Year and Pitchfork's Top 20 in 2011, now in its unmissable pristine new vinyl form, sounding as fresh as ever, a solid 10 years later.


Tracklist LP:

A1. Être
A2. Colomb
A3. Sunflower
B1. Too Many Kids Finding Rain In The Dust
B2. Keep Me There
B3. Problem With The Sun

C1. Space Is Only Noise If You Can See
C2. Almost Fell
C3. Balance Her In Between Your Eyes
D1. Specters Of The Future
D2. Trace
D3. Variations
D4. ^tre


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JUSTICE, The French duo formed by Gaspard Augé and Xavier de Rosnay, is the band of a whole generation. When the two friends were still bright students in graphic design, in 2003 they made JUSTICE a place to experiment a hybrid genre between music and image, which blends pop and electronic borders, and showcases the talents of 2 fascinating passionate pop culture craftsmen, bored with hierarchy. They met Pedro Winter who had just founded his label ED BANGER RECORDS, he immediately signs them after listening to "We Are Your Friends" which, with its joyful and vitamin-enriched electro beats combined with exhilarating voices, became the hymn of a whole generation and one of the most important tracks of the year 2000, celebrating a reconciliation of pop music and the dancefloor. It was awarded an MTV Video Award in 2007, bringing about the famous live TV appearance with Kanye West outraged that his million $ clip was outclassed by a home-made bomb. (Once the misunderstanding was cleared up, Justice, Ed Banger and So_Me became a constant source of inspiration for Kanye and his superstar rappers colleagues. Kanye even employed So-Me as director for the video for his hit song "Good Life"), Jay Z will use D.A.N.C.E for his next album. From now on, the duo's ascent was constant and then lightning struck: remixes for N.E.R.D, Britney Spears, Franz Ferdinand, U2, Daft Punk, Lenny Kravitz and an EP in 2006 (" Waters Of Nazareth ") defining the "Justice sound", this famous ultra-powerful compression of pop and baroque melodies, both dark and threatening; lightning and animative; and above all the famous Justice image, the cross from which an earlier version figures on the first EP. 2007 was the explosion that will turn the duo into the emblem of a whole generation: their first album "†", anticipated like the Messiah, holds all the promises, and swept everything away as an epic soundtrack. "†" is more than a magnificent synthesis of our time: its potential definition. 800 000 sales worldwide and 4 years later, the album is considered as a mainstay of the 2000s puzzled and tonic, one of the few who bridged the gap from Pitchfork world to MTV without losing its credibility.

Tracklist:

A1 - Horsepower B1 - Canon (Primo)
A2 - Civilization B2 - Canon
A3 - Ohio B3 - On'n'On
B4 - Brianvision

C1 - Parade D1 - Audio, Video, Disco.
C2 - New Lands D2 - Presence
C3 - Helix

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2LP in gatefold sleeve incl. CD - is is the only edition WW to be with CD included - UPC : 5060281618207 Release : 21.04.2014

A few years ago, A-Trak got together with the pioneering house/garage producer Armand Van Helden to form the playful dance duo Duck Sauce, and they quickly scored a vast international hit with "Barbra Streisand." Now, nearly four years after that song landed, they're finally ready to release Quack, their giddy and engaging debut album, which features singles like "Radio Stereo," "It's You," and, yes, "Barbra Streisand."
The album is not a typical dance album but a whole lot of fun: Quack pushes the boundaries of house music and sampling into an absurdly visual listening experience, interwoven with skits, scratching and irresistible loops.

VINYL 1
A1 "Chariots Of The Gods" (ft. Rockets) / A2 "Charlie Chazz & Rappin Ralph" / A3 "It's You"
B1 "Goody Two Shoes" / B2 "Radio Stereo" / B3 "aNYway"
VINYL 2
C1 "NRG" / C2 "Everyone" (ft. Teddy Toothpick) / C3 "Ring Me"
D1 "Barbra Streisand" / D2 "Spandex" / D3 "Time Waits For No-One"


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- LP , GATEFOLD, STICKER
- 50th Anniversary Re-Edition
- Includes Original Releasesheet Inlay
- Original Release: 1972
- 2021 Re-Cut carefully overseen by Manuel Göttsching


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


TRACKLIST:

Side A : Light And Darkness

A1. Light: Look At Your Sun 6:20
A2. Darkness: Flowers Must Die 12:20

Side B : Schwingungen 19:00

We proudly announce the authorised 50th Anniversary Edition 2021 of the 1972 Original release , one of the most important German
Krautrock albums in a 2021 Re-Cut carefully overseen by Manuel Göttsching himself.
As for the info we refer to Julian Cope´s review in his “Krautrocksampler” Book,
Publisher : Head Heritage (1 Oct. 1995) :
“Beware of Schwingungen!” That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually
introduced to something that is life-changing, as I found out to my cost when first listening to this record.
It all starts fairly simply and without any cause for alarm - “Look at Your Sun” begins with a Doorsy lone groover guitar begins a pedestrian
blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it
is beautiful - John L. repeats over and over, “We are all one, we are all one”, until a howling fuzztone solo guitar blows the whole onechord “Signed D.C.” ringing-cymbals torture to an end. And then the most far out track of all begins. This is called “Flower Must Die” and
it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I've written before, PIL sounds like this. John
L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it’s like the
Stooges’ Funhouse period but in a Righteous Vision Zone that fucks them right off. Phasing tears at the whole tracks as this Holy Racket
crosses into Hyper-space and everything gets all hyphenated just-for-the-sake-of-it. “Flowers Must Die”, man, it’s fucked up. Over on Side
2, the title-track (“Vibrations”) begins poetically enough with Wolfgang Muller’s epic and hugely reverbed vibraphone. Organ fades in and
FX guitars, and time passes by. Finally, tom-toms roll and the developing pace is built upon until that great eternal chord sequence finally
materialises — this is the one that Göttsching and Enke believed was the sound of heaven.
They may have been right. And Schwingungen was a gift from the Gods.“
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2x12" LP, ALBUM, plus poster

Tracklist:
A1. Can't Leave You Like This – A2. She's Back! – B1. Tuesday – B2. Hotel Europa Feat. Gnuc?c?i –
B3. Your Girlfriend – C1. Stars – C2. Way Chill Feat. Def Sound – D1. Do The Right Thing Feat.
Axel Boman – D2. Flightmode

Release Info:
Once Upon A Passion is the debut album from Bella Boo, arriving on Studio Barnhus shortly after a sprinkling
of releases through the label that have quickly established the currently LA-based producer (and longtime
Stockholm dj hero) as one of dance music's most distinctive new voices. Throughout its 9 tracks we are treated
to a fascinating, wider-than-ever view of Bella's uniquely intimate and personal world of sound. The album
features vocal contributors Gnucci and Def Sound as well as Nils Janson on trumpet and Axel Boman on
acid bassline. Cover photo by Bozi Borbély Espinosa, artwork by Alexandra Karpilovski. Once Upon A
Passion is out on all formats and platforms November 1st, with digital-only single Can't Leave You Like This
released September 13th.
"I made the album this spring during an intense creative period back home in Stockholm. I was obsessed with
my studio, I wanted to spend all my time awake there. I found out I was getting evicted from it, this sudden
chock turned into a decision to do this album. It made sense, like an "end of an era" thing. I was pretty isolated
back then, spending almost all my time outside of the studio with my daughter Bozi. She snapped the cover
photo while I was picking out records for a gig. I never wanted to leave the studio during these months, but I
realise now how the breaks with Bozi worked for the process - they gave me space to reflect on the music I was
making. That dynamic was exactly what I needed to finish this album." - Bella Boo
Previous press about Bella Boo:
...one of the most promising new artists not only on Studio Barnhus, but in house music in general – Resident
Advisor / ...the flat-out dreamiest thing to come from the label yet – Pitchfork / ...our favorite house 12" of
the year so far – Gorilla Vs. Bear More

UPC827170525566 Release: 4th of November 2013
Tracklist LP':
A1. Can't Find It – A2. Kings & Emperors – B1. Fantastic Piano – B2. Son Of A Plumber – B3. New
Krau Era – C1. Hello – C2. Barcelona – D1. No Sweden – D2. Animal Lovers – D3. Dance All Night
Axel Boman broke through in 2010 with his Holy Love EP, released on DJ Koze's Pampa Records. The track Purple Drank became an instant classic in underground house music circles – since then, Boman has toured extensively while releasing original productions and remixes on labels like DFA,
Hypercolour, Kompakt, Permanent Vacation and Ovum, as well as on Studio Barnhus, the label he runs together with Kornél Kovács and Petter Nordkvist. Family Vacation, Boman's debut album, arrives on Studio Barnhus in November 2013. “I decided to go through the vast collection of ideas and sketches I had on my computer, as a final project before I set that machine on fire and let it all go up in flames. Kind of like what Lee "Scratch" Perry did with The Black Ark in Kingston in the 70's. A friend says the album sounds like “weird Jamaican space disco" so maybe it's a fitting reference”, says Boman himself. Axel Boman's music has also been described as "raw and playful house music drenched in oceans of soul". He graduated with a master's degree from Valand School of Fine Arts in 2010 and currently lives in the calm and peaceful Stockholm suburb Gröndal. - Debut album from Axel Boman on Studio Barnhus
- Limited double 12'' vinyl followed by CD and digital release
- Weird Jamaican space disco / adventurous house music masterpiece More

Territories: World excl France, Uk

Limited Splatter Vinyl edition (5 colors - Clear vinyl basis)

Celebrating 10th anniversary of Connan Mockasin 's both debut album "Forever Dolphin Love" & career, Phantasy and Because Music release new editions of long time out of stock "Forever Dolphin Love" & "Caramel" (2nd album) Lps. Exclusive Splatter 2021 Editions .

Product informations
- "Forever Dolphin Love" : Limited Splatter Vinyl edition (5 colors - Clear vinyl basis)

Tracklist

FOREVER DOLPHIN LOVE (SPLATTER 2021 EDITION)
A1 Megumi The Milkway Above
A2 It's Choade My Dear
A3 Faking Jazz Together
A4 Quadropuss Island
A5 Forever Dolphin Love

B1 Muss
B2 Egon Hosford
B3 Unicorn in Uniform
B4 Grampa Moff
B5 Please Turn Me Into The Snat


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