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LP
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99CHANTS 020LP
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David August's most expansive, ambitious album to date, the Italian-German composer and producer lets his vast sonic universe collapse, rediscovering in its wake an instrument that's been a constant presence in his life. Hymns is a deeply personal set of candid piano-led reflections that tell a simpler but far more distinctive story; rather than concentrate on the life cycle of humanity and civilization, August narrows his field of vision, tracing his own background and reasserting his relationship with a musical language he'd tried hard to unlearn. An intimate, instinctual album that emerged from isolation and contemplation, Hymns is also a surprisingly hopeful suite of soft hued, evocative improvisations that well up from the depths of the soul. In August's own words, "it should recall light, not darkness."
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ATA 044CD
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ATA Records present the new release by Work Money Death, A Portal to Here. This album continues WMD's exploration of spiritual jazz and the sounds and styles that evolved out of the '60s New Thing, particularly the recordings of Alice Coltrane and Pharaoh Sanders. The first WMD album released since the tragic death of ATA guitarist Chris Earl Dawkins in early 2025, all four tracks reference the journey that band members and the studio have been on -- in many ways this record is a testament and tribute to Chris, his musicality and creativity. Featuring WMD stalwarts Tony Burkill, Neil Innes, Sam Hobbs, and Sam Bell, the album introduces Sorcerers keyboardist Johnny Richards to the WMD sound. Richards brings a fresh new take to the piano role here, drawing on what is clearly a broad knowledge of jazz history and channeling that through his own unique 21st century musical perspective. The album also features contributions from Alice Roberts on harp, bringing the spirit of Alice Coltrane, Ben Powling on baritone saxophone, Richard Ormrod on woodwind, and Kev Holbrough and Steve Parry on brass. Those Sun Ra-esque horn sections lift the mood whenever they appear. Standout tracks are the second, "Dance of the Spirits," with a strong core of "Baptism and The Blues" and some lovely playing by Richards, and the third track, "Brother Earl," which begins with Tony on flute over rhythms that are directly reminiscent of open-hearted, late-'60s spirituality. A Portal to Here is a stunning addition to the WMD catalogue and a clear statement that the band continues to create and produce, whatever life throws its way.
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AWE 003CD
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Laurel Halo returns with an album of original soundtrack music, composed for the film Midnight Zone by visual artist Julian Charrière. Following the path of a drifting Fresnel lighthouse lens as it descends through the Clarion-Clipperton Fracture Zone -- a remote abyssal plain in the Pacific Ocean, rich in rare metals and increasingly targeted for deep-sea mining -- the film traces a descent into one of Earth's last untouched ecosystems. Charrière's film reveals the deep not as void, but as a luminous biome teeming with fragile life: bioluminescent creatures, swirling schools of fish, and elusive predators. The suspended lens becomes an abyssal campfire, attracting species caught in the tides of uncertainty, their futures hanging in the balance. Echoing this tension, Halo's compositions evoke a sensory freefall, where gravity falters and light and sound flicker in uncertain rhythms. Midnight Zone is a sonic drift through the space between what we seek to extract, fail to understand, and must protect. Halo's score evokes the life that exists beyond a physical airbound capacity. The material features long, subtle passages of electro-acoustic ambient, drone and sound design, slowly flowing and unfolding with rich detail. The music, composed largely on a Montage 8 synthesizer and Yamaha TransAcoustic piano at the Yamaha studios in New York City, possesses an uncanny quality: that of synthetic waveforms being amplified and sung through the stringboard of the physical body of the TransAcoustic piano. Combined with stacks of violin and viol da gamba, the music on Midnight Zone possesses trace elements of a human hand in an otherwise sunken landscape. Patient, submerged, and alive. The album will be the third on Halo's imprint, Awe. The film is central to Charrière's current solo exhibition Midnight Zone. The exhibition engages with underwater ecologies, exploring the complexity of water as an elemental medium affected by anthropogenic degradation. Reflecting upon its flow and materiality, profundity and politics, its mundane and sacral dimensions, the solo show acts as a kaleidoscope, inviting us to dive deep.
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AWE 003LP
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LP version. Laurel Halo returns with an album of original soundtrack music, composed for the film Midnight Zone by visual artist Julian Charrière. Following the path of a drifting Fresnel lighthouse lens as it descends through the Clarion-Clipperton Fracture Zone -- a remote abyssal plain in the Pacific Ocean, rich in rare metals and increasingly targeted for deep-sea mining -- the film traces a descent into one of Earth's last untouched ecosystems. Charrière's film reveals the deep not as void, but as a luminous biome teeming with fragile life: bioluminescent creatures, swirling schools of fish, and elusive predators. The suspended lens becomes an abyssal campfire, attracting species caught in the tides of uncertainty, their futures hanging in the balance. Echoing this tension, Halo's compositions evoke a sensory freefall, where gravity falters and light and sound flicker in uncertain rhythms. Midnight Zone is a sonic drift through the space between what we seek to extract, fail to understand, and must protect. Halo's score evokes the life that exists beyond a physical airbound capacity. The material features long, subtle passages of electro-acoustic ambient, drone and sound design, slowly flowing and unfolding with rich detail. The music, composed largely on a Montage 8 synthesizer and Yamaha TransAcoustic piano at the Yamaha studios in New York City, possesses an uncanny quality: that of synthetic waveforms being amplified and sung through the stringboard of the physical body of the TransAcoustic piano. Combined with stacks of violin and viol da gamba, the music on Midnight Zone possesses trace elements of a human hand in an otherwise sunken landscape. Patient, submerged, and alive. The album will be the third on Halo's imprint, Awe. The film is central to Charrière's current solo exhibition Midnight Zone. The exhibition engages with underwater ecologies, exploring the complexity of water as an elemental medium affected by anthropogenic degradation. Reflecting upon its flow and materiality, profundity and politics, its mundane and sacral dimensions, the solo show acts as a kaleidoscope, inviting us to dive deep.
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7"
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BTR 133EP
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ZHERAV unleashes hypnotic Middle Eastern grooves on Naja/Bazaar 45 for Batov's highly collectable 45 series. The record fuses psychedelic rock, hypnotic rhythms, and electronic production influences, creating a sound that moves between swung grooves and cinematic, reverb-soaked textures. ZHERAV draws from his background in house and techno, layering live guitar, bass, and synths over programmed drums. Flutes and percussion introduce the song before a pulsating bassline leads the way. Naja/Bazaar is the latest exciting edition to Batov's Middle Eastern Groove series, promising to transport listeners into a world of rhythm, texture, and hypnotic instrumental storytelling.
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BEWITH 195LP
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The deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the post-punk tonality of Pentacles, than the breezy Balearic jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device. As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further ten pieces, this time displaying the full range and fervor of Thought Leadership. Originally out on cassette only, Be With presents the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this. Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret -- they are all represented across the first seven tracks, and often within the same piece. Side B again takes the listener on a trip through three long-form semi-improvised pieces. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash. Beautifully dreamy, undeniably soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.
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BCR 175CD
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"Millions of Dead Cops is the first iconic, full-length classic record by M.D.C. This was first released in 1981 and quickly became an overnight sensation. Not only did M.D.C. deliver a record full of fast intense music, but this record would influence 1000's of hardcore/punk and bands of political nature to this day. The corruption of cops! Greed of corporations! Racism! The fact that not all people were the same, but so what -- that's OK! Are all addressed in this groundbreaking album. Many of these issues were quite taboo at the time and had not been addressed to this degree in punk before. Round it all off with this being fully restored and re mastered with the original mix. You have a definite must-have album!"
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BCR 175LP
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LP version. "Millions of Dead Cops is the first iconic, full-length classic record by M.D.C. This was first released in 1981 and quickly became an overnight sensation. Not only did M.D.C. deliver a record full of fast intense music, but this record would influence 1000's of hardcore/punk and bands of political nature to this day. The corruption of cops! Greed of corporations! Racism! The fact that not all people were the same, but so what -- that's OK! Are all addressed in this groundbreaking album. Many of these issues were quite taboo at the time and had not been addressed to this degree in punk before. Round it all off with this being fully restored and re mastered with the original mix. You have a definite must-have album!"
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DOT 006LP
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"The residents of Scandinavia and those of coastal regions of Canada have more than a few commonalities. For one thing, they love seafood as well as the act of gathering it. And while this briny lust was not the sole rationale behind this, Mats Gustafsson's third visit to the city of Nanaimo on Vancouver Island off the coast of British Columbia, I am certain it was on his mind. After all, his second visit to the city, with his band Fire!, was designed around a fishing trip envisioned by promoter/label head Jack Tieleman as a sure way to lure those salmon-hungry Swedes to town. That such a gambit was not conjured up again must mean that either Kjetil Moster (a Norwegian rather than Swedish musician) had no overwhelming lust for fin or that their schedule was just too tight. I have asked about this several times, and the lack of response makes me wonder if it is a touchy topic. Maybe there's some kind of law against anti-piscatorial activity in Norway, so things have to be kept hush-hush. But that's just a guess. Regardless, this duo LP is totally great, savage and funny in equal measures. Whether there's sea salt on his lips or not, Mats is one of the great saxophonists of his generation, playing everything from traditional post-bop sax to explosive experimental electronics and many many things in between. The other half of the duo, Kjetil Moster, plays with Mats in a wild quintet called The End, and has a vast array of other projects and ensembles with whom he plays and records. Together, they form and exciting unit, employing a vast array of techniques (freaky and otherwise) to create music ranging from elegantly floating reed interactions to full-on fire music form-tussles. The music at times recalls everything from Eric Dolphy's backyard birdcall practice to rusty electronics worthy of Lasse Marhaug. That Mats and Kjetil are able to flow back and forth between such distant poles during their first-ever appearance as a duo speaks to an excellence in communication as well as lightning-fast response time. It is a gas and a blast from start to finish. How I wish I'd been there!" --Byron Coley
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BB 009LP
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2026 repress. "Green vinyl pressing. Received an 8.8 Best New Reissue rating from Pitchfork. Blackball Records presents the 20th anniversary edition of Jawbreaker's Bivouac. Originally released in 1992, this groundbreaking album has been remastered by John Golden from the original tapes, and the increased sampling rate boosts some of the bottom end and mid-range. The vinyl version is available for the first time in years; the CD and download versions include the songs from the Chesterfield King 12-inch as well as two bonus tracks from the original studio session. The reissue also features restored original artwork, and all formats include additional band photos from the time of recording. 'Shield Your Eyes,' 'Parabola,' 'Chesterfield King' and 'Bivouac' remained set list staples throughout Jawbreaker's run. The album wound up on a lot of fanzine top ten lists and Rolling Stone listed it as one of the 'Ten Most Influential Emo Albums of All Time.'"
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BJR 120CD
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Following Léve Léve Vol. 1, this second volume continues a long-term exploration of the popular music of São Tomé and Príncipe, with a clear focus on rhythm, movement and dancefloor energy. Curated by Tom B., Léve Léve Vol. 2 brings together emblematic recordings from the 1970s and 1980s, carefully restored and remastered, designed as much for close listening as for DJ use. The compilation deepens and completes the first volume by returning to key groups such as Sangazuza, Conjunto Equador, Africa Negra, and Pedro Lima, while also unveiling previously unreleased or hard-to-find tracks. Across the record, puxa and socopê rhythms unfold with remarkable intensity, capturing these bands at the height of their powers: tight arrangements, driving grooves and a strong sense of collective momentum. Beyond celebration, Léve Léve Vol. 2 also reflects a precise cultural and political context. Several songs reference Luso-African independence struggles, spirituality, love and everyday life, anchoring this music in a history shaped by resistance, circulation and hybridization. Recorded in São Tomé, Luanda or Lisbon -- often with the involvement of key figures from the Lusophone diaspora -- these tracks reveal a modern musical landscape that has long remained under-documented. Conceived as a living record rather than a static archival object, this compilation speaks equally to DJs and curious listeners. It once again affirms Bongo Joe's approach: bringing powerful, popular and complex music back into circulation, without nostalgia or exoticism, and making it fully present today. Also featuring Sum Alvarinho, Tiny das Neves e Conjunto Sol d'África, Conjunto Mindelo, Bulawê N'Guli Fala, Quinta das Palmeiras, and Os Úntuès.
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BORNBAD 191CD
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Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.
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BORNBAD 191LP
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LP version. Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.
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BORNBAD 193LP
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Ile de Garde isn't just a clever pun paying homage to the blessed German mystic and jack-of-all-trades, Hildegarde Von Bingen. It's the name chosen by three women freshly signed to Born Bad/Carpaccio Cathédrale, who came bearing gifts: six synth-wave tracks based on a drum/keyboard/spoken word line-up. It won't be for everyone, and that's just as well. More of a narrator than a singer, Klara Coudrais performs the lyrics, embodies characters, and puts on a show, in French and in English. Controlled and clinical anger, putting facts in order, whether it's settling scores with some violent bloke or scrutinize a couple on the path to a breakup -- Sylvia Plath meets Diamanda Galás, heckling the audience gently. It sometimes flirts with singing, with reinforcement coming up as backing vocals. Neither John nor Karen Carpenter, Cécile Aurégan layers synths to produce dense, enveloping soundscapes. It's a full starter-main-dessert, but the trio has a strong stomach. Morgane Poulain peacefully taps away at her drums. Track after track, no-frills post-post punk for your ears, with a few surprises. Ile de Garde takes the floor, body-wise. Rage Blossom is a beginning, and you have to be there.
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BRD 010LP
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Miracle After Miracle After... is, in contrast to Jeff Clarke's (The Black Lips/Demon's Claws) previous solo work Locust (BRD 004LP, 2023), recorded in a single session in a forest, more beautifully embellished, but never overloaded. At its heart, this is folk music. Clarke could be mentioned in the same breath as Connie Converse, Daniel Johnston, and Atlas Sound, though such traditionally excellent songwriting makes comparisons both easy to make and inherently reductive.
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BRDCD 010CD
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Miracle After Miracle After... is, in contrast to Jeff Clarke's previous solo work Locust (BRD 004LP, 2023), recorded in a single session in a forest, more beautifully embellished, but never overloaded. At its heart, this is folk music. Clarke could be mentioned in the same breath as Connie Converse, Daniel Johnston, and Atlas Sound, though such traditionally excellent songwriting makes comparisons both easy to make and inherently reductive.
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BRT 011LP
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LP version. Almost seven years after their last release, numerous international tours, and winning the award for Best Band at the first edition of the German Jazz Awards 2021, PHILM is releasing two new albums. 2024 was recorded in an old Berlin cinema, the Zentrifuge. In search of "their own rhythmic mantras," as Philipp Gropper explains, strange, multi-layered grooves and unfamiliar sounds. Catapulted into strange worlds by Gropper's compositions, PHILM is concerned with the emotional content of these grooves and navigating them together. This adventurous atmosphere in the room and the interpersonal interplay leave their mark on the sound. Because that's exactly what PHILM is all about: a band that's not about outdoing each other with solos, but about finding a shared musical language, creating together, like an interlocking sound machine.
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BRT 012LP
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LP version. Almost seven years after their last release, numerous international tours, and winning the award for Best Band at the first edition of the German Jazz Awards 2021, PHILM is releasing new music. 2025 was recorded live at the Loft in Cologne in April 2025. The sound here is darker, more emotional. The two pieces "no words" I and II are good examples of this, dealing with the bewilderment and horror in the face of current crises, wars, and the repeatedly destructive role of the global North. Between dissonance and beauty, a wide range of emotions opens up. With 2024 and 2025, PHILM are opening a new chapter for themselves, further honing their long-standing and rightly celebrated consistent understanding of jazz, of storytelling through music, which has had a decisive influence on the European avant-garde.
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BRTCD 011CD
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Almost seven years after their last release, numerous international tours, and winning the award for Best Band at the first edition of the German Jazz Awards 2021, PHILM is releasing two new albums. 2024 was recorded in an old Berlin cinema, the Zentrifuge. In search of "their own rhythmic mantras," as Philipp Gropper explains, strange, multi-layered grooves and unfamiliar sounds. Catapulted into strange worlds by Gropper's compositions, PHILM is concerned with the emotional content of these grooves and navigating them together. This adventurous atmosphere in the room and the interpersonal interplay leave their mark on the sound. Because that's exactly what PHILM is all about: a band that's not about outdoing each other with solos, but about finding a shared musical language, creating together, like an interlocking sound machine.
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BRTCD 012CD
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Almost seven years after their last release, numerous international tours, and winning the award for Best Band at the first edition of the German Jazz Awards 2021, PHILM is releasing new music. 2025 was recorded live at the Loft in Cologne in April 2025. The sound here is darker, more emotional. The two pieces "no words" I and II are good examples of this, dealing with the bewilderment and horror in the face of current crises, wars, and the repeatedly destructive role of the global North. Between dissonance and beauty, a wide range of emotions opens up. With 2024 and 2025, PHILM are opening a new chapter for themselves, further honing their long-standing and rightly celebrated consistent understanding of jazz, of storytelling through music, which has had a decisive influence on the European avant-garde.
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BB 074LP
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2026 restock. LP version on 180 gram vinyl. The Bureau B label reissues You's Time Code, first released in 1983 on Rock City Records. As synthesizers grew more popular from the mid-'70s onwards, an increasing number of groups swapped the classic instruments of a rock band for sequencers and synthesizers. Pioneers (and paragons) of this electronically-created music included, of course, Tangerine Dream, Klaus Schulze, Manuel Göttsching et al, who represent the "Berliner Schule" (in contrast to the Düsseldorfer Schule which developed around Kraftwerk and company). A hitherto less celebrated, yet outstanding exponent of the Berliner Schule was the Krefeld combo YOU (Udo Hanten, Albin Meskes). Their debut album Electric Day immediately launched YOU into the elite echelon of Germany's electronic music scene. It would take four years for them to deliver their sophomore LP, entitled Time Code. If Electric Day was characterized by Harald Grosskopf's pulsating drums and Uli Weber's solo guitar, Time Code emerged as an altogether more electronic affair, with both Grosskopf and Weber having left the project. Reduced to a duo, YOU largely remained faithful to their style, but expanded upon it. Time Code displays more range and variation than its predecessor. Downtempo and faster numbers alternate and sugar-sweet melodies are followed by expanses of ominously dark or crystal-clear synthesizers. Hanten and Meskes' new sound was further refined by the use of drum computers and the omission of guitar. The album perfectly illustrates the transition of electronic music from the 1970s to the 1980s. Sequencer patterns owe much to the legacy of the Berlin School (Berliner Schule), while the synthesizer and drum computer sounds heralded the advent of the new decade. The level of interest and excitement was particularly high in Italy, where songs from the album featured heavily on the radio. Listeners were clearly impressed by "Live Line," which has resurfaced in various techno productions over the past 20 years, either as a cover (by Diolac Duvai, for example), or as "Elektro Message" (by Gigi D'Agostino).
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BB 112LP
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2026 restock; LP version. Comes on 180 gram vinyl and includes download card for the album. The official Konrad Schnitzler discography lists Eruption, released in 1971, under the title Schwarz, as the first Schnitzler album. In actual fact, Eruption is the third and final LP by the group Kluster, following Klopfzeichen (BB 110CD/LP) and Zwei Osterei (BB 111CD/LP). The line-up printed on the labels leaves no room for doubt. Unlike the two previous albums, Eruption was not issued by the Schwann Verlag, but by the band on its own, hence the task of financing the record fell to the participants. Roedelius and Moebius, however, were either unable or unwilling to get involved in this risky business. Without further ado, Schnitzler decided to cover the cost of pressing up 200 LPs which he would bring out under his own name. This historical "error" has now been corrected: Eruption is a Kluster album. Seen alongside Klopfzeichen and Zwei Osterei, Eruption is a different beast altogether. The total absence of lyrics, to begin with; the music is music, nothing more. The listener revels in a pure symphony of sound, its dramatic artistry holding his attention until the very end. And that is the second major difference to the first two LPs. Whereas their furious intensity sounded almost brutally improvised, Eruption appears clearly structured throughout, musical freedoms notwithstanding. Kluster take their time in developing spontaneous ideas here, they get loud and then, for lengthier periods, go quiet, suggesting at times a sense of absolute emptiness, followed by outbreaks of dark anger. The possibilities opened up by live electronics were thrillingly exploited to the limit. And yet there is undeniably a method in the music. In the course of their many live concerts, Kluster had learned to use instruments and electronics constructively, reaching the zenith of their musical powers of expression on Eruption. Kluster disbanded after Eruption. The album is a revealing document of a band striving to stretch the musical spectrum during the early 1970s, and indeed, how capable they were of doing so. Moebius and Roedelius went on working together as Cluster, and Conrad Schnitzler (now with a C) began developing his own vision of electronic music, a project he continued assiduously until his death (2011). Still, all three had their roots in Kluster -- incredibly powerful roots. And Kluster have never ceased to be hugely fertile ground. May their creative inspiration never run dry.
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BB 138LP
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2026 restock; LP version, on 180 gram vinyl. Tired of quarreling endlessly with his imperious brother Klaus, Thomas Dinger quit the production of Viva, the second La Düsseldorf album, and promptly set off for the south of France. Frustrated and far away from home, his mind turned to the possibility of a solo album. An album devoted to his own musical ideas, free from domineering voices telling him what to do. Presenting his own vision in the context of a La Düsseldorf LP would have been difficult at the best of times. "I wanted to create something by myself, to make something just for me and nobody else," the third member of the band Hans Lampe recalls him saying -- hence the album title Für mich. He recorded the album in La Düsseldorf's studio in 1981, with Hans Lampe on board as co-producer and engineer. The six instrumental pieces, melancholic and elegiac in character, featured layers of synthesizer sounds, closer to the music of Wolfgang Riechmann or Michael Rother than that of La Düsseldorf. (The pulsating 4/4 beat associated with Klaus Dinger can be heard just the once. Two tracks are actually written in a 3/4 signature). The nearest points of reference in the La Düsseldorf canon might be the more measured "Rheinita" and "Silver Cloud." In the studio, Dinger and Lampe allowed themselves plenty of time to experiment. As Thomas wished, his brother Klaus stayed away from the recording and mixing sessions. Hans Lampe described the creative process thus: "There was a large balcony to the rear of Thomas' apartment, looking onto a vast, overgrown courtyard. A little park, a verdant oasis in the big city. We sat here often, listening to music, working on the LP and musing on life. Thomas and I complemented each other marvelously, bouncing ideas off each other. Our understanding was so great, the mood was so deep and heartfelt, we thoroughly enjoyed working together." Which is how the album sounds: simultaneously conveying a sense of somber depth and unfettered lightness, even playfulness.
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BYTES 033LP
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Green color vinyl. Bytes revisits the impeccable 2024 collaboration between Andy Bell (RIDE/Oasis), recording under his electronic alter ego GLOK, and the producer and Insult to Injury label boss Timothy Clerkin. Along for the ride are an impressive cohort of musical talent -- bdrmm, Richard Sen, Tom Sharkett (WH Lung), Legowelt, Xylitol and FROID Dub -- who all deliver exceptional and unique interpretations of the tracks.
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CSR 274CD
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2026 reprint. Originally released by Side Effects in 1986, Zamia Lehmanni was the third (and final) core SPK album and was Graeme Revell's first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After Information Overload Unit (1981) cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of Leichenschrei (1982), the "body without organs" was fully eviscerated. Graeme felt "industrial music" was becoming ossified and needed to be taken into radically new territories: "post-industrial". The track "In Flagrante Delicto" (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film Dead Calm, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute's 1992 CD edition, Cold Spring Records now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graham Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). New liner notes from Graeme Revell, 2019. CD version comes in six-panel digipak; the track "The Doctrine Of Eternal Ice" appears on CD only.
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