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With some excitement the space and the material interact to produce vibrations, which we hear. Separately, yPLO prepared some sounds in advance of a performance based on the components of a speculative drum kit ob TRU was performed and recorded live on 6/8/18 at Cafe OTO. During this live performance yPLO used amplified mylar, floor tom bass drum, mixers, audio recordings and microphones. The recordings were mixed and edited into 8 discrete tracks. ---- yPLO (Paul Abbott & Michael Speers) is a project about imaginary drums and rhythms, using acoustic percussion and synthetic sounds. Michael Speers is a musician from Northern Ireland who works with various sound materials — using drums, computer, microphones, feedback — in performance, installation and composition. Other collaborators include John Wall, Louise Le Du, Olan Monk, Niklas Adam, Lee Fraser and Seijiro Murayama. Paul Abbott is a writer, sound and performance artist. He has played at venues and festivals internationally and was a resident at Cafe OTO. He completed a PhD at the University of Edinburgh under the supervision of Florian Hecker and Nikki Moran, and is currently undertaking research at Royal Conservatoire in Antwerp. He is also the co-founder and editor of Cesura//Acceso, a journal for music, politics and poetics.

Listening to Fashion Club’s self-produced second album A Love You Cannot Shake feels like being caught in the crossfire of a profound beam of light. You can’t help but feel both enlivened and exposed as its aberrant synth lines, artful strings and disfigured guitars swell into larger-than-life crescendos, which evoke a divine yet probing spotlight. You can bask in the glow of a towering light with self-assured poise, but there’s also something inherently uncomfortable about an imposing light source—revealing yourself to onlookers (and oneself) comes with varying levels of anxiety and self-doubt. This is the tension at the heart of A Love You Cannot Shake, a record of lush radiance and otherworldly scope, with each track functioning as its own twinkling, transportive realm. Pascal Stevenson, the Los Angeles-based musician behind Fashion Club, likens the experience of hearing A Love You Cannot Shake to staring into the sun, and though the record wasn’t written with religion in mind, its heavenly sonics and emotional sagacity also make it feel like a prophetic encounter. The album was shaped by Stevenson’s gender transition and sobriety journey and parses her fluid emotions surrounding these events and other personal trials and tribulations. But as much as it's a dialogue between Stevenson’s current and former selves, it’s also an invitation for listeners to join her in the work of discarding bitterness and recentering hope, especially when such efforts feel futile. Musically, A Love You Cannot Shake is an unshackling of expectations, as Stevenson’s previous stint as bassist in the L.A. post-punk outfit Moaning and her first record as Fashion Club, 2022’s Scrutiny, didn’t necessarily reflect the full range of her taste, which includes ambient, pop, classical and dance music, or embody her sensitive tenderness and femininity. “By the time Scrutiny came out, I had transitioned, and I was making different music and caring about different things,” Stevenson says. “I felt less held back by ‘Oh I’m this kind of person, I have to make this kind of music,’ and I reached a point where I was like, ‘Let me just try to write a bunch of songs on acoustic guitar and piano, where I think the songs are good and have a solid core and then start producing them and see what happens if I don’t put any limitations in place.’” Though A Love You Cannot Shake is the first album that explicitly addresses her transness, it’s not so much a “coming out” record or a confessional, straightforward tell-all as it is a tastefully abstract distillation of her personal experiences and identities into stirring vignettes that anyone can relate to. Whether it’s the search for self-worth in a society that only values humanity in its relation to capital (“Confusion”), the uncomfortably circular nature of self-growth (“Forget”) or the self-destructive urge to make up for “lost time” (“Ghost”), this LP is rooted in the universal truth that self-actualization is always worth pursuing. Tracks often begin from a place of discomfort and shame, but by the end, they tend to arrive at a more patient, hopeful frame of mind, as Stevenson cherishes the authenticity of a more amorphous emotionality. A Love You Cannot Shake also thrives on a fluid sonic palette. The throttling balladry of “Faith” falls somewhere between gentle pop, glitchy industrial and epic classical music. “Ghost” has a bubbly garage-y techno thrust, and “One Day” soars with its electronic take on anthemic heartland rock. The album’s magnetic immersiveness hinges on its strange dynamic shifts, jagged production and ambitious song structures with parts that don’t repeat—choices influenced by her love of left-field electro-pop and her classical music background. Stevenson was inspired by the movements and storytelling of classical music, and she even picked up the upright bass again for this record, despite not touching the instrument for years. While Stevenson handled most of the instrumentals on Scrutiny, this LP is much more collaborative, featuring an array of contributors who lent strings, piano, pedal steel and more. Plus, this album boasts country harmonies from Perfume Genius (“Forget”), high-pitched coos from Jay Som (“Ghost”) and gauzy whispers from Julie Byrne (“Rotten Mind”). Stevenson’s vocal evolution is also on display with this record, embracing a softer delivery that’s more reflective of her personality and identity. With this album, Stevenson masterfully executes a daring vision and chronicles how far she’s come in several facets. Sonically, she says, “It feels like the album I’ve wanted to make for the past 10 years, but didn’t have the musical vocabulary to or was scared to,” and personally, she says, “I am, for once in my life, finally feeling something I’ve been reaching for forever, and I want to live in that feeling for the rest of my life.” A Love You Cannot Shake vehemently encourages a walk towards the edge and into the sultry glow—after all, it’s cold out here in the cynical abyss of our minds.

NUG is a music project by Florian T M Zeisig and PVAS. Napping Under God was recorded in Berlin in late 2020 as a live session under the timeless influences of bong and sterni, love and kindness.

Ivy Falls, the alias of singer-songwriter Fien Deman, is debuting in 2024 with her first album. It is mature, grounded, and with a lucid vision and direction. It's written while seeing fault lines rise to the surface after a breakup, the loss of her home and in an overall time of uncertainties. Writing was a way to get her bearings and figure out what to fill her empty ‘house’ with. As a sort of side effect, an album emerged. Everything is now vastly different: a new life, a new place, new people, and a guitar-driven, very honest, indie-folk album. This sounds like the best outro for the confusing time being in your twenties can be. When Covid started in 2020, it also brought the opportunity for some to 'leave your life as it is'. Fien decided to do so. She hoped to eliminate the predetermined shapes taught as a child. They say you sometimes hit a wall when you've reached your limits in life. So she did in Spring 2020: a broken nose, some chaotic events, and a very energy-absorbing search to redefine everything. The end of a relationship, selling the house she lived in, moving back to her hometown and being unemployed made sure everything there was to shake was shaken thoroughly. In the years after that, her life began to fall into place, little by little. And so did her musical identity, thematics and sound. For the first time, it made complete sense. She bought an acoustic and electric guitar and a buffet piano and spent as much time as possible in her diy home studio. This album's artistic approach and meaning align with her approach on life and the future in many ways. It is pinning on redefining stiff concepts in our society, such as the concept of golden years. What and when is supposed to be life's most significant, happiest, most alive moments? Concepts like the superiority of extroverts, materialism and toxic positivity are a few topics touched on. Not a frustrated lament but a beautiful ode to what matters, the core of the beauty of life itself. Finding your inner child and being able to experience timeless and profound feelings. Musically, Fien finally found her true match, working with Bram Vanparys (The Bony King of Nowhere) as a producer. Creating a metaphorical room wherein each tiny musical idea has space to grow; each insight, each try makes all the difference. Ivy Falls is ready to raise her bars, influenced by Julia Jacklin, Amen Dunes, Feist, Sharon Van Etten, Sufjan Stevens, Adrianne Lenker, Big Thief, Nick Drake and Nilüfer Yanya. Like always, Fien's characteristic voice plays the leading role in every song, but shows maturity and shades like never before. Live, Fien is supported by fellow musicians Trui Amerlinck (Tsar B, Mayorga), Jasper Morel (Black Box Revelation) & Simon Raman (Steiger). In the past, Ivy Falls released 2 EP’s, was played Studio Brussel and Radio 1 and did support shows for Balthazar, Jessie Ware, Sigrid and Mabel.

egowelt returns to Clone Records with yet another sonic journey that defies conventional electronic music boundaries, offering an album that is as eclectic as it is immersive. Blending different styles and textures seamlessly and proving that electronic music can still be creative and that function doesn't always prevail style. He delivers a collection that transports listeners through a kaleidoscope of retro-futuristic sounds, deep grooves, and cosmic melodies. Despite being in the music game for more than 25 years the music from Danny Wolfers remains playful and refreshing. Stylistically taking elements from his whole musical career and not commiting to the latest trend or any genre specifically, and low-key taking the piss with everyone who takes themself to seriously. While many electronic music artists are stuck in their own void, busy pleasing the big room, Legowelt meticulously crafts rich textured soundscapes, balancing between cosmic exploration and the dancefoor, that evoke both nostalgia and futuristic visions. His ability to fuse elements of house, techno, disco and electro with cinematic influences results in an album that is not only ready for club use but also gratifying at home. Each track offers something unique--whether it's the hypnotic rhythms, the lush synth lines, or the subtle, eerie undertones that creep in unexpectedly. Legowelt's attention to detail and passion for his craft shine through, making this album a worthy follow up to his last album on the Clone Jack For Daze series.

First compilation album by Argentine synthesizer maniac Nacho Marty Meyer… Tip! Since the 80’s, Meyer has been interested in synthesizers and electronic music, and started making demos. The compilation includes the Italo disco track ‘Magical Journey’, previously released under the name Xarion, which is now a hard-to-find record. Makoto (satoshi& makoto): “The sincerity conveyed in his work is very good and I love the primitive feel of the music.”

HOME RECORDINGS (2018-2021) “Who is Yara Asmar and how does she make music so strangely beautiful? The 25-year-old instrumentalist-puppeteer lives in Beirut with her cat, Mushroom, and presumably that’s the feline’s shadow next to the artist’s on the album’s back cover. The warm light of that photograph and the quiet beach scene of an abandoned lifeguard’s station and an empty net tells you all you need to know. Home Recordings 2018-2021 is an assured debut album that builds an eerie tension out of dreamlike layers of isolation” Spectrum Culture "Tiny worlds expand and contract in the palm of Yara Asmar’s hand. These recordings are remarkable in their ability to command attention in the gentlest terms. There are stories to find on this album and new worlds to discover." Foxy Digitalis SYNTH WALTZES & ACCORDION LAMENTS “Melancholic drifts sound through the overcast skies of synth waltzes and accordion laments, infusing ageless melodies with a sense of falling backward through time. History is stitched through gilded aural silhouettes and elegiac drones. Asmar’s music is visceral. While electronics beckon beyond the sunrise stretched through a metallic shimmer, synth waltzes and accordion laments sticks with us while we remain lost in the hazy doldrums, always crawling forward tethered to our past lives. Highest recommendation.” The Capsule Garden “ …these tracks are a cushion against reality. Asmar creates music that unfurls in evanescent bliss, an invitation to a safe space both isolated and welcoming.” The Quietus “…a set that transmutes the instrument’s droning tones into a sweep of introspective, breath-catching moments of beauty“ Pitchfork, 30 Best Jazz & Experimental Albums of 2024

“Unrecognisable” is a story about a city where buildings are used as weapons in a war between the government and the people. The initial chapter, “Eiffel Shard”, was published as an online graphic novel with an interactive soundtrack (www.ormside.co.uk/unrecognisable/). It depicts a phone call between Paris Hell and Geneva Heat, two members of the resistance group Unrecognisable. During the call, Paris informs Geneva that a deadly building, The Shard, is now under the authorities’ control. What’s worse — the government also got hold of a secret building transformation plan developed by the resistance. Paris tells Geneva that the Unrecognisables decided to abandon the plan due to the number of civilian casualties it would inevitably cause. A series of intricate explosions would force the building’s glass surface to rip through the surrounding areas, destroying everything in its path and leaving only a pointed metal structure standing: an Eiffel Shard. The second chapter, “Paris’ Dream”, was performed by Lolina as an improvised gig. Samples from the soundtrack to chapter one accompanied a video showing the protagonist sneaking into The Shard at night. The narrative continues with Paris’ anxiety dream of her time working on the Eiffel Shard project alongside another Unrecognisables member who she fears has betrayed them by handing over their dangerous plan to the government. The third chapter is now being released as an album of new music. In a declining city, Paris and Geneva are tour guides to be followed at your own risk. Lies and petty crimes, mistrust, betrayal and, inevitably, war are the setting in which they seek to devise a plan for resistance. As members of a secret group, they hide their identities and meet after dark. Under dim lights of city streets and closed-down clubs, it’s hard to tell a dodgy detective from an eager philosophy student, friends are enemies in disguise, and it’s advised to park your car sideways for a fast getaway. On this concept album, Lolina performs the role of both characters, her own voice often made unrecognisable by pitch-shifts and distortion. It was recorded almost exclusively on a Casio SK-200 sampling keyboard boasting 1.62 seconds total sampling time. No beat preset (total of 20) is left untouched, unchopped or unlooped. Not one of the 49 mini keys is idle. Retains samples when turned off.

Announcement // Due to a pressing fault, this vinyl has been delayed and we are waiting to have more news on when it will be available to start shipping. Sorry for the inconvenience. Masses is an utterly unexpected, and utterly gripping, collaboration between the East London duo, Spring Heel Jack and a group of top-flight improvisers, drawn largely from New York’s ascendant free jazz network but also including Evan Parker and microtonal violinist Matt Maneri. If there are precedents for this particular mix, in which studio-processed audio environments are played back in real time as the triggers for, and fixed components in, a series of group improvisations, they feel few and far between. George Rusell’s 1967 Electronic Sonata For Souls Loved By Nature, Bob Ostertag’s Say No More Project, and some of Evan Parker’s explorations in the realm of synergetic electroacoustics provide three possible and very different models. But as Matthew Shipp points out, Masses “creates its own space and time”. Masses opens a tunnel on a space where matter and anti-matter can co-exist without the vernacular power of either state being compromised or diminished. It is a total triumph. (Soundcheck, The Wire - Tony Herrington,2001)

Glo Phase is solo project of LA-based producer Joseph Rusnak. Chill House for fans of 100% silk or Mood Hut.

Top tier tackle from Heels & Souls Recordings for their fourth reissue as they let loose a much anticipated double header, Gold In The Shade’s 'Over You' backed with 'Shining Through'. Rough, tough, straight-from-the-heart ‘90s street soul, coming courtesy of TSR bossman Robert Roper and the Gold In The Shade ladies Arletta Davis and Sonia Johnson. One of the most sought-after cuts of this scene, it encompasses much of what made street soul special - heavy bass, gritty breaks, emotive chords and off-kilter vocals, marrying together to form a snapshot of a raw DIY scene with optimism at its heart. The trio’s first single from 1990, ‘Shining Through’ is a no nonsense, bassbin-rattling love song from the underground, seeing long-term friends Sonia and Arletta pulling on the heartstrings from the mic as Robert works his magic behind the studio controls. Lovingly remastered from the DAT by Cicely Balston, if only ‘Over You’ had been so easy. Two years of endless searching for the tape and subsequently a clean copy of the record, Heels & Souls even went to the lengths of having the multitracks restored so that Robert could attempt to recreate the original mixdown in the studio – but the magic of ‘91, unfortunately, can’t simply be conjured at the drop of a hi-hat. After all but losing hope, Sean P (by way of Backatcha’s Aiden Leacy), came to the rescue with a mint condition copy of the record that he had from running in the same circles as Robert and Duval back in the day, ripping and restoring it with a precision he’s rightly famed for. And so (finally!) here it is: distorted samples, low-fi hits, speaker rumbling bassweight and all. Raw to the core, but that’s the point – pure, unbridled emotion from the depths of North West London. Fully licensed from Robert Roper, 20% of profits from Heels & Souls Recordings and Prime Direct Distribution will be donated to Lives Not Knives, a youth-led London-based charity, working to prevent knife crime, serious youth violence and school exclusions.

“hi leaves” is the new full-length record from soft tissue, the duo of Glasgow-based artists Feronia Wennborg and Simon Weins. Following their self-titled debut for Penultimate Press in 2019, this collection examines microsound by way of extended amplification technique, bone conduction, domestic recordings, and digital feedback. Tracks like “plant pot” and “kettle” appear to disclose their source material, presenting wonderfully tactile environments of highly articulate sound. Wennborg and Weins prove themselves to be masterful arrangers of discrete, organic material, weaving together knotty and immersive compositions from these sharp, prickly sounds. Ultimately, soft tissue inhabits an intoxicating soundworld somewhere in between the patient abstractions of composerly EAI music, the haptic indulgences of ASMR, and the diffuse digital pastorals of the 90’s a-musik/Cologne scene.

Born from the fractal innerworld of Vymethoxy Redspiders, better known as Urocerus Gigas from Leeds-based xenofeminist crisis energy rock duo Guttersnipe, The Ephemeron Loop's debut is a synaesthetic acid bath that cracks open the doors of perception to reveal a sonic landscape of ineffable beauty, divine femininity and continual transformation. "Psychonautic Escapism" sublimes Guttersnipe's teeth-gnashing spacegrind aesthetic leaving washes of dream pop ambience, dilated speedcore fusillades and shapeshifting psychedelic dub effects. It's an album that lodges itself creatively between Cocteau Twins, Arca, Basic Channel and Napalm Death, lysergically fluxing imperceptibly between seemingly contradictory sonics and philosophies. Miss VR took 14 long, difficult years to write the album, which developed cautiously as she broke through the misery of her pre-transition life with shoegaze music, rave and psychedelic drugs in Leeds' queer underground. An existence languishing in negativity, soundtracked by extreme music was replaced with the opportunity to experience euphoria, elation and ecstatic freedom, emotions that coalesce sensually on "Psychonautic Escapism". These formative experiences are the album's initial building blocks, assembled between 2007 and 2018 as Miss VR came to grips with her reality as an autistic/ADHD trans woman and the multi-dimensional psychotropic experiences that assisted that realization. And as V's worldview expanded and shifted as she lived a fresh life, the music itself developed spiritually. In 2018, after being impressed with producer Ross Halden's work with Guttersnipe, Miss VR asked him to assist her with developing The Ephemeron Loop's fragmented songs and visions. "I learned a lot about why people don’t usually combine various kinds of sounds or styles in music," she admits. "It is very difficult to get it to all work together!" But after two-and-a-half years of the duo navigating a "labyrinth of fragmented Reason 5 and Logic projects," re-recording and processing, and working tirelessly on complex arrangements and compositions, they eventually found a light at the end of the tunnel. The finished album is towering and ambitious, Escher-like in its illusory reconstruction of familiar elements into brain-altering forms. The album begins with 'Psychonautic Escapism (Cold Alienation)', decorating Miss VR’s disembodied moans with throbbing dub techno synths, insectoid digital percussion and disorientating high-BPM electronics. Her vocals hover weightlessly between My Bloody Valentine's Bilinda Butcher and Cocteau Twins' Elizabeth Fraser, and on 'Lattice Dysmorphism of Lysothymic Oneiroid Cytoterrain' drift against grinding industrial hardcore kicks, serrated bass and Lorenzo Senni-esque trance pointillism. On 'Trench Through Pink Death', Miss VR’s voice mutates into a shrill scream as she directs the music from splattered free-flowing doom into harsh hyper-speed death metal and breakcore. Woven together with both precision and delicacy, "Psychonautic Escapism" turns a rough patchwork of ideas, experiences, feelings and vivid emotions into a glorious neon tapestry. In living and exploring the realities of autism, ADHD and trans identity, Vymethoxy Redspiders has masterminded a sonic language that feels fresh, urgent and shockingly honest. Psychedelic is a term that gets thrown around far too loosely at the moment - in this case there's just no better way of describing the album's scope.

"Fearlessly Accessing the Divine Spirit From Here on Out" is the vinyl debut from up-and-coming pianist, composer, and producer Diego Gaeta. He has previously released projects as Club Diego and with the trio Human Error Club (whose members Mekala Session and Jesse Justice helped produce this record). He has quickly become a fixture in a number of Los Angeles musical environments, working with Lionmilk, The Pan Afrikan Peoples Arkestra, Carlos Niño, Black Nile among others. This album is a synthesis of these many LA environments, and carries chamber, jazz, ambient, and folk influences, ultimately giving it an uncategorizable feel similar to works by Arthur Verocai or David Axelrod. Gaeta recorded the initial ideas for the album by himself after experiencing a burst of creativity during the lockdown of 2020, in the aftermath of a season of protests in Los Angeles, on a piano at his home in El Sereno. “I was constantly not in tune with myself, always awaiting outrage and tragedy in a very unstable world. However, hitting the streets in support of various ongoing pandemic community actions felt necessary and it marked a point in time that ushered in large societal changes.The weight of that era made me feel allergic to making art at the time. All of these ideas came after that period, expressing my reflections subconsciously. I remember that the ideas came in a short amount of time, and then they developed.” Gaeta’s dream band for these ideas would be a 9-piece ensemble or “nonet”, which was finally assembled in the summer of 2021. After careful arrangements and rehearsals the album was recorded. Some of Los Angeles’s finest artists are featured in the ensemble and as featured guests, all combining efforts to fulfill the thematic vision of Gaeta’s inspirations and ideas.

A cornerstone of the Arbutus catalogue, this deluxe LP features a multi-page photo zine, huge party poster, and sky blue colour vinyl.TOPS are a four-piece band from Montreal, equal parts girls and guys, delivering a raw punk take on AM studio pop. Picture You Staring, is a lush array of timelessly crafted songs.Singer Jane Penny gives a new voice to the silent girl at the edge of the circle, disillusioned but honest and unpretentious, a tone complemented by David Carriere's seamless guitar playing and the measured drumming of Riley Fleck. TOPS' subtle arrangements are delivered with a cool restraint that blend with the individuality and self-assured desire of their female lead.Picture You Staring gathers strength through intimacy. Self-written, recorded and produced at Arbutus Records' studio in Montreal over the course of a year, this album contains 12 impeccable examples of pop craftsmanship that will reward repeat listeners.

Far East house assassin Soichi Terada and fellow Japanese club notable Kuniyuki revise a couple of nuggets from Satoshi & Makoto’s inventive exploits on the CZ-5000 synth The warm and floaty originals are repackaged for the club with weight kicks and the contrast turned right up in the mix for propulsive effect in Soichi Terada’s edit of ‘Coastlines’, whereas Kuniyuki emphasises the Balearic appeal of ‘After New Dawn’ in a glyding mid-tempo Version 1, gilded with crisp keys, and rolled out to the terrace with slinkier bassline in Version 2.

Parisian label boss Florent Hadjinazarian aka Hajj updates ‘90s illbient with contemporary instrumental rap, vaporwave and pop influences in a richly pungent and queasy debut album for YOUTH - tipped if yr into DJ Lostboi, Pan Daijing, Croww, Burial. Bringing on the cold rush, seven tracks, all 3:33 long, Hajj’s sound is among the most distinctive in his field on ‘No Soul, No God, No Devil, No Existence’. Influenced by Marian Dora's 2009 film 'The Angels' Melancholia', the album is perhaps best defined by the stark negative ecstasy of its highlight ‘Drag Me Into the Void’, presenting Hajj as a master of collage-like structure, in possession of a compelling grasp of atmosphere. It stands out from much of the contemporary french music we’re aware of for its oblique rejection of club muscularity in favour of more unusual, weightless pressure and suggestively gestural arrangements. That’s not to say it’s not ripe for certain moments in the club, it just doesn’t give them readily. Beginning like Biosphere doing dankest road rap with DJ Lostboi (anyone checked that Nedarb cut lurking on Æ’s Bandcamp purchase list yet?) in ‘Our Lady of Darkness’, he holds an immaculately dark-but-lush appeal from the K-hole nightmare of ‘Loosing U 4 Ever’ to the cosmic plangency of ‘Vox Tenebrae’, meting out discomfiting intro rap like a fantasy Croww x Ronce in ‘Heaven’s Calamity’, and like Spectre x Pan Daijing in ‘Do U Remember Bein Born’, while his ear for saliva-inducing textures comes to fruition on the voyeuristic vortex of ‘Burning Illusions’, perfectly distilling the cold rush on an original mix of the glorious ‘Drag Me Into the Void’. Sickest thing for a while on YOUTH for our $$.

Hilary Woods builds on the airy mystery of 2021's genius 'Feral Hymns' with the crepuscular 'Acts of Light', featuring nine creeping dirges played with double bass, field recordings and sacred choral chants that sound like mournful, Celtic ghosts wailing into a moonlit woodland. Brilliant, gaseous material for anyone into Deathprod, Sarah Davachi, David Darling or Antonina Nowacka. That last album married Wood's surreptitious hooks with Lasse Marhaug’s petrified, doomcore production, a highly distinctive marriage of cursed atmospherics and memorable songs that still sounds like pretty much nothing else we’ve heard since. Her followup ‘Isolation Tank’ for our Documenting Sound series was essentially a screwed audio diary, creating rhythms out of the clicking whirr of her old polaroid camera, her voice drifting into abstraction. In other words, Woods is no stranger to getting deep into her process, and on 'Acts of Light' she increases the contrast, bringing out cracks of colour to contrast her Vantablack striations. Voices are blurred against microscopic sounds on 'Wife Mother Lover Cow', as euphoric pads swelter into mist; like spying a midnight ritual from a safe vantage point, watching forest nymphs dance to the beat of their own drum. Ghostly, choral vapours gather on 'Where the Bough has Broken', recorded with the Palestrina Choir at Dublin's Procathedral, and with Galway City Chamber Choir in Galway, crashing into environmental recordings Woods gathered during travels across Spain. The title track plays pitched vocals against low, nauseating murmurs, while strings provide an ominous sustained drone. Voices chatter in the distance, and a rhythmic thud sounds like a march to the afterlife. Woods strips things back further on 'Awakening', giving us a short break from the crippling gloom with angelic chorals and gauzy cello, before the disorienting heartbeat 'Blood Orange' transports us into another lysergic reality. 'The Foot of Love' is the album's most emotionally resonant moment, all poetic curls of ornate instrumentation and fogged-out dark ambience that wouldn't sound out of place on an Akira Rabelais album, leading masterfully into Woods' brief, subtle denouement, the aptly-titled 'Vigil', freezing phantasmagoric vocals in a sodden mess of cello and captured rainfall. It's the ideal finale to an album that escorts us through a magickal, dusky wilderness that's never oppressive, always tender in its own way. Music that’s as creakingly baroque as it is verdant and folksy. Acts of Light is a fugue comprised of nine slow hypnotic dirges. Vulnerability, majesty, and candour elicited with drone, double bass, cello, synth, viola, field recordings, electronics, noise, vocals, processing and sacred choral chant compose its private ritual. Following excavations and explorations in intuition and physicality through sound which culminated in her 2021 EP Feral Hymns, Acts of Light is a disquiet personal offering to wilderness, loss, absence, mystery and love supreme. Awakening hidden forms that emerge from the shadows with each listen, its rich and weighted lament is subterranean and chasmal whilst simultaneously detailed and tender. Textural dust and speckled light move slowly and expansively here through a deeply sonic and sensory rite of passage where Woods’ moving compositions confide in us feeling to be received with the entire body. Written, recorded, mixed and produced over a span of two years along the west coast of Ireland and Dublin, Woods recorded the voices of Galway City Chamber Choir, before recording the choristers of the Palestrina Choir in the Pro Cathedral Dublin. Strings were recorded by Jo Berger Myhre in Oslo, whilst field recordings were recorded nomadically throughout her time spent traveling through the north west of Spain.

WRWTFWW Records is proud to announce the first ever release of the long-lost original motion picture soundtrack from the 1988 cult horror comedy sensation Ghoulies II by the incomparable Fuzzbee Morse. Digging deep to uncover a true gem of the VHS era, this limited-edition vinyl release (500 copies worldwide) marks history in the making as a piece of film score lore is resurrected from the depths of oblivion. The LP is packed with 39 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well an obi and composer notes. The captivating melodies that once played hauntingly in the background of Ghoulies II were long believed to be lost forever. It took over 30 years and Fuzzbee Morse's unwavering determination to dig out the legendary recordings – and restore them for full audio pleasure! The superb soundscape of Ghoulies II perfectly captures the chilling and wacky essence of the cult movie, as well as its creepy carnival setting. Morse, citing influences such as Bernard Hermann, Frank Zappa, and Igor Stravinsky, flexes his multi-instrumentalist skills, flowing with ease between magical fairground elements (with brilliant use of calliope, tuba, flutes and sparkly sounding synthesizers), dark atmospheres and frightening attacks (tribal percussion, strings, along with dissonant, atonal gongs, bowed cymbals), and goofy moods (bassoon, bass clarinet, glockenspiel, trumpet, clarinet). It’s big cinematic horror movie music with a lighter comedic touch – the 80s live again! To complete this collector's edition, French illustrator Pierre Thyss (the man behind the WRWTFWW Records logo) lends his (immense) talent to provide awe-inspiring visuals that flawlessly encapsulate the juxtaposition of horror and comedy. Ghoulies II follows the release of the full uncut soundtrack of Ghoulies (1985) which was released on vinyl for the first time ever by WRWTFWW Records in 2020 alongside soundtracks for other Richard Band-composed, Empire Pictures-produced classics: TerrorVision and Troll. All these 80s horror favorites are still available – complete the collection now!

FYEAR is a power octet led by composer Jason Sharp and poet/writer Kaie Kellough, fusing spoken word voices with genre-bending compositions for electronics, two drummers, processed saxophone, pedal steel and violins. FYEAR melds drone, modern chamber, out-jazz, ambient metal, post-hardcore, avant-rock and electroacoustic maximalism in an integrated work the opposite of collage or pastiche; it always sounds like a wholly unified ensemble/aesthetic. Kellough’s poetic materiality conveys acute political-existential themes and plays elemental, cut-up instrumental/semiotic roles. Sharp and Kellough have collaborated on wordsound projects for over a decade, performing widely at avant-garde festivals across Canada, developing a symbiotic relationship where spoken text knits into the very fabric of instrumentation and composition. FYEAR has been emerging from these ongoing processes and performances since 2016, with the intensive interaction of two vocalists, and texts that anxiously interrogate our present and future capitalist polycrisis. The vision of a larger instrumental ensemble began to consolidate in 2018-2019 as Sharp continued writing arrangements and developing the music in tandem with Kellough’s refinement of the spoken word arc. This debut album by FYEAR documents its resulting signature 40-minute multi-movement work, which was fully realized in 2020 and has been performed several times over the past three years. The ensemble’s first performance was commissioned during pandemic lockdown by Jazzahead! Festival (Bremen DE), recorded in an empty Montréal venue, and premiered as a broadcast in April 2021 (subsequently rebroadcast by several festivals in Europe, Britain and Canada that year). The group’s proper live debut on 11 September 2021 at Send + Receive (Winnipeg CA) was roundly hailed as a festival highlight, with rapturous receptions following at live performances during the 2022 Suoni Per Il Popolo Festival (Montréal CA) and the 2023 Moers Festival in Germany. FYEAR is an undeniably gripping and singular live experience of electroacoustic, semiotic, musical and political substance. The album captures the balance of widescreen dynamic intensity and unflinchingly urgent grittiness of the work, further contextualized by extensive printed artwork culled from FYEAR’s live visual projections (by acclaimed graphic artist Kevin Yuen Kit Lo). Jason Sharp has released three solo albums on Constellation and has appeared on records by artists as diverse as Roscoe Mitchell, Matana Roberts, Nadah El Shazly, Ratchet Orchestra, Sam Shalabi’s Land Of Kush and Elisapie. Kaie Kellough has been a sound performer for two decades; his poetry and short story writing have been nominated for multiple awards and have won the Griffin Poetry Prize and the Hugh MacLennan Prize for Fiction. Other FYEAR members have credits that include Mingus Big Band, Aaron Parks, Lhasa, Bell Orchestre, Patrick Watson, and various award-winning film soundtrack works.

This whole text about a compilation of legit chill slippers could be over with one quote of drummer Aaron Sterling. The John Mayer band member and studio guru called Basso (our compiler) the „ECM of chill wave“. As we all know, even if some words may be hollow, good quotes help to tell a story. And that is definitely a great quote and if someone has a good story to tell, it is Basso. Best known for his label Growing Bin and probably even more so for the online record shop of the same name, he is one of those miraculous figures in music or record culture who can be called a true believer. Helplessly addicted to collecting music nonstop (hence Growing Bin) from all corners of the spectrum and with an uncanny knack of finding precious little diamonds, where others only assume slop, his shop features everything from original trance tapes to fake reggae and plain private press folly. Much to the pleasure of his devoted customers and even more so to the nickel nursers who use his website for window shopping and go bargain hunting in the dusty canyons and wide plains of the internet. Unfair, you might think, because knowledge like that comes with a commitment. A commitment that is not only financial in nature, but also involves time, dedication, thrift store and flea market visits and hardships (lacerated cuticles especially). Sitting in Trees for International Feel is a sampling demonstration of this commitment. Devotees of his previous compiling efforts Proper Sunburn (Music For Dreams) and Lucky Are Those Who Hear The Birds Sing (Growing Bin), know what to expect: some of the best songs you have never heard before, some you would probably never hear without this and even some that you did not know you would even like. Even self-proclaimed record diggers might not recognize more than Mystery Voice by smooth jazz new agers Dancing Fantasy. It is a world of merry music that pretty much is boundary- and genre-free and includes sunshine stepper like Beau Michael’s Move Away. Patrick Jahn’s and Erobique’s previously unreleased Moonlight Shuffle (the soundtrack to a lost Schimanski Tatort) and Christian Ch. Kneisel’s impossible-to-find Balearic digi gem Jungle Connection. All contextualized, explained and wonderfully described with meticulous liner notes by the king of record descriptions himself: Basso. But what else would you expect from a DJ turned trip-hop-producer turned artiste turned record sommelier? Magic moments galore that won’t make you move away!

Bog Bodies - the band consisting of Robert Stillman, Anders Holst and Seán Carpio delve into deep time to carve sonic abstractions across their self-titled new album on MIC. Navigating the “liminal territory between noise and signal, chaos and control, form and abstraction,” the trio recorded and mixed the album on an 8-track cassette machine. Bog Bodies is a searching inquiry into the mythologies and magical undercurrents that knit together our existence in the information age. Bog Bodies opens with a leftfield homage to Superman III, exploring the mythical qualities of technology through a series of angular horn lines that dissolve into the mire of feedback noise on the album’s raking, anthemic title track. Reverberating in tectonic sheets of sound on ‘One That Is Reflected In The Image Becomes All’ and Bog Bodies reaches its climax on the 11-minute ‘Cave Painting 2019’ - a subterranean epic of mystic force, drawn up from the earth in sweeping drones. Bringing together their combined experiences playing with the likes of Manuel Göttsching, Luke Temple, The Smile and more recently Coby Sey.

After a ten year pursuit, Efficient Space finally presents Late, Late Show, the last recordings of influential Sydney-via-Newcastle band pel mel. Taped in the mid-’80s, these charmingly unvarnished sessions pare the combo back to their core, producing blue-collar sophisti-pop to a danceable LinnDrum beat. From the funky disco-not-disco of ‘Mr President’ to the effortless pop perfection of ‘Fool’s House’, the six tracks reveal a creatively open and well-oiled pel mel before they inevitably disbanded. Formed in early 1979 as a misfit sextet from steel and surf town Newcastle, pel mel were inspired by New York and UK’s post-punk imports. Cutting their teeth speeding through originals and Joy Division, Wire and The Buzzcocks covers every Friday night to a regular turnout of dole bludgers, students and the under-age, the band would also cross-pollinate with electronic-leaning support act The Limp. In 1980, they decamped to Sydney to join the city’s flourishing alternative music scene alongside the likes of Laughing Clowns, Tactics, The Reels, Wild West and the M Squared crew, making an indelible mark with two albums and several singles as the only domestic signee of Factory’s Australasian licensee GAP Records. Catchy and intelligently experimental without being noisy, their musicianship and enduring legacy continues to be lauded by peers. Undoubtedly some of their strongest output, this previously unreleased demo suite documents pel mel free from the pressures of a commercial outcome, naturally elevating them to a class alongside Orange Juice, Antena and Young Marble Giants.

Lauded for his contributions to Here We Go Magic and Art Feynman, Luke Temple brings his signature off-kilter grooves and melodies to his new project's debut album Certain Limitations. The trio's sound takes influence from the likes of Dire Straits and The Velvet Underground, weaving together intricate guitar work, and a propulsive rhythm section, with a touch of jazz sensibility that recalls the ECM catalog. A product of serendipity, The Cascading Moms were formed when in need of a band for an upcoming show, Temple brought together Kosta Galanopolous, a collaborator from his Art Feynman project, and Stuart, a musician he already knew in LA. When these three came together to rehearse, a spark ignited, revealing a creative connection that transcended that first show that brought them together.