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2CD
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181 001CD
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Colours Revisited, a revision of Adam F's MOBO Award-winning 1997 debut album, is a story of musical rebirth and passion. Adam F, realizing that Colours had found a new audience -- partly thanks to artists like PinkPantheress -- decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-class musicians added fresh life to the tracks. "Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents," says the seminal producer on his ground-breaking album. "Musicians of a caliber such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan, Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)." The revisited album deftly weaves together the energy of new live instrumentation with the '80s British electronica and jazz fusion inspired sounds of the original. The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original Colours, the influences latent within it and how and why it has gone on to influence so many others since its inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.
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3LP
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181 001LP
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Triple LP version. Colours Revisited, a revision of Adam F's MOBO Award-winning 1997 debut album, is a story of musical rebirth and passion. Adam F, realizing that Colours had found a new audience -- partly thanks to artists like PinkPantheress -- decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-class musicians added fresh life to the tracks. "Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents," says the seminal producer on his ground-breaking album. "Musicians of a caliber such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan, Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)." The revisited album deftly weaves together the energy of new live instrumentation with the '80s British electronica and jazz fusion inspired sounds of the original. The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original Colours, the influences latent within it and how and why it has gone on to influence so many others since its inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.
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3LP
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181 001R-LP
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Triple LP version. Red color vinyl version. Colours Revisited, a revision of Adam F's MOBO Award-winning 1997 debut album, is a story of musical rebirth and passion. Adam F, realizing that Colours had found a new audience -- partly thanks to artists like PinkPantheress -- decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-cla8ss musicians added fresh life to the tracks. "Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents," says the seminal producer on his ground-breaking album. "Musicians of a caliber such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan, Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)." The revisited album deftly weaves together the energy of new live instrumentation with the '80s British electronica and jazz fusion inspired sounds of the original. The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original Colours, the influences latent within it and how and why it has gone on to influence so many others since its inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.
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CD
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AUK 139CD
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Recorded in remotely in Berlin and Scotland during lockdown, Dot Allison and Anton Newcombe collaborate as All Seeing Dolls. Produced by Anton Newcombe in Berlin, he and Dot would send each other vocal and musical ideas, blending Dot's haunting vocals with their fellow skills as a multi-instrumentalists. The album features guitar, ukulele, piano and auto-harp played by Dot, alongside additional contributions from Hakon Adalsteinsson (guitar), and Uri Rennert (drums).
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AUK 139LP
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LP version. Recorded in remotely in Berlin and Scotland during lockdown, Dot Allison and Anton Newcombe collaborate as All Seeing Dolls. Produced by Anton Newcombe in Berlin, he and Dot would send each other vocal and musical ideas, blending Dot's haunting vocals with their fellow skills as a multi-instrumentalists. The album features guitar, ukulele, piano and auto-harp played by Dot, alongside additional contributions from Hakon Adalsteinsson (guitar), and Uri Rennert (drums).
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A 036LP
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Originally released in 1981 on the legendary ZickZack label, the debut LP by Munich's Freiwillige Selbstkontrolle soon reached cult status and became one of the most important NDW/German postpunk releases ever. F.S.K. were one of John Peel's all-time favorites and actually did more Peel Sessions than any other band besides The Fall. For quite a while it was almost impossible to grab a copy of Stürmer, but right on time for its 30th anniversary this seminal LP finally is reissued, accompanied by an eight-page booklet with lots of unpublished photos and extensive liner notes by NDW-historiograph Frank Apunkt Schneider (in German).
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WHYT 082LP
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Limited 2025 repress. You Never End is the third album from Valentina Magaletti, Tom Halstead, and Joe Andrews (Moin) out via AD 93. Its title alone expresses the teetering and shifting nature of both the album and band. This record marks the Moin's shift into a new phase with vocal collaborations across the album from Olan Monk, james K, Coby Sey and Sophia Al-Maria. The album's collaborators all have voices that are alluring in their own right whilst hard to pin down: from james K's ethereal, reverb drenched vocals, Coby Sey's words that bounce and echo across London's concrete streets and Olan Monk's emotive songwriting, while artist Sophie Al-Maria's voice and thoughts are known to stretch across her multidisciplinary practice as an artist, filmmaker and writer. The unique mystique of each collaborator is maintained throughout the record while simultaneously opening Moin up to new possibilities, in a gentle shifting alchemy. Continuing their enigmatic re-configuring of the traditional band, Moin use a mix of conventional and unique production and compositional techniques. Subtly re-framing the current conversation about what the band in 2024 needs to be, Moin walk the line between what's reassuringly familiar and what's unsettling and inquisitive. You Never End is a more sensitive record in sentiment, it re-contextualizes grunge, shoegaze and indie rock with a weirdly comforting melancholy while still sounding direct and alive. Showing Moin at their most accessible, the vocal collaborations bring the most articulate moments and lucid emotion while still remaining uniquely within Moin's established world. Alongside this, the record fine tunes the elements of electronic production that have always been a feature of the band's unique sound in a deeply subtle way. Elements are simpler and more direct, offering robust functional support as well as textural and emotional resonance. Together they show the potential for both practices to intertwine. You Never End is both produced and mixed by Tom and Joe, demonstrating the extended range of control the pair have over the band's sound, and their ability to truly hold together Moin's intricate world.
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AKENAT 005LP
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Second installment of this wonderful compilation of gems from the '60s and '70s Singapore music scene, focused on the amazing ladies that helped make it so vibrant. 14 gems of female fronted Pop Yeh Yeh, another eye-opening collection of amazing Singapore treasures. Be it as solo singers, backed by other bands or as band leaders, women had a huge presence on the Singapore music scene. All under the idiosyncratic Pop Yeh Yeh umbrella and each with her strong personality and musical tendencies, the music contained in this beautiful record is an absolute trip for anyone interested in '60s and early 70s music. Featuring Li Li Wong, Lena Lim & The Stylers, Fung Po Po, Ervinna & The Stylers, Nancy Sit, Mai Le Huyen, Lara & The Trailers, Chen Jie & The Golden Melody Band, Alina Rahman & The Bateks, Wong Shiau Chuen & Brothers Hawk, Nam Hong, Lotus Liew, The Crescendos, and Siti Zaiton & The Firebyrds.
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N 098LP
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Well-versed in vintage vernaculars, Oakland-based producer/musician Mike Walti returns with his sophomore offering under the Organi moniker -- new album Babylonia follows 2020's Parlez-vous Français?, a landmark in vibe acquisition ever since. Fueled, at least in part, by those long-classic 12"s on the walls and channeled through ancient time travel devices such as the MCI 416B only to arrive on classic two-inch tape, it's a haven for all things organic, for all things imbued with that warm élan. Babylonia is so much more than linguistic confusion and ancient Akkadian Rhythms. Using that hidden portal near Alameda's finest port to access all kinds of remote regions and sonic spheres, it's super tight and feels, well, decent. The sophomore album's Berlin-based guest singer Nana Lacrima takes listeners elsewhere: title track "Babylonia" spins ever so softly, like a magic lantern, with images of dreamier Stones Throw funksters or Savath y Savalas looming over the steady flow of an arrangement that washes you clean like an ancient, unpolluted River Euphrates or Brazil's actual Amazon. A sexy Portuguese-flavored anthem, occasional guest singer Alix Koliha also enters the scene to add yet another layer of French chic to this Brazilian landscape. Tim Maia-penned "Padre Cicero" (1970) deals with the stunning transformation of the titular hero, and Organi's take on Elephant Memory's "Old Man Willow" perfectly underlines what Walti's Wyldwood endeavor is all about: easy-going experimental dream pop, fueled by Gainsbourg, Broadcast, Stereolab, etc. Right before the outro, key album guest Yea-Ming Chen (of Yea-Ming & The Rumors) returns to the mic, adding her dark and dusky trademark timbre to melancholy anthem "Pictures Of Your Face." Reminiscent of Nico and Trish, it's a track that's both dark and strangely propelling, hypnotic and hip-shaking.
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N 099LP
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Whereas these two Spinnen (German for Spiders) -- Sophie Neudecker (drums) and Veronica "Katta" Burnuthian (bass) -- have been doing their spidery thing(s) in countless muggy, experimental corners of Munich for years (think bands such as Bombo, Uschi, Apian, The Living Object, Friends of Gas), the duo's first full-length offering for Weilheim-based Alien Transistor sees them move on towards a warm kind of light -- Warmes Licht. Inspired by Lambrini Girls, Peaches, McLusky, Amyl And The Sniffers, and all things loud and gain-heavy around their hometown, the album is obviously two body parts (A + B side), 8 legs (tracks). "Zusammen wachsen/Zusammen fallen," meaning "grow together/fall together" feels like a fitting motto on opening track "Träume," an initial onslaught of shouts, spiky basslines, crunchy chords, a whole lot of awesome friction in that lovely lower end. "Visionen folgen/Kämpfen und Erschaffen," is another apt line while doing just that, fighting, creating, turning visions into soundscapes, into pure sonic fun and resistance. Putting even more pressure on the mosh pit with wordless "Wirken," that titular warm light eventually breaks through towards the end of hypnotic "Moment." "Warm" has no drums, no message, it's pure light, all playful organ hypnosis, paving the way for the B-side that opens with first single "Geister" (spirits/ghosts/genies). The duo are like two genies coming from the same smashed bottle, offering three wishes to those who're lucky enough to listen. Following a quick melancholy breather ("Lichter"), things once again get restless as they rush towards the punk finale via slow-burning demolisher anthem "Ermüdend"/"Immer wieder," only to unleash one last battle cry, one last middle finger made of light and noise to the heated room ("Mäuse") they've long taken over.
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AMT 044LP
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2025 repress. Prolific visionary Yetsuby makes her debut on all my thoughts with a celestial concept LP that chimes into the deeper, inner emotions. Yetsuby is the solo project of South Koren artist Yejin Jang. Since 2019 she has carved out a reputation as something of a prolific visionary, with six albums, seven EPs and a flurry of singles between her two projects to date. Her recent album My Star, My Planet Earth received the "best electronic album of 2023" award at the Korean Music Awards. Beyond her solo work Jang is also one half of the critically acclaimed electronic duo Salamanda, which has been featured in Pitchfork, Crack Magazine, and DJ Mag. The duo also host a residency called "shadow dance" on NTS radio. Yetsuby's debut release on Seb Wilblood's all my thoughts label is a heartfelt and forward-thinking mini LP. The six-track release effortlessly chimes into the deeper, inner emotions whilst providing a window into her abundant breadth of skills through tantalizing themes of sonic alchemy. "I want to put comfort into the music and give some message to people who blame themselves," says Yetsuby. The resulting effect is a release that feels sincere and deeply personal but has a celestial magic about it that feels both kaleidoscopic and transcendent. It effectively creates a world for the listener to inhabit, whilst inviting them to connect with the album's themes on a personal level.
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Cassette
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AMI 059CS
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"Following the recent archival release of Primitive Art Group's studio albums, 1981-1986 Amish Records present the release of this 65-minute album of live PAG performances recorded between 1981 and 1983. These recordings document the beginnings of the PAG in all its raw beauty and chronicle its development into a unique improvising unit. Made from original cassettes tapes, this fills a missing part in the story of free music and in the story of underground music from New Zealand. Live Cuts 1981-1983 contains three tracks featuring early member Pam Grey on cello and vocals, a snapshot of a remarkable and largely unrecorded musician. Wellington legend Gerard Crewdson joins for one improvisation on wordless vocals. The band work out on covers of Albert Ayler's 'Ghosts' and 'Bells,' a few group improvisations, some originals and a homage reworking of Cecil Taylor's 'Unit Structures.' Live Cuts 1981-1983 presents the band live and spontaneous, anticipating their later recorded output. Another crucial piece of the Primitive Art Group and New Zealand free music story."
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LP
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BALMAT 014LP
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DOVS are the duo of Vienna's Johannes Auvinen, aka Tin Man, and Mexico City's Gabo Barranco, aka AAAA. Psychic Geography is their second album together, but it differs considerably from both their respective solo work and their 2019 debut LP together, Silent Cities. Where that album's hardware-based acid kept its gaze focused squarely on the dancefloor, Psychic Geography is a strictly ambient affair. The album has its roots in a trio of beatless tracks that peppered Silent Cities; this time, the duo decided to try making an entire album with no drums. Ambiguity and uncertainty are key watchwords for their music, which moves with eerie, liquid grace. Untethered from 4/4 kicks, their music drifts and morphs; familiar acid sequences give way to surprising shifts in tone and mood. And with no drums to distract the ear, the seeming simplicity of their silvery synth lines opens up to reveal remarkable depth and dynamism. Barranco and Auvinen recorded the album together in the studio utilizing machines like the Roland TB-303, Juno G, Prophet 5, Elektron Octatrack MKII, Make Noise DPO and René, Mutable Clouds, Roland SH-101, Behringer TD3, and Sherman Filterbank. Listen on good speakers or headphones, and you can tell: Their gear yields a tonal richness that recalls the ambient and cosmic music of decades earlier. You can practically feel the heat from their circuits warming the air. The meaning behind the name DOVS is as ambiguous as the duo's music. But Psychic Geography needs little explanation. DOVS' album is a collection of mental maps of imaginary places. Set your coordinates for the mirage on the horizon and prepare to dissolve.
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2LP
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BR 017LP
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"Chicha Libre celebrates early seventies Peruvian music styles which mixed cumbia and funk with Andean melodies, Cuban son, and heady swirls of surf guitar, farfisa organ and moog synth. The Brooklyn based band pushes their music way beyond mere pastiche and into strange, sun-blanched epiphanies with elegant homages that take a sublime twist of the new, re-interpreting chicha and pop classics such as 'Popcorn', Joe Dassin/Toto Cutugno's 1975 hit 'Indian Summer', and subtly executed cumbia takes on pieces by Satie and Ravel. Bandleader Olivier Conan initially developed a passion for vintage Chicha during a trip to Peru in the nineties, which resulted in the internationally acclaimed 'Roots Of Chicha' compilations he produced, before going even further by forming his inventive 21st Century band. Personnel: Olivier Conan (lead vocals, cuatro), Joshua Camp (keyboards), Nicholas Cudahy (bass), Vincent Douglas (guitars), Greg Burrows (percussion), Timothy Quigley (percussion) and others. Side D is an etched disc."
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BSR 011LP
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Originally issued on Fonit Cetra label in 1972, and then re-released on Black Saint in 1976, this is Enrico Rava's legendary first album. An eclectic yet organic mix of open lyricism and NYC funk groove. Backed up by Bruce Johnson on electric guitar, Chip White on drums and Marcello Melis on double bass (one of the true unsung heroes in Italian creative jazz), Rava shines throughout the whole album with his very distinctive sound and his deep sense of melody. After more than 40 years this marvelous debut still sounds fresh and vital as ever.
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BJR 025LP
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2025 repress. Altın Gün offer an exciting mix of Turkish folk, psychedelia, funk, and rock. After performing in Istanbul with Jacco Gardner, bassist Jasper Verhulst became fascinated by the Turkish sound of the '70s. At that time, artists like Selda, Barış Manço, and Erkin Koray combined traditional music with western rock influences. Along with bandmates Ben Rider (guitar) and Nic Mauskovic (drums), Verhulst searched for Turkish musicians to revive this sound. They found Merve Dasdemir (vocals) and Erdinc Yildiz Ecevit (vocals, saz, keys) through Facebook. Jungle by Nigaht's energetic percussionist Gino Groeneveld joined the group and the band was complete. Altın Gün play songs from the aforementioned artists from the '70s and their lesser-known contemporaries and also make their own arrangements of Turkish traditionals. This way, different worlds meet and form a refreshing danceable sound.
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BJR 054LP
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"After the very acoustic ¿Dónde estás María?, I decided to try a new experiment taking as a reference the legendary group Cumbia siglo XX which is a group who explores a futuristic vision of coastal cumbia in the '80s, together with other groups such as Grupo folclórico, 2000 voltios, and others, mainly under the label Machuca and Felito records. This new '80s cumbia was a combination of funky basses and a further evolution of the rhythms, blending this style with disco and even rock music and superimposing the traditional versus the urban context and the modernity. Meridian Brothers took this as a departing point and inspiration, making the same experiment but in XXI century, using the modern media of this time; all kinds of drum machines, guitars and synths, algorithmic software etc, and also taking into account the global exposition of modern cumbia in the 2010s. So all kinds of influences and genres are blended around this cumbia axis. Urban beats, synthy grooves, glitches and all kinds of swear words, and all kinds of slang language are included in the songs of the album. All these elements are filtered and passed through the traditional train of thought of Meridian Brothers, which is the figuration of an abstract picture of sound put it within a concrete context or cultural tendency." --Eblis Álvarez/Meridian Brothers
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2LP
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BPX 040-7LP
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Returning for the seventh edition of the beloved We Are Not Alone compilation series, Ellen Allien and BPitch Berlin curate an unmissable collection of twelve new tracks celebrating the global underground that has influenced the label since its inception. BPitch continues to expand on their limitless roster, providing a reflection of the artists who have been involved in the We Are Not Alone event series from across the world. These events put a kaleidoscopic lens to electronic music from all over, championing a vision of culture that is far-reaching and inclusive in both spirit and sound. With contributions from rising talents and established heroes alike, We Are Not Alone: Part 7 is a testament to the pluralism of one of electronic music's most beloved record labels, and the family of artists that make it what it is. Featuring Ellen Allien, Andree Bohlin, Sept, DJ Physical, Wtchcrft, Rhys Fulber, Naix, Lucinee, Ayako Mori, Raul Alvarez, Reäkttor, Lady Maru, and Under Black Helmet.
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BR 184LP
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A long-awaited reissue of a holy grail of Latin American boogie disco. The members of the band are Saúl and Manuel Cornejo, previously in Laghonia and We All Together. Building on the saga that began with the Viva el sábado compilation, Buh Records now introduces the debut album of Rollets, originally released in 1981. Rollets was one of the fundamental groups for the development of disco in Peru. Their career was brief, only two years, with one album and a couple of performances. Although they are remembered for their mega-hit "Patinando," they were more than a one-hit wonder. The nine tracks included in their self-titled album Rollets (1981) surprise with the maturity with which they embrace the sounds of disco and boogie. They emerged in Lima in 1980, led by Manuel and Saúl Cornejo, who began working as producers at historic record label Iempsa. They had composed and recorded "Patinando" as the theme music for a new TV show on Channel 5 called Speed Boogie (1980), without anticipating the success the song would have. The Cornejo brothers recorded all the instruments, including the synthesizers. The vocals were provided by Malena Calisto. "Patinando" gave them the confidence to propose recording an album to Iempsa. They again called on Malena Calisto, and also her sister Nancy, Giovana Reynaga Da Silva, and Rosemary Paz Wells for the backing vocals. Combining some never-recorded songs by New Juggler Sound (rock band they formed in the '60s) and new compositions, they put together the repertoire for an album. Rollets' songs were nourished by the thematic and musical universe of the aforementioned films, especially Roller Boogie, and offered a period portrait marked by sentimental education and dance as a catalyst for youthful emancipation, with Malena Calisto's voice transitioning from innocence to hedonism. Rollets marked the beginning of a path for Peruvian disco that many groups later followed, such as Grupo América, Grupo San Francisco, Los Roller's de Tarapoto, Grupo Swing, and Grupo Galaxia, among others, significantly, many of them linked to tropical music. Rollets wrote a main chapter to understand the change of decade and the phenomenon of a new dance culture that spread throughout the country. This reissue includes insert with liner notes by Luis Álvarado and visual documentation.
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BR 185LP
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Mauricio Moquillaza, in his debut album, charts new directions for electronic music in Peru through the use of modular synthesizers and improvisational methods, crafting minimalist sequences with rich melodic and textural qualities. The four compositions in the album belong to a modern tradition of modular synthesizer use, an instrument that has experienced a global resurgence in recent years, expanding the aesthetics and possibilities of analog sound. These four pieces, created with a modular synthesizer, blend innovative sequencing processes and minimalist repetitions while interweaving organic and melodic patterns with noisy abstract soundscapes. These works, the result of extensive experimentation in his studio, have been recorded in a single take, without any overdubs. Emerging from Lima's experimental music scene, Mauricio Moquillaza is also a bassist who has developed his sound practice at the intersection of noise and free improvisation. He is the founder of the collective Deshumanización, which has served as a platform to showcase a new generation of experimental music artists in the city. This perspective is crucial to understanding his work with the synthesizer, which he views as an extension of the spontaneous nature of improvisation. Consequently, his pieces have an irreproducible quality and explore the ongoing tension between control of the instrument and its generative possibilities. From this vantage point, Moquillaza embarks on his own exploration, offering a narrative that is striking in both its conciseness and its openness to the unknown. Mauricio Moquillaza's debut album is presented in a limited vinyl edition of 300 copies by Buh Records. It has been mixed by Christian Mun and mastered by Simon Davey, with artwork by Aaron Julián.
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BR 190LP
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Originally released in 2014, Historias de Frío has become a landmark album in recent Ibero-American shoegaze. The second album by the Ecuadorian band Sexores, which in practice and according to some music media, has the soul of a powerful debut, celebrates 10 years of existence with this vinyl re-release via Buh Records. In 2014, the band, then based in Barcelona, independently released an album that surprisingly received the affection of specialized critics, leading Sexores to embark on a European tour and consider them a revelation of Ibero-American shoegaze and dream pop. Historias de Frío would have a profound meaning, both for its members and for a part of the audience that still treasures the songs and the first times they saw the band live. But perhaps, the most important meaning associated with this album is the definition of a musical identity that still accompanies them and that has led them, 14 years later, to an intense period of activity. From the solitary recording of the rhythmic bases of the songs, which began on December 29, 2012, to the desolate reality of having lost the material in a robbery at their studio on June 21, 2013, Historias de Frío is a work with many transversal anecdotes; it is a collection of narratives full of inspiration and a sound construction that has the ability to be assimilated and kept as a great listening experience; and, finally, this work is one of the points to which one can always return to reconnect with those early desires to make music simply for the pleasure of making it. Recorded between Quito and Barcelona, and mastered at The Lodge (New York) by Sarah Register, with cover art by painter Aron Wiesenfeld and photographs by María José Rodríguez, this vinyl reissue includes two bonus tracks, "Titán" and "Doppelgänger," which were released shortly before the launch of Historias de Frío and are part of the same creative period.
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BB 395LP
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LP version. Collector, seeker and storyteller Charles Bals brings his curatorial finesse to Hamburg's Bureau B with Ambientale, a journey into otherworldly sounds from the years 1983-2000. Drifting effortlessly between digital exoticism, mellow fusion, new age groove and library electronics, the pieces range from largely obscure to utterly un-google-able, and coalesce into a stunning soundtrack to tranquil seas, desert sand and starlit skies. Cinematic and enigmatic, Ambientale is a stranger you've only just met but can't stop thinking about. A familiar face to those who dwell in the deep end of the record pool, Charles is an obsessive digger, always on the track of an otherwise unheard sound. Through two trips to "Club Meduse" and star-crossed lovers "America Dream Reserve" and "Black Rain," he's also established himself as a mixtape auteur, weaving together the strange and beautiful into evocative compilations that transport listeners to distinct, imaginative realms. While his previous sets resembled Super-8 vignettes, populated by sun-kissed hedonists and drifting outsiders, Ambientale sees Charles leave the human world behind, exploring all the world's wilderness on the scale of an IMAX epic. Bals opens his sonic travelogue with the bamboo flutes and resonant gongs of esteemed Italian maestro Luigi Ceccarelli, joined by the clean lines and Eastern tonalities of the little-known RanōBoru. The journey deepens with a double-feature from Tokyo composer Akira Mitake, sliding from dreamy New Age soundscapes into the lush groove of floral fusion. Digital rhythms and snaking bass add a Latin accent to the bouzouki of Individual Sensitivity's "Greece Ambientale," while the lilting percussion and shimmering synths of Steve Shehan's smooth jazz rarity "Evening In The Sahara" segue perfectly into a masterpiece of French Balearic from Private Joke. A smoky saxophone rises like mist, echoing through the rainfall on Adriano Maria Vitali's "Velvet Blue Circles," before Masami Tsuchiya pulls listeners into the depths with the aquatic ambience of 1983's "Never Mind," its electronic palette the perfect vehicle to ensure that Akira Mitake's "Spectrum" surprises, rather than startles, with its booming machine drums a superb point of difference. From there, we wander once more into the digital undergrowth, exploring the mystical and magical sounds of the Italian library ensemble Gruppo Sound, along with a rare glimpse of Blue Note new age from Gil Mellé. Police sirens and street noise signal our return to the city, forming the backdrop to the tumbling drums and moody electronic stabs of "Ship Out" by Ferris Wheel, an utterly unknown piece rumored to be a promotional track from a Venezuelan garbage company -- the final twist of intrigue to this otherworldly voyage.
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BB 402LTD-LP
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Die Wilde Jagd is the music project of producer and songwriter Sebastian Lee Philipp. Channeling minimalist, tenebrous intensity, Die Wilde Jagd's music weaves a dense and atmospheric web of drama, romance, ecstasy and melancholy. After three studio albums, several EPs and numerous international tours and concerts, the band released the recording of Atem 2022 on Bureau B -- a Roadburn Festival commission that premiered in Tilburg, Netherlands, in April 2021. After the record sold out, the label is pleased to make it available again as a limited color yellow transparent repress. Written for wooden organ pipes, cello, percussion and electronics. A composition commissioned by Roadburn Festival. Performed by Sebastian Lee Philipp, Lih Qun Wong, and Ran Levari. An audacious 45-minute trip into the depths of evolution, organism and metabolism, this piece is an exploration of the mechanism and science of breathing and its essential role in life. Philipp himself plays synthesizers and an instrument developed specifically for the performance: a wooden organ pipe construction operated with an air compressor. The composer is joined on stage by collaborators Lih Qun Wong on cello and voice, as well as Ran Levari (who has played drums in Die Wilde Jagd since 2017) on percussion. Speaking of his composition, Philipp says: "As human evolution enters new realms of reality, I find myself drawn to explore the basic essences of life: the things we are made of, that we take for granted and are, yet, still full of mystery. The parallels between breath and music are undeniable: pace, rhythm, volume and dynamic fluctuations influence us deeply. Breath is the elixir of life and the fuel for one of the most primitive vibrations: the human voice." The themes of creation and spirit within the composition are skillfully enhanced by Turkish visual artist Mürsel Güven.
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BB 460CD
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After a couple of decades dancing in the dark, Berlin brothers Norbert and Volker Schultze finally found their way back into the spotlight via Bureau B's much-needed reissue of their minimal and masterful debut LP Dinner Für 2 (BB 277CD). Now the Hamburg imprint turn their attention to the second VONO LP, Modern Leben, which found the brothers Schultze expanding on the stark palette of their debut, adding spiky fretwork and muscular rock chords to their infectious synth-lines and efficient rhythms for an altogether heftier sound. On Modern Leben, VONO confidently stepped out of the minimalism of their debut, diving headlong into a bold blend of German post-punk, synth pop, and rock influences. Across its 13 tracks, the Schultze brothers offered a kaleidoscope of moods and textures, from brooding gloom-tunes to moments of brighter optimism, crafting an album that feels both cohesive and adventurous. The opener, "Ich steh' im Regen," sets the tone with its effective simplicity: a crisp drum machine, a restrained bassline, and a smooth croon that calls to mind early Japan or Roxy Music. On "Bin Ein Jeder Hat Ihn Gern Boy," taut guitar chops and a brooding synth bass create a simmering tension, sustained by twisted electronics as the track unfolds. The A-side closes on an uplifting note with "Nachtwanderer," its sweeping synth washes evoking a sense of hope as it transitions into a widescreen, cinematic finish. The B-side opens with the DAF-t duality of "Du Siehst So Gut Aus", its lyrical list of compliments yelped over aggressive electro-punk backing, before the romantic "Wenn Du Mich Küsst" cartwheels further towards playfulness via stomping beats and bombastic melodies. The slower "Hurra" introduces greyscale synth stabs and growled vocals, adding an ominous layer to the album's diverse sound, which takes a further detour via the percolating rhythms and almost tropical tones of "Genieß' den Morgen." VONO's sound continued to evolve, coalescing into the hulking EBM roar of 1986's It's Time before the duo dissolved. So much like its creators, Modern Leben is an album that thrives on contrasts, seamlessly moving between stark post-punk grit and expansive synth-pop melodies, while maintaining the intensity and edge that runs through all three of their albums.
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BB 460LP
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LP version. Reissue, originally released on Sky Records label, 1983. After a couple of decades dancing in the dark, Berlin brothers Norbert and Volker Schultze finally found their way back into the spotlight via Bureau B's much-needed reissue of their minimal and masterful debut LP Dinner Für 2 (BB 277CD). Now the Hamburg imprint turn their attention to the second VONO LP, Modern Leben, which found the brothers Schultze expanding on the stark palette of their debut, adding spiky fretwork and muscular rock chords to their infectious synth-lines and efficient rhythms for an altogether heftier sound. On Modern Leben, VONO confidently stepped out of the minimalism of their debut, diving headlong into a bold blend of German post-punk, synth pop, and rock influences. Across its 13 tracks, the Schultze brothers offered a kaleidoscope of moods and textures, from brooding gloom-tunes to moments of brighter optimism, crafting an album that feels both cohesive and adventurous. The opener, "Ich steh' im Regen," sets the tone with its effective simplicity: a crisp drum machine, a restrained bassline, and a smooth croon that calls to mind early Japan or Roxy Music. On "Bin Ein Jeder Hat Ihn Gern Boy," taut guitar chops and a brooding synth bass create a simmering tension, sustained by twisted electronics as the track unfolds. The A-side closes on an uplifting note with "Nachtwanderer," its sweeping synth washes evoking a sense of hope as it transitions into a widescreen, cinematic finish. The B-side opens with the DAF-t duality of "Du Siehst So Gut Aus", its lyrical list of compliments yelped over aggressive electro-punk backing, before the romantic "Wenn Du Mich Küsst" cartwheels further towards playfulness via stomping beats and bombastic melodies. The slower "Hurra" introduces greyscale synth stabs and growled vocals, adding an ominous layer to the album's diverse sound, which takes a further detour via the percolating rhythms and almost tropical tones of "Genieß' den Morgen." VONO's sound continued to evolve, coalescing into the hulking EBM roar of 1986's It's Time before the duo dissolved. So much like its creators, Modern Leben is an album that thrives on contrasts, seamlessly moving between stark post-punk grit and expansive synth-pop melodies, while maintaining the intensity and edge that runs through all three of their albums.
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