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“What a shadow in the instrument, and what a murmur, of the forests from whence issued its wood.” Rainer Maria Rilke

While reading the “Midnight Skin” script for the first time, Carla Pallone (Vacarme, Mansfield.TYA) in Nantes met Fanny in Athens. And the Eucalyptus trees. And it was at this same moment that she saw through her window, an Eucalyptus tree. Fact and fiction are already mixing, and Carla Pallone welcomes this sign with a smile. Then comes the meeting with filmmaker Manolis Mavris, and his work: first “Brutalia”, then “Midnight Skin”. The writing is chiseled and precise. Each frame is a painting. At the center of the film: Fanny's solitude which excludes her from humankind. This solitude requires a place for expression. Carla Pallone thus imagines an “organic” music, linked to the way that wood, strings and other materials live and resonate. A poetic and strange sound universe, close to Fanny, to her physical and psychological states. She has found the perfect junction between acoustic and electronic, highlighting a modern violin, out of the times. The result is a soundtrack similar to Fanny, inhabited, dark and moving. Human.

Somewhere between Mickaël Nyman and Mica Levi, Carla Pallone knows how to write atmospheres, create landscapes and draw lines of fiction. Her classical training and her taste for ancient music have nourished her path as a composer, to open the spectrum of her music to the widest possible audience. With a strong appreciation for the strings, she explores a sensitive sound universe, which unfolds between organic and analog materials. Acute sense of melody, neoclassicism, minimalism... repetitive pieces of music rub shoulders with ritornellos with great joy. And if the violin is king, synthesizers also find their proper place as disturbing basses or melodic sweeps. There is great sensivity in her sound research, at the crossroads of musical paths, from the most classical to the most experimental, improvised or meditative.

Toronto keyboardist R. Grunwald has played on sessions for hundreds of musicians, and has served as bandleader for jazz/pop chanteuse Jill Barber and country/folk songwriter Donovan Woods for the better part of a decade. Now he's ready to step onto the public stage with his own music'alone. Oma is an evocative and deeply personal solo piano record, inspired in part by the life story of his 96-year-old grandmother, a Holocaust survivor and pianist. Drawing from Erik Satie, Nils Frahm and others, Grunwald refers to his intensely melodic compositions as 'extended minimalism.'

'After quitting piano, it was my Oma who inspired me to get back into it. She survived the 2nd world war moving from town to town, hiding from the Nazis, and the Russians in Poland. Music was the one thing that tied her young life together. This music is a tribute to her.'

Enjoy in a quiet environment.

"This album is written and recorded on a reed organ with two manuals and pedals. The instrument was built by Alfred Cedergren who was a reed organ builder 1870–1925 in Vänge on the island Gotland, Sweden. During this period of time Hulda Veström lived in the same village. When Hulda was 14 years old she left her mother and sisters to travel to her father in Los Angeles. In spring 1912 she boarded the Titanic together with her aunt, who was also named Hulda. There is a picture of the two Huldas in the wooden chapel in Vänge where the Cedergren instruments today are gathered. In 2019 Felicia Sjögren moved to Vänge and the chapel with reed organs became her closest neighbor. Over time she got to know the instruments and stories of the village. When she decided to write music on one of the organs she knew she was going to dedicate it to Hulda, a teenage girl 100 years into space and time of this very place. Hulda is also the name of one of the few women prophets in the Bible, appearing in the Old Testament with warnings of the doomsday. The album is written and recorded in the chapel by Felicia Sjögren."

Artist, composer and producer James William Blades" score Pare De Sufrir will be released via AD 93. Today Blades will be releasing a preview of the album with the single Alma Germela. Pare De Sufrir (translating to "End of Suffering") is the official soundtrack to A.G Rojas" film of the same title.

Jump Ship, Sit Lean, Be Still, Stand Tall is a collaborative LP from BZDB, comprised of Duncan Bellamy and Belinda Zhawi (MA.MOYO), that will be released via AD 93. The record is a collection of sonic-poetry setting Zhawi"s illuminating, elliptical words in dialogue with diffuse, explorative music and sound by Bellamy. Together they render these disparate forms into something distinct, melancholic and luminous, fluctuating between expansive contemporary classical arrangements and intimate layered vocal experiments.

Since his debut with the "Darling Darling Darling"track, immediately spotted by the media as well as by electronic music lovers, Louis Warynski has continued to evolve a world that belongs to him alone, over the last ten years and eight albums.Like Lewis Caroll's universe, Chapelier Fou's music is multiple, simple and complex, serious and light, classic and modern. Louis Warynski's work is woven on a classical basis, but it is constantly disrupted by subtle electronic arrangements and rhythms, thus taking the tracks outside of all convention.We find in Chapelier Fou the facetiousness of French composers such as Erik Satie, François de Roubaix or Robert Cohen Solal, not hesitating to blend pop and concrete music, but also this formidable capacity to make serious what is not serious, and vice versa of course. His music, very much at home on screen as well as on stage, has everything that makes up the trait of genius composers: accessible in appearance and adaptable in all forms.This is how Chapelier Fou has performed on stage as a soloist, juggling between violin, guitar, keyboards and pedals, in trio, quartet and even in orchestral formation with the Orchestre National of Metz. Often described as "electronic chamber music", it was expected that one day Chapelier Fou would offer us a version of his music without a single electronic or electrified part. It is now done with this Ensemb7e who performed on the stage of L'Arsenal de Metz, broadcasted by Arte Concert. Chapelier Fou Ensemb7e has received direct support from a wide audience, but also from venues programmers where the septet has been performing since June 2021. Ensemb7e stands for a mainly wooden septet: violin, viola, cello, piano, clarinet and drums accompany the multi-instrumentalist composer. It's hard to resist such musical enthusiasm! The magic happens immediately because the re-reading of these little jewels in pop format gives a touching and fulfilling dimension to Chapelier Fou's work: even more dreamy versions, sometimes more mis...

"Couldn't find any acoustic covers of these two masterpieces by Gigi Masin from 1989, so decided to give it a go with one of my biggest local musical idols, Olli Aarni who I am proud to call my friend. I consider the original tracks quite holy, so it took me years of courage to ask Olli to record these with me. Never had any goal to release these in any professional way, we just had an idea, for fun, to salute the golden era of YouTube when people made these poorly recorded acoustic YouTube covers. Thanks Pete & Janne for making the record happen and thank you Gigi Masin for the incredible music!"

When a synth master like Steve Moore joins forces with the legendary KPM, magic must materialise. And so it does with Analog Sensitivity: cinematic, enigmatic synthscapes to both haunt and heal. New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. The story of Analog Sensitivity starts with those soundtracks, or more specifically the time in between them. Rather than being commissioned by KPM, this LP comes from music Steve was recording sporadically and tinkering with for over three years during the downtime between his film projects. There were no ideas about what it was nor a plan for how it would be released, or even if it was going to be released at all. However, after Jon Tye invited him to play on the Ocean Moon project for KPM Steve realised that the hallowed library label might be the perfect home for what he had been working on. The people at KPM agreed. Finishing production in late 2019 in Albany, NY, he came up with the track sequencing and suddenly, he had an album: Analog Sensitivity.

Stunning new album from this Vancouver-based vocalist/composer

White Boy Scream is the experimental classical project from opera singer and composer Micaela Tobin. On her latest release, 'bakunawa', she dissects her voice through the use of electronics as a means of exploring identity and ancestral trauma. “bakunawa” is an homage to the pre-colonial mythology of her motherland, the Philippines. Part sonic ritual, part diasporic storytelling. Micaela Tobin is currently on Faculty as a Voice Instructor at the California Institute for the Arts. She most recently performed a principal role in the critically acclaimed experimental opera, Sweet Land (comp.Raven Chacon & Du Yun), which made it’s U.S. premiere in March 2020. Her previous album, 'Remains' was listed as one of the top 10 Noise/ Industrial Albums of 2018 by The Wire Magazine.

Limited Edition.
Includes booklet.

With insert

incl. CD

There is no such thing as confused programming! Relentless, grungy dark Acid with an industrial feel at a reasonable pace by I-F as Jungian Archetype!

Composer David Julyan has until now existed just beyond the image — soundtracking celluloid stories on film and television. Best known for his work with cinema auteur Christopher Nolan, his atmospheric and achingly beautiful scores have time again perfectly melded subtle orchestra with electronics — conjuring music in the post-classical genre.

More recently, away from the deadlines and drama of others, it was time to reflect and reconnect with his own musical voice. The result of this introspection is the album Hireth.

In film, the music is defined before you even find a note or melody. As David puts it: “I realised that film music is written back to front. When scoring a scene I know the length of the cue to the exact second; I know the emotions and journey of the piece. All this before I've played a single note.” With Hireth the approach is different: allowing the music to lead and evolve into a journey across this album landscape to somewhere new or unknown.

A swirl of drones, pulses and piano greets us with ‘Wires’ — setting the tone and framework for what is to follow. ‘Labyrinth of the Night’ continues with a palette of synthesisers before blending into the string quartet which features throughout the album — an unexpected but welcome transformation. When beginning the project, David decided to start with two recently-bought vintage analogue synthesisers: Roland Sh-2000 and Roland Vp-330. Like Brian Eno’s idea of working with limitations, the rule he gave himself was to only write using these two keyboards. Of course, as it was his own rule, he was free to stretch and bend it, and the project evolved into what you now hear: those synthesisers, plus a few others, along with piano and a string quartet.

‘Hireth’ is a Cornish word that has no direct translation, yet could describe a feeling of homesickness, of nostalgia, of longing. Or, perhaps, a beautiful melancholy — which perfectly describes David’s music. With this title track you hear the piano being woven into the fragile strings, resulting in his trademark tapestry of emotive melancholia.\

As the album continues, we ponder questions of science, physics and quantum mechanics in ‘An Uncertainty’; while ‘Forever Beyond Our Reach’ references the limits of our knowledge about the nature of the universe — the title coming from a line in the short film which accompanies the piece by writer and director Barbara Stapansky.

This album will not be confined to its studio origins and David will be performing it live accompanied by a string ensemble. As well as the album, performances will feature a new version of David’s score to Nolan's Memento: taking the original electronic score and reworking it with the quartet — a work that has already been performed at London's Union Chapel as part of the Daylight Music series.

The word Hireth has no direct translation, and the language or voice of the composer, likewise, can’t be placed in a box: it has its own timbre, depth - its own emotional weight - which is why this extraordinary album further reveals itself with repeated listens.

Swedish multi-instrumentalist and composer Gustaf Ljunggren has teamed up with Icelandic Bass Guitar player and composer Skúli Sverrisson (Laurie Anderson, Ryuichi Sakamoto, Bill Frisell, Blonde Redhead ) to create an album that wishes to offer the listener private musical spaces to dwell in for a while. Ljunggren’s musical language is clear, gentle, and melodic, and the pieces chosen for this album all share a sense of weaving past and future together into the present. Gustaf Ljunggren reflects about the music on Floreana: “I listened inwards, and it sounded like this. Melodies came to the surface, and I chose to say ‘yes’ to them, embrace them, carry them forward. My musical partner on this album, Skúli Sverrisson, has been with me throughout this process; embracing the music with both profound dedication and artistic boldness.” The music on the album grants the listener access to something that’s forgotten or undiscovered. There’s a sensuousness throughout the work; musical spaces that reveal possibilities to listen inwards, aided by repetition in melodies and patterns. The music doesn’t seek climaxes as much as it seeks states of presence and attention. The live concerts with Gustaf Ljunggren and Skúli Sverrisson will explore the spaces the music on Floreana invites to. Two of northern Europe’s most distinctive instrumentalists will interpret Ljunggren’s compositions with a strong attention to the environment where the music is performed. The audience can expect the performers to display a deep commitment to the presence of the music as it unfolds.

“Shotns - Shadows: Songs from Testimonies, Volume 3” - is the latest addition (2024) to the Fortunoff Video Archive’s Songs from Testimonies project., brought by the Zisl Slepovitch Ensemble featuring Sasha Lurje. The project brings to life painful memories of surviving the genocide, and memory of those who did not make it, but first and foremost these are the stories of these people’s lives. Volume 3 stays as linguistically and musically diverse as the previous two albums. Songs in Greek, Ladino, Yiddish, Hebrew, and Czech; music from concentration camps and ghettos of Vilna, Warsaw, and Lodz; music of cabaret and theatre from across the globe— adapted to tell the stories of suffering and betrayal, hope and loss.

Original Picture sleeve missing, but inlay is included in generic sleeve!