Search "puzzle" 348 Items

Disorder are a hardcore punk band formed in 1980 in Bristol, and still going strong today. The Singles Collection compiles their first and fieriest recordings in one place, comprised of 3 7' EPs and the 8 track l2' EP Perdition - recordings which John Peel allegedly referred to as sounding like shit' (possibly a compliment) - this LP of long out of print recordings would be a welcome addition to any punk collector's shelves. Another essential piece of the UK punk puzzle.

Ditterich von Euler-Donnersperg, also known as Uli Rehberg and most certainty other names, is a mythologised figure in Germany’s industrial underground. The man behind Walter Ulbricht Schallfolien, a label responsible for early releases by Throbbing Gristle and SPK and for being the home of the enigmatic Werkbund, it is long believed that Ditterich is part of, or completely behind, Werkbund himself. A Colourful Storm presents another piece of his puzzle.

Brace! Brace! That record is a bouncing riddim, and we never know where it's gonna land: here noise or miami bass, there dark disco and then Balearic. What could be an easy puzzle for diggers always feels true though. Sincere, like the 14-year-old DJ F16 Falcon, going nuts on some American nu hardcore - the back of the record are actual screenshots testifying of that moment. A life ago, DJ F16 Falcon used to be a part of the noise music scene in Paris, releasing music under the Roger mpr moniker. He dropped the complicated stuff for dance music but kept the industrial touch. We all need some dance. And we all need a Sugar Dada.

“Sainen Hildo” is an album based on Miguel’s original compositions, recomposed and rearranged for accordion and voice by the two composers. Using the natural resonance and harmonics of these two instruments to influence their introspective interactions, resulting in evolving drones and tones and puzzling percussive outbursts. Unusual and at times unsettling, they manage to create a calibrated, deep and complex exploratory universe of ambience and drone where listening becomes a ritual. Highest recommendation for fans of Pauline Oliveros, Eliane Radigue or Phill Niblock.

Garazi Navas (accordion + voice). Original compositions by Miguel A. García. Recomposed and rearranged by Garazi Navas & Miguel A. García. Recorded by Ibon Rg at Azkuna Zentroa (Contemporary Art Centre in Bilbao) in June 2022, as part of the associated artists program. Mixing and mastering by Juan Carlos Blancas. Compiled by Mikel Acosta.

Acrylic painting on heavyweight paper by Maite Mugerza Ronse. Limited edition of 300 black vinyl LP’s housed in a coloured matt laminated cover. Released by Hegoa Diskak.

Dopelganger is the project in collaboration between classically trained accordion player and singer Garazi Navas (Usansolo, Bizkaia-Biscay, 1995) and Miguel A. Garcia (Vitoria-Gasteiz), an artist living in Bilbao with an extensive career in the fields of experimental music and sound art.

Garazi Navas / Classically trained at Musikene School of Music in San Sebastian with a masters in traditional music, Garazi, is a restless accordionist who, despite her young age, has taken part in a multitude of projects in theater, poetry, ballet, art installations and even playing with the Bilbao Symphony Orchestra. Her works are a personal interpretation of the close relationship which she feels exists between cutting-edge and traditional music.

Miguel A. García / Has performed extensively in Europe, America and Asia, both as a solo artist, improvising and in multiple ensembles. He has collaborated with dozens of artists (Al Karpenter, Jean Luc Guionnet, Sébastien Branche...) in studio and live, and appeared in more than a hundred albums. At the same time, he is organizer and curator of events, being founder of Club Le Larraskito, director of Zarata Fest, and part of the coordination of the cycle Hotsetan at Azkuna Zentroa itself.

"By the mid-1990s, there was a quietly thriving underground in Wellington, New Zealand, made up of a number of loosely aligned operatives - Surface of The Earth and their World Resources imprint; Fever Hospital and 8 Dec, and the music made by the members of The Garbage & the Flowers after that group temporarily dissolved in 1992..." One of those rather short-lived groups was Dress, who on record consisted of Yuri Frusin and Helen Johnstone from The Garbage & the Flowers and Kristen Wineera from Entlang. Their sole release was a lathe cut 10" released in 1995 on their own label Hell On in a total run of 120 copies. Fördämning Arkiv here presents those wonderfully puzzling tracks to a wider audience, now pressed as a 45rpm 12" with the original recordings remastered for vinyl by Ben Wright Smith. While the ambience is kind of similar to what was going on in the early The Garbage & the Flowers stuff, the music that was made by Dress was very different: improvised and non-song-based but kept in place by repetition and odd melodies. Hypnotic and perplexing music that existed in its own parallel universe for a brief moment in time. The 12" is packaged in a sleeve with slightly reworked artwork though staying very close to the original 10" cover and comes with a 16-page booklet featuring extensive liner notes by Jon Dale, lots of photos and a reprint of the interview with Helen Johnstone and Yuri Frusin published in Opprobrium #1 in 1995. Edition of 500 copies. Fördämning Arkiv 7, October 2022.

Phuzzle Introducing a fuzzed out EP inspired by heavy-syncopated and minimal instrument layered library records from the early 1970's. Intentionally composed for producers and Dj's to utilize open single solo instruments sprinkled throughout the EP. The theme is to find those open sounds and sync them together as they have the same tempo. Creating a puzzle for you to solve and complete. *Performing DJ's may consider purchasing doubles*

Agnes, taken for granted as a suburban mother, discovers a passion
for solving jigsaw puzzles which unexpectedly draws her into a new
world - where her life unfolds in ways she could never have imagined.
The soundtrack to Puzzle is composed by A Winged Victory for the
Sullen member Dustin O’Halloran. He says about his recordings: “I
wanted the score to have a minimal sound in order to leave space
for the performances of the actors, so I decided on a chamber sound
consisting of piano, string quartet, harp and woodwinds.” For the last
track “Horizons” he contacted his friend Ane Brun, who created beautiful
melodies and words that perfectly captured the feelings of the character
Agnes.
Dustin O’Halloran released his first two albums, entitled Piano Solos
and Piano Solos 2 in 2004 and 2006. Later on he scored multiple
soundtracks, including Marie Antoinette, Lion and The Beauty Inside.

Edrix pulses in the distant sky. Modal meditations, hypnotic bowed formations and detuned throbs of echo and bass reverberate from the ruins of Planet Battagon. A puzzle, a tremor detected in the stars buried deep in the decay of Neptunia retractracting at breaking speed. Edrix pulses in the distance…

Rising from the rubble of Planet Battagon’s cosmic collision of shimmering improvisation and bass-weight electronics, producer, multi/instrumentalist and veteran drummer, Nathan “Tugg” Curran (Basement Jaxx, Kano, Bryan Ferry) returns with London-based ensemble, Edrix Puzzle’s latest celestial disturbance, ‘Coming Of The Moon Dogs’, forthcoming on On the Corner, this October 2022.

This handheld sumo wrestler can help relieve your arthritis, enhance your emotional stability, reduce anxiety and stress, lower your blood pressure, improve your concentration and creativity, strengthen your muscles, increase your positive energy and even improve sleep. As you see, the Edwin Sumo Stress Ball will make you a better person. Just squeeze and repeat! 100% polyurethane.

Introduced to the world ten years ago, Emeli Sandé MBE has become an icon of British singer-songwriting; emotional, honest, and prolific in the kind of manner that cements you as a go-to artist for heartfelt pop sensibility. This latest pop record is reminiscent of 2012, when Emeli had her first breakout hit. "How Were We To Know" is Emeli's second independent album release through Chrysalis Records. "There was a lot I wanted to say about myself, and I hope that through the lyrics people will get to understand me on a deeper level." The 11 tracks on "How Were We To Know" explore intimate encounters with love in all its forms, along with the risk required to pursue it. "Once you've been hurt, it's very hard to pick up the pieces again and allow yourself to be vulnerable," Sandé says. "So I think these songs explore the bravery of love, and loving others but also yourself. These songs were pieces of a puzzle I had to put together, and now feels like the right time to share them." The album features production from Jonny Coffer (Beyoncé, Miley Cyrus), Jim Jonsin (asap Rocky, Usher, Eminem), DI Genius (Drake, Raye, Sean Paul), Rxwntree, Chris Loco and Mac & Phil.

Composed by Ennio Morricone alongside friend and frequent collaborator Bruno Nicolai, "Controfase" is one of the most overlooked and lesser known chapters in the maestro's extensive catalog. Various experimental elements perfectly intertwine in these skilful compositions, Vcs3 blend with hair-raising violin notes on a pattern of ominous percussions by Egisto Macchi. With the precious help of Gruppo di Improvvisazione Nuova Consonanza as well as Edda Dell'Orso angelic voice, the two masterminds have crafted a true hidden gem.

Quartet Records, in collaboration with GDM, Universal Music Publishing Italy and EMI General Music Publishing, presents the premiere vinyl edition of the famous giallo score composed by Ennio Morricone in 1971 for LA Corte Notte Delle Bambole DI Vetro (aka Short Night OF Crystal Dolls) directed by Aldo Lado and starring Jean Sorel, Ingrid Thulin, Barbara Bach and Mario Adorf. Considered one of the best and most consistent giallos, the film is about journalist Gregory Moore (Sorel), whose corpse is found in a Prague square and taken to the local morgue. But Moore’s spirit is alive, trapped inside his dead body and desperately remembering the disappearance of his beautiful girlfriend, who is linked to a terrifying conspiracy of depravity. Can a reporter with no visible signs of life solve this perverse puzzle before his existence ends? Morricone’s thriller scores remain some of his most distinctive and original works. As demonstrated in his scores for Dario Argento’s efforts in the genre, Morricone’s uncanny ability to combine lyricism, unbridled avant-garde experimentation and stylish elegance was his most significant contribution to the category. LA Corta Notte Delle Bambole DI Vetro shows Morricone once again embracing the sophisticated avant-garde sound while beginning his score with a haunting tune performed by Edda Dell’Orso heard over the film’s main titles. The waltz theme has a timeless quality, providing a disturbing and disarming melody for the film. This is the first worldwide vinyl edition of this Morricone cult score. It has been completely produced and mastered by Chris Malone from original master tapes and pressed in audiophile clear glass-doll vinyl.

The first release of Escape Artist’s new imprint is a various artists affair brought together by the power of friendship. After years of being sent amazing music by new and old friends from near and afar, the time has come to share this joy with the rest of the world. As a label, we will seek to shine a light on psychedelic music of all designs and the first release will focus on the dance variety. It is the label’s hope that the love and friendship that brought this project together will shine through in the music.

Directed in 1972 by Romano Scavolini, "Un Bianco Vestito Per Mariale'" features a cast with some familiar faces from the Italian thriller genre like Evelyn Stewart and Ivan Rassimov. The film was scored by a great name of the Italian film music scene, Fiorenzo Carpi, whose music was superbly arranged and conducted with his own and unique great style by Bruno Nicolai. Originally released on vinyl by Gemelli in 1975, three years after the release of the movie, this score is dominated by the Mariale' theme both with Piano and orchestra and Edda Dell'Orso's voice and orchestra versions, and also features several lounge and tensive themes. Long out of print, we are proud to bring this beautiful soundtrack back on vinyl as a limited edition of 500 copies, including the instrumental version of "Mariale'" and an alternative arrangement of "Garden Party", available on vinyl for the first time

Sihr: sonic manifesto by a post-anything quartet feat. multi-instrumentalists from the Mediterranean inland Sea. New folklore for a devastated planet, including Frédéric D. Oberland (Oiseaux-Tempête), Grégory Dargent (H), Tony Elieh (Karkhana) & Wassim Halal (Polyphème).

After a few concerts/screenings improvised as a duo in Cairo and Beirut, as well as for the Rencontres d’Arles, the Lille photography center and the Belgian magazine Halogénure, Dargent and Oberland have teamed up with mavericks Elieh and Halal for a puzzling cross-border manifesto. The first sonic moves of this eclectic quartet, made in a bunker studio somewhere between Paris and Berlin, urgently took the form of a quest, that of a neo-folklore for troubled times, a music seeping with many kinds of atavism and experimenting in all directions. A fertile no-man’s-land where trance and contem- plation, jazz and electronica, acoustics and electricity would merge in a stimulating mystical magma.

From the possible emergence of a Babelian language to the shared desire to rediscover music as a ceremonial act, this encounter took place over three days of improvised sound bacchanalia, the phases of which were all recorded by Benoit Bel (Zombie Zombie, Thurston Moore Group, Oi- seaux-Tempête). A hallucinated and generous testimony, Sihr is a synergy of many different worlds and many different possibilities, the sonic vision of a present conjugated in a hybrid tense and exalted by too many tangos danced on the glowing ashes of our days.

Multi-instrumentalist & photographer, Frédéric D. Oberland has been leading the Oiseaux-Tempête collective for over ten years, lying somewhere between avant-rock and free jazz, repetitive music and electronics. Founding member of the bands Foudre! and Le Réveil des Tropiques, he’s also perfor- ming solo and composing soundtracks for cinema and installation art. Since 2018, Oberland co-cu- rates the Nahal Recordings imprint alongside producer Mondkopf.

Electric guitarist, oud player, composer and photographer, Grégory Dargent cultivates his musical schizophrenia and identity through improvised music, trance music, jazz, hijacked maqam, repeti- tive music, pop, electro-acoustic installations and French chanson. From L’Hijâz’Car to Babx, from Berber singer Houria Aïchi to Rachid Taha, from Trio H to Sirventés enragés, from music for images to contemporary choreography, from the most acoustic of ouds to the most nuclear of guitars, he conducts, accompanies, composes, deciphers, questions, delves, makes mistakes, bounces back, ar- ranges, orchestrates and tirelessly shares his creative passions.

Tony Elieh is one of the pioneers of experimental music in Lebanon. A founding member of the first post-rock group of post-war Lebanon, The Scrambled Eggs, he has since developed his unique elec- tric bass skills in various groups and styles of music including collaborating with in groups such as Karkhana, Calamita and Wormholes Electric. Relocated in Berlin in recent years, he has performed a solo set of heavily processed bass generated sounds.

Is Wassim Halal only a darbuka player? Maybe !? But what about his music, compositions, ideas. You can find him with Polyphème playing and co-composing popular-contemporary music with Gamelan Puspawarna, or next to the french bagpiper Erwan Keravec, with the Bey.Ler.Bey trio (w/ Laurent Clouet & Florian Demonsant) working on an improvised-balkan-already-improvised-music, with per- formers and drawers Benjamin Efrati and Diego Verastegui, with Gregory Dargent and Anil Eraslan in H, creating a new pedal generating »Random taksim«, composing his own »Poème Symphonique pour 100 youyou« or composing pieces for ensembles.

"Meth.O.Tapes' catalogue opens up on a programmatic framework in the form of Gil.Barte's first LP. Developped as an experimental exploration rather than a narrative, this object called « R.S.F » is a recollection of intriguing sonic pictures. Tracks neither really start nor they finish, pieces of an apparently unreasolvable puzzle like pages of a fantastic bestiary long forgotten.

First-ever vinyl release of the long rumored 1969 studio album (plus related acetate and 45 only tracks) from pre- Hotlegs/10cc duo Godley & Creme, during their days as Frabjoy And Runcible Spoon. Classic UK late 60s psychedelic/folk/pop sound recorded at Advision Studios with support from future 10cc colleagues Graham Gouldman and Eric Stewart. In mid-1969, legendary British R&B/psychedelic entrepreneur Giorgio Gomelsky signed two Manchester-based art students, renaming them Frabjoy And Runcible Spoon. Envisaging the pair as a British Simon And Garfunkel, Gomelsky recorded an LP with them for release on his Marmalade label. A pre-LP single appeared, but sadly the album’s release was aborted. 53 years later, Grapefruit Records released on CD this missing piece of the pre-10cc jigsaw puzzle. Now we’re lucky to present a vinyl version. *Insert with liner notes by David Wells and rare photos / memorabilia Recommended if you like Pete Dello, Graham Gouldman, Bee Gees, Simon & Garfunkel, Beatles, Rubble and Fading Yellow comps…

Juan Ramos and Trent AKA Greenvision are back for pENE d'Amore part 2, a collaborative release between Berlin's Cocktail d'Amore Music and Ene Tokyo. This precious 12" follows Rambutan, the duo's offering to Los Angeles' ESP Institute. The cover is made by visual artist Giulia Munari and reminds of the melting pattern of a Murano glass, referencing indeed the abundance the listener is soon to discover putting the needle on this record. A multitude of acid lines tinged with a touch of trance and a carefree melody roll over an almost off-beat groove in Mountain of Madness, taking over A side. On the flip, the didgeridoo-based Rolling2joints takes the listener exploring a mystical forest on a distant planet. Again disorienting, psychedelic and explosive, Greenvsion's productions sound like riddles to be solved, puzzles to be composed. Their unique sonic layering philosophy results in an almost unclassifiable music genre ready to please the thirstier dance-floors.

Grim Beazley translates the mix of chaos and calm of the Australian bush into his new album Big World. It is a fascinating listen that combines "sounds and stories with deep evolutionary narratives" into soundscapes that are both dreamy and meditative. There is a strong emotional connection in these sounds as environmental themes bubble up next to fusions of house and trance that are both old school chill yet futuristic. 'Acheron Way' is the loose-limbed and breezy opener, 'Big World' has deeper Chicago drums, 'Eucal Regnans' has a more celestial electro vibe and 'Reefer Red Gum' is a post-rave comedown.

Group Rhoda, the solo project of Mara Barenbaum, returns to Dark Entries with ‘Passing Shades’. An integral member of the Oakland electronic music scene, Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. This is the project’s fourth LP, and the third time Barenbaum has collaborated with Dark Entries; previously on the Max & Mara LP ‘Less Ness’ in 2013 and the Group Rhoda LP ‘Wilderless’ in 2017. Passing Shades is an investigation of the metaphysics of loss and the transitory nature of the material world. But it is not a grim collection; over 8 songs, Group Rhoda diverges through synthesizer-laden symphonics, four-to-the-floor inflections, and cosmic musings. Barenbaum’s striking voice and singular songcraft guide us through this labyrinth. Arpeggiated waltz “Flow” channels wisdom sought through martial arts; “Earthly Ark” sets a Margaret Atwood poem from the God Gardener’s Hymn Book to somber electronics. The vocoded canticle “Nevermore” is dedicated to the memory of a beloved cat. ‘Passing Shades’ is both mystifying and revelatory. Folk forms are echoed only to detour into the alien. Each song functions as both a fragment of a larger puzzle and a koan unto itself. ‘Passing Shades’ was mastered by George Horn at Fantasy Studios. The sleeve was designed by Eloise Leigh, and features a hazy, clouded sky. The back cover uses a photograph by Harry Crofton. A postcard featuring a poem by Barenbaum is included, as well as a digital download.

Another gem from the extensive Flipper Music catalog, more precisely from their Flower sublabel, "Dreams For Sax" is possibly one of the most stand-out productions from their studio ensemble Gruppo Sound, this time around featuring saxophonist Paolo Russo with keyboardists Stefano Galante and Vittorio Quattrini. First released in 1987, the songs recorded for "Dreams For Sax" are a beautiful melange of easy-listening electronic and jazzy vibes, from mellow tunes such as "Dawning" and "First Class" to some killer floor-filling italo disco bangers such as "Walking On Air" and "Dance Power". A groovy Italian library banger from the 80's now available on vinyl for the first time since its original release as a limited edition of 500 copies.

500 pieces 39 x 39 cm jigsaw puzzle of the Guns N' Roses Use Your Illusion cover artwork in a corresponding box.

Heith is the alias of Milan-based artist and musician Daniele Guerrini who crafts a mesmerising and ritualistic subterranean soundscape, a resonant and eclectic collage of distinct sonic elements: from celestial percussion intertwined with jarring, mechanical oscillations to haunting vocals atop murky dubbed-out beats.Exploring the textures of consciousness through research into the ritual animism, he kept an omnivorous and universalist approach to cultural and sonic influence. This is central to X, wheel, Heith's debut album and first release on PAN. It's a deep dive into his creative and spiritual practice, one where art and life are inextricable. The Liars Tell..., on the other hand, feels like a kind of respite, a moment of meditation and pause from the fatigue of dimension-hopping. As if the traveller dismounted their carriage and, standing puzzled on a crossroad, listened to the echoes of distant places. Occupying a liminal space and letting thousand of contradictory tales form the lyrics to one unfathomable song.

The HHV Frisbee wants to aim high and revive a "sport" that many have already written off. The HHV Frisbee guarantees to meet new, interesting people in the park and to do something for your health. Or do you have enough exercise in the fresh air?

Rupture", Hifiklub new album - recorded during quarantine - with French producer Daffodil, experimental jazz trumpet player Reuben Lewis and Pearl JAM / SOUNDGARDEN’s drummer Matt Cameron. In a way, spring 2020 has offered us the luxury of time. Eight unforeseen weeks of creation during which french experimental rock band Hifiklub was able, on the one hand, to provide the single "Staying At Home" with Jad Fair (Half Japanese) for Joyful Noise Recordings compilation 'Safe In Sound - Home Recordings From Quarantine' but also, on the other hand, remotely record this brand new album with producer Anthony "Daffodil" Belguise, drummer Matt Cameron (Pearl Jam, Soundgarden) and trumpet player Reuben Lewis (I Hold the Lion's Paw). That, while reformatting the internal balance of the group, returning to an “open trio” formula - and no longer a quartet around permanent members Pascal Abbattucci Julien, Jean-Loup Faurat and Régis Laugier. All this, above all, by having only the means at hand in such circumstances. The instrumental character of this new discographic stage, made up of six distinct movements, is only shaken by rare vocal interventions supporting passages where the music becomes more intense. This real sound puzzle assembled by Daffodil reveals the darkness and modernity characteristic of his latest productions. His meticulous mixing work allows this 25-minute musical piece, thought of as a whole, to evolve in the sandstone of unexpected rhythmic and harmonic breaks during which the trumpet and electronic sounds constantly revive the machine.

After the promising, Norwegian Grammy-nominated debut Puzzler (2016), and the more ambitious follow-up Mjusic (2018), it would've been easy for Hilma Nikolaisen (formerly of Serena Maneesh) to continue in the same vein. After all she's perfected her own kind of groovy guitar rock built on catchy riffs and jammy psychedelic excursions. Instead, Heritage represents a surprising step to the side.

Hoziah Lawrence, at times spelled as Hosbah or Hosiah, recorded a handful of tracks during his brief career, primarily under the guidance of Jack Ruby. The distinct hard stepping and militant style of 'Money Lover' found its place on an obscure and unique label named Haughton Sound in 1977. This label was owned by the up-and-coming lawyer at the time Antonette Haughton who used to spar with many musicians in day. She later transitioned into a fiery and radical talk show host at RJR and more recently became a controversial lawyer who was eventually disbarred from the roll of attorneys before her passing in 2023. The reason behind Jack Ruby attributing production credits to Ms. Haughton remains a puzzle with speculation suggesting potential political motivations, according to the Estate of Jack Ruby. Nonetheless, 'Money Lover' has persistently captured the attention of rare vinyl collectors over the years, and we are delighted to present its reissue, contributing to the ongoing mystique surrounding its creation.

The title "il-lūdĕre" is a word pun made of the Latin verb "lūdĕre" (play) and the prefix "il", considered as the first part of the verb "illudere" (create an illusion). Hence the conceptual dualism of the disc, in which we wanted to analyze life in a simple and at the same time deep way, from everyday to the use of language and the fusion of ancient cultures from different parts of the world. The cover also graphically represents the concept of "ludus": to see the subject you must nudge the spaces marked with the dot (as in the well-known puzzle game). Let's play!

Ingredient is the elegant collaboration of Toronto poets, composers, producers and dear friends Ian Daniel Kehoe and Luka Kuplowsky. Their self-titled release is an enigmatic electronic avant-pop record attuned to the micro and macro perspectives of the natural world. Ingredient is an album whose lyrics are more poem than lyric, and whose songs exist in a merger of house music, philosophically-minded lyricism and contemporary R&B. One might recall electronic and art-pop luminaries such as Yukihiro Takahashi, The Blue Nile, and Arthur Russell, or connect it to contemporaries like Nite Jewel, Westerman and Blood Orange. A distinct world of dance, of questions, of secrecy and ultimate softness.

Eight years of friendship forges strange telepathy.

In the summer of 2020, Ian Daniel Kehoe was entrenched in a new feeling of heaviness; psychosomatic symptoms had started to proliferate; stress made new pores across the body, bending sensitivity into pain. His days were met with confusion, detachment, sleeplessness and pain without causation. Disfigured, he felt that what had been central and centering was blown out to the periphery of things. In a moment of self-preservation he reached out to his dear friend Luka Kuplowsky to make an album together. For Kehoe, it was an instinctual grasp for the anchoring truthfulness of deep friendship and the potential for a dedicated creative collaboration. Kuplowsky’s presence was light, supportful and curious, eager to explore musically the sounds they were mutually drawn to: house music, ambient pop, dub. The duality between Kuplowsky and Kehoe – between the Aflight and the Unmoored – is a portrait of a friendship whose exchanges came easy and produced an outpouring of song. Creation and therapy crisscross. In email correspondence that catalogs their process of collaboration, affection abounds: “feels bare without the Luka Licks”, or “Love you so much”, or “Kinda just overwhelmed with deadliness coming in at all angles.” When their voices first come in together on “Wolf,” that harmony arrives in a dramatic avant-pop sound that is bold and wondrous.

Kuplowsky and Kehoe both arrive at Ingredient as established artists whose works are committed to language’s propensity to provoke and mystify. Kuplowsky’s 2020 album Stardust is an idiosyncratic and otherworldly blend of pop and jazz romanticism grounded by Cohen-esque vocals and a stirring philosophical curiosity. Kehoe’s entrance into the new decade has hatched four records of pop experimentation, most recently 2022’s Yes Very So, a euphoric and bold album of poetic synth-pop and meditative ambient instrumentals. Kuplowsky and Kehoe’s union as Ingredient is a beautiful and unusual chemistry that integrates their distinct approaches while bringing forth a newness: a sound that alternates between cinematic technicolor and dubbed out fogginess; a lyricism that exchanges their lucid and clear poetics for a playful and obtuse verse. The album intuitively taps into the opposing emotional states of Kuplowsky and Kehoe during the conception of the record, contrasting the buoyancy of trumpeting keyboards (“Resurface”), angelic synthesized voices (“Come”), and rolling bass (“Photo”) with the record’s underlying darkness of whirring buzzsaw textures (“Transmission”), whooping sirens (“Wolf”) and murky ambience (“Illumination”). Lyrically, this duality arises in the record’s flux between openness (“Variation”, “Raindrop”) and existential dread (“Wolf”). “Illumination” most clearly crystalizes this opposition, reconciling the verses’ neurotic yearning for enlightenment with the chorus’ liberating doctrine of negation: “no more devotion… no more delusion”. Amidst the gradations of light and dark, Kuplowsky and Kehoe trade indelible, lush melodies as though their voices are made of a substance that melts easily one into the other. The harmony of poetry, sound, and texture cuts through your brain fog like a wet diamond.

Ingredient’s self-titled record was assembled by Kuplowsky and Kehoe over the course of six months in a home studio they frequented daily. Amidst synthesizers and drum machines they composed, re-composed, and workshopped a wide array of music, ultimately focusing on a set of eight songs that lived in a shared musical and philosophical world. Recording days often ended in basketball games at a local court or a rooftop commune over a pot of tulsi tea and a crossword puzzle. Kuplowsky brought in the Blue Cliff Record – the classic anthology of Chan Buddhism – whose inscrutable and sublime insights remained constant throughout the recording process as an activator of reorientation and reflection. While Kehoe was frequently rendered physically immobile by bouts of anxiety, a patience and mutual caring governed the pace of their creation; rest, stretching and meditation became equally important as the act of arrangement. Invited into their intimate circle of composition was Thom Gill, whose heavenly voice uplifts “Variation” and “Raindrop,” and Karen Ng, whose alto sax simmers and dances around the funky strut of “Raindrop.”

The lyrics on Ingredient reflect the persistence of change, the infinite variability of nature where randomness and divergence are no accidents. In Daoism, duality, in the form of Yin and Yang, is not contradictory as it is in Western idealist philosophy, but rather composes the eternal and lived paradox of our changeless-changing universe: changeless because all is change, and changing because the dynamism of the Dao makes each moment transformational. Kuplowsky and Kehoe refract this way of seeing the world, as in Variation: “Variation in the natural world / there it is.” Ingredient is an experience of the manifold ways of saying there it is of the transformational world, and there it is, unfolding. Elsewhere, change and ephemerality is addressed through the record’s preoccupation with non-human perspectives, reorienting the listener to the wolf, the mouse, the emerald frog, the centipede, the bird, the fly in the lamp. The album cover visualizes this fascination with the striking image of a reddish-orange frog atop a defamiliarized landscape of dark green leaves. Mirroring the exploratory process of the record’s collaboration, the frog also signals the amphibian’s natural inclination to leap into boundless potential. Kuplowsky and Kehoe’s lyrics manifest philosopher and ecologist Timothy Morton’s concept of “the mesh,” drawing attention to the “vast, entangled web” of interconnectedness that connects all life forms and interweaving the songwriters’ shared wonder into the Animal’s unknowability. As Luka narrates in the breakdown of the dance-floor ready “Photo,” “the closer we observe things, the further they retreat into abstraction.” In Ingredient’s ecosystem, perception is a reversible fractal where the world’s minutest details mirror the shape of the cosmos.

According to the Dao, the path to healing starts by reorienting perception away from the self and toward the self’s subsumption in Totality. For Kehoe, collaborating with Kuplowsky became the reorientation necessary for the self-preservation he was seeking, opening up a shared creative practice to navigate and soften the complexity of his psychological shattering. The album begins with Kuplowsky intoning “colossal faith” which bounces around the stereo field in a cloud of echo, and it is the enormity of “faith” that centers both Kuplowsky and Kehoe’s collaboration and their inquisitiveness in the vast mysteries of our very being. Truth in Ingredient is not an essential nugget, but a bending of the light – it is the equivocal entanglement of how we are in nature as nature, but with a plea or prayer under our breath that marks our felt distance from what we are a part of: “carry me towards the mountains of my birth / returning to the nest / the silence of the earth.”

2x12" vinyl with printed innersleeves.

"Interstellar Funk has crafted a raw, yet simultaneously hauntingly beautiful and endlessly intricate record. Layers of blended harmonies and melodies form the basis for jettisons into leftfield experimentation, heavily processed drums and oscillating frequencies. The result is as infectious as it is pensive; a transcendental journey into a synth-laden landscape.

A stalwart name on our Dekmantel line-ups and with prior releases on the likes of Rush Hour, Berceuse Heroique and L.I.E.S., Interstellar Funk is synonymous with the more brooding side of Dutch electronica. Akin to his DJ sets, which also glide effortlessly between genre, tempo and sound, Into the Echo is daringly eclectic, combining sung-spoken iterations with hypnotic samples and machinic industrial. The release will be supported by a hardware based live-show tour later in 2022.

Ethereal voices haunt the album, a spectral presence emanating both on the titular track and its eponymous twin, 'Octave Echoes.' The latter is built up around breathy reverberations partnered with steely chords and dissected drumbeats. While 'Crickets at Night,' featuring fellow Amsterdam-based producer Loradeniz, switches pace from ghostly ambient to a pulsating, metronome's tick, clockwork rhythms and eerily looped vocals.

Channelling introspective atmospheres, Into the Echo nevertheless holds steadfast to a club- ready beat and momentous bass. 'Northern Winds,' composed with Jasss, edges along the hardcore continuum, exploding with spiraling percussion and flashes of the pair's shared affinity for electro's gyrating-circuitry and dub's ominous dread. And, ionised by piercing synth and bolts of acid, 'Psycho Panner's occultist refrain climbs to an otherworldly crux.

A homage to the potency of analogue machinery and experimental electronica, Into the Echo fluctuates with organic life, often melding synthetic and acoustic instruments together. Guitar riffs flutter on 'Dreamers' before pattering out into warbling, glacial fragments and 'Last Piece of the Puzzle' features a glockenspiel-esque rhythmic element rising to a harmonic crescendo.

Sleeve Photograpy by Bea1991. "

Pioneering Parisian weirdo and member of acclaimed, enigmatic collective Ssabæ, Iueke throws down his first “album” for Demdike Stare’s DDS label, following a trio of mixtapes with an hour of warped goo that defies easy categorisation. ​

Photogenic dandy Gwen Jamois, aka Iueke, returns with his queasiest, most lysergic release yet, featuring close to an hour of rubbery, rippling electronics, laconic cinematics and free-falling rhythms frozen somewhere between Autechre, Cluster and Rashad Becker.

Gwen has been immersed in all sorts of fringe business for decades at this point, heading up the Antinote label, releasing on Ron Morelli's L.I.E.S, and contributing to those shadowy Ssabæ records we can't stop banging on about. His trio of mixtapes fully took us to the core of his psyche, all off-kilter blends that puzzled out the covalent bonds between tongue dissolving acid, folk music and discarded sonic debris. He follows that same frayed thread on this boundless, off-the-cuff performance, recorded last year at Saint-Étienne's Positive Education festival using a sparse setup of synths and drum machines, fine-tuned to gatecrash the pineal dimension. Plenty of pros have tried making this kind of trippy racket before, but trust that few have ever managed to get anywhere near the level of puckered lunacy you’ll find inside.

Brain-combing Asmr oscillations and anxious strings draw us in, clouded by hissing white noise that obscures an unnatural rhythm lurking somewhere down there in the grot. There are palpable links to Cluster's earliest experiments and the muckiest basement club workouts, but Iueke focuses on pure texture, using seesawing rhythms to scrape out new neural pathways rather than lock into the grid. It all feels a bit mechanical too, bolting together elements that are as corporeal as a lead pipe - thick, rusty-edged and aggy in a way that sounds a bit like Einsturzende Neubauten on mushies.

On the flip, unbalanced rhythms chase their own tail into a fizzing swamp of viscous bass and shepard tones like some imploding firework, eventually plonging off along impulse vectors only to collapse at half speed into the sort of acrid high-register business Whitehouse would be proud of.

Prize yr third eye open for this, it’s a real one.

Wild East is a record label established 2016 in East Germany by Jane Bee from Jahtari and partner in crime Stephan Rendke.
They are mainly focused on 7" releases and specialized in 80's Dancehall, Rub A Dub and Digital Stylees. This record is pure fun and crafted for the dancefloor!

P&F Recordings takes a quick break from original material to welcome back everyone’s favourite Episcopalian Minister/DJ: JAZ. When it comes to left-field floor fillers, JAZ (née John Zahl) is in a league of his own. Over the past 13 years, he's churned out celebrated home listening mixes, jaw-dropping DJ sets, and extended edits with a pace that belies the usual slow-motion tempo of the majority of his selections. Here, he serves up four colourful, cosmic, dance floor delights. EP opener ‘Cloud Worship’ marries a chugging prog-rock-esque bassline with virtuosic synth work. Then ‘Pick a Toy’ gets us sweating with some serious Caribbean flair. On the flip side, ‘Puzzle’ delivers exotic chants and an infectious, serpentine beat and lastly ‘Friday Night’ closes things out with infectious, retro positivity. While one might wonder how JAZ consistently unearths these obscure yet essential gems, it's obvious that he's driven by a higher purpose. Let the ceremonies begin!

Mastered from the original analog tapes
All tracks previously unreleased
Booklet with liner notes and rare archive photos
Deluxe die cut Stoughton “tip-on” jacket with embossed lettering
Vinyl pressed at RTI

On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won Sullivan, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish, first-time release of a previously unheard 1969 studio session.

If The Evening Were Dawn contains 10 acoustic solo recordings that have never seen the light of day. Whereas U.F.O. was bolstered by legendary sessioneers The Wrecking Crew, this is Jim Sullivan on his own terms, stripped down and soulful as ever. Recorded at a Los Angeles studio circa 1969, the session contains acoustic versions of a handful of U.F.O. tracks alongside a half dozen previously unheard songs. This, then, is the closest thing to those fabled Malibu bar performances at which Sullivan was first noticed.

According to his widow, Barbara, this was the album Jim always hoped to record. It serves as an unprecedented glimpse into the mysterious, larger-than-life figure who’s become the stuff of legends.

While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue. This recording serves as an unexpected missing piece of the puzzle; this is Jim Sullivan’s true swan song.

Mastered from the original analog tapes
Deluxe Stoughton “tip-on” jacket with debossing
Vinyl pressed at RTI
All tracks previously unreleased
Booklet with liner notes and rare archive photos

On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won Sullivan, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish, first-time release of a previously unheard 1969 studio session.

If The Evening Were Dawn contains 10 acoustic solo recordings that have never seen the light of day. Whereas U.F.O. was bolstered by legendary sessioneers The Wrecking Crew, this is Jim Sullivan on his own terms, stripped down and soulful as ever. Recorded at a Los Angeles studio circa 1969, the session contains acoustic versions of a handful of U.F.O. tracks alongside a half dozen previously unheard songs. This, then, is the closest thing to those fabled Malibu bar performances at which Sullivan was first noticed.

According to his widow, Barbara, this was the album Jim always hoped to record. It serves as an unprecedented glimpse into the mysterious, larger-than-life figure who’s become the stuff of legends.

While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue. This recording serves as an unexpected missing piece of the puzzle; this is Jim Sullivan’s true swan song.

Mastered from the original analog tapes
Deluxe Stoughton “tip-on” jacket with debossing
Vinyl pressed at RTI
All tracks previously unreleased
Booklet with liner notes and rare archive photos

On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won Sullivan, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish, first-time release of a previously unheard 1969 studio session.

If The Evening Were Dawn contains 10 acoustic solo recordings that have never seen the light of day. Whereas U.F.O. was bolstered by legendary sessioneers The Wrecking Crew, this is Jim Sullivan on his own terms, stripped down and soulful as ever. Recorded at a Los Angeles studio circa 1969, the session contains acoustic versions of a handful of U.F.O. tracks alongside a half dozen previously unheard songs. This, then, is the closest thing to those fabled Malibu bar performances at which Sullivan was first noticed.

According to his widow, Barbara, this was the album Jim always hoped to record. It serves as an unprecedented glimpse into the mysterious, larger-than-life figure who’s become the stuff of legends.

While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue. This recording serves as an unexpected missing piece of the puzzle; this is Jim Sullivan’s true swan song.

Broc Recordz is proud to announce the album "Puzzled" by the legendary JJ Whitefield, you'll immerse yourself in the enigmatic universe of this master of funk and psychedelism. Across 13 tracks, you will discover all facets of this musician hailing from Munich, ranging from raw funk to krautrock. JJ Whitefield is an iconic figure in the music scene, having played an essential role in diverse projects such as the mastermind behind Poets Of Rhythm, Karl Hector, The Whitefield Brothers and his essential role in the recent careers of Ebo Taylor, embryo and witch“. "Puzzled" is the perfect opportunity to delve into his unique musical world.

Anything You Want, The debut solo album from former Puzzle drummer John Valenti makes its way back to LP for the first time in ten years through P-vine’s Groove-Diggers imprint. Originally going by the name John Livigni, his talents had been stewing for some time in the run-up to the original 1976 release. And yet, after supporting smooth pop arrangements for one of the few white bands signed to Motown records, few could have predicted the infectious disco beat and Valenti’s snarling and soulful lead vocals across these eleven tracks. From album opener and title track “Anything You Want,” Valenti establishes a hypnotic connection, and album highlight “Why Don’t We Fall In Love” is as moving as it is an encompassing display of Valenti’s soul power. P-vine is proud to be repressing Anything You Want, and hope that new fans can connect with this free soul classic.

4 years in the making, this surprise collaboration between Drop and Ashong fuses soul and psychedelia with downtempo beats, on a exclusive blue vinyl.

Ashong’s continuing mission to subvert expectations manifests greatly here, but the album is full of melodic hooks, layered to infinity alongside his acoustic guitar. Meanwhile Jonny Drop quietly flips samples unrecognisable from his extensive vinyl collections and once again makes a leap forward in his production identity.

Stand out single Puzzle Dust is a perfect slice of UK soul and jazz that sets everyone up for a unique sonic experience.

4 years in the making, this surprise collaboration between Drop and Ashong fuses soul and psychedelia with downtempo beats, on a exclusive blue vinyl.

Ashong’s continuing mission to subvert expectations manifests greatly here, but the album is full of melodic hooks, layered to infinity alongside his acoustic guitar. Meanwhile Jonny Drop quietly flips samples unrecognisable from his extensive vinyl collections and once again makes a leap forward in his production identity.

Stand out single Puzzle Dust is a perfect slice of UK soul and jazz that sets everyone up for a unique sonic experience.