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The third release on the label comes from Schulverweis, the German duo formed by Levente Pavelka and Johannes Haas (L.F.T.). After celebrated outings on Osàre! Editions and Neoprimitive, Schulverweis presents a new record revisiting the idiosyncratic Neue Deutsche Welle sounds. On the A-side, Mehr merges electro with wave while on the flip we have the snazzy garage punk of No Future.
Since the 90′s Tzii, music composer and filmmaker, spreads his frequencies all over the world through touring from Eastern and Western Europe to Australia, passing by USA, Canada, Japan, Indonesia, South-East Asia and Africa, where he played hundreds of shows..… “A mountain of multiple figures” as defined by Nyx … He created his own label NIGHT ON EARTH in 2001, releasing vinyls and tapes, and is a co-founder & active member of the label/collective V-ATAK. His main aim is to reach transcendance through sound trance, layering and looping to another dimension…… To do so he explores infinite different worlds and expressions, from music to performance or collective creations. One thing always remains in his works : they’re impossible to fit in any box. He’s part of several other projects like SOLAR SKELETONS, MS30, 1997EV, VIRIL, AEROBICONOISE and works also for dance companies, living performances, movie soundtracks and any other mediums with sound inside …..
Winter Severity Index is a project by Simona Ferrucci ( voice, guitar, bass guitar, drum programming, synths ). Simona collaborates with Alessandra Romeo on synths and keyboards since 2013.
JE T’AIME is a parisian post-punk cold wave hybrid, reminiscent of the great Mancunian Factory era and suffused with hints of the Smiths.
With a booklet containing illustrations of paintings, photographs and poems, Broken Gargoyles (2022) is more than a music release. Diamanda Galás has included in the booklet four illustrations of her own paintings (there were sixteen in her installation), pre-WW1 German poetry, both in the original language and the English translation, and eleven images of wounded First World War soldiers with damaged faces, taken from a 1924 illustrated book compiled and published by the German activist and pacifist Ernst Friedrich. The reason why Galás merges these textual, visual and audio elements is that they had been used separately for years – in isolation from each other. So, with Broken Gargoyles (2022) she re-connects them. This allows her not only to re-establish the links that existed between them, but also to create new links between the historical material and some contemporary elements (her photographic portraits, taken by Robert Knoke and Austin Young, and her music). In the 2020 installation, Galás had also included film. But the linking of all these artefacts is more of a protest against the forces that un-linked, or separated, them, and the forces that kept them apart throughout the years. In this sense, Galás engages with the separation of the arts, or the tendency to place strict barriers between different art forms. This is a widespread phenomenon in our time. We have, for example, music magazines, art magazines, poetry magazine, and so on, in which music, art, poetry, or any other art form, is discussed separately, in isolation from the other arts. Separating the arts, and cutting off the links that exist between them, can be problematic. The arts are different forms of expression, so if we work using a single art form, we cannot provide the whole picture of a given subject. In other words, we do not tell the whole story to our audiences. |
