John Sellekaers - Observer Effect (Glacial Movements)
John Sellekaers is an electronic music composer and producer based in Brussels. He has written and recorded close to sixty records so far, under different aliases, such as Feral Cities, Night Sky Pulse, Meeple, Xingu Hill and Dead Hollywood Stars. His music has been released by labels in Europe and North America, including Ant-Zen, Hymen Records, Parenthèses Records, Falt, Oreille Gardée, Hushush and Nova Zembla. John has toured extensively since the nineties and has worked on collaborations, remixes and soundtracks. He is also a freelance audio engineer (mixing & mastering), photographer and graphic designer.
Karkhana - Al Azraqayn (Karlrecords)
Consisting of seven of the most adventurous and innovative artists from the Middle Eastern experimental scene (and a veteran jazz percussionist from Chicago), Karkhana are surely among the most unique and interesting ensembles around. The septet’s sound is neither retro nor avantgarde, not folklore nor jazz or rock – it’s an astonishing blend of all these different styles and elements where seductive oriental melodies can intensify and turn into a psychedelic freak-out, fuelled by reeds, guitars and electronics, only to re-start again from quiet sounds till the ensemble seeks catharsis in a collective improv outburst! Defying simple categorization, and in lack of proper terms for the intense experience of KARKHANA’s music (as well as the member’s other projects mentioned before), someone labelled it “free Middle Eastern music”.
Kumbia Net - Un Año No Ha Sido Suficiente Para Olvidarte (Kumbia Net)
Navigating the remotest part of the Deep Web is how Kumbia Net arises. Considered as a Kumbiero Cyberspace, where the dance floor is checked for any dancer, a place where the most hallucinated synthesizers resonate, the most infernal congas, the roughest güiros and the most suburban Cumbias. Welcome to the cyberspace world of Kumbia Net.
Les Filles de Illighadad - At Pioneer Works (Sahel Sounds)
Comprising Fatou Seidi Ghali (guitar, vocals), Alamnou Akrouni (percussion, vocals), Amaria Hamadalher (guitar, percussion) and Abdoulaye Madassane (guitar, vocals), the supergroup Les Filles de Illighadad comes from the village of Illighadad in a remote region of central Niger. "At the heart of Les Filles’ music is the percussion and poetry of tende—a term used for both the instrument and the type of music— whereby a mortar and pestle are transformed into a drum, and women join together in a circle, in a chorus of singing, chanting, and clapping. Sometimes it’s music for celebration, sometimes it’s music to heal the sick, sometimes it’s poetry of love. But it’s always music of people, where the line between performer and spectator breaks down", notes Christopher Kirkley of Sahel Sounds.
Lipstick Killers - Strange Flash: Studio & Live '78 - '81 (Grown Up Wrong)
This is a much needed anthology of material by the legendary Lipstick Killers, who blazed a trail in late ‘70s post-Radio Birdman Sydney before gigging with the likes of the Gun Club and the Flesh Eaters in Los Angeles where they crashed and burned in 1981. The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown USA” on their own Lost in Space Records and Greg Shaw’s Voxx Records - but a posthumous live album and a couple of archival releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly original tapes).
Mark Cain - Cameos (Parenthèses Records)
is a collection of pieces I have written and/or improvised and recorded in my home studio in Fremantle, Western Australia over more than a decade. Some pieces were created for a puppet theatre work, Turtle and the Trade Winds (Sandpiper Productions) and Oddysea (Sensorium Theatre) with musician colleague, Jamie David. Others were devised for the Cinematic Scores event (curated by then Australian resident and founder of Parenthèses Records, Alexis Courtin and Tom Múller), in which I composed an accompanying live score to the 1922 American ethnographic documentary, Nanook of the North. Others are pieces I’ve recorded that have only now found a home on Cameos. A number of these pieces feature accompaniment of Indonesian gamelan instruments (gongs, anklung, bonang and gambung) I recorded one afternoon in situ under an outdoor university pagoda." Mark Cain