Populous With Short Stories
Drawn in Basic

[Morr Music, www.morrmusic.com]

TaughtMe
Lady

[Own Records, www.ownrecords.net]

Steinbrüchel
Mit Ohne

[12K, www.12K.com]

David Vandervelde
Waiting for the Sunrise

[Secretly Canadian, www.secretlycanadian.com]

Alan Watts
This is it

[Locust Music, www.locustmusic.com]

Marbert Rocel
Cornflake Boy Remix 12"


Eddy Meets Yannah
Solid Ground 10"

[Compost Records, www.compost-records.com]

Tsé
La Ralentie

[Optical Sound, www.optical-sound.com]

Dark Captain Light Captain
Circles EP

[LOAF, www.l-o-a-f.com]

Lawrence English
Kiri No Oto

[Touch, www.touchmusic.org.uk]

Moira Stewart
Sweetness, Yes!

[Distraction Records, www.distractionrecords.com]

Roel Meelkop
5 {zeischenfalle}

[Aufabwegen, www.aufabwegen.com]

Béla Szakcsi / Lajos Kathy Horváth
In One Breath

[BMC Records, www.bmcrecords.hu]

Various Artists
Vampisoul Goes to Africa - Afrobeat Nirvana

[Vampisoul, www.vampisoul.com]

Matt Davis / Matt Milton / Bechir Saade
Dun

[Another Timbre, www.anothertimbre.com]

Michael Santos
The Happy Error

[Baskaru, www.baskaru.com]

Lazy Magnet
He Sought For That Magic By Which All The Glory And Mystic Chivalry Were Made To Shine - or - Is Music Even Good?

[Corleone Records, www.corleonerecords.com]

Goldmund
The Malady of Elegance

[Type Records, www.typerecords.com]

Anat Ben David
Virtual Leisure

[Chicks on Speed, www.chicksonspeed-records.com]

Arctic Hospital
Neon Veils

[Lantern, www.arctichospital.naritarecords.com]

Conny Bauer
Der Belbe Klang

[Jazzwerkstatt, www.records-cd.com]

Joe Higgs
Life of Contradiction

[Pressure Sounds, www.pressure.co.uk]

Port Royal
Flared up - Port Royal Remixed

[Resonant, www.resonantlabel.com]

Charles Manson
Sings

[ESP Disk, www.espdisk.com]

Dalglish
Ideom

[Record Label Records, www.recordlabelrecords.org]

Like a soft whisper of northerly wind blowing slowly from the mountains, the duo of Italian producer Andrea Mangia [aka Populous] with Michael McGuire [aka MC Short Stories] take on the world of hushed electronica in a big way. Their sounds are skewed, yet simple. Their methodology is cloudy, without being overtly obtuse. Hues of grey, yellow and blue dance around your head in a flurry of vibrant sound. Vocals are tender, soaked thoroughly in frail qualities, while the music dances and beats delicate rhythms. Bits of retro bleeps creep into the duo's working process, which is fine, since the music stays as much in the present as it does in the not so distant past. "Drawn in Basic" is a surprisingly enjoyable release from a duo that will hopefully produce more little wonders like this one in the years to come.

Album number three for Blake Henderson - aka TaughtMe - is a bit of a strange affair. Multi-instrumentalist Henderson uses spacious atmospherics to build a solid wall of sound. This isn't any sort of an overtly powerful sound, but a relaxed musical mode. While his vocals don't exude an enormous power, he's still an avid communicator on a fairly even keel. If the tender percussive sways don't affect you, then the softly-strummed guitars and electronic programming surely will. Sense of frolic is evident throughout the lyrics. Take this little tid-bit from "Leave Our Hearts"

I found a simpler plan while
Out back raking leaves
Let's leave our hearts where they go
I found a different hope
I found it staring right at me.
Perfect for a lazy weekend afternoon, "Lady" is an exercise in catharsis, full of jolly, laid-back melodies.

Produced specifically for an audio/visual installation by Yves Netzhammer's 2003 "The feeling of precise instability when holding things", Steinbrüchel's delicate sounds encapsulate the feelings of the exhibit's visual side. "Mit Ohne" is a nineteen minute aural exposition that stands well on its own. Although two of Netzhammer's 3D images appear inside the CD slipcase, the listeners are corralled into using their own sense of imagination to shape the audio images into firm objects. Thing I like the most about Steinbrüchel's music is its sense of fluidity. It has a tendency to come and go, shift left to right, up and down. True 3D experience is assured as the listener takes in the slight glitches, clicks, pops and sways along the way. Micro-tonal sound has rarely morphed itself into something this sexy and comforting, the way it does here. Headphone music that is brilliantly constructed, though it is a shame the music takes the form of an all-too brief EP.

I've not heard David Vandervelde's debut album "The Moonstation House Band", so comparisons or progression charts will not be applied. Having a clean slate helps the critical mind to get in gear slightly better. First thing you'll notice with Vandervelde's music is its subtle intensity. He's got a sweetly tinged voice, yet the guitar-led harmonies are persistently up-front and in-your-face. There's a hint of hardcore racing through these songs, but if one digs a bit deeper, we find a country-blues hue in this music. Tightly wound choruses are accompanied by solid guitar solos and firmly rocking rhythm section. Max Hart adds some blues-soaked pedal steel and majestic organ work, while Emmett Kelly rocks out with some rough guitar work on a few numbers. Drenched in sweetly expressed emotive force, visions of 70's rush by as "Waiting for the Sunrise" eases on down a stone-paved back road.

Originally released in 1962, Alan Watts' "This is it" is a strange release to say the least. Running along the lines of a ritual, many have considered this album to be the penultimate freak-out psychedelic experience. Made up of a series of chants, the album features a series of wild incantations. To call these wild would be an understatement in itself. Watts is a nut as he raises the intensity level with each piece. He's accompanied on each track by a few percussionists, pianist [who also doubles on French horn] along with Joel Andrews on falsetto and evocations. Sometimes guttural laughs escape - as on the freakish "Umdagumsubudu" - while "Onion Chant" features a bellowing series of cries accompanied by Leah Ananda impassioned conga drum pounds. Hollering great stuff that's certainly worthy of the classic freak-out label.

Two very strong remix 12" plates arrive from Germany's Compost imprint. First one features Marbert Rocel. "Cornflake Boy" features a couple of Solomun remixes of title track along with a couple of other track mixes. Solomun vocal remix is soft and tender, while the dub mix is ethereal in scope and flows quite freely on a bed of minimal beats. The EP closes out with a spacey John Daly remix of "Cause You" and a twisted drum'n'bass Krause Duo remix of "The Harder They Come".
Next in line is Eddy Meets Yannah and their "Solid Ground" 10". Title track gets a very descent, groove-tight reworking by Crazy Penis, while the flip side sees Ilija Rudman re-do "No One's Gonna Love You". Its old-school flavour and utter fill of soulfulness leaves a warm, tender groove in your mind long after the record stops spinning. Excellent stuff from a duo whose next album I'm absolutely dying to hear.

Composed over a span of about two months early on in 2007, "La Ralentie" is a challenging release to get your ears wrapped around. Composed and built with a laptop and [obviously] a microphone, Tsé [Berlin-based Guillaume Ollendorff] takes a voyage into the neither-world of subconscious kingdom of the beats. The beats seems to be fairly straight-forward, though there's an eminence of doom and gloom that hangs above all of this. When Ollendorff lends his voice on a few of the tracks, the mood becomes even more ominous and unbearably machinating and dark [check out "Motto" for proof]. Album was produced by percussionist Norscq, which lends itself to a slow dub-like atmosphere. Most interesting to me were the glitches of noise and fuzz that are scattered randomly across some of these tracks. Though there are signs of this sound artist wanting to step out of acceptable norms, I'm left wishing there was more of an oomph in that department. For the time being, "La Ralentie" is simply a dark dungeon with beats that desire to soothe but end up disturbing.

Only two singles into their career and already British sextet Dark Captain Light Captain are making waves in my musical surroundings. Their latest 4-song EP "Circles" makes loud statements with a whimper. Choral magic worked up by guitarists/multi-instrumentalists Dan Carney, Neil Kleiner and Giles Littleford is breath-taking. While whisper-quiet, their songs make a direct connection with the listener. Patching together humbly-strung guitars, flugelhorns, light percussion and light-as-air bass, the melodies flutter in the air. Carried by the wind, the six piece create lyrical beauty that is magical, haunting and achingly awe-inspiring. Imagine delicate sounds full of choral goodness gently stepping across a summer breeze and you'll get some perspective of this band's intent. "Circles" is only a preview of their soon-to-come full-length, which I'm waiting for with baited breath.

Translated from Japanese, "Kiri No Oto" is the sound of fog. For his debut for Touch, Australian sound artist Lawrence English wanted to get away from the clicks and the microtonal sounds he's washed through his music for so long. Imagine my utter shock upon hearing "Organs Lost at Sea" - the track that opens up this 40-some-odd minute CD. Its hard-core symphonic organ drone sound is the last sound I expected to hear under English's banner. It is perhaps the most direct, the harshest thing I've ever heard English produce. While the next number "Soft Fuse" returns to the subdued atmospheres I've been used to, "White Spray" shouts yet again with the screeches of distorted blur. Much of the remainder of the CD progresses through a molasses-like state of ether. Fog in the title is a great metaphor for what happens throughout the mass of this disc. By the time we come to "Figure's Lone Static", rest remains a blur, the sound dissipates and the fuzzy echo is embraced by a warm mist.

There's nothing that gets me jumping up and down like the sounds of sweet, sunny melodies. Moira Stewart steps in to deliver that saving grace. On their debut LP, "Sweetness, Yes!" they dig through the time-warp to deliver some finely crafted, solid pop songs. Call it retro. Call it kitsch. Call it whatever you want, but don't call this music yesterday's picnic. These guys infuse the room with vibrant energy. Their songs are simple in their extremes. Melodies are infectious. Best of all, the group do this with an equal amount of seriousness as much as holding their tongues planted firmly in cheek. Vivacious pop rarely sounded this naďve and pure. Sweet salvation indeed!

Dutch electronics guru Roel Meelkop's latest call to arms is "5 {zwischenfalle}". For the release, he compressed sound-works he made for various installations in five separate pieces that would work outside of the context of a physical installation itself. Meelkop's work is as minimal as minimal gets. Don't expect many shifts in action or movement to occur through this hour-long CD. In fact, very little occurs. Gentle shifts of pacing do take place and sound actually registers in most of the pieces, but in general, this is all stuff that is barren. Midway through the CD, we get the most action. In an untitled piece [none of the sections have titles attached], Meelkop drops sounds of water, light crackling, along with what sounds like a repetitive motion of a needle being tugged along a slab of vinyl. As the sound of rain dissipates, whisper-quiet herd of gently buzzing grasshopper-like sound builds up in moderate intensity. Stillness and sound of utter loneliness, Meelkop's newest release is a wondrous world with its own particular dimensions of time and space. Mesmerizing and absolutely essential!

When an album is made up of dedications to huge musical figures - Kurtág, Eötvös, Boulez and Ligeti - one has to wonder what particular way these affected the musicians taking part in the recording. In this case, two giants of Hungarian contemporary music scene [via way of improvisation and jazz], pianist Béla Szakcsi and violin player Lajos Kathy Horváth tackle the task head on in a most concise possible way. In letting their vibrant energy permeate this music, it goes through variety of phases and permutations to arrive at its ultimate destination. Both men exude a considerable amount of passion for their work. All four pieces have a tendency to glow with the fire of improvisation, though that's not to say there were no agreements ahead of time about certain phrases or rough structures at least. Beauty lingers in the most minute details. As both musicians slow down pacing, one's ears catch the fierce, fine points in their music. Brilliantly plotted and executed with utmost passion, "In One Breath" comes with a huge recommendation.

With a recent interest in Afrobeat in many circles, Spanish imprint Vampisoul decided to head that way with the just released "Vampisoul Goes to Africa - Afrobeat Nirvana". Featuring a who's who of the Afrobeat scene from the 50's through to the 80's, the sampler is packed with wholesome goodness. Afrobeat originator Fela Kuti makes two appearances on two tracks from the 60s - the scorching freak-out of "Lai Se" and the swampy beast that is "Ajo". Orlando Julius & His Afrosounders drop by for their refreshingly pop-hearted rendition of "My Girl", while their take on "Psychedelic Afro-shop" is slow and drone-inducing. Tony Allen makes two appearances with Africa 70 - the sing-along "Progress" and the extended gyrating "Afro-Disco Beat". If I was to pick a favourite in the bunch, it would have to be Fred Fisher Atolobor's "W.T.F.S.", which rocks, grooves and dances with a disco-laden groove that is simply delicious. Fine release, which foreshadows slew of great Afrobeat releases from Vampisoul in the months to come.

"Dun" provides the gist of what silence would sound like when surrounded by three master musicians. Sure, Matt Davis plays the trumpet and provides a slew of field recordings and Matt Milton plays the violin, while Bechir Saade plays bass clarinet and flute, the main preoccupation on this trio disc is incorporation of silence. The cracks and utter dead sound amidst the instrumentation is as important as the music emanating from the musicians themselves. Sometimes the air is instilled with the sound of Saade striking the sides of his flute, while Davis provides a light hushing soundtrack. At other times, one hears the slow strains of Milton's violin, which are accompanied by occasional hick-ups of Davis' trumpet. When Saade plays his flute in extended succession during the final track, the other two join in with a combination of thoughtful grace and utmost technique. Pacing of the record is morosely sluggish, which suits the trio just fine. It's the fat pauses waiting around the bend that are hauntingly integral in this music that requires the listener's utmost attention. Stunning and heart-stopping music.

One almost doesn't need to check the fact that Lawrence English mastered "The Happy Hour". It's written all over the sound of Michael Santos and his latest release. In using crackly static which originates from guitars and sine waves, this young London-based musician explores the world of electronics as it is seen from the point of view of someone who digs melodies, harmonies as much as the static, crackling soup. Just about every one of the eleven tracks on this album has a steady sense of purpose and a keen sense of definition. This isn't music that is purely about senseless doodling. If anything the listener can draw from this music is its nearly symphonic purpose. Blanket of warmth engulfs these tender crackles, gentle shifts and caressing floating energies. Santos has loads of intuitive knowledge to bring all of these elements together to create a magical place where a mind can go to rest. Songs without words created for people who love to quietly hum along, "The Happy Error" is electronic music with emotions tattooed on its sleeve.

Lazy Magnet founder Beaver Harris says about his collective, "In the beginning Lazy Magnet WAS me. I was Lazy Magnet.. then it was more of a project, then a band. Now I think of it more as a house... you cant get evicted from your own head. Lazy Magnet is the street I live on.. folks are now invited to come and hang out on it." That pretty much sums up Harris and his philosophy. It's all good, even up to the point when you throw the whole kitchen sink into the process. "Is Music Even Good?" is a mix that is unbelievably varied - choruses, thrash, punk, ambidextrous babble, even country! Entire album of 19 songs goes by in a flash. Cut'n'paste mish-mash of variety of ideas boggles the mind. One minute, vocals are shredded to bits at the top of Harris' vocal chords, while the next, you'll hear an assault of flute, violin, trumpets, guitars scorching and propelling the whole thing forward. Like a train rushing down the tracks at top speeds, Lazy Magnet is an entity that has no need for brakes.

The man behind Helios, one Boston native Keith Kenniff is someone who thrives on beauty. His second full-length under the moniker Goldmund raises the bar high as far as solo piano releases are concerned. Immediately, Erik Satie comes to mind when referencing this music. Stillness appears everywhere. Very pensive, stop-and-go tickling of the ivories is Kenniff's modus operandi. From piece to piece, the music transforms itself from something that is haunting, to something that is purely lyrical. Splendour is found in every key stroke that is played. What's more is one can also find it in the silence. Pregnant pauses have so much to offer. With every listen, one finds new appreciation. With "The Malady of Elegance", Kenniff has given us something that is so simple yet so rife with total grandeur. Must!

Video and performance artist, Anat Ben-David came into the spotlight in 2003 when she left her native Israel and joined Chicks on Speed on tour. Her project [which was part of her school final] was entitled "Popaganda" and featured connection between an artist as a pop star and her audience. For her full length debut, "Virtual Leisure", Ben-David focuses on Dada and all things that don't fit in the conceived norm of popular perception. Cabaret, Russian music, thrash and retro-pop all make it into the soup that is brewed by the artist. Ben-David is as direct and straight-in-your-face as it gets. "El-No" features a maddening, fuzzy vocal that is jagged and sheer in its disturbing force, while "Dyke Rider" pays homage in a retro sort of way to white rap. One of the strangest things on the record is "Moon Boom", which turns out to be a twisted ballad with eerie vocals. With plenty of politics and social issues being raised at every turn, "Virtual Leisure" is a very strong statement from someone who'll be turning many more heads her way in the years to come.

Arctic Hospital is a non de plume for Wisconsin techno-freak Eric Bray. His debut "Neon Veils" release was issued on a specifically created new electronic off-shoot of Plop Records. Fairly minimal in nature, the album takes a beaten path of mid-tempo beats, along with some intense programming to deliver the goods. After about an hour worth of this stuff, ones head tends to ache somewhat. What I was looking for I suppose is a bit more variety. Beats needed more oomph, while the pieces could use some unexpected twists and turns to tell a more acute narrative. Perhaps Bray is best at putting his specific touches on more ambient side of things, as is evidence with the ensemble The World on Higher Downs.

German trombonist Conny Bauer has been known to be highly eclectic, while remaining rooted in melodies. While playing in bands such as Zentralquartett and Doppelmoppel, as well as improvising with his brother, trombonist Johannes, he has also on occasion had an opportunity to play solo. Recorded in a span of one October day last year, "Der Gelbe Klang" ["The Yellow Sound"] sees Bauer come out with an album's worth of his latest batch of composed pieces. As melodic as it gets, the album bops through tune after tune of graciously played sounds. For some, the melodies will be key, as Bauer rambles and farts into the mouthpiece, allowing sweet swing to escape from his horn. The others however will appreciate the electronic aspect - as is evident on "Traurige Stimme" - where Bauer makes good use of his Powerbook and some effects to elongate the wave his trombone rides along. Add to this his subtle vocals and you've got yourself very calming piece of music. What surprised me most is Bauer's restraint that is so prevalent in this work. "Der Gelbe Klang" is an amazingly solid record, one that I'll be spinning on a regular basis.

Recorded in 1972 for Island Records, Joe Higgs was given the rights to "Life of Contradiction" a few years later. As a very prominent facet in the growth of reggae, this album is seen by many to be the seminal record of the genre. Its sweetly floating sounds, Higgs right up front with his poetry make this a perfect package for the hot days upon us. Organist Earl Lindo and guitarist Mikey Chung offer very solid back-up to Higgs' vocal prowess. Uncluttered, he's direct in his delivery. Sweet, yet strong in every sense, oftentimes the release is charged with a certain sense of longing. Check out the affirmation that's presented on "My Baby Still Loves Me". Though slightly inferior in sound quality, a couple of essential bonus tracks are included at the tail end of the record. If there is one album that I've used more this summer to cool off with, it's this essential slab of reggae.

Remix albums are more often than not hit-and-miss affairs. Luckily, "Flared Up", which features new mixes of Port Royal's "Flares" debut - is more of a hit scenario. That's not to say that this collection of twelve re-mixes is all great. Quite frankly, D_rradio's straight-ahead remix of "Flares, Pt. 2" along with Dialect's squeaky-clean remix of "Karola Bloch" do little for me. What I'm looking for runs along the lines of the subdued - something that shows the tacit grace of this Italian outfit. That's why Minamo's shimmering take of "Flares on the Water" is so satisfying. When Opn re-do "Karola Bloch", it sounds like a brand new track altogether - more like floating waves along a calm ocean. The collection ends on another high note with Ulrich Schnauss and the stunning, soft take of "Stimmung". In a nutshell, stunning!

Story goes that every producer Charles Manson approached about releasing his set of songs back in the late 60's was threatened. ESP honcho Bernard Stollman justifies the re-issue of this record to Alfred Knopf's publication of "Mein Kampf". I find this to be a rather far fetched analogy [though it's interesting to point out that royalties from sale of the record are going to the estate of one of Manson's victims]. I'm not exactly sure what the world gains in having access to twenty six songs Manson recorded prior to the Tate-Labianca murders? Perhaps "Sings" works better as a historical document, rather than a musical one. Let's face it, Manson's rambling accompanied by acoustic guitar and choruses from his followers aren't revelatory or that enlightening. Though on the other hand, there are a few stand-out tracks, such as the hilarious "Garbage Dump", Manson's female followers singing "I'll Never Say Never to Always" and the revelations disclosed on the light-hearted "Home is Where You're Happy". Otherwise, these are lo-fi ramblings of a man who's securely locked away for a while longer.

Having retired his O.S.T. moniker, Chris Douglas continues to dabble in IDM territory with his "Ideom" release. Adopting the Dalglish name, Douglas pumps out his music with carefully planned subtlety and a ton of grace. Beats are often underdeveloped as they scatter across the tracks in a mish-mash of strange configurations. What makes perfect sense on one track doesn't necessarily translate into the next one. What I love most about the record is the soundscapes that Douglas lays out. Sometimes these are eerie, other times they're brittle, but mostly they're atmospheric and mesmerizing. Chill out music for the dance-floor crowd or simply great piece of ambient collage, "Ideom" runs a solid narrative that has plenty of subtleties for subsequent listening sessions.

- Tom Sekowski


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RECENZJE

+ Detroit Grand Pubahs - Nuttin Butt Funk
+ Larytta - Difficult Fun
+ Dave Aju - Open Wide
+ Populous With Short Stories - Drawn In Basic
+ Amorphous Androgynous - The Peppermint Tree
+ Popi Asteriadi & Lakis Pappas - Another Sunday Gone
+ Chocolate Watchband - Melts in Your Brain... Not in Your Wrist! The Complete Recordings 1965-67
+ July - July
+ Mustafa Özkent - Genclik Ile Elele / Ersen - Ersen
+ LSD March - Nikutai No Tubomi
+ Keiji Haino/Tatsuya Yoshida - Uhrfasudhasdd
+ Teiji Ito - The Shamanic Principles
+ Sun Ra & The Omniverse Jet Set Arkestra - The Complete Detroit Jazz Center Residency. December 26, 1980 - January 1, 1981
+ Chrissy Zebby Tembo & Ngozi Family - My Ancestors
+ Joakim Skogsberg - Jola Rota

- - - - - - - - -

+ Trio Viriditas - Live at Vision Festival VI
+ Jasper van't Hof's Pork Pie - Transitory
+ Larry Ochs - Sax & Drumming Core - Up From Under - Out Trios - Volume Five / What We Live - Sound Catcher
+ Mathias Delplanque - La Plinthe
+ Cecil Taylor / Tony Oxley - Leaf Palm Hand
+ Our Sleepless Forest - Our Sleepless Forest
+ Building Castles out of Matchsticks - Secret Land
+ Various Artists - Como Now - The Voices of Panola, Co., Mississippi
+ Andrew Liles & Jean-Hervé Peron - Fini!
+ Albert Ayler, Don Cherry, John Tchicai, Roswell Rudd, Gary Peacock & Sunny Murray - New York Eye and Ear Control
+ Tarek Atoui - Mort aux Vaches
+ Elliott Sharp - Concert in Dachau
+ Earl Rodney - Friends & Countrymen
+ Harmonia Ensemble - D.D.E.E.
+ Liz Parks - Raise the Roof
+ Seun Kuti + Fela's Egypt 80 - Seun Kuti + Fela's Egypt 80
+ Buckethead - From the Coop
+ Oneida - Preteen Weaponry
+ Mars - Mars LP - The Complete Studio Recordings NYC 1977-1978
+ Ampanman - Wood Wind Tide
+ Anthony Braxton / Joe Morris - Four Improvisations (Duo) 2007
+ Don 'Sugar Cane' Harris - Sugar Cane's Got the Blues
+ Pandelis Karayorgis / Nate McBride / Curt Newton - Betwixt
+ Peter Brotzmann / Peeter Uuskyla - Born Broke
+ Estebam Algora / Alessandra Rombolá / Ingar Zach - ?de las piedras
+ Barry Guy, Marilyn Crispell, Paul Lytton - Phases of the Night
>> Populous With Short Stories - Drawn in Basic / TaughtMe - Lady / Steinbrüchel - Mit Ohne / David Vandervelde - Waiting for the Sunrise / Alan Watts - This is it / Marbert Rocel - Cornflake Boy Remix / Eddy Meets Yannah - Solid Ground / Tsé - La Ralentie / Dark Captain Light Captain - Circles EP / Lawrence English - Kiri No Oto / Moira Stewart - Sweetness, Yes! / Roel Meelkop - 5 {zeischenfalle} / Béla Szakcsi / Lajos Kathy Horváth - In One Breath / Various Artists - Vampisoul Goes to Africa - Afrobeat Nirvana / Matt Davis / Matt Milton / Bechir Saade - Dun / Michael Santos - The Happy Error / Lazy Magnet - He Sought For That Magic By Which All The Glory And Mystic Chivalry Were Made To Shine - or - Is Music Even Good? / Goldmund - The Malady of Elegance / Anat Ben David - Virtual Leisure / Arctic Hospital - Neon Veils / Conny Bauer - Der Belbe Klang / Joe Higgs - Life of Contradiction / Port Royal - Flared up - Port Royal Remixed / Charles Manson - Sings / Dalglish - Ideom
+ Lucio Capece & Sergio Merce - Casa