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25—11—08
Vinyl soon available on MANGEL Records
Tape soon available on NACHSCHLAG
Release concert 20.11 at PANKE, Berlin
www.tixforgigs.com/Event/68298
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25—11—04
MONIKÉ is a naive musical legend recording the fate of all the homeless dogs that have evolved from immigrants to tourists. It is also a mocking of earlier pseudonyms and alter egos of Robert Skrzyński (Mikrodepresja, Micromelancolie, 3HDSafxri). The artist for the last 17 years has been working with cassette tapes, microsamples, prepared field recordings, feedback techniques and Roland samplers. MONIKÉ is a memory of intriguing dreams of individuals coming from small, coal-mine settlements. Skrzyński released numerous albums on such labels as Aurora Borealis, Instruments of Discipline, Natural Sciences, SEAGRAVE czy Where to Now? MONIKÉ is music travelling the peripheries of imagination, interweaving dreamlike notions of rhythm inspired by traditional music of Egypt, Greece, Tunisia, as well as genres such as hard drum, global bass, kuduro, funk neurótico czy changa tuki. Robert Skrzyński had the pleasure of working with Antonina Nowacka, Mia Zabelka, Zofia Hyjek, Bartosz Zaskórski, Boris D Hegenbart, Jean-Sébastien Truchy, Jerzy Mazzoll, Krzysztof Topolski, Mateusz Wysocki czy Michael Bjella. MONIKÉ is a sum of experiences, that allows to reflect on the past with a smile and a distance. It is a confidence resulting from the awareness of one’s limits, an energy flowing from the inspirations, a courage allowing the turning of weaknesses into strengths, virtues and advantages. It is a hymn about building one’s identity.
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25—10—24
On their self-titled second album, The Cosmic Tones Research Trio—featuring Roman Norfleet, Harlan Silverman, and Kennedy Verrett—dives deeper into the spiritual soundscapes that first defined their genre-defying approach. Based in Portland, Oregon, the trio crafts a transcendent listening experience rooted in both meditative stillness and rhythmic propulsion.
Blending cello, alto sax, piano, flutes, and an eclectic palette of textures and percussions, the album channels a sacred energy that feels both ancient and forward-reaching. It is music for reflection, for movement, and for inner travel. Tracks unfold with patient grace, yet pulse with deliberate rhythms that ground the listener—echoing the ceremonial spirit of cosmic jazz and deep improvisational traditions.
This is not background music—it’s an invitation to engage fully, to breathe with the instruments, and to explore the liminal space where sound becomes prayer. With The Cosmic Tones Research Trio, Norfleet, Silverman, and Verrett continue to map sonic territories where the mystical and the musical converge.
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25—10—23
For Martin Gretschmann, the ever-evolving Berlin artist known as both Acid Pauli and Console, music has always been a deeply personal journey.
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His new imprint, All Is Acid, is the destination, a creative home for his uncompromising and experimental sound. Breaking from the cycle of trends, the label is a return to the essential, offering just a few curated releases a year. Each is intended as a timeless artifact for deep listening, primarily showcasing Acid Pauli’s own intricate and intimate productions.
The label debuts with a newly remastered version of his classic 2010 EP “Den Mahlstrom rauf.” But the release is given a powerful new dimension by a standout remix from Italian artist Adiel. Their collaboration was sparked by pure serendipity: a fan video of Acid Pauli playing her music in Milan reached Adiel, who responded with a short film. In it, she revealed that “Den Mahlstrom rauf” was a formative influence and one of the very first records she ever bought.
Inviting her to remix the track that helped shape her sound was a full-circle moment, artistically and emotionally. Her bold, reverent reinterpretation honors the original’s spirit while imprinting it with her own unique signature. With this release, All Is Acid launches not just with music, but with a story of connection, community and a shared artistic lineage.
25—10—23
Dubcore 27 features DjBadshape from Leipzig’s vibrant breaks and bass scene with her full vinyl debut. She already made her solo debut with Hurrican Kick on Defrostatica Records and dropped some tunes on some compilations like Bassmæssage Second Drop as well as on cassette on human togetherness. While producing tunes she dj and regularly uploads her Temper mixes on SoundCloud.
The first two tracks, “Facebreaker” and “Entitled,” were produced shortly after Bangface.
Hours of waiting at Humberside Airport turned into long talks about music — the festival’s energy and conversations inspired this creation. The tune “Spring Bird Symphony” is the first track I produced with the KO2 media sampler from Teenage Engineering. It was the best birthday present my boyfriend could have given me! You hear the spring fever in it? 😉 Finally, “Der Fallende Bach” is an ode to the flora and fauna of the Austrian Alps, imagining the joy a drop of water must feel as it rushes down a waterfall, riding nature’s own rollercoaster.
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25—10—23
25—10—20
通勤者族 – Commuters
This record draws inspiration from the railway jingles of the Keihan, JR, and Hankyu lines connecting Kyoto and Osaka. These sonic motifs, first explored and then transformed through the prism of our collective memory, culminated in a one-hour live performance. It extends my research on the function of memory: are our memories faithful to reality or reconstructions adapted to our personal narrative?
25—10—18
von Lynne Dawson, David James, Rogers Covey-Crump, Gidon Kremer, Vladimir Mendelssohn & Thomas Demenga
25—10—12
“Brigitte Fontaine is not crazy, she talks about the complex, unhinged world we still live in” — Lætitia Sadier
Wewantsounds is delighted to reissue French pop icon Brigitte Fontaine’s landmark 1968 album Brigitte Fontaine Est Folle, originally released on the cult label Saravah and arranged by Jean-Claude Vannier. approved by the artist, this reissue features the original album, newly remastered from the original tapes, along with demos, instrumentals, and a live rendition of “Il Pleut” recorded for France Inter/ORTF. The LP and CD editions also includes a bilingual booklet with introductions by journalist Jeremy Allen and Stereolab’s Laetitia Sadier, essays by Brigitte Fontaine’s biographer Benoît Mouchart and Benjamin Barouh, plus full lyrics and rare archival photos.