Electro/Ambient

Artist: Harald Grosskopf Label: Bureau B

Artist: Ulli Bomans Label: Shitkatapult

Artist: Kasai Allstars Label: Crammed Discs

Record Label: Domino Recording Co Ltd Style: Electronic

Previously unreleased recordings, All tracks newly re-mastered from original tapes, LP housed in a deluxe Stoughton "Tip-On" gatefold jacket, Liner notes by Jack D. Fleischer, interviewing Donnie & Joe, LP includes download card. Some people have to wait for fame; some people wait even longer than most. Donnie and Joe Emerson are in a league of their own. As teenagers in Fruitland, Washington in the late 70s, the farming brothers dreamed of being heard. The synthesizers were sometimes crude and the 8-track recorder had its limitations, but the brothers aimed at nothing short of perfection in their home studio on the farm. They titled their 1979 debut "Dreamin' Wild", and, as multi-instrumentalist Donnie later admitted, "Joe and I basically lived the dream of the title of the album." The same goes for their parents who heavily believed in their sons' musical dreams, taking out a second mortgage on the farm and investing $100,000 in a dream that refused to die. But their privately funded, private press record sank without trace, the family lost most of their 1,600 acre farm, and as Joe focused on the family farming business, Donnie focused on his solo career. As for "Dreamin' Wild", things began to change three decades later, when record collector Jack Fleischer bought a copy of the album for $5 at a Spokane thrift shop. Something about the brothers' smiles, bouffant hair, and matching white jumpsuits gave him a good feeling. Fleischer's blogging about the album brought it to the attention of cult musician Ariel Pink, who recorded his own version of standout track "Baby." Eventually re-released on Light In The Attic and widely available for the first time, the album chimed louder a lifetime after its conception: Pitchfork described it as a "a godlike symphony to teen hood." The New York Times flew out to the family farm, while Jimmy Fallon took to Twitter to proclaim his love for the duo. But "Dreamin' Wild" does not tell the full story. In a relatively short span of time - just two and half years - the boys put close to 70 songs down on tape, all recorded at that magical home studio on the farm. A dozen of them are included here on "Still Dreamin' Wild: The Lost Recordings 1979-81" and ready to be enjoyed for the first time ever. With a familiar blend of FM rock, power pop, and new wave, these 12 tracks cover the entirety of that fruitful period, stretching from the second song Donnie ever recorded ("Everybody Knows It") - to tracks documenting his temporary move to L.A. in 1981. Donnie's life story is in these songs. Where "Dreamin' Wild" captures the teenage experience, "Still Dreamin' Wild" tells a broader story, one in which teenage dreams turn to painful yearning. So where the Beach Boys indebted "Ooh Baby Yeah" is inspired by a teenage girlfriend, "Big Money" shows the emergence of a naive political awareness. Later, 1981's "One True Love" captures the sound of what Donnie described as "the city as imagined from the farm," and the epic closing track, "Don't Disguise The Way You Feel" found Donnie after high school, feeling stifled and frustrated in the isolation of the countryside and mourning the loss of his friend and occasional backing vocalist Dwayne. It is, quite simply, heartbreaking. The long-belated success of "Dreamin' Wild" has given the Emerson brothers - still close, and still the heart of a loving family - a new lease of life. They've finally taken their music on the road, performing at Seattle's Showbox followed by New York's Mercury Lounge. "Still Dreamin' Wild" proves that the album wasn't a fluke, and that Donnie's songwriting is as consistent as it is rare. All this time later, we finally have the pleasure of hearing the brothers' music. And the good news? They've still got the jumpsuits. Record Label: Lightintheattic Style: Pop

THE EYE OF TIME is the Solo-Project of French musician Marc Euvrie. Euvrie's musical development is deeply connected with the French DIY punk and hardcore scene, though he has been classically trained as well. He used to play in several bands before he began to translate his personal reflection of our complex world into music, which initiated The Eye of Time. A self titled debut record, released in Spring 2012, evolved firstly. For his debut Marc Euvrie's critical writing exposed a dark look on the present, past and future: Linked to machines and samples, revealing an unnatural direction of the human being's existence. His upcoming release ACOUSTIC is a consequent change of focus. Looking for the motor, the personal needs to survive, he found himself experimenting with only Cello and Piano. Apparently these classical instruments turned out to be a relevant strong signal to go back to the roots with something more natural and simple to start from. Though both records seem to go in opposite directions in terms of sound and concept, a strong underlying layer stays inevitable: The Eye of Time's compositions imply a call to fight for the things we love. ACOUSTIC might be understood as a counterbalance to The Eye of Time's debut. Where the previous record disclosed the coldness of our time, destructing everything that is meant to be our deep nature and presenting the despair of our situation, Acoustic embarks on a little glimpse of hope: Finding some strength to keep fighting for the nature of things and their vital qualities. Marc Euvrie composed six songs for six different locations and points in time, reaching way back to ancient centuries as well as taking a glance into our near future of a yet unknown place. A very personal travel through time and space, between the beauty of nature (Cisjordania, Norway) and the beauty of hope, which allows humans to dream their dreams (Spain, Poland). Marc Euvries own feelings and thoughts about his life evoke mostly in the last two tracks, where he found a form to intensify what keeps him alive. Style: Ambient

THE EYE OF TIME is the Solo-Project of French musician Marc Euvrie. Euvrie's musical development is deeply connected with the French DIY punk and hardcore scene, though he has been classically trained as well. He used to play in several bands before he began to translate his personal reflection of our complex world into music, which initiated The Eye of Time. A self titled debut record, released in Spring 2012, evolved firstly. For his debut Marc Euvrie's critical writing exposed a dark look on the present, past and future: Linked to machines and samples, revealing an unnatural direction of the human being's existence. His upcoming release ACOUSTIC is a consequent change of focus. Looking for the motor, the personal needs to survive, he found himself experimenting with only Cello and Piano. Apparently these classical instruments turned out to be a relevant strong signal to go back to the roots with something more natural and simple to start from. Though both records seem to go in opposite directions in terms of sound and concept, a strong underlying layer stays inevitable: The Eye of Time's compositions imply a call to fight for the things we love. ACOUSTIC might be understood as a counterbalance to The Eye of Time's debut. Where the previous record disclosed the coldness of our time, destructing everything that is meant to be our deep nature and presenting the despair of our situation, Acoustic embarks on a little glimpse of hope: Finding some strength to keep fighting for the nature of things and their vital qualities. Marc Euvrie composed six songs for six different locations and points in time, reaching way back to ancient centuries as well as taking a glance into our near future of a yet unknown place. A very personal travel through time and space, between the beauty of nature (Cisjordania, Norway) and the beauty of hope, which allows humans to dream their dreams (Spain, Poland). Marc Euvries own feelings and thoughts about his life evoke mostly in the last two tracks, where he found a form to intensify what keeps him alive. Style: Ambient

Artist: Cluster Label: Bureau B (Indigo)

Artist: Moebius Label: Bureau B

Artist: Can Label: SPOON RECO

Artist: Cluster Label: Bureau b

Artist: Symbol Six Label: Jailhouse

Artist: Various Artists Label: Enlightenment

Artist: Burzum Label: Byelobog Productions

Artist: Il Balletto Di Bronzo Label: Lion Productions

Artist: Omar Souleyman Label: Ribbon Music

Artist: Shampoo Boy Label: SUBSTANCE RECORDS

Artist: Turning Shrines Label: Mexican Summer

Artist: Dukes Of Dixieland Label: Jasmine Music

Artist: Hundred Waters Label: Republic of Music