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Made in an edition of 50 copies on high quality CDR's, the album is represented by 12-page booklet with arts, lyrics, texts and translations which makes it look like some scientific brochure more than something music-related. Yet, the music here exists in a strong context of linguistic, cultural and philosophical studies — sometimes being more than serious and sometimes layering sardonic smiles and Dionysian sneers. This is 'on the go' ultra high-tech electronic music. How does he sound, this composer, since his debut in Paris in 1969. The Crow guides the Neophyte through the Four Ways towards transmutation in the Midnight Sun, which is also the Morning Star. The concept was deeply inspired by the thelemic works of Frater Perdurabo (Aleister Crowley) the medieval mysticism, hermetic and alchemic symbolism and the heathen wisdom. During a recent travel to that region, Kazeria conceived the album to express its impressions on archaic traditions and the great symbolic heritage found there. The album was composed by the fruitful collaboration between Kazeria and Aphlar, a rustic and energetic neofolk act, also from Buenos Aires. These elements create an evocative atmosphere, dealing with pre-christian and medieval times. Space with broken laws of logic, perception, eventfulness - space between the worlds of Reality and Unreality. And this state of being between the worlds is very interesting to feel. Reflections of fire on tree trunks, something comes close to silence. Weird forest psych-ambient, coming in and out of the woods. Under his own name, James doesn't change his music radically. Keitai Denwa Chudoku making tracks that used only mobilephone and effect pedals. One operated mobilephones, and another one operated effect pedals. Her main musical inspiration comes from classical music, especialy Bach's piano works she's studying endlessly. Yukiko's first musical creations consisted in piano improvisations.

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Better examples probably exist as antitheses of the auteur theory, but Kotcheff will do just fine. Kotcheff originally directed Duddy Kravitz as an hourlong installment of Armchair Theatre on ITV in 1961, starring Hugh Futcher in the title role that, in Kotcheff’s follow-up feature, was a stepping stone for Richard Dreyfuss. Kotcheff directed 15 episodes of that anthology, and directed several provocative hour-long dramas of the mid-1960s, including Dare I Weep, Dare I Mourn (1966), the Stanley Mann adaptation of a John le Carre tale about the smuggling of a spy in a coffin through the Berlin Wall checkpoint to the West, starring James Mason, Kay Walsh, Hugh Griffith, and Jill Bennett; and Jean Cocteau’s The Human Voice (1966) with Ingrid Bergman in one of her rare TV appearances. Kotcheff won a British Academy of Film and TV Arts Award for best single drama for Edna, the Inebriate Woman. Kenneth Spencer was Kotcheff’s The Emperor Jones, using Terry Southern’s adaptation of Eugene O’Neill’s play. Kotcheff threw in with producer David Susskind and George Segal in efforts to adapt plays for TV in the mid-1960s, directing Segal, Arthur Hill, Teresa Wright, and Yvette Mimieux in The Desperate Hours, as well as John Steinbeck’s Of Mice and Men, with Segal as George, Nicol Williamson as Lenny, Joey Heatherton as Curley’s wife, John Randolph, and Moses Gunn. Back in England, Kotcheff’s Edna, the Inebriate Woman struck a sorrowful chord in the hardscrabble story of an alcoholic bag lady. Family of Cops was a minor Charles Bronson vehicle. He started directing TV shows in the mid-1950s: Boots and Saddles, Broken Arrow, The Rifleman. He was hired by Gene Corman, lowbudget kingpin Roger Corman’s brother, to direct Hot Car Girl (1958), Night of the Blood Beast (1958), Attack of the Giant Leeches (1959), and the World War II picture Blood and Steel (1959) with Ziva Rodan as “Native Girl,” enlisting the Seabees to battle the Japanese on a Pacific atoll. Kowalski directed episodes in the action genres: Perry Mason, The Untouchables, The Virginian, Rawhide, Mission: Impossible, Gunsmoke, Banacek, The Rockford Files, Baretta, Airwolf, Magnum, P. . Jake and the Fat Man, Baywatch Nights, Thunder in Paradise, and many more. He directed the pilots for Richard Diamond, Private Detective, The Monroes, and NYPD. Kowalski’s later features include Krakatoa, East of Java (1969, an infamous title, since the volcano is west of Java), Stiletto (1969), Macho Callahan (1970), and Sssssss (1973) with Strother Martin and a serum that turns men into cobras. Terror in the Sky, one of the group-jeopardy plane epics that hit the small screen after the success of George Seaton’s Airport (1970), starred Doug McClure as a Vietnam War helicopter pilot who is drafted out of the passengers of a commercial flight to take over the controls when the pilots are poisoned. In Black Noon, Roy Thinnis and Yvette Mimieux are terrorized by a satanic cult. Kowalski favorite Lois Nettleton and the director’s B-film past converged when she played a parole officer who goes undercover to investigate prison conditions in Women in Chains, which co-starred Ida Lupino, Jessica Walter, Belinda Montgomery, and Penny Fuller.


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The two tracks are somehow in the likes of Switch and Jesse Rose, but much more twisted and turned. Definitely a possible climax within a DJ set, if you are into craziness and hard partying. We hear dry ice guns and ravers freaking out, sweat, hysteria and total ecstasy. The first release comes from a surprising team: the Briton Matt Tolfrey can already look back upon a small list of releases on Crosstown Rebels and his own label Leftroom and gained reputation as a DJ in such famous clubs like London's Fabric and The Egg. Together with the Munich-based Contexterrior artist Inxec, Tolfrey convinces the listener with a tight US House stomper, whose hypnotic vocals almost remind of the old Wild Pitch tracks, even though containing a much more contemporary rhythm frame. By all means, those two tracks are very suitable for what seem to be the tropical moments within cold winter nights. For the last ten years Jacek was carving his very own niche in this genre formerly known as techno. Paying respect due to the classic masters of Detroit sound, he never followed formulas and classic frames of what was once called minimal techno, instead always working on both expanding and questioning the music we used to know. Be it studio work, his countless live performances around the globe, his collaborations with some of his contemporaries or his work as a promoter introducing some of the world's finest talents to local audience - his actions, albeit always on the side of club mainstream, were always deeply rooted in his very own vision of electronic music as a true psychedelic experience. As we all know, dance is an art form, referring to the movements of human body. Be it a form of one's expression, social interaction or the extension of spiritual life, dance is most often associated with music. Dance embodies emotions, expresses ideas and generally tells a story. The modern dance was raised out of rebellion against the strict formulas of tradition - and so was the music you are about to hear. Jacek Sienkiewicz has been exploring emotional, physical, mental, communicative or finally artistic aspects of dance and music for the last ten years. Probing and expanding boundaries of classic techno music, filtering Detroit sound through innumerable studio experiments, his music became the way to express his deepest inner feelings and visionary creativity - and this is exactly what modern dance is about. As the tracks compiled here were originally released either on Recognition, or Cocoon Recordings during past few years. The three versions of the homonymous LP title represent, at the same time, the whole bandwidth of contemporary electronic dance music. A completely different direction is chosen by Brendan Moeller aka Beat Pharmacy.


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