Aymeric de Tapol
Bombina

Pionneer album. in great shape !

The Black Pearl is very proud to present a real 80´s futuristic proto club banger from the STRÖER Brothers, with lots of clubby remixes by buddies & friends. The original track "Night Falls" was only released on a very limited hand-spread promo 12inch, which was especially pressed for the Kunstdisko art-project for the 24th Olympic games in 1988 in Seoul / South-Korea. Together with the Goethe Institut they created the "Kunstdisco" project for germany, which was located at the Yoido Ankara Square and took part for the german Seoul Olympic Art Festival. The Ströer Brothers, who were responsible for the video & music sector, invided and encouraged 25 young german composers and producers (among of them was the young DJ West Bam) to produce new music for the Kunstdisco between Rap and new electronic club music from the end of the 80´s. The Ströer Brothers, together with Howard Fine & Nadeen Holloway, were presented through many DJ´s who played their music that they espacially created for this event. Next to the in-house project Mudegg, the single audio tracks of "Night Falls" were givin to musical buddies like First Touch, Enzo Elia, DJ Rocca, Siggatunes and Manelet to remix them and Black Pearl is more than proud to present a great variety of remixes, styles and visons on the original track.

Francesco Messina is perhaps best known for his collaboration with fellow composer Raul Lovisoni on the album Prati Bagnati Del Monte Analogo, originally released on seminal Italian label Cramps in 1979. Along with contemporaries Franco Battiato, Juri Camisasca and Giusto Pio, Messina would help reshape the world of modern composition with an organic rawness and haunting beauty.In 1979, Messina was asked to perform at the Teatro Quartiere in Milan. As the composer writes in the liner notes, "Due to the limited availability of key technical features, it would have been too complicated to perform Prati Bagnati, and therefore I opted for these three pieces instead. We had never actually tried them all together, so I thought about renting a recording studio the previous afternoon. In that way, we could rehearse in a suitable place and use the opportunity to record the music on tape."Unreleased for over thirty years, and rediscovered thanks to Die Schachtel label (and included in their Prati Bagnati CD edition), the recordings on Reflex have an unadorned, almost improvisational feel. "Untitled" (featuring Lovisoni's plaintive flute) and "I Nuovi Pescheti" are full of meditative piano passages that lend an aura of new age, while the title track is more insistent with unfurling chords layered in real time via a reel-to-reel tape machine, resembling Steve Reich's mesmeric phase-shifting works of the '60s.A central figure within the Italian avant-garde, Francesco Messina gracefully expands his country's contribution to Minimalism. This first-time vinyl release is recommended for fans of Joanna Brouk, Luciano Cilio and Charlemagne Palestine.

According to "The Wire", the British bible of musical excellence, Cluster 71 is one of the "One Hundred Records That Set The World On Fire". Very few albums from Germany can lay claim to this honour. The album is a monster: Cluster's debut work from the year 1971 (actually just called Cluster) contains a mere three tracks (untitled) and is quite an ordeal for untrained ears – back then, at least. Yet the album pointed the way forward like no other electronic opus.

Lowkey but pivotal Bristolian duo O$VMV$M supply No Corner with their first 12”, some 6 years after their debut ‘Memoryz Ov U’ in 2015Part of the sprawling but loose knit Young Echo collective, Amos Childs (Jabu) and Sam Barrett (Neek) have been in the shadows recently, producing for Manonmars and Rider Shafique, but ‘Weekend Saviour’ marks their sultry return to the fray via six slow and eazy downbeats in signature style. Chopped & screwed rap instrumentals, R&B, and dancehall inform the vibe, although skewed with a lilting South Western accent and perfectly skudgy, stoned appeal that oozes from every cut, working with a paucity of ingredients in an unshowy manner that’s made them clear favourites of red eyed night owls.The ghosts of Avon’s trip hop and heritage gloam large over proceedings, with perhaps obvious comparisons to be between Portishead and their dusty, creaking opener ’116 Greystoke,’ but there’s also something more fugged out to the likes of their dungeon bunkered title cut that’s more intimation, not imitation, as they pursue a perpendicular style of bluntedness between the slompy ‘Deathphone,’ plus the pastoral dancehall of ‘Bird Ride’ nodding to Equiknoxx, and an outstanding closer of cartoonish samples and groggy groove like a Metal Fingers meets Wiley screwball in ‘Codzilla Outro’ pointing to new angles of their sound.