15/07/2019 09:44

Welcome to the Spot Light. Check out the latest psychedelic, cosmic, prog, freakbeat, folk, kraut, experimental, jazz, drone, mystical, and avant-garde sounds!

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 Photo by Georgios Kaleadis



Polytechnic Youth label head Dom initially released 'Phase One' of this killer drone dream/psych collaboration on his Earworm label in 2000. It was always at the back of both his and Sunray's Jon Chambers' minds' that the unreleased 'Phase II' (not to mention Sonic Boom's unreleased remix here) would see the light of day somehow; and lo-and-behold, here it is kids; a whole 19 years later! Although, never one to shirk the opportunity of releasing a musical curveball of types; it could be argued that this one strays from "usual" PY territory; the darker nature of 'Phase II' with its' edgy, pulsing electronics and heavily treated guitar effects pull this closer to Throbbing Gristle, Conrad Schnitzler and Heldon territory (all PY heroes!) than the original version; so perhaps on closer examination this comes as no major surprise. Sonic Boom's purely electronic remix on the flip expands on this theme and is suitably meditational, hypnotic and intoxicating, and is an absolute must for Spacemen and Spectrum aficionados. Wait no longer, both versions are just great and appear as a 300 copy pressing on SILVER wax in a Nick Taylor sleeve that tips it's hat to (as eagle eyed library record obsessives may spot) the 'Audio Obstacle course - era III' sleeve from '73...


As its name suggests, this contemporary band from Italy is heavily influenced by London's late '60s psychedelic underground scene, which existed in venues s.a. the UFO Club and Middle Earth. This instrumental album, obviously the band's fourth full-length, is full of Hammond organ, Mellotron and Moog sounds. 'Four' is recommended to anyone into acid-rock, psychedelia and progressive rock, especially fans of Atomic Rooster, early Pink Floyd and Gong.




Romskip is a band in their early twenties from Bergen, Norway who mix indie rock with garage and psych vibes, and great lyrics in Norwegian. Their debut EP was recorded and mixed by the band themselves DIY style. This time around they have been in a proper studio and the overall sound is more professional, but the guitars sound even rawer and bigger on EP05. Includes some GROOVY rockers, one HUGE ballad and suprisingly even a bit of rapping. People are raving about their live shows, and it seems like Romskip might just be the next big thing in Norway. The 4 song EP is pressed on a 12" vinyl, 45rpm and comes with a download card included for your digital needs.




Two cuts of raw and speedy punk'n'roll with a pubrock edge. This is what punk rock sounds like in London today!


Karrion were forerunners of Vancouver, BC's early extreme metal scene, featuring guitarist and main songwriter Shawn Pitts previously of Delta speed metal group Witche's Hammer. Karrion hit the scene strong and headlined nearly every show they played, commanding the audience with Duncan Stuart's scorching vocals over a relentless set of original songs. The group's four song self titled and three song 'Free In Death' demos are both carefully remastered for this release, packed in a striking heavy gloss sleeve featuring the remarkable artwork of Estelle Ward, and an 8 page booklet with flyers, photographs and their story. Vicious and extraordinary Canadian speed/death/thrash intensity!! 500 copies.




In 1994, Apoptygma Berzerk released the single 'Deep Red' to great critical acclaim, and the track is still a favorite to fans. Here's a collaboration with English group Vile Electrodes. This duo, consisting of Jane Caley and Martin Swan, also made a track called 'Deep Red' for their debut album, 'The Future Through A Lens'. On this 7", both bands remixed each other's version of 'Deep Red'. Comes on transparent vinyl.


Achwghâ Ney Wodei's saga starts in 1983 when members François Boitière, Didier 'Higgins' Copp, Eric 'Riton' Sterenfeld and Phillippe 'Wodi' Royer create their own peculiar genre: Razz! Influenced by the likes of Jacques Tati, Blurt, Neu!, Les Frères Jacques, Captain Beefheart, Tex Avery soundtracks, French working class chanson and music hall, Razz! is an unpredictable sound mass, a comedic blend of oddworldly jazz-funk, repetitive motives, binary syncopated rhythms and narrative voices. Continuously exploring new ways to express ANW's vision, they expanded their sonic spectrum with concrete sounds. Crushed glass, toys, broken violins, metal tubes... were used and the sound palet was widened even further with the addition of non-European instruments such as the Balinese gambang, Trinidadian steel drums and the Malian balafon. ANW's self titled cassette from 1986 remains an important statement of musical and artistic freedom. It's also worth mentioning that the original masters were long gone. The tracks were transferred from an original tape and then mastered. Any strange noises or trembling sounds shouldn't be blamed on the vinyl. One last thing, the cover is handmade in true ANW fashion! Several techniques were used, ranging from stencil and silkscreen printing to licked and postmarked stamps. All 300 copies are unique.


The pieces collected on this album are all taken from performances staged for the 1957 'Le Domaine Musical' season, beginning with Luciano Berio's 'Serenata I,' conducted by Pierre Boulez, which debuted in Paris in March of that year; arranged for flute and fourteen instruments, Berio said that the idea behind the piece was for the solo flute to be confronted by continuously interchanging elements, rather than mere accompaniments or oppositions. Boulez's own 'Sonatine,' composed in 1946 for flute and piano, is a 12-tone piece that evidences Olivier Messiaen's influence, with shades of Asian classical music in places; then, Karlheinz Stockhausen's monumental 'Zeitmasze' or 'Time Measures,' a serial composition for five woodwinds, played in different combinations of tempos and speed, was partly inspired by Webern's principles of homogenous and harmonic textures. Finally, Olivier Messiaen's 1949 work 'Cantéyodjayâ,' delivered by pianist Yvonne Loriod, takes it shape from the classical Hindu rhythms of ancient India, as with much of the composer's oeuvre.


'L'Age D'Or' is the collaborative album by prolific extreme Japanese noise pioneer Merzbow (Masami Akita) and Italian experimental sound artist Dedali (Alessandro Bosello), who birthed the project in 2007. These 2 tracks combine the unique and creative characteristics of each individual artist, resulting in an album of densely treated concrete electronic sounds of Dedali, and over-layed by the harsh noise elements of Merzbow. This release displays the constructive culmination of both artists working seamlessly together to produce an album that builds up at different junctures the calming ambient drones, to the interweaving of apocalyptic and tormenting soundscape of claustrophobic resonating frenzy. 250 copies.


The British composer, musician and audio engineer Daphne Oram was a pioneering figure in the use of electronic music. Coming to prominence through her work with the BBC Radiophonic Workshop, which she co-founded, Oram was one of the first British composers to feature electronic instruments in her work and has been rightly hailed as helping musique concrete to become accepted in Britain. Born in 1925 and raised in rural Wiltshire, close to Stonehenge and the ancient stone circle at Avebury, Oram eschewed a place at the prestigious Royal College of Music to take a junior engineering role at the BBC in 1942, she was often tasked with creating sound effects, leading to cut-up experiments with tape recorders and the development of synthetic sound; her composition 'Still Point', involving two orchestras, two turntables and five microphones, was deemed too radical by the BBC, though she was promoted to studio manager in 1950, leading to the gradual introduction of electronic music and musique concrete techniques on BBC soundtracks. In 1957, she composed the music for the play 'Amphitryon 38', using a sine wave oscillator and homemade filters, and this and other subsequent works led to the establishment of the BBC Radiophonic Workshop the following year, but Oram was soon tired of the conservative constraints of the BBC, leading to her resignation in 1959 to pursue her own vision at the Oramics Studios for Electronic Composition, located in Tower Folly, a former hop kiln located at Fairseat, near the village of Wrotham in rural Kent. Oramics was a radical sound composition technique that sought to transform images to music, enacted by drawing onto 35mm film, which would then be read by photo-electric cells; in addition to its use in Radiophonic Workshop material, Oramics was also employed for sound installations, theatre productions and feature films, such as 'The Innocents', though financial pressures forced Oram to seek a range of commercial engagements in addition to creating her own artistic works. The 'Listen Move & Dance' series of BBC programmes were devised as a radical new technique to help British schoolchildren learn how to dance; on the LP releases, Vera Gray arranged short adaptations of classical pieces by Bartok, Stravinsky, Shostakovich and others, designed for "stamping, punching, kicking and jumping" movements, as well as "running lightly, dancing on toes" and "shaking all about," which contrasted sharply with Oram's electronic abstractions, which seemed to have been beamed in from outer space.


Four untitled tracks recorded in 1998 in dedication to Moebius and Roedelius, aka Cluster. Phillip B. Klingler: electronics, mix, Korg MS20, Roland S220 Sampler, Roland SH-101, Roland MSQ100 Sequencer, Korg DSS1 Sampler, Yamaha DX100, Yamaha QX21 Sequencer, various FX units. Master ed by Martin Bowes @ The Cage Studios (April 2017). Cover concept by Susana Mendes Silva. Limited to 300 numbered copies with handstamped covers.


The larynx or voice box is a small organ located towards the top of the neck in humans and some other animals. Constructed largely of cartilage, it houses the vocal folds that allow for the manipulation of pitch and volume, which are essential for the phonation of spoken speech. It is also involved in bringing air to the lungs when we breathe and it protects the windpipe when we swallow. However, those unfortunate to experience the potentially fatal malignant tumours of laryngeal cancer will have their larynx removed, resulting in a traumatic loss of speech; thankfully, as this rare record issued by Smithsonian Folkways in 1964 demonstrates, removal of the larynx does not necessarily spell the end of speech for such blighted individuals. Instead, through developments in artificial voice creation, patients could learn to employ modes of vocal communication again. The album was recorded by physician Harm A. Drost at the Phonetic Laboratory of the Ear, Nose and Throat Dept of the University Hospital, Leiden, in the Netherlands, working under the direction of Professor H.A.E. van Dishoeck. As the advances were fairly new and surprisingly varied, Drost felt a phonograph album demonstrating the techniques would be useful for those in the field. The album thus features a narrator explaining aspects of several different techniques, followed by examples of patients employing them. Buccal speech (limited to certain consonants), parabuccal speech (collecting air in a space between the upper jaw and the cheek), glosso- pharyngeal speech (a method deemed obsolete where air is forced between the tongue and the palate), esophageal voice (made by reconditioning one's esophagus via swallowing, suction or injection), various injection techniques and devices such as the larynxophone, pipa di tichioni and "western electric" are all explored here, along with other aspects of the larynx and its absence. 'Speech After The Removal Of The Larynx' is definitely one of the strangest albums ever given a commercial release!


Solo harsh noise act Armenia (Leo Sabatto) from Ecuador unleashes 3 long tracks of cruelly Intense and earth crushing sonic disturbance. The 3 tracks build up from low rumbling and metallic screeches to the ultimate culmination of ear shattering shrills and dynamic reverb. Leo Sabatto, a frequent collaborator and partner of Macronympha doesn't hold back and delivers more than an hour of ear blasting tirade of violent frequencies that guarantee to exacerbate any mental anguish.


'Zersetzung' is another collaboration album by Maurizio Bianchi and Siegmar Fricke alias Pharmakustik, produced and mixed in autumn 2018 at Pharmakustik-studio. 'Zersetzung'contains four morphologically distinct stadiums of putrefaction processes; Intracytoplasmic accumulation of necrotic voice-fragmentations confronted with postmortem intervals in denaturated audio-cadavers. A mortuary refrigerator containing high dosed autolytic treatments and segmental aponeuroses. Intense.


Two pioneering and prominent extreme harsh noise stalwarts, both of whom have been active since the early '80s, come head-to-head in a much-anticipated collaboration where the mastery of both artists are skillfully woven into a chaotic symphony. The pairs (Rupenus & Gillham and Mikawa & Kosakai) worked with each other's material producing two collaborations (appropriately titled 'Blockading Of Incapacitants'/'Incapacitation Of TNB') comprising relentless metal abuse, screaming feedback, gut-churning rumbles and deranged vocals. As the title suggests, 'As Anti As Possible' is certainly no easy listen and will be a challenge for all but the most die-hard of noise fans. TNB and Incapacitants have been mutual admirers of each other's work since the mid-'80s and have since that time occasionally discussed the possibility of a collaboration. However, no such collaboration has occurred until now. 'As Anti As Possible' was originally intended to be issued on LP but, due to the extreme nature of the music, vinyl format wasn't possible. Therefore, 'As Anti As Possible' has been presented on CD format. Includes new artworks by Rupenus (TNB).




'DENRYOKU HALL, JAPAN, 20.10.1986' - The gifted American pianist Keith Jarrett is one of the jazz world's greatest musicians. Born in suburban Allentown, Pennsylvania in 1948 with a mixed European cultural heritage, Jarrett was a child prodigy that played piano at the age of two, appeared on television, aged five, and gave his first classical recital, aged seven. After studying at the prestigious Berklee College of Music, he moved to New York in 1964 to perform at the Village Vanguard and then joined Art Blakey's Jazz Messengers. Drummer Jack DeJohnette subsequently brought him into the Charles Lloyd Quartet, resulting in European tours, and when that group disbanded in 1968, Jarrett began fronting his own trio with bassist Charlie Hayden and drummer Paul Motian, and also began longstanding collaboration with Miles Davis, helping to shape noteworthy releases such as 'Live/Evil'. From 1983, Jarrett's trio featured DeJohnette and former Albert Ayler collaborator Gary Peacock on bass, that version of the trio being the musicians featured on this beautiful concert staged at the Sendai Jazz Festival in 1986. Along with a sensitive rendition of showtune and Miles anthem 'Stella By Starlite,' highlights include a driving cut of Paul Desmond's 'Late Lament' and a moving take of 'I Remember Clifford,' Art Blakey's memorial to trumpeter Clifford Brown.


The short-lived quintet known as the New York Contemporary Five had a lasting impact on the free jazz movement. It was formed in 1962 with trumpeter Don Cherry, who had been working with free jazz pioneer Ornette Coleman; tenor saxophonist Archie Shepp, who'd been working with Cecil Taylor, Gil Evans and more recently, Bill Dixon; Danish alto saxophonist John Tchicai (whose father was Congolese), a former member of the quintet assembled by the poet and filmmaker Jorgen Leth, who moved to New York shortly before the Contemporary Five's formation; acoustic bassist Don Moore, who had played with Shepp and Dixon; and drummer JC Moses, who had played with Clifford Jordan and trumpeter Kenny Dorham. This rare performance, given at Copenhagen's Koncertsal on 17 October 1963, has epically-extended cuts of Don Cherry's 'Consequences' and Ornette Coleman's 'Emotions,' plus a peppy take of Thelonious Monk's 'Monk's Mood.'


Pianist and composer Mary Lou Williams played with nearly every major jazz performer during her long, illustrious and varied career, in addition to recording many solo works. Born Mary Winn in Atlanta in 1910 and raised in a 'shotgun shack,' where local musicians gathered to jam, she played by ear from a tender age and learned the boogie-woogie style upon moving to Pittsburgh with her older sister Mamie. While still in high school, Williams toured with the Theatre Owners' Booking Association, bringing her into the orbit of Earl Hines, Louis Armstrong and blues singer Irene Scruggs, among others; later, based in Kansas City during the 1930s, she began composing and recording solo work. After a stint at the Cotton Club, she formed a combo in Pittsburgh that featured Art Blakey, but was soon recruited by Duke Ellington and once back in New York, began jamming with Thelonius Monk and Charlie Christian at bop hotbed Minton's Playhouse. Art Tatum, Count Basie... you name it, she played with them! 'Black Christ Of The Andes' is easily one of the most individual albums created by Williams, or anyone else in jazz, for that matter; recorded in New York in late 1963 and first issued on Williams' own Mary Records, the album has jazz explorations of divine concepts, delivered with suitably complex arrangements; 'Anima Christi' and 'Praise The Lord' both feature soaring assembly by Melba Liston, 'The Devil' and the title track have elaborate choral voices from the Howard Roberts Singers, and instrumentals such as 'Miss D D' and 'A Fungus Amungus' use her expert piano skills to shock, titillate and provide light relief.




The Brazilian singer-songwriter and guitarist Joyce Silveira Moreno was born and raised in the middle of Copacabana, a short beach stroll from the epicentre of the bossa nova universe. Her father was a Dane that had settled in Brazil, but she was raised by her mother and stepfather in a typical Portuguese-Brazilian household. Since her older brother was friendly with leading lights of the bossa nova movement such as Roberto Menescal and Eumir Deodato, she was steeped in the form at an early age and witnessed its key evolution first-hand. At the age of 16 in 1964, she was taken to the studio by Menescal to contribute to the coveted debut album by the mythical group Sambacana, assembled to record the work of composer Pacífico Mascarenhas when the meagre budget would not allow the vocalists he preferred. Knowing that a full-time career in music was certainly not guaranteed, she began studying journalism in 1967, shortly before her controversial song 'Me Disseram' reached the finals of Rio's second International Song Competition. The following year, her self-titled debut album was released by Philips, produced by Armando Pittigliani, with orchestration by Dorival Caymmi and arrangements by Gaya; along with her own compositions, the album also featured songs by her rising-star friends, including Caetano Veloso and Marcos Valle.


Popcorn is a style of music and dancing first established in Belgium in the 1970s and 1980s. The style includes a wide variety of mostly American and British recordings of R&B and pop music made between the late 1950s and mid 1960s, often relatively obscure, and characterised by a slow or medium, rather than fast, tempo. The Popcorn music scene first developed from dances held at the Groove discotheque in Ostend, where mid-tempo soul and ska music played by DJ Freddy Cousaert became popular in the late 1960s. In September 1969, a café, De Oude Hoeve, opened in a converted farm barn at Vrasene near Antwerp, and began holding dance competitions on Sunday afternoons. Soon up to 3,000 people began attending each week, dancing in a "slow swing" style. De Oude Hoeve was later renamed Popcorn and the special genre had it's name. Later on the DJ's messed up a perfectly fine recipe by adding all kinds of pop tunes as long as the groove was right. The typical Popcorn tempo was usually reached by pitching the record up or down, sometimes massively. This record features 14 pure Popcorn groovers from the "golden era". SIDE 1: 1. Big Daddy - Daniel Webster And The Devil 2. Lou Johnson - It Ain't No Use 3. Ronnie Hawkins & The Hawks - Southern Love 4. Roy Brown & His Mighty-Mighty Men - She's Gone Too Long 5. Sam Fletcher - I'd Think It Over 6. Ivory Joe Hunter - I'm Cuttin' Out 7. The Sims Twins - It's A Sad Thing SIDE 2: 1. Roy Gaines - Black Gal 2. The Pilgrim Travelers ft. Lou Rawls - Motherless Child 3. Otis Lee - A Hard Row To Hoe 4. Jack Grayson & The So And So's - Go Ahead On 5. Landy McNeil - Move It (Move On) 6. Maylon Humphries & The Tri-Seniors - Weep No More 7. Louis Jordan - 65 Bars




'Citizen Input' finds the Glasgow based 'sci-fi music collective' breaking free from the confines of their home recording set up. Now with a firmly established, expanded line up, the band set out to capture a more robust, energetic, fully realized live sound with local Italian producer Luigi Pasquini. The 10" is underpinned by a series of mesmeric Moog grooves and propulsive Dinger-esque motorik beats. Waves of synth-driven turbulence, sampled hypnotic spoken word passages and lucid, often bittersweet melodies aim to transfix and bewilder the listener. The band cite heavy rotation from the likes of Michael Rother, Beak, Pye Corner Audio, John Carpenter and perhaps surprisingly, The Teardrop Explodes as the EP was in creative stages... Clocking in at the maximum 23 minutes allowed for 10" wax, the mini album utilises every waking moment it exists on your turntable!




Volume #9 in this amazing series of slow grinding R&B/soul/exotica tunes as they are being played in a club in Melbourne/Australia. Around midnight on the last Saturday of every month, an assemblage of juiceheads, grifters, kittens, dandies and derelicts gather in a dimly-lit, smoke-filled room and dance together real slow. Compilation and liner notes by SGF/mastermind Richie1250. SIDE 1: 1. Abie Baker - The Web 2. Lee Richards With Lefty Bates Orchestra - I'm Waitin' 3. Sam Butera & The Witnesses - Fever 4. Frank Heppinstall - Sweetheart 5. Frankie Laine - Kisses That Shake The World 6. Dick Holler & His Rockets - Living By The Gun 7. Johnny Guidry With Jeanie & The Clowns - The Place SIDE 2: 1. Joe & Ann - Mr.Blues 2. The Miracles - Speak Low 3. The Patriots - Walkin' On Air 4. Van Prince And His Complex - Hey Hully Gully N. 2 5. Roy Gaines - Black Gal 6. Jimmy Witherspoon - Danger 7. Lonnie Donegan & His Skiffle Group - The House Of The Rising Sun




This collection of recordings from Thai producer and rapper Juu offers a modern take on the country's luk thung genre. The vinyl-version comes with an insert.


'LUK THUNG GEMS FROM THE 1960S-80S' - This collection of 12 luk thung songs from the 1960s-'70s, all produced by Surin Phaksiri, is a superb showcase of cross-genre/multi-national fertilization, with Latin, jazz, western pop, Indian and Japanese music seamlessly melding with the musical culture of Isan (northeast Thailand). The LP includes an insert.


Meszecsinka, which means "Little Moon" in Bulgarian had their breakthrough through the album 'Awake In A Dream' in 2016, supported by the Armenian-Russian guitarist and producer Karen Arutyunyan. On this album 'Allj Bele A Melybe', Meszecsinka goes deeper and higher into their unique magical world. It is a mix of Inuit throat singing, lullabies, Siberian singing techniques, love songs, mobile phone recordings, and trance moods that resemble ancient rituals.


The Barcelona-based quintet is back with their second album, fittingly titled 'Sofa', and once again you will go through a journey of sounds and emotions. It was during touring, that every stop has been used to get new inspiration and to start collaborations with for example Venezuelan Juan Pablo Rodríguez Berbín, Serbian Goran Milosevic, Catalonian Gloria Maurel and Peruvian Jankely Aguila. That makes 'Sofa' sound so variated and flavourful. There is the inspiring passion of forro and bittersweet intensity of flamenco, it has the melancholic scent of cacharpaya and jazzy smoothness of samba.


Ermanno Panta & Banda Zeitun transform Mediterranean soundscapes into an "islander muse" inspired world music/jazz. Ermanno Panta is a composer, singer and multi-instrumentalist originally from Sicily with a deep respect for Sicilian music, flamenco, African and jazz. His tours and musical studies around the world are the inspiring sources of an eclectic repertoire, transforming Banda Zeitun's music into one voice, an authentic live ritual. The lyrics are in Spanish, Catalan, Sicilian and Arabic offering a symbolic commitment to diversity. Trance, joy and modern taste coexist in the album as well as at live concerts.



Previous editions:

31/07/2020 09:09 SPOTLIGHT 31

27/07/2020 18:20 SPOTLIGHT 27 + 28 + 29 + 30 part 2/2

27/07/2020 17:56 SPOTLIGHT 27 + 28 + 29 + 30 part 1/2

30/06/2020 10:32 SPOTLIGHT 26

22/06/2020 10:20 SPOTLIGHT 25

15/06/2020 11:08 SPOTLIGHT 24

08/06/2020 10:15 SPOTLIGHT 23

31/05/2020 16:26 SPOTLIGHT 22

25/05/2020 15:32 SPOTLIGHT 21

19/05/2020 07:59 SPOTLIGHT 20

11/05/2020 18:28 SPOTLIGHT 19

05/05/2020 08:01 SPOTLIGHT 18

27/04/2020 10:30 SPOTLIGHT 17

20/04/2020 13:59 SPOTLIGHT 16

14/04/2020 07:50 SPOTLIGHT 15

06/04/2020 17:10 SPOTLIGHT 14

30/03/2020 18:16 SPOTLIGHT 13

22/03/2020 16:54 SPOTLIGHT 12

12/03/2020 14:26 SPOTLIGHT 11

09/03/2020 10:53 SPOTLIGHT 10

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