La Famiglia Degli Ortega
La Famiglia Degli Ortega

Editions Mego: ...If you have heard any of Thighpaulsandra's previous albums, you will know that you'd best approach this record with no fixed set of expectations, because once again he changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized and Julian Cope's band (in each case arguably at the height of their creative prowess) and his work as producer and sound engineer for an even larger variety of customers, you'll find classical passages next to hard rock riffing, krauty experimental work-outs turning into super catchy, almost radio-friendly songs and more.Many adjectives have been used to describe Thighpaulsandra’s work: epic, challenging, timeless, idiosyncratic, but certainly never predictable or boring.Possibly his most rewarding album yet and a welcome and unusual entry, in the Mego catalogue, which will entertain and astonish listeners who are fond of having their mind severely altered by sound.

A heady fusion of rock’s steely drive, cosmic trance, wiggy acid basslines and cavernous dub, Talk is at once rooted in the turn of the millennium while sounding utterly outside of space and time. A combination of coveted un- and self-released material, the record features a remix, specially commissioned by Betonska, from Naone.Jin Won Lee (이진원), otherwise known as Gazaebal, is a Korean producer and DJ whose sensual, spacious approach to electronica is rooted in his background as a sound engineer. Having begun his career in New York, in recording studios working with the likes of the Wu-Tang Clan and Janet Jackson, his expansive creative repertoire further includes media art and chart-topping K-pop. A member of Tacit Group, a collective creating algorithmic and audiovisual performances, Gazaebal is presently best known for ambient-adjacent soundscapes, yet in the halcyon late 1990s and early 2000s, he synergised a uniquely potent take on club music.The titular track was initially released in 1999 on the independent imprint dmstrax, established by Gazaebal’s agent and wife, Nine. First appearing on techno@kr, a compilation CD dedicated to Korean electronic musicians, ‘Talk’ is an hybrid, electro-punk anthem. Colliding sung-screeched Korean lyrics with heavy breakbeat, its abrasive textures are delivered with ultra-slick orchestration. Halfway through, the jittery breaks collapse, reprised by momentous four-to-the-floor. It’s this dichotomy between poise and power that characterises the record as Gazaebal flexes his ear for intricate melodies and rocketing build.Composed alongside Big Hit Productions founder and BTS songwriter Mr. "Hitman" Bang, the original version of 'And So On' was not available for re-release due to licensing difficulties. But thankfully the multitrack was well preserved. Utilising these components, Nawon Ha (AKA Korean-but-Netherlands-based artist Naone) re-imagines the song for Betonska. Remixed with her own hypnotic vocals, she inflects the track with mesmerising, multi-layered dimensions; a fractal, downtempo trance number that connects two generations of underground electronic musicians from South Korea.From the pulverising kickdrum of ‘Gilda’ to ‘Spiral's acidic dub fuzz, Talk moves between sharp crests, twists, and turns, enveloping driving 4/4 and shuffling half-time. Presented as a mix-friendly mini-album, the carefully selected 6 tracks are ideally tailored to DJ-level quality and loudness. As much suited to the psychedelic rave scene of yesteryear as they are to contemporary dancefloors, Gazaebal’s productions are defined by his idiosyncrasies. Melding the sheen of tight-production with a flagrant DIY spirit, his music assuages the high-commercialism of the 2000s, resulting in a sound that’s as definitely punchy as it is intoxicatingly precise.

EM Records: ...Imagine being a punk rocker before there were any others, or a hippie whose message of peace was infused with a sardonic whimsy. That’s what it must have been like to be Pip Proud, in Sydney in the late 1960s, railing against the media and its hypocrisies, making a music that cut through all lies. — David NicholsPip Proud, sui generis, could be considered an Australian outsider, with his untutored and uninhibited singing style, his primal guitar playing, his resolutely personal vision captured on recordings from 1967 to the early 70s - except that, unlike most outsiders, he was loved and accepted, with two of his three album releases on a major label, with frequent television appearances and coverage in music magazines. Heralded in his native land though he was, he maintained a low profile from the early 70s, never made an impact overseas, and his recordings have been difficult to access.This collection has been selected by Proud's biographer David Nichols and will engender a new appreciation of Proud's music. Considered by some as a sort of Antipodean Syd Barrett, listeners will hear that Pip was clearing his own private and primal path, more poet than pop star, despite the media attention. Other than one Velvets-style band track, all songs here feature Pip solo, some with appealingly primitive overdubs. Fans of ramshackle oddball weirdo portastudio lofi bedroom pop of the 80s, 90s and beyond, whether of the NZ, UK or US varieties, will find a precursor here.