Neat finger style guitar to start-a good sound.Good vocals as well.These songs sound like they mean something worth saying.I wish you the success you deserve.

I love the aesthetic, did you use a tape recorder?

I just love this break and chord changed.

@kylebobbydunn: thanks kyle! 'Ways Of Meaning' has been constantly spinning on my record deck for a good few months now - looking forward to your next release!

Aporia is a confrontation with the void—the kind of album that doesn’t just play, it unravels you. It starts with a controlled chaos, pulling apart the scaffolding of thought, then drags you deeper into the soft, distorted pulse of dissolution. You don’t listen to this record so much as experience it—your sense of time slips, your body forgets where it ends, and your mind keeps circling questions it can’t answer.

The sound is heavy but never violent. It’s cerebral, textured, haunting. Guitars melt into ambience, drums skip and fracture, and the voice—resonant and human—threads through it all like a tether you’re not sure you trust. It feels ancient and futuristic at once. Cold yet intimate. Like you’re remembering something that hasn’t happened yet.

By the end, you’re not the same. You’ve stood in the place where thought gives up, and you’ve felt the silence stare back.

Aporia doesn’t give you peace.
It gives you the beauty of falling apart—on purpose.

Ash of the Real

country.eastern**

Jean Bernard Raiteux 
Les Demons
FKR086
LP | Digital

The unreleased Euro pysch score to the French/Portuguese X-rated version of The Devils meets The Witchfinder General! Synchronised by Spanish anti-establishmentarian, sexual liberator, die-hard independent filmmaker and unrepentant voyeur Jess Franco (Vampyros Lesbos/De Sade). Composed entirely by French composer Jean-Bernard Raiteux aka Jean-Michel Lorgere (Sinner/Harlem Pop Trotters) and presented here in full soundtrack form for the first time.

Proudly claiming the dubious accolade of the Spanish sexploitation version of The Devils as the distributor’s most bankable asset, this previously banned 1973 European witch flick would rip the art house facade from Ken Russell’s well polished box office smash and push the envelope way beyond the closet titillation of the gentrified new wave controversy seekers. Delivered on a comparable shoestring budget as the 55th feature in Jess Franco’s filmography of approximately 203 completed movies, The Demons (Les Démons), directed under the Anglicised pseudonym Clifford Brown, took many of the Franco’s sexually stylistic watermarks (epitomised in his Vampyros Lesbos trilogy) adding witchcraft, possession and nunsploitation against a rural Mediterranean backdrop before disappearing into the woods. Whilst clearly taking inspirational plot cues from Michael Reeve’s The Witchfinder General (UK 1968) and drawing comparisons with scenes from Eiichi Yamamoto’s Belladonna Of Sadness (Japan 1973) this B-Movie reduction of Franco’s wide palette of colourful ingredients has in recent years provided enthusiasts/champions/defenders of the workaholic horrotica bastion with a rare and treasured addition. Future-proofed by an essential component, omnipresent in Franco’s films, it is the mysterious commercially unobtainable soundtrack music that cements the unwaning interest in his risqué brand of unconventional shock/schlock sinema (not hindered my the enigmatic title card misinformation that often surrounds the original composers) and the music herein that has given Franco’s harshest critics a second chance/reason to reevaluate this man’s unapologetic art.

Following on from Finders Keepers previous expanded release of Bruno Nicolai’s score for Franco’s 1970 adaptation of De Sade (FKR069) this record stands as another tribute to Franco’s life which he lived through the mechanisms of a camera with relentless zeal and a passion to challenge every aspect of movie making along the way. UNDERground, OVERambitious, RIGHT on, LEFTfield, BELOW the radar but ABOVE criticism. INdulgent and OUTrageous, but never middle of the road, Jess Franco was many things but he wasn’t pretentious and never delivered art for art’s sake and I feel honoured to have spent time with him. Franco was in fact a realist, he kept both feet firmly on the ground and a keen eye behind the right side of the lens and if Jess did have any demons his films were his exorcisms, the critics were the bloody judges and his legacy (through the medium of X-rated cinema of variable quality) is immortal.

www.finderskeepersrecords.com

Jean Bernard Raiteux - The Weakness Of Rosalinda

The new album 'Healing Is A Miracle', released 10 July on Ninja Tune: https://julianna.lnk.to/healingSo

Will

Beached

Irrepressible Dutch electronic producer Kettel steps up to deliver his unique take on Lost Idol's Mechanically Void, a track lifted from the forthcoming new Lost Idol longplayer Chrome Machine Tales. End of summer vibes abound on Kettel's remix as he rouses the discotheque with sprightly beats and his unique melodic flair from the get-go.

Mechanically Void Kettel Remix

Electric Eel / Humanin

Made this 10 days after i finished circle, with the mighty BoomBip...the Man behind MUSH, made the beat...in the apartment where we recorded this and all of circle, there was a hairless cat named Tyrone, who knocked little panes of window out with his bear head...

Inventors Cry

taken from 'Balance' - available now on CD/LP/DL via Karaoke Kalk.

Boomkat: tinyurl.com/nhsnmpe
ANOST: tinyurl.com/o2yug3c
iTunes: tinyurl.com/oakdu5z
Amazon: tinyurl.com/ovbv22j
Karaoke Kalk: tinyurl.com/pq5ox7y

Recorded / Mixed by Florian Frenzel & Will Samson
Mastered by Nils Frahm at Durton Studio

http://willsamson.co.uk | http://karaokekalk.de

Buy 'Balance' (CD/LP)

Will Samson - Cathedrals (taken from 'Balance')

From Polymar Three, out now

https://lnk.to/DRUT011

Polymarm

Find it in The Ghostly Store: http://www.theghostlystore.com/products/willits-sakamoto-ancient-future

Willits + Sakamoto - Reticent Reminiscence

©2020 Sunday Best Recordings. (@sundaybest)

Inspired by a love of A Certain Ratio, Talking Heads, P funk and scratchy dub, NUMBER is a new forward-thinking sound machine fronted by Ali Friend and Rich Thair – the co-founders and rhythm section of electronic music pioneers and musical renegades, Red Snapper.

Rich and Ali started NUMBER as a means of rediscovering something of what they grew up with; the dirty disco bass lines, noisy drum machines, wonky percussion, leering live drums, jagged guitar melodies and uplifting soulful songs; the duo create a compelling collision of sonic textures and found sound.

‘Red Flag’, the fourth single from the up-coming album ‘Binary’, is now being released as a remix package featuring critically acclaimed experimental producer Nmesh and cult downbeat musician Ian Simmonds, who both deliver completely unique takes on Number’s moody disco inspired original.

Louisville’s Nmesh opens proceedings with his dreamy and atmospheric remix. Accompanied with a new age feel, the distorted vocals of Dan Carney (Astronauts) add to the track’s mystery and intrigue throughout.

Ian Simmonds Rework comes in with a bang with crashing drums, claps and completely rearranged vocals. The rework steadily builds into a crescendo of jazz inspired elements which leave you dazed.
Number’s original mix, taken from forthcoming album ‘Binary’, is a mixture of electronica and post disco accompanied with Dan’s intense but beautiful harmonized vocals. The track has a sinister edge throughout and draws the package to a thought- provoking close.

PURCHASE / STREAMING OPTIONS: https://orcd.co/redflagremixes

Red Flag (The Remixes)

PURCHASE

Number - Red Flag (Nmesh Remix)

MGMT: katie@someonegreatpr.com
PUBLISHING: jenna@fabermusic.com
GENERAL: contact@willsamson.co.uk

Will Samson - Cathedrals (taken from 'Balance')

Will Samson

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