On December 12th 1969, a bomb exploded in the hall of the National Bank of Agricolture at Piazza Fontana in Milano: 17 people died.

The 36 years old anarchist Pietro Valpreda was accused of being the author of this attack. He had to undergo a hard media trial and, though innocent, was declared guilty and had to stay in jail for three years until the investigators identified the neo-fascist of Ordine Nuovo as the true perpetrators of the massacre. Valpreda was declared innocent in 1987. During the years of imprisonment, he wrote a handful of poems about his anguish and frustration. KWME has collected some of them to write the script of an imaginary movie that tells about the city of Milano in that terrible fall of 1969, which marked the beginning of "Anni di Piombo".



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In the vein of the first records of Franco Battiato, Ennio Morricone's experimental stuff and 70s giallo/poliziotteschi soundtracks, KWME has packed an intense, gloomy, bloody album of unidentified music between minimal-synth, library music and punk. A fascinating, thrilling drama-concept!



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KW/\/\E (Kalashnikov Wartime Music Ensemble) is a branch of anarcho-punk band Kalashnikov collective that deals with sound design and descriptive music.



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"We wander pale in a world that is not ours. We're travelers on the run from a distant time. Time travel consumes the soul, torn the existence. We are strangers to this present, but we need to get into spiritual contact with it, to touch the secret that has led to the destruction. Music is our medium to summon what we have lost"



Ⓐ angst / amour / anarchie Ⓐ



Personnel here:

Lisa >>> theremin

Milena >>> vocals

Sarta >>> synth & e-piano

Don >>> synth & keyboards

Stiopa >>> guitars

KW/\/\E (Kalashnikov Wartime Music Ensemble) is a branch of anarcho-punk band Kalashnikov collective that deals with sound design and descriptive music.



KW/\/\E (Kalashnikov Wartime Music Ensemble) è una branca del collettivo anarco-punk milanese Kalashnikov e si occupa di musica descrittiva e colonne sonore.

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"SOLDATI SENZA DIVISE E SENZA BANDIERE" (Soldiers without uniforms and flags) is the soundtrack for a radio drama in three acts, inspired by the short stories written by Giulio Questi (1924 * 2014), director, author and partisan during the italian war of liberation against the nazi-fascism in the WWII. The short stories are published in the volume "Uomini e comandanti" (Men and commanders) edited in 2016. Soundtrack was recorded in November '015.



"SOLDATI SENZA DIVISE E SENZA BANDIERE" è la colonna sonora di un radiodramma in tre atti ispirato ai racconti scritti da Giulio Questi, regista e partigiano durante la guerra di liberazione dell’Italia dal giogo nazi-fascista negli anni della Seconda Guerra Mondiale. I racconti di Giulio Questi sono stati pubblicati nel volume intitolato “Uomini e comandanti” (2015). Il radiodramma “Soldati senza bandiere e senza divisa” è stato realizzato dalle compagne e dai compagni di Radiocane e andato in onda a puntate tra il 2016 e il 2017. La colonna sonora è stata registrata dal KWME nel proprio quartier generale nel novembre 2015.

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"We wander pale in a world that is not ours. We're travelers on the run from a distant time. Time travel consumes the soul, torn the existence. We are strangers to this present, but we need to get into spiritual contact with it, to touch the secret that has led to the destruction. Music is our medium to summon what we have lost"



"Vaghiamo pallidi in un mondo che non è il nostro, siamo viaggiatori in fuga da un tempo lontano. Viaggiare nel tempo consuma l'anima, strappa l'esistenza. Siamo estranei a quello che ci circonda, ma dobbiamo entrare in un contatto spirituale con esso, per toccare il segreto che ha portato alla distruzione: la musica è il nostro mezzo per ricordare ciò che abbiamo perduto"



Ⓐ angst / amour / anarchie Ⓐ

Dream Girl Records is proud to introduce the debut album by Emil Rottmayer. The album is a collection of his most popular tracks from the past few years--a collection of thumping, modern takes on a classic sound. A charming listen reminiscent of 80’s synth-pop and nu-disco, its warm energy sustains through the entirety of the listen. For the first time, Emil is breaking free from his digital chrysalis, and his music is getting the treatment it deserves: a full vinyl release.





Written, produced, and mixed by Emil Rottmayer.



"Distraction" courtesy of NDYD Records





Tracks 9-13 are digital only bonus tracks.



Originally released 3/30/2018.

<i>Memento Mori: Mexico City</i> is an audio accompaniment to <i>Depeche Mode: M</i>, a 2025 concert film that captures the band’s performances at Foro Sol stadium during the 2023-2024 Memento Mori World Tour. What’s striking about the live album is just how vital the band sounds well into their fifth decade: They offer up epic renditions of modern standards like “Enjoy the Silence” and “Personal Jesus,” both taken from 1990’s <i>Violator</i>. The band, which now consists of founding members Dave Gahan and Martin Gore, put as much emphasis on their newer work as their sturdiest hits, kicking off the performance with “My Cosmos Is Mine” from 2023’s <i>Memento Mori</i>. The live album makes clear that no matter what era they’re combing onstage, Depeche Mode remain pioneers of synth-pop, New Wave, and its many modern iterations.

When a rock band releases a remix album, it’s often treated like an afterthought, with execs enlisting high-profile dance producers to slap new beats onto old singles and promoting them to club audiences who wouldn’t typically buy rock albums. This has never been the case for The Cure’s remix albums. Ever since their first—1990’s <i>Mixed Up</i>, which yielded the Balearic classic “Lullaby (Extended Mix)”—the band’s singer and principal songwriter, Robert Smith, has had a close hand in the process, doing many of the mixes himself. The tracks rarely veer into proper club-music territory. Instead, certain motifs are teased out and built upon, and are occasionally augmented with new instruments or lengthened for more languid DJ sets.

The band’s third remix album generally hews to that ethos. Even a towering name like Paul Oakenfold (who previously remixed “Close to Me” on <i>Mixed Up</i>) treats “I Can Never Say Goodbye” with a light touch, delicately accentuating its majestic vibe, while Orbital gives the downcast “Endsong” just a dab of industrial grit. Daniel Avery seems to even tone down the aggressive guitars and drums of “Drone:Nodrone” for his slightly more propulsive version.

There is, of course, a lot of variation across these 24 remixes (each of <i>Mixes of a Lost World</i>’s eight tracks gets three), and it comes most notably in the form of more traditional dance remixes. But rather than seeming like a crass attempt to gain favor in other musical spheres, Smith’s list of respected electronic music producers here indicates just how deeply his tastes run. Germans Anja Schneider, Gregor Thresher, and Âme manage to turn Smith’s tunes into restrained and elegant techno and house cuts, while Four Tet gives “Alone" some of his signature garage-y shuffle.