Search:cultivate

Two visionary maestros, Pierre Bastien and Michel Banabila, unite in their first collaborative album, Baba Soirée. The veterans of electronic music bring their unique expertise to the table, resulting in a captivating fusion of experimental styles. Bastien’s mechanical loops and experimental instrumental setups merge seamlessly with Banabila's sound design and impeccable skills of sampling collages. It's not a dance party, nor is it an avant-garde intervention. It's a soirée: a cultivated evening of sonic alchemy hosted by these two charismatic gentlemen.

Pierre Bastien is a composer and multi-instrumentalist with a background in French literature. He has spent decades crafting an idiosyncratic world of experimental sound with his self-built mechanical orchestra Mecanium. It was most notably showcased in audiovisual releases on Aphex Twin's Rephlex label. Bastien's creations are a mesmerizing combination of traditional instruments (he has a vast collection) and mechanical automatons. The violin in the track Rotomotor, for example, is physically played by one of his machines. In Baba Soirée, Bastien also plays a prepared cornet (Slow Dance, Banbas Aura), infusing the recordings with a breathy, dreamy dimension.

Michel Banabila, a sound artist, composer and producer, possesses an eclectic musical repertoire that defies genres. His seamless blend of minimal electronica, tribal ambient, and neo- classical influences has earned him a prominent place in the world of experimental music, and an impressive discography (Knekelhuis, Bureau B, Séance Center, a.o.). Banabila serves as the creative sampling editor for Baba Soirée, expertly weaving together the recordings to craft an evocative sonic tapestry.

The two share a curiosity for traditional instruments from various cultures. The instruments used in the recordings are shown in the cover artwork. A mutual admiration for each other's work paved the way for this fruitful artistic partnership of the Rotterdam-based artists: Collaborating on a single as a fundraiser for Yemen in 2022 set the stage for the creation of Baba Soirée.

For Pierre Bastien, Dada, Fluxus and International Situationism have played a significant role in shaping his artistic vision. The title Baba Soirée is an homage to Kurt Schwitters and Theo van Doesburg's "Kleine Dada Soirée" collaboration which took place exactly a century ago. There's an unmistakable stoicism and an anarchic not-giving-a-f*** attitude in these recordings by Bastien & Banabila, which resonates in the light of this Dada reference.

Dead Times is Lee Buford (The Body, Sightless Pit, Manslaughter 777) and Steven Vallot (Muslin). The duo originally began working together in 2008 while living together in Providence DIY space The Sickle, and releasing the early records from The Body and The Assembly of Light Choir on their short-lived Aum War label. They quickly achieved cult status with just two limited releases. Those releases have become highly coveted rarities for The Body fans and those familiar with the world of Providence, Rhode Island"s legendary DIY scene, which gave rise to artists like Lightning Bolt and Black Dice. Emerging over a decade later, Dead Times connects the threads of the untethered extremes of their origins to the mastery of production, composition, and structure each member has cultivated in their time apart. On their debut self-titled full-length, Dead Times present a kind of mesmeric dread, a world of desperate beauty wrapped in sonic venom. Buford and Vallot each bring wells of experience and new skill to Dead Times since their days living together in dilapidated warehouses. The duo"s shared history remains an essential element to their chemistry, but each has sharpened their craft to harness that raw creativity into music that is fearless, poignant and undeniably unique. A band"s band, but not for long. Dead Times, the duo"s first album, is staggering in its ambitions and exquisite in its execution. Lee Buford is known for his prolific work in acts including The Body, Sightless Pit, Everyone Asked About You, and more, alongside numerous collaborations with the likes of Full Of Hell, BIG|BRAVE, Thou, OAA, and Siege Engine. Steven Vallot is known for his collaborative work both musically, and artistically, with artists such as Krieg, The Body, Whitehorse, and Drew McDowall.

In 2019 BC (Before Covid) Discharge frontman Jeff Janiak reached out to longtime friend and musician JP Parsons to assist on a new project. The pair wrote and recorded various ideas before reaching out to Amebix guitarist Stig.C.Miller who joined them in the midst of the global pandemic. The trio utilized this new creative climate of physical restriction and went on to set the foundations for their first album, via file sharing home recordings, which would be arranged and produced by Stig. It was several months later when he would call upon Nausea, Ministry and former Amebix drummer Roy Mayorga to complete the line up. Roy went onto record drums, mix and produce the band's debut album 'LET THEM EAT FAKE'.

In these unprecedented times of global restriction, fear and the everlasting lack of faith in the hierarchy 'False Fed' has cultivated a heavy sound that is drenched in melody, aggression and shrouded in darkness. It is not bound by genre, yet still offers subtle hints to the creators lineage. 

False Fed are:
Jeff (JJ) Janiak - Vocals 
Stig.C.Miller - Guitar 
JP Parsons - Bass Guitar 
Roy Mayorga - Drums 

Multi-instrumentalist Sally Anne Morgan, known for her work as part of The Black Twig Pickers, and half of House and Land (with Sarah Louise), cultivates seeds sown by folk musics and psychedelia. Carrying tills the rich soil of Appalachian traditions and her rural North Carolina surroundings into warm, reflective songs about the weight people carry with them, as well as Morgan"s own pregnancy and the birth of her first child. Bridging the more freeform, expansive leanings of 2021"s Cups and the lucid beauty of her acclaimed 2020 debut Thread, Carrying finds Morgan imbuing her masterfully crafted songs with more subtle and intricate arrangements. The album"s exploratory nature is anchored by a full band comprised of some of the most thoughtful players in the psychedelic folk and "cosmic country" spheres, including a guest appearance by Ripley Johnson (Rose City Band, Wooden Shjips, Moon Duo), and the foundational rhythm section of fellow The Black Twig Pickers collaborators: drummer Nathan Bowles (Steve Gunn Band, Pelt), guitarist Andrew Zinn, and bassist/engineer Joe Dejarnette. Morgan finds unity in the burdens and joys, tensions, and releases of modern living as a common thread that people bear in their day-to-day lives. "So much of what we accumulate and carry around with us burdens us, but we also can"t or don"t know how to let go," says Morgan. The profoundness and mundanity of that weight ran parallel for Morgan as she literally carried her child to term: the utter commonality of enduring what billions of parents before her had, and the awesome power of the human body and spirit, the complicated and unpredictable wash of emotions that come with nurturing and nourishing another life.

Stelios Vassiloudis enters an inspiring new phase as he unveils his sophomore LP All Else Fails available March 25th via Balance Music.

Hailing from Athens, Greece, Stelios Vassiloudis poses a triple threat as a composer, producer and DJ. Having been active in the electronic music scene since the early 2000s he has cultivated his own brand of distinctive ambience reflective of his rich and diverse musical background; transcending the dance floor via an emotional narrative of complex soundscapes, intricate harmonies and hypnotic rhythms. Over the past decade Stelios has released music under various other monikers, yet this new endeavour is his most diligent to date - allowing him to rediscover his love for making music during the process, "I'm more hopeful, inspired and determined than ever before."

Ten years on from the release of his debut LP, Stelios' detail-oriented offerings remain incomprehensibly thought-provoking and thorough with this new album. Noticeably dissimilar to any previous efforts, Stelios consciously took a step back from the pressure of maintaining a steadily flowing supply of functional, club-oriented music and as the world stood still amidst the pandemic, he embraced the opportunity to reconnect and express himself with a broader musical vocabulary. He admits that: "with the world around us seemingly on the fast track to Armageddon, the music ended up being very much reflective of the sadness and helplessness I felt."

All Else Fails is a stimulating odyssey to anyone listening. Harmonically dense, arcadian glistens seep throughout the ten tracks, each complementary to the next. Bask in the wistful iridescence and you won't be disappointed.

Stelios carved his way into electronic music by traversing around the globe as a DJ and performer - performing at intimate underground bars in Beirut, festivals in Miami, after-hours in Tokyo, beaches in Goa and mega clubs in Argentina. Having developed a formidable discography on esteemed labels such as Bedrock, Poker Flat, Ovum, Constant Sound and Darkroom Dubs, among others, Stelios' studio prowess and coveted productions cemented his reputation as a versatile and acclaimed artist. His intense passion and drive for innovation in music serves as the fuel to keep him inspired and relevant, qualities that no doubt ensure his reputation as an artist of the highest calibre, will endure.

LOS ANGELES BASED PRODUCER MINION DEBUTS ON EVAR RECORDS WITH THE FOUR-TRACK EP 'NITE LYFE.' RELEASED ON AURA T-09 AND TRICKFINGER'S REVERED RECORD LABEL, 'NITE LYFE' MERGES HARDCORE, TECHNO AND GABBER WITH SOFT TEXTURES AND GOSSAMER SHEENS, EVOKING AN INTENSE, WAVEY TRIP. THIS ONE IS SUITED TO A CHURNING, POST-3 AM DANCEFLOOR, OR IN MINION'S OWN WORDS, "WARM SUMMER NIGHTS IN LOS ANGELES WAREHOUSES."

OPENER 'SAD B0I MASSIVE' BLENDS DISTORTED, GABBER-FLECKED DRUMS WITH CRUNCHY SNARES, WHILE A HAZY, DAFT PUNK-ESQUE SYNTHLINE CONJURES A DREAMY VIBE. THIS SIGNATURE MINION MOVE CONVEYS HIS KNACK FOR SERVING UP HARSH YET ROMANTIC ATMOSPHERES, PAIRING TWO OPPOSITE MOODS THAT MELT INTO ONE ANOTHER LIKE ACETONE AND WATER.

ON 'MAGNETAR', WE'RE CAUGHT UP IN THE THUNDERDOME CIRCA 1990, BUT JUST FOR A MOMENT. WHILE RUBBERY KICK DRUMS AND WHOOSHING HOOVER SOUNDS SHAPE THE TRACK, MINION COMBINES THESE OLD-SKOOL ELEMENTS WITH A MORE MODERN QUIRK, PRODUCING A TWINKLING MELODY THAT AROUSES EMOTION AND EUPHORIA.

THE PENULTIMATE TRACK 'GREY GOO' IS THE TOUGHEST OF THE FOURSOME. BUILT WITH OFF-KILTER, GRAINY KICKDRUMS AND CINEMATIC PADS THAT SLINK BETWEEN RUSTY BEATS, IT BRIDGES HARDCORE MOTIFS WITH DELICATE SHADES OF GREY, MINION-STYLE.

FINAL TRACK 'SATURDAY NIGHT IN A PARALLEL UNIVERSE' DISPLAYS MINION'S VERSATILITY AS A PRODUCER. DELVING INTO A POTENT PALETTE OF ELECTRO, BREAKBEAT, TECHNO AND 2-STEP, HE WELDS RAPID-FIRE CLAPS, FIZZING HI-HATS AND A HEARTFELT MELODY, WEAVING THROUGH BLEEPS AND A CHUNKY BASSLINE—A SIGNAL TO END A LONG TRIP, SOMEWHERE IN A PARALLEL UNIVERSE.

ALTHOUGH MINION PRODUCED THE TRACKS FOUR YEARS AGO, 'NITE LYFE' STANDS THE TEST OF TIME AND DOESN'T FOLLOW ANY ONE TREND OR GENRE. INSTEAD, IT'S AN ALCHEMY OF SONIC PATTERNS AND CONTRASTING COLOURS, NODDING TO MINION'S PUNK, HARDCORE AND EXPERIMENTAL INFLUENCES THAT CULTIVATED ODDBALL ELECTRONIC MUSIC IN THE 80S. THE AFTERGLOW OF THESE SOUNDS CULMINATES IN AN EP THAT RIPPLES WITH INTRIGUING HOOKS, CORROSIVE QUALITIES AND STRANGELY BLISSFUL MELODIES. IT REFLECTS THE EXPANSIVE ETHOS OF EVAR DOWN TO THE FINAL BAR.

Perth-based artist hub 823, led by the extraordinary producer / creator Ta-ku joins forces with Berlin's Jakarta Records for the release of Godblesscomputers's fourth full-length LP, "Faded Views." The LP melds bright electronic flourishes with laidback synth-driven backdrops, weaving tapestries of mellow folktronica and groovy jazz harmony with continuous sonic intrigue that will keep you grooving into a tropical disposition. Paying homage to his musical moniker, the Bologna-based producer makes timely metallic interjections amidst lush, effortlessly groovy soundscapes. Explore a world of found, recycled, and synthesized sound on "Faded Views" out everywhere September 8.

Bologna-based producer, DJ, and sound collector Godblesscomputers (122k Spotify listeners) has returned with the release of his fourth full-length record, "Faded Views." Godblesscomputers's latest LP "The Island" (2020, La Tempesta Dischi) earned him placement on Spotify playlists like "Brain Flood" and "Coffee Club." Since then, his appearance on Willie Peyote's track "La colpa al vento" landed GBC on "Best of Indie Italia 2022." On "Faded Views," it was Godblesscomputers's creative project to explore the sonic potentials of his direct environment, picking up recordings and threads of inspiration from the most commonplace occurrences. A sonic scavenger, Godblesscomputers explored the expanses of his-both digital and physical-soundscapes. "Faded Views" does the work of crafting a unified, yet complex compilation of the noises that mark the experience of being digital natives in ever-expanding dimensions.

Godblesscomputers's use of musique concrète and found-sound composition melds curiously with his undeniable electronic and techno acumen. Superimposing metallic electronica onto esoteric sound bytes creates the occasion for complex sound collage. "Faded Views" marks a decade since the genesis of the Godblesscomputers project; the entire LP testifies to how time warps perception and sound. Godblesscomputers's music seems to decorate time, both commemorating the moments passed with mind-melting sonic collages and looking forward to the infinitudes of the future with frenetic electronic experimentation.

Themes of impermanence and transience-hence "Faded Views"-pervade the record. Godblesscomputers blurs time as each track seeps into the next in what feels like a seamless transition. He makes these swift passages in genre as well-the record opens on "Colors" with a rich horn section which frictionlessly becomes a lo-fi dance groove. It is this melding of the analog and the electronic that makes sense of his found approach to beat-making: Godblesscomputers marries the found and the synthesized; the creator and the created; the past and the future. The process of sonic dissection and recomposition that drives much of Godblesscomputers's creative process yields not only assertive breakdowns and animated dance tracks, but also complex tapestries of sound that keep the listener ever-intrigued-piano, saxophone, and modular synthesis all find a natural home on tracks like "Hello." In an apt description, the producer's work has been described as "sounding like wood, metal, and microchip."

Godblesscomputers's artistic objective lies in blurring definitive lines, constantly shifting perspectives, genres, and origins of inspiration. On "Faded Views," this design cultivates a folktronica record that truly evades definition.

Feelgood lead single "Mirrors" is out June 30th and features a rich meld of warbling layers, mixing upbeat dance music with complex instrumentation. Stream second single, "Above the Lake," for a mellow summer cut on July 21. Finally, the effortlessly groovy third single "You Feel Me" captures a genre-warping foray into folktronica. Listen to "You Feel Me" on August 11.

All LP artwork and stunning single visualizers were single-handedly put together by multi-disciplinary designer Michael Norman. "Faded Views" will be available everywhere physically and digitally on September 8, 2023. Be sure to listen for focus track "Hello" that captures the vast scope of Godblesscomputers's musical prowess. Find the LP, CD, and digital release on 823's and Jakarta Records's Bandcamp and local record stores.

Silicon Scally, the alias of electronic music producer Carl Finlow, released his critically acclaimed album 'Mr Machine' in 2002 on SCSI-AV. The album was a masterful blend of electro and sci-fi soundscapes, showcasing Finlow's unique style and production prowess, which took the listener on a journey through a futuristic world of machines and technology. It ranks as one of the finest electro records of the early noughties. Fast-forward to 2023 and Sync 24's Cultivated Electronics label is proud to present 'Mr Machine PT 2'. Like its predecessor, the new album is filled with intricate synth melodies, driving rhythms, and pulsating basslines, all perfectly balanced to create an immersive listening experience. 'Mr Machine PT 2' once again showcases Finlow's ability to not only create relentless beats for the dancefloor but also dynamic soundscapes that transport the listener to another world. Created using a mixture of both old analog gear and very modern plugins, both albums were written with a very strong emphasis on the machine aesthetic, reflecting the cutting edge of what was available at their respective times. Futuristic and timeless. The album will be released on triple-pack vinyl and digitally.

Exit North are: Japan co-founder, solo artist Steve Jansen, Swedish singer songwriter Thomas Feiner, pianist Ulf Jansson, and renowned Swedish producer/multi-instrumentalist Charlie Storm. Their 2nd studio album 'Anyway, Still' continues the quartet's appetite for exploring provocative song structures. Weaving classic elements such as piano and strings into the layered threads of the bands material. Where intimacy and atmospherics give way to powerful dynamics, animated rhythms and grooves, driving distortions and crescendos in cinematic scale. Like excavators with uncompromising autonomy, Exit North relish the exploration of every nuance and detail of the recorded performance. Artwork contains full lyrics. " Exit North is truly about generating an aural gravity that pulls the best out of its participants. Those who admire Jansen's instrumental, experimental solo output, as well as his song-based work with Japan and Rain Tree Crow, will find much to enjoy on Book of Romance and Dust. Similarly, the audience Feiner has cultivated with his group Anywhen and its acclaimed recording The Opiates, will encounter a related, spacious aesthetic. LP limited to 500 copies on 180gm black vinyl with a gatefold sleeve (release date is later in July).

In collaboration with Timmion Records, Daptone is proud to present My Echo, Shadow and Me, the debut album from the soulful Chicano brother, Johnny Benavidez. Hailing from San Diego (via El Paso, TX), Johnny's desire to sing was influenced by his grandfather, John Lorenzo Guzman, who as a teen in the early sixties spent some time harmonising with groups in El Paso, most notably Sonny Powell and the Night Dreamers. When he was 13, Johnny was given a record player and a box filled with R&B, Doo-Wop, and Soul 45s that he studied obsessively, employing the harmonies and melodies therein to cultivatehis own unique voice. After a chance encounter with the legendary Dimas Garza, Johnny's career began to blossom and soon he would find himself singing alongside stars like Eugene Pitt and Archie Bell, garnering the interest of Timmion Records..


Backed by the incomparable Cold Diamond & Mink (Bobby Oroza, Pratt & Moody) two incredibly successful singles were cut and plans for a full length were struck, culminating in 11 original songs penned by Benavidez. From the uplifting bounce of the title track, the doo-wop dinged "Dedicated to You", the Latin flare of "Uncle Sam," to the Sweet Soul masterpiece "Somebody Cares" (licensed and released on a Penrose Records 45), My Echo, Shadow and Me is not only an aweinspiring display of Jonny's versatility as an artist but also serves as a window into the eclectic array of soulful sounds that inspired him to fall in love with music and become a singer. A must have for fans of Daptone, Timmion, Penrose, et al.

In the quiet surrounding the pandemic, Madeline Kenney made sonic sketches in the basement studio she shared with her then-partner. She arranged phrases that called her—the sharp knife of a synth cutting a path along a blooming arpeggio, drums stuttering firm and tight. Working this way, she amassed a collection of songs she had no particular aims for. Some formed her 2021 EP Summer Quarter, others languished.

But in 2022, Kenney’s partner left suddenly and without warning, plunging her into the solitary act of untangling what happened. In the wake of her ensuing depression, she revisited these songs and found in them something prescient. She’d already laid the foundation for A New Reality Mind.

That her relationship’s end came without warning is only half true, though. The warnings were in the feelings and fears that inspired Kenney’s critically-acclaimed third album, Sucker’s Lunch (2020), which was co-produced by Jenn Wasner (Flock of Dimes) and centered around the idea of flinging oneself freely into the seemingly-assured destruction of new love, come what may.

If sonically Sucker’s Lunch was letting yourself be pulled into the warm bath of a good story, A New Reality Mind reflects the harsh light of truth coming to break the spell. But as sobering as morning light can be, there’s brilliance to it, too. To see in the clarity of day is a gift. A revolution. Rather than reckoning with love lost, the songs on A New Reality Mind grapple with the self that chose to fall. “I guess I only needed to look twice / Reflected in my attitude, my constant compromise,” Kenney sings on “Red Emotion,” the musical landscape screeching and gasping around her observations of how she made herself small to keep the dream of love alive.

These notions of sight and vision pervade the record as Kenney stands before the infinity mirror of selves she’s been to preserve bonds in her life. On “I Drew a Line,” Kenney contends with the stories she’s told herself to keep plodding along, and the way those stories shape her perceived reality. She invokes John Berger’s Ways of Seeing—“Everything around the image is part of its meaning,” we hear him say. “Everything around it confirms and consolidates its meaning.” Here, Kenney isn’t interested in shaming herself for being carried away by the fantasies of the heart, but rather in investigating the unavoidably human propensity to do so. “I, like everyone else, am muddling through my most ordinary disaster of a life,” she acknowledges, a sentiment which reverberates through album opener “Plain Boring Disaster.” “I don’t need to start again,” she sings at the song’s close. “But I can change when it ends.” We may all be doomed to repetitive, ordinary heartbreaks, Kenney realizes, but at least we can cultivate a capacity to witness our missteps and build new realities for ourselves.

This is Kenney’s most expansive work, while also her most solitary. Produced and recorded alone in her basement, these songs are manifestations of what it feels like to be transformed by pain. Textures collide and collude; sonic ornaments emerge and dissipate capriciously; saxophones soar untamed, as on the 80s pop elegy to self-sacrifice, “Reality Mind”. These songs beg you to dance, then pull the rug out from under you once you’ve caught the beat, leaving you dizzy like the whiplash of love’s end.

But in the propulsive power of A New Reality Mind, there’s also acceptance, self-forgiveness, and a willingness to move forward into life, with all its ways of making a sucker of you. “That way of living, I’m over it,” Kenney declares of the habits that hold her back on “Superficial Conversation”. “I do not need to be reminded of what I did,” she assures, the song opening wide and beaming, like a smile expanding to taste a new breath of air.

In collaboration with Timmion Records, Daptone is proud to present My Echo, Shadow and Me, the debut album from the soulful Chicano brother, Johnny Benavidez. Hailing from San Diego (via El Paso, TX), Johnny's desire to sing was influenced by his grandfather, John Lorenzo Guzman, who as a teen in the early sixties spent some time harmonising with groups in El Paso, most notably Sonny Powell and the Night Dreamers. When he was 13, Johnny was given a record player and a box filled with R&B, Doo-Wop, and Soul 45s that he studied obsessively, employing the harmonies and melodies therein to cultivatehis own unique voice. After a chance encounter with the legendary Dimas Garza, Johnny's career began to blossom and soon he would find himself singing alongside stars like Eugene Pitt and Archie Bell, garnering the interest of Timmion Records..


Backed by the incomparable Cold Diamond & Mink (Bobby Oroza, Pratt & Moody) two incredibly successful singles were cut and plans for a full length were struck, culminating in 11 original songs penned by Benavidez. From the uplifting bounce of the title track, the doo-wop dinged "Dedicated to You", the Latin flare of "Uncle Sam," to the Sweet Soul masterpiece "Somebody Cares" (licensed and released on a Penrose Records 45), My Echo, Shadow and Me is not only an aweinspiring display of Jonny's versatility as an artist but also serves as a window into the eclectic array of soulful sounds that inspired him to fall in love with music and become a singer. A must have for fans of Daptone, Timmion, Penrose, et al.

Gladio Operations inaugurates 2023 with its seventh release titled “Split Machine”, a new series of shared EPs, where in this first episode the producers Jauzas The Shining and Cycloplex go halves on the EP.

The French producer returns to Gladio with three cuts which possess his peculiar and characteristic rugged sound. The EP launches with “Business Machines” and “Isla De Encanto”, two powerful cuts with aggressive and noticeable basslines filled-up with dark textures. Jauzas gifts us a last cut titled “Equation”, a nod to the EBM sound, where he preserves the same darkness as in the previous cuts.

On side B we encounter the Spanish producer Francisco Aguado, who has recently released his first work under the “Cultivated Electronics” label under his new electro alias, Cycloplex. With two cuts titled “Intercepted” and “Acid Machine”, Cycloplex reveals his particular minimalist vision of electro sound in an abstract journey of excellent monotonous rhythms.

Fredfades is finally ready with his second album as a solo artist. The producer and DJ and has remained active as a musician ever since his debut single in 2008. Since he released his debut solo album 'Warmth' six years ago he's ben diving into a bunch of different genres and cross-ing musical landscapes such as ambient, hip-hop and house, which has led to releases and productions across labels like his own Mutual Inten-tions imprint, as well as bigger labels like Stones Throw, Fresh Selects and Jakarta Records. This sonic voyage has resulted in ‘Caviar’ - an album that tells the story of a producer who's ready to let go of his youthful love and indulge himself to electronic music.

Fredfades name is more often seen on foreign club posters than back home in Norway. This has colored the musical expression of the Oslo-born multi-artist, and on ‘Caviar’ he is gathering inspiration from every corner of the world where he has traveled. You can clearly hear the inspi-rations from the sounds of Rome, Manchester, South-Africa, Detroit, New York, Berlin, Paris and the Balearic ocean, which are all well repre-sented throughout the album's eight tracks. If you close your eyes and put your ears close to the speakers you will hear loons, running water, African percussion instruments, roaring saxophones, bit-crushed samples, moaning women, TB 303’s, bottom-heavy basslines and recordings of whales communicating at the bottom of the ocean. Everything seamlessly put together for Fredfades’ own sonic world view. The album features a bunch of talented friends of Fred, such as Telephones or the vocalists MoRuf and Kristian Hamilton.

Despite being known as more of a progressive and edgy DJ that haunts down a lot of indie and private press electronic music, Fredfades has cultivated a more elegant and controversial output in his own music. His progressions often consist of dwelling jazz chords from electric pianos or mellow sub-filtered synth patches that creates space where he can unleash rowdy basslines, rhythm sections and leads just as confident and captivating as the man himself. On the jazzy ‘Tenerife 1994’ you can hear a tribute to one of Fred’s greatest heroes in music: Pharoah Sanders, while on ‘My Heart Is On The Edge’ and ‘Summer of Love’ the energy and euphoria is boiling over and directs your mind towards the summer raves which Fredfades is known to throw down in Oslo.

On the LP covers backside Fredfades is posing with a Korg Wavestation in front of the block where he grew up in the suburbs outside Oslo, while the front cover is showing an airbrushed illustration of Caviar from sturgeon - ‘From block to Beluga’. The black vinyl contains magic grooves created by an electronic musical convertite, with the power to transport the listener from a perpetual winter to the 90s warm dance floors and the 'Second Summer of Love’.

The fact that ATLASES from Finland sound different has its reasons. Besides the "normal instrumentation" of a metal band, the musicians from Pori also work with electronic drum pads and keyboards. Both are not just additional accessories, but an integral part of the musical self-image of this Nordic group. In addition, there is the creative demand to go further aesthetically and sonically than is usual in modern post-metal. In the cinematic soundscapes ATLASES are creating you can lose yourself completely. The third album "Between The Day & I" pushes this approach to the extreme. The dualism of beautiful, atmospheric euphony and abrupt brute force works fantastically and provides lasting impressions. The sextet from Pori sets tension arcs time and again, which lead deeper and deeper into a maelstrom of rapture, melancholy and emotional discharge. On the follow-up to their 2020 LIFEFORCE RECORDS debut, "Woe Portrait", ATLASES present themselves as resourceful songwriters who cultivate powerful contrasts beyond the usual conventions of post-metal and thus stand out. With "Between The Day & I", the Finns prove that modern post-metal can still be developed further, if the right attitude and the necessary daring meet forward-thinking creativity and an elevated level of ambition. The fact that the cover motif of the new ATLASES album evokes associations in the direction of the Mastodon classic "Remission" or "White Pony" of the mighty Deftones is a coincidence, but on closer reflection it fits pretty well.

First-ever reissue of the 1988 album. Gatefold LP includes new and restored artwork and a chapbook, featuring forty-eight pages of lyrics, essays, photographs, and Gordon's extraordinary drawings for each song. The Choctaw, Assiniboine, and Texan poet, journalist, visual artist, American Indian Movement activist, and musician Roxy Gordon (First Coyote Boy) (1945-2000) was above all a storyteller, known primarily as a writer of inimitable style and unvarnished candor, whose wide-ranging work encompassed poetry, short fiction, essays, memoirs, journalism, and criticism. Over the course of his career he recorded six albums, wrote six books, and published hundreds of shorter texts in outlets ranging from Rolling Stone and The Village Voice to the Coleman Chronicle and Democrat-Voice, in addition to founding and operating, with his wife Judy Gordon, Wowapi Press and the underground country music journal Picking Up the Tempo. Along the way he cultivated close friendships with fellow Texan songwriters such as Lubbockites Terry Allen, Butch Hancock, and Tommy X. Hancock, as well as Ray Wylie Hubbard, Billy Joe Shaver, and, most famously, Townes Van Zandt, whom he called his brother. Although his work covered a vast array of topics exploring strata personal, local, global, and cosmic alike, Gordon's primary subject as a writer, musician, and visual artist was always American Indian culture, specifically the ways it collided and coexisted with European American culture in the South and West-and within the context of his own life and braided identity. The ten songs on Crazy Horse Never Died, his first officially released and distributed album, were recorded in Dallas in 1988. "Songs" is perhaps an imprecise taxonomy for what Roxy captured on this and his other albums, all of which remain out of print or were released in instantly obscure limited editions of homebrew cassettes and CD-R's. (Paradise of Bachelors plans to reissue remastered, expanded editions of his catalog; Crazy Horse is the first.) He only occasionally attempted to sing, and his musical recordings are primarily corollaries of, and vehicles for, his poems. His sharp West Texan drawl, tinged by formative years of reservation living in Montana and unmistakable once you hear it-high, lonesome, flat, and cold-blooded as a bare rusty blade-instead patiently unfurls in skewed sheets of anecdotal verse and discursive narrative rants. Although Gordon's music at times incorporated powwow style drumming, fiddling, or unaccompanied ballad singing, the majority of it hews to an idiosyncratic spoken word style, accompanied by atmospheric, sometimes synth-damaged country-rock that skirts ambient textures and postpunk deconstructions. His songs are essentially recitations over backing tracks of finger picked guitars, rubbery washtub bass, and buzzing, oscillating keyboards. On the stark yellow and red jacket of Crazy Horse, which he designed himself, Gordon describes these recordings as innately ambivalent in terms of form, content, and identity: These are poems and/or songs about the American West, white and Indian. My life has been Indian and/or white. Maybe there's not a lot of difference-maybe. I guess that's mostly according to which white person or which Indian you're talking about. That's probably what this album's about. Crazy Horse Never Died comprises songs that span the personal and political arcs of his writing practice and the poles of his native and white ancestries.

Irish-born, Manchester-based Kerrie is a multi-disciplinary artist, incorporating live sets, DJing, producing and running her label Dark Machine Funk across her repertoire of work. Now, Kerrie follows up last year's 'Raw Regimen' (BP063) with a second EP for James Ruskin's seminal Blueprint Records.

Having garnered a rich musical education through working at and holding a DJ residency for one of the UK's most respected record shops Eastern Bloc, Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie has played worldwide in celebrated venues such as Tresor, Berghain, fabric, FOLD, Elsewhere NYC and festivals including Freedom Medellin, Freerotation, Drift and Basilar.

First learning to mix via her brother's turntables in the early 2000s, it wasn't until 2009 that Kerrie invested in her own set-up and built an extensive record collection, covering everything from ambient, electronic, house, EBM, acid, electro, and her go-to genre, techno. Kerrie delivers tough moods from the turntables, as conveyed in her mixes for Reclaim Your City, Bassiani, SLAM and Crack, where she carefully blended high-energy styles of UK, Detroit, and European techno, many of which stem from the 90s and the 00s. It's frequent to hear Kerrie weave broken elements into her mixes too, chopping up the 4/4 groove at just the right moment to keep things propulsive. Kerrie's Live sets are fast becoming renowned for their trippy motifs and high impact on the dancefloor, applauded by Berlin's long-running club Tresor, where she made several appearances with her Elektron machines. Kerrie's Live set at Freerotation in 2019 was one of the festival's most talked-about debuts, and this year, Kerrie will return to and debut at multiple festivals and clubs across Europe and the Americas.

Following well-received releases on labels such as Don't Be Afraid, Cultivated Electronics, I Love Acid and Symbolism, Kerrie launched her imprint Dark Machine Funk DMF in 2020. The label homes her distinctly raw aesthetic and honours her love for dark, gritty, metallic and industrial sounds melded with elements of funk, heavily influenced by second-wave Detroit artists, UK techno and music by some of her favourite artists; James Ruskin, Blawan and Surgeon. Kerrie's first release on DMF, 'Inner Space PT1', was praised by Resident Advisor, who credited her ability to make "lean, fierce techno that knows how to groove."

2022 was a watershed year for Kerrie's productions. She debuted on the monumental UK techno label Blueprint with her EP 'Raw Regimen', which landed acclaimed reviews. Truly welcomed to the Blueprint family, Kerrie shares her second EP on the label in May and joins the crew at Blueprint showcases around the globe. This year marks the release of Kerrie's 10th EP on vinyl, and considering her consistent output on DMF, Blueprint and many more labels, the producer shows no sign of slowing down.

Coming to international prominence in more recent years, regardless of her decade-long tenure in Manchester's vibrant scene, Kerrie is deeply invested in the culture of electronic music, starting from her teenage era as a raver in Ireland up to her innovative projects today. In 2017, she founded Eastern Bloc's in-house event space to nurture local talent, which remains at the heart of Manchester's music community. Having ended her 11-year stint at the shop in 2023 to fully commit to the studio and accommodate her increasingly busy tour schedule, Kerrie is forging a long-lasting path fuelled by drive, passion, authenticity and a community-first way of thinking.

Limited Edition Blue Cyan Vinyl – 100 units Hand numbered

This production is a sound parenthesis that will make you think and think beyond words or actions. Senses that may be able to break this glass ceiling of these invisible chains but how well anchored in collective consciousness. We are all different, but one humanity. Let's cultivate it.

Wandalhouz

Steve Gunn and David Moore's Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration. A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other's work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar-guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth. The exchange began remotely as Gunn and Moore responded to one another's solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. "We were both fans of each other's music and this was a chance to try a different process which was much more open," says Moore. "It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else." Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: "I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things." Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more "detail-oriented" approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination. "We didn't know it was going to be an album," Gunn explains. "There was never pressure on us to complete or make something. It was interesting to start realizing that this could be an album and to take a step back_ to arrive at a project after the fact." Calibrating their focus to connect with a spectrum of inner and external emotional realities, the duo found their way into a world where the most subtle of gestures can eternally flow. Let the Moon be a Planet is an ode to experimentation over outcome; it holds a candle light to the corners of introspection and captures the patterns that flicker within. Cast across the compositions of the album is a gritty, filmic grain _ a quality that emerged partially from recording "without the greatest microphones" or their usual studio environments. For both artists, this lo-fi sensitivity felt integral to the record and its production, and they worked closely with engineer Nick Principe to preserve its otherworldly haze in the final mixes. Across the record's eight compositions, the rippling impulses of Gunn and Moore's inner worlds converge in the spirit of two strangers wandering the same path, engaged in a daydream state of natural back and forth. Melodic tableaux arise, drift and disperse across serene open spaces, painted in earthy hues of nylon string and balmy, undulating keys _ side by side, the duo converse in tessellating motifs and gestures of lucid introspection, cultivated by a shared desire for intuitive play. "This project was such a simple idea," says Gunn. "It got down to the very core of where I am or where I was, and where I'm trying to be as a musician. Making this record became a very beneficial ritual for me, almost a meditative process." As Moore recalls, "Our only motivation for making these tracks was that it felt good to make them and there was nothing else behind it_ I don't know that I've ever made a record that came about so naturally." While Let the Moon Be a Planet was envisioned through a deeply collaborative process, it uncovered a path for Gunn and Moore to respectively return home as musicians. Imbued with the forces of interconnection and balance, the record is an exploration of creative synergy while following the currents of inner experience _ of looking outwards to arrive at one's natural self. Steve Gunn and David Moore's Let the Moon Be a Planet will be released March 31, 2023 in LP, CD, and digital editions. The album represents the first volume of Reflections, a new series of contemporary collaborations orchestrated by RVNG Intl. A portion of the proceeds from this release will benefit St. John's Bread and Life, whose mission is to respect the dignity and rights of all persons by ensuring access to healthy, nutritious food and comprehensive human services resulting in self-sufficiency and stability.

Valencian producer Pépe's love of iridescent melodies, velvety pads and complex rhythms has seen him skilfully combine house, bass music and breakbeat in recent years. His music is globally reaching, having garnered attention from top artists including Ben UFO, Peggy Gou, Shanti Celeste, Moxie, Mount Kimbie and Disclosure.

His heartfelt, mercurial and emotive sound is ever present on his new album for Lapsus, which also incorporates a lush sonic forest, resplendent in detail and jam packed with influences. The album 'Reclaim' opens the door to experimentation and sound design, while embracing the braindance and hyperpop sphere with surprising maturity. It is an amalgamation of electronic sounds and pulsating structures in which orchestral sounds, folk music, ambient textures and an strong vocal presence, both synthetic and authentic, sparkle.

'Reclaim' imagines a post-human future, where nature once again reclaims lost ground and is free to flourish and take root around manmade structures. Pépe exhibits his personal reverence for the work of Antonio Cortés Ferrando, the architect behind the Espai Verd building, which broke architectural and urban planning norms by using computation to create structures that promote the organic growth of foliage. It is a building designed for the future, where flora cultivates indefinitely.

In Pépe’s own words, "At a time when we have witnessed how nature strives to regain ground, once humans are removed from the streets, it is important to start thinking critically about new techniques in the creation of art and design, and imagining a future where posterity is embodied in the rejuvenation of a greener world".

London four-piece Crows will release their highly anticipated second album, 'Beware Believers', on April 1st 2022 via Bad Vibrations Records. Conjuring a dark and visceral post-punk that's been hardened by years of notoriously rowdy live shows, Crows have amassed a legion of die-hard fans since they formed back in 2015 and cultivated a singular, much-adored presence in the British alternative music scene. Equal parts ferocious and hedonistic, the incoming 'Beware Believers' LP arrives off the back of their critically acclaimed 2019 debut 'Silver Tongues', international touring and festival appearances, and shared stages with the likes of IDLES, Wolf Alice, Girl Band, Metz, Slaves and Protomartyr. Following the release of their long-awaited debut album on the IDLES-run Balley Records back in 2019, Crows immediately set to work on its follow-up and by January 2020 they were already back in the studio tracking what would become the 'Beware Believers' LP and then Covid hit. "Once we knew Covid was here to stay, we took the first break we've taken since we released our first single 'Pray' in 2015. Being locked down for three months unable to finish the last bits of the record was very frustrating but it did mean we could come back to the album with fresh ears and make sure it sounded like it should: a true representation of Crows." Loud, cathartic and abrasive a quintessential Crows record it certainly is. "Beware Believers has felt like a marathon, a real endurance test that's been a long, winding road filled with highs and lows and plenty of twists and turns", frontman James Cox says: "The majority of the themes on the album came from what was going on in the world around Summer 2019 when we started writing the album. Covid wasn't in our lives and the biggest impact was Brexit and the madness our government were putting us through. I was reading a lot of J.G. Ballard and Kurt Vonnegut, mad dystopian novels, whilst all this craziness was going on around us and it was a weird headspace to get into."

Roman artist Heinrich Dressel delivers a sparkling gaze into the future with the glistening ‘Lambda 2077’. Opening with powerful, guttural drones and sweet sweeps from ‘Nebulosa’, the broad sonic scope of this LP is beautifully demonstrated.

Growling arps and magnetic, synthesised moans are throughout this record. Dressel cultivates a cinematic, cerebral experience throughout each track, delicately weaving a visceral soundscape. The rising, slicing tones of the atmospheric ‘CEM 8220’ provide a compelling journey through meandering arps with a defined structure. ‘Arpeggio Jawa’ swims into action with a watery, colourful arpeggio sailing through each intriguing section.

‘Francisco’ opens things up with an electro-tinged, thunderous remix. Building upon the chordal gravitas of the original, the remix provides the release with an acidic percussive journey. The swirling brilliance of the title track ‘Lambda 2077’ presents itself as stunning, emotive work which prepares you for the decade Heinrich Dressel is heading to next. The machine lead release shows Heinrich Dressel as a consistent unstoppable force behind the synthesiser, culminating in an astonishing, sophisticated record.

4x LP and Zine (ft. photos, historical text and track narrations by the artist) set. Nation bring it.
An essential delve in to the retrospective works of SSPS. Limited edition. No repress. HUGE TIP ON THIS!

" You can't fake the funk, as they say and SSPS is pure funk embodied in all he does, the man oozes the funk 24-7!
One of my earliest encounters with SSPS was at one of the infamous Rubulad parties out in Brooklyn....
the man was decked out extravagantly...a cross between Blowfly and some futuristic being zapped
down to earth directly from the P-Funk mothership. Who was this masked man?
The disco vampire, was beating fast disco tracks relentlessly while slamming in his 707 over the records in real time...
not an easy feat, the beauty of the imperfections making it that much more exciting hearing the gallop and wild energy
he was bringing to the crowd, we were eating it up. This is SSPS, fearless in his approach and execution,
a modernist looking to the future but rooted in the past, an artist committed to his art...
all presented with unhinged emotion. It's all or nothing...everything on the table....do or die...the true epitome of style!!!!

Declaring someone a "cult figure" or a "legend" is a huge weight to carry and is often a term that is carelessly thrown around,
but those of us who have dwelled in this "underground" over the last 30 years can say with confidence that SSPS is just that
to many of us, no questions asked, it's not up for debate.

Now, many years later we see the culmination of his electronic works from 2002-2021 committed to record in this 4xlp,
16 track boxed set (plus 45 page booklet) titled SSPS, "The Life and Times of GiGi Black" thus solidifying
Mr. Nicholson's place in the secret world of dance not dance music.

The only way to describe this offering is "full spectrum electronic musical madness" not to be categorized,
never to be pigeonholed, full of surprises and straight from the gut with a direct hit to the heart.
We could go on about the production processes, about his Furr City studio space or his cross country excursions
for work with a truck packed with paintings (but also his music equipment) plugging in and recording during his
pit stops in Motel 6's across the US. But again it doesn't do justice to simply have a small peek inside the man's mind...
the music is beyond the mind. The process is the process and nothing has or can stand in the way of what the SSPS
has done in his long musical life. Punk Rock, Hardcore, House, No-Wave, Industrial, Jakbeat/Slow-Beat and Noise.
it's all there for the taking, it's all intertwined. If you want it, you will find it within SSPS's works.

Nicholson's path is the embodiment of true culture within "dance music" cultivated from years of learning, experimenting,
and pushing the limits with total commitment and immersion. "The Life and Times of GiGi Black" is true life experience,
it is a reflection of someone delving deep into his craft and presenting it with care in opposition to the fast, disposable,
self gratifying click bait culture we see dominating the pages today. The proof is here, drop the needle, enter the world of SSPS.














n G2 1000 Truths Balearic Inaugural Mix

After three years of breakout touring at some of the biggest roots festivals in the United States and Canada, and another three years locked out of the live performance world they have so ambitiously cultivated, Doolin', France's premiere practitioners of Irish and Celtic music, return with a new album entitled CIRCUS BOY. Recorded in part in the US (Chicago, Kansas City and Pittsburgh) during their 2019 tour, the album was completed at the legendary Studio Ferber in Paris, France, under the direction of two legendary producers, Olivier Lude and Patrice Renson, both of whom have collaborated with some of the biggest names in French music. While their 2016 album drew its inspiration from the fusion of traditional Irish music, French chanson, and American roots music, CIRCUS BOY is resolutely more adventurous, as evidenced by their original compositions ("Circus Boy", "When I'm Gone", "A Place Where We Belong"), as well as by the added punch and sonic elements that were brought to the project by producers Lude and Renson. Powerful, full of emotion, and eminently appealing, Doolin' is poised to take their career to the next level with the release of CIRCUS BOY.

Cultivated Electronics presents For the Floor Volume 2. The second part in its new split EP series on vinyl only sister label CE LTD. This installment heads deep into the techno electro sound with 4 club focussed tracks. The A side see's dutch Techno stalwart Darko Esser aka Tripeo make his CE debut. He shows an absolute masterclass in bridging the space between techno and electro with ''Bullshit Detector'' and ''Echo Cages''. Forward thinking futuristic grooves! Also making his CE debut is Spanish dub techno producer Francisco Aguado with his new electro focussed alias Cycloplex. ''Hypertension'' and ''Alarm Activated'' are both brooding, deep tracks that blur the lines of the genre and are firmly aimed at the dancefloor.

Bartosz Kruczyński, also known as artist Earth Trax, is arguably among the leading names in Poland’s current electronic music scene. Based in Warsaw, his music is deeply emotive and explores a wide-ranging sonic palette that is complemented by well-defined artistic concepts. He has already featured on labels including Phonica Records, Growing Bin, Into The Light and Shall Not Fade –with whom he released his acclaimed debut album in 2020–.

His Lapsus release 'Closer Now', takes a different trajectory to his previous album 'The Sensual World' Shall Not Fade, 2022, fundamentally an energetic and high tempo club record. In contrast, 'Closer Now' focuses on fresh and disparate ideas, with tracks that could typically be classified as more unrestrained B-sides that deconstruct sounds aimed at the dancefloor.

‘Closer Now' is influenced by liminal spaces and cultivates surreal and dreamlike qualities. Conversely it also possesses a sense of strength and grit, highlighted by moments where electronic distortion bares its teeth. It is an album that both refers both to IDM and chill out rooms.

BASSIST/COMPOSER PETROS KLAMPANIS LOOKS TO PAST AND FUTURE AS HE TRANSFORMS TRADITIONAL GREEK MUSIC WITH TORA COLLECTIVE

Unique instrumentation bridges Greek folkloric and modern jazz worlds, with Klampanis (bass, artistic direction), Areti Ketime (vocals), Thomas Konstantinou (oud, laouto), Giorgos Kotsinis (clarinet), Kristjan Randalu (piano), Ziv Ravitz (drums, electronics, co-production) and more.

Following up his acclaimed recent outings Rooftop Stories and Irrationalities, bassist and composer Petros Klampanis creates one of his most inventive musical settings to date with Tora Collective, his sixth album as a leader. For Klampanis, who grew up in Athens, Greece
surrounded by the confluence of Mediterranean and Balkan folk cultures, making music has always meant navigating cultural crossroads. With Tora Collective (“Tora”=“Now”) he puts traditional Greek music at the centre, even as he presents it from a bold new angle.

In addition to the two new originals “Disoriented” and “South By Southeast,” Klampanis and his compact hybrid jazz/Greek folk ensemble interpret popular Greek songs such as “Xehorismata,” “Sybethera,” “Hariklaki” and “Menexedes ke Zoumboulia.” These songs, Klampanis asserts, are “not just part of Greek cultural heritage or a fragment of the past, but also as part of the future: they live into the present, breathe into the ‘here and now,’ while constantly evolving in a dynamic state and in dialogue with contemporary music.”

“For me it’s a personal thing,” he says. “I want to reflect on what Greek music and culture offer the world. How can music from the Aegean to Epirus and from the Ionian Islands to Crete, meet and speak to the hearts and minds of musicians and audiences from different parts of the world, different traditions and backgrounds?”

To that end, Tora Collective draws on regional characteristics, as Klampanis explains: “Every region has a strong identity. In Epirus the clarinet is more prominent and the music has this slow, groovy, meditative vibe. The islands are lighter sounding, Macedonia is groovier, faster tempos and energetic dances. Music from Asia Minor or Istanbul is more sophisticated. Greeks often refer to Istanbul as ‘Poli,’ from Constantinopoli, so the songs from there are called ‘Politika.’”

There is magic in the clear and consistent voice of Areti Ketime throughout Tora Collective, as can also be said for the supremely voice-like articulation of Giorgos Kotsinis on clarinet. Ziv Ravitz, on drums and electronics, also plays a pivotal role as coproducer: “He added so much in the orchestration,” says Klampanis. “His knowledge of electronics, all these non-acoustic sounds and keyboards, treatments of the acoustic instruments, it’s all because of Ziv. He brought a new perspective on the whole thing.”

The string element in Tora Collective is also strong: in addition to Klampanis’ bass there is Thomas Konstantinou on oud and the traditional Greek laouto, as well as Kristjan Randalu (the pianist in Klampanis’ Irrationalities trio) providing an anchor and bringing Klampanis’ inventive arrangements into harmonic focus. Additional guests appear: Alexandros Arkadopoulos on clarinet for “Disoriented,” Laura Robles on percussion for “South by Southeast” and trumpeters Sebastian Studnitzky and Andreas Polyzogopoulos on “Milo Mou ke Mandarini” and “Hariklaki,” respectively. (“Milo Mou” is slated as a post-release bonus track.)

Using traditional Greek music to discover a common new voice, the project aims to build dialogue, spark creativity, cultivate respect for the past, pave a path forward, discover a new musical storytelling powerful enough to reach and touch audiences in many countries. This is an experiment that bridges worlds: the east and the west, the traditional and the modern, the nostalgic and the forward-looking, using the power of music and improvisation.

The lyrics of the tracks of "IV:LETVM" revolve around death, war, forces of nature and superstition as well as rituals. This consistently heavy lyrical content is matched by the instrumental brutality of the nine tracks. The quartet from Giessen in Hesse presents itself on its new album exclusively martial, destructive, and evil. Song titles like 'War Dreams Of Itself', 'Lessons Of Darkness', 'Certain Death', 'Suffering' or 'Sadness' point the way ¬– no coincidence that the band’s official logo consists of an axe and a mace. DEPRAVATION cultivate a resounding style mix of black and death metal with a crust side to it, which is served fiercely and lingers bitterly. Exactly this is what the group is after since their first release "I:PRAEDICTVM" in 2012 succeeded by "II:MALEDICTVM" one year later. Following 2020's "III:ODOR MORTIS", "IV:LETVM" marks the second album for LIFEFORCE RECORDS. After more than ten active years, in which split records with ANCST and SLOWLY WE ROT were released, DEPRAVATION enter the scene without the pretense of following current trends or living up to any particular genre. "IV:LETVM" is the expression of diverse musical influences and above all one thing: relentlessly extreme. "IV:LETVM" was recorded at Red Tape Company by Simeon Lauber in Gießen. Nikita Kamprad (Der Weg Einer Freiheit/Ghost City Recordings) is responsible for mixing and mastering.

Arkada records is excited to announce our 4th release - forthcoming split vinyl EP featuring the sounds of ADJ & Adrien d’Elzius.

We are very happy to present the first part of the EP with the unique sounds of one of the pioneering artists in the UK underground Electro scene, the label owner of Pyramid Transmissions - ADJ

ADJ originates from and is based in London. He has been playing Underground Electronic Music for over 35 years as a DJ, starting in the days of Early Electro and Hip Hop. He has also been producing and releasing music for 25 years, releasing over 200 tracks in this time on a plethora of labels including Touchin Bass,For Those That Knoe, Another Perspective, Ai, Outside, Cultivated Electronics,Yellow Machines, Crobot Muzik, Diffuse Reality, Netlabel ,Digital Distortions and more...has done remixes for Flint Kids, Scanone, LASynthesis, Carl Finlow, Fleck Esc, Arsonist Recorder , Paul Hierophant to name a few.

He has run the Pyramid Transmissions Record label with label partner Pathic for 20 years and also ran the Analogique record label for 5 years from 1995-2000 releasing Techno, Electro and Electronica as 3 Elements.
ADJ also performed his first LIVE set in a few years in March 2020 MUTABOR in Moscow.

As a DJ, he has played at many festivals including a BLOC residency, Glastonbury For BLOC, Bestival, Shambala, Infiltrate at WMC Miami. 2019 saw another tour of the US with Silicon Scally,Ben Milstein, EVAC, Ion Driver and 214. He also runs the Dodo Club and Frequency Resonate(with Errorbeauty) nights in London and Berlin aswell as playing in Lille, Kiev, Moscow, St Petersburg Berlin,Zagreb,Athens, Napoli, Brussels, Budapest, Vienna, Valencia, Sofia, Paris and many more..

Second part of our EP presents the futuristic glitched-out sounds of the one of a kind Belgium producer Adrien d’Elzius also known under his allies HosmOz.

Adrien d’Elzius was born in the gloomy south of Belgium spending his youth hanging around in a camping and listening to Hip Hop, he started his life in a mess of paradox. At 10, he learned to play drums under his punk’s brother regard, and experimented different kind of rock until 18. That’s where someone showed him a track of Aphex Twin, who blew his mind and made him believe he had finally found the music that suited him. From there, he compulsively spend hours playing around with his computer and slowly made himself a place in the very small community of underground music lover of Brussels under the nickname hosmOz after winning a contest. From his melodic and acidic drill’n’bass beginning, his sound slowed down and got darker, challenging himself to try to create something he couldn’t before. He recently re-released his Lp on Diffuse Reality that make it available on physical form and also his debut album on Burial Soil with remixes by Umwelt and Lloyd Stellar.

The masters of the release are kindly made by Thomas Dunstan. Artwork made by our amazing designer Lawrence Cli

Cyrk with some fierce ruling electro tracks that fit perfectly in a Helena Hauff dj set. The title track Attack of the Blow Up Dolls is a robotic electro cut, while the other three tunes are smooth and at times remind us of some of the classic I-f releases with bubbly analogue basslines, frantic synths and relentless electro beats. Another strong Cultivated Electronic release!!

Having toured the world and delivered one of the pandemic’s most legendary live streams – including bodybuilders and furniture smashing at the old American embassy in Oslo, Aiming for Enrike started working on new music in 2020. Now ready with their fifth album Empty Airports, the tunes flourish further through atmospheric expressions, into floating, minimalistic, electronic, and ambient soundscapes. Empty Airports was composed and recorded in reflection of the quiet Covid19 life during the patience testing lockdown months of 2020 and 2021. Not only is this the duo's longest album ever, but it's also their first double album. The songs are inspired by and belong somewhere between Thom Yorke, Ashra, Nils Frahm, King Crimson in the 80s, Jon Hopkins and Steve Reich. The cover art for Empty Airports is the finishing touch that elevates the album to a complete piece of art. Thor Merlin's unique artwork is a generatively designed collage consisting of clippings from 19 digital paintings and 10 images created with shader programming in Sakuhin: an open-source program that Merlin also uses for live coding of visuals for Aiming for Enrike. The album cover's individual images will be available NFTs. Guitarist Simen Følstad Nilsen says: "Minimalism, which has always been an important part of our expression, is now cultivated to a much greater extent. When the rush to fulfill musical expectations is abounded, it gives the music more space to become more hypnotic and mesmerizing than before." Empty Airports is another fantastic release from the forward-leaning duo, which justifies that Aiming for Enrike lives entirely in their own universe.

Finnish producer Aki Latvamäki also known as Artificial Latvamäki is not a newcomer to Goldmin as he already appeared on two compilations of the label. Notably with the sensational and distinctive track called "Symphony of a Metropolis" which was one of the true highlights of the Goldmin 5 Years Compilation. Yet we were desperately hoping for a proper album of him one day, checking the very few demos he was sending to us with a lot of curiosity and interest. Suunta is the result of years of creativity and of Aki's very own mastery at seeking cultivate the uncommon, and the rare sounds, might it be through an hyperactive electro-track or an organic deep techno ballad like "Baumwolle" is, he is always transposing difficulties and trumping the constraints, making techno not only a functional music for clubs but a full member medium of expression, capable of sarcasm, irony and rebellion and so all throughout a fragile and precarious melody. Has Aki escaped from this scene? That's all for the best, as he as also escaped from all these easy, prefabricated structures and schemas and is still doing his own thing as he always did.

LP 180G HEAVY BLACK VINYL, INCL. 12 TRACK MP3 ALBUM

For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With their forthcoming record Edge of the Sun, out April 13th via City Slang, they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way.

Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burns' brother John Burns lent a hand to some lyrics and songwriting, and the band's keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher.

San Francisco's first and only rock 'n' roll band, CRIME loomed over the entire Mabuhay Gardens scene with their blistering 1976 single Hot Wire My Heart. The group's loose, damaged rock 'n' roll was as immediate as it was controversial. They were punk by any definition, yet shunned the label with a guttersnipe sneer. Their meticulously cultivated aesthetic of S&M graphics and police uniforms produced some of the era's most indelible imagery. One of their finest moves was playing in the San Quentin prison yard.

Formed by guitarists/vocalists Johnny Strike and Frankie Fix, CRIME enlisted bassist Ron the Ripper and drummers Ricky "Tractor" Williams (later of THE SLEEPERS), Brittley Black, and Hank Rank. Joey D'Kaye later joined on keyboards and bass duties.

For the first time, this LP release collects the sick energy of CRIME's three singles along with nine previously unreleased studio recordings from 1976 to 1980. The visceral churn and unwieldy leads on tracks like "Frustration" and "Piss On Your Dog" make Murder By Guitar the definitive statement from this prescient American underground band.

7" Black Vinyl in Fold-out Concertina Sleeve, 500 copies only. An anachronism in current times where individualism reigns supreme, Teeth Machine are a rare band knitted together through close camaraderie: a collective in the truest sense of the word, whose intricate, improvisational style resolutely resists being reduced to one single contributor. Teeth Machine found its beginnings in the close friendship and musical collaborations of Arthur Bently (saxophonist/lead guitarist) and Gray Rimmer (lead vocals/guitar). Having played together in various other projects since the age of 17 and disaffected with the music industry, the pair’s first furtive experimentations with the music that would later become Teeth Machine took place at a deliberate distance from the Outside world. This early incubation period, and the music made through endless bedroom sessions and demos recorded on laptops and tapes, became the spine of the project, fostering a sound that still retains both a precious intimacy and a large, expansive sonic scope. The band’s lineup as it stands today features long term friends and collaborators Anthony Boatright (Bass), Jamie Staples (Drums), and Ciara Reddy (Vocals/Synth). On their first self-assured, recorded offering to the wider world, Teeth Machine still bear the imprint of their origins, the band’s sound firmly grounded in the ethos of mutually weighted contribution, as well as the closeness cultivated in their early experiences, always retaining an air of uninhibited creativity and adolescent intimacy. ‘Gumball’, their first release on RaRaRok (Wulu, The Goa Express) was self-produced, mixed by Dilip Harris (King Krule, Mount Kimbie). It’s a song that conveys the tension and impossibility of communication and language, even when attempting to connect with those closest to us. Despite this, and however much the track itself bristles with an unmistakable air of friction, the listener gets the strong sense that there has not been a love lost, but rather one renegotiated, even expanded. Speaking about ‘Gumball’, Teeth Machine said: “‘Gumball’ is about the impossibility of talking. It was written during quite a chaotic period, and the lyrics came about after we had a big argument in the kitchen while trying to record a demo at the time - it tracks the madness and intensity of trying to make sense to someone you care about, or to yourself in your head. There’s a kind of antagonistic self help mantra that resonates throughout; it’s about internal and external conflict. It’s angry, but it’s also full of love too

Soma welcome the debut album from the ever-growing roster of youthful talent as Lewis Fautzi drops The Gare Album, named in homage to The Gare Club, Porto, where Lewis made his discovery of Techno. A bold 4 track single debut gave rise to the album process midway through 2013 and under the careful supervision of Soma, Lewis has provided a definitive peak in his sound cultivated on the back of years of studio work. A collection of deep, dark and twisted techno awaits.

A definite maturity in production shines through on this fantastic LP from Fautzi as he creates a cold and calculating output, clearly focused on the future. The Gare Album has allowed Fautzi to express himself fully through electronic music, a task that he has taken to whole-heartedly.
The Gare Album will be released on limited double LP.

If, among the Afro-Peruvian music groups that have emerged in recent years, there is one that has dared to take the sound to new dimensions, it is Perkutao. Heirs to the best Afro-Peruvian tradition, they have been able to integrate Afro-Cuban elements and various contemporary popular styles, which they play with amazing with speed and precision. "Mis ancestros", is their debut album for Buh Records. Perkutao is an Afro-Peruvian percussion ensemble founded in 2005, directed by Percy Chinchilla, musician, percussionist, zapateador and teacher of young generations of percussionists. "Mis Ancestros" (My ancestors) is their first record under the production of Manongo Mujica and is the fourth title of the collection "Perspectivas de la Música Afroperuana" (Perspectives on Afro-Peruvian Music). Chinchilla shares the artistic direction of Perkutao with William Nicasio 'Makarito', another outstanding percussionist. Both grew up in the famous Callejón del Buque, in the district of La Victoria, a spot preferred by bohemians and known by local music partying -jaranas criollas. Both were also formed in Perú Negro, an emblematic Afro-Peruvian ensemble, and both carry in their blood the cult of percussion and Afro tradition. Chinchilla comes from a family of Afro-Peruvian musicians including Caitro Soto and Ronaldo Campos. And Makarito is the son of Macario Nicasio and grandson of El Niño, legendary Cuban percussionist in charge of introducing congas and bongo to Afro-Peruvian rhythms. Perkutao arose precisely from the merging of these traditions, Afro-Peruvian, Afro-Cuban and Caribbean music, and have become one of the most sought-after percussion ensembles due to the intensity of their sound and their powerful performances that include stage movements and surprising acrobatic skills. In addition to Chinchilla and Makarito, the ensemble is completed by Edu Campos, Andree Liendo and Víctor Sánchez Pitín. "I follow in the footsteps of my ancestors, to the beat of the cajita, the quijada and the cajón, to the rhythm of a zamacueca, a festejo and a good landó". This is an excerpt of the lyrics of "Poema", the opening track of the album, the rhythmic base accompanies Chinchilla's voice and then increases in a crescendo that announces the paths to be explored by Perkutao. "Azañero Colorao", "Trucutum Kiti Pa" and "Cancha con Sabor", composed based on minor percussion (cajita, quijada), zapateo and cajón, respectively, are compositions that serve as an introduction, a tribute to the essential instruments of the Afro-Peruvian tradition. The last one in particular already defines Perkutao's style: a trepidant and orgiastic rhythm, hypnotic and hard hitting, Dionysian and cathartic. With "Madre Africa" and "Al Tayta Bukense", for djembes and congas, respectively, we find Perkutao retaking the Afro-Cuban heritage embedded to the Afro-Peruvian sounds, abakuá and festejo. "Lloraré", a version of a famous Cuban song, mirror the ensemble's fascination with Caribbean music (salsa is another genre cultivated by its members). "Mis ancestros" is an album about a tradition, but it is also a renewal. Perkutao opens a new direction for Afro-Peruvian music, its sound is an evocation and the here and now, it is deep-rooted but freely flowing percussion. Perkutao are Percy Chinchilla, William Nicasio "Makarito", Edu Campos, Andree Liendo y Víctor Sánchez Pitín. Produced by Manongo Mujica y Daniel Mujica. Recorded and mixed by Juan José Salazar at La Encía del Leopardo Estudio, Chorrillos, Lima, Perú. Mastered by Mario Breuer en Sensei Mastering, Córdoba, Argentina. Cover and Design by Yerko Zlatar.

Experimental - Ambient - Tribal Ambient Mathias Delplanque was born in 1973 in Ouagadougou, Burkina Faso. He lives and works in Nantes and cultivates close links with the spheres of ambient, electronic, electro-acoustic and concrete music as well as dub and field recording. A rather elusive character, discreet but prolific, who can be found in the credits of dDamage or Ghislain Poirier's records as well as behind the mixing board for Charlélie Couture, when he doesn't have fun under the name of Lena releasing fabulous minimal dub albums on excellent labels such as Belgian Quatermass.Mathias Delplanque is also known for his ex- cursions as well as for his collaborations with various musicians using traditional instruments: the Korean E'Joung-Ju (geomungo player in the Keda duo), or the Nazairian François Robin (veuze, duduk and mizmar player).

Cultivated Electronics presents For The Floor, a new series of split 12s on its vinyl-only sister label CE LTD. For the Floor is strictly aimed at the dance floor and showcases CE regulars alongside new artists with EPs incoming from DeFeKT, Rico Casazza, Tripeo, Cycloplex, Steve Allman, Alex Jann, Cyphon, Obzerv, Maelstrom and Sync 24 x Alienata. Hot on the heels of his latest release on the mighty Tresor, Irish Electro king and CE regular DeFeKT kicks off the series with 2 dancefloor destroyers. "Control Your Mind" rips through with harsh distorted 808s and booming vocals while "Fear and Body" is a spooky, funky electro groover perfect for dark basements. On the flip, CE welcomes back Rico Casazza to the label. Rico continues the electro funk vibes with "Home Here Us", slick beats and a bubbly bass line lay down the backbone of this peak time banger. Things then go deep and trippy and acidic with "Caldo" , a rolling robotic groove made for the club!