quête:dr res

Thomas Fehlmann steps away as co-member of The Orb following two acclaimed full lengths on Kompakt (COW - 2016, Moonbuilding 2703 AD - 2015) and embarks back on his solo career with a career defining album 'Los Lagos' - from Detroit to Schaffel techno he conducts a broad spectrum of electronic music into a seamless flow.

Thomas Fehlmann has been active since the late 1970's from Palais Schaumburg, the Tresor defnining trio 3MB (with Moritz von Oswald and Juan Atkins), Ocean Club (together with Gudrun Gut) and of course The Orb.

Artwork direction and design by DESIGNERS REPUBLIC.

'Los Lagos' is Thomas Fehlmann's seventh solo full-length, his 4th for Kompakt following his Berlin inspired 2010 full length 'Gute Luft'. in the musician's own words it's about "checking the juice".

Establishing a picture of his current artistic condition, as suggested by the title - los lagos / die lage / the situation (literally translating to 'the lakes' but taking the meaning of 'wassup' in the context of a relaxed discussion between friends), the album refers to Fehlmann's "musical motivation, dreams and wishes" through the language of music exclusively: a way to "allow myself to techno" he says, "to techno as a means to deconstruct and rebuild again. Set up an area of tension, loose it in the flow of the grooves. Magnifying some detail out of proportion, regroup around that and slowly knit a texture. Expand."

"It was time to take a bend and head where the sun rises or sets, wherever my heart drives me." This is pretty much the kind of decision Thomas Fehlmann has made. 61 and shining, longstanding member of The Orb, multi-talented composer and boundless experimentalist, had to make in the twilight of his collaboration with Alex Paterson, eager to taste the flavours of the unknown on his own again. "It was the moment when felxibility would have become compromise'. Far from being the demise of their joint dream, this was bound to split it in two distinct, parallel fantasies - rich of their own singularity.

As goes with that essential love of his for the free-flowing nature of electronic music, a fascination born out of its "lack of borders", capable of "inventing, changing the emphasis, experimenting with an unpredictable outcome", 'Los Lagos' "freely connects disparate extremes. Art, disco, minimalism, schmalz, jazz and funk". As he likes to say, Fehlmann's head functions as a sampler, capturing elements and re-assembling them under his own embracing perspective ; not afraid to leap from a deep, dubbed-out hypnotism ('Window', 'Morrislouis', 'Freiluft') to the playfulness of '90s-style bleepy schaffel ('Tempelhof' featuring Max Loderbauer), through out-there, muscle-flexing dancefloor cuts ('Triggerism') onto the calmness of ambient ('Geworden').

In need to keep his inner balance in check, Fehlmann committed himself to "switch off the control" and follow his intuition, which isn't so much of an easy process as he also wanted to incorporate the side disturbances experienced: "it's a complex process of search and destroy to bring out a new beauty trying to expand my vocabulary". With 'Los Lagos', Fehlmann looked at finding "the structure that's surprising, disturbing and rewarding". The artwork for the record, courtesy of contemporary artist and friend Albert Oehlen whom he shares lots of artistic ambitions with, echoes the producer's "funky use of shape and space, sludge and clarity" like a second skin. A search for light and harmony that Fehlmann sums up eloquently: "Does your inner musical voice respond", that is the question. Then "doors open up in unexpected corners, rays of light appear; you follow through and you're in - in your oasis."

Brendon Moeller offers up his 'Set In Motion' EP on Echocord sub-label Echo Echo this September, comprising three originals from the Dub Techno veteran. South Africa, New York based producer and DJ Brendon Moeller aka Beat Pharmacy/Echologist has long been respected as one of the pioneering figures in ethereal, dubbed-out Techno with regular appearances at global hot spots like fabric, Berghain and Cielo as well as releases on labels like Third Ear, Kimochi, Neovinyl and Echocord. Here though we see Moeller joining the roster of the latter's sublabel Echo Echo, marking its fourth release. Title-track 'Set In Motion' leads with Brendon's signature murky synth textures at its core whilst lumpy low-end tones, shuffled hats and spiraling dub echoes fluidly undulate amongst one another throughout. 'Eastern Beach' follows, and as the name would suggest, nods towards brighter sounds with airy pads, soft bell chime synths and pulsating subs driving the composition alongside swinging, heavily reverberated percussion. 'Economy' then closes the package, stripping things back to gritty dub stabs, dusty 4/4 drums and billowing noise sweeps.

The keeping of pets marks humans' attempt at taking possession of a part of reality that is not at his disposal. Dressing a piece of the real that lives according to entirely non-human rules and which only in the saddest case does not resist the discipline of the human symbolic order vehemently and in a sustained matter, is a violent act of protection. Because in the non-place of the real, all that which we are helpless in the face of looms: the non-logical and the nameless, the violence and the noise, yet also the unrestrained and unfiltered desire.The innocuous figure of the pet marks a gateway to an investigation of these eerie milieus, while electronic dance music lends itself to this investigation in an outstanding way. This constellation marks the subject of Column's 'Pets II.'

Column is the name of Cologne based renaissance man Jan Philipp Janzen, who, as chief emissary of Cologne's pop internationalism, has been playing the field in various functions for Von Spar, Cologne Tapes, Urlaub in Polen, Owen Pallett, Scout Niblett or The Field, and who has also, in one way or another, been involved in most relevant records coming out of Cologne for the past number of years. After his excellent solo debut 'Pets I' (Areal, 2016), Janzen presents another extraordinary record in 'Pets II,' perfectly complemented by another ghostly oil work of Burkhard Mönnich on the cover.Sonically, 'Pets II' marks a clear development for Column. In its exploration of the thresholds of the real, it sets two points of focus, corresponding with the split in sides A and B.

Side A, on which Janzen teams up with long-time friend myr. (PNN), explores the uncanny as a fissure of the symbolic order, and the subsequent breaking in of the real. It opens with two peaktime rockets that have their wooden, nether-regional groove narrated by grim, down-pitched vocals. The ethereal remix by Leibniz (hundert) seems to be observing the situation from a hiding place, and is the side's clandestine and no less dark closer.

Side B, for which Janzen invited studiomate Marvin Horsch (Dorfjungs/Beats in Space) along, delivers two swaying synthesizer workouts, the second of which, 'Molly and Swerve,' is directed firmly at the dancefloor again. What is at stake here is the transition between a free, undirected jouissance of the real and a more ordered becoming-lust. Here, as in Map.ache's (Kann/Giegling/Altin Village) remix which closes out 'Pets II,' it becomes clear what connections dance music can foster between a free, impersonal desire and the sphere of interpersonal wanting, but also the losses that are negotiated in it. Above all, however, it becomes evident what a courageous daring project 'Pets II' is in all of its conceptual and aesthetic determination; with Von Spar's standout 'Garzweiler' 12' (Altin Village & Mine, 2017), it documents a New Cologne Realism.

June 2018, Amsterdam, Nl: 12 Months Ago We Concluded A Series Of Experiments With A Test Subject Named Ben Penn. A Year On, We Decided To Repeat This Experiment At His Tilburg Base. Once Again, The Results Were Starting.
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After Being Provided With A Sizeable Dose Of An Enhanced And Notably Stronger Derivative Of 4-ho Met (codenamed St011), Penn Not Only Reported Intense Hallucinations But Also Enhanced Music Production Capabilities. With The Aid Of Electronic Instruments And Hardware, He Worked Quickly, Producing Both His Trademark higher Level Inter-dimensional Funk' And Compositions That Defied Our Previous Expectations.

During The Early Stages Of His St011 Experience, Penn Completely Ignored The Provided Rhythm Composer And Instead Crafted A Colourful, Humid, Jazzy And Beat-free Track Entitled nix', Which Boasted Loose And Fluid Synthesizer Motifs. As His Hallucinatory Experience Intensified, Penn Giddily Tapped Out Tropical Rhythms On The Provided Beat-making Device, Smothering Them In Alien Electronics And Sticky Melodies. When We Asked What This Devilishly Good Cut Was Called, He Simply Replied: not Important'.

As The Test Went On And The Most Intense Symptoms Died Down, Penn Was Much Like His Old Self. Before The St011 Wore Off Completely, He Was Able To Finish Two Examples Of His Trademark inter-dimensional Funk': The Skewed, Introspective, Bassline-driven Wooziness Of ben' And The Mazy, Kaleidoscopic Goodness Of people'. The Latter Composition Was Particularly Potent And Ear Pleasing, Suggesting That His St011 Experience Had Finished On An Intense High.

Scion of the Urals this devotee called Gedevaan drops a notable classy non-Moscow sound. The city where music can be fake, where anyone can lie to you, where anything can be sold and re-sold for a higher price. Where constantly you suffer from major vanity and notorious capital speedy manner. Moving to that town may change you with no warning. 'Class Compliant' is more about authentic slow-burning undercurrents. Smells like 'rest of Russia' the noise is out of massive roaring cities and their pre-harsh dummy lives. Inclined to withdrawn and introspective synthesis Gedevaan offers an original dim-light feel, warm-wet, woody swamps and mossy rocks. A velvet haze makes your vision blurry. Just look! Is it a Baba Yaga's hut Track the music. To don't forget about your roots. It's pretty nice to accomplish with old stuff by Perc and a brand new one of Electric Rescue - the pure primal perception with a high impact factor.

The second release of Atmophile Electronics is a 4 track EP of the label co-founder Naty Seres in collaboration with Bensen, and established techno producer Matrixxman on remixing duty.
All tracks are the result of casual jam sessions in Naty´s homestudio over the last year. Bensen, with his profund musical knowledge, gives the drum and groove structure, while Naty explores sound design and atmosphere with her modular-system in a playful, yet distinct way.

The first release on the newly established Greyhound Days imprint comes from Christian Kroupa alias Alleged Witches, hailing from Slovenia, who proved his skills and innovation as a participant at the Red Bull Music Academy in 2014. Since then he became one of the most prominent names of Slovenia's techno and house scene, with making appearance on the mighty Fabric mix compilation, producing a remix of Alex Smoke for legendary Belgian label R&S, while also releasing a 12" entitled Serve The Spirits on R&S sub-label Meda Fury.»One Skilled In The Black Arts« EP consists of four tracks, meant for dictating the dance floor with their drum workout, as well as luring you into its deep ritualistic feel, with distant native tongues echo.For an extra wonderful hypnotic polyrhytms, a rework has been provided by Passarani, one of the Italian leading dance music producers and DJs, who continues to be an inspiration and providing his knowledge and skills to younger generations. While Bristol based Jacob Martin alias Hodge demonstrated his expertise in percussion, resulting in an slamming rework, not meant for the faint-hearted. Just shows, why Hodge is one of Bristol's most exciting new names.

In search of the sublime, contemporary electronic musician Steve Hauschildt has designed grids and panoramas of sound across multiple releases through the rise and dissolution of his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music. Consistent with his solo work is Hauschildt's ability to coil his craft in precise, varied, and distinctly physical forms. Gently spinning arpeggios converse with post-industrial decay. Sonic bers sway like pendulums from static melancholy to motorik bliss. Dissolvi, the artist's rst full-length with Ghostly International, engages sublimation from an ontological perspective: by dissociating the self. Hauschildt steps out from the singular path, for the rst time in a traditional studio, to compose and arrange contributions from friends. As a result, his most collaborative work to date extends a vast, vibrating framework in which to consider the state of being.

The album's title — a reference to cupio dissolvi, the Latin phrase meaning "I wish to be dissolved" — needn't be taken one-dimensionally or as purely solipsistic. It does, however, serve an apt reference. Physiological phenomena are of interest to Hauschildt. These back-of-mind ruminations nd their way out. Songs are cerebral in orientation, but beyond explanation, the music is truly visceral.

Involuntary eye movement inspires the serene, sanguine-nearing-suspicious "Saccade." Hauschildt feathers soft percussion beneath the echoed refrains of Los Angeles musician Julianna Barwick, together shaping a svelte suggestion of the anxieties brought about by modern-day surveillance; if everyone is being watched constantly, there is no individual, no self, only a broadly monitored and clumsily cataloged populous. The work of Chicago poet Carl Sandburg comes to mind: 'I am the people—the mob—the crowd—the mass.' The individual dissolves into the taxonomic crowd.

Minimalist techno impulses provide a stylistic through-line for Dissolvi. Understated synth phrases and drum grooves take hold in selective moments, like synchronistic structures onto which nebulous mists, like the rapturous voice of Gabrielle Herbst aka GABI on "Syncope," cling to and cloud, producing a dazzling rift in consciousness. The 7-minute centerpiece "Alienself" reiterates this creative logic, burbling like an amorphous body of water on a low-gravity planet, on the verge of dissolving, but never fully dematerializing.

The album was constructed in Chicago (where Hauschildt now resides) and partially in New York. "Much of it was recorded in a windowless studio which removed elemental or seasonal references to time in the music," says Hauschildt. "The focus this time was on mixing the album and incorporating a broader set of instrumentation. I describe my compositional approach as being quasi-generative." Embracing new methods and philosophical curiosities, and in turn, expanding the range of his repertoire, Hauschildt proposes a fascinating and profoundly rich experience in listening, being, and deliquescing.

Mindshift Records Is Proud To Present Trouble12, "homan Square", By Area Featuring Remix Appearances By Murdoc And Drmlgcc, Culminating In A Stellar Release Pressed On Limited-edition Vinyl, Out Of Continued Respect For The Vinyl Medium.

The Release Begins With "dark Days", A Strong Cut With Deep Kicks, Hard Claps, And Solid
Basslines All Combined To Create A Euphoric Experience For Both Listeners And Dancers.

Up Next, A Remix Of "alta" By Murdoc Brings Us To The Next Level With Pulsating Bass, Haunting Vocals And Crafty Syth-work, Sure To Please Closing Out The A-side Very Nicely.

Opening The B-side, We Have Drmlgcc's Remix Of "dark Days", A Bass-heavy Rendition Of The Original, Featuring Unique Synth Pads, Great Percussion, And Rhythmic Pauses Throughout The Progression Of The Track.

Concluding The Release Is The Original Mix Of "alta", A Unique Composition
Returning Us Full-circle And Closing Out The Ep "homan Square".

Re-press of A Sagittariun's debut 2011 EP on Elastic Dreams. 'The Circle Stops Somewhere' has been a
defining release for the British techno explorer, long since out of print since its release seven years ago.
Now the label re-press the original vinyl release that features two amazing MD2 (AKA Mike Dehnert) remixes.
Resident Advisor summarised the debut A Sagittariun release in a glowing review 'The Circle Stops Somewhere"
is definitive driving music, even down to the evocation of onrushing traffic in the form of cold, blurred synth stabs.
It's also a nostalgically-observed piece of electronic jazz, the dominant motifs of which transport one into a
crepuscular world of uncertainty and disquiet. The reliable Mike Dehnert turns in two contrasting mixes...'

On The Latest Release From Make Mistakes, Roy England And Friends Take Us On A Ride Into The Beautiful, Soulful Depths. From Uplifting Love Jams, To The Chunkiest House Funk, As Always, The Gang Has You Covered.
Roy England's Original Mix Soars Through The Night Skies. Pitter-patters, Emotive Pads, And A Driving Groove Bring Us The Softer Side Of Our Little Boogie Baron. Perfect For The Euphoric Abandon Of A Sweat Soaked Dance Floor.

Alexi Delano, A Man Who Needs No Introduction, Kicks Things Up A Notch, Taking The Original And Giving It A Restructured, Pumping Groove. A Dubby Line Runs Through, With Echoing Pads, A Pulsing Bass, And Fluttering Keys And Synths. A Beautiful Dance Floor Meditation, With Plenty Of Junk In The Trunk.

Fredy Grogan Takes A Hard Left, And Steps Confidently Into A Psychedelic, Tribal Funk. Teasing New Vibes Out Of The Original Material, Grogan Transforms Beauty In Rhythm Into A Classic House Groove, Before Settling Us In To A Hypnotic Groove.

Make Mistakes Keeps On Keepin' On. That's All We Know. the Tears Of The World Are A Constant Quantity. For Each One Who Begins To Weep Somewhere Else Another Stops. The Same Is True Of The Laugh. Let Us Not Then Speak Ill Of Our Generation, It Is Not Any Unhappier Than Its Predecessors.

Samuel Beckett, Waiting For Godot

Mirror Box is the solo analog synth project of Dallas musician Sean Kirkpatrick. With an extensive resume that includes keyboard duties for Kill Rock Stars' 00s noise rock band The Paper Chase as well as his concurrent projects, dark post-punk-synth-rockers Nervous Curtains and darkwave duo Little Beards, Mirror Box is Kirkpatrick's first foray into the purely electronic realm. Blending together elements of Giallo moodiness, dub texture, techno propulsion, a passing nod to your favorite wave music, and a flare for the kosmiche, Mirror Box' debut release, Minimal Compliance EP, is a tour de force of the veteran musician's exploration of a wide range of influences and experience.

Released by Dallas-based Gavin Guthrie (TX Connect)'s TRU (Texas Recordings Underground), the 5-track EP kicks off with the immediately-gripping title track. A huge mid-tempo 808 beat drives the menacing Moog bass while cosmic synths explore the skies over gritty, urban terrain. 'The Body,' grounded by its stuttering and singular bass line, is an expansive reworking of a track from Little Beards' debut album which features Nan Kirkpatrick on the release's only vocal appearance. Side A closes with 'Destabilized Agent,' a retro-futurist dream that effortlessly voyages from Sagan's Cosmos to a melodic minimal wave refrain.

While the first side's lush synthesizers and sophisticated syncopation are somewhat of a departure for TRU, a label that has so far defined itself by bringing the electronic sounds of Texas' underground warehouse scene to dance floors across the sea, the flip side of the record is where the four hits the floor. 'Grifter React' opens with a hard kick and electro zaps, letting the rhythm take the lead until a distorted bass finally enters to provide the hook. Minimal Compliance EP finale, 'Critical Blitz,' weaves together all of Mirror Box' finer elements into a concise mission statement. Pulsing, hypnotic mono-synth, vintage mellotrons, classic hats and claps, sweeping production (courtesy of Alex Bhore at Dallas' Elmwood studios) and sparse synth melodies converge in dark analog pleasure that will guide you along like on a cool air-conditioned drive through a devilishly hot Texas night.:

Originally released in 1972, Lord Of Lords was Alice Coltrane's final album for Impulse! and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lords Of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Coltrane herself) and its refined, blissful performances - shining a vital light on the devotional path that she would follow for the rest of her career.

On the first two pieces, "Andromeda's Suffering" and "Sri Rama Ohnedaruth" (titled after the spiritual name for her late husband), Alice's dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer "Going Home." Coltrane's musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord Of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions.

This first-time vinyl reissue has been carefully remastered from the original master tapes.

Cold Beat is a San Francisco-based quartet fronted by Hannah Lew (synths, vocals) with Kyle King (synths, guitar), Luciano Talpini Aita (synths) and Sean Monaghan (guitar). Formed in 2013 the band has released three albums and two EPs. 'A Simple Reflection' is a 7-song collection of Eurythmics covers, yet feels just as personal as any of their original material. While digging through a collection of 12s for her record shop Contact Records, Lew stumbled across the earliest Eurythmics B-sides and was floored. This lead to the discovery of their debut album 'In The Garden'. Annie Lennox's abstract and poetic lyrics really struck a chord with Hannah. What had started out as a single cover quickly snowballed into a full blown obsession. The synth and drum programming resonated with her songwriting process, so reimagining them was very creatively fulfilling. The covers on this EP are simultaneously dynamic and atmospheric post-punk that plays to Lew's ethereal vocals and King's crystalline guitar. All songs have been mixed by Mikey Young (Total Control) and mastered by George Horn at Fantasy Studios. The record is housed in a jacket designed by Eloise Leigh, which features pink and purple clouds that evoke a dreamy softness and DIY playfulness and photos Lew in her best Lennox-inspired drag. Each copy includes a postcard with photos and notes. 'Sometimes a song seems to sing just for you, as if someone knows your most inner thoughts and feelings and has found a way to describe them effortlessly' - Hannah Lew

Patterns Of Consciousness is the powerful second full length from analog synth composer Caterina Barbieri. Highly recommended to fans of Alessandro Cortini and Eleh, Barbieri can be seen/heard/felt live at major electronic music events across Europe and beyond.Gorgeous high resolution analog textures and algorithmic melodies unfold under Barbieri's careful control, exploring the basic nature of sound and consciousness. These pieces are minimal in arrangement but maximal in presence asserting Barbieri as a unique voice in contemporary electronic music composition."Patterns Of Consciousness finds Caterina Barbieri at her best, elegantly moving between melodically pleasant yet twisted sequences and comforting, reassuring sonic spaces. Every piece, while given a singular identity, is part of the bigger picture: a work of art that will push you, pull you, and then eventually leave you with your back against the wall once you get to the last track. " Alessandro Cortini (Nine Inch Nails)"A pattern creates a certain state of consciousness. Once it is created, the pattern stands as an object exactly like the sound waves which generate it. We are at the same time inside and outside of the object. While being it, we observe it. Over time we become familiar with the inner structure of the pattern. We decode its gravitational centres, where our psychomotor attentionis attracted, where everything seems to be drawn. When a change in the pattern occurs it causes a perturbation of the previously established field of forces. This causes consciousness to fracture, potentially unfolding layers of perceptions we weren't aware of or simply suggesting that we access only a fraction of our psychic potential.The layered nature of consciousness and the relativity of perception are some of the biggest secrets we can experience through sound." Caterina Barbieri

Detroit label My Baby focusses on letting underground local talent shine, and that is the case with the second EP, a various artists affair featuring label boss Mister Joshooa, plus Remote Viewing Party and Tammy Pickle with a remix from My Baby.
The acts featured on this release are all residents of the famous TV Lounge/TV Bar venue in Detroit. The 12" includes Eddie C along with My Baby boss and TV Bar booker Mister Joshooa-who work together here as Tammy Pickle-plus Rickers, who is one half of ATAXIA, and How to Kill Detroit co-founders Remote Viewing Party, while Rickers and Joshooa also link as My Baby to remix one of the tracks.
First up are Remote Viewing Party with the superb '410'. It's five bumping minutes of silvery tech with whirring machines and gurgling synths all weaving around well programmed and punchy drums. Sure to infect real energy and freakiness into any club set.
Mister Joshooa makes his first appearance with the alluring 'Alright Fine', a slow and absorbing track of gloopy bass, percolating drums and unsettling vocals. Subtle acid lines and prickly hi hats all make this one really jump out of the speakers.
Next up, Mister Joshooa links with Rickers for a standout remix of '410' that is even more physical and driving. The metallic groove is run through with alien sounds, shooting synths and ghoulish voices that are filled with paranoia and will make a great atmosphere in the club.
Joshooa and downtempo disco don Eddie C then collaborate as Tammy Pickle for 'Indifference,' which is a perfectly slow and sensuous number with elastic synths and bass. Crisp hits drive it along and encourage you to sink deep into the groove.
This record is jam packed with talent and original ideas, and one that marks out this label as one to watch.

It is said that every generation casts its mind back to a previous era in times of crisis; the resources that will allow us to decode the questions of our moment may lie in the myths of another era.

Le Renard Bleu, the new musical and cinematic collaboration between Lafawndah and composer Midori Takada, and filmmakers Partel Oliva, takes a cross- generational echo as ground zero for recovering a crucial myth for uncertain times: the blue fox.

As transmitted by Takada, the fox appears in both ancient Senegalese and Japanese folktales as the trickster archetype; belonging both to the heavens and to the earth, the fox is the agent of chaotic good, shaking the world up when its energy has become stagnant. Above all else, the fox is famous for its cunning nature.

Renard Bleu marks the first new music released by Takada in nearly twenty years; it would be difficult to overstate the importance of her return to the public eye. Her first solo record, 1983's Through the Looking Glass, has been rediscovered and heralded as a lost classic; the influence of her percussion trio, the Mkwaju Ensemble, continues to permeate and inspire a new generation entranced by its lucid beauty, playfulness, and sensual patience. Takada has performed in numerous film score orchestras, including the ensemble for Akira Kurasawa's Dreams, coincidentally a key influence on Renard Bleu.

In the ensuing years, Takada has worked closely with theater group the Suzuki Company of Toga on productions of Electra and King Lear, an experience, she says, that allowed her to pursue 'a unity of music, body and space.' Recent live solo performances have evinced the depths of her exploration of all three.

Equally, it is Lafawndah's freedom of tone, decentralized maps of ancient and modern music cultures, and alloying of devotional intensity with modern songcraft casts her as a distinct relative of Midori Takada's.

Over the course of two EPs, self- directed music videos, and countless live performances, Lafawndah has drawn out an uncompromising exploration of how theater, situational intervention, and choreography can amplify the affective palate of forward pop music. One can trace the influence of artists such as Meredith Monk, Carlos Sara, and Andy Kaufman as much as musical antecedents AR Rahmann, Missy Elliott, or Geinoh Yamashirogumi.

It is in a mutual commitment to this unity that Lafawndah, Takada and Partel Oliva find fertile aesthetic common ground.

The music of Renard Bleu originated in Takada's preoccupation with the legend of the fox; after constructing a vivid instrumental composition dramatizing the spirit animal's journeys through waterphone, bells, marimba and various forms of drums, Lafawndah responded - in her inimitable mix of fairytale and undertow-- with melodies and lyrics capturing a dialogue between her and the fox himself. Eventually, the duo met in Tokyo for a week of communing with the material at Avaco Creative Studios, where new elements were composed on site.

Created in partnership with KENZO and premiered today via their channels, it was Partel Oliva who imagined a contemporary cinematic frame for the myth of the fox to re- appear, creating a hybrid of choreography and narrative around Takada and Lafawndah's performance of their joint composition (also titled Le Renard Bleu.) Returning to film in Japan for the third time, Partel Oliva's moving image work (Club Ark Eternal, The Pike and the Shield) has set the standard for and revolutionized the fashion art film. Their deployment of original music, dance, and a highly stylized mis en scene coalesces here in the casting of Los Angeles krump artist Qwenga as the eponymous fox, stalking the halls of the ancient Noh theater in which Takada and Lafawnda's performance takes place.

Why call up the myth of the fox now In Le Renard Bleu, Lafawndah and Takada's collapsing of distance between generations, styles, and milieus intimates that the relationship to time must be shaken. The future lies in fragments in the past; to remember is to recover it; the fox rises to thicken the plot.

Lucrecia Dalt's Anticlines is a volume of bodily and geological substrates within poetic theory and sound. It is a place where skins and minerals dissolve and commingle, where gaseous subterranean leaks inflate lungs, where brain cavities echo interplanetary waves bent from passing through atmospheres.

A former geotechnical engineer from Colombia currently residing in Berlin, Dalt's concern with boundaries and edges shape the lyrics and music of Anticlines, her sixth album. Paying careful attention to pace, breath, and texture, Dalt microtonally shifts the distance between speech and song while using traditional South American rhythms to support her contemporary electronic composition.

Lucrecia arrived at the atmosphere of Anticlines after several months of studying and creating new patches for the Clavia Nord Modular, forming a rhythmic feedback flow with it, a Moogerfooger MuRF, and her voice. The overall effect of cavernous space backdroping Dalt's intimate vocal phrasing rewards contemplation, supported in the physical formats of Anticlines by a lyric booklet documenting Lucrecia's collaboration with Australian artist Henry Andersen.

The album opens with Edge,' bordering on a pathological circlusion of self upon other. The lyrics depart from the Colombian myth of El Boraro, an Amazonian monster who turns its victims insides to pulp before sucking them dry and inflating their bodies like balloons to lifelessly float away. Tar' ponders human dependence on earth at the boundary of the heliopause, where to inhale might be like breathing tar. Dalt's distant and obscured vocals end with, we touched only as atmospheres touch.'

The sonic rise and fall of Analogue Mountains' is inspired by martian traces found in Antarctica embedded by meteorite ALH84001, suggesting that we might well be living in mountains transferred from Mars.' The steadily winding music on Concentric Nothings' descends with the lyrical exercise of dissolution let my touch be indistinct and instinctive.'

Interspersed with the lyrical pieces of Anticlines are instrumental interstitials that demonstrate preceding concepts — as if to say, this is what antiforms sound like, and this is what the universe's indifference sounds like.' Dalt's ongoing experiments with visual artist Regina de Miguel support these ideas, their practice allowing the objects of their attention to slip in and out of being.

Mystic of matter, Lucrecia Dalt has previously performed and worked with Julia Holter and Gudrun Gut, her slippery spoken word and performative nature recalling the work of Laurie Anderson, Robert Ashley, Asmus Tietchens, or Lena Platonos. While touching stones, The Thing by Dylan Trigg, Cascade Experiment by Alice Fulton, and Wretched of the Screen by Hito Steyerl are but a few formative scripts that support Dalt's exploration of the betwixt and between.

In preparing a live set for Anticlines, Dalt plans to stage an uninterrupted configuration, like a kind of alienated lecture, aiming for gestures that create tensions with non-existent objects.' Dalt intends to provide meaning and a place for the listener to meditate or relate to the concerns and ideas' she presents.

- Lucrecia Dalt is a Colombian recording artist, songwriter, and producer.
- After studying civil engineering in Colombia, Dalt worked at a geo-technical company for two years and has since lived in Barcelona and Berlin, where she currently resides.
- She has released five solo albums and has collaborated with musicians Julia Holter, Laurel Halo and Rashad Becker, to name a few.
- Dalt has composed for sound design installations and performance pieces for institutions such as the Santa Monica Art Centre, Reina Sofia Museum and the Maisterravalbuena gallery of Madrid, in collaboration with visual artist Regina de Miguel.
- Anticlines is Dalt's sixth solo record, and her first on RVNG Intl., following the release of 2015's Ou.
- Anticlines explores the boundaries and limitations of human consciousness. The album's poetic lyrics were written collaboratively between Dalt and Henry Andersen during a weekend in Brussels, Belgium.

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Land Of Hits was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. Mistafide's colossal old-school rap behemoth 'Equidity Funk' has long been a record that makes the serious collectors salivate and is now here in full 12" form repress, too legit to quit.

Not much is known about the crew behind 'Mistafide', their government names are listed online but this is the only record they put out using this name. Suffice to say, this has no impact on the fury and style with which the MC's deliver their raps, backed with the studio nous of impresario Peter Brown. Across 12 minutes 'Equdity Funk' is a slamming Disco-rap monster, interpolating elements of the evergreen B-boy jam 'Theme From SWAT' it sounds like everyone just got into the studio and went for it. In the style of the times this is the real hip-hop flavour, a live band, some MC's and some death defying bars being dropped, proper old school. A truly rare recording, 'Equidity Funk' has been one of those records fans of the Disco-rap era have been fiending for for decades - often commanding prices over the $1000 mark you can now grab this slice of essential NYC street Funk.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, remastered with love by Optimum Mastering, Bristol UK.

Superb compilation of modern ambient/minimal electronics featuring exclusive tracks from a wealth of current talent inc. H. Takahashi, David Edren (aka DSR Lines), Miaux (Ultra Eczema) , Kuupuu (Em Records) Nuslux (Keijut) & Olli Aarni. Finnish Label collab between LAL LAL & IKUISUUS. Tip!
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Neptunalia, a festival of Neptune, celebrated at Rome, of which very little is known. The day on which it was held, was probably the 23rd of July. The festival was celebrated with games. Respecting the ceremonies of this festival nothing is known, except that the people used to build huts of branches and foliage, in which they probably feasted, drank, and amused themselves