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Tony Rolando's debut release Old Cool Echoes is the kind of tape you flip over and play again and again. His second release, an LP for Important titled Breakin' Is A Memory, will be available in early 2022. A CD titled Shared System will follow.

Imagine if you wished away your surroundings and found yourself in a synthetic landscape where the simplest three color pattern animated an entire horizon. If you could suppress your memory enough to experience the new beauty of it, but not so much that you lost the pieces of yourself that make life worth living, this could be your soundtrack.

For more than a decade, Tony Rolando has composed electricity into musical instruments at Make Noise. When he collaborated with Alessandro Cortini in 2019 to create the Strega instrument, the experience rekindled Tony's love of composing and recording music. On "Old Cool Echoes," Tony follows mutating patterns and slow timbral gradients, allowing them to suggest composition as much as he does, occasionally exploring digital media catacombs and dabbling in the microtonal, all with minimal percussion interruption.

Following their recent Difference and Repetition, A Musical Evocation Of Gilles Deleuze 2LP/CD this limited 7'' edition features The Tears of Nietszche on side A with Richard Pinhas as guest musician and Vecteur d'abolition on side B with the voice of Gilles Deleuze.

Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with 10 albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox) and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy FoxŠ). Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll or J. G. Ballard have been invoked many times. In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon... From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted.

A full length collaboration from DUANE PITRE and ELEH. PITRELEH use high resolution analog and digital tools to create music utilizing natural vibrations and harmonics as rhythm and melody. Inspiration is drawn directly from vibrational waves (sound, gravity, water). The electronics, of which both pieces are constructed, are tuned using pure intonation which utilizes the prime numbers: 1-3-5-7. The debut live performance of Pitreleh was recently presented at the Issue Project Room in Brooklyn as well as the Museum Of Contemporary Art in Cleveland.

Limited edition 12" dedicated to the Neve A Maggio song flavoured with four remixes. Three from Mushrooms Project and one with a 90's house style by Deep88.
Wrapped in elegant electronics and an international flavour, Sara's voice recounts the unusual in these days characterized by strong anomalies and cold solitude. Like when it snows in May, like when you want to pick a rose and instead find yourself blinded by a white reflection, completely out of place. Yet there is life, under that white; breath, pulsation, a rhythm that presses and makes you dance: a song that drags you away from a daily life troubled by extraordinary events, which become intimate and confidential, but still unique, like every single snowflake.
Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All releases are licensed audio tracks re-mastered in their original form with sleeves recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.

Repress

KRTM is back with a solo EP for SSSPCR005. These new tracks are diving further into the vast spectrum of electronic music with an obsessive, yet playful tone. Although, throughout the entirety of this record, deranged and demented tendencies are hiding underneath the layers of electrical grain.

On this edition's artwork, Casimir is collaborating with the illustrator and graphic virtuoso Lukas Verstraete, forming a series of energetic and radical drawings covering the narrative nature of these tracks.

Designed by Lukas Verstraete.
Mastering by Casimir Desmet.

black vinyl repress

Our next release, and now long-awaited, is a collaboration between IMOGEN and Ben Pest. This follows IMOGEN's earlier appearance on Earwiggle which was a highlight of the Eel Behaviour series. We're big fans of Ben Pest and are very pleased to have the pair debuting their first full release together on the label.

From the hyperactive opener "Volts", that effortlessly juggles raw analogue techno with UK hardcore and all manner of rude bass wobbles, they soon delve into further chaos through the squawks and clatters of broken industrial cut "Gramalkin". "Shibooty" is a perky take on Chi-town techno, upping the funk levels through bustling shuffled 909s, humming bass and cartoonish vocal sequences. With the brooding acid electro of "Misjudgement Day", IMOGEN and Ben pile on some extra modular drones for the road, finishing off the EP in killer fashion.

Best Record Italy presents a reissue of Model 11-29's "Wot Times," a particularly inspired work by the legendary Sangy that transforms "Rapper's Delight" into a slice of Italo-balearic ecstasy. On the vocal version, drums sit between disco and electro as they boogie down to a breakdance beat, with greasy funk basslines slapping and sliding in support. Solar dub chords pulsate through anthemic pattens, pads blow across the mix like a warming ocean breeze, synth leads sparkle in coral colorations, and those classic Sugar Hill Gang lyrical flows are reconfigured into an ebullient spoken word rap, which is then morphed by futuristic fx and interspersed with shouts, grunts, and call-and-response chants. On the flip, the instrumental version walks with more of a sexual disco strut, resulting in a summertime seaside cruiser overflowing with dazzling synthesizer displays, as organ chords generate mirage visions, gemstone leads shimmer through swells of tropical mist, and acid-laced Italo pulsations work the spirit into euphoric beach dance hypnosis.

Simon Lovermann's debut album "Handwerke - Songs for my fathers" is focused around the piano, both as a harmonic and a percussive instrument. It is influenced by Jazz, Electronica, Hip Hop and Minimal Music. The beats are created with the piano and are enriched with body-percussion and beatbox to create an idiosyncratic atmosphere and distinctive sound.

The album deals with the personal story of the artist. Simon's biological father, Robert, was a Jazz musician and died before his birth. Simon was raised by his father Christian. This album is therefore a vividly emotional way for him to explore topics like death, fatherhood, family, identity and belonging.

"Handwerke" comes with a special artwork and cover design, featuring contributions by 16 artists printed on individual postcards and assembled in a 20-page booklet.

The release is a collaboration of Der Greif and Squama Recordings.

DJ Godfather with the bizness once again! Offering up a point and place where the tempos of house, techno and electro can be bridged in a single mix with the BPMs of footwork, juke and jungle. Get your more tongue in cheek, Dirty Bird-like club numbers from ''Up All Night (feat Christina Chriss)'' next to the straight up, frenetic, and deep Detroit styled clap-track ''D3T-313''.

After years of anticipation, here are the Iration Steppa “90s CLASSIC CUTZ”, an exclusive re- edition of five seminal UK Dub tracks that revolutionised reggae & electronic music in the 90s!

Including: Reminiscence, Kilimanjaro, What's Wrong, Lightning Dub & High Rise Vibrations

In 1977, in the midst of a period of political turmoil and social unrest that went down in Italian history as "years of lead", screenwriter and director Massimo Pirri made a film no one else had the courage to make: Italia: ultimo atto? (Could It Happen Here?). Here, Pirri explores the controversial (and, in the 70s, very current) topic of left-wing armed struggle. He does so through a storyline that is almost prophetic: in the film, a mysterious ultra-leftwing armed group plans and executes the killing of the Ministry of the Interior; in 1978 Christian Democrat leader and former premier Aldo Moro was kidnapped and killed by the Marxist-Leninist Red Brigades).

The violence of Pirri's storyline is fully captured by the score composed by Lallo Gori, who uses obscure synths, analog keyboards, and dry-sounding acoustic drums to create an extremely tense and frenzied soundscape of electronic textures.

The result is an album that combines dark, haunting jazz-funk with ambient atmospheres and suspenseful electronic sounds, and which ends up sounding like an instrumental proto-hip hop record where Moog synths take the lead together with drums.

At the time, this must have seemed like a low-budget, ramshackle soundtrack – essentially, a B-movie soundtrack. Indeed, the extensive use of electronic sounds was meant to compensate for the lack of acoustic instruments, such as the bass or (alas!) brass, which were replaced by keyboards and MiniMoog synths. Today, however, Lallo Gori's odd and minimalistic style of arranging makes this score sound unexpected, avant-garde, and innovative. In short, modern and contemporary.

Previously unreleased in any format, all tracks have been remastered from the original master tapes.

2x12"s of the finest IDM and electronica from Dutch producer EXM. Descent takes you on a mind altering journey over 9 impressive tracks.

Tartelet has a knack for uncovering virtuosic, off-kilter electronic music. Max Graef—born, bred and still holding it down in Berlin's Prenzlauer Berg—is their latest artist in this mold. Though adventurous dance music is thick on the ground in the German capital, Graef's 2013 run of singles, cropping up on Graef's own Box aus Holz, plus Melbourne Deepcast, The Gym, Heist and Tartelet, continually surprised, infusing worn-in house with manic energy and acrobatic elasticity. Where many of his peers make languid, self-consciously laid-back tunes, Graef makes brilliantly restless ones. Dropping the needle on one of his EPs, you nearly expect it to pop right off again.


Rivers of the Red Planet, Graef's first full-length and Tartelet's latest album project, takes all that wildness and refines, expands, updates and scrambles it. It's as ambitious and deviously entertaining a record as you'll hear in 2014, the fulfillment of Graef's desire to make anything but another contemporary house music album. At any given moment, Rivers of the Red Planet feels like it could have been recorded through the smoke at a jazz club in the booth at a techno club 30 years from now or inside an MPC stocked with crusty dollar-bin samples. (We'd guess the staff at Graef's beloved OYE Records in Berlin will have a difficult time settling on which section to file it in.) If it sounds sampled, it's a testament to Graef's natural musicianship and production prowess —the record is heavy on sounds he played himself, from drums and Rhodes to fat synth melodies wrung out of an old Crumar Performer water-damaged to perfection. For vocals, Graef enlisted Nigerian singer Wayne Snow, whose rugged soulfulness makes him a natural pairing. On cuts like "Drums Of Death" and "Speed Metal Jesus," the club- readiness of his EPs lives on. But Rivers of the Red Planet may be most at home in your living room, with a good bottle of red and a roaring fire's crackles mixing with the pops and hiss of the vinyl—a playful listen that sinks in, burrowing deep and getting you all warm and gooey on the inside.

The interdisciplinary collective and record label Liber Null proudly presents its newborn vinyl series, kicking off with two releases “ Vol I & II”, taking eight of the best cuts from it’s Seven Years Anniversary compilation, “Delirium”. The releases showcase unique music from a diverse selection of artists and friends, including tracks from Phase Fatale, Alessandro Adriani, An-i + Unhuman, Zanias, Celldöd and SSSS.

Loyal to the concept of Ritual Magick and with a deeply ideological approach towards darkness and chaos in performance art, the two records complete a cutting-edge journey through mutant soundscapes and electronic body-music, made by the finest producers.

The peeps behind the People Of Earth label claim that Rick Wade is on top form on their latest release. While that's undoubtedly true, the Detroiter has incredibly high standards and rarely puts out anything mediocre. The four tracks here are all deliciously deep and fluid, with the Fender Rhodes solos, meandering organ lines, warm bass and chunky beats of "Never Give Up" delivering just the right blend of instrumental goodness and dancefloor-ready weightiness. "Seen At Night" is an even deeper and hazier treat, while "Forever Alone" sees Wade wrap bongo-laden beats and eyes-closed electric piano chords around a ludicrously warm and heavy bassline. Solo-laden closing cut "Rooftop" is also superb - a proper sundown selection of the highest calibre

Undersound marks its 20th release with a collection of tracks from Scatterbaux. While the producer has a few sparse releases online, he displays considerable dexterity on these hardware jams. The A-side heavily features the classic 303 synth and opens with “Ghosts On The Wing”, where the artist is experimenting with an 8 bar acid pattern overlayed with dreamy leads and pads. This is followed by “Acid Squabble”, where two 303 lines bounce off each other exchanging their filter positions conveying a range of feelings and emotions. The B-side follows with “Chamber 27”, an electro jam with 808 drums and a driving 101 bassline. The EP closes with the fast paced “Womp Bucket”, with its evolving drum patterns and emotional overtones, completing a showcase of the producer's signature acid tinged style.

Deviation Records is pleased to present you their latest and exiting collaboration with the Mieruba Label Team.
The Super Biton has existed since the 60s, like Ségou, its orchestra, the Super Biton has always remained behind what was done in Bamako and in the big cities of Africa. The Ségou orchestra developed and incorporated amplified instruments that mingle with brass, in particular electric guitars, symbols of modernity at the time. It opens up to Cuban music, and congas and bongos complement the sound of the orchestra. The group drew a unique sound from it, a perfect balance between tradition and the modern. There are about fifteen artits on stage, singers, guitarists drummer and percussionists. The Super Biton has for years been the best known and most sought-after orchestra of Mali outsid the country's borders, the Super Biton transcends the only Bambara heritage with its repertoire. Ségou is crossroads between Bambara, Fulani, Mandingo and Somono cultures and Biton has drawn on all these traditions to creat a repertoire extremely rich in rhythms and words. Some musicians completed their training in Cuba. They play "bambara jazz", incorporating a lot of
brass instruments such as saxophone, trumpet, clarinet. The compositions are modern and sophisticated.
Mieruba Art Center is a place dedicated to the transmission and safeguarding of Malian musical heritage through musical exchange between the older and newer generation - Artist residences, music lessons, rehearsals, Workshops, Masterclasses - and so on. Just as happy former musicians of Mali, the members of Super Biton give lessons on site. It is also the office of the Mieruba-ML label in the same place where Deviation Records is collaboration for the second time on the album - After the « Lost Maestros Collection » - with the
support of La Manufacture de Vinyles. Phil of Deviation Records tells: "I am very enthusiastic at the idea of offering you these two volumes of the History of the Super Biton of Ségou, Clique of Super Heroes of sound,
a source of inspiration for generations of musicians, DJs and also griots and storytellers of great renown! This double LP compiles the first Chapter of the rich Afro-Jazz-Folk Collection whose tapes have been remastered by Monsieur Jonin and cut at the MB Mastering Studio in Aubervilliers .The gatefold artwork is conceived by
Ewwanuelle Collage and formatted by Bertrand Tondeur, Graphic designer of Les Mouches. All that’sleft to say is that i hope that you enjoy listening to the final result !"

The original Soundtrack to Greek-German director Nikias Chrssos’ new feature, ‘A Pure Place’, scored by John Gürtler (Eigenlicht, COUNTER019), with his studio partner Jan Miserre, and featuring a track by chameleonic British artist Shackleton.

The script for A Pure Place had a dizzying effect on John Gürtler & Jan Miserre; their minds reeling with the possibilities.

From Persian sheep bells, Chinese sheng, prepared trombone, quarter-tone piano, a beaten-up cembalo, hand percussion, and a room full of synthesizers, embryonic compositions and experiments came to life early on in the project.

An electro-acoustic extravaganza, the soundtrack for A Pure Place takes a deep bow towards the many magnificent composers and scores from the late 60s and 70s where orchestral arrangements met with tape loops, psychedelia, and instruments from across the globe. Listening to that era of film music, anything seems possible.

The minimalist tones of ‘Ritual Bells’ set the dial to weird in the opening sequence of the movie, whilst ‘The Island’ makes use of ambient vocals recorded through an oil drum, gently introducing one of the score’s main themes with a distant quarter-tone cembalo.

Acclaimed British artist Shackleton’s eerie original version of ‘Fust’s Song’ (also included) was a tonal keystone for the entire soundtrack. Gürtler and Miserre translated his psychedelic electronic blueprint, layering acoustic instruments and bottom-heavy percussion in their ‘Paradox Paradise’ production style. The vocals, written by Chryssos, and sung by the cast on set, capture the sonics of the actual crypt-like space where cult leader Fust addresses with his following.

‘A Glimpse of the Other Side’ speaks of love and death in a 70s-indebted composition reflecting John and Jan’s shared love for melancholic and suspenseful chord progressions. Meanwhile, the sparkling synths of ‘Athens’ - the children discovering neon-lit civilisation after years confined on the island - transplant us to an entirely different era.

Greek artist Maroulita del Kol features heavily throughout - her choir of vocals on ‘Erotica’ were recorded late at night in the studio foyer, capturing its unique tiled reflections and concrete reverb.

On ‘Purification’ Maroulita’s voice guides us alongside a Moog bass drone, building to an ecstatic climax, whilst she also features in the film’s disco-centric ending credits on ‘Gatoula Mou Mikri’.

Sharing his InBach album with the world in 2020 set events into motion that ultimately led to Arandel making second edition in the critically acclaimed, borderless project that unites rare instruments, musical reimanigation.

Arandel unites once again behind the musical phrases of the Leipzig composer specialists of ancient and modern instruments (Thomas Bloch), modern synthesizers and moogs, strings experts (Gaspar Claus), and the poetic spoken word of Myra Davies and Bridget St.John.

Textextext - (add your write up)

"There is a Bach for everyone" Arandel says, "and that discovery is what led me here, to InBach". Beneath the intricate history, the godlike adoration placed upon Bach, he was a playful musician, an eclectic one even. And so, a full year after the release of the first InBach record on InFiné, there is enough material to make a second one. "There is so much about Bach I didn't even know when making the first one - but after the release, people kept coming to me, telling me about certain pieces I should listen to or rework; songs that I had never even heard of."

The second InBach grew like a garden from the seeds of the first one - an eclectic journey through melodic fantasies, intricate sound design and a certain Pop silver lining. Some tracks were born out of Arandel's band performing on stage, experimenting with the songs live and composing them anew, like "Nos Contours", a new, French-lyrics version of Bodyline with Ornette, Arandel's stage partner.

InBach vol. 2 is a logical consequence then, of someone diving into a pool of music and history so large that it is being chronicled to this day. A substantial part of the instruments used on the lofty, eclectic album were recorded at the Musée de la Musique Paris: rare instruments like the *Erard square piano, ondioline, Zach's cello, Stroh violins*. They help shape the unique sound of Arandel's InBach project: sometimes _eerily familiar, always otherworldly and elusive.

In the vein of rare instruments, the first guest musician Arandel approached for InBach was Thomas Bloch, who lends his gift to four tracks over the two albums, playing the ondes Martenot, one of the first electronic musical instruments ever invented. Thomas has worked with many major artists in his career of ike of Radiohead, Gorillaz, Marianne Faithful, Tom Waits, Daft Punk.

The record travels *between styles, ideas and moods elegantly - it is a distinctly fun and personal album. Freeing himself from the weighty shackles of expectation surrounding the classical maestro, Arandel goes for the core of every Bach piece he tackles, making them his own. on "Octobre", based on Air On G-String, from Orchestral Suite No. 3 D-dur, BWV 1068, his nephew tells a dreamlike story of an ominous gang of children, literally blossoming in the mud. "Fabula" - featuring the French singer Scalde - based on the melancholic, Christian lament Meine Seele wartet auf den Herrn, becomes a grandiose, auto-tuned pop ballad on InBach vol. 2, featuring the virtuoso cello of fellow InFiné associate *Gaspar Claus*.

The use of spoken word is another new layer to InBach, and acts a lyrical thread carrying the listener through InBach vol.2: the closing track features Bridget St.John, John Peel-associated folk legend from the UK to offer to collaborate on a poem for this second volume, she replied to him with a line from André Gide : "You can't discover new land if you aren't willing to lose sight of every shore". A lovely way to sum up the InBach experience for both artist and listener.

This is a love-filled tribute to the late japanese techno and ambient pioneer SUSUMU YOKOTA. In 2021, talented classical guitarist AYANE SHINO discovered his impressive works and recorded cover version of tracks from his acclaimed SAKURA album. Those new contemporary musical pieces will please his ever growing fanbase as well as listeners beyond the electronic music scene.

strumentalist Teddy Lasry's story is noteworthy not just in regards to the music he released, but in the ways approached the craft of composing and experimenting with sounds and sonics.
Always intrigued with the capabilities of instruments, their groove and their feel, it was very much his family’s influence that helped to fuel these life long affections. As a performer in a parisien cabaret, Teddy’s father Jacques would mingle with giants like Serge
Gainsbourg and Charlie Chaplin (impressed by his ability to improvise, Chaplin wanted him to become his accompanist, but the pianist politely refused). Jacques and his wife (Teddy’s mother Yvonne), would later become members of the innovative experimental group Les Structures Sonores, and surround their children’s lives with sounds. Electronic music was still in its infancy and Les Structures Sonores, with their resonators that produced long, mysterious tones, were deemed ‘cosmic’. It was the era of the launching of the first Russian Sputnik and every time a radio or television station wanted music for their science fiction programs, they turned to one of their compositions. Showing a natural ability with multi instrumentalism, Teddy was rewarded with a spot in the band, allowing him to really explore unconventional methods of composition.
Following a brief stint with Ariane Mnouchkine's avant-garde Théâtre du Soleil after graduating school, Teddy joined the pioneering prog band Magma, with whom he would record three groundbreaking records during the early 1970s (According to former member
Laurent Thibault, their album Mëkanïk Dëstruktïẁ Kömmandöh and its sound were strong influences on David Bowie during the recording
of Low and Iggy Pop’s The Idiot at Hérouville). Despite the successes with these projects, Teddy was constantly searching for new ways
of expressing himself through music, leading him into the beginnings of a solo career that would last the better part of three decades.
Teddy’s transition into his solo career came with contrasting fortunes, in that he was now becoming a music to image composer but with the unfortunate realisation that his eyesight was gradually worsening (due to being diagnosed with retinitis pigmentosa at an early age). Nonetheless, his solo career would begin in 1975, and for the rest of the decade his sound would become increasingly mired in electrified Funk-Fusion and its endless sonic possibilities. The resulting music would serve to highlight Teddy’s love affair with the possibilities found within tireless instrumentation, with the flute and particularly synthesisers becoming a mini-obession of his (he once spent a 7,000 Francs loan, which was meant to be spent on fixing his roof, on synths).
To this day Teddy continues to record and experiment with music, a passion which in many ways has never left his sid, even at the age of 75. His career was one that was fuelled by innate curiosity and an intrinsic desire to discover new methods of expressionism, be it through the realms of Jazz-Funk, ambient electronics, Swing music or indeed through the medium of instrumentation itself. On this compilation, we look to encapsulate the essence of his innovative sound, and from start to finish a sense of his ingenious approach to composing structure and mood is made abundantly clear. The funk-jazz fusion style that embodied the majority of his 70s work is on full display here, with the vibrant flute driven "Los Angeles", the Miles Davis inspired "Blue Theme", the progressive and driving
"Chamonix", and the deeply intricate "Krazy Kat", along with one of his finest 80s slow jams, "Funky Ghost". Two cuts off the ‘Back To
Amazonia’ album are also featured (Teddy’s last album including his Prophet T8, Yamaha DX7 and Oberheim drum machines). "Raising
Sun in Bali" and the title piece both emphasise an ever present passion for synthesisers. "Birds of Space", a standout track off the e=mc2 album, closes the comp, and is a fitting way to end this journey.
Pulled together in close collaboration with Teddy and his family, this collection of songs looks to introduce new listeners to his work and we are proud to present this limited and carefully remastered compilation on vinyl, including extensive liner notes.

Armand Bultheel is half of the group Agar Agar. He also makes music on his own, which he now feels ready to present to the world.
He composed an album, Lullabies For Computers which will be his first to be released on vinyl.
It's a series of lullabies, addressed to our computers that so often accompany us in bed and sleep - even if in the end, while composing the tracks, Armand felt more like writing them for his friends. With this album, he presents a sensitive and organic electronic music,
whose softness provokes a contrast of emotions between joy and melancholy.
Happy to share these tunes, he put in the softest ingredients possible, with round bass and little melodies that wander over.
He slipped in the colors of his favorite synths, one of which he made in the shape of a human mouth.
Lullabies for Computers is the second part of the new "Meditations" series from Cracki Records, a series of records made to listen (for once) to escape and dream.

Science Cult is proud to presents CYRK’s second outing on the label via the Kinetic Series: A limited edition of Picture Discs with kinetic artwork crafted by Chris Dowding.

Berlin based duo CYRK regards “Hidden Geometries” as one of their favourite tracks ever made, hence no expense was spared to give it a special home on Vinyl along with a remix by the iconic Plaid. Rounding out the release are 2 more instant classic electro tracks.

What or HOO do you get if you mix guitarist Neil Halstead, Farmer Dave of Beechwood Sparks with uncompromising folk angel- Jackie Oates, producer-songwriter and organic gardener with a penchant for wah-wah, Nick Holton? The answer is the widescreen, heartbreaking glory of HOO’s second album WE SHALL NEVER SPEAK. A more song filled leap forward from debut CENTIPEDE WISDOM’s post-rock electro adventures. Holton is a master builder of woozy dynamics, his songs unfurl with a mysterious, hooky logic all their own - this is cinematic and deeply emotive machine music. A glorious hybrid of electro, shoegaze, dubby ‘niceness’ and floating dream pop. The spooked, narcotic throb of opener GHOST IN YOU. The pounding, chewy Kraut/Space rock of CRANIUM. THE MIGHTY’s exquisite slow build towards Can-like lift-off. The snarly, groovy drive of centrepiece & single STILL DREAM. A brief flirt with musique concrète on the metronomic NO ONE CAN SEE THIS. The Halstead co-penned shoegazy, echoey swagger of WE SHALL NEVER SPEAK. The album’s poisoned chalice & peak song moment, POWDER MOON. The synthpop of YOU CHANGED THE WAY YOU SMILE. Closer SEA OF GLASS sounds like Leonard Cohen visiting Kraftwerk’s Klingklang studio. Let that sink in - the idea is perhaps the heart of this venture.The detail and texture is extraordinary. A glorious hybrid of an album that over eight songs builds into something unique. Epic and homegrown. Upbeat and melancholic. Questing and questioning. Haunted by loss but future-facing. It’s a genuine marvel. Holton’s HOO co-conspirators this time are Neil Halstead, Charlie Holton, Ian McCutcheon, Paul Blewett, Chris Monger and Lee Lavender. Guests include acclaimed folk singer Jackie Oates and West Coat Legend Farmer Dave Scher

What or HOO do you get if you mix guitarist Neil Halstead, Farmer Dave of Beechwood Sparks with uncompromising folk angel- Jackie Oates, producer-songwriter and organic gardener with a penchant for wah-wah, Nick Holton? The answer is the widescreen, heartbreaking glory of HOO’s second album WE SHALL NEVER SPEAK. A more song filled leap forward from debut CENTIPEDE WISDOM’s post-rock electro adventures. Holton is a master builder of woozy dynamics, his songs unfurl with a mysterious, hooky logic all their own - this is cinematic and deeply emotive machine music. A glorious hybrid of electro, shoegaze, dubby ‘niceness’ and floating dream pop. The spooked, narcotic throb of opener GHOST IN YOU. The pounding, chewy Kraut/Space rock of CRANIUM. THE MIGHTY’s exquisite slow build towards Can-like lift-off. The snarly, groovy drive of centrepiece & single STILL DREAM. A brief flirt with musique concrète on the metronomic NO ONE CAN SEE THIS. The Halstead co-penned shoegazy, echoey swagger of WE SHALL NEVER SPEAK. The album’s poisoned chalice & peak song moment, POWDER MOON. The synthpop of YOU CHANGED THE WAY YOU SMILE. Closer SEA OF GLASS sounds like Leonard Cohen visiting Kraftwerk’s Klingklang studio. Let that sink in - the idea is perhaps the heart of this venture.The detail and texture is extraordinary. A glorious hybrid of an album that over eight songs builds into something unique. Epic and homegrown. Upbeat and melancholic. Questing and questioning. Haunted by loss but future-facing. It’s a genuine marvel. Holton’s HOO co-conspirators this time are Neil Halstead, Charlie Holton, Ian McCutcheon, Paul Blewett, Chris Monger and Lee Lavender. Guests include acclaimed folk singer Jackie Oates and West Coat Legend Farmer Dave Scher

Tape

SectorSept’s ‘954’ is a boldly original record, one which announces the arrival of a singular musical mind. Its creator states that he crafted this EP by trying to make tracks that were ‘a representation of how I believe music would sound in some distant land in the future’. On ‘954’ this vision takes flight in the form of eight multifaceted, genre-defying electronic productions.

To unpack this record one must first understand the myriad influences which feed into SectorSept’s style. The producer grew up between the UK and Florida - indeed, the record’s title references the area code he had while in the USA. His formative years were spent soaking in the dancehall sounds he heard around him in his Jamaican household as well as techno, jazz, Miami bass and the city’s ‘Love 94 Smooth Jazz’ radio station.

All of this and more can be heard in the fabric of ‘954’. The drum programming alone reveals SectorSept to be someone with extremely wide-ranging musical tastes. Cuts such as ‘Get Ready For The Programme’ and ‘Be There’ are powered by deft beats that have Miami bass, Jersey Club, juke and more in their make-up. Drexciya-adjacent machine-funk creeps into the mix in ‘954’s mid-section, ‘Golden Third Eye’ touches on trap, and closing duo ‘Tropic Universe’ and ‘Prize’ bring dancehall dembows to the fore.

The productions of ‘954’ are simultaneously driving and chilled, coasting nicely yet still plumbed with enough bite to do damage on the dancefloor. It’s a feeling which is heightened by SectorSept’s gorgeous textural work. Several of the tracks here soften up collages of vocal clips with wistful, dreamy synths - see the way that club-caller snippets orbit Boards Of Canada-esque keys on ‘Get Ready For The Programme’ or how closing cut ‘Prize’ works both the classic Warp/Planet Mu sound and the pitched-down stylings of DJ Screw. It’s a rich and fully-formed artistic aesthetic, something which is all the more impressive when you consider that ‘954’ is SectorSept’s first official release.

That said, while the overall flavour of ‘954’ is SectorSept’s and SectorSept’s alone, one also finds links to Gobstopper’s previous output here. Those dancehall influences on ‘Tropic Universe’ and ‘Prize’ line the record up with Gobstopper drops like Otik’s ‘Thousand Year Stare’ while the emotive, soulful synth work that has long been a Gobstopper calling card is also in evidence here. Perhaps the thing about ‘954’ which makes it feel most at home on Mr. Mitch’s label is SectorSept’s imaginative futurism. SectorSept is a keen scholar of anime composers Kenji Kawai and Joe Hisaishi, and as such it is no surprise that there is a slightly fantastical quality to ‘954’. This is most boldly expressed on ‘Intuition Segment’, a magic-realist vignette which looks to Oneohtrix Point Never.

Blending ethereal textures with hybrid electronic grooves, SectorSept’s ‘954’ EP uses the sounds, influences and cultural experiences that have shaped its creator in order to build a vibrant vision of the future.

Gábor Lázár's colourful discography extends from sound art to his more recent dancefloor detonations. From his first release on Lorenzo Senni's Presto! label to his collaborations with Russell Haswell and his popular 'seizure inducing' team-up with Mark Fell entitled 'The Neurobiology of Moral Decision Making' to his last album 'Unfold' on The Death of Rave, where he balanced relentless, snappy rhythms and wonky melodic tones against more measured chords to create a deliciously fruity futurism.Gábor has now signed to Planet Mu for his new album 'Source' which moves forward with the dance music direction he started to formulate with 'Unfold'. Gábor first fell in love with electronic music simultaneously through dance music and it's IDM offspring, and also with harsher, noisier computer music on labels such as Editions Mego. This collection, which develops slowly over 8 tracks, works its way through his own take on these influences, moving across themes and loops as if each track is a different stage in a process. All these tracks sound incredible on a club sound system. The listener can hear nods to hoover bass and 2-step in 'Phase', or trance techno in ‘Excite', the dive-bombing bass of dubstep in 'Effort ' or the frantic techno influence of 'Route', emulated in the minimal forms Gábor has created with a sound artist's precision and a strict adherence to his vacuum-like grids. Gábor bends his sounds, abstracts them and re-contextualises them; basslines fire out of the grid at strange angles and squirm as if they've come alive, shards of melody shoot off at wild angles, attacking with drama and a thrilling sense of energy

Haiku Salut, the acclaimed electronica trio from the Derbyshire Dales release their fifth album, ‘The Hill, The Light, The Ghost’ on Secret Name records on August 27th. Note the LP follows in November.

A beautiful study of ghosts and memory, the gestation of the record began when Haiku Salut’s Sophie Barkerwood was given a Tascam field recorder. “I carried it around with me in case anything interesting happened. I guess I wanted to capture little pieces of the world in the same way we all take photographs,” explains Sophie. “It wasn’t immediately apparent that we would begin to use these sounds as the architecture for an album but as our writing process evolved the textures of these memories became a bank of inspiration.”

“We then began actively searching for ghosts in the world and framing the songs around their qualities,” Sophie continues. “Gathering recordings, removing them from their context and building worlds around them. Capturing and preserving personal experiences, and evoking vivid spaces. You could say the record is a miniature exploration of sound in relation to memory. Each piece is intimately connected to a place in time.”

Musically, the album marries the expansive vision of their third album, ‘There Is No Elsewhere’, which celebrated identity and community, with the darker, more contemplative feel of their fourth album, the trio’s original soundtrack for Buster Keaton’s ‘The General’. Building on the lessons learned working on ‘The General’, ‘The Hill, The Light, The Ghost’ is a cohesive suite, nine songs that combine to tell a larger story – that of experience and memory, of precious moments and echoes of past lives.

Truly adventurous and life enhancing music that invigorates your soul. TIP!

Press Release:

Gordan join traditional Serbian singing with abstraction, energy and minimalism. Their music is marked by radical reduction, seemingly endless ascension and a passion for experiments.

The Serbian singer Svetlana Spajić is an internationally recognized and acclaimed artist. She, like almost no other contemporary singer, is a master of all the complex local stylistic variations of singing from Balkan music. Guido Möbius plays bass and various electronic sound generators. Additionally he uses guitar amps, microphones and effects to provoke feedback which either harmonize or are juxtaposed with the song. It is a dialogue between sound and noise which is accentuated or fragmented by means of Andi Stecher’s expressive drumming. With a rich pool of ideas the percussionist drives the sound forward breathlessly and grounds it. Together the trio form a dynamic body of sound.

Gordan recorded their debut during the first wave of the Covid19 pandemic in Europe in March 2020. Due to the lockdown in Berlin at that time the city didn’t have many distractions to offer, so the trio just concentrated on work. The atmosphere of being isolated in a recording studio had a big impact on the musical results. All three band members came up with ideas for new pieces, which were immediately tested, worked out and recorded. On abstract instrumentals provided by Stecher and Möbius, Svetlana Spajic sometimes reacted with personal interpretations of serbian traditionals, and the other way around. Most of the time it was as if the music just happend to the band; playing together felt natural from the first moment on.

Some of the old serbian traditional songs that Spajic sang are extinct forms with a specific local melodic mode. The skillful improvisation of their lyrics and ornaments was of great importance and very estimated among village singers. The title song Down In The Meadow for instance originally is a love song from the village of Odevce in eastern Kosovo, Serbia. The singing manner is of a great intensity and sonority, with lots of specific local ornaments. It disappeared along with the village communities from the area. Oh, my Rose flowers is from the region of Kopaonik mountain (southwest Serbia) and the mode, scale is known as ”kopaonički glas” (Kopaonik mountain air). Svetlana adopted the style from the late singer Veličko Veličković from the village of Ostraće. It is an old mountain solo chant, rich in fast ornamentation movements and microtonal intervals. Don’t ask how I live is Svetlana’s homage to the new popular folk music movement from the 80ies known as Južni Vetar (Southern Wind) led by a musician and composer Mile Ilić, known as Mile Bas (“Mile the Bass”) which revolutionized popular music introducing tabooed oriental music and original arrangements.

All music by Spajic Stecher Möbius except ‘Don’t Ask How I Live’ by Miodrag M. Ilić, original title Što me pitaš
All lyrics are traditional, except ‘Don’t Ask How I Live’

Svetlana Spajic — vocals
Andi Stecher — drums & percussion
Guido Möbius — bass, feedback, electronics

Recorded by Alberto Lucendo at UFO sound studios Berlin in March 2020 mixed by Morphosis
Mastering by Neel at Enisslab, Rome
Artwork by Lorenzo Mason Studio

Biga Ranx is a major artist of the international Dub Scene, he has been acclaimed by the biggest Jamaican MC's over the years for his unique flow and style. From the age of 14, Biga has been working on his lyrics, his compositions, etc.. After 5 albums and 1000 gigs over the world, Biga Ranx his still evolving and his mixing Dub, Electronic, Lo-Fi and Hip Hop sounds.

Night Bird is his 3rd album released in 2015

Giving form to a broad personal project of continuous inquiry and existential expression, A World Of Servicemarks the Ostgut Ton debut of Spanish producer, DJ and artist JASSS aka Silvia Jiménez Alvarez.

The evolution of A World Of Servicehas curved around genre collapsing and unexpected metamorphoses. Formerly the name of the monthly radio show JASSS hosted in Berlin, and soon to be the title of her expansive multi-sensory touring concept in collaboration with Ben Kreukniet, here A World Of Serviceis powerfully concentrated in sonic form. Throughout the album JASSS muses on the especially current human and technological barriers to interconnectivity; both lyrically and musically she deconstructs the self, unmasks anxieties and interrogates the insufficiencies of language as applied to gender, identity and interpersonal relationships. Forming her own fluid, nuanced lexicon in response, JASSS seeks a deeper understanding of her multiple selves, emerging through unbridled adolescent rage and the wisdom of maturation, traversing liminality with abstract electronics and baroque industrial pop. Visually this is underscored by Matt Lambert’s uncanny floral cover portraiture, as well as the record’s distinct scent of wet earth, flower and woods developed for the album by Meri Bonastre and applied to the vinyl innersleeve.

Following the imaginative nostalgia of Weightless, her 2017 debut album for iDEAL Recordings, as well as her series of blistering dancefloor 12”s for Whities/AD 93, A World Of Servicefolds personal and societal concepts in on themselves, not seeking answers but rather luxuriating in the unique friction that questions create. JASSS is intensely focused yet musically unbridled; this is reflected in tonal shifts of A World Of Service. Through the computerised yearning and bruising of a heartbreak on “Luis”, to the jagged and wordless tundra of “Vapor Dentro”; the intriguing juxtaposition of warm, alluring Spanish vocals against rigid pillars of industrial heft and bass grind (“Camelo”), and the soaring maximalist industrial popof the album’s closer, “Wish.”

As intensity rises through the pandemic-era trip hop of the album’s title track “A World Of Service”, JASSS sings: “Pleasure / Is nowhere to be found inside this world of service / I call to be my life.” Pleasure may remain elusive to her, but in the determination to make peace with her various identities in this technological age, JASSS offers a compelling glimpse into an essential type of artistic voice.

After his first LP Stranger Já Catem Traboi, Tchiss decided to further experiment with reggae and funaná, inspired by the local rhythms of the island of Santiago. Gathering some of the best Cape Verdean musicians of the time, in 1984, together with Zé António on guitar, Bebethe on bass and Alírio on drums, he recorded his second LP Já Bô Corre D’Mim. An album that sings of a young man far from home, his unrequited love and saudade, the struggles of street life in a foreign land and a world of inequality. Recorded in just 3 days at the Pomodoro Studio in Sutri, the album fully expresses the deep and layered sound of Tchiss’ music, where upbeat tempo, powerful vocals and electrifying guitar solos tangle together in a dynamic mix of traditional melodies and cosmic reggae.

For its 20th anniversary, Keplar presents an absolute milestone in the history of IDM and ambient music for the first time in its definite form: »Together Is the New Alone« by Donnacha Costello was originally released on Mille Plateaux in 2001 as the second LP under the Irish producer’s given name and firmly established him as one of the leading artists in the field of forward-thinking electronic music after he had primarily made a name for himself with house and techno releases under the Jayrod moniker. This vinyl reissue with an entirely new artwork comprises all ten tracks originally only included on the CD version in their edited and final form in which they were last presented on the digital re-release under the name »Together,« remastered by Stephan Mathieu and self-published by Costello, in 2015.

Truly prescient artists rarely opt for introspective sounds, however that was the case when Costello set out to produce »Together Is the New Alone« during nightly session in his hometown Dublin between April and July in 2001, and it also explains the album’s enduring appeal and unwavering radiance twenty years on. While many of his contemporaries dedicated themselves to explore the musical zeitgeist and notions of the future in conceptual terms, Costello made them emotionally tangible, allowing his audience to feel their underlying ambiguity rather than just reflect on it. »Together Is the New Alone« is an album that wordlessly speaks of the paradoxical sense of social alienation and isolation expressed by its title and thus seems even more topical today than it did at the time of its release.

Working with elements from techno culture, glitch aesthetics, intricate IDM rhythms and lush ambient textures, Costello never once throughout the album adheres to tried and tested formulas and conventions, but holistically moulds complex compositions out of distinct and discrete parts. The result is a record that is at once easily accessible and deeply affecting, but also infinitely rich and stunningly sophisticated in musical terms. A personal record expressing a universal sentiment—a truly timeless statement that will reverberate for decades to come.

(Kristoffer Cornils)

Goldfrapp’s fifth studio album, Head First, was originally released on 19 March 2010. The album debuted at number six on the UK Albums Chart, selling 23,000 copies in its first week and went on to sell over 70k units in the UK alone, It featured three singles Rocket, Alive and Believer and received a Grammy nomination for Best Electronic/Dance Album. Following the reissue series of Black Cherry, Supernature & Seventh Tree by Mute/BM, this is the first time Head First has been reissued and will appear on 140g Transparent Magenta vinyl with an exclusive 12x12 art print in a gatefold sleeve.

Composer, electronic music innovator, and Pere Ubu's original synthesist Allen Ravenstine returns to Waveshaper Media with the diptych LP (comprised of 1 EP per side) Nautilus / Rue De Poisson Noir, the final two parts in Raventine’s Tyranny of Fiction series. Waveshaper Media first came into contact with Ravenstine when we interviewed him in 2012 for our modular synthesizer documentary I Dream Of Wires.

Nautilus / Rue De Poisson Noir brings together 21 of the prodigious composer’s recent lyrical and abstract compositions collectively comprised of the sounds of analogue and digital synthesizers, alongside traditional acoustic instruments. The first 10 recordings, subtitled Nautilus, are found on Side A of this LP while the second 11, Rue Du Poisson Noir, comprise Side B.

Using a singular blend of acoustic and electronic instrumentation, each track on Nautilus, weaves its own wayward travelogue amidst stray bits of audio verité and wafting musical fragrances—by turns tropical and foreboding. Rue De Poisson Noir takes cues from its fragmentary companion both in palette and approach, slithering between cinematic intrigue, off-brand jazz, avant-garde mischief, and fried electro without ever batting an eye. Together they form a beguiling collection of hyperrealist miniatures that remains strange, restless, inquisitive and — most of all — evocative throughout.

For those in the know, Allen Ravenstine has been one of the most creative synthesizer players of the past forty-plus years. Ravenstine started out in the mid-1970s experimenting in his Cleveland apartment with an analogue EML 200 synthesizer, eventually creating a piece in 1975 that became known as Terminal Drive. While he had no intention of releasing his compositions, word got out about the kind of sounds he was experimenting with, which led to an invitation to join pioneering “avant garage” group Pere Ubu for the recording of the group’s first 45, “Thirty Seconds Over Tokyo.” He soon joined Pere Ubu full-time, bringing to the band’s sound unpredictable textures, effects, bleeps, squalls, pulsating washes of sound—whatever he felt could enhance the soundscape of the band’s performances and recordings.

By the early 1990s, Ravenstine had grown sick of the road, band infighting and the music industry in general. Deciding a change was needed, he opted to forego music altogether, making his living as an airplane pilot. His music career remained in limbo until 2012, when an interview for the I Dream Of Wires documentary, alongside Robert Wheeler who had succeeded him as Pere Ubu’s synthesist, turned into a recording session for the duo, leading to a series of collaborative releases. As well as having his 1975 Terminal Drive recordings released to great acclaim in 2017, Ravenstine has been prolific in recent years, with Nautilus / Rue De Poisson Noir now marking his 4th solo full-length.

A new LP collection of incredible performances by the virtuosa of theremin, Clara Rockmore, accompanied by her sister Nadia Reisenberg on piano.

160 gram vinyl comes in old school tip-on jacket and includes an 8-page full-size booklet of interviews, photos, and insights with Clara Rockmore, Nadia Reisenberg, Robert Moog, and more.

Recorded in 1975 and never before released on vinyl, this compendium features stellar performances of compositions by Bach, Chopin, Schubert, Gershwin and more, and even features a cello ensemble on a few songs!

Some of the finest examples of Clara Rockmore’s unrivaled art - rich with bittersweet moments of air, electricity, human grace and emotional composition all merging into some new thing that is transcendent of time.

Maddie Jay has always had a fixation with taking things apart, examining every tiny piece, and putting them back together in her own way. In fact, in her teens, she tore out all the electronics of her first bass guitar in her parent’s garage, in order to re-paint it neon yellow, green and pink. This fascination with restructuring didn’t end with gear. For years, she has been taking apart music itself, and studying every facet of songwriting, melody and production, in order to patch it back together into her own colorful, quirky package.

This approach in life has brought her from her tiny hometown in northern British Columbia, Canada, to studying bass in Boston, and then to Los Angeles to pursue a career as a “hired gun.” After a year of travelling and supporting artists all around the globe, she was finding more satisfaction on her days off, producing on her laptop. Fast forward to 2020, and Maddie’s first EP “Mood Swings” has gained over 2 million streams on Spotify, and she has a feature on Grammy winning artist RAC’s LP “BOY.”

RSN, producer, DJ and musician from Athens - Greece, delivers his 5th album named “Motion” and his 2nd LP for Agogo Records.

In this 9 track - album (2 instrumental songs and 7 with vocals) RSN shows all of his music influences. From Hip Hop to Electronica and from blues to trip hop.

Thaliah - Mc Yinka - Lefteris Samson - Irene and JB Nimble all feature on the record

The cover is designed by Till Noon

Richard Dawson is the diminutive Geordie troubadour
whose moving songs have been described as state-ofthe-nation addresses, even - or perhaps especially -
when he’s singing about pre-medieval peasants. Circle
are the genre-straddling pioneers of The New Wave Of
Finnish Heavy Metal, known for wearing spandex or
dead fish onstage and singing in a made-up language.
 Together they are… Richard Dawson & Circle! ‘Henki’
is their epic joint record. It might seem a departure to
those who are most familiar with Dawson from recent
solo albums like 2017’s ‘Peasant’ and ‘2020’ (released
in 2019). In fact, ‘Henki’ fits comfortably into the bigger
picture of two acts who have always strived for
uninhibited originality.
 Easily the greatest flora-themed hypno-folk-metal
record you’ll hear this year, ‘Henki’ adds an electrifying
new chapter to the remarkable story of each act,
marking the beginning of a beautiful partnership.
 CD in printed inner wallet with 12-page booklet.
 Double LP in printed inner sleeves plus digital
download card.