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British artist Robin Rimbaud (Scanner) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics innovative and inspirational works of contemporary electronic music. Committed to working with cutting edge practitioners he has collaborated with Bryan Ferry, Wayne McGregor, Mike Kelley, Carsten Nicolai, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.

Rimbaud first met Belgian artist Hans Op de Beeck at Le Fresnoy Studio national des Arts Contemporains when they were both Visiting Professors in 2012. Op de Beeck lives and works in Brussels, Belgium and creates sculpture, installations, video, photography, animated films, drawing, painting, and writing. His various works show the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from everyday life.

The artists found an immediate creative connection, and a year after meeting Staging Silence (2) was completed. In 2019, they returned to the theme and created Staging Silence (3).

Each of the films is realised through the same principles, as two pairs of anonymous hands construct and deconstruct fictional interiors and landscapes on a mini film set of just three-square metres in size. The films take the viewer on a visual journey through depopulated, enigmatic and often melancholic, but nonetheless playful, small-scaled places, which are built up and taken down before the eye of the camera.

Ranging from hyper-realistic fictional land and cityscapes to absurd, almost surreal, dreamscapes, the various locations are connected by the sense of mystery and melancholy that pervades them. And at every moment Rimbaud's score is amplifying and illustrating these moments, from tragedy to nostalgia, witty to optimistic.

Introspective and lyrical, Staging Silence offers us a world of mystery and intrigue, held together by nature and time. This is a very humane works experienced at a time when many of us feel disconnected from the world around us. The peculiar silence that permeates this hauntingly beautiful work is very much an illustration of our times, anticipating a future in the past. Staging Silence is an exquisite study in dreamlike abstract ambience, a kaleidoscope of sounds and tones that engage the head and the heart.

Lancaster had initially cut his musical teeth with the avant-garde on New York’s Lower East Side in the 1960s (famously on sessions with pianist Dave Burrell and drummer Sunny Murray) and in Paris during the ‘70s after an appearance at the Actuel festival but, throughout his career, his path was built around community engagement, positivity and “the Philly jazz sound, Germantown style.” He became an ambassador for the music of the City Of Brotherly Love, starting his own Dogtown label, helping launch the Philly Jazz imprint and campaigning tirelessly to improve the circumstances of the city’s street musicians. Lancaster’s sessions for Black Fire were planned following a gig at Caverns Jazz Club in Washington DC. “Jimmy Gray of Black Fire and I originally met during the ‘riotous blisters’ of the late Sixties there,” explained Lancaster. “We became the best of friends.” Backed by a band of Philly musicians including percussionist Keno Speller and Baba Robert Crowder (drummer for Olatunji and Art Blakey), the album also featured the Drummers From Ibadan led by Tunde Kuboye, another influential figure dedicated to community jazz with whom Lancaster had bonded while teaching in Lagos. The result was a free-flowing set of spirituality and positivity, built around full band groove workouts, solo pieces and heavy African roots. “We had big fun documenting this music,” remembered Lancaster. The message of the album remains as relevant today as ever, “I dedicate this album to all African Americans in the USA. To the youth, I ask ‘What does it profit a man to gain the whole world and lose his soul?’”

In 2019, the power-acoustic musician Francisco Meirino presented A New Instability a commission for the venerable Ina-GRM in paris. Of course, this institution is the pre-eminent center for the research and study of electro-acoustic music dating back to founding of Groupe de Recherches Musicales in 1958 by Pierre Schaeffer. To this day, Ina-GRM continues to be at the vangarde of the electro-acoustic composition, and it is quite an accomplishment and very appropriate for Meirino to receive such a commission.

This recording for A New Instability condenses the 32-channel original piece down to a still very active stereo version. here, Meirino continues to amplify and refine his compositions that walk a fine tightrope between raw expressivity of brutalist noise and conceptual rigor of more academic pursuits. Such a work ranks him in with the likes of Zbigniew Karkowski, Dave Phillips, Puce Mary, and Illusion Of Safety.

Field recordings from a kendo dojo in his hometown of Lausanne, Switzerland cast a pugilistic, combative arch to these recordings which snap, burst, explode, and erupt with utterances of men and women engaged in hand-to-hand combat. Searing frequencies build, swarm, and amass out of these episodes rise to psychologically tense crescendo that rupture at their heights, quickly turning attention towards a violence that originates from within. It is as if the objective observations of those martial arts recordings are sublimated within a subjective experience of psychic unease, disquiet, and imbalance.

A New Instability is another magnificent chapter in the ongoing body of work for this accomplished composer of electro-acoustic noise.

South London-based band Soothsayers are set to release their ninth studio album 'We Are Many'. Held together by heavy basslines, solid grooves, and socially and politically charged lyrics; the album takes the listener into different sonic spaces with elements of dub, Afrobeat, improvisational jazz and electronica.

The initial steps in recording 'We Are Many' came in January 2019 when the band's founders - saxophonist Idris Rahman and trumpeter Robin Hopcraft - set out on a journey to Brazil. With executive production in the Sao Paulo studio by renowned music journalist and author David Katz, they hooked up with bass player and producer Victor Rice who they'd met sharing the bill at Freedom Sounds festival in Cologne, Germany a year earlier. Victor organised a session in Studio Traquitana, home of acclaimed Brazilian band Bixiga 70, and invited a selection of local musicians. Percussionist and singer Ligia Kamara contributed lyrics and melodies written in the studio, and drummer Bruno Buarque, guitarist Joao Erbetta and bassist Victor provided some solid, personality-driven input. Fresh and vital, what came out was a fascinating blend of Soothsayers' dub and Afrobeat mixed with distinctly Brazilian inflections.

After arriving back in the UK, Idris and Robin set about creating the remainder of the album in a different, yet complimentary way, and called on the services of Wu-Lu and Kwake at their The Room studio in South London. Things started to take shape very quickly, Wu-Lu and Kwake combining Soothsayers' music with electronic elements, while also referencing elements of the current UK jazz scene.

When lockdown hit in March 2020, there was still a lot of work to do in order to complete a full album and Robin and Idris set about working on tracks with their musicians remotely. Having time to consider the album as a whole, they found strong connections between the music recorded in Brazil and the tracks recorded in London and they set about fusing and combining these elements further into a satisfying whole.

UK based Sengalese singer Modou Toure was enlisted to guest on one track while percussionists Satin Singh and Maurizio Ravalico were engaged to help affirm a sound-world where Brazilian flavours, such as the low-end Surdo drum, were combined with sounds more readily associated with reggae and Afrobeat.

Soothsayers' three part vocal harmony is a defining factor in this album. With strong references to the vocal styles of reggae legends such as The Gladiators, Mighty Diamonds, Heptones, and Abyssinnians; it has benefited from the long-standing friendship between Robin, Idris and Julia Biel. Lyrics, melodies and harmonies were presented, discussed, explored and recorded at Idris' and Julia's home studio in Streatham in a relaxed and positive way, with concepts from social and political commentary turned into powerful songs.

Themes cover political observations of Trump and beyond alongside Brazil's president Bolsanaro (Rat Race), speaking out against increasing levels of violence from the Brazilian government towards its native and indigenous people (Love And Unity) and keeping hopeful despite the impending horrors of a no-deal Brexit (We Won't Lose Hope).

Elsewhere they discuss striving to create space for meditation and reflection against the background noise of 24/7 news and social media (Move In Silence), the daily grind (No Sacrifice) and workers' rights (Slave), while highlighting those that fall through the cracks in society and end up without a permanent address, what led to this and how close we all are from this happening (One Step Away).

'We Are Many' represents a positive and uplifting statement in the face of challenging times - the overriding force, power and positivity of the music to continue forward, pushing the boundaries of musical concepts into the future.

"Whilst heavy questions of life and death and the future of our species surround us all, music is a guide that can help us perceive the challenges in a different way - a guide that can help us towards a deep inner peace. If we listen, music can help light the way. We hope you will listen, and we hope you will experience the joy, meditative power and beauty in the connection of different musical cultures that was experienced in the creation of this album."

South London-based band Soothsayers are set to release their ninth studio album 'We Are Many'. Held together by heavy basslines, solid grooves, and socially and politically charged lyrics; the album takes the listener into different sonic spaces with elements of dub, Afrobeat, improvisational jazz and electronica.

The initial steps in recording 'We Are Many' came in January 2019 when the band's founders - saxophonist Idris Rahman and trumpeter Robin Hopcraft - set out on a journey to Brazil. With executive production in the Sao Paulo studio by renowned music journalist and author David Katz, they hooked up with bass player and producer Victor Rice who they'd met sharing the bill at Freedom Sounds festival in Cologne, Germany a year earlier. Victor organised a session in Studio Traquitana, home of acclaimed Brazilian band Bixiga 70, and invited a selection of local musicians. Percussionist and singer Ligia Kamara contributed lyrics and melodies written in the studio, and drummer Bruno Buarque, guitarist Joao Erbetta and bassist Victor provided some solid, personality-driven input. Fresh and vital, what came out was a fascinating blend of Soothsayers' dub and Afrobeat mixed with distinctly Brazilian inflections.

After arriving back in the UK, Idris and Robin set about creating the remainder of the album in a different, yet complimentary way, and called on the services of Wu-Lu and Kwake at their The Room studio in South London. Things started to take shape very quickly, Wu-Lu and Kwake combining Soothsayers' music with electronic elements, while also referencing elements of the current UK jazz scene.

When lockdown hit in March 2020, there was still a lot of work to do in order to complete a full album and Robin and Idris set about working on tracks with their musicians remotely. Having time to consider the album as a whole, they found strong connections between the music recorded in Brazil and the tracks recorded in London and they set about fusing and combining these elements further into a satisfying whole.

UK based Sengalese singer Modou Toure was enlisted to guest on one track while percussionists Satin Singh and Maurizio Ravalico were engaged to help affirm a sound-world where Brazilian flavours, such as the low-end Surdo drum, were combined with sounds more readily associated with reggae and Afrobeat.

Soothsayers' three part vocal harmony is a defining factor in this album. With strong references to the vocal styles of reggae legends such as The Gladiators, Mighty Diamonds, Heptones, and Abyssinnians; it has benefited from the long-standing friendship between Robin, Idris and Julia Biel. Lyrics, melodies and harmonies were presented, discussed, explored and recorded at Idris' and Julia's home studio in Streatham in a relaxed and positive way, with concepts from social and political commentary turned into powerful songs.

Themes cover political observations of Trump and beyond alongside Brazil's president Bolsanaro (Rat Race), speaking out against increasing levels of violence from the Brazilian government towards its native and indigenous people (Love And Unity) and keeping hopeful despite the impending horrors of a no-deal Brexit (We Won't Lose Hope).

Elsewhere they discuss striving to create space for meditation and reflection against the background noise of 24/7 news and social media (Move In Silence), the daily grind (No Sacrifice) and workers' rights (Slave), while highlighting those that fall through the cracks in society and end up without a permanent address, what led to this and how close we all are from this happening (One Step Away).

'We Are Many' represents a positive and uplifting statement in the face of challenging times - the overriding force, power and positivity of the music to continue forward, pushing the boundaries of musical concepts into the future.

"Whilst heavy questions of life and death and the future of our species surround us all, music is a guide that can help us perceive the challenges in a different way - a guide that can help us towards a deep inner peace. If we listen, music can help light the way. We hope you will listen, and we hope you will experience the joy, meditative power and beauty in the connection of different musical cultures that was experienced in the creation of this album."

- Idris Rahman and Robin Hopcraft

What hides in the fog that keeps people apart, and what does it take to cut through it? These questions hang heavily over
Sarah Beth Tomberlin's music, whose hushed and intimate tones orbit answers as much as they savor the unanswerable.
To be in relation to another human being is to engage with a deep mystery: We are all fundamentally alone, siloed into
confusing bodies, and yet occasionally we ¬nd someone who lets us feel as if we weren't. Tomberlin, the Louisville native
who recently relocated to Los Angeles, delights in articulating and amplifying that mystery, picking out its details and
marveling at its scale. In singing her aloneness she soothes it, and extends a hand to others reckoning with their own
solitude--a paradox that warms her spectral songs.

Tomberlin's new Projections EP continues the arc of her critically acclaimed 2018 debut At Weddings, weaving new collaborators and new techniques into her signature dusky milieu. Since the LP's release, Tomberlin has toured with Pedro the
Lion, Andy Shauf, American Football, and Alex G, played a Tiny Desk concert for NPR, and given a riveting performance on
Jimmy Kimmel Live! The ¬ve-song EP, capped with a cover of Casiotone for the Painfully Alone's stunning "Natural Light,"
re ects this period of intensive growth and self-discovery. "I wrote these songs while getting to know myself outside of
people's perceived notions of who I was," says Tomberlin. "I just started being like, What am I interested in? What do I want
out of relationships and friendships? What am I looking for that I don't have in myself already?"

Repress

KRTM's "Placebo". The word "placebo", Latin for "I will please", dates back to a Latin translation of the Bible by St Jerome...
As a student in Rome, Jerome engaged in the superficial escapades and sexual experimentation of students there, which he indulged in quite casually but for which he suffered terrible bouts of guilt afterwards.

"Often I would find myself entering those crypts, deep dug in the earth, with their walls on either side lined with the bodies of the dead, where everything was so dark that almost it seemed as though the Psalmist's words were fulfilled, Let them go down quick into Hell."
Patrologia Latina 25, 373.

Tymon's "VL". A comeback in style. Influenced by a contemporary wave of techno music, Tymon retains his own chorus and signature energetic beating thunder. Reminiscent of his own discography, he is now crafting a foundation for further exploring of uncharted sonical territory.

Welcome him to the SSSPCR family.

A ‘satire about satire’, WASTELAND is a wild Burroughsian adventure melding science-fiction, absurdism and magical realism, calling fora revolution against the reductive ‘good versus evil’ narratives of popular satirical music. Arguing that through experimenting with the form of the song lyric (our most widely disseminated form of creative writing) we can build more nuanced popular discourse around the implicit forms of bias that ail us, WASTELAND presents complex characters changing their minds–along with their bodies and places in spacetime. Set in an unearthly liminal space populated by shape-shifters, time-travellers, talking genitalia and ectoplasmic spectres, the prose text evolves as the characters do: warping into cut-ups, soliloquies and even plays.Created over two years, the album draws from LICE’s rise in ‘the punk world’ (sharing stages with IDLES, The Fall, Squid, Fat White Family, Girl Band etc.) and eventual disillusionment with the limits of its prevailing ideas.

WASTELAND is a concept album structured as an experimental short story, taking cues from Brian Catling, William Burroughs and Kurt Vonnegut Jr. Its core argument is that, through reworking the prevailing forms of satirical song lyrics, we can build more nuanced popular discourse around the implicit forms of bias that ail us–the song lyric being the most widely disseminated and commonly ‘engaged with’ form of creative writing there is. In this allegory for crises in society and art (from commodification to ideological state apparatuses), the moral, physical and temporal transformations of its characters are paired with the text’s transformation: breaking from prose into cut-ups, soliloquies and even plays. In the wild, liminal space of the Wasteland, this story

light blue vinyl + purple vinyl

French ROD imprint returns with the second chapter of his "Rave Encounter" trilogy, featuring four original and exclusive bangers packed in another collectible 2x10''!

Frankfurt legend Marc Acardipane (The Mover - Planet Phuture) engages hostilities on a side with an hardcore ode to the label. Powerful breakbeat rhythms melt with hitting lines turn this "Rave Or Die" cut into a true underground and future classic anthem. Insane!

On the flip, German J. Lindenthal & R. Russino from Mental Fear Productions go dark with implacable "Constant Sorrow", a hypnotic yet doom-like song that fits pretty well to this odd period we are all living at the moment.

On the C-side, Scottish Dave Tarrida (boss of Sativae) signs his second contribution to ROD. Punishing "Rave Death Cult" skilfully combines bleepy tones to raging spirit for the greatest happiness of your neighbours!

Last but not the least, ROD mastermind Umwelt concludes the compilation in apotheosis with the rollin' "Chaos & Mayhem", a tense, brutal and oldschool masterpiece full of early 90's sounds.

If you enjoyed the first opus of "Rave Encounter", you'll 100% dig this brain-melting new release that goes further into murky industrial rave waters.

""Dad! Look, we can see the moon through the window."

Record made on Earth. All children, young and old, you will hear my heart here without a stethoscope. This record is "home-made with a window open to the world". Inspired by my family and friends, these music tracks are dedicated to them!" The Architect

The Architect takes us on a trip through the world and styles: Hip Hop, Jazz, Electro, Soul, Funk... A true vinyl lover and real digger, turntables have always been his favorite playground. Hyperactive beatmaker, he is also engaged with different side projects such as L’Entourloop and Bloc.

The success of his first EP "Foundations" released in 2013, including several hits such as "Les Pensées" (8M views) or "Dreader Than Dread (ft. Skarra Mucci & L'Entourloop)" (15M views), led him to do more 200 shows around the world and accumulate more than 35M of streams on the platforms.

Seven years later, The Architect finally returns with a new single "Darling", the first single from his long-awaited new album entitled “Une plage sur la lune” to be released on June 12th, 2020. A "home-made album with a window open to the world" as he describes it himself.

Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.

Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.

Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

nine-sum sorcery is the debut release of Berlin-based sonic duo LABOUR, the ambitious project led by Farahnaz Hatam and Colin Hacklander gaining a reputation since 2018 for their large-scale works and collaborative pieces in large concert spaces and museums such as Kraftwerk Berlin, Martin Gropius Bau and Kunsthalle Zürich. Since 2020 they are residents on NTS with a monthly show.
Grounded in the rich and enigmatic digital soundworld of LABOUR, nine-sum sorcery features the renowned Kurdish singer, Hani Mojtahedy, a prolific performer and recording artist firmly grounded in the traditional vocal styles of both Kurdistan and Iran.
Following LABOUR’s now legendary closing of Berlin Atonal’s main stage in 2018 with their inaugural work, next time, die consciously (یگناگیب), the duo embarked on a grand journey with Hani Mojtahedy, towards a remarkable synthesis of traditions and practices, uniting computer music and avant-garde sensibilities with traditional vocal practice.
nine-sum sorcery is a long-form piece that unfolds over two sections, A and B, and can be understood as an occult incitation to the dark energies, natural, political and otherwise, that are released when oil is extracted from the ground. This ritual is focused through the enigmatic electronic and percussion composition from LABOUR which alternates between foreground and background for the haunting vocal performance of Mojtahedy, who interprets Kurdish and Persian verses.
This is first release on Studio LABOUR, the new independent label in Berlin that provides a platform for avant-gardists creating works based on sound.
Studio LABOUR seeks to contribute toward spaces of non-conforming social practices and identities, and revisits the nature of work as a potentially transformative activity.
From sound artists to electronic musicians to composers; visual artists to performance artists to critical theorists; the represented artists are united not via discipline or genre, but rather through individuated orientation towards radical perspective that are either based-in or engaged-with sound as a medium, at least in the instance of their release/work with the label.

Joan Baez is one of the most influential performers in folk music
history. She was a leading light in the musical protest movement
led by Pete Seeger. This brought her into contact with an up-andcoming young troubadour named Bob Dylan, whom she met in
1961 in New York’s Greenwich Village. Her self-titled debut
album, 'Joan Baez', brought her
to public attention following her discovery at the 1959 Newport
Folk Festival – her first professional engagement
coinciding with the first festival. A plainly produced, live-sounding
vocal and guitar album featuring a repertoire of traditional folk
songs, it put Joan firmly on the map. In 2007 she finally picked up
a Grammy for lifetime achievement.

Our third release of the decade comes from another new signee, Barcelona-based Kodama, who teams up with Dubstep OG LX One for the heavyweight A side.

Cronauer
Uplifting bells and pad harmonies pave the way to a gritty bass assault, striking with the power of a meteorite coming from outer space. Cronauer unfolds as these contrasting yet complementing parts engage and interwine, driven by heavily-swung hard-hitting drums which turn the track into a club weapon.

Piranha Plant
Time to turn page and enter the next chapter: Piranha Plant is a sublime oneiric journey of lush harps and heavenly bells, joining into masterfully composed layers of melodic bliss and. New sections keep introducing instruments like new characters in this dreamy fairytale.

Dorsia
A brisk intro catapults us straights into Dorsia, a high-energy introspective roller which joins two sides of Kodama's multifaceted output. Melancholic melodies dance over a powerful bass & drum synergy, until the second drop comes in with stomping weight, beautifully delivering our fix of bass-Nirvana.

(Record Store Day 2020)

Mannequin Records is proud to celebrate 40th years of Nocturnal Emissions with more reissues setup for 2020.

"Tissue of Lies" is the Nocturnal Emissions first album, released on the band's own Sterile Records label as EMISS001 in 1980. "Tissue Of Lies"
shows you Nocturnal Emissions Industrial roots, from noisy collages to classic power noise, reminding the early Throbbing Gristle and Cabaret Voltaire, Faust ('Tapes' period) or Conrad Schitzler's 'Schwarz'.

The Nocturnal Emissions project, masterminded by Nigel Ayers, has been on the cutting edge of new music since the 1970s. Nigel Ayers has been described as a Guerrilla Sign Ontologist, cutting-up and pasting the contents of the human psyche. With a background in avant-garde art, his work has grown from audio visual installations through underground video works which changed the shape of British television.

In the early eighties Nocturnal Emissions hit London with a barrage of seminal funk; pioneering the use of sound samplers, multi-cultural
collage and electronic noise. They became a shape shifting chameleon lightening the darkness of post-industrial music, combining extremist performance art and video displays with apocalyptic beat music. Nocturnal Emissions have since been credited as a catalyst for a
generation or two of sound workers.

However, at the height of their success, the Emissions decided to shun the crass commercialism that had developed around them, and to develop their work as a secret alchemy. Nigel Ayers has continued to work with a strong underground of cult support, avoiding music industry fashions, and following his own creative path he concentrated on creating a strong sense of a wilderness identity through sound.

Limited edition of 600 copies, on solid white vinyl.

Villete aka Amsterdam based producer Anne Korteweg returns to Scissor and Thread with a brilliant new EP. Her debut 12″ ‘Girl Next Door’ was released on Scissor and Thread in the fall of 2016 and sold out quickly. Now here with the new EP Dawn is Mine, we are treated to seven tracks of understated, floating beauty. On her new release she explores the more abstract sides of electronic music. Using a variety of synthesizers, she creates rich and lush sounding structures that continuously bend and flow loosely. She finds inspiration from listening to Pauline Anna Strom, Takashi Kokubo and Actress. Opener Penrose Stairs sets the tone with gentle arpeggiated synths creating a warm, fuzzy atmosphere - a combination further explored in Midnight Arp later into the mini-album. The title track Dawn Is Mine uncovers a low bass throb mixed with dubbed out effects and textures, while Lilac emits an ethereal, woozy atmosphere, with lush pads, choral textures and blissful melodic motifs. Myst also luxuriates in hazy pads before a slo-mo groove emerges to carry the track towards the edge of the dancefloor. If Myst flirts with the idea of dancing, Show Me dives right in - an exquisite slice of deep, outsider house with a psychedelic twist. Winding the release down with Wild Things - a beat-less vignette of synths engaged in an melodic interplay of chimes and tones.

‘LiteAce Frequency’ is a collection of songs influenced by 70s Manila Sound and Pinoy soul, as well as incorporating elements of Japanese funk, Brazilian sounds and hip hop.

‘LiteAce Frequency’ follows Vex Ruffin’s ‘Emilio’ EP, released on Stones Throw in May.

The album will appeal to fans of Bullion, James Pants, Dam-Funk, Teebs, Daedelus, Paul White, Anika, Toro Y Moi, Ariel Pink.

Vex Ruffin’s music has featured on soundtracks for HBO’s hit series ‘Girls’ and Netflix’s ‘Russian Doll’. Vex Ruffin has a monthly radio show on NTS and will be supporting the release of his new album
with DJ sets, live streamed performances and active social media engagement.

Vex Ruffin has previously collaborated with artists including Anika, James Pants and Bruce Haack.

A modern soul double header 7” that has become increasingly in demand is this gem by Marc LaRoi Cummings. Original copies on the Setting Sun label have been exchanging hands for £60-£80 where they have become available. The original label, song writing and production is courtesy of former Motown artist Ronnie McNeir, now a member of The Four Tops, and always of interest to the soul community through the quality of his work on his own releases and for others. It was his first album on Ronnie’s own Setting Sun label from 1985 that became Expansion’s first artist album release, while his label engaged with other artists such as Marc who worked with Ronnie as a backing singer on work with David Ruffin (“Gentleman Ruffin”) and The Four Tops (he co-wrote “Strung Out For Your Love”)

FELA Jonathan Loma mix When Spain meets Africa. Musician Jonathan Loma from Spain on the mix with this joyful, innovative rhythm, infused with African sounds and samples. Noticeably, Nigerian legend Fela Kuti can be heard during the latter parts of the track behind the shifting drum patterns which give this record a very catchy beat. Swinging hats and rolling snares keep the beat flowing over a loopy and swirling melody. The unpredictable and spontaneous sounds sliding in and out display creativity from the Spanish producer, but the highlight here is the subtle African background chants. Just wait for the smooth sax to appear.FELA H2H mix contrast to the Jonathan Loma mix and edging things into deeper territories, the Chez Damier and Ben Vedren (Heart 2 Heart) take on the track is a deep and driving dance floor mover. Quite literally talking toyou with an African accent throughout the majority of the track, the locked groove engages the listener and has you wondering if it will ever end. Loud claps, well-placed short and sharp snare rolls, and like that ofthe Loma take; spontaneous sounds creeping in and out are all included over this cleverly layered deep beat