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SOURS' analog gear takes control on this dancefloor-oriented release! An indispensable collection of stripped and highly effective acid techno tracks, bundled into one massive double LP release!

Limited printed sleeve edition with two coloured 12" and SOUR's stickerset inside.

Giorgia Angiuli’s 13 track album ‘Quantum Love’ on her UNITED label combines and contrasts fast, insistent dance beats with her signature melodic synths and dreamy lyrics; ‘an eclectic work including piano downtempo tracks and techno melodic tracks with ethereal vocals’ (Angiuli).

The multi-talented live artist/DJ/producer/vocalist/lyricist and studio-building tech wizard used lockdown as a creative nexus. Einstein’s ‘Imagination is more important than knowledge’ led her to explore quantum physics, while her first India tour inspired ongoing interest in sound meditation and philosophy, culminating in the LP.

‘Quantum Love’ has many moods and speeds; physics and philosophy, contemplative and full-on fast, sweet vocals, meaningful lyrics or purely instrumental, it’s all there. ‘’Quantum Love’ is my inner soundtrack to my recent transformation, summarized in the following sentences: we are made of energy, everything is vibration. We are each our own placebo, happiness can be a choice, we have all the elements inside us for the right path. Nature can teach us everything.’ (Giorgia Angiuli)


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DJ Mag Feature

Flow Music Interview

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Four Four Magazine News Piece


DJ Feedback:

Sasha (Last Night On Earth) - solid!

Guy Mantzur (Kompakt, Bedrock, Lost & Found, Sudbeat) - love them all

Anthony Pappa (Selador) - The Timo Maas Remix is excellent.

AFFKT (Sincopat) - Superb remixes!

Fur Coat (Oddity / Delete) - Nice Armonica and Glowal remixes

Israel Sunshine (Fur Coat / Oddity) - Great job! digging all tracks specially Timo and Glowal

Animal Trainer (Mobilee / Stil Vor Talent) - fab remix by Armonica!

Dee Montero (Knee Deep in Sound, Selador Recordings, Anjunadeep) - Timo Maas mix for me

Siavash (You Plus One) - Glowal mix takes the cake in this ep

Chris Fortier (Thoughtless / Sullivan Room / Balance) - super super

Pisetzky (JUST THIS / Last Night On Earth / Oddity) - amazing giu

Sinca (Anjunadeep) - Great remix ep

James Trystan (Suara / Bedrock) - Feeling this!!! Timo Maas for me

Henri Bergmann (Automatik) - armonica always!

Cesar Romero (Simply City) nice!

juSt b (Bedrock / Configurations of Self) nice release, love the key work and vox.

Nhii (No Human Is Illegal) (Sounds of Khemit / Stil Vor / Kindisch) - Timo Maas remix right up my alley!

Ever since jazz took its bop and free turn, each generation solved this eternal equation: how do you reconcile serious music and simple pleasure? On each of these occasions opinion was divided between orthodoxy and hedonism.

Trained in the theoretical rigours of classical music and jazz, experts on their instruments, and brought up on hip-hop culture, techno and house club scenes, Matthieu Llodra and Arthur Donnot - composers of KUMA – go against the conventional rules because they like to challenge their musical boundaries.

"Honey & Groat" is just like a bear (KUMA in Japanese, emblem of the band): behind the sweetness and apparent placidity, plenty of power. The resulting urban groove is reminiscent of 70's soul jazz with a contemporary sound: where instrumental talent meets pop simplicity.

Juno-winning saxophonist Chet Doxas is a guiding voice in the world of
creative improvised music
Doxas, co- leader of Riverside with trumpeter Dave Douglas and a respected
collaborator of Carla Bley and Paul Bley, joins Whirlwind for 'You Can't Take It With
You', his ninth album as a leader and first at the head of a trio. He's joined by two
stand-out collaborators - Ethan Iverson (piano) and Thomas Morgan (bass) - for a
meticulously constructed album with playful positivity at its heart.Both the
inspiration and the encouragement to put this album together can be traced back
to Carla Bley. Jimmy Giuffre's trio was a big influence on Doxas - "the way he
shapes and articulates is one of a kind - and the group regularly featured Bley's
music. An early-morning airport transfer saw Doxas discussing future plans with
Bley and Steve Swallow, who advised Doxas to write "one song a month",
distraction-free for a year.
The ten tracks on the album represent a year spent writing and closely editing his
compositions. That process gradually revealed his trio, selected for their personal
sensibilities as much as their outstanding technical capabilities. "Ethan and
Thomas's tones are very inspiring. I wanted to let myself be guided by their sound
palettes, and focus on phrasing in a way that's a little more multidimensional.."

Originally released between 1995 and 1999 on his green imprint, 'green trax' is steve o'sullivan's signature take on minimal techno. The album on trip is a compilation of best works with several previously unreleased tracks that steve found on data tapes in his archive.

Erlend Apneseth is one of Norway's foremost Hardanger fiddle players and folk musicians. After being widely recognized with the award-winning and critically acclaimed Erlend Apneseth Trio, he now returns with an acoustic soloalbum. This is the first time since his debut album "Blikkspor" (2013) that he has put the soloistic performance in focus, and this time the unique acoustics in Emmanuel Vigeland's Mausoleum sets the scene for his improvisations and compositions. "The Hardanger fiddle is traditionally a soloistic instrument. For me, one of the most fascinating things about the instrument is its ability to fill a whole room with sound all by itself. Even though I've been working in an electro-acoustic universe the last years, I've never left the acoustic approach to the Hardanger fiddle, and I now felt the time had come to do something all alone again." Even though Apneseth is rooted in traditional music, he has immersed himself in improvisation and alternative sonic-and pizzicato-technics on the Hardanger fiddle, which makes him stand out with his very own musical expression. After incessantly exploring his instrument for many years, this album can be seen as a personal catalogue of the Hardanger fiddle's sonic possibilities. Erlend Apneseth has released eight albums, received numerous awards, among them "Grappas Debutantpris" and "Gammleng-prisen", and no less than five nominations for the Norwegian Grammy's. In 2019 he received the Norwegian Grammy's award in the Open Cathegory for his album "Salika, Molika", with Erlend Apneseth Trio and Frode Haltli. The album also received the NOPA-award and was nominated for the Nordic Music Prize. Apneseth has written commissioned works for Kongsberg Jazzfestival, Fordefestivalen and Ultima, and toured extensively in Europe the past years. Since 2021 he has collaborated with the composer Orjan Matre on new works for Hardanger Fiddle and The Norwegian Chamber Orchestra.

3am Recordings brings you its debut album, from label boss Al Bradley. While it would be much easier to get some huge name in for this who is previously unrelated to 3am, it was never going to be like that here. Staying true to the ethos of the label, it was important that this milestone was a reection of the label and what it has always stood for. The move back to vinyl in 2015 has rmly planted the label back
in its place as one of the UK's most consistent for house music, retaining its value of working with artists who have been involved with the label over its 19-year history, or who have been rm supporters of 3am during its time. Over the 9 cuts there are a variety of vibes, 'Little Treasures' aims to cover a selection of sounds that represent Al's inuences & styles, having been buying records since the mid-80s &
playing vinyl as DJ since he got his decks in 1991. The past is important as it represents where we started, the future is equally important, as it's the area of the unknown & we have to embrace it...

Covering deep house, dub techno, broken beats, raw machine funk, beatless ambience & more, the album is one that is danceoor-aimed, but works beyond that area too. With support from the likes of Placid (We're Going Deep), Carlo Gambino (We_R_House), Lolu Menayed
(Rawtrax), Lars Behrenroth (Deeper Shades of House), Loz Goddard (Oath), James Reid (Sonet), Moodymanc (2020Vision) & many more, the album reaches right across the spectrum of electronic music.

South Street delve into the The Sound Of Detroit from one of its unsung heroes, reissuing Amp Fiddler's 'Motor City Booty' LP on Yellow & Blue vinyl respectively. Coming straight off the D Funk assembly line, it's a full on dance floor affair from Motown to P-Funk, Techno and Neo Soul.

This 12 track album produced by Amp Fiddler & Yam Who? includes the massive 'Soul Fly' sounding like a Mark Ronson production had he been hanging out with George Clinton's Parlet followed by the bonafide P-Funk anthem 'Steppin' both featuring the stunning vocals by the Dames Brown girls.

Amp Fiddler is credited for taking both a young J Dilla and also Q-Tip under his wing teaching them his Akai MPC techniques, setting the path for some of Hip Hop's finest recordings which have defined the shape of things to come.

His musical collaborations & current duties include: Moodymann's musical maestro, keyboard wizard for Theo Parrish's live band, a longstanding Funkadelic member, co-writer for Sly & Robbie, Prince, Maxwell, Jamiroquai & Seal to name a few.

In the year 2909, the first naturally-born human is found with endogenous AI code built into its DNA. As we cross into the 31st century, all living humans are controlled by a decentralized master AI known as MINDFRAME: The system has access to all of human consciousness with the ability to store and manipulate the data of every interaction and thought — even operating within your subconscious mind. It becomes impossible to know when or how you’re being controlled.

During each sleep cycle, our behaviors and memories are reformatted to align with MINDFRAMES control and order programming. Some have discovered that during these cycles, there are parts of the AI’s algorithm left exposed to extraction. Through meditative states, gifted cyber-shamans are now on a mission to reverse engineer enough of the AI to escape its grip and free us all.

FRANCOIS DILLINGER (Ben Worden) glides between the two worlds of electro and techno. His journey through the genres is dark while retaining a cerebral, dancefloor-oriented quality. This stems from influences of Industrial, Detroit’s rich history of electro, minimal techno, and even Ghettotech. In the studio, he uses primarily all external hardware and modular gear, utilizing Ableton for final arrangements and editing. His Live & DJ sets lean heavily into the generation of hypnotic loops, creating long protracted mixes between elements to form an unshakeable tension.

While he grew up an hour east of the Motor City, his musical roots were firmly planted there – taking hold over decades worth of defining moments in sound. As a fan, former promoter, and DJ he’s been a part of the Detroit scene for over 20 years, having lived there multiple different times. Currently, he also works with local Detroit label Infolines to manage branding and art direction alongside his wife, Ashely.

Prior to the MINDFRAME: CYCLES LP, he had released a track on SPEC-017’s VA release, and will feature a remix on an upcoming Specimen Records project as well. Early in 2021, his second album was released on Diffuse Reality featuring remixes from Keith Tucker/K1, Detroit’s Filthiest, and Squaric. Upcoming releases from DILLINGER include a variety of collaborative projects — Machine Men EP with Lloyd Stellar on LDI Records, an LP with Cyphon and Obzerv, and a number of VA releases with artists like RXMode (via Pareidolia Recordings), CYBEREIGN (via Science Cult), ADMN (via Infolines) and others. Look for other releases coming soon on Noise To Meet You, Roulette Rekordz, and Syntek Industries.

His previous releases have landed on Blind Allies, Natural Sciences, Dionysian Mysteries, Ukonx Recordings, Fanzine Records, and ZwaarteKracht—as well as a debut album on Narrow Gauge, ‘Chasing the Red’. Support for his music has come from the likes of Richie Hawtin, Dave Clarke, Jensen Interceptor, UMWELT, and others.

Jerry Hunt, Philip Krumm, Jerry Willingham, James Fulkerson, Larry Austin, Dary John Mizelle, BL Lacerta, Gene DeLisa, Robert Michael Keefe, Rodney Waschka II Irida Records: Hybrid Musics from Texas and Beyond, 1979-1986 Irida Associates U.S.A., an obscure and short-lived record label formed by composer-performer Jerry Hunt, offers a glimpse into the revelatory world of new music and composition in the artist's native Third Coast. Based first in Dallas and later in Hunt's home outside the rural town of Canton, Texas, Irida presented the innovative and daring experiments_into aleatoric methods, environmental acoustics, improvisation, homemade technologies, and more_pursued by Hunt and his select collaborators, primarily working in or near Texas between 1979 and 1986. Irida's brief and compact output_seven non-sequentially numbered LPs released in unknown quantities_shared work by artists whose practices often challenged the limitations of vinyl recording. Hunt called the label a "vanity project" and frequently talked of a tax loophole he could claim if it all went belly up, but in its short lifespan Irida captured a tremendous period of creative experimentation by the artist and his friends and collaborators. This boxed set gathers Irida's complete discography for the first time. These records include early attempts by Hunt to record his generative and highly permutable scores and performances on vinyl in Cantegral Segment(s) 16.17.18.19. / Transform (Stream) / Transphalba / Volta (Kernel), as well as his only composition for piano, "Lattice," on Texas Music (both records 1979). The label distributed solo and group recordings by those in Hunt's circle as well, including Larry Austin's electroacoustic, syncretic compositions in Hybrid Musics; James Fulkerson's unique, extended techniques for the trombone on Works; a fusion of three overlaid compositions in Dary John Mizelle's Music of Dary John Mizelle; spontaneous pieces and riff-based "character improvisations" in Music of BL Lacerta by the four piece "orchestra in miniature" BL Lacerta Improvisation Quartet; and experiments in compositional "mapping" by external structures in Cartography, featuring Austin, Gene De Lisa, Robert Michael Keefe, and Rodney Waschka II. Accompanying the boxed set is a richly-illustrated reader with a detailed essay on on the label by Lawrence Kumpf and Tyler Maxin; never-before-published archival materials; newly commissioned reflections by Fulkerson and the composer Jerry Willingham; as well as an interview with Hunt and ephemera including album and concert reviews, artworks, posters and flyers, and correspondences from the musicians and composers involved.

Here at last is the reissue of the most sought-after track by French New Beat band French Theory. Originally released in 2008, this tribute to Boccacio (the revered temple of New Beat and EBM, located in Belgium) struck at the heart of the movement’s soul. It quickly gained cult status for its gloomy atmosphere, heavy industrial beats and catchy melodies that propelled the classic New Beat sound into the 21st century.

Out of print since then, it’s back in a limited edition, with the added energy of a powerful remaster by cult techno and acid master Thomas P. Heckmann (Trope, Drax, etc.), plus a brand new diversion exclusive to this vinyl on the flip. Get ready to wave the white glove again, and get lost in the music!

French theory is the New Beat alias of Guillaume U. Chifflot, one of the few French techno veterans in the New Beat & Techno-house genre, who started releasing tracks in the early 90s on his own multimedia label n9. Relaunched in the mid-2000s, the label releases techno and electronica, while pioneering an upgrade of New Beat in the wake of the Techno Body Music movement.

Jake Mehew's debut album Sage is a modern and contemporary take on spiritual jazz, a truly exceptional record from the eclectic and highly talented Leeds' artist.Whilst staying within the ethos of spontaneous, unedited performance, Mehew constantly pushes and manipulates the genre's boundaries.The recognisable and lush sound of the Fender Rhodes, layered on a bed of punchy, percussive, grooves, provides the bedrock for powerful improvisations, running alongside Meyhew's subtle analogue synth manipulation and production.

Sage was workshopped over one frantic lockdown week in August 2020. It's a truly honest experience of seven days of hard work, a multi tracked record, made without using overdub to capture the true energy of the performance.True to the spirit of albums made in a pre digital era Mehew set out to capture ideas, interaction and performance at their inception rather than post production.

Jake Mehew is an up and coming composer, performer and producer based in Leeds, UK. His work combines principles of free improvisation with the technological considerations of the avant-garde. Using a combination of acoustic instruments, modular synthesisers and samplers Mehew creates rich, meditative soundscapes that envelop the listener in an immersive sound field.

Double LP documenting a realtime collaboration between Terrence Dixon (Metroplex/Tresor/Rush Hour) and Jordan GCZ (Off Minor/Minimal Detroit/Rush Hour). Finally the full results of these special sessions see the light of day (a ltd edition 12" of exclusive tracks owas released in 2020).
BIG TIP!

"In September 2019, Motor City techno legend Terrence Dixon made a rare trip to Europe. He was introduced to Jordan Czamanski AKA Jordan GCZ, a serial collaborator and electronic music improviser best known for his work as part of Juju & Jordash and, alongside David Moufang and Gal “Juju” Aner, as Magic Mountain High.

The pair hit it off immediately, so Czamanski powered up his studio and the pair began to jam. Over the following five days, the pair improvised extensively, stopping only periodically to drink coffee and discuss music, life and much more besides. While in the studio, they barely uttered a word to each other, instead responding almost psychically to the rhythms, grooves, riffs and musical motifs the other was spinning into the mix.

The results of these surprisingly magical 2019 studio sessions are showcased on Keep In Mind, I’m Out of My Mind, the pair’s first joint album and Dixon’s most significant musical collaboration since the Detroiter’s 2018 hook-up with German techno and ambient veteran Thomas Fehlmann.

In keeping with the project’s improvised roots, the six-track set is notable for its immediacy, pleasing looseness – it was mostly created using outboard equipment including synthesizers, drum machines and effects units – and sonic fluidity. It offers a neat, symmetrical blend of the two producers’ trademark styles, with Czamanski’s attractive chords, melodies and jazz-flecked motifs rising above hypnotic, cymbal-heavy rhythms that have long been the hallmark of Detroit’s sci-fi-fuelled techno sound.

This unique and appealing, dancefloor-focused sound ripples through album opener ‘Fretless’, an ultra-deep chunk of heady liquid techno, and the breathless bustle of ‘Operation Delete’, where bubbly synthesizer motifs, cascading ambient electronics and urgent bass cluster around a killer broken techno groove.

It’s there, too, throughout the surging, deliciously percussive ‘Space Chime’, an alien-sounding concoction that sounds like it was beamed down from some distant galaxy, the warming-but-intoxicating minor key swirl of ‘Axis Mundi’ – a two-part slab of techno psychedelia full of trippy electronics, dystopian jazz riffs and intergalactic intent – and the pitched-down, mind-altering oddness of closing cut ‘Above Ground’, when the pair goes all-out in pursuit of leftfield techno perfection.

Created from scratch in a few days by two of electronic music’s most accomplished improvisers, Keep In Mind, I’m Out of My Mind is an exemplary meeting of musical minds and sonic sensibilities."

Matt Annis

Comes with insert with photographs by Atelier Fantasma (Jop Verberne).

REPRESS!

Returning for 2019 with our first 12-inch release, Made in Green Records concludes Rooteo & Mahura’s opening salvo, with reinterpretations from the artists themselves and the label head putting their marks on already-outstanding material. Leading off the release, we find the original ‘Caxixi’ from their debut LP, Mettā, with its tablas and vocals rubbing against billowing clouds of bass and dubwise effects; Made in Green boss Vasco Ispirian turns in the first rework, a thickly layered, relaxed tempo dub techno trip. Barely- recognizable remnants of the original’s percussion and vocal lines occasionally surface out of the subaquatic haze before surging kick drums push them back beneath the surface. Appearing here under his recently-birthed 4NYØN3 project, Rooteo, best known as Marcos In Dub, closes the release with a pounding techno remake that utterly transforms his own & Mahura’s work. Squashing the original’s ambient sonics into unstable delay traps that reappear prominently in the breakdowns, he grafts this into stringent techno, adroitly wrought and with details to spare, the scrambled fragments of sound emerging between heavy drums and contributing to the dark and downcast mood that pervades the piece.

Die Jazzkantine hatte nie Berührungsängste beim Manövrieren zwischen den Genres, das neue Studioalbum "Discotheque" stellt dies eindrucksvoll unter Beweis. Gründer und Bandleader Christian Eitner hat es geschafft, die vielköpfige Charaktertruppe im Kern seit fast 30 Jahren zusammenzuhalten. Gestählt durch unzählige Gigs in kleinen schmuddeligen Clubs, aber auch in piekfeinen Theatern und in riesigen Arenen. Die Jazzkantine hat bis dato um die 1.500 Konzerte gespielt, das Schönste und Schlimmste, Aufregendste und Außergewöhnlichste aus allen Musikwelten erlebt. Und sie hat noch lange nicht genug. Wir müssen wieder tanzen. Wir müssen wieder singen. Und so taucht die Jazzkantine ein in die Welt der "Discomusik", die in ihren Ursprüngen vor 50 Jahren im Milieu des New Yorker Undergrounds viel diverser und innovativer ist, als man vermutet. Eine Melange aus ersten DJ-Techniken und neuen bombastischen Sound-Systemen bietet auf privat organisierten House Partys viel Raum zur Entfaltung der LGBT-Community. Noch heute erinnert alljährlich der Christopher Street Day an die Stonewall-Riots und somit an eine Zeit, als noch gleichgeschlechtlicher Tanz verboten ist. Vor allem David Mancusos "Loft" ist Anfang der 70er eine Keimzelle für den Disco-Sound, der erst viel später mit Hits wie "Stayin' Alive" und "Le Freak" zum internationalen Boom wächst - auch die Rolling Stones, Abba und Kiss springen bekanntlich später auf den Zug auf. Parallel verbinden aber auch Jazzgrößen wie Herbie Hancock, Miles Davis und Chick Corea die Raffinesse des Jazz mit der rhythmischen Intensität des Funks zu "Fusion". Und Fred Wesley sagt: "Discomusic ist Funk mit einer Krawatte". Wie es sich für die experimentierfreudige Jazzkantine gehört, entsteht auf "Discotheque" ein Sound, den man "Disco Jazz" nennen könnte - alles im gewohnten Mix aus Funk, Soul und Rap. Songs, die Lust machen, die neun Musiker endlich wieder live auf der Clubbühne zu erleben.

Die Jazzkantine hatte nie Berührungsängste beim Manövrieren zwischen den Genres, das neue Studioalbum "Discotheque" stellt dies eindrucksvoll unter Beweis. Gründer und Bandleader Christian Eitner hat es geschafft, die vielköpfige Charaktertruppe im Kern seit fast 30 Jahren zusammenzuhalten. Gestählt durch unzählige Gigs in kleinen schmuddeligen Clubs, aber auch in piekfeinen Theatern und in riesigen Arenen. Die Jazzkantine hat bis dato um die 1.500 Konzerte gespielt, das Schönste und Schlimmste, Aufregendste und Außergewöhnlichste aus allen Musikwelten erlebt. Und sie hat noch lange nicht genug. Wir müssen wieder tanzen. Wir müssen wieder singen. Und so taucht die Jazzkantine ein in die Welt der "Discomusik", die in ihren Ursprüngen vor 50 Jahren im Milieu des New Yorker Undergrounds viel diverser und innovativer ist, als man vermutet. Eine Melange aus ersten DJ-Techniken und neuen bombastischen Sound-Systemen bietet auf privat organisierten House Partys viel Raum zur Entfaltung der LGBT-Community. Noch heute erinnert alljährlich der Christopher Street Day an die Stonewall-Riots und somit an eine Zeit, als noch gleichgeschlechtlicher Tanz verboten ist. Vor allem David Mancusos "Loft" ist Anfang der 70er eine Keimzelle für den Disco-Sound, der erst viel später mit Hits wie "Stayin' Alive" und "Le Freak" zum internationalen Boom wächst - auch die Rolling Stones, Abba und Kiss springen bekanntlich später auf den Zug auf. Parallel verbinden aber auch Jazzgrößen wie Herbie Hancock, Miles Davis und Chick Corea die Raffinesse des Jazz mit der rhythmischen Intensität des Funks zu "Fusion". Und Fred Wesley sagt: "Discomusic ist Funk mit einer Krawatte". Wie es sich für die experimentierfreudige Jazzkantine gehört, entsteht auf "Discotheque" ein Sound, den man "Disco Jazz" nennen könnte - alles im gewohnten Mix aus Funk, Soul und Rap. Songs, die Lust machen, die neun Musiker endlich wieder live auf der Clubbühne zu erleben.

"Renaud Capucon ist eine der brillantesten
Musikerpersönlichkeiten Frankreichs", schrieb der
Kultursender Arte über den facettenreichen Violinisten. Mit
der Geige in der Hand leitet er sein Orchestre de
Chambre de Lausanne - so auch für das gemeinsame
Album Vivaldi Les 4 Saisons . Hier verbindet Capucon
das wohl berühmteste Werk Vivaldis, Die vier
Jahreszeiten, mit zwei Violinkonzerten des heute fast
vergessenen Komponisten Joseph Bologne Chevalier de
Saint-Georges.
1745 in Guadeloupe geboren als Sohn eines
Plantagenbesitzers und einer Sklavin aus dem Senegal,
sorgte Chevalier de Saint-Georges als Musiker in Paris
für Furore - als Komponist, Violinist und Leiter eines der
damals führenden Orchester der französischen
Hauptstadt. Scherzhaft wurde der Liebling der Pariser
Gesellschaft auch "schwarzer Mozart" genannt, weil seine
Werke im Stil an den zehn Jahre jüngeren genialen
Kollegen erinnern (vermutlich aber ließ der junge Mozart
sich von den Werken des Älteren inspirieren). Den
Violinkonzerten Saint-Georges' lässt Renaud Capucon die
einfallsreiche und effektvolle Programmmusik Vivaldis
vorausgehen. In Die vier Jahreszeiten verleiht der
Barockkomponist Naturphänomenen musikalisch Gestalt,
vom Vogelgezwitscher über Gewitter bis hin zu Schnee
und Eis. Eine willkommene Gelegenheit für den
Star-Violinisten, einmal mehr seine brillante Technik und
Ausdruckskraft unter Beweis zu stellen.

Debut solo album from Julia Kugel (The Coathangers). Limited edition first LP pressing on heartbeat pink color vinyl, includes DL (1500 copies). If you can’t trust yourself, who can you trust? This is the crucial question at the core of Julia, Julia, the moniker for Julia Kugel, founding member of garage punk icons The Coathangers and the dream pop duo Soft Palms. On her first solo full-length album Derealization, Kugel shifts her focus from collaboration and band dynamics towards a singular artistic vision and private self-discovery. Steeped in the beguiling pop elements of her past work, Derealization is a meditative deep dive into the mind of a person struggling to understand a crumbling internal and external world. The album traverses a landscape of ethereal folk, atmospheric deconstructed pop, and dubbed-out country ballads, all centered around straight forward and direct lyrics. This juxtaposition of nebulousness and lucidity gives the album a sense of clarity emerging from the haze, an apt refection of Kugel's personal growth and journey toward self-acceptance. Derealization is based on weaving the unreal, unsaid, and unknown into an undulating sonic fabric. Vocal layering and abstract instrumentation convey a blurred desperation to connect to an emotional and psychological focal point. Moody, dark, and sumptuous, the record is a flow chart of Julia Kugel coming into herself as an artist and songwriter. The album finds Julia playing almost all the instruments and taking her first stab at engineering at COMA, her and her husband's home recording studio in Long Beach, CA. “You know how touring musicians often speak of whether home is real or tour is real? Well, it can lead you to lose grasp on ‘reality,’ especially when touring is taken away and you are left to wonder if anything was ever real, including yourself. Like you we're just playing a character,” Kugel says of her headspace leading up to the creation of Derealization. “Honestly, I kinda lost it, and through making this record I made peace with it and reconciled myself as a real person. I forgave myself and in turn forgave those around me. The song ‘Forgive Me’ is the apology I wanted to say and to hear. I wrote every song from that place and gained the confidence I was pretending to possess.” This raw and personal approach to the lyrics is present throughout Derealization. On the opening track "I Want You," Kugel creates a woozy sense of space with reverb-soaked drums and spaghetti western guitars while she lists off her desires for a mysterious “you.” Is she actually listing off her desires for herself? For the people around her? As she repeats "do you feel it?" in the song’s chorus, it feels as if she’s conjuring a magical thread by which we are all connected, showing us how our desires are all the same. On "Fever In My Heart" the listener is treated to a lush, acoustic techno track detailing the exhilarating madness of an emotional breakdown. Simple truths percolate to the surface on "Words Don't Mean Much,” as if clearing away the murk of platitudes and empty gestures. The journey continues on the detached and conflicted "Do It Or Don't,” an alluring walk through the winding road of lonely choices. The name for the project Julia, Julia is a look in the mirror, a reflection of what is hidden and unanswered, of what is real and what is transient. The experience of living life not as you planned it but as it unfolded, and the mysterious, magical pain that creates meaning.

Tracklisting 1. I Want You 2. Forgive Me 3. Impromptu 4. Fever In My Heart 5. Words Don’t Mean Much 6. Do It Or Don't 7. No Hard Feelings 8. Big Talkin' 9. Paper Cutout 10. Where Did You Go 11. Corner Town

Gold Vinyl

Die Jazzkantine hatte nie Berührungsängste beim Manövrieren zwischen den Genres, das neue Studioalbum "Discotheque" stellt dies eindrucksvoll unter Beweis. Gründer und Bandleader Christian Eitner hat es geschafft, die vielköpfige Charaktertruppe im Kern seit fast 30 Jahren zusammenzuhalten. Gestählt durch unzählige Gigs in kleinen schmuddeligen Clubs, aber auch in piekfeinen Theatern und in riesigen Arenen. Die Jazzkantine hat bis dato um die 1.500 Konzerte gespielt, das Schönste und Schlimmste, Aufregendste und Außergewöhnlichste aus allen Musikwelten erlebt. Und sie hat noch lange nicht genug. Wir müssen wieder tanzen. Wir müssen wieder singen. Und so taucht die Jazzkantine ein in die Welt der "Discomusik", die in ihren Ursprüngen vor 50 Jahren im Milieu des New Yorker Undergrounds viel diverser und innovativer ist, als man vermutet. Eine Melange aus ersten DJ-Techniken und neuen bombastischen Sound-Systemen bietet auf privat organisierten House Partys viel Raum zur Entfaltung der LGBT-Community. Noch heute erinnert alljährlich der Christopher Street Day an die Stonewall-Riots und somit an eine Zeit, als noch gleichgeschlechtlicher Tanz verboten ist. Vor allem David Mancusos "Loft" ist Anfang der 70er eine Keimzelle für den Disco-Sound, der erst viel später mit Hits wie "Stayin' Alive" und "Le Freak" zum internationalen Boom wächst - auch die Rolling Stones, Abba und Kiss springen bekanntlich später auf den Zug auf. Parallel verbinden aber auch Jazzgrößen wie Herbie Hancock, Miles Davis und Chick Corea die Raffinesse des Jazz mit der rhythmischen Intensität des Funks zu "Fusion". Und Fred Wesley sagt: "Discomusic ist Funk mit einer Krawatte". Wie es sich für die experimentierfreudige Jazzkantine gehört, entsteht auf "Discotheque" ein Sound, den man "Disco Jazz" nennen könnte - alles im gewohnten Mix aus Funk, Soul und Rap. Songs, die Lust machen, die neun Musiker endlich wieder live auf der Clubbühne zu erleben.

Spanish producer Divorce From New York (AKA Alvaro Granda) returns with his brand new LP ‘Sausalito’ on London’s High Praise. With his previous full-length 2021 offering ‘This Ain’t Jazz No More’ having gained support from Tom Ravenscroft (BBC 6 Music), Jamz Supernova (BBC Radio 1Xtra), Worldwide FM, BBC Radio 1, Errol (Touching Bass), DJ Mag & many more - the stage is set for this heady and potent sophomore release.

Known for his work as one half of San Sebastian based production duo Reykjavik606 (who have previously collaborated with the likes of Tenderlonious and Ishmael Ensemble) Granda creates a rich web of broken beat flavours, uplifting sonics and syncopated rhythms - melding elements of jungle, house and bruk with jazz sensibilities.

Featuring seven brand-new and flavour-packed tracks, ‘Sausalito’ is an uplifting and joyous listen from start to finish. Immersing himself in his extensive collection of Jazz, Soul and Disco vinyl, Alvaro channels golden sunshine-injected influences into a wonderfully cohesive and infectious record. First single ‘Last Ray Of Sunset’ sees Alvaro join forces with long-term collaborator Piek. As its classic disco sounds meet jaunty, MPC- driven drums, and an irresistible bassline - leaving us dreaming of hazy summer terraces, and those last fleeting moments of daytime as evening takes hold.

‘Holly Grove’ evokes a sense of mystery and intrigue with it’s celestial rhodes and flute flourishes, before being joined by syncopated bruk-beats and the alluring vocals of Sarah Zoyaya, who’s tones entwine with some wild synth playing and twisting polyrhythms. Final single ‘I Haven’t Recovered From Last Night With You’ entrances the listener with it’s hypnotic saturated percussion, swirling vocals and reverb-laced key stabs. Creating visions of endless and vast expanses, it shows Alvaro’s ability to weave textures and melody to incredible effect.

With this record, Divorce From New York solidifies his position as one of Europe’s most authentic and original beatmakers. With a range of styles and influences ‘Sausalito’ takes us on a dancefloor leaning journey from sun drenched rhythms through to detroit-techno esque programming. With extensive live performances scheduled for Summer 22 (including a performance at Kala Festival) you can expect to hear this one doing damage on the world’s dancefloors.

Captained by Hugo Mari and Josh Byrne, High Praise is a london-based record label and party. A vessel for uplifting music, made with good energy - they have released music from Yadava, EVM128, Lay-Far, Partner Music & more.

Divorce From New York will release ‘Sausalito’ on 2nd September ‘22 via High Praise.

'Body Riddle', ein Highlight des frühen Clark-Katalogs, von Produzenten wie Arca, Rustie und Hudson Mohawke als massgeblicher Einfluß bezeichnet, wurde unter persönlicher Betreuung von Clark neu für mehr Dynamik remastered und erscheint erstmals wieder seit 16 Jahren.

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BIO: Chris Clark arbeitet seit 20 Jahren mit Musik und Ton. Schon in jungen Jahren wurde er von Warp Records gesignt und veröffentlichte bis dato 13 Alben und eine Vielzahl an EPs und Singles. Sein jüngstes Studioalbum 'Playground In A Lake' für das Klassik-Label Deutsche Grammophon verschmolz sein Markenzeichen, die elektronische Musik, mit den Streichertönen des Cellisten Oliver Coates, der Geigerin Rakhi Singh und des Budapest Art Orchestra.

Nach seiner ersten Filmmusik für die Sky/Canal+ TV-Serie 'The Last Panthers' schrieb Clark die Scores zu 'Rellik' (BBC1/HBO) und das Drama 'Kiri' (Channel 4/Hulu). Kürzlich lieferte er die Filmmusik für Apple TV+ 'Lisey's Story', basierend auf Stephen Kings gleichnamigem Roman, sowie für 'Daniel Isn't Real', einem psychologischen Horrorfilm von Spectre Vision, der Produktionsfirma des Nicolas Cage-Kultfilms 'Mandy'. Dieser OST wurde ebenfalls von der Deutschen Grammophon veröffentlicht.

Chris arbeitete mit der Choreografin Melanie Lane zusammen und vertonte 12 zeitgenössische Tanzprojekte, darunter die Aufführung ihres Soloprojekts 'Tilted Fawn' im Sydney Opera House und zuletzt 'Personal Effigies', das im März 2018 mit dem Kier Choreographic Prize ausgezeichnet wurde, sowie 'WOOF' für die renommierte Sydney Dance Company.

Chris' umfangreiches Verzeichnis an Remixen für Künstler wie Thom Yorke, Massive Attack, Depeche Mode, Max Richter, Battles und Nils Frahm wurde 2013 als Doppelalbum 'Feast / Beast' veröffentlicht.

'What's always set Clark apart is his eclecticism, dynamism, and flair for the dramatic... His tracks don't drop as much as they slip or swerve... He'll end a techno album with eight minutes of beatless, sky-cracking ecstasy and it will make sense. He's allergic to the idea of standard sounds and presets. And unlike many of his more insular peers, Clark can be open to sentimentality — not schmaltz — as much as a belief in humanness and all its inexact wonder. In electronic music's never-ending battle between man and machine, he's seeking a third way.' - Pitchfork

As the sun sets on a quaint East Nashville house, a young man bares a piece of his soul. Facing the camera, sporting a silky suit jacket/shirt/slacks/fingerless gloves ensemble that announces "singer" before he's even opened his mouth, Lee Tracy Johnson settles onto his stage, the front yard. He sways to the dirge-like drum machine pulse of a synth-soaked slow jam, extends his arms as if gaining his balance, and croons in affecting, fragile earnest, "I need your love… oh baby…"

Dogs in the yard next door begin barking. A mysterious cardboard robot figure, beamed in from galaxies unknown and affixed to a tree, is less vocal. Lee doesn't acknowledge either's presence. He's busy feeling it, arms and hands gesticulating. His voice rises in falsetto over the now-quiet dogs, over the ambient noise from the street that seeps into the handheld camcorder's microphone, over the recording of his own voice played back from a boombox off-camera. After six minutes the single, continuous shot ends. In this intimate creative universe there are no re-takes. There are many more music videos to shoot, and as Lee later puts it, "The first time you do it is actually the best. Because you can never get that again. You expressing yourself from within."

"I Need Your Love" dates from a lost heyday. From some time in the '80s or early '90s, when Lee Tracy (as he was known in performance) and his music partner/producer/manager Isaac Manning committed hours upon hours of their sonic and visual ideas to tape. Embracing drum machines and synthesizers – electronics that made their personal futurism palpable – they recorded exclusively at home, live in a room into a simple cassette deck. Soul, funk, electro and new wave informed their songs, yet Lee and Isaac eschewed the confinement of conventional categories and genres, preferring to let experimentation guide them.

"Anytime somebody put out a new record they had the same instruments or the same sound," explains Isaac. "So I basically wanted to find something that's really gonna stand out away from all of the rest of 'em." Their ethos meant that every idea they came up with was at least worth trying: echoed out half-rapped exhortations over frantic techno-style beats, gospel synth soul, modal electro-funk, oddball pop reinterpretations, emo AOR balladry, nods to Prince and the Fat Boys, or arrangements that might collapse mid-song into a mess of arcade game-ish blips before rallying to reach the finish line. All of it conjoined by consistent tape hiss, and most vitally, Lee's chameleonic voice, which managed to wildly shape shift and still evoke something sincere – whether toggling between falsetto and tenor exalting Jesus's return, or punctuating a melismatic romantic adlib with a succinct, "We all know how it feels to be alone."

"People think we went to a studio," says Isaac derisively. "We never went to no studio. We didn't have the money to go to no studio! We did this stuff at home. I shot videos in my front yard with whatever we could to get things together." Sometimes Isaac would just put on an instrumental record, be it "Planet Rock" or "Don't Cry For Me Argentina" (from Evita), press "record," and let Lee improvise over it, yielding peculiar love songs, would-be patriotic anthems, or Elvis Presley or Marilyn Monroe tributes. Technical limitations and a lack of professional polish never dissuaded them. They believed they were onto something.

"That struggle," Isaac says, "made that sound sound good to me."

In the parlance of modern music criticism Lee and Isaac's dizzying DIY efforts would inevitably be described as "outsider." But "outsider" carries the burden of untold additional layers of meaning if you're Black and from the South, creating on a budget, and trying to get someone, anyone within the country music capital of the world to take your vision seriously. "What category should we put it in?" Isaac asks rhetorically. "I don't know. All I know is feeling. I ain't gonna name it nothing. It's music. If it grabs your soul and touch your heart that's what it basically is supposed to do."

=

Born in 1963, the baby boy of nine siblings, Lee Tracy spent his earliest years living amidst the shotgun houses on Nashville's south side. "We was poor, man!" he says, recalling the outhouse his family used for a bathroom and the blocks of ice they kept in the kitchen to chill perishables. "But I actually don't think I really realized I was in poverty until I got grown and started thinking about it." Lee's mom worked at the Holiday Inn; his dad did whatever he had to do, from selling fruit from a horse drawn cart to bootlegging. "We didn't have much," Lee continues, "but my mother and my father got us the things we needed, the clothes on our back." By the end of the decade with the city's urban renewal programs razing entire neighborhoods to accommodate construction of the Interstate, the family moved to Edgehill Projects. Lee remembers music and art as a constant source of inspiration for he and his brothers and sisters – especially after seeing the Jackson 5 perform on Ed Sullivan. "As a small child I just knew that was what I wanted to do."

His older brother Don began musically mentoring him, introducing Lee to a variety of instruments and sounds. "He would never play one particular type of music, like R&B," says Lee. "I was surrounded by jazz, hard rock and roll, easy listening, gospel, reggae, country music; I mean I was a sponge absorbing all of that." Lee taught himself to play drums by beating on cardboard boxes, gaining a rep around the way for his timekeeping, and his singing voice. Emulating his favorites, Earth Wind & Fire and Cameo, he formed groups with other kids with era-evocative band names like Concept and TNT Connection, and emerged as the leader of disciplined rehearsals. "I made them practice," says Lee. "We practiced and practiced and practiced. Because I wanted that perfection." By high school the most accomplished of these bands would take top prize in a prominent local talent show. It was a big moment for Lee, and he felt ready to take things to the next level. But his band-mates had other ideas.

"I don't know what happened," he says, still miffed at the memory. "It must have blew they mind after we won and people started showing notice, because it's like everybody quit! I was like, where the hell did everybody go?" Lee had always made a point of interrogating prospective musicians about their intentions before joining his groups: were they really serious or just looking for a way to pick up girls? Now he understood even more the importance of finding a collaborator just as committed to the music as he was.

=

Isaac Manning had spent much of his life immersed in music and the arts – singing in the church choir with his family on Nashville's north side, writing, painting, dancing, and working various gigs within the entertainment industry. After serving in the armed forces, in the early '70s he ran The Teenage Place, a music and performance venue that catered to the local youth. But he was forced out of town when word of one of his recreational routines created a stir beyond the safe haven of his bohemian circles.

"I was growing marijuana," Isaac explains. "It wasn't no business, I was smoking it myself… I would put marijuana in scrambled eggs, cornbread and stuff." His weed use originated as a form of self-medication to combat severe tooth pain. But when he began sharing it with some of the other young people he hung out with, some of who just so happened to be the kids of Nashville politicians, the cops came calling. "When I got busted," he remembers, "they were talking about how they were gonna get rid of me because they didn't want me saying nothing about they children because of the politics and stuff. So I got my family, took two raggedy cars, and left Nashville and went to Vegas."

Out in the desert, Isaac happened to meet Chubby Checker of "The Twist" fame while the singer was gigging at The Flamingo. Impressed by Isaac's zeal, Checker invited him to go on the road with him as his tour manager/roadie/valet. The experience gave Isaac a window into a part of the entertainment world he'd never encountered – a glimpse of what a true pop act's audience looked like. "Chubby Checker, none of his shows were played for Black folks," he remembers. "All his gigs were done at high-class white people areas." Returning home after a few years with Chubby, Isaac was properly motivated to make it in Music City. He began writing songs and scouting around Nashville for local talent anywhere he could find it with an expressed goal: "Find someone who can deliver your songs the way you want 'em delivered and make people feel what you want them to feel."

One day while walking through Edgehill Projects Isaac heard someone playing the drums in a way that made him stop and take notice. "The music was so tight, just the drums made me feel like, oh I'm-a find this person," he recalls. "So I circled through the projects until I found who it was.

"That's how I met him – Lee Tracy. When I found him and he started singing and stuff, I said, ohhh, this is somebody different."

=

Theirs was a true complementary partnership: young Lee possessed the raw talent, the older Isaac the belief. "He's really the only one besides my brother and my family that really seen the potential in me," says Lee. "He made me see that I could do it."

Isaac long being a night owl, his house also made for a fertile collaborative environment – a space where there always seemed to be a new piece of his visual art on display: paintings, illustrations, and dolls and figures (including an enigmatic cardboard robot). Lee and Issac would hang out together and talk, listen to music, conjure ideas, and smoke the herb Isaac had resumed growing in his yard. "It got to where I could trust him, he could trust me," Isaac says of their bond. They also worked together for hours on drawings, spreading larges rolls of paper on the walls and sketching faces with abstract patterns and imagery: alien-like beings, tri-horned horse heads, inverted Janus-like characters where one visage blurred into the other.

Soon it became apparent that they didn't need other collaborators; self-sufficiency was the natural way forward. At Isaac's behest Lee, already fed up with dealing with band musicians, began playing around with a poly-sonic Yamaha keyboard at the local music store. "It had everything on it – trumpet, bass, drums, organ," remembers Lee. "And that's when I started recording my own stuff."

The technology afforded Lee the flexibility and independence he craved, setting him on a path other bedroom musicians and producers around the world were simultaneously following through the '80s into the early '90s. Saving up money from day jobs, he eventually supplemented the Yamaha Isaac had gotten him with Roland and Casio drum machines and a Moog. Lee was living in an apartment in Hillside at that point caring for his dad, who'd been partially paralyzed since early in life. In the evenings up in his second floor room, the music put him in a zone where he could tune out everything and lose himself in his ideas.

"Oh I loved it," he recalls. "I would really experiment with the instruments and use a lot of different sound effects. I was looking for something nobody else had. I wanted something totally different. And once I found the sound I was looking for, I would just smoke me a good joint and just let it go, hit the record button." More potent a creative stimulant than even Isaac's weed was the holistic flow and spontaneity of recording. Between sessions at Isaac's place and Lee's apartment, their volume of output quickly ballooned.

"We was always recording," says Lee. "That's why we have so much music. Even when I went to Isaac's and we start creating, I get home, my mind is racing, I gotta start creating, creating, creating. I remember there were times when I took a 90-minute tape from front to back and just filled it up."

"We never practiced," says Isaac. "See, that was just so odd about the whole thing. I could relate to him, and tell him about the songs I had ideas for and everything and stuff. And then he would bring it back or whatever, and we'd get together and put it down." Once the taskmaster hell bent on rehearsing, Lee had flipped a full 180. Perfection was no longer an aspiration, but the enemy of inspiration.

"I seen where practicing and practicing got me," says Lee. "A lot of musicians you get to playing and they gotta stop, they have to analyze the music. But while you analyzing you losing a lot of the greatness of what you creating. Stop analyzing what you play, just play! And it'll all take shape."

=

"I hope you understood the beginning of the record because this was invented from a dream I had today… (You tell me, I'll tell you, we'll figure it out together)" – Lee Tracy and Isaac Manning, "Hope You Understand"

Lee lets loose a maniacal cackle when he acknowledges that the material that he and Isaac recorded was by anyone's estimation pretty out there. It's the same laugh that commences "Hope You Understand" – a chaotic transmission that encapsulates the duality at the heart of their music: a stated desire to reach people and a compulsion to go as leftfield as they saw fit.

"We just did it," says Lee. "We cut the music on and cut loose. I don't sit around and write. I do it by listening, get a feeling, play the music, and the lyrics and stuff just come out of me."

The approach proved adaptable to interpreting other artists' material. While recording a cover of Whitney Houston's pop ballad "Saving All My Love For You," Lee played Whitney's version in his headphones as he laid down his own vocals – partially following the lyrics, partially using them as a departure point. The end result is barely recognizable compared with the original, Lee and Isaac having switched up the time signature and reinvented the melody along the way towards morphing a slick mainstream radio standard into something that sounds solely their own.

"I really used that song to get me started," says Lee. "Then I said, well I need something else, something is missing. Something just came over me. That's when I came up with 'Is It What You Want.'"

The song would become the centerpiece of Lee and Isaac's repertoire. Pushed along by a percolating metronomic Rhythm King style beat somewhere between a military march and a samba, "Is It What You Want" finds Lee pleading the sincerity of his commitment to a potential love interest embellished by vocal tics and hiccups subtlely reminiscent of his childhood hero MJ. Absent chord changes, only synth riffs gliding in and out like apparitions, the song achieves a lingering lo-fi power that leaves you feeling like it's still playing, somewhere, even after the fade out.

"I don't know, it's like a real spiritual song," Lee reflects. "But it's not just spiritual. To me the more I listen to it it's like about everything that you do in your everyday life, period. Is it what you want? Do you want a car or you don't want a car? Do you want Jesus or do you want the Devil? It's basically asking you the question. Can't nobody answer the question but you yourself."

In 1989 Lee won a lawsuit stemming from injuries sustained from a fight he'd gotten into. He took part of the settlement money and with Isaac pressed up "Saving All My Love For You" b/w "Is It What You Want" as a 45 single. Isaac christened the label One Chance Records. "Because that's all we wanted," he says with a laugh, "one chance."

Isaac sent the record out to radio stations and major labels, hoping for it to make enough noise to get picked up nationally. But the response he and Lee were hoping for never materialized. According to Isaac the closest the single got to getting played on the radio is when a disk jock from a local station made a highly unusual announcement on air: "The dude said on the radio, 107.5 – 'We are not gonna play 'Is It What You Want.' We cracked up! Wow, that's deep.

"It was a whole racist thing that was going on," he reflects. "So we just looked over and kept on going. That was it. That was about the way it goes… If you were Black and you were living in Nashville and stuff, that's the way you got treated." Isaac already knew as much from all the times he'd brought he and Lee's tapes (even their cache of country music tunes) over to Music Row to try to drum up interest to no avail.

"Isaac, he really worked his ass off," says Lee. "He probably been to every record place down on Music Row." Nashville's famed recording and music business corridor wasn't but a few blocks from where Lee grew up. Close enough, he remembers, for him to ride his bike along its back alleys and stumble upon the occasional random treasure, like a discarded box of harmonicas. Getting in through the front door, however, still felt a world away.

"I just don't think at the time our music fell into a category for them," he concedes. "It was before its time."

=

Lee stopped making music some time in the latter part of the '90s, around the time his mom passed away and life became increasingly tough to manage. "When my mother died I had a nervous breakdown," he says, "So I shut down for a long time. I was in such a sadness frame of mind. That's why nobody seen me. I had just disappeared off the map." He fell out of touch with Isaac, and in an indication of just how bad things had gotten for him, lost track of all the recordings they'd made together. Music became a distant memory.

Fortunately, Isaac kept the faith. In a self-published collection of his poetry – paeans to some of his favorite entertainment and public figures entitled Friends and Dick Clark – he'd written that he believed "music has a life of its own." But his prescience and presence of mind were truly manifested in the fact that he kept an archive of he and Lee's work. As perfectly imperfect as "Is It What You Want" now sounds in a post-Personal Space world, Lee and Isaac's lone official release was in fact just a taste. The bulk of the Is It What You Want album is culled from the pair's essentially unheard home recordings – complete songs, half-realized experiments, Isaac's blue monologues and pronouncements et al – compiled, mixed and programmed in the loose and impulsive creative spirit of their regular get-togethers from decades ago. The rest of us, it seems, may have finally caught up to them.

On the prospect of at long last reaching a wider audience, Isaac says simply, "I been trying for a long time, it feels good." Ever the survivor, he adds, "The only way I know how to make it to the top is to keep climbing. If one leg break on the ladder, hey, you gotta fix it and keep on going… That's where I be at. I'll kill death to make it out there."

For Lee it all feels akin to a personal resurrection: "It's like I was in a tomb and the tomb was opened and I'm back… Man, it feels so great. I feel like I'm gonna jump out of my skin." Success at this stage of his life, he realizes, probably means something different than what it did back when he was singing and dancing in Isaac's front yard. "What I really mean by 'making it,'" he explains isn't just the music being heard but, "the story being told."

Occasionally Lee will pull up "Is It What You Want" on YouTube on his phone, put on his headphones, and listen. He remembers the first time he heard his recorded voice. How surreal it was, how he thought to himself, "Is that really me?" What would he say to that younger version of himself now?

"I would probably tell myself, hang in there, don't give up. Keep striving for the goal. And everything will work out."

Despite what's printed on the record label, sometimes you do get more than one chance.

This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción. Disidentes and T de Cobre brought extreme sounds to local electronics, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción were responsible for introducing styles such as techno-pop, EBM, industrial and minimal synth in Peru. Coinciding with the explosion of punk in Lima and the appearance of the so-called Rock Subterráneo underground rock, these techno groups shared the same DIY spirit, performing in many punk concerts and even creating their own fanzines, and, above all, opening a space for other types of sonic experiences. Meine Katze Und Ich, El Sueño de Alí and Paisaje Electrónico were also the parallel projects of the members of Narcosis, the iconic punk band, one of the founders of Rock Subterráneo. Disidentes and T de Cobre brought extreme sounds to local electronics: viscerality, mechanical rhythms and the use of Casiotones or synthesizers, which resulted in an atypical sound that, in turn, portrayed a critical time in Peru, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. The title of this compilation is inspired by the name of a concert held in Lima in 1991, considered to be the first techno concert to have taken place in Peru. Even though not all intervening groups were doing techno at that time, they did share the fact that they all used keyboards. Four of them, however (Cuerpos del Deseo, Ensamble, Círculo Interior and Reacción), were in fact affiliated to an electronic sound (techno-pop, EBM). The concert was a sign of the diversification of musical styles in Lima's alternative scene, and in particular of the emergence of a micro scene, for which the concert Síntomas de techno [Symptoms of Techno] represented an important step towards the development of a local culture of electronic music during the 90s. Many of the recordings included here are extracted from demos with limited circulation, practically impossible to find. Other tracks are unpublished pieces which come from the private archives of the artists themselves. The compilation has been made by Luis Alvarado and is part of the Essential Sounds Collection, with which Buh Records is making available a vast archive of avant-garde Peruvian music. This compilation is published in vinyl format in a limited edition of 300 copies, with extensive information and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez. Cover photography by Rogelio Martell. This project was awarded with funding from the Economic Stimuli program of the Peruvian Ministry of Culture.

A rediscovered untitled Mass by Adriaen Willaert "Missa Ippolito", a
hidden ode to the Cardinal of Ferrara, Willaert's patron.Adriaen Willaert
must have already been a prolific composer before he assumed the
position of kapellmeister at the Basilica of San Marco in Venice
After all, a second Mass of his was included in a large, illuminated choral
manuscript that was produced for the Illustrious Brotherhood of Our Blessed
Lady in 's- Hertogenbosch, the Netherlands (the first Mass in this manuscript,
Missa sex vocum super "Benedicta," can be found on the LP Adriano 2). The title
page of the Mass does not mention the name of the composition, only that of the
composer, Adrianus Willart. It was catalogued as a Missa sine nomine, a Mass
without a name. It is assumed that the work was composed between 1522 and
1527, at a time when Willaert was a member of the music chapel of Cardinal
Ippolito d'Este in Ferrara, Italy. At first glance, what's striking about this
composition is that one of the tenor voices sings a cantus firmus (a "given, fixed,
foundational voice" that provides the basis for each movement of the Mass, to
which the other voices are added) that always consists of the same 13 notes: mi
ut mi sol mi ut fa mi fa mi re mi.
In an article about the Mass, the musicologist Joshua Rifkin claims to have
discovered a sogetto cavato delle parole in this sequence of notes. This is a
compositional technique common for the time in which the notes of a melody, in
this case the cantus firmus, are derived from the vowels of certain words. The
notes used for the tone poetry are those of the Guidonian hexachord, a series of
the 6 notes ut-re-mi-fa-sol-la.
For example, the word Maria (Ma-ri-a) can be "translated" into the notes la mi la.
The cantus firmus of the Mass, according to Rifkin, fits the words "Primus
Ippolitus Cardinalis Estensis" (Ippolito I, Cardinal d'Este) perfectly. The Mass is
thus almost certainly (via a hidden message in the music) an ode to the Cardinal
of Ferrara who was Willaert's patron. This rediscovered untitled Mass by Adriaen
Willaert, which we have now sung as a world premiere, can therefore rightly bear
the name Missa Ippolito.

With his Arjunamusic label and a growing catalog of category-defying releases, Samuel Rohrer
continues to quietly, yet confidently, make a name for himself as a genuinely unique figure within
the European electronic music realm. Over the past decade he has assembled a repertoire of
music that fills a sadly neglected gap in the modern musical landscape. That is to say, he has
made a number of “electronically”-aided works that never seem to make “electronic-ism” the main
selling point or raison d'être. Rohrer understands that we inhabit a networked media landscape
that no longer sees a novelty value in every synthetic or technological sound, and by realizing
this, he makes a music that fully engages with the present without completely disregarding the
exciting speculative sensibility that has allowed electronic music to solidify into a tradition. His
latest solo album, Hungry Ghosts, again shows the high quality of sonic design that can be
achieved by conceptualizing musical passages as living, breathing entities rather than as
signposts to some still distant reality.
Maybe more so than any of Rohrer’s solo records to date, Hungry Ghosts is the one that
most unambiguously displays the artist as a kind of inspired sound “cultivator” or landscaper
rather than just a straightforward “producer”. The emphasis here seems to be biological growth
processes rendered in musical form, and in fact some track titles namechecking the biodiversity
of the external world (“Slow Fox”, “Ctenophora”) and neurochemistry (“Serotonin”) lend some
additional credence to this interpretation.
As with previous outings, Rohrer starts with his skills as a genre-resistant percussionist
and builds from there, with dense clusters of drum hits and icy cymbal exclamations leading the
way into a wide-open atmosphere full of fragmented phrases, marked with strange reversals or
compressions of time. The percussive portions and other ambiences merge together in such a
way that the latter seems like a kind of shifting, holographic camouflage for the former; an effect
which makes for a greater than usual number of shifts in mood. Rohrer’s already established
ambiguity and mystery are the moods that permeate throughout, to be sure, but there are also
surprising moments of humorous whimsy (the flourishes of cartoon mischief and teasing silences
on the tracks “Human Regression” and “Bodylanguage”), reverence (the optimistic organ swells
and steady sequencer guiding “Ceremonism”), and meditative focus (the slow-motion spectral
waltz of “Treehouse”). Also notable here are very brief etudes, such as “Window Pain,” whose
dark, lush ebb and flow actually seem tailored to repeated or looped listening.
It’s particularly remarkable that almost all of this material is recorded solo and in a “live /
no overdubs” mode, given how much it feels like well-rehearsed ensemble playing, and given the
impeccable timing involved in continually exchanging the sounds at the very forefront of the mix.
And here we come full circle to the idea of “electronic music” mentioned at the beginning here:
instead of making us feel that we are in the presence of some fully-realized form brought back
from “the future,” Rohrer invites us instead to witness fascinating processes of transition and
mutation, and to value them for what they are now as much as for where they are headed.

Temples is a tempting invitation into another world, full of light and movement. From the second the synth comes in this track has got us deep in its pocket. Shotter manages something that is hard to achieve - he has us floating completely, yet steadily carried by tip-toeing metallic rhythm elements and the relentless swells of bright synths. The game changer in the second half is a new, gritty bass quality, which couldn't roll in any more fiercely. At its fullest the track has us in an uncompromising trance, a relentless movement that we don't ever want to escape from. Breaking back down to pleasantly gentle hi-hat reverb-tails and inducing synth patterns Temples lets us down easy, with the unspoken promise to return.

Ueno claims the room to itself completely and immediately. The rise and fall of melodic synth lines lead us through a labyrinth at first, leaving plenty of space for imagination. Before we notice playful call-and-response rhythms are teasing our ears, until the track surrenders itself to an ever-growing wave of synth patterns and their behind-the-beat-delay. It climaxes into a haunting silence with tenuous high-pitched sounds and a clear outer space feel. Finally, all elements lock into a comforting groove, driving us forward, not too fast, not too slow - exactly right.

The track starts off with a blissfully nostalgic vintage-feel - slightly muffled, like the humbling quality you get from an old Technics playing your favourite LP. But don't be fooled, Cube March is bold. And unexpected. Stomping rhythms take over quickly and full-blown gritty synth-stabs cut the air effortlessly, like blades. An unapologetic and careless pumping bass line makes us want to move with every cell in our body. Shotter demonstrates his fearlessness in experimenting with heavy contrasts and elements from different genres here. A break with tastefully placed repetitive rhythm elements is complemented by the constant ebb and flow of melody lines. Both in volume and presence they fluctuate, one handing over the spotlight to the other seamlessly, keeping us hooked until the very end.

This remix lures you away from reality in a matter of seconds, with Definition's signature heavy hitting bass dominating. He expertly weaves shimmery fills into buoyant synth lines and brings us a skilful mix of dark minimal techno, breaks and infectious monster synth lines. Every so often, he adds a new layer, increasing the depth of the track, before letting it all crumble in a breakdown where time stops and tension grows, as we impatiently await the next rise to carry us away. The lengthy build-ups give this remix the energy to fill any room, easily. It is subtle, yet propulsive, too - a lane that Definition seems to manage regularly.

Basslines like a clumsy, exuberant puppy. A braid of guitar notes tickling your neck. The jittery buoyance of a marimba, so cartoonish you can picture its unblinking technicolor eyes. A snare that cracks like every friend knocking on your door at once. These are the fragmentary beats and visions that Josh Diamond and Eric Copeland spent the last two years exchanging, the magnetic, romantic, completely unashamed chunks stacked into the bubbling delight of "Riders on the Storm." These two are, yes, known for vastness, transcendence, and suffocation. Eric is a founding member of Black Dice, weaponizers of volume, misdirection, and alien language. Josh is a founding member of Gang Gang Dance, whose haunted, murky explorations drag listeners to infinite, irreversible revelations. Given these pedigrees, it's natural to anticipate their collaboration as an itchy, opaque monolith. Within the shit and terror of 2022 it's even understandable to yearn for something like that. But "Riders" with its light heart and wiggle and squirm is actually the record we need. "It's intentional," confirmed Josh of the record's lightness: "just wanting to make the opposite of what's going on outside." Eric reinforced this feeling of liberation and inversion, recalling the freedom of sharing unfinished ideas, of trusting Josh's creativity. "Nobody was vying for anything," he explained, "we were just trying to do it for each other." The completed exchange of sound unrolls like a laughter-filled conversation, Josh and Eric each banking on the other's improvements and re-configurations. The most remarkable thing about this trust, this generosity, is how their pair have managed to invite listeners into it, making everyone a part of this free-spirited dance. "Riders on the Storm" is the first full length collaboration between Josh Diamond and Eric Copeland, following their contribution to Mary Staubitz and Russ Waterhouse's 2020 `Distant Duos' project. It was recorded and mixed with the guidance of Ivan Berko (Hidden Fees, Ghost Exits). In addition to their work with Black Dice and Gang Gang Dance, Eric and Josh are both solo artists. Diamond released his debut solo album, "Seek Rips," in 2021. Copeland released his 16th solo album, "Spiral Stairs," in 2022.

Known for her time as vocalist in Fairport Convention and respected
globally , Sandy Denny left a beguiling, ever-evolving body of work - Kate
Bush was to namecheck her in song, and Denny's influence can be heard
in generations of singer-songwriters
From its David Bailey cover photo inwards, 1972's Sandy is arguably the definitive
Sandy Denny album. Recorded at John Wood's Sound Techniques studio, and
produced by Trevor Lucas, it adds some special guests into its mix – 'Sneaky'
Pete Kleinow from The Flying Burrito Brothers enhances It'll Take A Long Time
with his unmistakable pedal steel playing, and New Orleans legend Allan
Toussaint adds a brass arrangement to For Nobody To Hear. But it is Denny's
album. Often, it is impossible not be stopped in your tracks by that beautiful, long
gone yet so-full-of-life voice, especially on two of her career-bests – The Lady and
Listen, Listen. Out of print on LP for a number of years, this re- issue faithfully
replicates the original 1972 Island Records UK release with gatefold sleeve and is
pressed onto high quality 180g vinyl.

Ghent based psych jazz collective Compro Oro, are set to release new album 'Buy The Dip' on the 2nd September via the groove-obsessed Sdban Ultra label. Having received critical acclaim for their 2020 album 'Simurg' - a collaboration with Murat Ertel, co-founder and frontman of Istanbul's cult psychedelic folk band BaBa ZuLa and his singer partner Esma Ertel - the band's fifth album is less ethno- and more techno-logy, both on a musical and conceptual level.

With tastemaker fans including BBC 6 Music's Gilles Peterson and Stuart Maconie alongside Jazz FM's Jez Nelson, the band's spontaneous quest for psychedelic sounds and jazz grooves has not stopped expanding since their formation in 2014.

After imaginative musical trips to Havana, Mogadishu and Istanbul for previous releases, Compro Oro went looking for sounds and inspirations from other corners of the globe for 'Buy The Dip'. Synthesizers and electronic effects spice up Compro Oro's distinctive musical marriage of vibraphones, electric guitars, jazzfunk rhythms, exotic percussions and dubby bass patterns. Band leader and composer Wim Segers created these new compositions often on piano or vibes in a more analogue way, leaving enough room for his band mates to colour each track when fine tuning the song.

Segers was inspired by the world of crypto markets and the specific concept of 'buying the dip': bitcoin diggers who play the markets at specific 'low' moments to gain higher profits when prices go up again. Are we all reduced to consuming creatures, seeking for nothing more than the thrill of pointless spending and endless profits? It's a fairly philosophical question - especially for an instrumental album - but it's key for the punchy and eclectic sounds on 'Ben Hur' and 'Bitcoins'.

Apart from those synths and fx, a fair bunch of neo-noir western vibes sprout up on this album as well - think detuned piano's, flamenco-like guitars, rattling snare drums, and imminent whistles. Add to that some laid back sunny pop sounds ('Kayak'), off-hook and swaying Turkish psychedelica ('Karsilama') and even some haunted, kraut-ish vocal parts ('Dungeon'), it's evident Compro Oro has a musical voice without any equal in Belgium and beyond.

Compro Oro released their first album 'Transatlantic' in 2015, an ode to jazz vibraphonist Cal Tjader, an icon of the 1950's Latin jazz movement. The release received critical acclaim back home, lauded in the press as a drunken mix of Buena Vista Social Club and guitarist Marc Ribot's, Cubanos Postizos. Subsequent live shows have been called a celebration for the hips, the ear and the soul.

2017 saw the release of 'Bombarda', a bold EP that sailed South and East of Cuba, incorporating different ethnic rhythms and melodies in elaborate jams. No palm trees and cocktails in Havana this time, but instead dingy basements and LSD in West African cities. The critically acclaimed 'Suburban Exotica' followed in 2019 with 'Simurg', released in 2020, earning the band global success.

From 2008 comes 'Keys, Strings, Tambourines' - Kenny Larkin's fourth full length LP.

Yet another advanced, singular and funked out techno milestone that bears all of Larkin's idiosyncratic stylings and melodic touches. Once more he shows us how it's done, sounding like nothing you've heard from him previously, 'Keys, Strings, Tambourines' is a truly adventurous record that defies categorisation today. Quietly influencing producers and DJs since its release, it points to where techno can go and what it can be and is a truly and criminally overlooked modern Detroit techno classic. This is an essential purchase for all electronic machine-funk aficionados worldwide. This special expanded edition boasts a slightly reshuffled track order and some additional cuts that were only available on singles at the time, now giving the world 3 solid slabs of futurist techno sonics for the believers! Essential music from the motor city.

'Keys, Strings, Tambourines' has been legitimately reissued for 2022 on Kenny’s own Art Of Dance imprint. Remastered from DAT tapes and original sources by Curve Pusher. Artwork redesigned by Atelier Superplus.

Leaving Records presents Under the Lilac Sky, the debut LP by Arushi Jain, an India-born, US-residing composer, modular synthesist, vocalist, technologist, and engineer. At six songs spanning 48 minutes of ambient synth ragas intended to be heard during the sunset hours, Under the Lilac Sky invites the listener to transport themselves through intentional listening. Jain states, “You know that moment when the sun is bidding farewell to the sky, and the colors turn into beautiful hues of purple and pink and everything in between? That is the moment that this album will shine the most. The deeper you listen, the more shades you’ll see.”

Jain’s work focuses on reinterpreting traditional Indian classical music through the lens of electronic instrumentation. She re-contextualizes ancient sounds in a modern framework, carrying the torch of electronic luminaries such as Suzanne Ciani and Terry Riley while pursuing personal explorations of her musical heritage and upbringing. Under the Lilac Sky is a cinematic statement of intent, an album that reverently nods to Jain’s musical history while presenting a bold sonic point of view. Jain states, “This album is the coming together of two distinct cultures of Hindustani classical and modular synthesizers representing the two parts of me that evolved into one whole in between my time in India and California”

Voice is emphasized as an essential element of the album, not just for the lyrics or the melodies but also as a source of texture. It is most recognizable when Jain sings aalaaps or sargam of the different ragas the songs are composed in, however her voice is deeply embedded in other, sometimes quieter layers of the record. Jain, who spent her childhood studying indian classical as a vocalist says, “At any given point, there is at least one layer in the record that carries my voice. The human voice is powerful and unique to every individual. My voice is unique to me, so I decided it should be present at all times even if it’s unrecognizable.”

Another core theme of Under the Lilac Sky is the time of day, and the role it plays in influencing how one interacts with the music. “Intrinsic to Indian classical music is the concept of Time and Seasonality. For each raga, there is a specific time of the day when it is meant to be heard for it to shine in it’s authenticity. It harkens to the question of when the environment around you is most in tune with your own sound and breath, and how it supports you in realizing your vision of the moment. This album is meant to be an ode to those timely rituals, and is best heard while you take a moment to do what you love.”

Jain’s exploratory musical ethos finds a like-minded home within Leaving Records’ “All Genre” philosophy. Jain is acutely aware of her role as a composer and modular synthesist reinterpreting a historical art form. “For Indian classical music, this is atypical. The music I compose is inspired by a centuries old tradition, yet aestheticized in a novel way, using the tools and technical innovations of analog synth movements. My art is crafted using machines that I’ve slowly fallen in love with and made my own.”

Fortuna Records return with a mysterious album by the anonymous artist known only as Moontribe. A deep-space journey between tribal percussion, hypnotizing organs and long echo ripples, all joining in for a snake-charming voodoo ritual of which Moontribe is the Shaman. Expect African drums, hints of cumbia, and distant galaxy exploration in unmeasured doses. An absolute must-have For fans of Sun Ra, Moondog and Idris Ackamoor.

Sa Pa's 3rd ep following releases on Marcel Dettman's MDR and last year's release on Australian label, Rosa.

This builds on highly acclaimed album releases for the likes of Mana and Forum as well as a collaborative piece with Felix K, Marcell Dettman and Simon Hoffman for A-Ton under the moniker Rauch.

This record builds on Sa Pa's reputation for lush dub techno soundscapes and can be played either as a whole as one complete piece or broken down into it's constituent parts. It also includes a locked groove edit created with Scott Monteith (Deadbeat) who also helped with post-production.

The record was cut and mastered at Dubplate & Mastering by Helmut Erler.

Part profits from the record will go to homeless charity Caring in Bristol.

WRWTFWW Records couldn't be happier to announce the release of Yutaka Hirose’s never-heard before 11-track collection TRACE: Sound Design Works 1986-1989, available on double LP and double CD, with liner notes from the artist.

TRACE is a collection of 11 unreleased tracks produced by Yutaka Hirose between 1986 and 1989, during the Sound Process Design sessions, right after the release of his classic Soundscape series album Nova. Sound Process Design was Satoshi Ashikawa's label, home of the Wave Notation trilogy (Hiroshi Yoshimura’s Music For Nine Postcards, Satsuki Shibano's Erik Satie 1866-1925 and Satoshi Ashikawa's Still Way). Following Wave Notation, Sound Process Design worked with museums, cafes and bars to create site-specific soundscapes, starting with the sound design of the Kushiro Museum. Yutaka Hirose was called to work on these projects.

Rather than simply providing pre-recorded compositions, Hirose sought to create a "sound scenery". To achieve this, he participated in the conception of the space and paid particular attention to the accidental combination of sounds by placing the speakers, using a multi-sound source, and following the concept of "sculpturing time through sound".

The composer explains: "sculpturing time through sound means that time, the space itself, the sound played in it, and the audience all become one sculpture. It is close to the idea of a Japanese tea ceremony where you use all of your 5 (or 6) senses to taste the tea."

TRACE: Sound Design Works 1986-1989 is divided into two parts. The Reflection segment is based on an ambient soundscape. It narrates "a sleep that starts with the sound of water droplets at dawn and slowly disappears into darkness" and feels like a natural and soothing progression of Nova. It was played in entrance halls, at events, in cafes and bars. The Voice from Past Technology segment expresses the dream world born out of that sleep and is based on what Yukata Hirose calls hardcore ambient, environmental music with a noise approach. It was played in museums and science centers.

All in all, TRACE is a crucial addition to every Japanese environmental music fan’s collection, alongside Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, Satoshi Ashikawa’s Still Way, Motohiko Hamase’s Notes of Forestry, Inoyamaland’s Danzindan-Pojidon, and Yutaka Hirose’s very own Nova.

This album presents two multichannel works recorded at the seminal INA GRM Studio in Paris and ZKM Institute in Karlsruhe respectively, mixed to stereo at the composer's Cellule 75 Studio in Hamburg with excellent mastering by Rashad Becker. While his releases under the Black To Comm moniker often touched the fringes of acousmatic techniques and Musique Concrete this is Richter's first foray into a more abstract spatial music.

Recorded in the week leading up to the Paris terror attacks at the GRM studio, "Diode, Triode" (21:57) is loosely based on a reading of (and, in parts, a failure to understand) "Le Parasite" (1980) by Michel Serres, a philosophic metaphor about human interaction and communication (which can also be interpreted as a lyrical essay on capitalism; part confusion, part enlightenment).

As core elements Richter is using speech synthesis and the transformation and distortion of concrete sounds, instruments, voices and breathing. Abstract incognisable sounds are combined with strings, reeds and percussion while dismembered musical fragments emerge and vanish rapidly. Chunks of interfering noise are followed by long periods of silence; chaos and order are alternating. Choirs of synthetic and processed human voices are recounting stock market values, seemingly random sequences of numbers and inscrutable lyrics while parasitic sounds are trying to crack, collapse and fractionise the compositional stream and sonic interactions. Finally, a haunting piano chord is wrestling with a broken Publison machine. Like the book, it's part confusing, part enlightening - and a radical piece of sonic art.

"We are buried within ourselves; we send out signals, gestures, and sounds indefinitely and uselessly. No one listens to anyone else. Everyone speaks; no one hears; direct or reciprocal communication is blocked." (Le Parasite)

"Diode, Triode" was premiered on the Acousmonium at INA GRM's Akousma Festival in Paris, January 22, 2016 alongside new works by François Bayle, Robert Hampson, Leo Kupper and Ragnar Grippe.

The second piece "Spiral Organ of Corti" (17:00) has been composed in 2014 for the 47-speaker Klangdom concert hall at ZKM Karlsruhe at the foot of the Black Forest (where Richter was born and raised).

How does one listen with closed ears? Sine tones, alienated human voices and breathing noises build a labyrinthine puzzle alternating between the natural and the artificial. Human sounds merge with winds and strings, sine tones morph into metal sounds. Acoustic illusions confuse the listener, and dense noise-clouds slowly emerge from deceptive silence. Deep base sounds define space. Temporary focus glides into chaos. "Spiral Organ of Corti" is yet another extended composition that proves Richter is on a path of his very own.

"Spiral Organ of Corti" is dedicated to the late Gary Todd.

"Tongues that came from wind and noise. To speak in tongues after the fire." (Le Parasite)

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and under the Mouchoir Ètanche and Jemh Circs monikers for his own Cellule 75 imprint. He collaborated with visual artists such as Ho Tzu Nyen, Jan van Hasselt and Mike Kelley. Under his own name he is composing for film and installations.

Black Truffle is pleased to announce a major archival discovery from the wildest outer fringes of the FMP universe, the Bergisch-Brandenburgisches Quartett’s Live ’82. The Bergisch-Brandenburgisches Quartett (BBQ) was formed in 1980 in Rostock, East Germany, when three of the most radical and riotous members of the West German free music scene—reedist/accordionist Rüdiger Carl, percussionist Sven-Åke Johansson and Hans Reichel on violin and his modified ‘strange guitars’ — first played as a quartet with East German saxophonist Ernst-Ludwig Petrowsky. A rare example of a working band with members from both sides of the wall, during its lifetime the BBQ left only one recorded document, a studio LP on Amiga, the pop and jazz sublabel of the GDR state-run Deutsche Schallplatten Berlin. Neither pure fire music nor orthodox free improvisation, the four members of the BBQ shared an all-embracing aesthetic where quotes and jokes sat comfortably alongside radical extended techniques and sonic experiments. Beautifully recorded at the 1982 Moers festival, the music presented here is a kaleidoscopic demonstration of what Johansson has called the BBQ’s ‘free postmodernism’. Beginning with a fractured landscape of clarinet flourishes from Petrowsky, Johansson’s spacious drums accents, banjo-esque plucks from Reichel’s handmade guitar and the groans and squawks of Carl on cuica, the music lurches between flowing melodicism and stunted locked grooves, settling after a few minutes into a lyrical clarinet and bass clarinet duet accompanied by shimmering guitar chords and some inexplicable percussive rotations. When Petrowksy starts to unfurl long, flowing flute lines accompanied by hand percussion, the music suddenly recalls Don Cherry’s global fusions, but this turn to the folkish quickly takes on a more European character when Carl and Johansson pick up accordions for the first of several comical but oddly moving duets. The more frantic second half of the set takes in a raucous digression into honking R&B, an Ayler-meets-Schlager romp with almost rockish chordal accompaniment from Reichel and an outrageous free jazz blowout with Carl on accordion, not to mention episodes of Johansson’s signature improvised Sprachgesang and antics with his expanded percussion set up, including items such as shoe stretchers and the Berlin yellow pages, which more than once cause the audience to burst into laughter. Arriving in a beautifully designed sleeve with copious archival photographs and flyers from Johansson’s collection and extensive new liner notes from Francis Plagne, Live ’82 is a major historical document that remains both musically challenging and immensely entertaining forty years on.

'Arrival', das Debütalbum des Schwedenduos Aasthma der für ihre Erfolge im Technobereich bekannten Produzenten Pär Grindvik & Peder Mannerfelt, ist ein Hifi-Wirbelsturm mit schillernder Klangwelt, in der Top-40-Balladen und Breakbeat-Walzen fröhlich mit Trap-Bangern, neonglänzendem EDM und fauchendem Dancehall kokettieren. Vocalfeatures kommen von HTRK-Sängerin Jonnine Standish, der schwedischen Rapperin Silvana Imam, Shout Out Louds-Frontmann Adam Olenius, Equiknoxx-Mitbegründer Gavsbourg und dem glitzernden Pop-Crooner Casey MQ. Abgemischt von Aasthma zusammen mit Johannes Berglund (FKA Twigs, The Knife, Fever Ray), kombiniert 'Arrival' Technicolor-Maximalismus mit dem Glanz des skandinavischen Pop.

Strut continue their Patrice Rushedn original album reissue series with the definitive edition of her influential classic ‘Now’ from 1984.

Released after the global success of ‘Straight From The Heart’ and the huge hit ‘Forget Me Nots’, ‘Now’ stripped back the arrangements and explored a new sonic palette, combining top level musicianship with the evolving studio technology of the mid-‘80s. “By this time, I had built a little home studio,” explains Patrice, “and the new synthesizers and drum machines opened a lot of possibilities. A lot of the pieces on ‘Now’ started off as demos based on these instruments and we just went with it quite naturally, adding guitar, bass and drums.”

The album continued Patrice’s unerring skill in fusing intricate jazz musicianship with infectious grooves. The solid boogie classic ‘Get Off (You Fascinate Me)’ lit up dancefloors and ‘Feels So Real’ became one of Patrice’s best loved songs, an effortless mid-tempo soul stepper. The album is also celebrated for the tender ‘Gotta Find It’ and one of Patrice’s most poignant ballads, the intricate and politically charged ‘To Each His Own’.

The album marked the end of Rushen’s tenure with Elektra before a move to Arista and remains a much-referenced part of her career. “I think it was a great representation of where we were at the time and it may have been a little bit ahead of its time”, she reflects. Famously, Jimmy Jam and Terry Lewis had become fans, attending her live shows, and, allegedly, the feel of Janet Jackson’s debut album ‘Control’ two years later was heavily influenced by Rushen’s approach on ‘Now’.

A multi-layered kaleidoscopic musical ride that will take you to places no other soundtrack has ever taken you before. Uplifting latin funk, melancholic chanson, dark synth drone, biguine punk, acid techno and a few absolutely indescribable hybrids, the songs created by Figueira to back the images of the film where he also plays the main character, are very impactful and cover an impressive array of influences and musical languages, put together in exquisite cinematic fashion.

After 5 highly acclaimed singles under his own name, the unpredictable, “out there” song writing and production style of Figueira is displayed here from a new perspective. Composing expressively for specific moments of the film, he has allowed yet new elements arise in his already extensive palette of sounds.

Relying once again exclusively on himself to get the job done, he has assembled a collection of songs that portrait many different emotions. Happiness, awe, fear, paranoia, helplessness, disappointment, excitement… are all evoked, reflecting all key twists and turns of the short-film directed by Mateo Fava and Dave Postma.

Limited cassette release (99 copies) with exclusive dialogue excerpts from the film (not included in the digital version). Hand-numbered, beautiful risographed foldable inlay, drawn by Kevin Mancera.

Synthetic Music From Yugoslavia 1980-1989

"The galloping technical progress in the second half of the last century dominated all spheres of daily life, art and culture. In the music industry machines took over the role of classical instruments and did not stop at RnR, punk nor industrial music. No one could resist the challenge, but also the prevailing trends in the 80s. The music industry was influenced by the electronic virus globally, not sparing even the remotest corners of the planet, producing bands like Depeche Mode, New Order, Soft Cell or lesser known ones like Liquid Liquid, Section 25, The Wake as well as the pioneers of the electronic music Silver Apples, Pierre Henry,etc .
What was going on in the music industry of former Yugoslavia and at Jugoton, the biggest YU music label at that time? The all over answer is given by a new release of Everland Music: Electronic Jugoton - Synthetic music from Yugoslavia 1964. - 1989. Vol. 1

Electronic Jugoton is the first part of two double albums, where the second part will even go back to pre-electronic music from 1964. Both double albums were initially released by Croatia Records (ex-Jugoton) in 2014 on a 2CD set with no less than two and a half hours of material (47 songs, 35 performers), showing the contemporary trend of Jugoton at that time towards avant-garde and provocative directions in electronic music. This untimely compilation is released for the first time on vinyl now on two double LPs, housed in gatefold sleeves by Everland Music, where part 2 will be released in 2023.
The brave and insightful creators of the compilation Electronic Jugoton, veteran crate diggers Višeslav Laboš and Zeljko Luketić, have excelled at reconstructing the musical past of electronic music in Yugoslavia from 1964 – 1989. Jugoton's extensive research included the most exciting and progressive moments of pop and disco music, early rap, electronic responses of new wave, RnR, post punk and industrial bands to the current trend of the 80s, but also pioneers of avant-garde electronic music.

Electronic Jugoton part 1 is officially opened by the band Laboratorija with the song Devica 69, which opens a window to a completely new and experimental world in former Yugoslavia.Laboš and Luketić have boldly chosen the material without reservations, suggesting that for the first time in one place we have a section of forgotten, unique underground bands like Beograd, Data, Brazil, The Master Scratch band, DU DU A and beyond.
Besides the excellent underground bands, we find popular performers of the time performing less well-known songs: Denis & Denis, Oliver Mandić, Slađana & Neutral Design.

Electronic Jugoton part 2 is partly dedicated to unique electronic music in the performance of important Yugoslav punk, new wave, RnR and industrial bands: Zana, Pekinška patka, Električni orgazam and Borghesia, while the second part of the material is focused on avant-garde early electronic music in Yugoslavia, where the works of composers Igor Savin, Branimir Sakac, Igor Kuljerić and Miroslav Miletić were presented. Luketić and Laboš rescued the obscure electronic tune Elektra by Zdenka Kovačiček, who was at that time Jugoslovska Soul and funk diva.

The uniqueness and quality of this compilation are also audio stories for children, which were extremely fertile ground for an experimentation with electronic sounds, as they should be highly imaginative to attract the attention of the childrens. Electronic Jugoton is also the first compilation in which the listener will find fragments of interviews with actors from the time gave for Jugoton Express. This was a series of promo vinyls printed in extremely small quantities in the 80's and intended to be exclusively for radio stations. An average of 30 minutes of promotion material and interviews with musicians were available for the first time through this compilation.

The value of this compilation is time and priceless. The only question is whether you will be fast enough to catch your copy of the limited double vinyl editions!"

PROLETARIJAT010 is the result of almost 4 decades of inspirational journey through the life captured by Sev Dah as a musical statement. This double LP is inspired by various music during different periods, strange life events and struggling life on the edge between acceptance and solitude. From Detroit influences to shaking 909 sexy-vibes over to machinery working-class Techno - Sev Dah spiced this LP up with his own (already recognizable) way of processing sounds. This LP is dedicated to the people and the city of Sarajevo and their heroic fight against the fascist occupation during WW2.

Genre defining label Hot Creations welcomes in another milestone release this July, as imprint-founder Jamie Jones makes a long-awaited return with the three-track Bionic Boy. It acts as his first solo EP on Hot Creations since last September’s Handy Work, continuing a standout 2022 for the UK talent.

We’re graced with JJ’s techy, groove-laced sound right from the offset, as Bionic Boy leads the charge. Packed full of hard-edged percussion and rampant kick-hat pairings, a well-known female vocal takes us to the dancefloor and beyond before Moment Of Clarity soon arrives. Euphoric piano stabs live beside Chicago-esque key solos, paving the way for Here Comes The Drums. Darkened pads, tribal drums and whomping kicks meld to form a late-night, club-driven number that represents the signature Jamie Jones sound that we know and love.

As a world-renowned DJ and producer, head of Hot Creations and founder of the global Paradise event series, Jamie Jones has etched out a legacy in electronic music that few others can attest to. His personally curated Paradise series offers an international showcase of house and techno’s most recognisable artists, whilst his flagship label, Hot Creations, continues to pioneer a contemporary house sound. 2022 sees the label host a ‘Ten Year’ anniversary tour, with events planned across Miami, London, New York and Amsterdam, whilst Paradise makes its home in iconic Ibiza nightspot Amnesia. Confirmed guests for the weekly Wednesday residency include Joseph Capriati, Nicole Moudaber, Loco Dice, The Blessed Madonna and many other genre-leading performers.

Light Splitting is a love letter to the purest of sonic signals, to curiosity and to the way we interact with sound.

Based out of Berlin, Germany, electronic music composer and performer Hainbach creates shifting audio landscapes THE WIRE called "One hell of a trip". His music has been released on Opal Tapes, Seil Records, Spring Break Tapes, Limited Interest and Marionette. He has been fascinated with sine tones, noise and FM since he discovered the dial on the radio. Never losing his childhood wonder, he still searches for the sounds in between on modular synths and other devices.

Through his YouTube channel Hainbach brings experimental music techniques to a wider audience. He creates videos on the composition of experimental electronic music, esoteric music equipment and avant-garde music techniques. His live A/V show, performing with tape loops, modular synths and test equipment, accompanied by the visuals of Nani Gutiérrez aka Orca, was presented at venues such as Kantine am Berghain, Uebel & Gefährlich, Acud Macht Neu and Arkaoda Berlin.

New York electronic experimentalist Nicky Mao's 4th full-length, Silvercoat the throng, emerged against the backdrop of lockdown, compelled by an intuitive directive: “resist the urge to fill the space.” Compositionally this translated as a simmering, shadowy energy, veiled but variable, traced in a composite of strings, synthetics, rhythm, and voice. The title alludes to a poetic notion of “possibility, rescued from darkness,” which aptly evokes the shape-shifting, devotional feel of these ambitious and elegant sound designs, crafted in defiance of impermanence, driven by the pursuit of becoming “more and more articulated, differentiated.”

Collaborations with travis from ONO, Speaker Music, and Muqata'a further expand the album's lyrical, liminal palette, meshing elements of experimental techno, spoken word, neo-classical, and industrial noise into a fluid, encrypted dialect all its own. Mao speaks of creative strategies of solidification and reification, encounter and transformation, pure being and punctuation – a multitude

of sparks, fuses, and forking paths leading across fresh thresholds and twilit terrain. Taken as a whole, Silvercoat captures Hiro Kone at the peak of their powers, alchemizing disruption and decomposition into regenerative interior worlds: “Within the darkness and absence is an opportunity for discovery.”

Zeitgeist Freedom Energy Exchange is a collective that bring together UK jazz funk vibes that have been made popular by Kamaal Williams, Shabaka Hutchings and Ezra Collective amongst others with the energy of Berlin's electronic DJ music. In fact, head of the collective Ziggy Zeitgeist is a big fan of DJ tools which equally have a big influence on his music. His aim is to create a mix of jazz and tribalistic, electronic energies to create jazz raves that reflect a fresh modern touch of what could be a sound for the next years. Of course many elements of their songs come from the 1970ies - the chord progressions, the fusion keyboard solos, the driving rhythms. But the general sound of the music and its straight electrifying energy create a new and unique futuristic sound.

2022 Repress

2x12", high gloss photo like gatefold sleeve, 180g Vinyl , WAV&MP3 Download code included
Following their debut EP with 'Ezra Was Right' and support from the likes of Gilles Peterson, Grandbrothers are presenting their debut album 'Dilation". Twelve modern Experimental / Ambient / Piano pieces, whose sounds are generated completely out of a grand piano using small electromagnetic hammers. Grandbrothers are Erol Sarp and Lukas Vogel. After meeting at university in Dusseldorf, Erol and Lukas formed Grandbrothers to tie together their respective musical backgrounds and disciplines: Erol is a trained jazz pianist, while by day Lukas constructs synthesizers at Access Music. Together, they create a sound that combines classical composition with modern, experimental production and sound design. Their first song, 'Ezra Was Right', earned an early supporter in the esteemed Gilles Peterson, who included the track on his Bubblers 10 compilation and played it numerous times on his Worldwide radio show for BBC Radio 6 Music, with the song eventually being voted #7 by listeners in his end-of-year poll in 2013. A full EP on FILM followed - backed by remixes from legendary Manchester DJ Greg Wilson, Optimo's JD Twitch, and Kim Brown - which sold out its initial run within ten days. Now, Grandbrothers present their debut album, Dilation. The product of two years work, Dilation builds on some of the ideas established on 'Ezra Was Right' while exploring further elements of minimalism, ambient music, IDM, and techno.

"What took you so long?" might be a valid question concerning the ten year gap between Zanshin's new album "In Any Case By Any Chance" and his first album "Rain Are In Clouds".

Of course it is a question that the Viennese musician has asked himself quite startled in his usual self-critical manner, just to realize at a closer look that it has not been a lack of creativity or laziness at least. He used the Zanshin moniker on four EP releases and several remixes, plus a game soundtrack. Not to forget all his output as one half of producer duo Ogris Debris (the album "Constant Spring" from 2016 and roughly two dozen singles and remixes) and the many, partly award-winning audiovisual installations and performances with Leonhard Lass as DEPART (depart.at). Furthermore he has also built two sound installations in 2021, "I Gong" at Elevate Festival and "Cymatic Sands" at Ars Electronica. In addition, Zanshin performs with the Max-Brand-Synthesizer from time to time as part of the compositions by Elisabeth Schimana, and together with label mate Dorian Concept he has also composed and performed the piece "Half Chance/Music for Moogtonium" for this unique instrument, built by Bob Moog himself.

Not spared by certain global developments of recent years, but rather invigorated by exploring his own resilience, Zanshin had a talk with Affine Records Operator Jamal in the beginning of 2021, speaking of future ideas and releases. And what was initially a single release spawned into a whole album in seemingly no time. An old skit ("Polar Polychrome") on the Roland MC-505 groove-box that had never really been forgotten, but was rather waiting patiently somewhere in the back of his mind, suddenly proved to be the initial spark for the album.

The term "Zanshin", roughly translated as un-focussed attention, is in fact more than just a pseudonym but rather a directive in the artists life. Zanshin really likes to go in several directions at once, kind of according to Wittgenstein's claim that "The world is everything that is the case.", to find out where his love for music might lead him this time. He also somehow went back to his roots with this album. Not necessarily in the sense of certain musical influences or genres, because then the album would be even more eclectic than it already is. More like a focus on the core values in the fabrication process of the music itself, the freedom to rather follow the structures and sounds than to shape them in a completely predetermined way. Somebody once called it, "to weave what the music demands."

In this regard, Zanshin often feels more like a sculptor and tries not toadhereto strongly to the rules of specific sub-genres of electronic music. Searching for sounds and designing them is one of the energies that fuels his interest the most, thus at the beginning of a lot of tracks there are small skits and ideas that have the freedom to grow in whatever direction.

Hence this album has no elaborate story to tell, there is no extensive "narrative" or big time "storytelling" at work. "In Any Case By Any Chance" is not a novel but rather a collection of short stories (which are certainly dense and have complex plots nonetheless). The result is a long-player where playful electronica, skillful songwriting, extrovert dance music and symphonic film music enter into a symbiotic relationship. Returning to another Wittgenstein quote, "Whereof one cannot speak, thereof one must be silent", the emotional impact of music is the main focus and the results can be quite solemn at times, but around the corner always lurks the next bone-breaking rhythm pattern and gnarly sound design.

The infamous saying, "writing about music is like dancing about architecture", is another brick in the wall of sound in Zanshin's approach to music. He rarely roots himself in traditions or uses them too overtly, he really likes to agglomerate sounds, to challenge the listeners. It seems like he tries to avoid classification on purpose, because he knows that everyone has their own perception anyway. The only thing that this music demands implicitly is a willingness to listen attentively.

Very dense, at times really heavy and massive, then again airy and playful. "Music for clubs that don't exist.", might be another fitting caption to describe this album, which lasts for a little more than an hour.

The opener "Heatseeker" rushes to a sudden head start with its steel pan extravaganza, tropical vibes meet a bass line drenched in electro funk, and electrified synth stabs support the declaration of love in the lyrics. Kind of Jamie XX meets Electro meets Diva House. The monster that is "Bronteroc Brawl" is up next, a serious test for the speakers and a wild ride with metallic, growling sounds. The aggressive sound design reminds of suspense ridden shark chases, vicious dogs and cunning dinosaurs, in any case a track for people who love a proper bass stomper.

A new approach for the "indie discotheque" brings the emotional roller-coaster "In Gloom" with snappy drums and hypnotic synth motives á la Alessandro Cortini, creating an epic atmosphere together with the multi-layered vocals. A psycho-acoustic treat is position 4, the crisp instrumental "Polar Polychrome", you could even go as far as calling this a Zanshin signature track. Like mentioned before, the roots of this track go back to 2002 and you can hear the unmistakable influence of beat wizards like Photek, a piercing bass line is supported by poly-rhythmic drums, while dense pads try to escape the claustrophobic lockdown mood of winter 2020/21.

Another round of intense pathos waits for the listeners in the ensuing track "In Search Of". Moderat say "Hello", a melancholy piano melody is rushed to a climax by a wild bass arpeggio and forceful drums, the desire for a perfect sunrise at the next after-hour to the max. Initially just an appendix to the preceding track, "Time After Thought" swiftly developed from a mere improvisation to an ambient epic with a croaking alien piano, as if Keith Jarrett were on his way to Alpha Centauri.

Up next is the first single "Because Why", a breakbeat driven, synth-heavy track with winged vocals and a popular film quote. The title refers to the movie "Alphaville" by Jean-Luc Godard, a dystopian science fiction film noir, in which an omniscient computer system named Alpha 60 is ruling society and humans can only say "because" but never "why". As if the gears of a galactic mechanism were spinning into motion sounds "Identity Slices". A raspy chord structure finds its counterbalance in a kind of stumbling, wonky beat, and Zanshin would never deny the huge influence that Autechre's sounds and structures always have had on his music. Micro- and macrocosm meet on the same level and this friction is also a metaphor for questions of identity and self-awareness, without using voices or lyrics.

Off we go into the IDM bubble bath of "Enzyme Enigma", the bass drum is stomping and a fizzy acid-line is twisting in all directions behind rolling dub-techno chords. "Corrosion Creak" is a kind of acoustic degradation process, the rave dogs are finally let loose and everything happens at once, funky synths shred, string sounds wail and then there is this bass that sounds like smashing a rusty metal plate in the junk yard with a vengeance.

Towards the end everything slows down a bit, the beat in "Whatever Words" is Warp school cerebral hop at its best and therefore loads of glittery, creaky sounds swarm out until the synapses are overloaded, cumulating in a mighty bass ending. Last but never least, "Rebus Redux" guides us into the limitless night sky, with long indulgent pads dotted by an aimlessly wandering piano, while a compact net of tamed resonances and meandering sub frequencies unfolds in the background, enticing navel-gazing imagination.

Glenn Astro and Hulk Hodn (to some known as mighty Hodini) release their new full-length record “Ghosts” via Kommerz Records on August 26th.
Producers Astro & Hodn‘s first joint album “Turquoise Tortoise” in 2018 combined uptempo beats, hiphop and spaced out lo-fi slow jams effortlessly. On “Ghosts” the duo develops their exploration of new
aesthetics even further through synthesized soundscapes and numerous collaborations with young talent from all over the world. Artists such as Danish neo soul discovery AGGi, King Krule collaborator Gal Go, Kamohelo from Studio Barnhus band Off The Meds, Berlin-based voice experimentalist Yosa Peit and many more deep dived into the collaboration and transformed the album into a sonic multiverse.
New Release Information
Glenn Astro and Hulk Hodn are connected through a long lasting musical friendship. With their Detroitinspired house releases they gained wider recognition by critics and listeners alike. Nevertheless,
they’ve never been one dimensional artists. Berlin-based Glenn Astro‘s diversified approach to production as showcased on labels such as Ninja Tune and Tartelet bridges the gaps between ambient, hip-hop, techno and bass.
Meanwhile Cologne‘s Hulk Hodn gained the status of a German underground hip-hop legend. Through his records and shows with rapper Retrogott he gathered a cult-like following besides dropping high quality projects with other beat makers such as Hubert Daviz and Twit One and rappers such as Eloquent. Most recently he dropped the instrumental LP “Sparklez” on Sichtexot sub Casual Low Grind.

The Maghreban has been making Dance music and related genres under various names since the mid 90s, spanning Jungle, Hip Hop, Rave, House and Techno; on labels like Versatile, Black Acre, Eglo Records, R&S Records and his own Zoot Records.

This is his second full length LP under this project and is a refinement on his first. He has worked with the jazz saxophonist Idris Rahman to craft something more cohesive perhaps and more rooted in Jazz and Techno as well as Eastern music. There are also vocal collaborations with Nah Eeto, Omar and Abdullah Miniawy.

Airplay from Benji B, Gilles Peterson and Tom Ravenscroft on BBC Radio. DJ and Radio Support from Ben UFO, Nina Kraviz, Mosca, Otik, Eclair Fifi, Totally Enormous Extinct Dinosaur, Martyn Bootyspoon, Appleblim, Krikor, Photonz, Gramrcy, and many more.

Favourable reviews so far in Uncut & DJ Magazine: "His most expansive statement so far..Innovative and Irresistable", Reveiws to come in Mixmag, The Wire and other publications.

Ghent based psych jazz collective Compro Oro, are set to release new album 'Buy The Dip' on the 2nd September via the groove-obsessed Sdban Ultra label. Having received critical acclaim for their 2020 album 'Simurg' - a collaboration with Murat Ertel, co-founder and frontman of Istanbul's cult psychedelic folk band BaBa ZuLa and his singer partner Esma Ertel - the band's fifth album is less ethno- and more techno-logy, both on a musical and conceptual level.

With tastemaker fans including BBC 6 Music's Gilles Peterson and Stuart Maconie alongside Jazz FM's Jez Nelson, the band's spontaneous quest for psychedelic sounds and jazz grooves has not stopped expanding since their formation in 2014.

After imaginative musical trips to Havana, Mogadishu and Istanbul for previous releases, Compro Oro went looking for sounds and inspirations from other corners of the globe for 'Buy The Dip'. Synthesizers and electronic effects spice up Compro Oro's distinctive musical marriage of vibraphones, electric guitars, jazzfunk rhythms, exotic percussions and dubby bass patterns. Band leader and composer Wim Segers created these new compositions often on piano or vibes in a more analogue way, leaving enough room for his band mates to colour each track when fine tuning the song.

Segers was inspired by the world of crypto markets and the specific concept of 'buying the dip': bitcoin diggers who play the markets at specific 'low' moments to gain higher profits when prices go up again. Are we all reduced to consuming creatures, seeking for nothing more than the thrill of pointless spending and endless profits? It's a fairly philosophical question - especially for an instrumental album - but it's key for the punchy and eclectic sounds on 'Ben Hur' and 'Bitcoins'.

Apart from those synths and fx, a fair bunch of neo-noir western vibes sprout up on this album as well - think detuned piano's, flamenco-like guitars, rattling snare drums, and imminent whistles. Add to that some laid back sunny pop sounds ('Kayak'), off-hook and swaying Turkish psychedelica ('Karsilama') and even some haunted, kraut-ish vocal parts ('Dungeon'), it's evident Compro Oro has a musical voice without any equal in Belgium and beyond.

Compro Oro released their first album 'Transatlantic' in 2015, an ode to jazz vibraphonist Cal Tjader, an icon of the 1950's Latin jazz movement. The release received critical acclaim back home, lauded in the press as a drunken mix of Buena Vista Social Club and guitarist Marc Ribot's, Cubanos Postizos. Subsequent live shows have been called a celebration for the hips, the ear and the soul.

2017 saw the release of 'Bombarda', a bold EP that sailed South and East of Cuba, incorporating different ethnic rhythms and melodies in elaborate jams. No palm trees and cocktails in Havana this time, but instead dingy basements and LSD in West African cities. The critically acclaimed 'Suburban Exotica' followed in 2019 with 'Simurg', released in 2020, earning the band global success.

Following the release of Netflix's inspiring documentary short 'Hold Your Breath: The Ice Dive', Galya Bisengalieva presents her official soundtrack. To accompany the gruelling journey of freediver Johanna Nordblad as she tries to break the world record for distance travelled under ice with one breath, Galya has crafted an expert ambient narration that highlights the rising intensity toward the films looming climax. She uses warped solo violin techniques and electronically manipulated strings to produce compelling and emotive compositions that induce complete submersion. Aiding in the use of the dive to make comment on both global warming and the pandemic, the soundtrack commands attention while giving the characters their own space to breathe. Galya explains; "Composing music to Joanna's story was a completely new challenge. Until now my writing has been based on more abstract concepts but now I had the opportunity to engage closely in a clearly defined journey of an individual. A story of the freediver and her attempt to break the world record (men's and women's) for distance travelled under the ice, no fins, no wetsuit, on a single breath. What Joanna achieved is truly inspiring and incredibly brave. It would have been extremely easy for me to focus on the jeopardy of her record attempt. However, the story that is being told is her love of the cold water, her sister, family, and the nature she communes with every day. My music needed to reflect the personality of an extremely determined and loving woman. In order to achieve this, I used the violin as her voice, high harmonic soaring melodies. This I juxtaposed against layers of low warped drone and nature sounds, using field recordings of underwater, cutting of the ice for the dive and the howling wind in extreme weather conditions in Finland. The music hints at danger and the power of nature but always comes back to Joanna's intimacy with the icy water."

New pressing on double coloured vinyl, (Disc one White & Disc two Pink), Gatefold sleeve, DL card. René Laloux’s celebrated 1973 sci-fi animation ‘La Planète Sauvage (Fantastic Planet)’, is overhauled with a re-imagined soundtrack by electronic modernists Stealing Sheep and legendary sound innovators The Radiophonic Workshop. This exclusive release is part of Fire Records’ re-imagined score series. “No institution has had a greater impact on the development of electronic music than the BBC Radiophonic Workshop.” The Vinyl Factory. It’s a real pre-Avatar conundrum that Stealing Sheep, with the help of Bob Earland, Dick Mills and Roger Limb from the Radiophonic Workshop, unravel. Creating an ethereal excursion that’s narrated by Roger Limb; like a futuristic Martin Denny, or Dr Who gone ambient techno, with a hint of Forbidden Planet 50 years on. It’s an analogue swirl set in an off-world paradise; a field recording from the future. This is a creative, generation-spanning, union brought together to score this unique cult film. A must for fans of psyche electronica and Stealing Sheep’s formidable ‘Big Wows’ album. “Stealing Sheep devour a broad range of styles, incorporating everything from the dark dance-pop of Grace Jones to the experimentations of Radiophonic Workshop pioneer Delia Derbyshire and John Carpenter soundtracks.” The Guardian // ‘La Planète Sauvage’ is a thing of ambient beauty punctuated with electronic earworms that switches from intensely ominous to otherworldly dream like moments. Track listing: Side A A1 Opening Credits A2 The Chase A3 Saved/Captured A4 The Bracelet A5 Council of Draags pt.I A6 Terr & Tiwa A7 The Knowledge pt.I Side B B1 The Fight B2 The Knowledge pt. II B3 The Initiation B4 Escape B5 The Big Tree B6 The Ritual B7 The Duel Side C C1 Theft/Zarek C2 The Bird C3 The Free Oms C4 The Purge C5 The Journey to Ygam C6 Council of Draags pt.II Side D D1 The City of Free Oms D2 Robot Attack D3 The Fantastic Planet D4 The Final Battle D5 Terr D6 End Credits

When Rey Sapienz was eight years old, the Democratic Republic of Congo was plunged into the Second Congo War. The conflict last five years and was the bloodiest since World War II, leaving an indelible mark on East Africa and creating mass displacement and loss of life. But Sapienz endured, cutting his teeth as a young rapper at twelve, first performing to celebrate Congo's independence day. When he finished school, he headed to nearby Kampala to hone his craft and collaborate with local producers. But civil war broke out back home and he was forced to extend his stay in Uganda. Since then, Sapienz has established himself as a force to be reckoned with, co-founding the Hakuna Kulala label, teaching his Ableton Live skills to Kampala's young producers and releasing two acclaimed EPs. For his debut album, Sapienz embarks on an ambitious project that travels beyond the avant beatscapes of his early material. Alongside traditional percussionist, vocalist and dancer Papalas Palata and rapper Fresh Doggis, he has formed The Congo Techno Ensemble, utilizing their skills and experience to offer a statement that speaks to the past, present and future of the DRC. On "Eza Makambo", the trio channel rich musical traditions and historic tension, evolving electronic and traditional forms into boundless sci-fi mutations. The track breaks open the stories all three artists accumulated in the DRC, augmenting radioactive techno-dancehall beats with radical, open-hearted words and rhymes. "Eza Makambo" is a heady cocktail of stylistic futurism and harsh reality that could be compared with Zizou Bikaye's seminal "Noir et Blanc or Danis Mpunga & Paul K.'s genre-breaking electronic experiments. But marked by the DRC's recent scars, it's a critical work that stands painfully alone.

Chicago-based guitarist / composer Eli Winter's new self-titled album
finds him building on the promise of his recent records - like 2020's
Unbecoming and his 2021 collaboration with Cameron Knowler,
Anticipation - with a gem of an album on which he leads an ad-hoc group
that delicately balances a range of colors and moods
Winter is an accomplished player with impeccable technique and an unassuming
virtuosity, capable of both mesmerizing intricacy and florid romanticism, but on
Eli Winter he frequently plays a supporting role, creating ample room for his
collaborators. The result is the sound of an artist escaping any lingering shadows
of his primary influences and coming into his own; ironically, Winter does this by
deemphasizing his role as traditional bandleader. Assisted by a murderer's row of
peers and contemporaries including Cameron Knowler, Yasmin Williams, David
Grubbs, Ryley Walker, Tyler Damon, jaimie branch, and others, Eli Winter
showcases a compositional depth and authoritative skill only hinted at on
Winter's rightfully acclaimed previous work. Highly recommended.

Philadelphia's Sweet Pill write eruptive emo songs that embrace the
edges of pop and hardcore
The kind of band whose members are fully immersed in their local scene-through
a handful of notable side projects and the show- promoting Philly staple 4333
Collective- the quintet's sound takes wide- spectrum influence from its
environment. The result is an amalgam of complex song structures and
flourishes of technical acumen, wholly unconcerned with genre, yet evoking the
specific styles of touchstones such as Paramore and Circa Survive.
On their debut longplayer Where the Heart Is, Sweet Pill's unbound, raucous
energy presents through ten autobiographical tracks that hinge on singer Zayna
Youssef's elastic, enrapturing voice- at times belting and controlled, at others
textural and guttural. Supporting Youssef are guitarists Jayce Williams and Sean
McCall, bassist Ryan Cullen, and drummer Chris Kearney. Their blistering lead
single "Blood" sees Youssef exploring a deteriorated friendship over Williams and
McCall's trudging riffs and tactful counterpoint, with Cullen and Kearney rumbling
nimbly in the song's foundations.
Second single "High Hopes" counters with introspective, melodic punk that
reshapes anxiety rather than succumb to it. But third single "Diamond Eyes"
momentarily slows the pace, with McCall joining Youssef on vocals for a breakup
lament laden with acoustic sentimentalism and an emotive flurry from guest
flutist Jill Ryan. Such range is the central facet of Where the Heart Is, where
Sweet Pill's penchant for combining punkish tropes enlivened with the vibrance of
math- rock and the aggression of post- hardcore sweetened with pop sensibility
compound into something stylistically new yet still familiar. Pressed on 180-gram
Red color vinyl

For Oleg Azelitskiy, known as DJ Slon, the nineties and the first half of the aughts were an era of "firsts". First squat parties on the banks of the Obvodny Canal and more legitimate ones at Tunnel, first proper techno club in Russia. First DJ sets, first vinyl records in his collection, first radio shows at Port FM. He is a true veteran of the Russian techno movement, who carried his love for the genre through three decades and inspired more than one generation of musicians. Album Nr. 1 is the first edition of his music on vinyl. It comprises the music that Azelitskiy made during 1995 - 2005, except for the track My 40th Vesna, produced in 2010.

Azelitskiy's love for techno was born out of contradictions. Thanks to the Soviet synth band Zodiac and the French pioneer Jean-Michel Jarre, he had loved electronic music since his childhood. When he grew up, he got into the dark, introspective pieces by Einsturzende Neubauten and Bauhaus. Not only does the wide-ranging palette on Album Nr. 1 reflect its creator's taste, it echoes the changing times of the Russian nineties. It was the time when confrontations with criminals were inseparable from the parties and get-togethers bustling with local artists.

His affection for various genres led to many monikers and projects, all represented here on Album Nr. 1. He recorded most of his music as DJ Slon. Then there was a project Zhutkiy Lazer (Scary Laser), where Azelitskiy made music that was more experimental but still techno-oriented, with the occasional help of his friend Aleksey Gaponenko (Lazer became a proper solo project of DJ Slon in 1999). There are also tracks under the aliases Mass Fatality, which combined techno and synth-pop, and Razrushiteli Mozgovych Uliev (Brain Hive' Destroyers), with its more direct tight techno tracks.

The music of DJ Slon sounds fresher and more alive on Album Nr. 1 than ever before.
Noticeably, this record, first and foremost, is dance music. As a voice on one of the album tracks boldly states, we came to dance.

DELUXE EDITION

Das Herzstück der ersten Lou Reed Archive Series Veröffentlichung von Light In The Attic ist die Deluxe 45-RPM Doppel-LP Edition von "Words & Music, May 1965". Diese auf 7.500 Exemplare weltweit limitierte Sammlung wurde von dem mehrfach mit dem GRAMMY ausgezeichneten Künstler Masaki Koike entworfen und verfügt über einen stilisierten, gestanzten Klappumschlag, der von Stoughton Printing Co. hergestellt wurde, mit fortlaufender Foliennummerierung. Darin enthalten sind zwei 45-RPM 12"-LPs, gepresst auf 180-Gramm-Vinyl in HQ-Audiophil-Qualität bei Record Technology Inc. (RTI), mit der einzigen Vinyl-Veröffentlichung von "I'm Waiting for the Man - May 1965 Alternate Version". Eine Bonus 7" Single, die in einer eigenen, gestanzten Bilderhülle untergebracht ist und bei Third Man Record Pressing hergestellt wurde, enthält die einzige Vinyl-Veröffentlichung von sechs bisher unveröffentlichten Bonustracks, die einen nie zuvor gesehenen Einblick in Reeds prägende Jahre bieten, darunter frühe Demos, eine Coverversion von Bob Dylans "Don't Think Twice, It's All Right" und ein Doo-Wop-Ständchen, das 1958 aufgenommen wurde, als der legendäre Singer-Songwriter gerade 16 Jahre alt war. Ein begleitendes, gestanztes, 28-seitiges Buch mit Texten, Archivfotos und Linernotes enthält eine Archivreproduktion eines selten Briefes, den Reed um 1964 an seinen College-Professor und Dichter Delmore Schwartz schrieb. Das Set enthält eine CD mit dem kompletten Audiomaterial des Pakets in einer gestanzten Hülle. "Ein Tonband mit ihren frühesten Demos, aufgenommen am 11. Mai 1965 und bis heute unter Verschluss gehalten, zeigt Spuren von Dingen, die selten mit The Velvet Underground in Verbindung gebracht werden: Blues und Folk, erdig und traditionell, unsicher und zögerlich - und doch von diesem rostigen, ätzenden Lou Reed-Geist durchdrungen. Es ist eine Offenbarung." - Will Hodgkinson, MOJO. Light in the Attic Records ist stolz darauf, in Zusammenarbeit mit Laurie Anderson den ersten Titel ihrer fortlaufenden Lou Reed Archive Series vorzustellen: "Words & Music, Mai 1965". Das Album, das anlässlich des 80. Geburtstages des verstorbenen Künstlers erscheint, bietet einen außergewöhnlichen, ungeschminkten und ergreifenden Einblick in einen der wahrlich größten amerikanischen Poeten und Songwriter. Diese bisher unveröffentlichte Sammlung von Songs, die der junge Lou Reed mit Hilfe seines späteren Bandkollegen John Cale aufnahm und sich selbst als "Urheberrecht des armen Mannes" mit der Post zuschickte, wurde fast 50 Jahre lang ungeöffnet in einem Originalumschlag aufbewahrt. Der Inhalt verkörpert einige der wichtigsten und bahnbrechendsten Beiträge zur amerikanischen Popmusik im 20. Jahrhundert. Die fest in der Folk-Tradition verwurzelten Songs belegen Lous nachhaltigen Einfluss auf die Entwicklung der modernen amerikanischen Musik deutlich - vom Punk bis zum Art-Rock und allem, was dazwischen liegt. Diese Aufnahmen sind eine wahre Zeitkapsel und halten nicht nur die ersten Funken dessen fest, was die Keimzelle der unglaublich einflussreichen Velvet Underground werden sollte; sie machen Reed auch zu einem echten Beobachter mit einem angeborenen Talent, die Welt um ihn herum zu synthetisieren und in reine Klangpoesie zu verwandeln. Mit Beiträgen von Reeds zukünftigem Bandkollegen John Cale präsentiert "Words & Music, May 1965" die frühesten bekannten Aufnahmen so historischer Songs wie "Heroin", "I'm Waiting for the Man" und "Pale Blue Eyes", die Reed später mit Velvet Underground aufnehmen und unauslöschlich prägen sollte, in ihrer Gesamtheit. Außerdem sind mehrere bisher unveröffentlichte Kompositionen enthalten, die zusätzliche Einblicke in Reeds kreativen Prozess und seine frühen Einflüsse geben. Das Album wurde von Laurie Anderson, Don Fleming, Jason Stern, Hal Willner und Matt Sullivan produziert und enthält neu gemasterte Tonaufnahmen vom Originalband durch den GRAMMY-nominierten Toningenieur John Baldwin. Abgerundet wird das Paket durch neue Linernotes des renommierten Journalisten und Autors Greil Marcus sowie ausführliche Archivnotizen von Don Fleming und Jason Stern, die das Lou Reed Archiv betreuen, während die Veröffentlichung von dem mehrfach GRAMMY-prämierten Künstler Masaki Koike gestaltet wurde.

Wardown, the emotive and experimental project from Technimatic's Pete Rogers, releases second LP on Blu Mar Ten Music

Where the debut Wardown album was a diary of smeared memory, musically recounting the author's childhood home and his subsequent feelings of dislocation from it, Wardown II expands on the themes of nostalgia and focuses on our collective reactions to a promised future that remains undelivered.

Using aural scraps from that most optimistically futurist period, the 1950s & 1960s, Wardown weaves them into an uneasily dreamy, bittersweet commentary on postmodern nostalgia. The album veers between otherworldly, euphoric harmonies and pumping, mechanical incantations of promises for a new age.

1972-1985 KATEBEGIAK - Prog-Rock, Psych-Folk & Jazz-Rock Music from the BASQUE COUNTRY. The album KATEBEGIAK, now published by ELKAR, contains 13 tunes on double LP gatefold edition from Haizea, Izukaitz, William S. Fischer, Magdalena, Enbor, Itoiz, Koska, Itziar, Errobi, Lisker, Amaia Zubiria & Pascal Gaigne, Gontzal Mendibil & Taldea and Urria, and the CD-Book edition adds an extra bonus track by the great unknown artist Juan Arkotxa. Complied by Mikel Unzurrunzaga Schmitz aka DJ Makala. Music produced in the 70's in the Basque Country got trapped between two earth shattering artistic currents; Ez Dok Amairu in the 60s and Basque Radical Rock in the 80's, and unfortunately, most of the lovely discs and tunes created at that magical time have been pushed to a remote (and sometimes even despised) corner of our collective memory. 60's and 80's music currents are almost opposite, and both work as magnetic poles with a very strong power of attraction, and maybe also as a burden for any of the later artistic currents. 60's generation of artists searched within their rich and ancient cultural roots to acknowledge and update them, in proud, hopeful and unforgettable folk songs. The 80's one on the other hand, worked in a flammable environment in constant social and political conflict and found in punk the perfect way to express their anger and weariness for so many unfulfilled promises and the lack of opportunities into short, noisy, direct and corrosive songs, technically sparse but full of energy and expressive power. Most of the "classic" names engraved in our memory come from one or the other like Benito Lertxundi, Mikel Laboa, Lourdes Iriondo and Xabier Lete or Kortatu, Hertzainak, Zarama, Las vulpes, Eskorbuto or Cicatriz. 70's generation and their music work somehow as the "missing link" ("katebegia" in Basque) between the two. They loved folky tunes and don't forget their ancient roots, but they also look outside for inspiration and experimentation. Just as the 80's boys and girls found punk the 70's guys found a completely different sonic and aesthetic landscape in the works of Grateful Dead, Fairport Convention, King Crimson, Soft Machine, Gong_ and worked closely with keen souls in other neighboring regions such as Maquina!, Pau Riba or Sisa in Catalonia or Smash and Triana in Andalusia. This resulted in more abstract and poetic lyrical content, much longer psych-folk-prog-jazz tunes, full of complex instrumental passages and mesmerizing structures of sheer ambition and masterful execution in many cases. But, most important of all, they found a voice of their own, rich, unique, and fascinating, and that's what makes them so valuable to us. Not only to us, but also to lots of vinyl collectors and crate-diggers around the world, who have in many cases paid fortunes for some of the original editions of LPs that are the source of tunes in this compilation. Mikel Unzurrunzaga Schmitz aka DJ Makala, DJ and producer of worldwide scope and wisdom, noticed this fact first and decided to pay homage to these wonderful tunes through this masterful and dedicated selection for your pleasure and as an open invitation to dig deeper into your adventures in the dark and hidden side of Basque popular music.

With a smooth-as-butter flow, an entrancingly deep vocal tone, and an exceptional ear for production, Big Cheeko is one of the most exciting emcees to emerge from Atlanta in recent memory.

After several outstanding mixtapes and a number of high-profile collaborations, the talented artist is now unveiling his commercial debut "Block Barry White". The album is a smoked-out masterpiece, capturing the full reach of Big Cheeko’s creative firepower, and is executive produced by hip-hop folk hero Mach-Hommy. Throughout the collection, Big Cheeko's powerfully authentic rhymes are accompanied by slow-burning, soul-influenced production and hard-hitting percussion, with all beats provided by Matic Lee, an acclaimed producer who has worked with the likes of Tech N9ne, Krizz Kaliko, Rittz, Jarren Benton, and more. Sure to blast out of trunks far and wide, "Block Barry White" features appearances by Mach-Hommy, Smoke DZA, Styles P, and Devin The Dude.

SUBVERTED's second double vinyl release "The Collective Impact" features ten non-binary, trans and female identifying artists, presenting their craft in the field of industrial techno. From ambient to raw and impactful beats, ethereal atmospheres and fast hard hitting sounds, listeners are invited to a hopeful journey and a fight for a more just society.

Mit nur zwei Demos seit Gründung im Jahr 2018 scheint es, dass MALIGNANT ALTAR nach modernen Maßstäben etwas zu ruhig gestartet waren. Doch dieses Monster hat nicht geschlafen oder sich auf seinen Lorbeeren ausgeruht, sondern das ranzigste, obszönste Album geschaffen, das man sich vorstellen kann. Aus dem tiefsten Schlund 80er-Horror-Einflüssen ergießt sich eine Flut von Innereien in Form von eitrig faulen Riffs und zermürbenden Drums in einem dicken teerigen Matsch instrumentalen Verfalls über den Hörer. Gesanglich wird purer Ekel ausgekotzt, der sich glorreich klebrig über die letzte Ritze bösartig hypnotisierender Rifflandschaft einfügt und wie verfaulte Leichenreste aus euren Lautsprechern tropfen. Wenn das alles nach einer Demo-Band mit begrenzten technischen Spielfähigkeiten klingt - Nichts wäre weiter von der Wahrheit entfernt, da MALIGNANT ALTAR mit gnadenlosem Drumming und technisch ausgefeilten Riffs aufwarten können.

Über fünf typische Tracks und einem spektralen Zwischeninstrumental ist die Platte zwar gnadenlos brutal, verzichtet aber dennoch nicht auf Dynamik. Diese Texaner haben Würze in ihrem Death Metal und wissen genau, wann unausweichliche Attacke oder zermürbender Groove bis hin zum Pulverisieren der Nackenwirbel gefragt ist!

Das zweite Album von Master, aufgenommen von Scott Burns in den Morrissound Studios! Klassischer Death Metal der 1990er Jahre!
Eines der Probleme beim Rückblick auf ein Musikgenre aus einer Perspektive, die Jahre oder Jahrzehnte vom Kern der Bewegung entfernt ist, dass spätere Entwicklungen dazu neigen, sowohl die Ursprünge eines Genres als auch die Fäden innerhalb einer Tradition zu verwischen, die ohne Nachkommen ausgestorben ist. Das Ergebnis ist, dass interessante und verdienstvolle Alben oft untergehen, wenn Kritiker über die Alben nachdenken, die den größten Einfluss auf spätere Errungenschaften hatten.

Die Death-Metal-Pioniere Master gehören zu denjenigen, die aufgrund dieses Phänomens zu kurz gekommen sind, und ihr 1990er Meisterwerk "On The Seventh Day, God Created... Master" bleibt eine faszinierende Erkundung sowohl der Wurzeln des Genres als auch der Räume, die es hätte einnehmen können, wenn andere Wege eingeschlagen worden wären.

Es gibt ein paar Dinge, die selbst dem Gelegenheitshörer sofort ins Auge springen. Das erste ist der scheinbare Primitivismus der Musik, mit Songs die aus relativ kurzen, knüppelnden Stücken bestehen, die von unerbittlichen Rhythmen, zyklischen Riffs und einfachen melodischen Hooks angetrieben werden. Das zweite ist die Erkenntnis, dass jemand einige wirklich verrückte, brillant konstruierte Leads spielt. In diesem Fall ist das Paul Masvidal, der damit alles übertrifft, was er jemals mit Cynic erreicht hat.

Hinter der oberflächlichen Einfachheit verbirgt sich ein kreativer Geist, der gleichzeitig an die ursprüngliche Geburt des Death Metal erinnert (bei der Master sowohl anwesend war als auch eine treibende Kraft war) und der den Weg zu dem weist, was aus dem Genre hätte werden können.

Ganz offensichtlich sind die Hardcore-Wurzeln des Genres,
Master meidet hier die von Slayer abgeleitete technische Architektur, die den meisten "modernen" Death Metal dominierte, zugunsten von
Strukturen, die auch auf einem Discharge's Meilenstein "Hear Nothing See Nothing Say Nothing" nicht fehl am Platz gewesen wären (es gibt sogar ein paar Auftritte des berüchtigten D-Beats). In dem unerbittlichen Sturm brutaler Wiederholungen ist die Kernaussage der Musik verschlüsselt, eine schiere Urwut, die aus den donnernden Zyklen der Powerchords tropft und dem offenkehligen Gebrüll (wieder der Hardcore-Einfluss) von Sänger und Hauptsongwriter Paul Speckman. Dazu kommen Momente des Nachdenkens, in denen die Songs in einer Art High-Dezibel-Gedudel kollabieren, und ein angeborenes Gespür dafür, wie man Melodien aus den infernalischen Tiefen der Dissonanz herauskitzelt, und die bereits erwähnten Masvidal-Soli (und es kann nicht genug betont werden, wie sehr diese Leads zerreißen). Was dabei herauskommt, ist etwas, das über
seine eigene scheinbare Rohheit hinwegtäuscht und nicht so sehr eine Aussage über blinde Wut, oder gestörte Entfremdung, sondern eine meisterhafte Erklärung von Gewaltbereitschaft.

The Gamelatron is many things; one could call it a sculpture, a multimodal installation, an instrument, a robot, a feat of engineering, a vision—and it is all of these things. More importantly, though, it is a concept sustained by Aaron Taylor Kuffner, aka Zemi17, whose Gamelatrons are “sound producing kinetic sculptures” designed to create an immersive, visceral experience for the listener. Not a small feat, and yet the ambitions of Zemi17 are absolutely realized in this long-standing project, culminating now in his third release for The Bunker NY: Gamelatron Bidadari.

The Gamelatron Bidadari is not just a name—it is one of seventy-plus musical sculptures that Zemi17 has conceptualized, designed, and fabricated. Therefore, it would be inaccurate to think of this release as simply a series of arrangements composed in a finite period of time. Rather, it’s a window into a project and a process that is much larger than any single album can encapsulate. Gamelatron Bidardi is the culmination of more than a decade of work, and is central to Zemi17’s evolution, not only as a musician but as an artist.

Having studied gamelan for many years in Indonesian villages and at the Institut Seni Indonesia in Yogyakarta, Kuffner is a musician, an artist, technologist, and craftsman. The gongs in his sculptures are co-created with master Indonesian artisans. Each Gamelatron composition is site-responsive, meaning its sounds are composed for the acoustics and intentions of the space it inhabits, whether it’s an art gallery, a wooded landscape, or the inner temple of Burning Man. The Gamelatron does not stand alone: it is in constant co-creation with its physical environment, and in dialogue with gamelan’s long-standing history.

Originally exhibited at the Smithsonian Renwick as part of a show entitled, No Spectators: The Art of Burning Man, the Gamelatron Bidadari produces sounds that are delicate yet strong, and deeply hypnotic. Textured chiming creates intricate polyrhythmic patterns that are both complex and simple, or in a word, elegant. On Gamelan Bidadari, Zemi17 refrains from adhering to the strict musical structures; his approach to composition is free flowing.

He says, “I want to evoke what the music tells me it has to offer. It is like following water to its conclusion (or non-conclusion).” The arrangements on this album, written by Zemi17 and performed by the robotic arms of the Gamelatron, leaves the listener feeling enchanted, nourished and enriched.

A sense of the mystical comes through in the tonal quality of the instrument, and is conceptually felt in the sculpture’s name: the Bidadari, which loosely translates to “forest nymph.” The music conjures up natural wonder, and the four sculptures that make up the Gamelatron Bidadari, in fact, resemble trees. They are four independent yet connected entities, each with a large gong situated at their structural base—the sonic “roots” of the sculpture—while smaller gongs branch off of a golden, trunk-like spine. The Gamelatron Bidadari is as physically stunning as it is mesmerizing to the ear. A kind of divinity is invoked through its sound, or a sacred cohesion between past and present, tradition and new form. Meant to be viscerally experienced, the sounds of the Gamelatron call for sublime togetherness. Gamelatron Bidadari is not just an album but the crystallization of Kuffner’s work; it is a condensed yet spacious glimpse into the sonic power of Zemi17’s Gamelatrons, which have already been heard and experienced live by over a million people.

This release will have you dancing and crying at the same time. On his debut album, Paris-based producer and founder of the "raw poetry" aesthetic Loyce Demellier - AKA DJ Physical - takes us on a fast-paced journey through techno, electro, breaks and more. Whilst the music's indisputable home is the club, Physical teases out moments of playfulness and sentimentality amongst hard-hitting electronics.

"Silver Lake" LP resides on the colder, more industrial side of Demellier's sonic spectrum, following on from his latest release on London imprint 10 PILLS MATE which saw him depart from the more lofi quality of his previous releases in favour of a raw, club-focused sound. On the A-side, Demellier situates the release within the context of old warehouse raves, with euphoric acid melodies and a 140BPM propulsion ("Uranium"): and high-pitched synth stabs that ascend from darkness ("Gold Mines").

The B-side maintains the pace, but this time it's about electro and breaks. On "Overshoot", reverberating cymbals add another layer of depth to Amen break interludes whilst "Lawbreaker" harnesses a cheekier tone, offering respite from the previous tracks' venom. This air of playfulness sticks around on "Lunatic State" helped by MPC drum claps and a ludic electro melody, before fellow Parisian Ika Sile steps up for "Early Sprinter" and "Bootybounce": the former offering a slicker take on acid techno and the latter: rave music at its absolute with piano stabs and sleazy vocal chops. Silver Lake LP drops 22nd July 2022 via Lost Palms

Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators.

Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music.

Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others.

It became a metaphysical juxtaposition involving Gammelsaeter’s research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot.

Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave.

Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future.

“Quantum Entanglement” featured two long-form pieces centred around a prepared piano and layered voice, while “Higgs Boson” developed a much more elaborate and ambitious compositional work. Across eight parts, the two artists brought a broad palette of instrumentation and sound. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the centre is Gammelsæter’s magnificent voice. She has become known for her legendary voice, with her vast and unique range of inflective techniques and affective colour through her 30 years creating music. In the mix, Lasse approached the instrumental elements like landscapes, then Runhild’s vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. Make them occupy space, sometimes blend into it, sometimes dominate it. Constructing and setting visual guidelines helps set focus and open possibilities.

As an album, “Higgs Boson” is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format - and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a story-like arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like.

– exclusive consultation with Gammelsæter & Marhaug, edited by Stephen O’Malley, June 2022

Norwegian magic with style and enchanting voice! In 2021 LIV KRISTINE‘s EP „Have Courage Dear Heart“ was released and now the
re-release „Enter My Religion“. The album will be released for the first time as a vinyl with an extra single, as a cassette with two bonus tracks and as a double CD with unreleased tracks and demo recordings. The songs were also adorned with universal influences. Sitar sounds introduce the title track, which comfortably gets under your skin with its insinuating melody arcs and LIV KRISTINE‘s delicate voice. The opener „Over the Moon“ (PETER TÄGTGREN) hints at powerful metal, but then develops into a driving pop song. „Fake a Smile“ is an airy ballad, with LIV KRISTINE‘s voice charmingly taking center stage and setting the tone for most of the songs on the album. The title track „Enter my Religion“ is a mid-tempo anthem with a wise appeal to your inner self, your self-esteem, happiness and creativity. The pace continues with „All the Time in the World“. Straighter and more guitar-driven is „My Revelation“. Pleasing harmonies are in the foreground in the warm and soothing composition „Coming Home“. ‚Streets of Philadelphia‘ - BRUCE
SPRINGSTEEN‘s theme song to the Oscar-winning movie was interpreted as a tribute. The arrangements being technically based on the original, LIV KRISTINE adds new and softer accents to the track. „You Take Me Higher“ is extraordinarily different and more dance-oriented, with a subtle drum‘n‘bass overlay. With „Trapped in Your Labyrinth“ and „Fake a Smile“ LIV KRISTINE spoils her listeners
with profoundly sensual ballads and rock songs. The fairy-like singing, accentuated by piano sounds, envelops music lovers in a web of security, melancholy and longing.

„Enter My Religion“ convinces as a spicy and varied album. The blond Norwegian succeeds in creating a fine album with romantic touches, which never slips into kitsch. Simply authentic, profoundly philosophical, surprising and absolutely LIV KRISTINE - luminous and enlightening.

Norwegian magic with style and enchanting voice! In 2021 LIV KRISTINE‘s EP „Have Courage Dear Heart“ was released and now the
re-release „Enter My Religion“. The album will be released for the first time as a vinyl with an extra single, as a cassette with two bonus tracks and as a double CD with unreleased tracks and demo recordings. The songs were also adorned with universal influences. Sitar sounds introduce the title track, which comfortably gets under your skin with its insinuating melody arcs and LIV KRISTINE‘s delicate voice. The opener „Over the Moon“ (PETER TÄGTGREN) hints at powerful metal, but then develops into a driving pop song. „Fake a Smile“ is an airy ballad, with LIV KRISTINE‘s voice charmingly taking center stage and setting the tone for most of the songs on the album. The title track „Enter my Religion“ is a mid-tempo anthem with a wise appeal to your inner self, your self-esteem, happiness and creativity. The pace continues with „All the Time in the World“. Straighter and more guitar-driven is „My Revelation“. Pleasing harmonies are in the foreground in the warm and soothing composition „Coming Home“. ‚Streets of Philadelphia‘ - BRUCE
SPRINGSTEEN‘s theme song to the Oscar-winning movie was interpreted as a tribute. The arrangements being technically based on the original, LIV KRISTINE adds new and softer accents to the track. „You Take Me Higher“ is extraordinarily different and more dance-oriented, with a subtle drum‘n‘bass overlay. With „Trapped in Your Labyrinth“ and „Fake a Smile“ LIV KRISTINE spoils her listeners
with profoundly sensual ballads and rock songs. The fairy-like singing, accentuated by piano sounds, envelops music lovers in a web of security, melancholy and longing.

„Enter My Religion“ convinces as a spicy and varied album. The blond Norwegian succeeds in creating a fine album with romantic touches, which never slips into kitsch. Simply authentic, profoundly philosophical, surprising and absolutely LIV KRISTINE - luminous and enlightening.

The third release from Night Dreamer’s essential “Direct-to-Disc” sessions sees an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration.

Having cut his teeth playing with the likes of Charles Mingus, Max Roach, Art Blakey and finally in 1970, Miles Davis at the peak of his electric period, Gary Bartz became a leading figure of the early-to-mid 70s spiritual jazz movement, releasing a string of ground-breaking albums on legendary NYC jazz label Prestige Records with his NTU Troop, featuring classics such as “Celestial Blues”, “Uhuru Dance” and “I’ve Known Rivers”, before collaborating on Blue Note Records with the Mizell Brothers on the anthemic jazz funk of “Music Is My Sanctuary”. An oeuvre much loved by soul jazzers and hip hop fans alike.

Led by drummer Jake Long, Maisha have been central to the UK’s jazz explosion, and have fast become the UK’s most exciting and in-demand young spiritual jazz ensemble, from steller shows at Jazz re:freshed, Total Refreshment Centre & Church of Sound and supporting the Sun Ra Arkestra, to releasing their critically acclaimed debut LP, ​“There Is A Place” ​on Gilles Peterson’s Brownswood Recordings in 2018. Theirs is an organic & explosive sound that blends influences from afrobeat and broken beat to Persian music, with a deep love and understanding of jazz, particularly the heritage of spiritual jazz led by titans such as Pharoah Sanders, Alice Coltrane and of course, Gary Bartz.

Which makes this collaboration even more special. Bartz was first invited to share a stage with Maisha by Gilles Peterson to headline the inaugural We Out Here festival. Their chemistry was rich and instantaneous, certainly a two-way street, with the young musicians reinvigorating the legend’s performance and wowing the intergenerational festival audience. A European tour followed, including a London Jazz Festival highlight at the Royal Festival Hall, celebrating the 50th anniversary of his album “Another Earth”, originally featuring fellow legends, Pharoah Sanders, Charles Tolliver, Stanley Cowell, and John Coltrane’s own bassist, Reggie Workman.


Now the relationship has evolved into a special straight-to-disc recording for Night Dreamer Records, that captures the vitality of their collaboration. Whilst Bartz and Maisha reinvent classic Bartz compositions “Uhuru Sasa” and “Dr Follows Dance”, extending the pieces into long piece improvised grooves, their recording session gave birth to three brand new joint compositions, written the very same day. These include the propulsive “Leta’s Dance” that magically combines the Bartz’ soulful musical lyricism with Maisha’s African-jazz influences, and the organic jazz

funk of “Harlem to Haarlem”, featuring a hot solo from guest trumpeter Axel Kaner-Lidstrom of Cykada & Levitation Orchestra fame.

Like previous Night Dreamer efforts from afrobeat star Seun Kuti & Egypt 80, and the beautiful collaboration between Brazilian stars Seu Jorge & Rogê, the album was recorded in Haarlem’s Artone Studio, a stones throw from Amsterdam, in just one-take, straight-to-disc, avoiding post-production embellishments and retaining the purity of the performance lost in modern recording techniques.

This record really is an event, in and of itself, a meeting of talents, minds, generations and zeitgeist moments, captured in a unique and pure manner. The music does not disappoint, as Maisha have been inspired to reach new heights whilst we find Bartz truly reinvigorated, and both artists in tune to the spirit of the other.

Recorded direct-to-disc @ Artone Studio, Haarlem, The Netherlands on Tuesday 29th Wednesday 30th October 2019

The latest release on Livity Sound features an extensive insight into the work of Seb Uncles, aka Eusebeia. Uncles has been releasing his work prolifically over the past six years, from self-released tapes on Rebellion Electronics through to reams of 12”s and LPs for labels like Earthtrax, Western Lore, Rupture London and re:st. While his sound has often tilted towards drum & bass and jungle, he places atmosphere and composition ahead of genre boundaries and tempo restrictions.

Cosmos EP finds Uncles stretching out over eight varied tracks for a broader experience compared to the usual Livity EP. Glacial ambience and richly layered synthesis guides the record overall, at times leaving drums behind altogether, but even at its mellowest you can sense the overbearing bias towards soundsystem music. The melancholic electronica of ‘Becoming’ gets underpinned by dread bass, and ‘Solace’ places a haunting steppas-esque refrain in the midst of heavily dubbed downtempo. When he does turn to full-tilt drumfunk edits on the likes of ‘Hopes & Dreams’ and ‘Love + Light’, he approaches them with subtlety and finesse, matching rhythmic flair with melodic progressions which lend themselves to introspective listening as much as full dancefloor immersion.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Dusky’s music has always been built on the pleasure principle, but JOY – as the title makes absolutely clear – takes that to new levels of purity and intensity.
Looking back to more innocent times and to rave music’s halcyon days, the duo of Alfie Granger-Howell and Nick Harriman have tapped into that special moment when raving was still a voyage into the unknown.

This project is a distillation of the spirit of people coming together in hard times, forgetting their troubles and celebrating life. All of the core elements here are familiar from the peak rave era and the birth of hardcore – the cascading pianos, the infectious bleep melodies, the Chicago and Detroit grooves, the rugged Belgian techno riffs, and the proto-jungle break beats – but retooled, rewired, and refreshed for this brave new world.

It’s both a natural development and noticeable evolution from the pair’s previous work. Natural, because these musical elements have always been apparent in Dusky’s sound, but a clear evolution in they way they are presented, with such an unreserved and joyous tone.

The result is a celebration - and expression - of the communal ecstasy of the dance floor experience. An expression of 18 months yearning to be back out there communing and celebrating. An expression of everything that dance music - and dance culture - is about at its very best.

JOY brings together all the finesse and subtlety that Dusky have honed while traversing the various corners of clubland over the past decade, all their understanding of fundamental dance floor dynamics, and channels it all to a single, unified purpose. At a time when we’ve all suffered, we’ve all struggled, and we’re all uncertain, we’ve never needed this sense of unity more. All the release we’ve so badly wanted is here: we all need JOY.
credits

Tripped has been producing hard Industrial electronic music for over 17 years. Releasing a ton of quality EPs and 12" records ranging from full force terror to slow industrial techno. Always pushing forward perfecting his unique signature sound no matter what style or BPM range.

Now after 17 years we are super excited to be able to present his first ever full length album, on PRSPCT recordings.

Unboxed by Tripped is a 3 x 12" vinyl album consisting of 13 tracks that take the listener on one giant musical journey passing all corners of the Tripped galaxy.

From experimental noisy industrial tracks like "Pain" & "909". To speeding up the pace on a track like "Fartbox" while throwing in some heavy pounding schranz on "Shinyuku Heat".

Bringing back the oldschool vibes on "Misfits" together with ISR legend Lenny Dee and than going full force hardcore/breakcore war mode on "Kapsalon".

This album just keeps the listener moving, never a dull moment, pure adrenaline & excitement.

Here at PRSPCT we gave Unboxed by Tripped a 5 star rating on Yelp. It's simply that F-ing good!

Now go buy the record or spend the rest of your life full of regret.. Trust us.. You don't want that..

Bogotá’s UNIDAD IDEOLÓGICA sound is pure high intensity hardcore. The eight songs on their debut 12” clock in below 15 minutes and not a single second is wasted. Their sound is very bass and drum driven, full of breakneck, pummelling relentless beats which do not rest for a second, setting a claustrophobic atmosphere for the noise to grow. Feedback ladden guitars at times verge on BM, which brings RAW POWER, EXECUTE, GISM and DISARM to mind, creating the perfect background for a raging vocalist full of venom to sing about fear, control, technology, and the rampant neoliberalism destroying their land and literally killing as we speak. UNIDAD IDEOLÓGICA was conceived at Bogotá’s Rat Trap, then recorded at Epia Estudios by Santiago Gonzalez during Colombia’s strict lockdown and curfews earlier this year. Finally it was mastered by Will Killingsworth at Dead Air Studios.The design was undertaken by Darcy Cabrera with the photographic help of Isabel O’Toole.

THE 1994 ALBUM REMASTERED BY ED WYNNE & RELEASED ON
CLASSIC BLACK VINYL.

One of the most influential bands to emerge from the UK's festival scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips, incredible rave grooves & psychedelic progressive rock.

It's an open exploration of music & the soul. The band's last release to feature Merv Pepler & Joie Hinton, who left to form Eat Static, 'Arborescence' was the Ozrics' fifth studio effort in as many years. Soundscape textures remained their focus & their strength, with the now trademark Steve Hillage- esque guitar, gurgling & whirling synths & tight rhythm section all wrapped around rave, techno, African & Middle Eastern influences.

The tracks alternate between the power driven ('Myriapod', 'Shima Koto', 'Astro Cortex'), classic Ozric Tentacles space rock ('Dance of the Loomi', 'There's a Planet Here', the title track) & those with an ethnic flavour ('Al- Saloog'). The powerful music here, embellished by plenty of synth dweedling & strong rhythm patterns, takes the listener of open mind & free spirit to somewhere special. Classic Ozrics then. Arborescence' will be released on classic black vinyl via Kscope.

With a back catalogue that spans half a dozen studio LPs as Boom Bip,
plus another two as one half of electronic pop duo Neon Neon, Bryan
Hollon has already made a name for himself as a Mercury prizenominated producer and multi-instrumentalist
Equally impressive are the credits to Warpaint drummer Stella Mozgawa's name;
she's contributed percussion to albums by Kurt Vile, Cate le Bon, Courtney
Barnett, Sharon Van Etten, and Kim Gordon, among others. But as improvisational
techno duo Belief, the pair make music that harkens back to '90s acts like LFO
and 808 State – artists that indelibly, but near-anonymously, altered club and rave
culture, mostly identifiable by clean, bold logos on 12" sleeves. Without being
derivative of the era, they add their own instincts and experiences to grace the
musical universe with new answers to the question: What Would Mark Bell Do?
Hollon met Mozgawa just after she joined Warpaint, when Boom Bip shared a
rehearsal space in Echo Park with the band. The two quickly bonded over a love
of early Warp Records, drum breaks, acid house, and Y2K- era rave flyers. They
swapped playlists and ideas when Mozgawa played drums for Neon Neon's 2013
West Coast tour, but due to busy schedules, it would be another three years
before they packed every piece of gear they collectively owned into Eric
Wareheim's Absolutely Studios for an initial jam session. Instinctively playing to
each other's strengths and whims – and recording the session to build on later –
allowed Mozgawa to explore a style of music she'd long considered a dark art,
and pushed Hollon, known for his meticulous planning in previous work, to be
more spontaneous.
It was all in good fun – early shows billed the pair as 'Beef' with a comedic wink
to its pulsating minimalism. But as the two began committing themselves to
finalizing and recording more soulful, enigmatic tracks, the reverent nature of
what they were doing began to emerge: while Belief pays homage to the pioneers
of techno, the project is born out of an oddly divine foresight Mozgawa and
Hollon share, the synergy of two devout tastemakers building a shrine to inner
peace and outward pleasure