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Ai Aso’s immaculately crafted form of minimalist pop music skirts the edges of tensity with the manner and with the skill of a tight rope walker, calmly balancing repeatedly at every step, with a combination of surety and the risk of a slip, a fall, and an unknown uncoiling of events. Aso's capacity to capture, or inspire, the tension and attention from within the listener and observer are quite pronounced. At Aso's concert the performance constantly teeters near the brink, a sharpened awareness in the hall emerges from all observing, with the will of that most delicate balance. On “The Faintest Hint” she brings a meta level to the proceedings, the dream of a singer in a bright sunlit room in the centre of the density of the society, simply and precisely searching for single ideas, single tones, a sense of sensuality and even a dream of a grandeur (rock dream) emerge. A stillness prevails, even a sharp set of instances of dreaming, melancholia, nostalgia… or even saudade. The album was recorded, mixed & mastered by Soichiro Nakamura at Peace Music between 2018-2020. Atsuo and I joined these sessions as producers, and moreso as catalysts, yet also became the skeleton of a band on the album (with the tender touch). The legendary Japanese rock band Boris accompany Aso on two pieces. A faintest hint of sharpness and la tendresse féroce quickly erodes into a fine brief cloud of the purest crystalline dust.

–Stephen O'Malley, Stockholm June 2020

Favorite Recordings presents Jazz Traficantes by LE DEAL, a new musical adventure from the finest French jazzmen with Florian Pellissier (Piano & Fender Rhodes - Camaraõ Orkestra, Cotonete,
Aldorande, Setenta), Yoann Loustalot (Flugelhorn – Bruit Chic, Old & New Songs, Aerophone, Lucky Dog), Théo Girard (Upright Bass – Pensée Rotatives, Discobole) and Malick Koly (Drums - The Wallace
Roney Quintet). Needless to say, they’re used to play all over the globe and quite often to New York. During one of these
trips to the Big Apple, they discovered that the legendary Van Gelder studio (where most of Blue Note, Verve and CTI albums were recorded) was still active and opened so they decided to book a few days session.

Here is the story told by Florian Pellissier: “The tracks had been written the night before. We were going to run through them and then record. A simple plan. Van Gelder had passed a while back, but he left the keys and secret codes with his faithful assistant Maureen before heading off to create the right sound up in heaven. Nothing had changed in the atmosphere or configuration, not even the way the mics were placed. The studio and its wooden beams still exuded New York’s sixties jazz, dimly lit streets and clubs where anything might happen past midnight. Maureen knew just how to capture the ambiance of the sessions and bottle the energy without spilling a drop, taking infinite care to collect each cymbal tone, drum roll and trumpet phrase, without losing a single vibrating bass string or the slightest keyboard pause.”

Indeed, the four contrabandists succeeded to deliver an outstanding album, filled with themes that’ll get stuck in your head, just like in the 19 minutes long performance “Mexican Junkanoo Suite” and its three
parts. But more than just beautiful melodies, LE DEAL truly managed to bring a sense of drama to their compositions, going into the deepest emotions through gutted arrangements, improvising with great attention to the articulation of their ideas. From the beginning to the end, musicians and engineers did their best to emulate the proper vintage sound. Jazz Traficantes could prove once and for all that
French Jazz can indeed cross the borders. The album will be available as Tip-On Deluxe Vinyl LP but also on CD & Digital with a bonus track, “Noche en la Carcel”

Retro future past explorer. Ultraromance, hazy desire, a whiff of nostalgia. Excitement, confusion, and disenchantment. Internalization leads to alienation. And the cognition that everything can turn into a straight up joke after a while. So »relax and implode«…

The second full-length album of Berlin musician and futurologist André Uhl invites the listener to a sonic adventure with high emotional impact. Eleven songs are carefully crafted like sculptures in a swampy landscape. Warm, gritty, and viscid, the unique sound aesthetic leads the path through the dusty twilight, breathing down your neck, providing comfort and disturbance at the same time.

The sound material was recorded in a church during André’s two months long artist residency in a monastery in Alsace, France, where a specific set of microphones was used to capture the unique reverb of the nave. Additional material was recorded in Philadelphia, New York and in André’s Berlin studio.

Field recordings play a central role in the album, defining the mood and building the rhythmic foundation for all the compositions. Other elements were produced with a wide range of different analog and digital instruments. A powerful lead of a Roland Jupiter 6, the warm organ of a Moog Opus 3, the quirkiness of a circuit-bent Casio PT10 – or the clicking of an electricity meter in an apartment. »Relax and Implode« by André Uhl will be released on 16 October 2020 on Martin Hossbach.

Originally released 30 years ago in October 1990, and named after a traditional Norwegian fairy-tale, East of The Sun West of The Moon, co-produced by Ian Stanley (Tears for Fears), marked a departure from previous albums released by the Norwegian new-wave band. Acoustic guitars were added into the mix, and the piano replaced the keyboard/ synthesiser of previous albums. This album also features the first non-Morten lead vocals, by Magne on ‘’The Way We Talk.’’

Tape / Cassette

As one half of Phantom Horse, his long-serving electronic duo with Ulf Schütte, Niklas Dommaschk co-produces beautifully muted, Kraut-inspired jams that seem to soundtrack fictitious TV ads for wondrous imaginary household appliances, e.g. a calmly efficient, if slightly unsettling kitchen robot with an integrated lava lamp feature.

In contrast, Shapes cuts tracks down to size – nothing here is longer than five-and-a-half minutes. Also, Dommaschk has turned up the treble, the prominence of the higher frequency spectrum adding bite and menace to these deceptively simple synth polyrhythms.
Whereas opening track “Benzin” (German for “Petrol”) manages to conjure the paradoxical image of something or someone meandering with urgency, “Einzeller” (German for “single-celled organism”) channels a John-Carpenter-style pulse, complete with horror sound effects. “Interference” is a truly effective representation of the term, with piercing, but quiet tinnitus frequencies set above a beat as sparse as it is crunchy. “Two Stones”, by contrast, offers a kind of robotic wistfulness whereas closing piece “Energies of the mind” fizzes out like a jumble of toy keyboards attempting to score a science programme - and failing, but instead revealing some much grander emotional truth.

This is the sound of breaking some kind of inner lockdown, of turning inwards and then projecting parts of murky inner shadows outward, as well-defined and sometimes lurid shapes, individually clear, but still in the process of becoming organized into a complete whole. The unfinished is what excites us the most. May the shapes never find their slot in the jigsaw puzzle.

All songs by Niklas Dommaschk
Recorded between 2017 and 2020 in Berlin and Nijmegen
Mastering by Edgar Medina
Artwork by Daniel Castrejón

Moods & Grooves proudly introduces another new face, this time from the Detroit scene. DJ Eternal Student (aka Marvin Prather) steps up to the plate with his melodic track Hear Me Though and a deep groove entitled Transpose Deep.

Hear Me Though combines a funktastic bass line with some heavy breathing drums, strumming synths, xylophone like keys, and a sexy vox to create a wonderful head bobbing groove all on its own. Hot remixes of Here Me Though come courtesy of Domenique Xander (Berlin) and Deepset. Domenique puts a nice wash over it with panned and echo'd claps, drums, and very dreamy pads to create a stellar remix. Deepset ( a partnership between Brian Neal and Avalon Kalin) provide an up-tempo deep groove with a banging kick and swinging vocal chops to accompany the original vox of the track. A new bass line and funky congas produce a warm and lush version of the original. The synergy these producers had is incredible, all vibing from Marvin’s original version.

Transpose Deep is a climber. It starts off very unassuming with a solid 4 on the floor kick that morphs into solid synthy pads, and a funky bass line before it breaks into a full sprint of these elements, a bass that growls at you, and hats that swing hard.

The global lockdown has seen a number of new hobbies and skills adopted. Yoga mats now decorate homes. Bread makers jockey for space in kitchens. Soiled paint brushes caked in acrylics lie abandoned. At Frigio Records HQ, confinement might have changed the rhythm but it hasn’t changed the aim; to find new and exciting music for 2020. The result? Frigio Allstars 3.



Daniel Holt returns for this new instalment in the Allstars series. Diving deep into the darkness, Holt resurfaces with the nine minute industrial throb of “Vaccuous Transient.” A stomping beat pierces sci-fi score synthlines in a track brimming with menace. Staying in the US, Grey people debuts on Frigio with the grime smeared jack of “Bruxism.” The flip is all first timers to the Madrid label with Scannoir offering “De Panaesher.” Sitting somewhere between synth lament and uplifting wave, this track is a true modern classic from a member of the GOTT camp. Madrid’s very own Negocius man follows with “101 Wars” a winding worming work of glazed electronics to kill any dance floor and the amazing finale, “The Smile Of The Body” coming care of Bari’s talent based in Berlin under the moniker of Sons Of Traders.



Frigio Allstars 3 comes from the murky underbelly of electronics, where the nights are long and the days are short. Ashen tones pricked with lighter shades, all smeared with attitude in this collection of underground tracks made for the underground.

Fragile X is an exciting new collaboration between vocalist Inga Schunn and producer Dylan Chase.

The group began in 2019 when Schunn posted an iPhone voice recording on Facebook in which she sang an acapella in her native German. Her friend Chase, who was recording and releasing at that time as Caffeine Worldwide, heard the 30-second clip and immediately asked Schunn, at that time only an acquaintance, if she might like to record something. Neither of them realised at the time that the first sessions would lead to a debut 4-track EP that capably references as many styles as most full-length albums from established artists, while also setting a blueprint for a project that could go anywhere from here.

The opening track alone, 'Lifetime', opens with a woozy blend of UKG rhythms and Royksopp synths, before giving way to Schunn's sedate rendition of Daniel Johnston's 'Some Things Last A Long Time'...basically the years 1990-2002 distilled into 5 furious minutes of 5am energy.

Across the whole release, Chase's productions show the same cinematic flair that made his previous releases on French Press Lounge, Third Try and Human Concrete Block must-haves for your late-night record bag.
A2 'Prix' with the kind of R&S attitude that would make forebears like LFO or Lone proud, could be the soundtrack for an illegal outback rave or a sunset drive over a Big Sur overpass.
The album closer, 'Fragile X Theme,” sounds something like if late 90's Bjork was commissioned to soundtrack the movie Hackers with Akai samplers on loan from the Hartnoll brothers.

The whole release may be overshadowed by the B1, 'Karaoke Girl', a track Schunn and Chase wrote in Mexico City in 2019 after a rough night at a Zona Rosa karaoke bar.
Opening with dripping synths as soft and inviting as the last drink before sunrise, Schunn tells a story of a woman who overstays her invite at an intimate birthday party between friends, taking the mic from the birthday girl and singing "Seal, Rush and Kate Bush" with a "death grip on the mic."
It's a bizarre, vivid song for such new artists to have come up with, and the lyrics are underpinned by Chase's equally adventurous combination of Nordic disco elements with heavily treated bursts of Japanese koto.
The Lifetime EP's title is a reference to the laborious process that it took to make the record, with multiple recording sessions across two countries followed by endless edits and a Covid 19 related vinyl slowdown bringing its release to a crawl.
The record itself is a fast-paced, dopamine rush debut that we are proud to share with you as both the culmination of a long process, and the beginning of a strange new story.

Reissue of this long lost funky Afrobeat/Reggae classic from 1978
For fans of Fela Kuti, Peter Tosh, Bob Marley, Segun Bucknor

The year is 1978 and one hot thing from the musical underground is Reggae music from Jamaica, the USA or the UK, where most of the acts had musicians of Caribbean descent. Reggae had the groove, the rebel spirit, and the relaxed attitude all in one, to enchant a big part of the world’s inhabitants. And while at least Jamaica as a relatively poor and so-called "Third World“ country proved to spawn Reggae acts of the highest quality, literally nobody dared to look further and dig deeper into the underground except of a few maniacs who were not satisfied with spinning Marley over and over again. And maybe they stumbled over the 1970s Afro Beat sound from countries like Zambia or Nigeria and then got interested. What did they find in the simmering metropolises of this still mysterious continent? Somewhere in Nigeria, they would have certainly caught a glimpse of mind-blowing performances of The Sea Lions, a six-piece group mixing the then hip Reggae and Afro Beat styles to generate fresh and furious music with a hypnotizing atmosphere.



Polyrhythmic beat patterns build the foundation, the utterly fruitful soil for the heartwarming melodies wailed out by the guitars and the commanding vocals with their conjuring charm. Great organ work builds the link between the groove section and the melody instruments. You can imagine what a pleasant experience this band might have been live back in 1978 when their sole album "Free The People“ got released. And this album, of which copies in only good conditions already fetch prices of $450, while nice clean pieces might go up to $1200, lives up to the expectations one might have from watching a live show by the Sea Lions. The sound is vivid, transparent, powerful, and clean enough to make the music a real pleasure listening to, but earthy enough to present nothing but the band going wild here. The songs all have a similar pace, not too fast, but swinging and pulsating to spread their energy to and among the listeners. The melodies are simple but come from the depth of the heart. This feels typical for African 70s music and despite being kind of reduced, these melodies keep haunting you still even hours after the record been taken off the turntable and put back into its sleeve. They bring images of an ever pulsating city by night, warm climate, palm trees, people at the bar, a witches cauldron of sounds, smells, voice, and pictures. And you feel the magic floating through the air while this groove will not let you go so easily.

You can either dance your soul out to this ultimate reissue or you can sit down, listen and let the music tell you a story of the dark corners of the big city, the narrow alleys that lead you into a boiling labyrinth of mystical dreams. And in songs like "You Can Make It If You Try“ you will find the whole magic of the African world, a world so fascinating for us Europeans but still so unapproachable in some ways and dangerous for the weak. Do not try to resist, this is your pleasure. Grab a copy and the Sea Lions will carry you off to their place. I haven’t heard such a killer Afro Beat and Reggae album with songs this exciting and wild in a long time. If you equally love Peter Tosh, Bob Marley, Segun Bucknor, and Fela Kuti, look no further. Here is the spiritual essence of all these great artists merged into one giant act.

German techno and house composer Tim Engelhardt takes you on a deep dive into his peculiar-yet-relatable world of musical meanderings with ‘Idiosynkrasia’. True to the nature of idiosyncrasy, the album is more than the sum of its parts.

‘Idiosynkrasia’ is an ode to the inspiration Tim finds in all kinds of spaces and places: each cut woven from the same cloth of meticulously formed melodic structures and expertly crafted harmonies, gently amplified and unfettered by genre. From the opening track it’s clear that Tim has a profound awareness of rhythm and sound, his background as a pianist lending an easy fluidity to the album as it expands and contracts to tell a story which is gentle, humble and reflective.

Using granular processed recordings of piano, floating strings and other instruments to transmute emotions like love, nostalgia, vulnerability and longing, the album shifts through meditative, flow-state inducing tracks, morphing into cuts designed for dancing it all out.

Take it straight, mix it up or down: ‘Idiosynkrasia’ is cinematic in form and orchestral in structure, each track is marked with Tim’s unique sonic signature and careful attention to instrumentation.

Inhale the spirited and lively flow; exhale and surrender into epiphanic moments: this is an album which will catalyse deep breaths, reflection and a different way of thinking.

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

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

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

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

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 9 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind:

The previously unreleased "Don't Give Up Your Smile Today" is opening the compilation. It's from Das Goldene Zeitalter, a band that didn't survive - but whose members had a huge influence on German jazz, soul, afrobeat and funk within the last years merging into groups like The Poets of Rhythm, The Whitefiled Bros., and The Malcouns. Boris Geiger aka. Bo Baral sings a Pharoah Sanders like tune, his voice deeply resonating, the rhythm section heavily grooving.

After the first three woolly recorded tracks Walt Bolen's "Peace Chant" with its dry and funky sounds with flute, two guitars and percussion is quite a pleasure to listen to. Organ and voice are Bolen's who used to play the keys in San Fernando Valley church when he was a child. "Peace Chant" was recorded for his own Ar-Que label in 1972 and is one of the few cuts with him as a leader. He has played sessions and clubs for years and today he is sitting at the church organ again.

This publication's oldest recording dates back to 1963: "Mozambique" by Luna Brothers Trio, a Caribbean and hypnotic instrumental. For my jazz trained ears it is rather unusual that the güiro (the gherkin played with a stick) is being played throughout the entire song. Heavily laid back cowbell, concas and timbales and the slightly detuned piano are wonderful! "Mozambique" sounds like from another star but its origin is Los Angeles, where the brothers Fred and Ricardo Luna had their night club band. You could imagine a bast skirt strip and at the same time the great Raumpatrouille (Space Patrol) landing on German B&W TV screens in 1966.

Hozan Yamamoto recorded crime jazz with the Japanese bamboo flute shakuhachi. He belonged to Tony Scotts "Music for Zen Meditation" in 1964, played with Ravi Shankar, avant-garde jazz bassist Gary Peacock and appeared at Donaueschingen Festival for contemporary music. Tokio university's open minded lecturer recorded the funky and modal "Spotlight on Sapporo" in 1972.

Loraine James follows up 2019's acclaimed 'For You And I' album with a new four track EP, `Nothing'. Her chosen collaborators empathetically extend the feeling in her music with their own unique energies; Uruguayan singer and producer Lila Tirdo a Violeta, Farsi language rapper Tardast, and HTRK front-woman Jonnine Standish. The arc of the EP starts with Lila Tirdo's numb, repeated vocal on the title track. On `Marg', meaning "death" in Farsi, the tense drama of Tardast's despairing poetry describes the hopelessness of refugee experience, cold chords rolling sympathetically around his words. Jonnine shifts the mood with `Don't You See It?', recounting a moment of clarity which allowed her to leave a destructive relationship, Final track `The Starting Point` finds Loraine solo, with punched in bass and chaotic drums pushed through fxs that settle into a plaintive piano melody, the first and only instrument she says she's able to play "properly".

Untold’ is an experimental electronic LP from multi-disciplinary artist and author Sophia Loizou. Depicting a series of speculative sonic landscapes; animals, ocean waves and weather systems are abstracted into eco-centric cyber-dreams creating powerful ambient compositions that invite us to see the Earth through the eyes of others.

‘Untold’ is not about the natural or the technological but the relationships between the two; sonic textures, breaks and melodies are shaped by the dynamics of a lion’s roar or the rhythm of a dolphin’s echolocation emissions. “I didn’t want to make it human-centric,” explains Sophia. “I wanted to remove my compositional and structural domination, to find ways to make it about the symbiosis of systems I see in the world.”

‘Untold’ is part of a much bigger multi-disciplinary project that also includes a collection of poems with accompanying audio, artworks, an AV show and a lecture performance.

Mastered and cut by Matt Colton @ Metropolis.

Every so often Public Release takes a snapshot along their discography timeline, to pause and recognize the various artists that represent the past, present and future of where the label sits. The last such release was in 2016, and four years, twelve releases later it’s time for another marker. This EP pools together six exclusive tracks from their global family, some on the PR roster for the very first time. From the beautifully addictive melodies by Tendts and Metropolitan Soul Museum, brooding baselines and synths from Richard Sen and Tim Sweeney, to the ecstatic floor energy produced by Fran-key and Earth Boys, the range presented here is impressive. Equally enjoyable as an abbreviated album, or as singular tracks at your service.

Sister of Groovedge Records, Mystery Booms brings together the Lyon electronic scene to show its common love to the Dub.

First appearance is naturally delivered by brother Irie Mona. He is a producer implanted in town since a decade and he perfectly knows how to inject new digi-attitude in an old school roots way of dubbing productions.

Modern weird riddims by the boy Prince Stoner! Expect 2 contemporary songs for the dancefloor, still into a respectfull dub attitude! Tuned in! !!

Jamaica Suk’s 17-track, quadruple-volume ‘Uncertain Landscapes’ series continues with its second part, bringing five tracks of uncompromising cutting-edge techno.

NovaMute artist Nicolas Bougaïeff kicks off with the rasping sounds of ‘Nocturne 1’, a tense juggernaut of a track. Sheet metal textures clash up against eerie FX the most throbbing of kick drums, with a twisted, distorted feel to the breakdown.

Keith Carnal’s ‘Infringement’ injects rhythmic bleep patterns into its chattering percussion, creating an almost dubby feel that’s contrasted with an urgent energy. Well-timed filtering adds to the tension.

The warped wiggle of Helrad’s ‘Groove Addicts’ comes next, with intense machine energy filtering up from the depths. A manic cacophony of detuned bleeping creates a heavy, relentless feel over the succinct beat.

Insolate’s ‘Sanchin’ rocks a pulsating bass chug that underpins washed-out textures and synth delays, with rasping metallic sounds washing over the track in the second half while the shuffling percussion keeps ticking away.

Manuel Di Martino channels some classic Detroit vibes in the chattering clap & snare patterns and rolling groove of ‘Runout’. Resonant tones blip, loop and pitch-shift in hip-shaking fashion to give the feel of a classic Jeff Mills set in action.

Roman Flügel presents: Sister Midnight!
What started as a party series that saw Roman inviting friends and favorites is turning into a full-fledged label adventure now. Shaped to be the vehicle for old and new Roman Flügel music alike, unreleased surprises and previously released sure shots from the archives, it’s the first time after his involvement in the seminal Playhouse and Klang label universe, that he tends to such an enterprise himself - with the help and support of Running Back records.
Now, the journey of Roman Flügel’s own Sister Midnight label starts with the valuable Tracks On Delivery series. Originally released on the third jewel in the Playhouse crown (Ongaku Musik) from 2000 to 2002, it’s a meditation on and contemplation of techno. Remastered, recut and repackaged as a triple vinyl edition with the addition of two previously unreleased „Patterns“. Pristine sound design, hypnotic wizardry and dry then architecture let all of them appear as if they haven’t aged a day.
Or as Roman says himself:
“I’ve always tried to push myself into new territories since I started music production. Those new territories can surely be achieved by the endless possibilities of inspiration, chaos and will power. At the time of the production of my Pattern series as under the name Tracks On Delivery I was highly inspired by some of Andrew Weatherall’s Techno sets while visiting London for some of his Blood Sugar Parties. Tracks On Delivery is unthinkable without the crude ‚germanic‘ mixture of Detroit labels like Jay Denham’s Black Nation and Weatherall’s own UK Techno imprints like Emissions Output. The Pattern Series, back then created for the Frankfurt based Ongaku Musik label, and now I am very happy to be able to release 15 original Patterns along two unreleased Patterns on my own Sister Midnight label.“

If 6 was 9 would 4 be 8?
Anyways this is 9 and the devil is 7, make sense?
Hadamard brings his trademark drums to the rescue and Overdose runs his SP into insanity.
Hope you enjoy this crazy ride again!

Motus is more (to me) than just music made with analogue synthesizers, it is about attitude, a way of relating to sound and the (e)motion it affects. A lifestyle, where movement, being moved and moving become one. My practice is vibrational, about the skin, touch and surfaces and the gaseous medium in between. I dream of a dance floor where Motus would be enjoyed. What kind of world, or rather, what kind of society would allow that? And when? Is this futuristic? A situation-to-come, where the understanding of music expands greatly, when blissful moments are independent of simple melodies, where harmony appears beyond I-V-vi-IV chord progressions, when the techniques of social alienation, which determine the use of all the drugs that accompany recreational music, are reversed into creative tools of exploration. ‘Motus’ is part of this exploration: to find dance, free of clock, and groove, free of rhythm. There is pulsation, and the downbeat connects to the downward beings as in stones and minerals, the upbeat connects to the upward beings as in grasses, flowers, trees and stars. Binding both together, connecting sky and earth, is the dancer. The moves / the movement is pure. It is the kiss of spirit and matter.” (Thomas Köner)

Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.

Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.

A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).

In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.

In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.

"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."

John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.

This is the debut release for WORQ RECORDS. An independent label out of Chicago USA. The label was an idea because of how hard it is these days to classify tracks into either House or Techno let alone one of the tons of sub genres of the two. Loving both genres and not wanting to label tracks or records with one group or the other, WORQ RECORDS was created. This debut release on 12" vinyl allows for a selector to blend these tracks into a variety of different mixes.

QUINROK1 sets the pace for what the WORQ RECORDS sound will be. A blend of House/Techno/Minimal/DubTechno. Born, raised and bred with the Chicago House sound and the underground rave scene culturing and shaping the flavor of where his House/Techno sound is today. This 6 track 12" will have something for your mix! Huge deep kicks, snappy snares, hats and claps with fat bass grooves and soul samples, its a recipe for some bangers!!

"Secretsundaze continue their quest to uncover amazing new music with the signing of exciting young Dominican artist Boundary. At just 19 years old Boundary aka Josue Suero makes music that is brimming full of ideas and influences that belie his young age. The 'Interlazados' EP is his debut release for a UK label.

Taking cues from his fascination with video game music, his first real gateway to electronic music, the four track EP showcases Boundary's melodic sensibilities and ear for a killer rhythm.ALead track 'Opticamente Avanzando' unwinds over 12 minutes of deep, mesmeric melodic, contemplative electronica with hints of 90's UK rave influences.ACheck the grins when the killer bassline drops half way through!A

The glossy melodies, jazzy motifs and hip-tugging bass of 'OP.AV' and the breakbeat house of 'Interlazados' channel more lo-fi, ambient house influences but all sent through that unique Boundary filter. Finally, the brain-warming, hypnagogic, tempo-changing rhythms of 'Planos de Ausencia Casualidad' could be the EP highlight and recalls the work of Lone and Actress.

You could listen to these tracks and be mistaken for thinking this is an artist who has maybe been lost in the throws of extended Villalobos DJ set or the deep pads of old Sun Electric records, but as an artist who is an outsider to the European dance scene, his inspiration comes from closer to home, as Boundary explains:

"For this EP I was interested to see if i could hit close to the feelings i have when I listen to certain video game music, how I could convey the amazing and deep storytelling in these songs. I really wanted them to feel like a ride/adventure. 'Opticamente Avanzando' ('Optically Advancing' in English) for me is like a venture into a machine that analyses a bunch of electronic music genres and it outputs as many different variations of these genres it can, each with their own little quirk/details, creating something unique in the process."

With previous releases on LA based label, Point Records, and Paris' Third Try label (Axel Boman, SFV Acid) Boundary's emergence represents a promising prospect for the electronic music world and 'Interlazados' another essential release on Secretsundaze."

Listening to Linja’s debut LP makes one think of Polish director Yuri Norstein’s gloomy melancholic (yet playful) movies, or perhaps just of a rainy day, or Chopin.

Velvet Noise is a collection of 7 experimental pieces made by Linja sometime around 2016-2017, using drum ma- chines and a lot of modular synthesisers. The album is woven with Simple melodies that crack through the squeaks and the bleeps, eery pads that fill the voids all sorts of FX. The atmosphere becomes filled with tension when it is playing in the room, as if something is clearly about to happen. Linja’s album is not so easy to describe, and yet due to its coherence and storytelling it has a certain feel and per- sonality of a good book rather than just a record. “It transcends its existence as a record”.

The Doors returned to their roots and were reborn a rock ’n’ roll band on Morrison Hotel, the group’s fifth studio album. Completed in only a few weeks and released in February 1970, the hard-charging album took its name from the Skid Row hotel in downtown Los Angeles that’s featured in the iconic cover photo taken by Henry Diltz.

Morrison Hotel: 50th Anniversary Deluxe Edition includes the original album newly remastered by The Doors’ longtime engineer and mixer Bruce Botnick, plus a bonus disc of unreleased studio outtakes, and the original album on 180-gram virgin vinyl. The music will also be available from digital and streaming services the same day.

For this new collection, the original album has been expanded with more than an hour of unreleased recordings taken from the sessions for Morrison Hotel. These 19 outtakes transport listeners into the studio with Jim Morrison, John Densmore, Robby Krieger, and Ray Manzarek for an unprecedented perspective on the making of the album. Botnick says: “There are many takes, different arrangements, false starts, and insightful studio conversations between the band – who were in the studio – and producer Paul Rothchild – who was in the control room. It’s like being a fly on the wall.”

Several of these unheard recordings spotlight how Queen Of The Highway and Roadhouse Blues evolved across multiple sessions. It’s especially interesting to hear how the band played with different bass players on Roadhouse Blues. Early versions include Harvey Brooks, who played on the band’s previous album, The Soft Parade. Later takes feature guitar legend Lonnie Mack on bass along with The Lovin’ Spoonful’s John Sebastian on harmonica who, due to contractual restrictions at the time, had to be credited as G. Puglese.

Among the treasure trove of unreleased outtakes are also rough versions of Morrison Hotel tracks Peace Frog and Blue Sunday, as well as The Doors rarity I Will Never Be Untrue. The collection also captures some incredible session outtakes of the band jamming on cover versions of the Motown classic Money (That’s What I Want) and B.B. King’s Rock Me.

Dutch groove connaisseur Ivano Tetelepta returns to his home base ESHU Records. Presenting four tripped out originals accompanied by two excellent reworks by befriended artists Jasper Wolff and Ion Ludwig. The pack perfectly captures the loosely and laid back attitude of the label and Ivano himself, doing their own thing as always. The a-side is all about the groove, a stripped down and playful rhythmic jam built for a hazy late night session with Ion Ludwig turning this inside-out, transforming the original into a lengthy minimal dub version. The early morning sun rays bring the vibes on the flipside where 'Loosen Up' is an atmospheric 90s feeling techno floater where Indigo aera head honcho Jasper Wolff shakes this up with a fierce techno twist. As special addition there's a 7" where Tetelepta shows one of his enlightening dub meditations and a rambling early Mills-esque tribal work-out. The whole bunch is mastered by Marco Spaventi and will be released digitally and in special 12"+7" pack.

Absorbing new album from this very special artist. Hand printed sleeves. Very limited edition.

Marta De Pascalis is an italian composer living and working in Berlin. Her solo works employ analog synthesis and tape loops, incorporating free playing into steady, repetitive patterns. She has produced two albums of Berlin School minimal synth excursions: the self-released Quitratue (2014) and Anzar (The Tapeworm, 2016). Her new piece ‘Her Core’ has been published on spring 2018 by The Wormhole. Marta creates densely layered collages of glowing melodic shards and growling bass lines, her hypnotic minimal synth figures warping and whirling around each other before dissolving into entropic oblivion. For her compositions she uses improvisation on a tape-loop system, in which patterns of repetition create a sense of a dense, dynamic and cathartic distance.

All music by Marta De Pascalis Recorded at WORM Sound Studios in Rotterdam, artist's studio and Big Snuff Studio in Berlin, between 2019 and 2020. Mastered by Giuseppe Ielasi. Artwork by Lorenzo Mazon Studio. All rights reserved to the respective owners. doser039LP - Morphine Records 2020

Part 2 of the compilation series sees the journey evolving, this time with a more upbeat affair. Not much has changed in terms of selection, as we continue to draw inspiration from the wider world, we bring to you the sounds of artists originating from Argentina, Japan, Netherlands, Portugal, Brazil and the UK. Beyond the restrictions of this physical realm, let you ears nourish the mind & soul as they traverse the world for you…

Argentinian resident Silvio Astier introduces us to the record with the aptly named ’Santa Maria del Buen Ayre’ - the former name of his hometown Buenos Aires. Easing us in with a wonderfully atmospheric piece, carefully mixing simple percussion patterns with his own well-crafted luscious guitar work.

Next up, we have Japan native/Berlin resident Kotoe continuing the flow of downtempo sounds that slowly settle us into this compilation. ‘Ondami’ conjures up images of a distant dream… the floating vocals and echoing chimes capable of drifting the listener to a place of blissful escapism.

The tempo is turned up a notch for the last track of side A, provided by UK born folklorica maestro El Buho. Renowned for his love of merging the traditional and natural sounds of South America with modern electronica, ’Swifts’ certainly ticks those boxes with an added touch of dance-floor-ready groove.

Portuguese native duo Oxhala continue to push the sounds on the flip side into heavier territory. ’Earth Spirit’ builds from an amalgamation of stomping tribal drums, hypnotically playful keys and distorted vocals, channeling the listener to our innate primitive spirit - this is one for the body & mind.

Dutch party-starter Mytron’s contribution ’Oil’ provides the fuel for the party as he turns to fast-paced conga rhythms, cowbells and elephant trumpets. These exotic sounds bounce along with ever-persistent energy to create the soundtrack to a hedonistic carnivalesque celebration of all things wild.

If you haven’t already peaked with the previous offering, Brazilian native El Peche wraps things up nicely with track ‘Rastro De Fogo’ (ft. Mari Branco). Tripped out vocals phase in and out as the track is dominated by a tight bassline before delicate keys bring in a softer element to finish.

Die in Los Angeles lebende Harfenistin Mary Lattimore kehrt mit ihrem neuen Album ,Silver Ladders" zurück. Seit ihrem letzten Longplayer ,Hundreds Of Days" aus dem Jahr 2018 ist Lattimore international getourt und hat gemeinsame Alben mit KünstlerInnen wie Meg Baird und Mac Mccaughan veröffentlicht. Außerdem erschien 2019 ein Remix-Album von ,Hundreds Of Days" an dem sich unter anderem Jónsi und Julianna Barwick beteiligten. Bei einem ihrer Festival-Auftritte traf Lattimore Neil Halstead von Slowdive: ,A friend introduced us because she knew how big of a fan I was and Neil and I had a little chat... The next day, I just thought maybe he'd be into producing my next record." Das tat er schlussendlich auch. Lattimore nimmt ihre Alben traditionell allein auf, daher hinterlässt Halstead als Produzent und Mitarbeiter eine ganz eigene Note. Der Aufnahmeprozess in Halsteads Studio, das auf einem alten Flugplatz stationiert ist, dauerte über neun Tage. Lattimores unverkennbarer Stil ist auch auf ,Silver Ladders" elegant - im Vordergrund stehen sich ausbreitende Harfen-Schichten, welche mit aufblühenden Low-End-Synthesizern und Halsteads Gitarre angereichert werden. Die Musik kann sich teils bedrohlich anfühlen wie der Klang des Ozeans, der sich mit den Gezeiten verändert. Inspiriert von den Erzählungen aus Cornwall, die Halstead mit Lattimore teilte, sowie von diversen Gesprächen, Ideen und ihren eigenen Reisen, haben die Songs deutlich etwas märchenhaftes - und doch ist ,Silver Ladders" offen für eigene Interpretationen. LATTIMOREs Erinnerungen - ,the Cornish landscape, the hotel from the movie The Witches, the cream tea, winning the pub quiz, the Sunday Roast, the ghosts of all of the surfers who had died in the wild waves, the night walks to the top of the hill to see the moon shining on the water." - scheinen durch diese Werke hindurch, ohne sie zu definieren. In gewisser Weise gehören sie, ähnlich wie das Meer oder der Himmel, allen. Das ist die Schönheit ihres Handwerks!

Meda Fury is so gassed to welcome Silvestre back for a virtual hug and a 5 track EP of new jams and remix fire! The Lisbon boy done good has been enjoying some well earned praise for his last few releases - his '...is boss EP' on Secretsundaze, 'Girar' on Diskotopia, and 'Yeah' via yours truly. Gigs in Amsterdam, Bristol, Porto, London and Lisbon followed - including his debut on Boiler Room. For this new EP we are served 3 brand new Silvestre tracks and 2 huge remixes from one of the most respected labels in Lisbon - Príncipe! 'Todos Bem' starts as an organ led scratch-fest, with a tight auto-tune vocal from Silvestre himself, before mutating into an anthemic/hedonistic 303 acid and whistle banger! This euphoric string-laden track equally at home in Ibiza or Notting Hill Carnival! 'Paga O Que Deves' is up next; Joao's love of grime and UK bass culture is evident from the drop, twisted synths and breaks recall everyone from Eastman to Wiley. On the flip we find serious remix pressure from Silvestre's friends and contemporaries - the Lisbon crew of Príncipe! DJ Firmeza is up first, pushing the tempo way up on 'Yeah', turning it into a banging kuduro rave monster, propulsive batida drums upping the temperature. DJ Lilocox follows with an intense remix of 'Demónios Na Cabeça', converting it into a percussive trancey big-room bomb. Layers of mixed afro/gqom drums follow a strict samba-like rhythm forcing hands and possibly the ceiling higher.

Rian Treanor returns to Planet Mu for his raw and energetic second album "File Under UK Metaplasm". The enigmatic, sweaty energy of Tanzanian singeli and Chicago footwork are juxtaposed with slick, high-def bass weight which sits at the centre of the album. Opening track 'Hypnic Jerks' is the perfect example of this, with crinkled percussive loops cut through by machine-gun kicks and acidic wobbles. Elsewhere, 'Vacuum Angle' takes Sheffield's Warp-ed legacy and brings it crashing into the future, with rhythms collapsing into static and noise but never deconstructing or losing the flow. 'Debouncing' meanwhile folds gliding square synths into rattling dancehall kicks, joining the dots between SND, Equiknoxx and Wiley with a neon Sharpie. "It's using all those formulaic dance structures but just slightly mangled or messed up," he says. "I'm still focused on making dance music for clubs, but how far can you push that before it's just no."

Unclassifiable percussionist and producer Chiminyo will be releasing his long-awaited debut album “I Am Panda” via London tastemaker label Gearbox Records on the 25th of September. The ten-track album is a foray into unexplored sonic territory, featuring a host of diverse guest musicians from London’s burgeoning music scene. Chiminyo's music may be rooted in the London jazz scene, but his music is transcendent of anything that could be defined as such. Whilst his joint use of analogue and digital technology meaningfully honours the manic city lights of London’s bustling scene, it remains ever-changing crossing over into hip-hop, future pop, experimental electronic and global spheres. Chiminyo's tech-heavy drum kit set-up, combines the raw, immediate live sound of percussion and the futuristic timbres of his electronic productions to create his own, daring soundscapes. Via laboriously self-coded software, each cymbal crash and drum hit triggers a synth or sample, allowing Chiminyo complete control and freeing him of all loops, click-tracks and backing tracks.However, it is important to note that Chiminyo's music is far more than just a technical feat. Whilst still highly innovative in it's composition, "I AM PANDA" is purely the result of a deep and tireless exploration of the music that Chiminyo truly resonates with to create a soulful, spiritual, and evocative record that feeds off the conflicting duality between technology and nature. Composed and arranged by Chiminyo and recorded at Konk Studios by Ricardo Damian (Jorja Smith, Sampha, Binker & Moses), the new album also features a host of talented guests including Kweku Sackey aka K.O.G, singer Dunja Botic, and spoken word artist Brother Portrait of Steam Down fame. The new album follows on from Chiminyo's 2019 debut EP "I Am Chiminyo", which served as a visceral introduction to his unique sound, and earned plaudits from the likes of Gilles Peterson, BBC 1Xtra, CLASH, Red Bull, Jazzwise, Jazz FM and more. As well as his own solo project, Chiminyo also performs and records with some of the leading figures of London’s music scene, including spiritual jazz-leaning outfit Maisha and psychedelic energy bomb Cykada. He has also previously collaborated and recorded with Gary Bartz, Nubya Garcia, Shabaka Hutchings, Theon Cross, and Zara McFarlane.

Repress!

Summer's in the air, and with impeccable timing, Bawrut returns with his fourth EP for Ransom Note Records! From ‘Ciquita’ to ‘Rumba’ to ‘Three Sounds’, the Madrid-based producer has been providing DJs with off-kilter dance floor ammunition for years now, amassing a dedicated following in the process. Out 13th September on 12” and digital, the Pronto Arpeggio EP is arguably his biggest and best collection to date. It’s certainly his silliest, kicking things off with a frankly absurd title track. Clocking in at almost 11 minutes, ‘Pronto Arpeggio’ is a prog techno labyrinth of fakeouts, tempo switches, thwacking kickdrums, and huge synths like if Giorgio Moroder did the music for Tomorrow’s World . So yeah, not your average mid-set toilet break tool (although if you want to use it for that, we won’t judge you). ‘Shooreee’ is classic Bawrut with a psychedelic twist, like spiking your own Negroni with mescaline. This sweaty, slow-burn acid weapon bides its time before erupting into a potent payoff. ‘Atchu’ carves its way through laser bleeps and dub FX, built around an unforgettable vocal sample that’ll be lodged in your skull for months whether you like it or not.

When it came to the remixes, we thought it was only right to enlist some of Bawrut’s biggest supporters. KiNK chisels ‘Pronto Arpeggio’ into a vlean slab of high-velocity machine funk, while Ruf Dug teases out the gentler side of ‘Shooreee’, resulting in a melodic track that feels tailor- made made for Mediterranean sunsets.

Bawrut absolutely ruled the festivals in 2018 with ‘More Cowbell’ and we’re expecting more of the same this year as he continues to go from strength to strength. Forza!

Melissa Guion’s second offering for Kranky retains the glassy gauze of her debut, 2016’s Precious Systems, but shaded starker and darker, framed by mechanical rhythms and humid industrial moods. She speaks of Sour Cherry Bell as something of a reckoning with her tools of creation: “I was curious to see how far I could go with them, even if that meant reaching the ends of their capacity to do what I wanted. But I never exhausted them and they never exhausted me.”

Utilizing her trusted combination of instrumentation, Guion tracked the record between her New Orleans home and rehearsal space, capturing chemistries both intimate and expansive. The songs sway between twilit shoegaze, downer ballads, and gothic pop, mapping a delicate palette of electric melancholies, though in retrospect she cites as her primary muse the notion of power: “lost and found, corporeal and cerebral, harnessed and exploited, of one and many, in this reality and the next.” Sour Cherry Bell reverberates beyond the here and now into scenes unseen, worlds unheard.

Legowelt has been a key figure in the Dutch electronic music scene since the early nineties, steadily relea­sing timeless music that merges the pioneering sounds of Detroit and Chicago with idiosyncratic sci-fi fascinations. "Unconditional Contours" captures Legowelt's stint at the Swiss Museum for Electronic Music Instruments (SMEM), after he was invited to be the first artist in residence at the institution's "Playroom" project.

Legowelt visited SMEM in Fribourg, Switzerland, in early 2019 to explore the collection and record music. Possessing an extensive collection of synthesizers himself, he used hand-picked synthesizers from the museum's archive: the rare Farfisa Synthorchestra, the EVS-1 Evolution, the "shittiest rompler ever made", amongst many others. The 10-track album "Unconditional Contours" is both a probe into the vast collection of SMEM, and a display of Legowelt's well established composi­tional qualities. Leaving ample space for new sounds to unfold, Legowelt invokes gentle trips, brooding excursions, bleep heavy soundscapes, and reimagined elements of dance music classicism.

SMEM and -OUS are launching the "smem+ous" series to document the "Playroom" residencies. A limited edition of this album was already sent out to early supporters of the "Playroom". Founded in 2016 and based on a collection of more than 5000 synthesizers, organs, drum machines and effects that had been collected over a 35 year period by Klemens Niklaus Trenkle, SMEM offers residencies, studio sessions, talks and workshops.

Enigmatic producer RNDTXTR debuts on Rekids with a deep techno three tracker entitled‘Random EP’ this September.

“Some tracks just stick with you. They never leave your box, or in this case USB, and I’ve been playing these tracks from RNDTXTR for well over two years. Everywhere from Tokyo to Berlin. These have a universal appeal, being hypnotic and just the right balance between pushy club sounds and spatial melodies” - Radio Slave

Shrouded in murky atmospherics, ‘RND009’ opens the package with rigorous drums, shuffling shakers, sweeping pads and scintillating synths. ‘RND007 (Dub Mix)’ continues with a similar cantering rhythm as various rattling percussive elements work alongside clever automation for a tracky cut designed to lock listeners into a trance. Concluding matters, ‘RND004’ is the wonkiest number on the package with its syncopated groove and otherworldly melody.

Long-time friend of the label Parris debuts on Wisdom Teeth with a unique set of steppy house mutations, including a collaboration with AD93 star Minor Science. The record begins in downtempo mode. ‘Soft Rocks With Socks’ rolls out majestically on a slo-mo drum break and a two-tone bass loop, with shimmering pads and bleeping melodies counterbalancing a deceptively punishing low end. ‘Terrapin’ - a link-up with Minor Science - is a pristinely produced 100 bpm stepper, featuring razor sharp drum synths and crystalline MIDI melodies. To close, ‘Sabor a Ceniza’ pushes the tempo up towards peak time. What begins as a broken rhythm settles into a 4x4 groove, finding the exact midpoint between Roska’s UK Funky and Margaret Dygas’s work on Perlon.

Tape / Cassette

The GTT series is a platform that hosts experimental projects & artists in sound art. It is dedicated to support sound as a genre of its own - beyond the boundaries of music theory and free of any expectation. Just art.

WOLFFRIEND is a collaboration project between Mischa Wolff (Von Abseits) and Daniel Harrison (Imaginary Friend). The two met each other in Berlin and discovered their mutual interest in beats, rap and sound art. When they moved in with each other last February they spent their first two weeks together in the studio. It resulted in an adventurous sound story called 'Computers' that brings listeners into a dimension of their own.

After their 2016 dancefloor burner "Jump," Poirier and Red Fox are pairing up once again for "Pull Up Dat" taken from Poirier's new album "Soft Power." Rooted in a dancehall style, "Pull Up Dat" is full of good vibes with Red Fox confidently leading the dance. Poirier brings a modern touch that relates to the 90's dancehall scene. On the B-side, Patexx is all about delivering an uplifting message with the collaboration "Unity & Strength." As Patexx says at the beginning of the song: "United we stand, divided we fall." Then on the remix tip, young and upcoming producer SIM from Montréal flexes to new heights, turning "Pull Up Dat" into a set-ready banger.



With his first album dating back to 2001, Poirier is a prolific, creative and eclectic Canadian producer / musician with a 20 year journey of creating music. Constant in his albums and DJ performances is a desire to build bridges between different languages, communities, and cultures. His open, uninhibited musical mind means that his works bend boundaries, resulting in compositions that mix several styles and eras. He has now produced a total of 11 albums and many EPs with labels such as Ninja Tune, Nice Up Records and, more recently, Wonderwheel Recordings. Active in Montreal, his successful monthly dance party Qualité de Luxe is dedicated to African and Caribbean music, attracting crowds for over six years. Poirier is also the man behind Bounce le Gros and Karnival, parties with legendary status in Montreal nightlife history.



"Pull Up Dat" is available digitally as a single pack and as a limited edition 7" vinyl record on September 25th, 2020.

Over the years, the sonic world of Heist has grown into a place where energetic house, live instruments and worldly electronics move together in the most natural way. We're very proud of the fact that we can showcase artists that cross boundaries or simply create their own universe, while keeping a strong connection with the identity of the label.

Our next release, the 'Exposures EP' by Teleseen, fits perfectly into this aesthetic. Teleseen is the main project of nomadic DJ, producer and multi-instrumentalist Gabriel Cyr and draws influence from deep house, afro house, samba, batucada as well as the experimentalism and sound system cultures of his home town NYC. His sound leans heavily on polyrhythmic programming and he's nothing short of a synth wizard. His 'Exposures EP' features 3 originals, and a remix by Berlin based Italian house guru Black Loops.

The record features a number of collaborators and recordings of various instruments, ranging from percussive sections to synths and guitar. This live approach to electronic music is one that is deeply rooted into Gabriel's work. His upcoming release on Soundway as 'Thaba' is another good example of this approach and also shows how diverse his sounds really is.

The title track is a thrilling synth affair with tribal-like chants running through a vocoder. The combination of handclaps, crunchy synths and steady drums make for a thrilling afro house track that hints towards early motor city electronics.

Black Loops is known for his deep grooves and built his fame with his releases on Freerange, Pets and Shall not Fade. His take on 'Exposures' sees him upping the tempo to a pacey 130 bpm, where an introvert vibe of reverbed hits and bleeps take you into full dream mode. He expertly chops up the original into a contemporary track that fits somewhere between high tempo tech-house and minimalistic deephouse.

On the flip we get to hear more of the sonic world Teleseen has to offer. 'Dekalb' is a track that seems impossible to box into a genre. Its mood is set by a lovely section of free-flowing Rhodes chords and the chopped vocals and open synth- bass give the track a whole new feel. It is that ballsy electronic edge combined with dreamy textures and live rhythms that give 'Dekalb' its unique vibe.

The final track of the EP -'Transfer'- takes us down to a mid-tempo percussive workout with a balearic twist. The steady electronic groove and the free flowing guitar take you to yet another corner of Teleseen's beautifully crafted universe.

Enjoy the music and play it loud!

Yours Sincerely,
Lars & Maarten