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Geins't Naït returns to Offen, this time he enlists Scanner (living experimental electronics legend , Robin Rimbaud) to join him in his land of loop. These two veterans have clocked up many combined decades of experimentation between them, and this their first jointly composed material, has the feel of wisdom at work. It's a huge pleasure for Offen Music to release this special record.

Arkham Audio presents yet another delicious techno EP by renowned French electronic musician Electric Rescue alongside a solid lineup of remixers. 'Dream Warriors' follows on from Electric Rescue's recent album release on none other than John Digweed's Bedrock Records, and comes bearing more of the intoxicating rhythms that we have grown accustomed to and equally as indulging reworks by Denise Rabe, TWR72, and Arkham label head Cri Du Coeur. This record firmly establishes that his hypnotising yet adrenalizing sound is a force to be reckoned with as he unveils a relentless yet minimalistic techno sound that shows inspiration from his friend and mentor Laurent Garnier.
The rave begins with the original mix of 'Dream Warriors', which leads with an infectious beat and hazy serpentine melody that thrusts your mind into a powerful yet entrancing oblivion. Heavy percussions and lively daunting melodies set the tone for rest of the record. Cri Du Coeur's rework of introduces itself with a pommelling baseline, layers of stimulating hi-hats, and transcendental melodies that create the perfect inebriating brew. The Denise Rabe remix spices things up with a mind-numbing visceral baseline and spooky industrial sounds that echo throughout the atmosphere.
Next up is 'Einoeino' which has a playful beat that contrasts with a dark and fuzzy looping melody to create the ultimate heart-racing and thrilling experience for the listener, leaving you to imagine being chased around a haunted circus. The remix of 'Einoeino' by TWR72 delivers his signature sound that encompasses pulsing rhythms, unyielding muffled baselines, and a slightly off-beat groove that concocts the perfect smoky dancefloor track.
Bringing together an innately well-suited collection of artists, Electric Rescue showcases his industrial techno-wizardry and prowess in putting together enthralling and boundless soundscapes with his new EP 'Dream Warriors' on the newly-founded yet tenacious Arkham Audio label.

RICO PUESTEL debuts on his TIME IN THE SPECIAL PRACTICE OF RELATIVITY label with a mind-boggling journey of 41 minutes — split in two parts to fit on vinyl! HEPTAKAIDEKA is what it won't be and will be what it never was: Something from in-between worlds, a place beyond far beyond, where time dissolves into relativity...

Every modern electronic music presenter should be able to find joyful, elevated, convulsing or simply useful moments within the extent of this track that is designed to have its inherent connecting factors and starting points in place for every DJ set — letting it be just a few minutes, well-placed groove looping or bigger amounts of its entirety for diving into a long night, bringing it to an end or making it standing out in-between.

Starting off with a hazy half-grasp hint of what's to come, a mysteriously pervasive bionic loop emerges, slowly coalescing with a bone-dry groove on the rise. Taking up a first quadrant of the track, already gnawing into the long-term memory, it manages to gradually establish itself along the pathway while the "rhythmatics" endure some subtle layer-shifting with occult-like strings come sliding in from somewhere unknown like an admonitory subtext.

Being halfway through (and all the way in), everything smoothly crumbles down to its basic framework, still shaking off its own reminiscences while foregone vestiges almost perilously try to reassemble themselves. All of that leading to a clearly unforeseen yet fortunate drift into a 1980's-like synth peak time section after about 27 minutes being in that track, finally cherishing an evolving emotional felicity and the climax of its own being that tends to feel like an overarching salvation.

As everything being eventually finite, the track starts to bring to mind where it came from by assuredly falling back into a story told before with the well-established bionic loop that once used to run free, sounding somehow different and more tamed now. Ending with dignity, the consistently resurfaced admonitory strings lead the way to its conclusion and possibly new beginnings, solely leaving behind the heartbeat-like booming that carried it all, now fading away...

Coming into existence during a series of multiple productions of exuberant proportions with Rico making the studio his citadel-like stronghold, this is an extensive story of desires, instincts, pride, fall, mirth, solicitude, tension, détente and basically life itself while subtly yet versatilely entertaining on a dodgy yet accessible level throughout the wingspread of Techno, House, Minimal, Dub, Electronica and Ambient influences.

The CD version not only brings you the title track in the guise of its non-split completeness but eminently churns out the extra drumming dub treat DEKAEPTA for a pleasurable groove-delight as well as the trippy bonus beauty VOSEM' that transits as a precious component of infinity.

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.

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

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.

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.

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

Prolific American artist Jon Hester returns to Rekids for the first instalment of his new album, ‘Converge’, this September.

Jon Hester grew up in the Midwest US, living in Chicago and Minneapolis while taking musical cues from Detroit. Initially he was a dancer, and later transitioned to the decks with a refined understanding of what it takes to move a club. He progressed to hosting his own events, holding residencies, and working at a record shop, and now brings his physical rhythms and adventurous drums to his productions, with output on respected labels such as Transmat, Deeply Rooted, Dystopian, Klockworks, and LET Recordings, not to mention multiple appearances on Rekids.

Continuing to show fine form on his debut album, Hester now serves up eight of his signature house and techno fusions with plenty of his trademark directness across four sides of vinyl. The superb 'Sending Signals' opens the album with scene-setting synth modulations full of sci-fi atmosphere. It's the calm before the storm as 'Metropolitan' then immediately sets off on a cantering groove that is eventually run through with busy, jazzy piano keys that bring the soul.

'Haze' has excellently taught kick drums with hypnotic synth tones adding colour, and features Hester on saxophone. When 'Rain' comes, things grow darker and more menacing, with shakers and urgent stabs keeping you moving at a slick pace.

The second half of this compelling record features the loopy punches and pulses of the super smooth 'Dreamstate', beautifully cosmic and widescreen techno of 'Free' and pensive but urgent deep electro of standout cut 'Flex.' Last of all, 'Equinox' is lit up with distant chords which bring a far-sighted gaze to the rolling, robust kicks.

VENT’s 21st release, a remix EP edition of 120 copies all hand numbered with a risograph printed cover, sees the collaborative works of 2019’s Kına LP by MAYa & Tolga Baklacioglu (VENT017) being reinterpreted through the lens of four prolific remixers. Each has brought their own perspectives and experiences to the table, challenging and redefining the original versions in their own way. Palestinian producer Muqata’a, for instance, has taken the track “Jyoti”, a track dedicated to Jyoti Sing, who was gang raped and murdered in India, reconstructing it so as to emphasize the continuous violence against women, whereas Martial Canterel has universalized the notions of yearning for a homeland in his remix. As a release featuring a broad range of bold and uncompromising remixes in different styles, the themes of nostalgia and yearning helps each remix highlight the qualities of the others. As keys to decrypt each remix more carefully, the artists have provided their brief comments, below:

Silent Servant (legendary dj/producer):

"I tried to give this remix a different approach than what has been my usual. Something based on perceived nostalgia but mixed in a modern way. I wanted it to feel like a lost RMX for the Hacienda from 1984 but hit in a modern club standard.”

Martial Canterel (cult poster boy for 21st century minimal synth):

"In approaching the work of my very dear and old friend, Maya, and her collaborator, Tolga Baklacioglu I wanted to situate differently the atmosphere and longing, to word it entirely otherwise. I wanted to dramatize this yearning for home and homeland, what the Welsh call Hiraeth. I want to place her plaintive strivings for home and tranquility in a festival of upbeat rhythms and releases."

Muqata’a (Palestinian beatmaker):

"It was very interesting remixing this powerful piece, working with the concept and different elements of the track, 'Jyoti', creating a more loop-based structure in an attempt to represent repeated violence against women."

Decimus (uncompromising esoteric artist):

"What I find amazing about the original version of this track is how colossally monolithic it is. It shifts and morphs over its 13 minutes but it never relents in its intensity and density. It feels epic and gigantic. I chose it to remix because I saw it as a challenge to carve something quieter and perhaps more narrative, in form, out of it while trying to stay true to the intensity of the original."

Searching for new ways to express himself, Maarten Smeets (one half of Detroit Swindle) has found a new perspective on music in his alter ego “Wanderist”. Here, he shares his unique view on contemporary electronic music with strong influences from dub, electro, techno and ambient in tempo’s that match the intensity, funk and drive of his sound. As Wanderist, he has been writing some of his more abstract work of recent times. His sound is melancholic yet euphoric, using powerful loops and dreamlike melodies to create a dense flow in his compositions. His debut release is signed to Aus music later in 2020 and he has also launched his own label titled ‘Transient Nature’ where his own work will be released along with the work of like-minded artists. With a large catalog of music ready to release and collaborations with various labels planned for 2021, the future is bright for Wanderist.

The wind of change is blowing strong again in late 2020. Wich statement fits such worldwide transformation? We don ́t know, but we keep blending & interacting different cultures. One 7“ vinyl, two sides of the story. El Mago from Greece is hooking up with south american native ceremonials. The Berlin/Thessaloniki based ritual master (down)beats all strains of cultural appropriation with smart style and groove straight outta subcultistan. Followed by Mettabbana from the divided states of America, editing sahrawi classic on liberation, hope & vision. Seductive repetitions, subtle as the saharan sands, riding on trance- inducing guitar loops, arabic percussion & harmonies. This vinyl will last longer & will survive our thoughts and needs. For any queries: the answer, my friend, is blowing in the wind.

Cogitate is the first release from NYC local Promoter and an invitation to gaze inward and sit with sound. Borne of hours lost in loops, Promoter calls forth deep, dubby bass rumble, off-kilter rhythms and murky atmospherics, relishing in repetition and evolving subliminally but surely. Disorienting, engaging and engulfing, Cogitate is the 4th release on NYC-based Patience, catching you off guard then inviting you in.

Cogitate offers two cuts from the same cloth - one locked into the grid, the other drifting far above it. Both begin with shards of static cascading over submerged synth stabs - on Cogitate 1.1 a bassline bubbles up from below before a kick drum sneaks in and drops anchor, driving forward a slice of sparse zero gravity dub techno for a zonked out dancefloor in a dream. Cogitate 2.0 offers a pared back version of 1.1, slowed down and stripped of the rhythm section. A gentle brain scrub or a cascade of mind tricks depending on your headspace. Is the sequence evolving or is your perspective on it shifting? Does this sound like something I know or nothing at all? Has this been going for 3 minutes or 3 hours? Is this climax sublime or simply creepy?

Whatever it is, Promoter presents an opportunity to let the mind wander, and offers proof that repetition invites participation. Both cuts simmer in ambiguous emotion, never spelling out what to feel but allowing the listener to be their own trip commander.

Promoter is a new project from a life-long NYC resident, most recently releasing a couple of 12”s under the Image Man moniker, who for the most part would prefer that the music is received on it’s own terms, with a mind wide open.

Cogitate 1.1 was mixed by Mood Hut mixologist CZ Wang. Both tracks were mastered by M. Geddes Gengras.

Following this release will be an extremely limited cassette of material recorded in the same time and (head)space. Keep an ear to the ground for that one.

Patience is an outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

‘A celebration of the ever-expanding and evolving label family, LLI008 comprises an LP, a fifty-odd-page booklet (and eight page photobook and insert), further digital tracks and some web-based stuff contributed by friends new and old from far and wide.’

Best before 2021 is a compilation of break tracks bringing together producers from different emerging electronic music scenes. Paris, Geneva, Tbilissi & Saint Petersbourg’s finest underground artists presenting what they do best : Sexy disco samples, low, distorted 808 basses & kicks marked with rolling break loops.

This collaboration hits a new step in the Sample Delivery catalog aiming to open up the label by showing diverse artists from across the globe.

If you haven’t heard of SD before, you can’t miss on us this time. Grab your copy and run that shit worldwide. Peace, Stay Safe

"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."

Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

Summer is here and whilst no-one will be flying to the Copacabana Beach anytime soon, we can travel there with our ears. Jim Dunloop transports us to the storied city of Rio with latin guitar licks, warm bass lines and vocals as sweet as Brigadeiro. A summertime sure shot. Side B sees Mr Dun-loop link up with Berlin stalwart GRZLY Adams to provide a lovely slice of Boom Bap that’ll make you stone crazy. The Beat is sweet as a nut(s). The wah-wah guitar and breezy vocal have definite-ly got that funk.

Black Truffle is pleased to announce Ashioto, the first international solo release from Japanese drummer-percussionist-composer Tatsuhisa Yamamoto. Active for over a decade, Yamamoto has performed and recorded extensively with artists such as Jim O’Rourke, Eiko Ishibashi and Akira Sakata, as well as participating in innumerable improvised and ad hoc groups.

Ashioto presents two wide-ranging pieces that combine Yamamoto’s percussion work with piano, field recordings, electronics, and contributions from guest musicians Daisuke Fujiwara and Eiko Ishibashi.

Beginning with a passage of chiming metal percussion, the first side slowly builds into a rolling, open groove reminiscent of Yamamoto’s work on Eiko Ishibashi’s acclaimed Drag City LP The Dreams My Bones Dream. Spacious piano and synth notes, along with Ishibashi’s spare melodic figures on processed flute, hover above this propulsive rhythmic foundation, the whole effect adding up to a more abstract take on the area explored on Rainer Brüninghaus’s ECM classic Freigeweht. The LP’s second side opens up a cavernous space filled with ominous electronics and shimmering metallic percussion, which organically transitions into a passage of rumbling piano chords and mysterious concrète sound. Later in the piece, Daisuke Fujiawara’s saxophone enters, playing melancholic melodic fragments that are looped and layered, creating a seasick swaying effect familiar to listeners of James Tenney’s works with tape delay systems. Beginning as delicate bass drum pulses, Yamamoto’s accompanying percussion eventually builds the piece into a raging torrent of free-improv splatter, processed sax and fizzing electronics.

Though grounded in instrumental performance, Ashioto is very much a studio construction, making inventive use of electro-acoustic principles in its editing and mixing. Together with its sister Ashiato – a different take on the same ‘script’ released simultaneously on Japanese label Newhere – Ashioto demonstrates to an international audience for the first time the true breadth and ambition of Yamamoto’s work.

Mastered by Jim O’Rourke. Cover photos by Kuniyoshi Taikou. Design by Lasse Marhaug.

The Magic Movement welcomes Anatta to the family with her Fields Of Play EP.

Following her debut Album on Random Collective, her new EP comes as a four-track package:

In the original mix, Anatta invites us to discover a sonic world between pitched down UK House and future-primitive downbeat.
Rough Drumbeats, quirky synths, and catchy vocal chops guide us through a sophisticated arrangement with unforeseen twists and turns.

Salon des Amateurs resident Tolouse Low Trax delivers the 'Knights & Wheels Remix' in his signature style: While a hypnotic vocal loop hooks you up from the very beginning, minimalistic and dreamy synths slowly submerge the listener into a jam of stripped-down Lo-Fi funk.

The 'Beat Mix' by Rio de Janeiro's sound wizard Carrot Green and long time family member of the label, speeds up the tempo, and puts together a groove of classic electro boogie vibes with a P-Funky bassline that sounds like a futuristic liaison between Afrika Bambaataa and George Clinton.

Increasing the UK house vibe with strong drums and a wobbly bassline, Noema's 'Acid Ghetto Style Remix' works the mysterious vocals of Anatta into a delicious hook and creates a highly animating and fun dancefloor monster.

And now, let's get weird!!!

One of the most successful German jazz musicians, Nils Wülker has won multiple awards, and collaborated with the likes of Jill Scott, Craig Armstrong, OmaraPortuondo (Buena Vista Social Club), and Peter Vettese.



“Go” is Nils’ excursion into the world of electronics. The recording is "maximally not live" with analog synthesizers, the arpeggiator, the organic loops and beats.



In contrast it presents some of his most beautiful compositions so far - and his most dynamic trumpet playing beyond his live albums and concerts.



Recorded with members of his live band, as well as American trumpeter Theo Croker on "Highline", their remote duet.

»Sonic Healing« is the third full-length release by Martin Steer’s Bad Stream project. While the concept was started by one person in response to a singular situation, it fully came to life as a product of collective imagination. For the album, Steer sent a single guitar loop to twelve musicians from the extended network of his ANTIME label who improvised with the recording, which was later collaged by Steer into a single, 39 minute long track that stylistically ranges from feverish jazz to brooding ambient and abstract electronica. Together with the Iranian artist Arash Akbari’s vivid animations based on generative algorithms and real-time processing, »Sonic Healing« does not ask how one person can deal with turmoil in their life alone, but how we can create new forms of being together with art as a mediator.

The first time on vinyl reissue of Nikolaienko's four tracks from his debut album "Loops & Cuts Soup" originally releases as a digital download on Nexsound records in 2010.
Restored from the single copy of dubplate record.

The Danish label/imprint arbitrary announces the release of Framework 3 (arbitrary11) by Mads Emil Nielsen. Framework 3 is the latest instalment in Nielsen’s sequence of graphic scores and recordings. The series includes the Danish composer’s own subjective translations of visual materials and sound pieces accompanied by visual notations.

On this release he collaborates with Katja Gretzinger and Nicola Ratti. Published as a limited edition art print folder, Framework 3 consists of risographed scores and recordings on 10” vinyl and CD – with recordings by Nielsen, along with graphic scores by Gretzinger and contributions by Ratti.

Raised in a family of architects Nielsen has for several years been occupied with the question of “how do you intuitively sonify an image?” along with the complementary processes of translating sounds and music into illustrations and scores. In early 2019, he produced various drawings and sound pieces which formed the starting point for the three tracks on this 10” vinyl EP. The audio is derived from synthesizer recordings and basic electronic sound sources (sine waves, feedback, noise) and percussive loops combined with recordings made in the studios at EMS (Elektronmusikstudion, Stockholm).

The audio material was translated by graphic designer Katja Gretzinger into a series of visual notations made while listening to the music. Gretzinger developed various symbols, forms and structures, such as points, bars, 3D balls, irregular patterns / “swarms” and regular patterns (vertical hatchings). These were combined with found image materials and cut-outs from old prints and layered with large geometric forms, which define the individual character of each of the three parts. The resulting 18-page graphic score is included in the release in the form of risograph printed sheets.

Nielsen then invited musician Nicola Ratti, who is also trained as an architect, to create sonic re-interpretations of the graphic score. Ratti reinterpreted the imagery as a selection of sound elements positioned in a three-dimensional area; which he visualized as the space between the composer / artist, Ratti himself and the loudspeakers. These recordings are included on the CD.

1, 2, 3 written & produced by Mads Emil Nielsen, Copenhagen / Berlin, 2019 / 2020 (reworked and combined with a live recording from Standards, Milan, September 2019). Recording by + thanks to URSSS. CD: 1, 2, 3 written & produced by Nicola Ratti, Milan, 2020.
Scores by Katja Gretzinger. Artwork/design (packaging, discs, text) by Mads Emil Nielsen.

Duke about this EP: Ironically one of my very first records was a disco sample in 1990 taken from Queen Samantha. I don’t know exactly what inspired me, but likely coming from the Hip Hop world where everything was looped and sampled brought me to doing the same for house and therefore the disco, funk etc samples for the house stuff. The first techdisco EP was done in 1995. I think there may have been a handful of other house records out that sampled disco tracks at the time. Harvey Mason’s Groovin you comes to mind. Sneak also had done a few, but maybe Pal Joey was one of the originals too that used loops, particularly Dance by Earth People. Joey also came from the Hip Hop world so we likely were inspired by the same style of loops.
The main concept was the idea of fusion. I was heavily into fusion jazz in the early 90s and that is really what spawned the techdisco and techfunk series. A mix between genres that hadn’t really been done before. Not saying I was the first, but I did my best to create a new and distich style.
I did everything myself when it comes to the techdisco series. In 1996 I traveled a lot DJing, in the states but mostly in Europe. I didn’t have time for a resicency at that time like I had prior to me being full time DJ/producer/label owner. I did do some remixes back then, but maybe not as many as I would have thought. Perhaps because people looked at me as having my own label and doing my own thing.

Recumbent Speech, Ezra Feinberg’s second album, opens with a lament. Named for the Robert Frost poem, “Acquainted with the Night” was written during one of the many devastating spectacles of injustice under our current regime. Repeating flutes and synths beam out of a low-end darkness, reflecting a collective sense of loss and alienation. Rising slowly, thickening with guitars and strings, “Acquainted with the Night” lifts off, and so too does the album from there. The second track, “Letter to my Mind,'' features the dynamic interplay of Feinberg's guitar with the loose and playful drumming of Tortoise's John McEntire, both pushing and pulling atop a looping bass figure. "Palms Up" begins with a lockstep pulse recalling early Terry Riley before jumping into an Ashra-like jam with Afrobeat accents. Side B opens with "Ovation," a tryptic with McEntire on drums which sets a wide lens onto a sweeping landscape, with soaring flutes, wordless vocals, and a hypnotic bassline played on a humming fretless that recalls classic ECM jazz-fusion. The piece plunges into an ambient, interior space before reemerging with a guitar solo fried through an old Space Echo effects processor, conjuring lidded Pompeii-era Pink Floyd. The album's title-track finale, "Recumbent Speech," features the magical pedal steel of Chuck Johnson. Unwinding atop a Balearic analog synth pattern, Feinberg stretches textures of Fender Rhodes and acoustic guitar around Johnson’s lyrical steel, with nods to Japanese ambient legend Hiroshi Yoshimura, as well as Cluster & Eno. Recumbent Speech refers to the possibilities, pleasures, fears, and fantasies that occur the moment the noise dies down, when we are recumbent, in repose but still awake, still speaking, and still aware of ourselves as part of the maddening world. Ezra Feinberg is a guitarist, composer, and psychoanalyst living in Jackson Heights, NY. Feinberg was the founding member of the San Francisco psychedelic rock collective Citay, releasing albums on Important Records and Dead Oceans throughout the 2000s. After relocating to NYC, he issued his first solo record, Pentimento and Others, on his imprint Related States and on cassette on Stimulus Progression in 2018. The release, his first since Citay folded in 2012, earned praise from numerous music outlets including Paste Magazine, The Wire, Stereogum, Vice, and Aquarium Drunkard. In recent years, Feinberg has performed and toured near and far with Jefre Cantu-Ledesma, Steve Gunn, Alexander Turnquist, Cruel Diagonals, Daniel Carter, Jonas Reinhardt, Christopher Tignor, Kath Bloom, Robbie Lee, High Aura’d, Glasser, Ava Mendoza, Buck Curran, Real Estate, and many others, and has ongoing studio collaborations with Jefre Cantu-Ledesma and Arp, contributing both guitar and songwriting to the last Arp album Zebra.

Following the Turner Street Sound collaboration with Rings around Saturn, Melbourne producer and DJ Midnight Tenderness presents his second offering to Butter Sessions, Digi Modes. Throughout, Midnight Tenderness maintains his fixation with dub-wise rhythms and heavenly melody, delivered with his signature silky smooth production.

Digi Modes begins with the complementary pairing of tracks Crosswinds and Dub Dreams which feature on the limited yellow 7". Crosswinds is a bright medley of garage breaks against hazy synth-work that gently inhales and exhales. Dub Dreams, as its title affirms, is a mirage of sweeping synth loops and chattering rhythms. Elastic Dub is a more traditional homage to early dub works of the 1980s, marked by persistent echoes and rumbling bass that divides and conquers. Reflexitones, and the EP's endnote Regent St Dub, both add a sprinkle of house and electro, primed for a discerning dance floor or perhaps for now, a dance at home. As a whole, Didi Modes is an affirmation of Midnight Tenderness' mastery to adopt and adapt acquainted sounds in a unique way.

2017 release available again soon, first time through us, last copies. After numerous productions with Xatar, Haftbefehl, Plusmacher, Schwesta Ewa and many more, it was time for the solo debut of The Breed last year. The record entitled The Beauty & The Breed brought Westcoast Vibes into the German beat scene and provided the perfect soundtrack for the summer. Now the new album Sexbox follows up on this. The Breed brings the vibe for relaxed BBQ parties and sunny rides in a convertible. The inspiration for this continues to come from G-Funk and also the classic AON sound shines through again and again, but always stays up to date. The instrumentals are even more mature than on the predecessor and Breedy spins his movie logically further without repeating himself. But instead even more R'n'B influence, even more sex. No classic sample-flip-drum-ready loops, but rather songs that are repeatedly produced out of the box, which through the prominent use of talkbox, live instruments and vocal chops become more than just pure instrumentals. The Breed mixes all these ingredients in a well-considered and dosed way for the Sexbox Cocktail.
The powerful and bass-heavy produced beats make heads nod and spread a real feelgood vibe everywhere.
Matching the artwork Sexbox is released as pink coloured vinyl including a A2 poster for your living room and a mp3 download coupon.

Philadelphian multi-instrumentalist, producer and engineer SWARVY makes his solo debut on Kamaal Williams's imprint Black Focus with a stunning new EP entitled ‘Sunny Days Blue’, his first release as
the primary vocalist.

Smoked-out sound beds and lofi guitars sit gently with SWARVY’s voice, creating a juxtaposition of melancholic, yet sweet, melodies that loop in your mind’s ear long after the record stops spinning.
‘Bones’ opens with a stripped back rhythm section and existential observations referencing the human condition of overthinking, a recurring theme throughout the EP. ‘Cool’, ‘No Compute’ and ‘Smile’
subtly infuse jazz, funk and hip hop elements, while ‘New Moon’ plays out as a low slung hypnotic hymn echoing gracefully into the record’s closer ‘Ginger’ - a meditative ambient spiritual for solo piano.

Since relocating to Los Angeles in 2015, SWARVY produced a variety of records via DJ House Shoes’ Street Corner Music, Leaving Records and Fresh Selects. His writing and engineering credits extend to dozens of tracks by artists such as Maxo, Earl Sweatshirt, Nia Andrews, Mndsgn, Liv.e and the late, legendary Tony Allen.

Green vinyl includes digital download card.

7"
(This is...) one of Sascha Müller's weirdest, most experimental musical ideas brought to life as a limited, hand-numbered edition of 100 gold vinyl 7"es. Following the concept of recording crackling run-out grooves from various classic Pop albums and glueing them together into one crackly mess of a megamix this one is a collectors novelty piece for those searching for the most extreme, unusual vinyl releases they can get hold of. Expect looped crackles, pops, surface noise and all the good stuff related to listening to vinyl on a regular but do not expect any kind of structure or user friendly listening experience at all. This is for the die-hard collectors and vinyl freaks only.

Runden is a collaboration by Martin Brugger (bass) and Simon Popp (drums), both of contemporary Jazz quintet Fazer, and neo-classical pianist Carlos Cipa. Their debut LP is a conceptual record reflecting on Minimal Music, Afrobeat, and Dub Techno of the late 90s/early 2000s.
While Cipa's solo works build on clear harmonies, for the recordings of Runden he prepared the piano to make it sound like a faintly tonal percussion instrument and his mechanical patterns contrast the syncopated drum grooves of Popp and the deep and sparse basslines of Brugger.
The musicians explore, over the course of seven tracks, the concept of circular music. Each piece is based on a four-bar-motif played in a loop and varied subtly but steadily over time, creating a sense of eternal recurrence and timelessness.
This makes Runden a meditative but demanding record, that only grows with every listen.

2020 Re-issue of Keith Kenniff's debut under his Goldmund moniker. Originally only released on CD in 2005 via John Twells' Type Recordings, this album of rare and unusual minimalist beauty is now presented as a vinyl edition for the first time.

Multi-instrumentalist Keith Kenniff is a busy man. He has appeared as Helios on a number of acclaimed releases, including Deaf Center’s ‘Neon City EP’, and released a debut album ‘Unomia’ on Merck records which has appeared on many best of 2004 lists. All this while studying at the prestigious Berklee College of Music, and playing drums, guitar or contributing production to a host of amazing musicians. Kenniff lives and breathes music, something that is very obvious when hearing tracks under any of his pseudonyms.

As Goldmund, Kenniff has disregarded the electronic elements of his music almost entirely in favour of just a piano, a microphone and occasionally a guitar. ‘Corduroy Road’ is thirteen tracks of pure recording, the sound of the piano being opened and the feet on the pedals, the sound of fingers pressing lovingly onto the keys. This is a record of rare and unusual beauty, so shocking and yet unpretentious in its simplicity. When the guitar does emerge from beside the delicately touched piano, it serves as a balancing point for the record. Weaving in and out of the melodies, it adds another layer to what is already incredibly moving music.

‘Corduroy Road’ is rooted in Kenniff’s love of folk music from the American Civil War. We can hear this directly from his rendition of Civil War era classic ‘Marching Through Georgia’, but the influence carries throughout the record. There is an unheard voice which propels each track through history, maybe the ghosts of dying soldiers whispering in a long forgotten bar. Every haunting note drifts deep into the psyche and is lost in the ether of nostalgia. In this way it is a concept recording of sorts, it certainly has a narrative and has to be listened to in sequence. The story has clear themes; loss, history, friendship, camaraderie, forgiveness and hope, all clearly marked out by musical segments. It is no surprise that Kenniff’s passion for cinema shines through so strongly.

It would be hard to draw comparisons to music so rooted in folk traditions, but the music evokes traces of Ryuichi Sakamoto, Mark Hollis, Keith Jarret or even Eno’s more piano based compositions. Yet influence seems unimportant when listening to this deeply personal work. Just let it sink in and drift into the psyche.

Working with sonic archetypes rather than genres, in recent years Moscow's Pavel Milyakov has transcended the average practices of what one might call "the electronic music scene" and built his personal artistic universe where the visual and time-based arts are blended into one another. His new conceptual album PSY X, a collaboration between Gost Zvuk and Buttechno's own imprint Rassvet, can be understood as a collection of audio, video and graphic documents fused together in a homogeneous form. Profoundly rethinking the interactions between various media, Pavel utilizes a vast variety of creative tools and technologies - from generative music algorithms to laser equipment - to create (in)determinate "environments", rather than simply "tracks" or "pictures". The result is simply stunning: a meticulously crafted visual container that encases kinetic, alluring and deeply immersive music from one of Russian burgeoning scene's most vivid voices.

An ultra-pitch non skip DJ scratch tool on vinyl by Ritchie Ruftone, with one side at 100 bpm and the flip side at 133 bpm.
Weighing in at 140 gms.

In recent years, the Turkish drone-pop composer Ekin Fil (born Ekin Üzeltüzenci) has been refining her talents in the realm of the film score. Since her first recordings that were published by Root Strata and Students of Decay, she has always exhibited a preternatural ability to express the saddest of emotions through sound. Once channeled through the lens of a gauzy shoegazing smear of guitars and voice, she has peeling away layers of her ephemeral songs to reveal their emotional core. That compositional process that works so well for her award winning film scores informs the soft-focus tenebrous pieces of her 2020 album Coda.

It’s true that any number of these pieces on this album could announce the finale to an emotionally draining movie, but Ekin sculpts the entire album as a whole, dissolving one perfectly tempered piano motif, an impressionist ambient plume or a sibilant vocal melody into another. Just at the threshold of perception, she occasionally invokes cascades of distant noise that easily can be interpreted as the ominous premonitions for natural disasters - incoming storms, earthquakes, or tidal waves. This subtle disquiet amidst the introspective melancholy furthers the emotional weightiness of Coda.

Her somber, blissful compositions have considerable gravity of their own in the constellation of Grouper, Felicia Atkinson, and Harold Budd. Mastered by James Plotkin.

Berlin-based Swedish saxophonist Otis Sandsjö returns with the eagerly-awaited sequel to "Y-OTIS". On "Y-OTIS 2", released by Helsinki's We Jazz Records on July 24, Sandsjö and his close associate, bassist/producer Petter Eldh (of Koma Saxo), deepen their vision of genre-bending, forward-looking "liquid jazz" of tomorrow. The core group also includes Dan Nicholls on keys and Tilo Weber on drums, and also featured on the album are Swedish jazz greats Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, cellist Lucy Railton and trumpeter Ruhi-Deniz Erdogan.

Diving deeper into "Y-OTIS 2", you'll find details and ideas galore. The album is an inviting and inspiring audio mosaic, which links back into the previous Sandsjö/Eldh collaborations, namely "Y-OTIS" and "Koma Saxo". The result is a balanced album which quenches your thirst while making you more thirsty in the process. In other words, the many micro moods and sonic levels herein invite repeated listening, while the underlying rhythmic approach is informed as much by hip hop and electronica as by jazz, making the music approachable in a very natural way.

It seems unnecessary to pull the album apart by name-checking individual tracks but just for the sake of easy introduction, the single cuts "tremendoce", "ity bity" and "abysmal" offer one idea of signposts along which to navigate. "tremendoce" brings in Swedish jazz great Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, introducing an infectious flute loop integrating into the Y-OTIS sound, making it organic to the bone. "ity bity" could be built on a new wave synth sample (but it's not) and "abysmal" brings more serene, even ambient-sounding sonic pathways onto the map. It all belongs together, and makes for a sound that is instantly recognisable and constantly fresh. This is "Mauerpark liquid jazz" for the new decade.

Berlin-based Swedish saxophonist Otis Sandsjö returns with the eagerly-awaited sequel to "Y-OTIS". On "Y-OTIS 2", released by Helsinki's We Jazz Records on July 24, Sandsjö and his close associate, bassist/producer Petter Eldh (of Koma Saxo), deepen their vision of genre-bending, forward-looking "liquid jazz" of tomorrow. The core group also includes Dan Nicholls on keys and Tilo Weber on drums, and also featured on the album are Swedish jazz greats Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, cellist Lucy Railton and trumpeter Ruhi-Deniz Erdogan.

Diving deeper into "Y-OTIS 2", you'll find details and ideas galore. The album is an inviting and inspiring audio mosaic, which links back into the previous Sandsjö/Eldh collaborations, namely "Y-OTIS" and "Koma Saxo". The result is a balanced album which quenches your thirst while making you more thirsty in the process. In other words, the many micro moods and sonic levels herein invite repeated listening, while the underlying rhythmic approach is informed as much by hip hop and electronica as by jazz, making the music approachable in a very natural way.

It seems unnecessary to pull the album apart by name-checking individual tracks but just for the sake of easy introduction, the single cuts "tremendoce", "ity bity" and "abysmal" offer one idea of signposts along which to navigate. "tremendoce" brings in Swedish jazz great Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, introducing an infectious flute loop integrating into the Y-OTIS sound, making it organic to the bone. "ity bity" could be built on a new wave synth sample (but it's not) and "abysmal" brings more serene, even ambient-sounding sonic pathways onto the map. It all belongs together, and makes for a sound that is instantly recognisable and constantly fresh. This is "Mauerpark liquid jazz" for the new decade.

Late 20th Century outsider music from the outskirts of Buenos Aires featuring Alan Courtis, Pablo Reche, Quum and many more artists from the Argentinian underground.

Setting out as an archaeological excavation, literally exhuming material which has been under the surface for more than two decades, this special compilation features work by established and under the radar artists that helped set the now fertile Argentinian underground.

All tracks were directly digitized from the original cassettes masters (half of them never previously released either). The emphasis being to maintain the original sound quality as it was produced at the time (hence the cassette format). The compilation also showcases a broad spectrum style of music that was done at a specific time with very primitive gear - not by choice but because of the obvious economic restrictions of accessing sophisticated equipment forced these musicians on the DIY road. Domestic tape recorders making cassette loops, broken record players, toy keyboards and the noisy ‘fingers on circuitry’ long before Nicolas Collins championed it on Hand-made electronic music.

Whilst some artists actually had access to professional synths and drum machines (Unoxuno, Quum, Jaime Genovart), they still lacked of standard recording equipment. A crucial document then showing how their unique approach to music making influenced the forthcoming experimental scene of South America making these artists influential cult figures of the underground.



Compiled by Juan José Calarco y Pablo Reche
Digitized & Mastered by Juan José Calarco

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

Belgian techno wizard Cri Du Coeur is back with a new 2-part vinyl release on his label Arkham Audio titled 'Erickson' & 'Erickson on Acid', which features remixes exclusively from French artists. Jerome D., the man behind the Cri Du Coeur alias, is prized in the industry for giving platforms to Belgian and French artists throughout his career, so it comes as no surprise that he is showing his francophile roots by having a solely French lineup for the remixes on this release. Following the recent release of his EPs 'Diaphragm' and 'Warning', and now bringing us the inebriating 'Erickson' & 'Erickson on Acid', Cri Du Coeur has established that his new alias and freshly-founded but tenacious Arkham Audio label are a force to be reckoned with. The entrancing yet adrenalizing sound that he has adopted shows that his approach to industrial electronic music knows no boundaries or compromises.

The first part of this release features the original mix of 'Erickson' by Cri Du Coeur and remixes of the track by Electric Rescue, Wex 10 , and Trunkline. The second part 'Erickson on Acid' puts a squelching acid twist on things and features remixes by Roman Poncet, Umwelt, and Zadig.

The original mix of 'Erickson' leads with a strong beat and a mixture of industrial sounds that makes for a sublime dark dancefloor track. Electric Rescue follows on with a remix that engages the listener with a terrorising yet intoxicating heavy baseline. Next up is Wex 10 who enchants us with a bouncy laserbeam rhythm and muffled looping vocals. Last but not least on the 'Erickson' lineup is Trunkline's remix which delivers an addictive hazy melody and a deep and dirty mechanical synth horn.

Cri Du Coeur plays with tensions in 'Erickson (on Acid)', putting the listener into a state of hypnosis with squelching sounds that give the song a raunchy character. We are implored to dance as Roman Poncet's remix bears layers of lively percussion beats with twangy synth melodies. The mood intensifies once more as Umwelt's remix features a dark and fuzzy baseline that contrasts with a screeching siren sound creating an ultimate thrilling experience for the listener. Zadig closes off this immense concoction of remixes with a relentless distorted base and scintillating machinelike background noises.

Cri Du Coeur has outdone himself by bringing together such a well-suited selection of artists to create a visceral and magnetizing collection of tracks that showcases his competence in making industrial techno.