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A lucid dream meeting of synth waves, aquatic jazz spirits and drum-triggered electronics.'Linha D'Água'translates as 'water lines', fitting for an album that traces boundaries between water and air through an echo chamber of dizzying oceanic layers and free flowing ideas.

This is not a record based on genres. It's an album that navigates through atmospheres, through explorations and discoveries, through curiosity and dialogue. The eight tracks were recorded in a single day in the studio, but it is the result of more than two years of collaborations.

Mauricio Takara and Carla Boregas are two towering figures of the Brazilian underground/experimental scene, where they provide the rhythm section for demented genre-bending trio Rakta. While that band is all ritual percussion and red-blooded passion, as a duo they're a blue-water flowing counterpoint. From the drums, Takara fires melodies and, with the synthesizer, Carla sculpts the sound. The result iscaught somewhere between abstract improvisation and propulsive rhythm. Each song's an organic layering of manipulated synthesizers and acoustic sounds; teasing new rhythms from the drum kit via MIDI (and a near-telekinetic bond between Carla and Mauricio).

Sometimes'Linha D'Água'driftsclosest to ambient music, as in the title track, in 'Mãe D'Ouro' and 'Bocca Chiusa'; sometimes it runs into free jazz, as in 'Traçado Entre Duas Linhas'. There are moments when Carla and Mauricio explore a universe of tension that comes closest to the cosmic music of 70s Germany, as in 'Rosa de Areia' and 'Constante de Distância'; in others they evoke the metallic sounds of Indonesian gamelan (on 'Execution').

Carla Boregas is a founding member of the band Rakta, which started in 2011. She co-founded Auta, a DIY space dedicated to adventurous music in São Paulo hosting artists like Feminine Hi-Fi and Deafkids. She is also part of the transdisciplinary duo Fronte Violeta.

Mauricio Takara also plays drums/percussion with the bands Hurtmold and São Paulo Underground (with trumpeter Rob Mazurek from Chicago). Takara has played with a dizzying array of improv / experimental / jazz figures such as Pharoah Sanders, Damo Suzuki, Yusef Lateef, Joe Lally (Fugazi), Naná Vasconcelos, Prefuse 73, Makoto Kawabata and more.

Phantasy’s #PH100 retrospective continues with PH45RMX. Denham Audio, perhaps one of the most prolific British production crews emerging in some time, arrive on Phantasy with a breakbeat-heavy and lucid take on James Welsh’s ‘Cold Land’.

Originally released under Welsh’s original alias of Kamera in 2015, ‘Cold Land’ remains one of the underrated gems in the label’s back catalogue. Initially emerging from a shed in rural Mallorca, it’s halcyon poly synths and skittish drums immediately recall the wide-eyed optimism of 90s IDM. Far from mere ‘braindance’, ‘Cold Land’s emotive quality affords it a unique timelessness.

Fresh from releases on Lobster Theremin and E-Beamz, Denham Audio build on their recent reputation for both nuance and impact, comfortably interweaving the dreamy melody of Welsh’s with unapologetic breaks, taking the original’s futurist sonics into the parallel scene of UK hardcore and DnB. For those with a warehouse going spare, the alternate ‘Raw Mix’ hits even harder.

Previously unreleased original 90s archive tracks from Morphid (Mephisto). Classic deep techno excursions and moody downtempo electronics from Lucid Recordings in Amsterdam.

Lontano Da Dove? by DsorDNE is a four-track LP written and recorded between 1996 and 1999 - at Acqualuce studio in Alpignano, Torino - by the mind of Marco Milanesio and Luciano Gelormino. Additional guitars were provided by Danilo Beltrame on piano zeroquattro (extended) and vocals by Snowdonia founder Cinzia La Fauci.

It was conceived to be released at the time but only a few promo copies were distributed. After about 20 years, the original recordings, which were considered lost, were found by Marco, who remastered them in his O.F.F studio and brought it back to life.

The all album is an organic work, who mash spoken ethereal voices and dubby basslines with tr-909 beats, borrowing elements from trip hop, techno and industrial.

Four Flies are proud and honoured to release the first vinyl reissue of Bruno Nicolai's outstanding original score for GEMINUS, a 1969 Italian TV mini-series directed by Luciano Emmer and starring Walter Chiari, Alida Chelli, and Ira von Fürstenberg.

Originally released under Italian label Gemelli, Nicolai's soundtrack has been remastered from the original master tapes and comes in a glossy, tip-on style jacket featuring the restored original cover artwork, as well as extended liner notes by film critics Francesco Cesari and Roberto Curti.

Bruno Nicolai composed and directed an eclectic score that brings together different music genres and influences, from 60s beat, psych, and progrock to baroque and experimental music. He did not hesitate to mix classical forms and structures with new instruments andremarkable, eccentric arrangements.

In 'Giano' (Janus), the interplay between a distorted electric guitar and a hypnotic harpsichord creates a strange, somewhat troubling ambience.

The delicate, celestial voice of Edda Dell'Orso leaves its unique emotional imprint on the most lyricalpiece in the soundtrack, 'Tema Barocco' (Baroque Theme).

The main theme 'Il cielo cade' (The Sky Is Falling) features a luxurious arrangement and stunning orchestration enhanced by enchanting vocal harmonies sung by 'I Cantori Moderni di Alessandroni'.

In other pieces, such as 'Larve' (Larvas), 'Il sognatore' (The Dreamer), 'Eclisse di luna' (Moon Eclipse), 'Visioni' (Visions), 'Catacombe' (Catacombs), and 'Notti romane' (Roman Nights), expressive and experimental solo passages played by instruments such as the vibraphone, sitar, harmonica, or percussions, contribute to the sombre, mysterious atmosphere of the score as a whole.

clear red & blue mixed vinyl

- "Gut-churning bass" - The Wire
- "a deep dive into UK soundsystem forms, half-time bass pressure and lucid electronics" - DjMag
- "a hell of a journey through a subaquatic scape" - Backseat Mafia
- "evoking oceanic stillness and violence, the song ebbs and flows between delicate rippling and powerful waves" - Fuxwithit
- Plays on Rinse FM France and UK & Tom Ravenscroft BBC Radio 6

30% of profits on this record go to an ocean cleanup organisation TBA

This 3LP compilation documents B.B.King's breakthrough years, when, initially signed to the Bihari Brothers' RPM label, he unleashed a torrent of superb recordings that would establish him as the world's most famous blues singer-guitarist. He made scores of remarkable recordings during his career - but the ones on this compilation represent that marvelous moment in time when Riley King and Lucille combined to make their indelible mark on the history of the blues.

The electronic musician and Poker Flat founder's contemplative new studio album takes in minimal house music, moody techno and effervescent breaks across 11 unique tracks. His previous LP Paradise Sold alongside Langenberg was released in 2018 to critical acclaim, and described as "elegantly euphoric" by Mixmag. Never Ending Winding Roads is an entirely solo release however, with much of it produced during the months of enforced isolation due to the coronavirus pandemic. Many of the track titles reflect Steve's headspace during this time, with themes of solitude, contemplation and reflection brought to the fore perhaps more than with any of his previous work. Steve's formative musical years were spent during Germany's techno and acid-house heyday, with his love for a perfect groove as apparent now as it was back then. His DJ skills and a keen, innovative ear led him not down the typical path of the early nineties trance and harder dance scene, but instead towards a fresher, hybrid sound-merging stripped deep house, tweaked out acid and more minimal forms of techno and electronic music: a strand of music he fiercely champions to this day.
"My mindset when making Never Ending Winding Roads was completely different to any other project I have embarked on. I didn't have to tour, and instead could focus 100% on writing music without having the dancefloor as a constant influence. This allowed me creative freedom to explore a range of styles and emotions, and as a result, it is the album I feel most satisfied with to date." says Steve Bug.

With 11 brand new tracks, Never Ending Winding Roads is a meticulously produced and deeply engaging electronic album; one that explores various shades of house, techno and broken beat with Steve's celebrated attention to detail and consummate originality. Album opener Lucid Loops perfectly sets the tone, immediately ensnaring you with a hypnotic, undulating synth line and a faintly menacing undertone thanks to hushed, discordant strings and unnerving vocal stabs. This atmosphere of quiet paranoia permeates many of the tracks on Never Ending Winding Roads, most explicitly in the sinewy groove and sketchy, panic-inducing synth line of Locked Away In My Head.
This album more than perhaps any other in his career sees Steve experimenting with broken-beats, to incredible effect. Tracks like A Conscious Machine and Electro Harmonix are melodic, emotionally-rich cuts: burst of radiant optimism that juxtapose beautifully with the album's darker moments. Elsewhere tracks like Yellow Snake find Steve exploring deep, dubby territory, while album closer Upon Mountains is a cosmic, arpeggiated masterpiece: an 8bit computer game soundtrack reimagined as a poignant electro ballad.

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live.

Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire. Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

With the album’s subtitle, Flames Are Dew Upon My Skin, Eartheater imagines being tempered to a state of perfect equilibrium, suspended between melting and freezing, where fire could streak across her body and appear as a crystalline blush. This image captures the tension at the heart of the Eartheater project, as she decides how best to distill her passion and render it cool to the touch; to find beauty in simple pleasure, while keeping one eye fixed on the peaks that loom in the horizon. The album is mixed by Kiri Stensby and mastered by Heba Kadry, featuring photography by Daniel Sannwald.

The Fall is a deconstruction of November by Dennis Johnson.

Written for solo piano in 1959, November is the first example of minimalist music composition and was the inspiration for La Monte Young's The Well-Tuned Piano (1964). The 66 minute piece is a collaboration between legendary artist Lustmord and renowned classical pianist Nicolas Horvath, in which they reduces Johnson's original November to its core element and place it in a landscape of complimentary sound. The Fall echo's November but with further resonance.

Recorded in May-June 2019 in Los Angeles, and Misy-sur-Yonne, France.

Lustmord
Active since 1980, born of the original 'industrial' scene of the period. With its own distinctive approach, blurring the line between music and sound design Lustmord's work has featured in 45 motion pictures including The Crow and Underworld and also in video games, television and commercials. Recently Lustmord scored the music for Paul Schrader's movie First Reformed. While Lustmord is often credited for creating the 'dark ambient' genre there is much more nuance to its work than what that label implies. The music is not dark, but is a light that shines into and upon the darkness. Notable collaborations amongst many include Tool, Melvins, Jarboe, John Balance of Coil, Clock DVA, Chris & Cosey, Paul Haslinger, Karin Park and Robert Rich.

Nicolas Horvath
An unusual artist with an unconventional résumé, pianist and electroacoustic composer Nicolas Horvath is known for his boundariesless musical explorations. Horvath is both an enthusiastic promoter of contemporary music - he has commissioned numerous works (including no fewer than 120 as part of his Homages to Philip Glass project in 2014) and collaborated with leading contemporary composers from around the world, including Alvin Lucier, Mamoru Fujieda, Jaan Rääts, Alvin Curran and Valentyn Silvestrov - and a rediscoverer of forgotten or neglected composers such as Moondog, Nobuo Uematsu, Germaine Tailleferre, François-Adrien Boieldieu, Hélène de Montgeroult, Jean Catoire, Karl August Hermann.

Black Truffle is proud to announce the first vinyl reissue of Rafael Toral’s Aeriola Frequency, originally released by Perdition Plastics in 1998. Toral made his name in the world of mid-90’s experimental electronics with two releases, Sound Mind Sound Body (1994) and Wave Field (1995), both now recognised as classics and reissued on vinyl by Drag City, which saw him exploring the potential of electric guitar and pedals to immerse the listener in seemingly endless waves of sustained tones. On Wave Field, inspired by the striking resonance effects he experienced during a Buzzcocks gig with bad acoustics, he achieved a synthesis—often imitated but never bettered—of rock guitar, Ambient, and the acoustic exploration of Alvin Lucier, a kind of "liquid, abstract flux of rock sound".

On Aeriola Frequency, Toral continued the explorations of Wave Field but dropped the guitar, creating a series of extended pieces using only a simple feedback loop designed to work with pure electronic resonance. The result is far more delicate than Wave Field, a steady but unstable flow of filtered tones that continually reorder themselves into new forms. On both the LP’s sides, the tones, like growing plants, imperceptibly shift from drifting freely in ambient space to weaving strangely natural melodic patterns, as the loops unfold and the resonance gently outlines recurring rhythmic shapes.

The overall effect is strikingly organic, as David Toop noted in the liner notes included in the original release (and reprinted in this reissue): “A crystal garden, the sound grows in reeds and streams, blown like spider web strands, glittering and invisible, pulsing with translucent colour, bubbling and imploding, fraying and powdering.”
A classic of the non-academic approach to electronics that flourished in the 1990s— and a big influence at the time on Black Truffle head honcho Oren Ambarchi—Aeriola Frequency ushers listeners into an endlessly fascinating world of gliding tones and shifting details that they might never want to leave.

- Recorded at Noise Precision, Portugal, December 1997 and April 1998. Remastered by Rafael Toral in 2020.
- Liner notes by David Toop and Rafael Toral.

Krakow based Olivia joins Pinkman with a modern twist on ancient charming practices. "Dancing Snake" takes you to a surging tomb rave in the heat of the desert. Your dehydrated soul will be satisfied by liquid notes of acid, while your mind is hypnotized by oriental melodies. Grubby rhythms and crunchy kicks reminisce about reality, making you wonder whether this all was just a lucid dream.

Limited edition of 500 copies

Red Vinyl

quiet old school Hardctechno Hardcore on Carbone records. Home label from D. Carbone.... enjoy the very Carpenter last track from David Asko

Repress!

Wewantsounds presents this reissue of Billy Brooks' much sought-after album 'Windows Of The Mind', released in 1974 on Ray Charles' Crossover Records. It includes one of the most famous samples in hip hop history in the form of 'Fourty Days' which forms the backbone of A Tribe Called Quest's 1990 anthemic "Luck of Lucien". Newly remastered, the reissue comes with original artwork.

Mashup to deaf ! Crazy stuff straight from the Momtormouth crew... A crazy sound for crazy people... excessive and speedcore, full of breaks and defenitly a masterpiece to scratch and throw and cut and manipulate... touch your records you deejay !! And cut cut cut ! Pass-Pass style for the big diggerz !!

Black Truffle is very proud to present Peaks by Australian cellist Judith Hamann, her debut release of electro-acoustic music. Known mostly for her live performance work with composers including Sarah Hennies, Yvette Janine Jackson, Alvin Lucier, Tashi Wada, and La Monte Young, here she steps away from the cello, moving into an intimate dreamscape woven from recordings gathered over years of itinerant touring.

Peaks is a work in two distinct parts, crossfading between different landscapes and apertures; from rooftop to church, from stasis to flares of momentary romanticism. Peaks considers summits as being both above and below, reframing the idea of apex from a more intimate perspective. Hamann considers how our domestic and personal geographies might form their own apogees, meridians, or nadirs.

Assembled in 2019 while an artist in residence in Krems, Austria, Peaks begins with Hamann’s more familiar cello but soon unravels into resonant electronic interiors; Southern California nightscapes heard through windows, San Francisco bathroom fans, snatches of recordings of friends, hand organs, and engines. signal/centinela draws primarily on recordings from Hamann’s time living in San Diego, and carries with it a certain sense of nostalgia in the sense of homesickness, longing, and displacement of distance and time. Side B is composed from recordings gathered on a different continent, Europe, weaving piano with recordings of sleep, breath, church organ, and the act of climbing. under/over emerges as it recedes, overlapping moments of arrival to create another kind of ‘spire’ in the sense of spir (breath). Peaks, with its omission of any recordings from Hamann’s home of Australia, hints at how the very construction of home itself, might be restless, untethered, changeable, and malleable.

On Peaks, Hamann interrogates tropes of ambient concrète musics, intentionally pivoting formally around material which teeters on the edge of cliche. This exploration asks whether familiar frames of harmony, field recordings and narrative trajectories can excavate new territories, or be ruptured. Peaks untangles a very personal sense of tension between beauty and shame in experimental music: treating lushness and harmony as possessing potentially muscular musical properties that might wrestle with or construct senses of belonging and home.

Following his acclaimed first release from 2018, Basement Space is back with a LP, showcasing once again his mastery for breaks and his signature cosmic funkiness.