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Originally released in 1983 on Hessian.

Bryn Jones’ work was justly known for its excess—of tracks created, of rhetoric, of volume levels, of repetition, of length—and the sometimes indiscriminate way he produced material as Muslimgauze carried over into his approach to the part of the business that involved getting people to actually hear his music. Known for the deluge of DATs he’d share with the labels he worked with, Jones also didn’t necessarily restrict himself to just one outlet.

Very early in his career, in the same year the first two Muslimgauze LPs came out (1983), Jones released an obscure 7” single with completely blank black sleeve art on a label called Hessian. »Hammer & Sickle« is to date the only release on Hessian (which may have just been Jones himself?). Those two LPs, Kabul and Opaques, are fascinating in the context of the full swath of Jones’ work. They’re much spacier, more drifting, and notably less interested in using the kind of Middle Eastern percussion and other instrumentation that’s such a distinct element on many Muslimgauze releases. »Hammer & Sickle« operates in a similar territory, but if anything a little further out from the main body of Jones’ work.

The side-long title track and the three b-sides here are all cut from the same cloth, spacious productions that mainly play rounded synth percussion against echoing, ›bag of wire‹-style dub hits. After the lengthy examination of »Hammer & Sickle« itself, the other three cuts experiment with altering pitch, duration, tempo, and other elements as if testing the ways Jones could vary the effects of the title track without ever ditching its component parts. His sound was already quickly evolving (even the next year’s Buddhist on Fire is closer to what fans likely picture when they think of the »Muslimgauze sound«), leaving »Hammer & Sickle« an intriguing and valuable portrait of one of Jones’ early side investigations.

Vibes & Hattrix are back on Bournemouth Breakbeat rave imprint 'Return Of The Vibe' with their 3rd release on the label.

Acclaimed Japan “minyo footwork” duo WaqWaq Kingdom - aka Shigeru Ishihara (DJ Scotch Egg / Seefeel) and Kiki Hitomi (ex-King Midas Sound) - return with feverishly joyous new album Hot Pot Totto, a bubbling hot pot of dance music that responds to ecological anxiety.

“Two words are conjoined: hot pot and ottotto,” vocalist Kiki Hitomi tells us. “Ottotto is the Japanese equivalent of “oops”, or said when someone nearly falls over but manages to get their balance back: “it was dangerous but now we are safe!” Combined with the heady brew of their musical styles (“like a psychedelic Nabe hot pot: melting traditional Japanese Minyo with Jamaican dancehall, footwork, dub, techno, tribal polyrhythms and Super Nintendo soundtracks”), producer Shige Ishihara’s time in East Africa working with local musicians, and the dayglo hallucinogen of the duo’s visual aesthetic, WaqWaq Kingdom’s thumping, thrilling, irresistible third release is a unique ride.



Thematically - despite its ostensibly celebratory impact - Hot Pot Totto addresses the world’s grave ecological state. “Now our earth is on the way to catastrophe, as global warming becomes a serious problem through humanity’s fault. We are on the edge,” Hitomi writes. “We need to get back on the right track.” The ottotto of the album title refers to this experience - the need to get back on track. However, this is not lamenting music: it is fiercely defiant, full of colour and rapture, maintaining an optimism that we can.



Opening single “Hakke Yoi” ties treated voice, a floor-shaking beat, and a dizzying, transforming colour palette to a heart-quickening BPM. The track is named after the traditional cry of a sumo wrestling match, shouted by the referee to maintain tempo, commonly translated as “put some spirit into it!” The lyrics refer to humanity’s sacrifice of our planet for our own material gains. Later, key track “Buri Buri” features Ugandan experimental dance producer Catu Diosis and centres around the lyric “Turn disaster to our advantage / good fortune and happiness will come to those who smile,” offering not regret but encouragement and empowerment with its neon alien sonics and relentless vibrancy.



Kiki Hitomi was formerly a member of Ninja Tune / Hyperdub’s King Midas Sound (along with The Bug and Roger Robinson), and co-founded iconic Japanese dubstep-noise duo Dokkebi Q. She is also a celebrated illustrator and designer, having created artwork for countless record sleeves (including this one) and brands. Shigeru Ishihara - aka DJ Scotch Egg - has been orbiting the dance music galaxy for over a decade, releasing radiantly unpredictable solo records through Lightning Bolt’s Load Records, as a member of Warp Records’ legendary Seefeel, and performing with both projects across the world. He recently undertook a residency at the Nyege Nyege Villa in Uganda, working with Phantom Limb alumnus MC Yallah. More recently, Ishihara has been releasing music under the guise of Scotch Rolex, collaborating with the likes of Shackleton, Swordman Kitala, Lord Spikeheart and more.



Hot Pot Totto is WaqWaq Kingdom’s third release for Phantom Limb, following the rapturously received album Essaka Hoisa in 2019 and follow-up EP Dokkoisho in 2020. The band recently performed at the label’s sold out 5th anniversary event in London, setting an ecstatic venue alight with energy.








f B1 Buri Buri feat. Catu Diosis

Das neue Monkeytown-Signing, das NYC-via-Berlin-Duo Sha Ru, schöpft aus der in Protest und Befreiung verwurzelten Punk- und Dancemusik, gefiltert durch die Erweiterung und Fluidität der queeren Identität. Erste aufrührerische EPs und mitreißende Auftritte haben die Band zu einer ausgesprochenen Kraft der in elektronischen Musik gemacht, die dunkle Schattierungen und basslastige, zukunftsweisende Klänge erforscht, die ebenso an Post-Punk-/Industrial-Pioniere wie an alles im Club-Kanon erinnern. Die neue EP, ihre bisher gewagteste, ehrlichste und verletzlichste Arbeit, ruft eine Palette überwältigender Emotionen hervor, von platonischer und romantischer Liebe bis zu Herzschmerz und psychischem Leid, wiedergegeben in cleveren rhythmischen Architekturen und grollendem Bass, ausbalanciert mit sinnlichen Melodien und sanfteren Texturen.

"60 Years of cult and classic soundtracks presented on 2 x 180g

Featuring Bernard Hermann, John Barry, Thomas Newman, Giorgio Moroder, Isaac Hayes, Lalo Schifrin, Mike Oldfield, Vangelis...

Repress.

Acen's Trip To The Moon series is simply unmissable, and these color vinyl represses are severely limited in number. Spanning all the original mixes, plus new material and new remixes from the likes of Pete Cannon, Danny Byrd, Phuture Assassins and Scott Brown, every EP in this series is essential.

Ontmoeting (Encounter) from 1982 marks the beginning of the published audio works of Enno Velthuys. When Rob Smit of Kubus Kassettes first visited Enno to discuss the possibilities of releasing a cassette, he was open to the idea and gave Smit access to his tape archive of recorded tracks to cherry pick his favorite pieces. Initially Enno felt the selection didn’t do justice to his broader musical spectrum, that also included more rhythm orientated guitar pieces, but in hindsight it probably gave him a new sense of direction.

On this album, a mixture of spacious ambient and synth-leaden music, we hear Enno in transition. Experimenting, searching for his own voice. Some pieces are reminiscent of a classic dungeon explorer game while others have a more surreal, cinematic feel. Although 40 years old, Ontmoeting still sounds incredibly fresh today and stands as a pivotal ambient release from the early 80’s.

Red Vinyl

YESYESPEAKERSYES is the first vinyl release of the remarkable collaboration between Chicago foot-work founder Kavain Wayne Space (aka RPBoo) and London duo experiment XT (drummer Paul Abbott and saxophonist Seymour Wright). The trio’s synthesis of rhythms, sounds, strategies, technologies and traditions collapse genre, distance, boundaries and preconceptions into a total, and totally unique, brain-body music.

Its two 15-minute vinyl sides are cut from a 60-minute live set at Cafe OTO, London on Friday 8th October, 2021 also available as digital download. This was the fourth meeting of the trio followed, instead of being followed by*, an RPBoo DJ set.

Each time the trio play it pushes further into new technical, emotional and creative space. The collaboration needs ears, instruments, imaginations and bodies to be used in new ways. This need is transformative. Together they – and we – learn. This unique trio combination is rooted in deep conceptual foundations, that push into real and imaginary spaces of innovation and learning in a creative practice of 'interruption' far beyond genres or what is supposed to be. And what emerges each time is a trio technology - a total dance technology for any and all bodies.

Kavain, Paul and Seymour share a fascination with the musical history of Chicago – a source of which is of continual nourishment to their ongoing practice. While Kavain’s pioneering footwork work develops the rhythmic structures of Chicago house and the samples, grooves and melodies of 60’s/70’s Chicago soul, disco and R&B, Seymour and Paul share a fascination with these musics, and bring to this lineage a long-term engagement with Chicago’s jazz traditions, from Baby Dodds to the AACM through their unique prism of club, dance, free-jazz and improvised club structures, technologies and musics.

The LP was expertly mixed by Billy Steiger and mastered by Amir Shoat. Every purchase comes with a bonus download of the full, unedited live set from Cafe OTO.

The album includes artwork by Benedict Drew and text by Edward George.

Grey Marbled Vinyl

The charm of exploration leads to cinematic echoes that fuse rattling break drums and synergetic nuances, creating a sphere of ancestral musical paths in which a poly-form stylistics gives a recognisable imprint to 'Foreshadow', Marco Bruno's new album that embarks on a new sonic exploration and delves into the meanders of research with an abysmal attention to detail, a significant project in the evolution of the artist and his Evighet Records label.

For this release, two veterans such as James Ruskin and Mark Broom, with their alias The Fear Ratio, set in time their experience, masterfully reinterpreting that pivotal feeling of free expression that reigns at the heart of the project.

The quiet Irish mastermind is releasing new material on Tape Hiss. When he is not busy with his Monoak alterego, he works alongside Keith Tenniswood (Radioactive Man) and Simon Lynch (London Modular Alliance) as L-R to compose hard-hitting electro tracks. This time there is a diverse selection on the table: breaks, bass music, electro and techno. All with a bass-heavy, repetitive twist. The EP comes with a digital bonus tune 'Hitchcock'.

OOH-sounds family members more eaze, pardo & glass join forces on a celestial album linking ambient neo-folk, fractured electronics and romantic escapism.

Referencing to Wim Wenders' 1984 road-movie drama masterpiece, 'paris paris, texas texas' is a strikingly cinematic tapestry of americana, resampled guitars, glistening electronics, subtle field recordings and processed vocals.

The beginnings of this project date back to the summer of 2022 when pardo and glass started recording some improvisations in a small studio with the aim of making an experimental guitar record. Over time, the drafts developed into mesmerizing slabs of guitar textures, simultaneously immense and intimate. No material was better suited for more eaze to add to the recordings her transversal and sensitive approach, linking the past and the present.

Ranging from gentle ambient folk to winding pedal steel passages, from twinkling electronics to distorted drones, 'paris paris, texas texas' is an album that's not just "atmospheric", it conjures its own unique atmosphere from thin air. Like a snake shedding its skin, the record slowly mutates from track to track - an epiphany, a transformation, a tangible and perceptible moment. Despite its distant trans-Atlantic origins, it evokes a warmth and intimacy that is hard to deny, an emotion that has perhaps been held back for too long. A landmark release in OOH's catalogue, capturing the magic of its curation and sensibility in one sublime record.

Mastered by Giuseppe Ielasi, artwork by incepBOY, words by Adam Badi Donoval

Allchival present their second look at the music of Roger Doyle and Operating Theatre (a little known proto synth-pop act and experimental theatre group that he led.)

In reverse chronological order the second disc contains music from the United Dairies release of 1979 – ‘Rapid Eye Movements’. Experimental tape work heavily influenced by the French school of music concretists and recorded at various points during the 70s in Finland, Holland and Ireland, although it is most certainly a Roger Doyle solo record the label ran by Nurses With Wounds John Fothergill decided to release it under the group name for reasons now lost to the fog of time.

After this a volte-face towards a more accessible sound, coming via his friendship with future Hollywood actress Olwen Fouéré and her connection to the theatre. It also featured the vocals of a young Spanish immigrant Elena López- bucking the 80’s trend by moving to rather than from Dublin. With Fouéré adding the theatrical element to the group (an almost essential part of any early 80s synth act) alongside pulsing synths, brass, a vocoder and the electro acoustic production talents of Doyle himself, it was the first time a Fairlight sampler was used in an Irish studio setting and gives a prescient but alternative take on the new wave sound that came to dominate the charts soon after.
Doyle’s work on the newly released Fairlight sampler had brought him to the attention of U2’s Bono who had seen a feature about his sampling experimentations and reached out to him for piano lessons. This led to a deal on the bands embryonic Mother records for what Doyle calls his first “popular song” - Queen of No Heart - which alongside “Spring is Coming” made up the backbone of the EP which was released some years later (1986) on the Mother Records label. Established by U2 in 1984 and initially intended to launch Irish bands, many of the acts – including this one – were subsequently unhappy about the label’s haphazard approach to releases and lack of promotion. The record was released as a die cut 7 inch with the two main tracks and a 12 inch EP with additional tracks – ‘Part of My Make-Up’ / ‘Atlantean’ / ‘Satanasa’. The Mother experience was for Doyle and the rest of the group a frustrating one with no promotional plan and no tour. After that Operating Theatre as a quasi pop project ‘just kind of fizzled out’ says Doyle.

Doyle, the musical maverick at the heart of the act, continues to produce to this day and has released 30 albums. A frequent collaborator we round out the record with a remix from another Irish outsider - Morgan Buckley of the Wah Wah Wino fame.

Sully returns to Astrophonica for a celestial collaboration with young Manchester based vocalist Salo.

Always one step ahead of the pack, Sully relinquishes the signature crusty Jungle breaks in exchange for crisp and steely, live sounding drums to provide the groove for a stripped back and crushed 808 bassline - a hi-def take on his iconic sound. This minimalist structure gives the foundations and space for Salo’s bittersweet vocals to take the lead with clarity and float off into the glorious twilight. A celestial collaboration that spotlights both artists’ strong points.

Sully totally flips the script with the ‘Not Just a Dub Mix’ by taking Salo’s vocals and giving them the Tubby treatment. The Jungle breaks return and sirens ring out - one for the club Salo, born in Tbilisi, Georgia before moving to Manchester via Glasgow as a child, is a classically trained pianist with all the swagger and charm of Manchester club music. She studied at Glasgow Music Academy and Royal Northern College of Music before working with club legends such as Zed Bias, Chimpo and Bassboy.

This is Sully’s first return to the label since 2020’s seminal, highly requested and repressed Swandive EP. At this point he honestly needs little introduction - he’s become one of the highest selling and most sought after Jungle artists for the best part of a decade and shows no signs of stopping

36's new album Reality Engine explores "the blossoming dynamics of artificial intelligence and the ever-changing definition of reality" on Past Inside The Present and does so with a continuation of his richly melodic sound while also evolving into new realms. The sheer beauty of these sounds is enough to uplift and energise, with chords ascending to the heavens on the opener 'Imagine The Truth' and then rolling out to infinite horizons on 'Axiom Haze'. 'Reality Engine' suspends you amongst the clouds and 'Beyond The Hyperreal' is a perfect marriage of immersive and organic sounds and hints of digital augmented reality engines. A sublime album, for sure.

We welcome the English creator from Manchester Mark Wilkinson aka Kid Machine to HC Records.This album of 12 songs on vinyl and 4 digital bonus tracks, already seemed historic to us at the time of closing the album, but now it seems like a real event as it is the last one that the artist will publish under the pseudonym KID MACHINE.

Box Set: Lift off lid box with crushed emerald felt lining, Includes Embossed Gatefold edition Double Tri-Colour Splatter Vinyl.

Plus limited edition Black Classical Music branded ProMark Drum Sticks, and branded Afro Comb.

Yussef Dayes veröffentlicht sein mit Spannung erwartetes Debüt-Solo-Studioalbum 'Black Classical Music' auf Brownswood. Zusammen mit Kamaal Williams brillierte der Multiinstrumentalist und Visionär auf dem Yussef Kamaal-Album 'Black Focus', das den Jazz FM Newcomer-Award 2016 gewann und zum Meilenstein der aktuellen Londoner Jazzbewegung avancierte. 'Black Classical Music' ist ein 19-Track-Werk, das die Zuhörer durch einen Spiegel auf die Vergangenheit und Gegenwart des einflussreichen Künstlers blicken lässt, während es Themen wie Zuhause und Familie erforscht. Inspiriert wird Yussef von seinen musikalischen Helden Miles Davis und Rahsaan Roland Kirk und seinen ausgedehnten Reisen rund um den Globus, die sein Studium des Rhythmus vertieft haben. Ehrenvolle Features auf 'Black Classical Music' bringen Chronixx, Jamilah Barry, Tom Misch, Shabaka Hutchings, Miles James, Sheila Maurice Grey, Nathaniel Cross, Theon Cross and the Chineke! Orchester, sowie Venna, Rocco Palladino, Charlie Stacey und Elijah Fox.

First volume of the Extreme Years serie (1990-1994) of the prolific artist - all released for the first time on vinyl. The three other titles will be released every 2 months starting March.

Intifaxa is the first part in a series of 4 outstanding double vinyl albums with bonus songs, previously released on CD between 1990 and 1994 on the Australian cult label Extreme Music.

Intifaxa is full of heavy percussion fire with deep tribal grooves, embedded in modulated field recordings. The album is a transcendental journey into Eastern soundscapes and a secret weapon for DJs who enjoy to tear down the borders of tribal underground house and psychedelic trance music.

The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.

New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues.

All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

Pilot comes correct with a third new release in quick succession. We were big fans of the first two and this one is another muscular, action packed slab of wax from North Phase. Once again he draws on many different genres to cook up his floor filling beats. 'Electronic Funk' is a bit of a throw back to when the Plump DJs were good, while 'D1000' then gets more down and dirty on scuzzy bass and electro pops. 'Escape & Evasion' is the most heady of the lot with its sparse atmosphere and old school breaks and 'Halo' closes on a cosmic borne beat wig out.

After a first track “Too Fast” and 2 remixes released in 2022, Supa will share its firstEP on Lille’s label Besides records.

Named Colours, this EP is a fusion of the duo’s influences, between UK garage, house and african, indian or oriental sounds and rhythms. Global groove diggers for 15+ years, the duo pays particular attention to the UK music scene and its capacity to bring multiple influences into highly danceable tracks. It’s been a few months now that the duo started working on this EP, from live residencies to studio time, they synthesized in these 6 tracks all of their love for hybrid, genre-blending and dancefloor-friendly music!

Their experience as DJ’s, promoters and radio programmers made them want to share their music to a wider audience. They thus bring their own sound, while nothiding their fascination for producers like Daphni, Overmono, Omar S, Yuksek, Acid Arab, Four Tet ...

First single “Red Brick” and its UK garage beat unveils progressively, building tension with a heady vocal gimmick and syncopated synth pattern.The powerful bass then achieves to settle the mood, calling out the spirit of 90’s UK raves.

A great appetizer to the different musical nuances proposed in this EP “Colours”.

From Karma Recordings comes their eleventh EP. Showing once again that Karma Recordings is not a one trick pony, for their eleventh release they have brought on board the remixing talent of Billy ‘Daniel’ Bunter and Sanxion. With over 30 years in the game Billy Bunter certainly knows how to make a crowd jump up and go crazy. We keep the format of having the original as the second track on side A. Flip it over and we have the mysterious Karma Krew with Cracking Up, but who’s produced it ? All you know is that it’s producers from our very talented pool !! Lat but definitely not least we have brought back the awesome Dubious who has come up with another masterpiece. Do not miss out on this one…

UK duo Wrecked Lightship debut on Peak Oil with a six-track slate of cyber aquatic alien bass music as placeless as it is precise: Antiposition. Comprised of Laurie Osborne (Appleblim) and Adam Winchester (Dot Product), the pair share a fascination with destabilized rhythm and retro-futurist dreaming, smudging dub, drum n bass, synthetic tribalism, and kinetic sound design into fresh electronic frontiers.

Antiposition both refines and refracts the project’s vision. From wobbly interstellar ascension (“Hex”) and cavernous industrial dub (“Bizarre Servants”) to junglist murk (“Sunken Skies”) and fractal shuffle (“Diminished Ark”), Wrecked Lightship move between haze and hyperspace, mythos and mystery. It’s less deconstructed than reconstructed, fashioned from galactic debris and congealed by the gravity of outer spheres.

Holly Lester’s Duality Trax imprint has quickly established itself as one of most exciting emerging labels from within the modern electronic circuit. Undoubtedly inspired by the golden era of house, techno, bleep and club, the label also has its crosshairs fixated firmly on the future and has become a one-stop-shop for the very best in early-hours euphoria and contemporary heads-down sonics.

Despite its young age the label already boasts a stellar back catalogue, releasing tracks and records from Fio Fa, Violet, Cromie, rRoxymore, Roza Terenzi and more – and the fourth in the series comes from Steffan Todorović and Joonas Aro under their Abdul Raeva alias.

Holly is no stranger to either artist, having set up the Terrazzo label with Gestalt Records and Coymix head Steffan. It’s a sonic match-made-in-heaven, with both contributing artists and label head sharing an admiration for bouncy, fun and deep club music that dangles its legs on the border of emotionality without taking itself too seriously.

The label head was first drawn to the lead track ‘Atlas Corporation’ with it’s soaring resonant lead reminiscent of the classic ‘Rez’ by Underworld. Ear-wriggling acid lines and psychedelic atmospherics balance a gritty and driving drum rhythm across a kaleidoscopic six minutes, before ‘Death Race’
blends techy dub with Abdul Raeva’s signature proggy sauce, best played as the sun begins to rise again.

Staying true to the concepts of gender and sonic duality, the remix comes from Australian DJ and Pure Space-founder Andy Garvey who turns in a breakbeat-laden, broken acid-techno rendition of the A2, before we come to a meditative close with the tropical, downtempo sounds of ‘Guardian of the Vault’.

After making waves with their 2020 self-titled debut LP (championed by the late, great DJ and synth/wave connoisseur Silent Servant), Toronto’s Analytica return to Suction Records’ minimal synth sub-label Ice Machine, for the second full-length LP, “Strategy Of Tension”. Comprised of kosmische synth artist Gabe Knox and electro-industrial performer David Lush, Analytica is a synth-pop duo who confront the race-to-the-bottom ethos of our time, but utilizing sounds and tools from the early ‘80s synth-DIY era.

The album was recorded to a 6-track cassette portastudio in a two week session in Summer 2022, and mixed down live to tape in an afternoon. Analytica pair classic, holy grail analog synthesizers like the ARP Quadra, Roland System 100, and ARP 2600, with uncommon analog rhythm machines including the Univox SR-95, Soundmaster ST-305, Roland TR-77, and Korg KR-55B. The result is Strategy of Tension: a stinging rebuke to cynical political actors and a reminder that the only thing to fear is fear itself.

Fresh from delivering a stellar remix on Subtle Audio, Earl Grey drops a stellar four tracker of dark and smoke-filled vibes on Rua Sound. Its a moody, doped-up trip worth taking as a scary soundtrack into the darkness with plenty of frantic, detailed precussion to lead you off the beaten track.

Reissued on vinyl for the first time, Juno Reactor’s 1997 ‘Bible of Dreams’, also newly mastered and available of
double black vinyl.
‘Bible of Dreams’ was Juno Reactor's fourth album. It had a very different sound from the group's previous albums,
and moved away from the traditional dance beats by implementing tribal influences. The band collaborated with
Amampondo, a traditional South African percussion act, on the single ‘Conga Fury’. Watkins and Amampondo went on
a five-week tour of the US, opening for Moby.
Featuring music from the film soundtracks The Matrix Reloaded, Animatrix, Mortal Kombat Annihilation and Beowulf.
Composer, producer, musician and performer Ben Watkins is an essential innovator of modern electronic music and a
pioneer of Trance. Over the course of nearly 30 years, Watkins has created a unique driving fusion of electronica,
orchestral and global music executed on an epic & symphonic scale.
Juno Reactor was formed as an art project in 1990. Ben Watkins wanted to collaborate with other artists, producing
exciting projects that were not commercially driven. He wanted to create experimental music and non-musical
soundtracks that would work with installations, art pieces, and film projects.
As well as releasing a string of influential albums as Juno Reactor, Watkins’ tracks have been placed in numerous highprofile feature films, television programmes and computer games and Ben Watkins composed large sections of the
original score for the films The Matrix Reloaded and The Matrix Revolutions, as well as composing the entire orchestral
score for Japanese anime feature film Brave Story.

‘Kevin’, a new collaboration between Ben Bondy and Mister Water Wet, presents what feels like a time-machine hidden in the back of your closet. ‘Laundry’ pleasantly haunts listeners with phantom purrs, harmonies, hums and horns. This project is a hand reaching through the void and out of your speakers responding to moments of isolation and pining with resounding gratitude. It makes space for warmth in slow-healing wounds; the gift of reset that is born from the call and response between friends.

'Moments Remixes' began from a conversation with Jlin. We did an interview together for Talkhouse in fall of 2019, in season with the original Moments release on Unseen Worlds. Her poignant and effusive dialogue sparked the inspiration for us to do a remix together. That organically evolved into a full project idea. Xiu Xiu did the second remix in January 2020, and before things continued further - the pandemic was upon us. During the course of the pandemic, it evolved more, and organically became a more focused project for the isolation and lack of in-person collaborative environments/performance halls. All of but one remix were completed by 2021, and then refined and curated further over the following (four) years. The highlighted dialogue across the album is how these sparse, melodic minimalism of piano and vibraphone could manifest in a diversity of experimental sub-genres: electronica, IDM, avant-rock, drone/ambient. The careful curation and illustrative collaborators elicit the transportive 'new moments' and permeable qualities of the core compositions, that discover uncharted life in this project. (Michael Vincent Waller, October 2023)

Restock!

Containing five synthesiser-led pieces, 'Loon' was recorded in autumn 2014 across five days at Nils's Durton Studio in Berlin, and continues on from the ambient sounds of 'Stare' but with the addition of more percussive elements and dub influences. For this new EP the duo wired an Oberheim 4 Voice and a Korg PS3100 to the mixing desk and performed live takes on both instruments. With all four hands on its pots, all mixes were recorded straight onto 2-track ½-inch tape.

Like on 'Stare', their first collaborative affair in 2012, they simply followed what was laying in front of them, and this time they were driven by some new synths, a kick drum and tape effects. Indulging in dub, the tracks where all performed rather than engineered, with Ólafur riding a few elements on faders and Nils bringing effects in and out. After running several mixes, they went for the five strongest moments from this session. The release was announced on a joint arnaldsfrahm together with the launch of an intimate 45-minute studio film titled 'Trance Frendz', featuring another seven improvisations.

'Nils got some new synths and we thought we'd try them out. We loved them so much that we didn't actually end up using anything else to make these songs.' - Ólafur Arnalds. 'When I was young I was smuggled to Goa parties by my brother. The music played there in the late nineties had a somewhat deep effect on me. 'Loon' is almost a blurry memory of these times. In other words, it is what I'd like to remember that music sounded like back then. In fact it sounded probably really cheesy.' - Nils Frahm.

'Loon' will be released on Erased Tapes as a 12' vinyl as well as digitally on October 2nd.

ABOUT THE ARTWORK:
Once again the trippy packaging design was crafted by long-time Erased Tapes collaborator Torsten Posselt at FELD in Berlin.
ABOUT ÓLAFUR ARNALDS:
Ólafur Arnalds is a BAFTA-winning multi-instrumentalist and producer from Iceland. Ólafur is known for his unique mix of strings, piano with loops and edgy beats crossing-over from ambient/electronic to pop. Ólafur was a drummer of hardcore metal bands Fighting Shit and Celestine, as well as others. In 2014 Ólafur announced his electronic debut album under the Kiasmos project with Bloodgroup front man Janus Rasmussen to much acclaim.
ABOUT NILS FRAHM:
Nils Frahm works as an accomplished composer and producer from his Berlin-based Durton Studio. His unconventional approach to an age-old instrument, played contemplatively and intimately, has won him many fans around the world. For a musician this early in his career, Frahm displays an incredibly developed sense of control and restraint in his work, catching the ear of many fans.

Robbie Doherty's trajectory thus far has been nothing less than remarkable. After shooting to fame in 2019 with hit single 'Pour The Milk', the only direction has been up, with the Belfast producer taking his warm rave flavours as far as Australia and New Zealand.

For justification, look no further than his Shall Not Fade debut. Sick 'n' Tired is so colourful you can visualise it, with deep swung house rhythms, stripped-back emotional breakbeat and skippy garage house. Get stuck in.

Cheap Things is the latest record by New Haven guitarist and C/Site label-owner, Stefan Christensen. It's a challenge to list exactly where Cheap Things numbers in Christensen's extensive catalogue, which at over a decade long has seen him issue countless records under his own name and across both his own imprint and a host of international labels, as well as performing in underground noise trio Center and in the heavenly psych act, Headroom. Crucially and somewhat impressively, his work has remained as singular as it has been productive, cultivating a distinct style of playing that is unmistakably his own even when in collaboration with others.

In many regards, Cheap Things represents an apex of the universe Christensen has fostered over the last decade, both collaborative and highly personal. Indeed, many of the key names from the C/Site and adjacent world contribute to the record in some capacity - David Shapiro (Alexander/Center/Headroom), Kyrssi Battalene (Mountain Movers/Headroom), who takes a lead and has repurposed the final track for Headroom, Ian McColm (Heart Of The Ghost) and Rick Omonte (Mountain Movers/Headroom) sit in on drums and bass, respectively, while John Miller (formally of Mountain Movers) recorded a couple of the songs at his home studio. Cheap Things is a record labeled with Christensen's name, but it's certainly also one born of community and like-minded creative enquiry, longtime characteristics in his increasingly dense catalogue.

Though the work that comprises this catalogue has always remained engaging, there comes a sense of event with Cheap Things not necessarily present in some of the more off-the-cuff experimental cassette releases issued in both this and past years. This may be in part attributable to the time invested in recording these five songs: starting in mid 2018 and finishing throughout the various periods of lockdown in 2020, this is the longest amount of time Christensen has spent working on a record. Recording itself is an integral aspect of the way in which Christensen creates his sound, relying on the freedom of home studios, the analog limitations of four and eight tracks, and the unique results gained from tape loop manipulations. Such processes add an element of both warmth and spontaneity to the work, though one crucial difference is that much of Christensen's other work is written with, what he calls 'little pre-planning', whereas Cheap Things is defined by a much more precise and pre-formulated vision. The result does feel strangely and more obviously definitive.

There's a life to these songs beyond their recording, the roots in fact stemming all the way back to Christensen's first solo release in 2015, the record on which the title track first appeared, albeit in rudimentary form. Written in response to the death of a friend from an overdose, Christensen was motivated to re-record the song when hearing that at the start of lockdown another friend from the same circle had died in similar circumstances. Over the years the song has grown in length and intensity, and reaches its ultimate form here, an acoustic drone that pulses with a near-spiritual reverie. It's fitting testament to the people it commemorates, and sets the tone for the remainder of Cheap Things, which through its unique melding of folk, noise, experimental and avant blues traditions appears to provide a cathartic release from the various experiences of grief, illness and stress. Much like the music of Tomokawa Kazuki, Mikami Kan and Neil Young, who have informed the album in various ways, the intent here seems to be to communicate big ideas with modest means. Cheap Things, then, is unusually titled, if not expressing the infinite and the eternal, at least suggesting that in striving for the bigger ideas we might find truth, or perhaps just some piece there of.