At the occasion of the Monsters of Mashup 2017 tour, and after a looong silence, Kriss records takes it over and comes back louder and CORE than ever... First tune from Bong-Ra goes straight Ragga breakcore... While Shiptmat develop his Hardcore skillz and EndUser join back his first loves on Sonic Terror ! And Skull Vomit ? ah..bah Euhhhhhrghhhhh !!!! Yeah !!
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Transluzentes algengrünes Color-Vinyl (140g) inklusive doppelseitigen 12"-Kunstdruck und Download-Code.
Forest Swords (alias der elektronische Produzent/ Komponist Matthew Barnes) kündigt sein neues Album, „Bolted“, an. Nachdem er in den letzten Jahren als gefragter Komponist und Sounddesigner gearbeitet und Musik für Ballett, Film und Videospiele geschrieben hat, wurde „Bolted“ im letzten Jahr in einer Lagerhalle in Barnes' Heimatstadt Liverpool aufgenommen. Auf den elf Tracks taucht er tiefer in sein einzigartiges Klangvokabular ein, um eine Reihe von Tracks zu weben, die gleichermaßen kraftstrotzend und düster, eindringlich und euphorisch klingen.
Wie immer in seiner Musik, fühlen sich Melancholie und Euphorie, Monochrom und Farbe, Vergangenheit und Zukunft mehrdeutig an. Die Emotionen verschieben sich von Moment zu Moment, die Unterschiede zwischen digitalen und akustischen Instrumenten sind verwischter denn je: eine Verquickung von Zeit, Raum und Klang, die sich gleichermaßen spielerisch und absolut vital anfühlt.
Zusammen mit der Ankündigung über das neue Album kommt „The Low“, eine stimmungsvolle, metallische Triphop-Single aus „Bolted“. Barnes kommentiert den Track wie folgt: „‚The Low‘ basiert auf einem Beat, den ich ursprünglich für Yoko Ono vorgesehen hatte, und enthält Elemente, die ich sowohl am Anfang als auch am Ende des Albums gemacht habe, und verbindet so viele der Sounds und Emotionen, die ich während des Schreibprozesses erforscht habe. Das begleitende Video, das ich zusammen mit Sam Wiehl gedreht habe, vertieft einige meiner Artworks und die visuelle Welt, die das Album begleitet.“.
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Burnt down utopias and urban paranoia, Hidden Horse are back with their second album. “Incorporeal” is the follow-up to 2022’s “Opala” and the band’s first release on vinyl. Composed by João Kyron (keyboards/electronics) and Tony Watts (drums), long-time friends and collaborators on different projects, the most prominent one being the exotic and dreamy Beautify Junkyards (Ghost Box). As a duo they’re a totally different game.
Playing live regularly after the release of “Opala” offered them the possibility to explore a more freeform approach to their sound. Their live sets were often unpredictable, focused on the communication dynamic between the trio (Ana Farinha joins them on their performances) and where they could be led to, instead of reinterpreting the songs. “Incorporeal” embodies that attitude, it is a less confined album and it is not worried about being referential or even self-referential. They finally discovered how to expand the hauntology dynamics and free themselves from design restraints.
The album feels lighter, fluent, more optimistic. It remains thematically close to the eternal sci-fi discomfort, imagine Burial living in Lisbon, Portugal. João and Tony feel free from any doubts they might have had in the beginning of this project and are now more confident about how Hidden Horse sounds and unpreoccupied about the narrative: it is rock oriented but dressed as the electronic / dance music they would like to listen and dance to. Guest slots from Arianne Churchman (“The Tape Spool Within The Horse’s Mouth”) and Clothilde (“Espectros no CCTV”) offer a new range of feelings and confirms how Hidden Horse’s music evolves into new grounds when accepting new ideas and voices. “Opala” was a trojan horse to come out – of the pandemic? – and play. “Incorporeal” feels like the real deal.
“A startling step sideways from Beautify Junkyards’s sweetly spooky psychedelia, this parallel project brings the New Sonic Architecture of Eighties electronica into the 21st Century. Spacious and eerie, these glistening vistas bear comparison with Cabaret Voltaire, Chris & Cosey, and The Tear Garden, as well as the desolate moodscapes of Burial and Actress. Unmissable.” - Simon Reynolds
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Singular Texan musician Craig Clouse hurtles unstoppably towards the 20th birthday of his dancefloor-splintering electronic project Shit And Shine, releasing a landmark LP, his first full-length for The state51 Conspiracy, ‘2222 And AIRPORT’. Acid house, minimal techno, electro, funk, krautrock, hip hop, found sound, spoken word, live percussion and industrial are blown apart stupendously and then reassembled – mad-scientist style, in a way peculiar to Clouse – into 13 hypnotic and transportative tracks.
Lead single SWISS, out 24 March, is a gloriously minimalist funk jam that sounds like the exact point at which someone turns the lights off at a lowkey house party and a wild night for the ages gets under way. An almost scornfully skeletal riff, sounding like a misfiring Cyberdine Systems Model 101 summoning up a Prince circa Sign “O” The Times riff while crashing head first into the hyper-processed early work of Prefuse 73, also featuring a cheeky sample of revered Mancunian DJ Luke Una talking about “existential fucking darkness”.
This is followed on 4 April by INFINITE SHITE, arguably the epic central track to the album, is a Shit And Shine banger for the ages, its dancefloor affect, undeniable. An unforgiving, pulsating Byetone-style bass drone worthy itself of being blasted on a Funktion-One rig, is just the background for a colossal acid b-line, destroying all in its path.
Micro details bristle at the liminal level, threatening to only reveal themselves to those in a club, those listening on headphones or those experiencing a heightened sensory state.
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New Zealand drum & bass titans The Upbeats have galvanized the global turbulence and turmoil during COVID to create their most explorative and emotionally heavy album to date "Not Forever". Featuring the likes of Fat Freddys Drop frontman Joe Dukie, Jordan Dennis, Levine Lale, Sylvee, Syrene Favero and US MC don Armanni Reign, "Not Forever" is unlike anything the duo has released before. Written in a different way, approached from another perspective, created with a newfound love for the creative process and the scene at large; It's a whole new side to the duo who have continually pushed themselves and their sound into the unknown...
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Invisible Inc is back with another remarkable release, this time diving even further into ambient, spiritual and folk-infused psychedelia.
“Mondo Organico”, as the name suggests, is a concept compilation that captures the “organic” side of Invisible Inc. The use of non-electronic instrumentation is a familiar theme explored by the label previously with the likes of Komodo Kolektif, Immaculate Rivombo and Peter Power...but this time the instruments and voices, tranquil and meditatively hypnotic in places, display an even deeper spirituality.
Featuring the talents of Andi Otto and his fello (electronic cello), Anna vs June's ethereal vocals, Tyler Ov Gaia's zoned-out mantra rhythms, Pieter Kock's 8-minute bass and guitar psych odyssey, as well as label favourites Sordid Sound System and Puma & The Dolphin, the record is enthralling and mesmerizing from start to finish - and yet another notch in Invisible Inc's rather idiosyncratic belt.
This record was pressed on eco vinyl. Everything from the sleeve to the inks are recycled too, in an attempt to address some the environmental issues we face today, albeit fractionally.
“Mondo Organico” is the future.
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I want to introduce this work ‘Halos of Perception’ to you in the way Lisa introduced me to it, through the sharing of experiences.
Lisa and I met for a walk near South Yarra station to talk about this work, when inclement weather made it too wet to visit the tunnels. Moving almost seamlessly from a world of leisurewear, infinite milk alternatives and blaring neons to stretches of green by the water that brimmed with sounds and life, we saw a few people climbing the Burnley bouldering wall, butterflies suspended in the hot wind and lots of plants I wish I knew the names of. Overhead the cars rumbled like a ceaseless animal as we talked about hidden ecosystems, imagined spaces and networks of care.
Stemming from a serendipitous encounter with an original Cave Clan member that led to many underground adventures, this work explores the worlds that exist outside of our perceptions. By the river, I leafed through a selection of tunnel photos Lisa had printed off at Officeworks, revealing alien textures, tunnels that stretch on into abysses of their own, underground flowing streams. Light is sparse and delicate, something reflected by the flickering and wavering in Lisa’s piano compositions.
As we walked, we noticed the ways in which infrastructure is often designed to keep people out—cut doors into fencing and clipped wires show an active and ongoing defiance of this. We spoke about how her Cave Clan friend used to go down to this painted room and read in solitude, using candles for light. The way sound exists underground, encased in these hollow cement tunnels, a painted room with its own deep hum. How people used to hold underground shows, how there were rules for safety (no exploring after rain, never alone) that was shared with each other. This warmth and absorption of other’s experiences is present in Lisa’s work—it’s immersive, like wading in water.
We paused on the walk to eat berries and talk about how The Caretaker creates transitory worlds with recorded sound, how this technology captures memory, and the exploratory pursuits of Pauline Oliveros’ Deep Listening Band. These citations of memory and deep listening inform Lisa’s use of analogue and classical instruments, playback artefacts and acoustic feedback in her own world-building. When speaking about ‘Halos of Perception’, she describes it as a fascination with timbre and acoustic artefacts.
Ideas of networks and enmeshment are felt deeply in Lisa’s compositions, motifs overlaid over each other evoking the image of many hands interlinking playfully, tenderly, softly. The way her compositions delve into refraction and echo makes me think about the tunnels and the way they splinter off into many possibilities. Manipulated textures reminiscent of the chalky, earthy, moss air that perfumes the tunnels’ subterranean air. Tactile details that gesture towards close attention, verging on obsession.
This work is also about imagining ecosystems of potential. Lisa shared with me that during this project, she has been reimagining subterranean networks in dreams, thinking about oral traditions, and the way water moves—from the sky to the earth, through the ground, connecting all these spheres. Realised in collaboration with hyperreal video artist Tristan Jalleh, Lisa’s dream landscape melds waterfalls, leaks, flower graffiti, and hidden messages lit up by imagined light sources with existing subterranean networks. There’s a real sense of wonder in this world she has built, how the city can reveal itself to you with some patience and care, how the city and its secrets can find its way into your dreams.
— Panda Wong
expected to be published on 10.11.2023
“Nobody Move!”, so says Philippe Doray and his Asociaux Associés (the Antisocial Associates)! Having dynamited the end of the 70s with two radical albums – Ramasse-Miettes Nucléaires in 1976 & Nouveaux Modes Industriels in 1978, both reissued by Souffle Continu – Doray still hadn’t finished singing. Throughout the next decade he began his Composant compositeur which would document the “second period”, as he calls it, of his Asociaux Associés.
The record includes new schizo-electro songs which make the most of his association with Laurence Garcette, who also plays all sorts of keyboards. A prolongation of the first period of the Asociaux Associés, the duo updates Doray’s poetry: in reaction to the current overcast atmosphere, here are some hallucinatory fantasies to the rhythm of an infernal circle dance (« Le petit géant ») or an ecstatic waltz (“Bombés fluo”) or even coded messages stuffed into bottles and thrown into space (“Secoue le flipeur”, “Choc d’amour”).
On the bonus CD there are further iconoclastic examples: rare recordings (unpublished or even “inaudible”) of the Asociaux Associés but also by Crash, a duo that Doray formed with Thierry Müller (Ilitch, Ruth). At the controls of their experiment- bending machine the musicians multiply the possibilities: peripheral rock, arias in orbit, broken swing, industrial mantras and other joyful falsities. Enough to make you lose your mind? No... as Philippe Doray promised: it is the “jackpot qui frissonne” (the shivering jackpot) which is there to excite
expected to be published on 01.12.2023
Never one to pull inventive punches, Left Coast electronic music producer Dave Aju reassembled this notorious cast of characters for a remarkably fitting album package made during one of the most strange times our world has ever faced in the throes of the COVID-19 pandemic. While things were essentially shutdown, reopened, cycle-repeat worldwide, and every other species in mother nature's kingdom temporarily rejoiced while humans remained still in their caves, Aju and The Invisible Art Trio, his formidable if not-seen-in-a-minute musical team behind such underground anthems as "Be Like the Sun", went to work in the final days of the glorious G-Son studios in Atwater Village LA to record this LP.
Indeed, the same four/five walls and vocal booth that saw the Beastie's iconic Check Your Head and Hello Nasty come to life, became the birthplace of Glossolalia, Aju's fifth studio album and appropriately impressive seven-song set. As always, myriad musical styles and influences are strung together and boldly combined here, to the degree that drawing comparisons or attempting genre references feels futile. There are, however, clear visceral expressions of political provocation, hope and anger, fear and joy laid over twisted yet dedicated grooves in a lockdown era where Aju's imaginary collective dance floor feels in the temporary absence thereof and bizarro sixth-world unification strategy of recording every song's lyrics in complete non-languages aka total gibberish, feels right at home. Even the vocal guests join in the literal chant here, granting us diverse spell-casting and sensual nonsensical lyrical lines over tech-funk mother lodes, before closing the otherworldly proceedings with a powerful grand finale tribute to the US of A's proud boys-in-blue in the wake of George Floyd's very public assassination.
Equal parts timely anti-establishment and uplifting call-to-action, Glossolalia serves as a decidedly coarse yet crucial reminder of the possibilities in collaborative and devoted noise-making, booty-shaking, and alternative world-building during greater global disarray - beyond stylistic, nationalistic, and linguistic dividing lines. An overtly universal and unifying message liberating us from any fixed cultural identities and thus differences, to instead just focus on how the music delivers and we physically respond, together, as the foundation. Perhaps also an inspired response to the talking heads in every corner of the world's media, spewing useless and politically-tainted mouth data at us amidst these turbulent times.
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0860 is a project by Charlie Fieber aka Fracture inspired by London Pirate Radio. The project includes an album, radio station and interview series that explores the history and legacy of Pirate Radio and its importance in the development of UK underground music.
0860 is presented via an 8-track, DJ-friendly 2 x 12" Vinyl Album, 19-track mixtape cassette and the radio station 0860.fm, which is broadcasting now. There is also a Pirate Radio Art Print from UTILE and T-Shirts. Broadcasting now on 0860.fm is an additional 90-min 'Signal Test' ambient album by Fracture.
Over the coming weeks, 0860.fm will broadcast interviews with Bryan Gee, Eastman, DJ Flight, Scratcha, Dextrous, Uncle Dugs, Mantra, Missing, Eddie Peake, Om Unit & Laurent Fintoni, Naina & Sherelle, Stamina MC and more. It will also broadcast lost recordings of original 90s & 00s London pirate station broadcasts from the likes of Kool, Rinse, Pulse and more.
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Theresa Stroetges returns to Karaoke Kalk with her second album for the Berlin-based label, her fifth solo full-length with her Golden Diskó Ship project in total. Having released records with the Indian-German band project Hotel Kali as well as Painting, a group dedicated to audio-visual concepts, »Oval Sun Patch« sees her embrace influences from club culture, advanced electronic music, and pop more firmly than ever before. Over the past 15 years, Golden Diskó Ship has served a vessel with which the Berlin-based multi-instrumentalist has traversed a variety of genres and circumnavigated all conventions in the process. With »Oval Sun Patch,« Stroetges again sets sail into unknown waters with what is perhaps her catchiest album so far—beat-driven, playful, atmospheric, and at times thoroughly anthemic. This is the sound of Golden Diskó Ship moving forward.
A life lived in transit, the vastness of bodies of water and the isolation of islands as well as more generally notions of processes and progress have been recurring motives throughout Stroetges’ previous records and also mark »Oval Sun Patch.« In fact, the foundation for the six pieces was laid when she was working abroad and at times close to the sea. The massive three-part album closer »Earth Before The Space Race« was conceived as a multi-channel audio-visual performance piece during a 2021 residency at Zaratan Arte Contemporânea in Lisbon. The others were written in the following year during two other residencies when Stroetges first spent time in Austria at the sound art festival Klangmanifeste in Lindabrunn and then visited Portugal once more for a stay at Goethe-Institut in Lisbon. With the help of Shelley Barradas, who lent her a guitar, and Julia Klein, who helped her setting up a temporary studio in the Goethe-Institut Portugal’s auditorium, she made the preliminary recordings of what would later become this album.
»Oval Sun Patch«, later refined in Berlin and mixed in close collaboration with London-based engineer Hannes Plattmeier, is a direct result of Stroetges having to work with what was available to her at the time of writing and recording. While her distinct guitar playing—evocative yet funky, complex but catchy—once more features heavily and she uses her voice in manifold ways to sometimes harmonise with herself or creating complex canons as counterpoints to her her own lead vocals, the electronic gear she worked with dominates the album both compositionally and sonically. Stroetges’ music has always displayed a passion for club culture and advanced electronic music, but on »Oval Sun Patch« she proves once and for all how well these influences can be integrated into her unconventional approach to songwriting.
However, the punchy beat and Moroder-like bassline that form the backbone of »Dolphins With Soft Helmets,« the throbbing house and techno grooves underneath »Ephemeral Carnivores« and »Well-Oiled Machine« as well as the jittery IDM rhythms of »Google Your New Name« and her nods to trip-hop with »Tiny Island« do not so much follow established formulas as they use them as a starting point for wild experimentation instead. Stroetges juxtaposes complex rhythms with interlocking melodies and rich harmonies in ways that continue to surprise throughout and still leave enough space for the occasional wistful guitar or vocal passage. Nowhere does this approach feel more epic than on the 12 ½ minutes long »Earth Before The Space Race,« which takes its time to unfold, changing its pace and mood throughout.
»Oval Sun Patch« is an album about change. The lyrics describe constant transformations of sceneries, relationships, physical and emotional states as well as the climate throughout its running time. Stroetges in the meanwhile leads the way as a singer, songwriter and producer who lets her music evolve constantly. This is sound, moving forward.
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expected to be published on 08.12.2023
After heavy-duty releases on self-administered imprints Low End Activism and Sneaker Social Club, as well as London’s beloved graffiti-laden mutant-bass stronghold Seagrave (RIP), the almighty Low End Activist makes a welcome debut with the ESP Institute. No stranger to mining distant regions the hardcore continuum and the residue of soundsystem culture at large, his relentless traversing and assembling of U.K.-specific rhythms demonstrates there is no end in sight when it comes to evolving the region’s musical gene pool. The 5-track 'Gossip Is The Devil’s Radio' strings together a smear of dystopian instrumentation—ghostly pads wrapped in melancholy, percussion that marries bleep with low resolution shrapnel, and vocal fragments that resemble a control tower’s two-way radio on the fritz—all imperfectly focused through a damaged lens of dancehall. We’re drawn to a dull moan that pervades throughout the record, reminiscent of the nihilistic moments in Abigail Meade’s score to 'Full Metal Jacket' where the sonics resemble a slow churn of molten steel occasionally punctuated and pierced by crystalline shards. The depth between the bone dry immediate foreground and distant wet background creates an exquisite sense of longing which isn’t inherently dark or menacing, but seductively bleak. As voyeurs, we may certainly appreciate the aesthetic LEA portrays, but we can’t fully comprehend the sense of escapism rooted within this music without having come of age in the damp and restless confines of England on the cusp of Thatcher’s abuse. Its a reminder that the light at the end of a tunnel, while it may be dim and grey, is still a light after-all, and the only way out is through.
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In 2020, Pali Meursault and Thomas Tilly collaborated to create Radio Glaces, a fourteen-part sound collection featuring recordings of glaciers in the Alps and testimonies from people who have a close relationship with this environment: glaciologists, geomorphologists, hut wardens, mountaineers and high-mountain guides.
As a continuation of this first project, Melt* was a series of improvised performances by the duo of sound artists, playing back the sounds and vibrations of the glaciers as they conducted a microphonic auscultation of the crevasses, rimayes and torrents of the Oisans mountain range.
The outcome of a research project that began over three years ago and is still ongoing, Melt* is based on the recording of a concert at GMEA (Albi) in early 2023, and is available as a vinyl record published by Fragment Editions.
Credits
Sound recordings made in 2020 on the glaciers of Mont-de-Lans, la Girose, Sarenne, la Pilatte and Saint-Sorlin (Oisans-Écrins, France), for the Radio Glaces project.
Field recordings, sonified ice, processing and sine waves played live by Pali Meursault & Thomas Tilly at Grand Théâtre d’Albi on February 4th, 2023, in the frame of ‘L’Expérience du Terrain’, a program by GMEA.
Recording by Benjamin Maumus. Mastering and Cut by Frédéric Alsdat/Ångström.
expected to be published on 08.12.2023
Named after a metro station located in East Paris, Pointe du Lac originated in 2014 as the brainchild of analogue gear enthusiast Julien Lheuillier, joined shortly after by multi-instrumentalist Richard Francés, followed by Quentin Rollet on Saxophone a few years down the line. Les siphonophores des eaux froides et profondes de l'Arctique (“Siphonophores of the cold, deep Arctic waters”) is the project’s third studio album, the first one written as a three-piece as well as their first release on Hands in the Dark.
Like the organisms the album title refers to, Pointe du Lac’s music is highly polymorphic and complex, using a subtle and distinctive blend of Electronica, Krautrock, Jazz and Kosmische as vessels for the band’s fantastic instrumental imaginary voyages. Compared to previous albums and EPs -which tended to suggest cosmic odysseys- this new cinematic outing is diving deep and intends to shed light on fascinating, mysterious and diverse creatures and their habitats. Supported by (paradoxically) warm and impeccable sonic forms, the exploration turns out to be an unsurprisingly expansive one, yet accessible and oddly familiar sounding. There is a sense of assurance and serenity in the French trio’s latest offering, the musicians mastery and open-ended approach to free ambient music lets their ideas flow and never stagnate. The narrative of this expedition is one that will be remembered long after the listening finishes.
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Rumbleton makes a welcome return to Rupture, cooking up some essential flavours with the 'Right Ingredients EP'.
Toronto connects with London once again as Rumbleton makes his first appearance on the label since 'The Fifth Column' in 2018 - it has been worth the wait as four cuts are exported in all the correct measures.
Lead track 'Right Ingredients' has been one of Rupture’s most sought after dubs. A totally unique track with elements of dub, soul, drumfunk and a chest rattling bassline that cuts deep.
Heavy artillery follows on 'Raw Deal' in a surge of amen pressure that continues into 'Just A Dream'.
Rumbleton never loses sight of the musicality however; his collaboration with Dodz, ‘Island Cream’ is filled with warm pads, tough breaks, groove & heart.
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Sven Torstenson's notorious Drugs is a loopdigga's fever dream, bursting with breaks for days and featuring possibly the most iconic cover of all library music's cult classics. First released in 1980, it's now a hyper-rare and seriously sought-after electronic album full of experimental soundscapes and samples just waiting to be flipped. It's both terrifying and terrifyingly good. So much so, it's been brilliantly sampled by Kendrick Lamar and Chance The Rapper.
The sleeve describes Drugs as containing "the newest dimensions of electronic sounds. Dramatic underscores for all problems of today's life and society, at the border between reality and delusion." That's pretty spot-on. The fast moving "Euphoria" is an incredible, unignorable opener. It's loaded with disorientating effects and really needs to be heard to be believed. It's followed by the gorgeous "Soft Hallucinations", containing quiet, meditative and beautiful sounds - as the title suggests. One listen and you'll want to live in the warm embrace of this beatless, harmonic gem. Sinister squelchy synth stabs don't distract from the sheer beauty of the track's main (gentle) thrust. They only serve to elevate its trippy magic.
Next up, "Sky Move"'s agitated and repetitive rhythm makes it an intense listen but with a broad melody that will appeal to many. "Destroyed Dreams" utilises a muffled church organ and it sounds heavenly to begin with but it gradually invites increasingly distorted elements. Yes, you've had trips like this, we're pretty certain. Mental! Talking of bad trips, never have they sounded so good as "Horror Trip"; this fractured drama-synth just needs some some dusty beats to hold it up - get involved.
"Floating Illusions" almost sounds like a beatless Spiritualized bomb from the early-mid 90s; melodic, synthy, church organ-drenched. The mournful, dramatic "Lost Chance" pulses along on a bed of acidy synths whilst "The Morning After" is the sonic equivalent of the extreme fear and doom experienced in the aftermath of the previous night's carnage. Whilst somewhat uncomfortable listening, again, it's pretty compelling thanks to the myriad effects being expertly utilised. Fascinating. The sprawling, fragmented "Random Thoughts" is described as containing "confused melody phrases" - yeah, pretty much sums this one up.
The B-Side is ushered in by "Heroin" and it's as sketchy as you might think, all mysterious minor chords with a dominating - but not overbearing - bass refrain. Next up, the dream-like synthy fanfare of "Night Trip" climaxes after a few minutes of dramatic, ecclesiastical sounds whilst "Day Trip" layers its melody over a repetitive rhythmic base.
Next up, one of the *REAL* highlights makes itself known. Absolutely not to be missed, "Dealer's Corner" is all shifting tenors from quiet to hectic and back around again. The hectic parts are like a totally synthed-out-the-eyeballs jazz-funk collective wigging out with the latest electronic toys from 1980. This one totally SMOKES.
The dramatic "Sad And Hopeless" is appositely replete with dissonant, minor church-organ chords whilst "Riding Pegasus" uses a creepy ostinato bass melody to create irrational bleepy menace that's ripe for sampling. The penultimate track, "Hopeless Chaos" is another disorientating trip, a bleepy confection of sounds and phrases whilst closer "Goin' Mad" is all electronic percussion with an unpleasant rhthymic feel and irritating melody. Music to annoy your partner with!
Established in Munich in 1965 by Gerard and Rotheide Narholz, Sonoton introduced library music to Germany. Initially intended to cater to the country's new TV market, the library also provided an avenue for Gerhard Narholz's astonishing musical prolificacy, and soon became a haven for a wide range of European composers and musicians. In 1969, Sonoton struck a deal with the British label Berry Music for international publishing rights, exposing its catalog to a worldwide audience; when Berry was bought out by EMI in 1973, Sonoton transitioned into a full-fledged international label, with successes in the library and commercial fields and many innovations to its credit. Now a worldwide operation with hundreds of producers and composers under its employ, Sonoton nonetheless remains an independently run business still helmed by its founders - a remarkable achievement in an era when nearly every other major library has been absorbed by a multinational conglomerate.
The audio for Drugs has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
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Distinct Motive is set to make waves once again with the highly anticipated forthcoming release of his latest EP, "Niagara." Combining dancefloor anthems with hypnotic basslines, this collection of tracks showcases Distinct Motive's ability to move dancefloors with his distinctive tracks.
The tracks on this EP have received heavy support from the likes of Mala, Sicara, Truth, Subtronics, Boogie T, Ternion Sound, Chef Boyarbeatz, Caspa, and Peekaboo. Distinct Motive's mission to "bring the dance back to the dancefloor" comes to life, with bodies moving and dance floors shaking in festivals and clubs the world over!
The EP drops on July 28th and Distinct Motive has a stacked touring schedule coming up, so you'll be sure to be hearing these tunes on the summer festival circuit!
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Magic Mountain is the third full-length album from the itinerant American businessman, composer, and producer Martin Glass. Inspired by German electronic music pioneer Edgar Froese, Vangelis, early Warp Records releases, The Orb and The Future Sound of London, the album is a Fellinian memory maze of new age wellness culture, mid-20th century Hollywood glitz, exhaustion, dreams, fantasy, desire and listless ennui. The less sense it makes, the more we can't stop listening to it.
Drawing from the impressionistic recollections of an unreliable narrator with an ever-loosening relationship with time and space, Magic Mountain tells the story of Martin’s feverish stay in a celebrity health resort in the hills beyond Hollywood. Over the course of thirteen evocatively titled tracks, the album unfolds like a half-remembered dream of a place somehow lost and imagined but not beyond our reach. Expressed through sweeping, retrofuturistic synthesisers, haunted old-time melodies, grainy samples and the occasional gently lulling rhythm, it plugs directly into emotion and pleasure, calling the listener to fall into the fantasy.
“As I’ve got older, I just want the music to be evocative, to take people away, to transport them somewhere, to move them,” Martin says. That’s such a basic requirement of music, I know, but – to me, increasingly – it’s becoming the only requirement! How can this record stop somebody on their mobile phone and make them feel something or yearn for something?”
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Our fourth release comes in the form of a collection of rich, pulsating ambient/dub techno from Pan•American - the solo project of post-rock trio Ladbradford's front man Mark Nel son. Drawn to the incredible depth and texture of these tracks, we hope to shine a light on Mark's more exploratory electronic work, reminiscent of Jan Jelenik, Fennesz and Vladis lav Delay.
Through the Pan•American moniker, Mark has been able to embrace the possibilities of sampling and other musical technologies in order to exercise his interests in more remote genres like dub and techno. This collection comprises Mark's dreamiest, most sumptuous and blissed-out tracks taken from 3 obscure releases on labels traversing Zedelgem, Lon don and Portland - (K-RAA-K)³, Veritcal Form and BSI Records. Across these imprints, their output spans IDM, electronica, lo-fi, experimental dub and beyond and have been a music al home to the likes of Pub, Muslimguaze, and King Jammy and more.
Mark's work sits at a confluence of these broad influences, shedding the sound of his post rock past for a more rhythmic, computer-based approach, which culminated in 2002's The River Made No Sound. As ever, the music is an emotional outpouring, progressing slowly through phases between stillness and movement, darkness and light.
With a string of recent releases on Longform Editions and his long-term home Kranky, Mark continues to write and perform worldwide at festivals and prestigious venues such as Lon don's Cafe Oto and Public Records in Brooklyn, NYC. The increasingly personal and reflect ive nature of his music has seen him come full circle to a more organic sound, as exempli fied by his latest LP, The Patience Fader.
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Sam Barker returns with his first solo EP since 2020's BARKER002, this time on Oslo's Smalltown Supersound. While Barker's previous releases (2018's Debiasing EP, 2019's Utility LP) explored the possibilities of kickless dancefloor tracks, Unfixed sees him inverting the musical equation and exploring both the variability and sonic possibilities of a kick-drum - though the final result is not a concept EP. The four tracks emerged from a session that started out as both a technical study in bass drum design and cognition, specifically problem of "functional fixedness", which describes a mental block that restricts the use of an object to its traditional application. Exploring the so-called "generic parts technique", whereby an object is broken down into its component parts to help reveal novel solutions, the typical bass drum elements of waveform, transient, and noise were re-combined through modular synthesis to become fluid, expressive and dynamic. However, what began as a rule-based experiment was overtaken by a more organic music making process without specific conceptual constraints, which allowed the music to live and breathe. Tracks were started and then left unfinished, only to be approached again and again over lengthy intervals. Stylistically the result a mix of raw, stuttering, psychedelic growl, kosmische techno, and infinite iterations and of a single groove. In this regard, Unfixed sees Barker not only deeply invested in musical experimentation but also exploring his own biases in both composition and sound design. The result is, once again, a sound and musical framework all of his own.
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Biome returns to Madam X’s Kaizen imprint with 5 heavy hitting, warehouse-ready club tools.
Serving up his signature style of big drops, frenetic growls and mutated bass, the A- side sees leading tracks Garvey and They Know marry his legendary origins in Dubstep with the carefully crafted, UK techno assaults of his recent work.
Early support from Mall Grab, Darwin, and Loefah puts the tracks firmly in the UK techno scene’s ‘gully-130’ danger-zone.
The B-side sees Biome exploring his sound further. Equinox’s dense textures perfectly accommodate its dub-heavy moments as it subtly creeps into the listener’s brain, whilst Stagger’s laser-sharp groove explodes in bursts of energy as it scales the heights of its 81-style soundscape.
The aptly-named Conquer brings the They Know EP to its gut-wrenching climax, starting with suspense-building hi-hats and ending with an aggressive breach of tech- out rollage: dark, bassline-driven UKG at its finest designed for dark spaces and big soundsystems.
KAIZEN continually moving forward
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Flora Yin Wong’s ravishing interiority finds lucid expression on an absorbing second album for Modern Love, manifesting her instrumental storytelling in a syncretic bind of supernatural themes with hyperrealist, concrète sound design.
Through ten parts, Flora crystallises the ennui that followed an uncanny, disorienting trip to East and Southeast Asia. “On an unexpected stopover in Hong Kong after five years away, my friends took me to a Bazi reader one night - something I was curious about, but much of a ritual for them - ” Flora recalls. “My father told me that when I was born, he had obtained an auspicious reading that since stayed like a guiding talisman with me. It was almost past midnight but people were still lined up, rather shaken and visibly upset, to see the old man. He had kind eyes and asked me why I was there and I said I was at a crossroads. He asked me my time and date of birth, and told me to pick one of his four little white canary birds as a vessel for divination.”
This was the final stretch of an ultimately aimless few months across the continent, including a 20 year overdue return with her father to his adoptive family in his hometown Kuala Lumpur - for many reasons, ended up as a strange and uncanny trip. She spent solitude in a haunted house during the quiet snowfall of Kyoto, where she might have offended some spirit... and nights in mountain temples with South Korean monks, and an equally strange feeling return to the Island of the Gods.
“It culminated in what felt like a final disillusionment with Asia - sudden deaths and a breakdown in beliefs - somewhere I never really have or will be able to connect with. The process of the reading summoned a final blow to my gut - an overwhelming sense of rootlessness, and understanding that all there is is emptiness and entropy. No birth-divined protection, just a measurement of the night sky based off nothing and everything.”
Heavy with a sense of nightmarish dissociation and grief, Flora read about Giuseppe Tartini’s ‘Violin Sonata in G Minor’, aka the Devil’s Trill Sonata, a notoriously tricky c.18th composition which attempted to transcribe music heard in a dream, which the composer felt he could never fully bring into reality. It’s this soporific motif that binds and underpins ’Cold Reading’, finding Flora chasing the dragon of fleeting fantasy through passages of etched melancholy, pinched with hypnagogic jerks that linger in the memory.
From her use of the ‘Devil’s Trill’ Sonata in ‘All My Dreams are Nightmares’ through evocations of subtropical humidity in the Bryn Jones-esque, resonant hand-played percussion of ‘Konna’ and ‘Banjar’, to a breathtaking dreampop denouement ‘Nectar Dripping’ and the Enya-like lush of ‘Beautiful Crisis’, Flora blooms her ideas with an openended ambiguity so often missing from so called Ambient music, ushering the listener into a soundworld that disturbs and displaces, just as much as it calms.
expected to be published on 10.11.2023
A year and a half has passed since Slovak-Hungarian artist Adela Mede self-released her debut album ‘Szabadság’. Its liner notes described it as “a navigation”, a search through “the personal, familial, cultural, folkloric and geographic of her past and present.” Her second album, ‘Ne Lépj a Virágra’ no longer searches; here, she puts down roots and delves deeper into the earthy reality of her home, Central Europe. Mede sings in three languages with newfound conviction and grace – this is an album of profound faith and confidence in the potential of this fertile soil.
Composed and recorded during the last 18 months in Bratislava, Slovakia – a city where three countries meet, where the East and the West collide – 'Ne Lépj a Virárga' translates to “don't step on the flower”. Its themes – budding potential, recognizing the beauty in the ordinary, solidarity, turning despair into hope – emerged through Mede's wholehearted involvement with her community, teaching singing to both children and adults, and various grassroots volunteering initiatives. It features collaborations with local artists, Mede's singing students, as well as fellow Eastern European contemporary artists Martyna Basta and Wojciech Rusin.
Adela Mede embellishes carefully crafted songs with minimalist and folklore influences, but also embraces more experimental approaches. The result is a collection of quite varied yet consistent pieces which highlight Mede's proficiency as a singer, arranger, producer and improviser. It is a grounded, confident next step for the Bratislava-based artist. Whether her vocals are naked, heavily processed, warped and reversed, or looped and layered; whether the production is sparse and minimalist or overwhelming and swampy; none of that changes the fact that the gentle tentativeness of her debut is gone. This is “Central European music”, at its most striking and meaningful: patient, determined, embracing both complexity and possibility.
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AN ELM is one of the many monikers of Florian von Ameln. "Tangerine Elm“ continues his journey through the world of cinematic soundscapes. Inspired by the ethereal music of Tangerine Dream, this album takes listeners on a mesmerizing sonic adventure. Building upon his initial exploration of John Carpenter's iconic soundtracks in his debut album („A Nightmare, An Elm Street“) and the brilliant follow-up „Fly Pan Elm“ (released 2019 in Günter Schlienz’s Cosmic Winnetou), “Tangerine Elm” is the final part of a triptych. So stay tuned for a transcendent musical odyssey like no other.
Drawing inspiration from the legendary german kraut outfit around mastermind Edgar Froese, “Tangerine Elm” album navigates the delicate balance between fandom, deliberate manipulation of clichés, and the meticulous extraction of Tangerine Dream's essential elements, immersing listeners in a dreamlike auditory experience. With a masterful touch, AN ELM crafts intricate melodies and ambient textures that transport listeners to uncharted sonic realms.
Von Ameln‘s music transcends mere homage, delving deep into the essence of Tangerine Dream's sonic universe, creating an auditory journey that is both nostalgic and innovative. Prepare to embark on an ethereal musical odyssey, where AN ELM's sonic landscapes blur the lines between the familiar and the uncharted, inviting you to explore the limitless possibilities of sound and imagination.
Von Ameln also forms one half of the dynamic A/V duo Function Level Marker. Together with his collaborator, the visual artist SUBRIHANNA, they have been pushing boundaries of audio-visual artistry, crafting immersive performances that blur the lines between sound and visuals.
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‘UFO Forest +’ is the third and most alchemically satisfying archival anthology of unreleased material from the Argentinian composer, building on a growing recognition of her poetic, psychosonic investigations ongoing since her studies in the early 60’s with Nadia Boulanger and Edgardo Canton, and at the renowned Parisian institute INA-GRM.
In three longform parts and one vignette, she projects hallucinatory designs for the imagination, oscillating from the shearing vortices of the magnificent title piece to the sharp plunge into Amazonian ritual on ‘Vuelo de signos y remolinos’, and out to planes of sci-fi dread, ecstasy and chaos on ‘Cercles des ronde’. Collected, they speak to a unique grasp of unruly dynamics, right on the cusp of natural wildness, and an ability to develop ideas from kernels of sound that blossom into cataclysmic events.
'Cercles Des Rondes' is especially unsettling and surreal; a longer, darker composition, it brings a new level of drama to the anthology, including a deliriously doomed synth fanfare and robotic voices, dissolved into blaring surrealism when Ferreyra starts to add corrupted electro-acoustic elements.
It's a genuinely rare pleasure to inhabit any of Ferreyra’s immersive works, and never more so than on this set, which feels a bit like peering down a telescope fixed on just one tiny sliver of a cosmic multiverse, or like looking at a vast, luminscent tapestry in the dark with a flashlight.
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Repress !
In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom and funeral beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-gods-forbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album. artwork by Steven Stapleton released in co-production with Infinite Fog Prod.
expected to be published on 19.10.2026
The second release of CMYK's Jam Dem Sounds label features five fruity slices courtesy of Crump, full of UK flavour and influence.
The A-side showcases two alternate cuts of stripped-down UKG while the flip offers a housey stepper and concludes by exploring other BPM ranges from jungle to downtempo.
The pressing is strictly limited and the records will come as hand-stamped white labels packaged in a recycled paper sleeve.
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