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Santuario de Mariposas aims to explore the audio characteristics of musical instruments of pre-Columbian origin. They are complemented by a variety of instruments of an ethnographic order, associated with indigenous groups throughout Mexico. After more than 40 years of atnomusical research, Itxoneztli recorded this album trying to give life to sleeping instruments and reflect what the music of the Mexicas ancestors was like.

a 1 X Okoot Kay Ppum T`Huul The Song And Dance Of The Archer

Luke Sanger brings a calm yin to an energized yang in his new EP, Mountain Dance for Cosmic Pint Glass, with Jamie Paton and Møzaika remixes. Limited to150 x black 12″ vinyl with hand finished screen-printed sleeves.

Discos Transgénero re-issue the Marnie Weber classic first solo LP, “Songs Hurt Me” originally from 1989. This seminal record was an important part of the Los Angeles post-punk performative art rock scene. Brooding synthesizers, heavy bass, strange melodies, and poetic lyrics lead you through an industrial journey. These songs were born from Weber’s earliest performance art characters: a deer, an old woman, a manic courtesan, and a butterfly. Songs Hurt Me was originally co-produced by Phillip Drucker AKA Jackson Del Ray of Savage Republic and 17 Pygmies fame.

Marnie is a pioneer in art rock from the 80’s in Los Angeles. She emerged early in the music scene as the bass player in the Party Boys, a formative and important Los Angeles post-punk downtown art scene band. During this period, the Party Boys performed shows with The Minute Men, Savage Republic, The Red Hot Chili Peppers, Fourwaycross, The Blue Daisies, Perry Farrell’s first band Psi Com, Camper Van Beethoven, and many more. Bruce Licher of Independent Project Records, whom Marnie met in art school, released the first Party Boys record. After performing with the Party Boys, Marnie went on to become a noted solo performative art musician in her own right. She has released five solo records and numerous group album releases.

As a visual artist Marnie created the cover of Sonic Youth’s A Thousand Leaves album – interesting to note Marnie is the hamster girl on the cover. She also designed posters for Sonic Youth and did a co-release of her second album with Thurston Moore on his label Ecstatic Peace. Expanding from her musical roots, Marnie exhibits artwork, films, sculptures, collages, sound installations, and costumes internationally in museums and galleries. She has had two extensive survey exhibitions of her artwork ­– most recently at the Museum of Contemporary Art in Geneva.

Songs Hurt Me was remastered by Mark Wheaton at Catasonic Studios Los Angeles using the original tapes for an unprecedented restoration of this historic album. Discos Transgénero has thoughtfully designed and pressed the reissued LPs in Germany. This unique edition of Songs Hurt Me is a limited release of 400 copies distributed worldwide.

Das ursprünglich 2013 erschienene und international gefeierte Werk "Stories" war das erste Album, das der in Berlin lebende Komponist und Vibraphonist Masayoshi Fujita unter eigenem Namen veröffentlichte. Es bildete den Auftakt für eine Trilogie von Solo-Vibraphon-Alben, dessen letzter Teil, "Book Of Life", im Sommer 2018 bei Erased Tapes herauskommt. "Book Of Life" ist letztlich auch der Grund dafür, warum das Londoner Label "Stories" als weltweite Neuauflage noch einmal in die Läden bringt. Der Zeitpunkt ist gut gewählt, da 2018 perkussiver Ambient eine Art Renaissance erlebt, unter anderem befeuert durch die Wiederveröffentlichung von Midori Takadas wegweisendem Album "Through The Looking Glass" in 2017 sowie Ryuichi Sakamotos "Comeback", dessen Soundtracks durchaus Parallelen zu Masayoshis Storytelling-Klangwelten aufweisen. In den vorangegangenen Jahren fokussierte der ausgebildete Schlagzeuger sein künstlerisches Schaffen ausschließlich auf das Vibraphon und prägte so einen ganz eigenen Ansatz zwischen Ambient und moderner Komposition. Das Vibraphon "ist ein recht junges Instrument, und doch wird es fast immer auf dieselbe Art gespielt", so der Berliner Exilant. "Ich habe das Gefühl, dass es da noch viel mehr zu erkunden gibt mit dieser spannenden Erfindung."

Like cold northern winds, this sound approaches to discomfort the weak, and make those well-adapted feel alive. For all those who experience noise as a new form of contra-meditation, with its brain-saturating sensory information that enables disconnection and liveliness.
This cassette continues/tells a story through different soundscapes, composed with modular synthesis, field recordings and music coding languages, by the hand of the young Max Frimout, Physics student and music producer with a wide range of musical affinities and notable distinction.

Evolving from noise to casual percussion, with a final unexpected melody, it captivates and satisfies the true listener who is able to complete and understand the 6 cuts of this Ep.

We present the first reference of the X series of Structured Records, where experimentation of highly abstract electronic music will take place.

Super heavy keta-dub 12" by Namahage, DJ ScotchEgg's mysterious little side project on Zonedog. Hand stamped with glow in the dark ink! Strictly limited vinyls, no digital!

'Waku Waku Doom' on A is a true low end epic. Hazy vocal scraps are flying over vast fx landscapes and percussion loops, all moving in lava lamp speed - until the track properly twists into phase two...

The beatless 'Bathyscaphe' on side B goes on a deep sea dive, balancing awe and terror as the
submersible slowly descends deeper and deeper into the silent world of immense pressure.
Intense journey!

Natela Svanidze (1926 - 2017) is an Honored Art Worker and one of the most distinguished Georgian composers, whose creations have not been explored and praised sufficiently to this day. Key period of the artist's comprehensive work coincided with Soviet times, resulting in a variety of impediments—both in creative and personal realms of her life.

The following issue aims to showcase Natela Svanidze's electronic music recorded in 1974 for her Georgian Lamentations oratorio, part 5. "Epitaphium". The groundbreaking for the time being, as it is based on electronic music, developed into four dynamic waves, with rhythmic whispering of the choirs chanting "eternity". Several aspects make this part exceptional: this is the first electronic music piece in Georgian music, composed by a female composer, and simultaneously recorded on Synthi-100, a popular synthesizer (invented by P. Zinoviev and imported to Moscow from England in the early 1970s) at the time. This very synthesizer was used by E. Artemiev, V. Martinov and I. Bogdanov, as well as famous movie soundtracks, including Stalker by A. Tarkovsky, Sibierade by A. Konchalovsky, A Few Days from the Life of I.I. Oblomov by N. Mikhalkov and many more.

This unique recording from 1974 has never been released and can be extremely precious and valuable especialy to modular synth comunity and generaly to all music lovers.

Natela's release has been treated with care and it comes supported by 3 young and extremely talented Georgian music producers: HVL; Tamo Nasidze and Mess_Montage.

a 1 Epitaphium (Live Performance) feat. Archil Ushveridze, Nikoloz Rachveli, Georgian National Choir & Georgian Philharmonic Orchestra

c 3 Nat Mode (HVL Rework) [feat. HVL]
[d] 4 In Memoriam (Tamo Nasidze Rework) [feat. Tamo Nasidze]
[e] 5 Nothing Lost (Mess_Montage Rework) [feat. Mess_Montage]

[a] 1 Epitaphium (Live Performance) [feat. Archil Ushveridze, Nikoloz Rachveli, Georgian National Choir & Georgian Philharmonic Orchestra]

[c] 3 Nat Mode (HVL Rework) [feat. HVL]
[d] 4 In Memoriam (Tamo Nasidze Rework) [feat. Tamo Nasidze]
[e] 5 Nothing Lost (Mess_Montage Rework) [feat. Mess_Montage]

Ultra rare tracks that represent the sound of the postpunk Dutch band Necronomicon and their label Fetisj from the period 1981-1982. All selections have been mastered from the original released cassettes and unreleased demo-cassettes. * Features 2 Remixes.

Debut Release From The Upcoming Mexican Artist Alonso Rivero A.k.a. Noch

PVAS lives/works in Berlin, but grew up near Pleasant Valley in Canada. Accepting eEntropy Loss was recorded at home in March 2020, and served as an emotive outlet to a period of critical thinking about the internet. It consists of a mixture of machine music and homemade software.

X’trapolis is under threat...

Word is spreading fast that the powerful an long-feared Agamid lizard known by many as Reptilius has been sighted building a dangerous army on the outskirts of Squamata, exhausting the forests natural resources and leaving previously thriving, culturally significant and beautiful areas decrepit and lifeless in a greedy, capitalistic move to gain control.

Completely unaware of this, Reptant returns home to X’trapolis after spending 5 years conducting extensive research on Earth’s unique analogue technology.

With his esteemed Lizard Tech Militia stuck back on Earth, Reptant finds himself alone and must seek help from the infamous Gecko Force if he wishes to succeed in protecting his home.

The Gecko Force are a lounge of superior prehistoric native Gecko’s rumoured to have been some of the only survivors from the brutal Agamid colonisation of X’trapolis which occurred many generations ago.

With their power and extensive knowledge of X’trapolis, the planet and all of its delicate and precious lifeforms just might stand a chance...

Return To Planet X’trapolis was written, recorded and mixed by Reppi T. Lizrd Aka Reptant at Squamata Studios, X’trapolis 2019-2020. Mastered by Alden Tyrell. Cut by Marco Pellegrino at Analog Cut. Distributed by One Eye Witness. LKR Records, 2020, Naarm (Melbourne), Australia.

“Dedicated to all the Lacertilia in the galaxy, May your forests remain untouched and liberated”

New label on the block Raakvlak returns for its second release, this time brancing out into more local territories. Deze Hoofden Praten is a vast recollection of the idiosyncratic work of spoken-word guru Rik van Boeckel.

Next in line for Raakvlak is a recollection of the wicked work of poet, spoken-word expert and all-round expressionist Rik van Boeckel. Deze Hoofden Praten is the result of two mid- eighties tapes released on Kubus Cassettes, the same label that accommodated the work of subterranean ambient wizard Enno Velthuys. Although van Boeckel’s oeuvre contains some similar elements, the outcome here is much wilder; a musical hodgepodge of new wave pop, ambient and quirky dub. What’s more, emphasis is just as much on the Dada- bordering poetry at present as on the sonical equivalent. Think Ton Lebbink’s cousin if he would’ve been into new age instead of punk.

Van Boeckel initially made name as a famed spoken word artist, doing rounds in the Dutch pop venue circuit. One of the first ones to notice his Dada-bordering poetry was Rob Smit, musician and overseer of Kubus Cassettes, the label that already been home to the mind- stretching ambient of subterranean-chill pioneer Enno Velthuys. It did not take long for Smit to think up the musical backdrop to van Boeckel’s words, adding bright synths, tranquil guitars and the more off-side sounds that Kubus was known for.

The result? One odd hodgepodge of new wave pop, quirky ambient and new age sounds, spearheaded by van Boeckel’s surreal tales about Dame Nature, travelling and other everyday nonsense. Two cassettes came to fruition, both released on Kubus Cassettes, both in the mid-eighties, of which Raakvlak now has cherry-picked some of the finer moments.

Certainly one to turn heads and ears alike, this may serve as a (re-)introduction of a singular mind to the wider universe.

(180 gr) There is something wonderfully uplifting and naive about the mittle European B-Movie Pop and Library Music of the 1970's. An imperfect perfection of sound palette and melody, creating & encapsulating a whole world of hypnotic intrigue.This feeling is what comes to mind when listening to the debut album of Californian Scott Gilmore, which is reminiscent (in more modern times) of the pre 'Moon Safari' Air.

There is something wonderfully uplifting and naive about the mittle European B-Movie Pop and Library Music of the 1970's. An imperfect perfection of sound palette and melody, creating & encapsulating a whole world of hypnotic intrigue.

This feeling is what comes to mind when listening to the debut album of Californian Scott Gilmore. A wonderfully concocted tincture of yard sale instrumentation, Walker Brothers guitar, offbeat refrains and home-brew Synthesizers, put together with a truly different sense of perspective, from a musician seeming to exist outside of time and scene.

Scott's debut is reminiscent (in more modern times) of the pre 'Moon Safari' Air. The playful opening of 'E70 No.01' leads us on to the Bowie and Eno-esque shimmerings of 'Europe' and the Gainsbourg hazed moments of 'Flight Through Grey' and 'Subtle Vertigo'. The album closes with 'Walking Underground', a Valley Boy diary of the outsider looking inwards at the bizarrity of everyday life. This is a travelogue of the timeless and gently obscure, a bunch of rarities all in one place, at one time, woven together with an accomplished sense of harmony, counterpoint and vision.

From the river side of the Dordogne, to the Grünewald of Berlin, the white sands of Playa de ses Illetes and the urban sprawl of Van Nuys, this is an alternative sonic reality sent to free the mind and open the heart, as the sun rises high in the sky and the cotton wool heat envelopes us all in it's gilded cage.

»Like the breeze among the leaves, we keep on traveling
towards the tides, to face the shoreline at the end.« Leipzigs
»Unforced« label is back with another »Sonnenstadt« album,
full of warm memories to collect.

Long awaited re-issue of The Necks 2011 masterpiece. Always different, here the Necks resolutely layer polyrhythmic material to form seething blocks of sound - in two long pieces, one more stripped back to the live trio, the other featuring multiple strata of swirling Hammonds, noise-guitar and electronics. Their 16th release still resonates on its own.

Thissperso is an Argntinian producer from Buenos Aires, currently based in Barcelona. Since the begining, he is part of the 63 crew.His music has gone from ebm to club music, always expressing kind of anxiety. He calls it visceral vomit.
Since the first track might very well express the album tone, beetween sadness, anger and anxiety. From ebm to kinda club music, the album might bring you somewhere where hope has no place to be. Where death is inevitable and witnessing is the only thing to do.

Yozy is a DJ and producer from Uruguay, now based in Barcelona. Constantly looking for sweet melodies and hard percussions. In this his first release, in physical format, his music is characterized by an amazing expressiveness, and an exceptional forcefulness. Her development in the tracks makes it unthinkable that this artist remains anonymous for a long time.

A new chapter of the very well received MINIMAL SIGNALS V.A. compilation series is here. Again, MINIMAL SIGNALS aims to capture what's hot on the international minimal dark and post-pyunk scene. On this occasion, the american solo project DANCING PLAGUE, the Berlin based MARTA RAYA, the german HOLYGRAM remixed by the french chevalier of synths COLD COLORS and the french SYDNEY VALETTE remixed by his compatriots THEREMYNTH makes of MINIMAL SIGNALS VOLUME 4 a must have for the autumn 2018. It the It arrives on 12 Maxi-Single EP format and produced in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem

Die 2CD besteht aus jeweils 10 Fabric- & FABRICLIVE-Exclusives, die beiden LPs erscheinen entsprechend separat. Fabric steht für den Londoner House- und Techno-Underground, ob melodisch von Nina Kraviz, electroid von Steffi oder experimentell von Margaret Dygas. Der neue Resident IMOGEN serviert Dark Techno, Marcel Dettmann seinen klassischen Late-Night-Sound. Call Super (Houndstooth) lässt es deep-melodisch angehen, Maya Jane Coles spielfreudig-housig und der britische Dance-Pionier Sasha bestreitet das Finale mit euphorischen Höhen aus Vocal- und Melodiestrukturen. FABRICLIVE repräsentiert das beste aus Dubstep, D&B, Jungle, Breaks und Experimental-Beats. Den Anfang machen Junglist Special Request (Houndstooth) und die D&B-Koryphäen Source Direct und J Majik. Shackleton und Pinch & Trim zeigen die neuesten Entwicklungen in der Bassmusik auf, Daniel Avery und B.Traits ihre Dancefloor-Flexibilität, Mantra die Zukunft des Londoner Undergroundsounds. Das Finale bestreiten zwei der frühesten Gefährten des Clubs, Groove Armada und Original-Resident James Lavelle als UNKLE.

For their first release, Zurich-based label Unruh proudly present Sextant Part 1, comprising four tracks from the crew and their friends. First up is Panstarrs with ‘Pendulum’, a fierce slice of dark, semi-industrial electro, followed by the nagging synths and jacking drums of ‘Night Ride’ by Tachyon. The flip opens with ‘Mammoth Hunt’ by The Winky Wanky Wonky Woo, a shapeshifting behemoth of unhinged effects and pounding beats, before Robotron brings the EP to a blissful conclusion with ‘Baltik’.

Muscut celebrates its twentieth release in a row with a compilation which includes label’s residents, guests and beloved "similar artists" such as G.E.S. (aka Jan Jelinek, Faitiche), Andrew Pekler (Faitiche, Kranky), Hanno Leichtmann (Dekorder, Entr'acte), S A D (Udacha, 12th Isle), Nikolaienko (Muscut), Koyil (DIG), Mårble (Natural Selections, Not Not Fun), KWJAZ (Not Not Fun), uon duh (Muscut) and Ahnnu (Leaving Records)

We're back again with another gathering of old companions
and new faces, representing our bandwidth from intergalactic funk, mellow hip hop, bone dry warehouse stompers & all kinds of spaced out jams

Sons of Traders 002 is a Compilation 8 Tracks Ep of loosely knit artists that surround the duo Sons of Traders (Mike Tansella Jr. and TANS). Leading the EP, the title track “Rotten to the Core” is a slow stomper with a forceful vocal sample and some various squelches. LA’s Kosmik picks up the tempo with “Murmurs” which features a hypnotic synth loop over a 4/4 beat. On “Chomping at the Bit” C.L.A.W.S. and Tyrell trade off between claps, hi hats and short delays underneath a sinister synth tone. To close the A side of the record is Future Blondes out of Texas with “2020 ultra visions”, a cut that can only be described as a sinister barrage of slamming drums and tones. The B side launches with “The Other Side of Town” by The White Lines, a dark electro workout with vocal samples, dark synths and growling bassline. Frigio label boss Juan Pablo brings us an intricate drum pattern with layers of synths on “Night Drive in Beijing”. “Self Feral” by Chris Mitchell is something with a hip hop swing, heavy drums, various feedback and vocals. Closing the EP is Dragee, a new artist from Tel Aviv. “Them” features a hard snare that holds together the demented vocals, claps and bassline that develop throughout the track.

From the mind of VernoN comes the first release of Eupasia, a label that tells the story of a mythic world built under the ground by some undead worms that have gained human characteristics. This first EP evokes gloomy and misty ambiences, followed by electro rhythms and rough basses, creating tension and resembling claustrophobia feelings.

Washington DC-based Lurid Music welcomes Belgian producer YNV for his debut album entitled "Golden Hour Ritual" that showcases his entrancing blend of avant exotica, Middle Eastern mysticism and cabaret electronica.

YNV was born in Brussels in 1979 and moved to California in 2013. He has so far released tracks on Invisible Inc and Emotional Response. Along with his upcoming debut album on Lurid Music, he has a single ready to be released on Neubau. He is a video artist and music curator for the Vague Terrain nights in San Francisco. In his music, as with his videos, he exploits the liminal space between our most disparate emotional states and the tenuous thread that binds our inner world to reality at its face value. Carrying the torch of his Euro roots, you hear the influence of his homeland with some California sunshine and a palm tree thrown in for good measure.

His LP for Lurid Music features nine original tracks of a brooding cinematic nature, transporting you to the sheltering courtyard shade of a desert riad where every movement seems as theatrically measured and eccentrically calculated as anything Tuxedomoon or The Residents ever produced. The LP closes with a slow acid trance remix from Anatolian Weapons.

Yoshinori Hayashi's second album Pulse of Defiance is an outstanding statement from the Tokyo-based producer, expanding his ever-growing world of sound and showcasing his musical versatility in the process. Spanning ecstatic jungle breaks, club-ready techno, and free jazz's unpredictable gait, Pulse of Defiance is a sonic journey through Hayashi's marvelous mind that provides new surprises at every turn, and with every successive listen. Pulse of Defiance is the latest and most fascinating step in Hayashi's still-blooming career_a half-decade of fantastically quixotic output that's established him as one of electronic music's most fascinating aural conjurers. After a string of releases on esteemed labels like Lovers Rock, Going Good, and JINN, Hayashi made his Smalltown Supersound debut with 2019's Ambivalence, his first full-length album. An immersive and fascinating work, Ambivalence submerged Hayashi's sound in distant, underwater textures that added layers of allure to its loose, jazzy confines; it was followed up by last year's Y, a four-tracker that splayed drum-machine freakouts and wobbly low-frequency textures across techno's brittle framework. Earlier this year, space disco masterminds Prins Thomas and Bjorn Torske offered lush remixes of Ambivalence cuts that emphasized just how musically fluid Hayashi's style is_ and Pulse of Defiance is more concrete proof that he's working without limitations. Within the opening third of the album's enticing sprawl, the listener's treated to gorgeous jazzy hip-hop breaks, upward-scaling piano drama, and cavernous techno reminiscent of rave-era greats like Orbital and Underworld. From noise-bursted drum'n'bass to rapid-fire club music not unlike Paul Woolford's rave-revivalist project Special Request, there simply is nothing Hayashi can't do. Indeed, such virtuosic and diverse-sounding music collected in a single statement brings to mind myriad reference points; you can hear the eclecticism of post-rock greats Tortoise amidst the clattering drums of "Alone," while the expansive work of Thomas and Torske is recalled throughout as Hayashi plumbs his body-moving instincts more than ever before. But Pulse of Defiance is also a work that could only come from him at this point, the latest delightfully surprising release from a musician that continues to chart his own path.

With unknown destination the flamingo sets of, and so does she. Movement is the first release on the freshly launched Moefment label and it's a very versatile one.Dutch DJ and producer zOoTiMe's vinyl debut molds drums, sacred hymns, animals, flutes and rhythms together into an equitorial orientated experience. Combining eight own productions aswell as two edited works, the LP displays a surprising variety of styles and tempo. Key is an organic, somewhat psychedelic and in times primitive feel, as if all evolved in the middle of a bustling jungle. Trip!

Hong Kong based hypno-tropicalia duo Blood Wine or Honey are set to release their second album 'DTx2' on 30th June 2021. Made up of seasoned multi-instrumentalists James Banbury (synths, bass, percussion, cello) and Joseph von Hess (vocals, clarinet, sax, percussion), they create a heaving, heady brew of brazen sax themes, lo-fi/hi-tech electronics, densely layered cello inflections and motorik drums.

These explorations start with the dance-floor then go above and beyond, taking notes from post-punk and tropical polyrhythms, always anchored by the bass weight of the sound system. Their distinctive sound is created in the industrial warehouses and hidden rural settlements of Hong Kong, surrounded by the low-end throb of heavy machinery, the lingering scent of hand sanitiser and the humidity of the South China Sea.

Written and recorded during 2020-21, new album 'DTx2' looks ahead to an uncertain future, drawing deep on their experiences and influences and welcoming a host of co-conspirators.

Jean Daval, aka Preservation (credits include Yasiin Bey fka Mos Def, MF Doom, RZA, GZA, Raekwon, KRS-One, Aesop Rock), provided truffle-hunted beats, synths and basses, which, when put through the BWoH mangle, emerged as 'Messenger'.

Superstar and old friend of the band KT Tunstall came to work with BWoH after they contributed a DJ mix for her lockdown 'KTRave' on Instagram. 'Attraction' was the result. Wonky bass, found-bounce beats and Buddy Rich drums smashed out by Tim Weller (Marc Almond, Future Sound of London, Goldfrapp, The Chemical Brothers, David Axelrod) resulted in a bonkers production with passionate vocals and layers of harmony.

'I Shall Rush Out As I Am' is a collaboration with legendary pop provocateur Paul Morley and Janice Lau of Hong Kong band David Boring. The track is based on the words and the spirit of sci-fi writer, satirist, literary critic and radical feminist Joanna Russ and took shape quickly, with tinges of A Certain Ratio and memories of Suicide, provoking Janice to an authentic scream-of-consciousness delivery.

Multi-talented London singer, musician and composer Kamal (Neighbourhood Recordings) took time away from being the Next Big Thing to transform 'Testing Time' with funk-edged keys. A key figure in the extraordinary '90s Hong Kong music scene, Zoë Brewster contributed vocals.

Roughly divided, the album's first set of songs make relatively short statements, punchily self-contained with common threads. The final four tracks, Testing Time, Embers, Embrasure

and Echt Embrace disperse into flights of mantric fantasy, with quicksand time-signature shifts and key-changes emerging into a more introspective zone with a fervent pulse, a shift in energy: stamina over speed.

Forever lost single track from Caroline K real name Caroline Kaye Walters - founder member of Nocturnal Emissions, one of the best UK experimental/industrial music groups in the 1980s. Conceived at her Brixton studio in 1983 during the same sessions of "Don't Believe It's Over, "Mirrorball" sounds heavily inspired by "Blue Monday" from New Order, unveiling an unexpected pop side from the British experimental artist, here with the help of Beverley Ireland at the voice.

Caroline Kaye Walters formed Nocturnal Emissions in 1980 with Nigel Ayers, contributing voice, synthesizer, bass and drum programming to the group’s early releases. She and Ayers also co-founded Sterile Records (1979-1986), one of the key underground imprints of its time, home to music from the likes of SPK, Lustmord and Maurizio Bianchi. In later life Walters retreated from the public eye, and in 2001 married Daniel Ayers (Nigel’s brother, also of Nocturnal Emissions, and her collaborator in The Pump), moving to Garfagnana, Italy, where she resided until her death from leukaemia on July 12, 2008.

Mannequin Records head Alessandro Adriani goes once again at the remix duties with a nearly 7 minute minimal-electro-balearic remix, overheating his Roland Tr-808/909/707 with delays reverbs and flangers and updating the original track for the dance - floor.

East Londonder Sukh Knight has remained one of the most consistent dubstep artists over the past decade, through a long list of releases on Hench, True Tiger and New World Audio among other record labels.

The Scorpion EP remains on level, boasting a variety of heavy bass music styles - from the gritty dubstep sounds of the title track, the digital bonus Foot Soldiers and First Contact, to the anthemic 93BPM roller Creation and finally DJ Madd's percussive, deep 160BPM remix of Scorpion. A well-rounded bass music record for the heads - don't miss.

Gyatso is the 1994 album by legendary “industrial noise jazz” outfit 16-17 produced by Kevin Martin (Techno Animal, The Bug) and first released on CD on his Pathological label, re-released on Savage Land in 2008. Gyatso is the only pure studio album recorded by the original 16-17 line-up of Alex Buess, Markus Kneubühler and Knut Remond and besides Martin also features G.Green from Godflesh as a guest musician.
Praxis is teaming up with Skin & Speech, Alex Buess’s label, to bring forth the first ever vinyl release of this crucial album and releases a 6-track LP edition with all the other tracks (there are 13 in total) available as a download.
16-17 started in 1983 in Basel, Switzerland. They released a number of cassettes, before debuting with their self titled and self released album in 1987. Two years later this was followed up by When All Else Fails, an LP of treated live recordings on Vision, the precursor label to Praxis.
By this time 16-17 had already garnered a cult following with their incredibly forceful live performances.
Gyatso is a crucial release where the raw power of 16-17’s live appearances clashes with a studio-as-instrument approach, as Kevin Martin and Alex Buess add effects and dub techniques to the band’s recordings.
Further collaborations between Martin and Buess include the ICE project which also included Justin Broadrick aka J.K.Flesh of Godflesh, the other half of Techno Animal, as well as Human Distortion, released on Digital Hardcore Recordings in 1998. Buess also took part of the Sprawl project with Peter Brötzmann, William Parker, Michael Wertmüller and Stephan Wittwer which appeared on Trost Records in 1997.
This vinyl release of Gyatso comes hot on the heels of two important records that came out in 2020: The album Phantom Limb on Trost, based on band recordings from 1995 and finished in the studio in 2019 by Alex Buess, and most recently the 12” The Pandemic Wargames Remixes on Praxis. The latter was a continuation of collaborations dating back to the pre-Praxis days of the Vision label, continuing with the 1999 release of Mechanophobia on Praxis as well as the more recent Vacuum Theory by Cortex and “Skin Craft” by Alex Buess and Daniel Buess.
Praxis is very happy to present this release in collaboration with Skin & Speech, for the first time on vinyl.

Aethers Spring is a new project based out of Copenhagen. The music of Aethers Spring will manifest through three distinct personas, each with their own distinguishing sounds, styles and narratives. In this sense Aethers Spring is a Gesamtkunstwerk making use of multiple art forms to augment and enhance its musical output via visual and written work.

Aether's Spring begins with ""WATER: Dancing Moon"". A hypnotic and oneiric EP of electronica, it sits strikingly between heady nighttime listening and the converse territories of functional dance-floor music. Some kind of dream. Some kind of dance. Its story is told via the artwork of Frederick E. Woodward and Denis Chapon.

Debut solo release on Fine Grains from one of the original skweee artists

We’ve been sitting on this one for a while and can’t wait to finally share it. A bumper beat tape edition from Dødpop co-founder Beatbully punched out on his trusty MPC 1000 in a dusty Nordic basement sometime in the 00s. Melt back to an alternate ‘94/95 Summer with laidback, spaced out, twinkle eyed, dumbo thudding beats from the Hamar native. This is the psychedelic, trip hop album our rickety housebound minds need on drip. Stop taking things seriously, lean and slide into a non-ordinary skweee state with this retrograded 13 track tape available on limited edition cassette and digitally from the usual outlets. Cassette tapes produced as an edition of 100, hand printed at Letterpress Amsterdam and featuring artwork by Japanese/Venezuelan Efrain Vivas & label founder Alexander Horne. Original Hamar Domkirkeodden photo by Anders Beer Wilse, 1902.

lushly layered and delicate songs from this new artist..tip!

orange Vinyl

Bredren are back on Flexout Audio with an EP full of rugged basslines and refined beats. The new EP features a collaboration with one of the slickest talents of the scene, enigmatic wordsmith MC Fokus. It's a future cult classic that will get stuck in your head and have listeners singing along. An effect that doesn't happen enough in drum and bass. The rest of the EP is exactly what you'd expect from Bredren, a minimal masterclass from the pioneers of stripped back, underground drum and bass.

There is a rumble in the Alps. The animals are nervous and on the high plateaus, where the meadows are lush and green, some people might feel a cold shiver down their spines. The chamois know: With her second EP Viennese artist Conny Frischauf will deliver a masterpiece. On her 2018 debut »Effekt & Emotion« (International Major Label) she delved deep into a well-curated atlas. Whether in the desert or in the vast world of cosmic music and its companions - all is well wherever Frischauf goes. But now, on her sophomore EP - wittily named »Affekt & Tradition« - she will not only make her first appearance on Kame House, but also create an entirely new genre: Welcome to the »Alpen-Avantgarde«.

The opener »Halbzeit« opens both ear and mouth. Alphorns roar through the valleys, the wind blows soflty, sometimes harder through the hair, and gentle yodelling echoes from the other side of the mountain pass. It all sounds naive, funny almost, but in reality it is deeply intense and utterly touching. On »Wie du mir« the new avant-garde takes on the next step, intertwining slowly-crescendoing off-kilter synth lines, casual strings and the artist's lovely voice with so many other elements, creating a well-tempered climate that infuses bed linen and hair with a spring-like scent. The B-side-opener »Auf und Nieder« gently embraces the current trend of austro wave and opens up the entire wonderful world of 70s/80s underground jazz pop while visiting Vienna's Prater (or any other fair). Love awaits between cotton candy and subtle masquerade. If you haven't found your way around by then, Frischauf provides a »Kompass« at the end. The final piece of this gem takes you back to the topographical descriptions of love using alpine landscape imagery. Love is not necessarily a battlefield, but certainly a hike. »Weit Weit, Weit Weit, Weit Weit«!

Immersive audio experience for both the dj and the collector, ranging across tribal voodoo rhythms, Coilish esoterism and musique concrete atmospheres

For decades there have been rumours of arterial secret tunnels running beneath our cities. No-one knows why or how long they have been there but maps and reports have appeared over the years thanks to a handful of wide-eyed whistleblowers.

Often hiding in plain sight behind faceless logos and Haga fencing, these tunnels are said to contain the government’s dark explorations, store unspoken cargo and even house extraterrestrial experiments.

Subterra Highway is the debut EP from D3U5E & GAV. A tribute to conspiracy theories, obsession and corporate illusion.

An important moment for both artists and Programm's first release after our sampler last June. Each track of the EP takes you down a different path. Jittering in and out of the darkness with both artist's trademark off kilter drums and engulfing basslines. They draw on influences from breaks, grime, and UK techno to travel down each rabbit hole.

The cover is designed by Alfie Allen and we have worked with directors Constantine Spence on a music video for Free Mars.

Mastered by Foundry Audio.

Transmeridian is the first album from Departure Lounge (ex-Bella Union) in 19 years. It features all four original members plus a guest appearance from legendary REM guitarist, Peter Buck, one of many long-standing admirers of a band that embodied a lost age of reflective, experimental pop music coming to the fore at the turn of the Millennium alongside The Beta Band, Tunng, Boards Of Canada and Gorky’s Zygotic Mynci.

The surprise new album, named after the defunct ‘golden age of aviation’ cargo airline for which singer/guitarist Tim Keegan’s dad was chief pilot, is released on Violette Records (formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett ) on digital and vinyl formats on Fri 26 March 2021.
Originally scooped up by Simon Raymonde’s Bella Union label (labelmates with John Grant’s Czars) following the self-funded release of their debut album Out Of Here (1999), Departure Lounge’s sophomore outing, Too Late To Die Young (2002) was equally acclaimed and was honoured as the first ever Album Of The Week on the emergent BBC 6 Music. The band toured extensively in the UK, Europe and the US, including outings with The Go-Betweens, Morcheeba, Paul Heaton and Robyn Hitchcock, peers whose stylistic contrasts reflect the eclectic nature of Departure Lounge themselves.

Calling a halt in late 2002, citing family and geographical reasons (drummer Lindsay lives in Nashville, where their second album Jetlag Dreams (2001) was recorded), the four members remained firm friends and occasional collaborators, before reuniting in late 2019 for shows at The Green Door Store, Brighton and The Lexington, London, ostensibly to support the digital reissues of their first three cult-classic albums. With no plans other than to make some new music, the next day they set off for Middle Farm Studios, Devon.
Tim Keegan (vocals/guitar), Chris Anderson (lead guitars/keyboards/bass), Lindsay Jamieson(drums/keyboards) and Jake Kyle (bass/guitar/drums) channelled their evident joy at being back together into a complete 13-track album, largely conceived and recorded in just one 24-hour session in the company of studio owner and co-producer, Peter Miles. Ranging from soulful Americana to piano and mellotron-fuelled melancholia via pastoral musings on the nature of post-youth and eerie Spaghetti Western-tinged instrumentals, the next leg on the Departure Lounge journey is a multi-mood expression of pure artistic freedom.
The ‘leak’ of instrumental track Al Aire Libre (remixed by Parisian groovemeister Kid Loco) in October 2020 gave little away as to what fans could expect from a new Departure Lounge record, the track going gracefully everywhere and nowhere on a whistled Latino breeze. First single proper, Mercury In Retrograde, covered in the twinkling lights of a music box Casio CZ101 melody, turned the clock back - this was an old live favourite that never got past the studio door. Unfinished business brought to a happy conclusion, the single returned Keegan’s honest and distinctive lyrical voice back to British music at just the time listeners needed it.
It was an emotional thread, rather than one musical style, which gave the first three Departure Lounge albums their coherence. The songs told the story of the band. Transmeridian has the same sense of deeply connected musical energy. The purring, campfire acoustica of Timber and So Long bear no obvious resemblance to the ethereal, end-of-the-evening, piano-led interlude Paging Marco Polo, whilst the quasi-glam stomp of Mr Friendly would normally have no business sharing space with the strange, spacey Gurnard Pines (named after an abandoned holiday camp on the Isle Of Wight). Yet the journey’s ebb and flow, accelerations and pauses make for compelling, grown-up listening. Australia, showcasing the chiming Rickenbacker 12-string of Athens, GA’s finest guitar slinger, leaves no doubt that Departure Lounge’s pop sensibilities also remain solidly intact.
These four friends from different musical backgrounds came together originally with the stated aim of ‘creating music to soothe the troubled soul’. Citing their love of (and placing on record their debt to) influences including Robert Wyatt, Nick Drake, Talk Talk, Lou Reed, Arvo Pärt and Cocteau Twins, the band’s diversity of taste is reflected in the music they create.
Transmeridian is only the second full-length LP released by Violette Records, formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett as a platform for Head’s work and developing into a respected independent label as well as multi-disciplinary event organiser, drawing in outsiders working in music, literature, art and design. The label continues to host live events whenever possible and recently initiated an ELP (halfway between and EP and an LP) vinyl series, putting out acclaimed releases by The Pistachio Kid and Studio Electrophonique.