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Known for his mid-tempo productions, Copenhagen’s RDG explores the 170 / Jungle / DnB realm with his percussively ferocious debut for Weaponry entitled, Maneuver.

MP 4 Teruyuki Kurihara Frozen Dust

»Frozen Dust« is an album unified by the theme of »destruction« and »creation.« Inspired by the power of nature; we’ve expressed how we humans overcome the magnificent phenomena and impacts nature has on us - while it brings us joy, it can sometimes take away our lives and pleasures, We’ve incorporated this rather difficult theme by telling stories of fictional characters in the album; an adventurer in the Arctic region who confronts the threat of nature and survives between life and death, or a widow who never eases the pain of losing her sailor husband by a great storm in the Age of Discovery. »Frozen Dust« is our manifestation of »destruction« and »creation and each sound brings you the essence of it.


Reviews in The Wire, A Closer Listen, MixMag Japan, ResidentAdvisor Japan, African Paper and more

Interview in Data Wave

Second Installment of the Sameheads’ bi-annual vinyl compilation highlighting the Berlin based bar, club, playground, space, collective, cult, - whatever’s musical mavericks. An-i, Franz Scala, Alexander Arpeggio & Marlene Stark, Epsilove & Ohlandy, Anklepants and Umlaut are all featured at the top of their game. A unique-clutch of oddball bangers. Essential!

In pandemic times of telepresences and social distancing, Live At Robert Johnson and Leipzig’s own Riotvan team up for a magical musical mission. Encompassed by the graphic design of Michael Satter & Panthera Krause, each of the five tracks has been created by teams representing both label crews and their environs, rendering a truly synergetic effort. A1 is Roman Flügel & Rebolledo producing deep and wide Star Stuff with arpeggiated bass riffs, haunting vocals and melody. A2 sees Jennifer Touch & Chinaski setting off on an electroid Synth-Pop trip, with crafty 1980s synths, drums and vocals. A3 is New Hook and Perel teaming up for a Cosmic Disco tinged track, featuring unique spanish-english vocals. The flipside kicks off with Fort Romeau & Panthera Krause on B1, heavily into a stereophonic and proper Italo soundscape. Horkheimer & Peter Invasion & Gregor Habicht conclude the EP on B2 with a wicked technoid Breakbeat along a modulating bass line and, yeah, a looney laugh befitting these crazy times.

A joint effort long past due, PITP founders zake and Isaac Helsen team up to bring forth three arrangements that encompass textured ambient washes and drone-laden guitar work titled 'Beliefsystems'.

Brooklyn based artist 51717 (Shadowlust) now returns to the fold with her debut 8 track solo lp, Paranoia Star. LP comes with full color 22x28 poster and download card . TIP!
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Releases on Silent Servant's Jealous God imprint in 2015 and the 6-1-6 cassette on Total Black in 2016 served as formative sonic gateways leading up to this album, as we hear 51717 expand on her cold minimalist sound design.

The music on 'Paranoia Star' is a collection of songs composed during various points and throughout travels between 2013-2018. Thematically, much of it revolves around inherited and lived traumas, taken in, processed, and finally transmuted into sound. Shades of modern computer music minimalism, Concrete experimentalists, and good ol' DIY American smut electronics (ala John Zewizz's 'Women of the SS' project) come to mind through this recording. Haunting vocals float next to jagged synth lines, primative pulses set a tone as the message is carried out to the listener.

Field recordings from domestic and ancestrally charged locales mesh with primitive electronic composition, forming a narrative via repetition, moving stillness, restraint, and tension. 51717 keeps her sonic sources hidden, rather focusing on the transmission and decay of overwhelming thematic elements into minor sonic forms.

Here, her work touches on implicit musical tensions between noise and silence, language and sound, material and transcendence.
Unnerving and spacious, yet disturbingly uncomfortable, 'Paranoia Star' emerges slow, furious, erotic, wet with thousands of years of violence informing the whole.

Musique Pour La Danse is proud to present Coil's unreleased soundtrack for the VHS only, pre-internet, sexual education documentary entitled "The Gay Man's Guide To Safer Sex" released in 1992. Members for this project are John Balance, Peter "Sleazy" Christopherson and Danny Hyde.

The OST, to quote John Balance's interview for Compulsion Online, "is a slightly new agey, progressive house type thing".

Another way to approach it is as a delightful collection of balearic beats, smoking jazz not far removed from Badalamenti's work with David Lynch, somewhat of an ambient house album for your home listening and early morning sunrise dances, Coil style.

Taken from the original masters provided by Danny Hyde, "The Gay Man's Guide To Safer Sex" features a new sexy edit of the main theme. Bonuses "Nasa-Arab" and "Omlagus Garfungiloops" are taken from the 1992 CD only "Stolen And Contaminated Songs", both being original versions of the radically reworked (for the OST) "Nasa-Arab 2" and "Exploding Frogs" in order to balance the whole album and extend the listening pleasure.

You could think of the collection of tracks here as a library record of sorts, and each track inhabits its own universe. Tropical fits various moods and situations, and it could soundtrack any number of activities at home or on a dancefloor - whether real, imaginary, or hallucinated. Strangely enough, it sounds like it could have been constructed from obscure Italian library breaks, when instead every instrument has been played and panned, several times over, across magnetic tape.

The genesis of many of these tracks began when CV Vision moved to Berlin in 2014. His flat had a small chamber where he could fit a drum set, so he treated the walls with foam, and in true DIY style, dived headfirst into recording these tracks. It was the natural next step on an audio adventure that first began when CV Vision picked up the guitar in his teens, and a couple years later started recording with friends in his home town of Bayreuth. Fast forward ten years and here is his debut - a culmination of practising chops and learning instruments, mastering recording techniques and fine-tuning the CV Vision sound.

It’s a sound that condenses elements of acid rock, psych soul, library funk and new wave oddities into a movie soundtrack for your mind. It’s a journey from ‘60s west coast LSD-drenched excursions to ‘80s synth and post-punk mutations. Tropical is a plunge into another time, another music you can simply swim around in and explore.

Side A opens up with Tropical Tune In, which rides in on a clave and a warm wind, blowing a distinctly herbal aroma and recalling exotica dons like Les Baxter and Martin Denny. Following on with the aural equivalent of a sea breeze through your mind, Spaziergang am Meer blows away the cobwebs and conjures some nice library moments like Stringtronics or F eelings . Next, Ba_c_k(Lava) bounces out of a cold wave post-punk melting pot and crashes through the speakers like a blazed Zebedee, with some sweet eastern synths for added flavour, before the rolling bass licks of Der Böse Schamane take us into another dimension, landing somewhere between a psych rock freak out and a Black Ark dub session. Mr Maze channels the arpeggiators of synth outsiders like Mort Garson and Bruce Haack, creating a glorious interlock of robotic electronics and freakbeat vocals. The side comes to a close with the guitars of Der Strand (außer Rand und Band) letting loose like syrupy springs, and setting a languid mood like the bedroom scene in Bedazzled (1967 version). Side B kicks off with Parallel Universum, which comes through like a woozy krautrock workout, all ducking synths with big chord shifts to create an epic deranged beehive of a soundtrack. Im Land der Ameisen evokes the spirit if not the sound of White Rabbit, when logic and proportion have fallen sloppy dead, before waking up and wandering through the side alleys of Marrakech with the West Coast Pop Art Ensemble and the Electric Prunes, as Ritual (No. 4) blares out the speakers of passing tuk tuks. Ein Wasserfall plumbs the deep synth depths, like Raymond Scott in scuba gear, modular rack strapped to his back delivering oxygen as he swims between connector cables and seaweed forests through a watery underworld. Banana King sounds like a lost soundtrack to Donkey Kong or Mario Cart, if the cart radio was tuned into a synth

documentary hosted by James Pants, while Das Kloster am Berg takes the baton from Brenda Ray and her Naffi cohorts, all dubbed-out niceness and post punk swagger. The LP closes out with Tropical Drop Out, a dreamscape rather than a wake up call, coaxing you deeper into the trek across the desert of your mind.

And that’s Tropical in its essence: capsules from another time, snapshots of another sound, messages from another mind - all in the service of inducing the visions in your head.

written by Max Cole

Dialect's Under~Between unfolds with the hopeful energy of seedlings springing forth from soft earth. The longstanding project of Liverpool-based artist Andrew PM Hunt, Dialect's cross-pollination of acoustic and synthetic ensembles with human voice on Under~Between grows into a joyous ecosystem of delicate sound and intimate, unexpected melodies, yielding a strange yet delectable fruit.

third release from the capital city camp. This time its an EP by Popup

Frontmaschine is a french band created by Hérve and Louis. The alchemy of a father/son duo who experience with the ambiance, the sounds and the samples. Front 242 and D.A.F are their main influences. The music offered fluctuates from indus to old school, and from German to English vocals. Dark sounds (sounds of the 80s), rhythmed by rustic sequences, electronic drum sounds and samples such as machines, radio communication or metals. Frontmaschine “Wrong Fate” Ltd. Edition 12″ EP comes presented in a ONE-OFF truly limited edition of 200 copies lacquered pressed on 180 gr. high quality solid RED vinyl. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Kasper Marott will release his debut album ‘Full Circle’ in November on his own Axces Recordings imprint. The album features 11 tracks that explore different genres and moods while remaining within Kasper’s colourful universe.

Full Circle demonstrates Kasper’s ability to play with layers and structure. The tracks are built from complex layered harmonies, looped melodies and different rhythmic textures. Kasper’s intuitive approach to production, in addition to the inspiration he finds in other genres, his local community and society as a whole, has resulted in an album that feels fresh and unique.

“With the tracks on the album, I think I’ve been through a process of pushing my own notions within contrasts, musical themes, genres, and composition. Whether the musical tool is transcendence, catchy melodies, or silly experiments, the goal is to put the listener in a position that allows an enriching and meaningful experience whether it’s good, bad, funny, euphoric, nostalgic, sore, or even something completely different.”

In 2018, Kasper released his breakthrough EP on Modeselektor's Seilscheibenpfeiler label. The euphoric title track ‘Keflavik’ lit up clubs and festivals all year long and was named “one of the biggest club records of the year” by Resident Advisor. One of the album’s tracks, ‘Sol’, will also be released as an extended version on Kasper’s forthcoming EP on Seilscheibenpfeiler.

Limited Edition LP.


High in the tower, where I sit above the loud complaining of the human sea, I know many souls that toss and whirl and pass, but none there are that intrigue me more than the Souls of White Folk.

Of them I am singularly clairvoyant. I see in and through them. I view them from unusual points of vantage. Not as a foreigner do I come, for I am native, not foreign, bone of their thought and flesh of their language. Mine is not the knowledge of the traveler or the colonial composite of dear memories, words and wonder. Nor yet is my knowledge that which servants have of masters, or mass of class, or capitalist of artisan. Rather I see these souls undressed and from the back and side. I see the working of their entrails. I know their thoughts and they know that I know. This knowledge makes them now embarrassed, now furious. They deny my right to live and be and call me misbirth! My word is to them mere bitterness and my soul, pessimism. And yet as they preach and strut and shout and threaten, crouching as they clutch at rags of facts and fancies to hide their nakedness, they go twisting, flying by my tired eyes and I see them ever stripped,—ugly, human.

The discovery of personal whiteness among the world's peoples is a very modern thing,—a nineteenth and twentieth century matter, indeed. The ancient world would have laughed at such a distinction. The Middle Age regarded skin color with mild curiosity; and even up into the eighteenth century we were hammering our national manikins into one, great, Universal Man, with fine frenzy which ignored color and race even more than birth. Today we have changed all that, and the world in a sudden, emotional conversion has discovered that it is white and by that token, wonderful!

This assumption that of all the hues of God whiteness alone is inherently and obviously better than brownness or tan leads to curious acts; even the sweeter souls of the dominant world as they discourse with me on weather, weal, and woe are continually playing above their actual words an obligato of tune and tone, saying:

"My poor, un-white thing! Weep not nor rage. I know, too well, that the curse of God lies heavy on you. Why? That is not for me to say, but be brave! Do your work in your lowly sphere, praying the good Lord that into heaven above, where all is love, you may, one day, be born—white!"

I do not laugh. I am quite straight-faced as I ask soberly:

"But what on earth is whiteness that one should so desire it?" Then always, somehow, some way, silently but clearly, I am given to understand that whiteness is the ownership of the earth forever and ever, Amen!

— W.E.B. Du Bois, Darkwater: Voices from within the Veil (1920)

LONE - ABRAXAS EP IS A THREE TRACK EXCURSION INTO ETHEREAL ACID

Lone reveals the first physical release on his new imprint, Ancient Astronauts, which has been set up to release new material whilst working on his next studio album.

The three track EP, Abraxas, sees the producer carry out his first experiments with 303 acid packaged up in a breakbeat club tool focused sound – an idea which was sparked from hearing friends playing ‘90s drum and bass at slower speeds than usual.

The result is a rip-roaring trio of tracks, with the heavy bass rumbles and searing squelch of Abraxas undoubtedly cementing the title track as the chosen club destroyer. Young Star Cluster follows up with a marriage of the rolling funky drummer break with bursts of 303 acid and Lone’s trademark empyrean breakdowns before How Can You Tell takes us deeper still, with choral pads opening the door to another chapter in the multifaceted producer’s sound.

limited edition 12” Azure Blue vinyl (which includes an art print)

Born in Maracaibo, Venezuela, Alexander Molero is no stranger to the exotic idealism that westerners have towards South America. A move to Barcelona a few years ago gave him new notions of how the Amazon was imagined by the west. The inspiration for this record came from the book by Anton Goering "Vom tropischen Tieflande bis zum ewigen Schnee" and was also influenced by the writings of Victor Segalen and the visions of Werner Herzog in “Fitzcarraldo” and “Aguirre”. The way that these artists explored and romanticised ideas of the unknown were the trigger for the creation of the sounds heard in “Ficciones Del Trópico".

Using a Yamaha CS-60 Synthesizer, Molero creates an enigmatic and utopian voyage inspired by the tropical and exotic desire of European’s first contact with these foreign and unexplored sites. For his first record, he wanted to create soundscapes for the wilderness reminiscent of the European explorers that faced the unknown and beyond of the Amazon forest in the 19th century. Eight pieces, 44 minutes, with titles referencing birds, animals and landscapes that simulate a continuous discovery.

The spirited patterns of the pieces invite you into Molero’s mind and to explore the way his imagination materialises into sound. Developed and recorded during 2017 and 2018, “Ficciones del Trópico” resonates references and soundscapes that Molero has conceptualised over the last decade.

The constant structure and rhythms created a unique – and continuous – sound-aesthetic. Molero’s tropical fiction is like diving into the sea with Jürgen Müller, exploring Alpha Centauri with Tangerine Dream or building new exotica through the lens of Mike Cooper. But this time everything happens in a jungle.

The Moscow’s dancefloor burners are back with the new single “ ANZARE”. Offering again their usual modular sonic artillery and their lovely blend of electro, dark techno and body music with 2 new tracks that are insured/guaranteed floor-fillers. TANZARE Ltd. Edition EP comes presented in a ONE-OFF truly limited edition of 200 copies lacquered pressed on 180 gr. high quality MAGENTA vinyl. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios.

Creating the new, while respecting the old, the “More Times EP” features heavy house (More Times), twitchy house (Fever Dream), dubby house (Take Me to The Dark) and breakbeat house with due respect to LTJ Bukem (Dresses). That's a lot of house for your money. Music for clubs and places that would like to be clubs. Watch out for Octo Octa on the back of the brilliant cover. More Times? Good Times!

- Only 75 copies available outside of Japan

- Contemporary cutting-edge Ambient music by two of the most promising representatives of today's Japanese sound designers: Okada Takuro and duenn

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This urban sound is made to be "air" to you.

"As ignorable as it is interesting" is how Brian Eno describes Ambient music. Then how should this sound be part of our life in 2020?

After works by Oh Shu & BIOMAN, Jim O'Rourke, Ana Da Silva & Phew, Tokyo based Newhere Music is now proud to present this concept album by Okada Takuro + duenn: "Urban Planning" .

duenn has been working with labels from all over the world including Entr'acte (Belgium) and Past Inside The Present (US). His experimental unit 3RENSA with Merzbow and Nyantora has performed with legendary sound designer Matsuo Ohno (Astro Boy) and artist Shohei Tsuda. In recent years, duenn's work can be heard at galleries and exhibitions, including a recent collaboration with Shiho Yoshida.

After Moriwaikiteiru disbanded, Okada Takuro started his solo projects with his debut album "Nostalgia". Apart from songwriting, Okada is also active as a producer and in film score.

The Urban Planning album project started from a sparkle in a discussion between Okada and duenn, with "sound of the city" as a keyword. What should be ambient music in our life, in the present time?

Respect of Ambient musicians and contemporary artists since the 80s, such as Yukio Fujimoto and Hiroshi Yoshimura to name a few, can be recognized in this album. However, the two artists are not trying to recreate the past masterpieces and instead, they are taking the cities of the 2020s as their raw material of inspiration. The tracks are concise and comprehensive, and the album has a precise concept with primitive melodies by duenn. duenn and Okada have clearly divided roles during the making, with duenn for the first time on melodies, and Okada on editing and producing. It is also interesting that duenn chose to use GarageBand, a tool accessible to all, for his first melody-making. For the listeners, the touch of simplicity may well remind them of the lullabies in their childhood.

The artists have spent two years on this creation. Imagine the commuter trains, the cars, your room, your local park for a walk. This is the sound of the city, blent into every moment in urban life.

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credits:

duenn : Electronics + iPhone

Okada Takuro : Electronics + iMac

PADOK : Mastering

Peter Zinovieff (b. 1933) founded the revolutionary Electronic Music Studios in 1969, and devoted much of his earlier life to the art of sound. The studio developed many synthesisers including the famed VCS3, AKS and the Synthi100, and financed the world's first computer controlled electronic music studio in Putney, London. It is difficult to overstate the effect that Zinovieff's work has had on contemporary music.

South Pacific Migration Party is his first solo LP since 1974. The piece is an extended computer work, derived from hydrophone recordings of blue whales recorded by British oceanographer Susannah Buchan off the coast of Chile and originally proposed and then curated by Andrew Spyrou. Unlike the more familiar humpback whale, the blue whale song consists of repeated low-frequency vibrations followed by a contrasted high-frequency chirrup. A single complete call from the largest creatures ever to have existed on earth has been manipulated to create an immersive soundscape. The composition is in five broad movements, and highlights the complex communication systems and ever-changing habitat of the blue whale.

As its premiere, a preliminary quadraphonic mix of the piece was played in Athens, Greece as part of documenta14 in June 2017, followed by a presentation of the piece during the UN Oceans Conference, at The Explorers Club, New York City. Subsequently, a full b-format rendering of the piece was commissioned by TBA21, and presented at the TBA21-Augarten ambisonic sound space in Vienna, during the exhibition Tidalectics. An 8-track reduction, designed for two separate quadraphonic systems, was presented at the Hamburger Bahnhof Museum, Berlin in October 2017. The 28-ambisonic-track version, reduced to stereo, is released here for the first time.

140g vinyl, with printed inner sleeve featuring texts by Peter Zinovieff, curator Stefanie Hessler, oceanographer Susannah Buchan and label head Andrew Spyrou. Only 200 copies worldwide.

The collaborative debut of American minimal techno pioneer Troy Pierce and Colombian audiovisual artist Natalia Escobar aka Poison Arrow was conceived in reverse: first they created a collection of shadowy surrealist videos, then wrote music inspired by them. This inverted process proved remarkably fruitful. Shatter is a simmering, slow-burn noir odyssey inspired by the Greek myth of Echo and Narcissus, traversing subtle shades of sleepwalker dub, metallic lament, broken beats, and erotic negative space. It's an effectively unsettling evocation of the legend's core theme: "There is nothing more complex than a shattered heart, or a heart that can't love." Considering their shared background trafficking in darkened dance floor modes, what's most striking about Pierce with Arrow's partnership is its rhythmic restraint. The album's 10 tracks seethe and shudder between glamor and gloom, with only occasional dread-steeped metronomes mapping the malaise to a grid. They speak of pursuing a "spatial approach" with this project, which manifests in the music's immersive design and patient execution, each mangled clang and rippling pool of bass allowed to reverberate its full flickering waveform. Guest appearances by austere techno producer Konrad Black ("Obsidian Glass") and drum n bass institution dBridge ("It's A Love Story, After All") flow seamlessly into the whole, subtle sculptural accents on a dimly lit descent through purgatories of longing and lust. But the shadows recede for the record's closing cut, "Narcissus," which swells elegiacally in a mass of devotional drones over a muted heartbeat, like Narcissus gazing upon his reflection in holy awe: elusive true beauty, finally beheld, by itself.

After releasing on Hot Haus records and Pitch Down, Rumore returns home to Discomaths with a collection of tropical beats and healing atmospheres. Cuts that are as deep and thought out, as they are danceable.

Alternate takes and versions from Ryan James Ford's upcoming album on Clone Dub. Handstamped orange vinyl. Once it's gone, it's gone...

After having been heavily played by the likes of Ricardo Villalobos, Zip, Nicolas Lutz , Fumiya Tanaka and Margaret Dygas, the first and only Protectorate record (released exclusively on vinyl in the spring of 2009) quickly became a sought-after rarity.

10 years after, the Analogue Cops has decided to reactivate the collective’s output with four new tracks enclosing minimalistic afterparty fervor, contemporary Berlinesque electro, post-capitalist breakbeats, and luxury tech-house.

Cutting edge cuts crafted with a balanced ensemble of vintage and up-to-date machines, with an unfathomable attention to solidity and detail.

""Dad! Look, we can see the moon through the window."

Record made on Earth. All children, young and old, you will hear my heart here without a stethoscope. This record is "home-made with a window open to the world". Inspired by my family and friends, these music tracks are dedicated to them!" The Architect

The Architect takes us on a trip through the world and styles: Hip Hop, Jazz, Electro, Soul, Funk... A true vinyl lover and real digger, turntables have always been his favorite playground. Hyperactive beatmaker, he is also engaged with different side projects such as L’Entourloop and Bloc.

The success of his first EP "Foundations" released in 2013, including several hits such as "Les Pensées" (8M views) or "Dreader Than Dread (ft. Skarra Mucci & L'Entourloop)" (15M views), led him to do more 200 shows around the world and accumulate more than 35M of streams on the platforms.

Seven years later, The Architect finally returns with a new single "Darling", the first single from his long-awaited new album entitled “Une plage sur la lune” to be released on June 12th, 2020. A "home-made album with a window open to the world" as he describes it himself.

50 years since their first LP “Brian Jones presents the Pipes of Pan at Joujouka” was released, The Master Musicians of Joujouka are releasing a stunning double LP recorded live at Centre Georges Pompidou, Paris in 2016.

The recordings are a full immersion into the Joujouka sound with disc one featuring hypnotic flutes and drum and a side of songs with mountain violin played by virtuoso Ahmed Talha with lead vocals by the late Abdeslam Boukhzar. Disc two features the truly hypnotic rhiat suite of Boujeloud, recorded in its entirety for the very first time

Two rising Russian names forge a Samurai flavoured alliance with 4 tracks of audio savagery. From the hefty impact of Ortum Ossa with its searing percussive roll, the combined stylistic signatures bounce off the constant kick drum pillars that propel each rhythm. A capsule collection of tribal half time club tools honed for maximum might.

Further skirmishes at the Tosche Station from Planet Mu label boss Mike Paradinas, whose first Tusken Raiders EP on Clear Records 25 years ago brought an infinitely more-dusty-than-digital vibe, delivering a rugged, electro-infused uptake of the type of battered machine funk produced and enjoyed by Tatooine's indigenous, Bantha-riding tribespeople.

Hailing from the latter part of Mike's 'Lunatic Harness' sessions in 1998, these 8 previously unreleased, largely-breakbeat tracks deliver a salvo of scuffed sonic rinse outs and mutant house jams from a figure who has done so much to bring about and support experimental electronica, breakcore and footwork scenes over the past three decades.

Art by SODA, with graff handstyle by Ben Drury and REQ TDK. Compiled by The Fissure Family.

Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies.

Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv- later in Leningrad & now St. Petersburg, from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 - 1983, her repertoire included music for violin and later expanded to contemporary music composition.

The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop- Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one
in flux by way of earnest curiosity.

Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the 3 movements of ‘Metamorphoses’ embodying this textural approach to musique concrete.

The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’.
The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros.

The juxtaposition of written notation and improvisatory flare is central to Goncharova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations
with new age tropes (inc. bell chimes and cavernous vocal mantras).

Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom
away from any academic strictures.

Relocating to Estonia in 1984, and in parallel to the deeply personal music of ‘Recordings Vol. 1’, Valentina performed at jazz festivals and gave classical concerts across Eastern Europe. In a sense, the recordings on these discs offer only a glimpse into her lifelong body of work. Over the past few decades she has taught at Tallinn Music College, expanded and updated post- Soviet popular music repertoire, collaborated with the Russian Philharmonic Society of Estonia and given concerts and charity events alongside the Catholic Church.

Hers is a life dedicated to the exploration of sound, a career forged through careful study and ceaseless intrigue. In a time where technological interconnectedness has allowed for music of the pas
to be continually mined and evaluated through new lenses, Shukai present an artist whose tendency for private home-taping had allowed recordings to go unheard for thirty years.

320 is the first release of a series of various artists which has deliberately put together Dead Husband, WLDV, Mynationshit and Cold Colors. In fact, just like in future compilations, this will always be a substantial premise for the label considering that these artists will always be esteemed and sometimes part of the Waste Editions family.

House music compilation from Leipzig vinyl pressing plant
R.A.N.D. Muzik featuring Rudolf C, Salomo, Tim
Schlockermann and Carmel.

VEYL is pleased to welcome Harlem to the label for a new seven track album titled ‘Bait’. The Stockholm-based duo of Martin Thomasson and Johan Skugge bring a vast history of production behind them, operating since the early aughts and known for their work in dub and minimal techno. ‚Bait’ ventures into new territory for the project, delivering infectious strains of body music, new beat, industrial and beyond coupled with soul-stirring vocals which quickly dig beneath the skin. The release is about everyday manipulation, soft power and persuasion. We exist in a world in which corporate management techniques are deployed in our everyday lives, nudging each other for short-term gain, slowly hallowing out any lasting trust while ultimately all being crushed by a hyper-capitalist system. From the opening synths of the title track to the ominous ending notes of ‘Night Vision’, we also uncover funky grooves and diabolical floor shakers which remind us of something from the past but exist perfectly in this corrupted new world. As is customary, the striking cover art was photographed by Tomaso Lisca, and it’s a fitting piece for the record, depicting a tantalizing well-oiled machine, all while something menacing lurks under the hood.

We are happy to welcome JAJA to our label by presenting 'Parts Unknown' - our first release to be available on vinyl. Teasing percussion cycles, a growling bass and occult choirs delicately intertwine to a powerful composition, stimulating the listeners imagination.

Finnish band Behind The Trees releases their self titled debut ep.
Curiosity towards world music, shamanistic approach to rhythms and cosmic levels in life made it happen.
There are five different kind of tracks in the ep.
The intro track "Haiku" is a mood setter for the whole journey. Inspired by the mid eastern mystical soundscapes.
Second track "Bonefire" follows the path, painting a picture of desert campfire, where travellers psychedelic guitar will trip you out as your body follows the rhythm.
Third track "Acid Yerli" is the climax on the ep. Turkish disco and acid house combined, you don ́t have to be scientist to figure out the forecast.

On the flip side "X4" is a different kind of expedition.
Hear the waves hitting the rocks and balearic breese corressing your cheek bones. Track "X4" is a kind of balearic homage to eighties AOR, seasoned with chanting soft voice of Finnish singer Suva.
Last track "Gentle" relaxes your mind and body. The piece has a grounding vibe, with healing resonances that will restore your energy.

Dare to see Behind the Trees, the obscure adventure of life.