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Wicked breakbeat / jungle fusions by The Jaffa Kid on Nottetempo.

THUGWIDOW (Circadian Rhythms / Tar) is an artist that creates 'modern jungle with a sense of atmosphere and space that alludes most of his peers' (Resident Advisor), Bruised Skies (Pure Life Records / Blank Editions) creates ambience that captures a hyper-real landscape. Here on 'Requiem For a Sesh', the pairs first collaborative record, these two worlds collide to bring the listener an offering of strobe-laden 4x4, disfigured break beats, low slung sqaure waves and euphoria inducing top lines.

EP opener 'Epic Questing' is arguably the most dance-floor refined offering from either artist - sliced vocal chops and hard hitting kick drums tip the hat to classic 90's house anthems before heavily chopped jungle breaks and compressed 808's splinter around your ear drums like it's 3am at Unit 18 and the lighting technician is coming up riding the lazer fader. The ecstasy-laced piano melodies of title track 'Requiem For A Sesh' sounds like the sonic fruits of children raised on Olvie's 'You're not alone' and early XL Recordings 12"s. Elsewhere, 'Void Release' is a peak time 6-minute cataclysm of heavily sliced jungle breaks and jittering basslines, whilst EP closer 'Infinite Bass' feels like the clock winding down on the end of a night that we wish could go on forever.

Bruised Skies has recently been receiving radio support from Murlo, Lee Gamble & Francis Redman. Whilst THUGWIDOW's recent releases have received support from Team Sesh, Amy Becker & Whities as well as glistening reviews on The Quietus, & Resident Advisor.

Previously performing as The Greatest Hoax, Washington, D.C.-based composer T.R. Jordan debuts a new album of contemporary classical and ambient music with Past Inside the Present. Entitled Just for You, Jordan presents an album focused on the evolution of personal relationships and the paths they take.Produced and mixed by Rafael Anton Irisarri (The Sight Below, Ghostly International) and mastered by Taylor Deupree (12K Mastering). Recollections Suite, the companion cassette, is a long form classical piece featuring a string quartet led by cellist Mark Bridges (High Planes/Loscil, Kranky Ltd).

Following a stellar run of jungle and breakbeat-oriented releases including the foundational Foul Play Origins set and the visionary proto-retro styles of X-Altera, Sneaker Social Club welcome a true master of drum science.

limited to 250 copies, hand stamped.

‘Ace! La Beauté Du Négatif welcomes Qeta, best kept secret from xxxxxx. 5 trackers from electronica to jungle via braindance.

for fans of AFX, Autechre, Boards of Canada, Brainwaltzera etc..´

Swedish producer and electronic enthusiast Rivet (Mika Hallbäck Vuorenpää, Malmö) joins the Editions Mego fold with a dynamic and diverse album that pivots between the punctuated pop of Ivan Pavlov's COH project, the chromatic slink of Chris and Cosey whilst also bearing a degree of fruit birthed from Hallbäck's home country Sweden in skewered pop such as The Knife.

This is electronic music born from the worship of machines and the spirit of punk, mood music brooding with sophistication and subversive twists all underscored with a deep industrial pulse. Are these songs? Are these lyrics? Words melt as beat perpetually takes us deeper into flight.

Interpretation is flung open as the audience are invited to gauge what on earth is going on here. Are Sooty Wing Flecks a minuscule species of half keyboard half vocoder chatter? Is Gleitende Liebe to be trusted or simply laying out a guide for disorientation? Pearling Woes is a queasy ballad sung by a robot on a very special comedown. Keloid knows exactly where the party can be now whereas Sodden Healer is an uber ride sans mask to destinations dark and unknown. Throughout this trip sharp snares punctuate ghost melodies as vocals rise and vaporise. Shadows hover the walls leaving holographic traces of the duality between fun and fear, the unexpected drifts diagonally across the audio plane teasing and taunting the listener in a unique blend of industrial, techno, pop and experimental forms.

On Feather and Wire album is a deep absorbing trip through multiple moods, genres and guises, as mysterious as it is engaging and one to ingest in a single sitting, lying back, sitting up, standing up and yes, even dancing. Let the angels and angles, the voices and distorted faces take shape before your mind. Who is Ordine Kadmia? What are they saying to me, here we go, on and on...

With it's haunted vocals, coded linguistics and dark sensual propulsive atmosphere On Feather and Wire is a sublime contemporary techno pop trip both psychedelic and subversive.

Written and produced by Mika Hallbäck Vuorenpää

Post-production by Mika Hallbäck Vuorenpää and Benny Liberg at Inkonst Studio Malmö
Mixed by Oscar Mulero at Dead Souls Studio Gijón
Mastered by Stephan Mathieu
Images by Dimitrios Bizios
Artwork by Nik Void

The Echonomy Split Series puts out recordings which have already been released in small numbers; it brings together two artists who are kin to each other, be it in terms of genre, approach, aesthetics, or other similar relations. In recontextualising these works, new dynamics and associations evolve.

Felix-Florian Tödtloff and Schweben/Philipp Hager are acquainted since years, but never recorded together. Long ago, Felix played in the Berlin-based screamo band Petethepiratesquid, Philipp put up DIY shows somewhere in the swamps of southern germany. Then Philipp started playing in the motorik krautrock duo Zement, and as Felix had been building a reputation of his own as an audio engineer with Aetherweight, he mastered some of their releases. Then came 2020 and all its hegemonial narratives. In May of that year, Philipp played a livestream solo/soli show for a club he was involved in back in the days. 10 tapes were made. Felix used a number of recordings done all over the globe and built the song „Volta“, released in June on a split tape of 50 copies with the great Jeans Beast on Mönchengladbach‘s Econore label.

Upon hearing both recordings around the same time, the similarities were so obvious they sounded almost like two solo recordings of a duo. In a nutshell: these two vibed smooth as fuck.

Built on a groundwork of time-stretching synth drones, both rise slowly into an anti-climactic ride through repetitive patterns. As Schweben takes the driveway to a dance show of mumbling sequence lines, Tödtloff puts on the grand gesture and throws himself into a deep-level minimalist piano etude. Both sides carry the character of exercises of the mind and the body, controlled loopholes and examinations of two things which feel lightyears away now and are so crucial to freedom and an open society: club culture (Schweben) and travelling (FFT). A third element is remembered and exercised in the tape itself: mutual dialogue and communication.

A Dusty Detroit Basement Meets Illegal Rave In Leeds. Vid Vai Embarks On A New Sci-fi Episode With His Second Ep For The Ever-growing Slovenian Label Phi. A Bleepy Affair That Keeps Bubbling Below The Surface Is Distinguished By Well-arranged Harmonies And Surprising Plot Twists. You Never Know Whether You're Sitting On Your Sofa Or Ending Up On An Alien Dancefloor.

We are so happy and proud to embark Ambient Noise Level on the Mfd Ship for the 5th release! A.N.L. is a project from our dear friend Daniel Sanchez, who has recently been exploring new sonic territories, fetching sounds from the deepest corners of his universe. He produced a masterpiece of an EP/mini album with seven ambient, dub infused tracks, ear candy all the way. Enjoy!

Reissued for the first time in over 20 years, for the first time on double LP with the original, unedited tracks in vinyl format. Completely remastered and restored audio and artwork. Side D of the double LP includes vinyl etching art: pine tree branches rendered by the band in Bryce software in the 90s for the original album art. // Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark. Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly "iterative" and "a bit of a drug blur," the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: "This is moon musick / in the light of the moon." What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey. The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: "Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming."

This is the first instalment of the newborn white label series on Subject To Restrictions Discs. Zurich based DJ and producer Don Kashew delivers a dark dystopian journey that begins with the search for the last open ‘Supermarché’. It continues with the well-known lethargy of the past months translated in the track ‘Koto Nord’. At long last, we are successful and dance together to ‘Bamboo’ in united melancholy. This release is limited to 100 copies.

Clear Vinyl

Minimal Synthwave recordings from 2006-2007 by this Berlin based side-project of AmyLeave und Second Planet.

Two of dubstep's most iconic names – Japanese don, Goth-Trad, and Mala's ever present DEEP MEDi label – join forces once again. Revamping his 2012 release 'Airbreaker', Goth-Trad takes a track which already teetered on the edge of an Assault and Battery charge and ups the ante with a whirlwind of acid and industrial roughness. Where the A-side is pure mechanical nightmare,the flip 'Apes' stands in juxtaposition – its organic, humid palette conjuring up visions of dense tropical forests and the mysteries that lie within.

The first Prestige release for 2021 is delivered by London-based, Italian bred HLZ! Emilio has been on the map for a min, and we are more than thrilled to finally lock in a project in the form of a versatile 3-track EP offering. As his talents have been revered with all the top labels and DJs across circuit, Prestige is chuffed to deliver this unquestionable slapper of a 12".

As the Lead track, 'IN BETWEEN' takes listeners on a journey thru a deeper palette, HLZ is able to turn out with casual grace. Liquid gold best describes such a superb composition. Rolled out drums + classic bassline hook = sure fire integrity.

Riiing the alarm! 'DUB SUNRISE' hits different and not what you'd typically expect from mans. Only meant to be heard on a proper rig, HLZ channels the natty spirit and nails this iteration of the dub wise vibrations.

Third tune might as well be a title cut, 'NEON UNDERWATER' is simply pure rudeness. The track perfectly fits its title, as you instantly catch that murky, immersed feeling upon first listen. Another sound you may not be accustomed to hearing from HLZ off rip, from a label that frequents the roads less traveled.

PMG017 will be a vinyl feature with full color sleeve on March 5th, digital to follow suit 1 week after release. The heaviest of players showing full support; likes of Doc Scott, Craze, Flight, Ulterior Motive, and more. We're very excited to finally share with you all, such an astounding drop from the renowned Prestige Music Group.

‘face first in the entangled’ is Infant’s illustration of the “organic internet” between different lifeforms built by mushrooms. These mycological structures see wild fungi coordinating and operating in a decentralized yet organized fashion, leading to dramatic ‘social changes’ without the need for leaders. The music follows a similar path, with Detroit-based Patrick Miller working over a year-and-a-half to forge a mimic of such systems, eschewing lead elements in favor of co-mingling patches of sound.

The role of composer is reframed here, Infant regressing to a more passive position as listener within the chain that led to the dense and untamed beauty of ‘face first in the entangled’. The process turned crude granular synth freeware into showering spores, vocal improvisations into near-unrecognisable murmurs, and field recordings and drum programmes into a distant pulse. The sonic elements at play swim around one and other and freely-associate, forming “micro-dramas” as the artist puts it, with each element playing a different, mutating part. The networked tangle of sounds adheres to its own inner-logic, pricking the sonic field, turning composted samples into a blooming forest floor littered with unexpected moments of shimmering denouement.

The work was inspired by writers like Ursula K. Le Guin or Anna Tsing, both of whom sought to reject traditional hero narratives. The latter's “The Mushroom at the end of the World” describes the foraging of prized matsutake mushrooms on forest floors worldwide, untamable by humans, and reliant on its symbiotic relationship with tree roots. The symbiosis of sounds Infant captures on ‘face first in the entangled’ reflects such organic structures, where the world is forged by an unknowable network of biological processes, rather than any one being.

Jossy Mitsu (Rinse FM / 6 Figure Gang) makes her production debut on Astral Black. A resident DJ for the labels monthly club residency and host for their monthly radio shows, the club night-cum-label is the perfect home for Jossy's debut solo release. The Birmingham-raised, London based DJ has become known for her ability to shell down any club, whether that’s rinsing out a twisted concoction of sweaty House, Techno and left field club heaters, firing heavy-weight Rave and Jungle sets, or serenading you with her 2-step vinyl collection. Now holding down a Rinse FM residency and part of the much loved ‘6 Figure Gang’, the past 18 months has seen Jossy DJ across Europe and the UK, alongside artists such as Joy Orbison, Dance System, Maya Jane Coles & Dusky and perform at events such as The Warehouse Project, Glastonbury & Outlook Festival among many others.

Throughout the 4-tracks here on 'Planet J', Jossy invites the listener to take a step inside her sonic world. The meandering pads and scattering drum patterns of EP opener 'Odyssey' are seasoned with warped chords 8-bit arpeggiators and ticking cow bells reminiscent of producers such as Skee Mask or INVT. '1997' brings together pounding 4x4 kicks, bouncing basslines and pitched vocal samples, giving the track the makings of a house anthem and leaving the listener yearning for a return to sweaty basement clubs. The high octane energy of 'Turismo' takes the records BPM up a notch for a marathon of skittering snares drums, raucous percussion and menacing sub bass. Whilst the heavily reverbed chords and melodic basslines of subdued EP closer 'Ø' demonstrate Jossy's ability to create thoughtful electronic music whilst still retaining a
hard, dance-floor focussed edge.

The EP comes in a full colour sleeve with Planet J’s capital city visualised in a high-res CGI rendering courtesy of London-based designer Kerrie.IRL

DJ Support
Alasdair (The Ransom Note) - "Bias Point for me!"
Tim Caspar Boehme (Groove) - "Wired up"
Seb Chan (Cyclic Defrost) - "nice"
Ben Ó Faoláin (Nos magazine) - "Aw yeah, this bugger is funkin like hard."
Harrison (Mixmag)
Jef (Loose Lips) - "Great euphoric bleepz!"
Christian Zingales (Trax) - "like it"
Como Las Grecas - "Good electro futuristic. Techno Touches. Top"
Paul Corey (Cacophonous Bling) - "Nice EP. I'll try and put some words together"

The Mecánica Clásica project combines modified elements of early electronics, krautrock, ambient, minimalism & fourth world music, generating an interplanetary space where enterprising guitar tones, lush synth sequencing & off-kilter percussion coalesce.

‘Mar Interior’ the new album by Mecánica Clásica is a fusion of kosmische & fourth world music inspired by ancient Mediterranean culture. Loosely translated as ‘Inland Sea’, ‘Mar Interior’ is thematically centred on the history & legacy of the ancient civilizations that proliferated around the Mediterranean Sea.

Augmented by environmental recordings, Mecánica Clásica renew the extensive topographies opened up by early pioneers like Craig Leon, Jon Hassell, Brian Eno & Cluster, in an immense vision of Spanish space ambient. On ‘Mar Interior’ their work expands upon these influences, moving into a shimmering, hypnotic sound world which finds common ground with the likes of O Yuki Conjugate, K. Leimer, Roberto Musci & X.Y.R.

Mastered by Colin Potter (Nurse With Wound)

Schon seit seinen ersten Veröffentlichungen zu Beginn der 1980er Jahre - seit dem Jahr 1983, um genau zu sein -, verweigert sich Michel Banabila konsequent jeder Schublade. Er lässt sich nicht auf ein bestimmtes Genre oder einen Stil festlegen. Sein musikalisches Schaffen umfasst Jazz ebenso wie experimentelle Cut-Up Electronics, Weltmusik (stark beeinflusst durch die von Jon Hassell entwickelte Fourth World Music), New Age, vielseitige Popmelodien, Musik für Tanz- und andere Bühnenprojekte sowie Soundtracks für Fernsehproduktionen. Bei solcher Vielfalt verwundert es nicht, dass der eine oder andere Hörer im Lauf der Jahre seine Schwierigkeiten hatte, sich in Banabilas abwechslungsreichem, von großen Gegensätzen geprägtem Werk zurechtzufinden. Gleichzeitig hat ihn gerade seine Vielseitigkeit zu einem der faszinierendsten Musiker Europas werden lassen, der - völlig zurecht - von vielen Kritikern hoch geschätzt wurde und wird. Jedoch ist möglicherweise genau diese Vielseitigkeit schuld daran, dass er der großen Masse - zu Unrecht - nie wirklich aufgefallen ist. Wer tiefer in sein Werk eintaucht, der wird an vielen Stellen den charakteristischen Banabila-Sound entdecken: seine sehr persönliche Art, Samples einzusetzen, die Verwendung von Stimmfragmenten, die Tatsache, dass selbst seine abstraktesten Arbeiten immer eine emotionale Schicht transportieren, an die man als Hörer andocken kann. Banabilas Produktivität seit 1983 ist so gewaltig, dass man ihr mit einer Single-Sammlung niemals gerecht werden könnte. Mit Wah-Wah Whispers hingegen gewährt uns Bureau B auf wunderbare Weise Einblick in sein aktuelleres Werk zwischen 2013 und 2020. Das einzige ältere Stück auf der Platte - Tic-Tac - stammt aus dem Jahr 2001. Dieses Album ist eine Einladung, die abgelegeneren Winkel von Banabilas Schaffen zu erforschen und tiefer in das Werk eines der kreativsten, unabhängigen Künstler Hollands einzutauchen. - Peter van Cooten

Serious sound system pressure on this one! Select tracks from Natalie Slade's debut album 'Control' have been completely reimagined and transformed into Jungle, Footwork, Garage, Broken Beat and Hip Hop by some of the most exciting talent around, including Tek-Life affiliate DJ Taye, Azymuth producer Daniel Maunick, Garage young blood Holloway and Chicago's DJ Hank amongst others.

Saturations is a composition by Danish multidisciplinary artist Niels Lyhne Løkkegaard, and features a clarinet choir consisting of 19(!) clarinet players.

Niels Lyhne Løkkegaard (b. 1979) considers his work to be a basic research in realities working within the domains of imaginary & physical sound as well as other non-sonic media, and since 2012 Niels Lyhne Løkkegaard has experimented with creating music that lets the instruments transcend their inherent sonic norms and reappear in another form by way of multiplication of sound.

His work with multiplication of sound has led to numerous compositions in which one instrument is multiplied a number of times: One piece is written for 9 pianos, another for 10 hi-hats and yet another for countless triangles and so on.

The multiplication brings out bodily timbral phenomena, interference of sound waves and vibrations, and brings out what Niels Lyhne Løkkegaard calls the sound’s potential of transformation. He describes this as the quality in a musical piece, when you no longer hear recognizable instruments, but instead the individual sound, as well as the individual musician, is dissolved into the collective sound.

A sonic as well as human synthesis.

He explains the concept of this sound as follows:

“Imagine you enter a room with vibrant acoustics, such as a cafe full of people having conversations, and when you’re close to those conversations you hear the language and understand the words. If you step away from the tables, however, and stand in the doorway, you begin to loose the ability to distinguish the words from one another. Now instead of hearing the individual conversations, melts all the conversations together, and transform into a one new sound. A sound of people without words and language. Just as when you hear a group of geese squawk, or the wind in tree tops, a kind of nature given sound of people. Once the language is dissolved and the words stop making sense, what is left, is the sound."

The work of NLL has been presented at a variety of different venues and museums such as MoMA (NY - as a part of the René Magritte exhibition The Mystery of the Ordinary, 2013), Imaginary West Indies (Overgaden Copenhagen, 2017), ISCM (Vancouver, 2017), Radiophrenia (Glasgow’s Centre for Contemporary Arts, 2017), CPH:DOX (Copenhagen, 2017), Roskilde Festival (2017), Harpa (Reykjavik, 2017), G((o))ng Tomorrow Festival (Copenhagen 2016, 2018), Nordic Music Days (Norway, 2019), Akusmata (SF, 2020) and his works has been released on labels such as Topos (DK), Archive Officielle (CA) and Important Records (US). NLL is associate professor at RMC in Copenhagen, and has given lectures at the California Institute of the Arts (CalArts), Goldsmiths University of London a.o.p. NLL has been awarded with several prizes a.o. from the Danish Art Foundation and the Sonning Foundation.

These run of releases on ‘Existence Is Resistance’ comes from the Legendary Proto Garage Record Label ‘Same People’, and see’s Persian & Long time musical partner DJ Texsta, repressing some of their most pioneering UKG E.P.s.

These run of releases on ‘Existence Is Resistance’ comes from the Legendary Proto Garage Record Label ‘Same People’, and see’s Persian & Long time musical partner DJ Texsta, repressing some of their most pioneering UKG E.P.s

I met SUGAI KEN a few years ago in Tokyo, outside the Dommune radio studios. His personality and music, a very special brand, touched me. His music is a coded vision of a dream world. A trade that is progressive yet traditional - in the most positive sense of the word.

Recently out of the blue, Sugai San sent me a collection of personal field recordings he made of folklore groups and public performances in Tokyo, Toyama, Kanagawa, Kyoto, Tottori, … The close listener already knows that Sugai San’s aesthetics speak of a great knowledge of these performing arts.

An open invitation: “the traditional local performing arts in the 21st century intrinsically conceive “fragility” as they are vulnerable to extinction. The Japanese local performing arts that appear in this recording is no exception, endangered by the declining birth rate and aging population which are typical to the country. (SUGAI KEN)”

I bring the original recordings into conversation with new elements like a ‘monomane’ - tr. imitating – sound game. But when i throw these old and new figurines together on the podium, the objects immediately disappear in the cracks of the stage wood. Thus only the understament of the suggestion remains. And relentlessly the significance of every movement now becomes a question.

Furthermore, what’s in focus? The manipulation? Or the content? Or are we zooming in on the aspect of archiving ~ preserving? Dubious.

In KAGIROI – tr. heat haze - people coexist for a moment severely carved in time like a high contrast still of dancing flames. When you bring this composition home, it will never boil yet merely evaporate. And when you gaze at the clouds of condensed droplets inside your own darkness, on a soft volume, You complete our puzzle."

Across two 12" slabs come long buried vignettes, motorik experiments and sketches from deep within the SVN archives. A continuation from his previous EP of the same name (c. 2017), this latest collection's smoked-out ambience, skeletal stuttering rhythmic workouts and smudged stoned melodies are some of the myriad parts that make up this most mysterious 'Mechine'.

Recorded at the now infamous Neues Deutschland Studio in Berlin, this collection of tracks continues the unique sonic explorations that SVN is known for and has deftly showcased through various respected electronic outlets including Apollo, Acido, Sex Tags Mania and more. An essential collection of DIY and contemporary German electronics.

Titanoboa's debut album is the first a-Musik release of 2021. Porphyr contains eight tracks of delicate Electroacoustic Noire and contemporary Post-Industrial that were produced in her Cologne based studio. Being equally into rumbling noise, experimental turntablism, angelic singing, organ improvisation and a lot of studio wizardry, these recordings somehow remind of a combination of Pharmakon's raw power, Maximim Bérangère's lyrical compositions and In Camera's nightmarish ambiance. Titanoboa delivers the perfect soundtrack for the early 2020s, Marcus Schmickler took care about the superb mastering.

The cat is back! 4 breaky jungle cuts to walk your cat to.

Zaumne's new album titled Élévation is a multifaceted yet subtle work, an abstract collage that is equally entrancing and immersive. Quoting passages from Baudelaire’s “Flowers of Evil”, the Polish musician promises to elevate the soul and consciousness “Beyond the sun / Beyond the ether”. Yet simultaneously, the artist wants us to stay where we are and focus on the immediate surroundings in search of our personal attachment to the world.

Initially recorded for the WET (Weird Erotic Tension) online community the four pieces are an exploration of erotic aspects of the environment and uncanny intimacy with other beings and objects that dwell in our nearest proximity. Just like on previous releases for labels like Czaszka Rec. or Perfect Aesthetics, on Élévation Zaumne maintains his interest in emotional aspects of sound and internet culture – he builds his compositions from fragments of ASMR-whispered poetry, samples of natural phenomena and field recordings from his family home and its environ.

What starts as an escapist exercise driven by uneasiness and ennui becomes an individual healing process, in which the subject rediscovers the strangely intimate relationship with the world and opens up to almost magical methods of communicating with other beings. ASMR samples and sounds of the artist touching, playing with and exciting different objects are an experiment in establishing contact with the non-human realm and a method of attuning the body and the mind to the reality in which everything is interconnected.

Zaumne tests Einstein’s “spooky action at a distance” through radical, sensual intimacy with what’s near, finding a glimpse of the absolute in his own room, again quoting Baudelaire: “To a child who is fond of maps and engravings / The universe is the size of his immense hunger”.

Zaumne is the moniker of Polish musician Mateusz Olszewski. In the past few years, he has released music on labels like Magia, Perfect Aesthetics, BAS or Czaszka Rec. Élévation, released by Mondoj and initially commissioned by WET, is his first vinyl release. Blending elements of genres like ambient, dub, minimalism and tape music with ASMR samples, field recordings and spoken word, he creates work with deep emotional focus and impact.

Tape

After tapes on Steep Gloss and Cruel Nature, we are happy that Stuttgart-based collective Zebularin join the OM family with their new release “Hermetic Topography“.

The album, a product of weekly recording sessions between March and July 2020, just when the pandemic slowed a bit down, might be the closest approach to what communal experiences sounded throughout 2020. It‘s a bold design of how collective improvisation can work in the post-covid era.

The first minute of „Budenzauber“ sets the tone for the whole record. Synth waveforms get joined by a drumset, both settling into a vivid conversation between digital noise and analog free jazz, finding a shared rhythm for this journey.

Daniel Vujanic, known to some from his recordings with Höhlenmusk Ensemble, Ixtar or E Jugend and the driving force behind Zebularin, had this urge to layer electro-acoustic solo material, synths, prerecorded audio meditations, without bending the sounds into detailed harmonic structures, but to build up dense, morphing atmospheres. In came Daniel Kartmann, a combatant in many of Vujanic‘s musical endeavours, his percussions, wind instruments and some deep musical talk - from obscure black metal to brazilian psychedelica, from Scott Walker to Gustav Mahler. The duo laid down basic tracks, kept arrangements vague, creating a perfect environment for a range of other players and instruments to walk in: piano, woodwinds, electronics, ebowed guitars and a vibraphone. The resulting record is a tender, affectionate take on jazz and electroacoustic composition. One can hear the routine of the involved cast as well as the fun, deep listening and correspondence that took place; even though this album was not recorded live in big-band-style, musical ideas interlock on an intuitive level and complement each other.

Take „Peljuga“ as a perfect example, a loosened jazz improv reminding of The Notwist‘s more psychic enhanced moments, which blends into a conversation between a contact mic and heavily manipulated synths and turns into a minimalist piano composition, which melds into a climactic peak and is interrupted only to rise again. And as complex as this description sounds, as uplifting is the actual song. Or the album‘s last track, „Holmen“, which starts out as an underwater ambient piece and evolves pretty organically into cosmic power electronics.

Despite its name and the Heideggerian flair of some song titles, „Hermetic Topography“ is all but hermetic. It‘s rich in musical colours without melting into a quagmire of maximalist noise. It‘s sophisticated but never top-heavy. It might be one of your favourite tapes of 2021.

São Paulo’s own, Cesar Pierri (CESRV), is one of Brazil’s most trusted and versatile producers, widely respected in the electronic and hip hop scenes throughout Brazil and beyond. He is co-founder of the label Beatwise Recordings, specializing in experimental production, and resident DJ of seminal beats & bass party Colab011.



Earlier this year, CESRV spearheaded and produced the EP “BRIME” alongside rappers Febem and Fleezus. The project mixed UK Grime with Brazilian Baile Funk and was a big hit on the underground scene, generating respect and new fans throughout Brazil, the UK and the US. He’s also released 2 Footwork inspired EPs this year “Bela Vista” and “Twenny Twenny” which has garnered radio and press support from BBC, KCRW, Okayplayer, Bandcamp and others.

São Paulo in the early 2000s was a perfect place for the Drum n Bass scene. The city had tons of clubs with well known DJs from all over the world playing music for a sweaty and enthusiastic crowd. CESRV's 4-track release is a crossover between contemporary electronic music and 90s Dn’B / Jungle rooted in São Paulo’s electronic music scene.

For the 3rd instalment of Die Orangen’s Saft series on MT, we have invited dear friends Full Circle once again, this time remix- ing the track Krautback off DO’s album Zwei Orangen. Joakim & Alexis took a different turn from their proto-no-goa sound, with more than a nod to the late (and sadly missed) mr. Weatherall, and the result is a DUB. Another duo we are huge fans of, Smagghe & Cross, took the song Zwei and reshaped it into a minimalistic psychedelic tonal symphony, echoing the original song's voices and fx. On the B-side, after 3 years of working on it, we have finally brought together again the mighty duo Mungolian Jetset to re- work bits and pieces from the whole LP. Its a midtempo cosmic disco/house banger that keeps on giving. a pure outdoor festival gem... Last but not least, we are releasing as B2, for the first time on Vinyl, Die Orangen's collaboration with artist Eva Geist ( self-re- leased digitally earlier this year by the ginger boys themselves) ..... A perfect collaboration, bringing out the more sunny side of the D.O. duo......

Pushmaster Discs is proud to present a new project collaboration with label owner Mattia Trani and the rising techno talent Onyvaa from Los Angeles.

The American producer join the label with a massive pure Nu school-Detroit techno spirit combined with atmospheric chords and solid 909 rytm patterns.

“Climax EP” is a collection of studio jam session tracks written between Barcelona and Bologna from Mattia and Shelby.

Incl.big Rave/Acid Techno remix from icelander producer Dj Exos.

Don’t miss it!

“…In The City Of Lights Where Nothing Is Grey…" In the City Of Angels by way of Prague, Pink Gloves channels classic Italo Disco on their Italians Do It Better debut. Petr Pliska weaves a tale of introspection on the neon soaked streets of Los Angeles.

Act 1 – Downtown. The title track is a hypnotic journey to the city center over a symphony of synthesis. He laments that he “Never Wanted To Come… Never Wanted To Stay… In The City Of Lights Where Nothing Is Grey”. It’s a place where nothing ever changes
& fantasy greets us in every direction. Beneath the sedated vocals, the synthesizers strike deep & dissolve quickly into a haze blanketing the strut of the heavy backbeat. The stage is set.

Act 2 – The Dancefloor. “Dancing on My Own” infuses Robyn’s four on the floor classic with it’s own cocktail of ethereal melodies & a rhythm section ala Ultravox. In the face of the Narrator’s lament, a mirror ball shimmers reflections of resilience.

Act 3 – The Highway. The downtempo “Wilderness” haunts us, bursting with silken synthesizers & spectral electronics reverberating like the ghosts of last night’s party. The tempered cinematic landscape blends with a mesmerizing sorcery as we drive into the unknown.

Act 4 – End Credits. Suddenly, the film is over. We hear the sunrise straight out of an ‘80s John Hughes film & the beautiful grit of Power, Corruption & Lies.

Produced By Johnny Jewel. Mixed By Lukáš Turza & Johnny Jewel. Mastered By Mike Bozzi At Bernie Grundman Mastering. Vinyl Cut By Bernie Grundman, Hollywood.

Western Lore, headed up by Dead Man's Chest / Eveson launches the second round in their 'Blunted Breaks' compilation series. Featuring regulars such as Sonic, Eusebeia, Dead Man's Chest, Response, Double O, Thugwidow and more.

Searching for new ways to express himself, Maarten Smeets (one half of Detroit Swindle) has found a new perspective on music in his alter ego “Wanderist”. Here, he shares his unique view on contemporary electronic music with strong influences from dub, electro, techno and ambient in tempo’s that match the intensity, funk and drive of his sound. As Wanderist, he has been writing some of his more abstract work of recent times. His sound is melancholic yet euphoric, using powerful loops and dreamlike melodies to create a dense flow in his compositions. His debut release is signed to Aus music later in 2020 and he has also launched his own label titled ‘Transient Nature’ where his own work will be released along with the work of like-minded artists. With a large catalog of music ready to release and collaborations with various labels planned for 2021, the future is bright for Wanderist.

pink vinyl / 180 grams

"With this release, I set out with a particular sound in mind - one through which I could amalgamate my inspirations from over the years to create something fresh and outline a unique approach. With these tracks, I wanted to walk the line of having something energetic enough to tease my UK Underground & Dance Music influences, and yet experimental enough to present the listener with a deeper landscape to explore through the FM sound design."
- Aagentah

Downwards look to Melbourne, Australia’s incredibly fecund experimental scene for this almighty split LP; facing off Bonnie Mercer’s colossal sub-bass drone hallucinations with scorched-earth drug dirges by the YLP duo. If yr into Sunn O))), Earth, The Birthday Party, Spacemen 3, Sun City Girls, Gallon Drunk - this one’s for you.
Both sides of ‘Old Moon, New Moon / The Image of 36’ sustain their influences from doom drone, gothic blues rock and post-punk for the already fraught 2020s. Each act renders a certain, ravishing sort of romance from end-of-earth bleakness, sketching out feedback-drenched vistas and sunburned, byzantine visions augmented by drum machines and electronics to blistering effect.
Internationally renowned guitarist Bonnie Mercer offers a rare solo suite for her part. Moving beyond her decades of work with bands including Grey Daturas and Breathing Shrine, Mercer generates a transcendent collapse of desert rock forms that will reward listeners with the sandblasted riff textures of ‘Half Moon’, the skull scraping psyche noise lushness of ‘Linda’s Goodman’s Love Signs’, and a deathly crawl to dawn in ‘The Latest Disappointment.’ If you’ve ever seen Sunn O))) play live, Mercer makes use of the same sort of
precision tooled grot that turns our insides out - all subharmonic drone and subby gnarrr that’s a properly transformative listening experience at the right volume.
On the flip, YLP’s Joshua Wells (Nerve) and Harry Schwind draw on a dirty, strung-out ethos and eros of Melbourne’s legendary and resoundingly influential sound. Laid down during marathon sessions where they “…came as close as we could be to tasting the tears of god”, the recordings mercifully came to attention of Downwards’ Karl O’Connor (Regis, BMB), who now has the honour of issuing their first release; taking in the flaming licks and nagging drum machines of ‘The Image of 36’ and the groggy desert blues of ‘Foreign Sands,
before really stretching out in two nine minute jaw-droppers channelling Spacemen 3, Suicide and Sun City Girls with infinite levels of flange and cosmically yawning vocals, but with more grunt in their gruds.