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Improvised Suites For Analog Machines celebrates the most influential analogue synthesizers of the 70s and 80s. Each track is uniquely dedicated to a different synth, experimenting with the variation of sounds possible to produce while telling a story of their past. The whole album is a mesmerising improvisation demonstrating what each instrument is capable of, while maintaining a wonderful fusion of old and new. Performed and composed by Erik “Keysie” Ritfeld and Arp Frique. TIP!

The totality of the many in one: Cologne Tape, an on and off gathering band from all over the world, did not call their second album "Welt" without reason. The collective incorporates the nucleus of the label Magazine and consists of the artists Ada, Barnt, Jens-Uwe Beyer, Jörg Burger, John Harten, Philipp Janzen, Mario Katz, John Stanier and Axel Willner. All members live scattered between Berlin, Cologne and Hamburg. They meet rarely and abruptly, but each of them always has the feeling that something relevant needs to be done. The ensemble's name represents a city and the musical recordings that are made in it.
Their "rst release, "Render", marked the start of the label Magazine in 2010 and found the way into DJ sets by famed artists like Dixon with music, which does not necessarily have the dance#oor in mind. Subsequently, little, absolutely sublime pieces of Cologne Tape appeared in the public.
Sometimes in the middle of a Magazine mix for London's online magazine Dummy, or on compilations like "My Heart's In My Hand, And My Hand Is Pierced And My Hand's In The Bag, And My Heart Is Caught" a double-vinyl sampler for an exhibition by British video artist Phil Collins.
And now, after six years of more or less overwhelming silence, "Welt" arrives and brings the world eight musical arrangements, all of which answer to the same name and only differ numerically in their title. They were performed and recorded at the Dumbo Studios in Cologne as part of a happening, during which the nine Cologne Tape members gathered in a room to play a solemn concert for themselves without a given frame.
Un"ltered emotions, which were later, re"ned with drums and synth sounds by John Stanier and Axel Willner and then arranged into a dramatic story arc under the direction of Jens-Uwe Beyer. Furthermore some of the recordings feature friends of the collective such as Mexican artist Rebolledo, the guitarist Burkhard Mönnich and the singer Isis Lace, who all happened to be close by and joined the band spontaneously during in their musical ritual. Now the recordings of their time without time will see the light of the day.
They all tell - together and alone - stories of deeply felt musical
experiences, which quickly become profound experiences too for those who listen to Cologne Tape, when they play the grand piano, synthesizer,vibraphone, organ, drums, guitar and more while celebrating afreewheeling ceremony. Panoramic music that enables the listener to enter a world of sounds and rhythms, which all re#ect in depth what Cologne Tape is as a band and a piece of art.

Mannequin Records is elated to present a double-LP compilation of the Dutch industrial-experimental heroes Doxa Sinistra.

Preciously selected by the expert ears of Frank Brinkhuis, head of Trumpett, "Universo" is spanning from 1982 to 1988 through their entire discography.

Doxa Sinistra was formed in Amsterdam, The Netherlands, early 1982. On the strength of live performances at Paradiso and Ultra venue Oktopus, the two piece band was invited by Trumpett to record an album in the Freakowitz & Einstein Studio in Den Burg on Texel. Armed with their Korg MS-10 and Korg MS-20 synths they took the ferry to the West Frisian island, and spent a week recording in the legendary Trumpett HQ. The result, the debut cassette Via Del Latte, was released in June 1982. Just months later band member R. K. kidnapped the band name, formed a new duo and played one live date. After that the project fizzled out.

Until early 1984, when Trumpett and Doxa Sinistra received an invitation from Italian cassette label ADN to record a new album. The invitation was accepted and Doxa Sinistra Mark II was born. Conveyer Belt, recorded between June 1984 and February 1985, appeared as an ADN/Trumpett co-release in August 1985.

After the move of the Trumpett Studios to Amsterdam late 1986, Doxa Sinistra started demoing a new album in the Summer of 1987. California based Undergroud cassette label Ladd-Frith were keen to release the ultimate results. Recorded early 1988, Newsflashes, the group's third and final album, was released as a Ladd-Frith/Trumpett co-release in the Summer of 1988.
Limited edition of 300 copies.

Susanne Dundler a.k.a. Kirsche von Bubach is a contemporary artist whose artistic expression includes video, multimedia installations and sound. She is an active member of the sound collective Dynamische Akustische Forschung (DAF). „Change The Parameters A Little Bit“ is her first release.

Recorded as one take, „Change The Parameters...“ is a rough piece of sound art, evoking reminiscence to the sounds channeled at GRM as well as the general vibe of 80’s tape underground weirdness or bringing to mind contemporaries like Pauwel de Buck (in terms of experimentation) or Jasmine Guffond (in terms of minimalism).

For an example, as much as rhythm and sequencing make up an integral part of Dundler’s playing, she doesn’t aim for a cheap shot and uses it not as a means to organize sound, but more as a specific timbre - creating a certain vibrancy, where intervals of silence are as much of importance as the more audible oscillations in between. Of course, repetition plays a vital role on this journey, but again: you won’t hear pathetic build-ups on this release. It is not about construction, but all about creation. Recorded on a microkorg with minimal setup, this music is completely unsentimental, yet deeply personal and human. It’s like with every new track, she is cartographing new ways to walk, breathe, see. The Kirsche von Bubach is defining a territory of sound while walking through it - carefully, playfully, with open ears and a distinctive sense for phenomena.

Distilled from an hour-long improvisation and sparsely edited and produced, its rough, grainy lo-fi sound aesthetic is what holds these tracks together, as much as they work perfectly as single tracks, which is also owed to Dundler’s narrative titeling. For real - „Dead Silky“ or „Easy Escalator“ would make total sense as essays. Or take „Waking Up Late“: it takes you where it goes, harsh, yet super quirky, fucking with your perception in a super safe and open way - like this is what japanese harsh noise might sound like when you’d blow away all that toxic masculinity.

Also, as the album title suggests, you can read this one as a reflection of right now, a comment on how drastic the turning of a knob slightly into one direction or the other can change a whole system.

Clear Vinyl

Parisian lynchpin Krikor Kouchian summons spooked-out radiophonic sounds in his superb, as-yet-unreleased soundtrack for the 2014 redux of Jean Epstein’s pioneering, silent 1920’s avantgarde cinema classic. A must check for fans of Elodie, Kevin Drumm, Mika Vainio, Eliane Radigue.
The 1927 film ’Six Et Demi Onze’ tells the tragic romantic tale of two brothers who, unbeknownst to eachother, fall in love with the same woman. A timeless psychological narrative involving suicide and lies ensues across the film’s grand locations, but on his soundtrack Krikor prefers to home in on the internal thoughts of the film’s central protagonists, outlining a claustrophobic atmosphere in some of his subtlest and most affective soundtrack work, which follows from a panoply of scores for everything from an Arnold Schwarzenegger documentary, to films on Franco-Saudi geopolitics and fantasy sci-fi. It’s arguably Krikor’s finest endeavour in this arena.
Recording for the score was made on portable recorders and laptop, which serve to heighten and intensify a “huis-clos” (“behind closed doors”) effect. Limned in sferic and plasmic tones, the 12 pieces suggest scenes and sensations of intrigue, loss, and paranoia, using specific palettes and particular techniques to connote the internal thoughts for the trio of characters: modified soundfield recordings represent the older brother, while old school radiophonic processing
mirrors the younger sibling’s feelings, and what he terms “advanced time expansion” for the female love interest. The results were pre-planned and mapped to the film’s edits, but ultimately Krikor
improvised the parts, adopting a more classical, non-linear approach with cranky old upright piano for the other scenes, capturing a mix of subliminal instinct and more measured articulation.
The results weigh up as Krikor’s most elusive and haunting solo missive, mirroring a wealth of classic French film music and avant-garde minimalism, and serving to slot neatly on Boomkat Editions’ vinyl series beside soundtrack (and related) works by HTRK, Ø, and Akira Rabelais.

Black Truffle is pleased to present Realejo, the first vinyl release from Brazilian sound artist and composer Manuel Pessoa de Lima. Having composed works for diverse contexts including cinema, contemporary dance, theatre and television, Lima’s live appearances often take the form of self-reflexive lecture performances that combine electro-acoustic sound, red light, video and spoken text, moving unpredictably from the hilarious to the distressing.

Realejo consists of two side-long pieces of highly idiosyncratic electro-acoustic collage, beginning with recordings Lima made of himself playing the organ in the Schloss Solitude Chapel in Stuttgart. Exploring the peculiarities of the instrument’s mechanics, Lima made hours of recordings with the organ stops half-way open, moving from haunting gliding tones to oddly tuned fair-ground melodies reminiscent of the record’s namesake realejo, a hand-cranked organ traditionally found in Brazil as the musical accompaniment to the work of fortune-telling parrots.

To these organ sounds, Lima added recordings of a security guard made in São Paulo: ‘Just before coming to Stuttgart, I started making field recordings of a security guard in São Paulo. It's something pretty common in residential areas: they sit in a chair with a whistle, and use that to signal when people arrive, leave or pass by in the street. This particular security guard, Miguel Viana, works on the same street my parents live, and where I had my childhood, and he has worked there since I was a small child. He has watched the street at night, from 8PM to 6AM, every single day, except Sundays, for over 30 years’.

The poignant sounds of the security guard’s whistles punctuate Lima’s electro-acoustic environment, which also includes raw digital synthesis, recordings of his friends’ infant child, audio lifted from Youtube, and, on the LP’s second side, elements taken from an earlier work, ‘36 English to Portuguese Lessons’. Finely chiselled from dozens of hours of source material into a detail-rich, mercurial structure, Realejo is alternately jarring and seductive, introducing listeners to a young composer with a powerfully individual voice.

Lost PHILIP GLASS Recordings from 1975 - ORTF
The newly discovered and unreleased concert from 1975 recorded by the Philip Glass
Sextet at La Maison de la Radio, Paris.
The sextet is composed of Philip Glass, Jon Gibson, Dickie Landry, Michael Riesman, Joan
La Barbara and Richard Peck.
Music in Twelve Parts is a set of twelve pieces written between 1971 and 1974. This
performance in France includes part 1, 2, 3, 11 and 12 on a double LP.
Also included a very rare Philip Glass interview from 1974 in his NYC loft during the
rehearsals of this piece, produced for the French radio by Daniel Caux - musicologist and
co-founder of Shandar Records.
A never before released -Philip GLASS (1975) live recordings, released in partnership with
the National Audiovisual Institute - INA.
"A new sound and a new chord suddenly break in, with an effect as if one wall of a room
has suddenly disappeared, to reveal a completely new view." - A. Porter

Black/white riso printed Jcard, black tapes screen printed w/ white ink

20th anniversary edition of Stephan Mathieu’s stunning debut album, a hushed introduction to his liminal sensitivities - essential listening if you’re into The Caretaker, Akira Rabelais, David Sylvian.
A proper pearl, this one.
Highlighted for reissue by the brilliantly named Weeding label, the timeless, hypnagogic qualties of this classic album stem from Mathieu’s core interest in vintage, outmoded equipment and their unique fidelities. Sampling 78s and environmental sounds and combing the results with granular processing (and a spectrum of other synth tekkers), he animates their ghosts and spectral infidelities - ravishing crackles, infrasonic hums - in elegantly slow moving, chamber-like arrangements that have become a hallmark of his and subsequently coveted by waves of wistful artists enamoured with his contemporary vision of archaic, arcane audition.
Mathieu’s music finds a unique sensuality in the space between analog and digital textures, most beautifully highlighted here on the anxiety-dissolving crackle and hum of ‘Variation Eins’, and the exquisite touch of ‘Variation Drei’ as it gradiates from Porter Ricks-like subaquatic intensity to Basinski-esque damaged keys. The synths proceed accompanied by filigree spectral electronics a la Coil’s ELpH in the titular closer, a mix of paranoid drone surveillance and funereal pads eliding in thee uncanniest manner that feels very much at home deep into 2020, within a modern field of de/focussed ambient explorers and electro-acoustic composers from Pendant to Bellows and, of course, the Caretaker.

Veteran tech-stepper Trace returns to CNVX with 4 nostalgic steppers, featuring collaborations with Kid Drama & Survey.

7am. Tilburg. Black room. Strobe light. Dutch Soundsystem Wirwar. "Party Like It's '96" celebrates 23 years of musical debauchery, rinsing BPMs and battering bodies in forests, squats or wherever a PA system could be plugged in. Five tracks from five different aliases make up this descent into drum beat battery. Noses are up against sweat drenched wall from the needle drop, the thundering pace of Trippy D's maniacal offering being elbowed in the ribs by Bart Bral's nosebleed inducing "No Shit, Sherlock!" Distortion slices into squalid acid lines in the blazing "Water On Mars" by RAF before broken beats are blended and blitzed by Just So Nah. The night, or morning, comes to an end in Roel's nightmarish fairground ride. "Wurlitzer Express" minces chiptune cuteness with splintered snares, cracked kicks and mutated percussion to leave hearts, minds and souls thoroughly stained.

Alex Cortex delivering the heat!! Mr Cortex is kicking hard with a direct and mental techno tracks! Oscillon, A1, is a bleepy affair, direct and repetitive, but please, play it loud and watch. Rheometric is in the same alley as Oscillon but bringing the bleeps and glitches trip even more in your face. Combined with the fat but quirky bassline, it does the peak time techno thing extremely well. B1's title "Shear Wave" does the track justice. Backed by a fat downtempo beat, the distorted 303-reminiscent synth line cuts through the mix in a way that's impossible to ignore. Strain Rate Tensor rounds up the previous three cuts, also in a very dancefloor-friendly manner. Bubbly main lead and anxiety-inducing pad sneaking in the background seem to be the main thing, until another synth hits you as a counterpoint and flips everything upside down. Proper no-nonsens stuff!! (comes on 180grams vinyl)

xpq?4 was recorded in sessions spring/fall 2019 slap happy heavily mutated outsider cautionary speculative breaks w/ glambient sheen culled from fractal sludge

Dexorcist, aka South London’s Si Brown, has been at the forefront of the UK electro scene since the late 90s – running the seminal Control Tower label with Radioactive Man and producing as part of a number of collaborative projects alongside his solo releases, including as Kronos Device with Bass Junkie.

His ‘Rage Signal’ EP, the first vinyl release on Ecstasy Garage Disco (following digital releases from LMajor and BufoBufo), journeys further back into his musical roots, combining his trademark industrial-strength aesthetic with elements of dub, bleep and hardcore.

‘Rage Signal’ starts the dance, blending rave whoops, slamming breaks, acerbic hoovers and vintage sci-fi samples for a track heavily championed by Local Group, the duo label boss Corporeal Face is part of. The searing bass, booming 808s and urgent bleeps of ‘Centurion’ then underline its gravelly vocal, which aptly attests to the roughness of the 21st century.

‘Don’t Come Cryin’ is another huge slice of thumping 140bpm rave-inspired breaks, Britcore vocals and urgent, winding melody adding chaotic force to the bass and stab lead. ‘Jah’s Comin’ closes out, a prophetic vocal, hefty sub, dubbed out horns and turntablist scratching heralding his arrival – while also signing off an EP that unites electro’s bass weight with the undying energy of rave’s early days.

Back in the game, Fantastic Man returns to Kitjen with a powerful EP of mind-bending, acid workouts. Solar
Surfing is a concise example of the Australian artist’s panache for psychedelically inspired house music with two
dance-floor heavy cuts preceding a contemplative, baseline driven slow jam. The hypnotic and fast paced title
track locks in and moves ever forward, whilst Native Power features the classic sound of Fantastic Man’s 303,
coupled cleverly with the sound of an extraterrestrial bird-song. A drop in tempo rounds off the release with
Avocado Conception, an expertly delivered exploration in slow, chugging nostalgia.'

GEN-Y debuts on BAKK with a release that hits every corner. Four refreshing tracks that dabble in familiar styles without a single concern for tradition. Packed with three tracks by GEN-Y solo and one as G.F. together with Paule Perrier. Whether you like acid breaks, snappy electro, dreamy psychedelica or ghetto house with a twist, GEN-Y got you covered. Comes freshly served in screen printed comicly radiant artwork by the BAKK Catharsis Company.

Listening to Linja’s debut LP makes one think of Polish director Yuri Norstein’s gloomy melancholic (yet playful) movies, or perhaps just of a rainy day, or Chopin.

Velvet Noise is a collection of 7 experimental pieces made by Linja sometime around 2016-2017, using drum ma- chines and a lot of modular synthesisers. The album is woven with Simple melodies that crack through the squeaks and the bleeps, eery pads that fill the voids all sorts of FX. The atmosphere becomes filled with tension when it is playing in the room, as if something is clearly about to happen. Linja’s album is not so easy to describe, and yet due to its coherence and storytelling it has a certain feel and per- sonality of a good book rather than just a record. “It transcends its existence as a record”.

The long-awaited follow up to 2016’s “Hi Vibe” EP, *GCR010# is the code that dumps our inner-space cadets from their deep space stasis and back into our timeline. Hot off the data logger, “Dream Running” – five robust runtimes of creamy electro-ambience and bubbled-over balearica, equally suited to inter-dimensional cryosleep and share house kick ons, coded by hand and compiled with love by Long Body. Defrost your own frozen dreams with this study for guitar and synthesizer in the enduring tradition of Andrew Duffield (Round The Twist) and hot-wire your waking reality today!

Estonian violinist & singer Maarja Nuut & LA's psyche-experimentator Sun Araw hand in gentle, unpolished improvisations on their collaborative album “Fantasias for Violin & Guitar”, recorded live on location by Jackson Bailey aka Tapes.

Brought together by Tallinn’s IDA Radio under the umbrella of a 10-day sound residency in magnificent Narva Art Residency on the border of Estonia & Russia, Maarja Nuut & Sun Araw set up their gear to jump head first into unknown territory of live-improvisation.

Don’t let the title fool you though, as the intro “White Comb” unveils, there’s more here than the old violin & guitar: Buchla magic, entertaining tries to MIDI a violin, gentle glockenspiel fills & ringing bells, occasional bursts of electronica zooming in from unknown sources & Cameron Stallone’s guitar swings all over the place glued together by Maarja’s stellar voice.

Phyzikal Flex delivers four absolute bombs from the vaults on this colabo EP from Doom Chakra and Parallax. The 12" features two revised and polished versions from his 2017 Doom Chakra Tapes album, “Keeping It Real Since 92”, plus two unreleased tracks - available for the first time now on vinyl.

Parallax & Doom Chakra joined forces on this PARADOOM 0001 release in order to finally release these four long-awaited gems on wax. The release will be delivered in a unique hand-sprayed sleeve, each record will be hand-stamped and will also include a batch of collectible stickers from both labels. The record was mastered by Norman Nitzsche @ Calyx Mastering and cut by Phyzikal Flex himself and will be pressed at Optimal Media.

Repress

Third EP from the man Sentiments releasing four 90's inspired tracks, somewhere between detroit house & early idm. Breakbeat & tribal rhythms guaranteed.

Four soulful tracks by four different unknown but respected artists.

Bradley Zero celebrates five years of his Rhythm Section International imprint with 12” compilation SHOUTS Vol. 1 & 2. Vol. 1 represents the more club ready side of the label whilst Vol. 2 explores more mellow territories. Famed by Mixmag as one of the Top Ten DJs of 2019, celebrated as a “figurehead for the exploding south London scene”, and “responsible for spreading the gospel of the city’s new Jazz sound”, it’s clear to see why Bradley Zero is quickly becoming the taste-maker of his generation and Rhythm Section INTL as one of the most respected outlets for authentic global cuts. A go-to label for the
connoisseurs Rhythm Section INTL is a UK staple. The raison d’être has always been to unearth and nurture new talent, not just via the catalogue but through the now established network of radio shows,
concerts and club nights Rhythm Section has become known for. The SHOUTS compilation and accompanying celebratory tour is a continuation of this mission. SHOUTS is a nod to the online radio culture that birthed the movement. SHOUTS is the label using its
voice to amplify its peers. SHOUTS is Five years of Rhythm Section International.

De Lichting is a brand new collaborative project between three key underground labels from Amsterdam namely Yield Records, Native Response and Working Titles. All with their own successful solo projects and well established in what they do, the collaboration is “a coming of age story narrated by a bunch of music heads from the same city.” It is a project that sees seven self-confessed music nerds putting their DIY ideals front and centre and coming together to self-release these 13 new and exciting tracks.

Artists Nathan Surreal, queniv, RDS, Scott Franka, Kaap, Eversines, Human Space Machine and Deltitnu all contribute at least one track each to what will be the first in a new series of releases that follow this same diverse collaborative approach. Musically, the tracks cover many shades of house, ambient and techno across four carefully curated sides of vinyl.

Side A takes in unsettling sci-fi ambiance that turns into spacious and cosmic deep house before dropping back into dreamy, beatless chords. Side B picks up the pace with slippery electro synths and rubbery grooves that journey through the cosmos before ending up on romantic broken beat bliss.

Side C kicks off with menacing and trippy house which turns to deep acid, loose beat workouts and dubby ambiance then last of all, Side D offers supple mind melting techno and sombre minimal dub. Always inventive and atmospheric throughout, this a varied and vital release that both DJs and dancers are sure to love.

When Tim "Avicii" Bergling passed away on April 20, 2018, he was close to completing a new album. He left behind a collection of nearly finished songs, along with notes, email conversations and text messages that painted a picture of what he wanted the music to sound like. The songwriters that Tim was collaborating with on this album have continued the process to get as close to Tim's vision as possible.



Since Tim's passing, the family have been determined not to keep the new music locked away – instead they have wanted to share it with his fans all around the world. The album, titled TIM, will be released on 6th June. Avicii's net proceeds from the album will go to the nonprofit Tim Bergling Foundation and the purposes it will work for, among other things, to prevent mental illness and suicide.

Borai will be instore at Container Records launching the EP, date TBC
Bristol based Borai returns to THEM records with a 4 track EP of 140bpm Jungle and Warehouse Techno. Ruffneck club music for 2018

DJ SUPPORT:
JoeFarr
Manni Dee
Lag
L Major
West Norwood Cassette Library

Come join Spaniard Juan Alberto Arteche Guel and his musical co-adventurers on their good ship Finis Africae on an imagined musical journey along the Amazon. This is a CD and vinyl LP reissue of their 1990 album, a rare and highly sought-after Balearic classic, Guel's masterpiece. Finis Africae was part of the musical flourishing that emerged at the end of the Franco regime, and this album, guided by the visionary Guel, captures the mature results of that era of new-found openness and freedom. Capturing Guel's production skills at their peak, "Amazonia" is informed by Jon Hassell and Brian Eno and their idea of a "fourth world" music. Arrangements which are spacious and fittingly aquatic feature electronic and acoustic instruments in thematic pieces which at times free-flowing and at others ripplingly percussive. Vividly imagined and beautifully recorded, this is a pleasant and memorable journey.

Horrific continues to lead the way with our tenth release. The world's first millennial VINYL ONLY D&B label! This release contains x1 Vinyl 12" in full colour disco jacket sleeve (no holes). Consisting of brand new art works on the front and back cover: created especially from Horrific Studio's East London HQ. On the front, Jessop continues his living colourful/burner 'Subway Fiction series', a fresh fantasy graffiti train rolling through the Bronx... 'Flash Backz' in full wild style, on a so called 'clean train' for graffiti crazy D&B vinyl heads out there.

Flip the cover - monumental & dangerous full bleed drawing by Flava. Horrific recordings setting the trend, with producers creating the art works aswell as beats!!! A 'Serpent' injecting a visual venom to your mind. Both sides of the label on this 12" are hand drawn & designed by Flava.

Side a. 'Music Makes Us One' Flava + Sicknote

Klute played it at the re-opening of FABRIC super set slammer, knocking the dance floor into a 720o spin. Since then, Flava's been blowing up mega hit after hit - example - her massive 2017 vinyl release on Commercial Suicide (Cat 092) 'The Test' & 'From The East'.

Mackie master Sicknote punching sound shock waves (like Mike Tyson), yes! Straight to your chest. From its 1st play at LAUNCH over at Bloc E3 on 10" steel plate its the champion tune of 2017.

Side aa. 'Flash Backz' Sicknote + Horrific James

'Dreamscape its six oclock in the morning' MC Conrad 1992 .

Titled Flash Backz after the lads went vinyl shopping at Flash Backz Vinyl store on Bethnal Green Road and took the shopping bag straight to the Emu Sampler the same evening.

Cut at 168pm, pitches in to mix nicely on your Technics direct drive turntable to smooth groove with any era of Hardcore-Jungle-Drum & Bass!!! 1992-2017 no problem, 25 years riddim track right here, all angles covered, no BPM retro tune mix snookering, yes it mixes any era guaranteed either side of your 'green light'.For all you vinyl DJs #pitchriding. The return of post post Hardcore Hardcore Junglism / Darkrider heads will be feeling this one .Following 2017s Jungle revival, 2018s tipped to be the year of the Hardcore sound revival (we got in early).

3 months on from the release of his debut album, Friske returns to Metalheadz for a one-off single showcasing some of his best work yet. Set to be released this October, Friske displays his much-loved production traits and attitudes towards drum and bass music via the amen-riddled 'Untitled Killa' and the intergalactic journey that is 'Persevere', this is a part of Friske's discography too good to miss.

Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.

Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.

A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).

In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.

In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.

"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."

John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.

Frustrated with UK club music's current fixation with tempo, London based artist Kouslin's '2020 Vision' EP delivers four cutting edge, high energy clubs tracks that hover around the 100bpm mark. Drawing on both dancehall influences and the productions of artists such as Harmonic 313 / Mark Pritchard and The Bug, Kouslin carves his own vision for a new decade in UK club music where fine tuned low frequencies and a slower pace can deliver maximum impact.

When he's not working at London's Phonica Records, Kouslin runs the Le Chatroom record label and has a regular slot on London's Balamii radio.

This 12” vinyl release comes with full colour artwork reverse board sleeve with artwork from Tess Redburn.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

Compilation of slow industrial punk EBM edits by Russian duo Olta Karawane. This is their second appearance on Maturre after their previous release on I'm a Cliché last year.

One track taken from Lush Grooves Volume One remastered and another that was meant to be on that original EP but got missed out, so unreleased since 1997. Written and Produced by Paul French who also released on Confetti Records