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Delving deeper into the Oubys universe, beyond known and unknown territory. A true trip from start to finish, and backwards!

ALL TRACKS WRITTEN & PRODUCED BY RENALDO AND THE LOAF

COVER DESIGN & LAYOUT BY NIK VOID

ORIGINAL ALBUM ARTWORK BY GARY PANTER

RE-MASTERED FOR VINYL AND CUT BY RASHAD BECKER AT D&M, BERLIN, NOV 2018

LARVAE RECORDED AT ODD TIMES AT SNEFF'S SURGERY BETWEEN NOV. 1979 & NOV 1980

ORIGINAL MIXED AT ELEPHANT STUDIOS, LONDON NOV 1980

SURGERY SELECTIONS RECORDED DURING 1980 AND 1981

© ROTCOD PRODUCTIONS 1981 & 2013

THIS VINYL REISSUE MANUFACTURED & RELEASED BY EDITIONS MEGO, 2019

A biomedical scientist and an architect form a band in the early 70's with nothing by the way of traditional musical talent or skill but with endless enthusiasm and their own unique musical sensibility.

The ensuing career and creative output of this ongoing home studio / bedroom band remains one of the most significant song based 'outre' catalogues ever produced in the United Kingdom. This comprehensive 2 LP (+7" for first 300 copies) set contains their first official LP (originally released on The Residents legendary Ralph records label) along with an extra album of different versions and extra tracks which reside here for the first time on vinyl.

The duo Renaldo & The Loaf, originally Portsmouth based, now in Portsmouth and Mid-Wales, remain an enigma whilst amassing an enormous cult following worldwide. Their singular take on music encompasses wit, strange melodic construction and an off kilter

sensibility which successfully rendered them engaging for each emerging generation. The ability of Renaldo & The Loaf to unnerve and entertain in equal measure is what binds these songs to a musical universe outside of all other forms that existed around the time of release. The Residents are obvious spiritual heirs.

Songs For Swinging Larvae is a classic collection of confounding songs which lead the listener into a surreal world of twisted tunes and perverted pop. Songs from the Surgery is made up of improvisations, early/alternative versions of various Larvae tracks and unreleased

pieces from the same period.

The results leave one laughing through a thick veil of unease. As the original Ralph records press release said of Songs For Swinging Larvae: "This is an album of primitive modernism, energetic obnoxious noises, manic high pitched vocals and sweet brilliance





























27. The Hydrophile
| 28. Gone to Gondwana (Original Version)
29. Token Nudity
[~] 30. N2O (Going Under) [Alternative Mix]
[] 31. It Is What It Is (Really)
[€] 32. Father Always Kept His Hand Closed
[] 33. Ldi – 1
[‚] 34. Ldi – 2 + Untitled Voice & Guitar Piece
[ƒ] 35. Ldi – 3
[„] 36. Ldi – 4
[…] 37. Ldi – 5



























[] 27. The Hydrophile
[|] 28. Gone to Gondwana (Original Version)
[] 29. Token Nudity
[~] 30. N2O (Going Under) [Alternative Mix]
[] 31. It Is What It Is (Really)
[€] 32. Father Always Kept His Hand Closed
[] 33. Ldi – 1
[‚] 34. Ldi – 2 + Untitled Voice & Guitar Piece
[ƒ] 35. Ldi – 3
[„] 36. Ldi – 4
[…] 37. Ldi – 5






























[Alternative Mix]

Welcome To Unreality Records Has The Pleasure To Presents For The First Release Dean Dennis Aka Sector.
Selected Tracks From The Sector Debut. Made In Sheffield During 1993-1994, Having Finally Left Clock Dva In Late 1992, Guy Fawkes Night To Be Exact.
A Mix Of Techno, Downtempo And Drum'n'bass That Makes This Ep A Trip Into The Uk Electronic Music Scene Of The 90's.

The album includes the most direct and propulsive Shinoby material yet. There is a functional connection to dance music here, honing in on the celestial bliss's human element embedded within a sound fraught with inhumanity.The music is emotional, hostile, dark, grungy, dissenting, acidic and energetic. Mostly based on repetitive patterns, the distorted yet perfectly balanced percussion drills through the concrete warehouse walls long into the night. The not occasional use of distortion brings the dense atmosphere to near suffocating limits.

Der einzigartige Sound der beiden irischstämmigen Zwillingsschwestern Georgina & Una McGeough aka Song Sung aus New York klingt hypnotisch, mysteriös und hymnisch, wie von einer Girlgroup aus dem Weltraumzeitalter. Was kein Wunder ist, entstand doch ihr Debütalbum "The Ascension Is Ours" in Kooperation mit dem irischen Top-Produzenten David Holmes (Noel Gallagher, Killing Eve OST) und seinem Unloved-Duo-Partner, dem US-Filmkomponisten Keefus Ciancia (True Detectives OST), die zu Lyrics und Vocalmelodien von Song Sung die Arrangements beisteuerten.

J.Derwort (15/07/1952 - 11/02/2019) left all his flutes, old guitars, strange percussion and some weird found objects at the Chi Factory studio. Hanyo van Oosterom went back to Patmos in April 2019 to visit all the magic places where Chi once started. He recorded the basics for ‘Travel in Peace’. Playing and recording these handmade bamboo flutes without the master himself being there was a lonely and emotional journey. But along the way the magic connection returned and the last Chi Factory album was born. On ‘Santa Fe’ and ‘Last Breath’ samples were used of J.Derwort during his last weeks in Santa Fe, Spain. The Chi circle is now closed. Chi Factory will move on as ‘Sons of Chi’. A new platform for different collabs and new adventures in sound. The legacy will live on, so will we.

Hanyo: As J.Derwort explained by a dream he is now in a wonderful place far away and still so close. The dream came during the recordings when I asked him how he is and where he is. I saw beautiful and ever changing constructions of plants. Nothing else. No words and just a simple explanation: everything is created and connected by intuitive vegetable intelligence. The opening piece ‘Bless You’ is the last track I recorded, it reflects the memory of my dream the most. I almost decided to start all over again, but I did not. Hope you like the last Chi Factory album, thx for all your support, also to my good friend and soul brother J.Derwort this meant a lot. One love!

Newest Episode On Cdt & La Chinerie's "nation Techno" Special Series. Like It Was Done On Sister "nation House", It'was Time To Focus On Italy.

This Compilation Of 8 Tracks By 8 Artists Gives Us An Overview Of The Italian Scene And Its Different Components.

From The Finest "italian" Techno With It's Atmospheric Pads, Repetitive, Progressive And Mental Sequences To More Audacious Stuff Between Techno, Idm, Electro, Breakbeat & Breakcore.

Josey Rebelle is the deserving recipient of many accolades and awards, though heraccomplishments are, as with all great artists, unquantifiable. Just as herstyle doesn’t fit neatly into a few-word package, Josey In Space combines classic and current sensibilities with a selection of exclusive and elusivemusic to elevate this mix beyond the ephemeral to the eternal.

Drawing from a kaleidoscope of deeply felt and understood sounds, Josey studies and collocates history as well as directing it's course.

With her sets on the air & in the club, Josey urges you to listen close to the story, to feel the energetic shifts in style, sound, speed, mix; up, down, rough and smooth.

Josey’s sets are motivated by the ineffable and inevitable dance, mess and sweat oflife: “eclectic,” an oft-applied catchall, just scrapes the surface of this scope and vividness.

The reciprocal relationship between radio and club DJing are integral to Josey’s practice. Joining Rinse FM in 2011 with a covert 3-5 am Thursday slot, her now venerated weekly Sunday show delivers a universe in two hours, filled with selections from across the spectrum - house and techno, breaks, jazz, soul and analogous electronic music, to start- and carries the voices of emerging artists & their communities.

Evincing a lifelong commitment to ravenous, compulsory listening, and encouraging this in others, Josey furthers a localized lineage
tracing back to the golden era of Londonpirate radio.

Plenty of lore is out there about Josey’s journey as a club DJ with a glinting reputation the world over. Her style is broadly and essentially UK (especially from a US vantage), in content and mixing. But she doesn’t simply follow a school; her methods are always responsive to the track at hand. Josey lets “the tunes speak – or shout, or whisper – for themselves giving them space to breathe.” Within this framework she allows tracks with both complementary and dissonant elements to meet, run over each other, break apart, or just brush each other by.

Josey in Space reflects this finesse and versatility across twenty selections, a number of which will see their digital debut inside and outside of Josey’s mix as standalone cuts. DJ Marcelle’s outre dub clatter bookends the plot, featuring up-and-comers of club sound like rRoxymore, AFRODEUTSCHE and Molinaro alongside consistent innovators like Titonton Duvante, Nubian Mindz, Hieroglyphic Being, Uschi Classen and Robert Owens.

Tenesha The Wordsmith’s afro-futurist visioning and poetic eulogy “I Dream So Loud” invokes a healing mantra at the outset, and emphasizes an imaginative resilience embedded in the unequivocally black history of dance music. Moving knowledgeably through this unfolding history, Josey in Space celebrates US house- and techno history along with UK soulful bass, breaks and beyond as in Loraine James’ “Glitch Bitch,” or the second-to-last tenderly offered “Praises” from Lex Amor.

On the 12” Version, fouressential tracks are lifted from the mix for DJready use: Fotomachine’s spectral techno transporter “BBoy”; the warm, broken-beat sashay of Shy One’s “Route II Romeos”; Access 58’s 1999 instigator “Jazz Drama”; and the uplifting jungle tune “Dance Of The Sarooes (Nookie Remix)” from Rogue Unit.

Available as a track-focused 12”, mixed CD & mixed, - unmixed digital version, Josey in Space is the second outing in a new "Beats in Space" series celebrating dancemusic’s form & informality- and the selectors guiding it's evolution.

vtgnike is danil avramov, born in Vladimir,russia. started actively
making music in 2010 after moving to moscow. after releasing couple of
eps under different monikers, got a few vtgnike d.i.y. cds(one of
those probably got into nico's ears in NY) i've got beautifull DUBNA
LP on other people(yes really still think its a great record) and few
month after its release got in jail because of drug charges dated
2009. long story here. im 100% on weed legalization and
decriminalization of other drugs in a logically gentle and mentally
stable sociaty(and the world is not equal, its diversed and i respect
all non violent cultures :-). got free in 2016(THANKS TO EVERYONE
INVOLVED AND NICO) and got another album with a gostzvuk fam.
i am a proud resident of NII club.
in producing i've been switching music genres all my life ) electronic
music that has a flow in it, dosnt need to be glued to any specific
range of bpm, etc.

Then one of Med School’s youngest ever signings with his compilation feature ‘No More’, drum & bass head turner Whiney has stepped up to the plate for his first solo release since officially joining the Hospital Records roster.

Reputable for supplying heavy duty sonics, ‘Bubblers Part One’ is a supreme development of the 25-year old’s highly sought signature sound. Home to four fresh cuts marking the start of his trailblazing new three-part ‘Bubblers’ series, Whiney’s latest EP proves he’s got the technique and flair to be a lead player in the scene Jungle-infused gritty stepper ‘No Good’ gets things rolling with old-school soundscapes and a captivating R&B style vocal. A fierce ascending bassline accompanied by raw breaks and crisp percussion hits explode into play, setting the track up to be a future classic that continues to carry the foundations of drum & bass into the sounds of today. Featuring the vocals of mic veteran MC GQ, ‘Guernsey Airport Bubbler’ is straight-talking and deadly. Written in the lounge of Guernsey Airport amidst his busy touring schedule pre-lockdown, this quirky heavy hitter comes close to being a textbook audible representation of a true bubbler. Minimal sounding and darker in vibe, ‘Black Ice’ offers a copious amount of distorted swells, a throbbing sub line and snappy drums which keep the tune swinging throughout. Icey by name but extremely hot in nature - proceed with caution! ‘November’ rounds off the EP as it draws closer to Whiney’s trip-hop
and future bass oriented inspirations. Thumping kick drums, high pitched vocal chops and dreamy synth work are projected into a glistening beacon showcasing the far reaching ability of his skill as a creator. With an impressive collection of releases under his belt on the recently closed Med School imprint, including ‘Stop The Clock / Breadcrumbs (feat. BOP)’, his ‘Waystone’ LP and debut album ‘Talisman’, it’s now time for Whiney to officially join the Hospital Records roster with his first solo release on the label as he continues to pave his way to becoming one of the most respected artists within
drum & bass.

The Death of Rave is over the moon to present ‘Perfect Oracle’, a staggering debut EP of
hyperpresent dancefloor dread and aerobic-mystic torque by Athenian artist Xyn Cabal.
Years in the works, the 5-track ‘Perfect Oracle’ EP finds Xyn Cabal poetically turning the pressures
of life in Athens and the modern world into diamond-cut but deliquescent future club music.
It’s a cuttingly critical exploration of dance music dramaturgy, crystallising fluid tessellations
of dembow, gqom, weightless grime and kuduro rhythms with emotive, bittersweet melodic
arrangements.
Hailing from Athens, Xyn Cabal’s music is perhaps unavoidably influenced by a timeless and deeply
rooted conception of the syncretic, fractious culture and politics that plays out in his everyday
life in between his studies of mathematical logic - a form of metamathematics closely connected
to theoretical computer science - and the riots which occur on exactly the same city streets
most weeks since the 2008 financial crash. From this heightened yet hyper-normalised state of
mind, Xyn Cabal’s music speaks to feelings of tempered rage and frustration as much as ideas of
reconciliation and transcendence.
With ‘Perfect Oracle’ Xyn Cabal takes the dancefloor as an ideal arena or TAZ for parsing or
modelling this push and pull of physical, noumenal, and virtual forces. On the A-side his 9 minute
blinder ‘E’ traverses a post-apocalyptic playground of brittle but shatterproof dembow drums,
minor key synths and black hole trance breakdowns, before ‘Nowei’ unfurls a grimy cinematic
elegy for the dispossessed. On the B-side, his permutations of Arabic vocals and subbass
loops synch with upended drums in the EP’s titular highlight, while ‘Veil Ordnance’ pushes his
rhythm programming to breathtaking, spiralling im/possibilities begging to be interpreted by
contemporary dance companies, and ‘MSF Venom’ sounds the riot with slow motion Molotov
drops turned into a noisy reggaeton beast.
The results resonate with music from TCF and Æ thru to Total Freedom, Arca and Croww, but
crucially and uniquely, Xyn Cabal’s music strives to consolidate a much broader set of reference
points, navigating mathematically psychedelic, emotive, and remarkably meta routes between
hyperlocal, rhizomatic, and cosmic nodes of the world’s dancefloor.

A multi-platform production that explores the overlap between the digital and the organic through field recordings of Inuit throat singing may sound, on surface level, to be something that is a rather niche. However, Zoe Mc Pherson's exploration of this world on String Figures is a deeply rhythmic, immersive and forward-thinking piece of electronic- leaning music that remains just as danceable as it does experimental.
The album is fundamentally one of duality, exploring the traditional and the contemporary, organic and electronic, audio and visual, history and the future. Rooted in this duality is also a core theme around string being one of the most ancient and playful art forms and the seemingly infinite possibilities it offers in terms of shapes, structures and figures lines up with this as a trans-global art project. One that over time will involve video art, choreography, 3D motion design, macro film, instrumental and electronic sound. Although for now is being presented through an AV performance, films and a record with Mc Pherson collaborating with director Alessandra Leone.!
Over the seven tracks (which are laid out as chapters) the record explores glitchy electronics, dub-tinged grooves, polyrhythms, and a huge array of instruments that takes in quiet blasts of atonal sax alongside wonky synths. This of course cross-pollinates with the throat singing and experimental field recordings to create an utterly inimitable sonic sphere. For Mc Pherson it's about mixing worlds, histories and timeframes and she uses a 1991 quote from Laurie Spiegel to hit home how she has elaborated upon this original thought of history and future overlapping. 'Folk music is considered anonymous common property in a culture and that's what a lot of computer music and other kinds of music data may end up becoming.' However, there's also a purer reason for the exploration of these worlds and colliding them together. 'Basically I thought that electronic music that is only digital is a bit boring and as I'm connected to jazz music for many reasons, I wanted it to sound organic: real instrumentation, field recordings.'

Chicagoan Brian Case is returning to Hands in the Dark with his fourth release under his own name, Parallel Voices.

In a sense, the album is elliptical: Whilst, musically speaking, the American artist comes back to the start of his solo work by producing a fully instrumental album, he also delivers a story which informs the landscape Case lives in now, and always imbibes it with a sense of tension and dark undercurrents. You might think at first that the voice he uses is abstract, however the work leads us to realise that music is the language itself, delivering a concrete narrative through the album. The message flows freely, with a palpable friction bubbling at the surface all the way through, mirroring the tense and disturbing atmosphere that has settled across the globe over the last few months.

Brian Case takes us in a new artistic direction with his most personal album to date, in the form of an urgent and poignant testimony.

The title of Miki Yui’s seventh solo album Aperio! is derived from the latin origin of April, "aperire" meaning “to open” or “to reveal”. Hinting at the way her music unveils another reality which is hidden beneath the surface. The title also reflects the aperiodic character of the music, its irregularity. Like a magic word to reveal the mysterious cosmos, each song opens up another intimate world of wonders.

„All my work emerges from my physical experience, the inspiration often comes much later though, after the experience is digested and almost forgotten, then it crystallises and becomes a source for my music.“

It is indeed no accident that the first track of Aperio! is entitled „Listening (oneness)“: it vibrates for ten full minutes with and within
us. It reflects the art of Miki Yui coming into existence. The Düsseldorf based Japanese artist approaches the world around her from a sensual perspective rather than in an analytic-logical way, still both paradigms of art production manifest their influence on the process. Miki Yui says: „In my music, I play the game of turning the abstract into concrete and vice versa.“

This is obvious in all of the compositions on Aperio!. Her music combines otherworldly and dream world experiences, creating environments of multiple atmospheres, both warm and inviting but at times irritatingly cold and airless. They stimulate all kinds of feelings in us: astonishment, sadness, yearning, wondering, and hope. For her it does not matter where the elements of her cobweb originate: from field recordings to abstract and artificial creations to electroacoustic sounds. She remarks, “revealing the source would only limit the imagination of the listeners. My sounds exist to trigger their own imagination“
Miki Yui is born in Tokyo, based in Düsseldorf. Crossing the boundary of music and fine art, she is known for her unique minimalistic and organic approach towards music since 1999 exploring the grey zone of our perception and imagination. Since 2008, parallel to her own work, she is in charge of the Klaus Dinger Archive, who was her partner.

Maybe these titles, torn as they are from cinema screens and the pages of literature and philosophy, give a feeling of romantic or sexual love or some dark pool of nostalgia but that’s not it, or it could be if you want it for yourself but not for me, not now; for me it’s about the teeming proliferation of complex events in the world, their vivid, hyperreal intensity as this human life steps closer to its end and their sense of fading, like a mist that thins out to leave not a clear bright day but almost nothing of substance as all that beauty is crushed, burned, dug up, wiped out, to be replaced by banality, so it’s about a language of love and desire in which we speak openly to all the unknowns, the speculative, the ancestral, the forgotten, the different, the extinct, the unimaginably distant and vast, the incomprehensibly small and intimately close, the fast or the slow, as if as we spoke we were becalmed in a wooden galleon off the coast of Java, sleeping microscopically in soil of a thousand years hence, hearing the voice of a dead person from the rim of a vibrating cup, gliding backwards and weightless through the alleyways of a city unrecognisable yet heartbreaking in its poverty, speaking in conference with winged and amphibious beings, crouching in a cavern whose opening only reveals the spectre of many wonders now apprehended as memories of the skin, heard through cheekbones, nostrils, the crepitation as a neck turns, pains of the knee and thumb and some not yet fully understood sensation within the throat which suggests a way of comprehending that which is being lost of this magical place. All I desire is what already exists or once existed, now falling asleep outside the world.

Don’t ask me about genre or consistency. Who cares? Half the world is drowning; the other half is in flames. Each story is an animal, a plant, something you drink, a surface you touch, a faint line, some memory emanating from a cardboard box. “’Things’ in themselves are only events that for a while are monotonous,” wrote Carlo Rovelli in The Order of Time. Maybe sounds are melting ‘things’, tired of the monotonous real.

Apparition painting is the term used to describe a certain type of ancient Chinese painting of the twelfth and thirteenth centuries. In these works, often associated with Chan (Zen) teachings, the ink used to depict the subject was exceptionally pale, the background lacking in any detail. As Yukio Lippit has written: “This combination results in remarkably self-dissembling images that somehow compromise their own visibility. Apparition painting appears to capture its subjects in mid-fade, as if managing to preserve only a dimly translucent afterimage of a bygone entity.”

– David Toop

Four Ghetto UK bangers including a featuring with the king of the Chicago ghetto house Paul Johnson. Fucking bass in your face. Hard twerk & cantona kick in your club.

Hotspring presents the LP ‘Obit For Sunshade’ on Mood Hut Records.

Obit For Sunshade is digital technology half buried in the soil, transparent emotion in the intertidal zone; ferns growing by night out of a 4x4 flatbed. Brought to you by Scott Gailey.

Must have new Label from Detroit. You may know Meftah from remixing Amp Fiddler on Mahogani Music alongside Jahn Cloud, but this is him self on hoiw own new label. “Music That Excites Me” gives word on what is happening here. Addictive, seductive trips through deepest jazz-inflected house, dusty keys, live bass and loose, expressive percussion intertwine in a mellow, bluesy haze it´s all there reminding among many other on Theo Parrish & Kdj but with a very own , very unique notaton. Needless to say we have only a very limited initial ampount at hand

East London record shop World of Echo debuts on the other side of the counter with a reissue of Two Wishes, the solitary 12" by Anglo-German collective, Mutabor!. Seemingly lost to time, Mutabor! were first brought to World of Echo's attention when drummer/singer, Gary Asquith, played at the shop's first birthday celebrations while promoting one of his other bands, Rema Rema. And so the story goes...

Mutabor! emerged wraith-like from the monochromatic grit of Berlin's art punk underground late in 1981 when Asquith left London to set up temporary residence in the city following a chance meeting with Malaria's Bettina Koster backstage at a Birthday Party gig at the Lyceum earlier that year. Beguiled by the possibilities of collaboration, musical and otherwise, he was soon to make his own contributions to what was an already fecund scene. Partnering with Koster, and Gudrun Gut and Manon Duursma also of Malaria!, Mutabor! were publicly birthed via an impromptu performance at punk rock polestar the Risiko. Asquith found himself playing percussion in what would be a first, while the rest of the band ossified in front of him in typically idealistic post-punk democracy. Little documentation of the performance survives beyond that which exists in the memories of those playing - that itself shaky enough - though there was clearly sufficient encouragement for them to commit to a recording session.

Later that winter, the four booked time at Music Lab, the studio operated by Harris Johns, for what would ultimately be their only studio visit. Two songs were laid to tape, and soon after a photoshoot was to take place at Koster's flat, resulting in a handful of images that, along with the music, comprise the sum total evidence of the band's existence. 1001 Nights and Treats both found their way to Peter Kent, a co-founder of 4AD who had recently left the label with the ambition of starting his own imprint. Entitled Two Wishes, the two track 12" was to be the first and only release on Loaded. It seems that Mutabor! were to represent a series of firsts and lasts, a trend that continues now as they open the World of Echo imprint.

It's fitting to think of Mutabor! in these prescient terms given how they sounded. Berlin at that time shared a spiritual axis with New York, the conceptual & aesthetic discordance of no wave and a nascent off-beat dance culture underpinning much of the respective creative activity. There are shared signifiers, but even in that context, Two Wishes sounds oddly out of step, moving to its own unusual rhythm. 1001 Nights stutters along on a tribal beat that seems to run independent of skronking sax, spidery guitar lines and deadpan vocal incantations, the ghosts of two songs meeting in some kind of incompatible voodoo union. On the reverse, Treats slows down and dims the lights further, as Asquith sardonically recites desirous threats as an increasingly malevolent sax and guitar grinds behind him. No surprise the darkness within the music given the parent bands and the backdrop of a crepuscular early 80s Berlin, though there remains a complex compositional element to these songs that suggests a broader spectrum of emotion - desire, romance, and ultimately, infinite possibility.

Recut and mastered, Two Wishes is now presented with the original front cover artwork alongside additional imagery, including a 16 page booklet, all culled from Asquith's own archive. A brief bolt of energy at a crucial juncture in music history, Mutabor!'s story is emblematic of the mutli-verse of post-punk and the creativity its ideology necessitated.

Philipp Hülsenbeck and Michael Schönheit entered their collaborative space, the Great Hall of Gewandhaus Leipzig, in spring 2019, in order to explore the sonic potential of the Schuke organ juxtaposed with unrestrained electronic synthesis and otherworldy digital processing. With ease, clarity and fruitful respect towards the others craft, they composed Reaping From The Conflux, an hour long work of music, condensed in a synergy of opposing musical aesthetics, teetering between acoustic instrumentation and digital manipulation — a push and pull between discordance and tranquility. Intermingling the organic with the inorganic in an unbiased exchange, Hülsenbeck and Schönheit created a dense work shifting from sombre to celestial, leaving enough space in the room to allow sound to breathe. In order to interweave digital and material realms, Hülsenbeck’s software synthesizers blasting into the concert hall were given the same attention as the 6.845 pipes making up the gigantic organ, an instrument often referred to as the queen of instruments.

The sharp, synth-driven Peak Independence is counterpointed by the serenity that inhabits the repeating Basso Ostinato in Entities as well as Hülsenbeck’s piano playing on Now Smile. The latter two pieces feature contributions by Schönheit’s wife Katharina Dargel (Gewandhausorchester Leipzig) on viola, Tsepo Kolitsoe Pooe (The Miagi Orchestra, The String Archestra) on cello and Johannes Weber (Unguarded, Jungstötter) on double bass.

After his studies in conducting, piano and organ, Michael Schönheit started his first organist position in 1985, just one year before being appointed Gewandhausorganist in Leipzig in 1986. In this position he assumes artistic responsibility for the Gewandhaus organ concerts and thematic cycles, as well as collaborating with members of the Gewandhaus Orchestra in the chamber music series and appearing as soloist with the Orchestra. Michael Schönheit has been Artistic Director of the Merseburg Organ Festival since 1994, assuming the additional role of Merseburg Cathedral Organist in 1996. He is in great demand as soloist the world over, appearing across Europe, the USA and Japan. He has performed as soloist with orchestras such as the Gewandhaus Orchestra, Sächsische Staatskapelle Dresden, Munich Philharmonic and New York Philharmonic, to name but a few.

Philipp Hülsenbeck started his musical career as part of the experimental pop outfit Sizarr. Between 2009 and 2016, they released two albums, Psycho Boy Happy and Nurture, played tours across Europe with festival appearances in the USA, Iceland and Spain. After the band went on hiatus in 2017, he started focusing on his solo works, conceiving his solo debut Garden Of Stone, released in 2018 via Altin Village & Mine. Since 2017, he has been working with Fabian Altstötter as part of his project Jungstötter. Together with long-time collaborator Tim Roth (1k Flowers, Sin Maldita) he runs the record label and art platform Unguarded.

Reaping From The Conflux was commissioned by Gewandhaus Leipzig in 2019 as part of their collaborative program Two Play To Play. The event series Two Play To Play is initiated and produced by Gewandhaus Leipzig, since 2017. It is designed to bring together musicians from the free scene with ensembles of Gewandhausorchestra, to encourage a creative process over the course of a playtime and provide the basic requirements for a collaborative work to emerge from the process. Two Play To Play offers the participant musicians time and space to experiment with new ways of collaborating. The process is accompanied by portrait concerts, talks, public rehearsals and a blog documenting and showcasing the creative process. Through the program Gewandhausorchestra wants to nurture and intensify the cooperation between the orchestra and the free scene, give the audience an entrance to new musical forms, while providing the space for independent musical works to originate from it.

Clara! and Pearson Sound make their debut collaboration with 'Mi Cuerpo' (My Body), recorded remotely in Brussels and London in early 2020. Driven by Pearson's sharp snares, spiky FM synths and a rattling sub bassline, Clara's lyrics describe being lost in music yet in control of your own body movements; dancing alone without the gaze of others. At its midpoint the track builds to a frenzy, reaching a crescendo with the repeated chant of 'poco pudor y mucho sudor' (Don't be embarrassed, Get sweaty), and finally closing out with snippets of whispered vocals and gasps. Accompanying the main vocal mix is an extended instrumental version for the club, as well as a 3D video by Amsterdam-based Juliette Lizotte and Philip Ullman. DJ support from Joy O, Ben UFO + more

Plastic Ivy, who has made a name for herself in the underground spheres of analog synth experimentation, has released her first full length for Kraftjerkz, entitled “Spots of Time.” The album is as much a lyrical treasure as it is an analog synth dream, brought to life through abundant melodies and arpeggiations, alluring vocals, and a somber emotional tone that courses through the veins of the album.

Plastic Ivy’s influences are wide ranging; sonically, the nod to cold wave, the new romantics, and early indie is clear. Lyrically, the album draws influence from William Wordsworth to historian Timothy Snyder to jazz composer Billy Strayhorn. “Spots of Time” should be listened to with an ear held close to the lyrics, which are earnest yet detached, cooly crooned, and above all else—poetic. Standout tracks like “Images,” and “New Eyes” are entirely dance-worthy. Plastic Ivy casts a range of emotions in these new pieces: from vulnerable, lonely, and contemplative to nostalgic, romantic and transcendent. Overall, “Spots of Time” is an exquisite example of experimental synth pop.

Plastic Ivy, who has made a name for herself in the underground spheres of analog synth experimentation, has released her first full length for Kraftjerkz, entitled “Spots of Time.” The album is as much a lyrical treasure as it is an analog synth dream, brought to life through abundant melodies and arpeggiations, alluring vocals, and a somber emotional tone that courses through the veins of the album.

Plastic Ivy’s influences are wide ranging; sonically, the nod to cold wave, the new romantics, and early indie is clear. Lyrically, the album draws influence from William Wordsworth to historian Timothy Snyder to jazz composer Billy Strayhorn. “Spots of Time” should be listened to with an ear held close to the lyrics, which are earnest yet detached, cooly crooned, and above all else—poetic. Standout tracks like “Images,” and “New Eyes” are entirely dance-worthy. Plastic Ivy casts a range of emotions in these new pieces: from vulnerable, lonely, and contemplative to nostalgic, romantic and transcendent. Overall, “Spots of Time” is an exquisite example of experimental synth pop.

Label head Moopie and digger extraordinaire Bayu shine light on a set of gems excavated from a curious period of IDM-electronica. The sentimental sequel to their stunning I Won't Have To Think About You compilation, the ten tracks float in melancholic space yet sound beautifully human. Neo Ouija alumni Bauri and Plod meet deFocus' own Lackluster, while Abfahrt Hinwil, the legendary duo of Toytronic boss Chris Cunningham and Martin Haidinger exchange a letter of melody with Multiplex. Includes a previously minidisc-only (!) track by Proem and a superb cut by Merck Records' own MD, aka Jaakko Manninen. Full-colour, reverse-card sleeve with printed insert.

Zero makes his debut in Faith Discipline with an electronic album composed of wonderful landscapes with some ethnic influences. Great discovery

Rua debutant Arcane arrives with a 4 track EP of jungle infused, bass driven goodness high on melodic content and drum intricacy. Premiered on Sherelle's BBCR1 show (31 Aug).

Title track – Labyrinth - hits that jungle funny bone from the outset, with ripplingly programmed drum flushes knitting together chimes, pads and chord progressions, all on top of 808s. For fans of Good Looking Records and Sully's modern output.

"Planet X", a collab with Samurai Breaks, provides dancefloor energy as old school jungle staples meet modern production manoeuvres. The pace here is unrelenting, the bass full frontal, and the energy undeniably soundsystem centred, while maintain the melodic signatures that tie the EP together,

"Voyages" harks back to earlier Rua Sound adventures - a collage of genres, infectious halfsteppin' beat, deep subs & refined dancefloor pressure. What feels in the early stages like a beat tape track gradually builds into a dubby, bass-driven half-stepper for the beat heads.

"Temples" moves in a more drumfunk direction. A lurking low end underpins a furious drum workout, twisting and turning through several chapters. Arcane truly showing the flexibility of his production standard here, as well as his ability to merge old & new. Fire!

Purple Vinyl
"A place of reflection, remembrance, and new beginnings. For my first LP, I wanted to express diversity across many styles and forms, and give you a sense of my various influences in music infused with my own sound. For this Project I had the amazing privilege to collaborate with a number of artists that I hold great respect for: Monuman, Craze, Subp Yao, Survey, and Kilo. I can't thank you all enough."

IDAVOLLUR
As mentioned in the Poetic Edda

The gods in Idavollur meet together,

Lueur is the new full-length release from Icelandic composer / sound artist Bjarni Gunnarsson. The record consists of four electroacoustic compositions; the product of unfolding and unpredictable generative processes, spread across 38 minutes. This is music that follows its own logic, challenging and confounding the expectations of the listener.

An exploration of process as much as tone and texture, Gunnarsson guides the record through a series of ever-changing movements, interweaving dense low passages and abrupt changes of atmosphere and sound. It is a record that rewards close and repeated listening.

Mastered by Erik Nystrom, the record is housed in a custom sleeve, screenprinted in two-colours with procedurally-generated artwork by Luke Twyman. Variations of each layer are combined to make 16 unique sleeve designs, with a further screenprint on the inner sleeve/record. The record is released in an edition of 200.

Bjarni Gunnarsson has previously released the solo works Safn 2006-2009 (2010), Processes & Potentials (2013) and Paths (2016). He is currently based in The Hague, teaching algorithmic composition and computer based music at the Institute of Sonology.

In the words of Gunnarsson "the music is derived from generative processes that often appear directly entangled, that are set in motion and activated while maintaining their own degree of autonomy. It takes a certain time for a process to manifest itself. To express its time-varying qualities.

How it unfolds resembles a certain kind of evolution, a becoming that does not have a clear goal but that is based on a constant renewal and recreation. The title refers to faint, quiet but unsteady light sources. Brightness that disperses and refracts at different angles and unfolds through a series of connected developments. Processes that continuously produce output implying a 'tending towards' characteristic where certain elements endure while others fade away.

The idea is to uncover details, to introduce something very specific that expands and develops through two important layers of temporal experience, a very direct action-oriented perception and the slower experience of a past that folds into the present."

LA’s Cromie joins Detroit imprint Clave House to release four mesmerizing cuts entitled ‘Root Bulb’.

A familiar face in the Los Angeles house scene, Nikola Hlady aka Cromie has established himself through his talents and graft in the studio showcasing his distinctive deep house rhythms, clever chord progressions and focus on charismatic sound design. His previous releases on Material Image, Amadeus Records and These Things Take Time join hypnotically driven atmospheres with captivating rhythms creating forward- thinking yet classically-minded sonics. His ‘Root Bulb’ EP sees the LA producer join the Clave House family accompanying artists such as Ali Berger, Pascäal, 外神 deepspace, Appian, Gerald Norton, Segv and Berndt.

Cromie's ‘Root Bulb’ EP picks up where his 2018 releases left off, taking inspiration from the Southern California landscape that surrounds him, with its juxtaposition of endless expanses of concrete amidst its staggeringly diverse flora and famous sunshine.
‘Root Bulb’ kicks things off with absorbing pads layered over rough and raw percussion with angelic textures in the distance before ‘Lilac’ delivers breaks-tinged drums, a catchy, buried sample, infectious synth notes and warming melodies inviting the listener’s focus.

‘Aristocrat Motel’ maintains the enrapturing ambience by fusing pulsating bass shoots, alleviating tones and charming, earworm keys offering a club-focussed yet introspective track until ‘Root Bulb (Grove Mix)’ rounds off proceedings with downtempo broken-beat grooves, tantalising vibrations and undulating, cosmic elements.

Once lost, but now found unreleased Jungle from 2 Underground Legends. Vol 5 of the 'Lost Dats' series, is an essential DJ Tool 'must have' for any DJ wanting to mix up Classic breakbeats.
Don't miss out on this limited press of Rare Authentic Jungle!

Double O back on AKO Beatz with a 3 track solo 12"
AKO beatz are very excited to give you 3 killer tracks from Rupture very own Double O..

Ekin Fil is the solo moniker of Ekin Üzeltüzenci from Istanbul and 'KOMA' is her first release on Stockholm imprint Possible Motive.

'KOMA is an album which is based on the combination of separate songs made in various times in the last two years. Songs that sometimes include unwanted noises caused by my broken sound card, songs that I left unfinished with the intention of finishing later. The sleepy and still mood that's all over the 8 tracks may be the response to the hard times that I was not able to react sober to until recently.'

Ekin has been releasing albums on LP/digital and cassette formats on American and European labels under her moniker Ekin Fil since 2007. She was awarded 'Best Original Film Music' for her first Soundtrack 'Kaygi' at SIYAD, 2017 and 'Best Film Music' for the Soundtrack of 'Korfez - The Gulf' at Turkisches Film Festival in Frankfurt, 2018.

Side A. Amen London
Deep Dubwise Rumbling Intro Moves - Stepping Drums Swiftly, Spacious Mysterious Atmospherics Touching Down With The Hardcore, For The New School 'acid Junglist's' Drop Hits !!! Hard Straight To Ya Chest Yes %%% Slam Down In Comes The Goldie Sampled Live On Toronto Radio 1992 ! Rarness For You ( Love A Hockey Shirt) Screaming Out Full Of Vibes ' This Is The Brand New Sound Of Inner City London...' , Whack Smash - Booming In Comes The Killer Amen . Hyper Active 1992 'terminater' Shock Out Mentazm's Rough Stylee + 'future' 92 Sample Used To Maxiumum Effect . Amen London Hit The Crowd Hard @ Function:al Lightbox London On Record Store Saturday 2018.

Side Aa. The Mystic Tune
Written, Produced , Engineered + Mixed By Horrific James @ Horrific Studio's London. Hand Drawn Label Artwork Well 'hardcore Innit' Made For This Side By James Jessop Under The Invisible Man's Magic Influential Spell The Originator Dr G ( Big Respects To Graham Full Moons Ahoy) .

Recorded In Fish Island Village E3 ! East London Posse In Da Place $$$ . Horrific James Went To His First Rave In 1992 ( Dreamscape Ii) Age 17 = The 'horrific Sound' Deep Rooted In His Uk Life Long Raving Passion/heart On Sleeve Approach. 1992 Vetrans Heritage Society.

93 Style Break Beats Quantised Raw And Gritty Rolling @ 174bpm Remote Controlling Exs24 Cru Get Raw . Since Late 1999 Total Science / Phantom Audio Showed The Way For 174bpm Vinyl Post Hardcore Junglism... Darkness Returned Phew :-).

James Builds Using Fm8 Atmospherics + Soundscapes Crafted / Layerd Up. An Epic Vocal Hits The Drop 'oh No No...' Drums Switch To 'rough To The Smooth' Flavours, One Of The Rarer Break Beats Cut Up Bites In For The Drum Heads . Stabs Created Fresh In Massive Sampler & Bassline From The Massive Clean = Something Fresh & Unique To Your Ears In This Current Over Sampling Moment In Time ,cooking Up Some Freshness For Your Ears /// This First Of Many Solo Projects Forthcoming From Mr Horrific . In An Era When There's No Secrets Left On How To Make This Special Music Left. Soul/hyper Active Mind Cannot Be Taught Via Youtube Tutorial, Vibes Come From Within.