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Dissident , the debut album from RIDE's Andy Bell, recording as his electronic alter ego GLOK, was released last year to widespread acclaim. On Dissident Remixed , album no 7 on Bytes, lil' sister of Ransom Note Records, members of the extended Ransom Note family and fans of GLOK and RIDE have come together to reimagine the source material in a rich smorgasbord of styles. Andrew Weatherall (RIP), Richard Sen, Maps, Jay Glass Dubs, C.A.R., Timothy Clerkin, Franz Kirmann, Minotaur Shock and the man himself all step up to lend their talents to the project and the results are stunning.

Following the 2019 Hands in the Dark re-issue of Josiah Steinbrick’s debut solo recording, the Los Angeles based multi-instrumentalist, producer, and composer returns with “Liquid / Devotion & Tongue Street Blue,” to be jointly released on the 18th of September with his Full Bloom imprint.

A vibrant collection of cinematic pieces that drape tapestries of FM synthesis and percussion around serpentine bass lines, the album unfolds like a rapturous dream. Hushed laments, ecstatic rhythms, and hypnotic arrangements induce a state of reverie, where boundaries dissolve between fading memories, illusions, and the hyper-real.

“Liquid / Devotion & Tongue Street Blue” is a potent creative offering, and marks a breakthrough in Steinbrick’s personal approach to the studio.

Lucid Dreams is the self-titled, new project from Jason Luxton aka Overlook, which also features close friends Dean Warburton, Joe Theobald & the vocal talents of Manuela Marchis. With Shades of post-punk, trip-hop and film score dynamics, The Lucid Dreams EP is an immersive multi-genre listening experience that travels through murky underworlds and dream-like hazes.

From 'Stone's Throw' to 'Hallucinogenics' the ‘Lucid Dreams’ EP plays more like an LP, with a narrative amalgamating the different moods created by Luxton to present something that feels clear and complete in its vision.

Release number 059 sees the much anticipated return of our soul maven Satl. Hot on the heels of his superb debut release ‘Things We Can’t See’ on The North Quarter, we are excited to present his latest project titled 4 Lyfe.

A thoughtful collection of 8 striking tracks spanning the depth of Satl’s versatile production style, the 4 Lyfe tracklist ranges from exquisite soulful delights to raffinated and intricate tech funk rollers.

Mark your calendars now with 31st July as the official launch of the latest Satl showcase coming out on limited edition exclusive art vinyl.

The man in the crowd is a wonderer with relaxed habits. In him the course of things and movement of the city is reproduced. The Düsseldorfer Detlef Weinrich is such a man in the crows. Some one who is constantly listening to future winds through rushes of the past. He loves the night for its free will. And his music tells stories about it. You might know him as a member of the band Kreidler. As a solo artist he goes under the name Tolouse Low Trax. And he's already got three Eps and two albums under his belt. His first solo album „Mask Talk“ thrives on a feathery beat frequency and cool new-wave-strength. His recently released piece „Corridor Plateau“, which appeared as a limited edition to accompany the exhibition „Corridor Plateau“ contains percussive electronics and Industrial sounding like its from the second industrial revolution. His third album „Jeidem Fall“, is also not from here. It sounds like music brought down to earth from the heavens. But its a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, „Jeidem Fall“ attacks the subconscious and clouds the mind. The drums have more movement that on „Mask Talk“. Along with the constant tapping of drumsticks goes melodical arpeggios dancing dark and dirty. At times longing vocals drift abstractly through the room, as on „Sa Seline“ or „Geo Scan“, without telling any obvious story.

To sound like stylistic cross references from the present and past is all just speculation for nothing on „Jeidem Fall“ really sounds like anything that has gone before. You could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon's first reductive album „Nommos“. There is also a hint of the minimallist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filter and filters all his personal preferences through his MPC and his small synth setup to make them come alive here and now in a new way. Again Tolouse Low Trax has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Only a little light should illuminate the whole thing and the bodies that move above them should have no fear from threatening percussion which are displaced into a misty trance. A dark swaying shadowy mass, ideal for a journey at the end of the night and all those non-places where longing sleeps and the last romantics dance while getting drunk.

Try Unity are an electronic music band (composed of Francesca Purcell, Sammy Purcell and James Ewins) who produce breakbeat rave inspired music. They combine old skool influences with a contemporary musical sensibility to produce music that’s exciting and explosive to both the dancefloors and personal listening. At the time of writing this, Try Unity have released 10 vinyl EP’s across 3 different labels (Rave Radio Records, Remix Records and Jedi Recordings) within a 3 year time period. They have performed many LIVE PA’s in nightclub venues (e.g The Volks) across the south coast of England. The trio have had significant radio airplay across underground radio stations including: Kool FM, Eruption Radio UK and Codesouth FM to name a few. Sammy from Try Unity is the sole promoter of the very popular club night promotion Calling The Hardcore that attracts 1000’s of ravers to attend from across the country.

Tape

Live three turntables mix using ALL Discrepant, Souk and Farsa Discos records between 2010-2020.
Mixed, selected and recorded by Dj Marcelle / Another Nice Mess.

Limited to 150 tapes/No Digital.

ALEXANDRE BAZIN​ is a member of the ​Groupe de Recherches Musicales​, better known as the GRM, for which he writes documentaries about music for the radio. He is passionate about experimental music and more specifically acousmatic music created by members of the GRM, such as Bernard Parmegiani, Francois Bayle and Guy Reibel. Due to his background as a classical and jazz pianist, Alexandre Bazin is also passionate about instrumental music by the likes of Steve Reich, Erik Satie, Brian Eno ... This album attempts to synthesize these two worlds that are so dear to the composer, either in symbiosis or in opposition to one another with simple and loose melodies as its main theme. The use of analog synthesizers and acoustic sounds are at the heart of the composer's creative process. His music has already been heard thanks to Umor Rex Records in Mexico and the Moogfest festival in the USA.

OCEANS :
"Oceans" ​was written for Marimba, Piano and Buchla Music Easel, in 4 movements around the theme of the Ocean. Simple and loose melodies, played on piano and Buchla. They rotate around the marimba which evokes breathing and the rhythm of the swell. Suspended melodies reminiscent of Generative music although in this case they are an improvisation around a simple motif. Through its title and movements, this work evokes a reflection around climate change and our relationship to Oceans: water, breathing, the repetition of movement, but also its immensity which reminds us of our limits. The piece was performed by Alexandre Bazin on Piano, Buchla Music Easel and Marimba as well as Gabriel Benlolo on Marimba, a member of the Radio France Philharmonic orchestra.

THE DESERTER :
Not escaping a situation to flee but to be physically freed from it. The response manifests itself through the breath, heartbeat and the act of running. Beyond a moral necessity, it becomes a physical necessity that cannot be contained. Your natural defenses provoke this sudden urge. Your body cannot be contained through inaction. Our bodies in action escape all control, in order to free ourselves from the time that is limited to us. A piece for percussion, electric organ and Buchla Music Easel.

DREAM-LAND :
A piece that borrows its titles from Edgar Allan Poe’s poem. In the spirit of the GRM’s acousmatic works, such as "L’Enfer" by Bernard Parmegiani or "Suite pour Edgar Poe" by Guy Reibel. Alexandre Bazin, a member of the GRM, wrote music inspired by this mysterious, perhaps imaginary land, at the edge of the human spirit, where a lonesome traveler walks among the shadows, advancing through harsh and hostile nature, "Out of space - Out of time ”. An Earth that evokes purgatory, loneliness and introspection. The aridity of the landscape creates an explicitly vertiginous map where one crosses paths with past memories, lonely angels and an idol named Night. The aridity of the landscape is interpreted through the EMS synthi’s electronics, ideal for its attack, brightness and deep bass sounds, like "Mountains toppling evermore into seas without a shore". The piece ends with a sound recording made in the middle of winter on a deserted beach in the French Landes region during a storm.

Armec returns to Nebulae and chooses the Spirograph Nebula as the inspiration to deliver 5 gorgeous cosmic landscapes, where mellow textures combine with ghostly atmospheres, sparkling drum sequences and crunchy acid basslines.

Released in 2012, the first ASC & Sam KDC collaborative LP - Decayed Society was part of the beginning of a stretching of each artists musical output. ASC had just released his debut Ambient LP for Canadian label Silent Season to a warm reception, and Sam KDC had commenced his ambient music journey on Auxiliary in 2011 with Marine Light and Symbol 3 so the stage was set.

To say it went well would be an understatement. 8 years later, after a large amount of CD’s sold and a recent vinyl press that quickly sold out the pair have reconvened and created a follow up.

Somewhat warmer than Decayed Society in subject matter and feel, A Restless Mind explores the depths of melancholy, providing a soundtrack to the minds transient drift. With their differing styles complimenting each other aptly, there is a sense of temperance from both that enables the hovering clouds of ambience and defining elements each has created to melt into each other and build a mesmerising motif that binds the entirety of the LP.

A Restless Mind is a soundtrack for contemplation and introspection, something we could all do with in 2020.

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout this year, each quarter will see the release of 5 new vinyls.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series:
Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Kevin Drumm, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

The album Komorebi appears on vinyl in two color versions: classic black and a two-color version (splatter) limited to 100 pieces. OBI, a special element of printing, is a nod to the Japanese title of the album. Analog discs were pressed on thicker, 180 gram vinyl.

Following his electronic club aesthetic in Untold Stories (UKM036), Daniel Drumz takes a departure into the ambient synth wilds with Komorebi. This latest album represents a greatly matured perspective in the artist's discography, debuting this time under his real name, Daniel Szlajnda.
The album's name comes from the Japanese word 'komorebi' (木漏れ日), which refers to sunlight beaming through forest trees—often misunderstood for only representing the gentle, nostalgic side of nature. Komorebi polyphonically explores the dichotomy between the delicate and beautiful forms of nature, as well as the brutal and ruthless pulse of instinctual survival.
Komorebi presents pulsating, organic synthscapes that are nearly devoid of drum layers, jokingly referred to as "acid ambient" by Daniel.


The instrumental arrangements in Komorebi come from a modular synthesizer, built by Daniel during the work on the album. Harnessing imperfections and controlled unpredictability of this instrument fit perfectly into the themes of raw nature that the album is built upon. Sequences obtained by the synthesizer are in constant motion, never stopping in one place, and the album's electronic pulse is often complemented by acoustic instruments: celesta, marimbas and pianos.
The single track "Rebirth" was recorded together with Resina—a composer and cellist currently signed to Fat Cat Records in the UK.

Customer’s Copy is the debut LP of contorted cosmic jazz and eccentric minimal electronics by Exotic Sin. The duo of Naima Karlsson and Kenichi Iwasa first came together for a performance celebrating the art and music of Karlsson’s grandparents, Moki and Don Cherry, before continuing as an independent unit that still incorporates some of the Cherrys’ instruments as well as their synergetic integration of music with artistic practice.

Preferring the stark contrast of analog/digital, acoustic/electric, and natural/unnatural sounds, Karlsson contributes synthesizers in addition to piano, celesta, and bells, while Iwasa collides anachronistic 90s Yamaha keyboard and guitaret with contrabass recorder, drums, kalimba, and three of Don Cherry’s instruments: one of his trumpets as well as two of his “zen saxophones,” handmade woodwinds appending reed mouthpieces to plastic plumbing parts, also called Don’s kettles after their high-pitched sound. With such timbral juxtapositions, the spirit of Exotic Sin is reminiscent of a number of leftfield jazz-meets-electronics ‘70s duos from Don Cherry’s maverick collaborations with Jon Appleton and Terry Riley to Anthony Braxton’s work with Richard Teitelbaum, İlhan Mimaroğlu and Freddie Hubbard’s Sing Me a Song of Songmy, and Muhal Richard Abrams’ electronic works. On album opener “Dot 2 Dot,” Karlsson’s measured, monastic piano sets an elegiac stage for kettle bends and absurdist electro-percussive filtering courtesy of Iwasa before a flourish of cascading ebonies and ivories together with restorative circular trumpet motifs bring the sidelong piece to a majestic resolution. Named after the character from Ridley Scott’s 1989 film Black Rain, the schizosphere of “Charlie Vincent” interfaces ominous, dystopian synthesizer with permuted organ swells before album closer “Canis Minor” sets gentle sail for a distant bed of lonesome stars.

A visual artist as well as an archivist and coordinator for the Cherry estate, Karlsson continues to learn and study Don’s compositions and approach to piano with her uncles Eagle-Eye and David, who were taught by Don himself, and his use of short piano compositions as loose scaffoldings for improvisation is prevalent across the record’s three otherworldly unfurlings. Improvisor and multidisciplinary artist Kenichi Iwasa is also known for his legendary Krautrock Karaoke night, his contribution to Beatrice Dillon’s 2020 album Workaround, and collaborations with visual artists and musicians from Linder Sterling to members of Can, Neu!, Faust, Cluster, and Wire. Recorded and mixed, with additional alto flute, woodwinds, and contrabass recorder by Robbie Lee.

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout this year, each quarter will see the release of 5 new vinyls.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series:
Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Kevin Drumm, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

Jana Irmert has created a metaphoric world of billowing harmonic clouds, gently crackling sounds and abstracted field recordings. All three parts of the album are marked by perpetual subtle shifts, memory turning into an imperfect compass: You can walk through the music in all directions without ever passing the same point twice.
Inside this world of concrete sounds and pure abstractions, of organic timbres and alien noises, all sense of perspective is lost: What is far can seem close, tiny sounds suddenly appear enormous. In a sense, FLOOD is about the desire for change, a sensation that fills us both with anticipation and anxiety. That is why this album is more than just a sonic novel, and why there is more than one story to it – just enter the flood and allow the current to carry you far, far away.“ (by Tobias Fischer)

“Her new work FLOOD has extraordinary depth and dimension.” (Kevin Press, Badd Press)

“Her music is all-immersive, it is all around you and especially when played a bit louder offers a whole sonic depth that you wouldn’t notice otherwise. This is the field where field recordings, drone and musique concrete meet up. This is a very fine follow-up to her debut.” (Vital Weekly)

“An innovative sound that oscillates like the bridge between robots and future tech. And just as the cover depicts, this is a look to the skies, beyond the distant clouds, to other galactic bodies. Yes, this is space age music for a new generation. Breathtaking.” (TJ Norris, Toneshift)

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout this year, each quarter will see the release of 5 new vinyls.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series:
Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Kevin Drumm, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

The Danish label/imprint arbitrary announces the release of Framework 3 (arbitrary11) by Mads Emil Nielsen. Framework 3 is the latest instalment in Nielsen’s sequence of graphic scores and recordings. The series includes the Danish composer’s own subjective translations of visual materials and sound pieces accompanied by visual notations.

On this release he collaborates with Katja Gretzinger and Nicola Ratti. Published as a limited edition art print folder, Framework 3 consists of risographed scores and recordings on 10” vinyl and CD – with recordings by Nielsen, along with graphic scores by Gretzinger and contributions by Ratti.

Raised in a family of architects Nielsen has for several years been occupied with the question of “how do you intuitively sonify an image?” along with the complementary processes of translating sounds and music into illustrations and scores. In early 2019, he produced various drawings and sound pieces which formed the starting point for the three tracks on this 10” vinyl EP. The audio is derived from synthesizer recordings and basic electronic sound sources (sine waves, feedback, noise) and percussive loops combined with recordings made in the studios at EMS (Elektronmusikstudion, Stockholm).

The audio material was translated by graphic designer Katja Gretzinger into a series of visual notations made while listening to the music. Gretzinger developed various symbols, forms and structures, such as points, bars, 3D balls, irregular patterns / “swarms” and regular patterns (vertical hatchings). These were combined with found image materials and cut-outs from old prints and layered with large geometric forms, which define the individual character of each of the three parts. The resulting 18-page graphic score is included in the release in the form of risograph printed sheets.

Nielsen then invited musician Nicola Ratti, who is also trained as an architect, to create sonic re-interpretations of the graphic score. Ratti reinterpreted the imagery as a selection of sound elements positioned in a three-dimensional area; which he visualized as the space between the composer / artist, Ratti himself and the loudspeakers. These recordings are included on the CD.

1, 2, 3 written & produced by Mads Emil Nielsen, Copenhagen / Berlin, 2019 / 2020 (reworked and combined with a live recording from Standards, Milan, September 2019). Recording by + thanks to URSSS. CD: 1, 2, 3 written & produced by Nicola Ratti, Milan, 2020.
Scores by Katja Gretzinger. Artwork/design (packaging, discs, text) by Mads Emil Nielsen.

Maja S.K. Ratkje is at the forefront of the musical avant-garde. Her music is bold, original and it is meant for sharing. At its heart lies Ratkje’s own voice, an open door to her individual musicianship and a constant tool for realigning her work with natural expressions and human truths.

On Mara, layers of vocals overlap and layer their way through the reverberant woodwork of an early baroque parish in Austria. At times slow and beautiful, other times frantic and sinister, this live recording is full of depth, passion and life.

Live-recording at Pfarrkirche, Lockenhaus at Kammermusikfest Lockenhaus July 9, 2018. Recorded and mixed by Peter Laenger and Andreas Ruge from Tritonus Musikproduktion. Mastered by Maja S.K. Ratkje at Svartskog 2019.

All music created and performed in real-time by Maja S. K. Ratkje, except sung parts from the Norwegian traditional Hanen sten på stabburshella and the American traditional Mining for Gold.

Maja is using voice processing software created by Øyvind Brandtsegg.

The Buchla 100 experimental session begins with a documentary recording of the noise generators. Something I find endlessly fascinating is listening to different noise sources, so I always feel compelled to record them. The remaining tracks are sequenced by my MANIAC Cellular Automata sequencer. First up are three little sequenced ditties that also incorporate the ARP 2600 modular interconnected to the Buchla 100. After this is an ultra-minimal setup using MANIAC and the mind-numbingly rare Waveform Synthesizer Model 132 module. As far as I'm aware this is the only one of these modules that Buchla ever built! A truly unique module where you have 32 pots that setup the output waveform, and an FM input as well.. The last two tracks are a Cellular Automata / FM crossmod oscillator stereo setup, lots of crunchy high pitched stuff with some deep bass notes thrown in too :

Recorded at Center for Contemporary Music, Mills College, Oakland, CA, USA on 5th April 2015. Mixed and arranged at Noyzelab, NSW, Australia between July 2015 & February 2016.

Sound Source: Buchla 100 / ARP 2600
Sequencer: MANIAC cellular automata sequencer

Vinyl: heavy sleeves + heavy printed inner sleeves, 180g vinyl, free download code. ""There is harmony, geometry, metaphysics everywhere and, in a way, morale as well"" Gottfried Wilhelm Leibniz // Everyone knows these moments, hours or days, where one is feeling cornered, it is like running in circles or one is just trying to see something from a different angle. The new album by Sankt Otten - ""Lieder für geometrische Stunden"" (""Songs for geometrical hours"") - offers tracks for these kind of scenes. It's the soundtrack of the ups and downs of life and everyone's entirely personal geometrical hours.A very gentle and meditativ sequence introduces us to this new creation. Is it a synthesizer or a guitar? Whatever! A floating pad passes and returns, layers and shapes are rising. At the end the interaction of man and technology merges into perfect harmony. We are heading monumentally towards a futuristic world, which is frigid and surreal with a monotonous, sometimes gloomy and dark mood. Also beautiful. ""Du hast dem Schicksal die Show gestohlen"" (""You upstaged fate"") by contrast comes along with a minimalistic attitude. To some extent, sounding like rock music without being rock music. It's the perfect intersection of Minimoog sequences, acoustic drum sounds, ebow guitars and synthetic strings. Conny Plank would approve. ""Wer trifft schon immer den Ton"" (""Who always hits the mark""): A rhythm of nested patterns, a subtle arrangement, gentle choirs, pauses, compaction and thinning. Is this already jazz? Greetings from the echo chamber. The machines are trying hard. They deform the beat into geometrical forms, the bass jumps in circles, covering the tracks with ghostly choirs, creating an illusive, cuddly dreamworld. By the way, it's a long time ago, that rototoms have been heard in electronic music. Great! ""Dann doch lieber weisse Wände"" (""I'd rather have white walls""), the secret hit on the album? ""Die Blumen darfst Du behalten"" (""You can keep the flowers""): The pause is breathing, constantly wrapped in the elapsing tone of the night. A guitar in a slow-motion dialog with a synthesizer. Finally both burned up within the interstellar space. That shoud be a title for the next Blade Runner movie.This exactly 45 minute-long album fits on a C90 cassette side and thus closes properly with warm, analog 80's electronica. Man and machine are going hand in hand, infused by a hypnotic, motor function 808 beat, encouraging everyone to head-nodding by being almost danceable. Again, the central theme of this release is definitely the minimal, repetitiv drum play of Stephan Otten, whereas Oliver Klemm's ebow guitar drones hovers the tracks through this album. Sankt Otten do not disappoint. Founded in 1999, the duo from Osnabrück releases since 2009 on Denovali. With their 11th release, they give us a gem of timeless instrumental music. The holy trinity of krautrock, ambient and contemporary electronica, but always sophisticated and unique Sankt Otten. The mastering of the album was made by New York-based Rafael Anton Irisarri. Also the cover layout shows their great taste once again. This outstanding punch artwork was created by graphic designer Daniel Castrejón. Sankt Otten: Stephan Otten: Drums, Programming, Synthesizers / Oliver Klemm: Guitars, Synthesizers, Bass

Vestals is the avatar of Los Angeles based artist Lisa McGee, who’s debut album Forever Falling Toward the Sky was released by Root Strata in 2012. She has also discreetly operated in U.S. underground music for the last decade as a member of the dream-drone duo Higuma with Evan Caminiti, while making vocal contributions to acclaimed albums by Jefre Cantu Ledesma and Sarah Davachi.

McGee is the sole producer and performer on her sophomore effort, Holy Origin. Since her last offering she has evolved her sound and process, placing a new emphasis on electronic processing, carving out negative space where slow burning rhythms and spectral melodies ebb and flow. Her songcraft is built on the foundations of atmosphere and experimentation that have defined her collaborative outings, but here she has meticulously built up her arrangements into a fully fleshed out vision of luminous dub informed avant-dream-pop.

Sinuous vocals and desolate guitars are rendered in crisp 3D, swallowed by viscera rattling bass and sizzling clouds of synthesizers. Hypnotic melodies and shimmering harmonies nestle within disorienting digital manipulations, conjuring a boundless, smoky twilight. Passages hover and undulate, sustained in trance states before crashing down into lush chorales that comfortably dwell in the space between euphoria and heartache.

Fusing memoir with contemplative inquiry, McGee traces the blurred boundaries between the self, the other and the world, capturing various states of desire-ambivalence and surrender. Each track is a meditation on the tension between opposing forces: the ideal and the real, the essential and the cultivated, the erotic and the ascetic. Through the exploration of these dialectics, Holy Origin unfolds as a darkly sublime reverie.

Vladimir Karpov’s questing Soviet synthesizer designs as X.Y.R. evoke desolate landscapes, lost worlds, and labyrinthine inner realms but his latest is less destination than journey: Pilgrimage. Comprised of two simmering, serpentine side-long compositions – “Black Monk In The Dunes” b/w “Echoes Of Time” – the album summons a sense of pensive processions across shifting sands, “an internal dialogue with re flections and obscure images,” twilit horizons dimming to starlit mirage. Karpov likens these long-form voyages to temple meditations, “trips in search of something,” looking in as looking out.

Whispery pulses of percussion echo under ancient cosmos keys while devotional textures drift like smoke from nomadic encampments. The sound of water in a well or an exotic caged bird occasionally cuts through the holy haze shrouding these ceremonies but the truth of their trance never wavers, the guiding star holds its light, the pilgrim progresses. Attuned achievements by a deepening master.

In recent years, the Turkish drone-pop composer Ekin Fil (born Ekin Üzeltüzenci) has been refining her talents in the realm of the film score. Since her first recordings that were published by Root Strata and Students of Decay, she has always exhibited a preternatural ability to express the saddest of emotions through sound. Once channeled through the lens of a gauzy shoegazing smear of guitars and voice, she has peeling away layers of her ephemeral songs to reveal their emotional core. That compositional process that works so well for her award winning film scores informs the soft-focus tenebrous pieces of her 2020 album Coda.

It’s true that any number of these pieces on this album could announce the finale to an emotionally draining movie, but Ekin sculpts the entire album as a whole, dissolving one perfectly tempered piano motif, an impressionist ambient plume or a sibilant vocal melody into another. Just at the threshold of perception, she occasionally invokes cascades of distant noise that easily can be interpreted as the ominous premonitions for natural disasters - incoming storms, earthquakes, or tidal waves. This subtle disquiet amidst the introspective melancholy furthers the emotional weightiness of Coda.

Her somber, blissful compositions have considerable gravity of their own in the constellation of Grouper, Felicia Atkinson, and Harold Budd. Mastered by James Plotkin.

Steering away through an independent countercurrent from the most pompous and overtly atmospheric alumni of the Berlin School, and the far out yoga classes from New Age, but still very psych militant, we get the concise and thorough sound of “Fluido Tiempo”. Through sort-of-short tracks we unveil possible references such as JD Emmanuel or Amoon Düül taken to realms such as urban commuter trance or empty city vagabondage. Subterranean electronic synthesizer music is well known for its penchant for the loner, the living room wanderer and the night tripper but it has rarely seen a proposal this emotional. Deeply imbedded in the fertile in radical ideas Cassette Culture, Sima figures out sounds to communicate human emotions such as melancholy, uncertainty, absence or loss.
This first reference by Paco León’s solo alias -he usually practices kosmische gymnastics with his band Güiro metts Russia- is a very nice surprise that will delight Cortini or Fitoussi fans.

As An Undisputed Heavyweight And One Of The Leading Figures Within The Electronic Music Scene, Icicle's Recognized As A Highly Respected Producer - Among Other Ventures Through Steaming Releases Via Hospital Records, Critical Music And Shogun Audio. Propelling His Technically Advanced Production Style Into The 140 Bpm Spectrum, It's A Sight To Behold As Dj Youngsta Reveals The Next Ace Up His Sleeve. The Uk-based Veteran Conveys His Awe-inspiring Take On Dubstep With Four Tracks On A Twelve-inch Platter - Vehemently Battle-tested As A Dubplate And Ready To Off At A Dance Floor Near You.

We Are Immersed In Dense, Granular Fog. 'raising The Dead' Begins The Ritual With Hypnotism And Anxious Unrest. Eerie Lead Melodies Lure Listeners Onwards As Relentless Percussion Takes Hold. Rigorously Increasing The Intensity With Mesmeric Style To The Ruthless Beat Of The Drums - Fragmented Vocals Flicker Through The Mist. As Ethereal Spheres Seem To Vacate, A Disturbed Melody Guides A Path Into The Low-frequency Behemoth That Is 'nt'. Driven By Its Intense Groove And Sonorous Sub-bass Emissions, The Erratic Lead Staccato Does The Rest To Keep Us Fiercely Bouncing To Icicle's Percussive Pulse.

As If It Could Get Any Hotter, We Flip To A Promising B-side Only To Be Proven Wrong Twice. Initiating The Ceremony With 'shout Me' - Haunting Female Choirs Entrance Amidst The Thunderous Sense Of Anticipation. Evolving From Intricate Breaks To Straight Shut-down Maneuvers Without Skipping A Beat. In A Final, Fulminant Outburst, 'noughties Riddim' Goes On To Wrap Up The Masterpiece In A Most Mischievous Fashion. Cutting Through The Noise, Profoundly Satisfying Mid-range Distortion Surges Flare Up In The Distance, While Continuous Pressure Continues To Evoke Cries For Rewinds.

Johannes goes all Piano-Breakbeat-Hands-Up on "Street Pack" alongside more piano action on "Turbo Basmati". On the flip you will find the amazing contemporary-italo-styled Shan Remix of "Wing House" plus Lauer's rework of "Chestnut Poetry". Quick white label action housed in a shiny silver jacket. Just the way we used to do it!

Queried on his favourite word in the German language, Masayoshi Fujita will pick ‘getragen’ – without a sliver of hesitation. Further questioning will reveal that he loves the term’s semantic signifiers, its inherent sense of “expansive, deep, quiet and sombre.” And yet, ‘getragen’ leaves plenty of room for interpretation: depending on context, it might also indicate wearing apparel or the state of being carried – two more mundane interpretations that I would rather keep from him. Does Masayoshi’s own definition, however, apply to ‘Bird, Lake, Objects’? Only to a limited extent. Compared to previous Faitiche releases, ‘Bird, Lake, Objects’ is certainly the most ‘getragen’ of them all. Nevertheless, this is by far not the first association that comes to mind. From a distance, these tracks seem rather introspective, cautious even – and reflect the recording situation: deliberately pared down, reduced to a single microphone in space and a separate track for all other instruments, each movement and action is chronicled by the treacherous mike. This confronted me with some unexpected and unfamiliar problems. For example, we had to swap out the seating in the studio as my favoured chair had a characteristic creak. Other, external influences were proved our control: fire engine klaxons, street noise and footfall became part of the recordings and their improvisatory nature. Each movement required careful orchestration, fully aware of its irrevocable nature. Space itself was always present and an audible entity, except on ‘Stripped to RM’ (recorded without a microphone or vibraphone track). After extensive deliberations, we decided to forgo the vibes on this piece – a very similar version had already been released in 2008 (on the compilation ‘Enjoy The Silence’, Mule Electronic, 2008). Jan Jelinek, February 2010

Vernal Croossing was Rapoon's fourth album, originally released in 1993 by Staalplaat. One of the most interesting records released by Robin Storey (founding member of the pioneering industrial group :zoviet*france) on vinyl now for the first time.

A magic balance between percussion and electronics, creating mind-bending tapestries of minimalistic patterns and quasi-melodic drones fused with occasional doses of well-placed white noise. An approach much in debt to his 12 year stint with *zoviet-france*. It paints a gossamer diaphanous drifting veil of mood over the top. Other than some moody loops and psychoacoustic dimensions, it sounds authentic - hardly a trace of crude electronics or sampling. The drumming - in soft tones rather than hard hitting ones - does nothing to intrude on the passive mood. The overall atmosphere does not really change throughout the recording making it a cool, pacifying atmosphere while having the madcap tempo which would be very easy to dance to.

This edition includes a new track called Total Crossing, edited/constructed by Colin Potter, who has been in charge of the remastering of the record. A deep drone trance/meditation edit that blew Robin's own mind (and also ours!). The successful experiment explained by Colin: "I imported all the masters to my DAW to make a mock-up of the LP & initially they were all together at the beginning of the multitrack, before I spaced them out in the record's running order. And I thought.... what would it sound like with them all playing at once? Well, it was actually suprisingly interesting, so I did a mixdown."

* Mirae Arts (founded By Elbert Choi) Is A New Label Based In The Suburban Bowels Of El Cerrito, California, Usa. Elbert Choi, Originally From South Korea, Is Inspired By The Mountainous Landscapes Of Northern California And Is Focused Primarily On Releasing Music With Blissful & Natural Soundscapes.

* The Debut 12' Ep On Mirae Arts Is Called Prayers By The Lake, Produced By Seraphim Rytm. Seraphim Rytm, Based In Belgium, Is The Alias Of Damaskin, The Veteran Master Of Dark Hypnotic Techno Who Has Releases On Esteemed Labels Such As Unknown Precept, Noiztank, And 10 Label (japan). Damaskin Debuted As Seraphim Rytm With A Celestial Album Called Aeterna On Vancouver's Silent Season, Which Was Reviewed By Resident Advisor As Being 'deeper-than-deep Techno Shrouded In The Damp Atmospherics Of The Rainforest'. Prayers By The Lake Continues The Sonic Journey Into The Beautiful Complexities Of Nature And This Time Invoking Images Of An Isolated Lake Surrounded By Mountains In Seasonal Transition. The Ep Consists Of Three High-powered Ceremonious Tracks And Concludes With A Beautiful Ambient Closure.

* The Artwork Is By Landscape Photographer Cody Cobb Who Is Responsible For The Artwork On Haxan Cloak's Breakthrough Album, Excavation (tri Angle). Cody Has Also Worked For Labels Such As Permanent Vacation And 10 Label.

* 180g Vinyl Pressed At The Highly Reputable Gotta Groove Records, Cleveland, Ohio.

Tomotsugu Nakamura is a musician and graphic designer residing in Tokyo, Japan. His primary artistic practice is to compose music with some fragments of minimal acoustic and electronic tones and some field recordings. In Concert, he has played with various genre of musician such as "Musica Frontera Argentina". With previous releases on Kaico and Audiobulb Records, "Literature" is his 5th complete album.

Moonshine Recordings and Steppas Records have reconnected to deliver the 3rd instalment in the Moonshine Steppas series, a debut release of Modi Bardo featuring Carlton Livingston backed by remixes from Alpha Steppa & Bukkha. Same as with the previous releases, it's a limited edition one time vinyl pressing.

*Repress*

Back once again. This one is coming live and direct from Baltimore in the mid 90s. It is the second and final part of the Gargoyle Classics reissues and it’s packed full of juicy juicy dance floor goodness. As with the previous Gargoyle record it is raw as they come. Hitting hard whilst feeling totally impromptu and freestyled as well.

Two of the tracks are reissues from Tony & Don’s Gargoyle imprint and two of them, just like last time are never before released tracks written during the same period. Ten After 3 and Do You Believe (Space Evader Mix) are both ridiculously huge and I’m gassed outta my miiiiiind to bring them to the table for public consumption for the first time.

OK enough of my blather. Go and listen to the damn things yourself and decide if you like them, rather than trying to work it out from reading a bloody press release you weirdos.

All four tracks are produced and sculpted for the club. They want big sound systems and dark rooms.

Close your eyes, hold hands and experience transcendental space flight...

FAVX005 is here! Chadlad x that handsome French nutter - What more could you want from a dubstep record? Both tunes supported by the big don Mala. Respect!