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One year after its release, Quartet Series proudly presents the remix EP of Nachtbraker's successful debut album When You Find a Stranger in the Alps. A collection of remixes by some serious talent. These three producers were carefully selected by Nachtbraker because of their impeccable reputation and ability to bring something unique to the world of music.

Humble Danish maestro Central (Help, Dekmantel) flips "Flambo" into a Jori Hulkkonen'esque summer anthem with a highly addictive bassline. Preacher of wonkiness Frits Wentink (Wolf, Heist, Bobby Donny) took "LOL" and brought it some serious keys on a solid breakbeat while maintaining its jolly character. Flipping the record, Nachtbraker brings us the evolution of "Just Doing My Thang" turning it into a quirky dance floor tune whilst also showcasing his ear for detail. Up and coming talent Nemo Vachez (Forest Ill, Opia Records, Rakya) dives deep into "Horsepony" as if he's cruising the depths of a rainforest in a submarine. His surreal dub mix is the perfect final track of this fine piece of wax

The world has found itself in a significant hurry. We have also found ourselves in the most distracted period of time in history; finding it tremendously difficult to remain in a moment of stillness, quietude, or allow time for self-reflection. Conversely, our vast universe continues its expansion into infinite development; a climate of deafening silence in a boundless four-dimensional continuum. It remains mesmerizing with a quiet allure that freely suspends in space-time; a true account of the beautiful unknown that sparks hope, reverence, and an awesome realization of impenetrable mystery.

"Stasis Sounds For Long-Distance Space Travel" is audibly rich in its delivery with an array of tranquil billows and patient tones. It is a journey and soundtrack that commences at Earth's thermosphere, gently moving towards the untraveled parts of space, lushly floating on forever.

These arrangements represent a group of celestial transmissions that are delicate in nature and intended for the listener to embrace moments of stillness, quietude and reflection, of which are on a trajectory of extinction at a place we call Earth.

Given the respective outputs of committed ambient explorers and sound designers zake (best known for releasing no less than five fine albums in 2019) and 36 (most recently seen on A Strangely Isolated Place with the superb album "Fade To Grey"), you'd expect this trip into aural deep space to be rather good. It is of course, with the four tracks mixing echoing sonic tones and drifting sound effects with slow-burn electronic melodies and the kind of immersive, sustained chords that were once the preserve of German maestro Pete Namlook. The third track in the suite, appropriately titled 'Stage 3', is little less than stunning, in part because of its grandiose, almost classical intent. No surprise to discover, then, that after a stretch of being out of print it's back via a reissue, this version being a limited clear vinyl edition.

Given the respective outputs of committed ambient explorers and sound designers zake (best known for releasing no less than five fine albums in 2019) and 36 (most recently seen on A Strangely Isolated Place with the superb album "Fade To Grey"), you'd expect this trip into aural deep space to be rather good. It is of course, with the four tracks mixing echoing sonic tones and drifting sound effects with slow-burn electronic melodies and the kind of immersive, sustained chords that were once the preserve of German maestro Pete Namlook. The third track in the suite, appropriately titled 'Stage 3', is little less than stunning, in part because of its grandiose, almost classical intent. No surprise to discover, then, that after a stretch of being out of print it's back via a reissue, this version being a limited clear vinyl edition.

Kniteforce and Just Another Label (owner of the Bear Necessities Sub Label) have been friends since the early 90’s, so when JAL wanted to remaster and repress some old and much sought after classic EPs, it was only natural for Kniteforce to take on that roll. Here we have the fifth of those EPs, and its perhaps the rarest of them all, often changing hands second hand for over $200. A big one for the old skool collectors worldwide…

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Constant Sound's electro arm, Infiltrate, calls upon the considerable talents and technical heft of London Modular Alliance for a bruising EP of body-popping exploration strapped to a tough n' funky beatdown. "Crack Fox" is as nervy and nimble as the title might suggest, while "Regular Customer" takes things in a hyper-detailed direction compatible with the kind of advanced machine funk you expect from Silicon Scally. "Blinky" follows suit with another artfully woven web of twitchy synth hooks and deftly sequenced drums, and then "Other Worlds" switches things up with some seriously hefty bass pressure pivoting around a dubstep attitude towards space and moodiness.

Full length by Abdul, delivering on ever-changing consumer demand. Tax Free did it again.

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The wicked intensity of Toronto's E-Saggila takes on novel limits for her new album for Northern Electronics. Constructed out of her live works, there's a lack of restraint on 'My World My Way' that could only be forged in the moment. Following on from last year's album for BANK Records NYC, E-Saggila has put together something that addresses the club and the headphones in equal measure. Taking the approach of a documentarian of our virtual landscape, there's a deep motive that underpins the heavy digital signal processing. With plenty of storming mechanical rhythms that embark from gabber's chaotic neighborhood, the samples of voices, conversations, and phone calls, all wind the listener around the desperation that's embedded in the digital world's seamless mediation of our lives. Owing as much to power violence and industrial as to Rotterdam, E-Saggila's affinity for the extremes is as conceptually critical as it is stylistically present. Riding the BPMs high, and binding this all together with ambient music's sensibilities, 'My World My Way' moves in sharp strides between a political statement and a dancefloor assault.

Juni is the first joint release by Charly Schoeppner and Sascha Demand, two seasoned veterans of experimental and improvisational music. They call themselves Giraffe. Their longstanding friendship has now propelled them into making Juni. Juni contains 11 short pieces that effortlessly flow in and out of each other. Intuitive, yet controlled, subdued, yet at times nervously ritualistic, percussive elements drive the tracks with melodic and harmonic impulses weaved around them. The record references abstract jazz and contemporary experimental music. It is an original snapshot of what makes contemporary experimental music tick.

A limited edition 7” release by Roy Ayers – taken for the first time from the Change up the groove LP.

DYNAMITE CUTS give you a super fresh loud 45 cuts of these wonderful jazz and funk dancer First time on 45, don’t miss out x500 only.

A) “Fikisha” (to help some one arrive) another monster from the Roy ayers Ubiquity camp, vibe tastic - BANGER!!!!
B) Boogie back (breaks and samples, Djs tools) deep vibes groove, classic

Shanghai’s game-leading Svbkvlt cru drop a vinyl edition of the Aphex Twin and Kode 9-backed ‘Cache 01’ set, brimming with forward club zingers by Tzusing, Gooooose, 33EMYBW, Gabber Modus Operandi, Zaliva-D and many more ‘Cache 01’ speaks to the abundance of prism-pushing electronic mutants presently at work in the Far East. Where too many Western artists right now are caught in the retro-vintage, shabby chic trap, every one of the artists featured here embrace the here and now, and what’s to come, with a fervently infectious alacrity and directness that’s hard to ignore and has seen the label showered with praise from all corners of the worldwide music media.
We’re all spoilt for choice with the highlights, but a few really stand out. The wildly ricocheting 808 proprioception of Gooooose’s ‘Arp Kicks’ is right up there with the best we’ve heard in recent years; Swimful impresses with the hard-ass, keening grime designs and descending sirens of ‘Nailz’; Indonesia’s Gabber Modus Operandi send us reeling with the mix of wailing traditional horns, gamelan and gabber kicks in ‘Sangkakala II’; Hyph11e precogs the deathly march of the robots with the reconfigured D&B and noise of ’Sinking’; MIIN strikes a class fusion of dembowdancehall and IDM in ‘Metagame’; and Zaliva-D exert a powerful sidespin with the rugged battery of ’Synthetic Sin’ inna Low Jack style.
Hands-down it’s the most vivid and thrilling showcase of new electronic music from the Far East,or anywhere else for that matter, in years. A real no brainer.
Flexing arm emoji. Fire emoji. 100% emoji.

Declassified militarist ambience from Vatican Shadow, finding Dominik Fernow (Prurient) donning his desert fatigues for a mesmerising follow-up to his technoid outings with Ostgut Tonand Ancient Methods. It’s also the last in a series of first-time vinyl editions of previously tapeonly releases.
‘Opium Crop’ makes a return to what we’d term a vintage Vatican Shadow sound, steeped in nods to Muslimgauze and modern geopolitics and fringed with an aura of clammy, atmospheric terror, just how we like it.
The title piece pushes off across the front with a sort of stately, waltzing rhythm and druggy synth pads recalling John Foxx and DJ Screw as much as Bryn Jones. ‘Hellfire Hidden Tribes’ sinks into the B-side with lagging Dabke rhythm embedded in oily black backdrops, occasionally lit up with
vaporous synth stabs mirroring the arc and flash of distant artillery, and leading to an exquisite ambient devotional, ‘Loyal To The Deceased’.
Unmissable.

Multidisciplinary Portuguese artists Calhau! return in 2020 with a new album and their first release on Discrepant.

It’s quite possible you’ve never heard about them. They’re not that famous in Portugal or anywhere. Calhau! is formed by couple Alves von Calhau and Marta von Calhau, not their real names, but they’re their real names in the artistic reality Calhau! have been working in the last 15 years. But now that you’ve read their name, you must dig in. They’re one of a kind.

They’re not musicians, painters, illustrators, sculptures, visual artists or performers. They’re all the above but without manifesting their work specifically in any of them. While listening to “Tau Tau” – or any of their other releases – that translates quite well: their sound is quite visual, the voices translate into movement and the arbitrary use of sounds reveal a strong sensibility to the architecture of aesthetic.

“Tau Tau” manifests the voice element in Calhau!’s music as their main element. It’s been present in previous releases, but it’s the centerpiece here. All the words/phrases you hear are wordplays, with Portuguese words and their sounds, but also associations and co- relations. It’s done with purpose and meaning, it’s tailored work that carries meaning and – like in “BÓFIACULT” – a social critique.

The sounds and how Marta plays with her voice expose some other areas of work in Calhau!’s domain, like their continued interest in Portuguese folk traditions, not just with music/sound but also with objects. Objects that, ultimately, you can listen in “Tau Tau”. If you’re a fan of both our “Antologia De Música Atípica Portuguesa” compilations (they’ve of contributed with one track for our first volume “O Trabalho”), you’ll find “Tau Tau” as a good complement of how 21st century musicians understand and recreate Portuguese folklore.

"Degs" hit single ‘Poveglia’ and 8 track ‘Mixtape Sprayout’ has made him a drum & bass fan favourite, now he takes centre-stage to unveil his highly anticipated debutalbum, ‘Letters From Ndgewa’.

As well as producing, writing andsinging on his tracks, Degs has brought in an all-star collective with S.P.Y, Logistics, Unglued, LSB and Pola & Bryson. His unmistakable charisma isinjected across
14 tracks, including his previous singles ‘Levitate Your Mind’, featuring Unglued and ‘Killer’.

‘Sleepless’ showcases Degs versatility as a vocalist. This deep, atmospheric number, produced by Shogun Audio’s Pola & Bryson, wields the art of spoken word and unique lyrical flow for a mesmerising late-night stepper. Degs bittersweet soul shines through on ‘Head Trip’ with the production finesse of Phil:osophy.

Haunting piano work serves as the foundation for Degs silky flows, tear-out rap and snappy hooks. Hospital heavyweight Logistics, a master of liquid D+B, joins the fray on ‘Colour My Soul’ for a sublime track that takes youback to the original Hospital loungecore sound.

Degs meteoric rise has taken him worldwide, performing alongside his touring DJ, Lens, at huge summer hotspots like Audioriver, Sun & Bass and Hospitality In The Park. He continues to shine when hosting for some of D+B’s biggest names - London Elektricity, Hybrid Minds, Danny Byrd - and has already received support from BBC Radio 1’s Rene LaVice, Kiss FM’s Andi Durrant, Charlie Tee and Mollie Collins, and Worldwide FM’s Laurent Garnier.

‘Letters From Ndegwa’ is a culmination of life experiences and thoughts since signing with the Hospital family back in 2018.
For me, it represents the unpredictable nature of life. I’ve been blessed to work with some of my heroes on this project and having my little brother feature on this is the icing on the cake, he was the catalyst to all of this happening in the first place.” - Degs.

When Henners debut EP A Reason for Living was released through Phantom Limb in February 2019, it became quite clear that there was more to discover than what the record made us listen to. Electronic Sound Magazine described it as “an ambient delight” and in September that same year he returned with his second EP Stormbird Brother in the Dusk, featuring the Trinidadian steel pan maestro Fimber Bravo. Besides his own work, Dylan Henner remixed other musicians such as Oliver Coates and edited Josquin des Pres’ La Déploration de Johannes Ockeghem.

Henners unique sound emerges from field recordings, which form the foundation in most of his work. Combined with analogue synthesizers and tuned percussions on vibraphone, each piece carries its proper development and colour but still fits together as one coherent sound. This doesn’t seem to change when listening to his new album Flues of Disappearing Sand.

Watching the tide and water streams at the South Indian coast, it became clear what his approach would be for his new record. The title gives away a fraction of what the record essentially is about: a miniature of a sad reality. “The music”, Henner writes, “is based on the environmental & ecological despair happening in front of us”. He describes this record as “this little moment of aching tenderness between me and nature, sitting powerless on the sand and watching it disappear into the water”.

Artwork by Femke. Mastered by Ian Hawgood.

Los Angeles based artist Evan Caminiti returns with the follow up to 2017’s Toxic City Music.

Living in the wrong timeline, dreaming of possible utopias; Varispeed Hydra beams in like a collection of broken transmissions, terrestrial sounds melting into the abstract and rising again as vaporous specters. Three years in the making, Hydra was recorded utilizing a variety of electroacoustic processes and honed in live performances ranging from the sound art setting of NYC’s Issue Project Room to the future-club environment of DOMMUNE in Tokyo. While thematically following Toxic City Music, it moves past that album’s emphasis on superfund sites and the proverbial rat race to turn an ear towards more rural environs.

With a focus on some of the sounds we stand to lose if we continue on our current trajectory of ecological destruction, birds, insects, and water are most often found among the glowing synthesizers and warped electric guitar that comprise the album’s melodic and rhythmic core. Connecting a thread between musique concrete and dub, these sounds are atomized and diffused before being woven together with a sense of urgency, a colorful and restless haze. Phasing percussion and blurred melodies are wrapped in a fog as they tumble and glitch, occupying a space where ominous rumblings and bucolic bliss blur together. An offering of cautious optimism in the age of anxiety.

Written and produced by Evan Caminiti, featuring electronics by Lisa McGee.
Mastered by Rafael Anton Irisarri at Black Knoll Studios.
Artwork by Michael Vallera and Zane Morris.
Vinyl cut at Dubplates and Mastering Berlin.

Laurin Huber is a prolific figure in the Swiss underground for experimental music and arts. He has been active as a musician and producer in a slew of projects like Wavering Hands, Frederik or legendary Swiss institution Krankenzimmer 204. Having just released his first solo release under the R.E.R. moniker on the label Edipo Re, co-founded by Huber and frequent collaborator Rolf Laureijs in 2016, he now presents his first album under his given name.

Thematically, "Juncture" is perfectly in line with Huber's approach of thinking globally and acting locally. Highlighting the singularity of specific musical concepts while embedding them firmly in a collaborative network has been the crucial guiding principle in his work for Edipo. The four tracks on "Juncture" aim to work with "superimpositions, interactions, interferences and modes of coexistence." On a musical level, this means working with overlaps and interfering layers, field recordings as well as synthesizers and the experienced drummer's knack for intricate rhythms. Over the course of more than half an hour, the producer brings together dreamlike synthesizer pieces with stripped down mid-tempo techno pieces, feverish echoes of industrial music and swelling sounds that are juxtaposed with subtle rhythmic counterpoints.

In a world in which dualities reign and polarisation increases both socially and culturally, "Junction" serves as an invitation to deconstruct binary thinking by affirming the coexistence of allegedly opposed elements.

Elite level lost grime dubs used in legendary Wiley/Ghetts freestyles on Westwood, Wiley’s Tunnel Vision 5, and a whole host of grime clashes.

Opal Sunn's return to Nick Höppner's Touch From A Distance is sort of a recap of 2019 - a year that proved pretty incredible for the duo of Alex Kassian and Oba Hiroaki. Their live show took them quite literally all over the world including Tokyo, Valencia, Ho-Chi-Minh-City, Hanoi, Fusion Festival, England's beloved Field Maneuvers and last but not least: Panorama Bar in Berlin, where they performed twice in 2019 as part of the Touch From A Distance labelnights. Their „Laika EP“ has been largely inspired by their first Panaroma-Bar-performance in january last year, which they - unassuming, yet assertive - took by storm. Eight months later their show in the Laika tent at the UK's best kept festival secret Field Maneuvers marked a second highlight in Opal Sunn's calendar. As a tribute, Opal Sunn have called the opening track to this record „Laika“. Their second ep for Touch From A Distance is picking things up, where their debut left off, meaning Opal Sunn's sound design is as pristine as a mountain spring and their arrangements are as tight and effective as ever. Having played numerous gigs in the meantime, there seems to be a new focus, though. All four tracks feel much more centered and balanced, aiming quite effortlessly at a heaving dancefloor. „Laika“, the ep's lead track, sees Opal Sunn at their most effective and peak time. A long build up and a rolling 303 bassline make for a total sureshot of a track. On „Minority State“, the duo let's their Electro inclinations run free, fusing razor sharp beats with icy melodies and abstract sound effects. On the b-side, „Holy Mountain“ is essential Opal Sunn: Glistening arpeggios, gliding melodies and floating beats create a psychedelic atmosphere predestined to lose yourself in. The ep ends with „Tangerine Blues“, an equally atmospheric and trance-y track embedded in a rather broken beat, going for a more cinematic vibe.

“In 1976, the Asociaux Associés (antisocial associates, TN) led by Philippe Doray (Rotomagus, Ruth, Crash), recorded the first of the two albums under their own name: Ramasse-Miettes Nucléaires. On synthesiser, Doray fires off his disturbing poetry over psychedelic pop, voodoo rock, off-kilter krautrock, approximate swing … But if the music is iconoclastic (bringing to mind as much Hendrix as Areski, Ash Ra Tempel as Berrocal…), one thing is certain: Ramasse-Miettes Nucléaires is one of the best albums of obscure experimental song ever recorded.

It is no surprise that, on the Nurse With Wound List that Steven Stapleton inserted in the first album of his legendary musical project, the name of Philippe Doray can be found between that of the Doo-Dooettes and Jean Dubuffet: his music is genuinely original and, what is more, ahead of its’ time.

It was in 1977 that the first album by Philippe Doray, Ramasse-Miettes Nucléaires, was published on Gratte-Ciel, a label created by the journalist from Rock & Folk Jean-Marc Bailleux and run by Jean-Marc Patrat and José Serré. Encouraged by his wild experience in Rotomagus, a formidable rock band which swept through Rouen, for sure, but also further afield – as Julian Cope was himself inspired, years later, by their explosivity – Doray brought a team to this album which was both untamed and ready to fight to defend it’s terrible (and trembling) poetry.

Backed by his ‘Asociaux Associés’ (antisocial associates, TN), our man from Rouen let his fantasy run wild and cried out again: “sing with me, and don’t be afraid to clap your hands!” And so, much of French popular music was shaken: the ball in Doray’s pinball machine had struck Jimi Hendrix then Alain Goraguer, then Ash Ra Tempel and onto Areski, then T-Rex followed by Jac Berrocal…

As far as the texts are concerned, just take a listen. Doray’s poetry is schizophrenic: nurtured in the Normandy countryside, it relates paranoid tales of booby-trapped towns, Levis jeans, Prisunic supermarkets and plastic dolls… Crumbs of reality which he sucked up to create the album that Souffle Continu and Thierry Müller, mastering (with Ruth, Crash, and Illitch too) spit out again fifty years later, with many good memories.

First ever vinyl reissue
Remastered from the master tapes
Obi Strip + Textsheet Insert”

“Between 1978 and 1980, the Asociaux Associés (antisocial associates, TN) recorded the second of the two albums which appeared under their name: Nouveaux Modes Industriels. Philippe Doray, with the help of his 'Associés', evermore iconoclastic and numerous, backs up his anguished poetry with customised krautrock, hallucinatory pop and rock Suicide. Much more than a memory of the then surprising (and disturbing) Swinging Rouen, this album is an intergalactic ambush.

Following the publication, in 1977, of the first of two albums under his own name, Ramasse-Miettes Nucléaires, on the label Gratte-Ciel, Philippe Doray didn’t waste any time before writing new obscure and experimental songs. As proof, between May 1978 and January 1980, with his Asociaux Associés (antisocial associates, TN), he recorded ten of them in the farm in which he lived (and shared) close to Rouen.

In 1980, Nouveaux Modes Industriels was published thanks to the support of Invisible, the label of the Société Coopérative d'Ouvriers-Producteurs Artistiques (S.C.O.P.A., the Cooperative Society of Artistic Worker/Producers,TN) run by, amongst others, the ex-manager of Crium Delirium Jacques Pasquier. This meant that Doray had free rein for his electric poetry, his personal delirium, to be heard. He had already shaken up French music with his mix of pop, krautrock and free jazz; a few months later he would undergo a change which would be the precursor of his future projects.

Before collaborating with Thierry Müller under the names Ruth and Crash, Doray let loose one last time, with his Asociaux Associés, his anguished poetry into the face of the urban labyrinth, his nuclear dynamite… It is no coincidence if the album cover is similar to those by Urban Sax, the spirit of the times was anguish as a creator of beauty. Doray’s version had the advantage of still knowing how to sing.

Never forgetting his interest for dance, the musician gets Cluster moving to a boogaloo, foments a Suicide on synthetic jaw harp or invents elevator music for tower blocks… All of which hotchpotch feeds into his Nouveaux Modes Industriels. If the last track of the album states “no after-sales service”, it is simply because there is no need.

First ever vinyl reissue
Remastered from the master tapes
Obi Strip + Textsheet Insert”

"Through A Vulnerable Occur" is the result of a dialog between the photographer Sophie Gabrielle and the musician Seabucthorn, initiated by IIKKI, between June 2019 and February 2020.

Seabuckthorn is an alias used for the solo work of English acoustic guitarist & multi-instrumentalist Andy Cartwright since 2009. He uses finger picking & bowing techniques combined with various open tunings to form a mixture of approaches, often with layered accompaniments. Generally the songs lean towards to the experimental genre, whilst on the edge of the ambient and folk. "Through A Vulnerable Occur" is his 9th releases.

Sophie Gabrielle is a Melbourne based contemporary photographer and curator working in both analog and digital mediums. Graduating from Photography Studies College, Melbourne in 2015, she has been one of the Lensculture Art Awards finalist in 2018, then Foam Talent winner in 2019. Her work has been exhibited in Australia, Malaysia, New York and the UK. Through her fine art practice, Sophie has channelled her interest in mythology, spiritualism and psychology to create poetic works that reflect our sense of self, place and the ambiguity of memory. Her works are an exploration into the world of the unseen, through optics, chemical interactions and the investigative processes used to photograph something invisible to the naked eye.

'Postlude' is the second release on Solitary Dancer's new imprint, Private Possessions. After having released on some of the world's most esteemed underground labels such as Dark Entries, Graded, and Optimo, Private Possessions was borne out of a desire to control all aspects of output pertaining to the development, creation, and dissemination of their music, video, and other media. Following their debut LP 'Rites Of Passage', 'Postlude' is a three-track affair which juxtaposes two of the album's floor-focussed cuts with an extended version of 'Test Dream'. The latter has been processed into a 15-minute "Devisualization" using degradation techniques that slowly destroys the piece over time, harkening the ever-changing lucidity and memories of our own dreams.

This is a 4 track EP which has the original 1992 mixes on one side remastered with 2020 VIP mixes on the other side. Written and produced by I. Clifton, J. Higgs & J. Emery. VIP's by S. McCutcheon & I. Clifton. Full colour sleeve with a nod to the original 1992 studio location on the cover, Bowes Lyons skate park and youth centre in Stevenage.

"A massive thanks to Mike and Blueskinbadger Records. When someone knocks on your door and tells you that your old tunes from over 20 years ago are still being played and appreciated and that they want to re release them again. What more can I say. Happy f###ing days, smash the s##t out of it ! - Iain Clifton"

Raggatek, high resolution sound ! A big dancefloor Weapon again. LIMITED !

Backwards presents the REISSUE of this amazing VOX POPULI! album originally released on cassette (1985) by Cause And Effect in the United States. Self-labeled as an ethno-industrial project, Vox Populi! is one of the most intriguing and original band emerged from French underground. These recordings were made between 1980 and 1985. The album presents 7 tracks of analog experimental ethno industrial music! Released in a luxurious edition of 400 copies only. Silkscreened cover with printed inner-sleeve.

Auf "Small Favours" - der 6–Songs Vinyl–Auskopplung des Albums "Favours", verbündet sich Elektronikmusik–Zauberer Wolff Parkinson White mit verschiedenen SängerInnen, unter anderem Norah Jones, Natalie Beridze und Pascal Leboeuf.

Wolff Parkinson White's typisches Maschinengewehr–Feuer aus manipulierten Audio–Splittern steht hier in krassem Kontrast zu der Wärme der menschlichen Stimme. Seine erste EP–Veröffentlichung auf Nonplace bedient sich an vergleichsweise bekannten Liedstrukturen und beantwortet die Frage, wie ein Projekt von Björk und Venetian Snares klingen würde, wären sich beide jeweils der Nachteile diatonischer Monotonie und der endlosen harmonischen Wüste bewusst.

Die 6 Tracks der EP wurden von Labelchef Burnt Friedman persönlich von den 13 Album–Tracks ausgewählt. Der Schlagzeuger Jochen Rückert, der hinter dem Spitznamen "Wolff Parkinson White" steht, spielt auf "Heaps Dub" (nonplace20) von Root 70 und "Coptic Dub" (nonplace27) von Hayden Chisholm's Projekt The Embassadors.

The Amsterdam based Modern Obscure Music label launches a new sub-division named MOMArchives. MOMArchives is a reissue label that will focus on electronic music. All releases will be available on vinyl and also digitally.

The first release is Neocrystal by Japanese producer Yoshihiro Sawasaki. It is a fantastic slice of mid 90s Japanese Ambient Techno that needs to be heard by a larger audience. Yoshihiro Sawasaki is a Kyoto based producer who has released music under aliases such as Naturally Gushing and Doctor YS & the Cosmic Drunkards on labels like Sublime Records, Apollo Records and V2. Neocrystal was originally released on Sublime Records back in 1994. Sublime Records is an important label in the history of Japanese electronic music. The imprint has released music by domestic artists such as Susumu Yokota and Ken Ishii, as well as foreign talent such as Global Communications. The B Side to Neocrystal is Magic Dome. This was licensed to Dave Angel’s instalment of the legendary X-Mix series on Studio K7!

The first MOMArchives release begins with the ‘On The Beach’ mix of Neocrystal. It is a dreamy ambient track with gorgeous key washes and reverberating synthetics. It is followed by Magic Dome, a spacey keyed cut with bright synth play, subtle percussion and hypnotic key work. This is a wonderful archive release from Yoshihiro Sawasaki and it is a great start for MOMArchives.

To screengaze we see the frenzy of the hyperreality; the chaotic and unending flow of info which serves as the composite of the idealworld as it’s presented to us. Projections of self-styled-life, illusions of societal norm, prescribed freedom, and omnipresent prompts for consumption embody this hyperworld which once zoomed in on becomes dissociative, overwhelming, and often unstable as its reflection is held up to itself.

While to windowgaze, we see a muted reflection of the actual. We see in such a way that allows us to view a still and serene world onto which we can project our own idealisms; romanticising the mundane with notions of love and beauty, while flirting with senses of meaninglessness and nothingness. Through windowgazing we allow ourselves to eulogise the actual in a “is-it-really-real” way.

Tears Voyuer is the debut LP by the duo All Times Now Nothing. Tears Voyuer is presented in two formats. The physical 12” LP is comprised of two 22 minute collage pieces. The digital format is made up of 14 tracks which form the basis of the collages as heard on the record. Digital download included with the release.

Romantic Fiction - the debut LP from Curses - is an honest musical expression drawing influences from his youth growing up in NYC in the 80s. References to new wave, post-punk, synth music and early EBM are skillfully merged with the DIY approach of punk and rock n roll angst. Brandishing an immersive sonic palette, all instruments throughout the album were played and recorded by the artist

Holding Hands is blasting off with a bang of cosmic proportions, featuring two cuts from Desert Sound Colony's dance floor alter ego 'DSC'.Far Reaching, as its name suggests, takes inspiration from the deep well of our musical past. Drum & bass, jungle, breaks, house and hardcore are all present. That being said, this is not just a revival record. These sounds combined take your mind out of the past and place it firmly in a previously unimagined future. Hard as nails to begin with, the track eventually builds to a glorious rapture.Too Hard is deep like the Mariana Trench and made for dance floor meditation. Kicks rock you back and forth as a soft canvas of pads drapes itself over your mind. Space is the place people, space is the place.Both 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... DSC Bio 2017 After several years writing and touring as the band Desert Sound Colony, Liam Wachs has decided to move back to his roots with a new dance music alias, 'DSC'. His previous releases on Scissor & Thread were informed by 60s psychedelia and his pastoral surroundings in the British countryside. Pulsating, and built on a core of slowed down club rhythms. Now with the advent of DSC and his own label Holding Hands, he is looking more towards London and Leeds where he spent his formative years. Small dark rooms with big sound systems are the inspiration. Beats and space are there for the exploration.Holding Hands Holding Hands is a record label with very simple goals. Put out banging tunes on black vinyl and get them to DJs who want to rinse them in clubs. We aren't interested in all the bells and whistles. Colour vinyl where you can't see where one track starts and another ends. Lovely artwork is nice but for our purposes it's unimportant. This is music that hits you in the gut and rattles your bones. Music that makes the end of your nose itch as certain frequencies come soaring out of the sound system. These are the tunes that you hear when your eyes are rolling back in your head with your best friends all around you on the dance floor.It is how it should be. In the club we are all holding hands.

Simon Scott (Slowdive) debuts his Index alias with a visceral new sound that absorbs and transmutes political, ecological and psychic dread into a caustic, dissonant style of noise sculpture for iDEAL Recorded 2016-2019 in Los Angeles, ‘Kainos’ sees veteran UK composer, field recordist, drummer and mastering engineer Scott explore ongoing concerns of his oeuvre via a prism of formative musical influences from the post-industrial music of Coil, Throbbing Gristle and early Black Sabbath, plus non-musical and conceptual inspiration from the turmoil of Brexit - including recordings of the Houses of Parliament - thru to the radical feminist scientific writing of Donna Haraway, and the conceptual vigour of Luigi Russolo’s
Futurist manifesto, ‘The Art of Noises’.
The album’s title ‘Kainos’, from the ancient Greek meaning “new” or “fresh”, characterises Scott’s efforts to glean something practical from this world’s current state of chaos. When taken in context of its use in Donna Haraway’s 2016 book, ‘Staying with the Trouble: Making kin in the Chthulucene’, and its central tenet that “our task is to make trouble, to stir up potent response to devastating events on a damaged earth”, Scott’s enacts a tectonic shift from bucolic sonic signifiers to signposts of the post-industrial world that could hardly be more apt at at a time when electronic and ambient music are prized for their safe and sterile wallpaper qualities, rather than a potential to evoke and invoke more powerful feelings.
Based around modular synth-mangled live stream recordings of the Houses of Parliament during the prelude to Brexit, Scott’s compositions take these fractious debates as building blocks for the album’s caustic improvisations and compositions, ranging from convulsive clangour to pulsating tracts of strobing distortion and gutted, lurching post-dubstep rhythms riddled with the voice of Slowdive’s Rachel Goswell, before eventually resolving with a more spacious, textured sense of relief by the album’s close.
His results are chaotic and noisily abrasive in a way that holds up a mirror to the modern world, reflecting a putative state of unrest and agitation that resonates with the artist’s profound discontent with the lack of “equilibrium we have right now and how disconnected we have all become in relation to nature and each other.” In concept this is nothing new for Scott, as previous release have variously explored ideas of climate change in ‘Below Sea Level’ (2012) and ‘Flood Lines’ (2016’, but the product this time is far more pointed, even aggressive, in its noisy insistence.

Following six studio albums of funk-driven loungecore, Hospital Records head honcho London Elektricity embarks on the boldest musical adventure of his 30-year career with his seventh long-player Building Better Worlds.

It began in a Forest Hill cafe in 2017 where London Elektricity adoringly browsed through a series of Benjamin Beechs photography of perfectly untouched, derelict buildings and towns in Japan, Taiwan and China. Many of the images show what has been, what could have been and what will be. The duality of beauty and melancholia within appealed to me immensely. Each track was married to a photo, to join the sights to sounds from each of his tales of Building Better Worlds.

Leading the voyage is the orchestral masterpiece Final View From The Rooftops, that’s been 13 years in the making and is the most unusual piece of D+B he’s ever made, featuring the incredible operatic talent of Cydnei B. Build A Better World is a smooth drum & bass sonnet with the vocals of Hospital family favourite Emer Dineen. The beauty of this song lies in its simplicity, but also its duality. I'll leave you to work out what the lyrics are really about... They are some of the darkest lyrics I've come across in years.

Another special moment is the feature of London Elektricitys youngest son, The Secretary-General. The talented nine-year-old takes no Time To Think as he flawlessly flows through Injas lyrics with the ever-vibrant MC following suit, bringing the track full-circle across generations.

London Elektricity is the mastermind behind classic Hospital
albums such as Pull The Plug, Syncopated City, Are We There Yet? and Yikes. His latest body of work delves into uncharted depths for a very personal and expressive collection of tracks where drum & bass and live instrumentation meet. London Elektricity can be found showcasing this latest chapter with tours in China, Japan, the UK
and Europe throughout 2019.

Nikolaienko's "The Sounds Of Pseudoscience" LP from 2015 (originally released by Muscut/ Graphical Recording) gets 5 Years Anniversary Limited Edition on cassettes. 30 copies only. Includes 10 never published before pseudoscience illustrations.

’11 Items’ is the textured first album by Pontiac Streator and Ulla Straus for Huerco S and his pals at
West Mineral Ltd. The album sees the American duo expand upon the hazy mindset of their ‘Chat’
2018 EP across a flux of ambient interzones where they transmute fleeting, everyday feels into a
bouquet of ephemeral and organically unresolved scenes
The expanded 2LP palette of Streator & Straus’ 2nd release reveals a greater variegation of their
overgrown, verdant electronics and free rhythms in a gently perplexing style of ambient inception.
Each of the ’11 Items’ feels like an exploration of dreams within dreams in a way that beautifully
parses the poetic from the prosaic and cannily reflects a certain hyperaware yet hypnagogic state
of modern ambient music.
Recorded at 50 Wingz in Philadelphia, ’11 Items’ convects a cool, communal sort of psychedelia
from nose to tail, evoking the feel of friends in a room or a cabin communicating non-verbally. In
the process it conjures the type of moments that lead to comfortable silences between familiar
souls, and likewise has the capacity to stimulate and dissolve conversation with the babbling,
forgot-what-I-was-talking-about flow and quality of MDMA chat between relaxed but frayed and
buzzing minds.
In an ambiguous style that has become key to West Mineral Ltd.’s aesthetic, the music is neither
gloomy nor ecstatic but full of transitory sensations somewhere in between those poles. Each part
feels pulled in multiple directions at once, resulting in a sublime schism between jazzy hustle and
heavy-lidded electronics in ‘Item 1’, and a subtle underlying tension between layered dimensions
of humid, dusky acoustics and congealed electronics on ‘Item 3’, while ‘Item 5’ dices with urges to
dance/lean back, and ‘Item 10’ crystallises this idea of alchemic multivalency with an unmissable
mix of fine grained mentasms firing like synaptic surges in iridescent grey matter.