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A pair of none-more-brooding, shockingly minimal 808-driven dreadnoughts released on a no-fuss, barely-any-info black label

Currently in the process of recording their third album, after their acclaimed 2015 debut Hi-Fi Classics (having opted out of recording a second record to avoid the dreaded 'difficult second album' syndrome), 'Brother' is a continuation of the engrossing, yet unpredictable and hard-to-pin-down intelligence of the South London band's output.

Speaking on the single, Meatraffle say:

Brother is about the platonic love you have with your friends (sex is forbidden). It's about sharing and having things in common. The ups and downs, of course - about who buys more rounds of drinks than the others. It's a dry orgy, that's all it is.'

The origins of the band are lost in obscurity and legend, with some believing they are the result of a drunken afternoon shared by Mutado Pintado (Warmduscher, Paranoid London) and Zsa Zsa Sapien in a Wetherspoon pub, with their original concept being to actually host a Meat Raffle, evidence found in the fact that pigs' heads and raffle tickets are visible in early photos of the band.

Raffle or not, the band kept the moniker, and their musical offerings since that fateful meeting have spawned a loyal fan base following - birthed from their raucous early residencies at Brixton's The Windmill and The Queen's Head.

Shared bills with the likes of the Fat White Family (whose Lias Saoudi named them the 'best band in the country'), Shame and Sleaford Mods turned to busy headline tours, and a recent Speedy Wunderground (Kate Tempest, Natasha Khan) single 'Birdsong', recorded by the label's Dan Carey saw various radio airings and a legendary live session on Marc Riley's 6 Music show.

Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza, & parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences. Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form.

Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all.

The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming.

Drift (originally released in 1994) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes (the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease.

All the more reason to listen thoughtfully.

In 2021 - re-emerging nearly twenty years after its initial inception, and first time on vinyl - somewhat surprisingly, Murder Ballads (Drift) still remains/exists in an area overlooked by other artists, an area that truly still remains the sole province of M.J. Harris / Martyn Bates.

Two are surely better than one. Following Lory D and Fadi Mohem, Toronto based producer Graham Bertie aka Nautiluss also steps up for his second outing on Seilscheibenpfeiler, marking the label’s 10th overall release. Once more, Nautiluss is transforming playful and rhythmically intriguing bass music into prime dancefloor cuts, encompassing a rich array of sounds and moods ranging from upfront rave action to delicate deepness.
„Guccifer“ kicks things off with a dark, shuffling beat, creating a subtle hardcore/jungle vibe with atmospheric overtones. „Snakes And Ledgers“ is a percussion-heavy tune led by a fat and thumping bassline and completed with muffled chants by Toronto rapper Matthew Progress. Next up is „WiFi Oasis“, again fronted by a memorably melodic and reverberating bassline while the track explores airy and enigmatic IDM territory. „Moment Of Clarity“ rounds off the EP with ethereal synth pads and big breaky beats, providing an ideal closing track for every extended club night.

Daumenbruch kurz vor dem 30. Geburtstag? Für Nils Frahm kein Hindernis, doch noch rechtzeitig neun intime Klavieraufnahmen einzuspielen und sie seinen Fans anlässlich seines Jubeltags online zur Verfügung zu stellen. Dabei gibt es für einen Pianisten wahrlich kaum eine schlechtere Nachricht als ein Daumenbruch. Frahm, der international längst ein Star der modernen Klassik ist und mit Zeitgenossen wie Olafur Arnalds, Peter Broderick und Efterklang kooperiert, ließ sich von dem Missgeschick (Sturz vom Hochbett) nicht beirren. Entgegen des Rats seines Arztes trainierte er die restlichen neun Finger und nahm peu á peu die vorliegenden neun kleinen Lieder auf. Als der Gips ab war, war das Album fertig. Die Musik ist mal wieder "ein Balsam" (BBC Music). Die LP erscheint inklusive eines Album-Download-Codes.

Originally released in 1999, Trocante Gramofony E.P. by Nomex is re-pressed in a limited edition of 100 copies on black vinyl from the original plates.
Trocante Gramofony opens with the monumental ‘Fire Is The Centre’, followed by two other Nomex masterpieces, ‘Life Destroy’ and ‘No-Step 2000’, as well as three speaker-destroying fragments and locked grooves.
Official release date is May 10, 2021. Only 50 copies are available for general distribution, the other 50 are reserved for the Praxis online shop and bandcamp.
Trocante Gramofony E.P. was originally released in an edition of 500 copies on transparent white vinyl as Praxis 33.
It was a departure from Nomex’s releases on his own Adverse label and was naturally quite different from the DJ Scud collaborations on Maschinenbau. In relation to his other solo work, Trocante Gramofony is perhaps less conceptual and more composed.
‘Fire Is The Centre’ features vocal snippets recorded at a Dead By Dawn party sometime between 1994-1996. Some of these snippets had been used on the Dead By Dawn record by Shitness & The Jackal, but here they were embedded in a surging wall of noise spread over the first side of the record, complete with crackles, shrieks and ever
mounting intensity.
The second side opens with ‘Life Destroy’ an intense collage of voice, noise and music and ends with ‘No-Step 2000’.
Tracks don’t end in orderly fashion, instead the needle jumps out of the groove or is locked in a loop. The flow gets interrupted in the middle of the side of the record. These elements are again vinyl specific and can’t easily be transported to the digital realm, and this is one reason we decided to make this brilliant record available again in its ideal format, the vinyl 12”.

Maschinenbau Was A Label Run By Djscud From Ambush And Nomex From Adverse Which Released Only Two 7's In 1997/98. The First, Eurostar/piling Machine, Was Limited To Just 300 Copies. It Combined Psychogeographical Exploration And Field Recordings With Amiga-produced Non-conformist Breakcore And Noise-abuse, While The Second One, Total Destruction, Became A Classic Of Breakcore / Noise Crossover With Several Appearances On Compilations Such As Collision Drive On Pias (compiled By Kevin Martin, Aka The Bug), But Nevertheless Fell Into Relative Obscurity - Like Most Of The Great Early Breakcore - During The Following Decade. Listening Back One Can Only Be Astounded By The Raw Energy And Urgency Of These Tracks.
Twenty Years After The Original 7's, Praxis Is Proudly Releasing A 12' With All Four Original Tracks In October 2018 With The Catalogue Number Praxis 56.

Long awaited vinyl reissue of NWWs classic 3rd album. This blue vinyl version. Is exclusive to Cargo. Packaged in an outer sleeve that replicates the original United Dairies issue and has a brand-new Steven Stapleton designed full colour insert. Info: ollowing disagreements amongst the founding NWW trio over To the Quiet Men from a Tiny Girl, Steven Stapleton returned to the studio without Heman Pathak or John Fothergill to create something that more closely fulfilled his vision of what Nurse With Wound should be. The results are often cited as the first great NWW album, with Rolf Semprebon at Allmusic stating that it constitutes "the first fully realized NWW record....a far more mature effort than its predecessors, much more focused and sounding less like some stoned guys goofing off in the studio". There is a more extensive use of tape editing and audio collage on Merzbild Schwet than was found on the preceding releases, a strategy that would become Stapleton's signature sound on the albums that followed. There is also the overt use of humour; the sound of a repeated loud vinyl pop being included at the beginning of "Futurismo", initially creating the impression that the record is in some way damaged, accelerates to such a speed that it becomes obvious that it is part of the composition (the impact of this device losing relevance on subsequent cassette and CD editions).

Live improvisational electronics with stormy outbreaks of wobbly explorations in time and space..

Philipp Quehenberger, 41 years old but still 19 inside for the curiosity and
exploring drive is one of the premier members of the Austrian electronic
avant-garde music community, a long time partner with local legends Patrick Pulsinger and Didi Kern, as well as a mainstay of the worldwide respected Viennese label Editions Mego. His sonic explorations cover a remarkably vast palette of aesthetics, from Jazz to noise, Techno, Industrial, breakbeat, electro, Ambient, and the journey is still on.

Minimalsoul is therefore extremely pleased to welcome Philipp to its roster, an important step in our mission of blending the push of great music from around the world, with a focus on Austrian artists. Because, as any
human being musically rooted in the underground knows: Sky's the limit, but never forget to stay local as well!

The general atmosphere of this release is quite gloomy and mysterious.
It starts with a sort of 'post-modern' funeral march, 'Hind sight,' and indeed it could be any of us, parading along in the ensemble of mourning parents and friends, possibly for the first time: while the strong baseline dictates the pace, the chords reproduce our dizziness.

'Gut,' the most club-oriented track, with its psycho-gressive industrescalating synths, reminds a bit of Holden's 'The Sky was Pink' remix, albeit carving its own peculiarity, with value-adding baseline and menacing vocal samples: the funeral is over, and all the parentado is gone,
you're left alone with your dualistic emotions, halfway between sorrow and relief and - as the vocal says - you've 'never been here before.'

This dark and melancholic emotional uncertainty carries on with the last track of the 'triptych,' 'In,Out.' Fans of Brooklyn-based Galcher Lustwerk,
or of Coil will particularly like this one, with its overlapped chords and 'white-noised' kickdrum: in and out from the sadness, we hope for better days to come, knowing the loss will leave an everlasting mark in our hearts.

Brain Dance is the debut EP from Sydney artist and Velodrome’s resident dancefloor darling, Posture. Following on from his single ‘Zoom Dates’ released on Velodrome Recordings in 2020, this EP affirms Posture’s ability in creating heavy-hitting techno with heart.

A bold and refined body of work, Brain Dance is a masterclass in brooding high-energy dance music. Blending sombre tonal palettes with intricate driving percussion, Posture has crafted a suite of 4 peak-set techno cuts that retain a delicate, fluid energy throughout.

Written in isolation, Brain Dance is pensive in its mood while remaining wholly inspired by dance floor energies from past and future - a record that invites introspection in the peak of dance floor hypnosis.

This record also comes packaged with a limited edition 250gsm A4 print designed by Bradley Pinkerton.

Two powerful compositions by Alex Buess and Daniel Buess, rearranged by Cortex.
RIND is a work using three large self-built cow skin frame drums, 1 horse skin container drum, metal plates and electronics. NOL is a composition by Alex Buess for a percussion trio from 1995. The two pieces were recorded live in 2010 and 2003 respectively, also featuring the musicians Daniel Stalder, Peter Conradin Zumthor and Matthias Würsch. They were electronically treated by Cortex in the studion in 2015. This release continues the collaboration with Alex Buess that goes back to the pre-Praxis days of the Vision label since 1987 and includes Praxis 31 by 16-17 and Praxis 48 by Cortex, both of which also included Daniel Buess.
Cover art by Darkam and layout by Lynx.
ALEX BUESS – is a musician, saxophonist, composer, producer who lives in Basel, Switzerland. He has collaborated with Stephan Wittwer, Paul Schütze, Kevin Martin, Peter Brötzmann, William Parker, Raoul Björkenheim, Toshinori Kondo, Bill Laswell, Kevin Shields, Tim Hodgkinson, Michael Wertmüller and many other musicians in the wide field of improvisation, electronics, electroacoustic music and composition. He plays/played in the groups ICE, GOD, Phantom City, The Bug, Sprawl, Cortex and his own group 16-17, as well as Melx and The Electric Noise Twist. The latter were part of a close collaboration with Christoph Fringeli’s Vision label from 1987-
1991, before Christoph moved to London and started the Praxis label, a collaboration that continued over the decades with releases by 16-17 and Cortex on Praxis.
Alex has written compositions for various contemporary music ensembles and also works as a producer and sound engineer. He has
appeared at numerous new music festivals and his compositions are performed in Europe and throughout the world. His studies include electronics, acoustics, musicology, phonetics,semantics and composition and his work reflects his experiences with electronic
technology, written contemporary music, film music, new mixing and production techniques and computer music.
DANIEL BUESS - studied at the Musikhochschule Basel with Siegfried Schmid and with Isao Nakamura in Karlsruhe. Studies in traditional South Indian percussion music, specially the Mridangam from 1995 till 1998 and in Arabic percussion music in Cairo, Egypt from Nov. 2007 till Jan. 2008.
Daniel was involved in various groups and ensembles in the realm of experimental and improvised music, like “Ensemble Phœnix Basel” of which he was a core-member and solo-percussionist since its foundation in 1998, Cortex, 16-17 (both with Alex Buess),
HOW2 (with the percussionist Daniel Stalder), “Katarakt”, “B&B” (with the flautist Christoph Bösch), MIR (with Papiro and Michael Zaugg), Buggatronic (with James Hullick). Other collaborations include artists like Hany Bedair, Knut Remond, Zbigniew Karkowski, Kasper T.Toeplitz, John Duncan, Michael Wertmüller, Phill Niblock, Julio Estrada, Stephan Wittwer, Volker Heyn, Thomas Lauck, Tim
Hodgkinson, Iancu Dumitrescu and many others.
At his regular tours through Europe, Asia and Australia, he performed at the most highly recognised festivals for experimental music as well as at several underground-places, open spaces and independent venues. Sadly Daniel passed away in February 2016, making “Skin Craft” unexpectedly a posthumous release.

GOLF CHANNEL return with a limited session straight from the sex dungeon.
S&M never hurt so good...

"Like Robert Palmer on Es" - Piccadilly Records

"Hotly tipped British hustlers" - DJ Mag

"Radiophonic borderline funk that makes a mutha smile!" - Bootsy Collins

It's a third trip out on vinyl for us here at Sprechen and steering us through the surf is Manchester 6 piece 'See Thru Hands' who drop seriously sanguine vibes on their lazer guided single 'Connectivity'.
A self-produced alt-pop banger from the collective which fully delivers on all things 'disco-not-disco-synth-funk-dancefloor heater' vibes, which brings to mind peak 80's Chaka Khan partying with LCD Soundsystem & A Certain Ratio at Paisley Park.

Remixes for every occasion on this one with Skream cranking up the Italo disco-o-meter to 14 on his bass driven peak time banger for large room raving while Jorja Chalmers takes the party back to a smokey shebeen on her mix that sounds like Tricky sharing a blunt with Aphex Twin whilst King Tubby twiddles the dials!

Our very own Massey finishes off the package with a mucky tops-off style gutter pumper which belongs in those basements you'll often find him and many like-minded souls dwelling within.

Tape

The music on this album by Sofie Birch was originally created for the ASMR performance piece ‘Whisper Fold Brush’ in collaboration with SLØR Visual Performance / My Lambertsen. The album release version focuses on the music that was composed for the performance, while the ASMR sounds were moved to the background or are in some cases not present at all.

Spanish ambient composer Suso Saiz deepens his relationship with Music From Memory with the release of a new album, Nothing Is Objective. This joins 2017's Rainworks as his second full-length album for the label, following archival collections of solo music and of his group Orquesta De Las Nubes.

Nothing Is Objective was recorded in Madrid in 2018 during a period of transcendental change and creative awakening for Suso. It captures the composer as he develops a renewed relationship with his instruments and craft, channeling a dialogue between the meticulous use of technology and the outer reaches of human expression. Suso's universe is one that remains in constant mutation and emphasizes time above all else. His radiant drones are a nest of hidden feelings; they glisten with complex emotions and textures, teasing out moods of vulnerability and hope. Nothing Is Objective is a delicate and intimate record that harnesses smalls drops of sentiment for listeners to withdraw into. Released in a gatefold 2xLP it features collaborations with Austrian guitarist Christian Fennesz, liner notes by John Gómez, and music dedicated to Suso's friend, the late Mexican musician Jorge Reyes. Nothing Is Objective cements Suso's place as one of the label's central and most loved artists.

For The Geek and VRV, everything is a matter of time. Since they first met six years ago, the two beatmakers have been broadcasting their music to the four corners of the world, and their collaboration is as strong as ever after the years. Vanguards of the French instrumental hip-hop scene, they’re coming out today with their first album, Time Machine, a synthesis of the sounds and the ideas they’ve been working on from the very beginning of their careers. A trip back through time, as its name suggests, demonstrating the range of sound possibilities that they created in previous projects and on their international tours.

The release of their hit “It’s Because” in 2013 launched them on the scene as French producers who managed to break into the United States, with sampling as their musical base. Closer to home, the Coachella, Osheaga, and Solidays music festivals were won over by the pair’s complementarity, which made the success of their BTOS beat tapes and their EPs, Electric City and Origami.

But since everything is a matter of time, it was sometimes necessary to just let things go, take a break and think things over before coming back even stronger. A year and a half ago, The Geek and VRV started to slow things down, in order to take a step back and concentrate on this new album. With one overriding idea: to explore different eras and time periods, and transpose them into our modernity. Each track is associated with a pivotal year in music. With “Paris Jazz Club 1920”, the first single on the album, we're plunged into the cozy atmosphere of the cabarets, featuring the virtuoso Montreal pianist Anomalie. A meeting made possible thanks to the famous beatmaker Gramatik, who was a fundamental inspiration for their music, and who is also present on the album, as well as the flagship producers Fakear and Møme.

On Time Machine, The Geek and VRV have turned on their time machine to bring us to the year of James Brown’s birth, and find the unstoppable groove of “Get Funky 1933”. Always with hip hop in sight. The explosion of disco inspired them to record “Roller Disco Party 1980”, and the film Back to the Future was behind “Time Machine 1985”. The mixing of different time periods means that the styles, genres and atmospheres are channeled to perfection. The Geek and VRV have been preparing for this trip for five years now. With Time Machine, the time has come for them to begin their exploration, and to take us along for the ride.

Factory Food is the first album from the Wirebug aka Dan Hekate for over a decade. Now a feature film director Dan has brought all his expertise in sound design to bear on this full-length album of industrial beats, soundscapes and noise. Intertwining broken rhythms with melancholic melodies, harsh analogue percussion with acoustic instruments, this is a series of tracks that asks the listener to engage or retreat.
Including collaborations with Praxis founder Christoph Fringeli, instrumentalists Enrico Gontero on the accordion and Steph Voodoos on acoustic guitar this is a listening experience in of itself. It includes tracks that you would drop to packed breakore dancefloor as well as those that would feel more at home in a noise concert but all the
same it is cohesive and true to it’s own nature – a cold, minimal, mechanical beast rumbling across the landscape of our digital age.
Within the album package is also included a 23 minute AV set mixed by the Wirebug and remixes of two of the tracks by Black Mass Plastics and Killabomb, as well as an alternative version by The Wirebug himself.
A digital remix EP featuring re-interpretations of the title track ‘Factory Food’ by Monrhea, Psychic Defence, Killabomb and an extended mix by The Wirebug himself is in preparation for release in Summer 2021.
As a piece the album can be taken as a fable, a story of what happens when we sacrifice all to the machines in the hope that they will grant us wealth, fame and everlasting youth.
Nothing essential happens in the absence of noise.
Factory Food appears as a 6 track vinyl edition with a full colour cover based on a painting by Luke Hekate, which includes a download code for all 11 tracks of the album as well as a login for the 23 minute AV set.

For his debut album, Tochigi Canopy has been building the melancholic, spleen-full life's perfect soundtrack. At first listen, we already feel his obsession for details and his love for deep atmospheres, he fills our mind with images, moments, slices of nostalgia where summers last only for seconds. An absolut must-have.

It's been a while, almost a year has passed from the last episode of Secret Rave, but Art-Aud only took time to prepare a big sequel worthy of note. Another trip, another dream team. Six tracks for a big salad of styles, cuts, speeds and emotions. The records are coming in transparent lime color, pvc sleeve bag with big artwork print and a sticker. Graphic/Illustration by Anja Lekavski. Mastered by Radioactive Man. Only for the real heads.

ALTER- : A REACTION TO THE ALTERMODERNISM IN SOUND ART
For the Automatisme - Alter- album. I am inspired by how the art historian Nicolas Bourriaud defines the Altermodernism. Bourriaud understands the term "Alter" as a way to mean "other". The altermodernism would be another modernity that is different from the avant-garde modernism and post-modernism. More precisely, this is a new paradigm from the XXIe century with alternative ways to motivate artists to be more radical in art by traveling in the physical and digital world, by cutting the frontiers and by creating other time lines. I apply the "alter" subject to time and to landscape and those, to the rhythmic and the ambient glitch music.

1- THE ALBUM HAS A RHYTHMIC SIDE AND A LANDSCAPE SIDE.
1- a : The rhythmic tracks are named Alter-Rate. That means that I offer other types of rhythms by calculating beats with time rate experimentations. The form of the rhytmic tracks, expresses a course, a wandering, which, in the altermodern life, is not just in a standard 4/4 , or just grid based or non-grid based, but it's in a complex hybrid of all of those.

1- b : The ambient tracks are named Alter-Scape. That means that I offer another type of landScapes by a paused temporality and not by a random time or by the time of the nature. Alter-Scape tracks mimic the saturated globalized soundscapes of the XXIe century.

2- THE GLOBALISED AND SATURATED TIME
For Bourriaud, the artists respond to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expressions and communications1. The Alter- album tracks have saturated rhythms Rates and static ambient soundScapes. The specific context within which we live is the age of globalisation2. In this album, it means that globalised or always evolving rhythm Rates are in constant movements and are also different every time an Alter-Rate track is exported or performed. On the other hand, a globalised landScape is an ambient track with a motionless temporality. In the era of the altermodern, displacement has become a method of depiction3. The movement of the sound in the Alter- album is two sound spaces. The first is the rhythms that make time movement become apparent and the second is an ambient paused or static time that makes possible to feel and to analyze the movement effect of our surroundings.

3- THE CONSTANT TENSION STATE OF ART
For Gilles Deleuze, art is in a constant state of tension, in as much as it oscillates between the poles of chaos and order4. The Alter- album is a tension between chaos and order in rhythmic beat tracks and ambient soundscapes tracks. It is a deterritorialization of the rhythms and the ambiences of today's natural and digital landscapes and it brings them into the computer glitch music format.

By pushing new softwares to their limits, I push at the extreme the software capacity to calculate and to generate sounds. The Alter-Rate tracks are experimentations with time rates and rhythms with the use of probability and artificial intelligence based sequencers. The partition signal starts from a master sequencer that gets into all instruments on a track. Each instrument receives this signal and modulates it with other sequencers that are each programmed differently for every instrument. Finally, all the instruments signals return to a master output that contains a stutter effect. This master channel is sequencing all other channels into one single rhythm. In short, a single rate merges and expands into a vast archipelago of rates and the transformed signal becomes a new single rate. The Alter-Scape tracks are experimentations with midi triggers that give the sensation of a timelessness. Multiple reverb effects are also routed into each other to create soundscapes of continuity. About the type of sounds created in this album, I do experimentations with deep frequency modulation synthesises (FM) on all Alter-Rate and Alter-Scape tracks.

I put a few layers in the tracks to be able to focus on the time space and perception. The tracks are generative and every parameter uses probabilities to be programmed. This is something that was not possible some years ago. The computers are enough powerful to generate that now. I export many times the tracks and i push the computers to their limits by making hard for them to calculate and to generate the tracks with a deep, a pointillist and an extreme software programming. These techniques do different versions every time that I export or perform a track and in my opinion, that opens a fresh and innovative way to do new experimental club music and ambient music. The computer has its own limits too.


Reviews in The Wire, Gonzo, A Closer Listen, Datacide, African Paper, Silent and Sound, and more

After more than a decade at the forefront of the global club music scene withseveral celebrated albums and EPs under their belt, Peruvian duo DengueDengue Dengue's seminal 2014 Enchufada EP 'Serpiente Dorada' is still oneof the most impactful of their exciting career. Capturing the vitality of theirearly genre-defining work, where the traditional and hypnotic rhythms ofcumbia were modernised through a collage of electronic music styles,'Serpiente Dorada' is still at the top of their most played music on streamingplatforms to this day, and has motivated their fanbase to continuouslydemand a physical edition since its initial digital release. The wait is finallyover as in 2021, just as the band completed 10 years of activity, we arepressing a beautiful 12'' vinyl edition in black and gold colours, freshlyremastered for vinyl to give this essential release the quality it deserves. 'Serpiente Dorada' remains an absolutely infectious and colourful mixture ofglobal sounds, where genres and styles are used as a starting point on theirongoing hybrid exploration of the interaction between traditional LatinAmerican music and modern electronic music, where the total is much morethan the sum of its parts.

By now it’s common knowledge that Etch is one of the brightest sparks working in the field of contemporary breakbeat mangling. The Brighton-based producer has the depth of knowledge about breaks, and the expressive affinity for how to slice and rearrange them, to rank among some of the greats. We’re talking Photek, Paradox, Source Direct levels of drum science here. Of course he’s more than just a break slicer too – look no further than last year’s Strange Days LP on Seagrave for a more widescreen angle on the Etch sound.

DJ Support
Objekt, Mike Paradinas, DJ Plead, Upsammy, Call Super, CCL, Yak, CEM, Nikki Nair, Jossy Mitsu, 8Ball, Karima F, Addison Groove, Appleblim, Franklin De Costa, Soundbwoy Killah, Double O, Gigsta, E-Unity, Filter Dread, Lil Mofo, Kikelomo, Dense & Pika, Physical Therapy, ItaloJohnson, Minor Science, Banoffee Pies, Roger 23, Andrea, Extrawelt, Ciel, Laurent Garnier, Stones Taro, Itoa, Claude Von Stroke, Al Wootton, Pugilist, Coco Bryce, Clouds, Dead Man's Chest, FFF, John Morrow (Foul Play) +more

FD steps in for his first solo release for SUNANDBASS Recordings with his ‘Serious’ EP. ‘Serious’ received it’s first public play on Lenzman’s ‘Dope Tape’ – and was the most commented and sought after track in a mix that now boasts over 130,000 plays.

Cult UK producer Iglew returns with his highly anticipated sophomore record after a six year hiatus, finding a perfect home on Facta and K-LONE’s label, Wisdom Teeth. Iglew first burst through during the instrumental grime boom of the mid-‘10s, debuting on Mr Mitch’s Gobstopper imprint with the now-verified classic ‘Urban Myth’ EP. A run of massive edits, remixes, radio rips, plus a feature on legendary label Boxed followed - andthen he went into hiding. Six years on, his follow-up EP expands and consolidates his sound into something truly unique and distinct. His central talents - glacial synth work, timeless melodies, pristine sound design - are all on show here in abundance, but twisted to fit new, refreshed patterns and structures.

‘Caffeine Dream’ is mutant UK techno that offsets distorted bass and glitching synths against warm chords and a noodling melody. ‘Gold’ is cool and stepping, sitting somewhere between early Night Slugs and the refracteddeep house of DJ Python. Title track ‘Light Armour’ is the EP’s understated climax - a lowlit and psychedelic take on modern pop, sounding something like a Charli XCX record A&R’d by the Freerotation crew. To close, ‘Microfunk Lament’ and ‘Hakwsworth Woods’ lean into microhouse and Reich-school minimalism, putting Iglew’s immense knack for melody and soul on full display.

Keeno's third full length album, 'All The Shimmering Things', is a gorgeous body of work that truly transcends the dancefloor, offering maturity and depth far beyond his years.

From the majestic flutterings of 'Light Cascading' to the breathtaking euphoria of 'Cosmic Creeper', the album elevates into a world of brilliantly constructed sonics, arrangements and melodies, seemlessly crafted with care and precision.

The journey is made complete by guest vocalists Becca Grey, Abbie Rosie and Katya, whose exquisite lyrics perfectly fuse the album's themes with notable sophistication. Such a finely balanced combination creates a collection that is guaranteed to charm loyal fans and new comers alike.

Keeno's debut album 'Life Cycle' turned drum & bass on its head with its fresh approach to compositon and instrumentation, receiving universal praise from fans and artists across drum & bass and beyond. This pinnacle moment was the start of a continuous rise for Keeno, leading him to take his music from UK festival stages to club shows in Australia and New Zealand.

'All The Shimmering Things' expands and improves on everything that we love about Keeno's music and is sure to be one of the finest drum & bass albums in 2017.

Boylan, Trends, P Jam and D.O.K form like Voltron to bring their new collaborative project 'LEGION'

Fusing the styles of Dubstep, Grime, Breaks and Techno with their unique style at 140bpm.

Mani Festo takes us through the Breakbeat assault course on his inaugural Sneaker appearance. Amen!

DJ Support
Nina Kraviz, Kelly Lee Owens, Nastia, Answer Code Request, Mantra, Foul Play, Alienata, EICH, Boxia, Bored Lord, Candy Pollard, Photonz, Extrawelt, Yushh, Paige, Drumskull, Bailey Ibbs, Colin Dale, Doc Scott, Nikki Nair, Frazer Ray, FYI Chris, Banoffee Pies, Stones Taro, Jerome Hill + more

The end of 2019 was soundtracked by one of the most unanimously critically acclaimed film scores of recent history, an anxiety-driven joyride paired to the Safdie Brothers’ noir thriller ‘Uncut Gems’. Unknowingly, Lopatin captured a universal feeling of dread that cuts even deeper in the current state of world affairs. And now, just as many artists are leaning into a newly discovered darkness as this year closes, Lopatin turns his dial towards a frequency of profound self-awareness on an even deeper journey inwards towards peace.

With the backdrop of re-imagined programming for a soft rock-era format that symbolically spans from morning drive into late night hours, ‘Magic Oneohtrix Point Never’, the name a reference to a misheard play on words of Boston’s Magic 106.7, is a nostalgic and self-referential career defining body of work, collaging maximalist baroque within atmospheric glitter. Here Lopatin has mastered his own autobiography; an ornate musical double entendre from an artist making the most enlightened music of his career.

Double LP format includes digital download code.

The end of 2019 was soundtracked by one of the most unanimously critically acclaimed film scores of recent history, an anxiety-driven joyride paired to the Safdie Brothers’ noir thriller ‘Uncut Gems’. Unknowingly, Lopatin captured a universal feeling of dread that cuts even deeper in the current state of world affairs. And now, just as many artists are leaning into a newly discovered darkness as this year closes, Lopatin turns his dial towards a frequency of profound self-awareness on an even deeper journey inwards towards peace.

With the backdrop of re-imagined programming for a soft rock-era format that symbolically spans from morning drive into late night hours, ‘Magic Oneohtrix Point Never’, the name a reference to a misheard play on words of Boston’s Magic 106.7, is a nostalgic and self-referential career defining body of work, collaging maximalist baroque within atmospheric glitter. Here Lopatin has mastered his own autobiography; an ornate musical double entendre from an artist making the most enlightened music of his career.

Double LP format includes digital download code.

Known for his mid-tempo productions, Copenhagen’s RDG explores the 170 / Jungle / DnB realm with his percussively ferocious debut for Weaponry entitled, Maneuver.

MP 4 Teruyuki Kurihara Frozen Dust

»Frozen Dust« is an album unified by the theme of »destruction« and »creation.« Inspired by the power of nature; we’ve expressed how we humans overcome the magnificent phenomena and impacts nature has on us - while it brings us joy, it can sometimes take away our lives and pleasures, We’ve incorporated this rather difficult theme by telling stories of fictional characters in the album; an adventurer in the Arctic region who confronts the threat of nature and survives between life and death, or a widow who never eases the pain of losing her sailor husband by a great storm in the Age of Discovery. »Frozen Dust« is our manifestation of »destruction« and »creation and each sound brings you the essence of it.


Reviews in The Wire, A Closer Listen, MixMag Japan, ResidentAdvisor Japan, African Paper and more

Interview in Data Wave

Second Installment of the Sameheads’ bi-annual vinyl compilation highlighting the Berlin based bar, club, playground, space, collective, cult, - whatever’s musical mavericks. An-i, Franz Scala, Alexander Arpeggio & Marlene Stark, Epsilove & Ohlandy, Anklepants and Umlaut are all featured at the top of their game. A unique-clutch of oddball bangers. Essential!

In pandemic times of telepresences and social distancing, Live At Robert Johnson and Leipzig’s own Riotvan team up for a magical musical mission. Encompassed by the graphic design of Michael Satter & Panthera Krause, each of the five tracks has been created by teams representing both label crews and their environs, rendering a truly synergetic effort. A1 is Roman Flügel & Rebolledo producing deep and wide Star Stuff with arpeggiated bass riffs, haunting vocals and melody. A2 sees Jennifer Touch & Chinaski setting off on an electroid Synth-Pop trip, with crafty 1980s synths, drums and vocals. A3 is New Hook and Perel teaming up for a Cosmic Disco tinged track, featuring unique spanish-english vocals. The flipside kicks off with Fort Romeau & Panthera Krause on B1, heavily into a stereophonic and proper Italo soundscape. Horkheimer & Peter Invasion & Gregor Habicht conclude the EP on B2 with a wicked technoid Breakbeat along a modulating bass line and, yeah, a looney laugh befitting these crazy times.

A joint effort long past due, PITP founders zake and Isaac Helsen team up to bring forth three arrangements that encompass textured ambient washes and drone-laden guitar work titled 'Beliefsystems'.

Brooklyn based artist 51717 (Shadowlust) now returns to the fold with her debut 8 track solo lp, Paranoia Star. LP comes with full color 22x28 poster and download card . TIP!
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Releases on Silent Servant's Jealous God imprint in 2015 and the 6-1-6 cassette on Total Black in 2016 served as formative sonic gateways leading up to this album, as we hear 51717 expand on her cold minimalist sound design.

The music on 'Paranoia Star' is a collection of songs composed during various points and throughout travels between 2013-2018. Thematically, much of it revolves around inherited and lived traumas, taken in, processed, and finally transmuted into sound. Shades of modern computer music minimalism, Concrete experimentalists, and good ol' DIY American smut electronics (ala John Zewizz's 'Women of the SS' project) come to mind through this recording. Haunting vocals float next to jagged synth lines, primative pulses set a tone as the message is carried out to the listener.

Field recordings from domestic and ancestrally charged locales mesh with primitive electronic composition, forming a narrative via repetition, moving stillness, restraint, and tension. 51717 keeps her sonic sources hidden, rather focusing on the transmission and decay of overwhelming thematic elements into minor sonic forms.

Here, her work touches on implicit musical tensions between noise and silence, language and sound, material and transcendence.
Unnerving and spacious, yet disturbingly uncomfortable, 'Paranoia Star' emerges slow, furious, erotic, wet with thousands of years of violence informing the whole.

Musique Pour La Danse is proud to present Coil's unreleased soundtrack for the VHS only, pre-internet, sexual education documentary entitled "The Gay Man's Guide To Safer Sex" released in 1992. Members for this project are John Balance, Peter "Sleazy" Christopherson and Danny Hyde.

The OST, to quote John Balance's interview for Compulsion Online, "is a slightly new agey, progressive house type thing".

Another way to approach it is as a delightful collection of balearic beats, smoking jazz not far removed from Badalamenti's work with David Lynch, somewhat of an ambient house album for your home listening and early morning sunrise dances, Coil style.

Taken from the original masters provided by Danny Hyde, "The Gay Man's Guide To Safer Sex" features a new sexy edit of the main theme. Bonuses "Nasa-Arab" and "Omlagus Garfungiloops" are taken from the 1992 CD only "Stolen And Contaminated Songs", both being original versions of the radically reworked (for the OST) "Nasa-Arab 2" and "Exploding Frogs" in order to balance the whole album and extend the listening pleasure.

You could think of the collection of tracks here as a library record of sorts, and each track inhabits its own universe. Tropical fits various moods and situations, and it could soundtrack any number of activities at home or on a dancefloor - whether real, imaginary, or hallucinated. Strangely enough, it sounds like it could have been constructed from obscure Italian library breaks, when instead every instrument has been played and panned, several times over, across magnetic tape.

The genesis of many of these tracks began when CV Vision moved to Berlin in 2014. His flat had a small chamber where he could fit a drum set, so he treated the walls with foam, and in true DIY style, dived headfirst into recording these tracks. It was the natural next step on an audio adventure that first began when CV Vision picked up the guitar in his teens, and a couple years later started recording with friends in his home town of Bayreuth. Fast forward ten years and here is his debut - a culmination of practising chops and learning instruments, mastering recording techniques and fine-tuning the CV Vision sound.

It’s a sound that condenses elements of acid rock, psych soul, library funk and new wave oddities into a movie soundtrack for your mind. It’s a journey from ‘60s west coast LSD-drenched excursions to ‘80s synth and post-punk mutations. Tropical is a plunge into another time, another music you can simply swim around in and explore.

Side A opens up with Tropical Tune In, which rides in on a clave and a warm wind, blowing a distinctly herbal aroma and recalling exotica dons like Les Baxter and Martin Denny. Following on with the aural equivalent of a sea breeze through your mind, Spaziergang am Meer blows away the cobwebs and conjures some nice library moments like Stringtronics or F eelings . Next, Ba_c_k(Lava) bounces out of a cold wave post-punk melting pot and crashes through the speakers like a blazed Zebedee, with some sweet eastern synths for added flavour, before the rolling bass licks of Der Böse Schamane take us into another dimension, landing somewhere between a psych rock freak out and a Black Ark dub session. Mr Maze channels the arpeggiators of synth outsiders like Mort Garson and Bruce Haack, creating a glorious interlock of robotic electronics and freakbeat vocals. The side comes to a close with the guitars of Der Strand (außer Rand und Band) letting loose like syrupy springs, and setting a languid mood like the bedroom scene in Bedazzled (1967 version). Side B kicks off with Parallel Universum, which comes through like a woozy krautrock workout, all ducking synths with big chord shifts to create an epic deranged beehive of a soundtrack. Im Land der Ameisen evokes the spirit if not the sound of White Rabbit, when logic and proportion have fallen sloppy dead, before waking up and wandering through the side alleys of Marrakech with the West Coast Pop Art Ensemble and the Electric Prunes, as Ritual (No. 4) blares out the speakers of passing tuk tuks. Ein Wasserfall plumbs the deep synth depths, like Raymond Scott in scuba gear, modular rack strapped to his back delivering oxygen as he swims between connector cables and seaweed forests through a watery underworld. Banana King sounds like a lost soundtrack to Donkey Kong or Mario Cart, if the cart radio was tuned into a synth

documentary hosted by James Pants, while Das Kloster am Berg takes the baton from Brenda Ray and her Naffi cohorts, all dubbed-out niceness and post punk swagger. The LP closes out with Tropical Drop Out, a dreamscape rather than a wake up call, coaxing you deeper into the trek across the desert of your mind.

And that’s Tropical in its essence: capsules from another time, snapshots of another sound, messages from another mind - all in the service of inducing the visions in your head.

written by Max Cole

Dialect's Under~Between unfolds with the hopeful energy of seedlings springing forth from soft earth. The longstanding project of Liverpool-based artist Andrew PM Hunt, Dialect's cross-pollination of acoustic and synthetic ensembles with human voice on Under~Between grows into a joyous ecosystem of delicate sound and intimate, unexpected melodies, yielding a strange yet delectable fruit.

third release from the capital city camp. This time its an EP by Popup

Frontmaschine is a french band created by Hérve and Louis. The alchemy of a father/son duo who experience with the ambiance, the sounds and the samples. Front 242 and D.A.F are their main influences. The music offered fluctuates from indus to old school, and from German to English vocals. Dark sounds (sounds of the 80s), rhythmed by rustic sequences, electronic drum sounds and samples such as machines, radio communication or metals. Frontmaschine “Wrong Fate” Ltd. Edition 12″ EP comes presented in a ONE-OFF truly limited edition of 200 copies lacquered pressed on 180 gr. high quality solid RED vinyl. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Kasper Marott will release his debut album ‘Full Circle’ in November on his own Axces Recordings imprint. The album features 11 tracks that explore different genres and moods while remaining within Kasper’s colourful universe.

Full Circle demonstrates Kasper’s ability to play with layers and structure. The tracks are built from complex layered harmonies, looped melodies and different rhythmic textures. Kasper’s intuitive approach to production, in addition to the inspiration he finds in other genres, his local community and society as a whole, has resulted in an album that feels fresh and unique.

“With the tracks on the album, I think I’ve been through a process of pushing my own notions within contrasts, musical themes, genres, and composition. Whether the musical tool is transcendence, catchy melodies, or silly experiments, the goal is to put the listener in a position that allows an enriching and meaningful experience whether it’s good, bad, funny, euphoric, nostalgic, sore, or even something completely different.”

In 2018, Kasper released his breakthrough EP on Modeselektor's Seilscheibenpfeiler label. The euphoric title track ‘Keflavik’ lit up clubs and festivals all year long and was named “one of the biggest club records of the year” by Resident Advisor. One of the album’s tracks, ‘Sol’, will also be released as an extended version on Kasper’s forthcoming EP on Seilscheibenpfeiler.

Limited Edition LP.


High in the tower, where I sit above the loud complaining of the human sea, I know many souls that toss and whirl and pass, but none there are that intrigue me more than the Souls of White Folk.

Of them I am singularly clairvoyant. I see in and through them. I view them from unusual points of vantage. Not as a foreigner do I come, for I am native, not foreign, bone of their thought and flesh of their language. Mine is not the knowledge of the traveler or the colonial composite of dear memories, words and wonder. Nor yet is my knowledge that which servants have of masters, or mass of class, or capitalist of artisan. Rather I see these souls undressed and from the back and side. I see the working of their entrails. I know their thoughts and they know that I know. This knowledge makes them now embarrassed, now furious. They deny my right to live and be and call me misbirth! My word is to them mere bitterness and my soul, pessimism. And yet as they preach and strut and shout and threaten, crouching as they clutch at rags of facts and fancies to hide their nakedness, they go twisting, flying by my tired eyes and I see them ever stripped,—ugly, human.

The discovery of personal whiteness among the world's peoples is a very modern thing,—a nineteenth and twentieth century matter, indeed. The ancient world would have laughed at such a distinction. The Middle Age regarded skin color with mild curiosity; and even up into the eighteenth century we were hammering our national manikins into one, great, Universal Man, with fine frenzy which ignored color and race even more than birth. Today we have changed all that, and the world in a sudden, emotional conversion has discovered that it is white and by that token, wonderful!

This assumption that of all the hues of God whiteness alone is inherently and obviously better than brownness or tan leads to curious acts; even the sweeter souls of the dominant world as they discourse with me on weather, weal, and woe are continually playing above their actual words an obligato of tune and tone, saying:

"My poor, un-white thing! Weep not nor rage. I know, too well, that the curse of God lies heavy on you. Why? That is not for me to say, but be brave! Do your work in your lowly sphere, praying the good Lord that into heaven above, where all is love, you may, one day, be born—white!"

I do not laugh. I am quite straight-faced as I ask soberly:

"But what on earth is whiteness that one should so desire it?" Then always, somehow, some way, silently but clearly, I am given to understand that whiteness is the ownership of the earth forever and ever, Amen!

— W.E.B. Du Bois, Darkwater: Voices from within the Veil (1920)

LONE - ABRAXAS EP IS A THREE TRACK EXCURSION INTO ETHEREAL ACID

Lone reveals the first physical release on his new imprint, Ancient Astronauts, which has been set up to release new material whilst working on his next studio album.

The three track EP, Abraxas, sees the producer carry out his first experiments with 303 acid packaged up in a breakbeat club tool focused sound – an idea which was sparked from hearing friends playing ‘90s drum and bass at slower speeds than usual.

The result is a rip-roaring trio of tracks, with the heavy bass rumbles and searing squelch of Abraxas undoubtedly cementing the title track as the chosen club destroyer. Young Star Cluster follows up with a marriage of the rolling funky drummer break with bursts of 303 acid and Lone’s trademark empyrean breakdowns before How Can You Tell takes us deeper still, with choral pads opening the door to another chapter in the multifaceted producer’s sound.

limited edition 12” Azure Blue vinyl (which includes an art print)

Born in Maracaibo, Venezuela, Alexander Molero is no stranger to the exotic idealism that westerners have towards South America. A move to Barcelona a few years ago gave him new notions of how the Amazon was imagined by the west. The inspiration for this record came from the book by Anton Goering "Vom tropischen Tieflande bis zum ewigen Schnee" and was also influenced by the writings of Victor Segalen and the visions of Werner Herzog in “Fitzcarraldo” and “Aguirre”. The way that these artists explored and romanticised ideas of the unknown were the trigger for the creation of the sounds heard in “Ficciones Del Trópico".

Using a Yamaha CS-60 Synthesizer, Molero creates an enigmatic and utopian voyage inspired by the tropical and exotic desire of European’s first contact with these foreign and unexplored sites. For his first record, he wanted to create soundscapes for the wilderness reminiscent of the European explorers that faced the unknown and beyond of the Amazon forest in the 19th century. Eight pieces, 44 minutes, with titles referencing birds, animals and landscapes that simulate a continuous discovery.

The spirited patterns of the pieces invite you into Molero’s mind and to explore the way his imagination materialises into sound. Developed and recorded during 2017 and 2018, “Ficciones del Trópico” resonates references and soundscapes that Molero has conceptualised over the last decade.

The constant structure and rhythms created a unique – and continuous – sound-aesthetic. Molero’s tropical fiction is like diving into the sea with Jürgen Müller, exploring Alpha Centauri with Tangerine Dream or building new exotica through the lens of Mike Cooper. But this time everything happens in a jungle.

The Moscow’s dancefloor burners are back with the new single “ ANZARE”. Offering again their usual modular sonic artillery and their lovely blend of electro, dark techno and body music with 2 new tracks that are insured/guaranteed floor-fillers. TANZARE Ltd. Edition EP comes presented in a ONE-OFF truly limited edition of 200 copies lacquered pressed on 180 gr. high quality MAGENTA vinyl. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios.

Creating the new, while respecting the old, the “More Times EP” features heavy house (More Times), twitchy house (Fever Dream), dubby house (Take Me to The Dark) and breakbeat house with due respect to LTJ Bukem (Dresses). That's a lot of house for your money. Music for clubs and places that would like to be clubs. Watch out for Octo Octa on the back of the brilliant cover. More Times? Good Times!

- Only 75 copies available outside of Japan

- Contemporary cutting-edge Ambient music by two of the most promising representatives of today's Japanese sound designers: Okada Takuro and duenn

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This urban sound is made to be "air" to you.

"As ignorable as it is interesting" is how Brian Eno describes Ambient music. Then how should this sound be part of our life in 2020?

After works by Oh Shu & BIOMAN, Jim O'Rourke, Ana Da Silva & Phew, Tokyo based Newhere Music is now proud to present this concept album by Okada Takuro + duenn: "Urban Planning" .

duenn has been working with labels from all over the world including Entr'acte (Belgium) and Past Inside The Present (US). His experimental unit 3RENSA with Merzbow and Nyantora has performed with legendary sound designer Matsuo Ohno (Astro Boy) and artist Shohei Tsuda. In recent years, duenn's work can be heard at galleries and exhibitions, including a recent collaboration with Shiho Yoshida.

After Moriwaikiteiru disbanded, Okada Takuro started his solo projects with his debut album "Nostalgia". Apart from songwriting, Okada is also active as a producer and in film score.

The Urban Planning album project started from a sparkle in a discussion between Okada and duenn, with "sound of the city" as a keyword. What should be ambient music in our life, in the present time?

Respect of Ambient musicians and contemporary artists since the 80s, such as Yukio Fujimoto and Hiroshi Yoshimura to name a few, can be recognized in this album. However, the two artists are not trying to recreate the past masterpieces and instead, they are taking the cities of the 2020s as their raw material of inspiration. The tracks are concise and comprehensive, and the album has a precise concept with primitive melodies by duenn. duenn and Okada have clearly divided roles during the making, with duenn for the first time on melodies, and Okada on editing and producing. It is also interesting that duenn chose to use GarageBand, a tool accessible to all, for his first melody-making. For the listeners, the touch of simplicity may well remind them of the lullabies in their childhood.

The artists have spent two years on this creation. Imagine the commuter trains, the cars, your room, your local park for a walk. This is the sound of the city, blent into every moment in urban life.

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credits:

duenn : Electronics + iPhone

Okada Takuro : Electronics + iMac

PADOK : Mastering

Peter Zinovieff (b. 1933) founded the revolutionary Electronic Music Studios in 1969, and devoted much of his earlier life to the art of sound. The studio developed many synthesisers including the famed VCS3, AKS and the Synthi100, and financed the world's first computer controlled electronic music studio in Putney, London. It is difficult to overstate the effect that Zinovieff's work has had on contemporary music.

South Pacific Migration Party is his first solo LP since 1974. The piece is an extended computer work, derived from hydrophone recordings of blue whales recorded by British oceanographer Susannah Buchan off the coast of Chile and originally proposed and then curated by Andrew Spyrou. Unlike the more familiar humpback whale, the blue whale song consists of repeated low-frequency vibrations followed by a contrasted high-frequency chirrup. A single complete call from the largest creatures ever to have existed on earth has been manipulated to create an immersive soundscape. The composition is in five broad movements, and highlights the complex communication systems and ever-changing habitat of the blue whale.

As its premiere, a preliminary quadraphonic mix of the piece was played in Athens, Greece as part of documenta14 in June 2017, followed by a presentation of the piece during the UN Oceans Conference, at The Explorers Club, New York City. Subsequently, a full b-format rendering of the piece was commissioned by TBA21, and presented at the TBA21-Augarten ambisonic sound space in Vienna, during the exhibition Tidalectics. An 8-track reduction, designed for two separate quadraphonic systems, was presented at the Hamburger Bahnhof Museum, Berlin in October 2017. The 28-ambisonic-track version, reduced to stereo, is released here for the first time.

140g vinyl, with printed inner sleeve featuring texts by Peter Zinovieff, curator Stefanie Hessler, oceanographer Susannah Buchan and label head Andrew Spyrou. Only 200 copies worldwide.

The collaborative debut of American minimal techno pioneer Troy Pierce and Colombian audiovisual artist Natalia Escobar aka Poison Arrow was conceived in reverse: first they created a collection of shadowy surrealist videos, then wrote music inspired by them. This inverted process proved remarkably fruitful. Shatter is a simmering, slow-burn noir odyssey inspired by the Greek myth of Echo and Narcissus, traversing subtle shades of sleepwalker dub, metallic lament, broken beats, and erotic negative space. It's an effectively unsettling evocation of the legend's core theme: "There is nothing more complex than a shattered heart, or a heart that can't love." Considering their shared background trafficking in darkened dance floor modes, what's most striking about Pierce with Arrow's partnership is its rhythmic restraint. The album's 10 tracks seethe and shudder between glamor and gloom, with only occasional dread-steeped metronomes mapping the malaise to a grid. They speak of pursuing a "spatial approach" with this project, which manifests in the music's immersive design and patient execution, each mangled clang and rippling pool of bass allowed to reverberate its full flickering waveform. Guest appearances by austere techno producer Konrad Black ("Obsidian Glass") and drum n bass institution dBridge ("It's A Love Story, After All") flow seamlessly into the whole, subtle sculptural accents on a dimly lit descent through purgatories of longing and lust. But the shadows recede for the record's closing cut, "Narcissus," which swells elegiacally in a mass of devotional drones over a muted heartbeat, like Narcissus gazing upon his reflection in holy awe: elusive true beauty, finally beheld, by itself.

After releasing on Hot Haus records and Pitch Down, Rumore returns home to Discomaths with a collection of tropical beats and healing atmospheres. Cuts that are as deep and thought out, as they are danceable.

Alternate takes and versions from Ryan James Ford's upcoming album on Clone Dub. Handstamped orange vinyl. Once it's gone, it's gone...

After having been heavily played by the likes of Ricardo Villalobos, Zip, Nicolas Lutz , Fumiya Tanaka and Margaret Dygas, the first and only Protectorate record (released exclusively on vinyl in the spring of 2009) quickly became a sought-after rarity.

10 years after, the Analogue Cops has decided to reactivate the collective’s output with four new tracks enclosing minimalistic afterparty fervor, contemporary Berlinesque electro, post-capitalist breakbeats, and luxury tech-house.

Cutting edge cuts crafted with a balanced ensemble of vintage and up-to-date machines, with an unfathomable attention to solidity and detail.

""Dad! Look, we can see the moon through the window."

Record made on Earth. All children, young and old, you will hear my heart here without a stethoscope. This record is "home-made with a window open to the world". Inspired by my family and friends, these music tracks are dedicated to them!" The Architect

The Architect takes us on a trip through the world and styles: Hip Hop, Jazz, Electro, Soul, Funk... A true vinyl lover and real digger, turntables have always been his favorite playground. Hyperactive beatmaker, he is also engaged with different side projects such as L’Entourloop and Bloc.

The success of his first EP "Foundations" released in 2013, including several hits such as "Les Pensées" (8M views) or "Dreader Than Dread (ft. Skarra Mucci & L'Entourloop)" (15M views), led him to do more 200 shows around the world and accumulate more than 35M of streams on the platforms.

Seven years later, The Architect finally returns with a new single "Darling", the first single from his long-awaited new album entitled “Une plage sur la lune” to be released on June 12th, 2020. A "home-made album with a window open to the world" as he describes it himself.

50 years since their first LP “Brian Jones presents the Pipes of Pan at Joujouka” was released, The Master Musicians of Joujouka are releasing a stunning double LP recorded live at Centre Georges Pompidou, Paris in 2016.

The recordings are a full immersion into the Joujouka sound with disc one featuring hypnotic flutes and drum and a side of songs with mountain violin played by virtuoso Ahmed Talha with lead vocals by the late Abdeslam Boukhzar. Disc two features the truly hypnotic rhiat suite of Boujeloud, recorded in its entirety for the very first time

White Vinyl

Two rising Russian names forge a Samurai flavoured alliance with 4 tracks of audio savagery. From the hefty impact of Ortum Ossa with its searing percussive roll, the combined stylistic signatures bounce off the constant kick drum pillars that propel each rhythm. A capsule collection of tribal half time club tools honed for maximum might.

Further skirmishes at the Tosche Station from Planet Mu label boss Mike Paradinas, whose first Tusken Raiders EP on Clear Records 25 years ago brought an infinitely more-dusty-than-digital vibe, delivering a rugged, electro-infused uptake of the type of battered machine funk produced and enjoyed by Tatooine's indigenous, Bantha-riding tribespeople.

Hailing from the latter part of Mike's 'Lunatic Harness' sessions in 1998, these 8 previously unreleased, largely-breakbeat tracks deliver a salvo of scuffed sonic rinse outs and mutant house jams from a figure who has done so much to bring about and support experimental electronica, breakcore and footwork scenes over the past three decades.

Art by SODA, with graff handstyle by Ben Drury and REQ TDK. Compiled by The Fissure Family.

Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies.

Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv- later in Leningrad & now St. Petersburg, from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 - 1983, her repertoire included music for violin and later expanded to contemporary music composition.

The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop- Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one
in flux by way of earnest curiosity.

Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the 3 movements of ‘Metamorphoses’ embodying this textural approach to musique concrete.

The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’.
The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros.

The juxtaposition of written notation and improvisatory flare is central to Goncharova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations
with new age tropes (inc. bell chimes and cavernous vocal mantras).

Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom
away from any academic strictures.

Relocating to Estonia in 1984, and in parallel to the deeply personal music of ‘Recordings Vol. 1’, Valentina performed at jazz festivals and gave classical concerts across Eastern Europe. In a sense, the recordings on these discs offer only a glimpse into her lifelong body of work. Over the past few decades she has taught at Tallinn Music College, expanded and updated post- Soviet popular music repertoire, collaborated with the Russian Philharmonic Society of Estonia and given concerts and charity events alongside the Catholic Church.

Hers is a life dedicated to the exploration of sound, a career forged through careful study and ceaseless intrigue. In a time where technological interconnectedness has allowed for music of the pas
to be continually mined and evaluated through new lenses, Shukai present an artist whose tendency for private home-taping had allowed recordings to go unheard for thirty years.

320 is the first release of a series of various artists which has deliberately put together Dead Husband, WLDV, Mynationshit and Cold Colors. In fact, just like in future compilations, this will always be a substantial premise for the label considering that these artists will always be esteemed and sometimes part of the Waste Editions family.

House music compilation from Leipzig vinyl pressing plant
R.A.N.D. Muzik featuring Rudolf C, Salomo, Tim
Schlockermann and Carmel.

VEYL is pleased to welcome Harlem to the label for a new seven track album titled ‘Bait’. The Stockholm-based duo of Martin Thomasson and Johan Skugge bring a vast history of production behind them, operating since the early aughts and known for their work in dub and minimal techno. ‚Bait’ ventures into new territory for the project, delivering infectious strains of body music, new beat, industrial and beyond coupled with soul-stirring vocals which quickly dig beneath the skin. The release is about everyday manipulation, soft power and persuasion. We exist in a world in which corporate management techniques are deployed in our everyday lives, nudging each other for short-term gain, slowly hallowing out any lasting trust while ultimately all being crushed by a hyper-capitalist system. From the opening synths of the title track to the ominous ending notes of ‘Night Vision’, we also uncover funky grooves and diabolical floor shakers which remind us of something from the past but exist perfectly in this corrupted new world. As is customary, the striking cover art was photographed by Tomaso Lisca, and it’s a fitting piece for the record, depicting a tantalizing well-oiled machine, all while something menacing lurks under the hood.

We are happy to welcome JAJA to our label by presenting 'Parts Unknown' - our first release to be available on vinyl. Teasing percussion cycles, a growling bass and occult choirs delicately intertwine to a powerful composition, stimulating the listeners imagination.

Finnish band Behind The Trees releases their self titled debut ep.
Curiosity towards world music, shamanistic approach to rhythms and cosmic levels in life made it happen.
There are five different kind of tracks in the ep.
The intro track "Haiku" is a mood setter for the whole journey. Inspired by the mid eastern mystical soundscapes.
Second track "Bonefire" follows the path, painting a picture of desert campfire, where travellers psychedelic guitar will trip you out as your body follows the rhythm.
Third track "Acid Yerli" is the climax on the ep. Turkish disco and acid house combined, you don ́t have to be scientist to figure out the forecast.

On the flip side "X4" is a different kind of expedition.
Hear the waves hitting the rocks and balearic breese corressing your cheek bones. Track "X4" is a kind of balearic homage to eighties AOR, seasoned with chanting soft voice of Finnish singer Suva.
Last track "Gentle" relaxes your mind and body. The piece has a grounding vibe, with healing resonances that will restore your energy.

Dare to see Behind the Trees, the obscure adventure of life.

Sub/Version is the sister label to Praxis dedicated to hard and dark drum’n’bass, epic breakcore and bass exploration. Sub/Version was mainly active on the vinyl front between 1997 and 2009 with a range of releases by founders Pure and Fringeli as well as Amboss, Crisis Theory, DJ Hidden, DJ Scud, Hecate/Etaceh, Kovert, and Vile Enginez, and also included remixes by Panacea and Fennesz.

2010 and 2011 saw a digital series of 10 one-track releases with smashing works by Amboss, Christoph Fringeli, Egon Frinz, Grr, Kovert, Noize Creator, Somatic Responses and Vile Enginez (all still available via bandcamp).

In the following years the Sub/Version project was put on the back burner, but it’s not over: With Sub/Version 012 we take a look at the beginnings of the label, re-releasing the first two installments of the series: Dark Star, which appeared as a one-sided 12” in 1997 and (the A-side of) Anti-Christ, which appeared the following year. The original B-Side of Anti-Christ, A.C., is available as a bonus download track.

Both tracks were written and produced by Christoph Fringeli and Peter Votava, aka DJ Pure, in Vienna at Pure’s studio. They represent a turning point in the mutation of hardcore and breakcore clashing with the then emerging techstep sound and contain various references effectively creating something like industrial drum’n’bass, while going beyond either genre’s limitations.

With the limited vinyl release of Sub/Version 012 we present them in 2021 as key examples of an incredibly rough and intense sound in all its unpolished glory!

Not a lockdown record here: With 'Comité Hypnotisé' Tim Vanhamel (Millionaire, Evil Superstars...) tumbles into a subsonic wormhole were smoked out dub glues with boogie funk and off-kilter early hip hop vibes. Transcending frequencies from an unknown galaxy channeled through a broken 70's echo deck.
Shortly after Evil Superstars played a one-off concert for 'An Evening With Laika' in the Ancienne Belgique in 2013 Tim started to create the music which was the entering point of 'Dubs Pour Oh La La' and Comité Hypnotisé.
Calibrated over the years and ready to be released now.
A dancing delirium of mind and soul. A fata morgana of a brain-melting future.
Hearing is believing.

It's Jooice, it's DMC, it's super good !

'Ianua' is the stage name of Filippo Midali, a 360 degrees electronic musician that sweeps primarily from techno, electro, breaks, jungle to Chicago footwork with a stable contamination from HipHop culture and scratch, the art of vinyl manipulation.

The self-titled album, his debut album, fully represents this, moving from track to track between various musical genres. The name 'Ianua', 'door' in Latin, comes from the idea of the multiverse and inter-dimensional doors; this is depicted on the cover, on which the front represents the door distorted by the journey through space and time and the back, together with the titles, the sketches and formulas of the presumed door- building scientist.

Jazzanova released their 3rd album “The Pool” on Sonar Kollektiv in 2018. It evolved from various loose jam sessions, mixing up synthesised sounds, samples and real instrumentation. Many singers where involved incl. Edward Vanzet from Australia, who was also asked to provide lyrics. Which he did creating the song “I’m Still Here” giving the tune a Yacht-rock west coast feeling. I always felt the song was one of the strongest of the whole album so I asked some peeps to do remixes for my label Best’s Friends. German A-List remixer Larse gives the whole thing a pop feeling with an Italo-disco touch in his both versions. While Winnie & Somow from Berlin go for a more organic approach looking for that sun-rise House tune on a beach-rave or wherever. I think this remix package has something for every one in it -

Full printed sleeve with illustration artwork. Limited run of 100 vinyl copies only.

Having collaborated with Umwelt on the earlier Mothership compilation (an allied Midnight Shift x Voitax production), the German producer is now handed the reins for full creative curation over the course of six tracks with features from close pals NGLY and Cressida.

Awash with a palate of dark and broken sounds yet with touches of warmth and humor, 'Soothing Songs For A Cultured Affair', burrows deep into the mind of the Voitax label boss. Lending from a rich musical upbringing, we witness the evolution of breakbeat and electro as seen through the eyes and ears of a producer at one with his machines.

Much-anticipated second full-length album from 2018.

On The Ultimate Climax William Maybelline takes the hints of his previous Cupio Dissolvi EP to a fully extended sulphurous formula.

Eight tracks where traditional goth standards get updated to new, bizarre heights.
The opener Black Crown is a brooding industrial, almost power electronics assault. Above Thee Below Thee is a powered-up disco nightmare with Black Metal-like vocals, drenched in factory steam and urban filth. Take Me Higher has some sort of electro-funk bassline to it. The closing track is a 155 bpm epitaph reminiscent of Czech doomcore pioneers Fifth Era.
The past is gone, the future is corrupted. The is no time but the present to brutally unload this Existential Nihilism thus let The Ultimate Climax unfold.

New edition of 300 on Gold vinyl. Comes with a new printed inner sleeve with lyrics.

Black Truffle is pleased to announce the first-ever vinyl reissue of Remko Scha’s Guitar Mural 1 featuring The Machines, originally published as a rare cassette edition by Taal Beeld Geluid in 1982. A computational linguist by profession, Scha played an important role in the development of sound, installation, and digital art in the Netherlands from the late 1970s onward, co-founding the performance and exhibition space Het Appolohuis in Eindhoven in 1980. Alongside Paul Panhuysen and Jan Van Riet, Scha was a founding member of the radical improvisation group The Maciunas Ensemble, though he is best known for his work with mechanised electric guitars, documented on the legendary 1982 LP Machine Guitars.

Guitar Mural 1 documents an installation of Scha’s mechanical guitar ensemble The Machines held at a Groningen gallery space in 1982. Five electric guitars hang from the wall, their strings sounded by rotating rubber strings and a sabre saw controlled by a mechanical apparatus, as well as four ropes criss-crossing the five instruments on the wall. Once the mechanism was set up, Scha’s only intervention was to vary the speed at which it operated. Where Machine Guitars presents short excerpts clearly distinguished by rhythmic and timbral variation, here we are confronted with four enormous side-long slabs of percussive string attack and the resulting clouds of harmonics. Variation is minimal across the duration of each side, making for a sculptural listening experience, as if we are patiently examining each facet of a static object. But significant variety exists between the four sides, each of which shows off a different facet of what The Machines were capable of. The first two excerpts feature open strings sounded at rapid tempos, dissolving the percussive attack into a continuous stream of sound reminiscent of Charlemagne Palestine’s ‘strumming’ technique. On the third side, the strings are partly muted and the tempo slightly lowered, resulting in layers of relentlessly chugging rhythm somewhere between an ensemble of hand drums and an early Velvet Underground bootleg. On the fourth side, havoc breaks loose in percussive waves of asynchronous repetition that bring Scha’s sound world close to that of another pioneer experiment in musical mechanisation, the Solar Music of Joe Jones.

Presented as a limited edition 2LP set in a deluxe gatefold sleeve accompanied by stunning visual documentation of the original installation, remastered audio and new liner notes from Alan Licht and Van Lagestein, Guitar Mural 1 is an exhilarating document occupying a unique space between kinetic sculpture, hardcore minimalism and rock & roll.

Limited to 150 copies.

Amsterdam-based duo Shamis & Rebiere invite you to let go of daily stresses with the four-on-the-floor groover Rock It For Ya. The beats and soulful instrumentations are enriched with the vocals by Shamis, who also adds to the theme of the track in his lyrics. “Let me rock it ’til the lights go out and the sun will rise again” reminds us of a time we possibly all long for. Reminded of something Kaytranada-esque drum programming, the harmonies and chords really keep you engaged with the track.

Shake It Off takes on a modern soul approach to the theme of the EP. With a slower pace than the A-side, it’s equally as infectious to make you move. The duo’s dynamic is most clear in the way certain synth licks and horn melodies blend together with Shamis’ soothing vocals. Lush chords and laid back drums provide a care-free feeling, perfectly underlining the concept of the EP.

The EP comes with a remix of each track and both are very much in line with the theme. FOUK add a house touch to Rock It For Ya with a heavy bass line, capturing (or reminiscing) a club night feeling. B.Bravo adds his signature modern funk sound to Shake It Off, making it even more irresistible to maintain your body still. It’s evident that both understood how to translate the theme of the EP to their remixes.

Moving into 2021 Pure Space is excited to deliver another year of Australian electronic music. Lately we’ve found therapy through regular body movement to help us see that better days are ahead. We hope you feel this too with this new release…

For our first release of the year, Melbourne’s Third Space captures his most club-focussed exploration to date. It offers a broad path which melts genres, instead showing us an alternate domain.

Having started his own label ‘Nice Setting’ in 2020 and self-releasing an album and an EP, Third Space has established his sound of complex undulating rhythms. For his release on Pure Space, ‘Pattern of Spring’ continues this exploration of dramatic structures with continually shifting timbres - morphing them as they progress through energies, rumbles, and struck surfaces.

The two A-side tracks are powerful displays of organic instrumentation with fluttering pads and subtle resonations. An upbeat tempo and abright atmosphere underpins the opening side, anchored by dnb leaning programming and off-kilter polymetric rhythms.

‘170 Shitshow’ showcases complex percussion underwritten by a formidable resonating karplus-strong section throughout the track. Whilst ‘Pulsing Delay Mod’ builds upon this notion of polymetric rhythms continually at play with one another, it offers a crisp and menacing drum pattern pulsating amongst metallic timbres.

Flipping to the B-sides; ‘Cyclical Pan Workout’ reflects an unruly and evolving atmosphere, anchored by a wonderfully cerebral drum pattern and delicate pad toward the close.

The final track ‘Nonlinear (For Pillows)’ offers re-contextualised melodies and percussion, providing a sense of closure and sonic bookending by linking tones and timbres referenced throughout the EP into a pillow like state.

Orange Vinyl

PAV4N - ALL ON BLACK EP invites some serious talent to reinterpret his fire so far:

’98 style Drum & Bass from Fixate on ALL ON BLACK
Indian Classical from the don of textures, Kromestar
Epic strings and heavy Dubwise stepping collide on Hebbe’s rework of STASIS
Nascent Hip Hop stars Yung Raj and Nate08 take on the track that started it all, KARMA

PAV4N is a founding member of Foreign Beggars. Name checked at the Grammys, playing every major festival there is and hitting the UK Top Ten charts, PAV4N has been responsible for introducing wave after wave of underground music onto the world. After the highly influential multi-genre group parted ways at the end of 2019, he blasted back into view with his prolific solo project, which he describes as “A living art piece - the reality of forging a unique path in music, art and the life of a perpetual foreigner”

PAV4N is due to unveil his theatrical, highly produced live show in the UK this June/July after two years of intense development.

6 melodious pieces applauded by audiences across the country! This music embodies the nonsense of life during crucial times humanity is undergoing. We believe that digestion plays an highly important role in the well being of earthlings and balance; the immortality of sound within the cosmos of abnormal ideas and thoughts. This album says more than can be mentioned, we have no doubt that this record will do its duty in fulfilling its purpose in your mind While recording these songs, we light-hearted artists were able to combine our digested voices with the exact sentiments depicted in humankind’s pivotal moments of loneliness. We hereby create a soothing inner feeling in our listeners. This album says more than can be mentioned, we have no doubt that this record will do its duty in fulfilling its purpose in your mind. Vital Sales Points: 350 copies only- Follow up to the labels previous exotic waves of Scribble & Sjunne Ferger,

Yellow Vinyl

The first release of the limited series of Tensal Recs is dedicated to acid, breaks and industrial music. "A lesson in Funk" is a sound variety exercise signed by Tensal vs Komatssu.

After appearing on the label's Time Is Now Allstars compilation, Bristol's own Wilfy D makes his second appearance with Shall Not Fade, adding to their new Time Is Now White label series. The young garage star serves up the smooth and soulful two-step he is known for, plus two killer remixes from Time Is Now family DJ Crisps and Soul Mass Transit System.

"Garage Tools" opens out the EP with staccato sampling and a rumbling sub bass wobble dominating the track, the most headsy on the record while "All About U (3am Mix)" takes on a gentler vibe. Using luscious vocal chops and glimmering synths, Wilfy D creates a kind of garage love song, delicate and soothing. He kicks things up a notch on "Know U Like It", a slice of speed garage that grooves along to an earworm melody.

On the B-side Wilfy D's original "Midnight Shift", a clean classic noughties garage sound palette, is reimagined twice by DJ Crisps and then Soul Mass Transit System. DJ Crisps gives the track a drum and bass edge replete with teeth-gritting sub bass power; Soul Mass close out the record with a dirty up-tempo remix perfect for a soundsystem.

>WO captures the esteemed duo’s 2018 performance at Sydney Opera House. The concert saw the pair performing new improvised work and key collaborative compositions from their joint catalogue, which has now reached five albums, one major film score and an EP.

Last year the duo undertook a series of live events entitled ‘TWO’ at Berlin’s Funkhaus, Barcelona’s Theatre Grec (closing Sonar Festival’s 25th Anniversary), London’s Barbican Centre and Melbourne’s Hammer Hall, before culminating at Sydney Opera House, where their two hour set was recorded and edited down, forming this album.

“’TWO’’s pulsing, immersive live performance melded electronic and analogue instrumentation with striking visuals to create one of the most precise, beautiful and challengingly magnetic pieces we have ever had the privilege of staging. That Sakamoto and Noto are pleased enough with the recorded result to share its continuously unfolding, sinuous, questioning music with others is as singular an honour as it was for Sydney Opera House to host them." Ben Marshall - Head of Contemporary Music, Sydney Opera House.

Sharing a deep simpatico synergy, Alva Noto’s abstract electronic formalism contrasts and compliments Sakamoto’s exquisitely elegant piano finesse, which incorporates an individualistic take on classical, contemporary, minimalism and even a touch of jazz.
At points melodic, atmospheric, gently rhythmic, textural and spatial, audio headspaces range from intimate and serene womb-like flotation, infinite fathoms of dark metaphysical expanse and moments of devastatingly poignant beauty.

The sparing, subtle use of parts populating the mix belies a deceptively effective whole, which indicates two masters’ skill and confidence in being able to say something profound with an intentionally restricted sonic vocabulary.
At all times the album maintains a calm poise, and despite its improvised nature withholds an innate harmony and graceful order. Like two aural architects free-drawing, this is sound design for better living.

Following up from 2019’s Livity Sound release ‘Goulbap/Momoweb/Disposition’, which seemed to catapult Bakongo into a different scenery and introduce Wayne to old friends and long time support of his older tribal material along the way as well as surprising those who had no idea both monikers were the same person.

Slotting into a scene of Tribal sonics and a Techno atmosphere it almost seems as a new genre if we pigeon holed ourselves into specific categories as if it was 2010 again, but digging into Roska/ Bakongo’s early material, tracks like Roska’s remix of Four Tet’s Love Cry and Untold - Just For You, you can hear early examples of sounds that were explored and tested as early as 2009. Mixing the two sounds of Roska’s heavily stripped back style and Bakongo’s tribal and percussive madness enhances and uplifts what a generation have been complimenting the last 10 years.

Moving forward to this release ‘Bopster / Anytime’ you see exactly where Bakongo is going and the direction where his sound is suited.

Navigation, the debut LP from Blackwater, and latest release from Ethbo, the mother label to Japan Blues. Cooked up across continents, finished in London, mixed and mastered for vinyl by Pole in Berlin.

Navigation follows the duo’s sold-out self released debut EP Istanbul/Woodstock - now preserved on the Lo Recordings compilation “Spaciousness” - this time weaving loose instrumental threads into cohesive songs. Available on limited edition LP, housed in a dashing silk-screened sleeve.

…

Displacement of sounds from city to country and back again. Jetlagged dub rolling beneath, tempered breath hovering above. Songs stitched back and forth across the meridians. Electronic, organic, unrefined.

A tangle of sights, sounds and smells, anchored by space in an undefined time. Tracks cleaved from a pre-digital world, analogue reverb rubbing over sunken melodies. Chimes colliding, stories half-told, drawing you deeper into the murky depths of Blackwater.

Subterranean pagan dub, sailing the murk, recalling aspects of Hannett and Wire, maybe even Massive Attack without the pomp. Whispering not from secrecy, but baring a glimpse of their soul, exposed to the vagaries of the outside world.

The degraded rusty hulk of a ghost ship, a creaking mass, a family tree of weltschmerz tailing back to early blues, an emotional sound lifting the spirit from the pain of mere existence. Emerging from our caves as we are, a strange dawn rises on an unknown future. But that’s life, isn’t it?

News: Nach Dem Im Februar 2019 Erschienenen Album "im Tiefenrausch" Prasentieren Fred Und Luna In Direktem Anschluss Den Zweiten Streich Ihrer Elektrokraut/krautelektro-serie Auf Compost Records, Die Ep "im Tanzrausch" Mit Vier, Wie Der Name Verrät, Hypnotisierenden Und Betörenden Tracks Fur Den Dancefloor. Die Bereits Auf Früheren Veröffentlichungen Auf Optimo Music, Innervisions, Bigamo Und Zuletzt Auch Auf "im Tiefenrausch" (compost Records) Zu Spürende Vorliebe Für Repetitive, Tanzbare Musik Entfaltet Sich Auf "im Tanzrausch" Zur Vollen Blute Ohne Dass Auf Die Gewohnten Ohrwurmhaften Melodien Und Klangflächen Verzichtet Wird.

Quotes About The im Tiefenrausch' Album:
(...) A Riveting Ride Through The Sonic Machinations Of Buchmüller's Vivid Mind.' - The Vinyl Factory
(...) A Steady Groove Overlaid With Cool Blue Chords, Easygoing Vocals And A Funky Sense Of Melody.' - Resident Advisor (andrew Ryce About nichtmusikalische Stadt Unter Schritten')
really Like This Album A Lot!' - Laurent Garnier
super Excited This Is Coming Out.' - Jd Twitch/optimo Music

Knapp vier Jahre liegt Lorenzo Sennis gefeierte "Persona EP" (Warp) inzwischen zurück, seither hat der Mailänder Künstler weiter an
seiner einzigartigen "Rave Voyeurismus"-Perspektive gefeilt, die Dance-Szene aus einer Außenseiterperspektive wie durch einen
Spion betrachtet und diese Eindrücke weitergedacht.

Melodien, Motive und Anflüge von Trance, Rave, Pop, ja selbst
aus der Klassik tauchen in digitalisierter Form auf, reduziert und nur noch als binäre Schnappschüsse erkennbar.

Das Cover-Artwork zeigt eine pittoreske kalifornische Sonnenuntergangsszenerie des US-Fotografen John Divola, aufgenommen durch einen kaputten Fensterrahmen. Es spiegelt die Herangehensweise von Senni wider, der in seinen Kompositionen keineswegs die existierenden Formen von Dance Music zerstört, aber sie vandalisiert und verwüstet, sie zerschlägt und dann mit den Bruchstücken Schach spielt, so neue Spannungen aufbaut, die letztlich doch wieder in Auflösung münden. "Scacco Matto" ist das Schachmatt. Der Punkt, an dem Arbeit, Strategie und kreative Taktik kulminieren.

May 28 will see prolific Japanese vibraphonist, multi-percussionist and composer Masayoshi Fujita mark a new sonic direction with his forthcoming album Bird Ambience on Erased Tapes.

Bird Ambience brings several fresh changes for the artist. Until now, Fujita would separate his acoustic solo recordings from the electronic dub under his El Fog alias and experimental improvisations with contemporaries such as Jan Jelinek, Bird Ambience sees him unite all of these different sides to his work for the first time, into one singular vision. He also makes a lateral leap from his signature instrument the vibraphone, on which he created his acclaimed triptych Stories (2012), Apologues (2015) and Book of Life (2018), to the marimba, which takes centre stage on his new album alongside drums, percussion, synths, effectors and tape recorder.

“The way of playing the marimba is similar to the vibraphone, so it was kind of a natural development for me and easier to start with, yet it sounds very different”, explains Masayoshi. “The marimba bars are made with wood and it has a wider range than the vibraphone, which gives me a bigger sound palette with more possibilities. I play the instrument with bows and mallets, and sometimes manipulate it with effects.”

Bird Ambience also marks his liberation from fastidious preparation for past solo releases to new endeavours in improvisation. “I prioritised trying to capture the wonder which happens during those occasional magic improv moments. Sometimes the mic-ing and placement of instruments was pretty rough; things weren’t perfect and everything was done quickly, but it turned out as the final recording. Overall when I
couldn’t decide between two takes, I told myself to go with the first”, Masayoshi recalls.

Arranged with a perfect Kanso-like balance, the unhurried pace of Bird Ambience allows each sound and phrase enough time to be mindfully absorbed and savoured. This subtle but affective work carries ethereal remnants of Midori Takada’s minimalism, the static atmospheres of Mika Vainio, To Rococo Rot’s organics and the bucolic electronics of Minotaur Shock. Fujita vaporises contemporary and classical, ambient and dismantled dub, controlled noise and fragments of jazz into an atmospheric, static mist, which he skilfully coerces into new forms.

After 13 years in Berlin, Masayoshi recently relocated to a new home and studio in the rural Japanese mountain village of Kami-cho, Hyogo, following his life-long dream of creating music in nature. Even though the album was entirely recorded in Germany before he left, it has this palpable sense of reverie found in the natural world. From there we can only imagine the kind of impact his new life in rural West Japan will have on future works.

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