Beats Novedades

2024 Repress

KMRU is the moniker of Joseph Kamaru, a sound artist, and producer based in Nairobi. One of the leading exponents of the burgeoning experimental music scene in Nairobi and beyond he was listed by Resident Advisor as one of '15 East African Artists You Need To Hear' in 2018 and is a regular performer at the fabled Nyegenyege Festival having also presented live performances at CTM festival and Gamma Festival. Peel is KMRU's first release for Editions Mego. exquisite mix of field recordings and electronics unravelling at a repetitive and leisurely pace to expose a rich tapestry of sound that has been revered for it's ability to cross bordear with the sheer undertow of emotional content. The subtle calming atmosphere within Peel belies the compositional prowess as layers of delicate sounds wrap around each other creating a hybrid new form ambient musics both captivating through it's textural depth and kaleidoscopic patterns. The track titles lend themselves to the themes and mood set within: Why are you here, Well, Solace, Klang, Insubstantial and the title track. This is a deep heartfelt journey with a new strong voice being expressed through the means of organically presented electronic ambient sounds, one which reveals further layers on repeat listens.

Signals is an absolutely beautiful new collaborative effort between the much beloved Finnish electronic artist Lau Nau, and the brilliant Swedish composer and pianist Matti Bye. These 8 gently melancholic and deeply sensitive tracks are a perfect antidote to the stressful times that we all find ourselves in. Let these soothing sounds from the light filled days and nights of the far north soften your cares during these all too dark days. As usual at the Time Released Sound label no effort or expense was spared here, and this lovely record comes with 180gm black vinyl in a super heavyweight, beautifully printed reverse board jacket.

Main Phase returns to Warehouse Rave with a four tracker 12" that shows the Copenhagen native take on both 2-step, grime and breaks. The release, Cool Down EP, sees the rising garagehead Main Phase explore the murky and dark areas of 2-step with direct nods to the grime scene generals as well as early rave sounds and euphoric breaks.

In the two years since the release of his critically acclaimed album “Love Songs: Part Two”, Romare—real name Archie Fairhurst—has spent his time almost solely on the road. Playing over 150 shows across the world, including stops at Berghain/Panorama Bar, Primavera Sound, All Points East, Dimensions, III Points, Printworks and The Warehouse Project. He joined both Bonobo and Nightmares On Wax on their US tours, playing iconic venues like Terminal 5 and Output in New York and Smart Bar...

Tape / Cassette
A peculiar recollection of a haunting hallucinatory experience, narrated through spectral harmonies. In what is best described as “horror musique concrète”, Polish multidisciplinary artist and musician Samutek (Mateusz Woś) has composed a 47-minute album that emits a distinctive, hypnotic aura — intricately developed and mastered over the years.

Ingrained with echoes of gongs, chimes, crickets, drones and a plethora of haunted sounds recorded and found, “Omamy” (Polish for “Hallucinations”) is the soundtrack of a phantasmagoric spiral, summoning an unceasing terror usually conjured in cinematic works like Ari Aster’s Midsommar and The Blair Witch Project.

A recent Masters graduate with a thesis on the paranormal, centering around 19th century spirit photography, UFO photography and thoughtography, Samutek continues this expressive exchange through sound. With a towering 31 albums under his belt, “Omamy”, his first official album release on a label, is his most distinguished and fully-formed piece of work to date. Each track serves as distinct chapters in a haunting nine-part anecdote.

The trek begins with an unnamed character engulfed in a metaphysical battle as depicted in “Samospalenie” (Polish for Spontaneous Human Combustion), paralysed with an inability to distinguish reality from an unearthly torment.
The title track and first single “Omamy” sets the pace for the rest of the album, as the character eventually reaches the gateway to a tunnel, its walls pulsating with death and desolation. “Pożeracz” (Polish for Devourer), a composition scattered with deformed growls and ceremonial bells, seals their fate. The album ends with a meditative closer, “Krąg” (Polish for Ring) as the character succumbs to this inscrutable creature, with predator and prey transmogrifying into one.

“Omamy” is an invitation to Samutek’s peculiar world of horror storytelling, a result of his personal explorations of the supernatural.
Be prepared for a strange and discomforting experience that will leave you spellbound.

Pump up the feeling is that true thing, a night out where you lose all grip on the middle world, where you let loose and let go. Entering the club, crossing a threshold into the unknown.That slap in the face, the overwhelming mass of people, sweat and funky vibrations that seem to permeate everything, a disorientating wobble that sends you spinning. You can stand at the peripheries or you can throw yourself at the mercy of the speakers. Your head splits open for a moment and eventually comes back together, the thoughts re-arranged into a new you, one not concerned for typical social norms, you and everyone else submitting to that insipid groove, the DJ watching for that perfect time to strike. A lull, a moment of silence, respite from the relentless otherworldly massacre of your primordial senses. You can hear the breathing, the murmurs the rapture, then as quick as it stops it starts again and your drawn into the fray, the melee the momentary telepathic melding of consciousness through shared sound. Together under a groove, lost in music.

As a producer you allways get inspired by a diverse range of musical genres and other producers. This ¦rst episode of “Twerk Life Balance” is initiated by the producer duo “Twerking Class Heroes” and it features three other artists (Meister Lampe, DJ Marcelle - Another nice mess and Candie Hank) with quite diverse production techniques. On the A side we have two Hip Hop oriented electronic bangers from the Twerking Class Heroes and Meister Lampe. Both tracks are inspired by either traditional arabic music or belly dance music. The B Side opens with a deep downbeat and electro song from the Twerking Class Heroes and gets followed by a kucek oriented acid game track from Candie Hank. The ¦nal track is a super distorted Club Banger made for a DJ Set like one of DJ Marcelle and produced by herself.

The Texan-native, multi-instrumentalist and producer - Joe Corrales Jr – AKA Yppah has long been considered a top-tier artist by the industry and fans alike, owing to his releases on the iconic and respected independent labels Ninja Tune and Counter Records. His work has been used in high profile TV syncs such as ‘CSI’ and ‘House’ as well as video games such as ‘Alone In The Dark’.

Performing throughout the 1980s as Art Carnage to the gloomy hipsters of Portland, Attilio Panissidi III decided he needed a vacation. The result of his creative escape became Art Takes A Holiday, an album of fabricated FM synthscapes and MIDI environments that embrace elements of smooth jazz, new age, and pop.

Attilio had been playing in bands since he was thirteen, and had opened live shows for countless acts, from The Shangri-Las to Bruce Hornsby. The experience of producing, performing, as well as years spent writing for local music magazine The Downtowner, earned Attilio a gig to score a commercial film for a home security systems company. The opportunity allowed him to explore softer elements in his writing, and he created a suite of songs much deeper than the commission warranted. These instrumentals caught the attention of Marlon McClain (Gap Band, Shock), who invited Attilio to produce and release the music on his fledgling Nu-Vision label. Thus Art Takes A Holiday found its commercial release on cassette and CD in 1989. Although originally intended as soundtrack music, the album retains its own momentum, narrative and evocative imagery that betrays Attilio's years of crafting songs. Attilio found a perfect ambience on this mythic retreat, somewhere between William Aura's summer cottage on Half Moon Bay and DJ Alfredo's Balearic island getaway.

Italian electro-acoustic composers Giuseppe Ielasi and Nicola Ratti reconvene their unique Bellows collaborative project for a new album on Shelter Press.

Continuously drawing an hypnotic maze with albums on Boomkat Editions, Entr'acte, and Ielasi's cult Senufo label, Bellows offers their rst album on Shelter Press with Strand.

Clocking right under 40 minutes, Strand is direct and desorienting. With eight tactile but distant untitled tracks, the album convokes a complex sound palette between acousmatic sound and fractal beats.

Recorded in Milano at their very own Standard recording studio, Strand marks a shift in Bellows previous recording process, bringing more music gear on the table: tapes, modular synthesizers, effects and samples. Captured live over the course of a four days improvised session, the album oats between ghostly melodies, musique concre`te, and analog electronics.

Echoing with the artwork by Amsterdam- based artist Louis Reith, whose collages made of found black and white images are disrupted by bold geometric constructions, the album is disorienting and fascinating, seating right in between the challenging world of electro-acoustic and a more welcoming beat-oriented territory.

Strand is a fascinating body of work, growing over time and revealing more of its complexity at every listen.

Mastered by Giuseppe Ielasi and cut at D+M, with artwork by Louis Reith.

Adoration is the restrained yet ravishing début album by Mélissa Gagné a.k.a. CECILIA, a Rome-based Montreal artist who previously lit up two songs on Rabit's Les Fleurs Du Mal album, released an EP for Yves Tumor's label and now makes a commanding and significant impression with one of 2018's most haunting LPs, a filigree dramaturgy of trip hop, ersatz film score music and ambient collage.
CECILIA wrote and produced Adoration, singing in English, French and Italian with accompaniment by mutual spirits such as her friend Jasmine Pisapia and the poet activist Griséldis Réal, who help to render a stark yet subtly gilded cross-section of her psyche, which places the listener as dark interpreter to a series of tumultuous inner dialogues. 'One is summoned to whisper truth, beauty, tragedy to demon ears.'
Incubated for 18 months between Montreal, Toronto and New York, Adoration reads like intimately diaristic pages recalling an amorphous lucid dream. In that phantasmagoric headspace she meditates on loss and romanticism, using a shifting backdrop of highly visual stimuli to frame her thoughts and bring them to life with an uncannily immersive effect perhaps not felt so strongly since Félicia Atkinson's Hand In Hand album last year.
Electronic bass and percussion are shadowed with traces of synth and guitar improvisations, but the one consistent element is the female voice. Sometime detached, glossolalic, and at others uncannily familiar, plaintive, that vocal presence is integral to the LP's quietly absorbing atmosphere, and even if the listener can't understand their direct meaning, they connote so much
more through abstracted inference and ambiguity.
Following her early forays made with the Charity Whore EP for Yves Tumor's Grooming label, and previous work as DJ/producer Babi Audi, along with her hybrid stage works, CECILIA ties all those strands into an illusive yet highly distinguished work set to resonate with listeners from myriad backgrounds and disciplines.

For the 5th and final volume in the DUPPLATES series, the label welcomes back the Canadian heavyweight ColtCuts. Back in 2019 he made his debut through DUPLOC026 with the outstanding cuts "The Vihaan" and "The Phantom".

Considering DUPLOC claimed that release to be possibly their best one, a follow-up was destined to happen. On the A-side ColtCuts is coming through with two unique original 140 productions, while on the flip side he delivers two wild VIP masterpieces. Especially "The Vihaan VIP" has been in heavy rotation, receiving support from top tier dubstep DJs worldwide. The “DUPPLATES Vol. 5” is a more than appropriate record to shut down the DUPLOCv series.


Dj Support
TRUTH, J:Kenzo, Sicaria Sound, ENiGMA Dubz, Hebbe, Ternion Sound, BunZer0, Khiva +more

Roy Ritsma AKA Drummotive is a Dutch DJ and producer. Like Next Phase Records he is mostly known for championing Drum and Bass but much like the label he is not afraid to stray away from the beaten track and explore other areas of breakbeat driven music.

The Coral EP' is a unique fusion drawing in uence from styles that were early inspirations to the producer. Elements of jazz, 90's electronica and 70's soul can be heard on the EP enriched by Roy's trade- mark sound of ethereal atmospheres, crisp breaks and sublime bass rhythms. Each track delicately constructed to create a feeling of enchantment and wonder.

Mystical horns, captivating vocals and entrancing Rhodes compliment the rich drum work that delivers a truly mesmerising soundscape.

The EP features four tracks (three mid tempo and one drum and bass) and will be available on both digital and vinyl formats.

The vinyl release is limited to 300 copies worldwide and is supplied in a full artwork sleeve designed by label owner R. Peperkamp. Pressed by Record Indus- try the twelve inch was mastered by Macc at Subvert Central and cut by Beau at Ten Eight Seven maintai- ning the high standards Next Phase sets itself.

Two years in the works, ‘Baroque’ follows from the D&B-styled flux of Ena’s early 2019 collaboration with Felix K (F&E #1) to sound out more unorthodox areas of inquiry of abtruse, Chain Reaction-like sound design and algorithmic decomposition. In terms of the music’s boneless construction and roiling spectral nature, it surely ranks among Different Circles’ headiest and most psychedelic releases following the dread kinematics of Logos’ ‘Imperial Flood’ album and the cult acclaim given to their killer Raime and Szare 12”s in the past year.
Variously recalling the sound of stressed-out machinery or the sferic mystery of The Conet Project, ‘Baroque’ sees Ena transition further from recognisable styles into a richly enigmatic tonal and texturhythmic language. Over the album’s six tracks he uses this futurist-primitive mode to express a detached, meditative state-of-mind that speaks to paradoxical ideals of club music and domestic listening: of being simultaneously in it, yet out of it; of finding yourself lost in the crowd of noise.
It’s a sound that resonates with the short-circuiting AI convulsions of Logos, Mumdance and Shapednoise’s EP for The Death of Rave as much as the hypnagogic mulch of Thought Broadcast or the most abstruse Chain Reaction releases - think a rusted and sunken Dynamo or Porter Ricks in radioactive waters - and comes primed in artwork by Raime that perfectly highlights the music’s strange, semi-organic nature and austere yet psychoactive allure.

"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."

Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

Single-sided 12" with etched B-side.

Adriana Lopez and Klara Lewis takes the reins on 2nd of five remix 12”s for vintage gear by Pär Grindvik, boss of Stockholm Ltd and half of the Aasthma duo with Peder Mannerfelt.

Barcelona’s Lopez reworks ‘Front Row’ from 2017’s ‘The Game’ 12” with a brooding, hulking, monotone techno churn, leaving Klara Lewis to render ‘London Marble’ from 2017’s ‘Aged’ EP as a vast cloud of gaseous ambient harmonics that crystallise into a beautiful frost of icy ambient noise.

Sone Urbia is a collection of improvisations recorded live during the period of 2011-15.


A grainy meditative voyage into layers of field recordings, old sampled records, synthesizers, acoustic and non acoustic instruments.
This album works as a mixtape separated in two sides, two journeys; two soundscapes.

** The 12" vinyl edition comes mixed (with track separation)

REPRESSED !!

REPRESSED !!

Pop subversives Beth Roberts and Andrew Hargreaves (The Boats, Tape Loop Orchestra) pose their 2nd album as The Mistys with 'Pregnant Mannequin', following some five years on from their debut album 'Redemption Forest'. It basically sounds like an incredible, saccharine shoegaze/dreampop album recorded to a salvaged D90 tape that's about to disintegrate, warbling in and out of time.Referencing a wealth of pop archetypes via their uniquely claggy, recombinant filter to render a new vision for subversive pop music, Beth Roberts' sugary vocals are smudged and buried deeper in the mix, processed with fizzing textures that only add an extra poignancy and a sense of struggle to the classic pathos of her voice. In key, Andrew Hargreaves lends some of his most sharpened, devastating hooks, bringing their project closer to a polysemous conception of ambient-EBM-pop.
The formative experience and naivety of 2013's 'Redemption Forest' album has given way to a newfound complexity over the five year interim. It's there in the sense of gauzy ambiguity that
oozes through the record's synth, drum machine and vocal construction, with results that speak to a mix of uncertainty and determination, asking and answering ideas of imposter syndrome that can sometime undermine the urge to self-expression.
The diaphanous scale of 'Bite Marks' welcomes us into their distant, yet familiar world, where the tape worn cadence of Beth's vocals leave indelible marks on the mind in 'Womb', and 'Velvet Water' leads us down a pinched ginnel of darkwave pop, to arrive in the stately air of 'Heat Death'. At their most forceful, they're still a pair of tender souls, though, as in the push and pull of tempered rage and romance in 'Cut by Degrees', while 'Celluloid Skin' sees them offer a warm, fuzzy embrace of
shoegaze-pop akin to The Cocteau Twins heard underwater, and the dark blue swells of 'Blades and Boardwalks' and 'Metabolisms' reveals their natural affinity to what was once called Witch House, and can now be heard as a modern form of cold wave or gothic synth-pop - styles that take their pleasure from a feeling of negative ecstasy, an effective inversion of 'poptimism'.

ZEIT007 by Thee J Johanz features some real nice variety.

The latest transmission from Francis Harris' exquisite Scissor And Thread imprint showcases the many talents of Tokyo's Tomi Chair aka Tominori Hosoya. The DJ and producer goes by both names, and here presents five tracks of lush, emotional music veering between ambient excursions and dance floor heaters. The original version of title track 'Tropical Imagination' opens the EP, and is a deep and thoughtful dance floor number. Elegant chords set the tone while the percussion adds a silky funkiness that's impossible to ignore. The 'Dream Version' strips the track down to its pads and atmospheres. Next up is Tomi Chair's 'Heat Exhaustion' - an exceptionally beautiful beatless piece that drifts through droney pads and occasional fragments of minor key melody. Using the Tominori Hosoya moniker, side B begins with 'We Are Here' - another powerfully restrained piece that merges woody percussion with low key pads and field recordings to create a magical whole. Francis Harris adds his touch to 'Heat Exhaustion' with his respectful Reform version, adding skittering percussion and underpinning the piece with a leftfield ambient house edge that builds and builds. Another essential addition to the Scissor And Thread catalog

The sound sources in Klein's work are rooted in personal relationships. Klein worked for a New York church's audio ministry; she mixed the choir, recorded the sermons and services, and later, knowing who was shouting, put parts of them in her MPC. Klein interviewed intellectuals in person to extract deep house messages from the conversations. Klein brought a close friend's hypnotizing Detroit deep house beat to the patio of a Senegalese Sabar ensemble to ask if they wanted to respond to it. Having learned the piano and jazz theory in her youth, Klein composes all the keys on her records. If a sound feels right, let's go with it, is her position. Excellence of technique isn't crucial for selecting sounds. Klein was tempted to study jazz though she ended up studying art. Her sound is a reaction to living in a world in which words are said to be powerful when they are far from adequate to describe many relations. She was shaped by spiritual jazz, mostly from the 70s, polyrhythmic environments, and the Detroit sound at the turn of the millennium. On a scholarship in Detroit in 2005, she was welcomed by Aaron-Carl (R.I.P.) in his studio and witnessed studio setups used as tools for survival. Back in Germany, Klein missed hearing those forms of house on dance floors, so she started spinning as a kind of transatlantic communicator. Community centers were turned into one night clubs quite a lot under the Bring Your Ass name of Klein's celebration series, which brought the ambassadors of Detroit house in person. That's how she gives thanks for the hospitality she has received in Detroit since 2005. One guest told her all Saturdays should be like that. Klein is an unofficial pupil of David Mancuso's craft. We'll take care of the details - come as you are. Coming from Frankfurt, an early influence on her sound was her fellow student Frank Metzger, the former vocalist of Oval. After moving to Cologne in 1998, she was part of the record distribution Groove Attack for a couple of years. Stecken night club was the place for her regular DJ appearances. A-Musik is her adopted music family in her hometown Cologne. When Klein is spinning records, she is used to going from Don Cherry to Detroit's experimental house to Tama Walo to ESG to Jaco Pastorius to Wendy & Lisa to Aby Ngana Diop to a Salsoul Acappella layered on a rough bassline to Jaki Liebezeit to Justus Khncke to Hypnotic Brass Ensemble to Yusef Lateef to whatever she wants to say - she is definitely not holding back. Celebrating the openness of sound is what the new record and collaboration with Florent Kandety and Georgia Anne Muldrow does for sure. Like standing in a sound corridor between two or more clubs. Kandety gave a Senegalese sound expressing astonishment as well as his falsetto to Klein's Zoom recorder and a personal chant through a long-distance internet phone call. The US American Muldrow tests the range of our perception with her interpretation of empathy. Klein composes keys, plays and arranges organ, bass and drums to cherish the vocals sung for her.

For the third chapter of Refined Productions Aleksandra Grünholz aka We Will Fail delivers her third full length album entitled Dancing on her recently launched label with Jakub Mikolajczyk, head of MonotypeRec label and MonotypePressings. Here she tells the story:

'Taking a break from rationality, my first thoughts about the theme of this album were about the night, when our sight is limited and thoughts are corrupted by fatigue. I don't dance anymore, I don't party, I don't let myself go. Some time ago that part of life slipped away from me. This album is like silently entering into a place you shouldn't be in. A lot of rave inspired sounds were used on the album, dreamy pads, arpeggios, simple melodic structures; but this album is not easy and simple.

As head of a graphic design studio in Warsaw, last year was very hard for me, the amount of work started to overwhelm me; I started to feel stupid and possessed by the work, this is how the tracks 'Very Urgent' and 'Economic Maladies' were born. While the track 'Reason' is about losing rationality and how easy it is to do.

'Put Your Hands Up in the Air' encompasses the rave. It's also a kind of question, can music itself tell a story Very often in EDM or trance music there is a story and I like to call it catharsis. A moment, when the beat slows down and melody/pads become solo. I tried to extract this moment, without adding drops and aggressive rhythms.

'So Who's the Man' is about regaining the power, slowly but consequently. This album is a about feeling bold, monstrous and strong. Like looking insolently into someones eyes. You have to be patient with this one, because it builds up slowly. If you listen only for a fragment you miss the whole idea.

'Beasts from the East' was inspired by the thought of being a small peace loving person in a chaotic world that is dominated by stupidity.

The track '2018' epitomises the rave, but more complicated. Each of the layers are a but simplistic and could construct a dance track, but as there are so many sounds simultaneously, it can become disturbing in the perfect way.

'Diving in Plastic' was fit for the last track, I didn't want the album to have a perfect conclusion, I wanted to leave the listener hanging and ready for more.'

Parasole's music fits the bill for cutting-edge electronic music. Infrared Vision is a display of his love for polyrhythmic drum patterns, post-club sketches, twisted dance floor gems and classy, big room-ready tunes.
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Few words of the artist:

''When I started to conceptualize my album I had a few end goals'', explains Parasole. ''I wanted to string my own style through Infrared Vision, so it would be familiar to the people who like my music. In tandem, I strived to produce a fresh voice sonically and experimented with a few new production techniques. I also grabbed ideas outside of techno and house, because I didn't want to be influenced by anything new. I was listening to a lot of jazz, hip-hop, Nine Inch Nails and Prince for example.''

Parasole took his time to write, produce and record Infrared Vision, dividing the process into three steps. ''First I wrote the album in words, pinning down ideas and track concepts on a notepad. Subsequently I transferred my ideas to my gear. Due to a heavy tour schedule I sometimes brought gear with me on the road, to continue my sketch process on the hardware. I then recorded it at home and at Phil Moffa's studio in New York. When the music was fully finished the album morphed to its final version. Phil Moffa laid down the final mixdown at Butcha Sound Studios, while Marco Spaventi handled the mastering.''

Moxie's On Loop imprint presents the debut EP from Avon Blume, 'Slowly Diving'. A mature three tracker sure to please club goers on the dance floor, and home listeners alike. All three tracks boast undeniable groove & musicality, with solid production to match.

June 2018, Amsterdam, Nl: 12 Months Ago We Concluded A Series Of Experiments With A Test Subject Named Ben Penn. A Year On, We Decided To Repeat This Experiment At His Tilburg Base. Once Again, The Results Were Starting.
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After Being Provided With A Sizeable Dose Of An Enhanced And Notably Stronger Derivative Of 4-ho Met (codenamed St011), Penn Not Only Reported Intense Hallucinations But Also Enhanced Music Production Capabilities. With The Aid Of Electronic Instruments And Hardware, He Worked Quickly, Producing Both His Trademark higher Level Inter-dimensional Funk' And Compositions That Defied Our Previous Expectations.

During The Early Stages Of His St011 Experience, Penn Completely Ignored The Provided Rhythm Composer And Instead Crafted A Colourful, Humid, Jazzy And Beat-free Track Entitled nix', Which Boasted Loose And Fluid Synthesizer Motifs. As His Hallucinatory Experience Intensified, Penn Giddily Tapped Out Tropical Rhythms On The Provided Beat-making Device, Smothering Them In Alien Electronics And Sticky Melodies. When We Asked What This Devilishly Good Cut Was Called, He Simply Replied: not Important'.

As The Test Went On And The Most Intense Symptoms Died Down, Penn Was Much Like His Old Self. Before The St011 Wore Off Completely, He Was Able To Finish Two Examples Of His Trademark inter-dimensional Funk': The Skewed, Introspective, Bassline-driven Wooziness Of ben' And The Mazy, Kaleidoscopic Goodness Of people'. The Latter Composition Was Particularly Potent And Ear Pleasing, Suggesting That His St011 Experience Had Finished On An Intense High.

Príncipe’s reign of fire continues with the shockingly heavy return of the Blacksea Não Maya trio after the label’s banner year of shellings from Nídia, DJ Nigga Fox, and DJ Firmeza.
In step with the more polished production advances of their label mates, Lisbon’s DJ Kolt, DJ Noronha, and DJ Perigoso - aka Blacksea Não Maya - arrive 5 years on from their previous showing with a remarkably darker, muscular take on mutated Angolan dance music. Fiercely technoid and blessed with a newfound sense of late night drama, the sound of ‘Máquina de Vénus’ is exactly how we imagine this sound in 2020; reflecting the march of the machines and cosmic events beyond anyone’s control in their slickly mechanised rhythms and infectiously brooding atmospheres.
Like the leaps and bounds in production values and intricate arrangements found on the DJ Nigga Fox and Nídia albums over the past year, Blacksea Não Maya keep pace in their own way,
working to ruggedly squashed variations of Tarraxho and Batida styles that come to recall the developments of the UK’s hardcore continuum during the ‘90s into the late ‘00s. But where that scene arguably ran out of energy a long time ago, Blacksea Não Maya boldly charge it into an uncertain future.
Kicking off with the beastly detonations and hulking slow techno of ‘Terror’, they swing hard off-the-bone in ‘Obscure’, and weave in hard trap and reggaeton nods on ’Tchiling District’ to set the tone on the A-side, before the lustrous cyber-noir licks and choral pads of ‘Horizonte’ open the B-side to the slow, dive-bombing synths and the industrial-tarraxho swag of ‘Bubadagash’, a bubbling technoid stepper named ‘Africanalidade’, and for terrific measure, the positive rave upswing of ‘Estranhos e Loucos’ with its speed garage-style vocal chops and head high jackers pressure.
Breathtaking, thrilling, outrageously strong gear for body music fiends and dance connoisseurs

With His Concept Ep grey Specters Of Dead Communication' Breaklab Aims To Explore The Atmospheres Of Computing Systems.
Focussing On The Processes Underneath The Surface Of Our Electrified And Digitalized Mechanical Age.

For our sixth release Parallax Recordings is back with the repress of Fine Feline´s unbelievably rare '9 Lives EP’, which first came out on Cool Grooves in 1994 under the catalogue number COOL 001. Fine Feline went on to produce under the moniker Cool Breeze on labels like Labello Blanco, 24 Karat, Urban Guerilla, Inception, 2 Tuff, Based On Bass and Audio Maze, before he changed his name a second time to Deep Roots / Deep Rooted, under which he had releases on No U-Turn and Moving Shadow. But before all that, these were his very first productions, which found their way to vinyl on his own short-lived label. Today it´s nearly impossible to get hold of a copy of this release, even for dedicated collectors - if you check Discogs there sits a lonely copy for 250 pounds and yes, it has sold for this price several times in the past and only 55 people have it in their collection.

When we contacted Deep Roots he only had one copy himself but liked the idea of making this available again to the true oldskool connoisseurs as well as a new generation of jungle fans. Unfortunately, the masters were long lost and so this was professionally restored from a clean vinyl copy by Vienna’s Skunk Association, a deeply knowledgeable jungle enthusiast in his own right. As all samples were lost too, we had to figure out which ones were used in the creation of these tunes, with a massive assist along the way from some of the scene’s wisest beard strokers - big ups, you know who you are!

So! Parallax is therefore very proud to present to you the much anticipated re-release of the original ‘9 Lives EP’ on a double-pack with a second vinyl featuring fresh new takes from modern jungle heroes Kid Lib and Ricky Force, as well as Deep Roots himself. Kid Lib was over the moon to get his hands on an official remix and chose his fave 'Just For U' , while Ricky Force flipped the distinctive rare grooves of 'Weekend' into something that is uniquely his own. Deep Roots himself got his hands on his Junior Reid-sampling 'One Blood' and brought it bang up to date. We are very proud of the whole package and are happy to finally lift the secret - as this was a long time in the making - and bring you the '9 Lives EP’, properly (re-) mastered by Beau Thomas at Ten Eight Seven Mastering and pressed by Optimal Records in Germany.

Gnashing hardcore spirit meets razor-sharp sound design in a keen collab between Svbkvlt MVP Gooooose and chiptune survivor DJ Scotch Egg, with searing remixes by Slikback and Seven Orbits & TSVI
The debut collaboration between the Japanese and Chinese mentalists, ‘JAC’ was forged in the wake of Nyege Nyege Tapes’ 2019 festival, where Shigeru Ishihara aka Scotch Egg’s playful sense of drama proved an ideal match for Gooooose’s precision-tuned, bespoke software in the studio.
As mainstay of ‘00s electronica, with recent credits in Seefeel and WaqWaq Kingdom, Ishihara appears to lend a sort of cryptic sci-fi story-telling to the exacting, super-crisp contours and pointillist percussion of Gooooose across six surprisingly emotive works that provide a rocket fuel for the remixers, spurring Slikback to run riot while hard drum guys TSVI & Seven Orbits double down on their already excellent work for Svbkvlt.
Bringing Gooooose’s work arguably closer to the devilishness of peer 33EMYBW, title tune ‘JAC’ tweaks a fine line of breakcore, juke and neo-Far Eastern hyperstep that admirably updates what we know of Scotch Egg, while ‘Dengrouse’ cuts a super minimal figure recalling Untold’s vacuumpacked Eski tekkers, and ‘Rolex’ forms a wickedly chewy, turbulent tribute to Uganda’s favourite
street food alongside a lush, choral footwork pinnacle of their efforts in ‘Altered Destiny’.
Cemented with Swordman Kitala’s hoarse holler on the dancehall trample of ‘Goose Egg Dub’, plus the face-pulling G-force of Slikback’s rabid take on ‘JAC’ and Seven Orbits & TSVI’s glorious ambient hard drum remix of ‘Altered Destiny’, it’s all a proper doozy for the dancefloor dreamers and anyone looking beyond the usual rave hotspots for real, upfront thrills.

The full-length debut of Lisa Lerkenfeldt’s sanguine ambient drift marks the Aussie artist’s most significant release, slotting neatly into the roster of Félicia Atkinson & Bartolomé Sanson’s Shelter Press, and somewhere between Gas, Beatriz Ferreyra and Ben Bondy on your shelf.

Effectively her first album, proper, ‘Collagen’ introduces Lerkenfeldt’s sound like a wild meadow somewhere between the fields of modern classical, ambient, and musique concrète. Aspiring to “elevate the everyday”, her music feels naturally, gently ripe with variegated in/organic textures and slow, hypnotic melody that stealthily
attunes listeners to her wavelength in a manner that she’s roughly finessed on previous tapes and digital releases with native label Longform Editions and Vienna Press and Canada’s Aught Void.
As the tracks unfold, Lerkenfeldt’s washed out strings and blanched electronics waver the weather vane between sombre and melancholy with a real windswept, isolationist feel that perhaps suggest best results when immersed by yourself, not as a communal experience. More like a solo hike with headphones or sheltering in front of a shifting landscape, the album plays thru Gas-like string pads gilded with elusive vocoder vox of ‘In Her Hair’ before dematerialising into elemental abstraction for 9 minutes of ‘Collagen’, whereas ‘Gates of Desire’ prove a tidier knack for arranging classically puckered ambient-pop keys, and the B-side expresses more liminal, hypnagogic states in the creaking gloom of ‘The Weight of History’. It all shares
the same, rare air and sensitively perhaps errs best to the side of melancholy than anything overbearingly glum.

2nd outing from Jonny Nash & Suzanne Kraft in their MATstudio series. These records are intended to catalogue some of the experiments, explorations, accidents and fortuitous events that regularly take place at their Amsterdam studio. Each record features two compositions created from a collage of works.

The weighty and heavily brooding debut album from Simon Shreeve’s Mønic project finally lands on Downwards following releases for Osiris and Tresor and those killer remixes from Burial and Regis. Grey, expansive and low-lit industrial landscapes are the order of the day here, a huge recommendation if you’re into anything from Joy Division to Pan Sonic, Tropic of Cancer to GAS or the rain-soaked zones stalked by Burial and The Bug’s Flame duo, Logos and Karim Maas.
Arriving at a time when we’ve long reached saturation point with user-friendly environmental/lifestyle Ambient, ‘In a Certain Light’ offers an anxious counterpoint for late night immersion carefully framed with a cinematic attention to detail in lighting, texture and space worthy of The Cure’s ‘Faith’, the defining aesthetic of the Blackest Ever Black label and Karl O’Connor’s own industrial frameworks.
The almost impossibly depressed opening vignette ‘From Sun to Sun’ ushers us into a morose, brutalist landscape that descends into the slow motion thud of “Where Can I Find You Now?” sounding like a lost Tropic of Cancer instrumental, while ‘Field Work’ recalls Vainio / Väisänen / Vega’s incredible ‘Endless’ collaboration and ‘Solar Enemy’ deploys tense strings and clipped subs to sharp and deadly effect, like Alva Noto taped on old, worn-out VHS.
It’s the more nuanced cuts that stand out most though; ‘Reversed Language’ could almost be an Elodie recording made in the middle of nowhere, outside, in the thick of night, while the title track unfurls from a dense GAS-like thicket into an unsettling Lynchian nightscape on a moonless night, with faint neon lights flickering somewhere far in the distance.

Olaf Blanch debuts on Modern Obscure Music with the Borealis EP, which also features a remix by Suzanne Kraft. The Barcelona based producer presents four original tracks that explore different Balearic soundscapes, from the exciting adventure of Nur Yawa to the deep ambience of Birds. For reference points, think Mark Barrott’s Islands project or some of the great Ambient records of the 1990s. This isn’t all. Suzanne Kraft turns Nur Yawa on its head, creating a catchy and very danceable Nu Beat styled remix

Time 2 time u find ur gaze wandering out of the windows of ur local transportation system 2 the stars beyond....

Young gun and badman producer Retina returns to Foundation Audio for his debut vinyl release and quite frankly it slaps!!!!

‘Dusted’ kicks things off with a hyper 4x4 beat and an eratic bassline – this one comes flying straight out of the gates! ‘Nameless and Nothing’ a meaner, beast with its eerie atmospheres and plodding bassline takes the A2 spot. Flip the record and we have ‘No Fear I’ a subby monster best described by the word SUB. ‘If Not The Orb’ closes proceedings with a 07-08 old skool antisocial kinda vibe wrapping up the ep perfectly. Dubstep goodness from front to back and solid proof that Americans can also do the dubstep.

"Sirimande/Feed My Meatmachine" kommt mit zwei CD-only Albumtunes plus zwei brandneuen Bonus Tracks. War "Feromonikon/Signal" der Appetitanreger, so ist die neue 12" das Dessert, trickreicher & fordernder als der Vorgänger.

Yellow Vinyl

NNT’s Hakuna Kulala drop dancehall fire voiced by Kampala’s Swordman Kitala and Sekelembele on a pair of bouncing bombs produced by Scotch Rolex and DJ Die Soon.

Ruinous rave tackle on both sides of this plate, dialling up the energy of ‘90s Kingston and Brixton to equatorial boiling point with rowdy and industrial scale riddims supplied by two Japanese producers.
DJ Scotch Egg renames himself after Uganda’s favourite street food with a hardcore mix of dancehall and frenchtek strapped to rasping, barked vox by Swordman Kitala, while DJ Die Soon follows a turn for Rabih Beaini’s Morphine with a jabbing steppers beat for producer/MC Sekelembele, debuting on record like a turnt Elephant Man with ‘Moto Nyama’.

Black Truffle is pleased to announce Ashioto, the first international solo release from Japanese drummer-percussionist-composer Tatsuhisa Yamamoto. Active for over a decade, Yamamoto has performed and recorded extensively with artists such as Jim O’Rourke, Eiko Ishibashi and Akira Sakata, as well as participating in innumerable improvised and ad hoc groups.

Ashioto presents two wide-ranging pieces that combine Yamamoto’s percussion work with piano, field recordings, electronics, and contributions from guest musicians Daisuke Fujiwara and Eiko Ishibashi.

Beginning with a passage of chiming metal percussion, the first side slowly builds into a rolling, open groove reminiscent of Yamamoto’s work on Eiko Ishibashi’s acclaimed Drag City LP The Dreams My Bones Dream. Spacious piano and synth notes, along with Ishibashi’s spare melodic figures on processed flute, hover above this propulsive rhythmic foundation, the whole effect adding up to a more abstract take on the area explored on Rainer Brüninghaus’s ECM classic Freigeweht. The LP’s second side opens up a cavernous space filled with ominous electronics and shimmering metallic percussion, which organically transitions into a passage of rumbling piano chords and mysterious concrète sound. Later in the piece, Daisuke Fujiawara’s saxophone enters, playing melancholic melodic fragments that are looped and layered, creating a seasick swaying effect familiar to listeners of James Tenney’s works with tape delay systems. Beginning as delicate bass drum pulses, Yamamoto’s accompanying percussion eventually builds the piece into a raging torrent of free-improv splatter, processed sax and fizzing electronics.

Though grounded in instrumental performance, Ashioto is very much a studio construction, making inventive use of electro-acoustic principles in its editing and mixing. Together with its sister Ashiato – a different take on the same ‘script’ released simultaneously on Japanese label Newhere – Ashioto demonstrates to an international audience for the first time the true breadth and ambition of Yamamoto’s work.

Mastered by Jim O’Rourke. Cover photos by Kuniyoshi Taikou. Design by Lasse Marhaug.

The Interpol officers are looking for two crooks responsible of a bank robbery at the beginning of 2019 in Bristol (UK). According to the investigation they go under the aliases of Abele and Caino, they were armed and in motorcycle during the raid in the financial institution. The two outlaws are already known to the authorities as OOBE and Aniello. The suspects are ARMED and DANGEROUS. The advise is to call without hesitation the following number : +4401179149042. The reward for any useful information will be of 999, 99£.

...

The whelming noise swells of Yellow Swans’ final side, or swansong if u allow, resurface on the legendary band’s archive, marking 10 years since the seminal Type release with a timely reminding all of its oceanic might and eternal burn.
As anyone who survived the fecund ‘00s noise scene will attest, Gabriel Saloman and Pete Swanson’s Yellow Swans were among the most vital orchestrators of new horizons for noise.
Using obsolete electronics/guitars/FX pedals and playing countless shows, they epitomised DIY organisation and means, adapting timeless communal folk energy to collapse whole worlds of industrial, free improv, dub, psych, US hXc punk and good aul noise proper into a red-lining, Urgoop of emotional anguish, ecstasy and every feel between during the early to late part of this
century’s first decade.
After dozens upon dozens of underground tapes and records, ’Going Places’ was Yellow Swans final and perhaps for many, definitive release. Between the slowly ravishing blizzard of ‘Foiled’ that greets from the entrance, to possibly the greatest farewell this side of Pan Sonic’s ‘Finale’ in the Himalayan noise range of ‘Going Places’, they take in torrential psych-noise on the 13 minute classic ‘Opt Out’, alongside some of ‘00s noise’s finest moments in the staggering ‘Sovereign’, and the charred amp hymn ‘New Life’, adding up to a viciously beautiful album that still holds the capacity to induce feelings of transcendent familiarity, even if its the first time of listening.
Perversely and brilliantly, Yellow Swans disbanded right at the point when they were tipping into wider recognition, just as the rest of the world was catching up with the noise scene which shattered into myriad strains of kosmische noise, Neo-industrial and power noise and would give us everyone from James Ferraro to 0PN, Wolf Eyes and Prurient. But a decade later Yellow Swans’ ‘Going Places’ remains from this era like a scrawled note left by a lover who has fucked off to somewhere more exciting, and leaves behind a ragged palimpsest of memories, forgotten or suppressed emotions and maybe even an encrypted map of where to find them in the future.

After he featured on Various #2, the Russian artist Yssue is back on KUMP with three, slightly incantational, Industrial/Tribalistic tracks.

In this EP, Dmitry Nekrotkov explores Nature and expresses his vision of the bonds which Mankind shares with It. What's more? Two remixes. Ayaz, an artist from Azerbaidjan and founder of the Yalanci label, delivered a Dub-Techno remix which will turn your brain upside down before chopping it in tiny bits.

The second remix was made by the Duo DJ PG, from Lauzanne (Switzerland). The two pals, both members of the group "La Sacree Deter" revisited the track "Lust" adding a Psyche-dubik touch to it. Perfect for a matinee on your sofa.

"My music is often a reflection of the state in which I am at a certain period of my life, since I grew up from a musical punk scene, this often involves a certain set of means of expression. In essence, I am in an endless struggle to express some quite lively and human emotions through the cold and artificial world of electronic sounds. That is why there is a lot of melody and sometimes even drama in my music, and this is why I'm often got bored with a static music. This EP is called "Naturalist", a terms that defines a person who has devoted his life to the study of nature and its kingdoms. This directly relates to my strong belief that the further society advances, the more people are losing touch with nature, something that is real and to which they all belong."

- Dmitry Nekrotkov.

Zero 7's debut album 'Simple Things' sold over a million copies and was nominated for the Mercury Music Prize and the band as Best Newcomer at the Brit Awards. The album featured singers Sia, Sophie Barker and Mozez. 'When It Falls' followed with the same guest vocalists along with Danish singer Tina Dico. Their third album 'The Garden' was nominated for a Grammy Award with singers Jose Gonzalez and Sia. Two further albums 'Yeah Ghost' and a best of 'Record' completed their time with Atlantic Records. For Record Store Day 2019 they are releasing a 2x track 10' on heavyweight vinyl - It contains a previously unavailable Alternative version of 'Home' feat Tina Dico & a 1st time available on physical format: remix of Somersault by Danger Mouse feat. MF Doom & Sia. Both tracks were originally taken from the bands' 2nd album 'When It Falls'.

Ltd 10-inch, 180 gram heavyweight vinyl - It contains a previously unavailable Alternative version of 'Home' feat Tina Dico & a 1st time available on physical format: remix of Somersault by Danger Mouse feat. MF Doom & Sia. Both tracks were originally taken from the bands' 2nd album 'When It Falls'.

This is Abstrakt Sonance's long awaited album on DDD.

Scrub a Dub kicks off 2020 with their twenty second release, featuring the vinyl debut for one of the most requested dubstep producers of the moment. A L X Z N D R has been making big waves with his melodic bootlegs and textured rhythms, gaining support from the likes of Mala, Sir Hiss and Zha.

The American producer’s Golden Gate EP breathes fresh life into soundsystem music with his original formulations and atmospheric sounds – available now on heavyweight vinyl and digital.

The second release on Raw Basics is a solo single from Basic Rhythm that brings a summery Techno vibe to your turntable.

The A side opens with a bright lush pad lowly panning from left to right, coupled with a bouncy kick drum and light percussive hits, before unleashing a heavyweight bass line designed to rattle your sub stacks and knock the air out of your chest. Cha is a stepper that draws from, and combines Dancehall and Detroit Techno with a deftness that only Basic Rhythm can bring to the dance floor.

The B side is a more subdued affair, invoking clear blue skies and a warm summer breeze. Opening with a lush chord and muted 4/4 kick drum, the layers of tape hiss obfuscate and add a little lo fi fuzziness, while gradually building layers of percussion in that unique Basic Rhythm style, adding hints of sub bass before finally opening up into a straight stepper around the half way mark, with a solid kick drum and warm bass line that compliments the lush airy chords. This is one for the summer!

London based producer Christian Piers has a decade of production experience and a discography that spans house, techno and drum and bass. He is a long-term friend of 17 Steps, and became the second artist to release on the label after label heads Dusky back in 2015. Acclaimed releases on Curle and with Leon Vynehall as Laszlo Dancehall have sustained Christians' reputation as a truly versatile producer.

With ‘Virus’, his debut LP under this alias, Christian puts himself forward an exceptional and compelling voice in UK techno, drawing on his experience in drum and bass and breaks, a sample heavy hip-hop inspired approach to production and a dubbed out, industrial techno aesthetic.

Opener ‘Extrinsic’ lays the foundations, combining cavernous drones and rattling breaks over submerged kicks, conjuring up images of chasmal warehouses, dusty basements and rattling window frames. Elsewhere delay soaked stabs bounce off combative breaks. A dialogue between Christians’ influences ensues that’s as captivating as it is individual.

Christian creates passages of intense energy without breaking a sweat. Cold atmospheres are navigated with an unhurried authority and confidence that prevents them from becoming desolate. Behind the gritty haze and forceful bassweight Christian hides the playful, agile rhythms that have become his signature – percussive sounds stumble and roll in the background, whip like snares slice through the fog.

‘Virus’ is an exhilarating ride; right up to the final bars of the teasing, anti-climactic dancefloor weapon ‘Resource Depletion’. The infinite rising tones of the closer are a bold and forward looking statement of intent from an artist whose evolution continues to unfold.

Damon Zucconi is a visual artist living and working in Philadelphia. He frequently uses custom software to create his work, and has spent the past decade working as a computer programmer, producing pieces which are typically accessible online. Some of his projects include 'Fata Morgana' a reworking of Google Maps code that hides everything except text elements; a website for the Arca site-specific performance-installation Tormenta; and recent solo exhibitions with Veda in Florence and JTT in New York of physical and digital works. This is Zucconi's debut music release.

Following his debut outing on our most recent compilation, Delay Grounds is back with three bass heavy submissions, each bubbling with effervescent melodies that twist and transform into the imitation of their phonetic namesakes.

On the A-side, Coruscant builds and modulates with glitching rhythms and glittering synths, leading us onto the storming tantrum of Stompy; both tracks demonstrating the innovative intricacy we’ve come to expect from this burgeoning producer.

On the flip, Clatter’s playful yet introspective trajectory completes Delays Grounds’ solo excursion with fellow newcomer, Suze tapping the brakes in their explosive “Heeley Mix” to round off the EP.

Onomatopoeia's inviting digital landscape offers us an uplifting, yet ponderous escape during these times of uncertainty and change.

JJ Funhouse compiles their long time favorite selections of Dr. C. Stein goodies. Assembled from the 'Plays for you CD-R' (Trumpett), the long sold out 'Echo Trip LP' (Treue um Treue) and some obscure cor- ners of the Trumpett archive. We couldn't be more happy with this perfect dream sequence of softspot hitters. (limited to 500 copies).

A welcome repress of 2013's PM028.

Jasmine Guffond is an original creator of conceptual sound. This first output under her own name is its own study, and if you've heard her former projects Jasmina Maschina or Minit, you should not be surprised at the different driving force and fresh structure of sound behind this new venture. However, if you’re anticipating veins of clean, melodious folk or purely experimental electronic, you should shift your expectations.

Yellow Bell presents a broad spectrum of musicality, floating within hazy electronics, lost vocals, and ambient dimensions. The balance of digital synthesizer, loops, processed voice, and guitar creates a meticulous soundscape that both intrigues and calms. With its delicacy and immediacy, Yellow Bell distorts the perception of time and creates an environment for engagement and understanding.

While creating its own memorable dynamic, Yellow Bell resonates with the delayed endlessness of Grouper or lovesliescrushing and touches on the early electronic sounds of Musique concrete.

nd of Summer captures Jóhann Jóhannsson's journey to the Antarctic Peninsula to discover the calm scenery of a landscape changing seasons, barely influenced or even noticed by humanity. The super 8 film is a comforting study of a peaceful setting in one of the most crucial and endangered areas of our planet.

Accompanied by rich and detailed field recordings of the surrounding this footage makes a perfect foundation for Jóhann's musical compositions, performed together with fellow musicians and friends Hildur Guðnadóttir and Robert A. A. Lowe. The varying use of cello, voice, synthesizer and electronics creates a listening experience that reflects both the vast beauty of the quiet scenery and the necessary cautiousness of its inhabitants. As if gliding through the steep ice, its rough edges and the harmonious water movements, organic arrangements are patiently devolving into voice and electronic based ambience that adds warmth to the icy, artefact laden environment.

The soundtrack to End of Summer is an emotional, enduring listen and a compelling experience. Forming a soundscape as broad as the view it was inspired by yet equally heartwarming, devotion to the music will slow down time and provide a moment of harmony within times of change.

LP edition features the soundtrack, as well as Field Recordings and Sound Design from End of Summer on the B-Side, exclusively on vinyl. The reissue coincides with the first-ever digital release of Jóhann's short film over on Mubi.

We all know anything released on Mystic Quantum is worth buying for the cover art alone, and this mightily impressive return of Legowelt is certainly no different. Beautiful on the inside and out, it's packed with the kind of delicately detailed soundscapes we've come to expect from the revered producer, who proves every bit of the musicality we associate him with across seven very good tracks.

'Squirrel' is perhaps the exception to the rule, its frustrated and distorted rumbling breakbeat and chain-gang high-hats cry out for some monster or other to be fed through the arrangement. On the whole, though, this is far from club stuff, opening on the lush bleeped harmonies of 'Once At The In & Out Burger Academy', closing out on 'Vesper Sprites'' mysterious, breathy refrains and metallic percussive accents, by way of the cinema-worthy piano piece, 'Meekian Lovedance'. Enough to keep you going until next month's album.

You'd be forgiven for not realising this is " Nymfo's " first EP for 'Metalheadz' considering he's one of the Netherlands' finest drum-
and bass exports boasting releases on some of the genre's most revered labels.

Opening with the title track 'Sting Blade', the EP hits hard in true Nymfo fashion, but as he's shown over the last decade & more he's perfectly capable of executing several styles, something exemplified as you journey deeper into the release. Fellow Dutchman & Berghain staple Martyn also features for a vigorous work out on 'What's Happening'.

Prolific Spanish producer Rayko brings you four slices of synth-tastic nu-disco with a prog twist here. The title track is a lazy, hazy affair in which untold layers of analogue sound oscillate their way in and out of the picture. "Drive" sees him join forces with fellow Spaniard Landerground to deliver a wonderfully fluid, fluttering chunk of synth-heavy Balearica. The title is clearly a nod towards the famous movie of the same name, and many of the electronic sounds are reminiscent of the film's legendary soundtrack 'Autopower' is a tad funkier in feel and, with its sense of repressed energy, would make a great building track. But for some truly out-there thrills, head for 'Oopart', a guitar-led affair that comes on like Ripperton jamming with space rock diehards Ozric Tentacles.


DJ Support:

Aimes (Wonder Stories ): Lovely Stuff
Oooft! Diggin' the slo-mo vibe on Space Pig Lover :)
Sold Out: love the slow 80s cosmic vibe here
Markus Makossa: solid tracks
Ilya Santana: Space pig lover is the one, really great slow mo retro killer track!
Gouranga: Autopower sounds powerful! :)
Venice Beach: oh yeah very cool EP, perfect for opening show !
Chris Massey: Love the almost ambient feel to the original (Drive)
Fingerman: Lovely Balearic goodness
Tonbe: Very good release. Support.
James Rod: Pure Cream
In Flagranti: nice Ep. Thanks
Get Down Edits: nice selection right here

Anomi’ is Sonja Tofik’s first full-length LP, and a continuation of her debut ‘Neuros’. Anomi is the Swedish word for the sociological term anomie, first coined by french sociologist Émile Durkheim in 1893. Described as ‘the condition in which society provides little moral guidance to individuals’, he suggested that for societies to function and their individuals to prosper, they need to be driven by strong and distinct norms, both social and moral. If absent, individuals are exposed to anomie, and start to inhibit self-destructive behavior. Anomie is a state of suffering, an absence of affinity, both to the individual and to society - which creates dissonance in the human experience. It denies us the presence of death and disconnects humanity from its nature and inherent mysticism.

This model of explanation sparked interest in Sonja as being an interpretation of a spiritual presence in our monotonous present. In her work on ‘Anomi’, she uses music to delve into the notion of anomie, and what happens to us as citizens within a society restrained by rigid codes. She deliberately cultivates cliché symbolisms to examine the fracturing of emotions in this alienation of self, and how it affects our relationship to death. She also incorporates old folk songs in both Finnish and English and builds upon them - for instance ‘Sky Trumpets’, written in Finnish, is about the end of times and how only then can the hands of the working masses be set free. Using superimposed textures of synthesis, organ, concrete sounds and voice, she counters monotonous drones against more harmonic timbres to effectively summon these states of mind, through raw emotion, often with few elements and unobscured of any excess statements. ‘Anomi’ is her plea to resurrect mysticism into being alive and the wait it entails.

Electroacoustic musician and composer Sonja Tofik was up until recently a part of the studio collective Drömfakulteten, which was home to some of Stockholm’s most creative artists, including names such as Sissel Wincent, Maria w Horn and KABLAM. Now scattered to the wind after losing their studio space, its former members are still more active than ever with a persistent output of avant-garde music.

Sonja is one of those who was a member until the very end. Since her debut ’Neuros’ was released via Moloton in 2017, she has continually put out new music, including a collaborative LP with Mar-llena, ‘Vilar i dina spår’, an interpretation of Jaakko Pallasvuo’s dystopian text ‘Darkness of Winter’ released through Country Music, and a remix of KABLAM’s ‘Remembrance’ as a part of ‘Confusía Remixes’ earlier in 2020.

Her work focuses on superimposed repetitive structures of analog and digital synthesis, organ drones, sampled textures and voice, often presented with few simultaneous elements, which she uses in concoction with outbursts of raw emotion during performances. She is also pursuing a degree in social work, from which she draws inspiration through sociological models of human nature and concepts of spirituality, mysticism and death in modern civilizations. She has performed her music live in a multitude of contexts, including festivals such as Intonal in Malmö (alongside William Basinski and Holly Herndon), Transformations at Under Bron (alongside Robert Aiki Aubrey Lowe and Dungeon Acid) and Akusmata in Helsinki.

Sukh Knight's DAKU imprint comes strong again with its 3rd vinyl release, this time with some of Sukh's classic tracks getting the remix treatment. The title track is Cimm's much sought after monstrous remix of 'Diesel Not Petrol', with Cimm adding his trademark crisp drums, and extra riffs and stabs to give this classic track a modern vibe. This one has been in constant rotation in both Dubstep & Grime scenes getting instant reloads. On the B-side, finally getting a release after being a treasured dub for 12 years, is the VIP mix of Diesel Not Petrol, this one also still sounding as fresh and heavy as it did all those years ago. To top it all off, Mystic State come with their deep, heavy meditation vibes on the remix of 'Shutdown', guaranteed to take you on a journey. Timeless music!

Rivertones - the recorded music of Caught by the River - have repressed their classic 2012 Dylan Thomas-in-dub 7" Under Dubwood by the Dubwood Allstars.

Although Under Dubwood might seem an incongruous mix - the words of Dylan Thomas, the voice of Richard Burton and the studio sounds of King Tubby - the resulting single actually makes perfect sense - a gloriously woozy psychedelic skank that places Llareggub somewhere just outside downtown Kingston, JA. Since its release five years ago, Under Dubwood has been a staple on BBC6 Music and was used as soundbed music for the BBC's coverage of Dylan Thomas' centenary in 2014. It remains hugely in demand from the Caught by the River shop and has been sold out for the last eighteen months. The identity of the Dubwood Allstars remains a mystery to all at Rivertones.

On the B-side of the Under Dubwood 7" is River Theme by the Time and Space Machine (aka acid house stalwart Richard Norris of the Grid and Beyond the Wizard's Sleeve). River Theme is a hypnotic, fuzzed-up garage groove that's equal parts Dirty Water Club and Trash.

Globex Corp returns once again with a very special 10th release on 7th Storey Projects - featuring four remixes of tracks from previous volumes by four exceptionally cromulent guest remixers; Equinox, Dev/Null, DJ Mindhunter, Phineus II.

VIPs are becoming more common again with the fast turnover of music in our rapidly evolving musical environment. These enable the producer to continue playing their own tracks in DJ sets but have an edge with a slightly updated version from the released tune. VIPs are mostly never made available outside a select set of DJs, but for the Samurai Hannya series we had a few that were really too strong not to release, so we commissioned a few more to round out the EP. Homemade Weapons is a long term proponent of the VIP and he shows his experience here with his updates of Omen and The Claw, transforming them into entirely different approaches that have been favourites with all DJs that have had these in advance. Roho and Torn strip back their tunes and both provide essential renovations to their initial constructions that propel them back into your crate as essential frameworks to build new blends.

“Trading in Guilt” by Vital Signs is one of those elusive, independently released 1983 UK new wave / minimal synth 7” records that have achieved cult status amongst collectors through the years. It is nearly impossible to find these days and even the band members don’t own a copy of it. If you do manage to locate one nowadays you can prepare your wallet. Vital Signs seemed about to kick off with the release of this single that they put out on their own label after it was picked up by the legendary John Peel at BBC Radio One. But even despite the airplay and various labels paying for further recording, they didn’t manage to breakthrough. They probably went as far as they could possibly go and when no major deal actually came to happen, the band decided to call it a day. “Trading in Guilt” was originally released in a standard white paper sleeve without artwork and the pressing
itself was definitely not of the best quality. Just because of this we decided to bring it to you again, WITH GREAT IMPROVEMENTS OVER THE ORIGINAL.

We are extremely happy to bring you this highly sought after 7” now with full artwork, on a much smoother, much better sounding vinyl. It is a limited, hand-numbered edition of 120 black vinyl copies, housed in a thin, very 80s feeling / looking paper sleeve including a download code.

Trule drops its 9th release and the second in its 10” white label series with a collaboration between label boss Al Wootton and Montreal’s Priori. Al Wootton heads up the A-side with JL, a deep, dubby and minimal house/techno number. Priori reworks it into a ‘Sharp Tool Mix’ for the B-side, a rolling, drum heavy techno workout primed for dancefloors. Priori co-runs the labels Naff and Garmo with Ex-Terrestrial and is one half of the Jump Source project with Patrick Holland.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates its 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Desired State’s ‘Dance The Dream’ cemented the production partnership of Andy C & Ant Miles and became the penultimate release before the inception of their own Ram Records.  Championed by Kiss FM and hammered by the likes of Carl Cox and DJ Randall, the original release on Dance Wax reached No.16 in the National Dance Charts. A remix later in 1992 b/w the Hardcore anthem ‘Expansions’ was released on their local 'Out of Romford' label. This 4 track reissue also sees an unreleased mix of 'Free Your Love' from 1992 that was found in the DAT archives.

Promotion across chosen internet websites and Hardcore/Jungle/Drum & Bass 12” vinyl communities.

‘’In this 24-minute composition, released here in its original name for the first time, Yassin encapsulates and condenses the aural and sonic landscapes experienced by those who bore witness to the war. In the 1980s, while the Lebanese Civil War, which ravaged the country between 1975 and 1990, was raging, television but particularly transistor radios were the only means through which people heard the news during interminable periods of power cuts or waiting in basement shelters.

The audio material was collected by Yassin on his regular trips to the dispersed and neglected archives of militias and political parties, radio and TV stations, and record shops across Lebanon. Built from over 300 hours of material, Yassin has woven together a composition using political speeches; radio and television commercials; news flashes and jingles; local 80s pop music; dubbed Japanese anime songs; propaganda, resistance, and revolutionary party songs; snippets from Ziad Rahbani plays and many more.

The recordings in CW Tapes are the sonic equivalents of Proust’s madeleines to any individual who was old enough to remember the war and its immediate aftermath; they effortlessly conjure the collective memory of children, teenagers and adults alike. Commercials, songs and speeches collide and intertwine as if Yassin had plugged a radio tuner into his mind, sounding out a deeply personal sonic terrain that echoes the hidden sonic memories of his contemporaries in which sounds ebb and flow as if they were heard in a dream (or nightmare).

Beside the diversity of its sounds, what is most striking in this record is the minute attention to the musicality of the different recordings Yassin uses, whether they are propaganda pieces, vocal patterns or news jingles. What you hear in the beginning of the CW Tapes, for example, is Raed Yassin’s fascination for the different political and musical figures that populated the Lebanese media landscape across the 1980s.
In this bewildering introduction, he highlights the absurdity of the war by lacing together a political speech given by Bachir Gemayel (a senior member of the right-wing Christian Phalange party and the founder and commander of the Lebanese Forces militia during the early years of the Lebanese Civil War who was killed in 1982 when he was elected president) with a frivolous and upbeat pop song by Lebanese pop singer Sammy Clark whose tunes are heard at different moments in the piece. The composition unfurls an array of overlapping tonalities and textures as well as a glossolalia made of processed voices that inhabited the archaic technologies of the time.

Words become increasingly indecipherable as the piece progresses, with a beautiful passage in which Yassin isolates sighs and breaths — as if to mark moments of respite during the war— until another commercial or pop song is blasted at full volume again. We can also hear what has become a staple in Yassin’s other musical projects, which is the sporadic inclusion of him singing or whistling over songs. In his continuous efforts to mine and work through the sonic archives of Lebanon’s recent past, the CW Tapes is possibly Yassin’s most personal output to date.‘’

Rayya Badran, Beirut, January 2019

Multidisciplinary artist, rapper, producer, and performer "Ojay Morgan" who performs as Zebra Katz is a first-generation Jamaican-American who burst onto the scene with the likes of Azealia Banks,
Angel Haze and The House of Ladosha, when his runaway hit single “Ima Read” paved the way for his distinctive genre-defiant sound.

'LESS IS MOOR', the debut album due out March 20, announces a deeper look into his sonic universe. Sexually charged and abrasive,
the collection is a bold, sonic experiment that meshes industrial hip-hop with drum ‘n’ bass and unidentifiable sonic territory.

Presenting Alix Perez’s largest solo project since his second album in 2013. “Without End” is an 8 track journey through his exploration of soulful drum and bass - a sound Alix is renowned for. The EP includes collaborations with Liam Bailey, Workforce & Halogenix.

Auf seinem zweiten Album "Neurofire" treibt L.A. Producer und FadeToMind-Betreiber Kingdom seine Suche nach schnellere, turbulentere und experimentellere Club- und Popmusik voran und fusioniert deepen aund aggressiven Club-Bass mit synkopiertem Scifi-Pop- und -R&B der Marke Timbaland und DanjaHandz, ohne dabei sein Faible für emotionale Synths und Vocals zu vernachlässigen. "Neurofire" bietet darüberhinaus ein Feuerwerk an Features von jungen Talenten wie Ghost, Kayla Blackmon, Tiara Thomas, Pheona, UNIIQU3, Semma, LUVK und Tre Oh Fie.

For The Record The Artist Presents A Sonic Curation Of Her Work Ë.ctu_isbtmí.
Operating In A Space Between Sculpture, Code And Electronics, The System Scans 3dimensional Objects Via A Live Video Feed And
Programmatically Encodes The Artistís Glass Sculptures Within A Language Of Pitches And Rhythms Using Samples As A Transla- Tive Matrix.
Following Samples Are Used :
0 Basketball, 1 Tennis, 2 Swim, 3 Scubadive, 4 Helicopter, 5 Race, 6 Golf, Index

Side A: Codes Sounds Were Produced From Rotating Black Glass Objects Whose Shapes Determine
The Parameters Of A 2d Synthesis Space.
Side B: The Resulting Sounds Are Live Coded Into Musical Pattern.
Along With Byrke Louís Sound Piece The Physical Record Features Words By Agf.

It's a match, mate, innit Stepping in the cypher with a brand-new EP, Last Nubian emerges with a signature sound that reveals the passion of the digger behind. While covering the whole range from hip-hop to house, the London-based producer manages to match the best of both worlds and delivers dusty grooves for the heads as well as catchy dance floor oriented stuff. Although the rhythms and beats often feel nostalgically familiar, Last Nubian always flirts with the fringes of a more experimental sound design while citing Flying Lotus, Mndsgn, Theo Parrish and other pioneers as his influences. Having Blaq Numbers affiliates 2XM and Paso add their two cents to the show as well, makes this artfully crafted tape a family affair.

Following on from co-­-compiling one of 2012's best received compilations 'Into The Light: A Journey into Greek Electronic Music', new Amsterdam based record label 'Music From Memory' sets sail with a compilation of lo-­-fi beach funk and lazy synth jams from the Rhode Island keyboardist and ocean loving Leon Lowman.
As well as a devoted painter and surfer of the East Coast, the synthesizer loving Lowman privately released two albums 'Syntheseas' (1980) and it's follow up cassette only 'Sound Horizon' (1982). Something of a homage to his love of the local seashore and the women he was trying to woo there, the albums also express Leon's pure love of the synthesizer sound and reflect his unique melodic wanderings.

With Leon's albums meeting little commercial success at the time of there release, both albums have in recent years become highly sought after. Along with previously unreleased material from the time, 'Liquid Diamonds' highlights Leon Lowman's unique blend of low fi synth funk and surf ambience.

Following up 12”s for AD 93 (formerly known as Whities), Timedance, International black, and Yume, Neinzer lands with Where To Now? for a suite of leftfield slow steppers and deep melancholic psychedelia. Having been quietly turning heads for the last few years Neinzer cuts an interesting figure in today’s electronic landscape as someone whose creations walk the lines of heavy, otherworldly, hypnotic Techno, explored by the likes of Avalon Emerson, Metrist, the Hessle Audio crew etc, whilst maintaining a gauzy, acid washed dreamy quality which recalls the work of more restrained, melodic electronica stalwarts such as Floating Points, Four Tet, Clark, etc. Neinzer’s work stands apart from all of these touch points however by utilising an often tense & unstable approach to sound design, but always injecting his worlds with huge flashes of melody, joy, and power.

We dive in with heads down intent on the opener ‘Traum’a’. Deep pads and quick paced percussive flurries shuffle below detuned piano keys, bringing an almost jazzwise leaning to the dance. Next, we lean back with ‘Nabi’, where Neinzer flexes his electroacoustic influences and explores tone & tension by melding a natural pallet of human sound with synthesized pressure to create a unique and destabilising piece.

‘Rassalin’ brings the Machine Funk and slows things right down with dizzying effect, deeply swinging its way with gritty intent through a trembling landscape on the brink of collapse. From here on out, Neinzer shifts his previous beat led focus towards something more psychedelic and exploratory – on ‘Hebdamu’ we find flourishing swathes of freeform melodic beauty build and build, snaking around the precise percussive hallmarks of Neinzer’s sound world, and ‘Shifting Values’ ends with the gloriously dubbed out experimentation of ‘Cause Pan Tact Insoluble’ – coming off like Adrian Sherwood jamming with Popol Vuh.

First release and sensory trip into flmmaker and DJ producer Paulo Chinatown's mind. An hologram of the Berlin crash experience rendered for your ears, eyes and hear.

Master synthesists Colin Potter (NWW), Alessio Natalizia (Not Waving), and Guido Zen reprise their supergroup for Ecstatic with a seductively serpentine follow-up to their superb debut from a
couple of years ago.
PNZ’s pulsing, twanging, expansive ‘Magari’ was recorded between 2018-2020 in the slipstream of ’Shut Your Eyes On The Way Out’, which is surely one of the strongest new kosmiche-related albums of recent years. Where that album refreshed classic styles of European synth music for modern ears, ‘Magari’ - meaning “I Wish” in Italian - adapts their style to the unique Afro-Latin lilt of Brazilian music with central use of the Berimbau; a single-stringed percussion instrument
commonly associated with the elegant martial art/dance of Capoeira, which the band’s Guido Zen brought home from his travels in South America. Combined with their juicy, almost fleshly arps and Guitar pedal-generated computer voice, the results are wonderfully wide-eyed, embracing bouts of motorik rhythm beside vertiginous noise wormholes and mystic tone poems that speak to a cumulative experience spanning decades spent hunting for life between the wires.
Like their first LP, much of the recording took place remotely or in pairs, and rarely with all three present, before the parts were mixed down at Colin’s studio in Leytonstone. In its journey between the intricate meters and perpendicular vectors of ‘Too Much Traffic’, and their mesh of curdled tones with their phone recordings of a manic preacher in Camberwell on ‘Saved’, they variously recall Craig Leon’s alien invocations of Dogon folk tales as much as the heady dissonance of Alessandro Cortini; producing outstanding pieces of tangibly haptic substance in ‘Sergio’ and infectiously tip-of-tongue Berimbau twang on ‘Gennaio’, and for good measure, something like
Phil Collins gently losing the plot after healthy dose of Ayahuasca in ‘Fill’, while ‘Ancora’ sounds like Basic Channel scoring Herzog’s Aguirre.

Introducing Paris-based contemporary sculptor and music maker Erwan Sene joining the exponential Unknown Precept roster. Gathering pieces thought of as little narratives for his debut release, not without a bit French irony around the concept of work, 'I Heard You Laughing' wavers towards mechanical repetition and something more outdated at times. Purposely slowing down the tempo to fit the apparent redundancy of an industrial environment and its steadily running engines. An eroded atmosphere of sorts, analogous to the smokestacks emanating from factory chimneys. Accentuating the ambiguity of a wild thought which is hard to grasp. Despite its machine-driven aspect, Sene primary questions the difficulty to manage one's life stuck in a primitive mindset, making intuitive associations in a grid pattern. Carbon copy music for the tangled minds out there, leaving room for nothing but sedated feelings.

For this new release, the French UK am-bass-ador comes back with a 5-tracker Ep, on the infamous imprint Brothers From Different Mothers, expanding a bit more his tempo range with few special riddims. Influenced by dancehall music this Ep collects five party-oriented moods and interpretations of the genre with Simo Cell's signature and sound design skills.

Kniteforce and Just Another Label (owner of the Bear Necessities Sub Label) have been friends since the early 90’s, so when JAL wanted to remaster and repress some old and much sought after classic EPs, it was only natural for Kniteforce to take on that roll. This much sought after EP was originally a 10” but is now reissued and remastered as a 12” due to popular demand! Both tracks are absolute classics of the time, with deep and heavy vibes throughout!

"Vertigo KO" enthält unveröffentlichtes Material der 2017er "Light Sleep" und "Voice Hardcore" Sessions der japanischen Avantgardistin Phew, samt eines The Raincoats-Covers ("The Void"). Die 2CD (ltd. Japan-Import) enthält zudem den Sampler "Vertical Jamming" mit langen Drone-Werken von Phew, der zuvor als limitiertes Tape und digital erschien. Beiden Tonträgern liegt ferner ein 20-seitiges Fanzine mit Linernotes von Künstlerin und Label sowie Fotos von Masayuki Shioda bei. Die Kultmusikerin Phew begann ihre Karriere 1978 mit der japanischen Punkband Aunt Sally. 1981 erschien ihr legendäres Kollaboalbum "Phew" mit Holger Czukay, Jaki Liebezeit und Conny Plank. In den 1980ern arbeitete sie mit Ryuichi Sakamoto, Alexander Hacke (Einstürzende Neubauten) und Chrislo Kaas (DAF) und jüngst mit Ana Da Silva (The Raincoats), Jim O'Rourke und Yoshimi (OOIOO, Boredoms) zusammen.

Mountains Are Mountains is a solo album that presents the sound of many moments scattered all over a period of Berke Can Özcan's (Ex-Konstrukt, Big Beats Big Times) personal time on this planet. He is a drummer, composer, writer, producer who keeps experimenting with all that is available to his one ear. Gongs, aquadrums, a vibraphone, a steel drum, a prepared piano, a vintage harmonium which smells exactly like a vintage harmonium, log drums, kalimbas, as well as his self-made instruments made of old keys, soda caps, flower pots, bamboos, the most lousy-looking pedestal fan in the world, bicycle bells, straw brooms, old toys, garden hoses and Buddhist-prayer playing machines are all played by himself.

All sounds were constructed by – or at least decorated with – sadness, passion, agony, curiosity, excitement, loneliness, bliss, nostalgia, bitterness, joy, whatever you and I and he knew that could be experienced. "Mountains Are Mountains" is yours to taste.

A bit more about this record:

Sometimes it's all about a journey. No, actually it's always about a journey.

The journey, which is expected to be endless, or always full of motion has a different nature than we think it does. It is also about stopping. Stopping is an action. So one needs to be aware of time, for time is interestingly aligned with a secret combination that is the key to creation. And one has to put in his pockets many experiences, to become his friends, his tools, limbs to move and dough to shape.

Why are we talking about this? Our protagonist is going through a tough patch. He's been working as a drummer for many years now, he writes music, records albums with his bands, collaborates with many acclaimed musicians, performs in this and that big festival , tours , but, how can one say... It's a bit like everything is in a "loop", and the loop is becoming deadlier everyday. He feels that he's becoming an old version of himself, outdated maybe. It's like you are getting old, and the old you becomes less appealing to the you who is still young, so it's time to align the two.

So he quits his bands, quits his destructive friendships, leaves behind whatever is not genuine in his life. He travels, collects sounds from oceans, forests, cities, trains, water tanks, birds, winds, corridors, swamps, street musicians, kids, church bells, temples, alleyways and so many more. He uses samplers from eighties, old machines that are not even produced anymore, weird recording machines to obtain what he is searching for. The unplanned hissings, hums and rumbles that comes with any gear are more than welcome.

One day, he comes back home. He constructs a small universe by bringing all his instruments together. Gongs, aquadrums, a vibraphone, a steel drum, a prepared piano, a vintage harmonium which smells exactly like a vintage harmonium, log drums, kalimbas, as well as his self-made instruments made of old keys, soda caps, flower pots, bamboos, the most lousy-looking pedestal fan in the world, bicycle bells, straw brooms, old toys, garden hoses and Buddhist-prayer playing machines. He sits inside of his universe for hours and days and studies the sounds -to meet, to get acquainted with them.

Our protagonist explores "loops". In time he develops the need to be alone and stay in a circular universe. There he concentrates on sounds and experiments to create a musical form where he can combine these collected sounds with performed ones - to attain a personal kind of harmony. It is also a search for ways to add character, colours, make sounds richer not by adding more elements, but expanding what's already there. He makes many tracks, some of them fading through time, and others glittering. Eventually he has ten tracks in his hands to build mountains.

Berke Can Özcan, our beloved protagonist, presents the sound of "many moments scattered all over a period of his time" on the planet. He's still here, and hopefully there are many more moments to be experienced, so the sound is on and ever-changing.

It would be a blast if one could jump from one mountain peak to another. Still, maybe one can, if one closes his eyes and stays still. For long enough. Maybe then the mountains come to him, and they offer their summits just for him to accept.

Limited 3x12" bundle, including stickers (ESO014, ESO020 & ESO021).

A.) new Philip Corner LP on Recital
B.) voice recordings from a small performance in Italy, early in 2020 – Homages to/from George Maciunas 1931-1978
C.) Corner’s piano meditative playthroughs of Couperin’s The Mysterious Barricades 1717, from 1989 and 1992
D.) These two elements (voice and piano) superimposed by Sean McCann, edited during the first month of the pandemic
E.) Manic exaltation, distorted harmony things
F.) Album cover is a few PC scores soaked in olive oil and held in-front of the sun through my kitchen window
G.) Booklet features passionate writings on the Couperin piece and its meaning by Corner
H.) Philip wrote a new reflection for this LP edition, “The Mesure of the Mystery” this August
I.) This album is built from fine ingredients: beautiful piano with stomach-clenching voice stretches

Nodes emerge across vast distances, linked without ever touching, feeling what they cannot see. With RED, Priori finds order amid a fluttering chaos of autonomous structures, channeling rugged impulses into intricate emanations. Out August 21st via the NAFF sublabel Garmo.

Orange Vinyl

Jude Greenaway is an audio/visual artist with a style deeply rooted in the various strands of Hip Hop culture. He has been releasing records since the turn of the 21st century but has been on the scene for much longer, honing his crafts from his base in East London. Not constrained to releasing one style of music, Jude has released interesting and engaging Electro, Techno, Ambient, Dubstep, Jungle and Breakbeat music across several key imprints including his own Yellow Machines and Modified Magic.

When Exalt Records approached Jude for a release in Spring 2019, it was always going to be a continuation of our exploration of the 7” format. Jude has delivered two killer Jungle / Breakbeat bombs, sounding total fresh and retro in equal measures. 7” Orange vinyl with art postcard insert by Dave Hanal.

This fruity EP contains 2 of your 5 a day!

Etrusca 3D is a new band that merges two current Audio and visual artists from the 21st Century, Francesco Cavaliere and Spencer Clark.

The album is the first to be released by Spencer Clark's label Pacific City Discs, as a subsidiary and in collaboration with Discrepant. 

‘’One cannot underestimate the result of stating the names of certain gods at high voices. Something that sinuous and quiet enters into this disc for you to listen. What if the Etruscan Civilization instead of transforming or amalgamating into the roman one, was instead passed on to other worlds? Were the tombs, their spiral idols and funeral decorations a meticulous method for transmuting to something else?

Etrusca 3D is the juxtaposition of two imagineers friendship, as Francesco says, 'because I am Etruscan and you (Spencer) are 3D."  There is a piece of the future of Etruscan civilization contained within this disc. It is with Spencer's remote viewing of a past and future creative culture and Francesco's birthright that we find a true insinuation of civilizations world body. 

We decided to invoke various Etruscan deities or spirits by sampling Francesco's voice uttering their name. We put them inside the Emax 2 3D machine and we began to play these deities and thus incorporate a fresh and ancient music language to present the 21st Century Etruscan experience.  In the meantime, these musical stories turned into Francesco's imaginary storytelling style to further present a narrated record of the intuited activities of Etruscan Gods...’’ - Francesco Cavaliere & Spencer Clark

All songs by Spencer Clark & Francesco Cavaliere

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil. 

FOR FANS OF : MARK LANEGAN/MICHAEL GIRA/NICK CAVE.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho.  Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio.  After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

Hypnus are pleased to present the second edition of their Serum series which is intended as a hub of collaborations. Every record will be some sort of joint effort with one or more of the Hypnus artists and they're hoping to push a more eclectic bouquet of musical styles in tandem with the regular Hypnus series.

The first year they launched the series by inviting rising talents Primal Code to release two tracks with interpretations by Feral and Luigi Tozzi. For the second edition we are now introduced to the amazingly deep dubs of Illuvia (real name Ludvig Cimbrelius, aka. Purl), interpreted by the before-mentioned Primal Code as well as label head Ntogn under his paradisaical pseudonym Blomkraft. Released as a sampler vinyl as well as a full-length digital album.

The music of Ludvig Cimbrelius comes in many shapes and forms with a handful of monikers making up a vast sea of ethereal and mesmerizing electronic music. His works range from classical piano excursions and evolving ambient music to drum & bass and dub techno. With that said, we easily get a sensation of taking part of a state of mind rather than listening to a set of musical compositions. Now, please bathe yourselves in the lush vibes of Illuvia.

Early support from Cio D'Or, Claudio PRC, Ness, TM404 and Etapp Kyle to name a few.