Beats News

Faitiche presents a new album by Frank Bretschneider. abtasten_halten was made as part of the raster.labor installation first presented at CTM Festival in 2019. It is perhaps the most radical work in Bretschneider’s distinctive oeuvre: abtasten_halten is a self-generating composition for synthesizer modules whose sole sound source is the movement of two VU meter needles. The resulting percussive sounds coalesce into rhythmic combinations – all random, without repetition. The album resembles a meditation on infinite rhythmic variation. abtasten_halten is Frank Bretschneider’s first release on Faitiche.

One sound can give birth to thousands of tones through self-fertilization. Pierre Henry, 1982

Frank Bretschneider on abtasten_halten:
abtasten_halten (sample_hold) is a largely self-generating composition for a modular synthesizer system. Self-generating here means that as soon as a current flows, the various modules interact, but within limits set by the composer via the connections between the modules (patches): timing, tempo, timbres, dynamics. These conditions are kept variable to a certain extent or left to chance, so that the composition created is always similar but never the same. On the one hand, the use of random generators opens up possibilities that would not otherwise have been considered. On the other, it offers the fascination of the unfinished and the unique: totally unexpected musical events that you might hear only once.

abtasten_halten combines my preferences for percussive music in general and electronic music in particular. Largely avoiding repetitive structures, the piece is more like a free improvisation, quiet and diffuse, but also extremely dense, in ever-changing contrasts and transformations.

The tone generators are two modified VU meters whose needles, driven by trigger impulses, create a simple one-bar pattern by hitting against a metal spring that is connected to a piezo element (thanks to Gijs Gieskes / Gieskes.NL). The tempo is continuously varied over a period of about ten minutes by several mutually modulating LFOs, ranging from about 0.06 Hz up to the lower audio range of about 18Hz.
The percussive sounds thus obtained are then passed through low-pass filters with moderate resonance and random frequency modulation to additionally colour the sound. Further processing is then executed by an echo module whose tempo and repetitions are again determined by random parameters. Finally the audio signal is occasionally enriched with reverb to add more spaciousness to the sound.

The concept for the installation raster.labor was developed by Olaf Bender, Frank Bretschneider and David Letellier. Many thanks to raster - artistic platform.

On Frank Bretschneider:

Frank Bretschneider works as a musician, composer and video artist in Berlin, making mainly electronic work based on complex rhythmic structures and interlocking textures, whose many-layered sound is inspired by the experimental set-ups of modern physics, often supplemented by perfectly synchronized computer-generated visualizations. In 1986, he founded AG Geige, one of the most influential underground bands in East Germany. In 1996, he co-founded the label raster-noton and has since released many solo albums.

GIULIO ALDINUCCI is an Italian sound artist working in the fields of experimental electroacoustic music, field recording and ambient soundscape. Born 1981 in Siena, his catalogue comprises four solo albums on labels like DRONARIVM (CHIHEI HATAKEYAMA, AIDAN BAKER),TIME RELEASED SOUND or HOME NORMAL plus EPs and collaborative albums (a.o. with PLEQ). Furthermore , he wrote music for theatre, video art, documentaries and short movies and was awarded with an honourable mention at the 18th International Electroacoustic Composition Competition Música Viva 2017 for his composition "Mute Sirens". Together with ATTILIO NOVELLINO, ALDINUCCI launched the project "Postcards From Italy" which consists of an album published by OAK EDITIONS, live events (the first one took place at Cafe OTO, London) and an installation by AIPS collective & GIANMARCO DEL RE.
"Borders And Ruins", his first album for KARLRECORDS, is a reflection on the instability of borders - borders as an extreme attempt to discriminate and rationalize that turns into a source of chaos and cultural ruins on both sides - and their impact on the relationship between people and territory. It is also a sonic diary: a constantly mutating soundscape where electronic sounds and field recordings (taken during several travels around the continent) blend into an ambient masterpiece of sublime beauty and sacral majesty.

Mastered by Alexandr Vatagin
Vinyl cut by Rashad Becker at D&M, Berlin
Artwork by Joe Gilmore

For the second instalment of Subaltern’s 2020 program, we welcome one of the scene’s best-kept secrets – Imajika. The three hard-hitting tracks take listeners on a sonic journey through tribal rhythms, punchy drums and immaculate sound design. Calling upon ancient forces, Imajika makes a powerful statement with the Stagger EP.

Stagger
Ethereal glass chimes sing in the distance underneath an airy pulse to create an eerie intro until the groove enters to break the tension. We are offered a moment to breathe before being submerged by staggering drums driven by powerfully persistent bass-waves. Playful dubby FXs, gritty wobbles and naughty drum fills keep the head nodding throughout this stomper. After offering one last breath, the second drop hits with a relentless grunt that leaves us gobsmacked and then proceeds to devastate any sub to cross its path.

Unti Pundi
Mystical textures set a ghostly tone, overlaid by the meditative ‘Unti Pundi’. We are whisked through the caverns of time - space is created through reverbs and echoes of snares and droplets. A sinister pitch-oscillating synth takes your hand and as Imajika takes you deeper down the rabbit hole. Evolving basslines and masterfully placed drum fills add new depth to this monstrous beat before a shattering second drop wreaks havoc - Imajika shows no mercy.

Inside the Sycamore Root
Foreboding voices whisper in a secret language, seemingly summoning ancient spirits in a circular tree-based ritual. A cataclysmic drop fused with a tribal rhythm and propels us deep Inside the Sycamore Root. The spirits have been awoken. A gnarly bass pulsates as calls of the wild and menacing laser-synth stabs respond to the ancestral voices. The summoning continues and takes us even deeper into the wilderness as rumbling bass and tribal percussion take over - the descent into the great unknown continues.

Isolating is the industrial solo alter ego of London-based, Stephen Hindman, one half of The Golden FIlter. Coming off of their moody 2020 debut EP on Optimo Music, On August 28th, Isolating will release an analog, lo-fi, gritty full-length LP called Perennial on their own 4GN3S label. Disquieting and dystopian, the album shifts from the beatless drone of ‘Mortification’ to the IDM inspired electro in ‘Sacrament’, each track melding into each other with an unsettling anxiety.

The LP mirrors the concepts behind ’Perennial Philosophy’ by Aldous Huxley. Solitarily created in London room on a Modular system, ‘Perennial’ tackles the perspective in spirituality that views all of the world's religions as sharing a single, metaphysical origin, with a nod to the Lucretius quote; “To such heights of evil are men driven by religion.” The album photography of Stephen is by Agnes Haus.

Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music, jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove movements. His first single release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat
style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a
classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa Nostra, still today one of Irma Records main acts. Their
first album had Vicky Anderson as special guest and today is still considered one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records: Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru and had Taka Boom and Jackson Sloan among the guests. Two of the
main tracks on the album are brazil house classic Sombre Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations

Elliot Garvey aka Quartz joins Samurai Music with 4 tracks of menacing weight for his debut EP on the label. With previous releases for labels like Metalheadz, DSCI4, and Invisible, Quartz’ powerful mix-downs and his knack for technical tunes that retain the vibe factor has him high on everyone’s radar. Into the Mist was the first tune signed for the Snakes EP, a tune that encapsulates the existing Quartz dark / light style with nods to legacy Drum and Bass perfectly. Snakes and Cluster Bomb are possibly Elliot’s 2 darkest tunes to date, focused, creeping sinistism with hulking constructions. Figure It Out lurks low, still retaining his perfectly focused build strength, but with a subtler approach and a pulsing bounce that burns through in the mix. Already garnering DJ support from the likes of Goldie, Flight, Loxy, Mako, Mantra, Double O and more, the Snakes EP looks set to be a new pinnacle for Quartz productions.

Utter presents Danny Wolfers' aka Legowelt's cult spywave album 'Schaduw Horizon' on vinyl for the first time. Initially released on CDR on Wolfers' Strange Life label back in 2008, this DX7-drenched soundtrack was influenced by real locations near Wolfers' coastal dune studio in The Hague.

Set in the depths of the cold war at an abandoned zoo, it scores the imaginary story of Percival, a NATO animal parapsychologist researching the extra-sensory powers of a Siamese cat and a chess-playing chimpanzee named Albert. After the Soviets discover the project, Percival's team members are assassinated one by one, forcing him and his animal friends to escape in a small sailboat towards a mysterious island...

The album has been remastered by Wolfers then transferred and cut by Helmut Erler at D&M. It is housed in a deluxe gatefold sleeve that opens to reveal detailed stories behind each track, while the entire back cover is a life-size chess board for any budding Alberts wishing to play a game. A special 'confidential documents' envelope completes the package and contains a map of the abandoned zoo, a top secret letter including coordinates of the locations featured in the story, DX7 schematics, foldable chess pieces and a 'Schaduw Horizon' sticker.

TNO Project latest EP is highly anticipated due to the strong following he has built up over the last few years with his consistently innovative sound. Somewhere between dark and light, often futuristic in a retro fashion, his EPs always sound like an alternate universe of rave. The Pink Straight Jacket EP continues with his usual themes, but takes them up a notch and blasts them into space….

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

ZEIT005 is courtesy of Chris Barg aka Tilo Manig from 90s Italian Electro outfit analogue audio association.

After the success of his alchemic Relapse EP, Fedbymachines returns to Shipwrec with his brand of genre splicing electronics. The 12" opens in the blurry haze of "Rest Rain." Drenched in static, dubby notes trudge next to whispered hi-hits as liquid notes sparkle. A deftness of touch permeates the entire record, coming to the fore in the gentle currents and sways of "Bestill" before the cascading resonance of "Solos." Nothing is overstated in this journey into deep absorption and introspection, instead Fedbymachines carefully crafts his soundscapes in complementary levels to construct fluid musical feats. The finale comes with "Bound." From an understated opening, the track comes to life as a textured beat takes hold allowing radiant keys shine. A multi-layered release from a multifaceted musician.

It's auspicious that Sonic Boom-the solo project and nom-de-producer of Peter Kember (Spectrum, Spacemen 3)-returns in 2020 with its first new LP in three decades. Kember's drawn to the year's numerological potency, and this intentionality shines into every corner of All Things Being Equal. It's a meditative, mathematical record concerned with the interconnectedness of memory, space, consumerism, consciousness-everything. Through regenerative stories told backwards and forwards, Kember explores dichotomies zen and fearsome, reverential of his analog toolkit and protective of the plants and trees that support our lives. Sonic Boom's second album and first for Carpark began in 2015 as electronic jams. The original sketches of electronic patterns, sequenced out of modular synths, were so appealing that Stereolab's Tim Gane encouraged Kember to release them instrumentally. "I nearly did," confesses Kember, "but the vibe in them was so strong that I couldn't resist trying to ice the cake." Three years later, a move to Portugal saw him dusting off the backing tracks, adding vocals inspired by Sam Cooke, The Sandpipers, and the Everly Brothers (which he admits "don't go far from the turntable pile"), as well as speculative, ominous spoken word segments. His new home Sintra's parks and gardens provided a different visual context for Kember's thoughtful observations, and he thematically incorporated sunshine and nature as well as global protests into the ten resulting tracks. "Music made in sterility sounds sterile," he says, "And that is my idea of hell."

Walton returns to Tectonic to drop his latest EP of deadly dance floor weapons, as Tectonic sets up to celebrate being 15 years old!

With releases dropping on Illian Tape and Kaizen, Manchester’s Walton is a producer in high demand for his inimitable style the blends grime and pirate radio aesthetics with forward-thinking dance floor sensibilities..

‘Scooped’ opens the EP with mood setting pads and 128bpm drums, in preparation for a gut-wrenching bass line, bringing elements of grime, dubstep and techno altogether.

Following on next is ‘SBWYS’. The title references a vocal sample that decorates the rough 138bpm beats, “Sound boy watch ya space!”. Point made.

‘Smashed Crabs’ takes a 2003-era grime style rhythmic framework and paints over hard bass sonics and laser blips at 134bpm.

Lastly, the title track ‘Abyss’ continues the rave lazer aesthetic and tempo of Smashed Crabs, but sending things more intergalactic in trajectory, wrapping up a great EP in fine style. Definitely a bit of something for most dancefloors, crafted in the way of the Walton.

The crazy Sonic Terror Recordings label we used to push years and years ago is back on Vinyl !!!
2 track 45 cut loud sound and printed sleeve... crazy record !

Leuchtkraft is the second album from Frankfurt based multidisciplinary artist Daniel 'Flug 8' Herrmann. Returning to the banks of hardware with which he created the organic electronica of his critically acclaimed debut Trans Atlantik Herrmann's sound has evolved to a higher state. Now, untethered from drums, his floatation tank soundscapes soar to the heavens, buoyed on wave after shimmering wave of lush drone and cascading melody.

Translated as 'luminescence', the 10 tracks of Leuchtkraft smudge between moods; the delicate icicle chimes of Kristallpalast give way to the widescreen spacewalk of John Carpenter-esque Man High. Mittelwelle is an ominous descent of nervy creaks and distant distortion, whilst Sierra Charlie is a mirage of Eastern sun-baked drone.... But the album is best consumed as one long, unravelling drift, a sprawl trip through half remembered dreams and future fantasies.

A renowned musician and photographer, Herrmann has previously released music on Disko B and Smaul, collaborated with members of Einstürzende Neubauten, and art directed for both Roman Flugel's label Playhouse label, and the iconic Live at The Robert Johnson mix series. For Leuchkraft he has created a series of images ruminating on the notion of illumination, where light sources battle through stark contrasts of darkness. Whether this is a metaphor for our confused world, or a wider examination on the universality of light is entirely up to the audience to decide...

Dark shaped breakcore. Dancefloor.

LTD 100 copies Powernoise music from Nihil Fist !!!

After the successful debut album by Roland Sebastian Faber 'RSF' on Closing the Circle records RSF is returning with a new EP. We are not Friends! Double A side vinyl release with remixes by Benedikt Frey, Kinky Roland and Keen K. Including download code.

With roots cemented in jungle, breaks and hardcore, Unglued injects his signature bassline badness into each tearout track, topped with euphoric classic house samples in the title track ‘Total XTC’, to hair-raising vocals from Truthos Mufasa in ‘War Dance’ featuring Whiney.

Total XTC fires us through a prism of late 80s nostalgia with pitched-up soulful vocal samples from Charvoni’s feel-good classic house groover ‘Always There’. Dreamy pads and playful vintage notes set the scene. Soothingly sustained vocals swim over raw, metallic, jungle-infused drums that introduce the subdestroying drop. A certified rave anthem that will have all the heads entranced.

‘War Dance’ raises adrenaline as Manchester-based Truthos Mufasa lays down slick and weighty bars that ricochet off skippy old skool-style drums right in the eye of the storm. Together, Unglued and Whiney conjure up bass-rumbling chaos as we’re pushed ‘right off the tracks’ with double-barrelled artillery in the heat of battle.

Charging in with twisted swagger, ‘Got 2 Have’ is a squelchy bass-ridden stepper that screams Unglued all over. While ‘Pigeon Funk’ swoops in and stares you down with electrically-charged squarks and funk-fuelled flare.

Introduced to jungle at an early age by his influential uncle Stoppy, Unglued demonstrates his ability to simultaneously stick and unpick these roots in his powerfully dynamic ‘Total XTC’ EP by fusing the old-skool style with his unique, forward-thinking flair.

Unglued’s rise since his anthemic ‘If We Ever’ remix, has brought in over a hundred intercontinental shows since 2019, and regular support from some of the biggest players in the game, including Andy C, Noisia and Randall.

Unglued is no stranger to spins on national airwaves, with BBC Radio 1’s Annie Mac awarding him Hottest Record In The World for ‘Born In 94’, as well as regular support from Rene LaVice and Charlie Tee on Kiss Fresh. Everyone’s got their eyes stuck to Unglued!

Crazy collab between G. Angelis, M.Sanheira et Z'EV. Noise sounds of course, arhythmetic.
Inspired from Scottish writer Ian Banks : the nothing makes some noise. A guy prisoner of a giant bridge architecture... Coma is the way of no-way.

From Nantes, France, NABTA is equal to EBM, minimal synth and electroclash as its best. They perfectly define and describe their music as “an electronic ceremony where comets of beats crashes into a oceans of colours, tumbling into the sombre side while sweet darkness binds you in a trance and makes you dance, dance and dance”. We like that vision!. All tracks have been specially remastered for LONG CUT vinyl by Aria Z.

For Fans Of Hot Chip, J-pop, Dada. Perlita Is Responsible For 'sex Instruments', The First Ever Song Made Entirely Out Of Sounds Produced By Sex Toys, Including Guitars Played With Vibrators, Bass Notes From Anal Beads And Strokers For Rhythm. The Track Was Made Especially For A Pornhub Toys Ad Campaign.

Caballo Rojo ("red Horse") Is The Second Album By Perlita, A Band From Cádiz, Spain, Once Described By A British Critic As "a Hot Chip Fronted By Freddy Mercury". For The Follow-up To Their 2016 Debut Cangrejo Yeti ("yeti Crab"), The Threesome Have Come Up With A Titanic Piece That, Mood-wise, Jumps Around And Gallops Between Pop, Flashes Of Andalusian Folkloric Music, Drum Machines, Japanese Voices, Synths And Verses By Spanish Poet And Nobel Prize Laureate Juan Ramón Jiménez, Among Many Other Things.

Perlita Are Based Part-time Between Puerto De Santa María, Cádiz, And The Madrid Borough Of Lavapiés. That In Itself Could Constitute A Music Genre, But It's Not On Wikipedia Yet. Their Music Speaks Many Languages, Some Of Them Invented. There's Something In It That Echoes The South - The South Of The Andalusian Psychedelic Rock Bands Of Yore, But Also Of The Typical Cádiz Brand Of Humour, Of The Famous Carnival, And Of The Northwest-african Radio Waves Reaching The Beaches Of The City From Across The Gulf Of Cádiz.

Having Cut Their Teeth In Many Spanish Indie Bands, With Perlita, The Three Band Members Decided To Explore Other Worlds - Worlds Where Synths And Drum Machines Rule, Yet With Plenty Room For Wild Percussion And Marvellously Poppy Melodies. The New Direction Became Clear On Their First Effort Cangrejo Yeti, And Is Continued On Caballo Rojo: Electronic Pop Made With An Open Mind, With A Special Fondness Of The Poetry In Details, And With A Production That Is Morphing Throughout The Record - From A Sophisticated Accompaniment Gently Rocking Some Precious Verses To A Raw And Forceful Sound Slinging Almost Dada-like Shouts, Like A Poet At A Rave Hollering About The Dunes.

A collaboration between Ron Wells and Pete Canon, Proper 21st Century Jungle Techno

The Ray Keith classic that everyone is familiar with carefully restored by the Music Preservation Society and remastered by Subvert Central Mastering. The original Digital Masters were full of tiny clicks from the piano samples used, which when removed, let that huge bass line shine. The end result is nothing short of amazing. Clear, loud and punchy without losing any of the original flava.

Two Ray Keith classics remastered from original DAT Tape masters. Cut one track per side as true classics deserve.

Repress

The mysterious SNTS back with their fifth installment. SCENE 2, composed for four tracks with mental landscapes , percussions ,deep rhythms and some signals that are describing this wax. "As if she had a split personality, that person may be suffering bipolarity or fails to find herself".

Supported by: Oake, Teste, Rrose, Marcel Dettmann, Svreca, Zadig, Marcel Fengler, Norman Nodge, Tommy Four Seven, Antigone, Edit Select, Terence Fixmer, Kr!z (Token), Paula Temple, Manni Dee, Laurent Garnier, DVS1, Ben Gibson, Etapp Kyle, Alex.Do, Iori, Bas Mooy ,Giorgio Gigli , Takaaki Itoh, Rebekah, Dj Deep, Electric Indigo, Marco Zenker, Angel Molina, Juho Kusti, Go Hiyama, Deepbass,Thomas Hessler, NX1, Ryuji Takeuchi, J.Tijn ,Claudio PRC ,Ben Sims, Nihad Tule, Fanon Flowers, Samuli Kemppi, Adriana Lopez, Ness, Cio D'or, Chirs Liebing .

Two leaders from very different musical worlds, the innovative pianist Bruce Brubaker and scientist-now-electronic-artist Max Cooper collaborate to create this latest expression of music by Philip Glass and tell a story of diversity and vulnerability.

Commissioned by and introduced at the Paris Philharmonie in 2019, Glassforms melds the acoustic concert grand piano with synths and cutting-edge electronic production techniques to create a compelling album and a dynamic live experience.

Rather than just reworking or augmenting via traditional means, Max Cooper and Bruce Brubaker fundamentally rewire Glass’ forms in a manner that’s not possible with human composition tools. Max built a new system for musical expression through coding with software developer Alexander Randon, creating a tool for taking live data from the piano and transforming it into new but intimately related forms which drive his synths on stage.

The result is that each of the pieces by Glass becomes its own electronic “instrument,” an instrument Bruce plays in addition to, and simultaneously with the original piece. As Bruce plays the piano and controls synths with his playing, Max modulates and augments, sometimes adding his own melodies to form hybrid variants.

Grey Marbled Vinyl

Lossless Music is proud to present the first artist long player on our leftfield and experimental sub-label Exkursions from U.S based producer Mark Kloud.

Mark originally appeared on Dope Plates 005 alongside Sicknote and Scape with this jungle hybrid track 'Strength'. Following the general public and press response to his track, label boss Soul Intent suggested to Mark he produce an album following a similar vibe and feel to 'Strength'... and boy did Mark deliver.

Moonquake is a detailed and atmospheric journey into breakbeat and ambient, which Mark seems to do with ease. Each track tells it's own story and we couldn't be prouder to release Mark's first solo album.

Eye socket tickling outernational riddimz from the Manchester-based Alan Johnson.

Introducing Maes (Manchester UK) the newest crew member on Navy Cut. Serves up 3 cuts of hard hitting sub bass with complex percussion and packed with energy while retaining the original Dubstep sound.

It is possible that a deeply fickle Bryn Jones, who was never happy with remixes of Muslimgauze music apart from his own, might be with this one.
Extreme, an earlier Muslimgauze label, had a long history of remixing the material Bryn sent to them and this was the main reason for the artist to move to the staalplaat label.

It’s an interesting coincidence that Extreme hired Anders Peterson to remaster Muslimgauze for them. In the process of listening to masters and studying the music, the idea of a remix or ‘rework’ seemed an intuitive next step, reflects Peterson, “The remixes are based on various material from about 6 DAT tapes. I did not choose any specific tracks, rather sections and parts of all the recordings on those tapes. I did not seek to do a remix, it just grew up of that remastering project. I think I could not find any artist in any genre, anywhere, that would be more interesting to rework / remix than Muslimgauze, so I definitely feel very honored having been able to record these remixes.”

Musically, this release falls in line with the more deep spiritual, meditative, abstract side of Muslimgauze, which is often overlooked. The music remains timeless, the production as crisp as ever. Those familiar with the Muslimgauze oeuvre know this music is more than just a series of infectious rhythmic works. Rather a historical document, a musical commentary on the tumultuous times that inspired it; a reflection on the Iran/Iraq war, Operation Desert Storm, the Soviet invasion of and retreat from Afghanistan and the first Intifada. Anders Peterson brings the music of Muslimgauze and successfully found new ways to reveal the artistries from one of the 20th century’s more intriguing artists. Through circumstance, Staalplaat is to ensure that the remix project sees the light of day, now available on the evidently timeless medium of a vinyl record.”

Long-time Muslimgauze fans with keen eyes and/or photographic memories may immediately notice something about the newly unearthed Sadaams Children album; with some slight orthographic differences, it just about shares a name with a short track from the classic Narcotic (Staalplaat, 1997; the similarity and the difference is pretty much expected from someone who both liked to reuse names and didn’t care for consistency in spelling as Bryn Jones did). While none of the four lengthy tracks found on Sadaams Children actually sound like sparse, clean string sounds of Narcotic’s “Saddams Children”, three of them never previously heard extended versions of tracks previously found on that release – well, one is both an extended and truncated version, but such are the idiosyncrasies and joys of the ever-complex Muslimgauze oeuvre.

That extra-special track is the mighty, dubbed-out “Gulf Between Us”, which does appear on Narcotic as a brief palate cleanser but in the same year was also released by Staalplaat as a standalone track in its ultimate, 23-minute form. That sprawling version takes a rather circuitous route as subtle electronic elements wear away at the track; the more compact 10-minute version here instead dials up the bass wobble for a track that’s about as chilled as Muslimgauze ever gets.

“Believers of the Blind Sheik” and “Effendi” are slightly more straightforward, in that both are about twice as long as their Narcotic excerpts, with the former’s echoing drum hits and quiet pulse proving to be a natural fit with “Gulf Between Us” at the beginning of the release and the even sparser, slower building version of the latter seeing the album out in slightly abstract fashion. Before that track, however, there’s the previously unreleased and similarly lengthy (at nearly 17 minutes) “Trikrit Brotherhood Quartet”, the only track of the four here to get more of Jones’ traditional layers of instrumentation and distortion to form a track that seems to shimmer in the summer air like a mirage. As “Trikit Brotherhood Quartet” winds its way from roiling static to more of Jones’ classic use of hand percussion it’s clear that these extended editions make for another compelling look at Jones’ archives and the seemingly infinite flexibility of his muse.

Upsammy returns to Die Orakel for her second EP entitled Branches On Ice – four tracks full with crystal clear, multi-layered textures.

clocolan is Emlyn Ellis Addison, a South African artist now living in Providence, Rhode Island. Exploring themes of ontology and psychedelia, his is a music of imaginary futures—of neglected hinterlands and unconquered vastness lost in the background noise of human endeavor.

Addison’s 2017 album, Nothing Left To Abandon, examined the experience of memory while his new album, It’s Not Too Early For Each Other, examines a more pressing experience: the ecosystemic collapse. clocolan dotes once more on dusty melancholy and electronic psychedelia in his new album, pressing into darker territory and more visceral textures.

It’s Not Too Early For Each Other examines the looming inevitability of a future shaped by mankind's destruction of natural ecosystems—and its seeming inability to alter that course. This music is dedicated to the pariahs: the messengers who confront the murder of the ecosystem.

Emlyn was introduced to Colin Morrison at Castles in Space by Strictly Kev AKA DJ Food. It's proving to be an incredibly fruitful collaboration and a third clocolan long player is already delivered and undergoing mastering for future release on Castles in Space.

... Finding your soulmate is a rare and precious gift.
Even if one leaves this world-since souls don`t vanish-they remain in oneness …

After a run of amazing releases for the likes of Whites, Livity Sound, Delsin Forest Drive West steps up to R&S with an EP exploring 170bpm jungle.

Translation returns with the long-awaited Prints of You Remixes EP to continue the sonic exploration of its namesake, which marked Nuage's transition to house and bass music. Up first, veteran London-based outfit Blu Mar Ten deftly re-imagine the album's opening track Colors at a crisp 170 BPM, applying lush atmospherics, energetic breakbeats, and rolling basslines for an uplifting dancefloor vibe. Next, Nuage delves into experimental/postmodern drum & bass territory on his remix of Waterfalls, crafting an immersive, naturesque soundscape with a subdued percussive shuffle, twinkling keys, and bouncing 808 bass. Fellow Saint Petersburg based artist Bop applies his signature "Microfunk" sound to Overseas, juxtaposing crunchy lo-fi drums and glitchy FX with the uplifting house vocals and soothing synths of its predecessor. The Levels end things with a twist, re-imagining the melancholic Shining into an uplifting slice of future soul music with a textural, arpeggiated synth lead, bubbling 808 drums, and fresh verses from Alia Fresco that seamlessly blend into Veronique J's cello performance.

Following a string of bag-on-site releases on leading 140 labels White Peach, Pearly Whites and his own No More Mailouts, Sir Hiss debuts on K-LONE’s label Wych with a pair of fresh 140 anthems. WYCH004 sees his signature sound on full display and at its best: all driving subs, skittish beats and N64-indebted earworm melodies. The record closes with a hyper-melodic K-LONE remix.

Nous'klaer & RE:VIVE present two scores by Thessa Torsing (upsammy) and Tammo Hesselink. Torsing's is a 27-minute piece, composed for a collage of archival footage of the Dutch ship MS Oranje. The short film explores the lifecycle of the ship, from production to usage and to the fire that ultimately destroyed it. Hesselink's is a 17-minute piece for the pioneering short film, Ballet Mecanique (1924), a rigid composition of sharp notes and twisted drum patterns that hypnotically evolve accompanying the film's staccato rhythm.

Emotional Response is delighted to announce Foreign Affairs - a limited edition special remix 7-inch single featuring reworks from Alexis Georgopoulos & Jefre Cantu-Ledesma's "Fragments of A Season" album by Woo and Felicia Atkinson.

Last year's ""Fragments of A Season"" represented a unique chapter in both artist's canon. Georgopoulos, who released the Arp album "Zebra" in June this year and Cantu-Ledesma, who released "On The Echoing Green" in October 2017 - both on Mexican Summer and to critical acclaim - wanted to stretch out and create a discrete work. A peripheral listen to "Fragments" revealed a resonant album of delicate, ambient vignettes, suggesting a Balearic take on Vini Reilly, Young Marble Giants and other poetically-minded, minimalistic post-punk era bands.

The Brothers Ives aka Woo were a major influence on the album's makers and so AG and JCL are thrilled they've submitted a beautiful reworking of the album's "Marine". Whereas the original sounded like Marine Girls and The Gist getting together for a nice beach day jam, Woo's rework transforms it into pulsating track of glistening proportions. Percolating synths, some guitar and clarinet - the true classic, idiosyncratic Woo-ification - creates a woozy, romantic, impossible to categorize slice of Balearic meets dub atmospherics.

If "Marine" is all midday sun, intoxicating and potently optimistic, Atkinson's remake represents the literal and figurative flip, bringing out the overcast dreaminess to "Cleo". Sounding like an outtake from a Rohmer film, or perhaps Cocteau Twins and Broadcast having a picnic in Biarritz, the version veers between abstraction, celluloid ambiguity and suggested narrative. Atkinson's reworking adds poetry of the tune (quite literally!) with her soft vocal under-gliding to perfection. Representing a temporary idyll, a meeting point where cobblestone streets lead to the sea. At nightfall, a discotheque heard in the distance. The morning mist burns off. Only such memories remain.

An unearthed treasure from the 70's Italian Avant Garde archives. A previously unreleased recording from the legendary Beat72 club in Rome in 1973, featuring a One-Off Italian-American All-Star ensemble with Roberto Laneri founding member of the experimental vocal group Prima Materia, maverick American composer Alvin Curran co-founder of Musica Elettronica Viva, Trombone specialist Giancarlo Schiaffini from Gruppo di improvvisazione Nuova Consonanza, Cello virtuoso Frances Marie Uitti, close collaborator of the likes of J. Cage and G. Scelsi, Bassist Bruno Tommaso from the legendary Gruppo Romano Free Jazz and American composer Tony Ackerman from the obscure Suonosfera group. Highly creative music which defies categories and boundaries. A historical document.

Additional booklet contains extensive liner notes and photos.

Black Truffle are pleased to announce Undercurrent, the new LP from the long-running Milanese duo of Giuseppe Ielasi and Nicola Ratti. Following on from high-profile releases on Boomkat Editions and Shelter Press in the last few years, the eight untitled pieces making up Undercurrent continue the pair’s hypnotic and disorientating practice of improvisation based on tape loops. Often sitting halfway between electro-acoustic technique and beat-based production, the music of Bellows obliquely recalls aspects of hip-hop, dub, and techno while skewing their rhythmic foundations. While consistent with the distinctive language the duo have developed over the last decade, Undercurrent moves away from the explicit references made to club music in their recent releases. It presents a suite of pieces that are markedly more minimal, at times reminiscent in their haunted introspection of the legendary Tolerance records on Vanity Records. The pieces here often dwell for minutes at a time on single repeating tones, reverberating like distant bells in desolate landscapes of looped tape hiss. Where previous releases were primarily based on samples, Undercurrent uses recordings of the duo playing various instruments (guitar, drums, synthesizer) cut into tape loops and then used as the bases for song-length tracks, each of which establishes a central repeating motif while also opening up on close listening to reveal multitudes of improvised detail and subtle shifts in tone, texture, and tempo. Beginning with the mournful sliding tones and obscured fragments of field recordings on the opening track, the LP moves from lush synth pads to super-minimal pings and haunted drone. On ‘6’ and ‘7’, spacious, hanging guitar figures give the music an elegiac quality recalling the work of Dean Roberts and Ielasi’s own earlier guitar-based music (such as the classic Gesine, released on Häpna in 2005). The record subtly builds to its final track, which works the barest of elements – a slowed-tone loop of steel drums, a distant whistle, beeping electronics – into a piece somehow imbued with a quiet grandeur, a fitting conclusion to a record that, like all of the duo's work, is both sonically exploratory and immediately accessible.

Italy's Cristiano Deison enriches the experimental sound and noise art community with his releases and various collaborations (lately with JJohn Duncan, Gianluca Becuzzi and K.K.Null) for more than 20 years, but seems to be still undiscovered by too many listeners. "Substrata" collects three extremely crystalline and immersive drone pieces based on prepared tapes, metals, strings, wires and electronics... imagine a forest glade in moon-light with cold white sonic radiations, half-frozen calyx are clanging at each other, liquid metallic forms appear and disappear, hypnotic slow motion pulses suck you into.. "something"... these are incredible strong, deep and complex drone compositions, drones with the spirit of the "Noise Culture" - using "fragmentation, collage, arrangement and layers", as Germano-Chinese philosoph Lutz Schridde puts it. Sounds of elementary transformations, metamorphosis, and overcoming the usual sense of time:

"...where sounds are conceived as they are “excavated” from the earth beneath our feet “Terra Firma” (erosion) and then taking to the light (awakening); it describes its interior solid surface (“Prima Materia”), the primitive formless base of all matter similar to chaos, the quintessence or aether." - Cristiano Deison

First double on Sleepers Record from Manchester electronic music pioneer Eric Random.

Jeremie Mathes is a French field recording artist (known for some excellent CDs on Unfathomless) living in Cambodia since some years. For "Arkhaios" he combined cavernous object drones (recorded at an abandoned factory site) with various instrumental sounds from ancient Khmer instruments (Tro u, Khim), all highly processed. You get the impression as being under the earth in a place populated by metallic amoeba or other smallest creatures, inside sewerage ducts or an deserted mine, exposed to the circulation of air...

This is the spirituality of the underworlds! "Dissolving time, space, mangling sounds collected into a simulacrum of altered realities. A oneiric junction between the concrete world and other unknown territories." - Jeremie Mathes

Black Truffle is very proud to present Peaks by Australian cellist Judith Hamann, her debut release of electro-acoustic music. Known mostly for her live performance work with composers including Sarah Hennies, Yvette Janine Jackson, Alvin Lucier, Tashi Wada, and La Monte Young, here she steps away from the cello, moving into an intimate dreamscape woven from recordings gathered over years of itinerant touring.

Peaks is a work in two distinct parts, crossfading between different landscapes and apertures; from rooftop to church, from stasis to flares of momentary romanticism. Peaks considers summits as being both above and below, reframing the idea of apex from a more intimate perspective. Hamann considers how our domestic and personal geographies might form their own apogees, meridians, or nadirs.

Assembled in 2019 while an artist in residence in Krems, Austria, Peaks begins with Hamann’s more familiar cello but soon unravels into resonant electronic interiors; Southern California nightscapes heard through windows, San Francisco bathroom fans, snatches of recordings of friends, hand organs, and engines. signal/centinela draws primarily on recordings from Hamann’s time living in San Diego, and carries with it a certain sense of nostalgia in the sense of homesickness, longing, and displacement of distance and time. Side B is composed from recordings gathered on a different continent, Europe, weaving piano with recordings of sleep, breath, church organ, and the act of climbing. under/over emerges as it recedes, overlapping moments of arrival to create another kind of ‘spire’ in the sense of spir (breath). Peaks, with its omission of any recordings from Hamann’s home of Australia, hints at how the very construction of home itself, might be restless, untethered, changeable, and malleable.

On Peaks, Hamann interrogates tropes of ambient concrète musics, intentionally pivoting formally around material which teeters on the edge of cliche. This exploration asks whether familiar frames of harmony, field recordings and narrative trajectories can excavate new territories, or be ruptured. Peaks untangles a very personal sense of tension between beauty and shame in experimental music: treating lushness and harmony as possessing potentially muscular musical properties that might wrestle with or construct senses of belonging and home.

Forma by Lucy Railton, is a work that digs into us. It disorients us, plays with us, but without malice. It is like a nocturnal butterfly whose wings reflect a dark light, thus projecting fleeting hallucinations, which nevertheless persist on the surface of our retina. Its trajectories, too, are unpredictable. But such disorientation is not that of a chaotic space, it is rather a mysterious reason that presents itself to us, an imperious unfolding whose logic escapes us, but which nevertheless fascinates. It is also a history of shapes and their becomings. A story, also of their own vanishing.

Metabolist Meter (Foster, Cottin, Caetani and a Fly), by Max Eilbacher is a teeming piece, a matrix where textures and structures merge together, where the polyrhythmic instances become timbre, where the formal abstraction of the harmonic volutes coagulates around a vibrating form that is actualized in the dramatic reality of a dying fly. And this formal mastery is not disembodied in Max Eilbacher's work and the kaleidoscopic forms of the sound spectra that he has deployed know how to resonate in the sensations and experiences of each one.

These two pieces have this in common, but each with their own agenda, that they evolve with grace and inspiration in the vast domain of the sound world and it is a great pride for us to present them in this new collection.

Released in association with Editions Mego.
Coordination GRM: François Bonnet, Jules Négrier

Executive Production: Peter Rehberg

2x12"

Milan Zaks' latest solo effort is coming out on Help Recordings.

Six compositions pressed onto two pieces of vinyl.

Assume your position, plug in or put on, play and await what could be described as the midday rebooting of your mental-balance. This work has not just one function. But it functions nevertheless. How? Find the time to time the find.
No one else will do it for you

71 minutes with full-on daydream catalysing, consciousness examining, sonic explorations that will take you in, out, to and through.

Recorded and produced in the Safe Studios during December '18 - March '19

Distributed by Triple Vision

Artwork by DJ C

Composed as a means to map the cultural translation between Chinese culture and European traditions, Piotr Kurek’s A Sacrifice Shall Be Made / All The Wicked Scenes is comprised of pieces composed between 2016 and 2018 specifically to accompany theatre performances directed by Tian Gebing (500m and The Decalogue) and Grzegorz Jarzyna (Two Swords). Kurek attended performance rehearsals in Beijing and Shanghai, with additional preparations and recording sessions taking place back in Warsaw.

While most of Kurek’s past work is unaccompanied by other musicians or outside help, A Sacrifice Shall Be Made / All The Wicked Scenes features various Polish and Chinese musicians both from classical and experimental scene (Barbara Kinga Majewska, Grzegorz Hardej, Łukasz Rychlicki and Hubert Zemler) as well as by actors of Paper Tiger Theatre Studio from Beijing. This approach of Kurek exploring new players and places is further juxtaposed as Kurek recycled samples from his own past, including various recordings with musicians he did throughout years, found sounds from the Internet, or cannibalised old solo work.

Recorded over the course of several years, this aural report of a monumental multi-disciplinary venture is in the end an enthralled and enthralling survey of a contemporary composer who is unencumbered by geographic or cultural boundaries. Concurrently, ditching any resemblance to local musical traditions and rearranging the compositions for all three performances, Kurek has formed an architecture that allows the phases of rituals to unfold while projecting social structure assumed in myth making. The regrouping of different moments in these stories is a curious way of narrating another myth — a synthetic, polyvalent story set in a city that strangely reassembles Beijing, Giza, and Prague at the same time.

Piotr Kurek is a Warsaw based musician and composer who straddles the world of electronic music taking inspiration from various genres but fitting comfortably in none. Through his unconventional use of a wide array of instruments both electronic and acoustic, he built a reputation for himself as a qualified inventor of hypnotic worlds drenched in uncanny arrangements.

Kurek has already released a range of idiosyncratic, forward-thinking works on a variety of imprints (including but not limited to Sangoplasmo, Black Sweat Records, Hands In The Dark, Dunno Recordings, Crónica, Foxy Digitalis) and participated in numerous music festivals including Unsound, CTM, OFF, TodaysArt and UH Fest as well as participating in extensive tours in Poland and abroad. In 2014 and 2015 he opened for Bonnie “Prince” Billy’s two European mini-tours. In 2016 he has been selected as a part of Shape platform for innovative music and audiovisual art from Europe.

Following on from his sort of nihilistic but also maybe kind of apocalyptic Inherit The Earth LP (April 2017), Slugabed's Pandæmonium EP appears to be the result of him tumbling deeper into his own insides and nding some pretty hellish things. It has a nice front cover, painted by Parker S Jackson. Look him up on the internet!

Pandæmonium is the Capital City of Hell, according to John Milton's Epic Poem, Paradise Lost. It is all full of beasts and demons and stuff. It's AWFUL! But it's also very well designed (by an architect from Heaven, no less!) and fairly well-run. There's a nice John Martin painting of Satan, like, presiding at, um, the infernal council. It's based on Paradise Lost. This EP is about fallen Angels and stuff. Big, grand horridness. The devil in us all, or something. There's a track called Boney Horse.

There's some jazzy bits, sure. There's some noisy bits, yeah. Overall, a slightly unsettling atmosphere, okay! But it's also quite a beautiful lil record, and I'm hoping Slugabed has worked through some stuff and feels a bit better. Pandæmonium features two remixes from Sluga's sworn enemies, Kai Whiston & IGLOOGHOST respectively.

Repress!

Jacobus Derwort started exploring sonic soundscapes listening to his short-wave world receiver at the age of 12. There he would hear music from Africa, China, Japan, Indonesia, South America and beyond. He started playing guitar, piano, percussion and saxophone.

He met Hanyo van Oosterom in 1978 and they started the legendary cult rock band, 'The Jones'. Derwort was playing the sax, van Oosterom the drums. They started conducting sound experiments in Hanyo's small cellar in the Dutch village of
Krimpen aan den IJssel.

In the early eighties they made their first cassette, 'The Kallikatsou'. Hanyo started the ambient collective CHI in 1983. Jacobus was the first musician to join CHI. Together, they went to the magic rock 'The Kallikatsou' on the island of Patmos, Greece. Here, Hanyo had stayed for months in a cave for some deep soul-searching. He heard the sound of CHI in the silence of the night like a message from out of space. Being together at the Kallikatsou they shaped the foundation of CHI, making handmade flutes from local bamboo and conducting field recordings of water, crickets, owls, goats, wind, etc...

Back home they asked Willem Cramer to join CHI, and later Michel Banabila. They released a legendary ambient cassette, 'The Original Recordings', in 1983 which soon became a collectors item. CHI stopped in 1987 (and still now nobody knows exactly why). Willem Cramer and Michel Banabila started the world music collective 'East Meets West' in 1989. Hanyo and Jacobus kept recording ambient soundscapes.

Jacobus was working on his 'Bamboo' recordings. Hanyo recorded the first tracks for 'The Kallikatsou Experience'. Neither album was ever released. They returned a few times together to The Kallikatsou, but there the history seems to end...

A lethal coming together of two Metalheadz stalwarts in Total Science and Jubei makes up our fourth release of 2019. Between them they've conjured up a duo of first-class drum and bass cuts, both primed for the dancefloor and brimming with essential flavours.

The overlap between the organic and the synthetic is Vlad Dobrovolski’s stomping ground. Digitally organised sounds melt into squalling melodies that grow and stretch over and under each other like the fractal leaves of a fern, spiraling inwards and outwards into a tesseract of connective tissue. “The more carefully you listen, the more you hear,” explains the Russian-born sound artist. “No two moments are exactly alike in nature. The song is always changing. I find myself listening in ways I never have before. The scale of my perception has changed. Small, subtle sounds have become singular events. The space around me seems larger than I had realized.”

“Natursymphony No.1 — Spring Music” compiles fleeting waves of thought and feeling into sonic networks that embody the sinew shared by a sprawling forest, the patchwork quilt of human memory, or the post-organic logic of digital collage. Rays of rising sun and fresh air buoy this audio landscape, brimming as it is with synthetic tones and bitcrushed rhythms emerging from surrounding computer caverns. Field recordings are organized in harmony with processed acoustic instrumentation; gongs, flutes, and distorted percussive rhythms.

Probing our consciousness – or perhaps self and spatial awareness – propel forward the seven opuses of “Natursymphony No.1”, like the experience of an awakening itself. Stemming from an awakening of sorts for the artist himself, suddenly alivened in his ability to perceive his surroundings and create musical ecosystems, the nature to be found in this music is a parallel reality in miniature, with its own dusks and dawns, its own blossoming and extinctions, all delicately nurtured by an artist stumbling into a creator role.

Over two decades, Vlad has explored improvised and generative music, sonic collage, and released solo music under a variety of monikers and in various collaborative projects — such as his cassette tape soundscaping duo with Vasiliy Stepanov, S A D. The “Natursymphony” series comes following his personal landmark album, “Non-Deterministic Polynomial Poems” (Klammklang). Vlad has also participated in residencies and performances throughout both Russia and Japan.

Oh Yeah!!! Sound So Fierce is back after 3 years without release!

This label is a bomb and this 7'' shows us that true!

Big jungle, fat sound, 2 tracks to kill dancefloor!

Must Have!

Mit dem 6-Tracker „Desire EP“ kehren Bob Moses zu ihren ursprünglichen Club-Wurzeln zurück!

Mit „Desire“ kehren Bob Moses zu ihren ursprünglichen Club-Wurzeln zurück. Eine prägende Zeit, in der sie ihre frühen Singles auf dem einflussreichen NYC-basierten Label Scissor & Thread veröffentlichten und in Clubs und Warehouses spielten.
Die Lead-Single "Desire" ist eine Zusammenarbeit mit dem Grammy-nominierten Produzenten ZHU. Die EP wurde von Mark Ralph (Daniel Avery, Dusky, Hot Chip, Georgia, etc.) abgemischt und soll als ein kontinuierlicher DJ Mix erlebt werden.

Current Worldwide events show how some of us are full of hate.Cruelty, Anger, Violence and Greed control the minds of those seeking fulfilment from external sources. Hoping to feed their longings with possessions and power... and to me, this is THE IDEA OF THE DEVIL!" - Bukez Finezt 2020

Freakish Synthetic Oddity from pervert teenagers living in the remote countryside of our beautiful France.

Four studio jams of futuristic and unpretentious contemporary dance music from N.F.O & Delta Rain Dance. Heavy on the low-end, easy on the wallet. Hypno vibes included. Knaller!

it's been a while since we decided to open and launch this new project, we were just waiting for the right moment, and maybe we waited too long. or maybe not. we were a little stucked by the indecision of when to put it out, how to contextualize, and all the usual "psychological" practices that one faces before starting a new journey. but ever since we received the masters of this wonderful concentrate of different minds, we have been looking forward to smashing it out. and whether it's the real right time or not, it's now finally here! the true meaning behind this capsule is not so definable in words, perhaps because it is an attempt to look back and forth at the same time, without getting lost in a one concrete definition. but when we got to the tracks, first individually, and then together, it came spontaneous to glimpse something new and unconventional as a whole. we are therefore proud to present another of our musical journeys, this time in certainly more experimental and odd territories. the sounds you hear can definitely be taken as the true manifesto of this new chapter. proto? post? everything in between. ENTER >

Abstrakt Sonance makes his return to Aufect for the labels's first 12" release in a decade! Enlisting the likes of Crowell and legendary Grime MC, Killa P on the title cut "New Style", together they deliver a smackdown with a skippy Grime-Dubstep hybrid banger in a mood fitting for the status quo.

Label owners Greazus step up to flip "New Style" with a remix leaning heavy on 808's and an infectiously animated piano-esque hook.

"Lay It On" turns up the vibes and dips into R&B vocals chops and loose drums that seem to be melting into each other.

Fans of deep, heavy Dubstep will love "Squad Up". This one is meant to push soundsystems - minimal dubby chords, deep dubs, rolling drums, nuff said.

Impressing the next set of colossal armaments onto wax, 'Order / The Mould' introduces a multitude of esteemed producers from London's musical melting pot to the high-grade Sentry artist roster. Fusing the sounds of bass music heavyweight Boylan and the enigmatic Logos, Slimzee the Grime visionary and co-founder of Rinse FM as well as the trio of veteran producers USF top off this epic collaboration. Following up on the latest anthem with Killa P and Long Range on the microphone and the label boss Youngsta himself on the controls, the 14th vinyl release of the esteemed UK imprint once again demonstrates its eminent value.

An exemplary no-holds-barred sound system eclipse, 'Order' kicks off with granular foley and restrained percussive ambience, invoking the impending militant pressure excursions with haunting precision. As the mammoth bassline unloads onto your listeners with unbridled might and the full force of the law, the ensuing staccato pressure artillery leaves no headroom behind - dance floor levitation at its finest. Witnessing the B-Side, 'The Mould' incorporates meticulous breaks alongside the scattered percussion and thunderous bassline foundation, not for the faint of heart. Two murderous sound system cuts, primed and ready for the dance.

Veteran NYC based Scottish electronic musician Drew McDowall's latest work is his loftiest, most liturgical, and least industrial outing to date —and potentially the apex of his recent discography.Named after an ancient Greek word for votive offering, Agalmaexudes a hooded, devotional aura, creaking and keeling under vast rafters of stone, stained glass, and shredded wires. It's a music of majesty and mystery but also modernity, McDowall's refined modular system shape-shifting strings, piano, pipe organ, and choral masses into disorienting synthetic mirages of the sacred. He cites the intersection of “joy, terror, and the elegiac” as a centering inspiration –or, phrased more bluntly, “that 'what the fuck is going on' feeling.”



As a career collaborator himself, with stints in Coil, Psychic TV, and countless other shorter-lived partnerships, it's telling that McDowall chose this project to gather such an impressive spectrum of peers. Italian synthesist Caterina Barbieri, American drone organist Kali Malone, prolific multi-instrumentalistRobert Aiki Aubrey Lowe, operatic Humanbeast vocalist Maralie Armstrong-Rial, Saudi producer MSYLMA, and warped futurist beat-makers Bashar Suleiman and Elvin Brandhi cameo across the album's 42 minutes, contouring McDowall's nuanced negative spaces with shudders, shadows, and shivering flickers of serenity. Each of them shines in their spotlight, elevating these elusive alchemical states into surreal revelations of texture and transcendence.



McDowall's original working title for the record is revealing: Ritual Music.He speaks of his creative practice in ceremonial terms, negating binaries by seeking the middle path to anuminousequilibrium that erases the distinction between the inner and outer worlds.These compositions feel similarly processional and intuitive, at the crossroads of holiness and hallucination, the sacred vertigo of yawning naves rising into untouchable night skies. It's a vision of industrial music as enigma and invocation, cryptic hymnals of shroudedbeautysummoned in catacombs and crumbling cathedrals.



Despite its depths, Agalmais also an album of immediacy and emotion. Celestial laments of and for times of unrest and suffering. McDowall characterizes his initial intention for this music as an to attempt to convey experiences he felt incapable of putting into words: “To try and approach sublimity, or at least acknowledge it in some way.”Agalmamore than acknowledges the ineffable –it embodies it.

Veteran NYC based Scottish electronic musician Drew McDowall's latest work is his loftiest, most liturgical, and least industrial outing to date —and potentially the apex of his recent discography.Named after an ancient Greek word for votive offering, Agalmaexudes a hooded, devotional aura, creaking and keeling under vast rafters of stone, stained glass, and shredded wires. It's a music of majesty and mystery but also modernity, McDowall's refined modular system shape-shifting strings, piano, pipe organ, and choral masses into disorienting synthetic mirages of the sacred. He cites the intersection of “joy, terror, and the elegiac” as a centering inspiration –or, phrased more bluntly, “that 'what the fuck is going on' feeling.”



As a career collaborator himself, with stints in Coil, Psychic TV, and countless other shorter-lived partnerships, it's telling that McDowall chose this project to gather such an impressive spectrum of peers. Italian synthesist Caterina Barbieri, American drone organist Kali Malone, prolific multi-instrumentalistRobert Aiki Aubrey Lowe, operatic Humanbeast vocalist Maralie Armstrong-Rial, Saudi producer MSYLMA, and warped futurist beat-makers Bashar Suleiman and Elvin Brandhi cameo across the album's 42 minutes, contouring McDowall's nuanced negative spaces with shudders, shadows, and shivering flickers of serenity. Each of them shines in their spotlight, elevating these elusive alchemical states into surreal revelations of texture and transcendence.



McDowall's original working title for the record is revealing: Ritual Music.He speaks of his creative practice in ceremonial terms, negating binaries by seeking the middle path to anuminousequilibrium that erases the distinction between the inner and outer worlds.These compositions feel similarly processional and intuitive, at the crossroads of holiness and hallucination, the sacred vertigo of yawning naves rising into untouchable night skies. It's a vision of industrial music as enigma and invocation, cryptic hymnals of shroudedbeautysummoned in catacombs and crumbling cathedrals.



Despite its depths, Agalmais also an album of immediacy and emotion. Celestial laments of and for times of unrest and suffering. McDowall characterizes his initial intention for this music as an to attempt to convey experiences he felt incapable of putting into words: “To try and approach sublimity, or at least acknowledge it in some way.”Agalmamore than acknowledges the ineffable –it embodies it.

Seven unreleased tracks meticulously chosen from the Schrock archive crossing and blending multiple genres from electro, wave, kosmiche and new age by Dallas analog synthesist Jake Schrock. With a literal arsenal of vintage equipment, Jake forges a wonderful, almost 80s soundtrack vibe with deep emotive washes and playful and gentle classic drum machine patterns and beats. all mastered by Martin Bowes. Original art by Telepath Design.

* Lemon D steps up to deliver two unreleased cuts from the archives for the second instalment of the ‘Legends’ series on V. This series aims to source some of the finest unreleased gems from some of D&B’s most well-known and established artist that never saw the light of day, and press them up for the world to hear.

* ‘Wu Tang’ has been doing the rounds on various message boards and D&B group chats for years, possibly cut from an old Kiss FM show from the mid-90s. It recently had new light shone on it by the D&B producer Serum who called it out as one of his favourite unreleased tracks from this era. Sounding as fresh as the day it was made ‘Wu Tang’ is a classic, rolling, dancefloor steppa, simple but deadly, and complete with some iconic Wu Tang samples!

* On the flip ‘The Lost Dub Mix’ brings a real tearout vibe to proceedings, with a deep warm bassline, on top of some tearing Lemon D drums. This one twists and turns and is an essential pieces of Lemon D history!

* As part of the legendary Valve Soundsystem alongside Dillinja, Lemon D forged his own path in Jungle D&B, and is responsible for a plethora of iconic tracks from the 90s and 2000s. On V alone the seminal ‘I Can’t Stop’ secured his place in D&B folk law, but as well as that there are countless genre defining, and bending cuts that mean the status of ‘Legend’ is richly deserved!

* The second part in this vinyl series, with more legends waiting in the wings. These are an absolute essential for vinyl collectors.

Suction Records presents the first new album since 2014 by the legendary, and somewhat underrated electronic project of Mark Van Hoen, Locust. The album is called "The Plaintive". When Suction was formed in 1997, we were deeply enthralled with the UK “listening” electronic scene, otherwise known as electronica or IDM, but besides the obvious icons - Aphex Twin, Autechre, and other luminaries of labels like Rephlex, Warp, and Skam Records - one of our heroes was the lesser known Locust, whose productions were murkier, more hypnotic, and deeply organic sounding. Those early Locust records - released via R&S/Apollo Records - were, and have remained, firm favourites. Pouring through the Locust album liner notes back in the ‘90s, it was the first time we’d ever read of a “techno” artist using modular synthesizers to make modern music.

Earlier this year, Locust released “The Plaintive” as a 15-track CD/digital album, part of Touched Music’s “Touched By Silence” boxset, and the CD was sold out in a matter of hours. Having heard Locust’s contribution to the set, we were immediately smitten with the material, which sounded very much unlike the Locust of old, yet absolutely complimentary to Van Hoen’s murky, analog-synth past. Produced intermittently over a 5-year period, the tracks were created with a largely-digital eurorack modular system, alongside a selection of analog synthesizers, notably a newly-acquired Prophet 12 polysynth. While tracks like “If You Knew” and “Out Here” are reminiscent of classic Locust, much of “The Plaintive” shows us a new side to Locust - melodic, playful, and melancholic, with clear nods to the melodic electronic sounds of early pioneers like Cluster, early-Kraftwerk, or even OMD’s late-70s output.

For Suction’s vinyl release of “The Plaintive”, we’ve chosen 10 highlights from the original 15-track digital release, housed in a stunning The Designers Republic LP jacket, and limited to 500 copies.

Suction Records presents the first new album since 2014 by the legendary, and somewhat underrated electronic project of Mark Van Hoen, Locust. The album is called "The Plaintive". When Suction was formed in 1997, we were deeply enthralled with the UK “listening” electronic scene, otherwise known as electronica or IDM, but besides the obvious icons - Aphex Twin, Autechre, and other luminaries of labels like Rephlex, Warp, and Skam Records - one of our heroes was the lesser known Locust, whose productions were murkier, more hypnotic, and deeply organic sounding. Those early Locust records - released via R&S/Apollo Records - were, and have remained, firm favourites. Pouring through the Locust album liner notes back in the ‘90s, it was the first time we’d ever read of a “techno” artist using modular synthesizers to make modern music.

Earlier this year, Locust released “The Plaintive” as a 15-track CD/digital album, part of Touched Music’s “Touched By Silence” boxset, and the CD was sold out in a matter of hours. Having heard Locust’s contribution to the set, we were immediately smitten with the material, which sounded very much unlike the Locust of old, yet absolutely complimentary to Van Hoen’s murky, analog-synth past. Produced intermittently over a 5-year period, the tracks were created with a largely-digital eurorack modular system, alongside a selection of analog synthesizers, notably a newly-acquired Prophet 12 polysynth. While tracks like “If You Knew” and “Out Here” are reminiscent of classic Locust, much of “The Plaintive” shows us a new side to Locust - melodic, playful, and melancholic, with clear nods to the melodic electronic sounds of early pioneers like Cluster, early-Kraftwerk, or even OMD’s late-70s output.

For Suction’s vinyl release of “The Plaintive”, we’ve chosen 10 highlights from the original 15-track digital release, housed in a stunning The Designers Republic LP jacket, and limited to 500 copies.

After his debut album for Discrepant (Papillon, 2013) and a couple of tapes for Dinzu Artefacts (Aqueducts, 2017) and Sucata tapes (Cercueill Flottant, 2019) Papillon aka Gonçalo F. Cardoso returns to the wax treatment for one last hurrah into the depths of tropical disquiet.

Taking liberties from Henri Charriere’s book sequel of the same name, Banco, the audio reader here dives straight up/down into a world of random dream logic. The same themes of Nightmare vs paradisiac dreams are present here yet with more nuance than the first volume. The adventure here is more subdued, less spiritual as most of it is lived outdoors, free from the states shackles of abuse. A lighter tone then, for what will probably be the last Papillon adventure. As with the first volume the album counts with contributions from fellow label artists, Mike Cooper, Cédric Stevens, David Daan and Yannick Dauby all feature in a way or another, raw or cooked into a boiling pot of irreverence.

All tracks were composed and edited by Gonçalo F Cardoso in the island of La Gomera, Lisbon and London between 2017-2019.

Composed & Performed by Gonçalo F. Cardoso with guest appearances by Mike Cooper, Yannick Dauby, David Naan and Cedric Stevens*

Special vinyl one time pressing to 300 copies
Mastered by Rashad Becker

2x12"

* First part of the Find Your Darkness vinyl edition, the latest album by Dark Drum & Bass / Techstep pioneer Mark Caro pka Technical Itch. Three 2 x 12" parts in total featuring exclusive vinyl only extended versions. Two bonus vinyl only tracks will be featuring on part 3:3.

* For many this will be a continuation of the now classic Diagnostics album released by the legendary Moving Shadow label in 1999. Deep dark and heavy analog production that Tech Itch is known for.

Classic Symptoms 11’ is a revival of the acclaimed series which gives drum & bass lovers, old and new, the chance to dig deep inside the NHS archive. Rebeginning in 2020, with each instalment of ‘Classic Symptoms’ focussing on a select era of the Hospital Records back catalogue, to discover and bring together hidden gems from the label’s discography. With CS11 get ready for a contemporary history lesson on the years of 2011-2013, featuring Etherwood, Camo & Krooked, Nu:Logic and S.P.Y. Each edition of ‘Classic Symptoms’ will be pressed in extremely limited vinyl runs, making them the ultimate collectors item for any Hospital aficionado.

Kicking off ‘Classic Symptoms 11’ is the singalong drum & bass ballad ‘Spoken (feat. Rocky Nti)’ by Etherwood. Originally released on his self-titled debut album on Med School in 2013, by popular demand the track soon found its way onto several Hospital Records compilation albums including ‘Fast Soul Music’, ‘Hospital: We Are 18’ and ‘Hospitality Drum & Bass 2013’. Camo & Krooked’s legendary ‘All Night’ follows, taking a turn for the minimal yet melodic avenues
of drum & bass. Taken from their third studio album with Hospital Records - ‘Zeitgeist’, immaculate sound design and timeless elements of musicality have ensured that the track still hits just as hard today.
Flipping over to the B-side you’ll find Nu:Logic’s instantly recognisable Hospital anthem ‘Everlasting Days (feat. Lifford)’. Ever since its entrance to the world of D+B through Nu:Logic’s debut album ‘What I’ve Always Waited For’, right to this day, ‘Everlasting Days (feat. Lifford)’ has been drawn for countless times by showstopping DJs around the world including Wilkinson, Netsky, DJ Marky and Friction. The reminiscently inspired sounds of the Korg M1 play distinctive synth lines which pair seamlessly with the entrancing vocals of Lifford, making this one of the most remarkable pieces of modern drum & bass. Last but by no means least is the Brazilian breaks mastermind S.P.Y with ‘One Last Quest’, initially snapped up for the first edition of ‘Hospitality Summer Drum & Bass’ back in 2013. Consisting of sultry piano chord progressions and a sincere bassline, sublime tones of liquid soulfulness are the perfect way to round off such an iconic selection of tracks.

-LTD. PEARLESCENT BRONZE VINYL-

Limited edition Pearlescent Bronze colored vinyl, edition of 1,000 copies. William Basinski's reputation as the foremost producer of profound meditations on death and decay has long been established, but on his new album, Lamentations, he transforms operatic tragedy into abyssal beauty. More than any other work since The Disintegration Loops, there is an ominous grief throughout the album, and that sense of loss lingers like an emotional vapor. Captured and constructed from tape loops and studies from Basinski's archives - dating back to 1979 - Lamentations is over forty years of mournful sighs meticulously crafted into songs. They are shaped by the inevitable passage of time and the indisputable collapsing of space - and their collective resonance is infinite and eternal.

Under the pseudonyms 4 A.M. and Beat Per Bar, Lupos Sobre-Vega released two eccentric 12”s, of what, in retrospect, can be called vernacular house music. Both records are individualistic collisions of New Wave, Bass, Freestyle, Hi-NRG, Acid, and Sample House recorded in Sobre-Vega’s home studio in Orange County, Los Angeles. Using a Yamaha QX-5, Roland S-50, his mom's Roland Juno 60, EMU drum machines, and Yamaha DX-7, he put his nascent jazz chops to use and laid down the idiosyncratic dance tracks that he would self-release on his own label, House Hold Records, in 1988 and 1989 respectively. Although both 12”s were credited to groups, Sobre-Vega confirms that “the so-called band members were club friends. A couple were models and actors, or just plain good ol’ dancers. They were strategically picked by me, of course. So yeah, 4 A.M. and BEAT PER BAR are 300% me. There is no other.”

Despite working within the confines of dance music’s ready-made rhythms, Sobre-Vega’s sensitivity transcends the inarticulate 4/4 beat - vulnerable, idealistic and yearning. The timeless themes on the records reveal his youthful worries about money, intimacy, love and sex. Looking back at dance music history, it is luminaries such as Arthur Russell, Sylvester, Grace Jones, Theo Parrish, and Larry Heard, that stand out as enduring visionaries that transcended stylistic trends. Mixed Signals is proud to illuminate Sobre-Vega’s work in the constellation of dance music’s radical dreamers with this EP comprised of two songs from each his scarce and singular 12”s

Runden is a collaboration by Martin Brugger (bass) and Simon Popp (drums), both of contemporary Jazz quintet Fazer, and neo-classical pianist Carlos Cipa. Their debut LP is a conceptual record reflecting on Minimal Music, Afrobeat, and Dub Techno of the late 90s/early 2000s.
While Cipa's solo works build on clear harmonies, for the recordings of Runden he prepared the piano to make it sound like a faintly tonal percussion instrument and his mechanical patterns contrast the syncopated drum grooves of Popp and the deep and sparse basslines of Brugger.
The musicians explore, over the course of seven tracks, the concept of circular music. Each piece is based on a four-bar-motif played in a loop and varied subtly but steadily over time, creating a sense of eternal recurrence and timelessness.
This makes Runden a meditative but demanding record, that only grows with every listen.

Kurz nach dem Neuwerk "Civic Jams" (u.a. "Album der Woche" bei ByteFM) legt das britische Duo Darkstar eine fantastische Remix-EP vor. Darauf transformiert der katalanische Top-Produzent John Talabot den Keytrack "Wolf" in einen Clubhit mit leichterem Touch, während Loraine James (Hyperdub) eine atemberaubend-spooky Dancefloor-Hymne vorlegt. Der zweite Keytrack "Jam" wird von Horsepower Productions (Tempa) mit 1990er Garage-Snippets im Tempo beschleunigt, während Dwayne Parris (Idle Hands) seinen Dubstep in spacige Weiten auflöst. Talabots finaler Dub dagegen ist eine düstere Post-Punk-Abstraktion als Kontrastpunkt zum Ausklang.

Vinyl only Repress

Exalt Records drop a special white label featuring the premiere track from the mysterious Shadow Acid. Timescape is very much the sound of now; merging deep space acid and 90s breakbeat techno with subtle references to past and future classics in one deadly 7-minute hit.

Shadow Acid's ultra-contemporary approach to production is almost spiritual, with the producer behind the moniker primed to unleash a slew of records this year including a 2x12" for Exalt Records in November.

Gosha Hniu - objects, toys, percussion, cries and whispers, marching band kazoo
Ran Nahmias - silent cello, theremin
Maya Pik - synths, melodica, rocking chair, flute (3)
Grundik Kasyansky - feedback synthesizer, objects
Amos Ungar - dulcimer, sampler
Tom Wheatley - double bass (1, 2, 6, 7)
Lior Lerman - cries and whispers (1, 5, 6)
Maria Blatstein - piano (2, 5)
Andrea Serafino - drums (1)
Yoni Silver - bass clarinet (1)
Radio interference (7) by Jonathan Shohet and Matthias Moos

Recorded in Cafe Oto Project Space in October 2017. Additional recordings throughout 2017-2019 in Givat Ha-Irusim, Israel and London, UK.

Artwork and inspiration by Danil Gertman. Lyrics are based on the poems by Arthur Molev. Recording, mix, mastering, design & production by Hniu.

Hugs to Ira Gluzman, Tsip Nahmias, David Pye, Zhenya Shmuter, Andrei Yusov, Tony Harris, Luba Tounkoun, Nigel Bewley, Artur Vidal, Joe Murray and Lee Etherington

Yosh steps up on Vivid 01. 4 killer tracks for the floor. Rewind

Noodles Groove chronicles & Dubchild release the Myron refixes, after numerous bootlegs & sampling of this classic uk garage track.

Taking it right back to where it all began, Ministry of Sound’s Origins series charts a selection of pioneering records responsible for shaping the sound of modern-day dance music. Jumping back into an era where the amen break could be heard loud on sound systems at raves across the UK. This 2x LP release goes into the origins of Jungle, and the key records that influenced the sound. Featuring Goldie, M-Beat Feat. General Levy, Roni Size &Reprazent, Adam F., Conquering Lion, Urban Shakedown Feat. D.BO General, The Ganja Kru, Aladdin Feat. Aphrodite, Nasty Habits, Noise Factory, Aphrodite & Micky Finn.

The Bit is the second recorded collaboration between Aidan Baker (Nadja / Hypnodrone Ensemble), Simon Goff (Jóhann Johannsson / Hildur Gudnadottir) and Thor Harris (Swans, Shearwater, Thor & Friends).

Following on from 2017’s Noplace album, The Bit treads a similar path in terms of the recording process as the trio spent a day improvising at Voxton Studios in Berlin whilst on a European tour. The result was then edited and moulded into six hypnotic tracks that ebb and flow with beauty and ease.

The Bit finds the trio painting with a lighter touch than on its predecessor. Thor Harris’ motorik beats still underpin the music but the atmospherics take a more prominent role and there is a pure and cohesive path to be found throughout the record. Much like on Noplace, Baker’s guitar and Goff’s violin weave together beautifully, forming a deep bed of melody, ambience and reverb.

Given the trios credentials it’s not surprising they have created another immersive and stunning record.

Consisting of Dennis White, Charlie May, and Dave Gardner, Quiet Places is a new project by the UK producers focusing on vivid and wide-screen journeys. Between the three, their production roots go deep into some of electronic music's most important outputs of the last few decades. Be it performing live as part of Sasha's recent Refracted shows, their own individual projects such as Spooky, Sentre and Cosmonauts or remixing the likes of M83, The XX, Thom Yorke, Little Dragon or Elizabeth Fraser, they are no strangers to electronica.

Swedish producer Shielding lands on Facta and K-LONE’s Wisdom Teeth imprint with an extended collection of hazy dub techno, drone and downtempo. With previous releases on Kimochi and Leif’s UntilMyHeartStops imprint (as Okänd Konstnär), ‘Collecting Seaweed’ is the artist’s fullest body of work to date, comprising six tracks cherrypicked from a vast set of recordings produced over the last two years. The record’s pulse recalls Basic Channel and the clicks-n-cuts of Jan Jelinek and SND, but its textures are loose and painterly. Looping, pulsating textures sprawl out to create rejuvenating, emotive soundscapes. Patterns repeat, but no two strokes are the same.

Heavy Psych Sounds is really proud to announce a brand new series of split albums that will be called DOOM SESSIONS. We are going to release a bunch of compilations with doom bands from Heavy Psych Sounds roster featuring some of the heaviest bands of the world doom scene. Each volume will host two bands. This record you are holding is VOL. 2 - a split album with our heavy doom bands 1782 and Acid Mammoth. 1782 is premiering three brand new tracks "Bloody Ritual", "Hey Satan" and "Witch Death Cult". Acid Mammoth is releaasing three new tracks too: "Black Wedding", "Sleepless Malice" and "Cosmic Pyres".

Transversales Disques is very glad to announce the release of Nuits Blanches au
Studio 116, unreleased rarities from Ariel Kalma’s personal archives recorded in the
legendary GRM’s Studio 116 during the 70’s.
Born and raised in Paris, Ariel Kalma started playing the recorder and saxophone as a
youth. After successive studies of Computer Science, Music and Art in Paris he performed
in various concerts from middle-age music to free jazz duo. Ariel performed and recorded
with several bands (J. Higelin, R. Pinhas, NYL, G. Scornic, Baden Powell…).
After learning circular breathing on soprano sax, Ariel could include those endless notes
into his own long-delay-effect system, dual Revox set-up and two tape machines “chained”
together to form a long delay system.
In France during the mid-1970s, Kalma was staffed as a recording assistant at legendary
Groupe de Recherches Musicales (INA GRM) studios, where Ariel recorded some of his
compositions in the Studio 116; the same music “concrete” laboratory that spawned
masterpieces by members Luc Ferrari, Bernard Parmegiani…

**LIMITED REPRESS**

An Exact Science is a fantasy of long time ASC fans have had for many years (ourselves included) come to life with results that surpass our imagined results.

For his first release on Cantina Cuts, this 4 track EP from DJ Jedi features two brand new hardcore tracks, plus two exclusive jungle remixes by Deluxe and DUG.

Just like his previous When Darkness Turns To Light EP (TMR010) Trax brings three different flavours of DnB/Jungle to this 3 track EP.

Support from: Double-O, Paradox, 2 Bad Mice, Equinox, Nookie, Foul Play, Enjoy, Threshold, Monita, Harmony, Ant-TC1, Meditator, Greenleaf.

A sort of slowly unfurling raga that plays tricks on your sense of depth and temporal perception, this stunning new album from long-string instrument master Ellen Fullman and cellist Theresa Wong has sent us into a light hypnotic trance with its slowly shifting tonal formations. Rarely is drone music so full of quietly cosmic eruptions - everything stays the same // nothing stays the same - pure aural alchemy.For the uninitiated - Fullman’s instrument consists of 70-foot-long metallic wires, anchored by a wooden resonator, across which she moves backwards and forwards with rosin-covered fingers to create an effect that’s been compared to the experience of standing inside an enormous grand piano. Developed in 1981, Fullman was in search of tonalities that couldn’t be achieved with traditional instruments - and her massively cumbersome instrument has been utilised to that effect ever since.
On Harbors, Inspired by the foggy San Francisco Bay, she’s joined by Cellist Theresa Wong to create elliptical tonal changes and anxiously resonant dissonance that feel like being stranded at the end of the earth. Wong is a Mills College alumnus who has developed highly individual playing techniques that take the cello into areas more closely rooted in the sounds of the natural world, always with a kind of theatrical dexterity.
Split into three movements, the piece is anchored by Fullman’s transfixing and slowly shifting drone, cut and overplayed with an orchestration of aberrant melodies and glistening atmospheres that are shimmering with life. It’s a fascinating addition to Fullman’s catalogue - at once disciplined but also quietly delirious in a way that’s pretty much impossible to describe. Anyway, there’s a video online of the pair of them checking test pressings of this album, gently swaying to the music. You can almost sense them both getting lost in their own mythical dimensions.

We're delighted to be able to welcome Scientific Wax head-honcho Equinox to 7th Storey Recollective, bringing with him three previously unreleased cuts from his 90's archives.

As one of the most respected DJ's and producers in Jungle & Drum n Bass, Equinox needs little introduction to those in the know, with a slew of releases spanning well over 25 years on Brain Records, Paradox Music, Inperspective Records, Bassbin, 8205 Recordings and his own Scientific Wax and off-shoot imprints to name just a few.

Fundamental Records' electro music project called ''Electric Eclectics'' does not end with the monster release of 21 vinyl records in a wooden box (with tracks from Arpanet, Cygnus, Carl Finlow, Cignol, Jensen Interceptor and Microlith to name a few), but comes with the additional ''Ghost Series'', that literally fit perfectly in the remaining space of the ''Electric Eclectics'' box. Each record is a picture of the electro music released in the line that Fundamental Records has us accustomed, each sleeve silkscreen printed by hand in the same color of the vinyl record. Talk about the music itself is something that Fundamental Records try to avoid in each release, if you want to know why you only have to check the project Music for The Other People Place to find out more about their philosophy.

Ola Bergman with a impressive album under his alias "Obergman". 8 tracks of perfectly executed acid and electro bombs. Limited pressing of 200 copies..

EP00001 is the first audio release from Matteo Zamagni's Seven Orbits project. 5 original tracks including a collaboration with Nervous Horizon's TSVI, plus remixes from 33EMYBW, Gooooose and Zaliva-D. Seven orbits is an audiovisual performance designed for immersive sensory experiences. It plays with the senses through vibration, light and sound to induce potential altered states with an emphasis on the transcendental and animistic connection with the natural world and the divine as can be found in past and present rituals around the world. The softwares used to create the experience communicate with each other so that the sound, played live on DAW, drive the real-time graphics as well as physical live elements; Further control of the experience is also achieved by using external physical interfaces.