Beats News

When one considers the American post-rock bands that emerged at the outset of what would become the modern era of the genre, the moment when a once fringe experimental form transitioned into a recognized faction of contemporary alternative music, there are only several still active today. Salt Lake City's I Hear Sirens are a member of that circle, having released their debut EP in 2007, followed by two LPs including 2013's Between Consciousness and Sleep, an album that has achieved a place of high regard with fans. However, the moment of their greatest acclaim has since stood as their culminating statement. But now their highly anticipated new record Stella Mori marks the continuation of their inspired exploration into instrumental music and its power to foster emotional release, invite reflection, reward vulnerability, and become the artistic abstraction of a limitless number of interpretations for each individual listener.

We are extremely excited to bring you this first album from French composer/pianist, Julien Boulier, entitled, "A Film Not Yet Made". Just as the title suggests, the nine cinematically indicative and modern classically influenced tracks on this record will indeed transport you into a mysterious celluloid fantasy of sorts...of places and people not yet filmed, of emotions not yet brought to the inner screens of your mind. At times ethereal, and at others dramatic...the piano and other instrumentations ebb and flow in a filmic stream of beautiful dreams and imagery...fairytale like...windswept...romantic...and ultimately grandiose and life affirming. Put this music on and begin filming...!

Kicking Ragga Jungle

Dematerialisation du son.


LTD 300 - Printed Sleeve - Sticker

The third, and final part, of Luke Vibert’s entertaining and infectious cavort through some of dance music’s key motifs, delivers a singular collection of tracks that the creator defines as Rave Hop.

‘Luke Vibert presents Rave Hop’ finds the British producer and musical trail blazer kick back on a bunch of lazy hip hop breaks and breezy samples. Soulful vocals, suave raps and buoyant riffs are expertly infused with dope as fuck beats and booming basslines.

‘Rave Hop’ concludes Vibert’s trilogy of albums for Hypercolour that has gifted us absorbing musical dispatches from the breakbeat and rave frontlines. With an enviable recording career that has taken in countless projects for labels like Ninja Tune, Warp, Planet Mu and Rephlex, Luke Vibert still holds the crown for king of the beats

Originally released in 1986 under Luis Delgado's cult imprint El Cometa de Madrid'

Produced by Luis Delgado (Finnis Africae, Mecánica Popular) and performed by Patricia Escudero, this beautiful record dives into Erik Satie's compositional work thru an experimental optic.

Entirely recorded on Synthesizers, and making heavy use of FX and timbral manipulation, this recording brings out a Satie that's never heard before.


-This record was remastered and cut from the original tapes. However, those tapes were highly affected for what is known as the Sticky Shed Syndrome, and were very deteriorated.

Even though that was professionally taken care of, it was a very long process to get a result that exceeded our standards to be pressed. That being said, there are very few parts were you might find an slight change on sound that was impossible to eliminate completely, due to the above mentioned issue

Clear Vinyl Repress

Shinichi Atobe’s fifth album for DDS, his first in two years. Deep and sublime, the classic Chain Reaction Chicago House vibe, but this time with a swarming Drexciyan undercurrent,
somewhere between DJ Sprinkles, Dopplereffekt and The Other People Place, still 100% Shinichi.
It’s odd working with an artist without ongoing dialogue; no context or an exchange of ideas. It’s all conjecture. Here’s another CD of material in the post from Shinichi, two years more or less since the last one. No words except for the track titles. Oh, a photo this time.
‘Yes’, positivity, hope. But the album starts with a dystopian vision; something like Dopplereffekt’s sound-chemistry experiments, a tense builder. Big optimistic chasms open up, the Piano House euphoria of the title track, beautiful sunset closer ‘Ocean 1’. But there’s a noticeable change too.
‘Lake 2’ is more fraught sci-fi, ‘Lake 3’ a sort of percussive Chain Reaction monster, ‘Loop 1’ on a Drexciyan tip.
It’s all coated in that weird - some people say infuriating - toppy production, witnessed this time in a more tempered and different formation courtesy of an amazing Rashad Becker master, all precise but loosely swung arrangements. Everything slow to unfurl but, also, everything in exactly the right place.

For the third time, we smash the history books with remasters of some absolute classic Sublove tracks. Some of the best in his catalogue, but thats no surprise, Sublove is an artist with no duds. Limited double vinyl as always, bound to sell out as always...This EP comes with 6 much sought after classic tunes, with the added bonus of a recently discovered version of the huge underground anthem..er…”Underground” as well as a brand new remix of 140 by Luna-C & Lowercase. All In all, an essential double pack for any true old skool lovers.

Traditionally the liner notes of an album take on a kind of third-party address, where a writer is delivering their thoughts about how an album makes them feel without breaching that space where they are representing themselves or the moment in time directly to the reader. The goal is typically a kind of timelessness, but as we live in unprecedented times, unconventional methods take on new life, and hopefully importance. In the spirit of that idea... man, is this the kind of album we all need right now. So many of us feel like we're constantly walking a tightrope, are feeling like we can't unwind, are in genuine need of a few moments of respite. Every so often an album emerges from an artist that most likely did not realize when they were composing how timely the results would be, and Lofi Dimensions is exactly that kind of record. It doesn't really matter why it's coming when it is, what's important is that it's here, offering peace to the perturbed and inspiration for the downcast. The American Dollar have long been one of those artists operating in a kind of middle ground, a band with a long history of creating moving instrumental rock that has somehow avoided ever becoming synonymous with modern American post-rock acts. They retain a sort of autonomy in a valued position just outside the boundaries of classification. Blending electronic textures with moving guitar and keyboard melodies, their music has always traveled somewhere in the spaces between trip-hop, electronic, post-rock and ambient, and this inability to be defined is ultimately what sets them apart from the trappings of genre, allowing them to be whatever they want The American Dollar to be in a given moment, always on their terms.

A stream of time and space is surrounding the latest Deeptrax release of versatile and mysterious artist The Jaffa Kid.

Carefully compiled, long awaited 'Tone Poetry' takes you on a journey into the mind of the talented producer. Longing for rave afters and acid sunsets, all in a misty Braindance Rephlex landscape.

Kaleidoscopic deep pads, jungle- rhythms, IDM-moods, robotic drums and aquatic bleeps as well as dramatic ambient tracks are creating a one-of-a-kind album that reflects the influence and passion of the Newcastle- based talent. His very own sound is reflected in every single of the 12 tracks on this remarkable 2xLP that is about to crack homes and clubs alike.

After releasing under labels such as Gated Recordings, La Beauté Du Négatif and Brokntoys, Deeptrax Records is proud to share one of their favourite artist’s work on their own imprint and is excited to share this immense stepping stone with its fans and friends.

* The Death To Digital series continues to go from strength to strength, and this latest installment is perhaps the strongest yet. Paul Bradley brings some proper old skool jungle flavor with his track 'Terror Dread' while Alex Jungle does what he does best and flips the whole piano anthem on its head with 'A Sunny Day In May'. Meanwhile, The Timespan and Mr Arthur make a tune so obvious it become sublime, and new signee Disrupta channels that combo of jungle and hardcore that only existed for a few months in '95 to create 'Lost in Time'

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

The four-track ‘Dream On’ EP is a perfect encapsulation of the pair’s style, seamlessly infusing their sounds to create a unique and refreshing project whereby the duo have once again tested the boundaries of D+B moving into the realms of garage and lo-fi jungle.

Kicking off the EP is ‘Higher Dimension’, a synthwave-infused D+B number with a dark twist. Dreamlike vocals drenched in reverb combined with nostalgic synths and an unforgiving bassline set the listener up for what’s to come. The minimal yet soulful ‘Escape
From U’ follows, bringing crisp percussion and melancholic vibes to this sublime stepper.

‘Lo-Fi Romance’ leads the way for the second half of the EP. Airy pads and bare-bone breaks lay the foundations for this simple yet sophisticated liquid roller. Switching up the vibe yet staying true to the distinct Bop x Subwave sound, ‘Haze’ rounds off the EP, taking things down to 130BPM territory. A clear homage to the sounds of the UK underground with garage-influenced drums and a hard hitting sub.
After the success of their debut EP ‘Love & Other Drugs’ including a number 1 track in the Beatport Garage chart, appraisal from key electronic music publications such as DJ Mag and Resident Advisor as well as radio support across BBC Radio 1, Rinse FM and
Reprezent, it’s set to be a huge year for the duo project.

Punk icons Crass have announced details of their latest EP, ‘Normal Never Was’. Featuring two new remixes of tracks from their seminal 1978 album, ‘The Feeding of The Five Thousand’, with the profits going to charity Refuge.

Heading up the remixes are Richard Russell, head honcho of XL records (under the guise of rLr), and synth-pop artist Glasser. Each of them tackling tracks, ‘They’ve Got Bomb’ and, ‘Do They Owe Us A Living?’ respectively.

Limited red vinyl 12". Edition of 1000 copies.

Hey Existeers!
The new Pudel Produkte release has arrived!

This time, it’s more like a record for yellow press readers – due to the high celebrity density on the two tracks! First, there’s Richard Fearless. The guy has been on the “Mission Impossible” soundtrack and he was famous in New York and London as DEATH IN VEGAS. He composed the music on this record and recorded it together with the slackers of Circuit Diagram, which is why the project was aptly named DEATH CIRCUIT. That’s logical, that’s correct, excellent!

One track of theirs is called “Strom Dub”, and the full length of it has been pressed onto the A-Side of the record. It sounds like Synthesizer music usually sounds: Sexy and warm and cold. The tears of technology dripping onto your head for eight and a half minutes while the spirit of the 80s sneaks in through the back door.

Like the B-Side, this track is a grower, a slow creeper you’ll want to hear again and again. Ac-cording to science, this is just what the people need in these days of unhealthy acceleration. And yes, the B-Side: There’s the track “Teeparty am Waldbrand” which translates to “Tea Party at the Forest Fire”, and it features the fat-mouthed DAS BO and RALF KÖSTER. Trust us, it’s just as hard for native speakers to decipher what they’re saying, but we were assured there’s even a “political dimension” to the track, so I guess we’ll have to listen again. Soundwise it’s a beautifully clut-tered mess, a cold wave sprinkled with bizarre brittle that lures you out into nature.

Ah yes, Pudel Produkte – it’s still minority music from the planet of the apes for people that know where to go, and that is elsewhere than the others.

'Prole Art Threat' is producer Anthoney Hart's second LP for Planet Mu under his East Man alias, after 2018's well received debut 'Red White & Zero'. It brings together a set of MCs from all over London, Darkos and Eklipse from East London and Lyrical Strally from near Feltham who were on the first album, Ny Ny and Mic Ty also from East London, Streema and 'Vision Crew' member Whack Eye from Lewisham plus Fernando Kep, an MC from the burgeoning Brazil grime scene. They work across a cohesive set of tight riddims forged from thoughtful amalgams of grime, dancehall and drum & bass. The album takes its name from a Fall song/mission statement of the same title, the band being self-consciously working class and led by a brilliant autodidact in Mark E Smith. East Man relates that the title is to be taken as “a reflection of working-class creativity and how the establishment marginalise us and (perhaps on a subconscious level) see us as a threat.” Les Back, author of 'The Art of Listening' and 'Out of Whiteness: Color, Politics and Culture (with Vron Ware)' contributes liner notes to the record: East Man understands the force and the democracy of the mic. Listening to Prole Art Threat is like being at a dance. As the mic is passed between each of the MCs, a different tale is ‘elevated... off the map’ as Ny Ny puts it. We hear instalmentsfrom Forest Gate, Lee, Lewisham and Manor Park as these ‘lyrical gaffers’ and ’top boys and girls’ tell tough stories of life under the scrutiny of the ‘Feds’ in a brutal and divided city. The bars and rhymes document what it means to live here; from the double standards applied to the sexuality of young girls and boys to the corrosive violence of everyday life. All this is dissected without compromise. This is not just aLondon story though, the inclusion of Fernando Kep from the burgeoning Grime scene in Brazil is evidence of the outernational reach of the music. The tracks on East Man’s album explode the wilful ignorance of those who see ‘the working class’ in contemporary London as code for whiteness. This is the sound of a proletarian urban multiculture, made from Caribbean and African influences, sound system culture, pirate radio and the inexorable rhythms of Grime, Drum & Bass, Techno and Dancehall. It is the stirring of the "white" & "black" working classes who are living together and coming together on their own terms in sound. ‘Making music because you love it... what the fuck else could you do?’ as East Man says. The tracks and voices you are holding in your hands are, as a result urgent, vital, as hard nails and twice as sharp.

Die Orakel presents the ORKL-0114 series: Three 12" white-label vinyl releases produced by Frankfurt based artists 386i, Benjamin Milz and Koga as a tribute to Sheffield's bleep techno era.

The "Duets" double cassette by Kristoffer Eikrem & Bendik Baksaas was awarded the Oslo-prize for "album of the year 2018" by Natt & Dag, Norway's biggest culture magazine. Due to many requests from our listeners we decided to pick the duo's 40 most precious minutes of music from the project and press a limited run of 300 copies on vinyl.

Himalaya (HC16) - An interstellar collective of beatmakers connected by a common goal to blur the boundaries between what's audible and what can be seen through the eyes of imagination. First observed over the Polish sky in 2016, it sends an irregular signal which is decoded by terrestial observatories in a form of original musical material. The signal is proven to originate from a mysterious matter of high-density, which accumulates in the very core of the collective - The Vibe.

Himalaya (HC16) - An interstellar collective of beatmakers connected by a common goal to blur the boundaries between what's audible and what can be seen through the eyes of imagination. First observed over the Polish sky in 2016, it sends an irregular signal which is decoded by terrestial observatories in a form of original musical material. The signal is proven to originate from a mysterious matter of high-density, which accumulates in the very core of the collective - The Vibe.

Soundsmith and technology rebel Katatonic Silentio back now on a solo LP one year after her first personal release.
Bass missiles, encompassing atmospheres & killer fast focused drums shouts, everything is intently encased in an emancipation act, an insurgent statute against our own oppressions.

Seven tracks pathway leading to a final act of awareness and deliverance from ourselves, without any aversion to go far away, beyond all flags, all frontiers, all countries, all barriers, all beliefs.

L’Escalier des Aveugles, or The Stairway of the Blind, was commissioned in November 1990 by Spanish National Radio (Radio Nacional de España). Asked for a piece to premiere as part of the European Day of Music, Luc Ferrari returned with a radiophonic concept that organised his anecdotal music into montage form, sequencing short, elusive narratives in a successive way.

The completed composition is formed of thirteen chapters containing a mixture of environmental and synthesised sound, commentary, chatter, and encounters with people and places. Each focuses on a small event within this playbook, and Ferrari notes that each “in addition to being a realistic photograph, will be the subject of a ‘setting to music’: fragments of voice and atmosphere will be sampled and will produce musical matter or a ‘song’.”

The sonic language of Madrid forms the setting to which Ferrari lays out the persistent theme of the piece, that of the composer being guided throughout the city by a young woman. Using a game-like structure (liners for this edition include Ferrari’s “Regles de Jeu”, or “Rules of the Game” which act as a script or score to the piece) the motivation is posed: imagine that one day you are told “I know a place in Madrid that sounds amazing (or bizarre)”, to which you reply “Let’s go to it together.” The recordings toy with the relationships between guide and tourist, translator, director and actress, and masculine and feminine that emerge as Ferrari and the actresses follow this action, documenting the shared experience and connections they make as they visit these places.

Six actresses guide Ferrari (and the listener) through locations simultaneously ordinary and sonically rich: the metro; the El Corte Inglés department store where we hear the gossip from changing rooms set against music emanating from the PA; vagabonds declaiming their political stance in the Conde de Barajas plaza; interactions buying apples in a market; the reverberant and spacious halls of the Prado Museum where one actress gives a moving description of her favourite painting - Goya’s The 3rd of May 1808.

Ferrari replies in French to their comments in Spanish, and there are several self-referential plots, devices, and word games that flirt with the poetics and rhythm of language and sound. A recital of Lorca’s poem "La Casada Infiel" in “Hommage À Lorca” in amongst the location recordings feels striking, and the call and response of “La Nouvelle de L’Escalier”, where one of the actresses descends the staircase of the blind - a long stone stairway in Madrid proposed to Ferrari as an interesting location to visit during the trip by producer José Iges. She replies to Ferrari’s vocal enunciation of the place (and title) in French - L’Escalier des Aveugles - with the place-name in Spanish: La Escalera de los Ciegos.

Using this repeated title and image of the staircase of the blind as a symbolic place, a line is drawn to a situational landscape experienced and diffused through snapshots and allusion rather than holistically overviewed, sound conjuring pictures within the imagination. In the sensorial qualities of Ferrari’s treatment of emotion and language—fortified with electro-acoustic motifs and musical properties—the piece accelerates towards a render that is truthful, beautiful, yet also surreal; somewhere between theatre and reality, a gonzo cinema of the ear.

'Melatonia' is the seventh album from drone duo Pausal, known for their releases on labels such as Barge Recordings, Students of Decay, Own Records, Dronarivm and Infraction. Individually, Alex has released numerous works under his Olan Mill alias and Simon has released on Hibernate Records.

The terrific opening salvo of this thrilling prospect of a label, imprint of the eleven-strong, Bristol-based collective.

Intensely intimate, dread ruminations about racism, being and the UK — rooted in the dub poetry of LKJ and Mutubaruka — in tense, widescreen settings by Amos Childs, out of Jabu and O$VMV$M, and Sam Kidel, moonlighting from The Death Of Rave.

Hotly recommended.

Haunting, ethereal, sublime. This already beautiful composition gets the Roque treatment. No digital, no repress.

The artist has chosen to donate proceeds from this release to Black Girls Code, who aim to empower girls of color ages 7 to 17 to become innovators in STEM fields, leaders in their communities, and builders of their own futures through exposure to computer science and technology.

Re-release of the record originally released on 2016-02-05!

Remastered and cut by Rashad Becker at D&M Berlin and presented in an exact replica sleeve of the original 1966 release by Stephen O'Malley.

sales information: Black Truffle is honoured to present the first vinyl reissue of the classic debut album from AMM, AMMMusic. Coinciding with the 50th anniversary of its recording in 1966, this reissue makes one of the cornerstones of the experimental music tradition available again in its original form, replete with Keith Rowe's beautiful pop art cover and the terse aphorisms by the group that served as its original liner notes. A testament to the interaction between the experimental avant-garde and the countercultural underground, the album was originally released on Elektra, recorded by Jac Holzman (the label's founder, responsible for signing The Doors, Love, and The Stooges) and produced by DNA, a group that included Pink Floyd's first manager Peter Jenner. (Pink Floyd paid tribute to AMM's influence on their improvisational sensibility with the track 'Flaming' on their debut album, named after the piece that occupies AMMMusic's first side, 'Later During a Flaming Riviera Sunset').

Formed in 1965 by three players from the emerging British jazz avant-garde - Keith Rowe and Lou Gare had played with the great progressive big band leader Mike Westbrook and Eddie Prévost played in a post-bop group with Gare - AMM quickly evolved from a free jazz group into something decidedly more difficult to categorise. By the time these recordings were made, two more members had joined the group: another Westbrook associate, Lawrence Sheaf, and the radical composer Cornelius Cardew. Then at work on his masterpiece of graphic notation Treatise, Cardew brought with him extensive experience of the post-serialist and Cageian currents in contemporary composition. Using a combination of conventional instruments and unconventional methods of sound production (most famously Keith Rowe's prepared tabletop guitar, but also prepared piano and transistor radio), the group performed improvised pieces often running for over two hours and ranging from extended periods of silence to terrifying cacophonies.

Evan Parker famously described the improvisational logic of AMM's music as 'laminal', in contrast to the 'atomistic' approach more common among the generation of British improvisers (Bailey, Rutherford, Stevens and co.) to which he himself belonged. AMM improvised in layers: layers of sound subtly rising and falling or abruptly starting and stopping without being propelled by the implied pulse of free jazz improvisation. Rather than a pulse, AMM's music began with the sound of the room in which it was played, the Cageian anarchy of silence. By embracing the non-synchronous simultaneity of layered sound, AMM was able to create a musical container into which nearly anything could be incorporated at any moment: on AMMMusic, long tones sit next to abrasive thuds, the howl of uncontrolled feedback accompanies Cardew's purposeful piano chords, radios beam in snatches of orchestral music (and, on the LP's second side, an extended fragment of 'Mockingbird').

AMM's clearest break with jazz-based improvisation concerned the idea of individuality. Where improvised music has tended to foster the development of idiosyncratic stylists who move freely from one group to another, AMM, initially through an engagement with eastern philosophy and mysticism and later though a politicized communitarianism, sought to develop a collective sonic identity in which individual contributions could barely be discerned. In the performances captured on AMMMusic

the use of numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices.

- Francis Plagne

This is a Dubquake Sign Series #1

2 dirty steppers for a pure dark electro dub banging sound !

We are happy to welcome UK-based producer Native Cruise on Slam City Jams. The guy was on our radar since his releases on No Bad Days and Fruit Merchant that easily combined house music with new-age synths, a wave/EBM touch and balearic sounds.
His „Human Nature“ EP is no exception with five outstanding tracks that differ in tempo and vibe.
The opener „Crew Talk“ is a percussion heavy tune with lots of cowbells, a funky DX7 bass line, deep pads and dramatic chords that build up and up towards the end.
„Elsewhere" is the most housey track on this record, with four-to-the-floor 808s and bittersweet strings that burst out into euphoria. Closing down the A-side is „Fooled Again“, a balearic cut that feels like a day in the sun with it's little synth blips and arps.
On the flip we find the title track „Human Nature“ that might be the hidden jam on this EP. Hard hitting Linn Drums, digital synth bells and those haunting vocals we can’t get out of our heads. Finally we have „Not Long Now“ a perfectly atmospheric deep tune, that sits somewhere between ambient and reggaeton and will make fans of DJ Python more than happy.

Pamela Records is the new sister label to Moton Records Inc - the London imprint headed up by Dave Jarvis & Darren House, who have carved a name for themselves in quality and very collectable edits over the last two decades.

The legendary Andrew Weatherall had produced and written Pamela’s first EP alongside studio partner Nina Walsh before his devastating and untimely passing. The tracks were written by Andrew in a studio laboratory inside of the Woodleigh Research Facility with Nina Walsh sharing the writing credits in part and also contributing samples from her extensive arsenal of weapons.

When asked about these tracks, Andrew said “The great thing about not being signed to a major a label is that it’s liberating. No deadlines, no restraints, no pressures. The result - the creative process is completely free. There’s a blank canvas in the studio, you can pretty much go anywhere you want.”

Quoted as a modern day classic, which has been supported by DJ Seduction, Jay Cunning, Faydz, Brent Aquasky & Billy Bunter.

‘Subsonic’is pure funky hardcore with ‘Android’ stabs, bouncing beats, scratches and snatches of happy piano with a nod to early hardcore imprints like Formation Recs.‘Don’t Stop’ doffs a Stussy bucket Hat to Sedders with more of those wholesome Impact Recs stylised keys and a bit of Korg synth action over funky drummers and heavy hitting breaks. You won’t want it to stop!!A big thanks to Tariq Zayid for the discography review.

Apollo: Atmospheres & Soundtracks was written, produced and performed by Brian Eno together with his brother Roger and Daniel Lanois. The music was originally recorded in 1983 for a landmark feature-length documentary, For All Mankind, directed by American journalist, film director and screenwriter, Al Reinert. The film featured 35mm footage of the Apollo moon landing with real-time commentary as well as the Apollo astronauts sharing their recollections of the momentous events surrounding it.

A remastered, extended edition of the album will be released on July 19 in celebration of the 50th Anniversary of the Apollo 11 moon landing. This very special anniversary edition – Apollo: Soundtracks & Atmospheres Extended Edition features the original album remastered by Abbey Road’s Miles Showell as well as an accompanying album comprising of 11 new instrumental compositions reimagining the soundtrack to For All Mankind.

The music from the original album is highly recognisable and tracks from it have been streamed in excess of 300 million times. Since its release many of the songs from Apollo have found a life of their own, making their way into any number of films, television shows and commercials, most notably Trainspotting, Traffic, 28 Days Later, Drive and Love. “An Ending (Ascent)” was also used in the 2012 London Olympics Opening Ceremony.

Brian Eno & Daniel Lanois produced the original Apollo album which was recorded at Daniel and his brother Bob’s studio in Hamilton, Ontario. Lanois also collaborated with Eno on several other projects, most famously producing several albums for U2 including the multi-platinum The Joshua Tree, Achtung Baby and No Line On The Horizon. Apollo was the first recording experience for Roger Eno who also went on to collaborate on a number of other films with and without his brother and was the springboard to a long solo career of his own. The 11 new tracks on Apollo Extended Edition find Brian Eno, Daniel Lanois and Roger Eno working collectively for the first time since the original album in 1983. Lanois contributed 3 compositions – Capsule, Last Step From The Surface and Fine-grained while Roger Eno’s are Waking Up, Under The Moon and Strange Quiet.

This 12 track album is truly beautiful. Drawing influences from jungle and liquid as well as low-fi hip hop, with flecks of soul and RnB, all washed over with cool, ethereal touches. Facing Jinx has worked with his friends, people he met along the way for this record resulting in every track featuring a different collaborative vocal.

You will struggle to find an artist who has contributed to the culture as much as East London pioneer, Footsie. His position in the music hall of fame is firmly cemented with his foundations paving the way for thousands after him.

Fresh from the release of their third album ‘Autonomy’ earlier this summer, comes Autonomy Variations: four brand new perspectives from four exciting, innovative kindred spirits of the avant-pop duo.

South London’s Medlar breaks the seal. Following a series of incredible live collaborations with Dele Sosimi (Fela Kuti), he’s has turned ‘Autonomy’ into a minimal, percolating house track. Swapping the acid spikes for analog bleeps, Medlar’s signature can be felt every step through this vivid energetic stomper.

Fabric resident Anna Wall follows with another beautiful subversion as ‘New Politik’ is given a smouldering take. Moody, intimate, downtempo; there’s some serious late night HTRK-esque vibes to Anna’s twist.

Further into the remix trip we glide to find Dischi Autunno, Ombra International affiliate Curses pulling ‘Electric Light’ into the fringes. Taking the upbeat, crystalline pop of Penelope and Stephen’s original and flipping it into a stark postpunk Bauhaus-inspired take, Curses’ live bass and driving new wave beat shine a whole new light on the original and write it a whole new chapter.

Finally, brand new act, Isolating have the honour of closing the EP with industrial modular apocalyptic take on ‘Infinity’. A vast playground of contrasts, at points it’s dirty and pounding. At others it’s quiet and menacing. File under ‘Dystopian Techno.’

Four extensions on one of the most interesting electronic albums released this year, if you haven’t treated yourself to ‘Autonomy’ yet, you’d be wise to. DJ Mag stated it’s The Golden Filter’s best work yet while Clash called a it a bruising return. These remixes follow with complete forward-thinking consistency. Enjoy…

The record is a flashback that’s never been. Again, it focuses on the static nature of certain beautiful, unresolved club moments. The dancefloor was mostly fractured and hardly ever uniting. But still, it was a promise. “Denouement” is for those who are seeking to come out of isolation on their own terms, sharing a set of possible gestures and moves, not guided by feral policies and opportunist cackle. The “exit strategy” lives among us. We believe that this is what this record is about, too. Time to take matters into our own hands, even if that means leaving for good.

Already having garnered support from the likes of Mixmag and other vital taste makers around the globe, Overdue's continued onslaught is led on by none other than the highly talented, US based artist Dalek One. Keeping the torch brightly lit, the eerie soundscapes and forward-minded arrangements, spellbound within the "Witchcraft EP" serve as a perfect follow-up and yet another example of superb quality.

Going straight for the flip-side, "Witchcraft" lunges straight into a tribal encantation of overdriven tape - rhythms like water luring you towards mammoth bass surges - ecstatically driven forward by bold drums and unparalleled groove. Swaths of low
frequencies hitting your every fibre alongside enthralling percussive movements - danger of high impact on sound systems guaranteed.

Lowering the needle on the other side, "Breakthrough" does literally that. As it sets off with a rainy storm - industrious drone and thunder - metallic clangs propelling us onward into what turns out to be an absolute destroyer, full-on armageddon kind of banger. Heavily overdriven bass surges kick some sense into you as the off-kilter drums and experimental switch-ups keep you yearning for more. Minimal sound system
music executed at its finest.

Finishing off this highly combustible collection of music, "Terror Strike" leaves no prisoners as its tribal atmosphere baits unsuspecting listeners into a low frequency rapture, showcasing Dalek One's intricate sound design once again.

London-born producer FD returns to The North Quarter with his new “Lanta Nights EP”, to be released on June 12th. After his masterful debut album “Better Days” which transcended genres through a richly detailed palette - he now returns with a morecompact piece: all killers, no fillers. Drawing influences from Dub, Hip Hop and Soul and mixing them with his London club roots, his growth as an artist and technician is clearly shown on this diverse but signature sounding 5 track EP. Lanta Nights kicks off with two vocal tracks: the first - Lie To You - is a delicate soulful track featuring Akemi Fox,with thesecond - The Feeling - a 90’s Hip Hop inspired jam featuring KinKai. The EP then dips intorolling Dub inspired science fiction mayhem for the final three tracks. Essential listening.

“There isn’t a theme here really, because as an artist I find it important to express myself in a wide range of styles" FD explains. “It’s just me trying to put my own spin on what forme are ‘classic’ Drum & Bass fundamentals, expressing them in a contemporary way. Iwant to try and retain depth and honesty in my music, something that has been importantto me in music since I first got into it.”

After More Than A Decade Turning Knobs Around Colombia, Gladkazuka Delivers His First Solo 12": Mucha Pimienta. Across Four Tracks, The Medellín Producer Displays The Lose, Genuine, Take On Machine-driven Funk And Electro That Earned Him The Reputation As An Essential Artist Of The South American Circuit. A Collection That Speaks Loudly For An Otherwise Reclusive Artist, This Record Provides Rare Insight Into One Of Colombia's Most Lauded Performers.

Hot On The Heels On Our Favourite Boy Wonder From Kazachstan Command Strange, Fokuz Now Presents Intelligent Manners Straight From St Petersburg.

This 12inch Perfectly Defines His Funky Style And Is A Great Addition To The Liquid Vibes Of Fokuz.

C - Never Wanna Be Alone Again
Intelligent Manners On The Emotional Tip, Great Piano Work On This One And The Melody Will Bring You In The Mood For Hot Summer Nights.

D - Get Back
The Lost Track Of This Wicked Double Pack Is Probably The Most Dj Friendly One. Big Beats And Another Melodic Master Piece Will Bring The Vibe On The Dancefloor And The Girls Screaming For More!

"It all started with Young H and Dread linking up on a tune, then they asked Rider to come in with a hook, and finally I got hold of it and worked with those elements for this version which we decided to release as a new record. I built Red as a heavyweight dance floor tune off the back of the energy response when playing 'We a talk' , the two seem to work well together. " Ishan Sound

a a1 We a Talk (Remix) feat. Dread MC & Rider Shafique

Myor proudly welcomes three new members to their roster of talent.

On the A-side we find Leeds natives Jahganaut and Duburban slapping us around the face by means of an uplifting Rare Groove infused Amen tear out smasher called “Gotta Get Next To You”.

The flip features “Who's The Bad Man”, a slightly deeper, yet no less heavyweight junglist workout by Jules Elipse, who previously released the top notch “Dogheart EP” on 7th Storey Projects in 2017.

"Don't Touch My Sister" is Romain Azzaro's Rouge Mécanique début Album. Cinematic hazy instrumentals and a heady mix of post-punk, Italo disco, ambient and noise shine through Azzaro's dedication to his signature Telecaster slide-guitar, bringing acoustic life to electronica. Citing the visual realm as a strong influence on his music, Rouge Mécanique's releases are often accompanied by short films and hand picked design. The 'Prelude' video for 'Don't Touch My Sister' was born of a collaboration between Romain Azzaro and the film maker Louis Vignat, as inspired by the cover artwork of Les Beaux Arts de Paris artist Jeanne Briand.

The cult album from Tonton David originally released in 1991 is being reissued for the 1st time and with a 180g heavyweight vinyl.
Tracklist includes the hits ‘Peuples du monde’ and ‘Le blues des racailles’.

Following on from the critically acclaimed The Road: Part I, James Lavelle's UNKLE returns with the follow up The Road: Part II / Lost Highway, split across two parts with 22 tracks, James described this journey as having "more of a mixtape aesthetic being the ultimate road trip".

Triple 180g black vinyl package housed in a triple gatefold sleeve, with 16 page booklet; containing artworks by John Stark and photography by Warren Du Preez and Nick Thornton Jones.

Clear Vinyl

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.

Low-key synth & keyboard studio album by Swedish all-rounder Gustaf Dicksson: From the early days of the found-sounds recordings (like the downright scary Unga Röster album and the hilarious Mandys Bil 7"), the homespun kitchen recordings/tape collages of the still-going Idiotmusik series to the more carefully elaborated and precise Leendet Från Helvetet and Knutna Nävar albums, the massive Livets Ord dropped like a bomb when it originally surfaced as a self-released cassette in 2018.

Heavily based on synths and keyboards and clocking in on no less than close 70 minutes over 4 LP-sides, this is arguably THE epic album from the cluster around the Förlag För Fri Musik empire. Gustaf Dickssons' fascination for christianity/religious assemblies shines through once again, the title Livets Ord ("The word of life") derived from the Swedish free church/sect with the same name that was based in Uppsala between 1983-2013 and casting a pastoral shadow over the ambient music of the album. While dabbling with a long tradition of kosmische musik and private-pressed new age wonders, Blods now patented sound of a Björn Isfält-gone-sour still lingers throughout the entire recording. A cornerstone in contemporary Gothenburg underground music. Featuring guest appearances by Emelie Thulin and Jerker Jarold.

Neka Neka' (on General Purpose) is the first solo release by multi-disciplinary artist, Ex Ponto (Ivan Mašic). Coming of age during the mid-90s Melbourne rave scene, Ivan was infected with music by the legendary Kate Bathgate on 3RRR community radio.
Hearing music by the likes of Oliver Lieb, Will E Tell, HMC & and other producers of the time, an infection quickly turned into a music obsession that lives on today.

In the following years Ivan would go on to manage one of Melbourne's longest running record stores (Dixons Records) and in 2005 built a recording studio, aptly named The Womb. From 2005-15, he produced and played on over 20 albums for improvisation collective, Council of Elders and experimental, no-wave band, Wunderlust.
'Neka Neka' is a nod to ex-Yugoslavian experimentalists of the 80s (Rex Ilusivii, Kozmetika, Miha Kralj etc) and the thriving, late-night hedonism of Belgrade's Club 20/44.

To be heard with ears half bent, or with one side facing what Maryanne Amacher calls "the third ear".
The great reverence in which the Tanpura is held by Indian classical music, its transcendental but occulted place in the tradition alongside its normal function as a drone, made a strong impression on the composer such that it has taken decades to formulate even a simple Tanpura Study.
The fundamentals, the Om, as well as the overtones, the music of the spheres -all these have their valid rights, but in Tanpura Study they are embedded in a series of gestures, what I call signatures, on the melodic level.
In Tanpura and Harpsichord, there is an encounter of overtones with chords braided into pun-notes, what Gerard Grisey calls "degrees of transposition". Taken together, this amounts to a non-spectralism in which, contrary to first impressions, there are no fundamental frequencies, even in the bass.
Ajaeng Ajaeng: with respect to European string instruments, the technique col legno affords the direct encounter of wood and string, opening the way to a more tactile conception of the sustained sound, while bringing the materiality of the bow and its practices into question. In violin, viola, cello bows, Pernambuco wood offers an ideal example of extraction, colonialism, deforestation.
With the Ajaeng, a Korean musical instrument, the situation is more complex. The dialectic of court to folk music, always political, always incendiary, may be heard here in the encounter of forsythia and silk, of Dae Ajaeng to So Ajaeng, and on a broader level of Dang Ak (Tang Dynasty music) to Hyang Ak (native Korean music) and their representations.
Alternating music and sound, overtone arrays mingled with noise, marked by the bow change, in flamelike patterns which flicker, emerge, and fade again. A slow down structure, also formalized in Time Medicine, seems to produce a long decrescendo, with the technique of the players drawing out the flicker patterns in a kind of game.
The point here is not to produce a drone but to delve into the question of life in sound. This apparent emergence of life is due to the apparatus, what Marx calls a "social hieroglyphic", which brings forsythia and silk together in technique, cultivated by practices which are themselves sustained by the real relations of student to teacher to student.
The recording engineer too, by placing one mic below and one above each Ajaeng, bifurcates the listening space; the mix, one Ajaeng in each speaker, again produces a bifurcated image of the sound. Thus the sound is split in four directions, to be reconstituted in the cochlea, but with the center of the body as the real target.
This music is made for meditation. On retreat in 2019 I had a revelation: there is no difference between the prayer, the hearing, and the void. There is nothing original in this idea; Wonhyo and many sages have thought it before.

—Eyvind Kang, April 2020

Grammy-nominated artist and musician Stuart Hyatt returns with another sonic wonder in the Field Works series, bringing the listener into truly uncharted acoustic territory. Ultrasonic is perhaps the first-ever album to use the echolocations of bats as compositional source material. For this special album, Hyatt has assembled an extraordinary group of contributors: Eluvium, Christina Vantzou, Sarah Davachi, Ben Lukas Boysen, Machinefabriek, Mary Lattimore, Felicia Atkinson, Noveller, Chihei Hatakeyama, John Also Bennett, Kelly Moran, Taylor Deupree, Jefre Cantu-Ledesma, Julien Marchal, and Player Piano. Ultrasonic is part of a broader storytelling project about the federally endangered Indiana bat. Generously funded by the IUPUI Arts & Humanities Institute and the National Geographic Society, each album contains an official printed booklet of The Endangered Species Act of 1973.

Fresh from their release on John Digweed's Bedrock Records under their more covert Techno guise 'Cypherpunx' the Brighton based duo Flip Fantazia unleash their debut album ‘The Trip’.
Touching on influences from Air to Bonobo, The xx to DJ Shadow, ‘The Trip’ guides you down a road less travelled meandering through Downtempo, Electronica & Trip Hop with a few Jazzy twists & turns.
Essentially Flip Fantazia is a meeting of two minds,
four hands, several synths, quite a few guitars, some very clever computer software with a variety of drum machines. The prolific duo spend most of their time writing, recording, producing, mixing & mastering original music down in an old bank vault in Brighton... well, Hove actually! Their real names… Douglas Horner & Tim Belcher.
Born from a project focussed mainly on music for Sync, writing for Ninja Tune PM, Cavendish Music, Delimusic, BMG PM & Deep East + more this is their first artist album to be commercially released.
Their first brief for Ninja Tune’s Production Music company was to create an authentic 60s sounding Samba song and a Boogaloo / Salsa, both of which appear on the Ninja Tune Latin Excursions album.
Along with a contemporary breaks / glitch remix of the classical masterpiece Flight Of The Bumblebee and a piece of funk with a foodie flavour for two other Ninja Tune production music albums. Another brief came in for some Australian influenced Beach House from delimusic to be used on the BBC Commonwealth Games Gold Coast 2018 coverage, so out came the Didgeridoo and five new tracks were born. Writing to brief is a delight & an adventure for Flip Fantazia covering many genres from authentic Samba to electro disco new-wave post modern cosmic soul funk afro-boogie punk alt+indie dance crossover and everything in between! So it was tough to narrow The Trip down to 10 original tracks which best illustrate the authentic Flip Fantazia sound.

Introducing Idle Minds Workshop / Melbourne based duo Hooves & JPS debuting on Plasma Audio. Staples of the Melbourne music scene, working together as the production outfit "Idle Minds Workshop". Dropping with a slung half time beat "Take Time" features dubbed out lyrics from Rider Shafique, alongside "Opportune" a driving dancefloor half time riddim. Original hand drawn calligraphy brushed by Akane Ito of QQQ Design brings essence into the package giving the feeling of beautifully crafted release, pressed on 10" Vinyl and digital/steaming available on 26th June.

Wonderful lo-fi synthpop / collage LP by Marseillaise duo Jean-Marie Mercimek: Something has been brewing in France in recent years. Underground record shops, small venues, micro labels and young musicians are creating a new vibe in various parts of the country. A broad range of styles & genres get randomly mixed into a melting pot with refreshing results.

Jean Marie-Mercimek is one of those projects coming out of this new scene. The duo of Marion Molle and Ronan Riou revisits french lo-fi synth pop in a fairytale-like way, utilising their collection of rare automatic casio keyboards, frequency modulation chanson and tape collages towards a multilayered comic book journey in form of a concert. As if there was an animated wax brush painted cartoon version of Elli & Jacno!

Melbourne based producer, DJ and co-founder of Sumac Records, Jon Watts delivers his Butter Sessions debut, Music for 3 CDJs. With over 10 years experimenting as an artist, Jon has an established history with the Australian underground scene. Music for 3 CDJs, showcases two contrasting sides, revealing his ability to seamlessly navigate manifold sounds.

The A-side presents three distinct tracks, thread together with restless percussion and a propulsive force. The introduction to the EP, Prohaasation, is a medley of techno and electro fabrics which progressively build before abruptly halting -- generating suspense for the track to follow. The feverish William gasps and screeches in tones that peak and fall, accompanied by audio maintained throughout; reminiscent of a malfunctioning fax machine. Now It's Done is a choppy and disjointed piece yet coherent in its structure that makes for a rewarding conclusion to the release's first chapter.

Subtlety and minimalism prevail for side B, as Jon gifts us with loops that swirl and churn. AMB 4 marks the first deviation from the narrative of Side A; sounding like hypnotic swelling from the bottom of a deep well. AMB 5 follows suit, divulging more of the picture. Carved out of a sound bed of field recordings, the nine and a half minute piece enchants with its repetitive arc, a spaciousness mirrored in the EP's farewell. The last track Piano 1, is an intricate study of a singular piano chord, examining the layers of the chord's sustain that are disclosed. A testament to Jon's unadorned restraint and confirmation of the old adage that less is really more.

Locus Sound return to their vinyl series with a bang. LOCUSV002 comes in the form of a three track release entitled “El Molino" from London based producer Lord Jabu.

Unique improv / ambient album by two creative minds Lol Coxhill & Morgan Fisher. Originally from 1981 and now re-issued for the first time on vinyl.

Cherry Red generously gave Morgan Fisher musical carte-blanche by offering to distribute a label of his own so, like his studio, he called his label Pipe. For the first album he decided to record an album of ambient music. Rather than using synths, Morgan decided to invite soprano sax supremo Lol Coxhill to supply some raw material which he then processed in various ways. The opening track is based on Lol’s beautiful performance of Handel’s Largo, recycled through tape delays, VCS3 filters and octave shifts.

The result (in Morgan's opinion) is somewhat like a Mexican funeral march. Other tracks transform the sound of the sax sound into bells (!) and lush orchestral soundscapes. The 20-minute title track is based on the melody of the short closing track (which Lol sang, accompanied by church bells!). Morgan recorded phrases from the melody using piano, guitar, bass and voice. He snipped off the beginning of each note (about 5mm of tape) making the sounds less recognisable, then looped each phrase and recorded long stretches of the loops onto individual tracks of his 8-track TEAC. Finally he created this piece in real time by fading tracks in and out through long tape delays. This pioneering work took weeks of intense experimenting and has been cited as an influence by several top Japanese artists such as Haruomi Hosono of YMO.

Lol Coxhill passed away after a long illness, on July 10 2012, aged 79. RIP.

New 5 track digital release from Sumgii for Swamp 81 sublabel, 81. Mastered at TenEightSeven

A collection of amazing ambient techno excursions by Susumu Yokota under his Ebi alias make a welcome return to vinyl. Part two of the “Space Teddy” opus originally released in 1994, standing with full expressive relevance still today.

Grainy soundscapes flow smoothly together with rippling breakbeats. Dystopian rhythms vanish into horizontal noise. An ancient procession in the dark, guided only by touch.

For the second installment of Trésor D’argent, simply called “LP2”, Arjen Schat returns to the original format for Berlin-school. Two 20-minute electronic explorations, guided by a myriad of increasingly complex sequential patterns. “LP2” is pressed on black 140g vinyl, with full-colour sleeve and labels, and white poly-lined inner sleeve. Limited to 100 copies worldwide.

Chra is the artist moniker for Austrian Christina Nemec (Bray, Shampoo Boy). SEAMONS is the latest missive in her ongoing exploration of suffocating abstract audio. At once designed and falling apart SEAMONS is rough and crude, a stumbling and staggering electronic expedition where nothing presents itself explicit in intent. It’s a tense obscure record that teases you into it’s peculiar vortex from it’s suggestive nature of exploring the enigma beyond it’s haunted facade.

VICIOUS WATER REGIMES stutters along as an ‘ugly’ mass of grey electronica. CAST(O)RO shines from light from the depths with it’s occasional foray into glistening tones. COLONIA MARINA SERENELLA is a dank squelching backdrop for a dark age. CAST twists tension with flickering electronics chaotic in their perpetual design of order confronting inevitable collapse. LET SHARKS SLEEP is not only a great title but a mind tickling adventure of descending/rising digital dance that builds in intensity with it's relentless repetition. WIDOW WALKS gallops and creaks along a path veiled in whispers. ENGE lunges through time with an air of deep uncertainty. SEAMONS hovers on the outskirts, crawling out of the speakers with endless surprising turns, few of them comfortable.

SEAMONS is progressive ambient, not the kind that makes you escape, but rather one you can't escape from. SEAMONS crawls into the very guts of sound to uncover and unravel the uneasy and unsettling underbelly within.

786 Recordings presents the next release of their 786X series.
 New signing Dalek One on the buttons for the second round 
 of this war sounds installment.

New weapons for your turntables.

Magic Bless EP has traditionally been a combination of shamanic rhythms, deep basslines and mystical Carpathian heats! Sounds of ritual Indian instruments and meditative songs that hypnotize and enter into a lingering trip.

DJ Support
Ciel, Cromby, Ian Blevins, Tereza, Raresh, India, Interplanetary Criminal, Auntie Flo, Ronan, Shawn Reynaldo, Henry Greenleaf, Pathaan, Ben Morris, Yushh +more

In Experimental & Parametric Music 1976-2017 more than 40 years of the composer's work are now unveiled. We discover here for the first time the great coherence of this work: from "Signalisations" (1976) to "Mnemosyne pour une acousmaman" (2017). The twelve compositions are annotated and explained in detail by the composer, as well as a kind of wild autobiography.

Joris De Laet was born in 1947, Belgian by birth, self-taught by definition, parametric music and art video composer by choice. Founder of the S.E.M. (Studio voor Experimentele Muziek) in Antwerp, 1973. Internships at the IPEM (Instituut voor Psychoakoestiek en Elektronische Muziek) in Ghent, 1972-1975, under Karel Goeyvaerts, Lucien Goethals and Dr. Herman Sabbe.

De Laet is the founder of the SEMensemble, a group of musicians-composers specialized in performing experimental music and live electronics. From 1975 until 1990, he gave concerts with this ensemble throughout Europe (Germany, France, The Netherlands, Austria, Poland, Croatia, etc.) and in Canada (Montreal, Kingston, Toronto).

Parametric Music was inspired by the deep control on electronic sonics, he has been defining his work since 1979 as 'Parametric Music,' music where composition is based on transformation flows of one or several parameters, selected by the composer, that form, through their converging (or diverging) processes the main characteristics of the regulated sonics of the composition.

4 ethereal beats which inspire evolution and transcend all borders, walls and language barriers by Jostereo & Radius ETC

Pugwash was immersed in the jungle scene since the very beginning. A proper underground legend who ran his own label ID Records to put out his own music written alongside “Probe”. ID Records was a sub-label of “Brain Records” from Bizzy B. Pugwash and Bizzy B wrote a ton of incredible music in the mid nineties and formed the “Dynamic Duo” for releases on Joker. Pugwash has worked on loads of releases over the years and used many pseudonyms like “The Specialist” & “Peter Parker” on labels like “Da Lick” and “Brain Records”.

This short lived label left behind a legacy of 4 seminal releases in ‘93 / ‘94, this being the most sought after one! This is Commodore Amiga Jungle at it finest!

The Raw Heavyweight tone of the 3 track EP is apparent with the killer analog low-end pressure that only Von D can supply.

Orchestric, Dubwise and built for the Sound system encompassing the vibe of what Artikal is about.

Next up on UVB76 is Bokeh. Delivering a variation of genres and styles over a 4 track EP. Including some experimental techno, heavy drum & bass & an ambient piece for good measure.

Hakobune returns to the label with this beautiful 3 song LP. These songs have been with me for the last few months and have been such a comforting presence during such a tumultuous time. 3 blissful pieces for guitar with gentle overlapping tones and field recordings, ending with the glorious side-long piece oichi. I've listened to this more times than I can count this spring, and I'm so happy to share it with you all.

The pieces are named after rivers and streams near the artist's home, places of solitude.

Pre-order is essential !

The wondrous, expansive and meditative music of Spanish musician, Luis Paniagua is explored with this reissue of his classic 1987 album, Neptuno.

Released on the now cult El Cometa de Madrid label - itself a sub label of Grabaciones Accidentales (Finas Africae/Suso Saiz/Javier Bergia) - the album is another is the canon of exploratory new age, world and ambient recordings that came out of Spain during the formative period as the country returned to democracy.

Luis Paniagua, a musician, composer and producer, was born in Madrid, in 1957. His first associated release was in 1974 to record the pioneering album "Music of Ancient Greece" as a member of Atrium Musicae. As a member of Babia, alongside Luis Delgado (ERC045), he released the sought after folk and fusion album "Oriente - Occidente" in 1982, before dedicating exclusively to compose his own music with many instruments of the world.

In late summer 1987, his friend and now creator behind the El Cometa de Madrid label, Delgado proposed to record an album of music in Paniagua's attic in Madrid. Bringing his eight-track they recorded the music found here in a mere few days.

Predominantly written by Paniagua - the rhythmic Gacelle being co-written with Don Cherry and Cancion De Senegal - and produced with Delgado, the album is, in his own words, a journey to the balm of love, truth, beauty and purity.

Exploring new age music, world music and spiritual music without being of a specific religion, Neptuno, flows as one. Centred on the beautiful multi-instrumental mastery by Paniagua, including percussion, chimes, guimbri, sitar and vocals, he is joined by friends and family on keys, flute and drums.

Performing today, with 16 albums released and counting, Luis Paniagua's dedicates himself through music. To discover that has always been within.

A beautiful 10" vinyl by the emerging label TORMO RECORDS (their previous edition is none other than Hela, and they also have some stuff from Lodo). Music by Mono Caníbal (Emu Proteus 2, Moog Sub37, Yamaha Dx27, Korg Ms2000, Korg Minilogue, Roland JV1010...); recording in a jungle in another Galaxy (The Empty Hall) in the year of the lord between 2.134 and 4.288 according to the Ummita calendar. The unique and unpredictable letters are the work of the unclassifiable Sagan Ummo (here Satan Ummo). The fantastic artwork is by Sagan Crimewear and the scary mastering (I swear the bass is really powerful) is by J.F. Rojo at Red Records Studio.

Official re-issue of a 90's classic!

'Sing the Gloaming' is the latest collaboration between Simon Kirby, Tommy Perman and Rob St John.

Rob St John is a member of Modern Studies (FIRE Records). Tommy Perman is an artist/musician/designer and former member of the FOUND collective.

'Sing the Gloaming' features guest vocals from Kenny Anderson (King Creosote), Nerea Bello, Aidan Moffat, Emily Scott (Modern Studies), Su Shaw (SHHE), Hanna Tuulikki and Andrew Wasylyk.

The release has been reviewed by The Wire (who also ran a feature on the trio's collaborative work) and has been played by Hannah Peel as part of her 'Night Tracks' show on BBC Radio 3.

The trio's previous collaborations include 'Concrete Antenna', a sound installation in the landmark tower at Edinburgh Sculpture Workshop which was an album of the week on BBC Radio 3's 'Late Junction' and was also played by Stuart Maconie (as part of The Freak Zone - BBC 6 Music) and Gideon Coe (BBC 6 Music) amongst others.

For the third instalment of the Dispatch Blueprints series, another of our favourite artists presents their unique take on the Blueprints ethos.

Continuing the theme of exploring organic musical progression, DLR delivers two exceptional tracks that perfectly capture the spirit of the label.

An idea in development for several years, 'You Leave' began life as a hardware-based tune. No longer using the same equipment when returning to finalise the idea, the track was rebuilt with modern emulation, combining old school inspiration with contemporary techniques.

'Intermix' is a stripped-back, two-step journey. Slowly developing changes progress into dynamic and unexpected directions.

Fred und Luna machen Spacemusik der besonderen Art: Wie sollte es auch anders sein, wenn zwei Schaufensterpuppen sich gedanklich auf den Weg machen, ihr Modehaus in Karlsruhe/Deutschland hinter sich zu lassen, um neue Welten und Räume zu entdecken.

„Im Weltenraum“, so der dementsprechende Name ihres neuen Albums, ist „Fred und Lunas“ nächstes Abenteuer in ihrer sich stets erneuernden „Elektrokraut/Krautelektro“-Serie. Eine, laut Google-Translator, „charmante und faszinierende Reise durch ein endloses Universum phantasmagorieller Klanglandschaften, sich wiederholender Rhythmen, eingängiger Melodien und sogar einem Abstecher ins Acid-House-Land.“

Nach ihrem motorisch repetitiven Erstling „Glück auf“ (EP auf Optimo Music), dem zugleich rhythmischen und atmosphärisch-melodiösen Debütalbum „Im Klanggarten“ (Bigamo Musik), einem narkotischen Trip in tiefblaue Gefilde auf „Im Tiefenrausch“ (Compost Records) und tiefgelbe hypnotisierende Dancefloor-Regionen auf „Im Tanzrausch“ (Compost), sind „Fred und Luna“ nun auf den Spuren von Strukturen und Klangdimensionen. Begleitet werden sie dabei von Patrick Pulsinger, einem Virtuosen am Mischpult und Meister des Masterings.

Wer sind Fred und Luna?
Fred und Luna wohnen in einem Modehaus in Karlsruhe. Die beiden Mannequins sind die Musen des
Musikers, Lektors, Poeten und Foto- und Filmemachers Rainer Buchmüller.

Von seinen Mannequinfreunden und der Liebe zu deutscher elektronischer Musik der letzten Jahrzehnte inspiriert, produziert Rainer Buchmüller unter dem Pseudonym „Fred und Luna“ eine zeitgemäße Kombination aus repetitiven Rhythmen, bezaubernden Melodien, elektronischen Klanglandschaften und Elementen der Krautrock-Ära. Oder wie er es nennt: Elektrokraut beziehungsweise Krautelektro.

Unter dem Namen „Ariston Baton“ schreibt Rainer Buchmüller konkrete Poesie und Klanggedichte. Bei Liveauftritten und Ausstellungen wird er musikalisch von „Fred und Luna“ und von Rainer Buchmüllers drittem Pseudonym „Vizudaru Nono“ mit Foto- und Videoprojektionen und seinem vierten Pseudonym Nikto Nietschinski mit Gemälden begleitet. Alle zusammen bilden die „Equipe Nadaphysique“. Eine aktuelle Ausstellung ihres Schaffens fand Ende Oktober 2018 im Rahmen des „Festival Rockomotives“ in Vendôme (Frankreich) statt.

„Fred und Luna is a miraculous treasure chest with seemingly unlimited realms of Krautelektro and Elektrokraut music.“ FRANK WIEDEMANN (ÂME/INNERVISIONS)
„Fred und Luna’s universe is full of wonderful possibilities and greets you like an old friend whistling a long forgotten melody.“ PATRICK PULSINGER
„Wunderbar!“ JD TWITCH (OPTIMO)

And then came the Visitations.

The fifth opus of the Worst Records library could appear as an audiobook for transcendental meditations. If the idea of trance-induced state is no surprise in the music we deliver to the world, this new album by Ricco goes beyond. The pair formed by Gil.Barte, head of Kump Records, and HLM38, in charge of house Notte Brigante, dare to offer a sinuous collection of mantras melted in light, silver dust anddarkness. Each track navigates through ritualistic slow beats, drum'n'bass-ish half tempo incantations and other mystic hybrid forms not so far from Kode 9esque or Shakletonists reminiscences, just to name a few. The titles evoke a spiritual diagonal, from biblical to Islamic worlds and arcanes, passing through Persian tradition and obscure references hard to decipher. Several interludes, leading to the final Prelude, stand as resting rooms to drown the listener into purifying darkambient, where glitches of enlightenment and distants sounds from nature slowly disappear in divine drones. You now hold in your hands a keyholder to somewhere else, a sonic ally through everyday chaos, and spells to protect the soul. Let yourself loose in enchantment.

It's Sunday. You're at the after party. And the DJ is playing white label edits you've never heard before.

The debut album from Sardinian composer Blinkar Fran Norr covers a rich, atmospheric and melancholic stretch of territory. Metaphors For Things was born from composer Andrea Garau's own personal experience of the world today, brought to life through currents of powerful sound and an always shifting but ever-pensive state.

The album aims to express the negative conflicts and diseases often seen in people and modern society, capturing thoughts, emotions and feelings that can generate internal conflicts, anxieties and fears.

Mastered by Rafael Anton Irisarri and featuring artwork by Noah M / Keep Adding, Metaphors For Things will be available on transparent, colored smoke gatefold vinyl and digital download.

This is not music about a fast train to Paris. This is not music for airports. From an East German perspective Gajek´s Vitamin D inscribes itself into the progressive myth of Krautrock by shifting the focus to a different side of German history marked by the material traces of the Cold War. This is music that knows about the coexistence of modernism and its ruins, music about the fact that both can be there at the same time: space programs and the damp smell of unheated houses. It's music that taps into the memory of sudden ruptures, trauma and loss, not out of melancholy but to mobilize the lived experience that things can and do, in fact, change. Vitamin D catches the spirit of motorcycles made from scrap metal, of washing machine engines strapped onto strollers to make lawnmowers; a sonic love letter to people living in the margins of infrastructural programs, collecting copper pipes and engine parts in archives of metal and stone, repurposing the rubble of a violent history for dreams of a different world. There, in secret basements, where machines were built out of trash and stolen parts, Gajek finds the sonic resources for an alternative futurism of private cybernetics and pirated airwaves, creating radical and joyful sounds that claim the possibility of something new.

Matti Gajek (he/him) is a product of socialist biohacking. Injected with high doses of vitamin D directly after birth, the GDR made sure his bones would be strong even if he never saw the sun. The practice of high-dosage-vitamin D injection, abolished in the West in the 1960s, remained a standard in East German childcare until the wall came down in 1989. It has since become a topic of conspiracy theories surrounding differences of East and West German bodies. The child of political activists, Gajek lived through his first revolution shortly before entering primary school. He grew up in the temporal anomaly created when the end of history was declared and the country he was born in disappeared. Gajek is a musician and artist, publishing records on Throttle Records, Monkeytown and Infinite Greyscale and composing for films, theatre, performances and installations.

Vitamin D is Gajek´s most personal record yet. Alive, detailed, urgent and fresh the album explores evolving textures of highly energetic digital production, vibrant rhythms and haunting lyrical work. Boldly expanding a futuristic and strikingly original musical language Gajek creates a beautiful and deeply moving work of great sincerity and emotional immediacy, making a provocative case for pushing what is possible in a world occupied with calculating what is probable.

This is a brilliantly weird and hypnotic record, featuring pretty much nothing but the voice of conceptual artist Hanne Lippard reading a variety of texts typical of our digital age - things like autoresponders, FAQ’s, social media posts, bot-generated spam mail etc (or as she calls it ‘degenerate, or “b-language”) as a continuation of her ongoing investigation of the differences between the spoken and the written word. The result is entrancing, funny/sad in an almost Larkinian way and highly thought provoking, a cross between modernist sound poetry, layered social commentary and uncanny ASMR trigger. From a label that’s given us releases from Nkisi, Tehran’s Morteza Hannaneh and Ron Morelli - it’s an intriguing move.
Lippard is an artist of some international acclaim, and as far as we’re aware ‘Work’ is her first recorded sound document available commercially. In it she takes a variety of empty, seemingly meaningless texts from Wiki pages, corporate websites, spam mail, museum FAQ’s etc and reenacts them vocally with some stylistic and semantic interventions. Her monologues take the texts out of cold states and into something that’s perhaps even more ambiguous - repetition, metre, intonation and the rhythm of the language itself all become tools for manipulation. One reading is intimate. The next, alienating. But why, and how?
In part, ‘Work’ serves as a form of basic social commentary - illustrating just how mundane, repetitive and detached our lives have become in the digital age. But there is a deeper dissection of the human condition at play as well; the moments of vulnerability dotted throughout suddenly shift the emphasis and effect into a form of personal, almost sensual communication - despite the lack of meaning. Sometimes, it feels as though a fourth wall is broken - as if Lippard’s automaton is all of a sudden addressing you directly. The effect of this is unsettling, the out-of body dimension enhanced by the medium - making this a fascinating and surprisingly moving look into the uncanny properties of the spoken word.

At long last, Boston’s Isabella Koen delivers her long-in-the-making debut album of raving mutant body music, Trance riffs and industrial synth topographies forged with raw and brooding industrial sound design that marks her out among N. America’s most interesting new producers of electronic music. Big tip if yr into Jasss, Helena Hauff, Gesloten Cirkel, AFX...
Spanning proper techno artillery, Trance riffs and noise excursions, ’Melody Depleted’ expands on the ruffcut but classy ideas put forth on her tapes and 12”s for the likes of Peder Mannerfelt Production, Börft and Jacktone over the past half decade. It serves a broad but singular showcase of her ability to generate club punishing rhythms, barely-tamed electronic noise and surprisingly sensitive ambient space probes that revel in electronic music’s capacity to evoke fine spectra of technoid feelings with a say it-without-saying-it instrumental finesse.
In an emotive arc that takes in crude, rushy rave futurism (‘Im Laughing’) thru to dark, bolshy industrial tekkers (‘The Harm That I Dream For You’) and an outstanding nine minute finale of deep distance ambient hypnagogia (‘Hypnic Jerk’), Isabella’s first album most deftly transposes a sense of pre-millenial late ‘90s techno warehouse dread into a world dealing with its own register of worries. And like the work of Jasss, Nkisi or Helena Hauff, Isabella proves highly adept at translating the most vital, if elusive, aspects of her reference points with a totally fearless, up-to-date but timeless swerve.
Big hitters like the Peder Mannerfelt-esque breakbeat techno ballistics of ‘Roll Doll’, the wide-eyed, doomy trample of ‘Organ’ and the Stingray-meets-Colin Stetson styles of ‘Take One And Two’ share space with full on EBM techno boosters in ‘Send’ and ‘Mind Tear’, while the roiling synth noise of ‘Mnesia’ and the Drexciyan organism of ‘Through The Kitchen’ diffract her vision into adjacent areas of experimentation that make for a murkily transfixing album experience rather than a collection of rave tools. It’s a dead gritty course for lovers of electronic dance music that gets direct to the feet and leaves bits between your teeth.

Louange à l'éternité de Jésus is the fifth movement for cello and piano from Olivier Messiaen's Quatuor pour la fin du temps (Quartet for the End of Time), adapted here for cello and organ. It was composed while Messiaen was a prisoner of war in Stalag VIII-A, Görlitz, Germany, and first performed with other detained musicians inside the Nazi camp in January 1941. Inspired by the Book of Revelation, this music invokes the composers vision of "immutable peace", in its infinitely slow, ecstatic pacing and metre, described by the pianist Steven Osborne as “seeming to touch the far edges of human experience, subverting the idea of linear time”.

Earlier this year, confronted with a multitude of shared human maladies, the idea for this record took shape as if through a fog. Performed by Lucy Railton on Cello and Andrew Marx on Organ, the recording was made a decade ago and captures an intangible human presence - a cough, a baby crying - oddly contextualising the complex existential dimensions of the music itself.

"10 years ago in spring I performed Messiaen's Louange à l'Éternité de Jésus in a concert at Buckfast Abbey in Devon. It was a normal Saturday concert, a half full audience, some friends and family were also there. It’s hard to explain why some performances stand out but for some reason I still think about that day. It’s not only that this is great music, there was something else we felt, in the heavy silence before the first note, and as the chords rose higher and higher. There was a kind of communal acknowledgement of something bigger than that moment and place, of the immense beauty of music, and of the human capacity for resilience, and transformation.” Lucy Railton, June 2020.

Ancient Indonesian tradition meets doom rock in profoundly Ur ways on Stephen O’Malley and Senyawa’s collaborative commission for choreographer Gisèle Vienne Following a decade of creative bonds forged between theatre director and choreographer Gisèle Vienne
and doom sayer Stephen O’Malley that spans multiple soundtracks (solo and with Peter Rehberg in KTL)
and visual artworks, the pair travelled to Indonesia on a commission to explore the country’s rich culture in 2018. They immersed in a magical world of performative rituals where they encountered Wukir Suryadi, an experimental musician and instrument builder whose acclaimed releases both solo and as half of Senyawa have invigorated the avant and experimental rock scene over the past decade.
The six tracks of ’Bimi Sakti’ document groundbreaking ventures between Senyawa and O’Malley, yielding an incredibly powerful mix of electric guitar and bass guitar amp worship blended with the remarkable range of tonalities from Senyawa’s custom-built bambuwukir, plus traditional pipes and possessed vocals.
Practically without precedent in the modern musical sphere, the 44’ release speaks to a resounding mutuality and common musical philosophy between two musicians who are usually geographically separated by a hemisphere. Slow to start, but culminating in a wholly dilated musical vision, the performance effectively collapses eons of musical practice and thought into a singular yet timeless expression of beauty and anguish that transcends the sum of its parts.
Fleshing out the frequency spectrum between flighty, avian flutes and sprawling subharmonic bass riffs, they come to inhabit a thrilling mid-ground over the course of the performance as O’Malley moves up the registers to thrashing mid-range riffs while Suryadi invokes a range of demonic voices and unearthly tones from his bamboo instrument. The results come to prod the pineal like little else beyond, say, O’Malley’s Nazoranai trio with Keiji Haino and Oren Ambarchi, or the Phurpa album on his Ideologic Organ label, and we reckon should hailed among the boldest and most astonishing records of 2020.

Craigie Knowes continue their long-running War Child fundraiser series with a new 2x12" release featuring tracks from Eluize, DJ Python, Stellar OM Source, Innnershades, No Moon, The Burrell Connection and more. From ambient and downbeat through to techno and electro, the release spans the sounds that Craigie Knowes have embraced over the last 5 years. The fourth installment of the project also sees a completely new sleeve and center label design by Kyle Morrison. All profits donated to War Child UK, a charity helping children in areas of conflict around the world.

Amsterdam-based duo Wanderwelle presents their fourth full-length album titled A State Of Decrepitude. Inspired by the many aspects of impermanence and facets of decay, the duo composed their most intrinsic and detailed production yet.

After two successful albums on Silent Season and a recent collaboration album with Bandhagens Musikforening on Semantica, Phil van Dulm & Alexander Bartels have applied their talents to create a mysterious soundtrack focussed on the countless faces of deterioration. Recorded in 2018, Wanderwelle's first electroacoustic album is an anthological approach to a theme that is inseparable from our current global crises.

Quoted as a modern day classic, which has been supported by DJ Seduction, Jay Cunning, Faydz, Brent Aquasky & Billy Bunter.

‘Feel The Rush’ is the anthem here. It opens with JB breaks, big sub bass wobs and a ‘Feeeel The Ruuusssh’ vocal refrain.In come the 92 style hoovers and DJ Seduction esque stab patterns to elevate the rush to its peak. We’re off to the horses with a second injection of hoover stab business and cool beat rotations.

hree years on from their debut collaborative album “Passive Aggressive“, Jonny Nash and Suzanne Kraft return with "Knife", the lead single from their forthcoming album, “A Heart So White”.

The single comes with an exclusive bonus digital track, "Processing The Negative", which will not appear on the full album.

“A Heart So White” represents a continuation of the working philosophy adopted during the recording of their debut; immersion in an unfamiliar recording environment with a limited set of tools and the goal of exploring the possibilities that lie within these limitations.

The album was written and recorded in the Willem Twee Concertzaal, a converted synagogue in Den Bosch, Holland. Whilst “Passive Agressive” explored virtual instruments and environments, “A Heart So White” shifts the focus to acoustic instrumentation, breath, air and physical space. Using the hall’s mechanical drawer organ and Steinway piano, the pair craft a delicately balanced suite of compositions, stripping things back to reveal the bare essence of their shared musical language.

Over the last decade, Kassel Jaeger, the moniker of the Paris-based composer, writer / theorist, producer, and director of the Groupe de Recherches Musicales (GRM), François Bonnet, has meticulously sculpted a body of multidisciplinary work that rests at the forefront contemporary electronic and electroacoustic practice. He will release his new album ‘Swamp/Things’ on Shelter-Press.

Rigorously experimental without sacrificing the intimacies of self, his efforts as a composer and musician extend across live contexts and numerous critically heralded solo releases, as well as collaborations with Jim O’Rourke and Lucy Railton, both contributing to the record, alongside Stephen O’Malley, Stephan Mathieu, Akira Rabelais, Oren Ambarchi, and James Rushford, and others.

Deeply invested in the potential of sound as an elemental form - a root phenomenon with a profound capacity for meaning, as much as a multidimensional material for creative process and ideas – Jaeger’s work across numerous fields, be it in text, action, or sound presents a crucial bridge between the optimistic, philosophical origins of electronic and electroacoustic music, the present and where they have yet to delve.

Sound is abstract. When the source is elusive, narrative and meaning shift between the concrete and obscure. With his first solo LP with Shelter Press, Swamps/Things, Kassel Jaeger wades into this foggy, conceptual realm. From memory and metaphor - sliding fluidly through the imagistic and emotive - emerges an immersive, cavernous world that rethinks electroacoustic music on organic terms.

‘Swamps/Things’ was conceived as an opera without distinct characters or text. It draws Kassel Jaeger into his own history, experiences, and the unlikely double of the swamp, a landscape that has held literal and metaphorical sway over him since childhood. Merging 8 works as a total environment, abstaining from distinct shape or discrete articulation, across the album's breadth, sound becomes a shifting mirror for the bubbling, ordered chaos of organic life.

Resting at the junction of concept, emotion, and phenomena - tapping the multidimensional potential for narrative and meaning possessed by each - Swamps/Things encounters an artist of remarkable craft, delving toward the unknown, deploying organized sonority as object and environment, as much as action, movement, passage, and arc. Seemingly possessed by an entropy entirely its own, the temporal gives way to the poetics of space, while the density of an endlessly evolving climate, laden with cacophonous happenings, renders itself still. Flickering images of the natural world - memory and the imagined reformed as sound - present an operatic double for human action and thought. From deep, fog like banks of minimalist long tone, to industrial clamors left as tracks in the mud, or the collisions of shifting pulses, overtones, and textures - captured from across the murky, drone laden waters between the acoustic and synthetic realms - moody, howling cries and tense meditations merge in ambient sheets, capturing a fleeting image of where decomposition gives way to new growth.

A remarkably intimate and forward-thinking aural balm, bristling with complex beauty, Shelter press is overjoyed to present Kassel Jaeger’s Swamps/Things. Two immersive, intoxicating sides overflowing with humanity and ideas.

As a child, almost every Sunday, I was wandering in the countryside, and usually, I was finding myself in my favorite spot: a swamp. Air was different. Trees were dead, but not really dead. Soil was swaying of clear water, and an everlasting mist was suspended all over the place. No one was there and nothing could happen even if some animal tracks were here to prove me I was wrong.
Much later, one of my masters made always this joke about my music. He said I was composing swamps, I guess because of the lack of demonstrative musical shapes and articulations. At the same time, he was acknowledging that I was building a “climate”.
It took me then almost 30 years to understand why I was so fond of swamps. It’s because a swamp is an intermediary space of the organic becoming and the blurry space suspending the cycle of the utilities, which is the cycle of history.

Swamps/Things has been conceived as an opera. An opera without characters, without text, but not without story. The story, here, is only an arc. Because what is an opera, if not an arc? And the arc, here, is the simplest. It’s walking through the swamp. Approaching it, leaching into it, becoming it. The Swamp is us. Our own disappearance, populated by all the beasts we have turned into, by the places we have haunted, and by the time we have consumed. We are traces in an always intermediate state. Animals tracks in the sodden earth of the Swamp. — Francois Bonnet (Kassel Jaeger).