Beats News

Sweet Sensi Records Welcomes Friend of the Label Coco Bryce for his first outing with 2 two very deep cuts.

Side A brings us ‘One Luh’, a Funky Mule break work out with a Sound Clash sample fitting well-fitted for the dance.

Side B brings us a moody amen workout with a mad mid-track break-down. One for the IDM headz!

sample alchemy presented by Dip Friso aka Grim Lusk aka Sunny Balm aka ½ Pussy Mothers. Flipping quickly between dubbed out samplescapes, wah-warbled chords, reversed drums, cut up vocal samples and a somehow relaxing sounding argument, the tracks are tripping over themselves to the front of the queue.

Available cassette tape and digital download, limited run of 70 copies.

Oh, lovely appearance of death, No sight upon earth is so fair; Not all the gay pageants that breathe, Can with a dead body compare.

- Charles Wesley, A Funeral Hymn for a Believer, 1780

So begins New Atlantis, the fourth full-length album by longtime Berghain resident Efdemin aka Phillip Sollmann. The words, sung by 60s California art icon William T. Wiley and embedded in glowing drone swells, set an otherworldly tone for Sollmann's first solo release on Ostgut Ton. Over eight tracks, New Atlantis oscillates between fast, kaleidoscopic techno, multilayered drones and acoustic instrumentation, fusing for the first time Sollmann's deep dancefloor productions as Efdemin with his sound art and experimental music projects. The latter include 2017's Harry Partch- inspired Monophonie performance and 2018's Panama / Suez EP with Oren Ambarchi and Konrad Sprenger. Long drawn to utopian musical traditions, Sollmann took inspiration for New Atlantis from Francis Bacon's unfinished 17th century novel of the same name, which describes a fictional island devoted to social progress through the synthesis of art, science, technology and fashion. In the story, Bacon imagines futuristic 'sound houses', which contain musical instruments capable of recreating the entirety of the sounds of the universe; a 400-year-old prophesy of today's digital sonic reality. Through Sollmann's lens, Bacon's vision ebbs and flows over 50 minutes in varying speeds and colors, emerging as a tapestry of different utopian musical traditions - through billowing synth lines, early Detroit techno, resonant wooden percussion, trance, droning organs, dulcimer, electric guitars, hurdy-gurdy, just intonation, poetry, hymns and murmuring voices. Sometimes they merge into epic, rhythmic journeys like the 14-minute long title track; other times they appear as a briefly open sound portal ('Temple'), or in the forlorn human voice on 'Oh, Lovely Appearance Of Death', calling to be freed from jail of the human body and pass into the afterlife. Like previous Efdemin albums on Dial, New Atlantis veers off the techno path to explore other musical territory. Here however, Sollmann occasionally abandons the club entirely, returning only to push its boundaries with other instruments, mythologies and psychedelic story telling.

Oh, lovely appearance of death, No sight upon earth is so fair; Not all the gay pageants that breathe, Can with a dead body compare.

- Charles Wesley, A Funeral Hymn for a Believer, 1780

So beginnt New Atlantis, das vierte Studioalbum des langja¨hrigen Berghain-Residents Efdemin alias Phillip Sollmann. Jene Worte, gesungen von der amerikanischen 60er-Kunstikone William T. Wiley und eingebettet in glu¨hend schwellende Drones, setzen einen ga¨nzlich anderweltlichen Ton fu¨r Sollmanns erste Solovero¨ffentlichung auf Ostgut Ton. Im Lauf von acht Stu¨cken oszilliert New Atlantis zwischen schnellem, kaleidoskopischen Techno, vielschichtigen Drones und akustischer Instrumentierung. Erstmals verschmilzt Sollmann die deepen Dancefloor-Modulierungen seines Alter Egos Efdemin mit den Klangkunst- und experimentellen Musikprojekten unter seinem bu¨rgerlichen Namen. Zu Letzteren za¨hlen seine von Harry Partch inspirierte Performance Monophonie (Volksbu¨hne, Elbphilharmonie / Kampnagel, Ruhrtriennale, 2017) und die EP Panama / Suez, als Trio geschrieben mit den Experimentalmusikern Oren Ambarchi und Konrad Sprenger (A-TON, 2018). Utopische Musiktraditionen standen schon lange im Mittelpunkt von Sollmanns Denken - fu¨r New Atlantis diente ihm Francis Bacons unvollendeter Roman gleichen Titels aus dem 17. Jahrhundert als Inspiration. Darin beschreibt Bacon eine fiktive Insel, die sich ganz der sozialen Entwicklung durch die Synthese der Ku¨nste, Wissenschaft, Technologie und Mode verschrieben hat. Im Buch werden futuristische, akustische Werksta¨tten erdacht - von Bacon ‚sound-houses' genannt. In jenen werden Musikinstrumente vorgehalten, die in der Lage sind, die Ganzheit an Kla¨ngen des Universums zu erzeugen. Eine 400 Jahre alte Prophezeiung der heutigen digitalen Klangrealita¨t. Bei Sollmann schwillt und ebbt Bacons Vision auf 50 Minuten in unterschiedlichen Tempi und To¨nen, sind utopische Musiktraditionen ineinander verwoben: wogende Modularsynth-Lines, fru¨her Detroit- Techno, klingbare Holzperkussion, Trance, dro¨hnende Orgeln, Hackbretter und Stromgitarren, Drehleier, reine Stimmung, Poesie, Hymnen und raunende Stimmen. Mal - wie im 14-minu¨tigen Titelstu¨ck - stimmen sie ein in epische Rhythmusreisen; hier entladen sie sich als sich kurz o¨ffnende Klangportale (- Temple'), dort fordert eine desolate menschliche Stimme (- Oh, Lovely Appearance Of Death') die Befreiung aus dem ko¨rperlichen Gefa¨ngnis und ein U¨bersetzen ins Utopia des Jenseits.

Matthias Vogt is back on Polytone with two strong original tracks, plus legendary producer Carl Finlow is adding his remix magic. The title track "Imaginary Friend" is an ode to Electro, with a hint of Pop and both: taking us back to the sound of the 80s, yet still sounding fresh and crisp. Carl Finlow's transforming Imaginary Friend into a sci-fi-something - it's out of this world. The B-Side is all about "Crevasse", a timeless beauty - we are in love with this Matthias Vogt trademark sound.

"On this seven track album we hear MinaeMinae (alias Bastian Epple) playfully scurry through his dense soundscapes on a tightrope. The sounds lying somewhere on the crossroads of psychedelic trance, exotica, ambient and melodic dance music – veering further off orbit with nontypical rhythms and dystopian percussive patterns.

MinaeMinae understands musical material similar to documentary footage which he would cut up, repitch, and rearrange freely. Most of his tracks are a mix of analog, synthetic sounds and recordings of ethnic percussion and guitar. Recently Bastian began experimenting with modular synthesis and self made tape echoes - seeking a more reduced and minimal composition style compared to his earlier quite whimsical tunes.

Growing up in a small village in southern Germany, Bastian was never interested in kitschy folk sounds that everyone would mindlessly clap and sing along to, rather he took solace in the time he would spend delving into patterns and repetitions that pleased him. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to continue on this self-taught path of developing his musical language. He then started to experiment with a tape recorder and layering sounds with non-musical samples, which his former village friends found too weird – then to eventually working with a small freeware DAW. Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe – initially enrolled in music but the frustration and doubt of not being able to produce the music he wanted led him into film and documentary media. During his studies, Bastian was living with Florian Meyers (Don’t DJ) for several years where they would philosophize life and music into the wee hours – he encouraged Bastian to start sharing what he’s been quietly working on all these years and slowly emerge from this anonymity which eventually led to his first release on Human Pitch last fall.

Disproportionate forms, color changes, backdrops weaved into the foreground, all lay the dense earth for Gestrüpp through Benjamin Kilchhofer’s artwork."

Limited hand-stamped 12” Vinyl housed in a dub-plate style sleeve. 300 Copies Worldwide. No repress.

Danish RDG teams up with Austrian DubApe for a colossal collaborative EP for Boka Records. RDG originally appeared on the label nearly 10 years ago via the 'TANK' series. Since that time his productions have gone from strength to strength and this year he released his debut album 'Planetary Sound Fiction' on his Circle Vision label. 'Storm' EP contains 5 tracks of doubled-down Dubstep bass-weight with 'Decoy' venturing into Drumstep territory, the EP is capped off with a special remix of 'Brok Out' from Bristol's Punch Drunk Records legend RSD.

clear vinyl

"Kapital Band 1 – Internationale Solidarität” is the third album of Martin Brandlmayr & Nicholas Bussmann. Since their first album “Kapital Band 1 – 2CD" in 2004 the duo explores the possibilities of improvising music with machines. Investigating parallel existences and mimetic affirmations of machine structures and human patterns. For their third album they revised their experimental settings once again. “Internationale Solidarität” is a search between impulse and logic, algorithms and attitudes, false random and real mistakes.

Martin Brandlmayr – drums
Nicholas Bussmann – robot controlled grand piano "the automat”
“the automat” is made by Winfried Ritsch

Martin Brandlmayr is a composer & drummer playing with Radian (Thrill Jockey), Polwechsel and Trapist. He has been working with ErikM, Christian Fennesz, Howe Gelb, Klaus Lang, Dieter Kovacic, Billy Roisz, Sachiko M, David Sylvian, John Tilbury, Ken Vandermark, Otomo Yoshihide, Mats Gustafson and many others. He has released almost 30 albums and toured on all continents. For his radioplay "Vive Les fantômes” he received the Karl-Sczuka-Prize for radio art 2018.

Nicholas Bussmann is musician and artist. As a musician he is playing Telebossa and his multi-language choir "Cottbusser Chor”. He has been working with numerous musician and artist: Natascha Sadr Haghighian, Butch Morris, Chico Mello, Van Dyke Parks, Lucile Desamory & Lindy Annis. As an artist he showed his work at Museu Serralves Porto, Hangar Bicocca Milano, Taxispalais Innsbruck & Shanghai Biennial.

Stargazer is a huge tune beloved by ravers all over the world, but for a long time the rights to it were in legal limbo. Kniteforce/KFA un-limbo-ed them to create this superb EP of remixes, featuring the classic original, the also classic Reese remix, a fresh new … err … old take by Dj Luna-C, and a proper tough remix from Audio-X. All in all, this single record covers everything anyone could want in an EP …

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, Liquid, Hyper On Experience, Ant To Be, Ponder, and ... many others.

A stunning 17-minute-drumming-trip from feathery spheres through bold grooves to a dense thundery finish by Simon Popp and Sebastian Wolfgruber, the two drummers known for channeling World Music, Afrobeat and Jazz drumming in solo projects and with Munich-based Jazz quintet Fazer.
The B-side holds a rework by fellow Munich producers Zenker Brothers. The Ilian Tape heads and notorious audiophiles put their drum machines aside and weaved the recordings with layers of mystic synths into a tingling organic IDM tune.

Light Blue Vinyl

These 2 scene giants have come together with 2 amazing productions for their new label "Fish Rice". Hellfish has been producing music for nearly 30 years on his own labels Bogwoppa and Deathchant! Akira is the main man in the Dutch scene now and plays out at all the big festivals this year. He even hosts his own Hong Kong Violence parties at venues all over the globe as far flung as Brazil & Hong Kong! He's been an active member of the scene for decades and continues to push his incredible sound all over the world.

(Record Store Day 2020) Hip re-works of the Amsterdam based afro-funk styled unit

Two big tracks from the last 18 months get the remix treatment from 2 of the scenes finest. Whiney injects some serious bass into BCee’s ‘Sincerely Yours’, flipping it from a laid back liquid roller into a heavyweight peak time flex out.

Phaction puts his touch on Villem & McLeod’s ‘Let It Breathe’
and once again flips this liquid vocal tune and creates an absolute monster. Support from Rene LaVice, High Contrast, Hybrid Minds,
DJ Marky, BCee, LSB and more ...

3x12"


We're celebrating our 30th release and we have done it in a big way, gathering a handful of like-minded friends, close and far!. This triple vinyl album contains a selection of 12 catalog tracks, receiving free and stunning treatment from masterminds like Venetian Snares, Samuel Kerridge, OM Unit, DgoHn, Plaid, Etapp Kyle, Dwaallicht (WISP), Humanoid (FSOL), EOD, Konx-Om-Pax, Radioactive Man and Anthony Baldino. Not many words are needed except this powerful release expands the AF sound palette from different approaches, making it, undoubtedly, in one of our essential records of the year. Packed in gatefold deluxe sleeve designed by Geometric Love studio.

Next up on Blahh !! Records we have the 2nd release from Beforethbeatsbreak which is co-produced by Crazy bank. The E.P also includes a Re-edit of 'Closer' and a remix of 'Get to you' courtesy of Plastik People's Marc Cotterell

Though citizens the world over are trapped inside under lockdown measures, freshly minted Brighton label, DNO Records, continues traversing the globe to highlight rising talents from the international bass community.

Release number two - the ‘Kiswahili’ EP - comes from CITY1, himself something of a wandering spirit. He hails from the Okinawa islands in Japan’s tropical southern tip, a place of teeming coral reefs and long golden sands, where inhabitants are known for living long lives. Having moved to the bustling capital of Tokyo, CITY1 has since joined Goth-Trad’s Back To Chill crew.

Lifting the veil for Dub Sector's 6th instalment in their vinyl series, the St Louis- based Dubstep hub welcomes none other than ENiGMA Dubz to the heavyweight discography with an unruly three-track armament. Residing in Birmingham, the newest addition to the Dub Sector roster perfected his craft with more than a decade of experience and releases on esteemed labels, such as Duploc, Hatched and Dubstar as well as Dank 'N' Dirty Dubz. For Dub Sector’s next outing, the imprint’s second vinyl release of 2020, ENiGMA Dubz pulls out the big guns once again.

After fifteen years, Paul Blackford's 1991 EP is finally back in town! With tracks remastered and lacquers cut by the famous MB Studio, this is a treat for the ears. Dancefloors & sound systems are going to dig the tunes heavy. Between the sounds of Detroit Techno, Ghetto Tech, Rave chronicle, Dark 90's video game Drum N Bass, this EP builds a unique bridge between the Detroit and UK vibes. Plus "The Bunker" a superb previously unreleased deep track,makes this reissue by Deep & Roll a must have.

SABAB returns in quick succession to Artikal with his brand new EP 'Fittest Of The Fittest'
Covering the full aspects of Dubstep... from the Deep, to the Dubwise, to the Heavy and inspired by the Dub legends of generations past this is a landmark release for the Dublin native as he showcases his supreme productions talents.

This killer 4 track EP has been supported by many of top DJ's in the Dubstep / 140 scene including Mala, Youngsta, V.I.V.E.K, J:Kenzo, and DJ Distance.

Cromulent, uncraptacular and soul embiggening are just some of the adjectives used (admittedly mostly by us) to describe the Globex Corp series. So here's a repress of the much-loved Volume 1, one of the least blurst entries of the series.

Like the Grass documents and reimagines a warm summer's evening in Basel, Switzerland, in June 2018. Four musicians convened: Johannesburg composer and bow expert Cara Stacey, South African violinist and composer Galina Juritz, German harp player Antonia Ravens and Swiss guitarist and sonic explorer Beat Keller.

Together they improvised using a graphic score titled "Luhlata njengetjani" ("Green like the grass" in the southern African Siswati language), inspired by the rivers of eSwatini, blackbirds in the parks of Basel and the evocative, red-flowered umcinci or erythrina tree. The South African umrhubhe mouthbow's dense harmonics folded around skittering, fractal violin loops; temperate swells of guitar were punctuated by agitated harp pings and the hearty thuds of Ugandan and Mozambican lamellophones.

This joyous, unfettered outpouring criss-crossed between southern Africa and Europe, forwards and backwards, for the following two years. The fruits were unpicked and rewoven into new mosaics by Cara, Galina, and two of our favourite recording artists, Object Agency and Hello Skinny.

Recorded as part of Cara Stacey's studio residency in Basel, Switzerland, supported by ProHelvetia Johannesburg.

Gigantic producer/DJ from Scotland, Creep Woland, lands back on the Astral Black heli-pad with his 'Chamberlain' EP. Four blistering breaks-led, club ready, jungle tracks intended as an ode to the rolling bass and rainy days that raised him. Picking up near enough where his Close Reading debut left off, Chamberlain sees a more refined and honed execution of the hard hitting electronica Woland has become known for.

Informed by the experience of playing to dance-floors, as well as educational journeys down to London for radio sets, these new tracks are fine tuned and bass heavy - perfect for existential club experiences or the driving of sports vehicles. The subdued intrigue of EP opener 'Imposter Syndrome' sets the mystical and reflective tone of the record, while down the line junglist anthems 'Medieval Draw' and '0800-Falkirk Triangle' call for slow motion gun finger. Written at a time of personal hardship and mastery of oneself, the hopeful promise of closer 'Lord Chamberlain' acts as a sonic representation of the proverbial light at the end of the tunnel of this particular time in Woland's life.

Recently, Chamberlain EP's 'Imposter Syndrome' has been receiving early radio support from Rinse FM's Jossy Mitsu & Impey on NTS, whilst his debut release Close Reading received radio support from the likes of Josey Rebelle (in her award-winning Essential Mix), Om-Unit and JD. Reid as well as critical acclaim from FACT, CLASH & Hyponik. In addition to its various accolades, Close Reading also lead to Woland being handpicked by Lanark Artefax as the opening act for his 'Enter The Gateway' performance, and has since performed alongside the likes of Om-Unit, Proc Fiskal, DJ Storm and more.

We Launch A New Vinyl Series, Strictly Limited To 200 Units, No Repress, On Which We'll Be Releasing The Finest Tracks Released On The Digital Pot (digipot).
For This First Strike, We've Chosen A Oldie But Definitely Goodie, Released Back In 2009 On Digipot18: Katharsys, Gancher & Ruin - Dirt Track Ep.
The Original Release Includes 4 Tracks, We've Taken These 2 For "hard-stuff-on-vinyl" Lovers: Sky From Beyond / I Think Its Done.

Max Schreiber - Short stays

This release is made out of 2 live improvisation of a meditation ritual based on a modular synth. Max Schreiber, also known as Mule Driver experimented with his modular system,generating a haunted, cosmic and meditative sound.

side A

This piece is a take on a futuristic Mongolian space tribe.

It starts with sound that resembles throat singing, later followed by hollow war drums and a twisted untuned mantras. the haunted atmosphere later increase when metronomic pulses slowly creep into a dimly lit zone of groaning synths.

The piece on side B build around granular reverb and the possibilities such an instrument would offer against frequency modulation synthesis.

The music is as patient as it's intense allowing space and time to build and create against the hum of internal work.

A true Italian veteran makes his debut on Slow Life, Alex Neri. After hundreds of releases and remixes, he has packed all these years of inspiring music in a well rounded EP of deep, fresh and
timeless tracks.

Ibiza Records is now collaborating with the legendary DJ SS who played an important role in the '90s development of Jungle n Drum & Bass, genres n becoming one of the major recognized producers in the U.K.

In 2020 releasing a number of back catalogue tracks on his co-owned Formation label.
This album showcases both released and unreleased tracks influenced by the musical paradigm shift from hardcore and acid house into the much darker and faster jungle sound that still packs a punch to this day.

1.Rampage 95: Between The Lines: The alias for this project came from SS always wanting to go deeper into subjects and read between the lines…. In terms of the track 1995 was one of DJ SS’ biggest years for killing the Jungle scene and was storming the scene in a Rampage…

2.Were Rolling: This track made in 1995 under the alias for this project came from SS always wanting to go deeper into subjects and read between the lines…. In terms of the track 1995 was one of DJ SS’ biggest years for killing the Jungle scene and was storming the scene in a Rampage…

3.Smokers Rythmn: This tracked made in 1994 under another alias of Dj SS n during the 90’s a lot more people smoked than now a days. However always being a non-smoker SS had to spend a lot of time around people who did, so the name was a gimmick for the time. SS has never endorsed smoking…

Part two in his trilogy of what seems like an aural romp through dance music’s key components, Luke Vibert follows up his ode to the ‘Amen break’ on the sumptuous ‘Luke Vibert presents Amen Andrews’, with a pretty damn thorough modelling of rave roots, in ‘Luke Vibert presents Modern Rave’.

When it comes to bashing out creative, highly complex, yet seemingly simplistic rave bangers, Luke Vibert certainly has the chops for delivering the goods in spades. As an innovator in the field for labels like Ninja Tune, Warp and Rephlex, Vibert digs deep into his floppy disc collection for a glorious ride through familiar samples and hooks, breakbeats and funky basslines and earworm melodies for an indispensable collection of feel good modern rave.

Repress

Founder of Modern Obscure Music, Pedro Vian, drops his debut longer player 'Beautiful Things You Left Us For Memories'. Having previously released on well respected labels such as Hivern Discs and Mathematics Recordings, Vian brings things in-house, with 12 tracks that push beyond simple categorisation. Travelling through abstract, sonic labyrinths, taking in ambient, techno and even pop, this release is a kaleidoscopic work that demands the listeners undivided attention.

Penya came through the door of 2018 with a bang. Their debut LP Super Liminal had been carefully guided by On the Corner having started the journey with a pair of conceptual cassette releases and remixes of a first single by Jose Marquez and DJ Khalab in 2016.

Super Liminal was tipped as one of the LPs of early 2018 not to miss. The album sold out and the band were soon taking their club ready percussive electronica to festivals around Europe. A prime slot at Worldwide Festival, Leysin led the band around Europe and the UK with highlight's including a support slot for Sons of Comet at the innovative Brainchild Festival. They are finishing the year with a slot at WorldwideFM's second birthday party before heading back into the studio.

Whilst the band hit the festival circuit, On the Corner friends and family got busy reworking the in demand 'Super Liminal'.

The remixes on this 12' pushes the Penya sound over the border of the club ready aesthetic and expands with a variety of energies from club culture across continents.

The A-side opens up with a stylish, uniquely individual and layered rework of Cham Bomb by Photay. Drama weaves elegantly with international flavours and a reference for future Afro-Cuban percussive electronica. This track ushers the listener into a private haven of adventure from the get go.

The pulsing, driven energy of Sarathy Korwar's fearsome drum rework is the closest of these reworks to the source material. The deviation is immediate however with a live feeling ripping, tripping and kicking through the foundation of 'Why So Angry'. This is a definite taste of what's to come with Sarathy a delicious addition to Penya's live work when they push later into the night.

Dengue Dengue Dengue cross more continents and bring their signature dreamy Amazonian-Berlin magic to cast spells over main stages and evoke dreamy emotive dynamics for adventurous floors with 'Search it Out'.

On the flip Indian producer, and Penya's label mate, Daisho straightens up 'Iyesa' and kick's it forward with a solid 4x4 for the tool box. Daisho is quickly becoming a safe pair of hands and is under the wing of On the Corner's A&R future vision.

The release is closed out by Al Zanders adding a UK House groove to the proceeding. The rework of Tribes swings into an electro bounce as the young producer stretches and loiters with a new adventure for the dancefloor.

Victoria Topping spices up On the Corner's disco sleeve's with a nod to the dark side and the joy of shaking up the early A.M.s

Saturday Night is the debut LP by old friends and collaborators Alex Twomey, Matthew Sullivan, and Sean McCann. Recorded over numerous evenings at the artists’ homes, and completed just before the birth of Matthew’s daughter, Flora. The album became an excuse to spend time with one another as well as perform. As the trio ordered take-out, drank scotch, smoked on patios, laughing off the weight of reality–they stumbled into moments of musical focus.

This album has a prism of fidelities. High and low resolutions press together as the environment blows through the instruments. The woozy, side-long titular track of hesitant cello and pianos opens the record. Quiet music with blemishes and inebriated pauses, breathing an alleviated air. Phrases with failing propellers, teetering between melodic and apathetic. The true speed of their Saturday nights.

Side two opens with “London On My Mind.” Reflecting the other pole, manic cassette treatments duel over Twomey’s placid keyboard, ultimately breaking into a little joke on the piano. “Collection” features guitar by Sullivan, remembered for his thick fog of work under the alias Earn. With Sullivan’s return to the instrument, he is joined by Twomey on upright piano and McCann processing the room in real-time. The brief final work, “Bird,” recalls the style of the group's private press cassettes, The Bird and Charlotte’s Office: poorly-played pleasant-hearted music.

Each edition of the record includes a 20-page photo booklet of stills documenting the recording process.

7" Yellow Vinyl

Nearly seven years after the release of the debut album “ALFA", FDF still has not enough. Two track EP with remixes by none other than Filburt and the probably most underrated artists from Berlin “Even Drones".

Opening 2020 with a storm, Malka Tuti delivers a new 7” by mysterious artist 'Lena Muir'. Two cuts of Post Punk infused dance floor bonanza for your weirdo selectors set, or your next car chase. Sounding like they were taken out of a Robert Rodriguez movie, the 2 tracks push relentlessly forward, with a quirky drum machine, heavy bass and kick-ass guitar riffs. The 7” will be a vinyl only release, limited edition of 300 Copies.

Black Truffle’s documentation of the prolific recent work of legendary American composer Alvin Lucier continues with Works for the Ever Present Orchestra. This is a very special release for the composer, as it presents pieces written for the thirteen-member Ever Present Orchestra, formed in 2016 exclusively to perform Lucier’s works. At the heart of the ensemble are four electric guitars, an instrument Lucier began composing for in 2013 with Criss-Cross (recorded by two core members of the Ever Present Orchestra, Oren Ambarchi and Stephen O’Malley, for whom it was composed, on Black Truffle 033). Through the use of e-bows, the guitars take on a role akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s, but with added harmonic richness. Like much of Lucier’s instrumental music, the pieces recorded here focus on acoustic phenomena, especially beating patterns, produced by the interference between closely tuned pitches. The work presented here is some of the richest and most inviting that Lucier has composed. Though all of the pieces clearly belong to the same continuing exploration of the behaviour of sound in physical space and make use of related compositional devices, each takes on a strikingly different character. Titled Arc, for the full ensemble of four guitars, four saxophones, four violins, piano and bowed glockenspiel inhabits a world of sliding, uneasy tones, punctuated by a single piano note. Where Double Helix, for four guitars, rests on a pillow of warm, low hum, EPO-5, for two guitars, saxophone, violin, and glockenspiel possess a limpid, crystalline quality. Accompanying the four new compositions are two adaptations of existing pieces for radically different instrumentation, demonstrating Lucier’s excitement about the new possibilities suggested by this dedicated ensemble. Works for the Ever Present Orchestra is an essential document of the current state of Lucier’s continuing exploration, as well as offering a seductive entry-point for anyone who might yet be unacquainted with his singular body of work.

Presented in a deluxe gatefold sleeve with cover artwork and liner notes from Alvin Lucier. Includes a download code featuring hi-res vesions of the LP material. The download code also includes the bonus Adaptions for the Ever Present Orchestra featuring two pieces (“Two Circles” and “Braid”) that are not included on the LP version. Mastered by Rashad Becker. Design by Lasse Marhaug.

Spanning multiple styles and genres in a seamless blend of danceable music, the album reference synthwave, italo disco, fun and blissed-out synth sounds throughout a constantly evolving record, merging modern feels with rich tapestry of old 80's melodies.

"Eye Contact" is the World's first look at Detroit's Symptoms of Love. Ryan Spencer (of Freakish Pleasures) and Ben Christensen (co-head of Sector 7G) display affection for their community through 3 tracks crafted in Hamtramck, Michigan. Auxiliary percussion and a plethora of classic synths makeup these sludgy, intuitive, melody saturated disco hits. Sticking with the theme of community, featured musicians include Antonio Manzari and Paul Taylor.

Four boys from two different countries decided to travel to a new star. First stop: Beta Gruis
300 copies LTD

Limited Edition of 500 handnumbered Box Set including 4LPs (180g), 1 CD, Download Coupon and a high quality 120 page booklet. NOTE: BOX IS SHRINK-WRAPPED BUT WILL BE OPENED FOR SHIPPING TO AVOID SEAM-SPLIT.

Black Truffle Together With Bernhard Rietbrock And Zhdk Are Honoured To Reissue This Stunning Boxset Celebrating Alvin Lucier's 85th Birthday Celebrations Which Took Place In Zurich, 2013.

Alvin Lucier Is One Of Most Important Figures In More Than A Half Century Of Avant-garde And Experimental Sound Practice. He Has No Equivalent. He Is Among America's Most Important Composers - A Towering Pillar Of Intellect, Creativity, And Beauty Realized Through Sound. His Singular And Unparalleled Body Of Work, Focused Around Acoustic Phenomena And Auditory Perception, Which Included, Among Many Others, The Groundbreaking Works Bird And Person Dyning, Music On A Long Thin Wire, And I Am Sitting In A Room, Each Quietly Shifting The Understanding Of What Music Could Be - Deceptively Discrete Gestures, Laying Their Mark On History And The Expectations Of Nearly Everything To Come, While Radically Expanding The Field. It Is Such A Life, Defined By Such Striking Accomplishment, Which This Release Celebrates Across The Four Lps, Cd, And Book Which Make Up The Lavish Illuminated By The Moon Release.

Recorded In October Of 2016 At The Alvin Lucier 85th Birthday Festival At The Zurich University Of The Arts, The Box Gathers A Remarkable Range Of Performances Of Works From Lucier's Life In Music, From The Iconic To The Lesser Known. It Begins With Wonderful Stagings Of I Am In A Sitting Room And Music For Solo Performer Performed By The Composer, Before Presenting The Work Charles Curtis Performed By The Cellist For Whom It Was Composed, And Double Rainbow, A Recent Work, Performed By The Incredible Joan La Barbara. Over The Course Of The Set's Many Discs, We Encounter Works Ranging From Nothing Is Real (strawberry Fields Forever), Braid, Two Circles, Hanover, Step, Slide And Sustain, And One Arm Bandits, Performed By Oren Ambarchi, Stephen O'malley, And Gary Schmalzl, With Further Contributions By Charles Curtis And Many Others Involved In The Celebrations Of Lucier's Life And Work. The Collection, By Offering An Expanse Of Material Otherwise Unavailable In The Composer's Discography, Opens A Rare Window Into The Breadth And Range Of Territory Which He Has Approached, As Well As Into The Unique Humor Which Has Quietly Bubbled Through His Entire Career. It Is A Singular Recording Event, The Likes Of Which Are Unlikely To Be Repeated.

A Worthy Tribute To One Of The Last Century's Most Important Composers, Offering Insight, Recognition, And Critical Investigation, Long Overdue And Lovingly Produced. Including An Extensive, Lavish 120 Page Book, With Numerous Unseen Images. Pressed On 180 Gram Vinyl, This Limited Edition Of 500 Individually Numbered Copies Is Unquestionably One Of The Most Beautiful And Important Releases Of 2018.

Key Selling Points: - Limited Edition Of 500 Handnumbered Units From Legendary Electronic Music Pioneer Alvin Lucier

- Lavish Box Set Including 4lps, 1 Cd, And A High Quality 120 Page Booklet.

- 180g Vinyl

- Incl. Download Coupon To Redeem All Tracks

- Over 190 Minutes Playtime

- Remarkable Collection Of Performances Of Works From Lucier's Life In Music, From The Iconic To The Lesser Known.

- Mastered & Cut By Helmut Erler At Dubplates & Mastering, Berlin.

ROW goes back to a collecting of field recordings that Hirsch took for Oerol, an annual theatre festival taking place on the West Frisian island of Terschelling / NL.
The recording was taken aboard the ARAD, a lifeboat of the Dutch rowing team Roeiteam Ter- schelling Recreatie during a training exercise on 25 April 2011. The course stretched from the harbour of West-Terschelling out into the Wadden Sea and back again. The focus is on the coxswain's commands which resemble a funk singer's ones and which make the team become one body working their way through the waters.

After numerous concerts and performances throughout the last years, Summe 1 is Andreas O. Hirsch's first release on makiphon. The album concentrates on peculiar soundscapes and drony pieces, carefully inter- woven by means of pitched harmonicas, electric guitars, mini fans, de- lays and the electric palm leaf, an electroacoustic invention of the artist. The eight titles evoke a space somewhere between interstellar geography (Maxwell Mountains - a plateau on planet Venus), abstract physics (Teilchenbeschleuniger), botanical scenery and animality: Kemeri 5 am features nocturnal crane calls that Hirsch recorded on a bike trip in a swamp near Riga while he was busy with decoding bird messages via morse code. Opossum Pravda is dedicated to the tenacious marsupial that likes to wander around at night and which is able to hang from trees by its tail. Kautschukwaage seems to suggest an exotic setting and provides a link to the rubber bands which one hears resonating in the miniature.
Sleeve designed by the artist. 300 copies. Mastered by Joseph Suchy.

Italian DJ and producer Lynch Kingsley returns to Inperspective Records with new album Death Cycles, out 5th June.

Pear enters the new decade with New Members' latest opus Deep In The Night. Three tracks expanding the Donabate hero’s singular universe to ravier, more anthemic heights.

The title track is a right beast, giddily soaring through decades of dance eras past with expert poise. Its hard housed pumping core and diva mantras soon erupt into trance(cstatic) bliss, eliciting Pear’s biggest hands-in-the-air moment yet. Addictive stuff.

Stargazer shifts focus, locking in deep with an aerated roller reminiscent of early noughties tech. Serene pads suspend across its chugging low end, indulging sun-rise euphoria for ‘floors & headphones alike. Forcefield Shifta sees us out, stepping sharp with reinforced hardcore energy. New Members flexes his breadth as one of Dublin’s most talented producers.

Tape / Cassette
OG Evil Rock and Post-Punk Experiments by Phul Recorded between 2018 - 2020 Satanic payment methods accepted

An assemblage of production across labels such as DEXT, Fabric/Houndstooth, Sound Pellegrino and his own GUNNER imprint has seen Troy traverse a multitude of tempos and club conditions. Paving the way for his debut EP on Only Ruins, ONRU004 is a luminous four-track 12" that exercises a complex and heavy-duty sound design.

DJ Support
Call Super, Will Bankhead (TTT), Breakwave, Batu, Jon K, Laurent Garnier, Minor Science (Whities/AD 93), Madam X (NTS), Peder Mannerfelt, Zenker Brothers, re:ni & Laksa (NTS), Machine Woman, TSVI/Anunaku, Hodge, Aquarian, Pessimist, Anina (Happy Skull), DJ Plead, Solid Blake, Simo Cell, Om Unit, Boris (Berghain), Dr Banana, Edmondson, Orson (version), Ciel (Discwoman), Nabihah Iqbal (NTS), Feloneezy, Gigsta, Secret Sundaze (NTS), My Nu Leng, Barely Legal, Danny Daze (Omnidisc) +more

Great collection of tracks released on the Warriors Dance label, This is an updated and expanded 2019 version of the compilation 89' that boasts some unreleased DAT tape outtakes and cuts that have never seen the light of day - until now! This compilation is crammed full of the breakbeats, deep as the centre of the earth basslines, left-field influenced acid cuts and dubwise new-wave esque dance sounds..

Acid Lab returns to AGN7 Audio with his “Secret Weapon EP”. With releases on a host of recognized underground imprints, he has offered steady contributions to many areas of the Drum & Bass and Bass music community throughout the years, under several aliases including Kodama and Ahmad.

Gábor Lázár's colourful discography extends from sound art to his more recent dancefloor detonations. From his first release on Lorenzo Senni's Presto! label to his collaborations with Russell Haswell and his popular 'seizure inducing' team-up with Mark Fell entitled 'The Neurobiology of Moral Decision Making' to his last album 'Unfold' on The Death of Rave, where he balanced relentless, snappy rhythms and wonky melodic tones against more measured chords to create a deliciously fruity futurism.Gábor has now signed to Planet Mu for his new album 'Source' which moves forward with the dance music direction he started to formulate with 'Unfold'. Gábor first fell in love with electronic music simultaneously through dance music and it's IDM offspring, and also with harsher, noisier computer music on labels such as Editions Mego. This collection, which develops slowly over 8 tracks, works its way through his own take on these influences, moving across themes and loops as if each track is a different stage in a process. All these tracks sound incredible on a club sound system. The listener can hear nods to hoover bass and 2-step in 'Phase', or trance techno in ‘Excite', the dive-bombing bass of dubstep in 'Effort ' or the frantic techno influence of 'Route', emulated in the minimal forms Gábor has created with a sound artist's precision and a strict adherence to his vacuum-like grids. Gábor bends his sounds, abstracts them and re-contextualises them; basslines fire out of the grid at strange angles and squirm as if they've come alive, shards of melody shoot off at wild angles, attacking with drama and a thrilling sense of energy

We are extremely proud to announce the return of Pye Corner Audio to Lapsus Records with the EP "Where Things Are Hollow", comprised of four breath-taking songs that transport the listener to a dystopian future throughout its twenty-four minute duration. Martin Jenkins aka "the artist's artist" explores emotive techno in "Resist" and "Northern Safety Route", two tracks that coast through progressive arpeggios, slow pulsating beats and soaring pads. Meanwhile "Mainframe" and "Continental Drift" move through more ambient and melancholic terrains, two cinematic songs that are perhaps reminiscent of works by John Carpenter or Delia Derbyshire. In short, "Where Things Are Hollow" is a beguiling analogue electronica EP that is guaranteed to delight Pye Corner Audio fans and new listeners alike. This special release will also feature the collaboration of two of the country's most prestigious independent graphic artists, Alex Trochut and Basora, whose artwork for "Where Things Are Hollow" is sure to become a collector's piece.

»Efia,« the sophomore album by Rosaceae, picks up where the Hamburg-based sound artist’s 2019 debut on Neoprimitive left off, further exploring the topics that had already informed »Nadia’s Es- cape«. From its confrontative front cover to the eight tracks on the album, »Efia« is fully dedicated to the motif of resistance, but does not exhaust itself in polemics. Rather, it masterfully translates the complexities of its underlying central themes into a visceral narrative.
»Efia« was originally conceived as a commissioned work for the 2019 edition of Hamburg’s Noise- xistance festival and departed from a sentence uttered in the British 1980s TV show »Sapphire & Steel« which inspired cultural theorist Mark Fisher in his analysis of what he had coined »hauntolo-gy,« a term originally coined by the Algerian-French philosopher Jacques Derrida in the early 1990s: »There is no time here, not anymore.«
The album again showcases Rosaceae’s knack for combining abstract experimental sound art with a form of storytelling that had already been at the centre of »Nadia’s Escape« and which relies on both verbal and musical means of giving a voice to the voiceless. The disembodied voice of - amongst others - Jesseline Preach and manipulated vocal samples blend in with dense soundscapes, elements of Neue Musik and occasional pure harsh noise. It’s a mix that deliberately puts different artistic tradi-tions into a dialogue with each other: the hallmarks of European salon culture are con- fronted with Kurdish wedding music and the unnerving loop of someone demanding a »Zugabe« (»encore«).
Thus, »Efia« not only blurs the lines between cultural and regional traditions, but also conjures up the ghosts of a past, ghosts that are more than ready to haunt the timeless present trying so hard to repress the atrocities happening at its fringes. As a whole, this makes »Efia« both a chilling work of sound art and a vibrant political statement fuelled by burning hot energy.

Soil Records returns with “Namesis”, a Russian artist who makes exquisite sound material. Once again, Soil Records discovers new talents.

Yellow Marbled Vinyl

Continuing the collaborative project started in 2018, the long awaited Watermark Volume 2 is here.

Amoss & Fre4knc join forces once more, to deliver another release demonstrating exactly why the first volume was such a success. This combination of producers consistently deliver their own, heavyweight sound, with "Question Answer" and "Confront" being no exception to the rule.

The pair are also joined by Swift for the menacing collaboration "Face Reality".

Watermark Volume 2 is testament to this creative pairing of styles and it sure to be in heavy rotation. Watch this space for more to come from this project.

Repress

While Headstrong Records split the debut drop between Randomer and Clouds. It's now time for the duo Clouds to go solo. Starting off with 4 brutal and destructive techno tracks!

The sensory reaction to persuasive brain-wave activity suddenly makes Susan wonder: was that Dexter, or merely a sly fox? The glimpsing shadow disappears. I'm lost at a club but that feeling is good. I find patterns in repetitive rhythms. We are together, finally. De Sluwe Vos takes Susan on a very special binary journey full of Trans Magnetic Stimulations and more.. you feel me?

Martin Haidinger has released music on Worm Interface and Toytronic Records as Gimmik and is one half of Abfahrt Hinwil.

Released initially on hand-numbered cassette on Martin's own Hidden Reality micro imprint in October 2019, Entre Les Chambres gets the remaster treatment by n5MD for release on vinyl in early summer of 2020.
Entre Les Chambres is a highly personal work for Haidinger. And is his first new publicly released Gimmik since he appeared on our MD8 compilation back in 2004. We are proud to bring you the album on limited edition silver with black and white splatter vinyl on June 12th, 2020.
Those familiar with Martin Haidinger's work as Gimmik might be surprised by an entirely beatless return from Haidinger. However, those that have followed his music know that his synth work is undoubtedly his signature, and Entre Les Chambres' two long-form works bring his trademark to the fore, free from the confines of the grid.

Mooring the 'Train Of Thought' at Hamburger Hafen, Latvia's R_R_ delivers aquatic ambience, buoyant electronics and tidal rhythms on the Growing Bin. Hold this shell(ac) to your ears and you’ll hear the sea…

As we hasten towards the inevitable Waterworld of the next century, Latvian composer, sound artist and lecturer Reinis Semēvics charts our safe passage to dry land with his debut album 'Train Of Thought'. Inspired by the rhythmic movement of water and how its rippled reflections bend our perception, Reinis sculpts an immersive sound collage - a precise mixture of field recordings and self-made sounds which swell and swirl as we bathe in their beauty.

Bookended by the Baltic's roar at the Bay of Rīga, 'Train Of Thought' drifts from the harbour to the open sea, conveying the restful calm and frenetic power of a body of water throughout. Misty pads and delicate piano conjure lapping waves and blue skies, bubbling sequences ripple up from the deep and cascading melodies fall around hypnotic rhythms, each distinct droplet offering a different feeling and mood. One moment flows into the next, nine rivers pouring into a single ocean of sonic bliss.
The alias R_R_ is a tribute to his grandfather, the composer Ģederts Ramans, whose influence helped set Reinis' sonic journey in motion. We're very happy he's decided to stop off in the Growing Bin, and we're sure you will be too.
Patrick Ryder

This new compilation, a statement of intercultural music production, features collaborations of Slikback (PAN), KMRU, Tite (Fragile), Jinku, Pier Alfeo (Backwards) ... recorded during a residency in Elefant Studio, Nairobi.

The compilation will follow a 45mn documentary dedicated to the Kenyan Scene.

After two vinyl releases highlighting two musical currents rooted in an era and a territory - Benga in Kenya and Tarantismo in Italy; Flee Project unveils its sub-label, Extra Muros, linked to an itinerant creative residency program that aims to bring together innovative and creative artists from all around the globe for a two-week long production and writing camp. Open to all, it promotes underground sounds and artists in search of sonic experiments and discoveries. Is held every year in changing locations and countries.

Extra Muros - Kenya, is the result of the creative residency program organized by FLEE in September 2019 in Nairobi at the Elefant Studio. For three weeks, seven musicians: Slikback (KE), Karun (KE), Jinku (KE), KMRU (KE), Flexfab (CH), Pier Alfeo (IT) and Tite (FR), and producers from all over the world and from Kenya came together to produce and to create this unique sound that emerged from a large variety of artistic environments and soundscapes. This compilation is a statement of intercultural music production in the digital age.

Amnesia Scanner announces Tearless, the Berlin-based duo’s second LP. As Amnesia Scanner founders, Ville Haimala and Martti Kalliala watch their icy home country of Finland thaw, the staggering scale of political recalibration and the worldwide climate crisis to come blows open old norms. This album reflects what it feels to experience Earth at a time when collapse is emerging as the prevailing narrative.


The musical scope of the record is expansive, with guest vocalists—the Peruvian artist Lalita and the Brazillian DJ/producer LYZZA—descending into a vast uncanny valley of sound. Tearless follows the 2014 AS Live [][] mixtape, 2015 audio play Angels Rig Hook, two EP’s for Young Turks, and their 2018 debut album, Another Life (PAN).



“There’s a looming sense of radical change,” they note, connecting the present to a fin de siecle horror and curiosity regarding what new world is being ushered in. Someone called Tearless a “breakup album with the planet.” To which Amnesia Scanner responds, on the LP’s closing track: “Youwill be fine, if we can help you lose your mind.”


With the crossfader on Tearless sitting closer to pop than abstraction, so too does the audience for this record widen in scope. Listening through: Opener “AS Enter” sets a sombre tone until the fucking riffs of the second track(the titular, Lalita-helmed “Tearless”) make clear there’s plenty of roaring to come. A feature from metalcore band Code Orange on “AS Flat” follows, along with “AS Trouble” (feat. Oracle, the third, machinic ghost-member of Amnesia Scanner) and together they hit as black-metal-gaze dirges. At the album’s midpoint, Lalita returns for the beautiful, operatic breakdown of “AS Acá” (released as a single in 2019), before “Call of the Center” guides listeners through three club ready tracks—the grain-processed dembow of “AS Too Late” and “AS Going” with LYZZA, and then the ambientheadbanger “AS Labyrinth.” Closing “Tearless” is the sadboy grunge of “AS U Will Be Fine” with a clear statement of intent: doom, despair, insanity, absurdity, it’s all natural, all cathartic, and all OK. Refuse like the ‘90s and party like the ‘20s—if that seems senseless, you are doing it right.

Repress!

4th from London based “Art Of Dark”. 4 fresh cuts from London producer Alec Falconer

Ambient experimental deep sound.

Techno and house pioneers Global Communication (Tom Middleton and Mark Pritchard) released their album Pentamerous Metamorphosis in 1993. The album is a reworking of the Blood Music album by Chapterhouse. An undiscovered treasure in the ambient music, but this overlooked masterpiece got everything to offer in the early ‘90s. It still acts as a great representation of how dynamic, emotional and moving good electronic music can be.

Pentamerous Metamorphosis is available as a limited edition of 2500 individually numbered copies on translucent blue marbled vinyl.

Ambien dark industrial master Hermann Kopp shares with Fusiller this superb EP.
Pure Deep night music !

Metrik’s highly anticipated third album ‘Ex-Machina’, on Hospital Records, is an exhilarating and flawlessly executed evolution of his unique sonic identity, filled with high-octane drum & bass frequencies and first-class dancefloor tear-ups. ‘Ex-Machina’ continues to elevate Metrik’s sound to new heights with his own vocals and songwriting taking centre stage throughout the 13-track LP, also welcoming features from Grafix and ShockOne. After 10 years shaping the face of dancefloor D+B through his technical precision and immaculate mixdowns, Metrik is firmly established by fans and peers alike as one of the most highly respected producers in the game.

The album opens with ‘Automata’ - this techy bruiser triangulates meaty basslines, crunchy riffs and melodic highs. Metrik enlists label-mate Grafix for the drum & bass / rock hybrid ‘Parallel’, where the pair demonstrate their unrivalled production mastery through uplifting melodies and an anthemic hook.

Metrik has teamed up with Australian bass music titan ShockOne on ‘Dying Light’ which sees euphoric vocal hooks sung by Metrik himself complete with an electrifying bassline, destined to power up sound systems worldwide. The album also includes his previous singles ‘Hackers’, ‘We Are The Energy’ and ‘Gravity’ that saw him packing out dancefloors during his tours across the US, Europe and Australasia.

Having firmly established his dancefloor sound on an international scale, Metrik’s heavyweight drum & bass prowess sees support from the likes of BBC Radio 1’s Annie Mac, MistaJam and Rene LaVice. His powerful anthems have been spun by D+B legends such as Andy C, Sub Focus, Friction, Culture Shock and more, across clubs and airwaves worldwide. Metrik is previously known for his popular solo works ‘Want My Love’, ‘Fatso’, ‘We Got It’ and ‘Chasing Sunrise’, as well as his collaborative remix with D+B high flyer Wilkinson of ‘I Need’, that reached the BBC Radio 1 playlist in 2019.

Having also previously held the esteemed role of BBC Radio 1’s year-long residency host, Metrik is no stranger to holding his own on the airwaves, and can be found during isolation hosting his own weekly ‘Ex Machina Sessions’ live and direct from his studio where the album was created.

After 2019’s „Our Complex Pleasures“, an exploration of queerness and polyamory through sound, „Neoliberal Folk Songs #2“ again show Sex Und Violence’s love for conceptual work. Recorded between 2017 and 2020 and based on writings by Mark Fisher, PJ Harvey and James Bridle’s „New Dark Age“, NLF#2 is a dark collection of repetitive drum sequences, anthemic drone pop and bits of trap. Songs from the margins of neoliberalism, songs from the eternal present.

Incidentally, the last finished track of the album, „Koan For A Careless Cosmos“, was also where the whole recording process began in 2017 – for a sound piece in the wake of Fisher’s death – and the last layer of lyrics was spoken on a hissing tapeplayer just right before the first C-19 lockdown. Meandering in the same vein is the slowly creeping, LFO-twiddling „Mass Unsconsciousness“, referencing 80’s acid as well as S.U.V.‘s deep interest in traditional eastern repetitive music. In stark contrast to these quieter pieces stands the onomapoeitic fallout of „NSFW“, which was improvised and recorded on the spot without any additional overdubs. The album is framed by different versions of the „Anthropocentric Blues“, which highlight S.U.V.‘s soft spot for simple pop melodies. But despite these sensibilities, there’s a constant uneasyness spreading throughout the record. Like Mark Fisher’s ghosts, who walk upon earth, sure to never settle anywhere.

From the numbing frequencies of „Engineering Consent“ to the wordless, minimal trap-take „Verbal Austerity“, these songs are a comment on the endless performances of neoliberal strategies, be it in the emptied out mainstream of social media output, or in the administrations of any given institution – a cacophony of signifiers that never goes anywhere, just as the restless beats of the „Cultural Assassination“. The renaissance of radical right-wing thought, the last rearing of patriarchy’s ugly head – „Neoliberal Folk Songs #2“ is the soundtrack to the collapse we are all witnessing.

The whole album was mastered by Marie Rose, a.k.a. Moon RA, at Fix In The Mix LABS and is accompanied by the radical artwork of Dicey Studios. Total Metaphysical Confidence Now! Unnamed Alienation Now!

Tape / Cassette

Unearth Noise's mission is to expand the barriers of what is considered music, creating a transcendent sonic experience. The project combines elements of experimentalism, psychedelia, world sounds, and ritual musics into a potent and entrancing psycho-spiritual brew. Unorthodox electronics are blended with invented instruments, electric guitars, tribal drums, and shamanic voices, creating otherworldly soundscapes sometimes jarring and dissonant, other times meditative and devotional.

From the minds of Direct Beat and Detroit Bass Classics, comes the first initial compilation of electro/techno heat... "Electro In The Key Of Detroit: Volume 1"...Proven dance floor dope & record crate staples that provide the hungry ears of masses the groove to move: World-Wide. 'DJ K1's "Erase The Time" (featured on Detroit's WGPR TV "New Dance Show" in the 1990s) rocked the airwaves and global clubs with its signature thumping style laced beneath alien-like melody and repetitive vocal structure. 'Posatronix' mutant-rhythm mantra, "Pure Techno Sound" pulls the weight of Detroit's street dance roots down to the origin of how to boogie in space. A sure-fire stepper that also shared popularity on TV dance show platforms from Techno City. 'Blaktony's tempo-pushing "Holla Holla" , direct from the documentary soundtrack: "AUX88: Portrait Of An Electronic Band" dvd box set (a radio Dj/mix show favorite) sees the light of day on this wax collectable, giving praise to Motor City footwork culture. Also included in this monster EP is the rare 'AUX88' voyage entitled: "Phantom Power"...a gem and collector's choice. Crafted exclusively for the laid-back option away from the party or to enjoy accompanying a night's drive. This collection of re-issued jams and new explorations 'IS' the must-have for the electro/techno & bass aficionado...See it as either a DJ's weapon of choice, or the gift from vault

Various Artists: Lisene, Hartta, Sourpuss & Interplanetary Criminal

"Banoffee Pies Records" drop the 13th release in the original series. This VA aptly entitled "Common Ground" is a crossover of influences from 4 artists with a selection of tracks all above 150 bpm from producers of a similar generation giving a nod to their youth and early musical journeys, largely inspired by Drum & Bass and Jungle raves across the UK.

The release divided in two with a Dark A side and Light B side offering parallel moods of depth and liquidity. The opening track "Class Of '92" from Lisene, one half of the Space Cadets duo, with previous releases on Seven Hill Records and an EP lined up with Planet Euphorique later this year, pushes complex drum patterns and pulsing synths evolving in energy levels throughout. The A2 from Bristol based Hartta offers a more spooked out bass heavy cut with "Hauntology", ready for powerful system rumbling.

The B side begins with title track "Common Ground", an ode to dusted jungle and liquid drum & bass from Leeds based Sourpuss, known for running the Stretchy Dance Supply parties, - this track serving hedonistic eye rolling gurner euphoria, sounding more like an og 90's prodcution. The last track on the disc "Vapour" comes from Manchester's Interplanetary Criminal. With his UKG EP "Move Tools" on BP010 landing on the label and many dance floors at the end of 2019, this nostalgic drum scattered jungle cut stylishly closes off the compilation. Ltd. Press. BP x

Mastered: Optimum, Pressed: MPO & Distributed by KUDOS.

This 3rd of the Motordiscs opens with a slow and delighted beat by The JuanMacLean, which turns into an electro mesmerizing track. Is it slow trance or is it some kind of house ? Are we early in the night or late in the after party ? Are we still dreaming ? A2 « Mark 211 » by Javi Redondo takes the energy level up with some acidy synth and punchy snares, proving that the power of a track does not necessarily lies in its speed. It is now time to flip the disc, Naduve takes us later in the night, bringing a murky vibe, thanks to haunting pads and low frequency instruments, picturing a proper underground club. The sun now starts to rise on the Seine river, the last track sounds like an ode to the dawn, where voices and shiny synths will emerge and open the crowd’s eyes. It was « Peppi » by Fairmont. This was a night at Garage

"The album gestated over a couple years or so, in which time a lot can happen. As one gets older, it's natural to think about the time you've spent on this planet and what you will leave behind. This was only punctuated by the unexpected loss of my aunt. At some point while crafting these pieces, I also pulled Pablo Neruda's book of poetry Residence on Earth off the shelf. The surreal imagery and emotions these works evoke felt connected to the music on many levels, and informed the course of the album until its completion. This album is dedicated to the memory of Mary V. Mannino."
--TGK

A Colourful Storm presents a new album by Beequeen, the duo of Frans de Waard (Kapotte Muziek) and Freek Kinkelaar (Brunnen). Over two long-form pieces, new material from 2020 and almost-discarded fragments dating back to 1988 are collaged to form a brand new composition. Think woodblock, guitar, static radio signals, ethereal ambience. An honourable addition to Beequeen's discography and a beautiful piece of the Dutch avantgarde with historic ties to Edward Ka-Spel, De Fabriek, Merzbow and Nurse With Wound. Mastered by Peter Johan Nyland with full-colour sleeve photography by Alfred Borland

Apollo welcome Metalheadz veterans Om Unit AKA Jim Coles and Kid Drama / Jon Convex AKA Damon Kirkham for a 4 track EP of blissed out autonomic dnb.

The duo originally met on the DJ circuit, Coles had been a longtime fan of instra:mental, Kirkham's pioneering project with Alex Green AKA Boddika
"I had their fabriclive CD with dBridge in my car on repeat," Coles enthuses. "What those guys were up to felt like a new start for my appreciation of modern drum n bass music. It was like a new form of architecture."

Kirkham picks up the narrative; "Yeah it would have been during my Convex period, I was bouncing back and forward between London and Sydney and playing with people like Machinedrum and Mark Pritchard. I'd heard some of Jims stuff and we had a long chat and in 2013 we did a collab on Exit with my Kid drama alias.

Immediately hitting it off over a shared affinity for cold architectural aesthetics, a friendship blossomed; "Getting to hang out with Damon here and there over the years has always been insightful, we both think about stuff deeply, we come from a fairly broad appreciation of music in general, rooted in rave stuff but loving loads of types of music."

The pair continued to send tracks and ideas back and forth for subsequent years but nothing was finished, until recently when something shifted and progress began to come quickly and the four tracks of 'The Untitled Works EP' began to form. The release sees the duo explore their affinity for widescreen synth pads and hypnotic rhythms with a rich seam of jungle influences shooting through the gossamer ambiance. While well suited for headphones, in the right hands a couple of the tracks will cause dancefloor damage.

Over the years, American composer Rafael Anton Irisarrihas become ubiquitous within the spheres of ambient, drone and electronic music. Whether it’s through Irisarri’scelestial long-form albums or his lauded audio engineering credentials for countless artists and labels, Irisarri’s consistent dedication to his craft never wavers from the forefront.

While Irisarri’s compositions typically field an array of modern ambient overtones threaded through oceanic symphonies with tape loops, bowed electric guitar and vast washes of overdriven sound, his recent debut album for Dais Records, Peripeteia, portray these common themes giving way to metal and classical influences that emphasizes Irisarri’s melancholic tendencies. These unique overtures, coupled with his signature layering of distortion and bleached-out textures, fabricate an audible environment that would seemingly be at oddswith, yet gracefullycomplementeach other. In Irisarri’s own words, “My previous works internalize any exterior forces or circumstances, while trying to make sense of the world. Peripeteia reverses that approach, focusing on the personal in order to tell a wider human story.”

The emotional depth found throughout Peripeteia is impeccably on display with the track, Mellified. A collaboration with Spanish composer Yamila, the choral arrangements bring to mind the sacred music of Arvo Pärt, while her voice combines the Andalusian “Cante jondo” style with medieval modes, almost drowning in layers of octave fuzz distortion and dystopian synths patterns. On Arduous Clarity, the bright arpeggiating melody that churns throughout, offers the initial glimmer of optimism in an otherwise decaying tale of personal turmoil. This encouraging glimpse is short lived however, as the song Refuge/Refuseseemingly plummets into the mourning depths of somber despair. A chorus of voices steadily crawls from its desolate terrain –a sea of broken spirits, eternally resigned to strain and bellow their final lament. Fright and Control, a piece which is equally soul churning, seems to possess a satisfying resolve, as if after years of searching, one’s very salvation has been laid to rest through the acceptance of mortality and the enlightenment in death. Irisarri’s complexity is utilized to a forcible success, slowly pulsing throughout the foreground of his audience, further emphasizing the impending dread of resolve.

Artist statement: "Peripeteia is about the last few years, sudden reversals in fortune, illness, and comforting mortality. These sudden changes in personal life mirrors the sociopolitical transformations happening at a larger global scale in countries all over the world. Previous Irisarri works internalize exterior forces/circumstances while trying to make sense of the world. Peripeteia reverses that narrative, focusing on the personal to tell a wider human story."

Recondite marks his return to Hotflush with the epic, potentially summer-defining 'Caldera' and a sequel to his 2012 hit 'DRGN'. The Bavarian artist has undergone a dazzling rise since that time, and one which is reflected in the increasing opulence of his music.

'Caldera', with its dramatic arpeggios and crescendos, is unabashed big-field decadence. Bearing all the hallmarks on which he's made his name - space, subtlety, build, attention to timbre - over the course of 9 minutes it raises the temperature to white heat. 'DRGN 2' picks up exactly where its 2012 namesake left off; that is, with an arching melody played out over droning tones of insidious intent. Dark, imposing and elegant - this is Recondite at his most wicked.

The things we love will one day disappear - first slow and then so quick. Born from the slow burning affirmation of the things we hold and they're dissolving nature as every day gets shorter. We are the collective.

All music written, produced, recorded & mixed by Drew Sullivan.

Bunker 4016: Starting off this myriad of dream worlds with 'I wanna dance with you', perhaps the real new divine Donna Summer meets lady boy Marc Almond in a superhot-mixed new wave 80's electronic dance and supersoulseventies disco freak gospel orgasm? Plus some more funky dark whipping beats, add to all this some intense tragic portuguese poetry crying out all the pain and the love of creation, then finished off by the most self-destructive occult arcane darknesse of heavy electro bass industrial nightmare noise of 'mystic derwish or Shiva Sadhu drug-overkill dance' tracks, bringing, no, submitting and delivering all way out of the modern fake reality, yes, back to the cosmic source of all!

Lewski returns on the label with a four track EP, covering a broad spectrum of electro with spaced-out sounds.

The second release of 3 Feet Deep takes on a darker tone, bringing together clubby tracks that are centered around strong basslines. Pépé Elle picks up right where he left off with “We Ain’t Taking Orders”—a furious track built around multiple hefty basslines, crispy hi-hats and snares, and a saturated 2-step beat. The following track “Alright Then” is a consistent construction of soulful chords and rolling snares with an altogether simplicity yielding the floor to the bassline to rule. On the first half of B side, London producer Ollie Rant spans garage to jungle, sneaking in an array of sounds from an amen break to some cheeky strings, all the while keeping you on your toes in the best way possible. To close the EP, ZeroFG offers a slice of his dark garage universe: a low-frequency bassline, deep-pressure kicks, and shuffling hi-hats and shakers, altogether threading the lines between fierce and dreamy—perhaps an accurate way to describe the entire EP

Indigo is Icelandic artist’s Exos fourth studio album, arriving almost two full decades after his last LP. In the meantime, the seasoned producer has never stopped to refine his production style, mastering an aesthetic that feels at once minimalist and yet richly detailed. Spanning the organic and the electronic, drawing from early dub techno blueprints and comprising the beauty of his austere homeland. From this Exos expands an absorbing atmosphere, sustaining the primal power of nature within compositions that hold an exalted presence yet never go over-board, instead, they gently push along even in their most intense moments thus vastly transcending the pure club context. The albums thirteen tracks are a sonic bliss to indulge in, each element is crafted so meticulously and balanced with care against its counterparts. Whether the luminous, spaciously glowing opening tracks “Reincarnation” or “í Skjoli Naetur ”the then-ensuing hypnotic techno-trips of “Sælureitur” and “Quad arcanum Leticia” and finally the deeply satisfying, dubbed-out backbone of the album’s main body – a series of Exos’ signature-style dub-techno cuts that he has been perfecting now for over 20 years. Seeing it all mesh together in this concentrated form, it’s the picture of an exceptionally experienced producer pushing himself beyond any limits to achieve his greatest feat yet. When the fog clears and the last tracks slowly roll out, the record leaves as smoothly as it had entered, allowing for reflection and contemplation of one of techno’s most exhaustive LP-efforts yet to date.

Multidisciplinary NYC artist Gavilán Rayna Russom launches her own label Voluminous Arts, dedicated to highlight electronic and experimental artists whose work challenges fixed categories of genre and categorization. Her aim is to create a platform for multidisciplinary work and events. The inaugural release being her second solo album as Gavilán Rayna Russom 'Secret Passage', following up last years 'The Envoy, an homage to the East Side Rail Tunnel in Providence, Rhode Island, and the friendships she made there.

In Rayna’s words:
“I grew up in Providence, Rhode Island in the 1970’s and 80’s. The booming jewelry and textile industries of the previous decades had pulled out by that point. The Italian mob ran most details of the day to day operations of the city. As kids coming up in that environment, before the internet, me and the people I hung out with didn’t know anything else and we worked with what we had to entertain ourselves. We found places that had been forgotten by market interests and made them spaces of creative community building. One of the most special of these places was the East Side Rail Tunnel. Running for almost exactly one mile beneath the city’s streets, the tunnel and nearby Crook Point Bridge were unsupervised autonomous zones where I tasted the possibilities of a world without surveilance. The tunnel was particularly important in my creative development because not only was it a marginal zone apart from monetized spaces of creative consumption, but it also had specific experiential properties. It had a bend in it which meant that when you got to the middle of it you were in complete darkness, and I learned quickly that when you spend enough time in complete darkness you start to hallucinate, which I liked. The acoustics were also remarkable; long natural delays and harmonic-reinforcing reverberances. Making any sound in there added layers of acoustic effects which made noises physical and fluid and, combined with the complete darkness, absolutely dissolved boundaries between internal and external experience. I started hanging out there when I was 14 and continued to return there regularly until development, gentrification and policing eventually made it inaccessible. By the mid ‘90s it was sealed off with progressively more impenetrable barriers. Nowadays it looks very different. This music is about some of the significant experiences I had in this beautifully neglected place and the people I had them with.”

One of the most eagerly anticipated electronic albums of 2012 is finally released! After a series of groundbreaking singles: 'Pain In the Ass', 'I'm Week' and 'Ghetto Kraviz' (featured here) Muscovite Nina Kraviz is set to release her eponymously titled debut artist album on Radio Slave's superb Rekids imprint.

Nina's album is a combination of stripped-bare house, deepest Detroit sounds via beautifully ambient pockets and more soul infused slo-mo jams, all coated with an authentic analogue finish and Nina exquisite vocals. The music is emotive and engaging, whilst being something truly original and inspirational. The album features collaborations with Hard Ton and King Aus. Playing out like a full artistic statement rather than just a collection of tracks, the odd time signatures, innocent and waify vocals, muted acid lines and hypnotic loops layered up by Nina all work subtly at pulling you into her world. A superbly, executed and accomplished debut album that has already set the bar high for electronic albums this year.

SWIMS returns with their third release since last summer’s romance with London’s Kit Records which spawned two beautiful albums by Romeo Poirier and Electric Capablanca.

Leaving behind the soothing natural landscapes of the previous releases, Finomehanika is an intricate 42-minute machinist journey combining the frayed melancholia of Vladislav Delay’s recently reissued Multila, with the strangely real-sounding yet otherworldly mechanics of Autechre in their Confield era. However, Finomehanika sounds thoroughly unique. It makes heavy use of the piano and field recordings for depth and ambience. The line between synthesized sound and manipulated recordings blur to a point where one becomes the other. The often subtle use of field recordings prevents us from drifting too far into the abstract, keeping us grounded in a fragmented, confusing but familiar environment.

Finomehanika is Robert’s first solo release in 20 years since 2000’s Albumski on Phthalo. The sleeve was designed by Michael Tan known for his previous work with artists such as Blanck Mass and Dopplereffekt. The album features on piano Robert’s brother Miro, better known for his releases as Qwerty. The brothers also recently collaborated on 2019 album Na Vrućem Krovu by Robert’s art-pop band Marinada.

Odd synth music project for experienced ears including Deviant Funk, Cosmic Vibes and Upset Synthwave made at home.

Acens return to the scene was an undisputable success, with his vinyl EP selling big numbers even in this day and age. A remix EP was inevitable, because how could we not? And if we are gonna do remixes, lets roll with the best in the scene. Danny Styles, who’s recent remixes for Hyper On Experience were enormous, takes the A side with a full on amen jungle remix. Meanwhile, Liquid brings his timeless class to the remix pool, slowing it down and giving it a polished classic feel. Kniteforce hero Alk-e-d teams up with newcomer Dj Beeno to round the EP off in ruff and underground style.

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, Liquid, Hyper On Experience, Ant To Be, Ponder and many others

Following on from his immense debut for Integral with Dutch partner in crime Djah and their gem of a tune “Fragile” from GLOW/3, we are pleased to announce Edlan’s swift follow up to the label. Coming in the form of three molten liquid dancefloor jams laden with beauteous future soul vibes including a superb collaboration with UK’s latest talent Monrroe, the fourth and final title track Tree Of Life is an absolute smasher!

Edlan’s Tree Of Life EP will drop this April across all formats. Make sure you reserve your limited vinyl copy now to avoid disappointment!

Gaston Arevalo debuts on A Strangely Isolated Place with an exploratory themed album told through the lens of an expedition diary - a rich soundtrack set amongst nature. Gaston aimed to depict an adventurous journey, where each track captured a specific moment over an imaginary, daring ascension. An intimate meeting with nature, the album rises from the ground to our highest peaks - with the two extremes captured in the album's artwork. Field recordings from Patagonia enhance the feeling of freedom, one can only find from the great outdoors. Adorned with drifting harmonies; shimmering guitars; dense pads of cloud; gentle rising mists; the sound of shallow rivers and morning bird-calls, it all comes together to create a vivid and intrepid scene told across a variety of full-length tracks and short interludes - breathers and moments to reflect amongst mother-natures finest grandeur.

Sarmacja’s sophomore album ‘Jazda Polska’ follows up on their 2018 debut on Astigmatic Records, ‘Tutejsi’ is being released by London-based label Byrd Out. Above all there is dub on it - however unorthodox - originally captured. Mystical flow, reckless charges and joyful songs - all without restraint and with uhlan fantasy. The spirit of a holy madman in the sarmatian version hovers over the record - the one who after a few glasses of vodka, covered with gasoline fragrance from the barbecue – once being moved, telling about the misery of the nation, and a moment after falling into ecstasy of stories about bravery in battles. Then in anger - when reminding himself how much the neighbour's diesel burns. Bottom line is simple - having fun, especially until dawn. And even if the stories of the holy madman are slightly slacked, even if at times the vibe gets gloomy, and the story isn’t fully true - who cares? ‘Jazda Polska’ got even more colors thanks to the excellent features of Kacha Kowalczyk known from Coals and Muka. She appeared in two songs on the album – Doktor Słowo & Karaoke Dub.The Orb made a remix of Olimpijczyk to end the LP, commenting on Byrd Out’s suggestion of doing a remix “Sounds weird enough”, and The Orb’s Oak Island Remix has a quintessentially Orb feel. The Oak Island reference is a nod to the Knights Templars link to the Money Pit on Oak Island, Nova Scotia. Sarmacja is Paweł Bartnik, Michał Kołowacik and (now also) Aleksandra Szalińska aka. FLicker Fox, musicians operating at the forefront of the Polish experimental scene .

Spirit & Form unfolds a rippling waterfall, an oceanic wave of sequenced sound to safeguard against the drowning of a city-stressed soul. Like a spa for the brain, relaxing your meditation muscles with melodies of deep dreams and high hopes. A digitech video ad for a coconut-flavored aperitivo with ice-tickling images, new age flavors, fluorescently-lighted polygon meshes and deepdark shading. Well, all these spirits are taking new form here; electronic exotica and slow burning ambient prepared from a deep-felt love for specific vibes and spaces. A very personal and perfectly paced soft swinging masterpiece.

Spirit & Form is inspired by growing up in the 80's and 90's and all that this includes and inflicts; tv news intros and animated series, never ending ambient adventures and first person gaming, office clerk cubicles and its vestimentary code, hair highlights and glossy textiles, rompler synths and video manuals, digital high sheen and synthesized reality. All this in perfect harmony with nature's high frequencies and its effect on mood and composure, like calmness in the eye of a storm.

Spirit & Form is the brainchild of co-conspirators David Edren and Bent Von Bent, who both released soloalbums as DSR Lines and Ōgon Batto, respectively. S&F is a next step in their path of exploring various works of output. This new project breaks their initial setup of improvisation to explore a more compositional modus operandi.

Spirit & Form is the result of numerous programming and production sessions between 2017 and 2019, one being a week at a reclusive residence in the outskirts of Zeelandic Flanders (next to the renowned Drowned lands of Saeftinghe) where most of the album's tracks came together.

This massive 12” EP combines some of Sublove’s rarest releases with a brand new surprise. Vexation is an AMAZING track that was recently discovered by Sublove sitting on a DAT. How this superb piece of amen mayhem wasn't released I just do not know, but finally it gets its day on wax, where it always deserved to be. A huge 1994 styled jungle Amen roller, truly amazing. This track sits next a bunch of other tough to find and mindblowingly good Sublove tunes. Get in!

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 Invisible Man (aka Doctor G, The Undergraduates, Mysteron amongst other monikers) needs no introduction to anyone with even a passing interest in Hardcore/Jungle/Drum n Bass, having been responsible for such seminal classics as The Beginning, The End, Twisted, The Bell Tune and Stormfields amongst countless others - having released music on Timeless Recordings, G-Spot Records and the legendary Good Looking imprint, 7th Storey Projects are proud and privileged to be able to add this legend of the scene to their list of released artists.

Perc Trax is proud to announce Breaking The Seal; the debut album from Ghost In The Machine. Having already hit hard on the label with their "One Louder" (2017) and "King Dead" (2018) EPs now the time has come for them to expand their range even further across the ten tracks that make up Breaking The Seal.

Frank Nitzinsky & Nils van Lingen began collaborating as Ghost In The Machine in 2016, first releasing on the Genosha Basic label before working with Perc Trax. As remixers they have turned in acclaimed rerubs of Paula Temple's Joshua & Goliath and Perc & Truss' Leather & Lace whilst their DJ performances began in their home country of the Netherlands but soon took them across Europe including making their Russian debut recently in Moscow.

From the extended scene setting intro of title track "Breaking The Seal" to the genre fusing antics of "Combo Breaker", "Form Of Steam" and "Nexus 96" these 8 tracks build on the established Ghost In The Machine sound, but add something new to each track, taking their sound in directions we've not heard from them before and which we might not have expected.

Theresa Stroetges has and always will be a traveler. Under the name Golden Diskó Ship or as a member of bands like Soft Grid or the improv collective Epiphany Now!, the Berlin-based multi-instrumentalist has continuously been moving through the fringes of experimental music, but also extensively explored the possibilities of tried and tested formulas - whether folk, rock, techno or pop. With her fourth solo album, her first for the Karaoke Kalk label, the Golden Diskó Ship is yet again venturing into unknown territory. »Araceae« is inspired by environmental changes and the eerie feelings that arise when faced with natural beauty - when everything seems perfect on the surface but something feels off underneath it all. As a whole, it is notably more focused on electronic grooves that provide the foundation for Stroetges’s poetic long-form storytelling.

Partially conceived during a residency in India, »Araceae« is the first Golden Diskó Ship record to feature two guest musicians. For »Wildly Floral, Slightly Damp,« Stroetges collaborated with percussionist Dripta Samajder who with his Sri Khol contributes complex rhythms to a driving beat that wouldn’t be out of place in the record bags of daring DJs. Sophia Trollmann takes over saxophone duties for »Ortolan,« a riveting coming-together of intricate, IDM-flavoured techno and jazz-inspired improvisation. Both are integral standout tracks on an album that clearly follows a holistic plan. Already the opener »Clouds of Neon Limelight« dips into anthemic synth pop territory, but unfolds into a great saga full of ominous undertones and Stroetges’s trademark: layered vocals that at once evoke feelings of uncanniness and intimacy.

It’s a juxtaposition that runs throughout »Araceae,« thus enforcing the album’s overall themes of sensual experience and alienation. »Game of Biryani« for example lends some of its musical structures from pop music, calling into question traditional songwriting conventions which here reappear as irritating echo effects rather than recycled old tropes. With the lush »Limping over the Prairies« and the adventurous »Glow-in-the-Dark Gloves,« Stroetges further challenges her audience by applying noise and a heavy dose of autotune respectively to disorientating effect.

The couple makes for an impressive finale of an album that scrutinises our ideas of what is natural - whether in music or the world around us. »Araceae« was inspired by the travels of its creator, but also sets out to ascertain what lies beyond everything that eyes or ears can perceive.

Third volume of "The Encyclopedia of Civilizations", a collection of split LP's where selected artists offer their own insight into fascinating ancient cultures. This time it is a cosmic and spiritual ambient journey inspired by one of the greatest ancient civilizations: India.

The LP is presented in a special limited edition (500 copies) with an extensive booklet including liner notes about the origins of India to help you to immerse yourself in this fascinating civilization while you listen to the music. The sleeve is printed in the old way, letterpressed with metal movable type as Gutenberg used to do it.

“Veda” was composed & performed live on October 13, 2018 by Jonathan Fitoussi at Gesu Church, Toulouse, France using the 1864 church pipe organ and an EMS SYNTHI synthesizer. The track was inspired by readings about the ancient sacred Hindu texts known as the Vedas. A sustained, warm and deep float supported by the centennial pipe organ and the the church’s natural reverb.

“Yin Yang” was conceived by Ariel Kalma in 1975 while taking music lessons in India. It brings into a lovely meditative state with those long, long ‘pranayama’ breathing notes.
“Flute Meditation” is actually two Kalma pieces blended together. The first part was recorded in 2017 and played on a floating xaphoon mini sax. The second part is from 1979, recorded with an Indian bamboo flute, saz, electric piano. It was originally much longer, adapted here for one side of the LP.
Wind melodies, polyphonic color, ambient space, setting modal flute melodies and nature field recordings. The results collapse distinctions between “electro-acoustic”, “biomusicology” and “ambient” categorization.

Jonathan Fitoussi is a French composer residing in Paris. He works on minimalist and contemporary musical forms exploring a fusion of electronic and acoustic sounds with melodic textures, colors and emotions in a cinematographic aesthetic style. As a composer of electronic music, Jonathan Fitoussi is engaged in practices of analog and modular synthesis, projects supported by the pioneers of electronic music like Suzanne Ciani and Morton Subotnick.

Ariel Kalma, was born in Paris and learned to play recorder and saxophone as a youth. He studied computer science in college, and while at university he met Salvatore Adamo, who soon hired Kalma into his touring band on a world tour as a saxophonist and flautist. Around this time, he made experimental tape pieces using his own recorded instruments, found sounds, church organs, and poetry.
In 1974 he took a one way plane to in India, learning rudimentary classical Indian music and developing an interest in meditative and drone music. He was also influenced by American minimalist music. In 1975, he recorded and self-released an album, Le Temps des Moissons while working at the GRM studio of INA Pierre Henry in Paris. His 1978 album Osmose features Borneo rainforest nature sounds recorded by Richard Tinti. Over 4 decades, Ariel Kalma published several vinyl LP's, cassettes, and CD's. His compositions have been used for modern dance-theatre, films, musical poetry, guided meditations and transformational groups.