Beats News

Patience is a split release that sees Grant and Rachel Evans aka Quiet Evenings, as well as Roman Kurhan aka Monotronique, each showcase a single, continuous piece of gracefully slow moving ambiance.

Monotronique, usually known for his rhythmic and up tempo electro, (which he thoroughly displayed on his debut album ‘Heat Absorberʼ via Opal Tapes this year), turns to a new side of his diverse sonic arsenal, displaying a serene loop of gauzy organ piano intervals that manage to leave a defining impact with each recurring movement.

On the B side, Husband and wife duo Grant and Rachel Evans usher in suite of patiently moving strings, hushing slowly from quiet to emphatic passages as they slowly transcend the listener into a state of tranquil oblivion.

Hailing from the small town of Debrecen, Hungary, Adam Erdei offers a tranquillising debut under his Megcsillan alias.
The artist chose to disclose little detail about the album itself, which is titled Ösvényről, merely revealing that it was made with a minimal set up, comprised of acoustic instruments, delay pedals and field recordings.

Ösvényről is split into 6 parts, each piece seemingly building upon the next. It starts with gusts of foreboding reverberations, tranquil and yet static, before delicately spilling into grandiose movements, flurries of clangour, billowing tides of sonic uproar, remaining at the border between a sense of lush, overarching serenity and undulating turmoil.

In its final moments, Ösvényről comes across as almost epiphanic, evoking a cathartic sense of self reflection that very few albums are able to achieve.

'Verzamelen I' is the first volume in a retrospective series in which we look back at the work of Wouter van Veldhoven. Throughout the past decade, the Dutch composer built an impressive catalogue of music in which tape loop and modular synthesis experiments hold a central place. Both collaborations and solo-work saw the light through some distinctive labels such as Slaapwel, The Tapeworm, Umor Rex and Digitalis among others.

With this series we want to dive into some work which slightly went under the radar. The pieces are collected from several releases and are re-mastered for the occasion. Some of them were never physically released before.

Marcus Fischer and r beny kindly joined this trip by offering two new reworks which close this first volume.

Songs taken from ‘A head stuck in tapes’, ‘Een paar schetjes en optredens 2005-2006’ & ‘Slow lullabies for babies’.

* One of the UK underground's best-regarded producers - Commodo - returns with an album on distinguished Bristol imprint Black Acre.

* How What Time' follows his impressive collaborative LP with Kahn and Gantz, a bass-swelling blend of Bristolian and Middle Eastern sub-low, released on the bastion of low frequency excellence, Deep Medi Musik. An artist with deep roots in bass music's history and present, Commodo experiments with a variety of underground elements, with components of hip-hop, grime, dubstep, and more in the mix. On his debut album he pushes his sound further while managing to uphold the basic formula of space and bass.

* Continuing to add a thoughtful touch to the deeper ends of UK bass music, his new album sees Commodo create deeply meditative jams that harness a raw energy and sub-bass power. Made in several different places in the UK, Turkey and Germany, 'How What Time' sees Commodo fuse the UK's raw and vibrant grime and hip-hop scene, as heard in the fierce and murky soundscapes of Itchin' with an unmistakeable vocal from Trim. The album's standout track Set It Straight' features Croydon's fast-rising rapper-beatmaker Rocks FOE, and like Commodo's Jme-featuring hit Shift', is an instant underground anthem. Commodo blends Madlib-style hip-hop beats with the fierce spirit of grime. The addition of Rocks' straight-talking charisma and energetic flow transitions Set It Straight' into an uptempo head-banger.

* Commodo's inherently unique and accomplished production style has earned him recognition right from the outset of his ascendancy, garnering attention from a host of key figures within the electronic community. When making his new album he sought to strike a balance between a sample-heavy, rap style sound palette and the energy of the 140bpm based music he's always been a part of.' From the tough bass weight of his dancefloor-leaning productions to the tonally rich and immersive qualities of the album's more intricate tracks, How What Time' maintains a resounding freshness throughout.

Fruit is next up for Coastal Haze.

LIMITED TO 300 COPIES - HAND PAINTED BORDER

The sounds Jan Harder and Steve Hartmann discover in their studio sessions unravel their power between the notes. What they capture is for us to marvel at. The eeriness, the beauty. Like observing a ghost in the headlights.

O YAMA O explores a certain domestic and democratic quality of everyday life, born through associations to folk music of Japan and a folding of myth, tradition, and routine; the non-spectacular and the sublime.

Formed of musician and artist Rie Nakajima and Cafe OTO co-founder Keiko Yamamoto, the group has performed since 2014 at venues and festivals such as noshowspace, Ikon Gallery, Wysing Arts Centre, Supernormal, Borealis Festival, Mayhem, and allEars Festival.

Nakajima’s performance often focuses on the use of found and kinetic objects, using modest items such as rice bowls, toys, clockwork, balloons and small motors as instruments to create a “micro orchestra”. Elements are layered into impressive and immersive atmospheres. Yamamoto alternatively floats and charges through this with body and voice; chanting, incanting, thundering, whispering, stamping on the floor.

Their debut album consolidates their musical conversations into keenly paced studio music, the duo working with additional instrumentation and a resolved focus on melody to provide vivid portraits of folkloric Japan in song.

They move between pop and the philosophical, defined by the overall space afforded to texture and movement. In small, delicate sound an intimate musical climate is established that reflects on life, telling stories of improvised clockwork, whispered dreams, small movements of the hand and the rhythm to be found in the shuffle of a deck of cards.
Grandly theatric and dramatic flourishes add solidity to these illustrations, operas driven by the swooping energy and power of Yamamoto’s voice can be playful or emotionally charged, particularly when the duo arrange themselves in ensemble with violinist Billy Steiger and percussionist Marie Roux. Production by David Cunningham creates the shadowy presence of a leftfield Flying Lizards dubwise depth that adds subtle strangeness to the atmosphere. The result is something raw, full-bodied; full of energy, grace and mystery.

My life with M. - an organic contact with sound where theatre and music could be perceived as a tool for the creation of a distant dream. Doerell’s sonorities transpose a nostalgia for something never met or somewhere never been, an osmosis of absence and memory interrupted by scattered fragments of abstraction.

The album reveals Oliver Doerell’s artistic collaboration with German-Iranian dancer and choreographer Modjgan Hashemian. All pieces are reworked compositions for theatre plays from 2008 to 2018. A wide acoustic spectrum is built throughout the merge of home-made instruments, electro-acoustic and digital means. The artist is subtly mastering sound textures, distortions, altered frequencies, voice insertions and blends reality and mysticism into his unique soundscape.

The founding member of Dictaphone/ SWOD, Oliver Doerell (aka Cummi Flu) releases the first album under his artist name and invites the listener to contemplate and to discover another one of his artistic personas. Grab a comfortable chair and enjoy the audition.

Based in Munich, Germany, the producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB delivers new romantics, inspired by influences like The Cure’s „The Holy Hour“, Boards of Canada’s late 90s electronica, Miami Vice tropic percussion and Angelo Badalamenti’s Twin Peaks. Acid drops, string distortions, lushed melody bits, hushed robo vox and washed space guitars are being layered and sprinkled over machine beats and disco drums.

TB’s first release "Invitation To Love" made it on John Talabot's vinyl-only Hiverned 10" imprint and was voted amongst the best 10" releases by UK Fact magazine. GROOVE magazine wrote "..entirely superb..“, about the follow-up EP "City Girl" on Permanent Vacation, of which the title track has been licensed to the independent film „All These Sleepless Nights“ by director Michal Marczak.
In 2017 TB followed with “Heartbreak Hotel“, a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness. In 2018 he followed with the „Night Heat“ single, of which a RMXD EP with contributions by Gerd Janson, Sascha Funke, DJ Hotel and Bostro Pesopeo came out earlier this year.

Terry Fox was a first generation Bay Area conceptual artist. Beginning in the 1970s, he worked extensively with sound, especially the use of piano wires detached from their native instrument and anchored between opposing walls of the performance space.

Linkage, Fox's first album, was originally released in 1982 to accompany an installation at Kunstmuseum Luzern in Switzerland. The record would mark Fox's first attempt to realize his groundbreaking and visceral piece "Berlin Wall Scored for Sound."

Side one links five ways of playing the piano wires: drumming, pulling, bowing, beating and scraping. The room itself acts as a type of natural resonator as Fox moves the wires with padded mallet, his bare fingers, violin bow, wooden shish kebab stick and rusted metal rod. The effect of such plain arrangements can be utterly hypnotizing.

The second half of Linkage was recorded in the attic of Künstlerhaus Bethanien, West Berlin, in May 1981. A thirty-three meter long wire was held in contact with a sardine tin. Over the course of 20 minutes, pulsating drones dissolve into rhythmic patterns that sound almost synthetic in origin. As noted in the original LP pamphlet, all these sounds were strictly acoustic; the only electronics involved was the recording equipment.

In an introduction for this edition, Marita Loosen-Fox and Ron Meyers write, "The desire to eliminate any barriers between the art and the viewer/audience connects all of Fox's situations/actions/performances. The ultimate goal is to communicate as directly as possible, which finds its most concentrated expression in the artist's works with sound."

This first-time reissue is limited to 750 numbered copies. Comes with booklet.

VIAJE" is the debut album by Swiss musician Roland Bucher and was produced with an instrument developed and built by the artist himself, the noise table. VIAJE presents the culmination of almost a decade of exploring the possibilities that the curious device offers. Combining the physicality of the improvisational praxis with a classical approach to composition, these five songs highlight the emotional, narrative and atmospheric potentials of granular noise. VIAJE was not only produced with an unheard-of instrument, it also comprises music that no-one ever has heard quite like that before.

Combining the reacTIVision software with Max/MSP programming, the noise table is both a controller and a granular synthesis sampler. This makes it possible for Bucher, a seasoned drummer in bands like Blind Butcher or Kion, to improvise freely in front of an audience. Small musical instruments and everyday objects provide the input for the samples. Those samples are then connected to objects that Bucher moves around on a glass window inserted into the table which is being filmed from below, thus controlling the output. Starting from improvisations much like in his live sets, VIAJE slowly took form during Bucher’s 2018 visits to Chile and Brazil as part of a scholarship programme which also saw him perform several times to South American audiences.

The quiet moments on these five tracks are all part of a greater dynamic, one that is thoroughly composed by still marked by the physicality of how the sounds were achieved. The juxtaposition of the abstract and tangible is mirrored by reality effects that create moments of irritation. After "Acamar" opens the record with a crescendo of harsh electronic sounds, "Curinanco" seems to draw on natural sounds and even birdsong. Can this be… real? And if so, what about the raging jazz drumming of "Ircan" - is all of that played by hand, or just something that Bucher triggered by moving around some objects on a piece of glass? Also "Praecipua" and "Cau-Cau" surely do not answer these questions. Both under five minutes long, they however brilliantly prove that a complex entity like Bucher’s noise table can yield very different, direct emotional responses. After the blistering first three tracks, they serve as a melancholic coda to an album like none other.

elease date: 19.07.2019

"All Other Voices Gone, Only Yours Remains" is the result of a dialog between Nieves Mingueza and the musicians The Humble Bee and Offthesky initiated by IIKKI, between October 2018 and June 2019.

The Humble Bee is the solo project from Craig Tattersall, a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 9 albums on his moniker The Humble Bee.

Originally from Kentucky, since 15 years, Offthesky is the prolific musician Jason Corder who currently resides in Denver, Colorado in the United States. His catalogue shows over 70 albums which have been released by a number of labels such as Databloem, Dronarivm, Eilean Rec., Hibernate, Home Normal, Rural Colours, SEM Label, Wist Rec.

Nieves Mingueza is an experimental and independent artist using photography and other visual media. Born in Spain, based in London. The often-cinematic themes in her projects have in common her fascination with old books, film stills, vintage cameras, poetry and minimal drawings. Nieves' work is ultimately about the foggy relationship between fiction and reality. Additionally, she is exploring about immigration, mental health and human conflicts.

Fine Art Book, Ltd. to 300 copies:
Hardcover book printed on Munken Print White main 1.8 115g/m2 // 80 pages, 24cm x 22cm, 50 photos // Logo, slot and circle embossed // Matt laminate soft touch finish + selective varnish // Hand-numbered, hand-stamped

Pär Grindvik & Peder Mannerfelt’s Aasthma twyst out a lush breakstep rave night flight starring Penelope Trappes on the 3rd volume of their black label rave series Proceeding the club-ready pressure of Aasthma’s ‘Only The Appraiser’ and ‘Los Angeles’ 12”s, Penelope Trappes (The Golden Filter) returns the favour of Aasthma’s remix for her ‘Connector’ cut with a dreamily detached vocal placed high in the mix over sweepingly dramatic strings and
swaggering breakbeat techno momentum destined for the warehouse.
Rerouting early ‘90s hardcore breaks via tempered late ‘90s trance melancholy and ’00s breakstep ruggedness, title tune ‘Army Of Love’ hits a classic mark somewhere between J Saul Kane, early
Vex’d and the tight Hard Drum rolige of DJ Plead, while the following, slower version ‘The Task’ sees the same elements devoid of vocals and dragged down to a creepy 110bpm crawl, revealing ghostly synth spectres haunting its hunched breaks.

The blueprint for both the Source Direct and Mirage releases on Odysee Recordings was always about presenting two complimentary styles of Drum & Bass; often a dark Amen track on one side would be paired with a more experimental ambient or Jazz-infused track on the other. Label partner Andy Odysee’s debut solo release remains true to that ethos. Taking a break from the remix/remaster series that has seen Mirage’s Bewildered and No Tomorrow return to vinyl, Andy delivers a 12” that demonstrates both musical depth and stylistic versatility.

DJ Support
Source Direct, Homemade Weapons, The Law, Paradox + more

Bash (AKA Julio Bashmore) graces Trules fifth release and the first in a series of ten inch singles with Jubilee, a sub heavy, minimal, UK garage dub that manages to marry the sparser techno vibes of his Conch releases with the subtle anthemic quality of his other alias. A real dance floor sneak bomb.

Al Wootton provides a two-stepping dub remix on the B-side, chopping the drums and echoing everything out to infinity.

Four modern, textural, slow-burning instrumental hip hop soundscapes set a distinct mood on this new EP by the venerable Chris DeLuca. Heavy-hitting basslines and slightly ominous hat patterns dominate, leaving these cuts verging on the territory of dark, minimal electro destruction... with a subtle dose of that funky boom bap. Perfectly applicable to both basement dancefloor experiments and gangster dealings alike.

One half of Berlin's Funkstörung, alongside partner Michael Fakesch, De Luca is more than well-versed in the genre, having done a few remixes for high-profile hip hop and experimental acts such as Wu Tang Clan and Bjork. They've released an uncountable amount of records on labels !K7, Compost Records, Music aus Strom and Acid Planet, to name but a few. This is his first release for Detroit Underground.

Includes two fire remixes, one by fellow DU resident producer Valance Drakes, and the second by none other than Chris DeLuca's son, Lenny DeLuca.

Mystical soundboy business...

Multivocal is a polyphonic maze that unfolds to both the body and the mind. A generative take on rhythm and spacial perception, it presents the same events in different configurations. The two pieces of the album, "Solid of Revolution" and "Never Odd or Even", mirror each other with the same principle in different musical scales: steady pulses with one millisecond difference in tempo start beating together, then slowly phase organically and progress into ever-changing rhythmic patterns until they finally return to unison.

Multivocal emphasizes shifts of attention in the listener’s experience and plays with the expectations that frame it. Originally conceived for quadraphonic sound, the pieces reveal the many different aspects and modes of perception that can arise within the same sequence of notes. In this way Multivocal is influenced by concepts of gestalt psychology such as multistable perception - a term describing ambiguous patterns that offer multiple interpretations at once. The minimalism and repetitive quality of the music also refers to trance-inducing and collective music practices, driven by the strong bodily affects induced through the use of rhythms.

Jessica Ekomane's debut LP, Multivocal, is brilliantly original but will also appeal to fans of Caterina Barbieri, Alessandro Cortini, Shasta Cults, ELEH and the strand of minimal electronic music that runs through the Imprec catalog. Pressed in a first edition of 500 copies.

Those two compositions were recorded live during Ars Electronica 2018 at the occasion of the sleeping event "Sonatas for Sleep/less", curated by multimedia artist Shu Lea Cheang and cultural theorist Matthew Fuller.

Jessica Ekomane is a French-born and Berlin-based electronic musician and sound artist. Her practice unfolds around live performances and installations. Her quadraphonic performances, characterized by their physical affect, seek a cathartic effect through the interplay of psychoacoustics, the perception of rhythmic structures and the interchange of noise and melody. Her ever-changing and immersive sonic landscapes are grounded in questions such as the relationship between individual perception and collective dynamics or the investigation of listening expectations and their societal roots.

Jessica Ekomane is one the six composers chosen as collaborators by Natascha Süder Happelman for her installation at the German pavilion of the Venice Biennale 2019. She’s also part of the SHAPE Platform roaster of artists for 2019. Her work has been presented in various institutions worldwide such as CTM festival (Berlin), Ars Electronica (Linz), Dommune (Tokyo) and Bemis Center for Contemporary Arts (Omaha).

Black Vinyl 2x12"

‘Dropped Out Sunshine’ is NYC mutant Madteo’s incredible new album of trigger-happy club graffiti on Demdike Stare’s DDS, weighing in a keenly anticipated follow-up to 2012’s cult-classic
‘Noi No’ LP for Sähkö Splitting at the seams with deviant funk and irrepressible attitude, Madteo’s first LP in 7 years forms a fractal, mixtape-like mosaic of asymmetric techno informed by skewed traces of rap, House, R&B and dancehall. Its 12 tracks are delivered in an enviably nonchalant, freehand style that’s become the Italian-American artist’s ear-snagging signature since 2012’s ‘Noi No’ and ‘Mad Dip Revue’ albums, and also a dozen 12”s and mixtapes over the interim; all of which exerted heavy inspiration for everyone from Andy Stott and Joy O to Demdike Stare over the past decade, making this new LP a perfectly unusual fit for the anything-goes DDS aesthetic shared by label alumni including Mica Levi, Equiknoxx, Iueke and Shinichi Atobe.
Without beating around the bush, ‘Dropped Out Sunshine’ is a straight-up masterpiece of cut-up sampledelia bound to make the club dance differently. Crammed with sawn-off edits that never lose the thread, its wild and effortlessly inventive turns of phrase are anathema to linear club music convention, generating fizzing alchemy from mutually exclusive bedfellows such as dancehall and techno, or R&B and noise that could really only be executed by a producer of Madteo’s calibre. Yet for all its singular nature, the album is also patently symptomatic of the times,
sub-consciously parsing a gripping intimacy, personality and urgent yet elusive psychedelia from ubiquitous media overload.
Kicking off with another *****-sampling zinger ‘1 4 U’ (following his infamous use of ‘Marvin’s Room’ on ‘Noi No’), and ending up mired in the melancholy gauze of ‘The Lies That Bind’, at each step the
album effortlessly resists a struggle to square the nature of artistic expression. Fragments of gospel blues noise intersect gauntlets of filtered house fuckry, while restless Autechrian electro rubs up against uncoiled trap and needle-worrying levels of textured bass turbulence, leading to an outrageous turn of stuttering ragga-tekno in ‘Resident Alien (Broke-’n-Steppers Reluctant Club Mix)’ and a final side of collapsed, post-club styles that will leave listeners wondering wtf just happened, and ready to do it all again.

Yellow Vinyl 2x12"

‘Dropped Out Sunshine’ is NYC mutant Madteo’s incredible new album of trigger-happy club graffiti on Demdike Stare’s DDS, weighing in a keenly anticipated follow-up to 2012’s cult-classic
‘Noi No’ LP for Sähkö Splitting at the seams with deviant funk and irrepressible attitude, Madteo’s first LP in 7 years forms a fractal, mixtape-like mosaic of asymmetric techno informed by skewed traces of rap, House, R&B and dancehall. Its 12 tracks are delivered in an enviably nonchalant, freehand style that’s become the Italian-American artist’s ear-snagging signature since 2012’s ‘Noi No’ and ‘Mad Dip Revue’ albums, and also a dozen 12”s and mixtapes over the interim; all of which exerted heavy inspiration for everyone from Andy Stott and Joy O to Demdike Stare over the past decade, making this new LP a perfectly unusual fit for the anything-goes DDS aesthetic shared by label alumni including Mica Levi, Equiknoxx, Iueke and Shinichi Atobe.
Without beating around the bush, ‘Dropped Out Sunshine’ is a straight-up masterpiece of cut-up sampledelia bound to make the club dance differently. Crammed with sawn-off edits that never lose the thread, its wild and effortlessly inventive turns of phrase are anathema to linear club music convention, generating fizzing alchemy from mutually exclusive bedfellows such as dancehall and techno, or R&B and noise that could really only be executed by a producer of Madteo’s calibre. Yet for all its singular nature, the album is also patently symptomatic of the times,
sub-consciously parsing a gripping intimacy, personality and urgent yet elusive psychedelia from ubiquitous media overload.
Kicking off with another *****-sampling zinger ‘1 4 U’ (following his infamous use of ‘Marvin’s Room’ on ‘Noi No’), and ending up mired in the melancholy gauze of ‘The Lies That Bind’, at each step the
album effortlessly resists a struggle to square the nature of artistic expression. Fragments of gospel blues noise intersect gauntlets of filtered house fuckry, while restless Autechrian electro rubs up against uncoiled trap and needle-worrying levels of textured bass turbulence, leading to an outrageous turn of stuttering ragga-tekno in ‘Resident Alien (Broke-’n-Steppers Reluctant Club Mix)’ and a final side of collapsed, post-club styles that will leave listeners wondering wtf just happened, and ready to do it all again.

Dope Drum work !

‘Still Strange’ reaches back into the prized loft tapes of Jeff Sharp aka Orior following the revelatory discovery of his overlooked early ‘80s gems on 2016’s ‘Strange Dream’ collection, as coaxed out by
DDS dons Miles Whittaker and Sean Canty.
Huddling another sublime, dusty set of analogue tapes freshly baked and remarkably well-restored by Andy Popplewell, ’Still Strange’ contains four gorgeous flashbacks to the era 1979-1983
surrounding and even pre-dating ‘Strange Beauty’, and then shifts focus to recordings that Orior made around the early ‘90s.
As with its predecessor, Orior is not alone on the material in ’Still Strange.’ From those feted early tapes we find Phil Hollis returning to lend jagged guitar on the drum machine sizzle of ‘Feels Like
Summer’, while the mysterious synth player New Cross John makes vital contribution to ‘Invium.’
Along with the aching synth sigh of ‘To Return’, which pre-dated all of these recordings, and the nine minutes of haunting bedsit strums in ‘Larbico Alt Mix’ which came from the first batch, the
early material is all arguably worth the price of admission alone for seekers of lost synth treasures - really this stuff is just so good..
However, the album’s other six tracks expand knowledge of Orior’s work into the ‘90s and also contain some extraordinary material. Salvaged from further loft tapes found in various states of degradation, and subsequently mixed down between London’s Goldsmiths College and Miles Whittaker’s Whalley Range attic (and elsewhere), they are decidedly more blunt and gloaming, especially in the Deathprod-like ‘Under Shadow’ and the near static witching hour ambience of ‘Endless’, while shorter vignettes such as ‘Unknown Future’, ‘Gothic’ and ‘Another’ point to pre-echoes of BoC’s crepuscular scapes and even Bladerunner-esque sci-fi noir soundscapes

Recorded by Randy Williams in 1997 at home studio in San Francisco, California, after a two year stay at Camp Darby military base near Pisa, Italy and some occasional off-duty visits to Giancarlo Lobel in Rome and Marina di Pisa. The encounters made in that period were inspiring for Williams to create a strange and personal style upon his return to the United States. Released and distributed privately in Italy and USA to group of artists and appreciators as compact disc after spectacles, and as music library soundtrack.

Ok! HeRE wE HaVe SOMetHiNg nEw. SOmEThiNg NeW FrOM SoMetHiNG nEw. MuSiC ThaTS HeRE nOw. HoUSe/tEcHNo/SoMEtHiNg ElSe . Fully formed in MONTREAL. Designed for parties and the people who play them. Parties that take place at any time of day. Parties that have partygoers who began their evening 14 hours ago or 20 minutes ago. With music, music with sci-fi, horror and JOY. With people, people scraped from the edges. People who are exhausted. Who need somewhere. And, who are confused and looking for beauty. Who need beauty. Who need to witness things. Who, what you find in the camaraderie when you work in the bottom of a coal mine. What you find before you jump out of a plane. What you find in love, or after two years of being in love, or after four years of being in love. It's different. This is a record made from real life. It's hard.

'Extremely inventive EP all around... puts a smile on u while also keeping u near tears at its beauty... amazing.' - DJ Python

'Sometimes you just know... less televised deejays and more ooze! trip to this.' - PLO Man

'Killer conscious, brave and curious tunes that don't rely on a formula or what anyone else is doing - you can hear and feel what they make that resembles their connection as friends, partners and family.' - Bake

Pivotal Iranian artist Ata Ebtekar mounts a head-buzzing debut for Diagonal, pushing microtonal tunings and timbres into mind-bending geometrical designs that echo the modular synth + strings formulæ of Dariush Dolat-Shahi for Smithsonian Folkways, but keen much deeper into noisy, uncanny valleys of modernist perceptual exploration
‘Parallel Persia’ presents the latest iteration of Sote’s restlessly searching sound which has been in action for 30 years now. Commissioned for an AV performance at Donau festival in 2018, the album is a natural extension of his stunning ‘Sacred Horror In Design’ LP with Opal Tapes, feeding classical Iranian music tropes into a computer and modular synths to diffract and detach their meaning
and operation, open them up to strange possibilities of electro-acoustic practice in the process.
But more than ever in ‘Parallel Persia’, his focus turns from percussion to tonal relationships, combining various synthesis techniques and instrumental recordings at the service of a holistic
voice and “locked timbre”, or more simply a poetic way of uniting his sounds into a brilliant aural energy.
As Ebtekar explains, “Conceptually, Parallel Persia deals with the illusion and creation of an artificial hyperreal culture manipulated and controlled by an imperious agency somewhere within all galaxies. Like all realities, greed and arrogance channels destruction of life. However, the path to havoc includes resistance via beauty, grace and symmetry. Snapshots of an apocryphal Iran is presented via sonic schematics for a synthetic “Meta-Persian” experience. This experience can be in our present day life or maybe somewhere else somehow differently in a parallel world…”
In this surreal noumenal space, Sote triggers a series of beguiling chain reactions that resonate throughout each track, with electronic frequencies modulating the acoustic and vice-versa in a dizzying and mathematically sound “euphonious complete whole.” Here, the Tar and Santur initially sound like themselves in ‘Modality Transporter’, but by the end of this opener they are transformed into ribboning tendrils of extruded electronics, and continue to morph in fascinating ways, joined by unearthly voices in ‘Brass Tacks’, and pulled into bittersweet taffy on ‘Atomic Hypocrisy’, while utterly upending our proprioceptions in ‘Trans Force’, and ancient-futuristic chants and dance rhythms working in parallel dimensions to Rashad Becker in ‘Pipe Dreams’, until he’s speaking in a purely singular language of unique intonation and shatterproof, beatless rhythm on ‘Pseudo
Scholastic’.

Tralala Blip are an Australian unit of differently-abled musicians hailing from the Northern Rivers of New South Wales. Over the past decade they have carved out a unique position in the Australian electronic music community. Working to overcome a range of challenges imposed by their disabilities, Tralala Blip have created a range of approaches to instruments, performance and composition that allows them to seamlessly create music together. Eat My Codes If Your Light Falls is their first full length album in over five years. It charts out an entirely new sonic universe that is the resolution of several years of intense live performance and expanded studio experiments. Produced by Lawrence English, the record explodes their working methodologies and reveals a collective sacred heart that is fuelled by their intoxicating post-electro pop melodies and diarised lyrical poems.

Eat My Codes If Your Light Falls is in many ways the first work in a new chapter of what Tralala Blip are becoming. It resolves their experimental practices and focuses that energy within a tight framework of explicit song form and entirely personal production aesthetics. This is their voice, articulating their stories. It’s for us to listen and begin to understand that which lies in parallel with our everyday. Beyond their extensive performance commitments, they have presented their work as special guests of TEDx, have had a stage production created about them and have instigated many workshops for other differently abled musicians and artists. Their goal is to reconsider the nature of creativity, especially music making and to push these process beyond any sense of the normative or commonplace.

Celebrated internationally for their relentless pursuit of a level playing field in music creation, they have been fortunate to be supported by festivals such as Unsound, Liquid Architecture and arts facilities such as ZKM Kahlsruhe.

The future is expansive and multi-abled, Tralala Blip invite you to get amongst it.

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of "using the studio as a compositional tool" and recorded and released three Dome albums on their own label in the space of 12 months: DOME (July 1980), DOME 2 (October 1980) and DOME 3 (October 1981). A final fourth album, WILL YOU SPEAK THIS WORD: DOME IV was released on the Norwegian Uniton label in May 1983.

These albums represent some of the most beautifully stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

Previously issued in the out of print DOME 1-4+5 box set in 2011. Now available as standalone LP with download card

Tokyo based H.Takahashi follows up his ‘Raum’ LP for Where To Now? with ‘Sonne und Wasser’, a continuation & development of his unmistakable brand of meditative Pulse Minimalism.

Where ‘Raum’ was concerned with architectural space and energy, ‘Sonne und Wasser’ turns its focus towards the lives of the plants & flowers that live amongst us. This LP has been born from a deep adoration of Horticulture and the microscopic lifecycle of the plant world, where themes of vitality & slow growth are explored through Takahashi’s gloriously delicate & considered movements.

In his own words… “I wanted to express the plant that was slow, quiet, powerful, and full of vitality. In an attempt to express the world of one plant, the four songs that make up this album are all based on the first one, ‘Nymphaea’… The melody, chord and tone throughout become familiar, and each change of scene is expressed by subtly changing the arrangement and development of sounds. This is intended for when you want to feel like a plant, or as an indoor soundtrack - I want the music to be played so that it decorates the plants within a room.”

The beauty of Takahashi’s work lays in his commanding ability to stop you in your tracks via a force that is barely there, embracing the use of space & silence to deliver a deep & considered trip. Back in 2017 we said of his then LP… “The music is to help us function - it's music to work to, to sleep to, to help us find a sense of space and oneness within a world that is increasingly wild and untameable.” A Couple of years down the line and our World has continued on its mad path, and it is a true privilege to enable a healing output, & to encourage a global opportunity to switch off and immerse oneself in H.Takahashi’s flourishing Fauna phantasm.

“Takahashi draws cues from a melting pot of closely connected yet wholly individual strands of Minimalism - from the Japanese Minimalist works from the likes of Hiroshi Yoshimura and Satoshi Ashikawa, to masters such as Erik Satie and John Cage, and Ambient leaders Brian Eno and Roedelius, Takahashi soaks this historical influence and rings it out it through a modern filter to create stillness, ethereal beauty, and transcendent energy.”

A limited edition 40th anniversary version of Unknown Pleasures will be released on June 14th, almost forty years to the day after it was originally released. The LP will be pressed on 180g ruby red vinyl with an alternative white sleeve resembling the original design idea.

It's a celebration of one of the most important albums of our time as well as a landmark in music/design crossover history.

One of the most significant debuts of all time, the album’s legacy continues to endure with NME claiming it to be ‘simply one of the best records ever made’

Analog Fluids of Sonic Black Holes is a new full-length by Philadelphiabased artist, poet, and musician, Camae Ayewa, who performs under the name Moor Mother.
A sonic black hole is a place where fluid moves so fast that it traps all sound.
To be entangled in its gravity is to feel the pressure of an unjust system -- corruption so powerful that it drowns out whatever you throw at it. Analog fluids are resistance -- individuals who work to create and preserve community in the face of immense darkness and cosmic pressure.
Begun in 2017 as a sonic counterpart to Ayewa’s art show at New York performance space, The Kitchen, Analog Fluids was refined through exhaustive touring. It tracks Ayewa’s emergence into an expanded artistic ecosystem, with contributions from a distinctive set of friends and collaborators like Justin Broadrick (Godflesh, Zonal), King Britt, Saul Williams, Giant Swan, and Bookworms

Shogun Audio presents the third instalment of the ever popular Shuriken series, this time with an extra special line-up of four of the most requested tracks from the catalogue together on vinyl for the first time! Comprehensive promo campaign to seek specialist radio including but not limited to, Friction, Eddy Temple Morris, Annie Mac, Phil Taggart, Mistajam, Zane Lowe Hospital Records Podcast, D&BA Podcast, and ... many more.

Following up his pair of cryptically luminous EPs for Northern Electronics in the past years, Evigt Morker presents his debut album, Krona. With a shuffling atmosphere that's hard to pin down, the album chronically fixates on the degradation and construction of rhythmic drills with finely rendered parts and patterns. Spiralling the listener through a set of stormy soundscapes, Krona keeps placing the horizon just ahead, and just out of reach. The unease that Evigt Morker invites us into is electrically charged and threatening to crack. For all its syncopation we are relentlessly swerving through the works, afraid of teasing an arcing static shock from the blistering commotion. The album's propulsive tracks are settled against a pair of stunning ambient compositions that capture some of the tension from a distance. Technical dexterity and perfectly pitched intensity stakes out Evigt Morker's debut album as an impressive statement.

Mad Habitat returns with a serene full-length from Eye Nono. Channeling the more progressive side of American New Age and 80s Public Access soundtracks alongside the rich tradition of Australian ambient music, the record is awash with dreamy melodies and drifting pads. Evoking days spent by the water along the coastline, the album is a beautiful synthesis of the ocean's abundant natural beauty.

Ever since Kyam sent his track 'NOLA' through, we knew he'd be an artist to watch and now a few years after it's release on the 'Decade In Breakbeat' compilation we're following up with a 3 track solo 12".

Drift is the first official solo album of multi-instrumentalist Jana Sotzko. Having grown up in the plattenbau eastern part of Berlin, she has played in stylistically diverse bands and projects for over 20 years. Past and current groups include indie band DROPOUT PATROL and the experimental kraut trio SOFT GRID. In addition, she works as a freelance composer, especially in the fields of dance and performance. Drift, released under the alias POINT NO POINT, marks in many ways a return to early home-recording experiments with Tascam 4-track recorders and without a precise idea of ​​what it all should sound like in the end. The eponymous ‘drifting’ describes precisely this.

“Experimental trio Giraffe crystalize time on ‘Desert Haze’, their new LP on Marionette. Giraffe is the musical project of Sascha Demand (guitar), Jürgen Hall (keys), and Charly Schöppner (percussion). Sascha Demand is a composer that comes from a contemporary and improvised musical background, collaborating with the likes of Ensemble Integrales and Vinko Globokar. Jürgen Hall works in electroacoustic experimental projects, theatre and film scores, with releases on Staubgold and Edition Stora. Charly Schöppner is known for his popular music releases such as Boytronic on major production companies in the 1980´s and composes for theatre, dance, and film scores. With only a couple of releases to date on the wonderful Meakusma imprint as well as an EP on Marmo, little is known about Giraffe. After letting go of other artistic projects, the trio now focuses solely on Giraffe by continuously searching for and finding their own unique language.

Sascha, Jürgen and Charly have quite diverse musical backgrounds, though morphing into Giraffe they tower into one single composer. Their music is a critical statement, not in a political sense but rather an artistic one. Being mindful about what it means to create and how to position themselves as artists nowadays (without the constant hassle of being en vogue and short-lived trends) shaped their rather rare and stoic artistic stance. It is refreshingly honest to see their expression develop so naturally.

On Desert Haze, they’ve created a vibrant and minimalistic tribal sound that feels inspired by the Saharan traditional music of the Tuareg, Jazz, and German psychedelic krautrock. Giraffe themselves also list the radical music of the Viennese School (Schoenberg along with his pupils Berg and Webern) as well as the Köln School with its early electronic experiments as their main influence and inspiration. More precisely the composition process and the organization of musical material within space and time, where a conceptual and intellectual approach melds with an experimental yet expressive sound searching method.

Side A focuses on the trios studio work; it is built around tone color and pitch analysis of resonating prepared guitar sounds. Through a unique mixture of free improvisation and a serialism "rule set”, they develop instrumental layers and structures to form their tracks. Side B sees Giraffe playing more freely with a reduced setup - representative of what you may hear when listening to them live.
Desert Haze, along with its track-titles, showcases an almost mimetic approach to art. The haptic music grabs the listener not as a passive recipient but as an active resonant body to vibrate through. One can almost feel the Elements, pressure and heat forming a diamond, hypnotic overtones ringing through windy caves, shamanistic rhythms conjuring up mysterious and ancient landscapes - where the constant cycle of sedimentation and erosion reveals structures of fragile beauty - always gentle to the hand’s touch and the mind’s eye.”

Joy Orbison & Overmono team up a massive new 12" for XL.

"Two of theUK’s most respected and exciting prospects in electronic music, Overmono and Joy Orbison have joined forces to release a12” single that’s already been making the rounds on the DJ circuit to rapturous reception. But one of the decade’s final club bangers comes from an unlikely place-the rural London borough of Bromley. Overmono’s studio, based in a former magazine printers, already had a rich history in UK dance music before brothers Tom and Ed Russell arrived, having been in use by various prominent artists and DJs since the 90s. Leaving the city daily to commute to the studio in the suburb of Bromley-the opposite direction to the usual daily grind-helped back up the duo’s creative ethos and push them to make music further outside of the known and well-trodden paths. Sharing the same sentiments as the Russell brothers, Joy Orbison has been a staple of the U.K scene for over ten years and excitement still bubbles over whenever he releases a new record.This collaboration could hardly feel more natural; two intricate and detailed tracks holding a distinctly U.K feel.Bromley / Still Moving are an ode to the place where they were made, a moment in time tied and influenced inextricably by that particular geo-location, something once so familiar in dance music that’s now all but lost."

In 1984 post-industrial obscurists O Yuki Conjugate had completed their first album Scene In Mirage. At a turning point in their development, they released one side of their electronic sound, one side of their ambient. They had a choice of a musical route forward. They chose to pursue ambient/fourth world music and garnered a reputation for that particular sound. Now, 35 years later, they have come to reflect on their choice. What would have happened had they taken the electronic route? What would they sound like now? OYC decided to retrace their steps and imagine life as another OYC, the Ocean Youth Club. Divided Self is the result. Divided Self is thus a highly conceptual release, not just a clever disguise for their burgeoning electronic activities. Ocean Youth Club have performed live only once, in Barcelona where they supported the other OYC. They were immediately invited to do a release on Spanish label Hivern Discs. Divided Self is the Ocean Youth Club's first outing into electronica. It shows an exciting disregard for the convention of remixing, being an unapologetic four variations on a theme. Divided Self is a collaboration of current OYC members Roger Horberry and Andrew Hulme with the legendary producer Colin Potter, who jointly share the mixing and producing credits. Recorded at Colin's IC Studio live in a day, Divided Self was a semi-improvised work that took a couple of attempts to get into the groove of before the tape rolled and it was committed to the digital realm. The only regret is that real tape wasn't used on the day. Next time! Ocean Youth Club may be conceptual, but it's also an open and playful entity. Ocean Youth Club would like to invite anyone over the age of 50 to join them in unmaking music. The future is bright; the future is youth.

How could we describe multi-instrumentalist Penelope Antena ? From her Lo-Fi sounding EP ‘Down the Habit Hole “, to her soul infused duo “Honey Drips” with Swiss producer Deheb, to the fragile and tormented melodies of “33-1 Oak” her first single out on the new Parisian label Kowtow Records.

Penelope can proudly say she takes from her mother Isabelle Antena when it comes to cross musical genre. Though the commun thread between all the worlds she cleverly navigates, would definitely be her vocals. Experimenting instinctively with different techniques, Antena uses her voice as a harmonic lab of emotions. Sometimes intimate, sometimes haunted. Always Original.

Her first LP Antelope - entirely self-produced - comes as proof that the music she makes changes and evolves to perfectly match her personal story. After a painful heartache, Antena settles alone in her parents house, lost in the woods somewhere in the south of France. Surrounded by her grand father’s instrument (Marc Moulin- great Belgian Composer from the 70’s ) she writes this 10 tracks album field with melancholia and broken love. Like on the branches of the Cedars around her house, It’s a folky electronic breeze that hallows onto this record.

New sound, same familiar feeling when listening to Antena (be it Mother or Daughter) : acoustic and electronic have rarely been so intertwined, beautifully combined. And if Bandcamp placed her song “Abuse” as one of the best of 2018, 2019 is sure set out to be a good year for this multi-facetted artist with narrative propension.

Re-Issue

Julien Chastagnol returns to Love Love on tip top form with a 12' containing some of his most acute acid material to date - a concise collection of 4 tracks that convey Ruby My Dear's most high-octane dimension.

Each track displays a complex manipulation of its fundamental elements utilising sharp shocks, whirlwind processing and the occasional moment of respite, all racing along at a breakneck pace. A glorious full frequency assault.

Limited to 200 copies, this release is the first of the 5 12" from the Thomas Brinkmann Retrospektiv 5xlp box set. The 5 individual 12" will be released through 2018. Thomas Brinkmann is one of the great producers of Techno music and modern dance music. He initially gained notoriety in the experimental electronic music and Techno community for his full-length 'variations' of material by Wolfgang Voigt under his Mike Ink moniker, and Richie Hawtin. The variations were made by playback of the original artist records on a turntable of Brinkmann's design, which has two tone arms with separate outputs for left and right channels. The turntables were then pitched down from 33rpm to 27rpm and the results recorded and mixed. Both Voigt and Hawtin were sufficiently impressed they released the results on their own labels. Since then Thomas Brinkmann has produced some all-time classic dance tracks, many of which are collected here in what is a personal selection by Thomas Brinkmann himself. There are unreleased tracks, different versions, and tracks that have never been released on vinyl.

Overmono return to their own Poly Kicks label with their first release of 2019

TXLAX is Dave Aju’s first album in five years, and we couldn’t be more pleased to present it.

As always there is plenty of fresh genre-defying ideas in the music, but this time wrapped in a much more relaxed and focussed aesthetic - a fitting personal soundtrack for the homecom-ing theme of his move back to Los Angeles from Berlin, as the combined airport letters in the title suggest.

There is a sonic stylistic bridge of sorts between the sister cities on display as well, all im-bued with that inimitable combination of raw playfulness and warm refined soul as only Dave Aju does.

From the soaring West Coast future funk opener “Bird’s Eye”, the nautical disco-not-disco of tomorrow in “Out To C” and the bugged-out broken beat flavor of “Silverfish” to the slick me-lodic electro vibes of the title track, and gorgeous shuffling deep house closer “Yulia”, TXLAX is a masterwork filled with beauty, character, and detail that will reward many repeat listens. We hope you enjoy it as much as we do!

Astrophonica welcomes veteran producer dgoHn to the family. Through releasing music over the past decade, dgoHn aka John Cunnane has acquired a cult following and gained DJ support from figure heads like Thom Yorke, Tom Ravenscroft and Aphex Twin.

2009 saw Rephlex Records release his collaborative album ‘Some Shit Saaink’ with fellow drumcunt Macc. Sitting somewhere between Jungle, Drumfunk, Experimental Jazz and brutal sub bass, dgoHn’s music is intense in both mania and serenity.

“dgoHn has long since been one of my favourite producers in the left-field jungle or ‘drumfunk’ world. He has a knack of applying brain melting beat science without ever interrupting the groove and rhythm of the track. It’s something that few people can do, and he seems to effortlessly. There’s also a certain sadness and melancholy to his chords and fleeting melodies, which creates a beautiful contrast to the frantic drum madness. Amongst all this, there is a lot of bass, real Jungle bass, that anchors but also adds the ‘sound system’ edge to the mix, resulting in something very unique.” - Fracture

The next installment to the AKO10 collection and this is one of the reasons why we started this series. DJ Trax one of the oldskool dons from the legendary Moving Shadows label. This is DJ Trax debut on AKO and what a way to to start with two stunning and we mean stunning tracks.

The Truth is what we like call hypnotic soulful jungle and when you finally get a copy you will agree. This has been played in AKO HQ every day since we agreed to take it for the label. Stunning intro with a vocal and when the amen and subs come in it will gives you goosebumps. Words will do this track no justice it’s just simply BEAUTIFUL.

Love Lies (the soul) – This track is another incredible soulful track that compliments what this release is all about bringing back that deep soulful vibe in the music where you can just close your eye and let it take you away. Another track where words do it no justice.

Hollie Kenniff is a Canadian-American electronic musician. The Gathering Dawn is her debut solo album .
The album, which is her first ambient proclamation, displays a sprawling looseness in sharp contrast to her works as one half of Mint Julep with husband Keith Kenniff (Helios, Goldmund).
The Gathering Dawn wistfully utilizes glacial synths, blurred out guitars and Hollie's melancholic vocal plumes as a basis. The album finds Hollie effortlessly folding classic ambient motifs in with minimal modernist brushstrokes.

The Gathering Dawn will be out on November 15th on limited edition 180gm pink vinyl and compact disc.

In her most personally narrative work to date, A Fossil Begins To Bray is the follow up on Dais Records for NYC producer Hiro Kone, furthering the dialogue set forth on her 2018 release, Pure Expenditure. While the statements on Pure Expenditure rallied behind a point of dangerous excess and injustice, the material on A Fossil Begins To Bray embark upon a journey of discovery and selfanalysis, proposing a potential reorientation towards absence in hopes of illuminating potential futures.

In Mao’s own words, “This album considers the power of absence as neither a lack or deficit, but as a quiet, indeterminable force to cultivate in this time of looming and unrelenting techno-fascism. It asks that we take pause to consider our learned languages and actualities and to better consider how desire shapes our recollections and interpretations of this ‘existence.’” This allegory is expertly applied to every song on A Fossil Begins To Bray. Mao has established a long history of employing absence in her productions to maximum effect. With a vast assortment of diverse elements at play, no single track ever feels overly convoluted and further illustrates Hiro Kone’s skillful attention to dynamic tension and flow. Tracks such as “Fabrication of Silence” and “Submerged Dragon” perfectly represent the power of absence, utilized in a matter to create unique amalgams of decisive, cinematic techno rhythms from the electronic void. As the melodic elements contained within A Fossil Begins To Bray begin to unravel and slowly take form, the unaware are rewarded with a driving yet tangible refrain that offers resolve in contrast to the dense, textureladen backdrop that forms the album’s foundation. The first single, “Feed My Ancestors”, expands upon Hiro Kone’s signature take on electronic music structures. Seemingly free from the predictable contracts imposed by any one genre’s stereotypes, Hiro Kone throttles the foreboding bassline in favor of more calculated, abstract cut-ups that gracefully hold the track in place between hopeful utopia and something more ominous.

With his new record Tape Anthology Vol. 1 Christoph Berg kicks off an album series mainly focusing on works based on Tape manipulation. At the same time it marks the inaugural release of his own imprint Monochrome Editions.

Christoph is a classically trained piano and violin player whose curiosity and cultural interest are by no means bound to that category, or any others for that matter. For the past few years he has also been broadening his approach to composition by researching and experimenting with tape machines and reels of field recordings — and directing sounds into physically immediate shapes and atmospheres. Through an initially improvised approach to sources and his analogue assembly of the emerging recordings afterwards, he is methodically avoiding predictable conditions.

The raw, extensive material became subject to meticulous organisation and arrangement: Tapes have been cut, manipulated, destroyed, fixed, and reshaped into a treasury of experiences. The overall process is, in many ways, similar to the way Christoph travels and absorbs situations: curious, spontaneous, attentive, and modest. His work is less about destination than about the journey, and these compositions magically manage to capture a history of sounds, embedded in one’s own (temporary and partial) perception of them.

While most pieces on the album are dominated by field recordings and tape manipulation, they are occasionally accompanied by an array of instruments — most prominent in the three movements of the “Concertino for Tape and Violin” — including an amalgamation of violin, upright bass, organ, found objects, and synthesizer contribution by Midori Hirano on two of the album’s compositions, all of which are effectively molding chance encounters into individual and intentional entities.

However, the greatest idiosyncrasy of the album might also be the most subtle and, probably, irritating: The collages of things, places, people and events deliberately renounce conclusions, by which Tape Anthology Vol. 1 also evades any obvious stagnation. Even when themes are appearing, everything stays in constant movement, away from, towards or around you. The few palpable aspects welcome you and immediately drag you in, but without releasing you in the expected or a familiar location. It is a captivating voyage through an ever-changing landscape that — through abstention of any predictability — is not only the core of improvisation, but a philosophical approach to both traveling and being in general.

By never succumbing to tradition, expectation or comfort, Tape Anthology Vol. 1 is continuously reaching out for the capture of our surrounding — and our agency within it. Herewith the record embodies the ever intriguing cor-relation of spontaneity and subsequent mapping.

2x12"



Still Und Dunkel is the project of musician and visual artist Christoph Brünggel, film maker Benny Jaberg, and media artist Pascal Arnold. Their debut album Abandoned comprises ten compositions created for their audiovisual art live performances which draw on an ever-growing archive of moving images and sound recordings. The three artists started working together in 2011 and visited abandoned and hidden places at night or underground throughout the world to collect images and sounds. The trio documents and archives the transformative processes that these former symbols of civilisation have been undergoing since they had been deserted or forgotten -- that is, if they had ever before been accessible to the public in the first place.

"Abandoned" contains additional information on Still Und Dunkel, as well as artwork by Arnold and Jaberg, including a 64-page booklet with images from the project and its creation as well as an essay by writer Brian Dillon. All this makes it one of the most ambitious releases on the Hallow Ground to date.

Long-dawning long-player by Pacific Northwest producer Hunter P. Thompson aka Akasha System spins a suite of remote outpost rhythms and old-growth electronics variously inspired by “days and nights spent in the forests,” “long stretches of back road trails,” and “sitting alone under moss-covered trees.” It’s club music for misty mornings, towering redwood canopies, and overcast skies above uninhabited terrain: Echo Earth.

Recorded across the fall of 2018 at Thompson’s lava-lit Portland home studio, the album’s eight tracks trace cyclical arcs and seasonal tides, churning and yearning, meditative motion patterns flickering like holograms projected in the rain. Following key appearances on Elestial Sound, Neo Violence, and New Information, Echo Earth embodies all Akasha’s most evocative and elusive sonic strategies in a nuanced naturalist landscape of rust and radar, information and isolation, wires woven like roots beneath ferns.

It's been 12 months since Ramon Quezada's last solo EP as DJ Qu. "Heed The Message", then, is arguably long overdue. It's a pleasingly eclectic affair, with the A-side alone boasting both a funk-rock sampling deep house shuffler (the eccentric "May I Say") and a percussively wonky, undeniably druggy fusion of loose-limbed MPC drumming, sustained chords and woozy vocal samples. Over on the flip, Quezada continues to surprise, first by serving up the densely layered tribal drums and rolling jazz bass of "Picazon", then via the hazy, field recordings-laden dub techno/deep house fusion of atmospheric closing cut "Circumvent".

Transdisciplinary NYC artist Gavilán Rayna Russom beautifully comes into her own with a distinguished solo debut album statement including the voice of Cosey Fanni Tutti and brass
arrangements by downtown legend Peter Zummo. After decades exploring her sonic personality in various projects inspired by her deep immersion in NYC’s club and avant-garde scenes, Rayna
uses ‘The Envoy’ as a vessel to firm up and convey her personal conclusions on intersections of gender and electronic music.
Enriched with complex human experience and key influence from sci-fi writer Ursula K. Le Guin’s novel ’The Left Hand of Darkness’ - a book that strongly resonated with her due to its descriptions of an alien race with multiple sexual characteristics - the album is intended to realign misconceptions of Russom’s prescient early work such as 2005’s ‘The Days of Mars’ LP for DFA, which arguably foreshadowed a rise of beat-less and more ambiguous urges that are now commonplace in contemporary dance music, yet were at the time lumped in with retro-fetishist trends. With ‘The Envoy’ Russom returns to a 2019 music scene that’s better prepared with the politics of an emerging new world.
Entwining Russom’s perspectives on gender, the occult, and spirituality, and how they relate to the body and music’s healing properties, ‘The Envoy’ expresses the artist’s concerns in nine
interrelated parts. Practically devoid of percussion, but full of body-moving polyrhythmic pattern, the pieces spill out of the lines of any typically imposed “grid”. Within this loose context, porous to the chaos of noise, Russom smudges a blend of analogue and digital synths to connote an elusive sense of self, encouraging the listener to navigate the music’s curves and silhouettes by instinct.
Employing the fluid potential of electronic music at its most fundamental in a way that loops right back to the glyding suspense of her prized early work, even literally incorporating elements of
long form solo recordings made in the late ‘90s in the wake of Russom’s psych/noise band Soma.
Unanchored by kicks, yet pulsing in its own ways, the album flows with an underlying elegance from Cosey Fanni Tutti’s spellbinding recital of Russom’s text in ‘Kemmer’, set to an organic, orgiastic writhe of arps and stressed noise, and on thru the free-floating organ scape of ‘Envoy’, to acknowledge more industrial impulses with ‘Strength out of the Dark’ and a towering highlight of the album in ‘Discipline of Presence’, where Russom’s throbbing mass is hauntingly illuminated by plangent brass arrangement from Peter Zummo (key Arthur Russell collaborator). The 10 minute ‘Winter’ then wraps it all up under a titular reference to Ursula K Le Guin’s novel, placing Russom as a filament of solo piano-playing light within the cold expanse of NYC.

Arguably the Netherlands’ most prominent grime artist, JLSXND7RS’ name is synonymous with some of the most iconic productions around, with a vast back catalogue including collaborations with Wiley, Footsie, Rocks FOE and Discarda. For the debut vinyl release on his fledgling label, Dark Knight, he’s brought out a long-awaited fan favourite alongside two gargantuan reimaginations.

From its brassy opening notes, “ Marching” is instantly recognisable – a minimal, yet menacing instrumental which has enjoyed countless plays from esteemed DJs including Slimzee and Sir Spyro since it first surfaced on the airwaves in 2016. It also comes with Mala’s seal of approval; the Digital Mystikz legend has cut the track to dubplate for use in his sets.

On side B1, dubstep royalty Caspa pares back the original to its base elements, instead introducing gritty basslines, mesmerising percussion and a grimy harmony to bridge the gap between the two genres.

The release concludes with a remix from Brighton innovator and Sector 7 signee J ook, which Outlook festival-goers will recognise. His melodic interpretation of the song includes swelling reversed synths, shuffling drums and cinematic breakdowns.

‘Flush Real Pharynx’ is the title of sound designer/artist/composer and DJ Lee Gamble’s new three-part album for Hyperdub.
The triptych loosely explores three stages of the Semioblitz – the aggressive onslaught of visual and sonic stimuli of contemporary cities and virtual spaces. From ‘In A Paraventral Scale’ (the first part of the triptych released at the start of 2019) the coil springs out into the straight-up choked semioblitz of part 2 — ‘Exhaust’. Gone are the serpentine dopplers and seductive supercar engines. ‘Exhaust’s neon-charms coalesce into an MDMA rush of Boston Dynamics dog barks, hypnotic voices and imploding motion sculptures. From the backfiring splinters of ‘CREAM’ through disorientating photo shutter snare patterns of ‘Shard’, ‘Exhaust’s sultry voices take you for a 300mph ride down the psychedelic high street stitching together clashing strands of club soundscapes on its way.

‘Exhaust’ engages in a world well and truly with us right now – explosive, chaotic, unpredictable, contradictory, intoxicating, hyper-colourful, blown-apart and disturbingly engaging in its surreality. It’s Gamble’s ‘Gully Automated Music Concrète’, sounding out from a high rise overlooking the Ballardian motion-sculpture of a collapsing motorway system.

"I Drew A Fish Hook, And It Turned Into A Flower" is the result of a dialog between the musicians Stephen Vitiello & Molly Berg and the photographer Jake Michaels, initiated by IIKKI, between May 2019 and September 2019.

Stephen Vitiello and Molly Berg met in Richmond, VA in 2007 and have stayed committed to an ongoing (if on-again, off-again) collaborative relationship ever since. Their first CD, The Gorilla Variations was released on 12k in 2008. The initial sessions for that CD began as a soundtrack for Brazilian video maker, Eder Santos. The two went on to create 2 more releases for 12k: MOSS (also with Steve Roden and Olivia Block) and Between You and The Shapes You Take. Together they make use of instruments that they do and don’t know how to play and seem to have the most productive recording sessions in offices and empty rooms rather than proper studios.

The title "I Drew A Fish Hook, And It Turned Into A Flower" comes from the book Mental Radio by Upton Sinclair (published in 1930). Sinclair and his partner did studies on telepathy, creating drawings based on aspects of mind reading. Like the previous sessions, Molly and Stephen didn't speak about what they were going to do and just relied on an unspoken interaction in ways that Stephen saw mirrored in the book. The title proposed comes from one of the drawings where one drew a fish hook and from the idea of one person starting with an image and the other twisting it into their own variation.

Jake Michaels (b.1984) is a Los Angeles based photographer. He graduated from Art Center College of Design with a degree in fine arts. He is a regular contributor to the New York Times. He is part of the on-going series called " The Look" which features a unique blend of fashion and street photography. His work is always in flux. On some days it’s an exploration of aesthetics, hard lines and California color. On others it’s an investigative journey though different subcultures around the world. Lately its been a blend of the two ideas. He currently divides time between commercial and personal photography.

Nord Noir spins a tale as much as it paints a sonic landscape. Its progenitor Toh Imago took the time to sharpen his artistic chops under a few different guises, resisting the 21st-century affliction that is instant gratification at all costs, ultimately spending over 18 months to develop the narrative arc underlying his first opus. Using the historical context of the north of France's proletariat past, he created a dense, hypnotic, haunted album that will sit comfortable alongside the works of Daniel Avery, Efdemin and Blawan.

repress soon !

Hits from your favourite era, transported into the future with 2 JJAAMM HOT electro reworks direct from the PXUniverse.

12"LP plus 7", ltd copies

ERUPTION is an outburst of creaking energies, unconventional ideas, arhythmic thoughts, cacophonous images and musical phantasms. ERUPTION is also the name of the second album by Kluster, a band project of the musician and video artist Conrad Schnitzler, who died in 2011, together with his colleagues Dieter Moebius and Hans-Joachim Roedelius. ERUPTION was also the name of a two-day festival that took place in July 2018 at the Golden Pudel Club in Hamburg. For two days, artists and musicians from different generations and working in various fields met here, who were in one way or the other inspired by the comprehensive oeuvre Conrad Schnitzlers’, as well as by his free-spirited thoughts and actions. The result was a multi-faceted programme of concerts, performances, sound and video installations, which resulted in the release of these two special records on Pudel Produkte, the house-own label of the Golden Pudel Club. The single features a previously unreleased piece by Conrad Schnitzler & Ken Montgomery as well as a story told by Asmus Tietchens about his father and Schnitzler, who unwittingly crossed the Atlantic together on the steamboat Bornhofen in the late 1950s, one as an engineer, the other as a heater. The LP brings together the festival's invited artists, Schnitzler‘s contemporaries

such as Ken Montgomery, Wolfgang Seidel and Asmus Tietchens, as well as young artists who developed works especially for ERUPTION. Among them are Lena Willikens & Sarah Szczesny with fragments from their performance Phantom Con Ballet, the DJ Phuong-Dan who composed a musical collage from the poem About Rhythmus and rhythm studies by Schnitzler, a piece from the performance of Felix Kubin, who uses a light scanner and his modular synthesizer to convert graphic notation into sound, a theatrical sound piece by Carl & Sohn (also known as Les Trucs), the producer and DJ RVDS, who interacted with the piece Tanz im Regen by Conrad Schnitzler and many more. Initiated and curated by Nika Son, a musician and artist based in Hamburg

A-Future presents a fierce electro-charged production debut for EON Records.
After a solid summer of gigs at IICON Glastonbury, Inner City Electronic Leeds, Gottwood and Boiler Room, A-Future now shares a progression for his DJ project which has been impressing crowds across the UK with its range of left field beats and punchy up-tempo tracks.
Deploying tricks learned from his weighty record collection, the Birmingham based producer works in hardcore breakbeat flares, deep electro basslines and headsy IDM synths into original track No Era for what is a high-grade first showing.
Censor records head and long time friend Alex Jann and Berlin’s mysterious electronica producer Secret Universe provide a remix each. Jann comes in deep with a gritty bass line that drives his version with a solid flow primed for 140bpm dance floors. Secret Universe then sets etherial moments beside to belting syncopated jungle beat programming for a headsy and heavy take on No Era.
This is the second release on A-Future’s EON Records label which launched in March 2019 with Sepehr’s Cybernetic EP featuring Stratowerx and A-Future remixes.

"Dream Rooms", das neue Release des geheimnisvollen italienischen Projekts Ambienti Coassiali, knüpft als organische Weiterentwicklung nahtlos an die surrealen Synthesizer-Oden an, die das Projekt in den späten 1980er-Jahren veröffentlichte und die sich seitdem zu Kult-Favoriten entwickelt haben, von denen man Liebhaber in leiser Ehrfurcht sprechen hört. Die zwei Seiten von "Dream Rooms" sind ein mitreißendes Hörerlebnis: Eine Atmosphäre, kalt, aber nicht dunkel, wie ein kalter Morgen in den Tälern. Ambienti Coassiali haben über die drei Jahrzehnte in denen sie Musik veröffentlichten, bewiesen, dass sie sowohl synthetisch als auch organisch komplexe Atmosphären konstruieren können, bei denen alle Elemente an ihrem Platz sind. Musik für das Bewusstsein und das Unterbewusstsein.

The second album by the American Gamelan composer and instrument builder, Daniel Schmidt, following In My Arms, Many Flowers, his majestic debut on Recital. Abies Firma lies next chronologically, collecting works from 1976 to 1991, considered the second phase of his compositional form.

“We were like children playing with new toys,” Daniel recalls of the early days of American Gamelan music. “Though, as we moved into the 1980s, I moved away from Javanese traditional formalism completely, no longer using a constant stream of notes.” Daniel became a father twice over in the early 80s, transforming his compositional voice, finding himself open to new affects. Notably, the Sierra fir species, ‘abies firma’ … “These trees gave me a sense of rising and rising, all their branches reaching toward sun and sky. Looking at them across open spaces, I felt myself part of their upward striving. The tall mountain trees became rising themes and arpeggios, sometimes even sweeping across the six octaves of the gamelan.”

This album holds a variety of recordings including an especially immersive tape-delay piece for the rebab, a bowed Javanese instrument. A sort of Eastern Frippertronics weaving the stereo field. Another standout is a semi-improvised flute and gamelan work, ebbing in slowly like a night’s wind. “Accumulation” and “Abies Magnifica,” the spirited opening pieces, exemplify the precision and dexterity of Daniel’s group, The Berkeley Gamelan, who at this time were constantly performing around North America. Two pieces on the album were co-composed by Schmidt and the late Lou Harrison, who helped conceive of the American style of gamelan and enjoyed a similarly long and varied musical career. “Unempins to Sociseknum” is based on arranging Harrison’s social security number against Schmidt’s unemployment insurance number. A window into the cooperative spirit and experimentation of the late 70s.

With each LP comes a CD including the addition of “One White Crow,” a three-part tapestry of melodic fragments which epitomizes the second phase of Schmidt’s composing; a divergence from both Javanese and European music. Daniel states, “William James once said that one white crow would suffice to overturn science’s assertion that all crows are black. I felt myself to be ‘one white crow’ amidst the prominent, established musical styles.”

Edition of 1000 with 20-page pamphlet holding program notes, scores, & a new essay on American Gamelan by Jay Arms. Including a complimentary CD with additional 20-minute suite

Sean McCann, September 2019

David Norland is an Emmy-nominated English composer living and working in Los Angeles. Most recently he composed the score to the current HBO film “My Dinner With Herve” (HBO 2018) starring Peter Dinklage and Jamie Dornan.

His work with Emmy-winning director Sacha Gervasi includes the award-winning documentary "Anvil! The Story Of Anvil", (which won the IDA Best Feature award, an Emmy award, the Indie Spirit Best Doc award, and numerous other best doc awards around the world) as well as the score for “November Criminals” (Sony 2017) starring Chloe Moretz and Ansel Elgort. David Norland was also the music supervisor for the movie "Hitchcock" featuring Anthony Hopkins, Helen Mirren & Scarlett Johansson.

Since 2010 he has composed much of the music for US broadcasting giant ABC’s primetime news documentaries. His work for ABC is broadcast in the US and around the world on a daily basis.

Having been a chorister from an early age, singing daily in Westminster Abbey, and a boy treble in The Elizabethan Consort of Voices, a touring choral group of the time, he also composes choral music. His electronic band Solar Twins was signed by Madonna to Maverick Records, and rode high on the US dance charts, and his record writing, production and mixing work with Jamaican legends Sly and Robbie has been nominated for a Grammy.

"Glam Tear Stain" is the first real solo full length of David Norland. It combines electronic influences, elements of his film scoring work and more intimate, minimalistic piano and string arrangements.

"The music I want to make has changed over time - from imitation baroque pieces as an 11 year old chorister, through guitar pop with my first teenage bands, experimental sonic works with my first rudimentary recording equipment in my early 20s, through electronics, drum and bass, and reggae, leading finally to piano, choral, and string music informed by my film scoring work.”

"Glam Tear Stain" is simple melodic and tonal music for for piano and strings, filtered through the electronic, spatial, and experimental lens of Norland's earlier musical endeavors - and on a personal level was made over a time of profound sadness, change, and acceptance. It’s more unapologetically emotional than other music in the broad neoclassical field, and often stranger, too, drawing from influences as diverse as Future Sound Of London and 16th century English choral music.

Bristol’s Dubkasm is an absolute pillar of the worldwide roots, dub, and sound system movement. In fact it’s hard to imagine the contemporary UK dub scene without them. Massive releases on Peng! Sound, Bristol Archive, ZamZam, and especially their own Sufferah’s Choice and Dubkasm labels have made Stryda & Digistep household names among lovers of contemporary sound system reggae. Holding down and forwarding traditional dubplate culture for 25 years now, “Two X Two” showcases two slices of two different tunes and demonstrates why they are among the world’s most beloved groups, a link back to the elder generations of Bristol sound, and a beacon to the younger.

A multi-system conglomerate servicing planets within the Orion Arm of the Milky Way, TerraFirm provides the desiccated, toxified, irradiated or otherwise uninhabitable planets of this sector with a suite of services to rectify any environmental challenge From geoformation to carbon extraction, desalination to biome rehabilitation, TerraFirm has a full range of services to return your planet to its naturally thriving, pre-apocalypse state.

The second step in our patented remediation process is Mycelination; the seeding of subterranean fungal colonies. A robust mycelial network is the critical component in a healthy, biodiverse ecosystem. Mycelium connect all plant and fungal species, facilitating the exchange of nutrients and information between organisms. The same network absorbs decomposing plant matter, returning stored nutrients to the soil and releasing carbon dioxide to fuel your atmosphere's carbon cycle. Once mycelium are thriving the life cycles needed to support higher genera of flora and fauna will be in place.

The two collaborators, known separately for contemporary electronic music & free clarinet experimentations team up to create the delirious trip, Footfalls.

Two scenes are presented here, seemingly taken from different sides of the same desolated seaside setting, loosly inspired by poet and novalist T.S Elliot and Samuel Becket. In Towards the Door, Gareth Davis´ bass clarinet breathes slow, wave-like tones that merge with the oft-rythmic electronic textures from his counterpart. A third of the way in, Robin Rimbaud´s synth erupts into a Blade Runner-esque epic harmonic section that disappears as suddenly as it arrives - leaving ripples of oscillation in its wake, slowly unfolding into the sound of waves, as it arrives back where it begun : as a full circle, drawn in echo´s of sound.

Smokefall begins with the words „Invisible choirs“, subtly spoken by a woman’s voice among a blurred distant conversation, as textural sound effects creep forwards to the point where a slow progressing but steady LFO rhythm enters. Water, metal & smoke are absorbed into a creeping tribal passage, acompanied by long clarinet tones. The piece expands further and further into a state of ecstatic harmonic noise that fulfills all parts of your body – if played loud. Both artists from here on move into full on crushing electronics, all while Rimbaud´s Kilpatrick Phenol synth drives the background with its pulses and repetative bassline. The piece has an ellipse like rotation that makes one feel a sort of blissful vertigo that reverberates in your mind after the piece has ended.

Footfalls is an euphoric trip from two artists that – although prolific - manages to arrive at the perfect meeting point to deliver two hard to shake pieces of dizzying electro-acoustic perfection.

This split release unites two female underground acts, both of whom have recently become pivotal parts of the contemporary electronic musical landscape in Japan. Hot on the heels of the acclaimed PAREDO EP compilation (TAL12), which has been released in May 2019 (and also includes contributions from Lena Willikens and Miki Yui), the SUPER MILD split album is the second outing by KOPY and TENTENKO on TAL. Their newest works punctuate their highly individual approaches to contemporary experimental dance music.

TENTENKO is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BIS. Immediately after her departure from BIS in 2014 she commenced work on her solo project under her artist name TENTENKO. Since then she has radically reinvented her music away from glossy J-POP towards weird and industrial rooted dancefloor. TENTENKO first made a name for herself on the alternative Japanese music scene with a steady flow of live performances as well as collaborations with members of the legendary Japanese noise band HIJOKAIDAN.

For a few years now KOPY has been an unpredictable and charismatic part of the vital electronic music scene of Osaka. She has quickly garnered a reputation for creating her live sets exclusively with borrowed electronic equipment. Her name KOPY very much originates from this "concept". Apart from a few performances at Düsseldorfs famous nightspot SALON DES AMATEURS, she has been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018. Her sinister dancefloor mystique is heavily steeped in the free spirited noise and rhythm cultures of her hometown.

12" + 7"

In 2009 Mocky made a radical decision: after having become one of the cult figures of the leftfield Berlin electronic music scene of the early 2000s, Mocky retired his sampler and travelled to Paris to embark on an all acoustic journey with the producer Renaud Letang in the vintage Studio Ferber, previously inhabited by the likes of Nina Simone and Serge Gainsbourg.

Named after a song he made up when he was 7, using imaginary words, "Saskamodie" was an instant new future/retro classic: a return to pure musical expression by a cutting edge artist who was no longer bound by the electronic music scene. "Saskamodie" was a brave step into unchartered waters, the sound of a musician exploring where his talent can take him with rare confidence and authority. At different points you could hear a vintage soundtrack suite, a debonair jazz record (minus the solos) or a golden era '60s soul ballad recording ... yet, as if all these charming stylistic sorties weren't loveable enough, cut "Saskamodie" through the middle and you'll find that sweet, inescapably infectious melody is the lifeblood trickling through its core.

Mocky is listed as playing drums, bass, rhodes, piano, guitar, percussion, bells, recorder, vocals, whistle, organ and toys as well as writing string arrangements. Taylor Savvy, Gonzales, Jamie Lidell and Feist contribute additional instrumental and backing vocal performances that make this record sound more like a live performance than a studio creation.

"Saskamodie" has definitely stood the test of time and Mocky still successfully follows the path he started with this recording - be it on his series of digital Moxtapes, his album "Key Change", his recent "recorded-in-one-day" jazz album "A Day At United", his score for the japanese Netflix anime "Carole & Tuesday" or his writing and production work for the likes of Feist or Kelela.

Originally only released as CD/Digital Download, this 10 years anniversary limited vinyl edition brings us "Saskamodie" in it's original form, re-mastered for deluxe 180g vinyl and accompanied by an exclusive bonus 7" with a new single edit of the album's hit "Birds Of A Feather", a solo piano version of "Guiding Light" by Chilly Gonzales, the recent coverversion of "Birds Of A Feather" by LA's underground funk sensation Vulfpeck and a remix featuring a collaboration with noone less than the Wu Tang's GZA.

"An exceptionally musical album – there’s no other word for it – that could fail to seduce only the hardest of hearing, or the hardest of hearts" (Pitchfork, 8.0 review)

"An amazing record…a big hit for me" (Gilles Peterson)

"If Saskamodie was a film, it would undoubtedly be The Science of Sleep by Michel Gondry. Please take that as a wholehearted endorsement" (BBC)

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.

Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included.

- Sean McCann

Steffi and Virginia return with an eight-track double EP on Ostgut Ton, inviting us into new dimensions of the sonic world they have crafted together over a number of years. Work A Change is out September 20, 2019 on 2x12” vinyl and in digital formats. Since their iconic 2011 collaboration “Yours” – which became an instant classic – the duo have experimented with new ways to express their unique strand of dancefloor melancholy. Unlike the grand maximalism often associated with vocals in dance music, Steffi and Virginia’s creations use the voice less as a centerpiece and more an integral part of the groove itself, subtle in temperament and equal to its counterparts. Impassioned vocals spiral around melodic leads and warm harmonies, offering a gentle kind of catharsis that deepens with each listen. Work A Change immediately transports us to a parallel aural universe, refusing to settle into one style and merging multiple references into peculiar new formats. Opening track “Be True To Me” is subdued but inviting, working its way into the conscious with harmonic glitches and a deep, grooving bass lead. “Sight From Above” then slows things down for an angular cut of low-slung machine funk. The B-side, “Help Me Understand” lands us on another planet entirely, complete with extraterrestrial synths and animated robotics. Opening up the C-side, “Until You’re Begging” is a molecular construction of fragmented motifs, both precise and hazy at the same time. Similarly, “Internal Bleeding” takes segments of percussive grooves and rearranges them into complex polyrhythms whilst retaining a careful sense of balance. Closing off the release is title track “Work A Change”; one last high-speed voyage into spiralling drums and hammerdrill bass. Work A Change expands on Steffi and Virginia’s aesthetic, merging elements from a number of genres into a cerebral, highly personal release. It also signals a change of direction for the duo's work, voyaging through new terrain while retaining a sound that is undoubtedly their own.

Steffi und Virginia kehren mit einer Acht-Track-Doppel-EP zurück zu Ostgut Ton und laden ein in neue Dimensionen ihrer sonischen Welt, die sie im Laufe mehrerer Jahre geschaffen haben. Work A Change erscheint am 20. September 2019 als 2x12”-Vinyl und in digitalen Formaten. Seit ihrer ikonischen 2011er-Kollaboration „Yours“ – das Stück wurde zum Klassiker – experimentierte das Duo mit neuen Arten, die eigene, einzigartige Dancefloormelancholie auszudrücken. Anders als bei sonst mit Vocals in Dance Music assoziiertem großen Maximalismus, nutzt Steffi und Virginias Schaffen die Stimme weniger als zentrales Element, sondern mehr als integralen Teil des Grooves selbst, subtil im Temperament und zu gleichen Teilen ihrer Gegenstücke. Leidenschaftliche Vocals schrauben sich um melodische Leads und warme Harmonien, eine sanfte Art von Entspannung, die mit jedem Hören tiefer wirkt. Work A Change transportiert uns unmittelbar in ein paralleles Gehöruniversum, entzieht sich einem festen Stil und mischt vielfache Referenzen in eigene neue Formate. Das eröffnende Stück „Be True To Me“ klingt dezent aber einladend, arbeitet sich einen Weg ins Bewusstsein mittels harmonischer Glitches und einer deepen, groovigen Bass-Lead. „Sight From Above“ nimmt das Tempo mit einem kantigen, tiefliegenden Maschinen-Funk raus. Die B-Seite „Help Me Understand“ verfrachtet uns mit extraterrestrischen Synths und reger Robotik auf einen gänzlich anderen Planeten. Die C-Seite eröffnet „Until You’re Begging“, eine molekulare Konstruktion fragmentierter Motive, gleichermaßen präzise wie unscharf. „Internal Bleeding“ nutzt Segmente perkussiver Grooves und rearrangiert sie in komplexe Polyrhythmen, bewahrt sich aber eine Balance. Den Abschluss bildet das titelgebende Stück „Work A Change“: eine letzte Hochgeschwindigkeitsreise in wirbelnde Drums und Bohrhammerbass. Work A Change erweitert Steffi und Virginias Ästhetik, verbindet Elemente einer ganzen Reihe an Genres in ein zerebrales, höchst persönliches Release. Es signalisiert auch einen Aufbruch des Duos in neue Gebiete, sich dabei aber einen ureigenen Klang seiner selbst bewahrend.

Presenting the 2nd EP - the ‘FATE’ EP on 1985 Music from Cologne based Jonas Briere AKA SubMarine. His last track IWY featured on the last Various artists album (Edition 2) found heavy rotation with a premiere on UKF. Jonas has been selling out his events in his home town, and has found himself playing numerous shows around Europe. He has found the perfect balance between deep, minimal, progressive and melodic dnb. Forthcoming on vinyl and digital on 15th November 2019.

Sound is a potent force that can awaken your purpose and re-balance your spirit. It has the power to relax, as well as inspire you, through the positive therapy of sound vibrations. Elemental Resonance is a trailblazing meditation album where vibrational sound practitioner, Tracie Storey, combines the energy waves made by music, with positive words of love and harmony to produce inner peace, deep relaxation and a higher spiritual connection.

Storey explains “The idea for this album came to me 2 years ago when I was living in Montreal, Canada. I’d been learning to form shapes, textures and colour with sound and going deep within the architecture of my own inner space. These powerful compositions have really helped me on my journey. Creating transformative tools are now part of my life’s work, using the medium of vibrational sound which transcends all boundaries”.

Storey guides you through a series of mindful meditations - each connected to the seven energy chakras - and each supported by sound vibrations, colours to visualise, and positive affirmations to re-balance your entire being and bring you waves of calmness, strength, warmth and joy.

Released on Celestial Being, label boss Felix Buxton (Basement Jaxx), says “I’m thrilled to support this project, everywhere I look people are discovering more about Vibration and how it affects them.
Tracie is leading the way forward for new generations, uncovering more of our potential as humans. This is a great way to switch off the world and switch on to your deeper self.”

Storey has been active as a vibrational sound practitioner, for the past 5 years. Previous to six years training under Master Fabien Maman, who’s one of the world's leading experts on vibrational sound therapy, founder of the Tama-Do Academy.
She also travelled the globe as a DJ on the international dance scene (releasing on Ministry of Sound and producing mixes for the likes of Kiss FM).

The fourth instalment of Dub-Stuy’s riddim series takes a slight detour from its modern dancehall focus with a darker, hip hop influenced riddim featuring contributions from an international cast of vocalists affiliated with the label.

Santa Muerte Riddim puts forward a new sound for the series with a fresh beat courtesy of Brooklyn producer Jonah Freed. The slower 80bpm riddim combines a hypnotizing string melody, eerie sweeps and punching boom bap kicks bringing to mind the heydays of 90’s NYC reggae hip-hop or classic Bristol fusion styles (think the Wild Bunch, Portishead or, more recently, the Young Echo crew). In fact the riddim has a direct tie to Bristol. After Freed first made it, while studying in Chicago when he was just 18, he sent it to Bristol MC Rider Shafique and the two eventually connected for a show in town where Young Echo member Kahn wheeled up the song. After that it was clear this was a riddim that needed to be put out into the world.

Taking turns on the vocal tracks are three artists with a wide stylistic range. Bristol’s Rider Shafique kicks things off with striking confidence, his laid-back flow flexing between boasts and elevated reflections to make ‘Santa Muerte’ a new outernational standard. Next up is veteran NYC artist Jahdan Blakkamoore who showcases his versatility and delivers an uplifting call to leave violence behind on ‘Liberation Over Liberace’. Pupajim from Stand High Patrol takes on the last version with “Open Mindedness”, an unexpected rendition of the riddim laced with a layer of Rhodes harmonies. With his unmistakable vocal style, the french MC urges the music industry to break down musical barriers and embrace the diversity of styles and sounds.

To echo Pupajim’s lyrics, the Santa Muerte Riddim is a testament to the rich history of fusion and eclecticism in sound system culture.

Function Records is one of the most well-respected imprints not just within jungle music, but also across drum & bass., having been spearheaded by Digital, a producer who’s garnered just as much of a reputation for his own cuts and crowd-moving DJ sets. One of the reasons why Digital has stood the test amongst his counterparts is because he’s stayed true to his heritage, something which can be seen throughout the catalogue of Function. For its fiftieth release he’s invited a host of producers to have their take on the label’s sound.

To commemorate this compilation, names like Nomine, Calibre & Jet Li, Klute and Drumsound & Bassline Smith feature across its track listing, each delivering an exclusive addition to Function’s renowned history. The album shows the influence which Digital has built throughout his career and it’s one decorated with music, much like the type which is showcased on the ‘Shadows’ LP.

DJ Support
Shy FX, DJ Craze, Simon Bassline Smith, Kenny Ken, Konichi, Nu:Tone, Gremlinz, Noisia, High Contrast, Random Movement, My Nu Leng, Anile, John B, Aphrodite, Taxman, Mampi Swift, Macky Gee, Black Sun Empire, Ray Keith, Aries, Drumsound, Zeds Dead, Villem, Redeyes, TC, Nicky Blackmarket, Doc Scott +many more

11xxx27 returns on Infidel Bodies with a new tape release "No Hope, No Fear".

The sound is purely industrial with ambient/techno influences and blends perfectly with the graphic concept (by the artist) that deals with social/political issues.

The dark sound of desolate atmospheres filled with marches of incisive kicks and metallic shots, fully embody the sense of oppression, anguish, revolt, fear, common to many scenarios belonging to the past and present.

An absolutely suggestive mood, characterized by research.
Samples taken from documentaries and postwar films, collages created by the search for images in newspapers and history books, manage to represent a scenary where all hope is lost and
where fear is won.

The remixers UVB, Raffaele Attanasio, Operant have fully embraced the project, participating with three reinterpretations of great impact.

IB005 - SPECIAL EDITION CASSETTE
C-60 Tape Pro-Dubbed, Jcard 2 Side, Download Code, A5 Zine, Stickers, Ampoule with barbed wire.
Limited Edition

Aquarian and Deapmash return as AQXDM for their Houndstooth debut EP ‘Infrared’. Written remotely from Berlin and Caen respectively, this five track EP expands on their now hallmark sound — hypnotic, big room, golden-era rave, 90s jungle and mind-bending techno n’ IDM filtered through a high-definition, cinematic lens. Massive kicks, quaking sub bass and blistering breakbeats converge with soaring atmospherics and throwback rave stabs in a wholly modern and heavy-as-hell package. The Good Old Days Are Tomorrow ! Championed by the likes of Aphex Twin, Skee Mask, Call Super, Zenker Brothers.

Back with a vengeance, Cimm returns to the imprint with a highly anticipated succession to his Sentry debut from last year, stamped on a irresistible 2 x 12" vinyl release. Infernal halftime beats and top-notch Dubstep shells, firmly entrenched at the frontier of sound system music and its invaluable heritage. The London-based producer and DJ rose to swift and significant acclaim in the last few years with releases on institutions like Tempa, J:Kenzo's Artikal and Wheel & Deal as well as notable residencies at Rinse FM and the renowned Fabric night club, among other recent achievements. Now coming to a turntable near you, Cimm delivers four bespoke cuts, primed for the dance and your enjoyment, battle-tested by the scene's foremost tastemakers.

Diving into unidentified transmissions, 'Unknown Caller!!' sets the pace with eerie reverberations and filtered resonance. Amid the faint hiss of machinery, larger-than-life drums set up shop alongside subterranean pressure emissions. Hefty breaks, hold tight! Retro synth melodies keep us on track within the monstrous switch-ups and unquestionably meticulous arrangement, sure to shut down any dance in style. Cutting no corners with the B-Side, Cimm teams up with veteran vocalist Rider Shafique for a dystopian sub-bass onslaught, swaggering militant chants and the apocalyptic ambience to go with it. Steaming low-frequency oscillations bubble and hurl their weight, stripped of all restraints, coveted in freezing harmonies and ethereal atmosphere. Vibrating in a more uplifting spirit, the dedication to the Jamaican roots of sound system culture unfolds in the Londoner's signature style - dubbed out soundscapes ahead. 'Tosh Dub' keeps it a laid back, with vintage instrumentation, scattered skanks and swirling organ chimes. Taking an ultimate trip through unremitted grit and off-kilter grooves, 'I Am Jack Travis' lures us in with rainy undertones and hypnotic foley sampling. Promptly revealing its true nature with plenty of pressure and scrupulous syncopation, a ghostly heavyweight ensues and closes the deal.

To be released December 2019 four tracks of divers styles from 2004 till 2019 are gather on this release by istari lasterfahrer.

"One Billion Suckers" is a vicious hardcore tune collaborating with dancehall riddims. followed up by some old school jungle breakcore slammer with granulare glitches vocals and 90ies piano hook from the past. the b side starts with „rave like tiller boys & girls“ on the more playfull side of heavy baseline driven four to the floor breaks. for the end of the plate „fucked up in the brain“ smoothes down the average pace of 195bpm of this release to 140bpm with a bass tune. this release comes in a full color cover and is hand numbered an limited to 250 copies.

The Tokyo based producer Yoshinori Hayashi will release his new EP, ‘Y’, on November 8th via Smalltown Supersound. The EP will be his first release since his debut LP, Ambivalence, from last year which received a glowing 4.0 review from Resident Advisor.
Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing, he works in a record store in Tokyo. Thus far, Hayashi has released a string of 12”s on labels including Going Good Records, Jinn Records, Lovers Rock, Gravity Grafittiand Moscoman’s Disco Halal. Previous work by Hayashi has been called “a complex patchwork of studio gear, live instruments, dusty jazz records and smartly cut library sounds, whose textures are soft and inviting. But its arrangements are constantly ruffled, squeezed, brushed and pinched—which is to say, nothing stays still for long” (Resident Advisor).

The first release of Galaxunity is packed with intergalactic grooves and plenty of love

Positiva classic given the remix treatment by king of the underground Floorplan (Robert Hood) one of the biggest live house booking acts in the world.
Robert Hood is an American electronic music producer and DJ. He is a founding member of group Underground Resistance as a 'Minister Of Information' with Mad Mike Banks and Jeff Mills. He is often considered to be one of the founders of minimal techno.
This record is set to do damage at club and forms the 7th release on the labels 25th Anniversary remix series.Positiva classic given the remix treatment by king of the underground Floorplan (Robert Hood) one of the biggest live house booking acts in the world.
Robert Hood is an American electronic music producer and DJ. He is a founding member of group Underground Resistance as a 'Minister Of Information' with Mad Mike Banks and Jeff Mills. He is often considered to be one of the founders of minimal techno.
This record is set to do damage at club and forms the 7th release on the labels 25th Anniversary remix series.

Repress

Sent from a nearby star system, from one world to ours. Wondering the streets with misguided importance. How du is new to our planet, but does not yet know why he is here, only that he must heal himself and all those he meets in order to find his home. An inherent feeling that he has arrived to protect and serve others from the deepest patterns of evil overwhelms him. Evil that spreads through the mind in conscious frequencies of the brain. Areas we call the Shadow Realms of oneself. Unable to communicate in the correct language his correspondence with Earth people can only be transmitted through sound and melody. Music is his language and his tool. This is the Landing.
Deep Garage with a minimal spin and a broken beat format. A story in sounds. Best served on the rocks. Shouts to the bristol crew. Banoffee x

It's been around three years since JPattersson opened up a whole new horizon of formerly unheard possibilities between the worlds of Dub and Techno. A lot has been happening ever since, and that's very noticeable on his second album. It still has all the signature elements of JPattersson: There's his dreamy, virtuous trumpet play and his witty vocals, there's his dubby delays and heavyweight beats which often line up in a Downbeat rhythm. However, besides his fanfares there's now also many folks, many musical friends who contribute to the vibe of this album. There's a track with Berlin MC Longfingah, latin-flavoured rhythms from Polish Reggae and Dancehall producer Dreadsquad as well as a stylistically wide range of remixes that reflect the symbiotic cooperation and mutual inspiration of these last years.

Livity Sound's final transmission of 2019 comes from the esteemed Freerotation resident and UntilMyHeartStops co-founder, Leif.

Quietly earning himself a well-deserved reputation for his outer-worldly production stance and forward-thinking approach to Dj-ing, Leif has spent the last decade refining his musical palette with a slew of releases including highly acclaimed LPs for Whities and UntilMyHeartStops. In 2017 he launched the TIO-Series label as a vehicle to showcase the more off-kilter rhythmical side of his own productions releasing contemporary anthems such as July V and Bluebird.

This new EP for Livity Sound continues in the exploratory TIO-series vein finding Leif in percussion mode, combining nimble rhythms, deep bass and hazy synths in his idiosyncratic style to dazzling effect.

This 12” vinyl release comes with brand new art direction from Tess Redburn in a full colour artwork reverse board sleeve.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

Late Night Approach show their diversity by launching their side project simply called LNA. their love for IDM, broken beat and jungle comes full circle on this powerful EP. 4 UK influenced slamming steppers for all the dedicated ravers out there

Surplus Ships is sort of an odd - beat based - vinyl version of Pomassl's Spare Parts album (Raster Noton 2009). With hints from his excellent Skeleton material released by Sabotage/Laton/Sex Tags Mania (1996-2007) his new mini-LP takes fragments of dubstep, techno, skwee, even oriental atonal melodies and merges it with Pomassl's signature industrial attitude and avant sense of compositions. Enter the quality sonic world of Pomassl!

Japanese legendary jazz guitarist “ryo kawasaki”,some of his famous works are like mellow jazz fusion masterpiece “tarika blue”,dance jazz classic “trinkets&things”,cosmic new wave jazz “lucky lady”,balearic jazz album “little tree” and many more….

“electric world” was released on kawasaki’s own label “satellites records” in 1987,it seems this release was very small production. it’s pretty hard to find out the original copy.nobody selling at even discogs…

original version of “electric world” and “727” are electric jazzy fusion disco and main track on this ep is extended version of “electric world”,it’s very playful 80’s freestyle boogie track.

Coloured Cassette and case with J Card.

A leading figure and respected elder in the Teklife family, Traxman has waited patientlywhile releases from young upstarts like Taso and Dj Earl have been enjoyed by footwork lovers all over the world. Now the time has come for Traxman to take centre stage, presenting a collection of new material that demonstrates his mastery of the footwork sound. Tekvision arrives hot on the heels of Teklife 005: Greenlight by DJ Manny, bringing an interesting contrast of production methods and styles. A prodigious crate digger, Traxman has provided the sample sources for many of Footwork's classic tracks over the years. So while DJ Manny recorded the majority of the vocals on Greenlight himself, Traxman uses his expert sample flipping techniques to add the human element to his productions. Traxman is a mainstay of the Chicago underground, with a discography stretching back to the golden era of Dance Mania Records in the 1990s. Ghetto House was an important precursor to Footwork, and Traxman was a key figure during this transition.

Echoes of the Ghetto House sound resonate through Tekvision, with tracks like Drop It Down and Twist The Party Out paying homage to the origins of Juke and Footwork music. Be Gagen feat DJ Earl is a beautiful opening track, with a soulful, melancholic synth unfolding patiently over a half-speed beat. When the bass kicks in after 1 minute 10 seconds it has a profoundly uplifting effect, and the late arriving vocal rounds off the composition perfectly.

Many of the tracks demonstrate brilliant and playful manipulation of vocal snippets, with Let Me Get Up and Control Ya Bitchezzz among the finest examples of this art. Finally,Tone Deaf and Whop Line show yet another side to Traxman's sound with an intoxicating and angular mix of bass and bleeps.