Beats News

Deluxe Vinyl Lp Box Set - 12' X 12' Rigid Board Box Set, With A Lenticular Image On Lid, Containing:
Heavyweight Blue Vinyl 12' Lp, In Spined Sleeve With Printed Inner Bag. The Blue Vinyl Is Exclusive To The Box Set. 52-page Booklet, Replicating 2-d's Original Studio Notebook Including Album Lyrics. 4 X 12' X 12' Art Prints, 6 X 1' Pin Badges Mounted On Card And Download Card.


A brand new studio album from Gorillaz titled The Now Now will be released by Parlophone Records on 29th June.

The Now Now is 11 all-new songs from the World's Most Successful Virtual Act, produced by Gorillaz, with James Ford and Remi Kabaka, and recorded in London, in February this year.

The album sessions for The Now Now saw the band largely eschewing guest stars, taking it back to the core creative crew: blue-haired, sweet-natured dreamer 2D on vocals, whip-smart Japanese badass Noodle on guitar, not forgetting Brooklyn-born philosopher and the meat-behind-the-beat Russel Hobbs on drums. And with Murdoc Niccals temporarily indisposed, bass duties on the new album have been taken up by erstwhile Gangreen Gang member Ace.

A sun-drenched new video for first track Humility, starring a roller-skating 2D and a busking Jack Black, was directed by Jamie Hewlett and filmed entirely in Venice Beach, California last month

The esoteric noise duo known as HEXA is the sonic union of Xiu Xiu's focal point Jamie Stewart and sonic provocateur Lawrence English. Forged out of a mutual interest in exotic birds and the decaying charms of the post-industrial age, their collaboration explores the physicality of sound and its abilities to infiltrate and occupy the body. Their collaborative work has been described as being possessed by cascading low frequency pulses and tectonic plates of sound, suspended in cavernous cathedral-like spaces.

Legendary noise artist Merzbow needs no introduction, given his prolific output and notorious experiments within the realm of human endurance and audible extremes. While Merzbow has remained a solemn figure within the canon of noise, and he is no stranger to the members of HEXA. Jamie Stewart and Merzbow worked together as a duet on a collaborative Merzxiu LP in 2015. On the other side of the spectrum, Lawrence English has curated numerous concerts for Merzbow across his native Australia.

A partnership of these three artists was born out of the collective goal of framing their work against particular sonic and visual architectures. HEXA's initial utilization of this idea, Factory Photographs, was a commissioned piece to soundtrack the photography of film maker David Lynch. HEXA approached Merzbow with the idea of a collaboration that sought to collide their particular approach to physical sonics against Merzbow's resoundingly ontological noise practice.

The result of this collision turned into a full length album, aptly titled Achromatic. Focus laid on the severe reverberation of relative noises, brandishing extreme frequencies familiar only to Merzbow and coupled by HEXA's brutalist pulsation. Each side of the album is produced and mixed by the other, making their audio interpretation of Achromatic a sort of reverse exquisite corpse. A true snapshot afterthought from the decay of the modern age.

Dais Records is proud to announce the official release of Merzbow + HEXA Achromatic" on July 27, 2018. Mastered by Lawrence English and cut by engineer Josh Bonati, the vinyl release is pressed onto LP vinyl and is packaged in a minimalist styled 24pt stock reverse matte LP jacket designed by Joe Stewart. Comes on black vinyl as well as limited editions on clear and smoke vinyl variants. As well as worldwide digital release.

Austin Based Experimental Collective Thousand Foot Whale Claw Is Back With The New Cosmic Full Length black Hole Party, Out June 29, 2018. Featuring Members Of S U R V I V E, Troller, Single Lash And Future Museums, This Is The Supergroup's Second Lp And Their Most Accomplished Work To Date. Inspired By Progressive 70's German Kraut-rock, Thousand Foot Whale Claw Maintains A Classic Style While Establishing An Original Voice. With Album Art By Renowned Contemporary Sci-fi/fantasy Illustrator Kilian Ang, black Hole Party's Aesthetic Is Cohesively Curated Throughout Its Dense, Multi-layered Track List, Ranging From Serene Sound Baths To Driving Dance Beats.

Tfwc Was Founded In San Marcos, Tx By A Core Group Of College Friends Who Bonded Over Loose Collaborative Jams Of Effects Driven Improvisations. Eventually These Unstructured Practices Evolved Into Refined Studio Sessions And Intense Live Performances, Leading To A Rich Discography And Enthusiastic Fanbase. Balancing Repetition With The Unexpected, Tfwc's Sustained Motifs Slowly Reveal The Band's Signature Free-form Experimentation. Known For Heavy Walls Of Guitar And Electronic Drones, Tfwc Spirals Into Circular Rhythms And Looping Riffs Stacked With Shredding Guitar Solos And Ambient Soundscapes. Explorations Spurring From A Central Theme Is The Basis For The Band's Compositional Approach, Always Seeking New Instruments, Sound Sources And Production Techniques For Each Piece. Recorded And Engineered At Stassney Studios In Austin, Tx With Producer/artist Dylan Cameron, black Hole Party Has Become The Band's Most Defining Body Of Work Thus Far.  

On black Hole Party, The Polished Structure And Acute Development Of All Six Tracks Is Distinct And Tangible, Making This Record More Composed Than Any Of Their Previous Releases.  Propulsive Songs Such As deridium Rail' And The Album's Title Track Are Driven By Four-on-the-floor Dance Beats And Arpeggiated Synthesizers, Contrasting Songs Like genesis Effect' That Predominantly Features The Natural Tones Of 12-string Acoustic Guitar And Harmonium. The Wide Variety Of Sonic Flavors Is Reflective Of Tfwc's Vast Musical Tastes, Refusing To Settle On One Approach And Allowing The Band's Idiosyncrasies To Shine Regardless Of Genre. To Classify Tfwc As An Instrumental Psych Band Is Only Partially Accurate, However There Are A Lack Of Proper Terms To Fully Encapsulate The Band's Broad Scope. Black Hole Party Is The Latest And Brightest Collection Of Songs From Thousand Foot Whale Claw, Meant To Be Enjoyed In A Multitude Of Environments For All Fans Of Expansive Listening. 

Next release on the mysterious Swoon

+ Bonus Digi Track "DubDiggerz - Last Minute Blues" redeemable by emailing proof of purchase

Prestige Music continues steadfast in 2018 with a fresh 12" from the likes of Bram Schrooyen, aka PHASE. Contributing remarkably to the catalog with 'Anything For You', featuring Astrid Destuyver; a beautifully warm piece rolling over classic key strokes, and coupled with sultry vocal overtones. In stark contrast, 'Diffusor' boasts relentless beats and breaks, pounding bass rhythms, and delivers shock to sound systems. A very special release for all the vinyl heads, and will find itself available worldwide by summer '18.

Ltd 12" Vinyl Release On Seba's Ever Impressive Secret Operations Imprint.

* Following on from last year's debut release on Cold Recordings, Cocktail Party Effect makes a welcome return to the imprint with 4 new genre-melting rhythmical workouts, charged and ready for the dancefloor.

* 'Lemons', the eponymous EP title track, kicks things off, opening with dubbed-out chords and a fidgety, rattling percussive loop which eventually disappears into the background as the breakdown primes itself for the drop. Suddenly, in comes a hyperactive rhythmical workout, rolling at 128bpm but turbo charged with double time percussive flicks. Soon the dub elements return to fill out the sonic, keeping the pace lively and engaging. Quality, effective dancefloor music.

* Following straight on is 'Bangers' which almost sounds like an imagined collaboration between JA rhythms stars of the moment, Equiknoxx and Walton or Batu. Squelchy drums and a t'umping bassline roll things out in fine style.

* Flip the plate then for 'Quite' which brings things back into slightly more familiar territories, utilising a swooping bassline as pitched, deranged vocal stabs swirl about and tight drum programming keeps the pace moving. Last up is 'Flat Football' which returns to a similar form as the title track, 'Lemons'. Manic drum programming is used to create the impression of being in fast forward without moving the tempo over 130bpm! Not for the faint hearted.

Remarkable Explorative Techno Cuts.

The Third Part In The Pressin' Hard Series. Two Euphoric Yet Deep Cuts From Ricky Force. The A Side Takes You On A Journey Of Texture And Emotion Reminiscent Of Deep 94 Jungle. The B Side Takes You On A Similar Journey, Guided Graciously By The Amen.

A musical partnership forged at the beginning of the millennium, Ajit Steyns and Kate McGill have developed a well defined and unmistakable sound as The Untouchables. Tribal rhythms drenched in dub, with characteristic nods to the breaks and rave stabs era of late 90's DnB, their music has been an integral component of the darker half-time sound that has become more prevalent within DnB over the past 5 years. Tempering the menace of their atmospherics with distinctive low-slung bass lines has made their music essential to DJ's championing this sound.

'Mutations' focuses on fleshing out the essential elements that have marked The Untouchables as unique. Ricocheting shards of classic breakbeats and heavy jabbing kick drums compliment their carefully sculpted bass lines. Being somewhat DnB traditionalists, sampling is another crucial element of The Untouchables sound. There is a distant familiarity created by their sample selection and placement that lays bare the history imbued in every Untouchables tune.

'Mutations' show The Untouchables at the top of their game, and deservedly carves out a place that is totally their own.

Hot Chip Frontman Alexis Originally Presented These Recordings On Treader In 2008- His Debut Solo Recording.

Finally Available On Lp, This Set Of Intimately Recorded, Bespoke Songs And Instrumentals Is Dedicated To His Partner, Keri Darn.

Charming And Disarming.

Always Seen With A Smile On His Face, Inja The Poet, Lyricist, Storyteller And Unparalleled Master Of Ceremonies Presents His Debut Album On Hospital Records. His First Drum & Bass Focussed Long-player 'blank Pages' Flexes His Lyrical Style With Heartfelt Sentiment, Roughneck Flows And Quick-fire Wordsmith Wizardry. All Partnered With Heavyweight Productions From Pete Cannon, Nu:tone, Logistics, Serum, Whiney And Anile.
Inja's Back With Partner-in-crime Pete Cannon On 'war Games'. A Funky Bassline Lays The Foundations For This Fear-fighting Tale. As The Breaks Roll Out Inja's Militant And Deep Rhetoric Puts This Track On A New Level, With Signature Percussive Flair From The Sought After Hip-hop Beatmaker.
Inja's Spoken-word Piece For Amnesty International 'she Just Wanna Dance' Was A Viral Online Hit In 2017. It's Now Been Given A Turbo-charged Re-work By Med School Young-gun Whiney. Inja's Poignant Commentary On The Prolific Problem Of Harassment In Club Culture Sits Atop A Grimey Half-time Stepper That Switches Up Into A Lethal Upfront Roller.
Inja Proves He Can 'juk' Any Riddim In 'samurai'. Serum's Steppy Beat And Woofing Bassline Balances Inja's Story Of The Samurai, Slicing Through The Tune Like The Lyrical Sensei He Is.
even With A White Page And Black Ink, You Can Spell Out More Colour Than The Eye Can See.' - Inja

Raw Silk Blends Classical Sitar, Electric Cello, Indian Vocals And Experimental Electronics Into A Long-form Head Massage. Hailing From Baltimore, Maryland, Alexa Richardson (cello) And Ami Dang (sitar, Voice, Electronics)

Started Making Music Together As Part Of Living Room Jam Sessions And Eventually Realized That Their Sonic Interests Couldn't Be Better Matched: They Both Push The Envelope Of Their Classically-trained Upbringings

Through String Instruments (that Surprisingly Complement One Another) And East-meets-west Structured Improvisations. Cello And Sitar Discuss, Get Heated, Grab Wrists, And Twirl Wildly Over An Electronic Landscape Of Textures. Ami Dang's Exquisite Vocals Interweave

Throughout--pining, Cerebral And Commanding. Raw Silk Has Shared Bills With Future Islands, Flock Of Dimes (aka Jenn Wasner From Wye Oak), The Sun Ra Arkestra, Prince Rama, And Dan Deacon.

'human Resources' Marks The First Official Album By Two Friends Playing Together Since The Age Of Twelve, Separated By Oceans And Time, Attempting To Reconnect With The Same Collaborative, Exploratory And Enthusiastic Spirit That They Felt Fifteen Years Prior.

Under The Alias Rdtk, The Roots Of The Collaboration Were Planted Fifteen Years Ago In A Small One-bedroom Apartment In Rio De Janeiro As An Outlet For Two Seventeen Year Olds To Learn And Abuse The Intricacies Of Electronic Production, Composition And Home Recording. Its Initial Roots Remain Intact: Combining A Hybrid Of Traditional Rock Instrumentation And Arrangements With Electronic Programming, Sound Design And An Intricate And Sophisticated Production Style.

Ricardo's Musical Vocabulary Draws As Much From Contemporary Composition, Drone, To Techno And Noise. Songs Like Album Opener 'affective Forecasting' Contain A Mind Blowing Intensity Which Is Often Felt Throughout 'human Resources'. Cinematic Textures And Progressive Rhythms Are The Very Essence Of The Record As We Are Invited In To The Immersive Sound World Of Rdtk.

'there Is Still Time' Conjures Up Images Of Barren Landscapes And Dreamlike Imagery, With A Spine Chilling Tension That Is A Far-cry From The Sounds Of Samba And Bossa Nova, While The Piercing Strength Of 'surface And Together' Set Against A Back-drop Of Melancholy Keys And Krautrock Electro Beats Offers A Depth And Urgency That Is Strikingly Emotive.

Having Studied Composition At Berklee College Of Music And The New England Conservatory, Donoso Has Participated In A Slew Of Projects Over The Years, From New Music/avant-metal Visionaries Ehnahre To Scoring For Recent Documentary Features Such As Greg Barker's 'homegrown: The Counter Terror Dilemma' (hbo Pictures 2016) And The Grand Prize Short Film Winner In Brazilian Cinema 'casimiro Effect'. Thiago Kochenborger Has Been Playing And Touring In Major Label Signed Rock Bands Throughout Latin America Both As A Bassist And Singer.

On Working With Kochenborger, Donoso Added, the Urge I Had To Work With Him On This Record Was A Direct Longing For Those Earlier Days When We Didn't Know What We Were Doing And Purely Experimenting, Nostalgia For Making Music In A Very Pure Way, Engaged In Collaboration And The Spirit Of Learning As You Go (i've Never Made A 'pop' Record Before). It Brought Back Excitement Into Something That Was Getting Stale For Me And Also For Thiago Who Had To Play Pop Songs For Years To Keep Surviving, Where I Imagine His Creativity Was Not Really Being Nourished.'

As A Solo Recording Artist, Donoso Has Released Music On Esteemed Labels Such As Denovali, Digitalis, Further Records And Hospital Productions, And Continues To Tour Throughout Europe, Asia And Latin America. Outside Rdtk, He Continues To Collaborate With Film Makers And Video Artists On Commissions Worldwide Creating Immersive Environments And Performances. Music & Lyrics By Ricardo Donoso - Vocals & Guitar By Thiago Kochenborger.

Philly-based musician Rosali (Long Hots, Wandering Shade) wrote the songs for her second album, Trouble Anyway, seeking empowerment by sharing openly on love, power, aging, suffering, confusion, self-doubt, and anger. The result is a full-bodied record that is at once sweeping and intimate — a vulnerable and powerful exploration of emotional narratives. With a band including Rosali's close friends Charlie Hall (War On Drugs), Paul Sukeena (Angel Olsen), Mary Lattimore, Mike Polizze (Purling Hiss), Nathan Bowles (Steve Gunn, Black Twig Pickers) and Dan Provenzano (Purling Hiss, Writhing Squares), this album is a cohesive collection of lush, intimate rock songs, featuring Rosali's warm, natural vocals and powerful riffing and rhythm guitar.

Members of The War on Drugs and Purling Hiss, as well as Mary Lattimore and Nathan Bowles, join (Rosali) Middleman on Trouble Anyway, which expands Rosali's sound with a band attuned to her shuffling guitar rhythms and introspective shifts of emotion. It's the kind of record best heard in the winding narrative of night, as casual conversations and cheap bottles of wine gradually turn deeper, darker notes.' - NPR

"These sounds are accidents. There was intent only in so far as a simple idea, which is really around bringing together factions and forces in Iranian, Islamic culture, under one roof, to have them play nice together, to co-exist, float as one and to complete each other, in order to tell a story called Ta Tash, which is Farsi for To The End.

There's definitely elements of devotional sounds that we weave into the tracks. Stories of the past. But whether this is devotional music, at large, I don't know about that. Like, you're not going to be hearing Vivid Persian Dreams blasting in a mosque anytime soon. But maybe devotional in a more personal sense.

It captures the essence of a sentiment during the brutal 8-year war between Iran-Iraq. It is also defensive, and perhaps in response to existing in the US over the past 7 years. But also because of it. Therein lies the beauty of this country. Today, let's talk about this. Glass half full. This country. This beautiful, incredible, fucked up country.

The artwork is part of an edited collection of images pulled together from the years of the Iran-Iraq war. A collection of 15 works of art titled Postcards from the Outer Boroughs. Some of these images belonged to our family, others we found by forming a dialogue with the actual men who fought in battle with our family members. Men who remember those last, precious moments of the lives of our loved ones. We were curious to somehow learn more about that moment from those who served.

These Postcards are the culmination of the hard work and imagination of Ghalamdar, a wonderful Iranian visual artist based in the UK. In them, we explored how we could modify these quintessentially Iranian motifs to lift the weight of emotion, the weight of innocence, of loss, of blind faith, to the end How do we connect an Iran of the past, Iran of the books, to the Iran of today After all, we are of the same blood. As a by-product of mixing media, mixing contexts, we attempt to playfully bridge this gap, if ever so slightly." - Saint Abdullah

Only Ruins Is A Bristol-based Record Label Of Sorts, Pushing Various Deviations Of Electronic Music For Both Inside And Outside Of A Club Setting.

Onru001 Is A 4 Track 12' Produced By The Multi-faceted Syz. Having Previously Released On Labels Such As Brotherhood Sound-system And Having Already Gained Dj Support From The Likes Of Hodge, Lamont, Peverelist & Troy Gunner Among Others, This Is A Heavyweight And Versatile Ep That Tip-toes Between Bass, Breaks, Electro And Techno.

Mastered By Beau At Ten Eight Seven. Limited To 300 Copies On Vinyl + Available Digitally.

Terry Fox (1943 Seattle / 2008 Cologne) was one of the leading pioneers of American Body Art and Conceptual Art. He became famous in the Seventies with performances and installations, which took their point of origin in the transformative processes of materials, and in which he used his own body as a medium for exploring often extreme psychological and physical experiences. With his lifelong exploration of sound and space, Terry Fox was also one of the pioneers of contemporary Sound Art. Terry Fox belongs to those artists of the 60's and 70's who radically rejected traditional art forms and sought new forms of artistic expressions. In numerous installations, performances and street events he directed attention to everyday phenomena and aspects of social existence. He researched unknown or little regarded aspects of energy in substances and materials, most especially sound and vibration. Since the 80's Terry Fox composed objects, language, acoustic and process-oriented events into multilayered images in space and time. In his later years quiet sounds at the limit of audibility became more and more prominent.

This collection of Terry Fox AudioWorks was published in 1983, during the time he lived in Florence, by Maurizio Nannucci in the Recorthings series of audiocassette. Recorthings is a record label linked to the activities of Zona Non Profit Art Space (1974/1985) and to the broadcasting program Zonaradio (1981/1983).

Antonin Artaud Was A French Poet, Dramatist, And Director And One Of The Most Important Figures In 20th Century European Theater, And Especially The Avant-garde. His Piece 'pour En Finir Avec Le Jugement De Dieu' Was Recorded In 1947 To Be Aired On French Radio. But The Project Was Shelved Not Only For Its Scatological, Anti-american, Anti-religious Content, But Also For Its Avant-garde Sound, With Screams, Cries, Grunts, Glossolalia, And General Cacophony, All Of Which The Radio Thought Would Be Too Shocking For The Listeners Of Post-wwii France. Now Regarded As One Of His Most Brilliant Works, The Piece Is Finally Available Again On Vinyl Courtesy Of Fantôme Phonographique.

This recording is the dark side of Bill Laswell at the peak of his art in 1995. He goes into a black trance. The piece is not from a collaboration, it was designed alone, in his studio in Brooklyn. Bass Terror Tetragrammaton is also to be linked to an alchemical process. Nocturnal Crawl is a totally hypnotic piece, the first that Nik Bullen designed outside of Napalm Death and Scorn. The two pieces answer each other strangely, like two sides of the same hidden anxiety.

The concept of this series was the confrontation of electric guitars as the tutelary instrument, but here and this time only, it came out of bassists confronting each other.

"the Most-promising Up-and-comer In The Dutch Dubstep Scene Has To Be Hebbe Without Any Doubt. Back In 2014 The Rotterdamer Attended A Give It Dub Edition As A Steady Dubstep Enthusiast. Yet That Experience Proved To Be The Main Inspiration To Begin Experimenting With Dubstep. Hebbe Truly Emerged From The Shadows Through The Signing On Subway Recordings, Who Were One Of The First To Discover His Obscure Sound Driven By A Very Typical Flow." (words By Duploc)

Induction's Remix EP can be considered as a true Ravage family affair. The EP starts and ends with takes on Theological Explanation; Tadeo delivers an hypnotic version with a lot of drive, and - it may sound counterintuitive - Zadig dives into the deep as well, with an outstanding, euphoric and ethereal mix. Both tracks turn out to be quite true-to-self reworks of the offbeat original. On A2, Birth of Frequency altered the ambient intro Epitrachelion into a soft, melodic, functional electro track that oozes refinement and a bit nostalgic comfort.

The B-side starts with As Patria's signature sound, giving a new interpretation to a previously unreleased production called Oxygen Swamp. Melancholic hisses, softly rattling hats and light synth-work all contribute to the overall feeling of their remix. The same goes for Samuli Kemppi, who took on Back in my Amnesia, giving it the ghetto-house-treatment, indulged with rave influences.

7th Storey Projects Are Delighted To Announce Their Latest Classic Re-issue, Jungle Buddha - Seven Chambers Ep.

Several Years In The Making, This Limited Edition 2 X 12" Release Features 7 Tracks Made Back In 1993 By Jungle Buddha, Including All Four From The Insanely Rare And Sought-after Jungle Buddha Ep, Originally Released On Poetic Justice In 1993.

It Also Contains The Chamber, Which Has Never Been Released On Vinyl Before, As Well As One Previously Unreleased Track Rescued From The Original Dats, And Rounded Off With The Techno-stomper 'purple Gnome'.

The Tracks Have Been Remastered From The Original Dats, With Restoration By Simpatico Mastering And Mastered And Cut By Beau At Ten Eight Seven, And Pressed At Optimal:media Gmbh In Germany.

Kevin Murning is a musician, producer and DJ from Cape Town, South Africa. He describes his music as fake jazz, probably because he dropped out of jazz school. At 23 years old, Kevin's music is youthful yet precise and his debut EP offers an intriguing cross-section into his varied musical experience to date. The release comes out via Cape Town based imprint, Quit Safari, home to some of SA's most exciting producers.

Kevin's debut comes in the form of a 5-track EP called Mode's Arp. Comprised of 3 originals and 2 remixes, the release serves as a dual functional one with tracks for home and club use. Taking 2 years to fully complete, Mode's Arp is a wonderfully considered body of work and speaks volumes about Kevin's talent and his ability to create music that is beautiful and banging. Both Kevin and Quit Safari label head, Zanasi Wifi, are on remix duty for the EP, taking the originals and recontextualising them into high octane percussive workouts.

DJ support already includes The Maghreban, Turbojazz, Severino, Laurent Garnier, Mystic Bill, Edmondson and more.

Recorded during a vacation on the big island, Hawaiki Tapes is somewhat of an anomaly in the M. Geddes Gengras music - A series of short, improvised sequences voiced by a small plastic digital synthesizer, minimally processed in real time & jacked straight into a handheld recorder. It was made at night, on a little hotel room desk. The internal sequencer of the volca greatly influenced the pieces, since it only goes so slow and is limited in it's voicing.

It was windy and cold for most of the trip, and the sky was gigantic and filled with massive rippling clouds that flew between the horizons in minutes. The landscape was made of endless, black rock fields with little grassy spots where the lava hadn't hit yet. In the process, Gengras had in mind some of the formative ambient music he had listened to in his early years: Brian Eno, Harold Budd, Aphex Twin, and his focus is in the interaction between the synth, the delay and reverb effects. A perfect album for sleepless nights - A new sound statement from M. Geddes Gengras.

Produced and Mastered by M. Geddes Gengras. Design by Daniel Castrejón, photos by M. Geddes Gengras.

Graphical Recordings presents Distorted Tourist, a major new work by Mark Templeton. Distorted Tourist is the visual, auditory, and textual travelogue of journeys through five manufactured and reclaimed landscapes. The book contains five one-sided flexi disc records with compositions corresponding to five apocryphal places.

Stemming from routine drives across industrial-commercial areas near the artist's neighborhood, each photograph captures, mid-fall, the familiar and uncanny spaces of dislocated urban decay — monuments to the failures of modernity. Rather than attractions, the tourist here bears witness to the inevitability of moths and rust.

Each location is captured sonically in augmented field recordings, a soundtrack haunted by deceased materials and dying matter. Templeton's signature compositional characteristics — faraway melodies, recurrent phrases, ruined echoes — evoke a cyclical trajectory toward Distorted Tourist's center, the concentric spiral of a record, a voyage on misremembered roads into the middle.

Accompanying journal entries written by the author Ryan Diduck summon the hallucinatory diary of a Herzogian quest against reverse rotation. Photos and text appear to form and deform on the page. Together, the manuscript, sounds, and photographs represent an impossible portrayal, an audio-optical illusion, the roadmap to an eerie expedition that is at once unreal and urgent.

With audio mastered by Giuseppe Ielasi and graphic design by Dmytro Nikolaienko, Distorted Tourist is an outstanding volume that gathers up Templeton's adroit sound production, original eye, and curatorial cunning into a beautiful object to be puzzled over.

Seven Chapters Of Anachronistic, Lovecraftian Horror & Burning Cold Alien Limerence Brought Forth Through The Advanced Cauldron Skills Of N1l.

Vast, Devastated Terrain Is Covered Here, Burned Down In Psycho Action-movie Montages Of Tuned Percussion And Pacing, Predating Bass Music. Viperous Snatches Of Melody, Of Disembodied Voice And The Promise Of Calm Rise Through In Tracks Like fernweh I,ii,iii' While Dread-nought Dub Treads On For ijsv.0gel'.

N1l Dials Up The Ina-grm Gone Hammer Horror In The Remarkable Compositions Of The Closing 8 Minutes. A Maelstrom Of Pure, Refined Sound Recalling Dhomont And Bayle At Their Most Negative. Utterly Enthralling And Resolutely Unflinching.

Stay Alert While Sleepwalking.

Ectoplasm Girls' Nadine Byrne Lures Listeners Into Woozy Mental States On Dreaming Remembering, Her Soundtrack To A Short Film Of The Same Name, Providing A Solo Follow-up To A Different Gesture: Collected Soundtracks 2011-2012, And Her First Outing Since Ectoplasm Girls' New Feeling Come (2016), Which Were Both Issued By Joachim Nordwall's Ever-adventurous Ideal Recordings.
One Of Three Stockholm-based Byrne Sisters Along With Tanya, Her Partner In Ectoplasm Girls, And Ambra, Who Has Recently Provided Eg's Live Visuals, Nadine Byrne Operates At The Intersection Of Intuitive Sonic And Visual Arts. Where Ectoplasm Girls Tend To A Bewitched Sort Of Industrial Experimentation, Nadine's Personal Work Is Defined In Terms Of Its Relative, Mutable Electronic Sleight Of Hand, With Vocals Handled By The Mysterious Sarah Kim.
As The Title Connotes, Dreaming Remembering Is About Intimate Reflection And The Space Between Awareness And Uncertainty Of Recollection. In That Noumenal Gooch, Nadine Works An Incredible Freeform, Uncluttered Sound Best Resembling The Illusive Nature Of Dreams And Their Elusive Memory. In Her Mind And Out Of Her Machines, They Feel Out A Spectrum Ranging From Mirage-Like Vignettes Like Atlas Thru To Curdled Proto-techno Buzzes And Grubby Drone Intonations With
Wickedly Possessed Vocals.Extracted From The Visuals, They Patently Work Well As A Dissociated Body Of Work In Their Own
Right, With A Cumulative Effect That Mesmerises And Unsettles Throughout The Album, Bringing Us Out At The Other End In A Way That Feels Like We've Just Walked Out Of A Darkened Cinema Into Dusk, With The Strange Effect Of The Preceding Visuals And A Story You Can't Untangle Still Lingering Like A
Pleasurably Strange Mental Fug That's Hard To Shake Or Decipher.

Following a self-titled EP last year, Dario Rojo Guerra aka Natureboy Flako is set to release his second album 'Theme For A Dream' on Five Easy Pieces on 20th July 2018. Exploring the boundaries of music, science and spirituality through a prism of colourfully synthesised-sound, heart-pounding rhythm and cinematic soundtracks; the core essense of 'Theme For A Dream' is the exploration of the human inne space, the balance of musical energies and music's healing capabilities. 'Theme For A Dream' is a more electronic sounding record than his debut. Guerra makes extensive use of old and new analogue equipment such as the Juno 106, Korg's MS-20, ARP Odyssey or Roland's SH-2000 synthesisers, alongside recordings of vocals, guitars and other instruments. This serves to create a dynamic and eclectic sound spectrum, all unique to his musical handwriting. 'Theme For A Dream' will be accompanied by an experimental and interactive website that allows users to preview music while being an immersive, unique multi-sensual 4D xperience of its own. Snippets of the music from 'Theme For A Dream' become audio visual poetry and an immersive exploration of state of the art technology and oneself. 'I don't think technology necessarily means not being natural. Technology can be very much in balance with nature, since it is mostly just trying to imitate or trying to understand something from within nature. Around recording 'Theme For A Dream', Guerra also co-produced/co-wrote and engineered Kutmah's recent debut and Jitwam's forthcoming album, as well as produced almost half of Fatima's follow up album to 'Yellow Memories'. He is currently working on a film project with a London based production company and is already working on a new album, which is expected to bring back his vocal talent, previously released under the moniker Dirg Gerner.

Many years in the works, Ogon Batto finally unleashes his album Hedoro'. A journey into Japanese soundtracks and 90's adventure-gaming.

Ogon Batto is Bent Von Bent from Antwerp, Belgium. Besides working as a visual artist around archiving systems and collections, he is also the co-runner of the Hare Akedod label, together with David Edren aka DSR Lines. Following his debut release, Ogon Batto secretly started working on a second album Hedoro, meaning slime' or chemical ooze'.

Bent is immensly fascinated by Japanese traditional and contemporary culture ever since he first visited the country. Mixing his European background with these Japanese influences, he shifts easily between abstract electronic tracks and pieces with a more classical Japanese tool kit. Think Oneohtrix Point Never or Mica Levi composing a soundtrack to a fantasy game.

With an amazing sense for detail Hedoro's musical story - entirely composed with synthesizers - is reduced to a collection of situations and drama, with space for suggestion and imagination. Every track, how short it may be, is essential to the whole, maximizing the general dramatic effect.

The album was mixed in Sapporo, Japan with the typical sounds of cicadas on the background ( not on the album though ) and some glasses of sake. The ceramic sculpture on the front cover is a reinterpretation of Rolls Royce's "Spirit of Ecstasy'and is created by Benny Van den Meulengracht-Vrancx.

In a handful of improvised albums circumnavigating the troubled waters of the contemporary Mediterranean - Greece, with the eponymous Oiseaux-Tempête (2013), Turkey and Sicily for ÜTOPIYA (2015), Lebanon with AL-'AN! (2017) - the collective OISEAUX-TEMPÊTE has stretched its electric arc over musical genres and borders, imposing itself in a river of tours and releases like a wild UFO within the hexagonal indie scene. Navigating instinct, as attracted by disorder, the music of OISEAUX TEMPÊTE has always increased tenfold in live performance. It is little surprise that following the remixes album (Re-Works, 2014) and collection of BSides
(Unworks & Rarities, 2016), OISEAUX TEMPÊTE unveils, by way of a new opus, an album entirely recorded in concert.

TARAB (in literary arabic - euphoria, secular exaltation, ecstasy) is the result of live recordings captured during the AL-'AN! tour which led the group, after a preliminary residency at l'Autre Canal in Nancy, to cross Europe and into Canada, performing at the prestigious festival Le Guess Who in Utrecht, opening for Suuns & Jerusalem In My Heart in Montreal and Toronto, following the same Jerusalem In My Heart through France then from Brussels to Berlin, and finally closing the loop at the Irtijal festival in Beirut. A record, rooted in the soil,
hypnotic in pulsation, TARAB is a meeting of the Parisian founding members Frédéric D. Oberland and Stéphane Pigneul, electronic sound wizard Mondkopf, G.W.Sok from The Ex, Sylvain Joasson
of Mendelson, videographers As Human Pattern and the Lebanese musicians Charbel Haber, Abed Kobeissy and Ali El Hout (aka Two Or The Dragon). The studio pieces are here stretched, deconstructed
and rearranged while new works from the road , poems 'Grasse Matinée' by Jacques Prévert and "Tuesday And The Weather Is Clear "by Mahmoud Darwish, find unique musical settings, weaved, twisted and reimagined.

It is in symbiosis, in the fever and visceral experimentation of the concert, that the musicians of OISEAUX-TEMPÊTE seek rapture. Arranged in a semicircle, they invoke the elements and attempt the catharsis, inviting the spectator to spiral with them, entwined in the sonic explosions, finding beauty and peace in the spaces of improvisation and elaboration. Marrying free-rock, organic electronics, traditional instruments and unbridled electricity, TARAB, far beyond the vibrant testimony, is a generous invitation to experience, to meditate and to share.

Face Time is the second release from the trio of Oren Ambarchi, Kassel Jaeger, and James Rushford, following on from their 2016 debut Pale Calling. Recorded at the GRM studios in Paris in June 2017, the record immediately returns to the idiosyncratic sound-world of the trio's first release, a simmering stew of electronic smears, pitched-down animal moans, and mysteriously emotive microtonal organ chords. But before long the record takes an unexpected turn, as sounds that initially enter as occasional percussive pitter-patter build to a halting rhythm. Equally reminiscent of Basic Channel-style dub techno and the sound of a microphone loose in a pocket, these stumbling rhythmic figures provide the framework for the remainder of the record's two sides, occasionally receding into the background to allow squelching electronics, chiming bells, distorted autoharp, inchoate grunts and the sound of a Cristal Baschet to take centre stage, but each time returning with the inevitability of a an idée fixe.

Eschewing any clear sense of form, the two side-long pieces move seamlessly through episodes with the organic flow of improvisation, embracing the happy accidents of events conjoined by chance and lingering on liminal moments. Gradually washing out into a cavernous roar, the record's final moments are suddenly enlivened by shimmering metallic percussion and a sequence of woozy synth chords, combining with the muted rhythms and a distant thunderstorm to become a sort of oneiric tribute to the work of Wally Badarou. Bringing together three of contemporary experimental music's most individual voices, Face Time is an essential slice of outsider electro-acoustics. Cover design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin.

* Following Their Debut Release With Danse Noire, Réelle Releases Their Second Album Entitled Ghamccccxc Vrr, Expanding Upon The Painterly Melodies And Ornamental Sound Design Of Kissing Myself. Rather Than Focusing Upon Deep Psychological Aspects Of Schizophrenia, Ghamccccxc Vrr Explores Key Moments Before And
During Réelle's First Schizophrenic Psychosis As Well As The Lateral State Of Mind Caused By This Condition.
schizophrenia Is Said To Limit A Person's Abilities Overall. My Discovery Was That It Opened A Gate To Limbic Realms Not Accessible Under Normal Circumstances - At Least Not To Me.'

* The Cuban-german Artist's Approach To Schizophrenia As Xenopraxis Leads Them To Explore Avant Garde Methods To Composition, Such As Focusing On A Key Technique Within Their Work Of Painting Melodies Via Image Synthesis, Rather Than Inputting Binary Values Or Manipulating Sound Through Skeuomorphic Methods Such As Knobs And Sliders. The Painted Melodies Also Featured In The Gorgeous floating' And all I Have Left' Evoke Alien Soliloquies Through Damaged Soundscapes.

* most Of These Sounds, As Well As The Album Title, Were Created During Psychosis Without Me Consciously Knowing What I'm Doing. Therefore I Also Can't Remember When Or Why I Wrote Down Ghamccccxc Vrr On A Piece Of Paper.'
Ghamccccxc Vrr Questions How One Navigates With Authorship Within And Beyond One's Control. Gargling Textures And Vocal Artefacts Oscillate Between The Erotic And The Eerie ( hybris,' fluid Metals'). Between Kissing Myself And Ghamccccxc Vrr, Réelle Dissolves The Real And Illusion, Reassembling Their Relationship
Between Body And Mind.

perhaps The Best Knowledge Of Antidotes Lies Not In Any Enchanted Balm Or Chemist's Receipt, But In The Balanced And Proper Devotion To Fear' Daniel A. Schulke.

Following On From The Collective Garden Of Earthly Delights Cultivated On The Folklore Of Plants Vol.i, Its Time To Wind Down The Path With Sam Mcloughlin, Into A Lesser Spotted, Shadier But No Less Verdant Herbarium Of Poisonous Wort.

Unlike The Relatively Safe Visionary Plants Popular Today These Venefic Plants Lie On The Border Of Hallucinogenic Drug And Fatal Poison. During The Medieval Period Their Uses Were Numerous: As Medicines, As Recreational Drugs, As Weapons Of Physical And Psychological Harm And Most Inter- Estingly - As Potent Agents Of Magic And Divine Knowledge. Their Use Is Known To Have Formed The Basis Of Many Marginal Folk Practices, Practices That At Their Most Profound Involved Out Of Body Travel, Spirit Contact And Ritual Possession.
With This Record The Plants And Ideas Involved In Veneficium Have Been Gathered, Distilled And Given Voice. Recorded Mainly Using An Array Of Homemade Acoustic Instruments, The Music Is A Fitting Depiction Of The Deep Nocturnal Delirium And Various States Of Necromantic Trance Brought About By These Plant Poisons. It Also Goes Someway To Portray The Genuine Fear, Respect And Emo- Tional Gravity They Still Hold Deep In Our Cultural Memory. The Music Is Also Inspired By The Living Presence Of The Plants Themselves, As Their Scents And Character Are Known To The Author Through Private Cultivation. The Venefic Garden Is Offered As A Soundtrack To The Hidden History Of This Fascinating Area Of Western Folk-magic, An Outer Limit Of Occult Herbalism That Imparts Visceral Knowledge Of The Borderlands Between Life And Death.

The Ivytree, As Some May Know, Is The Project Of San Franciscan Musician Glenn Donaldson. In The Early 2000s Glenn Was A Founder Of The Jewelled Antler Collective, Forming Such Projects As The Blithe Sons, Thuja, And The Skygreen Leopards, Among Many Others. I Admire The Range Of Projects He Is Associated With, They All Beautifully Web Together. Between 2001 And 2005 Donaldson Published A Handful Of Discs Under The Names The Ivytree And The Birdtree. These Boiled Down And Tanned The Patient, Outdoor Ambiences Of The Long-form Instrumental Recordings. These Were Slow And Pastoral And Pensive Songs, Carried By Glenn's Haunting Voice: My Favorite Of His Work. Glenn Recorded Outside With Field-recorders And Mini-discs: In Forests, Headlands, And Tunnels Of The Bay Area.

I Grew Up Listening To His Recordings - Throughout High School And College In Goleta, Ca. They Spark Many Memories: Driving Around Beach Parking Lots, Dragging Boomboxes Into Creeks, Camping In The Mountain Valleys Etc. I Remember Once Driving 5 Hours Up To San Francisco With A Group Of Friends To Try And Get Into A Giant Skyflower Band Concert (another Donaldson Project). It Was At A Bar And We Were Under 21 - So We Couldn't Get In, Even After Trying To Bribe The Doorman. As You Can Tell, Very Special Places In My Mind And Memory. My Fondness For The Ivytree Never Dissipated, And I Always Dreamed Of Hearing More Material From That Time, As I Know How Prolific The Jewelled Antler Association Can Be.

On A Whim In 2017 I Reached Out To Glenn And Asked Him If He Wanted To Publish A best-of' The Ivytree As A Limited Lp. This Idea Blossomed And Provoked Glenn To Dig Through His Vast Mini-disc Archive, Where He Unearthed Some Forgotten Jewels. The Recordings Were Trickling In To My Email - One By One, Each Better Than The Last... Ranging From The Robert Wyatt-esque Piano Ballad evil Is Circular' To The Gentle Melancholy Of all The White Plumes' That Could Belong On Richard Youngs' Sapphie. Unburdened Light Carries On The Warm Breeze And Innocence Of The Early 2000s Cdr Culture.

So Our Project Then Turned Into Publishing A New Album Of Unreleased Ivytree Recordings. A Full Circle Youthful Wish Now Ripens In My Adulthood. I Am Honored To Have Stirred Up The Bees-nest To Deliver You These Tragically Honeyed Songs.

Twin Tribes is a dark synth duo based in Brownsville, Texas. Formed by Luis Navarro (vocals, guitar, synths, drum machines) and Joel Niño, Jr. (bass, synths, vocals) in 2017. They gather their influences from the dark side of the 80s. Darkwave, post-punk and cold wave are only some of the genres that the band summons using analogue synthesizers and drum machines, bass and guitar. Dark melodic sounds, lyrics of the undead, the occult and parallel universes are what conjure Twin Tribes.
SHADOWS is Twin Tribes' debut album. Dreamy synth waves and vocals, guitars drowned in vintage analogue chorus, astral-like instrumentals are some of the sounds you will find in its 9 tracks. Clearly inspired and influenced by the dark side of the 80s and very specially by the 1982 movie 'The Dark Crystal', but SHADOWS is an entity of its own. Vampires, witches and other dimensions are only specks of darkness you will meet while listening to its haunting sound. For our vinyl release we have made a specific master from the original mixes and created an all-new artwork and band logo.We are proud to present SHADOWS in a limited, hand numbered edition, housed in a matt finish b&w/silver pantone sleeve including a double sided insert and download code.

New York Electro residents meet Latvia. Diverse comp. EP with hot machine-funk tracks for real freaks only. Alonzo, a New York resident and Miami native brings the sub-bass and pocket calculator sounds. Dmitry Distant and Starpliktuve deliver eastern European hot, traditional electro. New York's Chase Smith brings back a funky version of late 1990's electro-disco. New York's Kid Ginseng brings a combination of mid-1980s New York/LA electro to the table. This is a very diversely packed compilation EP with the loudness and depth typical of Kraftjerkz.

It's been 25 years this year since DJRap started a label called PropaTalent. To celebrate this Milestone, Propa Talent is proud to present 'PROPA DUBS VOL 1' Limited edition.
This is the first in a series of vinyl collectables for the true vinyl junkie and fan. 'PROPA DUBS VOL 1' is a remastered version of her classic 1996 monster hit 'Hardstep' with two never before released versions of Hardstep created by DJRap herself back in the day! Both1996 versions have never been heard before and are only available on vinyl.

Picking up from where she left off with last years successful Tools of My Purpose, E- Saggila has returned to BANK employing a more sublime and immersive electronic document. Previously leaning toward noisier and distorted rhythms, she has incorporated more sophisticated elements into writing and production. Dedicated to Sublimity is a product of growth and progression but still reflects the raw elements we've heard in her early recordings. Lush and atmospheric elements coincide with the brutality of her live sets and play off one another as a cohesive representation of the E-Saggila project.

* Joe Ford is a producer painting pictures with his sounds. Like any artist true to their craft, his long-awaited debut album 'Colours In Sound' is as experimental as it is complete.
Unveiling the melodic magic of 'Said' to the brutalist impact of 'Tomb Raver', this album delivers from start to finish. 'Where Is The Sun' is an enigmatic opener which grows on the listener as quickly as the track sprouts from itself. Undulating synths and a hot stepper of a beat drive you forward. Collaborations include 'Out Of Place' with Memtrix, 'Care For Me' with Document One, 'Made Of Glass' with Koven and 'Adrenaline' featuring rap-metal band, Hacktivist. Materials blend seamlessly across the tracks as the artists combine to create an exhibition of sonic fascination.
The thing which sets this album apart from a sea of imitators can be measured by its effects on the senses. Phonic delights like 'Cosine' and 'Standing On The Shoulders Of Giants' bounce off the intensity of 'Guess What' and 'Take The Lead', all of which merge into figures growing from the speakers around you.
Joe Ford's vision is crystal clear on 'Colours In Sound' - what is set to be his most successful and focused work to date. While techniques change and the world moves from one space to the next, talent remains the one constant. Make sure you hear 'Colours In Sound' and produce a picture of your own.

Auf seiner Mix-CD für die Balance-Serie belegt der britische DJ/Produzent Max Cooper sein fabelhaftes Gespür für Dancefloor-Sounds aus deepem Techno und Electro-Pop, gepaart mit experimenteller Electronica, IDM und Ambient, was er auch mit Releases auf Traum oder Herzblut regelmässig eindrucksvoll unter Beweis stellt.
Zu den Highlights seines Balance-Doppelsets gehören Exclusives von ihm, Rob Clouth, Deapmash, Patrice Bäumel, sowie sein Remix für Nils Frahm "For", der hier erstmals das Licht der Welt erblickt.

Diese doppel-LP bringt 12 ausgesuchte Highlights auf Vinyl, der beiliegende Downloadcode enthält das gesamte CD-Mixset.

* Aquatic Lab Records presents a very special release to close out 2017. LAB018 plays host to Bristol luminary and Tectonic boss Pinch, who delivers three menacing and forward-leaning apocalyptic cuts.

* The pointed and growling ragga-style techno of A-side 'Brain Scan' is built on battering rhythms and dubwise sonic techniques, in the vein of an old school revivalist production. True to the roots, futuristic in scope.

* On the flip, 'Street Light' is an equally abrasive bassweight roller, counter-balanced by Pinch's cavernous and cinematic sound design. Strictly war sounds for the dance.

* Rounding off the release is soundsystem meditation 'Abducted', an icy, gangster half-stepper drenched in thick reverb and melancholic DMZ-style laments.

* Mastered by Rashad Becker at Dubplates & Mastering (Berlin). 180-gram vinyl.

Heady, astute, deep techno and ambient from Blue Veil, a new musical project from Danny Clancy. Blue Veil's debut EP reveals gorgeously textured techno on tracks like 'wherethetimegoes' and 'Citizen Score', as well as crafting some tender ambient passages on cuts like 'Night Czar' and 'A Kind Of Adventure'.
The EP will be released on Dichotomy Records, a new imprint, dedicated to refined electronic music. The label's ambition is to allow artists to explore dichotomies through their work, as they span sonic landscapes from pure ambient to techno, and other abstract dance sounds in-between. There will be a strong attention to the visual presentation of the label, with all artwork and photography also created by label boss Danny Clancy.
With the next release lined up from Ahu, and more to follow from there, the agenda for Dichotomy Records looks hugely promising indeed.

Mgun, Or Manuel Gonzales To His Friends, Has Long Been A Fixture Artist For Dba. Since Making His Uk Debut On The Label In 2012, Having Already Featured On Detroit's Celebrated Wild Oats Imprint, He Has Smoothly Yet Slowly Progressed Through The Presses Of Fellow Dance Music Tastemakers Third Ear Recordings And Kiev's Wicked Bass. Following 2016's Warmly Received 'gentium', 'axiom' Finds Manuel Gonzales Back On Dba With An Index Of Offbeat Jams That Couldn't Have Emerged From The Mind Or Studio Of Any Other Producer.

Once More Envisioned And Engineered In His Native City Of Detroit, The Record Finds Mgun In More Auspicious And Domestic Circumstances. Now Firmly A Father And A Homeowner, 'axiom' Allows Gonzales To Flex His Party Muscle, While Further Pushing The Elastic Boundaries Of His Notoriously Unpredictable And Brilliantly Raw Production Style. Across Twelve Tracks, Listeners Are Offered An Unpredictable Trip Into The Restlessly Experimental Snatches Of Studio Time Gonzales Is Afforded Away From His Day Job At The Legendary People's Records Store. It's Here That Gonzales Absorbs Endless Releases And Rediscoveries Passing Through The Stock, Trading The Occasional Tip With Some Of Detroit's Best Known Producers.

Beginning With The Off-kilter Funk Of 'you Inside Me', 'axiom' Expertly Toes The Line Between Full-bodied, Soulful Club Weapons ('you're Never Home', 'nichrome'), And The Sort Of Lo-fi Tinged Jams That Enable Gonzales's Unusual Weirder Hooks And Rhythms To Extend Into Something Altogether More Hypnotic And Psychedelic ('kartwheel', 'sil').

There Are New Sounds And Approaches Throughout. Centrepiece Track 'see It For Myself' Finds Gonzales On Vocal Duties For The First Time, And The Dystopian Tinted 'vap' Finds His Sound Expanding Into Weightless, Dreamlike Electro. And While Certain Tracks Date Back Years, Having Slowly Matured To Full Funk, Others, Such As The Gloriously Unhinged '359' Were Rapidly Produced To Capture The Inspiring Energy Of A Late-night Glaswegian Rave.

Simply Put, 'axiom' Does The Work Of Representing Mgun At His Musical Best, An Analogue Celebration Of Pure Party Potential.

Mika Visited The Moog Sound-lab In April 2015. He Made One His Last Known Solo Studio Recordings In The Form Of Two Vinyl Sized Side Long Pieces. Entitled lydspor' - Danish For 'soundtrack'. Mika Worked Almost Exclusively With The Lab's Moog Modular System 55. This Uk Sound -lab Instrument Is The Sole Protoype Model (containing Several Golden Filters) Of Moog's Recent Sold Out Reverse-engineered Edition (55 Units Only) Recreating The 1970's Classic. On Completion Of His Sessions Mika Announced 'i Could Work With This Machine For The Rest Of My Life....i Would Need Nothing Else'. A Second Moog Session Was Planned But Tragically Mika Died In An Accident In April 2017, Shortly After He Had Approved The Vinyl Mastering.

This first release on the new label is from Shamos - a collection of demos and ideas for the last few years.

The new release features 6 tracks and follows Julien's critically acclaimed debut album, Fallen. Released in 2016, the autobiographical LP was a bold new direction for Julien, and the first release under his birth name. Over the years, the Apron Records boss' bold, experimental electronics, jagged club cuts and outside-the-box collaborations have seen him carve out a lane all of his own making. His debut LP was divided into two musically contrasting sides, and told the tale of a fallen angel though jazz-fusion, chiming soundscapes and dark acid-tinged techno.

Since his album release, Julien has continued his creative streak by playing across the globe, from Tokyo, Seoul and Shanghai to Montreal and Melbourne, and further developing his label, which released a string of underground 12's in 2017 from the likes of Max Graef, Hanna, Molinaro and more.

On 'Bloodline', Steven continues the soundtrack style mood of 'Fallen' - channeling ominous analog techno, drifting synth-house masterpieces, warm soul and hints of new age. Both the title and artwork is a nod to the influence of Julien's family on his rich musical world and distinct nonconformist style, explaining how: 'the influence my family has given me growing up and my ancestors from Africa to native Indians from the Caribbean, has all played a big part in the music I create.'

Recorded in Apron Studios based in East London, each track on 'Bloodline' also features a tr808 or a piece of a 808, as a dedication to the iconic Japanese engineer Ikutaro Kakehashi, who passed away April 2017. The much-loved Roland founder and TR-808 creator revolutionised electronic music in the 1980s and 90s.

Molten Moods releases another finely curated various artists record with tracks by Skee Mask, Kessel Vale, Jonas Yamer and Konrad Wehrmeister. Kessel Vales opening track Voguing Geisha' is an unconventional breakbeat masterpiece following his sense of harmony and rhythm already shown through previous releases on Tanstaafl Records and Rhythm Nation. As the track unfolds it reveals musical storytelling by integrating a technoid polyrhythmic loop structure into melodic synth figures, slowly deconstructing in the end. Skee Mask collaborated with Molten Moods labelhead and Carl Gari member Jonas Yamer on Fanta Ocean', it being the first release ever outside of his Ilian Tape homebase. The outcome is a moody IDM piece with cinematic qualities, complex but soothing. The B-Side begins with Xenomorph' by Konrad Wehrmeister, who is known by his releases on Public Possession and SVS Records. This trancy yet distorted and detailed electro banger surely takes on the role of the records dancefloor highlight. The closing track Insgeheim' is delivered by Molten Moods head honcho Jonas Yamer. Here groovy kicks, distorted chords and a psychedelic pad are woven into one compelling 10 am techno track. The common thread of Molten Moods 4 is four young Munich artists going on a joint trip into idiosyncratic electronic music. The resulting tracks intertwine as one modern and diverse techno record. Out on 12 vinyl and wav by the end of March 2018. In the tradition of Molten Moods' cost-conscious design strategies by Paul Bernhard, the record comes with a xeroxed low budget sticker set.
Mastered by Manmade.

The next title in Delights catalogue marks the return of the Jerusalem/Tel Aviv duo Group Modular. On this new double-sider, Markey Funk and Mule Driver (Confused Machines) continue exploring the synth-centric library music sound, taking it in much heavier and edgier direction. The mid-tempo "Black Ray", inspired by science fiction warfare, is backed with an upbeat bikesploitation chase theme "Acid Wheels" on the flip.

Recommended for fans of Mr Chop, Drumetrics and the 70's horror soundtracks.

Three long awaited dark jungle tracks from London-based producer Mark Donington

Madcap - River Soul: This iconic track has been sought after for months after being hammered in the clubs by some of the top deejay in the world. The classic drums, are complimented perfectly by a booming 808 baseline, Rhodes keys, echoing flutes, and sultry vocals that fit seamlessly into the groove. Madcap has created an undeniable groove that will be played for years to come. Classic!

Madcap - Pablo: The flip side of the record offers up a sneaky groove that will rock any sound system. The track features snappy drums, slapping percussion, a pulsating sub bassline, a classic horn sample, and echoing vocals. To this point, 'River Soul', has been the more well known track from the release. But when people hear, 'Pablo', I think both tracks will be played an equal amount. Overall, this is an instant classic of a release, and Soul Deep is proud to have the honor of representing the music on the label.

This is Nomine's first solo release on the label since its beginnings and he returns back to his roots with some tribal, ethnic, meditative 140 bass music that can be both raved to or meditated to.

For our next Excursion, we're off to the library. In search of library records that is - you know the type, the crazy rare records used for soundtracks and such and such. We have a sick selection of synthed-up beats and pieces chopped together by one Earl Jeffers, making the most out of his international library digging card* (*not a real thing).

For those that don't know, Cardiff's Earl Jeffers is one half of Darkhouse Family, regular family at our sister label, First Word, on which they released their debut album 'The Offering' late last year. Earl is a prolific producer in his own right, also releasing over the years under the aliases Chesus and Metabeats on labels like MCDE, Fat City and Local Talk, collaborating with artists like Byron The Aquarius, Action Bronson and Kamaal Williams / Henry Wu, turning his hand ably to house, hip hop, jungle, jazz and more. All this in addition to running his own label, Mélange Records.

A dedicated digger and record collector first and foremost, Earl has provided us with a quadruple set of heavyweight stuttery sci-fi boom bap. In Earl's words: "This record was mostly inspired by my penchant for the more electronic / synthesized jams, mostly replayed from the original compositions then thrust in to 2028 and beyond...."

Wer Willst Du Wirklich Sein Was Ist Illusion Und Was Ist Wirklichkeit Oder: Was Bedeutet Freiheit Die Fragen Könnten Wir Endlos So Weiterführen Und Sie Würden Auch Alle Erstmal Ins Nichts Führen. Wäre Da Nicht Das Ikigai. Das Wort Aus Den Sechs Buchstaben Kommt Aus Dem Japanischen Und Wird Vorwiegend Als Lebenssinn Übersetzt. Also: Das, Wofür Es Sich Lohnt Zu Leben.
Das Ikigai Steht Im Zentrum Des Neuen Albums. Es Ist Namens- Und Sinngeber Der Songs Von Lux. Der Rapper Aus München Führt Seine Arbeit Auf Der Neuen Platte Weiter Und Macht Eine Rasante Entwicklung: Weg Vom Schlaf, Dem Powernap Und Chilligen Alltag, Mitten Rein Ins Wahre Leben.
wärst Du Auf Einem Schachbrett, Wäre Das Der Erste Zug Zum Sinn. Du Machst Das, Was Du Gern' Hast Und Bist Dabei Auch Noch Gut Darin.'
Es Gibt Innerhalb Der Songs, So Wie Im Illustrierten Cover Von Won Abc, Genau Vier Botschaften: Es Gibt Das Herz. Also Das, Was Du Liebst. Den Rapper Mit Iro, Also Lux Und Somit Das, Was Du Kannst. Das Geldbündel, Also Das Perfekte Symbolbild Für Das, Mit Dem Du Geld Verdienst.
Und Letztlich Die Cocktail Trinkende Erde. Sie Steht Für Das, Was Die Welt Braucht.

Zwischen Dem Vorgänger 24/7 Powernap Aus Dem Januar 2017 Und Jetzt ikigai Liegt Etwas Ganz Entscheidendes: Das Leben. Alles Über Kurven, Umleitungen, Abkürzungen, Einbahnstraßen Oder Einen Crash Ist Hier Teil Des Albums. Hierzu Hat Sich Lux Nicht Nur Den Produktionen Von Haus- Und Hofproduzenten Cap Kendricks Bedient, Auch Tom Doolie Und Erstmalig Clap Cotton Bestimmen Maßgeblich Den Sound Des Albums. Als Feature-gäste Hat Er Den Selbst Ernannten Besten Deutschen Rapper Der Welt Fatoni Am Start, Aber Natu¨rlich Auch Seine Clique Edgar Wasser, Lazy Lu, Lorenz, Times, Und Roceasy. Das Ganze Wird Von Main Concept Member Dj Explizit Abgerunden Und In Einen Guss Gebracht.
Realtalk Statt Phrasen. Einfallsreiche Songkonzepte Und Sinnige Features, Machen ikigai Zu Einem Album, Das Lebt. ikigai Weint, Chillt, Lacht, Säuft, Reflektiert, Widerspricht, Flüstert Raucht Und Schreit.
ikigai Von Lux Erscheint Am 01.06 Über Estro.cllctv.

Don Mike Paradinas, one of the most influential and respected artist of our time unleashing archives from the golden era. Previously unreleased stuff selected by AF and Mike... so there's no need to say what you have to do. MUST.

Musically and emotionally, Superpitcher's
third full-length studio album, The Golden Ravedays
is a one sound autobiography that exhibits the skill,
feeling and style that the artist has honed over a
period of twenty years, musically, and forty-plus-
years, emotionally. And full-length it is: The Golden
Ravedays is an epic album of 24 longer than usual
tracks that was released in January 2017 and is
stretching over 12 respective chapter albums during
a one-year period.

The 12th
and final edition of The Golden
Ravedays album will be released on record label Hippie
Dance in December 2017.

Side A is the ballad of Late Night Skanking. True
to the soul of skanking this track is weaving its delicate
elements between the rise and fall of a monumental wave
that teasingly never breaks. The main melody so
seduces and hypnotizes that before you know it you're a
wide-eyed cobra waving away in a basket.

Standing ovation! Hands in the air! He made it!
The very last track of Superpitcher's epic Golden
Ravedays odyssey is a jovial spree, a hullabaloo of
merrymaking, the perfect celebration of the beginning to
end of this heroic album. Punky Reggae Party is a
fantastic collision of festive sounds, beats and voices that
bring us undecipherable messages and everything else
that is far beyond nice, nice, nice. Encore! Encore!

Vain marks the prodigal return of Venezuelan artist Carlos Giffoni to the avant-electronic music scene he was instrumental in shaping with the seminal, hybridising No Fun Fest and No Fun Productions label, which was home to debut releases by Oneohtrix Point Never and Noveller, and classics from Haswell and Prurient during the late '00s to early part of this decade.
Carlos' first new release in 6 years, Vain was drawn from hundreds of hours of improvisations made at Carlos' Malibu studio, the final LP describes a tumultuous narrative in affective abstract swells and pulsating rhythms that trigger curious sensations and emotions ever familiar to his variegated, extreme, yet essentially organic output.
Despite not releasing anything for the past 6 years, Carlos still sounds like he lives and breathes electronic music. Where those 'noise' artists who originally played at No Fun Fest and released on his label have arguably carved out major career paths from myriad mutated genres, Carlos' music still feels captivatingly ancient yet advanced and uncannily hypnotic.
In a cascade of minimalist arps and cloud dynamic harmonies, the album's story starts in the vortex of Vain's Face and sweeps thru the granular flux of The Desert to a staggering piece of noise techno dissonance in Erase The World, which calves away into the curled plunge of Hands and the anxious needling of We Pay The Price. At the mid-way point it turns lusher with the pulsing and coruscating kosmische tang of Stop Breathing, leading to the metric complexities woven into Faith and Pain and the heightened high-register sensitivities of I Can Change, whose shatterproof hyaline steeples ultimately deliquesce into the shimmering beauty of Sun Rain.
With hazy resolution and ambiguity of effect, the record works its magick in memorable style. Like the best abstract sonics of Peter Rehberg or Keith Fullerton Whitman, an intuitively applied formula of geometry, rhythm, tone and timbre add up to inexorable effect, rendering the closest possible connection between the machines and the artist's pathos. For syntesthetes and attuned listeners, the effect is likely to conceive new colours on the mind's eye and move them to finer states of emotive response. In others words: it's a seriously good listen.

Colin Potter Is A Sound Engineer And Musician Currently Based In London. He Has Worked Within The Fields Of Electronic And Experimental Music For Over 35 Years, Collaborating With The Likes Of Current 93, The Hafler Trio, Organum, Andrew Chalk, And Most Notably As A Key Part Of Nurse With Wound Alongside Steven Stapleton. He Started The Esteemed Icr (integrated Circuit Recordings) Label In 1981 Releasing A Clutch Of Wonderful Home Recordings Of His Own, Over Half A Dozen Small Run Cassette Only Releases.'the Where House' Was Recorded In 1981 At Ic Studio, A Converted Wash House In Sutton On The Forest In North Yorkshire. The Album Was Self-released On Cassette That Same Year Via Icr. This Expanded Double Lp Edition Features All 13 Tracks From The Original Tape On Vinyl For The First Time Plus 4 Bonus Tracks. 'the Where House' Is A Prime Example Of Early Uk Post-punk/industrial Electronic Music. combining Dub, Electro, And Krautrock Rhythms With Psychedelic, Kosmische Noise In Multiple Mutations Ranging From Almost Pop-wise Songcraft To Horizon-scanning Motorik Flights,' Says Boomkat. Most Of The Damage Was Done By Colin Using Guitars, Synths, Sequencers, Drum Machines, Percussion, And Modified Toy Keyboards With Fairly Primitive 4-track Recording Equipment. He Was Assisted On Some Of The Tracks By Stephan Jadd-parry (guitar, Percussions), Jon Caffery (guitar, Bass, E-bow, Percussion) And Nick Jackson (synth). All Songs Have Been Remastered For Vinyl By George Horn At Fantasy Studios In Berkeley. The Record Is Sleeved In A Replica Of The Original Cassette Artwork By Jonathan Coleclough. Every Copy Includes A Double Sided Postcard Insert With Notes From Colin.

Hieroglyphic Being / Jamal Moss visted the Moog Sound Lab in the end days of 2016. Testing the lab through his prismatic rhythmic cubism meets synth expressionism methodolgy. 21st Century Afro-Futurism to the max. Both parties expressed their satisfaction with the encounter. I believe Bob Moog was (in the late 20th century) creating his modular system 55 synthesiser for artists yet to come....artists like Jamal Moss' (Eldon Tyrell)

The long tail of krautrock in all its droney, repetitive permutations continues to be felt in modern music, some forty plus years after artists like Faust, Kraftwerk, and Can arrived in the world. It's what one does with these influences that matters, and no one is doing more with the raw materials of this sound than Møtrik. This quartet from Portland, Oregon—bassist/vocalist Erik Goltz, drummer Lee Ritter, guitarist Cord Amato and synth wizard Dave Fulton—connect up with the sounds of the past like an M.C. Escher mural: it follows the same patterns but takes them in much different directions with much more colorful and mind-altering results. Through seven extended jams, on the band's longawaited second album Safety Copy, the band nod to their German forebears while applying their expertise in postrock, garage punk, prog, and more to those well-loved templates. Everything sounds clear and precise, thanks to being recorded DIY style by Jason Powers (Grails, Blue Cranes) in a remote coastal enclave. The album is massive in scale, filling the stereo field with a cinematic grandeur.

Who Do You Go To For Your Very First Session When You Have Just Been Gifted Your Very Own Top-flight 'stradivarius Of Synth Based Studios' Enter 'the Grid' ...mr David Ball: One Man Band Of Pioneering Electro-pop Distorters Soft Cell, Part Time Psychic Tv Personality, Film Soundtrack Composer And All Round Synth Afficionado & Richard Norris: Eclectic Beat-meister & Ambient Dj, Record Producer, Commited Psychedelicist From 'beyond The Wizard's Sleeve'. The 1990's Saw Worldwide Commercial Success As The Grid Scored 10 Uk Chart Hits, Many A Euro Hit Including 1994's International Mega-hit 'swamp Thing' Featuring A Twisted Use Of Sampled Banjos Lifted From The 1970's Okie Shocker Movie 'providence. In 1996 The Grid Went On A Holiday And They Didn't Return Till 2005. In The Initial Week Of The Moog Sound-lab In Early 2015 As The Studio Was Literally Put Together Around Them, Our Abiding Memory Was Their Absolutely Delighted Grins As Each Moog Unit Was Added To The Lab. Dave & Richard Created This Benchmark Album Of Deluxe 'tronic Trax That Showcased Their Prarie Wide Knowledge Of Electronica & Their Ocean Deep Skills As Both Technicians & Original Soundscapers - Kraftwerk-ian Werk-outs, Space Noise Jams, And Slinky Grooves With Subtle Pop-tones.

Featuring artists like Bing & Ruth, Kaitlyn Aurelia Smith, Julie Byrne, Yumi Zouma, Mutual Benefit and more, this compilation (assembled by the music blog Stadiums & Shrines) collects 18 original ambient, experimental and electronic tracks on a beautiful double LP.
New works from a range of important contemporary artists High streaming numbers for included artists Special event series underway Premium physical package (double LP, gatefold jacket with booklet stitched inside) Selling Points: New works from a range of important contemporary artists High streaming numbers for included artists Special event series underway Premium physical package (double LP, gatefold jacket with booklet stitched inside)















[O} Yugoslavia - Kaitlyn Aurelia Smith


England's Countryside (Mother In Comet) - Gem Clu

We've been closely watching the rise of A Sagittariun ever since he first popped up with his consistently excellent Elastic Dreams label back in 2011. What started out as an anonymous project has since been revealed as the handiwork of Nick Harris, a long time champion of the Bristol house and techno scene since before most of us were even hitting the dance. His music has been flying out with a no nonsense approach - self-released, minimal promo, just cracking club-ready 12"s that tap into the fierce-but-fun spirit of Detroit techno and albums loaded with smokers delights to appease his West Country roots.

"Pseudo Science" wastes no time in imparting a message of bristling kinetic energy for peak time situations. This is maximal techno of the highest order, firing off a body-popping beat, a dazzlingly bright set of chords and a delirious lead that cuts through like the house lights being thrown on in a darkened basement four hours before closing time. There's a confidence that bursts out of this track that could only come from someone who has earned his stripes in the cut and thrust of what can at times be a fickle dance music scene.

"Heavy Manners" plays a foil to this boisterous A-side without dipping the energy levels. Sagi still has his pedal to the metal, but this time he winds through mystical, filter sweeping pads that hark back to synth rich early 90s trance séances of the highest caliber. The bubbling 303 only further fuels this sense of psychoactive flashback, and the hypnotic film sample provides the perfect icing on the cake. Leave your functional subtleties at the door, this is loud and proud body and mind music transmitting from the part of a soul still stomping in a field somewhere near the M25 orbital.

Re-issue of this ultra-rare Oriental psych monster from the organ king of Casablanca, combining traditional rhythms with spaced out modern sounds. First part of Abdou El Omari's Nuits-trilogy. Part 2 and 3 will be re-leased in the next few months.

6th opus of the label. A super eclectic record, exploring diverses styles of electronic music spectrum such as IDM, Downtempo, Ambient, Synth Pop ... Cosmic release limited to 250 copies.

This record includes works from artists discovered around the globe. Old & unknown latvian project & y e a eke, Andy Rantzen & David Sudmalis from Australia, Isak Anderssen from Norway. But also Art Teachers, Oberst Gregor ... A reissue of cosmic lost sound from California, an electric guitars orgy from Science Patrol (M. Bracewell) + an all new french act Pascal De Nuit.

Björk has released three remixes of the track 'Arisen my senses', one by Kelly Lee Owens, another by Jlin and a final by Lanark Artefax, each taking the original track to a new place with their trademark production sounds.

Available digitally and on a limited 12' EP. The vinyl colour is no other than that of 'slug genitalia'.

This recording documents the progression of Brian Chase and Angus Tarnawsky's ongoing duet, showcasing their vision of an electrified-drumkit. In a physical sense, they use a drumkit wired with receivers and microphones, feeding the raw sound through external effects processors and devices such as samplers, all parts of which are capable of being controlled and manipulated in real-time.

For Brian and Angus, electrifying the drumkit allows a transition from simply improvising with rhythm, to composing entirely new sonic worlds and subsequently inhabiting them within a performance. Once the audio from Brian's kit goes into the electronics of Angus' set-up, the sound is transformed, becoming an entirely new entity. This in turn influences Brian's playing, and the process continues as new music is produced through this method of continual unfolding. Beats layer on top of beats, textures atop textures, tones on tones. Constructed entirely from the multi-channel recording of an improvised live set, the two tracks for this release were edited and shape-shifted by the duo in post-production, further blurring the line between stage and studio.

A strictly limited edition release, each of the of 25 copies has been hand cut at 33 1/3 rpm on transparent polycarbonate plastic using a Presto 6N lathe from the 1940s and is accompanied with a printed transparent insert, housed in a custom PVC sleeve.

Brian Chase is a drummer and composer based in Brooklyn. Widely known as a member of the rock band Yeah Yeah Yeahs, his diverse creative output encompasses multiple projects in the New York music scene, including Drums & Drones, an electro-acoustic project focusing on the application of just intonation to drums and percussion.

Angus Tarnawsky is a sound-artist and experimental musician living in Toronto. Interested in altering perceptions and perspectives of environment through sound, his work frequently explores interactions between acoustic and electronic sources, utilizing analog feedback systems and modular synthesis.

BRUNO PRONSATO returns with his new album, A FACE WASTED ON THE THEATRE, written & produced in collaboration with the Israeli musician, YONATAN LEVI. PRONSATO and LEVI have been collaborating intermittently since 2014, with LEVI adding bass guitar to tracks on both PRONSATO's US Drag LP from last year and 2016's NDF EP, Cruel Is The Color, as well as contrabass on a track on PRONSATO's Archangel LP from 2014. Written in the afternoons and between two different studios in Berlin's Prenzlauer Berg, the album spans eight tracks, with YONATAN LEVI playing on bass guitar on six of them. It also features guest appearances by downtown composer/producer PETER GORDON and Israeli saxophonist YONATAN YUDKOWITZ on Bring Me A Kill.'

BRUNO PRONSATO (aka Steven Ford) has been subverting expectations within techno and house's upper echelons since 2003. A former speed-metal drummer with a serious appreciation for 12-tone composers, he moved to Berlin to focus on music full-time in 2005, and captured the attention of the electronic music world with his redefining Why Can't We Be Like Us LP from 2008, receiving a 5/5 review from RESIDENT ADVISOR along the way. This was followed up with Lovers Do in 2011, dubbed a massive and striking statement' by PITCHFORK in their 8.1/10 review. After a six year-hiatus, he released the rejuvenated US Drag LP in June 2017, with RESIDENT ADVISOR commenting that the album was a fresh perspective on Bruno Pronsato that keeps intact the best aspects of his music, proving that Ford's singular project still has a lot left to give.' Pronsato is also a member of HALF HAWAII with PANORAMA BAR resident and ex-PANTYTEC member, SAMMY DEE-they release mainly on PERLON. His 2010 collaboration with SERGIO GIORGINI (of BENOIT & SERGIO) as NDF (on DFA) was hailed as one of the 'tracks of the decade so far' by PITCHFORK in 2015. PRONSATO was also a member of the electronic supergroup, NAROD NIKI alongside RICARDO VILLALOBOS, RICHIE HAWTIN, DANIEL BELL, AKUFEN, LUCIANO, DIMBIMAN etc, and he also co-produced ELLEN ALLIEN's 2013 LP, LiSm.

YONATAN LEVI aka L.A Teen is a 31-year-old musician born in Tel-Aviv, Israel. Displaying musical tendencies since infancy, he studied at a school of arts between ages 6-16, growing within the music department. He began classical guitar training at the age of 7 and finished his studies as a music major. At age 13 he was awarded a scholarship for classical stand up bass studies from the Israeli Conservatory of Music in Tel Aviv. By age 16, he was honored a full scholarship to the prestigious Berkley College of Music. In 2006 he moved to New York City and immersed himself in the New York Jazz world, playing alongside numerous celebrated musicians including FRANK WESS, BEN DIXON, EDDIE HENDERSON, HARRY WHITAKER and "Killer" RAY APPLETON and DONALD HARRISON.

He has recorded a quartet album alongside WILLIE JONES III, AARON GOLDBERG and OFER GANOR and is featured in OFER GANOR's album "Miles Away", starring the legendary drummer JIMMY COBB. COBB chose Levi to accompany him in his Japan tour as a part of the world renowned JIMMY COBB QUARTET. Yonatan Levi is currently based in Berlin, Germany, but is constantly on the road between Europe, the US and Israel.

limited double 10"

One of Treader's most requested recordings sees the great UK free saxophonist Evan Parker on soprano and tenor saxophones, duetting with European birdsong.

A fitting tribute to his friend, the celebrated soprano saxophone player Steve Lacy, who died in the year of its initial release.

Khalab has summoned a futuristic afro-centric soundscape by
weaving a poly-phonic tapestry of future bass, jazz and field recordings. The LP's title track tells hard truths from the mind of spoken word artist Tenesha The Wordsmith. Along with her words the LP's title has been augmented with a date marking the arrival of an emancipated future. 'Black Noise 2084' casts aside the worn and surface level cliché of black music being soul music. Khalab guides us to the beginning of a journey, the journey of rhythms and he takes us within earshot of the voices and spirits that carried them. Soul gained over aeons of terror and forced transportation, soul driving survival against systematic ppression, wholesale against a people.Khalab looks to the noise, the messages, the spirits, and evokes the light of 'Black Noise 2084' out of darkness. From dystopian roots, the beat marabout Khalab has led his assembly of messengers to invoke this myth of cathartic liberation. 'Black Noise 2084' features the voices of musical voyagers seeking new pathways: Shabaka Hutchings, Moses Boyd, Tamar "The Collocutor" Osborn, the master Gabin Dabire, Tenesha The Words-mith, Tommaso Cappellato, Prince Buju and Clap! Clap! Within the tapestry of Khalab's 'Black Noise 2084' the myth moves through its cycle of life, initiations and ceremonies with a cast of unnamed messengers. Khalab was invited to work with field recordings from the archives of the Royal Museum for Central Africa of Bruxelles. The museum's recordings made for a post-colonial World, hold ethnographic and historical insights into the cultures of the region over the last 500 years. The Museum is far from the horrors that Belgian King, Leopold II unleashed during his colonial reign, however it is a dark legacy that is far from absolved.. 'Black Noise 2084' opens a portal where displaced rhythms, chants, screams and dreams collide with quaking bass, a vortex of shattering synths, jazz rains and emotion all amalgamate. Empires for millennia thrived across the African continent and Empires are being willed to rise. As Khalab draws the LP to a close he brings light with 'Dawn' ft Moses Boyd. A dawn firmly squared-up by its past, hard truths of a barbaric history embarking on the beginning of reconciliation. Drum beats usher in the arrival home for a new glory. 2084 a time when rhythms have shed the cargo of their haunted odyssey. The myth of 'Black Noise 2084' is a new dawn where the ghosts of Leopold and all his kind are finally excised. Atonement in hearing the truths carried across the ages, carried in noise, Black Noise.

Written, performed and produced by Kumo in SE23.

"From a starting point of two field recordings taken from the balcony of my flat in South East London, one was taken during the day the other at night, the rest of the music was built up in response: synths and theremin played as karaoke to the sounds of the estate. Accompanying, mimicking, occupying the spaces between the deliveries, planes, dogs, birds and the kids next door writing grime tunes. 'Day' was written, performed, recorded and mixed in the flat during daytime with only natural light, 'Night' under cover of darkness." - Jono Podmore, London, 16.xii.2017


Biography:

Kumo aka Jono Podmore - Professor of the Practice of Popular music at the prestigious Hochschule für Musik in Cologne, Germany - is best known latterly for his tireless work curating and managing the archives of Krautrock pioneers Can. In this respect, his masterstroke to date has been assembling the essential "The Lost Tapes" boxset.

Work under his Kumo alias across multiple releases, performances, DJ sets and installations has included collaborations with the likes of Irmin Schmidt, B.J. Cole, Jaki Liebezeit, Mr. C and Jose Padilla. His ongoing Horrorshow multimedia venture brings together live soundtracks and short films, and his established group Metamono finds new life in vintage analogue and hand made electronics, releasing two albums, and Secrets of Nature - Sounds Unseen: live electronic music for silent British film.

His label Psychomat was brought back to life in 2017 with two new single releases and more are planned. Jono is currently working on the score for feature film The Giaour, a book about Jaki Liebezeit's life and theories, and teaches Tai Chi in London.

"Emotional Rescue is honoured to reissue the benchmark in new age ambient music, Michael Stearns epic Planetary Unfolding album. Out of press on vinyl for over 30 years, here is Stearns masterful electronic symphony in 6 movements, recorded using his Serge modular synthesizer at the Continuum Studio in 1981.
The culmination of years of exploration in "space" music, Stearns journey, to the album's release, was one of learning and application. Involved in music since his teens, he graduated from guitar bands in the late 60s to an increasing interest in the principles of electronic music synthesis and the physics of musical instruments. He moved from Tucson, Arizona to Los Angeles in 1975 where he performed live during movement meditation classes at the Continuum Studio. He released his first cassette album in 1977 before going on to record 7 albums during this formative period. With Planetary Unfolding, the musical ideas that Michael performed on the Serge developed into this 52-minute masterpiece of music, six movements, three on each side of the LP. Based on the idea that the universe is made of sound held together through resonance, where atoms, cells, oceans, plants, animals and humans, all are part of a complex orchestration - the Earth as a being of sound. Having first approached Michael in 2013, his uncertain response that the album could be rereleased in a way that the music would be given justice via vinyl, the idea was never forgotten. Gaining discovery, appraisal and prominence when "As The Earth Kissed The Moon" appeared in edited form on the "I Am The Centre" box set from Light In The Attic, this excellent window into the world of Private issue new age music, superbly compiled by Douglas McGowan, further increased the interest in Michael's and others, such as Laraaji, music. With the likes of Matthewdavid's Leaving Records and Jonny Nash's Melody As Truth pushing the ambient curve beyond a post club, chill out fad, classic albums can rightly sit alongside this 'new age of the new age', so that ambient music again has a gravity and place of it's own. This specially re-mastered version by Bob Ohllson features the original artwork by Leilani Bost, liner notes by long-term friend and fellow musician, Gary David, as well as the photography of Ron Peterson, together bringing this wonderful album to life once again. e

Separated from both its reputation and its sleeve art, the music of Muslimgauze explores the relationship of visual sensations - space, colour, depth, illusion - to the listening experience. The music on 'Maroon' is dub-like inspired techno music, laid back with voices appearing randomly in the mix. The thick drums and rich found sounds that densely populate the soundscapes on "Maroon" give materiality to the warm presence of the synth washes. The music is so layered and textured that it ceases to be aural and exists almost solely in the realm of sight and touch. Devoid of reference to any external reality, Muslimgauze's Ambience gets remoulded by subjective experience and moved around in the memory. By shifting the quality of perception with the producer's sleight of hand, Bryn Jones (the Mancunian behind Muslimgauze) makes explicit the interiority of the senses. Thus, the fact that our inner life determines our relationship to the world outside becomes the music's unspoken subject. Divorcing Muslimgauze's music from its image is like listening to Take That without seeing Robbie's pelvis or Mark's pouting. This is precisely why the music is so effective. Relocating music's power within the listener instead of as an external force acting upon the listener forces reappraisal and reinterpretation. The muezzin's wailing call to prayer and the shrieks of women mourning the dead conjure up images of a fierce 'death-to-the-infidels' fervour in the Western imagination, and are recast as holy prayers for the ultimate, womb-like peace that most Ambient music aims to express. The usually easy exoticism of sampled tablas and ouds instead hint at the dread on the road to the water coloured bliss of run-of-the-mill Ambient and force the listener to internalise difference and confront the received images of Islam that Muslimgauze detour by such strong powers of suggestion.

Tenderlonious led jazz outfit Ruby Rushton drop their second album of 2017. Following on from the success of 'Trudi's Songbook: Volume One' the band are back with their highly anticipated 'Volume Two'. Comprised of a further six cuts the listener is treated to another journey through modern day jazz!

Stand out tracks include "Tisbury Truckin", which is a stunning opener! Starting with an atmospheric soundscape it unexpectedly drops into a neck-snapping hip-hop groove with a punchy melodic line before effortlessly sliding into an up-tempo, afro-beat inspired rhythm with strong solos from trumpet and keys in tow. "Song For Christopher" is a heartfelt ballad, which begins with a touching flute solo and continues to take the listener on a journey through the emotions, ending in a crescendo of optimism - a fitting tribute to the late Christopher Rushton.

"Charlotte Emma Victoria" is another strong track and includes some tasteful sousaphone and trombone parts to add extra oomph to its bounce, accompanied by a soaring saxophone solo by band leader Edward Cawthorne (aka Tenderlonious). The album ends with a classic Herbie Hancock jazz-fusion standard, "Butterfly", which the band handle with finesse. A fitting cover that I have no doubt would impress its original writers.

'Trudi's Songbook: Volume Two' is a fantastic album, which further solidifies Ruby Rushton's place on the modern jazz scene. This is a must have album that would hold its own in any jazz enthusiasts record collection - make sure you check it out!

Joachim Nordwall and Henrik Rylander created Saturn and the Sun to further their mutual passion in mindchanging sound experiments. Since 2005, they have created music together in ritual rock band The Skull Defekts, but since the death of the Skulls in April 2018 their common focus now is Saturn and the Sun. Deep, often monotonous and harsh electronic music inspired by 60s minimalism, early techno and tribal music. This is what you get when the two comes together.

Rylander is working as a forensic photographer and makes extreme sound art. Nordwall runs the iDEAL Recordings label and records experimental music on his own and with artists like Mats Gustafsson, Mika Vainio (RIP), Ryan Martin and Leif Elggren. They both share the legendary studio space Gothenburg Sound Experiment.

"Be careful with frequent listening."

Another Classic Reissue From The Back Catalogue Of White House Records. With Amazing New Artwork By Robin From Stay On Target This Latest Reissue On White House Records Really Stands Out. Another Classic From Skanna From The Early Days Of This Seminal Jungle Label.

Electronic duo Spring Heel Jack return with a collaboration with the legendary American trumpeter and Pulitzer Prize nominee Wadada Leo Smith.Wadada was born in the Mississippi Delta and became immersed in the music of the great blues masters as a young musician. He then moved to Chicago and became an early member of the AACM alongside the likes of Muhal Richard Abrams, Anthony Braxton, Malachi Favors and Roscoe Mitchell. Recorded last year in London, this LP sees Smith's authoritative trumpet joined by Steve Noble's drums and Pat Thomas' piano, to make a stunning piece of aural theatre in six acts.

It's A Funny Old World, And Yet Again, The Black Dog Have Provided The Soundtrack. Our Fast-approaching Dystopia Has Been Envisioned And Documented By The Band For Decades. Now, The Black Dog's Two New Albums, Post -truth And Black Daisy Wheel, Translate Their Growing Horror Into Some Of Their Most Accessible And Impactful Music, Translating Our Manufactured Reality Into High Energy Dancefloor Constructions On Post -truth, And Reflective Ambient Excursions On Black Daisy Wheel. Long Familiar With The Tropes And Pitfalls Of Esoteric Undergrounds, In Both The Pre- And Post Internet Eras, The Black Dog Have Ventured Deep Into Contemporary Conspiratorial Cultures With A Trenchantly Critical Eye. In The 80s, Conspiracy Theories Were A Tonic For A Sceptical Mind, A Stimulant To Agile Thinking. Today, They Have Become The Stock In Trade Of Mainstream Political Influence. The Scene Has Morphed Into A Rabbit Hole Where Nothing Is 'really' Real, Everything Is A Hoax, And Everyone Is Out To Get You. The Mindset Is Beyond Paranoid, The Discourse So Far Post-fact That Only Opinion And Assumed Identity Matter. Arguing Against Proven Science Is A Part Of The Entry Criteria, And Wilful Pedantry Its Standard Currency. The Impact On Mental Health Is Corrosive: Fear, Uncertainty And Doubt Multiply And Replicate Until The Most Ridiculous Theories Are Invented To Explain The Most Basic Things: Tarmac, Banana Skins, Duvets. Auto-suggestion Is Rife, Where Willing Victims Drink Bleach (mms) At The Behest Of Youtube Videos, Flat-earthers Are Taken Seriously, And The Manufactured Fearful Believe They Are Being Gang-stalked For Finding Monsters On Pixelated Screens. The Distinction Between The Real World And The World Of An Auto-hoaxer Is So Blurred That Reality Melts Away; You're Only Ever One Personal Detail Away From Being Doxxed, At Which Point Reality Bites Back, Hard. You Couldn't Make It Up, Even Though That Is Exactly What The Conspiratorial Fringe (now One Sharp Corner From The Mainstream) Always Do. The Fact That There Are Real People Involved In This Scene Creates A Real Sense Of Pathos And Anger Which Is Deeply Embedded In The Music On These Two Albums. As Soon As You Start Engaging With People In The So-called 'truth Movement', One Minute It's Painful, But The Next Can Be Genuinely Funny; These Are People Who Are Both On Edge And Upon The Edge Of A Larger Social And Political Reality That, For Worse And For (even) Worse, Defines Our Times. Hence These Two Very Different Albums. Black Daisy Wheel Is Reflective, Often Intense, Frequently Compassionate; While Post -truth Was Written While The Black Dog Was Fully Engaged With People Whose Paranoia Was In Full Swing. Welcome To Our Disinformation.

Limited To 500 Copies - 180g

Cannibal Mécanique is an electronic soundtrack by NY based audio-visual artist, Victoria Keddie. Originally composed as part of an immersive live experience incorporating analog video feedback and choreography, for ICM013, the audio component of Cannibal Mécanique has been revised and revisited for a limited edition lathe-cut 7" record.

Each of the 50 copies is individually hand cut at 33 1/3 rpm on transparent polycarbonate plastic using a Presto 6N lathe from the 1940s and is accompanied with a printed transparent insert, housed in a custom PVC sleeve.

Victoria Keddie is an artist working in sound, video, and transmission. Her focus involves analog signal generation and manipulation, the performing body, and relationships of space. For five years, she has been Co-Director of E.S.P. TV, a nomadic TV studio that hybridizes technologies to realize synthetic environments and deconstruct the televisual for live performance. In early 2016, Keddie launched UNIT 11, a mobile transmission based residency operated within and involving an ENG news van. Site specific field work involves concentrated energy fields, fluctuating electronic activity, geographical discontinuity, and time sensitivity.

She has performed and exhibited internationally at venues and festivals such as The Swiss Institute, The Kitchen, Museum of Moving Image, Queens Museum of Art, and Anthology Film Archives (NYC), Human Resources (Los Angeles), Lightcone, (Paris), Studio XX (Montreal), LOOP Festival (Barcelona), Pallas Projects (Dublin), Reykjavik Arts Festival (Reykjavik), General Public (Berlin), Axis Art Centre (Crew), The Independent Film Festival (Naples), Liste Art Fair (Basel), Seeing Sound Festival (Bath), and Daimon (Gatineau). With her project, E.S.P. TV, she has been artist-in-residence at Pioneer Works, Storefront for Art and Architecture, and the Museum of Arts and Design.

The highly-anticipated debut album from Blocks & Escher is here... Since first appearing on Metalheadz in 2014 the duo has been hidden away mastering their craft and honing their skills, culminating in a long player entitled 'Something Blue'. Now ready to be unleashed, 'Something Blue' is an album that ventures into various corners of drum & bass and jungle, never failing to surprise or evoke emotion. It's a culmination of Blocks & Escher's dedication to the music, with the finished article coming in at nothing short of exceptional. We couldn't be happier to release 'Something Blue' this March.

- Double tape retrospective from Gwilly Edmondez, the dad from Yeah You
- 90 minutes of music
- RIYL: Richard Youngs, Jandek, Cosmic Dennis Greenidge, Mark Wynn,
Sensational, Yeah You
- 100 copies

Gwilly Edmondez Is The Dad From Yeah You, One Of The Maddest, Most Vital Duos In Underground Uk Music Right Now. Slip's Trouble Number Retrospective Extends A Hard-to-resist Invitation To Peruse Four Decades Of Gwilly's Work At The Outer Limits Of Pop Music, Pairing The Gnarlage Of Self C30 Tape With A C60 Mixtape ...made Questionably And Unquestioningly By Himself, To Present A Cherry-picked And Unflinching 90 Minute Portrait Of A Properly Prophetic, Pop-wizened Soul In His Element.
Prone To Magpie Whatever Snags His Ear And Turn It To His Own Ends, Gwilly Ransacks Hip-hop, Black Metal, Folk, Power Balladry And Much More, Adapting Inventive Extended Vocal Techniques To Consolidate A Syncretic Blatz Of Bewildering Musical Logic And Unrhymed Reasoning. To The Casual Observer It Could Appear To Be A Study In Mental Health Or A Dadaist Play, But Pay Some Respect To Listen And Gwilly Will Reward Closer Attention With Flashes Of Genuine Pop Genius Mixed With Baffling Non-sequiturs And Hallucinatory Levels Of Captivating Oddness.
The Gnarlage Of Self Tape Was Made On Newcastle's Hottest Day Of 2017, In An Upstairs Room In Heaton, And Documents Finely Graded States Of Mind Between The Skittish Tangle Of 10 Banks Of Nein And The Reeling Soul Cadence Of Make Your Own World, Which Could Arguably Be Considered A Definitive Edmondez Anthem. On The C60 Tape Gwilly Edmondez: A Retrospective Mixtape Made Questionably & Unquestioningly By Himself, The Handrails Are Further Erased, Resulting In A Tumbling Sequence Of Slapstick Songcraft And Spare, Improvised Electronics Mulched Into Mixtape Form. It's Here Where The In/sanity And Truth Really Comes Out, Oozing And Ranting In A Disarray Of Bluesy Declamations, Gender-bent Torch Songs And Psychotomimetic Scramble Drawn From
Auld Tapes Dating To The Mid '80s, The Dankest Niches Of Ubuweb Archives, And Up-to-the-minute Snatches Of Recent Live Shows. For Anyone Who Is Intrigued By Or Appreciates The Work Of Richard Youngs, Jandek, Cosmic Dennis Greenidge, Mark Wynn, Sensational Or Fenriz, Consider This Crucial Listening.

The Land of Look Behind soundtrack returns to vinyl in a remastered and expanded edition that includes a download of three previously unheard and unreleased tracks from the original sessions. Alan Greenberg, who wrote and directed this film documenting the funeral of Bob Marley, provided K. Leimer with location tapes which were used to originate many of the rhythmic patterns for Land of Look Behind. Loops of the monologues and phrases that exhibited more distinctive cadences and pacing, the words, glottal stops, clicks and coughs of witnesses were used as cues for the percussion instruments. In effect, speech became the organizing principle of the musical score. By eliminating the accuracy of click tracks, musicians were prompted to rove through the inconsistent intervals of the voice-derived patterns. Also included is a four-page insert featuring an essay by Paul Dickow.

K. Leimer founded Palace of Lights in 1979. Leimer's early work has recently been reissued by Autumn and RVNG, and his early cassette work is in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s — his current catalog includes seventeen albums plus two collaborative albums with Marc Barreca.

Leimer's work is included in the collection of The British Library.

LYBES DIMEM is a project by visual artist and musician Lukas Rehm. With a focus on digital sound-de- sign, elaborate beat structures and the use of error, the music plays with cognitive phenomena and abstraction while maintaining an emotional refuge. LYBES DIMEM is presented in formats ranging from spatial sound experiences to sy- nesthetic shows complementing the auditive layers with visualiza- tions of real-time data, computer graphics and moving image. Lukas Rehms installative art, and compo- sitions have been internationally presented and awarded with multi- ple emerging arts prices.

SYNCLEFT CHRONEM is the first album released by LYBES DIMEM in both digital and vinyl format and accompanied by a moving image artwork. The title reflects the pro- jects interest in the potential of difference, cognitive frictions and exertion: sync = variability in the processing of auditive and visual signals, syncleft = the synaptic cleft, which is a crucial empty spa- ce in biological neural networks, chronem = the chroneme as a the- oretical unit to measure the time of

an articulated sound. Mathemati- cally clean sounds juxtapose pat- terns and transitions familiar from the realm of organic acoustics. Multi-layered noise textures ex- plore the simulated space. A tem- porary continuity is provided by percussive and melodic elements, right until the next escalation, eventually awaiting a concluding resolution.

The visual language explores dif- ferent phenomena and techniques of cognition inspired by the rhe- torics of big science (computer graphics, discontinuity of materi- al, pop cultural references). Both the moving image artwork and the graphic design of the release pay tribute to the multi-layered appro- ach of the music. The design of the vinyl cover by studio BNAG.cc uses subtractive colour synthesis to interchange between abstract for- mality and representationalism.

SYNCLEFT CHRONEM is the first release by LYBES DIMEM on SVS Records following a first encounter at the SVS residency at the 4D Spa- tial Sound Institute in Budapest.

Imagine Mac DeMarco on a boat with French touch legends Cassius, Canblaster and new pop rising star Moodoid!

ESHU, the production collective and record label from Nijmegen are back with their next offering. Their 12th release is a various artists release that features BLM, Jburg and Steven Siwalette alongside label members Ivano Tetelepta and Jocelyn Abell. It comes on the heels of Tetelepta's absorbing dub techno album, Senang, and is another high class offering. Nijmegen based Siwalette is first, previously contributed to the label as part of SYS. His Stragglers is a sparse but atmospheric track with industrial drones and slowly turning drums taking you through a desolate factory late at night. His second offering is Alien Encounter which is just as it sounds - a spooky, unsettling bit of cinematic sound design with menacing bass and icy pads all growing in loudness until they eventually consume your mind. Lastly on the A-side, UK producer and Fear of Flying label boss BLM lays down a skeletal groove that's embellished with beautiful, yawning synths. Scattered little details and fx making this a cavernous piece that encourages your mind to wander and get lost. On the flip, Jocelyn Abell and Ivano Tetelepta cook up a heavyweight, mid tempo bit of dub techno with sharp hits and rolling kicks lulling you into a trance. Last of all, the emerging Jburg picks up the pace with a perfectly chiselled bit of rock solid dub with looping drums and icy hi hats sinking you deep into its midst. This is an excellent EP that packs in a range of fascinating sounds for both the home and the club.

Next Up From Sofa Sound Is The Forthcoming Collaborations From Drum & Bass Heavyweights Dlr, Break, Randall And Ulterior Motive, A Collective Who've All Helped To Pioneer The Genre Whilst Staying Inherently Underground. Whilst Break And Randall Have Laid Its Foundations, Producers Like Dlr And Ulterior Motive Have Shaped The More Contemporary Scene, Although Both Tracks Signify The Colossal Engineering Standards Of Each Featuring Artist. The Established Names Also Bring Their Weight To Sofa Sound's Back Catalogue, Which Has Expanded Since Its Creation By Dlr In 2017.

Dlr, Break And Randall Come Together For Lead Track 'song & Dance', An Old-school Reminiscent Roller With Snipped Up, Mc-lead Vocal Samples And Jazzy Instrumentals. The Energy Between All Three Artists Is Instantly Recognisable, With Randall's Old-school Approach Shining Through Each Layer. On Top Of Strung Guitar Notes And A Hook Which Nods To Its Namesake, 'song & Dance' Blends A Mixture Of Styles To Present A Versatile Addition To Sofa Sound.

Next Comes 'modules', Featuring A Combination Of Sonics Recorded Through Ulterior Motive's Modular Set Up. The Ruminating Drums And Basses Brought From The Collections Of Their Collaborators Deliver Its Funkier Elements, With The Bassline Fluctuating Between Notes And Twisting Its Way Through A Melodic Undertow. Alongside Its Unusual Structure, The Track's Organic Approach And Frequent Switches Grab Its Listener Unaware. Another Imperative Release On Sofa Sound, The Imprint Has Shown Its Commitment To Artists From Across The Spectrum, Through Both Its Digital Releases And Physical Discography Additions.

* The second in Joker's trio of special releases to commemorate 10 years of his Kapsize label is to release this coming May.
* Over the past decade, Kapsize has put out some of Joker's most defining work, including the iconic 'Purple City' (produced with Ginz) — a track widely recognised as ground zero for Joker's purple dubstep aesthetic — and 2015 album, 'The Mainframe', as well as early records from Asa & Sorrow and L-Wiz.
* To be released both on special edition vinyl, A-side 'Marching Orders' features legendary grime MC and producer, Footsie, who goes hard over Joker's monstrous instrumental — think relentless, hyper-distorted club hydraulics — even acknowledging him on the hook; 'Oi Joker this beat's sick, crazy'.

* On the flip, B-side 'Polka Dot' is equally as tough, despite the dizzying melodies and gentle tones of the track's opening throws, landing as a crunching melee of textbook Joker sounds.

Repress

We are extremely happy to welcome yet another talented crew from Italy in the Moonshine family. D-Operation Drop is a project born in 2010 thanks to the encounter of 5 university students wich found themselves sharing the same house and more importantly, love for music (In 2013 Zeemo joins the Crew, modifying the formation from 5 to 6 elements). After a couple of early collaborations, almost casual, Uniradio Cesena gives to D-Operation Drop the chance to lay the foundations of an underground music program on air twice a week. Thanks to this experience the group officially finds its frame and looks forward to its new goals such as producing, dj'ing and vj'ing. To date D-Operation Drop, after almost seven years of experience, has received support from Artists like J:Kenzo, Distance, N-Type, Icicle, Radikal Guru & many others. Releasing music with notable labels such as Lion Charge, Artikal Music UK, Subaltern and now Moonshine Recordings.

The sprawling ambience we hear throughout "Paz & Amor" unveils the present stage of the fascinating aesthetic progression that Lilocox has been sharing with the world ever since this Eurochild of Cape Verdean descent started to produce his original music. Lilocox comes out in open field, with a lot more space, building the groove around complex rhythm grids now unfolding peacefully. He scored a bouncier underground hit with "La Party" back in 2015, coming from a background of intricate batida drum patterns but his sights reached further and further away into deeper territory."Ritmos E Melodias" seems to split into two parallel tracks at some point with the house beat balanced by a background rattle more commonly associated with the slower tarraxo vibes. "Samba" is fully-formed from the very beginning but the kick only comes in around the 2-minute mark, joining a bleepy substitute for a bassline. In fact, you will find this music practically does away with the need for a bassline because the rhythm inventions keep the feet moving effortlessly. It might seem strange that a genre seemingly rooted in classic house can stay focused on the dancefloor without a bassline, but the skeleton of these tracks is naturally strong and provides all the necessary ground for ambience and melody to shine.

And they do shine universally on "Fronteiras", an intensely emotional and catchy tune WITH a bassline, though very discrete and minimal. It follows the beat more or less independently, but its presence helps to consolidate the human bond we should all feel when exposed to these celestial harmonies. "Fronteiras" seems to contradict its very title.

Turmalinturm Remixes is a scrupulous compilation of tracks inspired by the second Fogh Depot album released in October 2016 via Denovali Records. The idea was to compile pieces both from artists of the Denovali roster and of the booming Russian electronic scene.

The Tourmaline tower is crashed. A new town is being raised at its place, eclectic in architecture, but of a monolithic mood. Get ready for a dense atmospheric mix of magnetic darkness and genuine delicacy. This is an example of seductive and at the same time disturbing tunes at the confluence of drone, ambient, IDM and live electronica. The collection absorbes works of the most skillful producers of this noble genre demanding extreme precision.

Half of the London-based duo «Piano Interrupted» and also successful solo musician Franz Kirmann provides a shard of pure roman from Albion's shore, while the experienced Moscow artist Dima Ustinov delicately and gently dissects the modal harmony of the track «Meduse». The prolific Sardinian producer Saffronkeira adds a detached, ephemeral and otherworldly piece and master of techno hymns. Moa Pillar contributes a horror-drone remix of «Quicksilver Spoon». For those who want to dance there is Monokle - an eclectic musician from Saint Petersburg - decomposing «Meduse» into a bassy club track. The Siberian dark lord of modular synthesizers Hmot totally deconstructs «Oscar» and literally distills all the piercing dramatic effect from the track, while an emotional and powerful piece by John Lemke, gloomy, affective and catchy, closes the remix album.

Günter Schickert, four decades of multi-instrumental cosmic explorations, under Berlin's sky, above genres, and compromises.

It was memorable the time when I firstly listened to his debut LP of 1974, the monumental Samtvogel. It overwhelmed me with layers of echoing guitars roaring into space, causing a powerful release of dopamine spreading through my skin, in the way an Interstellar Overdrive', or a Richard D James Album would do. It was a proof of the divine to discover Günter Schickert, it is a profound honour today to present on Marmo his seventh album to date, Labyrinth, the first to be released on vinyl format since 1983`s Kinder In Der Wildnis.

Schickert's Samtvogel, self-published first, then licensed to Brain, equaled the imaginative leap and sonic power of the early Pink Floyd, Manuel Gottsching's Inventions For Electric Guitar or A.R. & Machines's Die Grüne Reise. What followed, from his second LP Überfällig on Sky Records to his collaborations with Klaus Schulze, Jochen Arbeit and Schneider TM, even if little acclaimed, spans a large spectrum of music styles, always through a distinctive and personal aesthetic, that is deeply linked to the one he firstly crafted back in '74, when Schickert pioneered the use of echo effects applied to guitar playing.

And now Labyrinth, a record that stands for versatility, where genres do not matter, soundscapes or life situations take over, song-writing emotions pop out, handing out a spectrum of surprises to the listener. You may find yourself flying low along steep cliffs and with a blink of eye you are thrown into a Middle Eastern scenery.

The album is divided into two parts, two different production bulks and periods of Günther Schickert's life. Side A features a selection of tracks recorded in 1996, appearing on the 2012 album HaHeHiHo, released via Pittsburgh based VCO Recordings, on a limited press of 100 units, tape format only. I felt that the visionary and emotional richness of these pieces deserved the vinyl format and a chance to reach to a wider audience.

The Raga-inspired Morning' opens Labyrinth with exotic charm and bitter-sweet nostalgia. Sieben' kicks off with the same guitar scales of the previous theme, before the motorised progressions of a Korg MS-20 synth surprisingly storm in, carrying along an intersecting multitude of filters and sharp guitar effects, flowing into an epic, paradisiac ending. Ninja Schwert' remains on astral dimensions, it is a struggle of cosmic forces, where the steady ride of a pounding beat gets embraced by different guitar layers and analogue electronic filtering. The side closes up with HaHeHiHo', a slow ballad featuring Mr. Schickert on vocals, guitar, bass guitar and drum machine - an example of simple, stripped down yet gifted songwriting that is capable to reach the heart of the listener.

Side B contains material produced between 2007 and today. The intricate, bewildering Tsunami' shows the multi-instrumental and recording abilities of Günter Schickert: a field-recorded storm with mesmerising powers, a peculiar progressive approach to guitar playing. Mysterious sinister spirits and sounds are emerging and the feeling of being lost in a pleasant trance arises. In contrast, Oase' muffles the intensity and jumps into a completely different soundscape, where in liaison with the sounds of a rolling drum tom and a desert-like trumpet, the microphone carefully captures the found sound tones of everyday-life objects and actions. Like HaHeHiHo on side A, Checking' represents the vocal gem of the B side, in a raw and direct way of songwriting like if Syd Barrett was his invisible helper. Palaver' (which means unnecessarily talk' in German) assembles different vocal recordings of Schickert into a bizarre free-style conversation through a mysterious language, where he attempts to emulate illiterate children conversating. The final track, Morning (Slide)', reprises the opening theme, this time solely performed through the caressing dilated sounds of Günter's slide guitar.