Beats Новости

KEENO's latest project 'Music For Orchestra: Drums & Bass' fuses two worlds, pumping rich classical scores with an underground drum & bass heartbeat. The recording of live orchestral elements in four new tracks has propelled his distinctive repertoire to new heights, making an incredible follow-up to his sophomore album 'Life Cycle'.

Opening track 'Enigma' balances thick staccato strings, long drawn harmonics and weighty bass for full impact. Since Keeno took part in Enter Shikari's 'Hospitalised' remix album frontman Rou Reynolds has been a big fan. He's returned the favour with a vocal lead on 'Shelter From The Storm' where natural elements create an earthly atmosphere for this deep bassy roller. Turning to Keeno's more dancefloor focused persona 'Fading Fast' mixes a heavy reverberating bassline with sharp breaths of strings to create a tension-building, powerful counterpart. Finally, the church-like vocals of 'Insomnia Of An Anxious Mind' echo the somber sounds of late night emotions - a satisfyingly moody alternative to Keeno's usual uplifting magic.

Roberto Bosco has selected in recent months Kiny's music, to better prepare his first 12 ", consisting of four tracks, named 'Damaged

Memory'. The track Unknown (A1) leads off the dance of the release on Last Drop Records imprint. It's a proper exploration in an

unknown sonic territory to most of the people, and also a difficult element to make out for those who are novice to the visionary

component in the musical poetic of Kiny. The track starts with rounds of recurring sirens, almost deafening, framed by dark and

ghostly noises. Something not easily identifiable, ambiguous and unknown, as the title itself says, is perceptible in its sound. All this

helps to shape a bad presage that fades away into the mystery.



On the same side we find Pain Is Full (A2) that, according to the producer, was

born in a moment of pain which can be overcome only by fighting. In fact, the track is characterized by a more combative and insistent

tone, made up by the sound of snare and tom entering since the start and determining an atmosphere of contrast able to shake the

listener until the end. Shouts of encouragement suggest an initiation rite in which there is struggle for survival.



The titletrack, Damaged Memory (B1) has more quiet register with less ghostly vocals, perceived at times, unlike the previous tracks.

The sounds have a vanished effect, such as when you create a halo on a white sheet with the dust of a pencil just sharpened. You will

hear a sort of democracy among the sounds held together by the voice, a metaphor of a damaged memory, as the title itself recite, that

always makes the same process till the end: it commences by recalling but then forgets. Last, is the version of the producer Iori,

Damaged Memory (B2), on the same side. The Japanese remixer begins with a 4/4 architecture and well-articulated sounds, perfect for

warming up the dancefloor, a jolly track which contributes to the experimental tone, but invariably mystical of the entire release.

'Truth Is A Beautiful Thing' the follow up album to London Grammar's critically acclaimed, platinum selling debut 'If You Wait'.

Includes the singles 'Rooting For You', 'Big Picture' and title track 'Truth Is A Beautiful Thing'.

Two tracks from a forthcoming 3CD box set entirely devoted to Luc Ferrari's film music - a landmark release for many reasons. Not only does it reveal a little-known chunk of his oeuvre as a composer for the screen (replete with several previously unavailable tracks), but it also sheds light on the ties between cinema and musique concrète, especially during the fruitful period that stretched from the 1960s to the 1980s

Paco Sala return with a fifth full length album. The Silent Season is the net result of a full tibiofemoral dislocation, a lot of surgery, a lot of really heavy drugs, a seemingly open-ended period of housebound isolation & a subsequent hazy regression to roots and influences. The Silent Season is a fever-dream, embodying the period of physical stasis & marking a shift from the outsider pop structures of previous releases. Here instead the duo employ delirious, morphing synth structures intertwined with semi-lucid samples and haunting vocals.

Pilocka Krach still means nothing but Pilocka Noise. She's the charming queen of Berlins Post Techno Underground and a true Recording & Perfoming artist. Her new release on her very own imprint Greatest Hits International is a conceptional framed double vinyl album and a journey diary of her last two years on tour around the globe, with Mexico, Detroit and her hometown roots in Berlin as fixpoints on her neverending agenda. Pilocka Krach is Sugar Cane & The Lost Amigos , her band and all at once. Her style is pure electro post rave simplicity, where each single sound is either raw sampling cuts or deep growling synthesis. Big basslines meet funky grooves and surprising hooks, grooving along with her own voice and a lot of other vocal features, whereever you go. Each 'n everthing gets the room it deserves and mingles alltogether to so much more, than just another stereo sum. Never heard an album that dry and that wet at the same time, with an overall fun and jam factor, that is truly touching. She took her original style more than just a few steps further and sharpened her skills in an impressive and real straight forward way of raw funkyness and true storytelling. You can't listen to it without moving. Pilocka is always surfing the right balance of how much, or better how less it needs, to keep it going, get down to the point of no return and beyond the miracle of repetition. Pure oldschool sounds never sounded that fresh and never, ever 'been told that way before.

Following up from the stunning 'You Will Soon Find That Life Is Wonderful' 12' on Phonica's Special Edi- tions imprint, Sad City returns to the label with his new EP 'Introduction To Lisboa/ Sloe'.

Glasgow-based producer Gary Caruth has evolved a highly original sound; deep, lush and widescreen electronics, from melancholic to ecstatic. Sonically, he continues where his last record left off and feels like the perfect companion to that well-received debut for Phonica. The record as a whole is composed of field recordings, with the basis for the first half of the EP, 'Introduction to Lisboa,' utilising sound recorded in and around Lisbon. He explains, 'I wanted the music and field recordings to meld at times, to obscure what was conventionally the musical element and what were field recordings, blurring the line between found sound and composition in the creation of a whole other.'

Opening track 'Introduction To Lisboa' builds and builds from near silence to a cacophony of field record- ings and looped horns. It melds into 'Baixa Saxaphone', where carefully paced percussion patiently enters over a wash of synth. From then on a delicate balance of restrained percussion and spine-tingling atmos- pherics interplay before descending into a blissful outro.

As with the previous EP, the 12' is packaged in technicolour artwork by acclaimed London designer Jack Featherstone.

BLACKOUT MUSIC deliver an oppressive statement with their latest slice of heavy dnb, this time in the form of Slovenian artist TELEKINESIS and their OBEY EP. Delivering 2 powerful tracks designed to ensure the dancefloor submits to the authority of their hard-hitting neurofunk aesthetic, this talented pair of producers step up their game in a significant way for their 3rd outing on one of dnb's most significant Labels.

BREAK's opening evokes the intro Prodigys Smack my Bitch Up before dropping into a tear out rave destroyer of the highest order. SHUT UP shifts the EP back into deadly serious territory with a mean edge and brutal half step smackdown delivered in the 2nd drop.

Telekenesis have carved a strong path with their releases to date, following up effective forays on Bad Taste and Eatbrain with an EP truly worthy of the standard set by Blackout Music NL. The OBEY EP sees these producers once again delivering on their promising talent and brutally taking control of the sound system to represent Blackouts mighty sound.

** 2LP COMPLETE WITH DIGITAL DOWNLOAD CODE & 7 INCH SIZED 32-PAGES COMIC NOVEL***

With "Songs For William 3" Ulrich Troyer presents the final part of his experimental dub trilogy. The hand-drawn bonus track is entitled "William - The Seven Year Itch". A comic novel narrating the story of a breakup from the perspective of a stomp box called William and a MS-20 filter clone named Charlotte.

The music of the album is oscillating between euphoria and depression - fascinating with hypnotic lines and solos played by various analogue and modular synthesizers, stomp boxes and effect units, recharged by sprinkles of guitars, melodica, talk box & vocoder. All ingredients are rooted in a massive and warm bass fundament and refined with forward thinking dub excursions. This time the project was not only supervised but also co-produced by Kassian Troyer (Dial). His crucial ears and suggestions and the final Stem-Mastering were significantly responsible for the unique overall sound character of the climax of this experimental dub trilogy.

The hypnotic opening track At Muff's Place arrives melancholic and introverted, evoking smoked out nights and all night long connections. Back On The Market with it's skanking offbeat chords and the charming vocoder line, lifts the mood of the album towards euphoria - William seems to be dating again. The irresistible groove of Dark Roots makes a deadlock impossible. Megalomaniac Microsynth slows down the tempo of the album and gives space to inventive future dub treatment. The catchy 8-bit & cyber-horn driven track Horny Chiptunes picks up the pace again. The journey continues with a G-Funk-feel infected track entitled Cruising Down The Belt featuring a talk box and an alpha juno synth strings line - perfect for playing on car sound systems while driving aimlessly through the city. The backlash of depression hits again: I Miss Your Noise is heavily featuring a paraphonic MS-20 and culminating into a big shoegazing Kraut-Dub drone. Alone On A Crowded Bus forms the sad and disturbing, but nonetheless beautiful end of this unique and fascinating journey.

Next in the popular 'Fast Music' series from Hospital comes 'Fast Running Music.'

50 tracks across 2 CD's with an hour on each disc.

'Fast Running Music' provides 50 doses of quality 174 beats that'll take you straight to the finish line. Hospital classics are in abundance across two mixed CDs with longstanding team member Nu:Tone setting the pace. Get heart rates increased and endorphins released with power-fuelling tracks from the likes of Camo & Krooked, Fred V & Grafix, Wilkinson, Danny Byrd and Netsky.

Alleviated veteran Ben Jenkins launches his new vinyl label Partial Magic with Pittsburgh's Chase Smith. Chase turns in four cuts of percolating-hissing drum machines and squirting- gibbering oscillators. The whole quivering ensemble chugs with an electro snap and a steady dance mania clip until the cool- down of silky and sensuous pads on the closing track.

CD

As the dust begins to settle on one of his most significant and pivotal bodies of work to date - the critically acclaimed techno-focused 'Grow' released by Craig Richards on The Nothing Special - Calibre returns to his own label Signature for another fathomless LP exploration. Laced and spaced with the precision balance of sounds, speeds and styles he's known for, and predominantly characterised by his own lyrics and vocal textures, 'Deep' once again reminds us of Calibre's singular status as an artist whose creations transcend time, tempo and territory. Ranging from one of his most in-demand dubs 'No One Gets You' to poignant yearning introspection of tracks such as 'Better Than Me' and the rolling, jazzy broken beat summer serenade 'Lit', 'Deep' is yet another accomplished, alluring and truly unique pieces of work from one of electronic music's most consistent and prolific artists.

"Coil descended into the bowels of the Sun Dial studios, surrounded by manacles and chains under the level of the River Thames in the Ancient Borough of Southwark, to commit what would become one of their most possessing sides. Astral Disaster was the result: two correlating hemispheres channelling, meditative, eastern raga drone with sage-like poetry and electro-acoustic phantasmagorias, projecting a plasmic miasma of pharmaceutical shimmer and surreality that's pretty much arch Coil. If there's any one big reason you need it, though, that would be the amazing B-side, The Mothership and The Fatherland, framing creaking wooden drums and the gibber-chin shivers of swarming, translucent studio duppies in a diaphanous soundfield of freefall ambient atmospheres—basically the sound of ketamine in the '90s. Makes us want to melt. Massive recommendation!" —Boomkat

In 1998, Coil were invited to record at Sun Dial's studios beneath the London Bridge Hop Exchange—a studio originally know as Samurai Studios, originally built and owned by Iron Maiden. The premises in Victorian times was an old debtors prison which had three underground levels, and still had the original chains, manacles and wrought iron doors from the old prison. This caught the attention of John Balance, who was very keen to record there. Coil spent a number of days recording at the studio during Halloween 1998. With Gary Ramon's help, they developed a number of tracks, some of which resulted in this LP. Ramon produced and mixed the "Astral Disaster" recordings, as well as playing guitar and sitar on these sessions. A version of the album was later remixed by the band and released on their own label—but the Prescription mixes as released in 1999 are unique.



This is the first time the album is being released in any digital format. These rare recordings were part of the legendary subscription-only Prescription label album series in the late 1990's, issued in an edition of 99 signed and numbered vinyl copies, long since sold out. (If you are wondering, originals fetch £700+). Taken from the original masters, this digipack reissue includes original sleeve artwork, eight page art booklet, and the facsimile signatures of John Balance and Peter Christopherson that came with the LP release.

- First time CD and digital reissue of possibly the rarest of all Coil recordings

- Recorded in 1998 at Sun Dial studios, in the bowels of a Victorian era debtor's prison

Digital is back on Metalheadz for the first time in nearly 2 years and we couldn't be happier to have such a legend in the scene releasing with us.

The 'In The Lurch EP' consists of everything that we love about Digital with the much sought after 'Sun Bites' featuring Villem on the A side. For the other 3 tracks on the release we head down the steppier route, bringing tonnes of flavour on the way as Digital flexes his production muscles.

'Fear Eats The Soul' is the third release from Sordid Sound System on Invisible Inc. His previous two records 'In A Year Of 13 Moons' and 'Lux Exterior' have been getting plays from the likes of Andrew Weatherall, Manfredas, John Talabot, Idjut Boys and Thomas Von Party.

Describing 'Fear Eats The Soul' as a concept EP made by four imaginary bands from Detroit, New York, Paris and Munich, Sordid Sound System says:

'I'm pissed off with passive aggressive shabby chic artisan boutiques besieging my studio and complaining about the noise, I'm pissed off with coked up yuppy hipsters in land rovers taking over my neighbourhood with fancy restaurants with names that sound like fucking law firms, I'm pissed off at the resurgence of the far right and creeping fascism, I'm pissed off with self sabotaging English and American voters and the neo liberal corporate elites that have pissed away opportunities and alienated them, I'm pissed off with modern recording technology creating a sea of homogenous unimaginative beige bullshit, and I'm really pissed off that my favourite drummer Jaki Leibezeit is dead, but apart from that it's all good, enjoy the new record.'

Ecstatic's stunning split release between Maurizio Bianchi, godfather of the Italian industrial noise scene, and Abul Mogard, the much loved and hyperstitious synthesist, conjures a spellbinding testament to the transcendent and transportive energies of electronic music.
Although appearing to starkly contrast on the surface, both artist's work patently shares a lust for the suggestive abstraction of raw current and its pareidolia-like capacity to generate rich and uncanny emotional responses from the end user.
On the A-side, Maurizio Bianchi serves the obfuscated, coruscating atmosphere of Nervous Hydra, a 17 minute piece of sunken, desiccated harmonic structures and warped greyscale tones rinsed with ET radio signals and distant percussion that recall the sound of embers landing on tinfoil or snow. It evokes the experience of being caught in a quietly raging whiteout with only a dying fire for company, or equally a sense of subaquatic, amniotic serenity prior to being evacuated into a much colder world.
Listeners can trust that the Italian artist's first new work in several years is faithful to his ever-uncompromising oeuvre, but there's also a tantalisingly elusive sense of redemption buried deep in there which marks it out from the rest of his canon and close to the work of his antecedents such as Kevin Drumm and Jim Haynes.In that piece's tempestuous wake, Abul Mogard brings a sense of soothing, glacial calm with All This Has Passed Forever on the B-side.
For 16 blissed minutes, Mogard spells out a nostalgic fantasy in creamy strokes of Farfisa organ and Serge modular recorded at EMS studios, Stockholm, and later combined with field recordings to elicit a wistfully widescreen paean to his days on the workshop floor accompanied by the harmonious drones and cacophony of heavy machinery.
No matter the piece's provenance, though, it's simply a sublime example of Abul Mogard's gift for illusive, suspenseful ambient music which has seen his previous releases sky-rocket in 2nd hand value since their earliest, sold-out editions.
Over 30 minutes of ostensibly contrasting yet subtly, similarly spirited pieces that speak to the mystery and enigma of electronic music's tortured, searching and romantic soul in equal measure.

Matías Aguayo and Gary Pimiento's Cómeme label has been specifically formed to highlight artists making dance music in South America.

'Fokuz Recordings proudly presents the Better World LP by powerhouse duo Macca & Loz Contreras.

With their classic Liquid Funk inspired sound the Leeds/Portsmouth based duo have built a steady reputation as DJ's and producers pursuing the more soulful end of the Drum & Bass spectrum. No bombastic kicks and snares here. They tend to stay true to their uplifting ethos through reworking iconic soul samples into danceable feel good grooves underlined by natural-sounding breaks that roll with ease.

The Better World LP showcases the duo's best work to date. In addition to a string of new cuts also 4 previous released tracks are included in the package. These works are some of their most highly regarded tracks which obviously couldn't be left out. The new tracks include a vocal featuring by Hannah Eve + remixes by Lenzman, FD and S.P.Y In addition to their work as a duo this extended album also includes solo efforts by both Macca and Loz Contreras.

A few years ago we received an anonymous email with a link to three tracks and a simple
message: 'Hi, maybe you would be interested in this music.'

It's easy to be skeptical of yet another link from yet another artist in a world overcrowded with them, but listening is our job and so we do it. The songs were instantly striking: extraordinarily slow, somber, and spacious, each vaulted cathedral chord reverberating poetically into the distance, the melodies rolling out like fog across a cemetery.

Captivated, we requested more, receiving a single word in response: 'Yes.' Then, nothing. Eventually, three months later, we received another email with slightly more information: a name (Irma Orm), a location (Stockholm), and a bit of context (she worked alone, and progress on music was slow but steady ).

Fast-forward to mid-2016: we're informed the album is complete, and it is breathtaking. Hermetic gothic swan songs conjured from funereal piano, twilit ambience, minimalist percussion, and spellbinding vocals.

The mood is lulling and lush but lost in sorrow, stark grey structures looming in the night. Majestic open spaces between notes heighten the melancholic grandeur of Orm's arrangements, blurring the line between lament and lullaby. The songs less end than ebb away,succumbing to their own downcast beauty.

Ena revisits his Divided series with 2 unique releases compiling highlighted dissections of his live performances, further developed into individual tracks. HOROEX5 - Divided: Mind stretches out Ena's singular vision with 13 introspective slices of developed ambience. Fresh from collaborating with Rashad Becker for the Atonal Tokyo edition, Divided: Mind contains the kind of innovation that allows Ena to adapt perfectly to this electronic improvisation environment.

Fifth solo studio album from world-renowned scratch DJ, producer, composer and graphic novelist Kid Koala.
Kid Koala's first vocal collaboration / first time as lyricist / first instrumental composition and his first release on Arts & Crafts, following four albums on seminal electronic label Ninja Tune.
Icelandic singer-songwriter Emili´ana Torrini features on this first instalment of the 'Music To Draw To' collaborative series.
Kid Koala's lyrics tell a story of discovery and loss, based on the Mars 1 Mission.
Inspired by Kid Koala's interactive 'Music To Draw To' and 'Satellite' multimedia events.

'Music To Draw To: Satellite' is available as a deluxe sketchbook with CD, digipack CD, gatefold double LP and digital download album.
(The Deluxe Version of the CD is a limited edition 80-page foil-stamped hardcover sketchbook encasing a 20-page booklet.)

Fifth solo studio album from world-renowned scratch DJ, producer, composer and graphic novelist Kid Koala.
Kid Koala's first vocal collaboration / first time as lyricist / first instrumental composition and his first release on Arts & Crafts, following four albums on seminal electronic label Ninja Tune.
Icelandic singer-songwriter Emili´ana Torrini features on this first instalment of the 'Music To Draw To' collaborative series.
Kid Koala's lyrics tell a story of discovery and loss, based on the Mars 1 Mission.
Inspired by Kid Koala's interactive 'Music To Draw To' and 'Satellite' multimedia events.

'Music To Draw To: Satellite' is available as a deluxe sketchbook with CD, digipack CD, gatefold double LP and digital download album.
(The Deluxe Version of the CD is a limited edition 80-page foil-stamped hardcover sketchbook encasing a 20-page booklet.)

THE ALBUM IS SOLD NAKED, WITHOUT ANY SLEEVE WHATSOEVER.
180G VINYL.
THE LAST EVER ALBUM FROM L. PIERRE
ALL STORES WILL BE SENT A 12X12 INFO SHEET/ PLACEHOLDER TO RACK OUT IN STORE. THIS EXPLAINS THE RECORD IN DETAIL AND INCLUDES A TRANSCRIPT OF THE LETTER. SRD WILL SEND THIS OUT.
NO DIGITAL DOWNLOAD CARD / NO DIGITAL DISTRIBUTON OF THE MUSIC AT ALL.
LIMITED TO 500 COPIES ONLY. NON-RETURNABLE.

n late 2016 L.Pierre (aka Aidan Moffat) posted Melodic this letter below along with a dublate of the his new album '1948 - '

David Cooper
c/o Melodic
43 Express Networks
1 George Leigh Street
Manchester
M4 5DL

Hi Dave,

Surprise! This is a new - and final - L. Pierre album, which I'm hoping you and the Melodic team would like to release. Rather than send you MP3s and emails and all those ones and zeroes, I thought it best to post you a dubplate in exactly the way I'd like to see it released. There's some background to this one, so here you go ...

You'll notice that the record labels state that all the samples I've used are from Nathan Milstein's version of a Mendelssohn concerto - this is what was on the very first 33 1/3rpm long-playing 12' record in 1948. (There was a 33 1/3rpm 10' by Frank Sinatra first, but that was technically a compilation; Milstein's was the first proper 12' album as we came to know it.) These samples from the original 1948 release were all ripped from YouTube, the biggest free music streaming platform in the world.

I want to release the album as you have it right now: a vinyl-only LP, no digital whatsoever - indeed, upon the release date, I want to delete all the digital source files and any online promo streams we might do (we'll have to advertise it in some way, of course). And on top of that, I want to release it with no sleeve. There are a few ideas here. Firstly, I don't want a pristine, digital document that could last forever; I want the music left to the elements, I want it to live and scar, with each record's acquired crackles, pops and scratches making them unique and identifiable to their owners. And while the natural thing to do with a naked record is protect it, I think it could be interesting to see how folk respond when we hand that responsibility over. Also, the sleeveless LP will look like one of those dusty, vulnerable strays you find in charity shops, which is precisely where L. Pierre began.

Another thing I'd like to do is have a locked groove at the end, adding another wee element of interaction - the album won't stop until the listener decides it should (which also works as an analogy for the resilience of vinyl in our digital age). And because the death of the album is proclaimed every few months these days, I wanted it to sound like a sort of ironic requiem. The title's an unfinished tombstone with no date of death: '1948 - .'.

If we do this, it will absolutely, definitely be the last ever record from L. Pierre (there's that requiem echo again). The End.

Anyway, hope you like it, and I do realise that a vinyl-only, self-destructive dialogue on the value of music and its new platforms, culture's cyclical nature, the supposed death of the album - and the seeming immortality and inherent nostalgia of vinyl - doesn't sound like the most lucrative of ventures, but I hope it's an idea that a few folk might connect with. And I think it sounds quite lovely too!

Cheers,
Aidan

* 'Veiling Reflections' is a one-hour dark ambient-jam that is to equal parts narcotic and haunting. The brand new piece by Robert Turman is an outgrowth of zweikommasieben's Surreal Sleep — an event series featuring audio and visual material by different artists exploring the realm of sleep.

* 'Veiling Reflections' was composed for an edition of Surreal Sleep during the RBMA Weekender Zurich in late 2016.

* Robert Turman is an American experimental and noise musician based in Oberlin, Ohio. In the seventies he rose to prominence as part of NON, collaborating with Boyd Rice, before leaving to pursue his own more expansive solo vision during the eighties. After years of silence, Robert started to release music again in 2008 — together with noise artist Aaron Dilloway and on his own.
* Präsens Editionen is happy to release this ambient soundscapes by Industrial-pioneer Turman as a limited edition of 100 professionally dubbed cassette tapes.

When Tresor founder Dimitri Hegemann stumbled into a former bank vault in East Berlin on March 13th 1991, he had little idea that the space he had unlocked would fast become one of Berlin's most influential and enduring techno clubs. "We didn't know what would happen 10 months later," he says. "We signed a lease for a year. Which eventually got renewed for another three months, and another three months.."

As Tresor celebrates its 25th anniversary with this work of artists from the US, Germany, China, France, Austria, Italy and the UK, it is worth dwelling on how the cultural conditions that birthed Detroit techno - economic neglect and broken industry - were mirrored by the disused bunkers and impromptu parties of post-unification East Berlin, where techno found new, vigorous expression.

Today, though the boom and bust of globalised capitalism has filled the void that followed the Berlin Wall, and techno has become a worldwide industry, we face a new political chapter, one defined by populism, nationalism and mistrust. Contemporary creatives should take inspiration from Tresor's story, an extraordinary experiment born from improvisation, resourcefulness and social neglect that uplifted the spirits of inner city communities for a quarter-century.

This record marks the spirit of those 25 years of creativity, a paean to the psychedelic music of Dimitri's youth. From the signature magnetic soundscapes of Vainqueur to the dark textures of upcoming Beijing producer Shao; from Jon Hassell's slow epicurean volutes, to the ritual auras of Marcelus and Claudia Anderson's contributions; from the dub-infused pioneering programming of Juan Atkins and Moritz von Oswald, to Mønic's enthralling cadences, it represents some of the old and new names that continually epitomise Tresor's perennial spirit of ingenuity. "We were space pioneers," says Dimitri.

The East Berlin of 1991 may have disappeared to gentrification, with Tresor's lonely vanguard joined by an army of venues catering to an international array of clubbers benefiting from low cost travel, many of whom settle in the city for good. Berlin is Europe's economic engine, headquarters to global industry and sole traders alike, where Polish, Kurdish and English are as likely to be spoken as German. That range of influences is felt in all areas of life, not least in the city's music.

"Without Tresor, Berlin would not be what it is today," concludes Dimitri. "Even though it sounds a bit pretentious, it is true. Tresor was the prototype for an extraordinary club. It was only possible as a combination of the right time, the right place, the right content and determined people."
Excerpt of liner notes, by Rob Sharp - November 2016.

Abstract Elements return to one of the founders of the Autonomic movement with two tracks that are a continuation of what shaped their stripped back, minimal approach to Autonomic and later what would be known as Microfunk'.

Abstract Elements have released on labels such as Exit, ASC's Auxiliary and recently for Noisia's Invisible imprint.

Nedostatic and Right Way are what you would expect from such talented producers, with both attention to detail and precision execution in their dynamics.

Both tracks feature in dBridge and Kid Drama's Heart Drive' podcast and followers of Exit Records and recent CNVX releases will find this to be right up their street!

Erstmals auf Vinyl erscheinen die drei Key-Alben des Osloer Produzenten Helge Sten aka Deathprod, Gründungsmitglied von Supersilent, die zwischen 1994-2004 in CD-Miniauflagen auf diversen Indielabels veröffentlicht wurden und als Klassiker des Dark Ambient gelten. Alle drei wurden von Rashad Becker (Dubplates & Mastering, Berlin) von den Original-Tapes in neuer Top-Qualität remastered und erscheinen jeweils auf 180g Vinyl im schwarzen Gatefold mit OBI-Strip.

Erstmals auf Vinyl erscheinen die drei Key-Alben des Osloer Produzenten Helge Sten aka Deathprod, Gründungsmitglied von Supersilent, die zwischen 1994-2004 in CD-Miniauflagen auf diversen Indielabels veröffentlicht wurden und als Klassiker des Dark Ambient gelten. Alle drei wurden von Rashad Becker (Dubplates & Mastering, Berlin) von den Original-Tapes in neuer Top-Qualität remastered und erscheinen jeweils auf 180g Vinyl im schwarzen Gatefold mit OBI-Strip.

Erstmals auf Vinyl erscheinen die drei Key-Alben des Osloer Produzenten Helge Sten aka Deathprod, Gründungsmitglied von Supersilent, die zwischen 1994-2004 in CD-Miniauflagen auf diversen Indielabels veröffentlicht wurden und als Klassiker des Dark Ambient gelten. Alle drei wurden von Rashad Becker (Dubplates & Mastering, Berlin) von den Original-Tapes in neuer Top-Qualität remastered und erscheinen jeweils auf 180g Vinyl im schwarzen Gatefold mit OBI-Strip.

Planet Mu are very excited to announce Jlin's long awaited second album Black Origami'. A percussion-led tour de force, it's a creation that seals her reputation as a unique producer with an exceptional ability to make riveting rhythmic music. Black Origami' is driven by a deep creative thirst which she describes as this driving feeling that I wanted to do something different, something that challenged me to my core. Black Origami for me, comes from letting go creatively, creating with no boundaries. The simple definition of origami is the art of folding and constructing paper into a beautiful, yet complex design. Composing music for me is like origami, only I'm replacing paper with sound. I chose to title the album "Black Origami" because like "Dark Energy" I still create from the beauty of darkness and blackness. The willingness to go into the hardest places within myself to create for me means that I can touch the Infinity.' Spirituality and movement are both at the core of Black Origami', inspired largely by her ongoing collaborations with Indian dancer/movement artist Avril Stormy Unger whom she met and collaborated with at her debut performance for the Unsound festival - 'There is a fine line between me entertaining a person and my spirituality. Avril, who collaborates with me by means of dance, feels the exact same way. Movement played a great role in Black Origami. The track "Carbon 7" is very inspired by the way Avril moves and dances. Our rhythms are so in sync at times it kind of scares us. When there is something I can't quite figure out when it comes to my production, it's like she senses it. Her response to me is always "You'll figure it out". Once I figure it out it's like time and space no longer exist.' Similar time shifting/folding/disrupting effects can be heard throughout the record - especially on Holy Child' an unlikely collaboration with minimalist legend William Basinski. She also collaborates again with Holly Herndon on 1%', while Halcyon Veil producer Fawkes' voice is on Calcination and Cape Town rapper Dope Saint Jude provides vocals for Never Created, Never Destroyed . Jlin will be touring extensively this year and is currently lining up appearances including Sonar festival. Later this year she will be collaborating in London with acclaimed UK choreographer Wayne McGregor who played her music recently on Radio 4's Desert Island Discs and described her music as quite rare and so exciting".

After establishing his unique voice on our SOMEWHERE01 compilation, Kiani & His legion is back on Something Happening Somewhere to expand his vision. He has gathered his own sonic palette to transform the underlying consciousness. Being alone with the self, it may seem one's own mind is the only one certain to exist. Not sure if you're the one who's watching from the ground or hanging upside down, the peaks secretly form a unity beyond their separateness.
Air Chrysalis is based around a stomping 808 beat, forming the basis of the vehicle trough which we begin our experience. The metamorphosis slowly commences when dystopian chords and pads uncover monolithic structures floating in mid air. Introducing further elements and a hypnotic skippy bass pattern along the way, it's certain there's no way back now. Giving an energetic punch to the ears, you slowly get sucked into the future sci-fi world Kiani & Hes legion has created for us.
Voigt Kampff takes us further into the cocoon. An epic eight minute anthem that celebrates the transformation, uncovering the veil of what's beneath. The melody slowly grows, rattles and opens up into an ear blistering eruption that will surely devastate some dance floors. It sounds both effortless and musical, an outspoken and intricately woven pattern of vibrations.
Electric takes a dirty and stretchy jungle break and combines it with some of the characteristic elements he introduced before while adding organic layers of marimba and a heartwarming voice to preserve that human touch.
On the B side we also find the majestic Fatima Yamaha remixing Electric, in which he twists the original into a ten minute long hymn that seems to keep building on forever. Starting out with a bad ass synth line, and adding a beautiful haunting and melancholic melody occasionally interrupted by a huge verberated kick. Another victory for the heart and mind.

Two all new Kiyoko tracks taken from 'The Horo Files' - a collection of Kiyoko releases for Samurai Horo.

In 2000, The Wire wrote of Chartier's work: "it's worth stretching the ears in search of Chartier's sequences of exquisitely sculpted sonic events, as gorgeous detail bodies forth out of the shadows"..., the same holds true today. Formed over the course of 5 years, Removed was a process of removal/erasure. Only trace elements appear from what was. Their interactions merely a ghost of a composition - subtle echoes across the sound spectrum. A glacially paced progression of discreet relational sonic events and flows. Inspired in part by the rigorous line drawings of American visual artist Linn Meyers, whose 2011 untitled drawing graces the cover, Removed draws the listener in to follow patterns. Meyers often creates large scale on-site works that transform a space into durational installations of seemingly endless lines. Seen from a distance these lines appear as almost natural ripples in a wall surface, but deeper, upon closer inspection, the delicate echoes and fluctuations of the artist's hand arise from the density of details. Chartier's precise sound compositions work in a similar manner. Austere and shimmering, the two compositions of Removed beg for careful listening on headphones. Or let these 2 compositions play quietly amplified across your space. Either way, a physically captivating dimensional experience. Removed is a continuing reflection on major aesthetic elements of Chartier's artistic language as it has evolved through the years. This is Chartier's first new solo studio album since 2013's field recording exploration Interior Field and 2012's purely digital Recurrence, both released on LINE, US.
Limited edition of 300 copies with embossed sleeve

Yet again the leafs are turning neon golden, reminding us of the change of seasons lying at the edge of our doorstep. The first cold breezes and the fading warmth of the sun, which we just took for granted so easily, sketch the outline of that mild and soothing melancholia resting in autumn's palms. A mood we can very well enjoy to bury in deeply and with Luise's newest release listen to closely. »MENTIS EXCESSUS« is a tenderly crafted tale, a musical journey that paints broad images of false memories and blurry resemblances. Like a Déjà-vu that lasts too long to put aside, it crawls up your neck to give you that eerie feeling of curiosity with which you look at the uncanny world that suddenly surrounds you.

We are very pleased to welcome »WIDE AWAKE« as the most recent addition to Luises's sheltered, little family, a project that has its foundations at the talented hands and hearts of »Niju«, »Ninze« & »Okaxy«. These three banded together for greater good to provide nothing less, but their as well as Laut & Luise's first album.

The Moonshine Recordings crew happily kicks off 2017 confidently by continuing its search for the finest dub-oriented bass music created by musicians from around the globe. This time the Polish flagship proudly welcomes Portland's Alter Echo and E3 - a duo that has been on everyone's watch list within dub/post-dubstep/soundsystem culture for over a decade. Their contribution to Moonshine catalogued as 'MS029', contains three chants that are vocally blessed by the Russian rootsman/dub purist Tenor Youthman. Together they unravel their dedication to dub music and the Marijuana plant that calls for international peace and unity.The producers Alter Echo and E3, more commonly abbreviated as 'AEE3', are notorious for their sonic booms and thick layers of smokey atmospheres that align at various tempos. Their iconical dubbing and analogue mixing aesthetics have allowed their music to resonate as artists in soundsystem culture. Together they strive to deliver dub of mesmerizing excellence and to champion sound. Tenor Youtman joins their magnificent styling, a Russian soundsystem pioneer who brings the message of love and consciousness across lands. His love for spreading knowledge and heavy bass goes beyond borders, with the help of his microphone.'Mary Jane' contains nothing but special sonics that will intoxicate listeners with a unifying sense of vibrations. Tenor Youthman's immediately grabs the microphone to uplift and inspire, while this dubstep-oriented production by AEE3 calls for a tenacious experience through sound. The more conscious-expanding Dub version of the title track uncovers the majestic sound the two dub magicians from Portland process and transmission vibrantly. Bass pressure that jumps off the walls of the hazy basements is felt from afar, an impact of anthemic oscillations that will stick to fans of dub music will stick for a while. The darker angle of 'Wolves' mesmerizes and overwhelms, fueling you with dread and darkness from the PDX area - and it's these sought-after dub plates that were bound to see the light of day on the trusted Moonshine Recordings.

Already declared by Backdrop as one of the best drum & bass releases you're likely to hear in 2014, Ivy Lab's Missing Persons EP is
nothing short of sublime; a collection of work from Sabre, Stray and Halogenix that'll simply take your breath away. Featuring their
mainstay vocal collaborator Frank Carter III on the title track, Ivy Lab carry us from sumptuous, warm liquid through to acid tinged
tech with Emperor's input and finish with some west coast, lo-riding electro crunk. Essential is an understatement.

This album is just so good, probably the most heavyweight, dread-filled Ambient LP you'll hear this year, exploring post-club dimensions with eight tracks of hazy hooks, engulfing subs and grimy thizz rent in acres of space, something like Arca via Bladerunner. Beneath describes it perfectly as 'uplifting whilst also being dread filled...'

Making up the first album release on Mistry after seven club-hingeing EPs from the likes of Batu, Laksa, Chevel and Webstarr, Kailin's Fracture occupies an introspective middle-distance between perceptions of club and ambient modes of reception by disintegrating dancefloor structures into a near-metaphysical presence with mercurial, vapourising gestures. Like Schrödingers cat in a bassbin, it's neither or, and possibly both at the same time, depending on your perception.

This paradoxical sense of detachment and immersion perhaps stems from the album's production; originally sketched out in a 2 month haze, then left to steep for much longer, before the collection's nuances and conflicting elements began to reveal themselves in remarkable formations such as the OOBE electro flex of Circling or the midnight quantum jazz dynamics of Gimp, or a really big highlight in the teetering, polymetric ambient pop of Respite.

No doubt it's a fascinating and quintessential turn for Mistry, one which lives up to the label's name and its roots in the duppie dread effect of UK soundsystem culture, yet never previously revealed by Beneath's imprint in such absorbing and heady style before now.

Hugely recommended!

At bleedin' last, The Boats' gorgeous debut album Songs By The Sea (2004) turns up on vinyl! Along with first-ever vinyl issues of We Made It For You (2005) and Tomorrow Time (2006), plus a very special side of unreleased, unheard outtakes, Static Clings (2017) - which are all collected in the The Boats Archive boxset, you should snap these limited runs while you can as they're unlikely to appear on wax again.

Scrolling thru the mists of time to 2004, a very different world indeed, and The Boats formed as an outlet for Kraftwerk-addicted composer Andrew Hargreaves and his pal, Craig Tattersall, fresh from a decade spent with cult post-rock group Hood and as half of The Remote Viewer, to pursue the ideas of post-rock, modern classical and lo-fi electronica along more intimate, personalised ginnels of folk and ambient music, with the cherry on their home-baked treats provided by vocals from another close friend, Elaine Reynolds.

Songs By The Sea was their wistful and charmingly humble introduction to the world; ten tracks balancing exquisitely pop-wise songwriting with gently pulsing, elusive electronics and a patina of crackle that became a real signature of their sound long before everyone else cottoned on and starting putting out pale imitations.

At the time, it received heavy rotation in our record shop, Pelicanneck, and was something of a shared secret between fans from Manchester to Japan via their home-town of Burnley, and still owns a certain section of our memory banks to this day that's often triggered by the smell of coffee, waffles and toasted rye bread in the morning just as much as smudged Hulme sunsets in summertime.

We don't want to gush about it too much but, listening to it now, and on a format the album always quietly yearned for, it's just chokingly nostalgic in its own, low-key and endearing style and leaves little doubt in our minds that Songs By The Sea is one of the finest ambient-pop records to emerge from this region.

So, so happy to see this first ever vinyl edition of The Boats' second album, We Made It For You, released in 2005 and vailable here as a super limited standalone release - or collected in a boxset with Songs By The Sea (2004), Tomorrow Time (2006) and Static Clings (2017) - this necessary vinyl edition forms a typically tender and heart-warming follow-up to their much loved and influential debut.

On their second album Andrew and Craig coaxed out a purely instrumental suite, leaving Elaine to her own devices (she would return on Tomorrow Time) while they drifted off into the sweetest reveries knitting passages of frayed, breezy solo piano and electronics nodding to Harold Budd, William Basinski or The Caretaker with the kind of burbling, gently glitching rhythmic tributaries that you'd expect from Isan, SND or Jan Jelinek.

All the tracks inside are named after their mates (hope they still are!), and effectively forms a sort of sketchbook of meditations on each character or group, like the rugged, melancholy Miles, Sean and Bodie is definitely nodding to them Demdikes and their soundbwoy, and you'll just have to imagine the rest.

Compared with other releases of that era, it's dated remarkably well as a record and a sound, which is most likely due to their future-proofing patina of distressed crackle and the electro-acoustic sound sensitivity of their approach to the material, managing to convey a quiet, intimate beauty without ever overstating it.

Gorgeous music.

Next in The Boats' vital vinyl reissue series, their 3rd album Tomorrow Time (2006) finds Andrew Hargreaves and Craig Tattersall embracing a host of collaborators on a fuzzy, downbeat blend of ambient and indie-pop themes, wrapping fragile vocals from Elaine Reynolds and Chris Stewart (Need More Sources) to a patented framework of prepared piano, strings and elusive electronics in the wake of their instrumental duo session, We Made It For You (2005). It's the first time it's ever been on vinyl...!

With the benefit of hindsight,Tomorrow Time takes on a curiously prescient nature; arriving a year prior to the biggest financial collapse for generations, at a time when the 'authenticity' of folk music was fetishised by posh people as Wyrd Folk (or smth) and the other main cultural points of reference were either retro-indie guitar bands, IDM or boisterous grime and dubstep.

However, The Boats' combination of lower case pop with rustling electro and acoustic textures quietly stuck out like a sore toe, and when combined the aggressive title tracks points towards a quiet but growing dissatisfaction with perceived excess in music, culture, or at least the same old same old.

In that sense, the group's roots in avant garde minimalism and myriad other non-commercial and pop styles really come thru on Tomorrow Time, but carefully distilled into an absorbing, subtly detailed sounds they can claim as their own, and quite unlike anything before or since - although many have tried to imitate it!

OK this one's really special: technically Static Clings is the last record by The Boats; presenting material from their tour-only Typewriter (2006) CD and the Sleepy Insect Music (2010) compilation on vinyl for the first time, along with a great haul of unreleased outtakes and even a megamix of The Boats by Modern Love's Miles Whittaker (Demdike Stare) and Gaz Howell (G.H.) in their lesser spotted Pendle Coven guise.

It's essentially all outtakes c. 2004-2006 from their early releases for Moteer plus the aforementioned rarities, clutching 13 cuts which have been left to mature over the last decade or so, and now provide a slightly more scattered but ever-enduring overview of Andrew Hargreaves (Tape Loop Orchestra, The Mistys) and Craig Tattersall's (The Remote Viewer, Hood) cherished time together in this vessel.

We absolutely have to highlight the sublime History Of Tape Hisses for what sounds like Instrumentals-era Arthur Russell jamming with Jan Jelinek, and likewise Why You Wanna Do This, and Shlom, Sonia and Conor, cos, well, aww w ww ww, but also the ghostly vignette Danny Norbury, dedicated to the cellist and another key member of their fold, and also for the salty kiss of their distorted hymn May Our Enemies Never Find Happiness (Version), the wobbly oddity of You Didn't Expect Me To Care, and lastly the perfectly opaque pop of Pendle Coven's remix, which uncannily recalls Uwe Schmidt's Pop Artificielle output as LB.

Sad to say they might now have to decommission Craig's crackle-box (actually an old B&H packet full of trapped woodlice, the evil b*stard) but it's dead lovely to have this new slab of (old) material in our mitts and finally complete our full fleet of The Boats' catalogue.

Ta ta! X

* 12" vinyl, Full Colour Artwork Disco Bag (not shrink wrapped)

* 2017 heralds the return of Arcon 2 to the Drum and Bass massive!. The brainchild of Leon Mar who's production skills are second to none. Leon was signed to Reinforced Records between 1996-1999 and was a major force in the scene. 'The Beckoning' by Arcon 2 and 'Tha Men Who Fell To Earth' by Leon Mar, are just two examples of his work from the golden age of DnB, still revered by many and considered to be classics.

* Leon Mar / ARCON 2 returns with a new single after too many years away from the scene! Get set for more deep and dark journeys throughout 2017!

Clear Solid Blue BlacK Vinyl - PRSPCTRVLT018

Mastering by Stazma

Early pioneers of the German New Wave music scene, Din A Testbild were formed in 1978 by Mark Eins and Gudrun Gut (former member of Einstürzende Neubauten, Mania D. and Malaria!). Din A Testbild played a significant role in defining the avant-garde music of Berlin. Legendary is their partecipation at the Festival Genialer Dilletanten" in 1981.
'Programm 4' is their fourth album. Mixed and auto-produced by Mark Eins near the Wall in West/Berlin in 1983, the album was rejected at the time by Innovative Communication, considered too much synth/punk/techno', while the new label managers were looking more into new age stuff. In fact Schulze eventually sold the label in 1983, which started to release a plethora of acts loosely grouped around the NAM genre.

Early pioneers of the German New Wave music scene, Din A Testbild were formed in 1978 by Mark Eins and Gudrun Gut (former member of Einstürzende Neubauten, Mania D. and Malaria!). Din A Testbild played a significant role in defining the avant-garde music of Berlin. Legendary is their partecipation at the Festival Genialer Dilletanten" in 1981.
'Programm 3' is their third album. Mixed and auto-produced by Mark Eins with help of Ziggy Schöning, it was released on Klaus Schulze's record label Innovative Communication in 1983.

* Limited Edition Gold Vinyl *

* Dom & Roland's Label has gone from strength to strength from its conception in 2006. Featuring collaborations by Dom with other Artists such as Noisia, Hive and Amon Tobin the label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'.

* ALIENS - DOM & ROLAND
Originally Destined for the Metalheadz Label in 1997. Dom & Roland's Classic dubplate has been retrieved from being buried deep underground in the dark to see it's release into the gladiatorial arena of the world . This track was bombdropped on many occasions at Metalheadz 'Blue Note' Sunday Sessions by all the A list dj's at the time such as Doc Scott, Grooverider , Kemistry and Storm and Peshay. Even now 20 years since it's creation date, it still has the ability to destroy a dancefloor.

* ZODIAK - DOM & ROLAND
Experimental Futuristic Music , Another big hitter at the Metalheadz sessions in the 90's. Another Highly sought after dubplate from the dungeons of Dom's secret lair. Zodiak is an intricate technical track that would be hard to create even with todays tools. One of the blueprints to experimental drum and bass today, and being pressed on limited edition clear vinyl this is a must have 12' for any collection.

* DJ PLAY: Dom & Roland, Grooverider, Peshay, Loxi, Break, Andy C, Fierce, Doc Scott, Dbridge, Goldie, Ant TC1, Gridlok, Marcus Intalex, SB81, Ulterior Motive.

* RADIO PLAY: Radio 1, Noisia Radio, A list of smaller radio stations around the world, about 30 of them.

* PRESS: MIxmag Review, DJ Review, Various blogs, Facebook, Twitter, Snapchat, Instagram.

Samurai Horo starts 2016 with the second part of Pact Infernal's concept release 'The Descent'. Split into 2 sections, both releases are collectively themed around the infamous 'Inferno' section of Dante Alighieri's 'Divine Comedy' poem from the 14th century. 'Inferno' is an allegory telling of the journey of Dante through Hell, guided by the Roman poet Virgil In the poem, Hell is depicted as nine circles of suffering located within the Earth. Allegorically, the Divine Comedy represents the journey of the soul toward God, with the Inferno describing the recognition and rejection of sin.

This dramatic setting is the perfect canvas for the music in 'The Descent' (Chapter II).Subtle ghostly echoes hang ominously over the entire release. Cruelly menacing with a perfected subtle brood dominating the overall atmosphere, Pact Infernal use percussion and mutated chants to massage their driving rhythms.

Preferring to stay anonymous has given Pact Infernal the ability to create an other worldly musical environment devoid of pre conceptions and human imagery attachments. Their sound has attracted people like Lucy from Stroboscopic Artefacts (who remixed The Descent Chapter I) and Samuel Kerridge. We predict many more converts to the Pact Infernal sound with the release of Chapter II into the world.

Support from: Ancient Methods, Bill Kouligas, Logos, AnD, Cassegrain, Marco Shuttle, Cio D'Or, Lakker, Inigo Kennedy, Manni De, Francois X, Edit Select, Ntogn, Pfirter and more
"Absolutely amazing and stunning. Genius work." - Lucy.

High Plains is the duo of Scott Morgan and Mark Bridges.

Morgan, based in the Canadian Pacific Northwest, is predominantly known for his drifting, textured soundscapes released under the pseudonym LOSCIL.

Bridges is an accomplished, classically-trained cellist residing in Madison, Wisconsin.

The two met in Banff, Alberta while they were simultaneously there on residencies at the Banff Centre for the Arts in 2014. They first collaborated when Bridges contributed cello parts to Morgan's generative music app ADRIFT, recorded in Seattle in 2015.

In early 2016, the duo embarked on a collaborative set of compositions in the oxygen thin air of Wyoming, spending two weeks holed up in a refurbished school house in the town of Saratoga, where this album was recorded.

Inspired by Schubert's Die Winterreiseand the rolling landscapes of
their surroundings, the collaboration culminated in a collection of recordings that evoke a shadowy, introspective and dizzying winter journey.

Cinderland takes cues from classical, electronic and cinematic
musical traditions but is mostly a product of the rugged, mythic landscape; vast and sprawling with a wild, uncertain edge.

The recording was made with a portable studio and all sounds were sourced on site, most notably from Bridges' cello, the resident Steinway D piano, and field recordings collected from the local soundscape.

The results are a site specific, wide scope view of thehigh valley terrain the duo worked in, a mix of analog and digital, neoclassical and modern electronic sounds, a complemental series of tracks to become absorbed in, a truly deep listening experience.

The cover art forCinderland was created by London-based artist, Peter Liversidge.

More fire on Sector 7 - After making some deadly moves with that hi5Ghost and Commodo link up disc, the Bristol label headed up by Boofy have come through with another lava disc, this time featuring Lemzly Dale's No Long Talk and a remix from Bandulu heads Kahn and Neek. 100% certified grime killers, pressed up nice and loud on a 12' - what more do you want

Wrecks label Heads collabo!!! Three fresh cuts that get the feet moving. Essential!

Im Frühling 2017 erscheint Odd Beholders zweite EP "Atlas". Zudem geht das Schweizer Indie-Elektropop-Duo auf Release-Tour.Odd Beholder verbinden introvertiertes Songwriting mit einem entrückten und dennoch beinahe nüchternen Sound. So erhaben wie ein leerer Parkplatz im Morgenlicht. Dabei ist Pop das Ziel, nicht der Ausgangspunkt: "Wir suchen unseren Weg aus dem Experiment in die Einfachheit."
Mit der Veröffentlichung ihrer Debüt-EP "Lighting", dem heimlichen Hit "Landscape Escape" und dem dazugehörigen in Aserbaidschan gedrehten Video haben Daniela Weinmann und James Varghese bereits Wellen geschlagen und wurden bei illustren Medien wie NOWNESS, i-D, ZEIT und Intro besprochen. Nach Einladungen zu Reeperbahn, Great Escape und m4music Festival sowie Touren im Vorprogramm von Hundreds, veröffentlichen Odd Beholder im April ihre zweite EP "Atlas" auf Sinnbus und Mouthwatering Records.

We can attest 'Despertar' is one of the most intriguing and beautiful albums to emerge from the Spanish's electronic music scene in 2017. A celebrated debut by the artist Piek, emerged from the most versatile musical scene, not in vain he creates inspired by the magic of great names such as Sigur Ros, Moderat or Bonobo.'Despertar' is the title chosen for the debut LP of this producer and dedicated music lover from Pamplona

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.

Espen Beranek Holm is a Norwegian musician and comedian, born 1960 and began his music career as a clarinetist. Inspired by early synthesizer bands Kraftwerk and The Residents, he began making experimental pop music. His debut single Dra te' hælvete' was released in 1981 and was immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.

Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, Sound of Danger', was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single's fun, kitsch pop, the album is cool and static, driven by thin rhythm boxes, cold synths, and glacial guitars. Taking heavy cues from David Bowie, all of the songs are sung in a nasally English accent, a rare occurrence in Norway at the time. The lyrics are melancholic, but tinged with paranoia. There are also upbeat tracks that evoke a prog or glam sensibility a la King Crimson, Alan Parsons, or Roxy Music.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black, and white lines that evoke a visualized Richter Scale designed by Monica Moltzau. Each copy includes a 2-sided 8x11' insert with lyrics and an autographed press photo of Beranek.

Nocturnal soundscapes, brooding electronics, ambient layers and occasional hooks: "" compiles rare and early recordings of Seoul's Byul.org, an influential creative collective known for its multidisciplinary/one-stop shop approach & post-punk-inspired DIY aesthetics. Carefully compiled by the collective's director TaeSang Cho and The Notwist's Markus Acher, the album is out via Alien Transistor.What started out in 2000 as a group of friends who'd meet for drinks (and for sharing the occasional poem), has long established itself as a shape-shifting key player of Seoul's thriving scene: With a huge amount of both commercial and non-commercial projects under their collective belt, Byul.org's members -TaeSang Cho, Yu Hur, Jowall, YunYi Yi, and SuhnJoo YI - went from publishing to recording, from releasing tunes to doing art shows, offering everything from branding to consulting and art direction, from naming and design to software development along the way. Although their list of clients includes Atelier Hermès and the Venice Biennale (they did the Korean Pavilion twice), the group still remains a drinking circle of close friends at its core: Buddies who love to create music and document their daily lives via recordings and performances... indeed: Sometimes all it takes is the right crew.Accordingly, for Byul.org's members, music has always been one outlet among many, one mode of expression to accompany and soundtrack others: Most of the songs on "" were originally released on CDs that came with the collective's own Monthly Vampire, A Magazine, while others were self-published via the group's own label Club Bidanbaem. Featuring sonic diary entries recorded between 2000 and 2007, the album is a nod to personal favorites such as Eno and Aphex Twin, Joy Division and Kraftwerk, personal hero Robert Smith, as well as Korean stalwarts such as Jae Ha Yoo, and Min Ki Kim - and yet there's hardly any daylight around, to be precise - hence the title: "Traditionally in Korea a 'BamDokkebi' is a kind of ghost or monster of the night, but it has also come to mean people who spend their nights out instead of sleeping. We've always been a group of 'BamDokkebi' - drinking, DJing, doing stupid things. These recordings document our night life in different ways, and we wanted to share them with other 'BamDokkebis' (Nacht Dämonen) like us."Far from polished and often sparse, the 13 tracks all share a rather dark and haunting vibe that's partly inspired by "drug culture, dance floor scenes, the LGBT scene, and the hippie culture in Korea". Ranging from fairly straightforward synth/electro tracks (e.g. "Friday Night") to hazy hymns/understated pop tunes (e.g. "20th Century Of Me And You"), from more experimental textures (e.g. album opener "Job") to minimalist bangers ("A Customer") and haunting vocal tracks ("City Made Of Lights"), it's difficult to escape the soothing, cinematic pull of this nocturnal "Secret Show".The Korean music scene has always been somewhat elusive on the global stage - even world-class acts such as Sanulim and Shin Jung Hyeon remain a bit of a mystery abroad - but this shouldn't be confused with mere insularity. These 13 tracks offer a peak into a hidden but vibrant scene, a glimpse of what takes place while the rest of us are sleeping.

At long last: Here come the demons of night, Seoul's original Nacht Dämonen.

Following the critical success of their three remarkable EPs, Moxa, Cloud City and Catapelt, the union of Welsh 'Super Producer' Llion Robertson and classically-trained composer Seb Goldfinch as pioneering musical duo, Cotton Wolf bears the fruit of their debut, full length release. Their nine-track album, Life In Analogue, is released on 28th April by Bubblewrap Collective both digitally and on vinyl.

Occupied by the growth in connectivity, yet lack of meaningful connection between people in an age of real-time digital communication and high-speed travel, Cotton Wolf's work exploits the constant tensions between man and machine. Actively resisting the threat of digital post-production techniques that risk deleting human presence from music entirely, Life In Analogue seeks to outlive modern trends by setting warm, human hands upon the cold levers of contemporary, electronic music. As Cotton Wolf's first release on vinyl, their choice of format is itself an extension of an artistic process that manages these exhilarating, contemporary conflicts.

These dichotomies have been confronted, interpreted and now presented as the evolution of Cotton Wolf's sound as Life In Analogue melds influences and boldly takes the baton from kindred musical spirits. Where there are traces of A Guy Called Gerald, there are hints of Massive Attack and where there is kinship with Hans Zimmer or Hans Richter there are traces of 808 State and New Order. It is all underpinned by unified elements - as effective in affecting the human heart today as they ever were - of epic classical strings, synthesised sounds and the sparing use of evocative vocals. It's an album born equally in Cardiff as Singapore and Barcelona, with the pair responding to experiences in the streets, clubs and studios of international cities to document modern ways of living, all as uncertain as they are thrilling.



Life In Analogue follows the eight tracks released via their two early EPs, the first being their 2013 debut, Catapelt, which crept into European consciousness through the support of Berlin-based electronic enthusiasts. The follow up, 2014's 'Cloud City' saw the pair garner remix commissions from Gulp ('Vast Space') and Trwbador ('Several Wolves'), before arriving in 2015 at their most successful release to date, the 'Moxa' EP.

Ltd. to 300 copies,

NYC based artist Evan Caminiti breathes life into the Dust Editions imprint with the release of Toxic City Music. Caminiti has explored electro-acoustic music since the mid 2000's, the latest transmission being 2015's Meridian. While that album was Caminiti's first to omit electric guitar, he has now returned to the instrument. Here it is buried it in an electronic mist and melted down, it's sonic fabric reshaped.

Toxic City Music was inspired by the psychic and physical toxicity of life in late capitalism. Conceived throughout 2015 and 2016, Caminiti captured the sounds of NYC's machinery and voices before weaving them into his studio experiments. This collection of song mutations unravels in hazy plumes and serrated edges, concrète sounds mesh with disembodied strings and corrosive electronics on "Joaquin", drones ripple under stuttering rhythms and crude synth detritus throughout "NYC Ego". On "Toxic Tape (Love Canal)", layers of digital degradation smear guitar clusters, dissolving into a dubby devotional-ambient space.

The album was mastered and cut by Rashad Becker at D&M and features contributions from Jefre Cantu Ledesma and Rafael Anton Irisarri.

Haraam (Arabic for forbidden, the opposite of halal) is Copenhagen-based noise artist Martin Schacke solo project. Going on since 2014, he has released a handful of tapes on underground labels as Fallow Field and Cønjuntø Vacíø as well as on his own Moral Defeat.

Largely inspired by the refugee crisis and changes in the political environment in northern Europe, these six tracks are a perfect blend of bass heavy rhythmic noise, lo-fi industrial techno with a great focus on atmosphere, droning noise and concrete soundscapes from the Middle-East.

Heatsick and Bass Clef partner up and deliver five transparent blue tracks for Angela Bulloch's ABCDLP, which apparently were born out of a live performance of the two (or three) at Art Genève earlier this year. Both calm and frenetic. Poetry infused and few inches off the ground pop music.

The first release on Bloc's new label features the emotive synth-drenched vision of newcomer Jake Chudnow. The blissed-out exaltation of Shona has soundtracked the resurgence of Bloc and we are thrilled to be able to make it available in circular format for people.


This double A side 12'' also features the virtuoso Prelude to Shona, a beatless, ambient exploration of issues which will remain unresolved until the listener embarks on Shona itself.

'I could go on and on about the insane virtuosity, about the rare analog wind synth that almost no one in the world plays anymore, about the most unique intervallic melodies and harmonies, but it's all secondary to the simple beauty that Justin Walter is able to conjure up with his solo music.' Colin Stetson

Michigan trumpeter Justin Walter's solo work centers on evocative, intuitive explorations of the EVI (Electronic Valve Instrument), a rare wind-controlled analog synthesizer from the 1970's.

Its unique, smeared tonality allows for an expressive range of glassy, jazz-like textures, which Walter loops and layers with hushed electronics and twilit trumpet, painting opaque landscapes of resonant beauty.

Walter's 2013 debut, Lullabies & Nightmares, included a handful of collaborations with percussionist Quin Kirchner but Unseen Forces finds him fully solo, refining the project to its essence: shape-shifting watercolors of pastel haze, lit by the soft synthetic glow of electric breath. It's a sound both modern and timeless, fusing emotion and technology, gauze and melody, force and fragility.

From Justin Walter: Unseen Forces is a collection of recordings that document the use of improvisation as a means to create sounds that can either function on their own or serve as the foundation of, or source material for, additional improvisation. There was a definite process used to create this music but at no point was any music ever written or composed.
When putting this music together I was often aware of feelings related to density, spacing,
silence, and the sense of time pulling back on itself, like trying to stretch a scene and pull on it in ways that distort it ever so slightly. This is a record of melodies, alone and in complex relation. This music is a reflection of both feeling, and thought, as much construction as composition. The recordings of the EVI, as well as the sequencing done using samples of those recordings, are mostly the result of exploring melody through intuition. Harmonically simple, but with a complex pallet of texture.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, October 2016 Digital Transfer: Jonathan Fitoussi

Translations: Valerie Vivancos Layout: Stephen O'Malley
b
Coordination GRM: Daniel Teruggi & François Bonnet Executive Production: Peter Rehberg

Heterozygote (1963-1964), 26'19

Composed between December 1963 and March 1964

In the field of biology Heterozygous (Heterozygote) means: a plant whose heredity is mixed. It implies that this composition is an attempt to engineer a language located both on the musical and on the dramatic plane. You could call this music "Anecdotal Music" for if the organisation of events is purely musical, their choice suggests situations justified at two levels: the music and the anecdote. However, the anecdote is hardly formulated and is open to plural interpretations. The listener is then asked to imagine their own story by rejecting - if necessary - the one suggested by the author. More specifically, the author suggests an anecdotal complex, potentially bearing several meanings. The work preceded by an opening is made of eight scenes, separated (or not) by interludes. And if we wished to push the paradox further, we could say that the titles of the scenes are optional and the interludes are also scenes, etc.

Petite symphonie intuitive pour un paysage de printemps (1973-1974), 25'09

"This electroacoustic music is part of a series that could be called "imaginary soundscape". Unlike 'Presque rien ou le lever du jour au bord de la mer (almost nothing or daybreak by the seaside)', where the landscape narrates itself, here a traveller discovers a landscape which he tries to convey as a musical landscape. Brunhild and I were in the Gorges du Tarn area. We chose to take a small path that was going up a rocky mountain for about ten kilometres.

After a last turn, a totally unexpected landscape opened before my eyes. It was sunset. Before us, a vast plateau spread open with soft curves up to the horizon, up to the sun. The colours ranged from dry grass yellow to purple, in the distance, with the darkness of a few small groves punctuating the space. The almost bare nature was presenting itself to the eye, free from any obstacle. We could see everything. Later, when I Photo © Laszlo Ruszka, 1963 recollected this place and the sensations I had experienced there, I tried to compose a music that could revive this memory. The "Causse Mejean" is a high plateau, about 1000 m high, in the Massif Central mountain range. It is dotted by scattered farms. A few people bring their flocks of sheep home. I thought about evoking this solitary and hazy human presence by including snippets of conversations I had had with some of the shepherds. Human language is woven into the musical texture, the sound of the voice says more than its actually meaning. Once, a shepherd told me "... I am never bored. I listen to the landscape. Sometimes I play my flute and then I listen to the echo responding..." Thinking of him, I used the flute and its echo in my music." Luc Ferrari. October 18, 2002

Matt Jencik is a musician based in Chicago. His most recent band, Implodes, released two albums with the label Kranky earlier on this decade and Jencik has been performing and recording since the early nineties in bands such as Hurl, Don Caballero, and more recently Slint, PAPA M and Circuit Des Yeux.

Weird Times is Matt Jencik's debut solo album, in which he presents ten pure ambient, abstract drone tracks. Each song has been written using samples of his old, unused guitar riffs as their source. In composing them, he took that era of his songwriting through a process of 'burial' by deconstructing the rock guitar riffs and arranging them into very usable ambient sounds, and thereby developing a new way of composing freely. It is an immense pleasure to be able to showcase such a great modern album, which is both dark and dreamy, showing an impressive maturity and formidable talent.

* Integral 035 reveals a new mysterious new act to the label, taking the project to new heights as the next production outfit to the tribe. Meet Mohican Sun and their immense debut 'Dead Sea' EP. Set to cause a real stir with their unique take on the DnB sound, this brand new collaboration project includes artists from the original camp plus additional members.* Kicking off the new EP, the epic sounds of 'Where Did You Go' instantly capture. In it's first few plays, tastemakers in the scene are already hyping this emotive and uplifting future soul DnB anthem. The sultry, subdued vocals set against stunning musicality and extra-large bass make for an ultra powerful and beautiful dancefloor groove. As UKF perfectly sum it up, 'It's all strings and wins'...

* Next up, the title track 'Dead Sea' is lethal subterranean heaviness. The tribal intro suddenly drops into a monstrous underwater destroyer with its sub frequency bassline and percussive programming set to cause instant shockwaves in the form of frenzied head nodding / moves. Hold tight for many rewinds on this one!
* 'Sudden Change' switches the mood back to beauty. This smooth, new wave soul tune vibes off raffinated funk. Fronted with infectious vocal licks and filtered hooks, the layers of jazz-inspired melodies and warm bass are simply stunning.
* Mark your iCal's now with October 21st as the official release of new powerhouse DnB Mohican Sun and their versatile debut EP 'Dead Sea'. The 4-strong production will launch across all formats with supercool and limited edition collector's artwork. Reserve
your vinyl copy now to avoid disappointment!

Keeping up the hectic release schedule of strictly one (1) record per year, Om Unit & Sam Binga are proud to present the final instalment in the Trans-Continental Trilogy: the Trans Siberian EP, on their very own BUNIT imprint. Following on from the Trans Atlantic and Trans Pacific, the Trans Siberian EP showcases a further four innovative yet dancefloor-ready takes on uptempo dance music, ranging from the quarter-speed modular depth of 'Baby Steps', through the baile funk-meets-acid intensity of '2000 Dogs', the ghettotech-jungle mania of 'Up & Under', all the way to the unique grime-boogie-dub hybrid (!!!) that is 'Optimist Prime'.
Built using an equal mix of lo-fi and cutting-edge production techniques, the Trans Siberian EP continues the progression of the BUNIT sound, referencing themes and approaches that have subconsciously threaded their way throughout the trilogy while still sounding nothing like any of the pair's other releases. Available direct from the artists on vinyl and digital via bandcamp, vinyl only copies will be appearing in the finer record shops around the world via Unearthed Sounds distribution. Where next for BUNIT As of right now, we have no idea - but the journey will definitely be worth taking.

Written and produced by Mark Clifford and Scott Gordon. Cut and mastered at Dubplates & Mastering, Berlin by Rashad Becker

Artworks by Joseph Haesche

Editions Mego is proud to present the first full length self titled release from Oto Hiax. Comprised of Mark Clifford (Seefeel) and Scott Gordon (Loops Haunt) it follows on from last years acclaimed EP 'One'. Embracing a series of sonic opposites 'title' employs electronic and concrete sound to construct a labyrinth of moods sliding from basic repetition to complex audio suites. The mood is such that the listener is advised to embrace the unexpected as unusual elements gently drift across the audio plane. Exquisitely executed, this is no foray into generic sound design but a rich and complex ruse whereby seemingly jarring sonic elements play out a subtle and harmonious bridge between a variety of musical styles and genres. Insh carries the kind of hallowed kraut comfort that only seasoned professionals can harness whereas Eses Mitre disorientates in the most enticing fashion. Oto Hiax have produced an album of exquisite detail and beauty. Now is their time.

Temperature's Rising, the very first collaboration between Perc and Passarella Death Squad, came out quietly in 2010 and has since grown steadily into a cult favourite. Now it returns on Perc Trax, remastered for 2016, with the original vocal mix having a full side of vinyl to itself for the first time.
On the B-side is the 'Temperate Dub', originally created back in 2009 but which until now has remained unreleased. Dubbing out the original mix by reducing the vocal to a few echoing syllables it is a fresh take on an well loved favourite.
Released on transparent red vinyl

Reissue for the 40th anniversary
Clear vinyl
Limited 500 copies world wide
New liner notes

ince its original release in 1977, Ragnar Grippe's seminal debut album entitled 'Sand' has been adorned with immense praise and influenced a myriad of ambient musicians and minimalist composers. Grippe's unique approach of bonding post-modern classical composition into the tape techniques of musique concre`te allowed him to be one of the leading experimental electronic musicians of the late 20th century.

Originally trained as a classical cellist, Grippe had relocated to Paris in the early 70's to study at the famous Groupe de Recherches Musicales (more commonly known as GRM) founded by musique concre`te pioneers Pierre Schaeffer, Pierre Henry and Jacques Poullin. Around the same time, Grippe had struck up a close friendship with French avant-garde minimalist Luc Ferrari. It was under Ferrari's direction and guidance that the young Grippe started to build a shared experimental music studio, aptly named l'Atelier de la Libe´ration Musicale (ALM), in which Ferrari shared his knowledge and instrumental supplies, thus forging Grippe's implementation of harmonic tone within the confines of musique concrete.
After a brief stint of electronic music study at McGill University in Montreal, Grippe returned to Paris in 1976 to compose with Ferrari at the now fully-realized ALM studio. One of the visiting artists passing through the creative epicenter of the Cite´ Internationale des Arts during this time was the painter Viswanadhan Velu. Velu's recent works consisted of various Sand paintings which were to be exhibited at the Galerie Shandar, the avant-garde art gallery and home to the Shandar record label which was the home to minimalist composers Terry Riley, La Monte Young, Cecil Taylor and Charlemagne Palestine.
Grippe was asked to compose a composition that was to be played during the Sand painting exhibition and was then to be released on the Shandar imprint in 1977. This release would be the first official album that would start Grippe's career as a modern avant-garde composer and electronic musician. After a celebrated release, 'Sand' has since been out-of-print on its original vinyl format for four decades and original copies fetch high prices amongst minimalist listeners and collectors.
Dais Records proudly reissues 'Sand' by Ragnar Grippe on vinyl for the 40th anniversary of its original release in a limited edition 500 copy pressing on clear vinyl featuring new liner notes by the artist on April 7th 2017.

RM is acronym for talented Italian electronic musician Riccardo Mazza, also half of the noise duo Lettera 22. With his solo project RM released a few tapes (Second Sleep, 8mm) until 2016's Unfit LP on Joachim Nordwall's iDEAL, a murky, harsh-edged journey to a scary club environment. The Hierarchy Of Being is his latest effort and RM first release for Yerevan Tapes.

The previous rhythmic noise approach seems gone here and more variegated perspectives are examined. Just listen to H.b.t. and its kraut-jungle progression, or the disco-ambient of The Hierarchy Of Command and eventually the cosmic free-jazz vibes of the title-track. One deep study on contemporary electronic music.

Ideologic Organ is proud to present the brand-new recordings from The Necks, the legendary Australian trio who excel in bypassing musical cliche whilst exploring and extending the practices embedded within improvisation, jazz, post rock, ambient, minimal, and textural, 'sound based' music.

The latest document from this long-running ensemble, Unfold, presents itself as a double LP, with four side-length tracks. A deliberate absence of numbered sides hands a substantial swatch of participation over to the listener, allowing her to navigate his own path through the soundscape at hand. The shorter length of the vinyl format, far from being a constraint upon the members of the ensemble, instead offers them a more compact horizon to contemplate, wherein the distance travelled is recalibrated to more immediate and dynamic textural concerns.

The immediacy of Rise confirms this new path, as the mournful tones of Lloyd Swanton's bass swirl around Chris Abrahams' crystalline piano motif, with Tony Buck's percussion steering proceedings into enlightening free-jazz territories. Blue Mountain cuts a swathe through the sonic undergrowth, with soul organ, rattling percussion, whistles, and loping sound-waves all vying for the foreground. Overheard retains a sublime melancholic aura as the percussion and keyboards simultaneously embrace and fall apart, whilst Timepiece skips along as a gentle gesture of further possibilities.

Exactly how The Necks conjure their particular magic - as deceptively simple as it seems - whilst always moving forward, is anyone's guess, but Unfold proves yet again that rules and schools are to be broken and re-formed into patterns and frameworks unlike those we know.

This unmixed collection of 24 Tracks and 4 Digital Bonus features new, original music from Spacetime Continuum, Move D., Fred P. from Soul People Music, i:Cube from Paris based Versatile Records, Detroit heroes Claude Young and Patrice Scott, a beautiful piano distortion piece in collaboration from Terre Thaemlitz, Deepblak boss AYBEE, Sandwell District founder Rrose, Dekmantel's Juju & Jordash, Rush Hour's Hunee under his Anto alias, Future Times' founder and Beautiful Swimmers' Max D, Donato Dozzy, and a stunning new bookend from Gigi Masin.

Outer worlds explored from inner space. Profound, meditative, organic sounds involving singing bowls, gongs and bells.

"Kazuya Nagaya is a Japanese artist who creates immersive, ritualized compositions through the use of bronze bells, gongs and singing bowls. Since releasing his first album 'Utsuho' in 1999, he has composed music for a range of projects, ranging from collaborations with Tibetan Buddhist monks to a remix for Plastikman. Nagaya uses bronze bells, gongs and singing bowls which are mostly used in Buddhist or Hindu rituals in Tibet, Bali and Japan. He creates unique ambient music by mixing these sacred instruments with modern instruments.

Nagaya`s music is rooted in philosophies and sensibilities unique to Japan. Both Japanese Buddhism -the likes of Zen- and Japan's exquisite forms of artistic expression, such as ink paintings and haiku, all put high value on extreme simplicity entirely free from ornamentation, and indeed it is in their simplicity that they express, paradoxically, the profundity of their spirituality. In this same sense, the ambient music produced by Kazuya Nagaya aims to convey profundity of spirit to the listener by virtue of its very simplicity."

Japanese producer XTAL, or Crystal, with plenty of form on the legendary Japanese label Crue-L Records, takes up remixing duties to re-map Nagaya's spiritual sound worlds. Swerving out of the wormhole, hurtling on into cinematic hyperspace, he paints an earthly interlude on the yang-chin.

Mondo are proud to present the soundtrack to Fight Club on Vinyl for the first time in over 15 Years. The Dust Brothers only film score to date, Fight Club is arguably one of the most enjoyable soundtrack albums to come out of the 90's and part of that has to do with the fact that it is one of the best sequenced scores of all time. Weaving all of the films cues from the film into 16 songs, the album winds up feeling like the best instrumental Trip-Hop album you've never heard. Buy it, or you will be incomplete. But be warned, this album is not beautiful, clean or perfect. It is not Mint, or even VG+. It is Fair at best. Just like you.

You are not your record collection.

Yves De Mey turns out a trio of razor sharp and bendy modular synth steppers
Loyal Subjectivity is Yves De Mey's second EP for Archives Intérieures, the label he co-runs with Peter Van Hoesen. In the EP's three tracks, repetition unfurls to reveal elemental rhythms. Combined with its pronounced spatial awareness, Loyal Subjectivity bridges the gap between De Mey's Counting Triggers release on Sandwell District (2011) and his Drawn With Shadow Pens album on Spectrum Spools (2016). Loyal Subjectivity marks the first vinyl release for Archives Intérieures as a limited pressing of 100 copies. Composed and mixed by Yves De Mey. Mastered by Peter Van Hoesen.

ASHXXX001 sees the return of Ash Walker with this underground banger, strictly for the heads!

A-side 'Train Wreck' is a low-slung, sultry and bass-driven track. It combines swung high hats and trumpet stabs with moody vocals and guitar chords - all underpinned by a powerful walking bassline. B-side 'Trees' is more indebted to hip hop, and carries with it the influence of classic Ninja Tune, DJ Shadow and The Herbaliser. Again, a deep bassline is used, which proves to be the driving force behind the track's boom bap drums and glassy, reverberant keys.

In the hands of the right DJ, these versatile tracks could sound great in a variety of settings - from jazz clubs, to soul and funk nights, to bass-orientated club nights.

Ash Walker has recently gained some really impressive support from across the scene, from DJs such as Gideon Coe and Gilles Peterson at BBC Radio 6 Music, Dom Servini at Wah Wah 45s and Rob Louie at Tru Thoughts.

ASHXXX001 will be released as a limited edition white label 7" ONLY

Over the past years Bézier has seen releases under the Dark Entries record imprint with the most recent 'Telomeres' EP this year. The title track or pronounced 'mina' translates from Japanese to 'Everyone'. Mina is a journey through space with the initial ascent marked by a moody window of time in which uncertainty dominates the mindset of the passengers. Once they break through the atmosphere and are proceeding as planned they land on the final destination, an interplanetary discotheque. Mina was recorded this year with Mark Pistel on the helms for mixing and features SF drummer Kevin Woodruff of Tussle fame providing live drumming for the last portion of the track. Along with the title track the b-side includes tracks previously released on compilations but appear here for maximum record playing enjoyment. 'Serengeti Drive' which appeared on Honey Soundsystem's earlier HNYTRX compilation of queer dancefloor artists is the slow burner of the group. 'Mysteries of the Deep' which appeared in the JACKTONE cassette compilation of Bay Area electronic stars is the soundtrack to an underwater expedition. Both tracks were recorded, produced and mixed by Robert in his home SF studio in 2009.

"Good, bad, love, hate and pleasure, pain, For ever linked go, I dream of pleasure with pain, It never, never came, No one but me to blame." The second vinyl release on Algebra of Need sees French artist Hanchi with a 4 track EP of Low speed, modernised techno teaming unsteady, tense atmospherics with slow burning percussion and resonant synthetic loops, shadowed by the sentiment of a love letter to the paramours of the past echoed in the poem above.
Housed in a full colour sleeve with a picture card insert designed by artist Marie De Cuir Mastered and cut by Lewis Hopkin of Stardelta Mastering.

* Peverelist and Hodge remix two tracks from the reverse Livity Sound label catalogue for a sampler 12' to be released ahead of a new dnuoS ytiviL label compilation 'Reverse Vol 1' in October this year.

* A pioneer of his own vision of the UK sound, Peverelist transforms Hodge's Amor Fati in to a signature writhing mesmeric groove whilst on the flip side Hodge irons out Bruce's 'Tilikum' into a booming, epic late night tool.

* The Livity Sound label has been at the forefront of UK electronic music for the last few years, pushing its distinct take on techno with sound system frequencies. The reverse Livity Sound label (or dnuoS ytiviL) has run concurrently alongside, releasing music complementing and reflecting the core artists output. The compilation will mark the first time the catalogue has been available digitally, previously having been vinyl only.

* Limited Edition vinyl release - 300 copies on white vinyl, with coloured inner sleeve and die-cut outer sleeve

* Vinyl also contains download card to get digital release and digital wallpapers..

* On the single:The second single from our new imprint Hybrid Music is titled 'Skeletons' featuring the well known and loved vocals of Grimm. This time around we have got a remix from 'Unreal' on the flip, bringing a heavier take on the original.

* On Grimm: If you have listened to our music before then you have probably listened to Grimm. His voice and our production have gone hand in hand since day one and become the sound people expect us to deliver. You can hear more of him on the album.

* On the remix: After having a hunt for a heavier producer to remix 'Skeletons' Unreal was our go to guy. We love his musical output and he got our attention with his remix of Dr Meaker 'Fighter'. He took us by surprise with the vibe of the remix and we love it.

Debut album by Phil Struck. Limited Edition of 100 pro-dubbed chrome tapes with on body printed labels. Download included.
Recorded, more or less spontaneously, between June and December 2016 at home.
Based on sampling from odd sound sources, random data streams and the usage of microphones and various synthesizers.
For fans of Lee Gamble, Jan Jelinek, Rashad Becker, Meakusma, Hidden Hawaii

The Band > SCARLETT'S FALL is a duo formed in 2014 by Ruth Childs (British-American performance artist and singer based in Geneva) and Stephane Vecchione (Swiss performance artist and musician based in Lausanne). They define themselves as dirty-girlie-kitchen-pop mixing catchy melodies and repetitive looping with fragile vocals and provocative texts. Out of their playfully ironic and poetic universe you can ear shades of CAN, Broadcast and Young Marble Giants. SCARLETT'S FALL toured their first album all over Switzerland and supported Tricky, Peaches and Anika. The Album > 'SCARLETT'S SCARED' is SCARLETT'S FALL ironically seductive second album. It all started with an (blue) demonstration vinyl entitled 'The Incredible Sounds of the Synclavier II' released by New England Digital Corp in 1981 to promote the first digital sampling system. Its content gave the basic atmosphere for the whole album: each of the 10 tracks samples a specific Synclavier sound. Add haunting melodies, mysterious vocals and fun beats and you get 'SCARLETT'S SCARED' complete. As the title suggests 'SCARLETT'S SCARED' is about being scared and takes its roots from vintage movies such as Klute (1971) and Metti Una Sera a Cena (1969) that deals with phone stalkers, insomnia, sexual tension, vampires, ghosts and explosive watermelon attack!

Following the massive success of Another night Stepart is back on Stand High Records with his debut LP Playground takes listeners on a deep bass journey and presents exclusive tracks crafted with the Parisian producer's subtle mixing technique and attention to detail. Recorded between 2014 and 2016 the LP is a tribute to the golden era of dub influenced dubstep with ten instrumental tracks as well as a vocal by Pupajim. Playing with styles, Stepart elegantly breaks the rules and invites you to settle in his Lost World Studio.

180 gr) Barrott adjusts his focus for 2017 and brings a wider context to the sound, embodying elements of world music and a more poignant mood.

The Guardian "Expands the limits of what the Balearic sound can be"

The Fader "Essential listening for anyone looking to clear some headspace."

NPR "Barrott distills an entire planet of sound into a local spirit"

Mark Barrott is a figurehead, a pioneer, and a truly free spirit that has dared to produce music that nourishes the soul. After a number of years invigorating the Balearic music scene from his Ibiza base through both his International Feel label and weekly sunset residency at La Torre, Barrott adjusts his focus for 2017 and brings a wider context to the sound, embodying elements of world music and a more poignant mood."As the madness of the summer and the cumulative effects of a busy year started to slip away, I noticed the mood change at La Torre, as the post sunset nocturne started to get longer and longer. It made me realise that this was a different kind of music, more intimate and reflective. What I call 'positive pathos' and it was a feeling I was very keen to explore once September finished and I headed back into the studio.

''A different feeling to the sunset haze of long drawn-out summer days, one inspired by the golden colours of Autumn and the neon city-scapes of Tokyo and Osaka at night. Walking with no purpose, dew filled gravel crunching underfoot, pensive, yet focused on the moment, not projecting into a distant future yet to be imagined, simply noticing the space in-between each breath and becoming aware that that is all there is and all there ever needs to be."

This rare piece of ex-yu socialist electronica was considered lost. Composed by famed Croatian artist Tomislav Simovic for the 1981 sci-fi extravaganza Visitors from the Galaxy which included men with breasts, beautiful alien heroine and Jan Svankmajer monster on killing spree, it is now found and published by Fox & His Friends label team. This gatefold limited LP release on 180g vinyl includes soundtrack cut from the original master tapes restored by Paul Alexander from Cedar Audio Ltd., extensive liner notes in English by Zeljko Luketic and Irena Paulus, new artwork insert spread with film set photographs and colour poster starring alien heroine Andra. Fox & His Friends is run by Leri Ahel (worldwide syndicated Mutant Disco Radio Show) and Zeljko Luketic (Electronic Jugoton, Ex Yu Electronica III, Borderline Music). We release music without genre boundaries, discover rare, obscure and forgotten stuff, the sounds that have timeless value, both contemporary and vintage.

Black Truffle presents People Pleaser, the new LP from Nantes-based drummer and percussionist Will Guthrie. Initially rising to prominence in Australia as a drummer in the fields of jazz and improvised music, Guthrie later turned increasingly toward electronics and amplified percussion, developing an idiosyncratic style of electro-acoustic performance characterized by shimmering metallic textures, rapid-fire textural transformations and aggressively high volume. Recent years have seen a return to the drum kit in both solo and collaborative work, in performances where Guthrie uses duration and endurance to push at the limits of his formidable technical abilities as a player in the free jazz tradition, working variations on short rhythmic units into an endless flow of non-metered pulse.
Although drawing on many aspects of Guthrie's past work, People Pleaser stands alone in the catalogue of his recorded work. Working fast and intuitively over a period of three weeks, Guthrie has crafted a suite of song-length pieces that combine his drumming with electronics, field recordings, and sampled detritus. Inspired by rough and ready sampling style of producers like RZA, J Dilla and Knxwledge, and by the endless possibilities of musique concrète, People Pleaser uses a highly divergent array of sound sources, building pieces from drum and percussion tracks left over from other projects, audio ripped from skate videos, noise electronics, fragments of a police interrogation, and anything else ready to hand. Guthrie's unique rhythmic sensibility is the thread drawing all these elements together, his drum performances propulsively rhythmic yet insistently irregular in a way that sometimes brings to mind the uniquely open rhythmic space carved out in the early Weather Report and other classic fusion. Drawing together a manifold of influences in an entirely sui generis way, People Pleaser is a raw, exciting, and surprisingly accessible peak into the laboratory of a unique sensibility.

Limited edtion vinyl 12´" with printed deluxe sleeve, 180g vinyl

Over the past 7 years WOLF Music have steadily blossomed into a bonafide platform for both auspicious and established producers of classically-minded House and Disco catering for listeners and DJs alike.

Having amassed a catalogue of EPs and LPs including the likes of Frits Wentink, Medlar, KRL, Mr Fries and Inkswel they are now ready to release their 4th full length LP this time from long term label friends Nicholas Church and Joseph Spencer a.k.a Casino Times.

Having first appeared on WOLF for the label's 23rd release - Casino Times have since released music through their own Casino Edits imprint, Futureboogie and Permanent Vacation.
Across each release the duo have built a musical identity that's characterised by subby electronics and off-kilter sampling.

Now they get chance to stretch their legs across 10 tracks, delving into an array of new territories, which pieces together their début LP, Familiar Circles.
Ranging from the beautifully breezy Oddity to the break-laden Love In Time the album begins to take shape as a masterclass in arresting sampling.

Continuing with the subtly mournful I Hope This Find You Well featuring Desert Sound Colony, followed by the potent, burly drums of Overcome. Panning out across its entirety as an album that achieves something rare in deftly dialing a broad spectrum of moods, adding further facets to WOLF's ever-expanding catalogue.

Always keep moving, never stand still; a motto that Dapayk & Padberg have been following consistently for more than ten years in every respect. For nearly three decades sought-after musician, producer and machine enthusiast Niklas Worgt has researched diverse club sound effects with countless projects, while singer Eva Padberg is an internationally renowned high fashion model. Since 2003 they have been traveling and performing together as Dapayk & Padberg. They are passionate sound nomads who capture acoustic impressions of their exciting journey. Each album is a sound logbook, which captures memories in the form of beats, tunes and skits. On "Sink This Ship", released a few months ago, the Berlin-based duo provided a first glimpse of what you can expect from Dapayk & Padberg in 2017, with their new album "Harbour". A harbour, where both stop off for the moment, because their next trip is already planned: after the release of "Harbour", Dapayk & Padberg tour Europe and ROW.

Black Truffle Records present the first official vinyl reissue of Charlemagne Palestine's Godbear

- Godbear is a 1987 solo piano recording originally scheduled to sit alongside Sonic Youth and Swans in the catalogue of Glenn Branca's Neutral Records

- Revisiting his signature piano style in 1987 after several years focusing on visual art, Godbear presents three distinct variations that demonstrate the development of Palestine's piano music performed on the Bösendorfer Imperial Grand Piano, the 'Rolls Royce' of pianos

- A classic release, and one that, because of the variety of approaches surveyed within, serves as an ideal introduction to Palestine's ecstatic and mysterious sound world.

- Godbear is presented in a deluxe gatefold sleeve designed by Stephen O'Malley and has been remastered and cut by Rashad Becker at D&M, Berlin.

Black Truffle is pleased to present the first vinyl release of Charlemagne Palestine's Godbear, a 1987 solo piano recording originally scheduled to sit alongside Sonic Youth and Swans in the catalogue of Glenn Branca's Neutral Records but eventually released on CD by the Dutch Barooni label in 1998. Although Palestine has worked in an enormous variety of media, his long form performances for solo piano are perhaps his most acclaimed works. Palestine immersed himself in the study of overtones throughout the 1960s, working first with carillons and then with electronic synthesis, searching for the 'golden sound'. Beginning in the early 1970s he continued his exploration of the complexities hidden within seemingly simple tones and intervals on the Bösendorfer Imperial Grand Piano, the 'Rolls Royce' of pianos. With the piano's sustain pedal constantly depressed, Palestine hammers out rapidly repeated notes, allowing a complex cloud of overtones to rise above the percussive texture of the struck keys. Initially working with simple intervals such as octaves and fifths, Palestine gradually expanded the harmonic range of his piano performances over the years, while still retaining their ecstatically single-minded nature.

Revisiting his signature piano style in 1987 after several years focusing on visual art, Godbear presents three distinct variations that demonstrate the development of his piano music after the classic recordings of the early 1970s. Occupying the entire first side, The Lower Depths stages a slow descent from the piano's mid-range to the Bösendorfer's cavernous additional low octave, building into a thundering swarm of booming overtones. Breaking entirely with the stereotype of clinical minimalism, Palestine's journey to the depths embraces passages of darkly romantic melody before slowly ascending to its starting point. The version of Strumming Music performed here condenses the developmental arc of the piece into eleven minutes, fanning out from a single octave to a complex harmonic wash that calls to mind Palestine's enthusiasm for Debussy and Ravel. Timbral Assault is like an evil twin of Strumming Music, transforming its insistency and harmonic complexity into aggressive intensity and creeping dissonance, foreshadowing Palestine's later collaborations with Christoph Heemann. A classic release, and one that, because of the variety of approaches surveyed within, serves as an ideal introduction to Palestine's ecstatic and mysterious sound world.

- Francis Plagne

London's avant prism-pusher Dale Cornish debuts for Rabit's Halcyon Veil imprint with an acute distillation of pointillist rhythms, stark noise and contemporary politics in the barbed bouquet of Cut Sleeve, following a multi-pronged attack on 2016 which saw him issue singles with Where To Now and The Wormhole, plus a remix of Billie Ray Martin and a guest vocal on Powell's Sport album.

Stripped to the barest truth of biting drums and his own vocals rent within acres of negative space, when compared with his run of solo aces for Entr'acte and The Wormhole, the six tracks of Cut Sleeve conversely amount to some of the most corporeal works in Cornish's solo catalogue whilst serving to neatly intersect the Halcyon Veil aesthetic from both mutual and personally developed perspectives.

Dale wears his politics explicitly and suggestively on Cut Sleeve. Starting with the nagging reminder that 'in 2016 it is illegal to be gay in approximately 75 nations and regions around the world' delivered in acrid noise and a slurred tone that makes sure the message rings out slowly and uncomfortably, the session presents in reductionist take on UK and US club music in brittle, certain, and uniquely, drily f*nked-up terms, taking on skeletal steppers templates in Cut and chasmic darkness on LW or Vauxhall, before feeding his own, bestial vocals back into the mix with a blend of glossolalic deviance, cryptic poetry and stoic funk in Emperor Ai.

Only 1x per customer !

DJ Dlux of 'Brain Records' fame, emerging from the Jungle scene in the early 90's alongside Bizzy B, T.D.K. and the Persian Prince. Dlux proudly shows his roots with this 3 tracker of Jungle Goodness! A)'Dub Fe Dub' a classic golden era Jungle Tune with
Dancehall samples from the 'those days' 'sound tapes' being cleverly used with fast rolling frantic drum choppage! AA1) 'Taking Me Higher' a hard stepping, drum twisting, vocal infused Jungle Riddim with super lush strings at the intro. 'I feel Alive!'. AA2) Iron Plate Remix, was originally released on 'Brain Progression' to raving reviews! This Remix features super sweet strings, Time stretching Drum programming as well as the genius
Amen chopping! This track is infused with the Dancehall sample 'Now here it comes - The Iron Plate' used fantastically by this DJ / Artist / Producer / Engineer, to a lovely effect. This is Jungle at its best. If you listen carefully, you can hear the 'Amiga', being put to good use! Don't sleep on this Limited Jungle 12'.

Asymmetrical code is the evolution of what is known as techno today. The "Code" or song, takes you on a journey to the future of the past where you can find an alternate "you" through contemporary realities and soundwaves.
Starting in 2013 as an underground label with no public releases, the main goal of Fragmento & Tracy (Owners) was to find and collect the perfect sound, ambients, and grooves to carry you to the musical meaning of Asymmetrical Code. On this journey the listener is also accompanied by visual stimulants created by the Label, to influence or facilitate the mind to wander and build a new creativity within you.
In this opportunity we have the pleasure to introduce in the A.C.R.002.V. artists such as ENDLEC - Fragmento - Ryuji Takeuchi - Tracy&MTD.
Stay tuned for the A.C.r. 003 .V.

Vinyl version of the new album (CD on Touch Records). Welsh musician Brian Williams (aka Lustmord) is largely credited as the originator of the "Dark Ambient" genre. He has credits on over 40 motion pictures including "The Crow" and "Underworld" and has worked with Chris & Cosey, Clock DVA, SPK, Melvins, Tool etc.. Derived from an audio library of cosmological activity collected between 1993 and 2003, Lustmord gathered Dark Matter from various sources including NASA, The Very Large Array, The National Radio Astronomy Observatory and various educational institutions and private contributors throughout the USA. Lustmord writes " Approximately sixty-eight percent of the Universe is unseen dark energy and approximately 27 percent is unseen dark matter. We have yet to discover what dark matter is, and only know the things it is not....The universe began of darkness, not of light. While space is a virtual vacuum, it does not mean there is no sound in space. It exists in space as naturally occurring electromagnetic vibrations, many well within the range of human hearing while others exist at different regions of the electromagnetic spectrum and these can be adjusted with software to bring them within our audio range."

We are happy to have pan/tone for our fourth Pfand release. Sheldon Thompson, aka Sid Le Rock, serves up three melodic pieces which catapult you into a deep dreamy trip, complete with floating hypnotic grooves and melodies. Rhodes Avenue comes with tropical bells, 70's-style rhodes piano with 80's-synth flavour. Animal Parade convinces with cinematic soundscapes and a memorable hymn which brings us to another level. Inyourendo surprises with electronic soundscapes which fit excellently for intros, interludes or ending of a set. And finally, the Pfand team, Hali and Yapacc as "The Cabin" adds a rework of Animal Parade with a percussive techno groove supported by a groovy bassline with deep drones that move directly into your brain.

REPRESSED !!
After Violinbwoy's successful Mono County twelver and Moonshine's tight collaboration with Steppas Records, the imprint is ready to march on and announce its next 12 inch coloured vinyl release waiting in line.

* FSTZ and Orko Eloheim re-launch to the outerverse with four tracks of bass, grime, and half-time drum and bass, lyrically spat out to drag you deeper, targeting hipster rappers, and everything that is fake underground.

01 - "Instigate" (Ambient, Intro tune)

A slow psychedelic intro tune featuring the first lyrical salvo from Orko. The beat is composed of clanging cymbals and break beats over sweeping basses that pitch up and down.

02 - "Crusaders Revenge" (Bass Music, Hip hop, Half-time dnb)

Dark and hard hitting is the best way to describe this track. Edgy lyrics over growling bass... the sound, the effects and the verse drag you deeper into the mind of the lyricist. Lands in the world of Amon Tobin, Alt-hip hop, Bass Music, etc...

03 - "Reptile Stepchild" (Bass Music, Hip hop, Half-time dnb)

This tune is dark but uplifting, funny but serious. Main elements are pulsating bass over forward-moving beats laced with Latin-like percussion. Repetition plays a large role in the structure, taunting the simplicity of modern hiphop world while making the most of the intended minimalism. Orko Eloheim's lyrics target the hipster rappers who snort their drugs off the phones they write their rhymes on.

04 - "Soundwave Killah" (Breakstep, jungle, grime)

Emphasis is on the dance floor on this club-ready tune. Intricate break work and square wave bass lines overload the soundsystem into a crescendo before the deep sweeping sub bass lines in the drop. Minimal vocals, big beats, big bass, big switch-ups.to a crescendo before the deep sweeping sub bass lines in the drop. Minimal vocals, big beats, big bass, big switch-ups.

Dutch live-act and DJ duo Artefakt release their atmospheric debut album on renowned techno imprint Delsin. Known separately as Robin Koek and Nick Lapien, the pair first appeared on Field Records before follow up releases on Prologue, Delsin and Konstrukt. Kinship portrays a compelling narrative in a body of work that will undoubtedly keep listeners engaged from start to finish.

DJ Feedback:

Kangding Ray (raster-noton): "excellent !"

Dj Deep (Deeply Rooted House): "nice vibes and sounds"

Stephen Brown (Realtime): "some really nice textures here"

Italo Johnson (ItaloJohson): "loving it!"

Eric Cloutier (The Bunker NY): "well god damn, boys! this is fucking amazing!! "fernweh" is maybe my top choice, but, as usual, i love it all."

Luke Hess (DeepLabs): "excellent work."
Neville Watson: "Along with Ambivalent, Artefakt are up there as my favourite producers right now. Returning techno to it's atmospheric roots. Great album, will support to the fullest."
Mark Forshaw (Mathematics): "Amazing productions as expected from Artefakt. Great album. Thanks!"
Neel (Spazio Disponibile): "very nice thanks"
Markus Suckut (SCKT): "all over an amazing release!"
Daniel Avery (Phantasy): "YES!"
Zadig (Construct Re-Form): "Artefakt ... Superb !!"
Karim Sahraoui (Transmat): "Amazing album..like the drama in it."
Dan Curtin (Metamorphic): "great album, into the whole thing"
Trevor Deep Jr (HPTY Recordings): "Love Artefakt! Another big release!!"
IORI (Field): "I've been waiting for this. Full support!!!!! Thanks."
Pangaea (Hessle Audio): "quality stuff here, many thanks"
John Osborn (Tanstaafl Records): "fuck yes. this is badman"
Alex.Do (Dystopian): "Great work. Been already a fan of their previous productions. Thanks."
Svreca (Semantica): "Nice package. Feeling specially "Tapestry". Support."
Dustin Zahn (Enemy Records): "#lovely #classy #deep #intimate #captivating #hypnotic #trippy #great #techno #detroit #peyote"
ASOK (Lobster Theremin): "i like all of this album, every track, but tapeloop 1 and return to reason really jump out."
John Heckle (MOS Recordings): "great this, start to finish, full support"
Inland (Infrastructure NY): "love artefakt - grabbing on sight! thanks"

'Bedouin sent me samples of music from the Arab and Islamic worlds to use as source material for an EP. I was so inspired by the material I wrote over thirty tracks. My intention was to be true to its sonic qualities and resonances, but bring it stylistically into my own world of contemporary electronic music. I approached this in the spirit of cultural exchange, conscious of my privileges as a white western male able to work in this way — only scratching the surface of another culture — and wary of the implications of this kind of appropriation. But this was a project born of love and deep respect for the source material, the traditions, the religions, the art and the music of this part of the world.
'Bedouin Trax reflects all this. Unity. Togetherness. Exploring the darkness and light in humanity to find our similarities, to find a way to connect with all people, from all diffent cultures and backgrounds. Salem from Bedouin said that some of the Sufi songs he had sent were songs about love — 'towards an entity of oneness'. This phrase informed the entire project.'

Blue Vinyl

EARTH is the third opus of FOUDRE! - a telluric drone quartet composed of Frédéric D. Oberland (Oiseaux-Tempête, The Rustle Of The Stars, FareWell Poetry), Romain Barbot (Saåad, I Pilot Dæmon), Grégory Buffier (Saåad, Autrenoir), Paul Régimbeau (Mondkopf, Extreme Precautions, Autrenoir), featuring electric chimeras by Christine Ott on ondes martenot.
Commissioned by Silke Schmickl from Lowave for the festival 'Singapour Mon Amour' in Paris, this album was recorded in the 16th century gothic church of Saint-Merry in June 2015 as a live soundtrack performance for EARTH - an experimental film directed by one of the most important Singaporean contemporary artists, Ho Tzu Nyen. Acclaimed by art and film critics worldwide and presented at some of the most prestigious international film festivals (Cannes, Venice, Rotterdam..), EARTH is inspired by the works of classical European painters such as Caravaggio, Rembrandt and Delacroix. The film unfolds dramatically as the camera moves across a theatrically choreographed scene involving 50 actors, as the details of a post-apocalyptic landscape are revealed frame by frame.
Ho Tzu Nyen on EARTH:
"We see the site of an unknown disaster, the debris of history that constitutes the story of Earth. Upon the site, lay fifty 50 humans oscillating between consciousness and unconsciousness, life and death. Sometimes, one of them emerges into the foreground - clutching a fist, batting an eyelid, or weeping for his neighbor. At other times, these figures recede from the light, losing their individual shapes to form a gigantic organism, breathing in unison, pulsating like a jellyfish, though their journey across Earth."

Cat s Squirrel presents a live recording of Masami Akita and Oren Ambarchi s performance in Campbelltown, Australia in May 2012. Although Akita and Ambarchi have known one another since 1993 and performed together as part of larger ensembles, this was their first performance as a duo. Together they create a massive wall of sound that moves from the cavernous to the blisteringly psychedelic, laying down shifting low-end structures over which pointillist details ricochet across the stereo field. Akita and Ambarchi s voices blend together into a sonic morass, Ambarchi s set-up expanded to include extra electronics and a spring reverb unit in addition to his signature guitar textures, and Akita utilizing both analogue and digital sound sources. Moving through a number of episodes, from deluges of reverberated metal screeches to rapid-fire iterations of visceral electronic tones, the record reaches a high point mid way through the second side, (where Akita s electronics gradually thin out into a stream of skipping chirps and screeches while around him Ambarchi builds up a dense mass of phasing low end guitar tones, the duo patiently developing an impenetrable wall of ecstatic, psychedelic noise. (Francis Plagne, Jan 2013 Limited to 500 units


Cat's Squirrel

Cat's Squirrel
Merzbow & Oren Ambarchi // Black Truffle
Cat s Squirrel presents a live recording of Masami Akita and Oren Ambarchi s performance in Campbelltown, Australia in May 2012. Although Akita and Ambarchi have known one another since 1993 and performed together as part of larger ensembles, this was their first performance as a duo. Together they create a massive wall of sound that moves from the cavernous to the blisteringly psychedelic, laying down shifting low-end structures over which pointillist details ricochet across the stereo field. Akita and Ambarchi s voices blend together into a sonic morass, Ambarchi s set-up expanded to include extra electronics and a spring reverb unit in addition to his signature guitar textures, and Akita utilizing both analogue and digital sound sources. Moving through a number of episodes, from deluges of reverberated metal screeches to rapid-fire iterations of visceral electronic tones, the record reaches a high point mid way through the second side, (where Akita s electronics gradually thin out into a stream of skipping chirps and screeches while around him Ambarchi builds up a dense mass of phasing low end guitar tones, the duo patiently developing an impenetrable wall of ecstatic, psychedelic noise.