Beats News

TLM025 kicks off with Erik Escobar and his cover version of Memories by Caruso. Erik is from Campinas in Brazil and a very well respected and talented musician. Taking the track into a completely different direction to the original this cover version is written for the dancefloor. Onto the AA side and Cormac Fulton (one half of Caruso) gives us a very deep track called Perplexed, a very moody affair with Matt Cox and Steve Conry on production duties. Next up is Time Machine from Detroit's Lorenzo Dewberry, another deep journey taking influences from the cities sound for another dancefloor piece. Lastly Gee W finishes off the EP with his track MarshMellow, a very nice laid back deep house track from the UK based multi-instrumentalist.
4 artists to watch over the coming years.

"A singular document of misunderstood minimal wave. A moment of pure DIY genius on this self-titled privately-released one off LP from San Francisco group Batang Frisco, recorded between 85-86".

trictly limited-edition 12” vinyl in full colour sleeve

Geo Rip is John Jones (Dope Body, Nerftoss) with Aaron Leitko and Mike Petillo (Protect-U). Broken samples and electronics improvised live to tape.

Their first time on vinyl, following an ‘insane’ cassette on TTT in 2019 and releases on their own Washington, D.C. based U-Udios label.

Limited!

A new year kicks off at Polytechnic Youth HQ, and it’s with an absolute beauty with which they re-enter the fray. The first new MITRA MITRA full length since 2018’s hugely well received “Marionettes” set (also on PY).


The band was formed in Vienna in late 2014 by Violet Candide and Mahk Rumbae. Originally from New Zealand, Violet Candide has been a fixture of the Vienna post-punk and minimal synth scene for many years as a DJ before making music with Mitra Mitra and her other projects Slow Glass (with Bobby from Low Sea), Peppy Pep Pepper and Violetiger. Whilst British musician Mahk Rumbae is known for his work as a member of the industrial/experimental project Konstruktivists, Oppenheimer MkII (with Andy Oppenheimer of Oppenheimer Analysis) and his solo techno project Codex Empire.

After working together on one of Violet’s solo songs, the pair decided to continue writing and working together as Mitra Mitra, with the aim of writing electronic songs not tied by any particular influence or style – but combining elements of synth pop, electro and minimal synth to create a modern take on classic period electronic music.

Despite initial plans involving studio only work, the band were persuaded to take to the stage in 2015 and have since played shows in England, Germany, Belgium, Hungary and their adopted home country of Austria; quickly gaining a reputation for their unique presentation and interaction with the audience.


The new LP is their strongest set yet; 'Hands Remain' is perhaps darker in nature than previous MM releases; although mostly completed before the pandemic, it somehow fits the times we live in now…

The sleeve design is based on a work by Canadian artist/filmmaker Michael Snow, who kindly gave permission for a processed version of his image to be used on the cover. A wonderful 12 track collection hugely recommended to fans of classic era synth pop, early Mute, Cherry Red, Blackwing Studios etc etc…. One time pressing available now!

Gravity Graffiti is back with a pearl.

A compilation of essential music created to make your nights and days fearless, from house to techno, trough ambient and experimental. A genuine selection of six tracks that speak the same language in different moods. Make your choice: fear or music!

Repress

M.E.R. proudly presents a new series of V/A releases which will be seeing the light along the year. MER006 is the result of two collaborative works between the label's artists roster with a special guest on the flip-side: Fernando Zapico aka Z@P.

On side A Santiago Uribe and Juan Dairecshion deliver two tracks with a gloomy atmosphere coming from post-punk/darkwave sound influences.

For B side Cabanelas and Z@P crafted two stomper tracks: heavy basslines, soulful drum plates and dark-mood synth sounds.

Metalheadz and Grey Code are proud to announce 'Renewal', the debut Grey Code album set to be released in January 2022 which follows up from the UK producer's seminal EPs ‘Reprieve’ and ‘Helios’, as well as a critically acclaimed remix for Goldie’s ‘The Mirrored River’ and Beatport No.1 collaboration ‘Call In Me’ alongside Phase.

With a huge package of new music ready to be revealed to a fan base that has grown around Grey Code's deep, soulful and intricately woven rhythms, he’s once again set an enviable standard. The album positions itself perfectly within the back catalogue of Metalheadz, with the South coast born producer now an imperative part of the roster.

‘Renewal’ marks a continuation in Grey Code’s journey, one which has enabled him to tour internationally, from Austria to Japan, as well as everywhere in between. Flexing the razor-sharp production skillset which he’s become renowned for, ‘Renewal’ is another example of the young producer’s value. It’s a fully immersive album from start to finish, including the sounds of ‘Prima’ setting the pace whilst ‘Voyage XIII’ follows suit. Meanwhile, ‘Actress’ delivers the darker hues whereas ‘Nowhere Ever’ takes you back into Grey Code’s more emotive musical landscapes.

Finishing the album is ‘Primrose’ with its old-school breaks, alongside ‘Illiad’ which nods to its namesake through being sonically epic. Grey Code has constructed a work of art through his ‘Renewal’ album and it’s easy to hear within every track. As his music flourishes alongside some of the most renowned cuts to come through within drum & bass, he is becoming more and more notorious amongst its circles. With music like the type featured on ‘Renewal’, it’s easy to see how he’s one of the most hotly tipped artists coming through this generation of music creators.

MINUIT minwee are an electronic female-fronted three-piece from New Zealand, who's angular alternative breakbeat is fast catching on.

2020 has been one rough ride for everyone, forcing us all to review what we thought was normal and maybe, one would argue, even our priorities.

Two years have passed since their previous Inflict LP and we don’t really know how what recently happened impacted on the band’s mastermind Michael but what’s sure is that Veil Of Light are now a fully grown-up band.

Landslide is their fifth full-length (and their third on Avant!) and it’s definitely their most elaborated album.

Ten new songs, rather than the usual eight, with a perfect balance of Coldwave-inspired intimate atmosphere and synthpop catchy melodies. Musically speaking it’s still clear where the Swiss duo draws their influences from, right in between New Order’s moodiness and The Klinik trying one softer, less brutal approach to their Electro. But a new sense of privacy is reflected all through these new tracks, enhanced by lyrics now more personal than ever.

The Prayer Wheel is a page torn out of a private diary, Love And Money is a mechanical mantra for a no-way-out situation; Suburban War is a confession of defeat whispered at night, No Return is the last dance before reaching the point of.

This is the kind of record that takes its time, and takes its toll, we just need to sit down and listen because there’s much to discover.

RIYL: Depeche Mode, New Order, Naked Eyes, Lust for Youth, Black Marble

'No Beauty In The World' is a reflection of how in a world so cruel we can find beauty, with its music bouncing between beautiful ambience and piano loops, modular synth melodies to darker textural and feedback driven drones. Unlike other wounds records where the fluidity of the entire album tells a story, 'No Beauty In The World' explore various sonic possibilities and territories. This is a culmination of over 2 years of writing and recording, constantly driven by the uncertainty and darkness in the world that we live in. Despite it all, the sonic arc of the album gives us something to hope for, maybe there is beauty in the end. The record was engineered and mixed by Diogo Strausz (Far Out Recordings) in France and mastered (digital and vinyl) by Lawrence English (Room40). The record features collaborations from guitarist Carlos Ferreira and drummer / synthesist Phillip Stosberg.

'Yet today is all we have In silence she speaks The rivers below Valleys and peaks As a pale shelter once cherished The shadows we mourn Have all but perished '

'A Pale Shelter' is a trio collaboration between zake, City of Dawn, and Ossa. Two tracks feature close friend Benoît Pioulard. Mastered by Rafael Anton Irisarri.

Over a year since we last heard from them, Huerco S’ West Mineral imprint shimmers into view for their first release of 2021 - a lush, jittery high of aerosolised ambient thizz and top shelf electroid steppers from Ben Bondy, highly recommended if yr into Perila, Jan Jelinek, Second Woman, Kindohm or Uon.

Last year's "Sibling", released on Special Guest DJ's Experiences Ltd was one of the year's subtle standouts, but Bondy's music refuses to tether itself to one sound or another, instead hovering around the fertile area between experimental ambient and outre club modes. "Glans Intercum" paces further sideways, toying with dub and drone ideas and sandwiching these sketches between buzzing drum workouts that squeeze texture from collapsing beat templates. Oscillating piquant shocks of vibrant energy with steeply opiated hypnagogia and OOBE-like sensations, the results locate a mind in flux, torn between the need to flex hyper-articulated limbs and becoming lost in discretely introspective ambient interzones.

The eight tracks course from a sort of kaotic power ambient energy to a lushly unresolved daydream serenity through alternately convulsive and temple-smushing turns. ‘Rest’ opens with a bitter explosion of digital scree that escalates into pill-belly jitters, and ‘Ash In Emerald Casing’ keeps toes off the ground with Rian Treanor-levels of pointillist hyper-footwork tekkers, contrasting with the DJ Python-esque slithering vox and atmospheric mulch of ‘Spangled (With Stella).’ From the skittish ‘Drip on Nape’ his circles start to bleed into one, with the aqueous shimmer of ‘Ven’ and Stella’s vocals returns on ‘2404’ to blur the lines between up/down, where ’Skizz’ enacts a sort of perpendicular grime and he ultimately comes to bliss out in the fragile glassine fractals wilting from the closing title tune.

Club or bedroom, this one’s for the dreamers.

With Violet Opposition, Van Wey floats the project into murkier waters by adding a layer of overdriven gilding to his trademark sound. This sound is a texturally fibrous take on ambient that Brock has been experimenting with recently. As a result, the bvdub peaks and valleys you know, and love, are even more arresting with the added grit and brume.
Violet Opposition is four achingly impelling tracks smeared across a double LP in violet and yellow swirl, each song taking its time to evolve and cradle you in sinewy tones. Violet Opposition is out on February 4th. The double LP is limited to 500 units worldwide.

"Chari Chari follows his sold out album with a new EP inspired by folk traditions.

“Suburban Ethnology vol. 1” explores his love for ancient sounds, rituals and the power of healing music.

5 tracks crafted in Tokyo that potentially suggest a beautiful soundtrack to real and imaginary worlds."

The second release on Paradoxy records build by Clafrica! A fantastic 6-track tape and digital release, with some breaky and crunchy tracks starting from 123 bpm till 145 bpm.

Beautifully serene and contemplative, ‘Landscape Architecture’ sees classical minimalists Christina Vantzou & John Also Bennett describe quizzical scenes on their follow-up to a sterling 2018 debut for Shelter Press, all mixed and self-released on the duo’s Editions Basilic imprint and now available on vinyl for the first time. It’s a suite of blurry dreamscapes made with flutes, piano, hazy environmental recordings, subs and subtle fx, a perfect companion for works by Félicia Atkinson, Alice Coltrane, Jim O’Rourke, Luc Ferrari, Deaf Center, Pan American.

Reprising the lucid dream-like dimensions of their debut ‘Thoughts Of A Dot As It Travels A Surface’, CV & JAB assuredly trace a line between etheric whimsy and a spellbinding sort of atmospheric mastery on their sophomore sequence. Fashioned from petalled classical and jazz keys blended with woodwind, richly enigmatic electronics and gently aleatoric intersections of street noise and bird song with water sounds, the album’s 10 parts and bonus track limn a drift through what they evocatively term as “remote thought gardens and conceptual collonades” to deeply trippy effect.

Recorded over the course of three days during a residency in Brussels, the album is detailed with a sure-handed directness as ephemeral as spring light, appearing like a dream that lingers on the mind’s eye with its own perpendicular sense of time and space. That effect has long been key to Christina Vantzou’s work, from solo to collaborations with The Dead Texan and Heinrich Mueller, and it’s now clear that JAB shares this gift for elegantly supposing and luring listeners into their ever-curious explorations of ambient classical metaphysics.

The duo recall the rapt effect of Félicia Atkinson’s poetic compositions in ‘Down a passageway’, while the brooding allure of ‘Phantom Tunnel’ remind us of the quizzical nature of Catherine Christer Hennix’s style, whereas the more explicitly electronic works such as ‘Pungent Lake’ and ‘The maître d’ is dead’ capture the sort of laminal ooze and woozy effect of Jim O’Rourke’s amazing 'To Magnetize Money And Catch A Roving Eye’ 4CD in a more concentrated form.

Lawrence English teams up with Xiu Xiu's Jamie Stewart once again for another voyage into ambient music's punishing underworld. It’s their gloomiest slab to date - unfurling nightmarish Lynchian drones and seismic, overdriven rumbles that sound like a Thomas Köner and Wolf Eyes soundtrack to Dante's Inferno.

If the gaseous, clouded noise of 'Material Interstices' sounds as if it could be snatched from one of David Lynch's most unsettling dream sequences, we have to assume that's completely intentional. The inspiration for the album came from two of English's recurring dreams, one of which had recently re-emerged. When English chatted to Stewart about it - a labyrinthine subterranean horrorscape of concrete and iron underneath his house - Stewart related to having unusual sleep patterns. So the music emerged from this midnight realm, and illustrates English's Tetsuo-inspired industrial fantasy in grim detail.

Those expecting the beauty and charm of English's lighter material might be in for a shock. This is vantablack level darkness, inspired by 1980s industrial tape music, blurry noise and the darkest of dark ambient records. Think the bleakest end of Dean Hurley, Maurizio Bianchi, Lustmord or The Haxan Cloak, but assembled to trigger near hypnagogic states. There's an intentionality about "Material Interstices" that feels knotted to its nocturnal inspiration - English and Stewart simultaneously invoke nostalgia, dread and wonder, recalling industrial music's rich legacy but suggesting its future might not be entirely written just yet.

Tape

The occult and folk music have been friends for a while. In the 21st century, hauntology and the resurface of some cult soundtracks from the 1970s and 1980s helped to create a new sense of folk, not associated with the typical acoustic feeling, but more relatable with library, krautrock/kosmische and industrial music. João Kyron and Tony Watts, long time collaborators since the late 1990s with their band Hipnótica, and more recently with Beautify Junkyards (Ghost Box) are well acquainted with this friendship. Hidden Horse is their new project as a duo and “Opala” their first release.

With eight tracks and almost thirty minutes, their first release explores dense and greyish urban utopias. The song titles explore ideas that mix sci-fi, horror, science, space and urban phobia, and the music Kyron and Watts create delivers, using electronics and drums with great relish. Their relationship as musicians, which spans more than two decades, can be felt in the way their music flows with a continuous dialogue.

“Opala” is always keen to take you to another dimension. It lives in its own twilight zone, where the obscure entangles the most obvious senses of reality. It sounds like Jacques Tati “Playtime” with a hauntology soundtrack: it kind of feels that this imaginary world is real, but it’s not. And it sucks you in to be a part of it and enjoy it: close your eyes and let yourself go while listening to “Levitação Magnética” or “Fantasmas do Planeta”. You will feel like a foreigner in a new city.

Well this is brilliantly bizarre; pivotal US underground mail-art and poetry figure John M. Bennett spills his guts on Middle America and other matters in a compendium of perplexing and peculiar
performances set to fractured flute, marimba, concrète tape works and FM synthesis in a way that reminds us of Laurie Anderson’s hyper-influential ‘Home Of The Brave’ via Fluxus, Max Headroom,
Burrroughs, Kurt Schwitters.
All newly remastered by contemporary avant conduit Jack Callahan, ‘A Flattened Face Fogs Through’ yields a fascinating cross section of JM Bennett’s vast catalogue, selected and sequenced by John
Also Bennett (JAB) from some 15 hours of cassette recordings issued 1986-1995. Encompassing fleeting glimpses of warped and processed tekkers thru to relatively straighter recitals, each
juxtaposed with dizzyingly imaginative instrumentals that account for half the interest, the set plunges us into a highly personal perspective on American life in the ‘80s/‘90s, salvaging a poetry from its mundane, “corn walled, strip mall infested landscape” that resonates with Lynch’s evocation of the surreality underfoot USA, and dovetails with early dada and fluxus movements explored by Burroughs (whose manuscripts he edited) and the work of Bennett’s contemporary
Richard Kostelanetz.
Flattened Face includes recordings of classic Bennett poems like “The Shirt The Sheet”, “Last In Line”, “The Transmission”, and “The Blur”, the sound works presented here were made with a spirited cast of collaborators and conspirators - Byron D. Smith, Ficus Strangulensis, Mike Hovancsek, and Jack Wright to name a few (not to mention JMB’s oldest son William E. Bennett, then a child). They represent a fraction of John M. Bennett’s massive output in this marginal but fertile artistic community, and should stand as a testament both to it and to the underlying strangeness of language, the American Midwest, and of being itself.”.

Yellow Vinyl

The first Documenting Sound release to appear on vinyl (we’re just doing a handful of them on wax) is this obsession-forming fever-dream recorded in Kallista, Dandenong Ranges / Autumn 2020 by Jonnine Standish of HTRK, newly mastered and featuring completely genius new meta-artwork/painting by Gian Manik. Anyway, you either altready know how good this one is, or else yr about to find out…

The other week we dreamt that we asked Jonnine aka Jonnine Standish of f#cking HTRK to make some music for a tape series. She ended up sending us what was essentially a 9 track album of new songs featuring Jonnine on bass guitar, a Mopho synth, a wave drum and an electric wind instrument, plus her vocals, clicks and garden chimes, and contributions from Conrad Standish (of CS + Kreme) and mixing by Tarquin Manek. Oh wait…

We approach all of Jonnine’s music with caution cos - hooks - she warned us about them. When her last record 'Super Natural’ was released last year the ohrwurm wasn’t for leaving us in peace, for real it was almost too much - and this time, if you can believe it - it’s worse.

You get 9 songs - 9 - songs - there are chorus pedals and strings and endless atmospheres. The opener is a dream, blurred vision - heartache. The title track - pan flutes - this is basically The Cure’s ‘Dressing Up’ remade. Except Jonnine has never heard ’The Top’. It’s all v weird and auspicious, a complete heartmelt. Also, somehow, real?

Fresh from an appearance on Space Afrika’s 'Honest Labour’ album, collaborations with Klein and Lol K and a placement in the Dazed 100 list, LA Timpa finally offers his head-turning 'Equal Amounts Afraid' album on vinyl following a short CD run just before the pandemic hit in early 2020.

Served up on promising yung London label O___o, and made with additional mixing from Solange collaborator Kwes and mastering from sometime Dean Blunt engineer Amir Shoat, ‘Equal Amounts Afraid’ is a beautiful smudge of pop experimentation riddled with timeless musical soul. Following from his 2016 debut ‘Animal’, and guest production for Cold Specks’ trip hop sound, LA Timpa’s gently reserved and melancholic productions push an intimate pop vocabulary into spectral, dreamlike dimensions.

Introspective and avant like Klein’s psyched chop-ups, as sensuous as Blood Orange, but with a taste for expressively harmonised pop refrains that clearly recall Yves Tumor via Richard Youngs, the album unfolds with its own logic, deploying eyelid-tugging levels of hypnagogic charm that practically demand to be heard in sequestered, lowlit situations.

Seducing us to his singular temporality and hazy atmosphere with the vaporous falsetto and ambient soundfield of sirens and groggy bass in ‘Around’, a cut-up interlude leads into fragmented music box melody and intimate plainsong on ‘Fertile’, while ‘Core’ almost echoes the 4AD dream-pop of A.R. Kane, and ‘Give’ beautifully dematerialises indie-pop into ambient gauze.

‘Backyard Exotic’ surfaces his strangest side in a maze of mushied songcraft, ushering a trippier 2nd half where the songs really start to fray between ‘Caretaker’, the smokers’ hymnal vignette ‘Towel Under The Door’, before channelling Thom Yorke in the melting Mbira melody of ‘Rattle Snake’, and spooling out into proper ambient soul with the spine-tracing lines of ‘Tried Ice’ and the smudged magic of ‘Memory Phone’ where he truly divines a strength in his vulnerability in a way that should resonate with the most sensitive souls.

Trap Techno Hybrid Dub. For your Safety, please remove all ashtrays around before listening. It's not a game ! #QUELAFIF

In a thorough dismantling and recontextualisation of his own work, Merzbow sets fire to his mid 90’s ‘Flare Gun’ & ‘White Blues’ EP’s with utterly compelling, visceral, and surprisingly diverse results.
Essentially going toe-to-toe with his mid 90’s self, Masami Akita eviscerates the originals in a bath of tear-out textural tornadoes that only just betray their origins in raw samples of blues rock
bands. Tapping into that long-standing double refraction of influence between Afro-American blues (and subsequently jazz, disco, house and techno) and its acolytes from blighty, Merzbow pushes everything into the red with nuclear levels of ferocity, unleashing torrents of detuned theremin and electronics around the blistered samples in a face-melting style that so many have imitated but have rarely imbued with such spirit and imagination.
The first half of ‘Flare Gun Extra’ parts returns to his headspace and tekkers in the period following his formative classic ‘Venereology’, adapting extreme forms of compression, distortion and dynamic mixing with a manacled grip and expressive sensitivity that’s there if you cares to give it some attention, with particularly powerful results in the freewheeling bombast of ‘Flare Gun II’.
We hear decimated traces of rock riffs shredded up with staggering futurist alacrity in ‘White Blues Part I’, saving a rather unexpected swerve into mind-spanking bluesy guitar psychedelia on the 2nd part that sounds like Hendrix taking an acid bath after his London stint, before ’Deathmetal’ joins the dots far north to perhaps express how the quintessence of blues shored up, petrified in the black country and was dashed on granite Scandinavian cliffs and Japanese islands from the most obtuse angles.
Pure energy and chaos this one.

Simon Shreeve’s doomiest moniker Mønic follows those killer Burial and Regis reworks from a few years back and adds to his Downwards stripes with a necessary vinyl edition packing both volumes of his recent ‘Trawler Tapes’ series originally issued digitally with his Osiris Music UK label, highly recommended to disciples of Kevin Drumm’s ‘Imperial Distortion’, The Conet Project, Thomas Köner or SAW II.
Made on the English south coast and first issued into the strange high summer of 2020 lockdown, the ‘Trawler Tapes’ depicts Mønic more strung out and glowering than we’ve ever heard. In its unfathomably deep sunk, reverberating drones and keeling atmospheric pressure, it’s truly a musick that evokes a sense of absence, even tragedy and loss, drawing upon various aspects of dark ambient isolationism and thru to more sublime, meditative zones for a sort of dissociative
expression of soul that lives up to comparisons with modern greats, from Thomas Köner to Kevin Drumm.
Where much of Shreeve’s work since D&B/dubstep unit Kryptic Minds thru to his CUB collabs with Regis have been concerned with physicality, his Mønic project inverts that urge for a musick ov liminality. However there’s a fine connection between those polls in Mønic’s use of the full frequency spectrum here, from deeply layered subs to its fine-grained high register timbres,
with cavernous space in between. In both volume 1’s ‘H-NET’ set and volume 2’s ’T-NET’ parts, he oscillates a suggestive shadowplay, drifting from Davey Jones’ locker tones to more static, indoor
subtleties redolent of Kevin Drumm’s ‘Imperial Distortion’ classic, and thru to midwinter tundra scapes and what feels like lingering Lynchian afterimages, ultimately shoring up with scant glimpses of percussion in ’T-NET 4’

"Four new chapters from Nicolás Jaar in Telas.

Here, again, it’s the odder and more essence-like devotion to sound that is semi-narrative, ambient, and concrète that we heard and were drawn to in Pomegranates. Telas gestures towards a more refined tone, with less sudden shifts and vignettes, incrementally shaping an hour of self-reflective music with tracks building and collapsing across its vinyl sides.

When Telas was first drafted and presented to Mana it felt appropriate to mention a sense of monastic retreat. Where Pomegranates often felt epic-like in its scope and shifting scales, this album conveys images of quieter moments spent tending to a vegetable patch within a cloistered garden, perhaps, or the threading of a tapestry with filigree. Nicolás often moves slowly and deliberately throughout, focused on manipulating gauzy fibres and room tone or fluttering around other cryptic actors, so that when bursts of clarity and emotion appear they take on a deeper character.

There’s a greater sense of contemplation and patience in the album’s logic, pointing to a conception of art, melody, and sound which is continuously under construction. In relationship with sister-album Cenizas and surface qualities of recent Against All Logic material it feels that there’s a centre being defined and meditated upon.

Telas was made between December 2016 and January 2020."

Richard Vergez is as much a creator as he is a collector of subcultural ephemera. He is trained by the traditions of the international underground and its aesthetics, from cut and paste techniques to the aesthetics of dub, from the harmonic scales of post-punk to the self-imposed restrictions of minimalism. He works as a visual artist, operates the Noir Age label and releases his own music as Night Foundation.

His compositions are fairly minimal - four tracks of arranged loops on synthesizers, guitar and percussion are mostly enough to produce the otherworldly, hypnotic sounds of the Night Foundation. It is extremly structured music, yet, repetition and minimal changes are crucial here. As soothing as eerie, it cancels out time. Levitation music. But audible is also a certain longing, a feeling of loss and something much darker lurking underneath. Hence, the apt title „Souvenir“ - it is an object with a past, a vessel for a certain memory, a symbol for a desire bigger than the sum of its parts. A nostalgia that is not pathetic; the analog body is still warm, and „Souvenir“ feels more like a letting go than a sappy memory. It is dark music with a penchant for storytelling.

As sparse as the instrumentation sometimes is, „Souvenir“ is a cinematic recording - a chimeric cross between 80‘s american film noir and Aki Kaurismäki, if you will. A music equally focused and wide, zooming in on the details.

Through the 4th world meanderings of „Turning Point“, chilly bass sequences as heard on „Sonder“, the almost campy balearic kitsch of „Too Late“, the transversions between songs, the eerie skits, the slowed down magnetic tapes, Vergez opens up a portal to a world of rich imaginery.

Check out Richard‘s Noir Age label (with excellent releases by Taupe Set XL or African Ghost Valley), his other albums on labels like Jungle Gym Records or Psychic Liberation, and his monthly radio show on Jolt Radio.

Written just a week after 2018's iconic "Make Me Know You Sweet", this surreal, tripped-out sequel from the headier alter ego of Brian Leeds (Huerco S.) is darker, dubbier and more alien than its predecessor >> over an hour of ultra immersive, brain-fluxing hybridized sounds somewhere between Chain Reaction vapourtrails and concrète dream-building.

Captured in one take shots during the weeks following the last album sessions in 2018’, Leeds’ second Pendant album treads a similar netherworld path, channeling a stygian dream-sick effect that effectively explores a flipside to the sunnier prairies of his Huerco S.’ works, shoring us somewhere gauzily redolent of early Wanda Group and the starkest Bellows emissions, but better defined by eerily processed vocals and Lynchian sensibilities that locate it to North America’s dis/possessed lands.

Ritualistic in craft and scope, the six extended tracks of ‘To All Sides They Will Stretch Out Their Hands’ are all titled in reference to indigenous American poetry and thus take shape as elusive, dream-like projections of Leeds’ subconscious and subvocalised thoughts. With a defocussed grain and swirl that perhaps emulates the effect of intoxication thru special herbs, the music acutely suggests altered states of mind, triggering meditations on memory and process reflected by a haphazard and impromptu recording technique. Leeds is a skilled producer, and working instinctively highlights a more fallible, arresting side to his sound - recording and processing vocals on the fly to control his machines less like a conductor and more like a sculptor. When the process hits complications - the DAW failing or outboard gear glitching out - his choice to leave these moments in the final cut allows us to consider the messiness and fallibility of art.

Leeds isn't interested in making aesthetically perfect potted ambience. His narrative is rough and expressive, just as focused on texture as it is tone or rhythm. It's a technique that suggests the heady cut 'n paste sound of musique concrète, but doesn't attempt to recreate it or position itself alongside that canon for academic gold stars. Firing his convulsing collages thru an array of effects gives his music the lively heartbeat of vintage dub, hidden under a fleshy DIY basement noise that could be traced back to Coil or Throbbing Gristle, mediating on memories with haptic strokes and a sense of inseparability between his layers of fuzz and physical actions that most beautifully speaks to a sort of interconnectedness that comes with mescaline, for example.

We’ve been spending considerable time guided by its dream logic - we strongly recommend you do the same, immersing yourself in its spongiform negative space, ruptured raptures and dank bliss.

Hi-pressure club futurism from Japan’s Prettybwoy, deploying anxious, metallic, sweaty nu-dance pressure, cooled off by swirling videogame synths and emotional vocals from collaborator lIlI.
Another rapid-fire dancefloor burner from Shanghai’s unreasonably reliable SVBKVLT, ‘Tayutau’ makes a bridge to Japan, curving Prettybwoy’s well-worn raw materials into a pneumatic neon
club structure. He put these tracks together during a time of upheaval while dealing with isolation job loss, burnt hard-drives and almost losing the whole project, the chaos reflected in the album’s
writhing, anxious mood, dipping from mind-throbbing intensity to lithe, poppy delirium. Machine-gun bursts of overdriven kicks and burnt synths form the backbone of ‘Island’, ‘Brontides and ‘Mikoshi’, while ‘Genetic Dance II’ and ‘SLT’ drag the weightless bounce into breathy, florid East-Asian landscapes. Prettybwoy’s confident engineering carries the tracks, and whether he’s exploring the limits of granular ambience (‘ó‹ (Tear)’), weightlessly melting piano and Japanese voices into bouncing subs (‘Isol’) or forming grime-flecked nu-club (‘Rat’s Talk’) there’s the sense that each sound is intricately and meticulously sculpted. The results fall somewhere between
Foodman’s wiped-clean eccentric bangers and the damaged ‘n deranged club philosophy of contemporary prophets like Lee Gamble.

Puckered kizomba zingers from PT Musik - the grown-up alias of Puto Tito - marking a supremely classy progression from his 2019 debut double album with a sparkling trio of romantic pearls for Princípe

Marking the vital Lisbon label’s 10th anniversary year, ’Não Sou Perfeito’ is one of the sweetest treats in its decade long (and ongoing) reign, exemplifying the rich soul at the heart of its sound. The artist’s name change signifies a clear advance in his already emotive style of composition, as showcased in his teenaged productions on the ‘Carregando A Vida Atrás Das Costas’ set. The style of spare, grimy, chamber-like melodies in his formative early work is now found embellished with warmer pads and more nuanced rhythmic inflections to express a heightened grasp of slow jam romance that blends his native Atlantic coast breeze with a decidedly Californian G-funk lean to gorgeous effect. It’s a west coast thing, baby.

‘Aplausos’ is the outstanding A-side, drizzling syrupy G-funk-alike soul leads on a lilting kizomba rhythm and deliciously woozy chords bound to soundtrack embraced bodies and loved-up eyes scanning the dance. ‘Its Mine’ follows to dial up the forlorn ‘80s FM synth soul with an instrumental flair worthy of a Sade vocal (perhaps that’s her not replying to the ansafone motifs?), and ’Tudo Acabou’ bring this brief daydream of an EP to its closing strokes with a come-to-bed sashay of dry iced synth haze and slow-motion hip work.

Stunning choral smoke from the ever wonderful Tape Loop Orchestra, here shedding the blissed drone energies of his best known material in favour of a more lucid expression of ideas constructed almost entirely from the human voice and bass pulses. If you were into that amazing Antonina Nowacka album earlier this year, or indeed Kara-Lis Coverdale’s peerless sacred variations, this one comes highly recommended.
‘Liminal Lungs’ finds Andrew Hargreaves shedding his pedals and effects in favour of a more sober take on fizzing bliss, using a palette of sung notes re-shaped into a virtual choir and fed almost imperceptibly thru his tape loop matrix. In the process, he offers a study in the semiotics of emotion; stripping back to a ghostly chorale where the composer is present but elusive, conducting his voices in an imaginary space that comes to life thru a kind of compositional
alchemy.
The results call to mind aspects of Akira Rabelais’ work with processed sound echoes as much as Luc Ferrari’s concrète abstractions or Alvin Lucier’s room recordings, ushering and inhabiting the liminal space of the title with an exceedingly subtle grasp of mysteriousness as the work’s spatial qualities come into play. As it goes on, Hargreaves creates a growing sense of displacement from the original recordings with bass pulses that reverberate the synthesised space, probing the grey area between perception and reality, conjuring an event the listener can’t be sure ever really took place.

Written and produced by Thomas Caesar, Guillaume Lespinasse, Axel Ropert-Lemercier and Jean Redondo. Distributed by Chez Emile records. Snowballs provided by Tony Mastroianni on a Kawasaki Z750. Type by Dinamo, Illustration by Almost Free Services

AVA. Records celebrates its 10th anniversary with 52 artists. “10 Yahre” is a 4LP compilation housing 22 tracks, a printed 30 pages magazin and a mixed CD. All wrapped in a custom made silkscreen sleeve, also including a textile keychain and stickers. Sonically spanning from ambient to techno, 10 Yahre carries new and exclusive material, all woven around the label’s decade focus on dance floor culture, started 2011 in Cologne, Germany.

The 4LP vinyl includes music by: Am Kinem, Andy Hart, Axel Boman, Cinthie, Damiano von Erckert, Dman, Dogpatrol, форм, Jürgen Ratan, Jus-Ed, Lauer, Lowtec, Move D, Paingel, Paradise Grey, Retrogott, Robi, Ron Trent, Sinoesin, Tito Wun, U-I, Will Saul and Wolfey.

The mixed version of the entire compilation is contributed by Sally C.

The full color magazin and video includes works by: Alina Bader, Andy Kassier, Angel, Anna Beil, Ata Macias, Bailey Keogh, Damiano von Erckert, Dirk Jeans & Lou de Bètoly, Funkycan, Guido, Jana Marei, Jana Maria Dohmann, Joana Pratschke, Johannes Wohnseifer, Juri Bader, Kuchenbaum, Manuel Fischer, Maria Sécio, Martin Fengel & Public Possession, Mathias Schmitt, Maximilian Schweizer, Michael Satter, Naum Hirsl, Nicolas Wenz, Peter Wolff, Rein Vollenga, Rucksack Leer, Stelan Mergenthaler, Suzanne Caroline de Carrasco, Twit One and Yves Taron Harouche.

Compiled by Juri Bader and Damiano von Erckert, mastered by Enyang Urbiks. Design and concept by DVE 1989.

bblisss specialists special guest dj and Ben Bondy’s Berlin/Brooklyn duo, xphresh, debut a lush volley of shatterproof jungle accelerators and RPG intrigued illbient beatdown on the newly minted 3XL division of Experiences Ltd, finding a gaseous spot somewhere between DJ Crystl’s pioneering ambient hardcore and NWAQ x Final Fantasy

‘xephon’ is a dream fusion by two distinctive, dextrous catalysts of the current flux between dance and ambient poles. In five shots they careen from sublime junglist tension to subaquatic dub wooze, disembodied shoegaze and cyberpunk illbient gunk with a wickedly unresolved, fractal quality that’s a real pleasure to sink into. As pillars of a scene that’s emerged and helped reshape, displace definitions of “ambient” and “dance” music over the past few years in particular, their collision of energies here feels to model a lush form of quantum mechanics; evoking the sensation of existing in multiple states of emotional and physical excitement simultaneously.

Scaling between the gyring junglist roil of its title track and the post-club gouch out of ‘eikon’, xphresh hit squarely between their dilated 3rd eyes with a proper, rushy thizz. The ephemeral ballistics of ‘xephon’ are effectively congealed into the charged sot-dubstep plasma of ‘myst’, while ‘luh’ passes out into radiant choral bliss on the “up” side, contrasting with a deep sink into the queasy belly of 4 Hero’s Macro Dub Infection all-timer 'The Paranormal In 4 Forms’ on ‘scum break’, before they yield to the mazy emotional rip currents of their closing beauty. At each stage it’s easy to pick out their reference points, but their natural ambiguity and restless style means their coordinates are never fixed, always in search of an elusive ghost particle that’s in the shine-eye of the beholder.

First ever vinyl pressing of Yellow Swans’ 2007 noise tempest, practically bubbling the lacquer thanks to a great remaster by Rashad Becker that presents Pete Swanson and Gabe Mindel Saloman right at the biting point.

Originally deployed on ultra-limited edition of just 60 cassettes back in 2007, ‘Drowner’ was one of the legendary duo’s fiercest deployments of scorched earth noise-gaze. Originating at the mid-late point of their arc, it kicked at the embers of rock’s funeral pyre, scattering plumes of strung out psych riffage and charred amp distortion at the midst of the fecund ‘00s noise scene. Like the best Yellow Swans releases, it touches places that other bands and records simply don’t reach, overwhelming the senses with chokingly intoxicating levels of emotion that surely live up to the record’s title.

When Swanson and Saloman cooked up ‘Drowner', they were surfing on a wave of interest generated by the percussive noise surrealism of their acclaimed, politically-fanged 'Psychic Secession'. ‘Drowner' was more in line with the duo's shows - all overdriven, tape-fraying melt and psychedelic, feedback warbling. Channelling everything from MBV to the most blistering ends of Fushitsusha with an apocalypse-baiting recklessness, they harnessed keening, magisterial levels of feeling in the process. Anguish, love, panic, the sheer pain of being; the feeling will alter from person to person and listen to listen, but it’s undoubtedly going to be a strong emotion, likely to be frighteningly intensified when consumed thru headphones.

Between their slow, 11 min march into oblivion on ‘Sandwall’ and eventual collapse into tattered tape tekkers and muezzin-like plangency on ‘Disjecta’, the album feel akin to a religious experience, with atavistic psych echoes of ‘Velvet Water’ giving way to the crushing dirge of ‘First Drowner’ and uniquely elegant chamber noise of ‘Isolation Tank’, before ripping your guts out in the ravishing ‘Seafloor’.

Almost 15 years after it was originally released, as the US basement noise scene fades into memory and many of its figureheads wash into the gutters of history, ‘Drowner’ feels more vital and needed than ever. An elegy for the end of days?

Finding a rich seam in stark minimalism, soundsystem pressure and fractalised rhythm, Cassius Select is at the vanguard of contemporary broken beats and punishing low end.

This new Select transmission comes correct on Bruk, prodding at the same bold dance futurism already laid down by Siete Catorce and FFT, whilst sounding nothing like either of them. 'Dread Percent's swelling pads and dislocated MC shards are a foil for the ruff angles of 'Fish Tek'. 'Mess Mutual' teases and stalks at a lower tempo and then twists up another set of bars over a bed of alien drone, laying the groundwork for the massive, grime-licked hooks of 'Shake Like Me'.

Hinting at the anthemic while remaining steadfastly cool and deadly, Cassius Select's mutant brand of club has the space and versatility to slip between scenes, doing damage wherever it lands.

Walter Bachauer has been an active part of Berlin's but all in all Germany's electronic and progressive music scene in the 70s & 80s. In the early to mid 80s he got back to compose and play music under the pseudonym Clara Mondshine and this is his second out of three albums from 1983 “Memorymetropolis”. It takes you on a little journey into the cosmic mind of late Mr. Bachauer. Easy listening melodies come in smaller doses here despite his fondness for the pop oriented side of the so called “Berlin School” electronics and the overall time in which he operated this project

All eyes are on Islandman, an interplanetary musical trio from Istanbul who release their long anticipated, third album Godless Ceremony on September 10 via Danish imprint and long-time home of the band, Music for Dreams.

Islandman makes an incendiary, uplifting and psychedelic slew of music drawn from a world of make-believe, rooted in Anatolia. These 10 tracks (+ 3 additional exclusives on the vinyl) – all of which flirt with balearic, house, down-tempo and electronica with a global gaze - are awash with acid drenched electronic motifs and stuttering electronic drum machine syncopations. The group effortlessly sail the globe, dropping into the tropics of Ecuador (AmarnosAhora),to Mali visiting North African desert blues masters Tamikrest (TarhamanineAssinegh) and North India (Drums Of Colca) whilst never forgetting the music and poetry from the band's spiritual home, Anatolia (Kara Toprak).

In Godless Ceremony we are withdrawn from time and place, delivered to a fantasy zone, dreamt up in the sea, gazing at the stars. It's a musical storyboard, that whilst conceived in Istanbul by producer, singer and multi instrumentalistTolgaBöyük, journeys to far off places, real and imagined.

Hindustani tablas, Tibetan flutes, flamenco guitars, Anatolian Saz and Balinese (Bhasa) vocals all mesh within a concept (and coping mechanism) that contemplates daily routine as beautiful and meditative and as Tolga has appreciated over a testing two years in which he lost his father,"You can take part in a religious ceremony, search for supernatural powers, but sometimes you need to find happiness in small, everyday things".

The record's tracklisting and flow, like it's production ambition and aesthetic, peaks and troughs and arguably perculates at the Underworld-esque title track Godless Ceremony, where Tolga takes front of stage delivering the lead vocal and playing the Saz, an Anatolian stringed guitar-like instrument.

Previously released as a single is Kara Toprak, originally a folk song by AşikVeysel from Anatolia and exceptionally popular in Turkey, it’s a collaboration with Danish guitarist Jacob Gurevitsch. Tolga trips to Bali (singing Bhasa) in Aku Membawa, a house groove (already played on Pete Tong's BBC Radio show) which was produced in collaboration with DJ DIVO, OliO& Music for Dreams label boss, Kenneth Bager. TarhamanineAssinegh is a co-production between North African desert blues protagonists Tamikrest and Islandman, with Islandman reconstructing the song, perfectly fitting with their mission as contemporary cartographers. Drums of Colca splices the tabla and Hindustani tradition from India (it's actually two separate tabla recordings mixed together) with electronic accents whilst incorporating the mouth harp from Mongolia and Tibetan flutes. The guest collaborators are Troels Hammer & Ole Theill. Istanbul Lockdown was originally recorded for dance music giant Boiler Room, as an exclusive as part of a lockdown broadcast. Made in Istanbul, with live strings and Turkish clarinet, it brings back difficult memories for Tolga, having lost his father around the same time.

The core members of Islandman are multi-instrumentalist & producer, TolgaBöyük and EralpGüven (percussion) and ErdemBaşer (guitars). Islandman have become known for their live performances, as anyone who has witnessed their live streams from Istanbul for the London Jazz Festival and Boiler Room can attest to.

Islandman simply avoids boundaries and Godless Ceremony is ultimately their most open-minded work to date. The subtleties and deft electronic touches bewilder and their clear appreciation of music on a global level is an education for us all.

Made during summer 2020, Loraine James’ second Hyperdub album, ‘Reflection’, is a turbulent expression of inner-space, laid out in unflinching honesty, offering gentle empathy and bitter-sweet hope. ‘Reflection’ further develops a unique pop sensibility realised on last year’s ‘Nothing EP’, while tones of Drill and R&B seep through into this collection too. In contrast to the brash splashes of 2019’s ‘For You And I’ LP and the grimey anger of ‘Nothing’, ‘Reflection’ is pared-down and confident, taking the listener through how last year felt as a young black queer woman in a world that has suddenly stopped moving, the arc of the album peppered with Loraine's diaristic confessions. Starting positively with the gentle pop-trap of ‘Built To Last’ ft Xzavier Stone, into the bumpy instrumental of ‘Let's Go’, the album switches tone with ‘Simple Stuff’, followed by regular collaborator Le3 bLACK amplifying Loraine's vulnerability on the downcast drill of ‘Black Ting’, then ‘Insecure Behaviour And Fuckery’ is a techno glide which pairs Nova's confrontational plea for respect, delivered in monotone autotune, against deep Drexciyan chords. With Baths on vocals, the weightlessness of ‘On The Lake Outside’ soothes numb feelings, and Eden Samara explores the shadow world of anxious dreams on the airy R&B of ‘Running Like That’. Closing track ‘We're Building Something New’ with Manchester rapper Iceboy Violet brings the album together, confidently suggesting a new world is in reach. ‘Reflection’ is a brave step forward for a unique and creative 21st century musician.

Narcotic is perhaps one example of an album in both camps of the muslimgauze spectrum, it denotes the expertise acquired in oriental percussion by Bryn Jones after a crescent development and practice through action, part Tribal, part Ambient with shades of texturized noise, glitch details and field recordings, as result the listener is inside this intoxicant atmosphere of exotic madness, where the basic musical premise constituted by the consistent tribal beats from darbukas and tambourines contrasting radically with the eerie sounds from organic noise, distortions and minimal jams.

The opening track "Medina Flight" bangs on with a metallic sounding looped drum track that blares with distortion at some points while background voices chant out vocals nearly throughout. The track is flavored with other harsh sounds and even a few woodwind sounding instruments before subsequently breaking down and starting back in several times. "Believers of the Blind Sheikh" is a 10-minute middle-eastern sounding dub track sprinkled with live drum sounds and more occasional vocal samples of unknown conversation. "Saddams Children" leans more toward traditional instruments, but one can hear the gurgle of electronics lightly in the background.
The instrumentation of the album is amazing. When I first started seeing that Muslimgauze released so many albums in such a short amount of time, I naturally thought that the quality might fall suspect, but Narcotic is a solid piece of work that covers quite a chunk of the electronic music spectrum, although a lot of the rhythms tend to fall on a little harder side. It manages to blend ethnic and electronic sounds into quite an interesting mix.

The images of a surrealistic desert land inhabited by the bizarre and general strangeness abounds in between the strong rhythm usage and cinematic atmosphere unbound, subsequently the decisive progression from the album increases this sensation. The listener easily gets submerged into this opium like state, suscintly guided by the beats and echoes from oriental sounds that wander in and out of the speakers and far away and so close from the mind.Interesting and atractive the album keeps a middle ground status, half experimental and other half adapted for the tribal and linear structure common to Muslimgauze, the listener will find quite another of the many faces of this enigmatic artist.

Multi explorations mood on Neimad's debut EP for his crew label.

Whilst walking in a future metropolis with the rumbling depths of buildings soaring up like a sonorous boom, several languages are gently spoken over your shoulder, until suddenly one emerges and gazes back. Pablo's Eye is looking completely through you, and in your inability to articulate its descriptive genre (ambient, spoken word, or maybe cinematic trailer) you are at once disarmed and liberated by the sincerity. The Florist's Mum is proud to introduce Pablo's Eye's first LP of original music in over 20 years, A mountain is an idea.

Quartz makes his long awaited Rupture debut with 4 stunning futuristic d&b tracks. Quartz's accomplished synthesis and engineering skills make this compelling EP well worth the wait. Welcome to the Hydra!!

Rise Black returns to Fill-Lex Records to close his Olympus Anthology. 7 tracks of visceral Electro that were forged in the pre pandemic era and that will blow you away to his conceptual world. Hard, direct and uncompromising, these songs continue the saga of this Zar who has made Olympus his own.

- 2021 repress / comes in label sleeve -

This is the 1st release from Seba & Paradox since 2011. It carries the traditional breakbeat sound that the duo is known for, but with a sense of modern electronic music.
Delusions is a 'think break' based track with a monotonous beep that brings the thoughts back to minimal techno. The
sub on this track is very low! Make sure your system can handle it.
Future now is an 'amen' track with typical Seba & Paradox break edits and vocal samples. This track has already gained a lot of interest within old Seba & Paradox fans.

Austrian rising star Wingz with smooth and catchy vibes, and a smashing, rhythmic machine-like track by the Belgian Urph. Another excellent release by Trickdisc, a label always tending towards some counterstream in the search of the timeless gold.

Die beiden 'Microtronics' Ausgaben sind zum ersten Mal auf Vinyl erhältlich, remastered von den Originalbändern, mit Artwork von Julian House. Ursprünglich erschienen sie als zwei auf jeweils 2.000 Exemplare limitierte Tour-3inch-CDs: 'Microtronics Vol. 1' 2003 zur 'Haha Sound' Tour, 'Microtronics Vol. 2' folgte 2005 zur 'Tender Buttons' Tour.

Sound can be a labyrinth, a twilight drift. Sound can truely unfold when it escapes logic or categorisation. For it is never really one thing or another, especially abstract, collaged or found sound, as it is always connected to a time and a place, or sometimes to an intention, or a notion, or – even more vague – to something as dubious as a feeling. So all this is inevitably inherent in a sound too. Sound is a fact but also an inbetween. In A Piece Of Work, concrete composer crys cole takes us on a journey through those inbetween places. Fragments collected over time in Oslo, Berlin, Vienna, Winnipeg, Melbourne and Lisbon were later arranged and assembled into an invented space, a story arc, a freeform poem. cole's work is one of dynamics and proximity, of complexity and sensitivity. One that embraces both montage and movement. Originally commissioned by Radiophrenia (Glasgow, Scotland), where it premiered in 2019, A Piece Of Work has been developed through live performances and studio sessions, naturally progressing over time and eventually leading to this final version presented here on vinyl.

Composed, performed and recorded by crys cole, 2019-21. With additional percussion by Oren Ambarchi and electronics by Seiji Morimoto. Mixed with Joe Talia at Good Mixture in Berlin, 2021. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2021. A Piece Of Work was commissioned by Radiophrenia in Glasgow, Scotland, and originally premiered in 2019.

Together, René Audiard and Ali Cakir are Düve: The symbiosis of René Audiard's electronic programming virtuosity and Ali’s expressive oud playing. Their first EP on Mesma, “Part 1”, compiles four diverse productions compatible with late night dances as well as escapist mind-wandering. Combining elements of dance music with improvisational oud performance and poetry, Part 1 oscillates between house, experimental music and free jazz. As a return to beat-based electronic music, Düve’s Part 1 reconnects Mesma to its love for moody microscopic house.

The opening track, “Baglama”, introduces Ali’s acoustic presence with an atonal improvisation, soon turning into a rough and upbeat rhythmic jam under’s Soren electronic direction.
“Djinn Tonic” is an intricately layered progression of loops generating an unsettling atmosphere, both futuristic and nostalgic.
Following the introductions, the full breadth of Düve’s project is developed in Avvad: A dark, textured and moody journey into an ever-changing world of echoed and looped oud phrases over a familiar house beat, connecting the whole to smokey underground dance floors.
Finally, “Santr”, the EP’s longest piece, is a hypnotic promenade led by Ali’s voice and oud and accompanied by Soren’s chopped up drums and bouncy bass — an expressive and performative track, evoking dance music only in a volatile manner.

Seriously, how is it possible to spend two years and four months making a pop music album It's obviously not because of a fetish with technical perfection. Not a single take on 'Chemistry and Math' has been recorded in a recording studio. It is all living room, bedroom or kitchen table work. Which is the way we have recorded almost all Flunk albums. So really, how does it take 28 months to put together 10 tracks of alternative, lo-fi pop music Well, life Just life. We're busy with stuff like everybody else, ordinary stuff. And it's all in there, really. In the air in the recordings and in-between the lines of words.

'Chemistry and Math' might be about how you acknowledge the inevitability of the rules and patterns and natural laws, it's not so much mystery, it's math, and chemistry, and hormones, and a constant chaos of coincidence. In there are also a lot of pop music references, some obvious one, some slightly hidden. 'Chemistry and Math' is installed in a bleak and more distorted soundscape, reflecting the mood of the world thrown at us in a fucked up era.

'Chemistry And Math' is the sixth ordinary album from Flunk, the Norwegian downbeat/'folktronica' trio now expanded to a quintett.

Repress

Originally released in 2006, Eingya by Helios aka Keith Kenniff returns in a new 2021 edition vinyl re-release, remastered by Taylor Deupree.

Beginning the album on a high with the pastoral beauty of "Bless This Morning Year," Kenniff showcases of what he does best: heartbreaking guitar and piano melodies punctuated by crumbling beats and backed by the most atmospheric synthesizer sounds this side of Eno's Apollo. The appetizing "Halving the Compass" blends subtle field recording with the kind of piano melodies so beautiful they could be compared to Virginia Astley or Harold Budd. This is followed by the album's clear highlight, "Dragonfly Across an Ancient Sky." It's an unsurpassable folk guitar piece with a decomposing percussive background and the sort of melodies that would turn evil tyrants into weeping babies. An album that could appeal as easily to fans of Nick Drake as to fans of Boards of Canada or even early AIR, this truly has something for everyone.

Raised in rural Pennsylvania, Kenniff put out Helios's 2004 debut album, Unomia, while studying percussion at Boston's Berklee College of Music. Since then, he's released six more albums as Helios, in addition to collaborating with his wife Hollie Kenniff in the shoegaze-inspired pop duo Mint Julep and composing music for films and archival use.

"A protracted sunset of an album guaranteed to see you through the longest days of summer and into the twilight of the autumn." - The Wire
"A soundtrack of molasses-sweet, midsummer sunset melancholy and pastoral mellifluence." - Tinymixtapes

The seven tracks, including a feisty remix by The HackerHome-made and self-invented instruments complete Michael's specific, extraordinary sound. Other Side was produced by Matia Simovich aka INHALT. Michael himself painted and designed the cover artwork.

Kryptox label member Niklas Wandt comes with his second vinyl release on the German jazz-tronica label. The German DJ, drummer, producer and radio host is by now one of the key figures in everything wild that's coming from Berlin these days: His jazz stuff on Kryptox is just one of his many sonic faces. He is the head of German indie-pop band Neuzeitliche Bodenbeläge as well good friend of Jan Schulte aka Bufiman- and know for several collabos with him. Now Wandt comes up with what could be his most advanced release. A free-jazz album recorded with Swedish saxophonist Otis Sandsjö. And it might sound strange to some, but Berlin is becoming an international center of free improvisation. It makes sense as the city has been the center of techno for years - the music that is extremely formalistic and all about repetition and standardised sounds and grooves. Free jazz is the extreme opposite to that formalistic tool music of the last years.

“hi leaves” is the new full-length record from soft tissue, the duo of Glasgow-based artists Feronia Wennborg and Simon Weins. Following their self-titled debut for Penultimate Press in 2019, this collection examines microsound by way of extended amplification technique, bone conduction, domestic recordings, and digital feedback. Tracks like “plant pot” and “kettle” appear to disclose their source material, presenting wonderfully tactile environments of highly articulate sound. Wennborg and Weins prove themselves to be masterful arrangers of discrete, organic material, weaving together knotty and immersive compositions from these sharp, prickly sounds. Ultimately, soft tissue inhabits an intoxicating soundworld somewhere in between the patient abstractions of composerly EAI music, the haptic indulgences of ASMR, and the diffuse digital pastorals of the 90’s a-musik/Cologne scene.

We have no words to describe the great reception we received with our latest release 13MRLP003 and that is why we have decided to launch this limited edition of only 150 copies for the most fanatics of the jumpsuit, in colour (Crystal Water) a mix of colours "Transparent, Solid Silver & Solid Blue "

An authentic collector's item that you should not miss.

For this occasion you can hear on the face A two tracks of our most versatile monkey, he is .... Sekret Chadow and he first presents his new track Far Away "a very fresh song, full of joy that will reach you as far as Deeper of the heart, in second place "Funkarenda" This powerful track ideal for the soundtrack of Pursuit through the branches part II

On the B side you can hear the smallest monkey in the group, he is Adam Vyt, he includes the version (Vocal Mix) of his track “Dreams”, a track created with a lot of love, the same love that the producer from Cádiz wants to show you. .. that we get melancholic ..

Finally to finish off the job as it deserves ... we introduce you to a new member of our great family from Holland ... he is Case 82 and he brings us his biggest hit "I Want Your Love" a track loaded with pianos and drums to the purest old school style <3 welcome to the family friend.

Thank you very much to all of you who are supporting us, without you this would not be possible <3

Sleep Researchers is about a journey, which I haven't finished yet so I don't know what it sounds like. My father reads a few lines, betsy sings into a walkman and over the microphone of a toy casio. I bought a new Portastudio which has the buttons stuck, so when I get it running I record it in ableton. I like the way the sounds blend together on that old machine. I like to think of these tracks as sounds that will accompany moments. audio photos. a man held up in the body the words are worn out He came for me in the early morning but I was sleeping. a man tied to the ground with roots in the desert a man delayed in the body -- Francisco Sonur

In the Spring of 2021 we were finally able to travel outside of 5km from home. To take much needed breaks from being in the city, my colleague and I would drive to the seaside, choosing a new beach, a new town each trip as we were both foreigners in a new city, observers to the landscape. Walking and listening, we would take in the fresh air, the smell of saltwater, the call of gulls, and the drone of the ocean. The field recordings on this album are from two of these seaside trips, recorded between the both of us. To build upon the serene atmosphere that was experienced during this time, I composed music on top of them using synth, guitar, and a portable radio. -- Nicholas Maloney

The Bologna-based LEDX crew are building on their established activities in underground electronic music with the launch of Altrimenti, a new label focused on the 'possible alternative' - a different way of approaching the art of remixing. Founded by Tommaso Meletti and Guendalina Balzani, the label begins its practice with Florence-based Quindi Records, revisiting the illustrious musicality of Cabaret Du Ciel's The Breath Of Infinity LP with a thoughtfully balanced trio of remixers.

Italian techno figurehead Donato Dozzy weaves a seductive, undulating web of pattering drums and chimes, delivering on his standing as one of the masters of deep, hypnotic techno. By way of contrast, Dukwa delivers a transcendent strain of electro, all braindance blips and new age pads. SSIEGE Aero complete the set with a wistful strain of playful, ambient electronica. Three distinct takes on a varied pool of source material, and yet feeling more like an intentional release in its own right.

What binds these tracks together is the rich, melodious quality of the source material. Cabaret Du Ciel's bold, iridescent synth lines inform a common embrace of harmonious tones and warm, emotionally open moods amongst the assembled artists, creating a balanced and yet highly varied EP. In that sense, it makes for the perfect opening move for Altrimenti - a true celebration of the possibilities when creative energies collide.

Singularity beginnt und endet im Kern seiner Dinge auf der gleichen Note: der emotionalen Ehrlichkeit. Hopkins, beeinflusst von jahrelangen Erfahrungen mit Meditation und Transzendenz, bewegt sich durch ein selbstgeschaffenes Universum, das sich unaufhaltsam ausdehnt und zum Schluss wieder zu einem unendlich kleinen Punkt zusammen zieht. Nahtlos geht es dabei von rauem Techno hin zu choralen Melodien, und von Solo-Piano Etappen über zu psychedelischem Ambient. Wo Immunity sich in die dunkle Realität einer epischen Club Nacht stürzte, erkundet Singularity nun die Dissonanzen zwischen dem urbanen Leben und der grünen Natur. Was beide Alben verbindet, sind ihre unmessbar breiten musikalischen Sound-Paletten.

So steht auf Singularity die Erkundung der Verbindungen zwischen Geist, Klang und Umwelt im Vordergrund und vertont so die verschiedenen geistigen Zustände, in denen Hopkins sich während des Schreib- und Aufnahmeprozesses befand. Und so viel sei schon verraten. Durch die ernüchternden Erfahrungen, die Hopkins mit dem Blick auf die heutige Welt machte, blieb ihm die letztgültige Schlussfolgerung, dass ein wahres Gefühl von Frieden und Zugehörigkeit nur aus der Einzigartigkeit der Natur gewonnen werden kann.

- Zwei schwarze heavyweight LPs im Gatefold Sleeve inklusive MP3-Downloadkarte

World Speaks is the new album by Piotr Kurek. It consists of seven vivid paintings. We are greeted by processed voices. A bit later we listen to a fine reed solo, while an organist performs a meditative melody. Hints of a human presence, but World Speaks sounds uninhabited. Instead we enter a glassy reality where the simulation is at play. And where nothing seems what it is: are we witness to the choreography – or the rocky seashore?

“At that time I was playing with various vocal banks I’ve made on Kontakt with some exaggerated modulation bends and tried to mimic the feeling of the memory of the picture with some vocal sequences played on the MIDI keyboard.”

“Since a few years I have these Thomas Cole paintings as my laptop’s desktop wallpaper. And I absolutely love them. I’m pretty sure that something from that landscapes must have soaked into this material. A few titles here actually refer to actually works of Thomas Cole.”

Clouds slowly creeping trough the hills. The trees damp green. A few whitewashed houses …

Piotr Kurek (°1978) is a Warsaw based composer and multi-instrumentalist. Through his unconventional use of various electronic instruments and synthesisers he cultures hypnotic worlds drenched in peculiar arrangements.

“I saw an old b/w photo of a group of people standing in a circle, facing each other. I imagined they were singing but I’m not sure about it … I guess it was just a gathering or some kind of dance choreography near the rocky seashore.”

World Speaks is the new album by Piotr Kurek. It consists of seven vivid paintings. We are greeted by processed voices. A bit later we listen to a fine reed solo, while an organist performs a meditative melody. Hints of a human presence, but World Speaks sounds uninhabited. Instead we enter a glassy reality where the simulation is at play. And where nothing seems what it is: are we witness to the choreography – or the rocky seashore?

“At that time I was playing with various vocal banks I’ve made on Kontakt with some exaggerated modulation bends and tried to mimic the feeling of the memory of the picture with some vocal sequences played on the MIDI keyboard.”

“Since a few years I have these Thomas Cole paintings as my laptop’s desktop wallpaper. And I absolutely love them. I’m pretty sure that something from that landscapes must have soaked into this material. A few titles here actually refer to actually works of Thomas Cole.”

Clouds slowly creeping trough the hills. The trees damp green. A few whitewashed houses …

Piotr Kurek (°1978) is a Warsaw based composer and multi-instrumentalist. Through his unconventional use of various electronic instruments and synthesisers he cultures hypnotic worlds drenched in peculiar arrangements.

“I saw an old b/w photo of a group of people standing in a circle, facing each other. I imagined they were singing but I’m not sure about it … I guess it was just a gathering or some kind of dance choreography near the rocky seashore.”

2021 repress of Tupperwear’s 2017’s sophomore album, Mokele Mbembe.

Rising from the ashes of legendary underground Tenerife outfit Colectivo Drone are Tupperwear - an organic electronic duo formed by Daniel García (Salétile) and Mladen Kurajica (Gaf) in 1999, Tenerife. Since then, and for the most of 20+ years they have been unleashing electronic waves of sound from the Atlantic island by way of intense live and a series of uncompromising and unclassifiable albums and EPs.

Taking cues from a wide spectrum of electronic music classics, mostly the more pastoral and frantic electronica of Aphex Twin et all circa the late 90’s, whilst at the same time adding their own mischievous and tongue in cheek approach to composition and performance, Tupperwear have for the last 20 years been responsible for some of the most intense live performances the island has seen whilst also taking their anything goes, improvisation first approach all over the world, tis includes virtually all of Europe (east or west), Japan, China, Peru, Colombia, Equador or Mexico, you name it!

In 2017 the local festival and label Keroxen published ‘Mokele Mbembe’, their 2nd LP of twisted electronica which is here repressed to a wider public after the success of their collaboration with São Paulo Underground and Chicago legend Rob Mazurek. (Saturno Mágico, 2021, Keroxen).

Some artists have gained huge recognition, some records have been idealized to the point of becoming cult albums… and that’s exactly the case of Marine Flowers, by Japanese multiartist Akira Ito. An album that is unique, delicate, exploratory… a true one of a kind sonic adventure that 35 years after its first release comes back in the form of a reissue via Glossy Mistakes.

Looking back, Akira Ito’s artistic career began not in music but in acting. Born in Japan in 1945, he developed a prodigious ability to perform and a childhood acting career blossomed. However, as acting gigs dried up, actor/director Shintaro Katsu encouraged him to follow his steps into the music industry. With the rise of Western rock and soul music lighting up Japanese radio, Akira Ito stood to capitalize in the localized mid-60s “Group Sounds” craze by becoming a performing musician, joining touring bands across Japan fusing western and Shōwa-era pop styles.

But Akira’s musical interests changed throught his life experiences and travels, up to the point when he knew exactly what he wanted to do (without knowing how to do it): healing music.

Akira understood that once he set up shop at Hitokuchizaka Studios in Tokyo the work of translating these ideas began in earnest. First he started his own record label, dubbing it “Green & Water’’ to promote a series of releases that would strike a more organic tone, envisioning a series of Japanese Environmental Music records. Marine Flowers would be one of four self-penned albums on the label dedicated to esoteric symbolism like “Hopi Prophecies”, “Prayers”, and the “Four Corners Of Water”.

Flanked by more than a phalanx of analog and digital synthesizers from Roland, Korg, and Moog, Akira would dedicate this release to those waters of Palau. Here he would largely improvise on scratch ideas he had in mind, creating a musical base for tracks like “W・A・T・E・R”, “Dancing Spirits’’, and “Life Goes On” that he’d let invited friends and gifted musicians, like violinist Takashi Toyoda, the late Japanese drum giant Shuichi “Ponta” Murakami, and others contribute their own ideas afterward.

Hearing the music now, it’s not hard to understand just what Akira stumbled into. Marine Flowers (Science Fantasy) is of a new lineage of “ambient” artists like Hiroshi Yoshimura, Satoshi Sumitani, and others who took academia out of all these therapeutic ideas married to scientific theories, making them into something a bit more universal, malleable, and palpable. This Music For Inochi or “music for life”, treated us to gorgeous, floating music like album opener “Prologue, Into the Beauty” where Akira’s droning, aquatic-sounding electronics open up to the ebb and flow of percolating electroacoustic sonics that flow into the aforementioned “W·A·T·E·R”. Rich and organic, a violin melody from Takashi Toyoda feels like an aural lily pad bobbing along to all these gentle sonorities.

Gentle piano melodies cycle in and out of songs like “Dancing Spirits” evoking classic ambient discreet music from the likes of Brian Eno. Others like “Essence Of Beauty” have gossamer parallels in the works of Harmonia.

Originally released in 1986 and on its 35th anniversary, Marine Flowers deserves this fresh reissue, making this masterpiece available for everyone.

Liner notes are written by Diego Olivas, author of the blog Fond/Sond, from an interview with the artist coordinated by Ken Hidaka.

It's time to kick ass and chew bubblegum. Looks like Funkycan’s all out of gum.
Following a string of releases on labels such as Beatbude, Workshop’s Out To Lunch and Tax Free, Am Kinem aka Funkycan is back with "Combo Breaker", his 2019 release on AVA. Records. Filled with more handsome terror straight out of Neukölln. Come get some!

Sharing his InBach album with the world in 2020 set events into motion that ultimately led to Arandel making second edition in the critically acclaimed, borderless project that unites rare instruments, musical reimanigation.

Arandel unites once again behind the musical phrases of the Leipzig composer specialists of ancient and modern instruments (Thomas Bloch), modern synthesizers and moogs, strings experts (Gaspar Claus), and the poetic spoken word of Myra Davies and Bridget St.John.

Textextext - (add your write up)

"There is a Bach for everyone" Arandel says, "and that discovery is what led me here, to InBach". Beneath the intricate history, the godlike adoration placed upon Bach, he was a playful musician, an eclectic one even. And so, a full year after the release of the first InBach record on InFiné, there is enough material to make a second one. "There is so much about Bach I didn't even know when making the first one - but after the release, people kept coming to me, telling me about certain pieces I should listen to or rework; songs that I had never even heard of."

The second InBach grew like a garden from the seeds of the first one - an eclectic journey through melodic fantasies, intricate sound design and a certain Pop silver lining. Some tracks were born out of Arandel's band performing on stage, experimenting with the songs live and composing them anew, like "Nos Contours", a new, French-lyrics version of Bodyline with Ornette, Arandel's stage partner.

InBach vol. 2 is a logical consequence then, of someone diving into a pool of music and history so large that it is being chronicled to this day. A substantial part of the instruments used on the lofty, eclectic album were recorded at the Musée de la Musique Paris: rare instruments like the *Erard square piano, ondioline, Zach's cello, Stroh violins*. They help shape the unique sound of Arandel's InBach project: sometimes _eerily familiar, always otherworldly and elusive.

In the vein of rare instruments, the first guest musician Arandel approached for InBach was Thomas Bloch, who lends his gift to four tracks over the two albums, playing the ondes Martenot, one of the first electronic musical instruments ever invented. Thomas has worked with many major artists in his career of ike of Radiohead, Gorillaz, Marianne Faithful, Tom Waits, Daft Punk.

The record travels *between styles, ideas and moods elegantly - it is a distinctly fun and personal album. Freeing himself from the weighty shackles of expectation surrounding the classical maestro, Arandel goes for the core of every Bach piece he tackles, making them his own. on "Octobre", based on Air On G-String, from Orchestral Suite No. 3 D-dur, BWV 1068, his nephew tells a dreamlike story of an ominous gang of children, literally blossoming in the mud. "Fabula" - featuring the French singer Scalde - based on the melancholic, Christian lament Meine Seele wartet auf den Herrn, becomes a grandiose, auto-tuned pop ballad on InBach vol. 2, featuring the virtuoso cello of fellow InFiné associate *Gaspar Claus*.

The use of spoken word is another new layer to InBach, and acts a lyrical thread carrying the listener through InBach vol.2: the closing track features Bridget St.John, John Peel-associated folk legend from the UK to offer to collaborate on a poem for this second volume, she replied to him with a line from André Gide : "You can't discover new land if you aren't willing to lose sight of every shore". A lovely way to sum up the InBach experience for both artist and listener.

2016 Miasmah edition of the now classic debut album by Deaf Center, originally released on Type records in 2005. Full-lenght album version, includes the tracks that were previously only on the CD edition + a 20 minute side of unreleased material from the same timeframe. Released as a gatefold 2xLP with original extended artwork

Firecracker’s dwarf constellation Unthank thaws down from a small cryogenic suspension and delivers it’s first 12”!

Tracks from the vault from Cardiff’s DJ Guy (Other World Music/Cejero/All Caps) who’s been busy since 1992. All tracks designed to be played loud and with the dance in mind whilst taking in all sorts of melancholy, euphoria and pastoral, acid soundscapes.

RIYL Dream 2 Science, Autechre, Unit Moebius, μ-Ziq etc

White Vinyl

BBM IV “The Eden Burns Saga” continues.
There is a party at the shroom room.
Join the tribe & help to spread the message of the Big Beat!
„Beat moves feet. Feet do dance. Dance is joy. Joy is Life.”

DJ Duke presenst another classic release back on viny! It's the legenday "Johnny Funk - In The Ghetto/ Here Comes Johnyy" from 1996. The re-press on the original label called 303 Records contains for the first time the unreleased remix by Electro Force. Higly recommended gem!

ACCIDENT IN HEAVEN was originally released in 1987 as a hand-made micro-edition of about 40 cassette tapes. It was only the third ever release on the short-lived now near legendary SDV label which had been established that same year by Konrad Kraft, Bernd Sevens and Dino Oon in Düsseldorf.

Finally finding a more substantial and appreciative audience on vinyl over 30 years after its original limited release, ACCIDENT IN HEAVEN is a strong testament to the explorative experiments of Detlef Funder a.k.a. Konrad Kraft, whose homebuilt studio sound attempted to bridge the clinical roughness of Severed Heads and the psychedelia of Coil with the density and force of industrial, post-punk and prototechno. Concurrent with his ever-expanding production skills, KONRAD KRAFT's sound work in the second half of the 80s stayed firmly rooted within a highly stylised underground spirit. Both his music and also the freshly launched SDV label first and foremost served as a medium for communication. The vital urgency of ACCIDENT IN HEAVEN underlines the record's core narrative which arguably sounds even more futuristic today than it did 30 years ago.

Hallmarks of ACCIDENT IN HEAVEN are an 8-track tape recorder, a Yamaha DX7 synth and a Roland 707 drum computer and the late 80s’ internationally ubiquitous shift from analogue to digital music production. Whilst its predecessor ARCTICA (another cassette-only release from 1986/87, previously reissued on TAL in 2018) was significantly more experimental and almost an in-between-states affair, ACCIDENT IN HEAVEN was the point at which Konrad Kraft really began to experiment with beat structures, sequenced synth pads and the framework of 'dance' music. However, the rhythmic elements are submerged so far beneath his expertly crafted drones it's almost impossible to label these sounds as “dancefloor oriented” work at all, as the tracks on the album joyfully disrespect the rules and boundaries of that or indeed any other genre.

ACCIDENT IN HEAVEN also epitomizes the decade's ending energy and sharp momentum with its successful merging of highly individual production and irresistible rhythm tracks.

The rich wealth of references is mirrored within the silhouettes and the graphics of the album’s unique artwork, which was created by Dino Oon. The new mastering has all sounds on ACCIDENT IN HEAVEN emerge in fresh shades and three dimensional plasticity, inviting the listener not to merely revisit the full palette of KONRAD KRAFT’s creation but offering an entirely new sound experience.

Quiet Music is a collection of pieces created by Steve Roach between 1983 and 1986 in respect for silence. The gentle electronics of Roach's synthesizers mix with flute, electric piano and nature sounds flow like breath, enveloping the listener in a sustained, delicate and translucent atmosphere. Quiet Music was originally released as a three tape cassette series in 1986 on Fortuna Records and is now being issued as a complete series on vinyl for the first time ever.

After Structures From Silence was released, Steve was receiving invitations to create music for the emerging meditation yoga and healing arts community in Los Angeles. Quiet Music 1 was originally commissioned for a meditation video, which featured a collection of video images of lush forested areas, wild flowers and natural serenity. But by the time the piece was completed the producer passed away and the project was never completed.

Quiet Music 1’s direct connection to a distinct environment set the tone for the trilogy of albums. Quiet Music 2 was inspired by Steve spending a lot of time in deserts and was created as a natural progression from Structures From Silence, and the more nocturnal feeling of Quiet Music 3 were pieces designed for Steve’s personal healing practices.

The Quiet Music series was released in a timeline that is often seen as linear but this music was created directly along side the dynamic fully electronic albums like Now, Traveler, and Empetus. In the early 80’s Steve would be shifting between the invigorating sequencer-percussive driven music and then move directly into weightless drifts and contemplative spaces.

This way of creating grew naturally out of a desire to not settle into one place sonically and to nourish himself with a space that could be creative and fine tuned, creating a calm and renewing zone while living within the hectic pace of urban life in Los Angeles.

Speiz Bois is a trio of three seasoned Hungarian musicians active in countless other projects (think of the already cult Jazzbois outfit) playing a unique fusion of hip-hop, spaced out psychedelic grooves and melancholic 80's guitar sounds.

'SpeizBanger' on side A is one of those timeless songs that are hard to be described, but we are pretty sure this is what an imaginary demo by random members of BadBadNotGood and Khruangbin, recorded in a smokey Budapest home studio would sound like.

'BreakBottle' on the flip starts off as a more conventional live groove until the ethereal synths and guitar harmonies come in, from then it sounds like the fictional demo described above.

The single is limited to 300 copies

Dj Bebedera Is A Young Producer Who Hails From Lisbon And One Of The Pioneers Of The Tarraxo Do Gueto / Fodência Style, Which Is The Lisboan Sub-genre Of The Angolan Tarraxinha.

The Tarraxo Do Gueto Is Characterised By Its Languid 90bpm Beats Highlighting The Erotic Side Of Kuduro Music Which Is Surprisingly Known To Few Audiences.

The 2 Labels Bazzerk And Promesses Have Collaborated On A Series Of Two 7" Singles With The Lisboan Producer Which Groups Together 4 Iconic Tracks From The Genre.

Burnski laid out one of his most impressive artistic statements to date late last year with the Instinct album "Still Life", where his love of UK garage reaches into intriguing and experimental realms. Now he's invited a host of artists to turn in remixes with some stunning results. Holloway is up first, delivering an essential remix and dub version of "Can't Run Away From Yourself" that rides a crafty breakstep groove and places plenty of moodiness into the mix. On the flip, "Badman" gets the treatment from 0113, who keeps the 2-step flex up and matches it with some tasteful atmospheric drops in all the right places, plus plenty of bass of course. Desert Sound Colony completes the set with another highly developed take on "Can't Run Away From Yourself" that locks into its own ethereal groove.

Hold tight for more white-knuckle garage exploration from Burnski's Instinct project, which hits release number 13 in fine style with a sharply focused two tracker from the man himself. "Don't Know" is a dark and heavy affair with some tightly wound RnB vocal licks and a mean tempered bass swell. "Creeps" is a more sprightly affair with plush pad sweeps and a more nimble sub line, but it's still a peppy stepper to get you swinging hard. If you love garage, and particularly the resurgent wave of inventive twists on the original sound, then you should be copping this record without giving it a moment's thought.

Old-school industrial live improvisation with overdubs on 4 track portastudio.

Recorded at Black Prince Studio, Coventry, England. 1982.
Influenced by classic zombie films, “Death House” lends truth to that rumor by delivering forty-six minutes of blackened paranoia-inducing ambiance. Split into two sprawling pieces, “Death House” conjures the grim, unsettling atmospheres of such films like “The Last Man On Earth” and the original “Night of the Living Dead” and portrays them
into musical form. Step inside this nightmare Remastered by Martin Bowes at the Cage, Coventry, England. 2020.

These soundtrack recordings were originally issued on cassette on Adventures in Reality, September 1982.

Picture Disc 2LP+MP3

Das Belfaster Duo Bicep veröffentlicht sein heiß ersehntes zweites Album, „Isles“, auf Ninja Tune!

Zwei Jahre in Arbeit, erweitert „Isles“ die kunstvolle Energie des 2017 erschienenen selbstbetitelten Debütalbums von BICEP und vertieft gleichzeitig die Klänge, Erfahrungen und Emotionen, die ihr Leben und ihre Arbeit beeinflusst haben. Sie beschreiben „Isles“ als „eine Momentaufnahme“ ihrer Arbeit in dieser Zeit, wobei die Stücke so konzipiert sind, dass sie sich in ihren verschiedenen Durchläufen von der Aufnahme bis zur Live-Show und darüber hinaus entwickeln.

Der weltweit beliebte Sound von Bicep entstand, als ihr eigener rasanter Aufstieg im Musikbusiness begann. Nach dem Start ihres legendären FeelMyBicep-Blogs im Jahr 2008 entwickelte sich ihre simple Website, die stets neue Italo-, House- und Disco-Juwelen aus der Musikgeschichte präsentierte, zu einem durchschlagenden Erfolg, der regelmäßig über 100.000 Besucher pro Monat verzeichnete. Nachdem der Blog ein Plattenlabel und eine Clubnacht hervorgebracht hatte, wurde das Duo mit begehrten DJ-Sets, die die musikalische Vielfalt ihres Blogs widerspiegelten, auf die internationale Bühne gehoben. Nach den Erfolgen mit Produktionen für Throne of Blood und Aus Music wurden Bicep 2017 bei Ninja Tune unter Vertrag genommen, wo sie im darauffolgenden Jahr ihr umjubeltes, selbstbetiteltes Debütalbum veröffentlichten, das einen Top-20-Einstieg in die britischen Charts erreichte und in der Groove schaffte, was in der langen Geschichte des Magazins noch kein Release bewerkstelligen konnte: sowohl die Kategorie „Album des Jahres“ als auch mit „Glue“ die Kategorie „Track des Jahres“ zu gewinnen. Titel wie „Opal“ - und der bald folgende Four Tet-Remix - sowie die eben erwähnte Lead-Single "Glue" mit dem von Joe Wilson entwickelten Video wurden 2017 zu Meilensteinen der elektronischen Musik, wobei letzteres vom DJ Mag ebenfalls zum „Track of the Year“ gekürt wurde.

Peach Discs is delighted to kick-off a busy 2022 with a five-track EP from one of our favourite new artists. buen clima’s Transferencia Electrónica is an exploration into pared-down dance music, where interlocking rhythms, percussive synthesis and quasi-looping delays meet to form smooth, efficient and pointed club tracks.

In his own words:
“Stylistically the tracks on this EP owe a lot to the great Black musicians from Chicago and Detroit, namely Herbie Hancock, Mr. De', DJ Rashad, Lil' Louis, Frankie Knuckles, James Stinson and Gerald Donald. I feel like the EP is kind of a love letter to the styles they pioneered, done in my own way, which in turn has been influenced by my background in classical music and improvised music but also so, so heavily by my friends and teachers: I've learned so much just from interacting, working and just plain witnessing eggglub, Lorelei, Maxi Cat, il sentimento, Hola Papá/Annunaki, Lavina Yelb, Jorge Pepi, and the whole music scene I belong to in Santiago.”

King Gizzard & The Lizard Wizard announce an album of remixes of tracks from ‘Butterfly 3000’, their second studio LP of 2021 alone. ‘Butterfly 3001’ features reworks courtesy of (among others) DJ Shadow, Donato Dozzy, The Scientist, DāM-FunK and The Flaming Lips!


"We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in Da Club!!!" - Joey Walke

Following up a powerful inaugural release by the legendary Mick Harris (and follow up by ASC), Madrid-based Trauma Collective return with their sophomore release by the enigmatic Makunaimadama. The production process on Katavai was said to be an immensely cathartic experience for the artist, one which saw him work through personal issues, while at the same time paying tribute to his ancestry. Katavai is a disciplined body of work, featuring five expressions of haunting and desolate electronics: from the austere trance induction of 'Konsera', to reduced and contorted techno derivatives explored on 'Waku' or 'Dekaton' and the malevolent sound architecture of 'Wakupemeton'.

A future proofed masterpiece of hybrid rhythms, basslines and metallic funk created on a MPC3000 and recorded as live jams over many studio sessions in the Witness Rooms, Scotland.

The recipe is futuristic but the main ingredients come from the UK with subtle tastes of the West Coast and Detroit. This new LP holds off the retro rave appeal keeping this record placed well into the years ahead.

The Sell_By_Date LP, is undeniably Landstrumm laced with his signature sound and vibe. Double Vinyl and Digital release with 3 bonus tracks.

Frankfurt based duo not even noticed is up next on Chat Noir Rec !
not even noticed is a project dedicated to broken beats, dreamy pads and ravy sounds, founded in early 2020 while the world was going crazy due to the corona virus. The Persistent Textures EP catches several vibes that not even noticed stands for with liquid acid lines in Quaisen and Backyard Dreams, dreamy pads in Backyard Dreams and a rave feel in Access Mode.

On 'Made of Wood', his ninth full-length album since 2007, Oliver Koletzki embodies the seasoned craftsman, carving out his deeply personal sonic sculptures with a confident, learned hand, while experimenting with a broad range of thrilling ideas and fresh textures. The result is an organically flowing, yet decisively shaped work of art, that naturally concludes a trilogy of albums Koletzki embarked on releasing with 'The Arc of Tension' and followed with 'Fire in the Jungle'.

Initially written in Tulum, Mexico, during the pre-pandemic winter of 2019, 'Made of Wood' is physically entwined with the primeval forests that continue to inspire its maker: In the subsequent year it took to complete the album in Berlin, Oliver, aided by numerous live musicians and vocalists, brought his sketches to life with a focus on wooden instruments like djembes, marimbas, santoors or duduks, sculpting a natural sound that's warm in timbre, rich in groove and literally made of wood.

Thanks to the imperfection of the human hand, the album sings with a bold vibrance that stretches from the LP's slow carnivalesque opener 'Caravana De Los Elefantitos' to the blue horns and Wennink's lamenting coos on the concluding ballad 'Turn'. Intermediately, Koletzki's rhythmic explorations take the shape of mythic odes ('Dear Mexican Jungle'), boisterous tribal dances ('La Veleta'), floor-focussed shakers ('Copal'), handpan-driven epics ('Cryptozoology' feat. Walter Scalzone) or subdued oriental belters ('Serpiente Del Ritmo' feat. ELIH) – emphasising his control over light and dark tonalities, over organic and synthetic sounds alike. Most strikingly, Oliver slowly breaks away from the album's natural feel in the mid-section, in which the disorienting, abstract stunner 'Picture' (with Niko Schwind & Judith Ahrends) rubs shoulders with the synth-crescendos of the bouncy 'Made of Cashmere', while the 14-minute long meditation 'A Starseed's Journey' makes for a powerful penultimate breather later on.

Next to the meticulous attention to instrumentation and his instinctive touch, these twists and turns underline that Koletzki feels entirely at ease on 'Made of Wood' – like the true artisan he is.

Written and produced by Gavin Miller and Thomas Ragsdale, Bradford West Yorkshire, England
Mastered at Black Knoll Studio (NY) by Rafael Anton Irissari

Third and last episode of the Generative Operation series is here. Completing the same style and vision, cinematic, technical and minimal concept trying to push forward a contemporary electro in our days. Evolving synth lines with a generative structure from new massive modular patches. Progressive minimalistic rhythms and sequenced tracks with different results as always elements can change every time they are played back again as a unique listening. A rare topic this time is that two 303 basslines have been addedd in the track GenOp10, they are interlaced with different step lenghts patterns as a tribute to put this classic synth from roland into a spacey environment and not always in the raver side of the music. The limited edition vinyl has been pressed in 180gr. keeping up theanalog character sound in this format, meanwhile the digital version will be a clearer and clinical one.

'Being Below' is a mini-album of short songs created with digital and analogue instruments. Written with a structure that reflects shifting states, overlooking the past and future as a split pathway with the present endlessly fluctuating between. The pangs of rumination. An exercise in loop-less writing.