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2LP Repress!

Yosi Horikawa makes music quite unlike anything you've heard, music that reflects not only the appeal of rhythm and melodies but also the power and hidden musicality of everyday sounds. In that sense Horikawa is not just a producer or musician or sound artist: he is a world builder whose materials constantly surround us, though we rarely stop to appreciate them. Horikawa honed this approach for more than a decade, travelling far and wide to record forests, beaches, cities and people while never missing an opportunity to also find sounds closer to his home in Tokyo.

'Spaces' is Horikawa's new album, following from 2013's 'Vapor' released via London-based label First Word. This time the album is released on Borrowed Scenery, a new label setup by Horikawa and close collaborator Daisuke Tanabe to enable them to operate free of constraints.

The album features 11 songs that combine field recordings and sound design with a range of stylistic touch points: the fluid intricacies of hip-hop, the precise efficacy of IDM, the euphoric physicality of dance music, the humanity of acoustic instrumentation. Each song blends a primary sound source with a certain style, with titles often hinting at the origins of the sounds – "Moldy Vinyl," "Vietnam," "Fluid," "Swashers," "Nubia" – or the mood the music evokes. What ties it all together is Horikawa' s deeply personal understanding of what constitutes music, an understanding shorn from the commercial and stylistic structures of music as a commodity.

'Spaces' is a deeply human experience, and through Horikawa's approach music feels as natural as breathing. Horikawa has collaborated with French producer Fulgeance, American singer Jesse Boykins III and fellow Japanese experimentalist Daisuke Tanabe. His music has been supported by Gilles Peterson and Benji B. Outside of music Horikawa is an in-demand sound engineer and speaker designer who has worked with J-WAVE, Kengo Kuma, Mitsubishi and Sound & Bar Howl in Tokyo. 　　　 　　　　　　　　　　　

(by Laurent Fintoni / Original Cultures)

Making up for lost time we are back with another Redstone Press debut in the form of Henry Greenleaf.

After Liam Robertson’s Village of Killin release we were on a collision course with Henry, both parties reached out to one another simultaneously in hopes of working together and here we are! Henry spent a lot of time in the Lake District prior to and during the beginning of the pandemic and this release is the fruit beared from that period! Full of tense space and creative freedom, Kirkstone EP is Henry’s finest work to date (in our biased and arrogant opinion) and highlights his ever-upwards trajectory.

The EP’s namesake boots down the door with his instantly recognisable drum work and intricate synth lines, simply put Kirkstone is a club killer! The A2 “Headache District” is a more spacious affair, awash with ambient sweeps that, when paired with his intricate booming kicks, creates a subtle groove that belies the driving force behind the track.

On the flip “Put By” swaps sweeping synths for metallic abrasion and a building tension that dissolves into unsteady piercing stabs and crumbling basslines. Henry expertly stiches together elements that on paper shouldn’t work, into a masterfully deep and ominous 5 minutes. Closing out the EP is “Group Translate”, a symphony of cascading sounds that ramp up the pace and force you into taking notice! This hammer of a track sounds like something you’d hear as you pass through a blackhole in space, on eccies.

On May 20th On Rotation returns for their first VA release - Genetic Memories Vol. 1.

Anderson opens the release with the mystical ‘Polymorphic Magic’ - a low-slung builder combining deep synths with sampled instrumentation. 

“I’m a huge fan of self resonating / overtone instruments so using the Fujara was a no brainer. A naturally psychedelic sounding instrument, I wanted to accompany the flutey pipe with a deeper and low-mid tempo chug.” - Anderson

Next up is Musty Head Records main man Jamie Leather - combining the tight drums and skilful melodic work of his previous releases with all the influences we love, ‘Discovery’ is sure to get any party going.

Leading the B-Side of the record is Ed Hodge's ‘Atreides’ - a tough yet playful banger drawing influences from across the spectrum of UK music. Gun fingers guaranteed! 

“It’s probably the fastest, rowdiest track I’ve made under the Ed Hodge moniker and pulls influences from house, trance and speed garage.” - Ed

Closing the release, we speed things up and travel deep into the past with Phazma's ‘Arrakeen’. Featuring ethereal synths, driving rhythms and beefy low end, this floaty number works just as well at home as in the club - a perfect way to round off the EP! 

“After some help from my musical peers and some heavy inspiration from the release of the new Dune movie, I managed to come up with something that I’m pretty stoked with!.” - Phazma

Moonwalk X continues with ZK Bucket’s debut album mirroring his wide musical influences and production techniques from early detroit to UK wave and dub music. Techstar Liner is powered by a drumbrain and flying on ringing spring-reverbs. Stripped down rhythms, sequenced synthesizers and wide atmospheric pads with a spooky touch. Zoned-out machine music from the gritty side of town. Make sure to check the wavey vocal track “Natural Peeling”. 200 copies only.

"Front by Front" von den belgischen EBM-Giganten Front 242 erschien ursprünglich 1988. "Front by Front" gilt als eines der wichtigsten und einflussreichsten Alben des Industrial Genres und inspirierte damit Bands wie Nine Inch Nails. Nun ist das Album endlich wieder auf Vinyl verfügbar!

The first notes of Relapse’s “Underground Rave Hits for a Shuttered Club” are obscured with abrasive noise. For this Pinecone Moonshine album, the Bristol based musician known for drum and bass drew from many influences. Melodies and harmonies suggest ideas from extreme metal, blues, folk, and unique medieval, ritual notations. The album ranges from slower tempos like the funky 100 bpm “Curse, or a Swan” up to the 200 bpm breakcore “Hitroll Beat Heart.”

repress

This new EP has five *fresh* dubs from the hit album "Net Worth," specially mixed without vocals for your homeclub, car, kitchen or quar. Fire up those pretty vape machines and get ready to summon some Medusa's NRG.

Afrobot cuts up four wavy 80's tracks for darker times! A1 is a sleazy minimal wave banger of Ensemble Pittoresque, recorded in The Hague in '84, now tripled in duration! After that we continue our trip from France to New York ending in the UK on the B-side. First track is a mix of a 7' b-side and a wrong speeder and a slowly pounding track with a twist is the one to finish with. Comes with an insert and a stamp both drawn by Frank Koedood.

"Life Plans and Parallel Side Tracks" by Ismael Zouaoui (aka Ish) is the highly anticipated album on Libertine Records. Spanning Electro, Drum 'n' Bass, Dark-Wave, and Ambient, Ish's versatile production shines. Inspired by diverse influences like Brave New World, Japanese Anime, and early Techno/Trance, the album's contemporary, textured sound captivates.

A much-needed reissue of the 1992 old school, breakbeat hardcore classic ‘Compnded’ and killer 2015 Kafty Kuts remix. An undeniable rave anthem that’s blown the minds of many a dancefloor across the past 30 years.

Massive support from day one from the likes of Carl Cox, Ray Keith, Grooverider, Slipmatt, Krafty Kuts

A much-needed reissue of the 1992 old school, breakbeat hardcore classic ‘Compnded’ and killer 2015 Kafty Kuts remix. An undeniable rave anthem that’s blown the minds of many a dancefloor across the past 30 years.

Massive support from day one from the likes of Carl Cox, Ray Keith, Grooverider, Slipmatt, Krafty Kuts

Berlin-based French-Irish sound artist Zoë Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space. Described as a "vanguard" by DJ Mag and "fearless" by Hyponik, Mc Pherson has performed tirelessly across the world, appearing at Berlin's CTM Festival, Madrid's LEV, Malmö's Intonal and presenting installations at Berlin's Silent Green and Monom. They also curate the ambitious A/V-focused imprint SFX with visual artist Alessandra Leone and maintain creative partnerships with Jessica Ekomane and Ciarra Black (as Carbon 96).

Pulling in influence from British bass music and the outer fringes of experimental sound art, "Pitch Blender" is Mc Pherson's most ambitious album to date, splicing bold vocal performances with psychedelic modular synth flourishes, illusory environmental recordings and relentlessly abstract polyrhythmic beats. It's music that's able to balance a constant exploration for newness with a rhythmic pulse that never ignores the dancefloor, connecting the nodes between artists like aya, Elvin Brandhi, ZULI and Slikback. Cinematic and sub-heavy, "Pitch Blender" is a dizzying work of sonic fiction that's permanently in flux, dissolving breaks, beats and acidic leads into queasy, pressurized tracks that act as an antidote to contemporary malaise.

Alexander Tucker has announced details of a new album, Fifth Continent, a posthumous collaboration with Keith Collins (1966-2018). The album, which pays homage to Keith Collins, his partner and collaborator Derek Jarman (1942-1994), and the Kentish headland, Dungeness – will be released on Subtext Recordings on February 24th, 2023.

An accompanying anthology, Fifth Quarter, will be published on the same day. The book will collate new and archive work by artists, photographers and writers reflecting on Collins, Jarman, one of England’s most unique landscapes, Dungeness and Prospect Cottage, their former home and sanctuary.

The album’s genesis came from a chance meeting in Dungeness. Tucker was visiting his parents, who moved there in 1997, and while out beachcombing he met Collins and the two became friends. Tucker was already a fan of the work of the British artist, activist and filmmaker Derek Jarman, having been alerted to him by an art teacher at school, and Collins would invite Tucker to Prospect Cottage. Over time casual chats between Collins and Tucker developed into bigger ideas. In 2014, the two collaborated on ‘Between The Ears: More Than A Desert’ for the BBC, splicing guitar improvisations Tucker recorded on the beach in Dungeness with Collins' readings from Jarman's ‘Modern Nature’, and Collins and Tucker talked about collaborating further at a later date.

Sadly in 2018 Collins was diagnosed with a malignant brain tumour. Whilst in hospital he asked Tucker to look after his vast music collection kept in Prospect Cottage, tasking him with cleaning up and pruning the many CDs. After Collins passed away Tucker would travel down to Dungeness, helping Collins’ husband Garry Clayton with the Cottage. Tucker mentioned to Clayton his idea for making a homage to Collins, and he suggested Tucker bring
down recording equipment. A few weeks later Tucker set up a modular system, cello, microphones and electronics in Jarman’s old writing room, the Spring room. Clayton also lent a digital recorder to Tucker belonging to Collins, containing spoken word pieces and fielding recordings. "It was strange collaborating with someone who wasn't there anymore," he admits. “But I had this idea of knitting Keith’s recordings into the track, not just to play alongside them but to integrate him into the fabric of the music”. Tucker had the idea to attempt a whole record using only extended and concrète techniques, with Collins' recordings as the springboard for a more wide-ranging set of experiments, some featuring the improvised trumpet drones and pulsing electronics of the artist and musician Kenichi Iwasa (Exotic Sin, Maxwell Sterling).

Complex emotions are tied into the recordings, the words and sounds Collins recorded to his portable field recorder, and the instrumental improvisations Tucker made in Prospect Cottage. Each sound on the record leads towards its deeply moving finale, where we hear a ticking clock once more, and Collins talks about coming to terms with Jarman's death. Accompanied by Tucker's restrained instrumental flourishes, it's a piece of sound that's unabashedly moving, and one that will stick in your mind long after it's come to a close.

Fifth Continent is accompanied by a new anthology, Fifth Quarter: Derek Jarman, Keith Collins and Dungeness, edited and complied by Tucker and published by Subtext. This book brings together Jarman and Collins’ collaborators, friends, contemporary artists, writers, musicians and curators. Focusing not only on Jarman’s legacy but drawing influence from the layers of history and inspiration from the Dungeness and Romney Marsh landscape. Fifth Quarter seeks to merge the past with the present, using archive photography and film stills, alongside newly commissioned artworks and writing, encompassing Jarman’s collaborations with Collins and his circle of friends and colleagues, with collaboration being central theme to Jarman’s polymathic work and life.

2021 Yellow Vinyl Repress

In the last 2 months, 24 year old female Korean singer, songwriter, rapper, house and techno DJ park hye jin has taken the world by storm with her debut release 'IF U WANT IT' which has found favour in the playlists of tastemakers as wide and varied as Ryan Hemsworth, Jarreau Vandal, TCHAMI, Pete Tong, Jamz Supernova, Monki, Optimo, Baltra, GODMODE, Jaques Greene, DJ Boring, Axwel and many many more.

Featuring the viral hits "I DON'T CARE" (#1 Hype Machine Popular Chart) and 'ABC' park hye jin flips the script on her Eastern heritage with a mixture of English and Korean over smoky piano lines, tumbling motorik breakdowns and banging house beats.

With appearances coming at SONAR Hong Kong, DOUR Festival Belgium, MELT Festival Germany, Weather LSM France, Lost Village UK, and many more to be announced - don't sleep on this amazing merging talent from the East!

park hye jin is a 24yr old female artist from Seoul that recently dropped her debut EP on Australian buzz label clipp.art. She is rapidly being hyped as the next big underground electronic talent to emerge out of Korea - after being the subject of the top thread on reddit's new music discover group (13.9m subscribers) with her breakout track 'I DON'T CARE'.

3rd vinyl cut from " COLLAPSIZM " by Japanese Dub producer Mantis including A remix by Pole. Mastered by Stefan Betke aka Pole from scape mastering.

Orpheu the Wizard has a magic touch at finding records that fall between the gaps in music - oddities, curios, the weird, the wonderful. But that's just half the trick. It takes a sensitive and selective ear to construct a coherent, accessible narrative from them. So you get DJs who can play for the crowd and "selectors" adept at mining the black gold. In Orpheu, you've got yourself someone who can do both. On a festival main stage, he can keep it weird enough for the heads. In an audiophile setting, he'll keep the flow.

These skill sets come into play on the fifth The Sound of Love International compilation. Jumping between genres, decades, continents, the truly rare, and many B-side cuts that passed you by. But never eclecticism for its own sake; this collection makes sense. Orpheu never loses sight of the listener - he's a friendly and knowledgeable guide to the cosmic outer reaches.

He opens his account with the warm, psychedelic electronics of Drawing Future Life, with ‘1969’. Tucked away on the B-side of an LP of ambient/trance hailing from Fukuoka, this is a very pretty piece of music on a truly rare piece of wax. Then, leapfrogging a couple of decades and timezones, we have Rutuu Poiss' "IHATSIN." Off-kilter, experimental sounds with an endearing melodic hook, followed up by the with lethargic ambient breakbeat of Digital Distortion's "Mellow Bug".

On the B-side, things start to get lively. French Audacity featuring Valerie's "That Fine One" is Gallic garage that has simultaneously got it hugely wrong and mas­sively right. Owing as much to new wave as New York house, this is propulsive and quirky dance music at its finest. Next, we're on a ferry over the channel for DJ Spike and "Gaps In Space." Up-tempo electro with a fondness for sampled vocal cut-ups, like its predecessor.

lnterdance's "Kurz" (another B-side) is the perfect segway - house from 1990 with that sweet, slightly goofy naivete. Things move toward the gnarly with Bad Behaviour and "Living on Smoke," a lesser-known cut on the legendary Atmosphere records. The tempo edges upward on "Systematic Input" by Frequency, hectic hardcore techno that still retains a lightness of touch.

"Lushes" by Diffusion spins us off into space, filigree techno with an emotive trance edge. The chiming intro of "Blue to Be Happy" by MFA lulls us into a sense of false security before massively putting the boot in with a pounding kick drum, bassline, and arpeggiation. From there, it's a sharp left turn into the urban psychedelic dub of R.I.P's "E.O Pan" on cult label Digi Dub.

Sticking with UK sound system music but taking it down a notch, Orpheu closes proceedings with a leftfield reggae excursion from the master of the mixing desk, Mad Professor’s"Oh Hell".

It's a compilation as varied as the many moods and grooves of Love International itself - from sun-dappled olive groves to moments deep in the strobes. This is serious music for party freaks or party music for serious freaks. Tisno is calling.

Rude 66 celebrates the 10th anniversary of The 1000 Year Storm. A pinnacle piece that defined the typical Westcoast Sound Of Holland.

This special edition contains a never released DJ Cut version with a shortened break, the acappella and on the flip three takes from the 'From Reason To Ritual' live ambient sessions in 2017. Comes on limited edition transparant vinyl with insert in silkscreened transparant sleeve.

Very 80's sound in the nowaday mood.

XUNTANZA is a galician word that means: The action of gathering a group of people to discuss an issue or have fun.

And this is what it is the first volumen of this VVAA series. A meeting point for great artists disccusing and having fun around ELECTRO music.

In this first volumen, four wizards of the scence will put his vision on this. Versalife, Cignol, Nullptr and boss label, Roi are the responsibles to open the debate on this gathering. Pure fun!

Band Of Nowhere is a new constellation project by Juanjo Sánchez, together with other collaborators with whom he had previously worked. It is worth mentioning Bob Drake on drums, former member of the legendary formation Thinking Plague (also on Hail, 5UU's, The Science Group) who has also mastered the project from their studio in the Midi-Pyrénées and also to mention the guitarist Jordi Cabayol (Camino al Desván) both Juanjo and Jordi began their career in a significant band of Barcelona of the early eighties, such as Entr'acte.



The becoming of Juanjo Sánchez would take him to other latitudes as a member of Alondra Satori and without losing the lighthouse of his city, he would collaborate with other outstanding musicians such as Quicu Samsó (Koniec, Macromassa).



The fluidity and chromaticism of his previous album Gonza Magilla is still perceived in here, but in a much more electrified way with guitars that are sometimes expansive, other times exuberant wrapped up with contagious synthesizer modulations and very marked rhythms. The production and especially the arrangements are fantastic with those special presences of synthesizers that are not common around here.



Its original improvisation and experimentation is skilfully adjusted by Juanjo Sánchez, giving a much more playful result with unexpected combinations, very much in continuity with a certain European Art Rock such as Aksak Maboul, Etron Fou, Zamla,The Work or the mischievous resonances of The League of Gentlemen; all this mapping the sound transit, to an unpredictable and vibrant non-place.



Housed in it's original hand made artwork with the little upgrade twist of silk-screen printing textured grey cardboard and including a insert colour with photos and text provided by Juanjo Sánchez.



Housed in it's original hand made artwork with the little upgrade twist of silk-screen printing in Plastic clear cover and including a insert colour with photos and text provided by Juanjo Sánchez.

Javier Hernando

a1 Calling All Beginners
a2 Fleeing To the Poles
a3 Ashes
a4 Rouler ma Bosse
a5 Sunday Machinery
b1 lucid Dreams
b2 Twisted Maze
b3 Rolla Bolla
b4 Chinese Forecast

Celebrating our tenth release, we proudly present "Feeling Everything, All At Once" - a compelling VA compilation featuring music from our current label family and introducing some talented debutants from Scotland.

RED010 marks a powerful statement of intent as we look to the next five years and beyond whilst reflecting on our achievements so far, what we aspire to accomplish and how we can continue to push the sounds that resonate with us. Although it has taken time to reach this milestone, our commitment to quality over quantity remains unwavering.

This compilation serves not only as a collection of club-ready tracks but also as a longform piece suitable to more passive listening. With a total of 14 tracks, it stands as our most extensive release yet, expanding our label family to well over 20 artists. The digital release will be complemented by a physical cassette, perfect for playing in the dusty tape deck of your mate's Vauxhall Corsa as you head to that mad rave in the countryside everyone is talking about.

We are thrilled to announce our collaboration with the Scottish Action for Mental Health (SAMH) on this project with all the profits being donated to this cause. Both Lewis & Ethan have their own personal experiences with mental health difficulties and strongly believe that SAMH is absolutely vital in facilitating the provision and promotion of mental health care, support & information.

A massive thank you to all those involved in making this happen and their generosity in donating their time and talent to the project.

Berlin based Lorenz Brunner AKA Recondite pays homage to his Bavarian homeland in new sophomore LP 'Hinterland'
For many great artists, going back is the way to move forward. With this in mind, Berlin-based producer Recondite looked to his homeland of Lower Bavaria for his debut Ghostly International release, Hinterland. "I tried to capture the area's mentality and natural environment within the album," he explains. "Particularly the moods that behold the emotions of the four seasons, which dier a lot in this region." In fact, most of the eld recordings featured in this 10-track LP were taken in his recent visits to the free state in southeastern Germany. Recondite's production career has only spanned a handful of years, but his versatility with electronic music as an expressive medium puts him beyond others with discographies twice as long. He began Plangent Records in 2011 as a means for releasing his own music in limited batches. Lush, gorgeous, and vibrant are three words that can often describe his original productions, whether it's oating in a beatless ambience or driving a hard rhythm through the soundsystem of a nightclub or warehouse. His debut album came out in 2012 on the Los Angeles-based Acid Test imprint, and quickly put him up alongside labelmate Tin Man, who oered a remix for the On Acid LP. The record also included one from Scuba, who'd mixed "Backbone" (Plangent #002) into his 2011 DJ-Kicks. Eventually, Hot Flush released a separate single for "The Hope" - Scuba's recent hit - exclusively featuring two dierent Recondite remixes. Hinterland is another step forward in Recondite's progression, maintaining a style all his own and acknowledging the nest moments in his previous releases. It's no small feat to incorporate one's observations of human nature against nature, and to lay it out in such a way that is cohesive, linear and sonically beautiful both up close and from a distance. "Characteristics of people's minds," he says. "Such as satised, frightened, calm, melancholic, sad, stoic, frustrated, strong, deep...they are captured in the sounds."

While the record can be enjoyed in one long listen, there are going to be dierent tracks that speak to individual listeners. "Clouded" is one of the stronger arrangements, taking the sonic sweeps often heard from Marcel Dettmann or Function and lling the surrounding space with dreamy samples and warm bass. "Stems" is playful and uid, and the record's opener, "Rise," is an eerie and melodic tinkering intro. As a whole, the release of Hinterland on Ghostly International is a perfect marriage - the label has always had an afnity for music with depth and frequencies that can magnetize a wide variety of listeners."Basically, this is the album that had to come out of Recondite eventually," he adds, smiling. "It is Recondite."

Grey Marbled Vinyl

The charm of exploration leads to cinematic echoes that fuse rattling break drums and synergetic nuances, creating a sphere of ancestral musical paths in which a poly-form stylistics gives a recognisable imprint to 'Foreshadow', Marco Bruno's new album that embarks on a new sonic exploration and delves into the meanders of research with an abysmal attention to detail, a significant project in the evolution of the artist and his Evighet Records label.

For this release, two veterans such as James Ruskin and Mark Broom, with their alias The Fear Ratio, set in time their experience, masterfully reinterpreting that pivotal feeling of free expression that reigns at the heart of the project.

We welcome the English creator from Manchester Mark Wilkinson aka Kid Machine to HC Records.This album of 12 songs on vinyl and 4 digital bonus tracks, already seemed historic to us at the time of closing the album, but now it seems like a real event as it is the last one that the artist will publish under the pseudonym KID MACHINE.

After making waves with their 2020 self-titled debut LP (championed by the late, great DJ and synth/wave connoisseur Silent Servant), Toronto’s Analytica return to Suction Records’ minimal synth sub-label Ice Machine, for the second full-length LP, “Strategy Of Tension”. Comprised of kosmische synth artist Gabe Knox and electro-industrial performer David Lush, Analytica is a synth-pop duo who confront the race-to-the-bottom ethos of our time, but utilizing sounds and tools from the early ‘80s synth-DIY era.

The album was recorded to a 6-track cassette portastudio in a two week session in Summer 2022, and mixed down live to tape in an afternoon. Analytica pair classic, holy grail analog synthesizers like the ARP Quadra, Roland System 100, and ARP 2600, with uncommon analog rhythm machines including the Univox SR-95, Soundmaster ST-305, Roland TR-77, and Korg KR-55B. The result is Strategy of Tension: a stinging rebuke to cynical political actors and a reminder that the only thing to fear is fear itself.

'Moments Remixes' began from a conversation with Jlin. We did an interview together for Talkhouse in fall of 2019, in season with the original Moments release on Unseen Worlds. Her poignant and effusive dialogue sparked the inspiration for us to do a remix together. That organically evolved into a full project idea. Xiu Xiu did the second remix in January 2020, and before things continued further - the pandemic was upon us. During the course of the pandemic, it evolved more, and organically became a more focused project for the isolation and lack of in-person collaborative environments/performance halls. All of but one remix were completed by 2021, and then refined and curated further over the following (four) years. The highlighted dialogue across the album is how these sparse, melodic minimalism of piano and vibraphone could manifest in a diversity of experimental sub-genres: electronica, IDM, avant-rock, drone/ambient. The careful curation and illustrative collaborators elicit the transportive 'new moments' and permeable qualities of the core compositions, that discover uncharted life in this project. (Michael Vincent Waller, October 2023)

Cheap Things is the latest record by New Haven guitarist and C/Site label-owner, Stefan Christensen. It's a challenge to list exactly where Cheap Things numbers in Christensen's extensive catalogue, which at over a decade long has seen him issue countless records under his own name and across both his own imprint and a host of international labels, as well as performing in underground noise trio Center and in the heavenly psych act, Headroom. Crucially and somewhat impressively, his work has remained as singular as it has been productive, cultivating a distinct style of playing that is unmistakably his own even when in collaboration with others.

In many regards, Cheap Things represents an apex of the universe Christensen has fostered over the last decade, both collaborative and highly personal. Indeed, many of the key names from the C/Site and adjacent world contribute to the record in some capacity - David Shapiro (Alexander/Center/Headroom), Kyrssi Battalene (Mountain Movers/Headroom), who takes a lead and has repurposed the final track for Headroom, Ian McColm (Heart Of The Ghost) and Rick Omonte (Mountain Movers/Headroom) sit in on drums and bass, respectively, while John Miller (formally of Mountain Movers) recorded a couple of the songs at his home studio. Cheap Things is a record labeled with Christensen's name, but it's certainly also one born of community and like-minded creative enquiry, longtime characteristics in his increasingly dense catalogue.

Though the work that comprises this catalogue has always remained engaging, there comes a sense of event with Cheap Things not necessarily present in some of the more off-the-cuff experimental cassette releases issued in both this and past years. This may be in part attributable to the time invested in recording these five songs: starting in mid 2018 and finishing throughout the various periods of lockdown in 2020, this is the longest amount of time Christensen has spent working on a record. Recording itself is an integral aspect of the way in which Christensen creates his sound, relying on the freedom of home studios, the analog limitations of four and eight tracks, and the unique results gained from tape loop manipulations. Such processes add an element of both warmth and spontaneity to the work, though one crucial difference is that much of Christensen's other work is written with, what he calls 'little pre-planning', whereas Cheap Things is defined by a much more precise and pre-formulated vision. The result does feel strangely and more obviously definitive.

There's a life to these songs beyond their recording, the roots in fact stemming all the way back to Christensen's first solo release in 2015, the record on which the title track first appeared, albeit in rudimentary form. Written in response to the death of a friend from an overdose, Christensen was motivated to re-record the song when hearing that at the start of lockdown another friend from the same circle had died in similar circumstances. Over the years the song has grown in length and intensity, and reaches its ultimate form here, an acoustic drone that pulses with a near-spiritual reverie. It's fitting testament to the people it commemorates, and sets the tone for the remainder of Cheap Things, which through its unique melding of folk, noise, experimental and avant blues traditions appears to provide a cathartic release from the various experiences of grief, illness and stress. Much like the music of Tomokawa Kazuki, Mikami Kan and Neil Young, who have informed the album in various ways, the intent here seems to be to communicate big ideas with modest means. Cheap Things, then, is unusually titled, if not expressing the infinite and the eternal, at least suggesting that in striving for the bigger ideas we might find truth, or perhaps just some piece there of.

"I'm really happy with this EP. It's a really good representation of the TMSV dubstep sound and a very important warning to never, ever piss off a hoover named Henry."
TMSV 2021

OnYi is the result of a collaboration between the artist NxQuantize and the Marseilles-based label Omakase Recordings. This album, with its captivating wealth of narrative and sound, is characterized by a fusion of genres, combining urban and cinematic sounds, rhythmic neo-jazz, and enveloping electronica, enriched by the use of organic instruments, drum machines, and synthesizers. It features a plethora of high-quality guests from different worlds, including the New York rapper Dark Skinned Assassin, the Franco-British singer Appolonie, the pianist Yessaï Karapetian and the rapper GREMS. OnYi takes inspiration from artists such as Bonobo, Floating Points, Pharoah Sanders, Djrum, and FKA Twigs.
The term 'OnYi', a neologism coined by the artist, means 'to be in the void', reflecting his exploration of the mysteries of the universe and the limits of our existence.
The album is a contemplation of nature and space, with the music creating a silence that gives life to everything around us.

The first physical release from Supa Records featuring two tracks: 'Pleasure Seekers' & 'Uptown'. Founded by Jungle DJ and producer Supa Ape, Supa Records is a UK based Jungle / IDM imprint dropping original rave compositions with a cinematic feel and focus on melody. Whilst remaining true to many of the core elements comprising heavy Jungle music, Supa Records aim to deliver a unique take on this typically sample lead genre.

After 2021’s critically acclaimed album “Afraid To Leave”, Berlin based post-punkers Bleib Modern invited artist friends to take an outside perspective on their tracks, resulting in the “2 Afraid 2 Leave” compilation, featuring remixes and reworks from several esteemed names within the darkwave, post-punk and EBM music scenes.

From club bangers like IV Horsemen’s version of “Bitter Smile” and M!R!M’s dreamy lo-fi bedroom synthpop sound on “Into The Night” to Danish deviant pop artist Dune Messiah’s crooner “Loony Voices”. The album also boasts contributions from luminaries like The KVB, The Underground Youth, Blind Delon, Shad Shadows and various Bleib Modern band member side projects.

“2 Afraid 2 Leave” offers listeners a chance to experience Bleib Modern’s music from an altered vantage point, a welcome interlude as the band forges ahead with new creations.

PREVIOUSLY UNRELEASED ON VINYL. Syntech’s second album “Atmospheres” originally released in 1991 is entirely composed and produced by Edwin Van Der Laag. On this album, Edwin breaks away from danceable space synth formula and moves towards strongly electronic, ambient, distant, extra-galactic spaces with his Atari 1040 ST. The music from this album had a huge impact on electronic music enthusiasts and remained an inspiration to many young artists.

ORBURY COMMON exists as a place in the musical imagination of Emlyn Bainbridge and Josh Day-Jones: an opalescent, dream-like otherworld of fogged memory and refracted mythology.

Having explored the frenzied nightlife of this place with The Traditional Dance of Orbury Common EP (PRAH Recordings, 2022), the Bristol / Stroud duo now announce details of their debut album: Sylvan Chute will be released 7th June on PRAH, a panoramic overview of the world they have envisioned, a series of individual yet interwoven vignettes, a musical map of abstract melodramas.

Departing from the distorted club pulses of Traditional Dance…, we now hear subverted pop songs and surreal ballads, wherein earthy (and unearthly) synths, deformed samples and mangled drum beats coalesce with and ensemble of zithers, flutes, organs and guitars.

Orbury Common’s shift in sound is most notably emphasised by the introduction of the pair’s vocals, placed at the heart of arrangements; bringing a new, animate and intimate life to their dreamscape. The songs’ subject matters stretch from chrome-coated medieval fables through to depraved landscapes and even to technologically ill-fated romance. There are moments of light, darkness, grandeur and tenderness, tethered together by an iridescent thread of yearning for something, someone or someplace.

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The first Late Night Tales release of 2016 is a very special project by Sasha.

Imagine listening to music inspired by Frahm, Richter and Steve Reich, but made by one of the UK's leading house and techno DJs. Away from the hubbub of the club, the craziness of Ibiza, there's a contemplative side to everybody. Forget the beats and the sweat and the billowing anthems; this quiet, undulating, at times pastoral piece is less about songs and anthems and more about texture and atmosphere. 'Scene Delete' is a side of Sasha you've never heard before. I love post-minimalist modern classical, I love to listen to something completely different that's quite hypnotic as well. It almost purges the system.

About three years ago, my collaborators David Gardner and ThermalBear and I wrote a song called 'Bring On The Night'. I sent it to Ultraista and within a few days she sent it back with this amazing vocal on, with Nigel Goodrich playing keyboards. We tried to do club mixes but we just couldn't get it right. So it sat there doing nothing.

Tracks like this kept building up, until finally last summer my frustration boiled over. We'd made so many tunes that I couldn't remember the names of half of them: What was that thing with a bass sound and a string line It drove me mental. At the same time as we were logging these tracks, I was listening to the Jon Hopkins' Late Night Tales and I thought a lot of the music we'd been working on was in the same vibe. So I sent the music over to Late Night Tales and they really liked it.

Initially, I thought we'd just do a Late Night Tales compilation with maybe a few pieces of my own music. But as we went through everything we'd worked on in the last two years, we realised we had about 50 pieces of music. So we started editing and compiling: 'Scene Delete' is the end result.' - Sasha, January 2016

Think of 'Scene Delete' as somewhere between a mix album, an artist album and a gentle stroll through the soundtrack in your mind. Make sure you switch off the lights before you enter.

After Mischpoke #1 with BKGD Audio, Gras, Sonae and Lucrecia Dalt, this time Clark, Oval, Electric Indigo and Gudrun Gut are at the controls for #2. The Düsseldorf/Brisbane underdogs Tidy Kid, Pondskater, Ai and The Visitor provide the source material for their remixes. The music ranges from the living room to the club.

Blue Vinyl
If emptiness is heaviness is Godliness, Birds of Prey’s third full-length LP is an immaculate conception from on high. The record luxuriates in the spaces between. What’s left out says as much as what made it in. Deep, droning, and dub wise, “Vanishing Point” cascades in elegance. Its reference points call towards the sample manipulation of American tape music and the downward gaze of amniotic British bass music. It charts its own path nonetheless, building its own space for drifting off to. Unlike many peers operating in similar realms, Birds of Prey are a proper band, a foursome: Grant Aaron, Clay Wilson, Eric Holmes, and Camille Altay. Each are artists in their own right with a distinct practice. In Birds of Prey, their collaborations in studio take on a greater shape, whittled and edited into cosmic formlessness. Although borne of improvisation, you may never know that in the listening. “Vanishing Point” is a tight, coherent work, the sound of a cadre of talented musicians locked in flow. Rippling tones become glacial melodies. Cavernous drums emerge barely from the ether. Rhythms interlock, interpolate. Patterns repeat and dissolve whence they came. There is untold potency in simplicity, and Birds of Prey make it known.