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Pavel Fedoseev is KIKOK. As one of the few remaining members of the Komi tribe, he used the Komi words Ki (= arm) and Kok (= leg) as his brandname "Pretty important elements for a human being, aren't they?" he says of the name. Born in Kudymkar (capital of the Komi-Permyak nation) , now lives in Perm, no less than a 22-hour train journey east of Moscow, placing Fedoseev in what, he says, feels like cultural and social isolation.This 10 track album acts as a means to escape the monotonous cycle of his hometown. The end result is a record that sounds both propulsive and hypnotic, an album that sounds like moving forward and in circles at the same time. Rich lashings of synthesisers pulse over beats that switch between techno thump and restrained ambience, with tracks seamlessly moving from dance floor stomp to woozy comedown let-up. Russian Rave Pop at it's best. Perm is a disgusting city," says KIKOK's Pavel of his hometown. "It's dirty, boring and rough. I'm afraid of walking outside; that's why I sit at home and watch movies and make music." Comes in yellow vinyl.

Third album of this post-punk/avant-rock french project.

RIEN VIRGULE is before everything else musically, the meeting of four people, islands of desires, tentacles that embrace each other. Or “the meeting of a soldering iron and an iceberg, a pigeon asleep in a packet of chips, a smashed path in a debaptized city” (according to J. Burgun).

For 8 years, two albums and numerous concerts, they have been peddling a generous, graceful and cold, intensely vibrating music.

In a radical and deviant approach to Pop music, the classical structures of verse-chorus serve as a playground and experimentation, where rhythmic, melodic and noisy functions merge.

In June 2019, Jean-Marc Reilla passed away. His homemade instrumentarium and laughter continue to resonate for his loved ones, and his memory lives on in the music of RIEN VIRGULE that has become a trio.

Claudio Mate and Francesco Mazzocco after and hard work which took lot of time to put out this beauty, after making also an hard work of selection about the music... they are so happy to introduce for the 5th release of Dub-ito , Wolfgang Reffert well known As Dark Star since the end of 80's.

' MIX TAPE ' 1989 -1991 is a collection took exclusively from Dark Star past tapes works... Dark atmosphere influenced by Post Punk , Ebm Noise Industrial music is the typical Wolfgang 's music trademark in over 30 and more years of career , which for the first time of ever makes his debut on vinyl. The last touch comes by Dietrich Schoennemann remastering the trax directly from original tapes . This amazing collection for sure can not be missed for the
fans of 80's sounds.

"Civis Jams" ist eine brodelndes Werk aus schlummernden Strukturen und ruhigen, kraftvollen Songs. Die Vocals haften an den Rändern der Mixes, was ihnen einen intimen und zugleich kryptischen Klang verleiht. Dieses Gefühl wird nochmal verstärkt durch Darkstars nachtaktive Produktionsweise von Drums und Synths. Zu den Highlights gehören die Tracks "Wolf" in bester Mount Kimbie-Manier der "Cold Spring Fault Less Youth"-Phase sowie "Jam", ein potentieller Peaktime-Banger, den Darkstar aber sanft und mit der Schärfe eines Jai Paul interpretieren. Nach ihrem Hyperdub-Debüt "North" (2010) und den beiden Warp-Nachfolgern "News From Nowhere" (2013) und "Foam Island" (2015) haben Darkstar mit "Civic Jams" ein Album mit grandiosen Unterwasser-Nachtsongs erschaffen.

R58’ by Flammkuch is the fourth release on CAF? a swiss-based label.
On these six tracks Flammkuch explores DIY analogic synthesis through it’s own creations to produce complex and distinct electro ballads.

„The Making Of A Paracosm“ ist eine Hommage an Kasbos schwedische Herkunft, voller Themen der schwedischen Folklore und in Zusammenarbeit mit zahlreichen schwedischen KünstlerInnen wie Frida Sundemo, Freja The Dragon, Nea und NOOMI, sowie mit einem bemerkenswerten Auftritt der Vancouver Sleep Clinic.

Zuvor hatte sein erstes Album, „Places We Don't Know“, über 200 Millionen Streams eingespielt, Lob von FADER, COMPLEX, Dancing Astronaut, This Song is Sick und anderen Medien bekommen und die Fans mit der Natur seiner fantasievollen Produktionen vertraut gemacht. „The Making Of A Paracosm“ wird seine Fans wieder in ein neues surreales Universum eintauchen lassen, das aus den zwei Welten entsteht, die in Kasbos Kopf zwischen Realität und der Flucht aus selbiger leben. Seit der Veröffentlichung seiner Durchbruchs-EP „Umbrella Club“ von 2015 hat sich Kasbo als unaufhaltsame Kraft in der internationalen elektronischen Musiklandschaft positioniert. Er trat bei weltweit anerkannten Musikfestivals wie Coachella, Firefly, Life is Beautiful und anderen auf, während er auf seiner allerersten Headline-Tournee durch die USA die meisten Venues ausverkaufte, darunter den Bowery Ballroom in NYC und das Fonda in Los Angeles. Im vergangenen Jahr begleitete er die Dance-Giganten ODESZA auf ihrer Tour und beendete 2019 mit einem epischen Set im Red Rocks Amphitheater.

Imagine for a minute that Klein MBO would return from the Italo heaven to deliver a brand new EP. How amazing would that be? Sometimes such miracles lay just around the corner. Nijmegen based Luca Dell’Orso found some sort of time machine that brought him back to the days of Disco Magic and Il Discotto; a time where wobbly synths, heart felt handclaps and sweet melodies flled the air. After appearances on Red Laser Records, Bordello A Parigi and Shmlss’ label XXX it’s time for his debut on Utrecht based SoHaSo sublabel OOSSHA. Filled to the rims with stylish Italo-disco, the Eternal Waves-EP has it all. Slow motion Gaz Nevada-esque disco on Common Occurrence (which comes with two beautiful Cosmo Vitelli-remixes); sun blissed and fast paced happiness on Return Of You and stark new wave- vibes on Constriction. Closer Bont & Blauw proves that Luca understands the essence of the genre. It has the same fnesse of the best Gazebo-records, back in the day. If you have a heart for italo, you don’t want to miss this perfect wave.

Chrystabell’s smooth as silk vocals transcend the aether as she reinvents classic Cure songs in Strange As Angels.
Post-Punk, New Wave, Goth - for over four decades The Cure created alternative music so powerful that it redefined the mainstream. They didn’t just master genres, they transcended them. Throughout these varied styles the group maintained an aesthetic continuity, creating a world so vast and mysterious that there’s room for other artists to explore it.
And explore it he does on Strange as Angels, Marc Collin’s new collection of reinvented Cure songs, sung by the ethereal Chrystabell. Produced, arranged and conceived by Nouvelle Vague co-founder Marc Collin, he has again woven repertoire, performance, and his uniquely forged arranging aesthetic into something authentically new.

For Number 5 on his Label Kluentah recrutes the Luchador Chupacabras who had previous Releases on L.I.E.S. Records, Tutamen and Go Finger. 4 nasty and dirty Machine Jams straight out the gutter.

Clear Vinyl

WRWTFWW Records is happy to announce the release of Para One’s new album SPECTRE: Machines of Loving Grace, available in half speed mastered 180g double lp housed in a heavy sleeve with UV spot varnish. Machines of Loving Grace, the new album by Para One, whose real name is Jean-Baptiste de Laubier could be called fiction. It is an object freed from constraints, formats, genres, territories: the gospel of a new world. Six years after Club, eight years after Passion, his previous LP, this lover of electronic music, who has also been putting his sensitivity to the service of movies (soundtracks for Céline Sciamma in particular) opens with this record a new dimension in his artistic career. “I needed to break away from patterns and systematisms of formats, and take unexpected turns. To do so, I had first to allow myself to do so”. Allow oneself and maybe above all confront oneself – with one’s childhood, with one’s childhood’s ghosts, and what fantasies, ideals, memories, and grey areas they harbor. He had to go back – without giving up on his position as an adult, as a full-fledged artist – to the sources of his imagination, to the moment when music was holding almost mystical power. And then revisit it to make something new out of it. Just like Sanity, Madness & the Family (the feature film directed by Para One that he just finished and of which it is a consubstantial part), Machines of Loving Grace has an investigation around a family secret and the father figure as its starting point. “When you go down the path – of a work, of a person, of the past – you never really find out what was. You find yourself

Just Another Label and Kniteforce bring you an absolute classic slice of remastered old skool with this much sought after EP. Perfectly preserved on DAT and now lovingly remastered, these 2 superb anthems from yesteryear are finally available again. These Vibes and Wishdokta remixes have been chased for years, and came out when they were at the peak of their talents!

'Nothing' is Kode9's first solo album and is about nothing. The album throws horror soundtracks, sampled library and j-pop records into a no man's land between grime, early dubstep and Chicago footwork. Mostly instrumental, it zigzags between hypnotic, downcast loops, growling drones, and jagged cut-ups of androids gone haywire, threaded through twitchy, transatlantic rhythms and sub-bass inaudible through your laptop speakers. Building slowly, but more upbeat than previous albums, many of these tracks have more in common with Kode9's recent singles from the last few years than they do with his two previous albums with collaborator The Spaceape, 'Memories of the Future' (2006) and 'Black Sun' (2012). Yet 'Nothing' is haunted both by The Spaceape's presence (he died in 2014 after a prolonged battle with cancer), on 'Third Ear Transmission', a communiqué from a zone of digital immortality, and his absence, on 'Void', whose spaces were originally intended for the vocalist, and 'Nothing Lasts Forever', which closes the album with a 9 minute silence. Now confirmed for release as a double-LP, the initial run will be a limited edition pressing on glass-effect translucent vinyl, housed in a high quality gatefold jacket and inner sleeves displaying Optigram's remarkable artwork to its fullest effect. Also included is a complimentary mp3 download code.

This anthology aspires to map the heterogenous landscape of Greek Experimental Electronic Music in all its contextual, sociopolitical, geographical and aesthetic disparity. With a single exception, it zeroes in on post-80s music. It comprises works of very different kinds by composers of all sorts of backgrounds that, still, can be thought of, as both "Greeks" and "Experimentalists".

Experimental Electronic Music is generally expected to be highly variegated, especially when examined in a breadth of several decades, and with respect to all sorts of artistic, academic, subcultural and other influences. What is not so obvious, however, is that the very notion of Greekness, as well as its contextual and historical offshoots, are highly diversified, too. This anthology is an attempt to map the various kinds of Experimental musics that have been produced by Greeks over the last few decades. More, it is also an attempt to delineate different understandings of what "Greek" or "Experimental" may stand for, by means of zeroing in on the numerous, often overlapping, realities and micro-scenes that are associated with the former.

“ When I started working on the piece in March of 2020, I had only decided to record it in the way I wanted to. The coronavirus was spreading globally, and the situation was gradually changing into something very serious. With no gigs scheduled and hardly seeing anyone, I felt as if my spirit was in a slightly deeper place than usual during the production. I sat down in front of my equipment as if I were dropping a fishing line into a quiet lake. I kept feeling that something new was lurking beneath the water surface. I was trying to catch that something that seemed to be just out of reach, that floated in and out of sight like a speck of smoke. “ ＿Referenced from: Afterword of 7FO「Ran - Bouten」

2021 brings a new album by Osaka electronic musician / producer 7FO. This work is a departure from the recent global ambient / new age approach, and the unique sound aesthetic created using only hardware equipment is a new frontier of 7FO or a return to his origin. "Ran - Bouten" is a new electronic music album with a poetic sensibility using machines.Discovered by overseas labels such as RVNG intl., Bokeh Versions, and Metron-and with the release that followed EM Records in his hometown Osaka, it's like his personal folk craft that was once quietly played at his own pace. Music has reached listeners around the world. In recent years, he has been touring from a famous performance with Tapes at the Belgian "Meakusma Festival 2019" to a Japan-Korea tour. "Ran - Bouten" was born as a result of facing the sound alone without being asked by anyone to cool down the heat when the steaming and intense experience had settled down. Inside the cool electronic sound like a water bath, you can feel the maker's heart sending hot blood.Peep into the condensed universe of a home-recorded miniature world that looks like an independent production of unknown age. He was alone in a dark room, making full use of KAWAI's 1990 digital and FM synthesizers , tracing the shape of nature and resonating the micro and macro sound worlds. The Rhythm and melody that continues to the Paradise Pure Land, which floats in a dreamy atmosphere, is the true value of 7FO even without his guitar play.Mastering by Makoto Oshiro, which supports everything from home listening to club sound systems. Hiroaki Hidaka designed the jacket to make the image of the sound appear cool and friendly everywhere.

Point B Biog 2018
Starting out on legendary Electro label SCSI AV and Orson Records in the mid noughties, Point B began to earn himself a reputation through his intense dance floor-focussed EPs and pensive, experimental long players. By sewing together influences ranging from 70s sci-fi films to traditional middle eastern music, he wove a unique sonic fabric. Later that decade and after absorbing the waves of dubstep and post-garage that washed up on the shores of South London, his sound matured into something that can deliver club euphoria and introspective melancholy.

With his last commercial release back in 2014, a four year hiatus passed whilst he worked on other music projects. During that time he built up a collection of handcrafted synth patches, some of them employing modular synthesis techniques. The ensuing sketches formed the basis of his latest work: Smash Hits. This is arguably Point B's most direct and focussed record to date. Opting for a techno template, he consciously kept the sound palette narrow, concentrating his efforts on the groove, energy and production fidelity. This is a statement record that demonstrates his creative control and programming playfulness.

Pink fog rises amidst the hills; dew covers all in silver paint glittering in the background. Layers covering layers of low clouds, fog and haze. Shimmering city lights. Silhouettes of figures sitting in the hills, hanging in bridges, on top of houses, looking upon, observing city drive from up high as if it was a meditating bonfire.

A notion of something going to happen. But all that remains is a glimpse of pink fog hanging static in the air.

Risks Issues Opportunities, the third release from berlin based R.I.O. Label brings together a collection of electronic wave music from six different performers with one common ground: their mysterious & slightly melancholic aesthetics. - (R.i.O. - RIO03)

Journeyman, DJ, radio presenter, beat raconteur - it's been hard to keep up with all of iZem's movements lately. The innovatve Lisbon-based French producer has been hard at work on his debut LP Hafa, exploring the sounds of Latn America and North Africa in a vivid analogue-digital, genre-defying soundscape that is sure to leave your head spinning. Inspired by cultural greats like Jack Kerouac, Paul Bowles, Tahar Ben Jelloun and Matsse, iZem spent tme soaking up the atmosphere at the inspiring Café Hafa, an idyllic clif-top joint overlooking the strait of Gibraltar, in Tangier, Morocco, which has formed a golden backdrop to his debut LP. Brimming with soulful exotcism, personal narratves and adven-turous collaborators, Hafa has been an experiment in taking on the afro-centric sounds of his journey to-date by incorporatng modern, introspectve songwritng and hybrid beats.
Ofen writng music whilst crossing contnents, the only place iZem allows dust to setle is in the heart, heat and rhythms of his local-global future sounds. A decade of nomadism between Spain, Brazil, Argentna, Ireland and Portugal made way for a series of critcally acclaimed EP's and remixes for Soundway, GAMM, Far Out, Agogo, ZZK records, Wah Wah 45s, and Mais Um Discos. Arrival on the global, forward-thinking, artstcally leffeld scene was predicted by Gilles Peterson, XLR8R, Okay Player and fellow tropical hed Quantc. iZem is an acronym for In Ze Early Morning' and his debut album Hafa' evokes new days
dawning in far-of lands and strring horizons of the present. So if you aren't hearing iZem's pastche of future tropical rhythms and organic grooves on statons such as BBC, KCRW or
Funkhaus Europa, then make sure you you catch him raising the dance foor temperature on one contnent or another.

My Panda Shall Fly AKA musician and visual artist Suren Seneviratne, is set to release 'Tropical' It's a brand new 6 track vinyl release.

A kaleidoscope of rainbow textures and rhythms disperse into the exotic soundscape of 'Tropical'. Electronics, real folk instruments and noise-making objects feature here generously on this six-track concept album, blending together a sonic palette influenced by a rich variety of music, people and places.

The material was initially written over the course of a few months during what Seneviratne called "a beautiful burst of inspiration". Working with veteran producer Asier Leatxe Ibanez d'Opakoa (Electric Lady Studios, NYC), Seneviratne then set about disassembling all the songs and re-working them meticulously, enriching the sounds by adding a huge range of live instrumentation, before processing the audio through vintage analogue studio gear.

Suren Seneviratne, born in Sri Lanka before settling in London in 1996, first caught the attention of the music world with a remix that featured on Pitchfork back in 2010. Since then he has released a plethora of diverse records, gaining support from the likes of Clash Magazine, The Fader, Mixmag and Dazed Digital, as well as regularly touring internationally. He has also remixed the likes of The Weeknd, Stay Positive & Little Boots as well as appearing at festivals like BBC Hackney Weekender, Outlook Croatia & Glade as well as performing at prestigious venues such as The Design Museum, Tate Modern & Barbican.

With the release of 'Tropical', My Panda Shall Fly has yet again set himself apart as one of the most unique contemporary electronic musicians around today.

Composer duo Kaae & Batz release hazy electronica single and announces new album L.U.S.H on vinyl. Kaae & Batz, the duo behind the Netflix series Bordertown’s score, is ready with a new album. The first single “Into the Void” is released 15th September, while the album L.U.S.H lands 29th October both digitally and on vinyl on Copenhagen- based record label StereoRoyal.

The album is a collection of reflective and melancholic cinematic tracks with clear references to jazz and neo-classicism where organic elements merge with electronic textures and emotional vocal samples. The album is teased with the first single “Into the Void (Part 1)” – a dark and hazy dystopia accompanied by beautiful piano chords. The album came to life on a 14-day trip to Istanbul and the majority of the tracks, including the first single “Into the Void”, are created entirely from samples and programming.

Kaae & Batz has previously released two albums, Basement Tales (2015) and Mosaic (2019), as well as composed scores for several international film productions which have garnered attention and critical acclaim in the industry. The story about childhood friends Kaspar Kaae (CODY) and Brian Batz (Sleep Party People) dates back to their teenage years in Bornholm where they were both born and raised. They went to high school together, cultivated their shared interest in music, and played together in bands. These years became the cornerstone of their friendship and musical collaboration.

With L.U.S.H, Kaae & Batz shines a light on Danish electronica. The album is released 29th October on a limited-edition LP (180g) and on all streaming platforms.

Official reissue of this experimental industrial electronic classic originally released by Discos Esplendor Geométrico in 1987.

"After 41 years you should know De Fabriek means The Factory, a name not chosen because of a love for Andy Warhol or the UK label of the same name (which hardly existed at the time De Fabriek started), but because of what a factory represents; there are workers, creating a small portion of the final product. In the early days these workers were a bunch of friends whom knew each other from the city of Zwolle, and as such they recorded their first LP 'Schafttijdsamba' at home in 1980. After that the group splintered and expanded, odd as it may sounds. The original core went each own way and De Fabriek sought outside help. This was a time of independent cassette culture, home production of music, corresponding and mail art and so it happened membership, co-workers in De Fabriek lingo, were fanatical home tapers around the world, with a director at the helmet in Zwolle, albeit not a director not in the capitalist sense of the word, but someone directing the sound. Listening to the cassettes received, deciding upon order and layering of various sounds. Some of the releases from De Fabriek were recorded at home still, but for record releases they now used studios. For 'Made In Spain' De Fabriek headed out to Nijmegen, Studio De Tempel, and home of Mekanik Kommando. But workers and a director is not enough for a factory, it also needs machines, and machines were plenty around in De Tempel. Following a decision on what goes where along with what other received contribution, and then mixed together, using the vast amounts of effects racks available in this studio, which put their fingerprint on this record. 'Made In Spain' was first released by Discos Esplendor Geometrico and is a expansion of an earlier release 'Mont Cantis', slightly the same yet significantly different and exploring the industrial sound a bit further, taking cues no doubt from the music of Esplendor Geometrico, taking matters a bit further and deeper, to stay within the theme of old mines in the German Ruhr area that runs through these ten pieces, this is a record that at that time saw De Fabriek fully connecting to the industrial scene without forgetting their earlier post-punk and krautrock roots; there is a line from the Ruhr area to Spain via the highly minimalist rhythm approach. 'Made In Spain' is a wild ride, almost like that scene from Indiana Jones & The Temple Doom, the Mine Car Chase. You feel the speed, the railway lines cracking, and the carts trembling and shaking, you feel the heat, the mayhem that you can also find in a foundry. Yet unlike so many other industrialists back in the day, De Fabriek always remains to have some melody to be part of their music. It is not the noise for the sake of noise. This is somehow a very pleasant factory."

Better than drugs. Memories of an Earth alien

A dubmix release of the debut-album of Elektro Hafiz, with mixes from: Grup Ses, Fedayi Pacha, Komadub, Onofon, Alpadub, F.D.U., Hey Douglas.

The legacy of the pioneers of Anatolian Rock in a new format: eclectic psychedelic sounds, backed by Dub, Anatolian Funk Rock, Electric Baglama and Progressive rhythms.

Elektro Hafiz is a musician, born and raised in Istanbul, who has recently moved to Cologne, Germany. Already well known in Turkey, he can look back on 20 years as a professional musician. With his former band 'Fairuz Derin Bulut' he created and released three albums, which represent a milestone in the Anatolian psychedelic rock music of the 2nd generation in Turkey.

Elektro Hafiz has shown and proven openness to various and sometimes contradicting music styles by mixing eastern instruments like the electric saz, darbuka and finger cymbals with different genres. He loves to play with contrasts and create new compositions from there.

This open and experimental approach is still his trademark, as well as his charming provocative style that is complemented by a healthy dose of humour. His diverse compositions are heavily influenced by his Anatolian roots, which are reflected in his instrument of choice, the electric saz, in most of his pieces. A further ingenious characteristic of him is using the electric guitar as a rock instrument while at the same time applying the Anatolian harmony system (scale).

'Elektro Hafiz", his first solo album, showcases a more open and progressive format to his main base influence - the anatolian psychedelic music. On this album he played a lot of different instruments by himself and also invited artists from different countries such as Kenya, France, Turkey, Switzerland, Austria and Germany to contribute for this production.

There are nine songs on this album. Except for one cover song, all lyrics and the music are written by Elektro Hafiz.

Jarren is an LA based musician/dj most noted for his self- released projects in the later half of the 2010s - including his first physical project “TS-X” which at the time, was gifted to Mr. Julien.

More recently, Jarren released an ep with Slices of A Dog Records & is currently involved with LA based imprint Salon Recordings.

Recorded over the years of 2015-2020, Antera ties in as an ode to his family’s upbringing and surroundings that left a lasting impression in his early years. A few guest musician cameos can be heard throughout the record by Jacob “JD” Crouch, Damar Davis, Benedek & Brothermartino.

The new album 'Aesthesis' from Shapednoise aka Sicilian artist Nino Pedone is out in November 2019 on Numbers.
Over the nine tracks and thirty seven minutes, there’s a controlled collision of noise and metal with rave and hardcore. Pedone’s penchant for the peak energies of gritty techno and modern rap/trap bleed through, with earth-shattering blocks of bass and beats conveyed within his practice of sonic sculpture. ‘Aesthesis’ melts these sounds down, evolving them into something new of his own - a complex, hybrid being designed to be played loud. The first listen, CRx Aureal, is one of the most arresting cuts from the record: a nightmarish thrill embracing a sense of constant movement, with intense shards of sound ricocheting and morphing, forged together through a series of metallic refrains. This flirtation with the extremes of sound has engulfed Shapednoise’s entire creative output and lifestyle - from his albums and EPs over the last decade, to his two labels Cosmo Rhythmatic and REPITCH, having recently dropped critically acclaimed releases by King Midas Sound, Shackleton & VTSS. Pedone describes ‘Aesthesis’ as “informed by a set of key elements that intwine all the tracks together, like steps in a long research process. It is intended as a sensory experience where the senses act as an interface, sound as space.” His experimentation with unorthodox rhythmic structures and radical cinematic design reveals actions grounded in direct experience, but “inspired by a kind of speculative realism”. In seeking to master the wild heights of noise and the weight of subsonic frequencies, Shapednoise aims to “generate a sense of unreal-yet-tangible space and time, where the physicality of the music builds up a place that exists between people and objects, rather than the other way around.”

A series of artistic collaborations are heard throughout the album - from the caustic R&B of album opener 'Intriguing (In The End)' which features vocals from multimedia artist E. Jane's alter ego MHYSA (of NON & Halcyon Veil), to Justin K Broadrick (founding member of Godflesh and ZONAL) on 'Blaze', and album closer 'Moby Dick'; a collaboration with Scottish legend Drew McDowall (ex-Coil and Psychic TV member), and Rabit (founder of Halcyon Veil).

T.V. Baby is a project that came to life during 2016 in a makeshift hideaway deep within a remote corridor of industrial New York City.

The romantic isolation of their decaying surroundings leant its vibe to the otherwise occupied musicians as they intuitively explored their formative musical experiences, while playing at shifting their roles around within the band. From these changing dynamics the close friend's debut album Dignity Don't Dance was born. It comes on the label Deus Records, an imprint that continues the great independent NY tradition of dropping highly danceable music with rootsy, rock n roll swagger.

The Long Player format allows the band to meld the most naïve aspects of punk meets pop with mature, expansive and explorative grooves across ten tracks. Initially a set of sketches, the material soon became earworms that the band revelled in refining together. It is something that sits naturally with the three-piece and the result of their adaptions and challenging each other afresh is an immersive experience where the joy of creation is ever present for the listener.

The LP shows TV Baby taking hold of many sounds and combine them into something that is distinctly their own. Although rooted in electronic sounds, the unashamed and unmistakable homage to many seminal New York bands bubbles to the surface on each of Dignity Don't Dance's tracks. The rawest themes of lust, love, sexuality and abandon keep the album mercurial and constantly shifting in its form - from track to track and from bar to bar. This dynamism is guided by respect for the five classical elements and topped off with a mix down from Berlin based Brit Ewan Pearson.

With the needle in the groove tracks of soaring ease can give in to taut introspection and moments of bracing sensuality. Mechanical funk, laden with lucid dreams and chemical illusions vie with raw, earthy anthems from the basement and garage. Loose limbed abandon is born from rum soaked and acid flecked AOR.

Distinct from its musical roots and remote from a scene or set of influences, Dignity Don't Dance is a kaleidoscopic conveyor of familiar mantras hazily recalled, jacked up and reimagined with the ease of a collective fully in tune with itself.

Leo Anibaldi, Heroin In Tahiti, Laura Betti, Riccardo Schirò, Gabber Eleganza, Alvin Curran, Nico Vascellari

Remastered tracks by Leo Anibaldi (Rephlex) and legendary actress Laura Betti, new tracks by Heroin in Tahiti and Riccardo Schirò, an interview excerpt (Gabber Eleganza) and a live recording of Nico Vascellari and Thomas Baldischwyler working on / remixing a track by Italo-American sound artist Alvin Curran.

Extensive liner notes about Baldischwyler's stay at the German Academy / Rome included. LP with black and white printed inner sleeve and four colour cover in silk screened PVC sleeve.

Smɔl Smɔl with cktrl — a wonderful piece which calls on the listener to play both records at the same time to hear the music or play them separately and hear different versions. Duval is strengthening us, encouraging us to feel comfortable with discomfort, with incompleteness, with the hard-to-understand. This is a beautiful thing.

Very useful ringers for multiple purposes by J-R! As always accepting all payment methods.

A bridging of minds and energies, a confluence of souls and spirits. Midnight Shift releases an exclusive collaboration between Prequel Tapes and dBridge - Ionize. Cast all genres aside, as two electronic worlds collide to produce a third sonic space.

Start your engines with 'Divisible Cause' speeding and hurtling into the great atmospheric unknown. Outlier for the freaks, 'Stray Thrills' amalgamates between the classicist EBM and futurist UK bass. Stumble through 'Pleasure Systems' with light sabres, wrangled beats and gun shots ricochetting off the walls in one heady disorientation. Then wander aimlessly into the warehouse at 170bpm with 'Mindless', led by twilight tones and menacing machines at every turn.

Freshly Re-pressed

Auf Einer Unscheinbaren Kassette, Die Nur Mit 'robert Rental' Beschriftet Ist, Liegen Diese Demos Seit Jahren Ungehört In Den Kostbaren Besitztümern Seiner Familie. Gepflegte Artefakte Eines Viel Zu Früh Geendeten Lebens.
Diese Lieder, Die Robert 1980 In Seiner Wohnung In Battersea Aufgenommen Hat, Geben Einen Verlockenden Einblick In Seine Allzu Seltene Soloarbeit. Meistens Arbeitete Robert Mit Thomas Leer, Daniel Miller Oder Anderen Musikern Zusammen. Es Handelt Sich Um Rohe Aufnahmen Auf Denen Seine Kreativität Durch Die Dunkelheit Scheint Wie Ein Ungeschliffener Diamant.
Mit Diesen Aufnahmen Scheint Sich Robert In Richtung Mehr In Richtung Songstrukturen Zu Bewegen Als Auf Seinen Früheren Arbeiten, Die Wild & Experimentell Waren Und Oft Direkt Aus Dem Fernsehen Aufgenommene Samples Beinhalteten.
Wir Kennen 2 Dieser Tracks Von Ihrer Späteren Neuaufnahme Für Die Mute Records Single'double Heart' Ende 1980. Robert Sprach Mit Freunden Über Seine Frustration, Seinen Sound In Einem Kommerziellen Studio Nicht Reproduzieren Zu Können - Es War Der Sound Dieser Demos, Den Er Nachbilden Wollte. Manchmal Kann Der Zugang Zu Den Rudimentärsten Geräten Das Kreative Talent Zu Etwas Schärferem Und Konzentrierterem Verfeinern.

Welcome to the strange musical world of Tolley & Dara, an experimental duo whose incredible music held a marginal yet vital position on the fringe of the Australian music industry during the late 1970s and early 1980s.

Consisting of jazz bassist and synthesist David Tolley and percussionist Dure Dara, their union was a relationship of romance and intense creativity, a deep spiritual bond consecrated amidst banks of modular synthesizers and racks of exotic percussion instruments.

Recorded over a series of live performances in the spring of 1979, the music featured on Cutheart was edited and assembled from eight improvised pieces recorded at the Universal Theatre Melbourne. Comprised of analogue synthesizers and a vast array of tuned and non-tuned percussion, Tolley and Dara sculpted a cluster of electronic abstractions and organic splashes of Gamelan-influenced percussion; a dense otherworldly soundscape coloured with trance-like vocal scatting and deranged muttering.

Known for his bass playing on the classic Australian jazz-rock album Carlton Streets by The Brian Brown Quintet and also as a member of EX-, (the collaborative project with Daevid Allen from Soft Machine/Gong), Cutheart sees Tolley explore the outer realms of heady improvised electronic music.
While the music of Tolley & Dara exists in a sonic universe all of it's own, similarities could easily be drawn to another likeminded musical partnership, the American husband and wife duo Annette Peacock and Paul Bley. Cutheart is a pioneering recording of extended synthesiser and percussion technique from the Australian experimental underground.

Following three epic 12”, “Magnetic Frequencies”, “Sync Execute” and “Locked Loops”, the Roma based imprint presents “Heterodyne”, another refine chapter in A Credible Eye Witness & Ghost Ride’s mighty collaboration! The Italian duo introduces on A side killer “Computerized”, a future electro classic surrounded by a nostalgic atmosphere. Characterized by groovy beats in sync mode with outer space swirls and dark strings laying in the background, the tune serves up exactly what you could expect from the electro activists: a high quality standard, that will make either loose your mind nor move your body on the dancefloor. Nasty “Linear Optics” is the second mayhem of the side. While acidifying loops and frantic drums drive you crazy, nice Kraftwerkian melodies will elevate your mind by the middle of the cut. Done the right way and craftily executed! On the reverse, spicy “Conceptual Intuition” opens the Side B with what will probably be the standout of the 12”. Dark Drexcyian synth flights combined with a fast tempo and attractive female vocals over some insane bubbling modulations turn the song into a milestone of an intelligent electro tune. An ace jam that can be read at different levels and an authentic beast on the dancefloor! Grade A to the samples taken from Michael Zagger Band’s “Let’s All Chant” at the end of the track. As a conclusion, final cut “Spacetime” goes deeper into the realm delivering familiar Acid sounds, emotive synth elements and hypnotic arpeggios to the mass. In the prolongation of the previous releases on ACEW, “Heterodyne” signs a premium EP calibered for maximum damages on the linoleum!

White label roller from Roger That taking one of dance music's most iconic vocals, New Order's 'Blue Monday' and flipping it into a heavy hitting, tech house heater. Packed to the rafters with punchy, reverberated stabs, low-end weight and lip-smacking dancefloor grooves it's already steamrollering the club scene - ever extending the reach of those immortal lyrics.

Hammered all summer long by the likes of Solardo, Camelphat, Marco Carola, Jamie Jones and Leon, it's is now available on a limited 12' vinyl.

Bjarki returns to with another EP brandishing five restructured doses of IDM from another galaxy. Using marching kick drums as a basis, oli gumm takes references from techno, gabber and trance and morphs them into something far less easy to categorise.'oli gumm 2-2' switches frantically between glistening synth cascades and bouncing kicks. 'fork2-2' is a subdued excursion through ominous, trance-inducing strings and skeletal percussion. Opening the B side, '7 filakaramellur lion bar' spirals through warped vocals and acoustic contortions, followed by 'hatann satann', a high speed voyage through a demonic parallel universe. Closing off the EP, 'sleikjó' uses rolling drums to circle around a pit of sparse sonic oddities.

Experimental A/V duo. It's live-sets are pure dark distorsion and deconstruction sound. Avant-Garde, non-art, chaos and tension are the main references of this project. Broken rhythms, sharp sounds, dissonances make up the main musical spectrum of this band.

Influenced by Electro and Industrial music, inspired by artists such as Ultradyne, Hijokaidan, Merzbow, Drexciya, Consumer Electronics, Throbbing Gristle, Dopplereffekt or Esplendor Geometrico. They just realised their first EP called math.random() in Rator Mute label.

K Records continues to serve up a variety of music that perhaps wont fit anywhere else in Kniteforces deep catalogue of labels. This time we hit the ground running with one of the darkest releases ever to come out of the KF studio. Luna-C flexed very different muscles in the studio for this release, and it was perhaps too different at the time of release…Initially released on its own sub label, and limited to 300 copies, this slice of early d’n’b / dark sounding jungle has gained more and more acclaim over the years and changes hands for serious money with collectors on Discogs due to its scarcity.

Influential continues its run of outrageously good jungle in the 93-95 vein, with this incredible EP from newcomers Champion Sound. Mashing up huge amen edits with deep dancehall vibes and samples, this EP is both authentically old skool yet full on bass heavy vibes for 2001