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Music in Exile announce their forthcoming remix EP, featuring reworkings of Music Yared by Melbourne cult hero, Mikey Young (Total Control, Eddy Current Suppression Ring, The Green Child). SINDAYO - MIKEY YOUNG REMIXES features remixes of an original track from Music Yared’s self titled debut EP, released last year through Music in Exile. In addition to today’s announcement, we’re delighted to also share the first single, Sindayo (Mikey Young’s Masinko Remix - Radio Edit), out March 26 via Music in Exile.

Mikey Young’s legacy is well known throughout the Australian music scene, most notably as part of garage punk band Eddy Current Suppression Ring, and synth-driven outfit, Total Control. However, the talents of Young extend well beyond the performance setting to the world of engineering and mastering with his name appearing in the liner notes of an incredible number of releases, becoming something of a trademark of quality. In this release, Young showcases his skill and nuance, creating a remix where tradition and sonic exploration co-exist.

Anbessa Gebrehiwot and Haftu Reda are masterful players of krar and masinko, traditional string instruments from Eritrea and Ethiopia. Now based in Melbourne, Australia, the pair collaborate with multi-instrumentalist Dale Gorfinkel to create an innovative ensemble sound that celebrates their East African culture. The band's seemingly endless repertoire ranges from modern takes on folk songs to new, original compositions with Anbessa’s strong vocal presence a perfect match to Haftu’s sweet lyrical modesty.

Music Yared’s compositions are inspired by traditional Etheopian and Eritrean folk songs and they sing about love, distance, separation and culture. Their songs also feature virtuosic mastery of traditional instruments - the krar, (a 5 string lyre style instrument), and the masinko (a single string violin-like instrument that is played using a bow.) Although inspired by tradition, Music Yared’s compositions embrace the notion that music is always developing and changing with the times. Taking influence from traditional folk songs, Music Yared finds newness and originality through their personal approach to their lyrics, their treatment of rhythm, and the creation of new beats. This change and openness to new sounds is also apparent in their instrumentation, as they pair their traditional instruments with drums, as well as samples of bass lines and percussion.

Given their openness to new musical approaches and experimentation, it only seems fitting for the songs of Music Yared to be remixed, allowing further exploration of their inherent musical attitudes towards change and development. The first single from the EP, Sindayo (Mikey Young’s Masinko Remix - Radio Edit) traverses new sonic territory, pairing the traditional character of Music Yared with contrasting ideas from different sonic landscapes. Beginning with a musical acknowledgement to the original song, Young’s remix then changes direction into a new sonic world; synth pads and melodies swell and intertwine, samples interject, whilst grooving electronic beats underpin a new approach to texture and song structure.

Recorded by Dale Gorfinkel in Thornbury. Mixed and mastered by John Lee at Phaedra Studios.
Remixed & additional production by Mikey Young in Rye.

Self-styled ‘house husband, record producer’, DMX Krew, continues his effortless stretch of releases that date back to the early 90s, with a new album for Hypercolour.

His deft melodies and mechanical, electro-tinged beats have made for some classic albums in his repertoire, from his incredible run of albums for Rephlex Records, up to 2020’s ’Ghost Bubbles’ long player for Terrestrial Funk. And so ‘Loose Gears’ marks DMX Krew’s fourth album for British stalwarts, Hypercolour, and fans will not be disappointed.

Armed with an arsenal of hardware, and a head full of futuristic visions, ‘Loose Gears’ collects eleven tracks of the customary quality we have come to expect from DMX Krew.

From the funk laden ‘Solar Transit’ to bleepy chugger ‘Dejected Ambient Twerp’, the vibrant synths and spongy rhythms of ‘Torpedo Tube’ to the beatless wiggle of ‘Xpansion 2’, there’s much in store to be savoured on ‘Loose Gears’, as DMX Krew serves up another fine selection of electronic goodies.

Coils is the latest offering from Santa Ana, CA native Evan Geesman. Fresh from the success of his previous digital-only release Lengua, with co-signs from Bandcamp's Head Curator Andrew Jervis and Osunlade, his new work finds him delving deeper into his production palette interspersed with his songwriter's aesthetic, resulting in a decidedly denser sonic soundscape than its predecessor.

Born and raised in Santa Ana, CA Evan Geesman has been writing and recording songs since his early teens. From folk songs recorded on a 4 track in his parents' garage to recent collaborations with local electronic beat collective GRN+GLD, Evan's unique and prolific musical output have established him as both a singer songwriter and electronic/new beat producer.

While Evan's previous material crossed several genres and had more of an experimental bent with influences varying from Aphex Twin, Wu-Tang, Mahavishnu Orchestra and world folk music, Coils represents a natural synthesis of his beat heavy electronic compositions and strong songwriting sensibilities. Many of the songs recorded over the last year began as guitar compositions, which were then painstakingly recreated electronically, building layers of arrangements consisting of electronic instruments, field recordings and his own vocals over an acoustic foundation. When asked to describe the album's underlying theme, he cites how suffocating life in the modern world can be with the internet, TV, technology and the increasingly overwhelming speed of communication. Using music as a medium to convey this accurate yet unfortunate depiction of living in modernity, Coils doesn't succumb to the dourness, it finds a way to remind those who listen that life can be softer.

Repress

When I was 22 I managed to acquire Techno Animal’s Demonoid 12” at a local record store, Rocking Horse Records. I can still recall the intensities of sound that marked the first moments of listening to it. The sense of bass as a tactile surface, that rolling groove and the howling sine waves and dub sirens that scorched with a type of sonic burning sensation that to this day makes my hairs stand on end. A year later I heard Ice’s Bad Blood, from there I discovered The Bug through a release on Wordsound, a band called God, a sound movement called isolationism and much more; all of these projects had one nexus point - Kevin Richard Martin.

In 2015, Kevin and I book-ended a series of concerts at Berghain for CTM festival. For his performance, Kevin debuted a new work I’d heard very little about called ’Sirens’. I remember two things distinctly about the performance. The first thing is he opened the set with a blazing passage of bass and dub sirens that instantly transported me back to those initial moments of encountering his work. The second was the feeling of absolute, crushing bass. Not before, or since, have I felt a sense of sound pressure like this. Unlike his other work with The Bug for example, the consistent bass carrying in the space was literally breathtaking and there were moments when it seemed difficult to see clearly as my eye sockets were vibrating in a way I’d never experienced.

Sirens, which documents the intensities surrounding the delivery and early days of his first child, carries in it a sense of deep affect. The album, unlike the live work, traces out a dynamic sound world that is both tender and caustic. It charts the emotional rollercoaster that is the arrival of parenthood, heightened through the complex circumstances of his wife's emergency procedures during the birth and two further life threatening operations for his son, in the first month of the child's life. Within each piece, microcosms of sensation unfold, Kevin clearly and deftly manoeuvres us through the tumultuous journey. Seconds become hours, and hours become seconds; Sirens somehow creates a sense of time that is without anchor and is foggy in a way that is profoundly unique (and frankly pleasurable).

Kevin Richard Martin has remained a point of constant inspiration for me over several decades now. To have the opportunity to share his first ever solo recording, one that arguably opens an entirely new side of his practice, brings me the utmost pride. His work has impacted so very much on me at various points and I know I am not alone in this situation. His new work, Sirens is a life journey transposed into sound that is truly personal, but effortlessly universal. It is the start of a new chapter for Kevin and one that I know will only strengthen his place as one of the critical voices in contemporary electronic music.

- Lawrence English, March 2019

Otherworldly and anomalous, hushed and hallucinatory, Pauline Anna Strom’s unique style of inner space music reaches across time to futures and pasts far from our own. Trans-Millenia Music compiles eighty minutes of Strom’s most evocative work, composed and recorded between 1982 and 1988, for the first authorized overview of the enigmatic Bay Area composer. Pauline Anna Strom introduced her music to the world in 1982 with Trans-Millenia Consort, a collection of transportive synthesizer music providing listeners a vessel to break beyond temporal limits into a world of pulsing, mercurial tonalities and charged, embryonic waveforms. Strom’s solicitation into the unknown continued through a half dozen more stellar releases during the decade, which, despite their singularity and mastery, slipped into the more obscure annals of want lists and bootleg editions. Though Strom’s work developed during the dawn of San Francisco’s influential new age and ambient scenes, her music remains non-programmatic, an adventurous tangent diverting from the era’s ideological tropes. The artist’s own path to creative maturation was atypical. Raised by her Catholic family in Louisiana and Kentucky, she was tragically deprived of sight due to complications from a premature birth. This impairment would sensitize her to listenable worlds with great acuity and creative engagement, the loss becoming a formative aspect of Strom’s spiritualist take on the power of music. Recalling her youth, Strom says she was “a loner and heretic.” Seeking solace and solidarity, she moved to the mecca of California’s counter culture with her husband, a G.I., who was assigned duty in the Bay Area during the decline of the Vietnam War. Having dabbled with piano as a teen, Pauline’s passion for music reignited when synthesizers became central to the serene scene of San Fran FM radio in the mid-70s. Inspired by the electronic music of the instrument’s early ambassadors (Klaus Schulze, Brian Eno, Tangerine Dream), Strom purchased a Tascam 4-track recorder and a small array of synths (Yamaha DX7, TX816, CS-10) to navigate her own universe of space music. As she gained confidence to share her creations beyond the walls of the apartment where she meticulously crafted under headphones day and night, Strom took on the artistic identity of the ‘consort,’ spiriting listeners through epochs described by her evocative musical passages. From this moment and represented within Trans-Millenia Music, Strom proves to be a delicate melodist and meticulous colorist, as well as a sound designer of great drama and inspired energy. The celestial sounds evoke the uncertainty of pre-physical and primordial elements, creating an impression of a world beyond access that Strom has always felt was hers. In the collection’s liner notes Strom recounts, “I have always been in touch with the past more than the present.” Apart from its mysteries, Strom’s curiosity for the non-present was also suffused with a social bent. She believed that humanity was confined by its inability to access the people of the future, therefore suffering in a kind of group solipsism. Designing a world of music that rooted itself in all times but the present, Strom’s alter ego, the Trans-Millenia Consort, became a musical activist for triggering this state of heightened consciousness. Exemplary passages highlighted in Trans-Millenia Music were selected from the three full-lengths originally issued on vinyl in addition to a group of four full-lengths self-released on cassette. This substantive body of work challenges the canonization of new age and ambient music as one-size-fits-all categories. Strom’s music induces a dynamic range of listening that captivates and intrigues, a cinematic experience rather than a meditation for passive listening. An open invitation to earlier worlds and a trans-temporal philosophy for living, Pauline Anna Strom’s Trans-Millenia Musicis available originally November 10, 2017 on double LP, Vinyl edition feature original artwork by visionary Karma Moffett, printed inner sleeves and booklet with extensive liner notes scribed by Britt Brown.

For our 5th vinyl release on Bouquet. Recs, Trent is toeing the line between fresh and trippy, but undeniably dance floor heat on his first solo EP, and first release on our label.
We are proud to share his momentous solo effort. Recorded in Berlin between 2018 and 2020, 'Transition 35' takes cues from multiple eras of dance to characterise the ever changing colours of nightlife. C'mon ride the train - final destination? The limits of your sensual abandon. Stops along the way? 90's rave. Psychedelic space station.

Trent is a Berlin-based Italian DJ and producer who co-created the party series and label 'Oscillator' with fellow Italians Dama and Budino.
Alongside resident and cosmic pioneer Beppe Loda, they curated one of Berlin's remarkable events for obscure italo, disco and electro.

Taking lessons from the past Trent weaves together a highly sophisticated yet playful sound for the contemporary club goer. Having spent many years as part of collectives, his solo aesthetic is thoughtfully considered and always surprising.
A longtime fixture of the infamous playground party Cocktail d'Amore, Trent collaborates with Juan Ramos under the shared byname Greenvision, releasing together on Cocktail d'Amore, ESP Institute and Ene Tokyo.
'Transition 35' marks Trent's first solo EP sojourn and a triumphant showcase of his individual voice, on Bouquet. Recs

TRACK DESCRIPTIONS

A1. Like a fast train barreling out the station to destinations unknown, This is a Trip hurtles forward like a 90's rave classic, with new wave and nu beat inflections that keep you hooked through unexpected transitions to its explosive finale.

A2. Gasping lysergically, the sci-fi sounds of Don't Stop evoke ecstasy on the dancefloor. That internal scream as you summon more energy, eyes closed, enjoying the trip with a smile.

B. Touch Me is a spell of primal percussions and ominous warlock voices to make for a dark, hot situation

Mount Kimbie take the reigns of the DJ-Kicks series with a 23 track mix that includes one of their own new exclusives. Due for release on 28th Septem- ber, it's a snapshot of exactly what the UK duo sound like in the club right now and is accompanied by a DJ-kicks tour that takes the pair to DJ and live dates all round the world.

Kosh exploded onto the electro scene in 2018 with his debut release 'Null 212' on Casa Voyager records. The track that received the most attention was 'Catch The Train' with it's faultless modern take on classic Detroit electro reminiscent of Cybotron and Aux 88. AIt became a big track for 20/20 Vision founder Ralph Lawson who quickly invited Kosh to record for the label.

Kosh - 'Vicious Love' is a diverse 4 track EP showing off the Moroccan producers faultless production skills with the A-side featuring 'An Arab in Space' that continues to bring the classic sound of Detroit right up to date while title track 'Vicious Love' pushes into new territories, incorporating acid tinged synths, vocoded vocals and an insistent fast paced bassline. On the flip side 'She Gets Mad' is a straight up dance floor filler from the school of Casablanca while 'Headache' is precisely the opposite experience from the title with a relaxed, lush jam that oozes Larry Heard influences.

Frequency Domain extends a warm welcome to the Apologist for their first release since 2006's 'Sorry Dub', a much sought-after 7", cheekily reimagining the theme from 80s BBC sitcom Sorry! as a delicious slice of Basic Channel-esque electronic dub. 'Air Foundry' converges at the crossroads of electronica, dub, electro and techno, with eight elegantly atmospheric tracks written for Frequency Domain in 2019. The full album will be released on cassette and digital formats, while this limited six-track mini LP version is first Frequency Domain release available on vinyl.

Mekanik Kommando was a post punk / New Wave band from Nijmegen, the Netherlands founded in 1979 by Peter van Vliet and Laszlo Panyigay. The duo became a quartet with the addition of Simon van Vliet and Mirjam van Hout. The name Mekanik Kommando comes from the album ?Mekan?k Destrukt?w Kommand?h? by the French progressive rock band Magma. Inspired by a DIY ethos, Kraftwerk and Magma, the band began recording songs at home using two tape recorders. Their demo cassette was discovered by Wally van Middendorp of Minny Pops and owner of Plurex Records, who booked them for a gig at Paradiso in Amsterdam. In 1981 they were asked to contribute music on a flexidisc for the first issue of newly established magazine Vinyl. In the summer of that year the band recorded their debut album ?It Would Be Quiet In The Woods If Only A Few Birds Sing? released on Torso. In February 1982 the band secured five days of studio time at Salisbury Sound in Dordrecht. The end result was the mini-album ?Dancing Elephants? released on Torso later that year. Musically, the five songs are a mix between cold wave, experimental electronic and industrial pop. The band utilized two bass guitars plus a Korg 770, KR-55 drum machine, violin, effects, metals and plastics. Lyrics explore themes of decay and morality, hypnotically spoken on top of playfully metallic sounds. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each EP is housed in a replica of the original jacket, which features artwork by the group members, and includes a 4-page booklet with lyrics and notes designed by Eloise Leigh.

Rising Australian DJ and producer Andy Garvey debuts on X-Kalay showcasing her take on deep and breaksy electro.

Title track and A1 “More Than Meets the Eye” is a thoughtful, finely crafted cut. Built around a weighty acid riff, stacked pads and a delicate twinkling melody, it’s as equally suited to the introspection of headphone listening as it is the club. Next up, “This Silence is False” darkens the mood and ups the tempo - the stepping rhythm and frantic breaks making it perfect material for those later floors.

On the B “Double Planetoid” has echoes of early Massive Attack; a superbly expansive track of swelling pads and undulating bass, it drifts in and out of focus underpinned by a chunky breakbeat and shimmering hi hats. Finally, closing things out is fellow Australian Tred’s rework of “This Silence is False”. He remixes Andy’s original into a 160 BPM techno monster, utilising the acid line perfectly and pumping it with pure 4x4 energy. Heat!

Late Music offer an official reissue of Davachi’s acclaimed 2017 LP ‘All My Circles Run’, originally released in a small run on the Cincinnati-based Students Of Decay label.

 Featuring a suite of extended pieces for strings, voice, organ and piano, it is said to hover “somewhere between the conscious and the unconscious, barely there and indisputably present” - Pitchfork

 “The concept behind ‘All My Circles Run’
came together in my head very quickly sometime in early 2015 - I’d been working with synthesizers a lot up until that point and often pairing them with mutual acoustic instruments like organ, flute, and strings, but I had been wanting to focus on the acoustic side of things and enter new territory, like writing choral music. So, I thought, why not just create individual pieces with those textures, like a series of longer studies, and see where that goes.” - Sarah Davachi

 Recorded at Godspeed You! Black Emperor’s analogue recording studio in Montreal, Hotel2Tango, the album sees Davachi’s keyboards supplemented by Camille
Hesketh’s soprano vocals, Jessica Holmes on cello and Jessica Mosson on violin.

 Gold vinyl with digital download card.

REPRESS
* Described by Mixmag as 'the best drum & bass album in years' and earning a place in their top 10 LP's of 2014, Technimatic's debut 'Desire Paths' was a triumph in musically rich, fresh and eclectic drum & bass that saw them receiving support from the likes of BBC Radio 1, 6 Music, 1Xtra, Thump (Vice), DJ Mag, Resident Advisor and many more.

* Two years on, the stage is set for album number two 'Better Perspective', ready to soundtrack the 2016 summer with that ever-special Technimatic blend that has earned so much accolade. Sure to quench their fans' thirst ten times over and achieve many more in the process, 'Better Perspective' is another highly accomplished piece of work showcasing one of the finest talents we have in drum & bass today.

* Some find it in foreign travel: the chance to get away from everyday life and all its pressures and compromises, the opportunity to be someone else, somewhere else, for a while. Some find it on night drives, speeding away from home and everything it means, steering a lone course into the dark. We find it in music, and always will: liberation, renewal and above all, a better perspective.

* Making this album was a lesson in the endless possibilities that can be created from familiar elements, and the ways in which structure and form can stimulate new ideas and directions. We came to it not knowing what we would discover, it's left us with a new love for what we do. We hope you enjoy it.' Technimatic 2016 for what we do. We hope you enjoy it.' Technimatic 2016

Clear Vinyl
Rare musical magic from the Bruton library catalogue – ambient, spacey, pastoral and electronic. Music by John Cameron, Alan Hawkshaw, Fran-cis Monkman, Brian Bennett and more – all total masters of the scene. All very cool. All very now. All will sell very fast.

Over the last three decades Jonny Trunk has collected and written about library music. But he’s never had a great deal of luck with the Bruton catalogue. By this he means that he’s never stumbled across a massive stash, or lucked-out buying a huge run for practically nothing –that’s the kind of thing that used to happen in the 1990s and the early noughties if you were out there looking hard for library music. But he did manage to get about 25 in one hit about 20 years ago when the BBC shut down their “TV Training Department” near Lime Grove and also when a box of Brutons ended up being dumped at a hospital radio, and they didn’t want the records, so Jonny got a call.

There are lots of Bruton albums in existence – over 330 LPs in the vinyl catalogue, issued between 1978 and 1985. That’s a lot of music to wade through if you are looking for sublime modern day sounds. For many years now the “trophies” from the Bruton catalogue have been the beat or action driven LPs – the two Drama Montage albums (BRJ2 and BRJ8) have always been the big hitters, and others such as High Adventure (BRK2) too.

But Jonny has always found himself drawn to the lime green LPs, the pastoral, peaceful albums (The BRDs), which were full of the kind of gentle, lovely music that would turn up in Take Hart as Tony was paint-ing a woodpecker or a badger or an Autumn tree. The other Brutons he likes are the orange ones (The BRIs) simply because they are full of ex-perimental futuristic electronics and would remind him of 1980s ITV backgrounds. This LP series includes Brian Bennett’s cosmic classic Fantasia (BRI 10). Jonny has been knows to refer to this style of library music as “Krypton Factor library”, because it’s exactly what that strange but successful 1980s TV quiz show sounded like.

In recent years as interest in library music has expanded, we’ve watched
the price of a handful of Brutons really going through the roof - not the just the action and drama ones, but the more esoteric and experimental LPs too – like the BRDs and the BRIs. Jonny gets the vibe that people fi-nally want to hear this other more interesting and experimental side of the Bruton catalogue. So what better time than now to put together a compilation of such sublime period sounds.

Not only does this album bring together a set of fabulous cues that would cost the average man in the street a month’s wages (if the origi-nals were all wanted and if you could even track them all down), but it also chops out the need to listen to other tracks on library albums that are nowhere near as good.

The cues here all date from between 1978 and 1984. They come from the BRD, BRI, BRH, BRJ, BRM, BRR and BRs catalogues.

The composers are all legends within the genre, and here, were doing what great library composers do best – fulfilling a brief and utilising modern studio equipment to both commercial and beguiling effect.

The Panda Men were an ancient warrior cult, fabled to roam the deep African forests in search of the elixer Bonfirma which would grant them super human strength, allowing them to transform into Pandas and thus continue their bloody reign. This classic early Legowelt is finally back in print for the first time in 13 years, celebrating Creme's 20th birthday!

Kuldaboli returns to bbbbbb records, this time with a 6-track EP on which his idiosyncratic sound of icy, cryptic electro fully emerges. BBB015 being the second release of Kuldaboli on bbbbbb records is destined to be a historical release for the Icelandic dance music scene and a very important one for Kuldaboli’s legacy. The EP title ‘Ekkert nema ískaldur veruleikinn’ roughly translates to “nothing but the ice cold reality” and that is exactly what is delivered across the six tracks laden with poetic lyrics and spoken word.

In the opening track ‘Ég er bara ég’ Kuldaboli’s signature sound of uncompromising electro is overlaid with haunting vocals recited in Icelandic saying “I am only me and you are only you, people exchange words measuring each other out, trying their best at discerning life’s riddles’’. It is easy to say that Kuldaboli knows how to capture the listeners with deep reflections on subjects that most people are aware of but hardly ever speak of.

A2 ‘Ískaldur veruleikinn’ or ‘the ice cold reality’ is the most bouncy dancefloor track of the EP with the openings lyrics saying ‘’Are you telling me the truth? If I were to guess you are lying cold to my face’. The power of word play in this release is by far the most interesting poetic turn for Kuldaboli to date, where he shows great insight to the subconscious and human behaviour.

The smooth sounds of possessed Italo disco on A3 ‘Finn innri frið’, along with the funky bassline and trance like synths has perhaps the most positive vibe to it if you are not familiar to Kuldaboli, along with the playful opener of B-side ‘Afi kenndi mér íslensku’.

Following B2 no-bullshit-electro-track ‘Kuklari’, the final track B3 ‘Fönix úr ösku’ shows the haunting dark depth of depressurisation that vocal and electronics can create, where melancholic lyrics convey images of lost dreams of former lives.

In March 2018, Danny Berman aka Red Rack'em left behind the grey insanity of Berlin and headed off to the idyllic Devon Analogue Studio for the first of several productive musical retreats, giving him unprecedented access to high end synths plus the time and space to create without distraction.

After a solid 18 months of activity post album, which combined some serious air miles, relocation back to the UK (after nearly a decade living in East Berlin) some pretty magical moments, he's back with a heavy EP of genre crossing magic which ushers forth a more edgy, psychedelic sound.

Like its disco leaning predecessor, Wonky Techno Banger is just simply a track that you have to have in your life. Combining a demented fairground melody, flappy off beat bassline and manic peak time flavour, it's an absolute thumper which has the potential to radically transform your night/life.

Devon Analogue 4.2 comes from the same session and sees the Bergerac boss man go into euphoric electro funk mode with distorted claps, an 'ecstasy' synth and live slap bass.

Meanwhile back in Berlin, Rack'em was also working in Iron Curtis studio while he was on tour in the US so final track Nave Gazing was written using just the Waldorf Nave for a thoughtful ambient number to close off the EP. WIBES.

limited to 250 copies, hand stamped.

‘Ace! La Beauté Du Négatif welcomes Qeta, best kept secret from xxxxxx. 5 trackers from electronica to jungle via braindance.

for fans of AFX, Autechre, Boards of Canada, Brainwaltzera etc..´

This is the first instalment of the newborn white label series on Subject To Restrictions Discs. Zurich based DJ and producer Don Kashew delivers a dark dystopian journey that begins with the search for the last open ‘Supermarché’. It continues with the well-known lethargy of the past months translated in the track ‘Koto Nord’. At long last, we are successful and dance together to ‘Bamboo’ in united melancholy. This release is limited to 100 copies.

For the 3rd instalment of Die Orangen’s Saft series on MT, we have invited dear friends Full Circle once again, this time remix- ing the track Krautback off DO’s album Zwei Orangen. Joakim & Alexis took a different turn from their proto-no-goa sound, with more than a nod to the late (and sadly missed) mr. Weatherall, and the result is a DUB. Another duo we are huge fans of, Smagghe & Cross, took the song Zwei and reshaped it into a minimalistic psychedelic tonal symphony, echoing the original song's voices and fx. On the B-side, after 3 years of working on it, we have finally brought together again the mighty duo Mungolian Jetset to re- work bits and pieces from the whole LP. Its a midtempo cosmic disco/house banger that keeps on giving. a pure outdoor festival gem... Last but not least, we are releasing as B2, for the first time on Vinyl, Die Orangen's collaboration with artist Eva Geist ( self-re- leased digitally earlier this year by the ginger boys themselves) ..... A perfect collaboration, bringing out the more sunny side of the D.O. duo......

First released by Cazzo Film in 2001, ebo hill’s Bonking Berlin Bastards has long achieved the status of an underground punk porn classic. Like the Cazzo productions of director Bruce LaBruce, hill’s vision was both ahead of its time and a playful distillation of 90s and early-2000s Berlin Zeitgeist: queer, industrial, hypersexual, exhibitionist and fueled by electronic music. The story is told in large part by the soundtrack, to be released for the first time on Ostgut Ton sublabel A-TON. The music follows a group of squatters, punks and drag queens as they fuck, party and stumble their way through an empty city at the turn of the millennium. Approaching these themes more through location than plot, the film’s narrative freedom is also a narrative of freedom; between chance encounters and sex in public, atop the maze of roofs in the city’s former East, bent over bridges and moaning in ecstasy at oncoming traffic, pants down in telephone booths, packed into sex clubs, in the shadows of abandoned factories and techno clubs lost in time. Composed by improvisational techno trio AeoX and noise / industrial producer Rouage aka CNM (respectively), the music spans a broad range of appropriately pounding industrial, weird techno, noise, ultra-stoned ambient, improvised dub and electro. It’s a sonic spectrum that connects Berlin’s queer hardcore techno and squatter party scenes from which AeoX and Rouage emerged, drawing a direct line between the likes of Berghain-forerunner OstGut (a primary meeting point for the film’s cast & crew) to the more industrial, breakcore and noise- oriented independent party collectives and locations who provided multiple settings for the film, including Grüne Hölle and Stellwerk.

*Artists:* CNM / Rouage (Kathinka): Born in 1975 and raised in East Berlin. Co-organization of subcultural events since 1998 in Berlin, Potsdam, Leipzig and Barcelona. Experimental music, collaborations, exhibitions and audiovisual shows since 2000.

AeoX: Active between 2001 and 2007. Originally a quartet, then a trio, the group eventually shrank to two permanent members: Alex.E and Hanno Hinkelbein. The latter founded Null Records, where AeoX released two album and numerous EPs. They also released on Mental.Ind.Records founded by former OstGut resident Cora S. Musically, the group experimented with combining improvisational hardware techno, breaks, traditional instruments (guitar, clarinet, piano) industrial and metal.

Ursprünglich 2001 von Cazzo Film veröffentlicht, hat Bonking Berlin Bastards von ebo hill längst den Status eines Underground-Punk-Pornoklassikers erreicht. Wie die Cazzo- Produktionen von Regisseur Bruce LaBruce, war auch hills Vision seiner Zeit voraus und ein spielerisches Destillat des 90er- und Anfang-2000er Berlin-Zeitgeists: queer, industriell, hypersexuell, exhibitionistisch, angetrieben von elektronischer Musik. Die Geschichte wird größtenteils über den Soundtrack erzählt, der auf Ostgut Tons Sublabel A-TON zum ersten Mal veröffentlicht wird. Die Musik folgt einer Gruppe von Hausbesetzern, Punks und Drags, die ficken, feiern und durch die leere Stadt um die Jahrtausendwende streifen. Bonking Berlin Bastards erzählt diese Themen mehr über die Drehorte als über die Handlung. Die erzählerische Freiheit des filmischen Narrativs ist gleichzeitig eine Erzählung von Freiheit: Von zufälligen Begegnungen bis hin zu Sex in der Öffentlichkeit, auf Dächern im früheren Osten Berlins, sich über die Brüstungen von Straßenbrücken beugen, trotz und wegen des Verkehrs stöhnen, mit heruntergelassenen Hosen in Telefonzellen, in überfüllten Sexclubs, im Schatten aufgegebener Fabriken, zeitverloren in Technoclubs. Der Soundtrack wurde sowohl vom Improvisationstechnotrio AeoX als auch von Noise-/Industrial-Producer Rouage aka CNM komponiert und spannt einen weiten Bogen von explizit pumpendem Industrial, schräg klingendem Techno, Noise, ultra-stoned Ambient, improvisiertem Dub und Electro. Das musikalische Spektrum verbindet Berlins queere Hardcore-, Techno- und Hausbesetzer-Party-Szenen, aus denen AeoX und Rouage selbst hervorgingen und zieht dabei eine direkte Linie zwischen dem Berghain- Vorgängerclub OstGut (ein wichtiger Treffpunkt für die Darsteller und Crew des Films) und den eher Industrial-, Breakcore- und Noise-orientierten Independent-Partykollektiven und -Locations wie Grüne Hölle und Stellwerk, welche mehrfach als Drehort und Kulisse des Films auftauchen.

CNM / Rouage (Kathinka): 1975 geboren nd aufgewachsen in Ost- Berlin. Co-Organisation subkultureller Events seit 1998 in Berlin, Potsdam, Leipzig und Barcelona. Experimentelle Musik, Kollaborationen, Ausstellungen und audiovisuelle Shows seit 2000.

AeoX: Aktiv zwischen 2001 und 2007. Ursprünglich ein Quartett, dann ein Trio, dann verkleinerte sich die Gruppe auf zwei permanente Mitglieder: Alex.E und Hanno Hinkelbein. Letzterer gründete Null Records, auf dem AeoX zwei Alben und zahlreiche EPs veröffentlichte. Ebenfalls Veröffentlichungen auf Mental.Ind.Records, welches von der ehemaligen OstGut resident Cora S. gegründet wurde. Musikalisch kombiniert die Gruppe improvisierten Hardware- Techno mit Breaks, traditionellen Instrumenten (Gitarre, Klarinette, Klavier), Industrial und Metal.

Lullabies For Insomniacs presents 'For Leena', a collection of unreleased pieces composed between 1991 & 1998 by Dino J.A. Deane for the choreography of Colleen Mulvihill. Gatefold Sleeve
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Dino J. A. Deane began his professional career, at the age of nineteen, as a musical arranger and multi-instrumentalist (trombone, flutes, keyboards, percussion). He worked in funk bands around Los Angeles before moving to San Francisco in the mid 1970's, where as an improvising artist he became involved in the diverse communities of dramatic theatre, modern dance, free jazz and punk rock.

In the early 1980's Mr. Deane pioneered the use of live-electronics, live-looping and live-sampling in three distinct genres that heavily informed his later compositions: As a member of art-punk band 'Indoor Life', touring and recording with fourth world pioneer Jon Hassell and as an electro-acoustic percussionist in the Conduction orchestras of Butch Morris.

During this period Mr. Deane also worked as a sound designer for the theatre, with directors Sam Shepard, Julie Hebert and Christoph Marthaler. He also maintained a presence in the world ofmodern dance, creating and performing compositions for former Olympic gymnast Colleen Mulvihill.

The couple met in San Francisco in 1979 through his good friend Bruce Ackley, whom was commissioned to compose a score for one of her solo pieces. Colleen, was than a member of the Margaret Jenkins Dance Company and was planning to move to New York City to set out on her own as a dancer and choreographer. Their paths crossed again in 1980 when Dino moved to NYC with Indoor Life, during this time they began a long term relationship both on and off the stage, which continues to this day.

Radio Mars is very happy to present you this new artist on the red planet and in the electronic scene!

This guy has a great talent and his future is bright!
His music is complicated to describe.

... For sure it’s ghetto and it comes from the heart - Listen!
(I’m really missing the words …).

Exhausted Modern's debut full-length titled The Year of the Rat is a proof of the thought-provocation that author's name generates. Released on his own Endless Illusion imprint, the album doesn't have all the answers, it simply offers Exhausted Modern's perception of the modern times and also the energy to do something with them. The title, borrowed from the Chinese zodiac calendar, doesn't slip to mere esoteric prognosis, it fittingly and provocatively comments on broken mechanics of society, capitalistic hierarchisation and emotional frustration of its victims. Despite the dystopian character of Exhausted Modern's sound, which ranges from fast melancholia through suspicious calmness to slowly bubbling rage, it doesn't feel like the end of the world. It's critical artistic statement of a person who despite seeing all the darkness, also sees the way out of it.

Parasian fellow Stephane Laporte joins the Antinote crew with a very introspective and dreamy full length record. kraftwerk gone ambient will be the best discription..TIP

Wolf Eyes return to the audio world with two bangers of free abstraction and stretched out otherworldly electronics with 'Strange Days II'.

After the 'Undertow' (previous Wolf Eyes album) washes you up on the shores of an unmarked empty island, you find yourself stuck dead centre tangled inside a world where the air is filled with buzzing electronics beamed in from a arcane planet and the 'things' that are living are hungry for marrow of anything that was considered 'music' from the year 2391 AD. You are left alone
with how to recreate sound from scratch, using nothing but the wind and mystery. The only words left from the human race are carved slowly on the trunk of a twisted tree, carefully saying Wolf Eyes were here and these were truly strange days.'

A long-time friend of Goldie and a staple of the Nordic dance music scene, Agzilla's eclectic debut album is set for release this February.

Blurring the lines between the rough with the smooth and delving into various genres including jungle and drum & bass as well as leftfield techno, house and bass music, 'Cats Can Hear Ultrasound' is a genuine melting pot of contrasting sounds covering a diverse range of BPMs.

SC-164 is a new project based out of Brooklyn, NY. The Channel series will include music exclusively by Greg Schappert aka Donor, under his SC-164 alias, and will be focused around Electro and Experimental music.

SC-164 is a new label based out of Brooklyn, NY, run by Greg Schappert aka Donor.
The Channel series is set to include a run of electro and experimental EPs under his SC-164 alias. For the second installment, he presents inventive, rough-edged future music with no signs of human life, and it's utterly thrilling.

The first track is a blizzard of frosty, serrated synths and hard drums that are designed for dance floor destruction. 002-002 continues this way, an intergalactic face-off, with laser synths firing across the face of jittery, punch drum programming. Textured and raw, it's pure and powerful machine music. Next up, 003 layers up ghoulish white noise and synth bleeps that are brilliantly bleak and dystopian. The closer is a roaming electro cut, with menacing bass and groaning synths taking you to the heart of a stone-lit frenzy.

Lennard Poschmann returns to Oliver Hafenbauer's Die Orakel label with a brand-new EP under his O-Wells alias.
'Ebecs' showcases the Robert Johnson resident's subtle, distinct approach to Detroit-ish,
IDM & ambient-influenced electronic music.

Opening track ‘Ectid’ is a free-floating introduction revealing a glorious acid undercurrent. ‘Bbmore’ demonstrates a different kind of approach with the same wistful ingredients, unravelling a tightly wound drum structure from the inside. On ‘Exolite’, the inverse unfolds, as Wells blends experimental textures and introduces stabs of cathartic and deep bass.

Introducing the other half of the release, ‘Culling Virus’ is Wells' take on simmering, paranoid electro. On the pairing of LL0P 1 and LL0P 2, he provides an intermission with two tense locked grooves before concluding the release with the cascading and dense ‘Shnuck’, a psychedelic transmission of complex layered sound design.

Angel-Ho is known as one of the founders of Non Worldwide, alongside Chino Amobi and Nkisi. Highly regarded as a DJ and electronic music producer, on 'Death Becomes Her' she shifts things up to another level.
Pulling on inspiration from her flamboyant favourites from Lady Gaga, Missy Elliot, and Bjork through to Kanye West, this ambitious, artful and sometimes radical album of neo-pop pushes the pop framework even further, often teetering on the brink of vertiginous chaos and dissonance, whilst slowly revealing its depth and grandeur once you settle into its sound world.

Alongside a cast of collaborators that include French producer Nunu, South African producer Baby Caramel, Asmara Maroof from Nguzunguzu, Bon and Gaika, Angel re-orientates the usual trans-atlantic pop sound to encompass a brace of experimental, diasporic producers to create beats that alternate between angular, propulsive, murky, loose, abrasive and breezy.

On top of these often advanced rhythms, she also raps and sings for the first time with lyrics about love, sex, glamour and struggle, universal fantasies, treated with an ambiguity that restructures the narrative within a trans-identity. Her choice of guest MCs also reflects this energetic queering with K-$ and Qweezy from Cape Town, plus underground Asian American rapper K-Rizz laying down assertive bars.
On 'Death Becomes Her', Angel-Ho carves out a new space with her unique take on contemporary pop. Overflowing with charisma, sometimes reminiscent of Grace Jones, this album is fiercely sassy and celebratory. It feels like the start of something very exciting.

*Repress*

With comparisons being made to Psykick Warriors Of Gaia, Cyclobe and Insanlar's Kime Ne' this one's definitely making waves amongst fans of.....well....whatever sort of music this is.

Komodo Kolektif is a loose collective of veteran multi-instrumentalists based not in Indonesia as one might expect with such a name, but Glasgow, Scotland, their name being a reference to the Indonesian gamelan instruments featured in their compositions. The instruments used (saron, gender, kempul) belong to local gamelan ensemble Gamelan Naga Mas of which two of the musicians have been full-time members for around a decade while the other members are also loosely affiliated and have appeared as 'guest' musicians on various one-off performances and who are themselves well-known musicians in their own rights.

Combined with an arsenal of vintage synthesizers, FX-laden guitar and traditional hand percussion the resulting concoction is a magical, mystical brew indeed.

Two of the pieces, the epic Djakarta 3001' and Binaural Bintaro' were recorded live in 2014 and 2015, respectively, with edits/overdubs in late 2016/early 2017. Binaural Bintaro' was originally composed for Gamelan Naga Mas and was performed live at their Gamelan Untethered' multimedia project at Glasgow's Royal Conservatoire in Sept 2015.


Limited to 300 copies only


This is awesome........10/10' (JD Twitch / Optimo)

Amazing stuff!' (House Of Traps / Firecracker / Unthank / Sacred Summits)

Ruben Montesco's new EP comes loaded with the purest, full-effect nineties sounds.

This throbbing 12 is the artist's tribute, as well as a complete review, of some of the musical icons of This Golden Decade in electronic music.

EBM, New Wave, Techno and Electro are the main styles blended in the four tracks included in this release.

A further listening reveals a clearly dancefloor-oriented EP that caches the essence of these styles and subtly brings them back to the present with elegance and savoir-faire.

Private Selection's first full length LP comes in blistering form from Santiago Leyba. Recorded in L.A. and his hometown of Albuquerque, New Mexico, the songs on 'Western Vices' are a reaction to some of the bleaker circumstances that exist in these places. Not unlike Santiago's past work, this music reflects the paranoid and altered states that some people live in as a result of their surroundings. It lies in contrast to escapism and revels in dreadful realities to bring to life a highly rhythmic, woozy and disenchanted collection of tracks. The 12 songs are named after characters, landmarks and phrases associated with L.A. and Albuquerque, acting as reference points for the dialogue of sounds that hold them together.

Santiago Leyba has been producing music as a solo artist and in collaborative affairs since 2010. Raised in New Mexico, he currently lives and works in New York City. Leyba has recorded and performed most recently as Santiago (Unknown Precept, Private Selection Records), Western Versions (Pastel Voids), and U.S. Hard (Pastel Voids, Blankstairs).

From the artist --

"Western Vices is meant to be listened to at high volumes."

Sugardaddy are a UK electronic music duo formed in 2006 and is the musical brainchild of Tom Findlay (one half of Groove Armada) and singer song writer Tim Hutton (Hybrid, Groove Armada, Way Out West).

Hypnotise" has an altogether late 80's heavy, low slung, boogie vibe, caressed with beautifully haunting yet soulful vocals.

Greg Wilson remixes an extended rework, holding the vibe of the original and effortlessly extending certain aspects of the groove, creating a 9 minute dancefloor monster!

Situation are next up with a late night, deep house dub interpretation which builds to a discoesque guitar licked, infectious, yet hypnotic bombshell.

BitterSuite finish the release with a chunky funk fuelled version, full of slap bass and a bucketful of soaring, atmospheric synths, cleverly weaving those wonderful vocals and building to an electro jazz funk masterpiece.

After realizing we might have pushed things a bit too far with curses and rituals, considering what’s going on in 2020, we’re happy to introduce ‘Still Life’, a new series inspired by photographs by Tomaso Lisca. For the first edition we’re thrilled to welcome Jensen Interceptor, Cardopusher and Lokier for an electro-heavy A side, while Morah, Randstad and Empire State fathom the depths of the more leftfield side of the label on the flip.

He brought the BASS from outer SPACE! 2 YER FACE!!! Once again bbbbbb records welcomes the ever audacious Volruptus, this time with ‘First Contact’ - a double vinyl 12 track album.
This otherworldly release demonstrates his tremendous studio abilities across twelve stellar tracks that span countless different tempos, genres, rhythms and sounds
>>>>>> play it loud

Leicester producer and Out Of Joint record shop boss 8Ball makes his debut on Sneaker Social Club with the slick 11-tracker 'Eleuis'. His EPs and album on the Grade10 label, which he runs with mates, celebrate the afterparty and are rife in moody atmospherics and post-hardcore references. 'Eleusis' is a perfectly executed contribution to the continuum demonstrating a weightless take on Hardcore and Jungle.

DJ Support
Sherelle, Shy One, Sicaria Sound, Peder Mannerfelt, Minor Science, Etch, FFF, West Norwood Cassette Library, Double O, J-Shadow, Kikelomo, Mantra, Flore, Coco Bryce, EICH, Hooverian Blur/ Warlock, Stones Taro, Candy Pollard, Nikki Nair, Ciel, Dr.Banana, Addison Groove, Breaka, Black Cadmium, Solid Blake, Om Unit +more