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Feldermelder's "The Sound Of" is a collection of tracks created in hotel rooms around the world. These little anthems tell stories about places filled with a sense of purpose, a particular emptiness, or a feeling of transit. Places that have fallen out of snyc with the rest of the world. "The Sound Of" is a homage to personal moments worth keeping alive in one's memory.
The flexi disc features the track "Harmony" and was an insert in Zweikommasieben Magazine #14. The screen-printed inlay by Mathias Forbach / Fichtre features an index of sounds and frequencies used in the composition. The flexi disc comes with a download code for four additional tracks.Feldermelder's influences range from the decomposed structure works of old pioneers of Electronic Music to classical Jazz, electronic and analog music from the now, before and tomorrow. The diversity of the music that inspires him, finds reflection in his own sonic adventures, forming his ever evolving sound, combining as map and compass to guide his artistic outbursts. Feldermelder is co-founder of -OUS records and member of the art collective encor.studio. He has been performing internationally with his recent audiovisual live show "Erratic" and the AI-driven installation "Initiation", among others.

The best thing about trends is often their counter-movement. In times of digital hysteria, the
contradiction lies unsurprisingly in deceleration, in turning away from algorithms. The search
for the diffusely concrete, a kind of musical memory from the infinite ocean of sounds and
acoustic figures, is at the centre of a dark glowing cloud called Mantra Mantra.
Between Techno and Toto, drop shadows and ethereal patterns, Sam Irl and Daniel Helmer
simmer their hypnotic sounds.
The music whispers with every note: we are only two interconnected home studios,
quietly eloquent through the night as an anti-hysterical mantra to all the recipients of this
universe.

The LP gives us a widescreen view of a musical world previously glimpsed through the producer’s series of 12" releases. A kaleidoscope of tempos and intensities, the record is often fast but rarely heavy, fizzing with detail but full of space, euphoric in places but frequently blue in mood.

As the title suggests, the album takes translation as a guiding principle, putting an idiomatic spin on familiar styles - from Detroit-ish techno and hyperspeed electro to twilit electronica, musique concrete and sour modal jazz. Minor Science's language is a knotty one, packed with odd time-signatures, brain-bending sound design and a playful palette of switch-ups, fake-outs and digital hiccups. But it's also soft and emotive, and shot through with vibrant melody.

Minor Science’s relationship with languages is a strong feature of the record. More precisely the relationship between a second and third language, and a mother tongue.
It signals an effort to get out of familiar habits, echoing the relationship he has with his own music writing and music making. Regardless of attempts to be precise, a translation can never fully capture the original meaning.

“Parce que c'est plus facile d'écrire sans style” - Samuel Beckett

The cover of ‘Second Language’ devised by Alex McCullough, shows the handling of a tablet carved in Portuguese Limestone (and later painted) by architectural sculptor George Edwards. Immortalising the phrasing of Samuel Beckett alongside the album title. The stone artefact was photographed by Oskar Proctor directly after completion, documented in transit whilst being manoeuvred.

New York City based imprint HOMAGE continues to deliver raw and upfront electronic sounds from up and coming talent, the imprint released the debut EP from now hotly tipped artist KETTAMA and most recently released the critically acclaimed debut EP from Will Hofbauer. Here we see the label welcome Dublin, Ireland based artist DART onto its roster, yet another rising talent making waves on his home turf and further afield across the globe.

‘Raided’ opens the release with thunderous swinging drums, twitchy synth sequences, bumpy bass and rave-tinged strings to perfectly set the tone. ‘Only The Strong’ follows next, retaining a similarly rave-tinged aesthetic via a hypnotic synth hook, shuffled percussion and rumbling subs while female vocal hooks flow amongst the sturdy groove.

The two remixes make up the B-Side of the release and X-Coast’s ‘Da Vibe Mix’ is up first, reshaping the original with an uptempo trance-leaning twist courtesy of choppy, filtered synth licks, organic percussion and pulsing low-end bass line. Dixon Avenue Basement Jams regular Big Miz then rounds things out with his take on ‘Only The Strong’, opting for squelchy 303 licks and dusty dynamic drums alongside the originals lead and infectious vocals.

CEM3340 is back on Lunar Orbiter Program with his 4th mission: Compuphonic LP Mastered at Reel Mastering, London

Mr. Blatman debuts on Lunar Orbiter Program with his first EP. Mastered at Reel Mastering, London

Mancunian Hidden Spheres has showcased himself as one of the most innovative producers out there, releasing across the likes of Lobster Theremin, Rhythm Section International and his own imprint Fruit Merchant, all of which have been the perfect outlets for his inspiring blend of house and jazz. Church now features as the latest addition, who continue their stellar discography with 'Words Can't Explain', a collaborative EP which sees Hidden Spheres alongside singer-songwriter and guitarist, Oscar Jerome.

The collection begins with the original mix, lowering you into slick jazz guitar licks and echoing vocals, before Hidden Spheres provides a tight groove to lock around the melodies in fine form. The hybrid creation of jazz meets house binds perfectly as warm keys hang effortlessly in the air and popping guitar lines carry you onwards, supporting the sublime vocal from Oscar.

The dub version opens up room for the guitar licks and synth top lines to take centre stage, a real opportunity to marvel at the arrangement here.

On the flip is Yu Su's rework who ups the tempo and dims the lights for a punchier rework.. The half way point welcomes a percussive led break before the hats return and pick up the groove once again, closing the 'Words Can't Explain' EP in style.

'Exit Entrance' is the DFA debut for Kohei Matsunaga aka NHK yx Koyxen.

Kohei has been making / releasing music since 1997 and has recorded for such iconic labels as Mille Plateaux, Important, Pan & Diagonal.

His latest recordings explore intricate drum programming, lush melodies & sparkling arrangements. Touchstones include the legendary 'Clicks & Cuts' compilations from the 1990's as well as Aphex Twin & Autechre. RA called his music bombastic techno funk....unpredictable but rarely disappointing'.

'Exit Entrance' is a collection of new songs that snap and flicker unlike anything Kohei has done in the past. There is a clarity and beauty to these tracks that bursts out of the speakers in a three dimensional way, matching the 3D glasses that the artist wears during all his live performances. The elegant arrangements and crisp drum breaks match the concise song titles - Kohei foregoes the typical impenetrable track names made up of numbers and shorthand, and opts for a more direct emotional sincerity through the sonic themes of the record. Not all the music here falls into the same exact formula.

As the album heads towards a close, after several tracks of harmonious beauty, we get 'Outset (for Mika Vainio)', a sombre hushed techno tune, dedicated to his late friend and musical collaborator, who unexpectedly passed away earlier this year as the record was being completed. What follows after this track is perhaps the real catharsis, as 'Dented' ominously kicks off with acidic stabs and rolls into a tumultuous dirge of gritty techno.

In this regard, 'Exit Entrance' can play out like a life cycle, a mini opera of birth and beauty, of sorrow and mourning.

It is one of the most direct and honest records Kohei has ever made, and DFA is beyond proud to present this work from such an esteemed creative force in the electronic avant-garde world of music.

For fans of Aphex Twin, Actress, Zomby, Kraftwerk, Four Tet.

Electrocore reloaded! 5 years since their last release, Jackal & Hyde aka Scott Weiser (of the legendary Miami Bass group Dynamix II) and Todd Walker, re-emerge on the German label Dominance Electricity, and they brought their Bad Robot!

Responsible for some of the most head strong Electrobreaks bangers in the 00s, such as Beyond, Go Bang and Sound of Underground, the american duo continues their mission to create the perfect match between relentless club power and futuristic darkness.

Bonus song Dark Star, one of the most slamming productions from their back catalog, received a VIP Mix treatment that pushes this release even closer to Electro perfection.

Art has the power to mirror and capture its creators surroundings and environment. Art can also reflect something much more personal by offering us a glimpse of the artist’s mind. Hands Rest, the 2nd studio album by German composer and musician Aparde, does both. While reflecting the essence of Berlin’s club scene, in which Aparde undoubtedly is immersed in, the album also takes us to the depths of the musician himself, far from clubs and live sets, to a world that is both intimate and profound. “I think that I always process circumstances uncon- sciously in my music and that my way of thinking is full of internal conflicts,” he says. It is this duality, of an artist who is both entertaining Berlin’s nightlife through electronic sounds and delving deep into his own emotions through avant-garde pop, that epitomises Aparde’s work.


Hands Rest, which was created over the span of one year, has a cathartic feel to it, “the process was very diffused in terms of time, because over the past year my life circumstances have been very complicated and often frustrating, and I had to motivate myself again and again.” While he crafted the tracks, Aparde was in fact processing his own thoughts and feelings after the end of a long relationship, and listeners navigate through varying soundscapes that seem to accompany Aparde’s own internal commotions as he himself navigated a turbulent year. “It the break up was accompanied by numbness and repression. This was followed by a period of inactivity and the thought of ending my activity as a musician,” he tells.

Electronic / acoustic wonder band KUF deliver a special surprise for their third album: eleven sizzling hot takes on tracks drawn from the Macro label's stellar catalog, as originally crafted by some of today's most respected artists in electronic music. KiNK, Patrick Cowley, Peter Kruder (of K&D), Stefan Goldmann, rRoxymore and more get the treatment. With a nod to the label's previous highly original compilations and mixes from the Macrospective and Vinylism series, Re:Re:Re captures more new ground.

KUF's previous albums presented an astonishing inversion of the typical extended electronic set up, in that they paired a plethora of disembodied, sampled voices with acoustic real time interaction on bass, drums and keys. Re:Re:Re shifts the focus of sampling altogether to scanning entire tracks and compositions which are then reimagined with the band's singular approach. Neither just remixes, nor faithful reproductions, KUF engage in careful sound archaeology. From re-programming key sounds to holistic granular deconstructions, the originals's sound palettes are reproduced to serve as a springboard towards entirely new instalments. The resulting tracks range from intimate ballads to full power dance floor movers, spanning a highly engaging arc of sheer listening pleasure.

Originally released in 1979, Iceland is Richard Pinhas' third solo album and his first following the breakup of Heldon. While moving away from the maximalism of his old band, paring down Heldon's hybrid of otherworldly sci-fi imagery and pummeling psych-prog riffs, the journey through Iceland is decidedly more inward.

Consisting of longer, brooding synth-based pieces as well as short proto-industrial études and interstitial sketches, Iceland features Pinhas' delay-ridden electric guitar, pulsating machine rhythms and analog synthesizer washes - all vivid in texture and timbre, notwithstanding an undeniably chilling ambience.

This first-time vinyl reissue includes "Wintermusic," an immersive 25-minute bonus track recorded in 1983 and appearing here on vinyl for the first time. Pinhas' excursions channel the season's stillness and sublimity, its majesty and its threat. Without a doubt, one his finest moments.

Recommended for fans of Cluster, Mica Levi and Fripp & Eno.

"Small Worlds" (2004) a is 42-minute composition for improvising sextet by Austrian double bassist, composer and improviser Werner Dafeldecker. The score is written for any instrument and divides the players into two virtual trios whose constellations change every 3 minutes. No restrictions are made regarding material or playing techniques, the only specification is that in each 3-minute trio, one player has the role of the "dynamic leader" which means that no other player within the trio should play louder than the one on that leading position. Apart from that, the only other restriction concerns how pauses are to be made when two players interchange their positions within the trios.

According to Dafeldecker, the object of the piece is to provide a structure that doesn't curtail the qualities of the musicians, yet forces them to listen very closely to each other and make focused decisions about parameters that are often overlooked in completely free improvisation. Especially, the given structure avoids the emergence of certain clichés that are often present in Free Improvisation, while retaining a very high level of openness with regard to how the piece is performed.

The first published recording of "Small Worlds", by Australian ensemble Quiver, was released in 2017 on CDr by Tone List. This LP contains a recording made in 2004 at Taktlos Festival in Basel, Switzerland, that features the line-up that Dafeldecker originally had in mind when he wrote the piece: Burkhard Beins (percussion), Martin Brandlmayr (percussion), Werner Dafeldecker (double bass), Klaus Lang (organ), Michael Moser (cello), and John Tilbury (piano). Partly, this constellation later also played together in the long-running avant-garde group Polwechsel.

Edition of 300 in regular sleeve with three inserts: two featuring an extensive conversation between Werner Dafeldecker and Matthias Haenisch discussing "Small Worlds", Polwechsel and Free Improvisation in general (German and English), the third reproducing the score of the piece.

The Transhumanism collective was born on the dance-floor at Dave Clarke's first Whip It party at the Melkweg in Amsterdam. This is the fourth vinyl release on Bass Agenda Recordings that features the four Dutch Electro artists w1b0, RXmode, Slaves of Sinus, and TFHats. The releases to date have had ongoing support from many key DJs who support the authentic Electro scene - Dave Clarke, UMEK, Helena Hauff, DJ Stingray, Maceo Plex, and Alienata to name but a few. Juan Atkins and Helena Hauff were still dropping w1b0's track from the first release this Summer (2019) at various festivals. It's no surprise that the first in the series has just been repressed, and now, the third in the series keeps the pressure up with 4 brand new tracks. As always, the brief here was simple - "be yourself and do your best to kill it". All four artists have risen to the occasion - maintaining the fundamentals of their individual sounds, evolving a little in some parts, and bringing a compilation with something for every discerning DJ with an ear for cutting edge Electro.

Created from the rotting corpse of Glam, Punk and Psychedelic rock, London's Alien Sex Fiend emerged bleeding and screaming onto the British underground music scene in 1982 to pulverise the prevailing scene's sensibilities into submission. Demonic sounds and contorted hysterics combine invitingly in the flesh and ultimately establish them as the iconic industrial Goth band. Featuring live recordings from their appearances in Glasgow, Birmingham and Liverpool during their 1986 tour with rare, promotional tracks spanning the years 1982 to 1988 on a bonus CD. Interference proudly presents the rotting corpse that is Alien Sex Fiend. Professionally re-mastered original sound recordings with background liners and rare archival photos.

New myths; remember downstream, the truth and sacred geometry. Unlikely and bright, it weighs waves like an anchor through pinch unconscious - unread and still. We are understanding - process born from fact. The rope is taut, calm, made of ritual and leading us back - but in telling it transforms; pre-linguistic, stamped, fully dynamic, the start refracts into new versions and inwards we fold. It remains rhythm in absence, but grows as we watch. Next thread drawn from the Mirror Zone, this one built by Vector Trancer. Our plate reads panoptic; dark dub and ambient loaded with psychoactive EBM. See further; MSB's vital experiments powered by half-speed Beat Box; distant Objets D'Art channelling through Namlook's Fax; pared down FSoL at the hands of Autocreation. Celestial fringe echoes, viridis mantra, and guttural/ceremony trudge. Direct knowledge, heavy and charged.

Tom Wrankmore previously recorded under Eliphino and now launches new project Automne.
Automne has a two diametrically opposed themes within it, natural balance and transition and machine like, automated.
Music will explore the interplay between these two areas.

Vatican Shadow’s impossible to find early tapes finally arrive on vinyl, kicking off a completist
series of new D&M remasters with a first volume featuring: ‘Byzantine Private CIA’, ‘Mural of
Saddam’, and ‘Yemeni Commandos’
Arriving under a shroud of anonymity in 2010 with the four tracks of ‘Byzantine Private CIA’,
Vatican Shadow has since become one of the most vital projects manned by Dominick Fernow
(Prurient, Rainforest Spiritual Enslavement). Daring to grasp the nettle of US geopolitics at a time
when nobody else would (and that hasn’t really changed), Vatican Shadow hijacked imagery and
text from a plethora of news articles, books and government publications, and used them to adorn
and title his all-instrumental compositions, recontextualising U.S. foreign policy in a way that
recalls how original industrial, noise and post-punk mutants used their art and music to express
feelings towards the cold war and western socio-economics during the late ‘70s and thru the ‘80s
- with a particular, explicit thread of inspiration coming from Bryn Jones’ prolific Muslimgauze
catalogue.
The first LP ontains all four cuts from Vatican Shadow’s first release, ‘Byzantine Private CIA’, taking
in the cold thuds and clamouring background noise of ‘Deny Military Involvement’ alongside
highlights in the militant trample of ‘Cairo Sword Unsheathed’ and the sludgy industrial dirge of
‘Gunman With Silencer’. The second LP follows with three tracks off ‘Mural of Saddam’, including
the brittle, Muslimgauze-like stepper ‘Schwarzkopf Arc of Triumph’, and the furtive trip hop of
‘U.S. M1A1 Abrams Exhaust Rises Between The Hands Of Victory’, before concluding with some
the project’s most sublime work in the opiated lushness of ’Shadow War In Yemen’ and ‘Asymetric
Warfare Studies Group Double Game’ from the ‘Yemeni Commandos’ tape.
Sounding more compelling than ever, thanks to the remastering at D&M, and with original tapes
now impossible to find for love nor money, these vinyl pressings of early VS gear are practically
worth their weight in gold.

Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield's relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani's house, so she grew up listening to the radio and was hypnotized after hearing 'Remember Love', by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, If you're into bands like Cabaret Voltaire or Flying Lizards, call me'.

The duo recorded their debut album Stadia' in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the 'cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier's processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we've added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.

All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. Powerful and evocative, soundtrack music for a rising storm or revolt.' Sound of Pig magazine 1985

Joke Lanz travels down memory lane! Two decks a mixer and a dozen of old Sudden Infant vinyls to spin, scratch, manoeuvre, loop and juggle into a narrative new composition. Recorded and mastered by Rashad Becker in Berlin, this album combines Joke Lanz' unique turntablism and intuition for mutant-body-dramas peppered with a great sense of humour from the rhythms of amplified faders and his own breath to spoken interjections of Bryan Lewis Saunders' dream lyrics. You can dance, you can cry, you can smile, you can die!

Third EP in a row for the new Conte-Petrella project, which further explores the themes and sounds found on their previous collaborations, "Sun Song/Nigeria" and "African Spirits/New World Shuffle", with it's heavily West African influenced rhythms and cosmic-leaning musicality, once again with the participation of Bridgette Amofah and her incredible voice. A work suspended between joyous straight-up pary jam and spiritual atmospheres, where it's easy to get equally as lost in the driving groove as the intergalactic sound-palette that floats on top of it.

Richard Spaven is proud to present his forthcoming album 'Real Time' due to be released on 2nd of november 2018.

Richard's unique subtle take on drumming and the way "he plays like a wild flower grows" (Mary Anne Hobbs /6 Music Recommends), has made him a sought-after performer with successful global artists and at Drum events and festivals around the world.

Following on from his critically acclaimed 2017 release 'The Self', (the title track featuring Jordan Rakei has reached over 500k plays) Richard is back with a special studio album.

Recorded live during a week at Real World Studios in the Bath countryside, 'Real Time' captures the artfulness of a band of musicians creating something truly unique. Richard's long history with his band was an inspiration during the writing of this record. His collaboration with vocalist Jordan Rakei is continued - exceeding expectations after a week-long residential recording session. In addition is co-writer and long standing band member Stuart McCallum (Cinematic Orchestra, The Breath) on guitars. The recordings also feature Robin Mullarkey (Jacob Collier) on bass, and Oli Rockberger (Laura Mvula) on keys.

Notable for their diverse production skills, Frederic Robinson (Medschool) and Jameszoo (Brainfeeder) join Richard on Real Time. The inclusion of their intricate sound design and warped distorted abstract sees that the music on Real Time is elevated to new levels. Throughout the 9 tracks of the album, Richard on drums plays artfully with the beats, subtlety abounds yet grooving hard in constantly shifting, unexpected turns of rhythmic layers.

The result is modern sounding electronica from a group of exquisitely talented forward-thinking musicians who are not bound by any genres but thrive in the simple idea of creating and playing together.

- Collab between Dais records co-founder Ryan Martin and polymath Joachim Nordwall - Dark post-industrial tape-works - Edition of 300 copies

Recorded in a Brooklyn basement during a couple of cold December days in 2014, the collaboration between Ryan Martin (DAIS Records, modular synth wizard) and Joachim Nordwall (iDEAL, analogue synth lover) became something very special, raw, intense and powerful.
For all the clamminess and cold, ceramic finish, there's soemthing hypnotically magnetic about the way in which the duo musically converse, neither trying to outdo the other, rather allowing the other room to manoeuvre within the frequency spectrum, from the sludgy gathering of energies in Exposing the Absurdity of Superstition to the ecstatic vocal charge which soon calves away to an oppressive, greying battery in of Retrace/ Reverse, before the elegant, sashaying repetitions of Ricochet Around The Triptych lure us into a deeply somnambulant headspace with only the slight hint of violence lurking bedside.
Thanks to engineering by Kyle Keays Hagerman and cold mastering job from Kris Lapke (Alberich), Martin & Nordwall's music is subtly petrified, pensile, frozen in place as a special document of that night in the basement..

Touched Music and Furthur Electronix two forward thinking labels have merged together to put out exclusive compilations. Putting some of the best music in the electronic genre in one place.

DVA's new album 'NOTU_URONLINEU' marks a strong and brave turning point for his music. Made with the (Hi:Emotions) moniker that DVA has used for a number of remixes in the past, 'NOTU_URONLINEU' is very different from what you might know him for, both in its darkness and its abstract ambitions, but the detail and quality of the music is primed to win over new fans. The rhythmic brilliance and use of space that have given his dance floor recordings their distinct character have mutated and undergone re-assembly into deeper and darker shades. A more pronounced 'off grid', improvised character has seeped in, lending the record a looser feel to previous work, as if intuition guides it rather than club practicalities.The album was made under some new self-imposed conditions, of the recording process, DVA says 'I realised before making this album I was most happy when listening to music in the dark like I did when I was at school. So I decided to record the whole album in the dark too'. Along with this, the album hints at themes of online alienation, confusion, control and domination, and is peppered with hints of faux-therapeutic advertising and psychotic jingles - a reflection of the stress of online life. Of the themes, DVA says 'The album project comes from a short visual story set in a time where a mega corporation named H:E / Hi:Emotions is slowly taking control of everything, and planning to eventually make all people live life under one brand in virtual reality. 'NOTU_URONLINEU' puts you at the start of that journey.

Gothenburg-based artist Johan Zetterquist delivers his debut album for the excellent iDEAL label, unspooling three extended pieces shaped like sound sculptures.
It's a profound drone metal variant recorded on a Gibson SG, amplifier and effects, live with no overdubs, slowly unfolding to reveal blistered shards of sound that recall everything from Stephen O'Malley to Maryanne Amacher's seminal Sound Characters.
Zetterquist gets a huge amount of mileage out of the contrast between extremes produced on his limited set up, taking us from quiet contemplation to visceral and apocalyptic metallic drones and back again, providing natural catharsis without ever being burdened by elaborate sequencing.
This swell and hum offers many rewards to the attentive listener; aided by Boris Wilsdorf's excellent and detailed recording that lends itself to attentive, immersive listening.

Au-delà is a collaborative record by La Scie Dorée and Meakusma.
It features eight pieces of music by La Scie Dorée affiliates.

For the 2018 Meakusma Festival, La Scie Dorée and Meakusma set up a collaboration that brought performances by Timo Van Luijk, Steven Stapleton, Christophe Heemann, Daniel Denis, Bart De Paepe and Kris Vanderstraeten to the festival in Eupen, Belgium. ... This was followed up with a night organized in the province of Limburg in Belgium featuring performances by Frederik Croene and Timo Van Luijk, Tom James Scott, Ecka Mordecai and Andrew Chalk.

After three years and ten EPs, Amsterdam's Will & Ink label offers up its first full length from label favorite Yaleesa Hall and is called Woodall. It explores texture, space and sound design in fascinating ways. Since 2014 Yaleesa Hall has released four EPs on the label and has become known for breakbeat laced stripped-down techno. This debut album finds the producer indulging a less dance floor focussed version of his sound, and one that is better suited to the full length format. Explaining that his tracks most often start as "sound structures and experiments" that then get reworked for the club, here they stay closer to their original forms. Woodall is sound sculpture that is electronic and synthetic but also made of real world sounds that are all truly absorbing. Comes in gatefold sleeve.

Back in 2018, Lumière Noire celebrated its first anniversary with a compilation featuring thirteen exclusive tracks by an eclectic group of electronic musicians – a family portrait of sorts. A few months later, a second volume of From Above, compiled by the label's artistic director (and DJ) Chloé, once more brings thirteen established acts together with promising upstarts. The first compilation was the embodiment of the label policy advocating for both artistic excellence and a widening of electronic aesthetics – bopping from deviant house music to adventurous IDM and to the rigor of dancefloor techno, among other electronic explorations. Some of the artists featured are now closely associated with Lumière Noire, while others were more established performers such as Benedikt Frey, Lauer, Jonathan Fitoussi, Il Est Vilaine, Dave e Brun (half of Swayzak) and Frank Agrario, as well as upcoming artists such as C O N T R A (a side project by none other than Iñigo Vontier), Sutja Gutierrez, Théo Muller, Markus Gibb, Bajram Bili, and a sprinkling of UFOs circling the genre (Suuns' Ben Shemie, Drvg Cvltvre, and electro-acoustic combo Lumi). This group photo laid down a number of paths for a label in perpetual evolution.

Since then, the Parisian entity has continued to grow within the international electronic scene, releasing Local Suicide's Leopard Gum EP, Iñigo Vontier's first LP, and planning another slew of releases for 2020. The lineup for this second volume of From Above is once again equally intriguing, offering a crescendo-like track listing over a double LP format, which is a feat of sorts for a "Various Artists" compilation.

Marc Mélias' fascinating, unsettling Permanent Waves gets the proceedings going with a contemplative track that provides a serene opening to the odyssey on which From Above will be taking the listener. Pletnev continues on with the playful, hooky Marco O’Polo, a fundamentally techno track built over a seductive 90s-inspired breakbeat. Douglas Greed (whom Chloé remixed on BPitch a few years back, and had himself remixed track from her album Endless Revisions featuring Ben Shemie’s vocals), supplies Vancouver, a slice of ambiance à la Boards of Canada, supported by a gripping breakbeat. The rhythmic arpeggio of Israeli producer's Middle Sky Bloom makes his contribution a hypnotic, disconcerting slice of dark disco. Thomass Jackson, a safe bet in the new wave of the Latin-American electronic music blowing its sometimes hot, sometimes cold wind, proposes Mithra, a dancefloor incantation to the Antiquity's bull god. With Bells, Goldmoon delivers a track that is both melodic and nostalgic, tinged with rhythmic samples, Moog basses and solar backgrounds. Longtime friend of Chloé, Krikor, who has released two albums on L.I.E.S. Records (Pacific Alley and Saudi), offers a moment of respite with Sally Hardesty (a nod to fans of horror movies), a heavenly and bewitching track that, paradoxically, hints at the highly energetic second half of the compilation. Discovered with Confidences EP released on Lumière Noire, the young French producer Morgan Blanc asserts himself here with Werde Der Du Bist ("Become who you are"), a song with luminous chords and midtempo rhythms to start the second half of the compilation by raising the tension. Galician producer, DJ and designer Cora Novoa continues the rollercoaster's ascent with her Virtual Aesthetics, which once again brings those acid tones – this time without the vertigo. Equally corrosive, but tenser and more percussive, the uncategorizable NSDOS' AL-G attempts to give order to a chaotic electronic world full of violence and danger. Rebeka Warrior (half of the duo Kompromat alongside compatriot Vitalic), takes on a more nostalgic vibe with Ich Komme Zurück, a French/German techno chant evoking a secret dream of a track from a bygone era. Three years after the release by Lumière Noire of Moderna and Theus Mago's stroboscopic Dog Is Calling You, Theus Mago makes a solo comeback with Idealistic Stone, a most acid of club tracks, rattled by the modulations of the inevitable TB 303. French electro-rock saltwarth Yan Wagner's dancefloor alter ego The Populists' Prehistoric Lemurs gives an almost Orientalizing twist to Kraftwerk's techno-pop. To close things off, the collection's last track, the appropriately-named Instant Track by impromptu encounter between Hervé Carvalho (Acid Arab), Jacques Bon (Smallville) and Demian (Kompakt) Acid Love Triangle, releases the pressure with a long, bittersweet reverie that leaves the listener, at the end of these thirteen musical adventures, to rest languorously on an artificial and welcoming shore.

Allt E'nte is a reaction to the emerging expectation on politicization of music. a respons to the demand and implicit condition to be current, relevant and take a stand. Allt E'nte repudiates all responsibility, conveys hardly anything, but hopefully occupies space. Allt E'nte celebrates synthesis and rejects binaries. our hope is that Allt E'nte is as out-of-date in 200 years as it is today. No need to point out the paradox. Sincerely, Vanligt Folk

The debut release of Be Told Lies has finally landed, featuring various Liars doing what they do best. Heavy on atmospherics, this EP ranges from lethal dancefloor fillers to laidback soul-soothers. Be Told Lies, because no one’s keeping record.

First up to the plate, Adam Pits delivers an absolutely lethal dancefloor-filler that has to be heard to be believed. Urulu then cranks up the spook-o-meter with a hauntingly infectious earworm of a track. On the flip, Anderson serves up a luscious house number guaranteed to soothe the soul, before Yushh rounds things off with an eerie minimal garage piece that packs a hefty low-end kick.

The Roundtable & Northside Records are pleased to offer this long awaited and special Record Store Day reissue of this highly collectible Australian rare groove LP.
If you can imagine the gathering of a group of Australian session musicians channelling the sounds of Herbie Hancock Headhunter's and Marc Moulin's Placebo, recording an album out of hours at a TV studio and then releasing a privately pressed hard hitting jazz funk record then what you have is Arena, one of Australia's most revered and scarce rare groove records.
This was the name given to a pick-up group of session players led by Ted White, a veteran of the British big band jazz scene (an associate of Ted Heath and Basil Kirchin) who had immigrated to Australia in the 1960s to work in the burgeoning television industry. This one-time studio project (recorded only to test out the facilities for a new studio) barely yet thankfully saw an LP release in 1975. Pressed in minute quantities only with limited distribution, the album was subsequently forgotten and obscured by time, only to be resurrected in the 90s by DJs and collectors seeking out lost and rare records.
The album has since become one of the country's most celebrated and collectible jazz funk recordings and has proved to be a pivotal point in Australian jazz, marking a shift from the modern jazz and R&B sounds of the previous decades to the cross pollinating electric jazz funk of the 70s. Characterized by the heavy use of electronically treated saxophone, psychedelic guitar, Moog and spacey Fender Rhodes, the album is a classic of the genre.
While acknowledging the often compiled and sampled breaks track, The Long One, the complete album offers much more, exemplified by its complicated and obsessive jazz rhythms, abstract and middle-eastern horn lines and pulsing electric funk.

This new release by Colin Potter, "The Abominable Slowman", is the logical follow-on from his previous 2015 LP Rank Sonata'. Like that album, there are elements that were recorded many years ago, but this work also contains new music. Again, the emphasis is on rhythm, although the rhythmic components range from conventional drum sounds to strange electronic and/or mutated outbursts, often accompanied by squalling guitars. As to what this sounds like, keywords would be soundtrack, experimental, ambient, electronic psychedelia, contemporary, drone.... There's constant experimentation throughout the album, a search for never-before heard sounds to create obscure atmospheres and a pleasantly disturbing feeling of disquietude.

The LP is housed in a beautiful grey cardboard sleeve, hand-printed by letterpress, and die cut to reveal the printed inner sleeve, which features a number of pictures of The Abominable Slowman during the recording of the album at IC Studio's current London location.

Colin Potter has been a central figure in the UK's DIY and post - industrial underground since the late '70s. His ICR label, founded in 1981, blurred the lines between post - punk experimentation, crude pop, Krautrock - inspired drone work and contemporary electronica, with releases by everyone from DIY legends The Instant Automatons through Chris & Cosey of Throbbing Gristle , experimental composer Trevor Wishart, drone soundists Andrew Chalk and Darren Tate and Bryn Jones's Muslimgauze. He has also been a key collaborator with both Current 93 and Nurse With Wound, working in the studio with both groups since the late '90s as well as serving as a member of Nurse With Wound's current live line - up. From the late '90s to the late '00s Potter's IC Studio, based in a Victorian Water Tower outside Preston, was a lightning rod for musicians working beneath the radar and a focal point for the nascent UK drone scene. Recent years have seen an upsurge in interest in Potter's solo works.'

Ultimate Care II is the new album from renowned conceptual electronics duo Matmos (Drew Daniel and M.C. Schmidt). Recorded in the basement studio of their home in Baltimore, the album is constructed entirely out of the sounds generated by a Whirlpool Ultimate Care II model washing machine. Like its namesake, the album runs across its variations as a single, continuous thirty eight minute experience that starts with the grinding turn of the wash size selection wheel, and ends with the alert noise that signals that the wash is done. Between these audio-verité book-ends, we experience an exploded view of the machine, hearing it in normal operation, but also as an object being rubbed and stroked and drummed upon and prodded and sampled and sequenced and processed by the duo, with some occasional extra help from an ultra-local crew of guest stars (some of whom regularly do laundry chez Matmos). Dan Deacon, Max Eilbacher (Horse Lords), Sam Haberman (Horse Lords), Jason Willett (Half Japanese), and Duncan Moore (Needle Gun) all took part, either playing the machine like a drum, processing its audio, or sending MIDI data to the duo's samplers. The vocabulary of the Ultimate Care II, its rhythmic chugs, spin cycle drones, rinse cycle splashes, metallic clanks and electronic beeps are parsed into an eclectic syntax of diverse musical genres. The result is a suite of rhythmic, melodic and drone-based compositions that morph dramatically, but remain fanatically centered upon their single, original sound source.
Like their promiscuous DJ sets, the palette of genres in play reveals Matmos' hybrid musical DNA: Industrial music, vogue beats, gabber, Miami bass, free jazz, house, krautrock, drone, musique-concrete, and new age music all churn up to the surface and are sucked back into the depths. In this moiré pattern of textures, the listener encounters elements that sound like horns, kick drums, xylophones or sine waves, but in fact each component is meticulously crafted out of a manipulated sample of the machine. In other hands, such relentless conceptual tightness would court claustrophobia. Happily, Matmos' willingness to transform audio and engage pop structure bypasses arid, arty thought exercises and produces instead their signature effect: abject and unusual noises yielding weirdly listenable music.

In addition to releasing a string of acclaimed albums over the past 20 years, Matmos have played the uterus and reproductive tract of a cow at the San Francisco Art Institute, canisters of helium at Radio City Music Hall while opening for Bjork, and John Cage's personal collection of conch shells at Carnegie Hall
Matmos have also collaborated and performed with Terry Riley, The Kronos Quartet, Antony Hegarty, William Basinski, and Horse Lords
Ultimate Care II features guest appearances from fellow Baltimore musicians Dan Deacon and members of Horse Lords, Half Japanese, and Needle Gun
Matmos will tour throughout the world in 2016
The album announcement was met with unimanimous excitement and covered by People, TIME, NBC News, Pitchfork, SPIN, Flavorwire, and more
Full press campaign being worked by New York PR firm Blake Zidell & Associates
Three videos will be serviced: one made by Baltimore musician Max Eilbacher (Horse Lords, Needle Gun), one by infamous collage artist/plunderphonic cut-up wizard Vicki Bennett (aka People Like Us), and one by Ed Apodaca of San Francisco motion graphics firm L-inc, who created the 'Very Large Green Triangles' video for Matmos' last album
LP pressed on virgin vinyl and packaged in a heavy stock jacket with full color inner sleeve and free download card. A limited supply of the LP will be pressed on 'clean laundry' (blue with white swirl) color vinyl. CD version in digipack with 8 page booklet
The artwork for the album is constructed entirely out of photographs of the Whirlpool Ultimate Care II machine shot in its natural habitat and then digitally manipulated by New York artist Ted Mineo. Both members of Matmos are active solo musicians, Schmidt under his own name, Daniel under his Soft Pink Truth moniker 'The ability to draw a sharp outline around the unfamiliar, to draw definition from abstraction, is something Matmos excel at' - Pitchfork 'Matmos doing what they do best, pulling together theory, humor, and killer compositional chops into music at once intense, playful, and uncannily coherent' - SPIN

The story of TodoTodo is one of the most incomprehensible and surprising in the history of Spanish electronic music. Without doubt it is, sadly, also one of the most ephemeral. The curse that has haunted them since their forming in 1980 and during their short year and half of life is already legendary. Domestica Records did justice to the group in 2012 with a comprehensive compilation and this EP joins this initial tribute as it reimagines some of these trailblazers most representative productions: Digital Dancer and Autoga´s.
Almost forty years later, Frigio is bringing some of their music to a fresh audience. Juanpablo with his extended edit of 'Digital Dancer.' A steady kick tethers a tripping mechanical melody, a melody that bubbles and simmers as toms, horns and daring funk collide for this seven minute odyssey into the world of Iberian underground synth. The original version from 81 closes the A, a brief and brilliant piece of proto-techno. The flip is introduced by Catalan Dj, journalist and author of ¡Bacalao! Historia Oral de la Mu´sica de Baile en Valencia, Luis Costa. Costa re-imagines 'Autogas' with his Tool Edit, reshaping the off-kilter keys and future highways and byways of the original. The finale is a true treasure from the annals of time. A live version of 'Autogas' from the legendary Rock'Ola club in Madrid, an unreleased work that is as audacious and bold as it was when it was first performed in 1981.

Knock Knock - after three years of think tanking, digging records, talking gear and hosting events in and out of Leipzig, Clear Memory is showing up at your party, eating your hors d'œuvres, drinking up your champagne and convincing the DJ, it'd be better to play this Various Artist EP.

The first Clear Memory Record contains five tracks by our members who chose anonymity and integrity over the hollow promises of fame and fortune. Five tracks equally of robo-romantic dystopias, cold electronics, rousing anthems and dead-on floorfillers.

Suitable for hard working DJs, craving collectors and home listeners alike. Join the pack - this is just the beginning.

The veil falls, as the transmitter that is Clear Memory commences to send for a second time. Light is being shed on the works of Milium, Westlake & Hayter, Robyrt Hecht and Varum. Four tracks of scientifically crafted tunes, full of rugged drums, menacing basslines, mesmerizing keys and voices that narrate both hard to swallow truths and declare their attachment. 140 g of Clear Memory Sound at various speeds and styles.

A chorus for 2020’s haunted cityscapes, Banshee’s first record of the decade begins by gazing skyward, pushing against the shadow within and seeking magic in the everyday. Refracted utopian visions wilfully conceal the underlying gloom, but after finding temporary relief in the clouds, unfulfilled wishes and fragile fantasies soon dissolve into nightmares and psychic terror, with recursive voices hinting at re-lived trauma creeping through inner worlds like the hand of Freddy Krueger.

The Skater's Spencer Clark takes Matt Mondanile ov Ducktails as his co-pilot on a new mystical journey through time and space..
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Egyptian Sports Network , the result of this holy union, brings out the more krauty, futuristic side of the two. Like any Spencer Clark release, 'Interstitial Luxor' comes with its fair share of custom-made sci-fi: in this case the five tracks are part of a Zero Gravity Sports network soundtrack being transmitted from the Olympic Space Station via satellite feed directly into our minds.

Drums pulsate through fuzzy clouds of spaced-out synths and restless robot oscillators, amounting to syncopated rhythms with a Terry Riley sheen. Wailing exotic flutes summon the spirits of astral Nubian kings and queens, while modern muzak melodies flutter in the background, creating a sort of esoteric teleprompter fantasy.

Ducktails' pop sensitivities create a perfect counterpoint to Spencer's meditative approach, building catchy, convoluted melodies together. You hear a punchy baseline transforming the otherwise ethereal 'Egyptian Sports Network' into an alien space-station TV network anthem or the rapid cuts in the upbeat 'Jai-Lai Nightclub' oozing Andromeda Galaxy dancefloor potential.'Leo in Cyan', featuring Emerald's Mark McGuire, ends the transmission with a hypnotic, android snake-charmer tune dripping with past-life nostalgia.

Think of it as intergalactic minimalism, dipped into '70s nostalgia and sprinkled with hazy memories of library music, truly enchanting.