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Biography:

Marie e le Rose is a sound artist, music/art therapist, sound researcher and multi-instrumentalist based in Florence, Italy. She has releases on labels such as Forrest Hill Records, No Problema Tapes, Time Released Sound, Laverna, Zamzam Records, Further Records, Chemical Tapes, Phinery, Hylé Tapes and more, with many monikers for her varying concepts (Marie e le Rose, Moon RA, MonoLogue).

She has performed at festivals and venues such as Festival Sons Libérés (Bruxelles), Festival La Centrale (Bordeaux), FreeQ (Genova), MamBO museum (Bologna), Galerie Hus (Paris) and Ableton LOOP (Berlin). Her installations have taken place at Pecci museum (Prato), Palazzo Reale (Milano) and more…

"I am a musician and in this moment of my life I am dealing with pain and all that follows… This is an album based on the concept of physical pain, its title taken from the name of a famous theory about it.

I have attempted to communicate – through the sound synesthesia and its movements — the same sensations and disorientation that we can try in times of difficulty and suffering. However, in every track there is a strong dose of energy and struggle, obtained from the timbre and dynamics of many analog instruments (not least the Buchla at EMS in Stockholm). I also used sounds from acoustic instruments, effects, tapes, Walkmans, reel-to-reel recorders, a modular synth and more…

My aim is to work on the perceptions of the listener, making them participate with the emotions – main actors in the relationship between suffering and struggle." – Marie e le Rose, Florence, 30 May 2018.

Versalife aka Boris Bunnik is one of the most respected producers in electro, recording for many of the truly great Dutch labels including Delsin, Clone, Rush Hour and Frustrated Funk as well as cutting edge imprints like Brokntoys, Shipwreck and Transcendent. Bunnik has toured Versalife live extensively across the world, as recently featured on Boiler Room. Bunnik now presents his debut release for 20/20 Vision as the label continues it's path into the world of pure electronic music. 'Machine Life' immediately stood out as one of those rare killer club cuts that works it's way into a wide range of DJ boxes, simple but massively effective. 'M05' returns to more classic sounding Versalife electro with complex layers of synths, strings and analogue squelch all held together by a solid bass hook. On the flip side Bunnik shows off his pedigree in producing Detroit influenced string laden beautiful music with the EP rounded off by 'Axion', a heavier trip to the dark side.

ARTIFICIAL MONUMENTS was an all-stars dark minimal / synthpop project from Copenhagen, originally formed by PATRICK RINGSBORG (MOTH, CHAINSAW EATERS, LITTLE BOY LOST, ECHO PEOPLE ET AL.) JOHANNAH JØRGENSEN (METRO CULT) AND KIM WOLF ANDERSEN (MOTH, CHAINSAW EATERS ET AL.). They were inspired by bands like Iron Curtain, Yazoo, Neon Judgement, Eleven Pond and Turquoise Days. Active between 2013 and 2015 only, the group disbanded due to Johanna’s health problems, leaving their debut album ‘Illusions of Identity’ on the cutting board. But it was posthumously finished over the next four years with the help of an incredible array of fellow artists from the new wave of post punk, who contributed their talents to the completion of the album: SALLY DIGE, ZOSIA HOŁUBOWSKA (MALA HERBA, PRISON, HÄNDE), INA NOIRE & LISA LØEBEKKEN (TECHNE), SOFIE JACOBI, CECILIA WÖRLÉN (PRISON) AND CHRISTOFFER BAGGE (METRO CULT, TOTEM).

ILLUSIONS OF IDENTITY is an awesome minimal synth pop album, as simple as that. Being crafted with the help of so many skillful people who spilled their talents into the melting pot, nothing but a masterpiece could come out of this project. We are proud to finally bring it to you on a limited, hand numbered, TRANSLUCENT BLUE VINYL EDITION OF 275 COPIES, housed in a matt finish sleeve with printed inner sleeve (lyrics and credits) and including a download code. The download features two additional demo versions not on the vinyl.

For the record this modern trend of wiping is collective madness. I never apply any man-made materials to my anus. A permanent layer of fecal matter is perfectly natural and healthy!

Amish Boy follows-through with another payload of inventive, grinding techno. Indeed sat next to some high-profilers, his music brutally exposes rigid parameters that some never venture beyond. Still, simple functionality is a beloved corner-stone of dance music and rightly so. Pointless assertions aside, 'Nice Try Donnie' is another six tracker and part two of 'Laika Test Project' with the sleeves of both records combining to make the full artwork.

Amish Boy is a new artist in the sense that his first original release was in October last year, however he's been balls-deep in music and parties for twenty years but happens to be one of those rare talents that don't shout "look at me!".

KILLA

British-born, Berlin-based electronica producer Kamikaze Space Programme delivers his long-awaited debut album ‘Dead Skin Cells’ for Osiris Music. It’s the sound of eight years of the acclaimed project reaching its zenith, via releases on leading labels likes Mote-Evolver, WNCL Recordings and Mord, and through regular sets at the likes of Berghain and Tresor.

This bold new record mirrors decay of the physical world and the human form through its jarring sound palette and tense atmospheres. It’s a rebirth of sorts, with the title a reference to shedding skin — as KSP has done with his previous aliases. Combining his roots in jungle and dub (as Raiden and Dot Product) with the diverse textures of the contemporary techno diaspora and his skills as a found sound magpie and foley artist, it makes for a riveting, deeply nuanced listen.

‘Skin Cells’ begins with distorted synth buzzes trading places with haunted, heavily processed samples and thundering kicks. ‘Sparks’ channels taut jungle breakbeats, pitched down to a more chugging tempo, while menacing D&B screeches buzz through the track. ‘Dust’ teases DMZ style dubstep tension, while ‘Rain’ shows his mastery of sound design and field recording in a stunning ambient interlude. ‘Insomnia’ reaches for glitchy digi dub in the vein of The Bug with some cinematic undertones, leading to the brutalist sonic architecture of ‘Crumbs’ with its crunching breaks and rasping tones.

‘Derelict’ is the album’s most direct nod to his junglist past, the ghosts of hardcore imbued through blasts of chainsaw bass, dissected breaks and haunting pads. ‘Grey Clouds’ bathes you in thick swathes of ethereal pads and plucked, incessant bass before ‘EF5’ delivers a militant glitch-heavy onslaught. ‘An Empty Sky’ closes the album in apocalyptic fashion, with crunching bass pressure juxtaposed with graceful, filmic chord progressions.

The result of all of this is an album that feels at once uniquely London while perfectly contemporary to the Berlin scene, and perhaps a none-more-perfect sonic encapsulation of the continuing reciprocal dialogue between the two cities. Most of all, it’s the sound of a sonic excavator hurtling towards the top of his game, in perfect control of every granule of sound therein.

Welcome to another chrome-plated Arcola curveball, this time in the form of a trio of the moodiest cyber steppers from the shadowy LEVL.

Somewhere in an AI ether, faded pirate radio transmissions merged with drowsy half-memories of Metal Gear Solid and gained sentience. The results are subtle yet sublime, a masterful combination of percussion and atmosphere to get truly lost within.

These three shots of cave-dwelling soundsystem mutation are as evocative as they are insular and in the midst of these uncertain days you may just find you need them in your life.

“Pierre Bastien orchestrates his meccano marionettes on Tinkle Twang ‘n Tootle to form the charming imaginative ensemble that’s he’s been known for since the late 80s.

Equal parts composer, inventor, mechanic, and performer - Bastien translates his imagination into instruments and compositions that defy any musical categories. Whether it’s preparing instruments like playing a trumpet underwater or through a kazoo, using belt-driven motors and mechanical components to perform cumbersome yet surprisingly musical operations on traditional instruments and household items, or using a fan to hit the strings of a kundi harp with flowing paper - Bastien’s love for tone, rhythm, noise and harmony is poetically reflected across his quite extensive oeuvre.

Playful and melancholic, the sound sculptures that Bastien invents and plays with are partly inspired by the work of Raymond Roussel, a visionary French author who in the first few decades of the twentieth century wrote a unique form of literature which inspired and guided artists from the surrealist and pataphysical movement and was declared by Michel Foucault as one of structuralism’s founding fathers. On that note, the influence of literature and syntax on Bastien’s work cuts all the way through to the palindromes he uses for his track titles - which, much like his machines, infinitely loop.

True to its adorable title, Tinkle Twang ‘n Tootle is a music box of unfolding whimsical structures, half broken rhythms, detuned harmonies, and fantastical sound collages that evoke a childlike sense of wonder and an urge to explore the spaces in between the sounds.”

N.E.W.S. welcomes Musar. South America's finest Ricardo Tobar returns with 'La Condamine', an EP of melodic & cosmic electronic music adventures. Including Marc Piñol and Ulrich Schnauss remixes.

South America's finest Ricardo Tobar returns with 'La Condamine', an EP of melodic & cosmic electronic music adventures. The four tracks EP is the first release on the edgy 'MUSAR' imprint, set to release on October 20th, 2017.
As you can expect from a premium sound designer & tastemaker, Tobar's EP channels his roots from classic 80's darkwave analog sounds and the melodic, softer edges of early IDM.
'Rue Calme' is a deep and uplifting psychedelic trip that standing exactly on the borders between the dark and the light worlds of Tobar sounds, while the title track 'La Condamine' draws on influences such as Boards of Canada, Orbital and Sci-Fi movies, with an epic melody on warm northern drums-plate, perfect for sunset time. On the remixes are Barcelona's favorite player Marc Piñol and the sound architecture Ulrich Schnauss with a colorful explosion of electronic sounds. Ulrich's remix reimagining the beats in early 90's lo-fi shoegaze version of the opening track, while Marc's remix is a floor magical journey covered by bright vocals and rich atmosphere.

Soft Machine is a surreal wander through the mystical sonic forest. A vision curated and designed by Chicago native Justin Aulis Long. A Cyclopian point of view while gazing through a wide lensed scope, which exists in the liminal spaces where light meets dark and angelic forces bath in the sludge and stardust of unfiltered eroticism.

Eye of the Minotaur - collage 001 is a collection of artists working in varying musical practices that are channeling the solitude of mutantness, strolling through the familiar yet unfamiliar halls of the uncanny, refusing ordinary structures of the mundane, grasping the cold humor of cynicism, basking in the dichotomy of cosmos and chaos, and invoking the energies of Eris and Eros.

Setting the ground is Ciarra Black, a Berlin based New Yorker who makes no apologies for her bare knuckled soundscapes. DuPont Street is a ritualistic unification of discordant entities that summons visions of Pazuzu (lord of the demons) and Inanna (goddess of love) fornicating beneath The Tree of Life. Razor edged synthesizers slice through the atmosphere with the precision of an avenging angel’s flaming sword, while a psychedelic drum code activates ritual movement of the body.

As the needle passes beyond the next threshold it is met by a towering totem, bristling with the illuminated light of the sonic astral plane. Erected from the foundational matter that birthed the Detroit electro punk sound, Eyes Up continues to add to the narrative that is drenched in deranged electronics intuitively mangled in a post punk tradition. Dystopian percussive rhythms generate an unorthodox domain where muffled utterances present an aural Rorschach test. Could this be the riddle of the Sphinx, or an ancient spectral being that possesses secret knowledge? Only its creator, Stallone the Reducer, holds the key.

Fixed at the axis of the journey, Perfect Headache Forever, a mystic operating within the DIY spaces of Chicago, levitates on a transcendental mass that is equally melancholic and optimistic. Her voice hosts a strength equal to a pantheon of titans. Armed with a magical electronic musical box, she weaves narratives that are prophetic. Itself Ecstatic is a voyage through a misty soundscape that begins at one point, but ends in a distant other, in accordance with a system of divination.

Gazing into the murky waters of the oracle’s cauldron, Circling Vultures, (a collaborative effort by Justin Aulis Long and Kenneth Zawacki) channel and evoke the spirits of Antonin Artaud and Geroges Bataille. The poet’s voice, engaged in an act of mutilation and self cannibalization, howls while projecting visions of sacred conspiracies, sensations of vertigo while peaking over the edge of the abyss, and the looming weight acquired from the solitude of the Minotaur alone, sitting silently at the center of the labyrinth. Accompanying the mystical bard’s verbal declaration is a triggered mechanized synth that roars with the vitality of Cold War era Wave music, which is then juxtaposed against applications of loose keyboard playing. The artist’s hand is revealed against the calculated actions of machines.

Bringing the document to its finale, Libby Del Barrio, a multi disciplinary artist based in San Antonio, performs a closing ritual in a manner that only she knows. Setting fire to the Elysium Fields while personified as Moze Pray, Del Barrio rejects plastic narratives that aim to pacify. No Tears, is an unapologetic account of life’s feedback loop around the Wheel of Fortune. Sacrificial actions through ceremonial performance reveals a gateway founded on truth and torment. Moze Pray’s ability to combine musical production, poetic vocalization and ritualistic body performance is charged by chaos and amalgamates into a product of pure expression that defies the rose colored filters aiming to conceal harsh realities.

Athens based composer Akis Daoutis (Akis) remixed by Tolouse Low Trax, Bartosz Kruczyński, Benoit B and K100 Signal.

Dub echo, hip-hop lyricism and heavy guitar fuzz are boiled down into a heady, characteristic musical brew.

On “Dreaming Is Dead Now”, multi-talented wonder Skinny Pelembe meditates on grief, heartache, stunted aspirations and fresh possibilities in post-recession Britain. For his debut album, the Johannesburg-born, Doncaster-raised artist weaves together a patchwork of personal and musical touchstones; memories and observations are dreamily laced together, sun-dazzled California folk diced with the murkier corners of the UK dance lineage.

Tipping a hat to West London broken beat as much as My Bloody Valentine, the album was co-produced by Malcolm Catto (of The Heliocentrics, who’s previously worked with Yussef Kamaal, DJ Shadow, and Madlib), who helped to distil down its bounty of ingredients into the record’s distinctive flavour. Tough, tight-programmed rhythms are washed over with fuzzy overtures, and the title track is the product of a studio session with a foundational drum & bass duo (credited under the covert alias of The Bleeding Edge). It’s the rare kind of record where the messy, in-between musical spaces are given a light to shine.

First discovered through the Gilles Peterson- and Brownswoodfounded Future Bubblers programme, Skinny has since made it onto Peterson’s iconic Brownswood Bubblers compilation series, performed and collaborated with fellow Future Bubbler Yazmin Lacey, and been tipped by the likes of Ghostpoet and James Lavelle. Praise has also come from The Observer, The Quietus and Huck, with previous singles “Spit / Swallow” and “I Just Wanna Be Your Prisoner” bumped up onto heavy rotation on BBC 6 Music’s A-List. He’s also been in demand for live sessions with The Vinyl Factory and Worldwide FM, and supported Nightmares on Wax and Maribou State.

We find ourselves increasingly in a swell of solastalgia. Day to day, a vision of what might come to pass builds; one dystopian impression at a time. Solastalgia is not a new phenomena however, rather it has haunted us over the cen- turies. Change has never been humanities’ strong suit, but it has been our shadow. The perpetual ruptures in what we know and how we live are an inevitability; time takes no prisoners, no matter how tightly we might grasp things from moment to moment.

It’s here, at this fractious nexus of unpredictability and an absence of control that Rafael Anton Irisarri has created his latest work. Building on the echoes of landscape that guided his previous Room40 editions, Solastalgia imagines that which is not yet known. It traces possible terminus points for futures that many of us will not live to see. Utilising a range of unexpected variables, automations and uncontrolled systems in the creation of the recordings, Irisarri has devel- oped a new approach to his work, seamlessly weaving together intense layers of texture and saturated harmony.

Within these works, distant melodies emerge and in their wake the listeners’ focus shifts again and again. A never ending loop of the unconscious feeding into the conscious is formed. Whilst the skeletal form of pieces such as 'Coastal Trapped Disturbance' might remain, the organic matter that is the body of the music is in a process of persis- tent transformation. These subconscious variations morph the pieces from within. This is a record of sublimation, and dwells in states of transition and becoming.
Recorded in two suites (one released on LP and the other on cassette) , each section is a distorted mirror reflection of the other. Solastalgia stands as a landmark undertaking for Irisarri, it encourages us to remain unsettled and attentive in the moment, and prompts us to listen deeper and imagine what lies beyond or in excess of our expectations.

Rafael Anton Irisarri is an American composer, multi-instrumentalist, and record producer living in New York. De- scribed by the press as “one of contemporary ambient music’s most celebrated practitioners,” Irisarri's music often has a mournful, elegiac quality where ostinato phrases tap into minimalist ideals while atmospheric layers of effects suggests a more cinematic approach. In all, his compositions are deeply emotive and epic, like a symphony record- ing that’s been rescued from attic entombment after half a century. Irisarri concerts at museums, churches, syna- gogues, and other non-traditional performance spaces explore the physicality of sound. Combining an array of heavy metal bass amplifiers, multiple loudspeaker configurations, synthesizers, bowed guitars, notebook computers, video images, and lighting, Irisarri decontextualize the audience’s relationship to the venue, creating an immersive, otherworldly environment. Irisarri’s recorded works are widely published internationally.

Formerly of Chroma, with releases on RAM, Renegade Hardware, Commercial Suicide, CIA and more, Tyrone is now out to make a statement as a solo act.

Bastakiya's Cicadian Cycle Closed

17 years, the cycle of cicadas reborn, opening from membranes in the dirt, a smell rising, silence crushed and surmounted, a hum is new. The power lines move out in unison, some poles tipping, toward a horizon, graying at the edges like smoked gums and fission plants. Bare feet on a long, metal staircase, almost quiet, the skin impressed by the diamond-cut landing, the scent rises up, the first few cicada viscera litter the walkways. A landscape of empty gyms, humidity, bleach smell, janitors clean the shower rooms, rust gathers at the drains, 2 TVs left awake, 5 put to sleep, an elliptical machine is a towel rack, 4 treadmills watch the sun rise with one another, a sweatshirt is reapplied, the glass doors open, drag to a close, the central air conditioning blows the napkins from the common area table, a hum settles on the carpet entrance. The Bastakiya alleys have tiles that once held narrative. Now the ground is black. The ground has always been black. Death is a staircase. The cicadas are buried in the dirt another 17 years. A Bedouin close the refrigerator door in a gas station, half-lit before closing, Coca-Cola permitted during Ramadan because they have traveled so far from home. The membrane regrows, burrowed below the hydrangea bush, Bastakiya rests in peace, the Bedouin lives on forever.

-David Coccagna, June 2019

300 Degrees is a solo project by Lithuanian producer Audrius Vaitiekunas dedicated to the sound of classic Roland analogue machines.

After featuring on their last year's Evidence Found No.1 compilation under his IJO alias, Audrius delivers his first album-length release for Little Beat Different.

300 Degrees' lush, drifting chords are delicately hung in space and drawn forward by thrumming acid melodies. As the album travels on, these propulsively beatless visions coalesce into cold, reverb-drenched deep house, dive into dank, slo-mo electro, and perform warmly melancholic echoes of rave and IDM.

Sound-wise the deepest release so far on this label will finally see the light of day in May on digital and cassette tape.

BNJMN's penchant for ambient music is showcased here across 8 tracks for his Tiercel imprint. The collection, made across multiple sessions over a 3 year period, documents various aspects of the sonic world BNJMN inhabits. The ongoing project demonstrates the lighter and darker, yet always emotional side of the Berlin resident. Limited edition cassette and digital release. Mastered by Inland. Artwork by Youvalle Levy

Pingipung and Future Nuggets present Cosima, a Bucharest based artist, with two wonderfully poignant songs. Cosima Opa^rtan is widely known as one half of "Raze de Soare" (Future Nuggets). As a solo artist, she files her music under the genre widow pop - melancholically reaching out to the past and the future in one gesture. She sings like someone addressing a beloved but faraway audience, or a trusted, distant relative who can only be seen through someone else's description. Cosima has a background as an architect which she shifted to designing sonic treatments for various spaces such as sound studios. She is also a founding member of the Queer Night, a series of itinerant parties engaging the local LGBTQ+ community and part of Corp., a Bucharest based platform dedicated to supporting and promoting female & female identified musical talent. "Ploaia" has been co-composed and produced by Ion Dumitrescu, known to all Pingipung afficionados for his 7inch as Ion Din Dorobanti (Pingipung 056) who also runs the never failing Future Nuggets label. On the flip side, the two team up with Horatiu Serbanescu, an artist from the Future Nuggets roster releasing music as "Plevna".

Emerging from the wake of his sold out release with Zehnin Records, Paleman continues his experiments with textural and visceral modular music exploration for his debut 3 track EP for Nonplus Records.

A side 'Sweltering Rain' is a powerful piece of groaning, urgent dance floor minimalism, charging forward with a ritualistic, undulating droid line set against scorched, otherworldly drones. B1 'Cells' opens with scurrying modulated white noise and reverberating cosmic texture patterns set against a monolithic kick drum ostinato. The elegant minimalism develops with radioactive analog synth alarms and stark futuristic vocal glitches as the track barrels forward with momentum.

B2 Titan Vulture explores an undiscovered alien landscape evoking imagery of liquid pools of methane, erupting geysers and swirls of otherworldly elements. It is an absorbing, chugging and captivating piece of textural escapism, evolving as it goes whilst still featuring the elegant and considered minimalistic touch that runs throughout the EP.

This EP sees Paleman returning to the physical dance floor based music he is known for, but undoubtedly reflects strong developments in writing approach, quality of sound and exploration of new techniques. 2019 seems set to be a flourishing year for the young producer.

Italian electronic music mastermind ABYSSY and the Marseille underground hero DONARRA, share for the ALLEY VERSION's 4th release the split E.P. "CLOSE".

ABYSSY aka Mayo Soulomon has, over the years, released records of great interest for Mathematics, New Interplanetary Melodies and many other labels, marked by Detroit and Chicago influences reworked in his personal complex cut.
DONARRA comes to ALLEY VERSION after two beautiful E.P. for Skylax Records and La Chinerie, and recently spotted with its synth-dark-industrial-punk moniker Cardinal & Nun, on L.I.E.S.

The opening ABYSSY's "Close To Me", an obscure rough track totally jacked with the legendary rhythm sampler E-MU SP1200, is an instant cult.
In the following "Lower Michigan Ave", a hypnotic dark plot of analog synthesizers runs on a leftfield rhythm cut, while a whiny female voice condenses the air.

First track of DONARRA's side, "Nostalgie Futuriste", is a surreal sound voyage where are merged Chicago House and Zen atmospheres.
In the culminating Detroit style banger "Rivières Lumineuses", the trippy movements of percussions and synthetic melodies are pure magic.

Exclusively on limited 12" vinyl.

Over the last decade, we’ve come accustomed to Jason Letkiewicz releasing material under a dizzying array of aliases, each utilized to explore a different side of his multi-faceted musical persona. Now, some 14 years after he made his recording debut alongside Ari Goldman as Manhunter, Letkiewicz has joined forces with Into The Light Records to release his first album under his real name.

The Reflecting Pool sees Letkiewicz exploring the uncomplicated and uncluttered in the pursuit of pure aural beauty. While his recent album as Opposing Currents was dense, dark, urban and industrial, The Reflecting Pool is stripped back, quiet and melodious. The contrast between the two projects is marked, with The Reflecting Pool drawing more on Letkiewicz’s love of crystalline ambient, slow burn synthesizer soundscapes, early ’80s library music and the kind of obscure electronic new age music that has been a hallmark of Into The Light’s releases to date.

The set’s 12 tracks gently ebb and flow, with Letkiewicz making great use of dusty old drum machines, effects units and a range of vintage analogue and digital synthesizers. It’s a set-up that results in a range of complimentary mood pieces and interludes, from the delay-laden military drums and lilting lead lines of “Out of Body Experiences”, to the drowsy, sunrise bliss of “Sunspot”, the bubbling Tangerine Dream style shuffle of “Mind Awake Body Asleep” and the outer-space atmosphere of “The Kill Fee”.

Throughout, Letkiewicz showcases his seemingly intrinsic grasp of mood, atmosphere and melody. It can be heard within the glacial guitar motifs, occasional beats and elongated chords of “The Reflecting Pool”, the rhythmic bustle of “Numb Drums”, the glassy-eyed melancholia of “Arhythmia” and the cinematic paranoia of “Burning Off The Morning Fog”. It’s also evident amongst the classically beat-less ambient of closing cut “Weightless”, whose alien electronics, effects-laden pulses and opaque chords recall established masters of the genre.

With The Reflecting Pool, Letkiewicz has provided us with a much-needed dose of stress-free musical escapism, at the same time offering hope that in these troubling times, love may still save the day.

Robotiko Rejekto was created in Frankfurt am Main in 1987 by RaHen and Talla 2XLC. Both musicians already worked together in the early 80's on projects like Axodry, Moskwa TV and other incarnations as part of the "Sound of Frankfurt" scene.

With the mega success of the first single “Rejekto” (1987) released by Techno Drome International / ZYX Records, RaHen and Talla 2XLC were seamlessly able to live up to the earlier success with Axodry. They used on this track some lyrics in Romanian telling a fictional short story about two Romanian musicians: Dumitru Constantin and Andrei Vasile. This was followed by other two top chart singles: "Umsturz Jetzt!" (1988) and “Confusion" (1989). Shortly after, Talla 2XLC quit to concentrate on other projects, however some also in cooperation with RaHen.

For a short period of time, Kurt Ader joined the project and with RaHen produced the album "Cyper Space" (1990) including some new songs together with the previous singles. The misspelling of the album title is attributed to a mistake of the label ZYX Records. “Injection” (1990) and "Hangar 18” (1991) were the chosen singles published to support this album. A couple of other singles, “Density / Pure Control" and “Technology” (1992) came next but unfortunately with not a major success following by a hiatus of the band.

After a long pause, Robotiko Rejekto made a comeback in 2012 to release a new album. Currently formed by Ralf Henrich (aka RaHen) and Ivo Draganac (aka Marco Drago), they continue to work and touring intensely.

"Communication 87-92” is a special selection of classic tracks and remixes from those golden years. Limited edition of 500 copies on double vinyl, gatefold sleeve and exclusive sticker.

Kluentah recrutes for the next number on Zement the untergrund prodigy L.F.T. straight out the sewer.
He released on labels as Return to Disorder or his own Imprint Neoprimitiv. All four tracks are neckbracking belter on its own class. murderous acidlines and floorshaking basslines plus dirty drums that will blast your pants off.

A project founded by label owner Manolis ten Haaf in collaboration with musicians Ruben Kodheli, Arjuna Schiks and guest artists. Combining his Italian and Dutch roots of classical symphonies and urban electronics into an avant-garde painting of improvisation with no boundaries. The classical rustic Italian countryside versus the non-stop Dutch metropole and the New York city life.

The subversive electronics duo is back at it again for the sixth release on Planet Euphorique. Ambien Baby brings you another slab of total sonic disorientation, the good kind; the one that invites you to dance, but also questions the stifling boundaries of genre within electronic music. Dreaming up a sound that welcomes confusion and experimentation over the tried and true. Here we have a spectrum of colour and vibes; electro, experimentalism, and primal sensibilities mash and clash in an odd harmony that begs the question, where are we now

The album starts with 'St. Fabian Tower', named after the now demolished tower block in Chingford where Anthoney used to DJ for Rude FM. The track's lush detuned synths and syncopated drums are girded by stern low end frequencies. Drum and bass, jungle and hardcore are the touchstones here, but the forms he creates make no attempt to imitate the music of those eras. Take the rolling, bubbling, almost jazz-drummer patterns of 'Yeah, I Like It' and 'I Want You' where strange pops and bubbles seem to be forced through the grid almost like they're an effect of pressure. It's an odd juxtaposition next to the soulful vocals but an effective one. 'Edge Of Darkness' meanwhile, is an intense, rough ride of sliding rhythms and elephantine bass. Elsewhere, like on 'A New Consciousness', things are tempered into a more streamlined techno-like hybrid. He lets loose in the claps and kicks banger of 'Fi Di Gyal', but even here there are neat sonic tricks that sound like nods to minimalist composition.

On The Threshold is a balance of smart and energetic, non linear thoughtfulness and makeshift experimentalism that does away with boundaries, but is very much its own self contained world.

Wilson Tanner come to shore with a new album of floating melodies. Wilson Tanner is Andrew Wilson aka Andras and John Tanner aka Eleventeen Eston and this album follows on their 2016 debut album 69 for Growing Bin Records

Parallel Minds Is A Group Of Like-minded Musicians, Djs, And Graphic Artists Working Together To Bring Compelling, Progressive Electronic Music From Toronto, Canada To The Rest Of The World. Spearheaded By Ciel, And Newcomers Daniel 58, And Yohei S.—who Have Variously Released Music On Labels Like Shanti Celeste's Peach Discs, Allergy Season, Coastal Haze, And Neo Violence—the Collective Offers On Its Inaugural Va Release Four Diverse Cuts Of House, Breakbeat, And Hardcore To Energize Your Body And Comfort Your Soul. The A Side Features Two Slamming House Cuts, With The A1 Offering By Discwoman Signee Ciel And A2 By Yohei S. Clocking In At A Frenetic 134bpm, "hind Sight Is 360" Is A Peak-time Dancefloor Banger Featuring What Has Become Trademark Characteristics Of Ciel's Productions: Intricate Drum Programming And Lush, Jungle-inspired Pads. "eastern Rankin" Is A Slower, More Hypnotic Percussion Track That Demonstrates Incredibly Effective Use Of Space And Delay. Its Minimalist Structure And Echoing Drums Would Sound Ideal In A Dark Warehouse. The B Side Opens With An Even Bigger Bang, With A Track That Would Best Be Described As Indian Hardcore. "mana Sadhana" By Raf Reza Under His New Alias, Radiant Aural Faculty, Is A Vibrant Mixture Of Hindi Vocal Samples Layered Meticulously In Between Freaked-out Synths And Thumping Breakbeat Drums. Completing The B Side Is The Aptly-titled "space Bubble" By Daniel 58. Drawing On Influences From Ambient, Trance, And Breaks, The Promising Toronto Artist Closes Out The Release On A Dreamy Note, Employing Nostalgic Melodies On Top Of Tough-as-nails Drums And Deep Rolling Sub-bass. As First Releases Go, Parallel Minds One Offers A Taste Of Something For Everyone, From A City That Has Perhaps Been Overlooked But Deserves A Second (third, And Fourth) Listen.

In support of their forthcoming Bob Moog documentary Electronic Voyager, Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, Electronic Voyages: Early Moog recordings 1964-1969 contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl.

Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, Electronic Voyages aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an “audio letter” (The Abominatron) from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, Electronic Voyages veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today - you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems).

The musicians and composers behind these Electronic Voyages may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy.

Vinyl only. Even though we're not paladins of pure concepts, the sound we're currently looking to release usually has a raw, kinda primitive and rough around the edges nature. We're definitely not looking for the generic "soul sample meets a 4x4 beat" kind of edit. Our very own first release is the perfect picture of what we wanted this label to be. Can’t go wrong with a Mike Simonetti turn.

Together by Sierra is an EP of four tracks originally written by Kit Grill in 2016. The new Sierra project will show more of this style of music by Kit Grill, focusing on ambient, downtempo and field recordings.

Following their acclaimed opera-in-suspension about Fugazi, NYC’s Object Collection imagine
a delirium of transhuman thought and progressive politics on their return to the inimitable Slip
label.
‘You Are Under Our Space Control’ sees the duo of Kara feely (text) and travis just (music) refocus
their “operatic” sensibilities into a typically confounding “space-opera” that somehow ties up
references as wide reaching as John Cage’s 1951 piano solo ‘Music Of Changes’, with Cy Roth’s
sci-fi ‘Fire Maidens From Outer Space’ from the same year, as well as texts inspired by Sun Ra and
the Russian Cosmists’ poetics and philosophies, and interviews from real (and imagined) space
travellers and astronomers.
Aye, it’s a proper headful of ideas, and understandably chaotic with it, but OC’s make a virtue of
somehow maintaining a coherence though their sharply chopped arrangements, which start out
tightly puckered, but gradually loosen up into more sprawling, psychedelic designs as the album
proceeds.
What happens in its 18 parts is comparable to a sort of home-brewed sci-fi soundtrack imagined
by a teenaged dream-team of Todd Dockstader, Bruce Haack, and Sonny Blount; a sound full of
mercurial wormholes, with an animist capacity to rouse arcane spirits, and a magnetic pull to the
most restlessly searching listeners of the weird and wonderful. Most crucially, for an album rooted
in ‘50s sci-fi and avant-garde, the results prize that era’s modernist promise without coming off
as retrogressive or corny.

Low Jack continues to rudely shape the dancehall in his own style with ‘Jingles du
Lieu-dit’ - the sequel to 2018’s ‘Riddims du Lieu-dit’ - packing six innovative mutations
inspired by radio jingles, YouTube dembow megamixes, sound effects and sonic clichés
Picking up where his screwed industrial dancehall edits left off last year, Low Jack racks
up six anti-nuke riddims from the bassbins of Brittany, churning up pendulous grooves in
acres of murky dub space with a patented sleight-of-hand.
Oscillating weightless, dematerialised, and heavily present frequencies, Low Jack turns
the dancehall into a flux of ‘90s ragga duppies and now ting reggaeton, leaving its rugged
structures notably free of vocals but full of characterful samples, idents, and studio elves
that can’t help but connote the artist’s moodily crafty and kinetic style, lying right on the
cusp of darkside and party-ready concerns.
Up in it, he executes a scything re-chop on Richard Browne’s ‘Baddis’ riddim teasing
out its eastern motifs into woozy shapes on ‘More Speed’, whereas ‘Dinner’ exerts a
hypnotic spin on reggaeton’s rub ’n tug rhythms and ’Shell’ spirals headlong into a vortex
of soundsystem ephemera. Down below, meanwhile, ‘Lasers’ finds its range in massively
swollen bass and GRM-like cyberdub dimensions, along with the windswept dancehall of
‘Find Them’ and the outstanding, hydraulic pressure of ‘Wheel.’

*Third vinyl release from the Berlin based Jazz-O-Tech Records.

Jazz-O-Tech introduces Black Gardenia Vol.1 composed by Berlin-based duo BEAT MOVEMENT.
The duo presents an unusual, psychedelic and moving techno jazz EP in collaboration with techno pioneer Sunil Sharpe, Italian saxophonist and composer Gianni Mimmo and the jazz quartet Gamapawa.
Black Gardenia is a mesmerizing aesthetic sound experience, taking the listener on abstract journeys and into cinematic sceneries. The title track "Silent Rain" opens the A-side with a soft and emotional fusion of drones and saxophone, followed by the sovereign and psychedelic slow groove of the track "Aphex Twin shot my neck". The B-side is a dancefloor killer combination between Sunil Sharpe's intelligent techno remix of “Silent Rain” and Gamapawa's featuring track "Untitled Reconstruction", where drums and saxophone reach the speed of 150 bpm.
Black Gardenia will be distributed worldwide in 300 limited edition copies.

Analogue Attic continues to draw from the fresh stream of talent running out of Australia, this time with Jack Burton, a composition student from the prestigious Victorian College of the Arts.
His debut LP 'Lake Monger' was composed across two cities over a period of a year, and features contemplative synths, techno and experimental influences.

The record climaxes in the three-part, 12 minute title track that swells in energy and intensity, drawing influence from ambient masterpieces of the 90's with modern day production, demonstrating impressive compositional maturity.

Limited Edition

Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

"The Senja Recordings" is a collection of various outdoor recordings and studio improvisations recorded on the island of Senja, Arctic Norway, between 2015 and 2018.

After teaming up with label boss Coco Bryce early last year, Dead Man's Chest aka Alex Eveson goes in for his first solo release on Diamond Life.

Drum Shanty is definitely the more rowdy one. Going straight for the throat with a ragga chant and gritty lofi drums, it'll surely get any party started in no time. It's rough and rugged, but still retains Eveson's trademark subtle style and flair.

Blue Mountain is a whole other beast. Its low pitched breaks and quirky melody make it sound more like a double tempo trip hop tune than the junglist skank outs you might expect from Dead Man's Chest.

Emerging artists rarely exceed listeners’ expectations with a complete album right out of the box, but Deena Abdelwahed is the exception that proves the rule. While the young artist of Tunisian origin stood out with her daring DJ sets, it is her surprising first album, "Khonnar", released at the end of 2018 on InFiné which sealed her status of eclectic producer, guaranteeing her a place among the best releases of the year by Resident Advisor, Trax, Tsugi, The Quietus and Vinyl Factory. Khonnar remixes compiles a series of remixes in 12”, inspired by the unique atmosphere of Deena Abdelwahed's first album, while extending it across the entire spectrum of electronic, club and experimental music.