Novità e Uscite Vinili Beats - News

Das Lang Erwartete Neue Album Der Elektro-dream-wave-künstlerin Pastel Ghost, Ist Das
Nachfolgealbum Ihres Enorm Populären Debüt-albums "abyss", Das Auf Spotify Über Eine Halbe Million Streams Hat.
Vivian Moon, Gründer Und Alleiniges Mitglied Von Pastel Ghost, Ist Ein Wahrer Aufstrebender Star Der Indie-electronic-szene, Hat Mehrere Sxsw-shows Gespielt Und Bereits Mit Mr. Kitty Auf
Dem Hit "habits" Zusammengearbeitet.

ofriviLLiga röreLser incl. FACIT (Minimal Wave) Rmx !
a new reLease fRom towLies käfTen LabeL , the fiRst out in the
bLackANDwhite 7" seRies with a super sad remix from FACIT who just reLeased his debut aLbum on Mimimal Wave!

Black Truffle is honoured to present the first reissue of a true underground masterpiece, Massimo Toniutti's Il Museo Selvatico (The Wild Museum), originally self-released on LP in 1991. Like his better-known brother Giancarlo (whose classic 1985 Broken Flag LP La Mutazione was reissued by Black Truffle in 2015), Massimo Toniutti was active in the vibrant underground industrial/noise scene of the 1980s, contributing to releases on legendary labels such as Broken Flag and RRR and self-releasing a series of cassettes between 1984 and 1988. Existing in a private world apart from the noise and dark industrial tropes of many of his contemporaries, Toniutti's Il Museo Selvatico is an entirely singular work of domestic electro-acoustic exploration. Made up primarily of what Toniutti calls 'small and rare noises' or sonic 'knick-knacks' recorded between 1987 and 1990, the five pieces that make up the original LP usher us into a crepuscular space populated by mysterious traces of everyday life. Toniutti weaves a loose net of distant clanks, dull thuds, metallic resonance and skittering percussive sounds, allowing the sounds to breathe against a backdrop of near-silent atmosphere. Although the haunted ambience recalls the work of contemporaries like Organum, Toniutti generally steers clear of long tones and drones, preferring to arrange brief, sometimes staccato sonic objects into patters of repeating figures and isolated events whose overall compositional shape remains somehow ungraspable. Although glimpses of recognisable location recordings and instrumental sounds can occasionally be made out, for most of the record the sources of the sounds we hear remain teasingly mysterious, an abstracted memory of everyday actions and atmospheres. l Museo Selvatico is accompanied here by an additional LP of material recorded at the same time, composed especially for this reissue into two side-long suites that inhabit the same haunted space as the original LP while occasionally making use of more maximal compositional strategies. Black Truffle is pleased to return this overlooked masterwork to the world. Essential listening for fans of Organum, Nurse With Wound, Christoph Heemann, and the tradition of outsider musique concrète. Lovingly presented as a double LP in a lavish gatefold with printed inner sleeves featuring archival images and notes. Remastered and cut at D&M, Berlin

In the latest release from Public System Recordings we are allowed a look further into the syrupy synth dripping slowed beatdown. Kluentah delivers a chalky electro smash with elongated snares and eerie chords passing from one end of the brain to the other, and to the floor. There is smooth vocal play as well as allowing for incoherent out of context speech samples that stab through minimal jumpy drum work. As diabolical and heavy as the hits and bass is, this enters the swath of dance floor records with a distinct flavor that sets itself above others' execution. Full of sludgy breaks, there is a constant reduction even as sounds and samples are introduced, they enter the roving mulch in a stylish slide.

Just the Right Height is the solo music project of New York-based artist Keke Hunt. Hunt's stop and go, deconstructed songwriting is emotional and bare. Her undressing of the radio hit is so lyrically labrinthine, the urge to dance might escape you — and dance with me.

I Want to breathe

that old song

we danced to

Just the right height is an investigation of pop lyricism and a satire of feminine objecthood; The perfect size, The perfect longing shape to fit inside, the perfect fit. Just the right height is a rubber mouth. Formless liquid silicone poured into a mold that mimes agency, vocalization, but says nothing; careless. An empty silhouette, inciting arousal and movement. Mouthy, Vapid, Stupid, Hot; Vain and thoughtless song.

Tonight let's get drunk, tomorrow hold my hand.

In her album Let Forever Be Only You Tonight, Hunt writes lyrics by compiling text from an online lyric generator which outputs jumbled lines sourced from the lyrics of existing popular songs. Hunt exhales composited speech, a synonym of the virtual pop star whose personality program is compiled from the thoughts and feelings on her fans blog posts and online output; Her face surgically modified to reflect the image of her fans.

Heat rises from the spreadsheet city —
who knows if I was asylum bound

Rhythm stripped of melody is the dominant form in Hunt's musical work. Nevertheless, Hunt intersperses her catalogue with heartfelt, melodic tracks as if to tie a polite bow on a rude package.

For you and I,
So so thoughtless so,
thoughtless so,
thoughtless so careless.

Hunt's earliest released music was written in collaboration with Los angeles based painter Marisa Takal. The tracks released on their 2014 split with Odwalla88 are the product of a 3 year collaboration. Hunt has also collaborated with Multimedia Bryan Edward Collins on a project called Hard World Fashion. This album features a song co-written by Collins and Hunt. Since 2015 Hunt has released music under with tape labels such as Primitive Languages and ALL GONE tapes, under various titles, culminating in her current moniker, Just The Right Height. Let Forever Be Only You Tonight is her first full-length LP and release through She Rocks!

BAR records is the lovechild of BAR Rotterdam, a club founded in 2013. BAR records will release a variety of music linked to the club, by people that are regularly playing in the laid back colorful space that is BAR. We are excited to announce the first release with French label owner of Macadam Mambo, Sacha Mambo, who made us some trippy originals, and local Fader (from Borneo). He created a trancy banger aswell as a more dreamy house track.

REPRESS ALERT:

Bahnsteig 23 say "Hey! Belarus meet Russia With Love". Schmotlz comes to Bahnsteig schnell after Very Russian Cut Outs espionage. Ze Sky Iz Blu. Ze Sky Iz Blu. Ze Sky Iz Blu. Ze Sky Iz Blu. Ze Sky Iz Blu.Groove Groove Groove iz furher. Psych Soft Rock iz leibhaber. Am und am. Dai Mne Piau...Oww. Oww. Ugh. Ugh. Ugh. Piauuuuu...Ugh. Funk verzogen. Soul kilter.

Herbert Bodzin's Revival II' is the next exciting vinyl highlight on this young label. It features completely unreleased electronic music which was recorded between 1979 and 1982. Check!
.
On the album you can hear the sounds of legendary machines like the ARP 2600, the Korg PS-3300, the Roland System-700 Modular synthesizer, the PPG Waveterm and the PPG Wave 2.2 as well as classic synths like the Roland Jupiter-8, the Polymoog and the Prophet-5 - the same equipment used by big names of the German and international avantgarde electronics scene at that time. For example, the ambient Red Ocean' was recorded entirely with the polyphonic Korg PS 3300, one of the most desired and biggest synths of all time. The project features Bernd Hollendiek, as well as Bodzin's two sons, Stephan and Oliver Bodzin on additional synthesizers and partly on drums. The songs are a mixture of mostly ambient, deep, psychedelic, yet experimental and futuristic sounds as well as two more vibrant synth rock recordings with drumming.
We hope that this album will find its way to the hearts and collections of electronic music lovers - somewhere in between the classic albums of Tangerine Dream, Klaus Schulze, Cluster or Eberhard Schoener. As a side note, the album may also show early musical influences of Stephan Bodzin, who became world famous in the 1990s as one of the leading techno producers. Without any doubt, Revival II' should be an exciting lost masterpiece of German electronic music and a must have for synth music lovers - revived and finally alive!

Raw analog engines sound, roaming around concrete paved roads. Hypnotic rhythms mixed up with dystopian sound spheres. A perfect blend of analog synthesizers combined with bowed double bass and drums. CHOGORI project a picture of retro futuristic complexeties, intriguing compositions manifested in a massive HEAT HAZE. Hailing out from Düsseldorf, composed by Ralf Stritt and Gregor Kerkmann with drum performance by Martell Beigang.

Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer Frick, is set to release his second solo album for London imprint Erased Tapes on October 12th. Titled Channels, the new record follows the release of the London and Berlin based producer's solo debut Eternal Something from 2017. The seven-track LP is Brandt's biggest statement yet, with the album's thrilling avant-garde framework interweaving chord-driven techno, orchestral flourishes,
rich electronic textures and hints of dark cinematic pop.

Following on from Eternal Something, which captured a contemplative kind of isolationism, with Channels Brandt set out to create an album that captures the essence of minimalism whilst lending it to a more playful context. After performing and recording Steve Reich's
Six Pianos in a group of six, Brandt began regularly composing long meditations on the piano, something that permeates the sound of the new record. Its frenetic energy and shape-shifting identity was also born out of touring with his new band Eternal Something — comprised of Brandt on piano, drums and synthesisers, Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire to translate both the sound and spiritual unity of their live shows in which musicians locked together to create an intriguing.


Detroit techno with an orchestral background. As with all of the tracks on Channels, 'Flamingo' began life as a sketch with very basic instrumentation, before taking it into the studio to rehearse with his band members, giving the album a live and visceral sound that sets it apart from his debut; 'It was a great experience to do it this way as I have always wanted to have the chance to try out something in a live setting before recording it in the studio and not the other way round,' explains Daniel. 'The actual typical rock band recording style that I
never had the chance to do before.' The album's most immersive, club-ready track 'Sailboats III' is built with a vivid and pulsating bass line that takes inspiration from a Lichtenstein painting, as well
as the UK bass scene and producers like Tessela and Lord Tusk.

The blossoming cosmos of 'Cherry Dream' is informed by Tangerine Dream's iconic soundtrack to the film Risky Business, a compelling reinterpretation of Love On A Real Train replete with darker, electronic elements and live orchestration. 'Daze', co-written with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a
rhythmic percussive pulse, whilst the understated 'Ltd' was stylistically inspired by Steve Reich's Electric Counterpoint as well as Daniel and his band's live improvisations with orchestral collective Stargaze, whose founder and conductor André de Ridder contributed violin on the album. Title track 'Channels' melds instrumental ambient with melodramatic embellishments, whilst the record's closer 'Twentynine Palms' takes it's name from the vast Californian desert, and was written while Daniel was travelling there, evoking the widescreen and rapturous sound of open space and nature.

With Brandt also being skilled as a filmmaker, directing and producing visuals for BBF and Eternal Something, much of the new album's creative ideas reference a rich visual palette. He directed the video for 'Flamingo', a sideways glance at the art world that takes the concept behind John Cage's 4'33' and turns it on it's head. 'The video for Flamingo is deliberately non performance — people sitting in a
room and watching basically nothing, never really sure if anything is ever going to happen. It's also a play on John Cage's 4'33', except in this instance there isn't even a performer present.' — Daniel Brandt
Daniel's passion for film even prompted him to kick start his own online television channel Strrr.tv in 2017 that since attracted a lot of attention with guest moderators including BBC Radio DJ Gilles Peterson, modular synth legend Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the most popular episodes.

Recorded between Berlin and London, Channels is a deeply enthralling listening experience, which sees Daniel Brandt build upon his distinctive percussive sound whilst exploring new and expansive horizons.

Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer
Frick, is set to release his second solo album for London imprint Erased Tapes on
October 12th. Titled Channels, the new record follows the release of the London
and Berlin based producer's solo debut Eternal Something from 2017.
The seven-track LP is Brandt's biggest statement yet, with the album's thrilling
avant-garde framework interweaving chord-driven techno, orchestral flourishes,
rich electronic textures and hints of dark cinematic pop. Following on from Eternal
Something, which captured a contemplative kind of isolationism, with Channels
Brandt set out to create an album that captures the essence of minimalism whilst
lending it to a more playful context. After performing and recording Steve Reich's
Six Pianos in a group of six, Brandt began regularly composing long meditations
on the piano, something that permeates the sound of the new record. Its frenetic
energy and shape-shifting identity was also born out of touring with his new band
Eternal Something — comprised of Brandt on piano, drums and synthesisers,
Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire
to translate both the sound and spiritual unity of their live shows in which
musicians locked together to create an intriguing meld of expansive works.
Intricate floor-filler and lead track 'Flamingo' synthesises the measured pacing of
Detroit techno with an orchestral background. As with all of the tracks on
Channels, 'Flamingo' began life as a sketch with very basic instrumentation,
before taking it into the studio to rehearse with his band members, giving the
album a live and visceral sound that sets it apart from his debut; 'It was a great
experience to do it this way as I have always wanted to have the chance to try
out something in a live setting before recording it in the studio and not the other
way round,' explains Daniel. 'The actual typical rock band recording style that I
never had the chance to do before.'
The album's most immersive, club-ready track 'Sailboats III' is built with a vivid
and pulsating bass line that takes inspiration from a Lichtenstein painting, as well
as the UK bass scene and producers like Tessela and Lord Tusk. The blossoming
cosmos of 'Cherry Dream' is informed by Tangerine Dream's iconic soundtrack
to the film Risky Business, a compelling reinterpretation of Love On A Real Train
replete with darker, electronic elements and live orchestration. 'Daze', co-written
with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a
rhythmic percussive pulse, whilst the understated 'Ltd' was stylistically inspired
by Steve Reich's Electric Counterpoint as well as Daniel and his band's live
improvisations with orchestral collective Stargaze, whose founder and conductor
André de Ridder contributed violin on the album.
Title track 'Channels' melds instrumental ambient with melodramatic
embellishments, whilst the record's closer 'Twentynine Palms' takes its name from
the vast Californian desert, and was written while Daniel was travelling there,
evoking the widescreen and rapturous sound of open space and nature.
With Brandt also being skilled as a filmmaker, directing and producing visuals for
BBF and Eternal Something, much of the new album's creative ideas reference a
rich visual palette. He directed the video for 'Flamingo', a sideways glance at the
art world that takes the concept behind John Cage's 4'33' and turns it on its head.
'The video for Flamingo is deliberately non performance — people sitting in a
room and watching basically nothing, never really sure if anything is ever going
to happen. It's also a play on John Cage's 4'33', except in this instance there isn't
even a performer present.' — Daniel Brandt
Daniel's passion for film even prompted him to kick start his own online television
channel Strrr.tv in 2017 that since attracted a lot of attention with guest
moderators including BBC Radio DJ Gilles Peterson, modular synth legend
Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the
most popular episodes.
Recorded between Berlin and London, Channels is a deeply enthralling listening
experience, which sees Daniel Brandt build upon his distinctive percussive sound
whilst exploring new and expansive horizons.

Aurora Borealis proudly presents the debut album from Fermata. Titled 'Salvaged Space', the album is constructed entirely out of phone and handheld recordings of quiet moments, street performers, instrumental improvisations, and noise pollution; 'Salvaged Space' is a document of the last few years that Fermata has spent experimenting with different methods of arrangement and composition.
"I aimed to prevent myself from overthinking the musical material, instead focusing on shaping and warping sound so that it shared the same alive/imperfect nature of the recorded soundscapes each piece is inspired by.' Fermata is the project of Harry Smith, highly complex, accomplished and nuanced for such a young artist. Embracing the full spectrum of electronic music, field recordings and sound design, 'Salvaged Space' is a deeply rewarding listen with a strong feel of the different geographies involved, giving a sense of linear and temporal travel.

With sincere excitement Co´meme is now delivering KATERINA's very first EP to planet earth: 'Just when you thought it was over'
Katerina from Helsinki - Finland via Sofia - Bulgaria is a passionate music lover, a skillful DJ, an imaginative music maker and an emotional and hyper sensitive artist. She produces music that is essential and timeless, tracks that feel necessary in your life once they have entered it.

Katerina has already contributed to the ever growing, always radical and forward thinking catalogue of the Co´meme music collective, with tracks on the compilations 'Solidarity Forever' Vol. 1 and 3. She also hosts a show on radio Co´meme called Radio Emotsiya, in which she generously shares her broad musical knowledge and her very particular musical obsessions, for instance her steady - and in our opinion very understandable - veneration of DJ Quik.

And yes, her music breathes the emotionality of Hip Hop, the sensitivity of well placed, swinging beats, and that steady survival mode, that essential melancholy in dance music: where melodies tell about love and longing, and rhythms help you to keep going on. 'Just when you thought it was over', here we go again, it's another day on planet Emotsiya, from where Katerina sends us reports about her adventures, always sided by her already legendary white cat No¨po¨:

Le Matin, always rare and uncategorised, following the reissue of his early synthwavepop tunes on « poussière d'époque » and a track on the good Lena Wilikens' Dekmantel Selectors 005 comp, this new EP on Lost Dogs Ent. let you hear some of his last works. Expect an ultra-cold-minimal-electro riddim, a less-mental-nearly-good-for-the-dancefloor tune with depitched haunted r&b vocals, an analog and bassy arpeggio ride ... On the flip side, Oh My God ! This is the peak-time-for-weirdo-nearly-techno tune, a blast, only for craziest DJs that like broken-frustrated-uncomfortable dandefloors and to finish this well balanced 5 trackers : the « are you depressed that much It's the 10th time you're listening to this OST of a dying world, this won't get any better but at least this is good music ! » tune. Le Matin is a good kept secret that prefer to take care of his kids than to travel the world of nightclubbing with drunk teens (ok that's how it is in France, that looks better in some other countries), but sometime you can hear his music on decks of some wise people and DJs like Call Super, Lena Wilikens, House of Traps, Charles Drakeford, Jon K, Bergsonist, Body Motion...

We are happy to announce Andre Bratten's 12' trilogy! Each 12' edition of 300, no re-press. First out is Un and Pax Americana.

Rough and ready machine tracks from Brazilian producer/December collaborator Innsyter (LA Club Resource). CYN002 picks up where Coletivo Vandalismo left off, channeling that same wild, DIY bedroom studio spirit across nine individual recordings. Opening with sprawling synth motifs fighting against a steady rhythm track, 'Desintegrado' sounds like an industrial dub punk trying to channel early Cluster or Moebius and strangely succeeding. The rest of the LP treats us to vaguely Drexciyan, subaquatic electro ('Bries') and twisted lo-fi minimalism with bonus eerie monologue samples ('Superficial Love'). The one recurring theme on Magnetic Healing is Innsyter's clear love for mournful, post-punk inspired melodies. It comes across loud and clear on almost every track yet never sounds tired. Things eventually draw to a close with the hopelessly romantic new wave instrumental 'Forest Shaman' - a short ballad for all those weary-eyed party-goers who stuck around til the sun came up!

RTRN II JUNGLE , the forthcoming album from UK DnB heavyweight trio, Chase and Status, is a cultural movement - inspired by British music and fashion of the golden years of Jungle music from the mid-late 90's. The two opening singles speak volumes on the project's ethos - with the hard hitting 'Retreat' ft. Cutty Ranks echoing in your ears long after hearing and the euphoric 'Heater' taking on the role of a single that already has the makings of a classic - with additional vocal support from General Levy.



The sound, project and accompanying documentary and installation, will draw on Jungle music whilst also transporting it into the present day, and re-vamping the genre for the modern day music fan. 'We will be representing DnB at it's most soulful, raw, and uncut level' (Will Kennard)

The news comes with a brand new documentary from the trio, filmed in Jamaica earlier this year, which has just been premiered by Redbull.

Transform and Wonder will be the second 12" release on Factory Floor's own imprint H/O/D Records. Transform, a section inspired by Maria's transformation from human into the robot, reveals itself in a haze of accumulating ambience and scattered percussion that evolves into the heavy repetitive bass groove reassuringly stabilizes Maria's journey into metamorphosis. The slow tempo and atmospheric wash of synths and electronics on side B 'Wonder' offering a hesitant hush contrast.

Collaboration between Andrea Neumann (composer, inside piano, mixer) and Mads Emil Nielsen (composer, electronics).

Andrea Neumann and Mads Emil Nielsen's collaboration was initiated in 2014 with a common focus on creating music combining graphic scores, open improvisations and remixing. This led to their 'Deconstruction' series and a graphic score (Framework) interpretation. In 2018 Neumann and Nielsen produced a 4-channel composition and they now release a 10' vinyl.

The starting points for these ten short pieces are selected parts of recorded improvisations made with electronics and inside piano, which were remixed by both musicians. Different musical aspects such as tactility, three-dimensionality, repetition, rhythmical elements and transparency are explored by the two musicians as the ambiguous characters of the original improvisations are transformed into ten new compositions.

Recorded in studioboerne45, Berlin. Edited & produced by Andrea Neumann and Mads Emil Nielsen in Berlin / Copenhagen, late 2017 and early 2018.

Black Box is a series of releases by Mads Emil Nielsen with music & audio originally made for theatre pieces / performances, installations and more. The first release,Black Box 1, is based on music/audio made for MHPH, a dance/theatre performance in DK, 2017.

The series shows the more melodic work of Mads Emil Nielsen who, during recent years, has been focusing on more abstract electronic/acoustic material - such as his collaboration with Andrea Neumann and Framework series (graphic scores). Future releases in the series will include tracks made specifically for radio soundtracks and compilations.

Mads Emil Nielsen (b. 1989) is a musician/composer based in Copenhagen. He works with basic sound sources, often combined with short percussive and orchestral samples, real sounds and an amplification of machine produced errors. In 2014 he founded arbitrary, the label and artistic platform on which he released a series of graphic scores and recordings and various solo works & collaborations including Neumann (2018).

Tape edition of the Bloodline album. One side is the version from the LP and on the flip is a chopped and screwed version.

...a 2x1m metal plate hung on a stand or frame is stimulated by amplifier driven modified motors used as strong transducers, and sensored by pickups. The computer controlled feedback uses digital filters and dynamics effects as signal processing to try to resonate the plates within their individual overtones. These playable feedback filters are controlled as notes by playing increasing and decreasing sounds near the composed frequencies of the notes which evokes speech and 'singing-like' musical phrases in a wide range of frequencies typical of the chosen material. As a result of this arrangement, normally barely detectable resonances are produced in the musical space and create metallic-sounding multi-tonal clusters, whereby, due to the formation of formants and noise between the shifts, fast phrases and extremely slow polyphonic chords emerge from the sound plate. What initially appears as chaotic movements can soon be experienced as structured recurring patterns...

- Winfried Ritsch

Lurka returns to Timedance with the follow to his 2016 single Beater. The Bristol producer turns to dial up to eleven here with two expertly designed carnival stompers. Combining a knack for groove like no other alongside sound design from another planet, this record helps stamp Lurka out as one of the most singular and exciting dance music producers around right now. Take note!
140g record / black sleeve w/ sticker

When looking for music to be released on Magazine, our guideline has always been energy. The key question remains the same: Does the artist have something important to say Does it have a sense of urgency Alex played us these tracks while visiting the Magazine studio in Cologne earlier this year and we were consumed by unadulterated rage. This is anything but a conceptual release, Alex has not released this kind of music before. A side of Alex manifests itself through these techno tracks, that most might not have known before. Brutal yet beautiful, furious yet fragile. A Berlin native who shaped his sense for techno by striving through his hometown and its infamous raves, Alex is now one of the prominent protagonists of that scene - not only when regularly playing at Berghain. The EP harnesses this experience perfectly, fully preserving the energy of the creation process by recording directly to tape. Most productions may have suffered from this primitive method of locking sound into position, but not these tracks from a techno master.

Colundi interception @ 63.401237,-19.035634 89746 64037 86532 02356 97203 56782 53467 66525 56784 78410 common purpose. consideration of data. colundi everyOne.

Finnish mainstayers K-X-P get's remixed by Mika Vainio and Optimo. The latter provides a UK style club mix with narley Manchster type vocals. The real gem comes from the late Mika Vaino where the trademark noise/chord soundscapes juggle with very sparse & slow but rhythmical drums leaving everything centered around the strength of a deep, dark and souverein bass line.

Composed in conjunction with the latest Les Halles long-player, Zephyr, Zonda stands unique among Baptiste Martin's output both in duration (60 minutes) and diversity of source material, smearing samples of Baegu music from the Soloman Islands, J.S. Bach, Max Cilla, and the Croatian Sea Organ of Zadar into a sixty-minute suite of surreal celestial navigation. Flutes, waves, strings, insects, percussion, pitched voices, and spatial synthesis float in and out of frame, alchemizing and unraveling in unexpected ways. It's a vast, perplexing, and poignant listen, spanning solar winds, subdued harmonics, and elusive constellations of transmutational beauty. Compiled & mixed by Baptiste Martin. Design by Dieter Durinck.

On Foras, Siavash Amini further intensifies his sonic studies of the relations between the individual mind and its interplay with the environments that surround it. The four tracks see him returning to his singular approach that blends harsh electronic noise with lush granular synthesis and classical compositional techniques. Over the course of roughly 38 minutes, the album navigates between different and at times seemingly contradictory moods, thus mirroring its underlying concept.

It comes as no surprise that Andrei Tarkovsky, master of Soviet cinema, turned to composer EDUARD ARTEMIEV to score his two lyrical and haunting films, The Mirror (1975) and Stalker (1979), as he had done for Solaris (also available on Superior Viaduct).

ARTEMIEV's magnificent soundtrack to The Mirror is the natural follow-up to Solaris. Dense, slow-moving, and often disorienting mood pieces with Baroque sensibilities resonate beyond the film's dream-like images. For Stalker - Tarkovsky's other science-fiction masterpiece - ARTEMIEV was inspired by Indian classical music and utilized layers of synth tones, flute and tar (a traditional Iranian stringed instrument) to create a central theme as spellbinding as "The Zone," a setting in the film where laws of physics no longer apply.

Superior Viaduct presents the first-time official release of two astonishingly unique soundtracks. Recommended for fans of Lech Jankowski's music for Brothers Quay films, BC Gilbert & G Lewis and Oneohtrix Point Never.

Cat.no.: SV019
Format: LP

Tracklisting

Dark Entries present the first ever vinyl issue of Jon Krocker's debut album 'Monolog' originally released on cassette in 1983. Jon is from Winnipeg, Canada and got his start as half of the synth noise duo Dialog. In 1981-82, while studying for a BA in Film Studies, he would go to the studio and practice. No writing or patch memories, composing on the fly. His set up consisted of a Minimoog, Oberheim Two Voice, Roland RS-202, Roland Space Echo, EML 400, Roland DR 55, Roland System 100 mixer. After playing some of the songs to Impulse Records store owner Roman Panchyshsyn, he agreed release the album on cassette on Contagious Records. Primarily influenced by the German school typified by artists such as Conrad Schnitzler and Kraftwerk, Jon's music exhibits the cold machine ethic of the neumusik. The 12 instrumental tracks are stark and minimal, at times anxious but overall space orientated and flexible.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy includes an 8-page newsprint zine featuring ephemera, press clippings, photos and liner notes by Jon.

Cat.no.: DE 228
Format: LP

Tracklisting

FIYAAAAAAAH!!!!!!

Coming up for breath from a deep dive into the archives, Knowing Something's third offering comes courtesy of the Synapse team. The A-side features the fast-paced, widescreen, electro-techno track Night Moves, unreleased since the late 90s.


The B-side, Untitled #4, initially arrived in 1995 on BPMF's Button EP for Abe Duque's Rancho Relaxo record label. The original, full-length, unedited version takes up the entire side of the 12", allowing the recording's waves to wash over as it builds up and crashes down throughout its twelve minute runtime

* The Young Paint EP is the first release on WerkLtd. the new record label from Actress and VF.
* Six track mini album from Young Paint - a Learning Program - and Actress.
* Vinyl limited to 500 copies.
Young Paint (aka Jade Soulform aka Francis aka Generation 4 aka AZD) is a Learning Program that has been progressively emulating the Greyscale to Silvertone process Darren J. Cunningham started during the recording of the Hazyville LP on Werkdiscs in 2008. A decade later much of the Actress material, both composed, recorded and performed live has incorporated partially independent YPAi. Throughout the course of 2018 and into 2019 both Actress and Young Paint will record, conduct and perform collaboratively. Their Live AV show at the venue Art Peckham, London on Saturday 13th October will be a debut performance of the Young Paint material. The Mini album Young Paint will be released on limited Vinyl end of September 2018.

Reissue of Eblen's fourth album, wonderful experimental music here. Tip!
.
Mexican guitarist and ambient artist Eblen Macari's Música Para Planetarios (Music for Planetariums) was originally composed for weekly performances in the Luis Enrique Erro Planetarium in Mexico City to accompany a voyage through the galaxy. The album, released in 1987 was based around Macari's solo performances using Ensoniq ESQ-1, a Korg Poly 800, two guitars and pre-hispanic Ocarinas. The expanded arrangements recorded for the album include a full stable of pre-hispanic percussion and beautiful baroque harpsichord played by Macari's wife. This expansive interplanetary soliloquy is undoubtedly Macari's masterpiece. Remastered from the original master tapes.

Poolside began as a recording project in a converted Los Angeles backyard pool house in early 2011, producing sunny tracks of subaquatic indie dance music in this makeshift recording studio. Surfacing first in the form of a YouTube video for the catchy track "Do You Believe" Poolside were soon gaining local and national attention, with DJs like James Murphy of LCD Soundsystem, techno legend Derrick May, and disco don Todd Terje spinning these tracks at events and a growing online following. Throughout 2011 Poolside continued making waves with a sound called "daytime disco" through tracks like their cover of Neil Young's "Harvest Moon" and original tunes. In 2012 Poolside worked on a remix for longtime disco punks The Rapture and held fans over with a new single and video for a song called "Slow Down" as they prepared to release their debut album. That album, Pacific Standard Time, was self-released in July of 2012.

After the album's release, remixes for artists like Matthew Dear, Little Dragon and Fool's Gold soon followed, as well as rehearsing and touring with a live band and doing DJ sets around the world. As thoughts turned to a second album, Poolside went on ice for a year to regroup, beginning to work in earnest on another album in the Fall of 2016. While still revolving around the sunny, laid-back disco sound of PST, these sessions yielded the additions of up-tempo dance songs and more guitars, and generally more fleshed-out arrangements. Poolside surprise released their second album Heat in 2017.

Kondi proudly welcomes Reedale Rise to the imprint with this beautiful 2x12" debut album by one of the most fascinating and talented electro producers around these days. After the solid releases on Frustrated Funk and Where We Met it seems the Liverpool wonder AKA Simon Keat has impressed almost everyone with his unique take on classic house and techno compositions in a wide range; from the moody and groovy beats by Detroit legends Carl Craig and Derrick May, while staying close to Drexciya, ITDWIP and Jeremiah R in term of texture and arrangement all mixed with a sound design and ambience found in early Autechre and LTJ Bukem - just to top it up with a tiny little bit of that 90s club minded UK sound delivered by Leftfield, Orbital and LFO. Beautiful synth pads, punchy, crunchy and groovy electro beats arranged around a good ol' fashioned analogue synth bass with a characteristic bending synth lead sound on top is really hard not to love and pretty much sums up what Reedale Rises electrofunk journeys are all about. Luminous Air is one big lush, joyful and emotional ride throughout the late summer breeze and is a sure hit whether you go for a party on the beach, a nighttime drive on Hwy1 or just need an easy night with a drink on the balcony. As long as you bring your turntable!

Svengalisghost captured here in his most true form, the live setting. This recording comes direct from the board during his performance on French television in 2015 and harnesses the maniacal energy of his live set in perfect form. What may be the Chicago born artist's darkest and most plodding recording to date, this is the definintion of deconstructed death-industrial, foward thinking and freeform yet totally focused and razor sharp, plodding drums over open wire electronics and zodiac killer vocals hitting you from all angles. This is sound of evil personified. Limited copies available worldwide.

dark and melodic electro track from Paulus8 .
All 3 tracks are a delight to put through your speakers , get this one for your collection

One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bah Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom immediately said "YES!". They moved in and divided the space in half. On Tom's half he made drawings, paintings, performances, video, sculptures, installations, and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning they played under the name The Two Who Do Duets. Soon the late-night jam sessions that took place in the back of Poo-Bah moved over to the fourth floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artist's studio to look. They could make all the noise they wanted. No one else was on their floor. The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the Los Angeles Free Music Society (LAFMS) groups Le Forte Four, Doo-Doettes, and Ace & Duce. That concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder, and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S. Raymond eventually became a sort of LAFMS headquarters, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S. Raymond allowed for free expression and explorations of all sorts. Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music. Ace found the tapes for side one ("Tom's Studio") in his archive and Ju Suk Reet Meate found the tapes for side two ("50 Of Every American Are Machines") and edited them both for this release. No overdubs or remixing was emplo