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Optimistic, whimsical broken funk experiments, from Wo Land impresario Mass Prod. Held together with a distorted metallic sensibility.

"Earquake could not be a more representative album for Mass Prod, following his debut album 'Aqwa' on Further Records and his remix for Lukid on Werkdiscs.

'Sqweltch' opens with a robust breakbeat marching over waves of metallic hisses. It forecasts the menacing sonic depths touched on throughout the album.
The rigid post-industrial aesthetic of the first track turns playful with 'Membrane', characterized by funk samples and a roaring synth line.
In 'Loculo' the dramatic intensification of feelings and the main theme are reminiscent of a John Carpenter-like urban set.
'Cimice' sets the scene of a warfare between a two-step rhythm and percussive gun-shots, both overseen by IDM style synth harmonics.
'Spazio Taglio' moves further into the field of concrète / experimentation. The delays and echo effects on the articulated drum patterns provide an hypnotic, yet bewildering perception to the listener.
The electronic warfare of 'Cimice' comes back on 'Lupi', a stream of beats and frequencies chased by Atari / early Rave melodies, before getting lost in a universe of data.
'Perdido Key' sweetens things up, lifting the listener to a heavenly state. Renaissance musical themes take over, leaving the stretched up hats as a mere background accompaniment.
'Innerarity Island' is an irresistible futuristic afro-funk composition, charming, sensual, as stimulating as virtual sex can go.
The closing track, 'Sam it`s a Cool Spider', returns to a rarefied, abstract setting, again dipping into the harmonics of metallic sound frequencies, perfectly interacting with the distant reflections of the previous Renaissance motifs."

"Odeyalo" is a Russian word that means "blanket". This blanket is made from many rags. It's hard to tell where one ends and the other begins, but the main thing is that you can cover yourself with this blanket.

Foresteppe is the musical project by Egor Klochikhin, artist and history teacher from Russia. Foresteppe's music is a constant experiment with the sounds of tape cassettes, acoustic instruments, field recordings and electronics. Detailed sound collages by foresteppe explore the space of history and memory, as well as the themes of nostalgia and trauma.

"Odeyalo" has been played live with ten cassette tape players and several dozens of cassette tape loops in June – September, 2019 in Vyksa, St.Petersburg, Moscow, Brussels, Tomsk oblast, Novosibirsk and Berdsk.

Craigie Knowes continue their long-running War Child fundraiser series with a new 2x12" release featuring tracks from Eluize, DJ Python, Stellar OM Source, Innnershades, No Moon, The Burrell Connection and more. From ambient and downbeat through to techno and electro, the release spans the sounds that Craigie Knowes have embraced over the last 5 years. The fourth installment of the project also sees a completely new sleeve and center label design by Kyle Morrison. All profits donated to War Child UK, a charity helping children in areas of conflict around the world.

THE ONLY DIFFERENCE BETWEEN ONE AND NONE IS N TRANS HUMAN OBJECT (THO) //////////////////////////////////////////////////////////////////// THE SUPERIOR FUNCTION ************************************************ X1N SAYS: //////////////////////////////////////////////////////////////////// IN THE VAST SURFACE OF ALL MATHEMATICAL EQUATIONS, ONE CAN SENSE EVENTS WHICH SEEM TO COME FROM OTHER DIMENSIONS - RIPPLES AND PATTERNS. THE ZERO POINT NINE INFINITE NUMBER LINE NEVER REACHES ONE, YET IS ONE, NONETHELESS. 0.9999... READ THAT SEQUENCE LIKE A MANTRA. A MANTRA OF DEATH. //////////////////////////////////////////////////////////////////// “I TALK IN ALPHA NUMERALS” ************************************************ ### denotes “end”. No more messages to follow.

In 2019, the power-acoustic musician Francisco Meirino presented A New Instability a commission for the venerable Ina-GRM in paris. Of course, this institution is the pre-eminent center for the research and study of electro-acoustic music dating back to founding of Groupe de Recherches Musicales in 1958 by Pierre Schaeffer. To this day, Ina-GRM continues to be at the vangarde of the electro-acoustic composition, and it is quite an accomplishment and very appropriate for Meirino to receive such a commission.

This recording for A New Instability condenses the 32-channel original piece down to a still very active stereo version. here, Meirino continues to amplify and refine his compositions that walk a fine tightrope between raw expressivity of brutalist noise and conceptual rigor of more academic pursuits. Such a work ranks him in with the likes of Zbigniew Karkowski, Dave Phillips, Puce Mary, and Illusion Of Safety.

Field recordings from a kendo dojo in his hometown of Lausanne, Switzerland cast a pugilistic, combative arch to these recordings which snap, burst, explode, and erupt with utterances of men and women engaged in hand-to-hand combat. Searing frequencies build, swarm, and amass out of these episodes rise to psychologically tense crescendo that rupture at their heights, quickly turning attention towards a violence that originates from within. It is as if the objective observations of those martial arts recordings are sublimated within a subjective experience of psychic unease, disquiet, and imbalance.

A New Instability is another magnificent chapter in the ongoing body of work for this accomplished composer of electro-acoustic noise.

Apulati Bien is back on Promesses with an 8 track EP called ‘RER TRACKS’. All sketches of these songs were formerly composed in early 2017 during Apulati's RER journeys (Paris suburban train) on an iPhone 4 using field recordings from the phone and the iMPC app. Then put together and re-arranged some years later in his Brussels studio. Each song is like the soundtrack of a different train journey, bringing eclectic vibes between de-construct dancehall, mutant dub and dark ambient. "OUEST" and "Oz" contain vocal featurings (also recorded on a phone) from Mexican artist Vica Pacheco and Haitian MC Damoreless Zoekila.

A reflection on modern life glimpsed through theprism of communications technology, ‘u,i’ wasrecorded almost entirely over VOIP (voice over internet protocol) apps like Skype. Using voices
extracted from personal video feeds and instrumental performances (cello, flute, violin, clarinet, organ), these were sent between their
studios in Berlin and Montreal via VOIP and rerecorded whilst playing with bandwidth reduction to colour and accentuate its flaws and distortions.

Fascinated by the way technology materialises memory, and by “the sound of its failure, pushed to its limits and breaking apart,” Johannes and Olivier have been collaborating for 20 years, working on numerous film projects together. Olivier previously worked under the Ensemble alias, in which Johannes participated as mixer, arranger
and co-writer. Ensemble’s 2000 debut (on Aphex Twin’s Rephlex label) led to Björk drafting Olivier to remix several tracks and to co-write ‘Desired Constellation’. After two further Ensemble albums on FatCat, Olivier’s own-name debut was released on 130701 in 2017.

For fans of Akira Rabelais, Johann Johannsson, Max Richter, The Caretaker, A Winged Victory For The Sullen, Grouper, Abul Mogard.

Cascade Symmetry is the culmination of an intense and transformative year-long period. It is an ode to new beginnings and the disintegration of the past.

Recorded and mixed September - October 2017 in San Jose, CA; additional recordings and field recordings taken September 2017 in South Korea.

Gear used: Eurorack modular synthesizer (Mutable Instruments, Make Noise, Orthogonal Devices, Intellijel, TipTop, Ladik, Malekko Heavy Industry, Mannequins, Qu-Bit Electronix, Doepfer), Novation Peak, Korg Electribe 2, Elektron Analog Heat, Strymon El Capistan, Hosa Technology Cables

Initially released on tape and digital through the artist on November 6, 2017.

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.

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.

Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.

‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy.

Valentino Mora returns to Spazio Disponibile with his first full-length 'Underwater'. A mesmerizing listening trip over the course of eight tracks taking you into his deep sea world of dark minimalism and eerie drone rhythm structures.

Downwards’ rum gang of industrial misfits mutate My Disco’s ‘Environment’ album in slow, brutal and hypnotic styles ranging from Karl O’Connor’s smudged gamelan rework as Cub, to a 16 minute stunner by Rainforest Spiritual Enslavement (Prurient & Low Jack)
‘Environment Remixes’ serves to tie up a 10 year loop since Karl O’Connor (Regis) first became rapt with My Disco’s 2010 single ‘Young/You’, which lead to him remixing the Aussie band’s song ‘My Decade’ in 2016, and eventually issue the reverberating clang of their ‘Environment’ LP on his Downwards label in 2019. For the remix suite, they’ve picked a gang of manacled producers to reanimate the album’s cranky mania and classic industrial spirit with suitably bruising results.
The swingeing, stygian flow of Karl O’Connor’s Cub remix of Equatorial Rainforest’ returns a big highlight,
possibly the project’s very slowest and loaded square between the eyes of early ‘90s Coil and 23 Skidoo, while Rainforest Spiritual Enslavement’s 16 minute take on LP centrepiece ‘Act’ follows that humid line to a frighteningly strong scene of cicadas and crackling neon sleaze sloshed with martial kettle-drum rolls recalling Con Schnitzler’s ‘Conditions of The Gas Giant’, before slipping into the lushest ambient techno mode.
Following the rush of his recent records, Sam Kerridge renders the doomy beckon of ‘Rival Colour’ more tentatively, stalked with spare drums and lugubrious bass, and Bristol’s Giant Swan follow a hunch for lurching halfstep on their reduction of ‘An Intimate Conflict’, for Oliver Ho to amp the phosphorus guitar burn of ‘1987’ as Slow White Fall with the sort of noisy conviction that also makes his new album such a zinger.

A new sub-label of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — is thrilled to present a new, deluxe reissue of “Pow Wow”, the debut 1982 solo LP from Cabaret Voltaire’s Stephen Mallinder. Now expanded to a double-LP, and also released on CD/digital, it’s a definitive reissue which now includes Mallinder’s early solo discography in its entirety. This collection of mutant dub/funk/postpunk sounds just as fresh and contemporary in 2020 as it did in 1982 (note Autechre’s inclusion of standout cut “Del Sol” in a mix earlier this year), and highlights Mallinder’s crucial contributions to Cabaret Voltaire.

Some words from Mr.Mallinder on the scene and era from which “Pow Wow” was born: “It was an interesting, and inspiring, time. The primal caterwaul of punk was dying and lots of really significant things were emerging from the fires. Much looser vibes were in the air and there was a much more exploratory feel. Punk had championed a visceral, anti-intellectual approach but in truth the real characters brought so much more to the table, and what began to happen - from people like The Pop Group to Throbbing Gristle, and emerging scenes from No New York to Factory Records - is we began to embrace the art of it all. There was acknowledgement of the importance of books, films, graphic art, and experimentation with all those mediums. We were just as interested in turning over rocks to see what lay beneath, as throwing them. There was a sense of new magik emerging.”

“Pow Wow” was commissioned by the Fetish Records label, and recorded at the Cabs’ Western Works studio, where Mallinder would spend his days recording with Cabaret Voltaire, and continue on alone into night recording his debut solo material. “I slept very little in those days,” he adds, continuing: “It was done on 8 track and very multi-tracked, so lots of recording, then bouncing, and overdubbing, to get the integrated feel of the tracks. I became very adept at pressing record then jumping onto equipment to play it - it was actually a very 'live' record in that sense. I've always seen rhythm at the core of what I do so I loved the layering of counter rhythms. The sequence/arpeggiator parts were all drum machine triggers that were played live. It was about creating a distinct groove so arrangements came from weaving in and out of those linear grooves. It was fun to play everything from drums, guitars, keys, trumpet, percussion, tapes… and record and produce it all. Prince got it from me!”

Surprisingly, Mallinder’s first solo LP would also prove to be his last - that is, until last year’s critically-acclaimed solo return “Um Dada”, on Dais.

This new edition of “Pow Wow” contains 14 songs, and is housed in a recreation of the original, iconic Neville Brody jacket, painstakingly recreated using scans of Brody’s original artwork elements. The 2LP vinyl edition is in a reverse board, thick-spine jacket, and adds a 12”x24” folded poster/insert, featuring unused elements from Brody’s original designs, sketches, and instructions for the LP. The CD edition comes in a reverse board, 6-panel digipack.


2-11 from the Pow-Wow LP on Fetish Records, 1982.

13-14 from the Temperature Drop / Cool Down 12” on Fetish Records, 1981.

12 from the Fetish Records compilation The Last Testament, 1983.

1 edit from the Pow-Wow Plus LP on Fetish Records (Japanese pressing), 1984.

Transcendentally Beautiful, The Space Lady's Music Is Returning To Earth. Transmitting Messages Of Peace And Harmony, The Space Lady Began Her Odyssey On The Streets Of Boston In The Late 70s, Then San Francisco Ten Years Later, Playing Versions Of Contemporary Pop Music With An Accordion And Dressed Flamboyantly. Following The Theft And Destruction Of Her Accordion , The Space Lady Invested In A Then-new Casio Keyboard, Complete With A Phase Shifter And Headset Mic, Birthing An Otherworldly New Dimension To Popular Song That Has Captured The Imaginations Of The Underground And Its Leading Exponents Ever Since Having Toured Successfully All Around The World With Her Greatest 90s Hits Record, She Felt It Was Time To Record New Songs... And So She Did!

For his first EP ever, Master Flashhh carved 5 beautiful tracks of analogue funkiness, drawing inspiration from drifting in Georgia, solitary walks alongside the ocean in Finist?re Brittany or recording his neighbors banging behind the wall.

A native of Poznan, the multi-instrumentalist composer/producer Waclaw Zimpel has steadily been gaining recognition as one of the most singular and original talents to have emerged from Poland in contemporary times. His second solo album 'Massive Oscillations' is set for release on January 31st, and is his first for the Amsterdam-based label Ongehoord. At various points Waclaw deploys bass clarinet, alto clarinet, electronics, prepared upright piano and Yuri Landman guitar object. Wojciech Traczyk adds double bass and Holly Hock provides vocals to 'Release', whist all tracks were mixed by James Holden, who according to Zimpel "added his magic touch". 'Massive Oscillations' is Zimpel's most accomplished album to date - a hypnotic and beguiling work given to moments of subtle euphoria. Gently rhythmic, repetetive but morphing grooves are decorated with elegant musical flourishes. An exquisite vertical listening experience, tracks rev like ignition on a motor. They swell, undulate and breathe in a non linear motion, hovering more than moving, or steadily levitating heavenwards. 'Massive Oscillations' is the result of a nine-day residency at the Willem Twee studio in Den Bosch, Netherlands. The longplayer is not only a consolidation of Zimpel's previous experiments, but is also driven by his curiosity and desire to explore new avenues and possibilities, striving to create an innovative musical vernacular. Inspired as much by jazz as electronics, minimalism and roots music from across the world, he doesn't so much blur boundaries as eradicate them altogether. "I was looking for new kinds of sounds and had an idea of where I wanted 'Massive Oscillations' to go," says Zimpel, "but that all changed the moment I started playing with the studio's collection of vintage synthesizers and electronic equipment." In keeping with his restless improvisational spirit, Zimpel jettisoned previous ideas and set about using the studio's array of oscillators, generators, sequencers, tape recorders and filters (alongside his beloved clarinet) to capitalize on opportunities the facility offered him. Subliminal factors were also at play: Having tuned the oscillators by ear for 'Sine Tapes' and title track 'Massive Oscillations', whilst attempting to work out melodies on his clarinet, Zimpel found he'd inadvertently arrived at a lower frequency than intended. By a happy accident, he realized he'd subconsciously been tuning in to the bells of St Jan's Cathedral, which is located close to the studio. "It was this kind of magical coincidence that really helped shape the recording", he recalls.

"Mystical, wide-eyed hyper-exotica flavours from Mother Gaia herself. Two mind-bending chants of dub-filtered tribalism sprawl out of the 7” plate; the Yin side, PIPE, bounces left to right with a hazy sway and morphing, lick-up vocals. Evolving across the Yang lies LABYRINTH, a psychoactive concoction of distant, ambient landscapes and mechanical, wood-polished drumming paying homage to the sun dial.
33 0r 45? Let your unconscious state decide”.
Hand stamped artwork.

3x12"

A master in letting shapes find their form, Dixon allows the listener to wallow in recurring scenes. Lost Communication Procedure, Found In Space and Remarkable Wanderer etch a sound world of choral vibrations and cinematic dirge. Where gaseous clouds scrape the natural sonic pastures of such environments, the hypnotized listener staggers a drunken step, moving sideways by 0 or 1 or -1 into new scenes. Not least an expert in industrial abstraction, a human silhouette permeates Dixon’s sound. His ethereal storytelling portrays the heart-rending romance of Unconditional Love and unearths in I’m Away In Detroit monologuing moodscapes recalling our GPS voice assistants.
Out of Darkness initial recalls Kraftwerk’s Geiger counter, as from pure signal data and feedback spells an unceasing locomotive wormhole. Hazy, dense grooves drive across bleak city scenes in We Can Rebuild Him, into the raw vibe of Framework and the rude stabs of Spectrum of Light. The varying presence of Dixon's work is one of his textural signatures, at arm's length, brushing right within, and far out. The bumping mood of Earth Station is one such moment, close enough to isolate the diving bass somewhere within, simultaneously from afar it becomes positively gravitational.
The first two records of the series are rightfully considered among the finest embodiments of contemporary minimalism, symbolic documents of afro-futurism. This new work revives the classic series, continuing the relationship between Tresor and the undisputed master of Detroit techno into the present day.

'Flørist adds an important chapter to Baroque Sunburst's quest for the hypnotic and hybrid side of dance music. Moving effortlessly between different BPMs and orchestrating with an innate elegance, the Berlin-based Canadian producer has assembled three long mesmerizing journeys.

He straddles Terry Riley-esque minimalism, Warp's A.I. sci-fi side and the emotional depth of Basic Channel, blending these whilst maintaining dancefloor efficacy. "Intermedia 1" is architectural music where every detail is essential and everything is constantly developing.'

Picture Disc

Newcastle born, Melbourne-based producer Cooper Bowman steps out as Roman Nails with his first 12' for Beat Concern. Following tapes on Where To Now (UK), Night People (US) + Rhythm Works (AU), Roman Nails has maintained a steady flow of experimental techno over the last few years. Utilising a minimal, CV-triggered hardware set-up and from a perspective rooted in improvisation, RN is a unique beast. The tongue-in-cheek titled, All Hardware No Tools, is his most concise and well-considered release to date, offering noirish synth tones, slinking basslines and captivating interplay between a 707 and 727. 300 copies.

Der Multi-Instrumentalist und Produzent hat sich mit fein strukturierten und enthusiastischen Kompositionen bereits einen Namen gemacht. Sein 2016 erschienenes Album „Forms“ zog mit seiner spielerischen Verwebung von Rhythmen und Samples die Aufmerk-samkeit der elektronischen Musikszene auf sich. In diesem Jahr veröffentlicht The Micronaut nun Olympia (Summer Games) – ein Album, das seinen sorgfältigen Produktionsstil weiterführt und dem Geist der Olympischen Sommerspiele gewidmet ist. Denn auch wenn diese abgesagt wurden, so sind die damit verbundenen Tugenden wie Durchhaltevermögen und Zusammenhalt zeitlos und gerade in diesen Wochen um so wichtiger. Solch grundlegende Prinzipien, die den Geist der Olympischen Spiele ausmachen, sind es auch, die The Micronaut umgetrieben haben. Und so war es kein Zufall, dass Summer Games entstanden ist: „Ich habe bisher immer Konzept-Alben veröffentlicht. Dieses Mal habe ich Olympia gewählt, weil es nicht nur Wettkampf, sondern auch eine Friedensbewegung ist, bei der es um die Menschen geht, ganz egal welcher Nation sie angehören.“ Diesen vielfältigen und stets vitalen, lebhaften Geist spiegelt das Album wider: Das verspielt-zarte Uneven Bars oder das träumerisch-sphärische Table Tennis, sie alle erzählen von den besonderen Momenten, von Siegen und Niederlagen und all den Facetten, die dem Sport innewohnen. Dadurch ist eine Reise entstanden, eine schwungvolle, aber auch turbulente Achterbahnfahrt, die den künstlerischen Anspruch The Micronauts abbildet: „Lebhaft, expressiv, dramatisch, manchmal ruhig, manchmal kraftvoll – ich versuche immer die Vibes von Wanderlust, Hoffnung und individuellen Momenten in meiner Musik einzufangen“ – erzählt der in Leipzig lebende Künstler. Und dieses Mal liegt das Spannungsfeld zwischen sportlichen Disziplinen – in dem sich The Micronaut musikalisch ausdrückt. Wobei seine Musik keinesfalls zum Sich-Messen anregt, vielmehr sind viele Tracks mit ihrem übermütigen, optimistischen Vibe für die Tanzflächen der Clubs geeignet, um sich die Anspannung der zuweilen olympischen Herausforderungen des Alltags von der Seele zu tanzen. Dazu hat The Micronaut anspruchsvolle Arrangements mit fließenden Melodien und unaufgeregtem Gesang kombiniert und den Weg für ein neues, collagenartiges musikalisches Genre geebnet. Bisweilen dreht Summer Games sogar in Richtung Elektro-Pop ab, dann wieder ist es inspiriert von old-schooligem Hip Hop and in anderen Momenten mündet und explodiert es förmlich in intelligent gesetzten musikalischen Hochsprüngen. Die Messlatte liegt hoch – doch bei allem Auf und Ab scheint immer durch, dass The Micronaut ein begeisterter Musikliebhaber ist, der Ideen und Inspirationen von überall her sammelt und sie unter Einsatz seines ganz eigenen emotionalen Prismas übersetzt.

Another year on the HITD calendar, another stunning new solo release with Brian Case.

This third album somehow manages to compile and condense the best bits of its predecessors, and the magnificent viridian, glacial universe developed by Case since the beginning of his solo ventures is brought to the forefront.

The Chicago artist centres his elusive, dehumanised compositions around two simple, minimal elements. Using just vocals and synths, he has created a simultaneously modern and post-apocalyptic soundtrack, where music exists as the final traces of the footsteps of humanity.

LTD Edition!

Can wurde 1968 von Irmin Schmidt, Holger Czukay, Michael Karoli und Jaki Liebezeit gegründet. Die Gruppe nutzte und überschritt gleichermaßen alle Grenzen der ethnischen, elektronischen, experimentellen und modernen klassischen Musik.
Ege Bamyasi lässt den Dunst fallen und schlägt von Anfang an mit einem scharfen Schlag zu. Das oft als das "intensivste" Can-Werk bezeichnete Album Ege Bamyasi, wurde zum Teil durch den Erfolg der Single "Spoon" unterstützt, der Proto-Synth-Pop (oder Synth-
Rock) Song war die Titelmusik der beliebten deutschen Fernsehserie Das Messer und erreichte Anfang 1972 die Deutschen Top 10. Das bekannte Album enthält auch den Track "Vitamin C", laut Pitchfork ist es "...immer noch der beste Funk, der je aus
Europa kam." Kürzlich erschien das Stück auch in den beliebten Serien The Preacher und The Get Down. Can's starker Einfluss hat nie nachgelassen, und ihre Handschrift zeigt sich in den Bands, die ihre Bedeutung anerkennen - von Portishead, James Murphy, New Order, Factory Floor, Public Image Ltd, Mogwai, Kanye West und Radiohead - sowie in anderen Disziplinen wie bildende Kunst und Literatur.

- "Can ist die revolutionärste Band aller Zeiten" Stephen Morris (New Order)

Erhältlich in limitierter Auflage im grünen Vinyl inklusive MP3 Downloadkarte

We Are Pleased And Proud To Be Releasing A New Album By Mayerling, roche'. Following "cut Up", His Debut Album Full Of Fruitful Collaborations, Sylvain Bombled -founding Member Of Mayerling- Is Back From A Long Introspection And Gives Birth To A New Album, Still Under The Influence Of German Founding Fathers Harmonia Or Cluster, And Refined Electronic Music Such As Aparat Or Boards Of Canada.


More Electronic And Adventurous Than Its Predecessor, "roche" Sets Synthesizers And Analog Sequencers At The Heart Of The Album. Vocals Have Almost Completely Disappeared, In Order To Captivate The Listener With The Graphic Powers And Cinematographic Qualities Of The New Tracks That Come To Light Throughout The Listenings, Just Like Ambient Hymns.

The Production And Richness Of Details Take The Listener To Lonely Arid Lands, Striking As The Sunstroke Of Midday Sun In The Valley Of Death.

Another two poignant songs about life as it is, with ups and downs.... catchy minimal synth melodies with very personal dark lyrics. Both tracks were written and produced by Lidia Fiala and Per-Anders Kurenbach back in 2015.

The METATRON is now out! A live album which publish as the ninth reference Faith Disciplines, a label dedicated to industrial, experimental electronics and noisy shit, which has already released notable references, such as German Army/GeAr or Group. METATRÓN has markedly tekno bases, some of them more teknopunk, kind of Suicide with a rockabilly Alan Vega, or others more minimal similar to Bruce Gilbert’s Dome. But for me the coolest part of the project is the set: piezoelectric microphones makes sound to a 1.8-sheet stainless steel as a bass drum, a stainless steel board with a group of thin galvanized plates, reverb springs, industrial trays and many rivets that serve as “melody” in addition it uses a few accessories such as cages, a drill, steel strips, threaded rods with washers with the same metric, spoons and others. All this sound mass is processed by cheap pedals and pedalboards (digital microprocessors) for guitar, such as the ZOOM GFX-707, or the ZOOM G3XN, with this one, several LOOPS are built in an artisanal way (manual mode) composing the horny danceable bases. No musical instruments, no computers, synthesizers, sequencers or shits (listen, all that is very expensive) is necessary to start to make some beats to dance.

Fischgeist was recorded in a former water tank in Berlin-Prenzlauer Berg in August 2019. The nineteenth-century brick building consists of five layered circles, with a spiral staircase in the middle leading up to an exit to a hilltop. Inside, it’s humid and cold, the temperature always around 8–10 C°. The building’s acoustics produce a long reverberation that lasts up to 20 seconds.

‘One day between recording sessions, a man, a passerby, wanted to look inside the building. He told me that it used to be full of fish. For a second I imagined a huge round aquarium with loads of fish swimming around in circles. Then I realized that he meant dead fish were kept there, to be sold on markets during the GDR era. But the image of fish swimming in the space stayed with me.’

In conversation with the space of the water tank, Tomoko Sauvage searches beyond the limits of her self-invented ‘natural synthesizers’: porcelain and glass bowls, filled with water and amplified with hydrophones.

While she continues to develop some of the classic techniques heard on her previous album Musique Hydromantique (Shelter Press, 2017) – hydrophonic feedback (Kinetosis Study) and ‘fortune biscuits’ (porous pieces of terracotta that emit tiny singing bubbles) (Deluge) – here new elements are combined with delicate gestures to make curious noises: stroking bowls’ surfaces to imitate the voices of sea mammals (Metamorphosis), drawing dots and circles by rubbing stones against stones underwater (Exit) … The underwater amplification of quasi-inaudible sound is even more magnified in the air by the echo of the water tank. Not only tiny bubbles, but also micro-movements of the bones and veins of the hand holding the sonorous objects in the water, are intensely amplified – sounding like a tempest on the opening Deluge. Sauvage’s longtime research into hydrophonic feedback develops with her new obsession with natural harmonics and sympathetic resonance. In Flying Vessels, the percussive notes of struck bowls resonate and turn into feedback loops before decaying, fueled by electric signal gain. Kinetosis Study is a sonic etude on fluid dynamics – the flow velocity, pressure and density of manually shaped water waves directly controlling the aquatic synthesizer’s parameters.

August, when the mid-summer Ghost Festival is held, is traditionally known as the Ghost Month throughout East Asia. The spirits of the dead visit their living families, who welcome them with feasts, dancing and music. Miniature lantern-laden boats are released in rivers, to help lost ghosts find their way home.

Animated by formless matter – water, electricity, sound – Fischgeist celebrates a phantasmagoric journey, as the souls of aquatic lifeforms find their way out of the labyrinth of the water tank.

Credits
Composed, performed and mixed by Tomoko Sauvage
Recorded and produced by bohemian drips prior to ‘Speicher’ festival in Berlin, August 2019 (binaural recording with a KU-100 dummy head microphone)
Mastered by Andreas Kauffelt in Berlin
Cover drawings by Baien Mōri (1798-1851)
© Tomoko Sauvage and bohemian drips – all rights reserved

Waking the Dreaming Body is the follow-up to Tucson artist Karima Walker's 2017 standout album Hands In Our Names, which garnered praise from Pitchfork, MOJO, and Bandcamp. The album includes dense harmonic arrangements of synthesizer, guitar, piano, percussion, field recordings, tape loops and Karima's dulcet singing voice. The final result is a 40-minute dream-narrative of her conscious and subconscious minds that oscillates between the rich textures of her ambient work and the melody and poetry of her melancholic, Americana-tinged songwriting, their ebb and flow recalling liminal states of half-sleep where images and emotions are recalled and forecasted from the previous night's dreams. Night falls in regular intervals throughout the album, forming a natural dialogue between waking and dreaming.

Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself.

Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound.

Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20 minute, ultra-slow version at 3.25 IPS.

Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording.

Bio:
Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

Tim Gick's already-warped patchwork editing of the entire Crazy Doberman output thus far turns increasingly glitched out across the splattered quiltwork of a nine track LP on Aguirre. Any coherent sense of time departs early on the A-side; kicked off with the familiar sound of the Dobes' synth throb and Love-cry woodwinds on top of completely fried electric guitar squiggling, all suspended in spiritual foam; then battered to bits on the greasy flat top of the record's b-side.

Ringing modular synth sirens evoke alarmingly huge Southern watersnakes swimming on top of Oconee river. Total trip zone across two sides: brownouts in the sequence of events, dubby fadeouts, and bright jump cuts in space. Teases of cartoon barrlehouse tickling on the keys of a farmhouse piano and tape melt psychedelia. The recording session in Athens, Georgia was a total "CHUGFEST" recalls Frank Hurricane, the Appalachian juggalo folkie king, who joined the session with the Lafayette, Indiana crew. The presence of Hurricane's own "Life is Spiritual" mirth bulworks the record with a muddy, barefoot hippy hopefullness, steadying the log flume through the notcturnal psychic murk toward the holy morning dew. (J. Russ)

Clear Black Splattered Viny

Iraqi-born, canadian sound artist Rita Mikhael aka E-Saggila turns out turbulent rhythms and synth leads in her debut attack for Hospital Productions, following on from releases for Northern Electronics, Bank Records, Opal Tapes and Aught Void. If yr into Hiro Kone and Drew McDowell, this one comes highly recommended.

‘Corporate Cross’ pulls out nine tracks of reticulated percussion, wavey synth melodies, breakcore and ambient washes that map an ancient, byzantine feel onto densely urban sort of post-techno/IDM structures. It’s all less rave-wise than E-Saggila’s releases for Opal Tapes and her own label, Summer Isle, exploring a more narrative based, sound-designer dramaturgy of ideas that takes in the polychromatic burst of ‘Redcloud’, hymnal trance riffs in ‘Replica’, and rolling dubstep on ‘Mouth In Reach’, thru to Synkro-esque half step scenes in ‘For The Butterfly’, and ‘90s cyber-hacker styles in ’Slowland’, with a soaring denouement in ‘Mantis Print’.

As she explains: “this album is a framework of placement and displacement of what I recognize as organic and instinctive. The constructed sounds draw a parallel between primalism and mechanization, where structure and disorder mimic themselves through these titles. a lot of these ideas are based off of the environment I come in contact with and the familiar expression and tone that is set into this album. It's a narration of transparent rhythms and patterns I see as natural, but to the listener is observed as ambiguous. corporate cross scans through the themes of novelty in human and animal, endemic and deterioration, and the sub-systems of our concealed environment.”