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The pioneering electronic composer Mort Garson (Mother Earth’s Plantasia) • takes on supernatural phenomena with lush synth grooves on The Unexplained, his only release under the name Ataraxia. Subtitled Electronic Musical Impressions of the Occult, the album explores tarot, astral projection, seances, and more with Garson’s signature Moog synthesizer serving as the listener’s tour guide to the paranormal. The exploratory, whimsical spirit of its creator is evident throughout the release, but it also takes its subject matter seriously, making it essential for anyone interested in musical conjurations of the occult. This remastered edition marks the first official reissue of the album since its initial 1975 release, and it includes all the original liner notes.

ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.”

Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

Since 2018, three archival, private-press volumes of previously-unheard music from subterranean Swedish project Civilistjävel! have been released. Drawn from an extensive cache of material recorded in the late '90s and early 2000s using mostly Juno60 and KorgMS20, and startling in its accomplishment and emotional eloquence, Civilistjävel!'s M.O. ranges from intimate, melodic minimal synth nocturnes through to deep, droning, Chain Reaction-esque techno ice-scapes, all of it austere but full of nameless, 30-days-of-night yearning. 'Generalstrejk' represents the first "contemporary" offering from Civilistjävel! to appear on record: the 20-minute-long title track is a concussive, steamrolling epic derived from live performances given in London and Stockholm in 2019. The three tracks of unknown vintage on the B-side revisit the pure arctic dread of the archival work - all brittle, abstract dub phantasms and glowering industrial ambience. Edition of 250 copies, no re-press.

From the physical transformation of organic elements that melt generating new textures, Espleni is created. Fragmented into nine pieces, it starts with an inmersive melody starting a route without return where you can explore frozen territories of heavy structures.

This reflects the union between body and raw material, an interest
that was already glimpsed in its first release with Bestiarie (2015).
The distortion of organic sounds arrives to wide landscapes of noise, sometimes moderated and in others uncontrolled. Noises that are juxtaposed in a constant dialogue until its definitive bifurcation.

This project starts from the recording of everyday sounds that surround the author, using a Zoom H5 recorder, with which he later experiments, manipulating and gathering them until creating a musically harmonic composition.

The pioneering electronic composer Mort Garson (Mother Earth’s Plantasia) • takes on supernatural phenomena with lush synth grooves on The Unexplained, his only release under the name Ataraxia. Subtitled Electronic Musical Impressions of the Occult, the album explores tarot, astral projection, seances, and more with Garson’s signature Moog synthesizer serving as the listener’s tour guide to the paranormal. The exploratory, whimsical spirit of its creator is evident throughout the release, but it also takes its subject matter seriously, making it essential for anyone interested in musical conjurations of the occult. This remastered edition marks the first official reissue of the album since its initial 1975 release, and it includes all the original liner notes.

ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.”

Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

Says the label: Ben loves Terre loves Robin is the second EP off Premature. Featuring works by Terre Thaemlitz (aka DJ Sprinkles), Scanner, and a first from London based producer Ben Galyas. The EP builds upon a private archival project involving Thaemlitz and Scanner, "Terre loves Robin" brings deep solo recitals to intercepted telephone conversations (think Leveson, just more intimate). Galyas' "Cloud Version" is heavy ambience, glitched piano and harpsichord. Limited to 500 copies.'

"Spoki (Ghosts) is the sound of an artist putting their private world to tape. Of exploring and pushing the limits of themselves and technology to realise the music in their head. Recorded in Riga between 1988-2011.
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As Ingus Bauškenieks himself explains: My own world differs a little from my friends' tastes. And - as my father said - the collective art is not art at all.

The music of Ingus Bauškenieks is both deeply private and completely alien. Experimental yet happy to celebrate pop influences such as Engelbert Humperdinck, Simon & Garfunkel or Fleetwood Mac. It is shaped by the artist's engagement with technology and his strive to put to record his 'own world'.
As Ingus explains, it is the sound of him: doing what I like to do.'

Vinyl version of Touch release TO94, incl. downloadcode. Vinyl is 180g. Limited edition of 500 copies only.

For the past decade or so, Polish musician Michal Jacaszek has been exploring a new, resolutely modern chapter in Eastern Europe's long, storied love affair with classical music. His creations are painstakingly crafted collages of electronic textures and baroque instrumentation, harpsichords being swarmed by woolly static one minute and pulled apart by billowing wind the next. A push-and-pull tension runs deep and constant throughout. Ambient music is rarely so sonically challenging. Jacaszek has recorded for Ghostly International, Miasmah, Gusstaff Records and Experimedia, as well as other labels. This is his first release for Touch.

Michal Jacaszek writes:

"When poets and writers declare their enchantment for the forms of nature, they often use musical terms as metaphors. Visual artists' creations often resemble graphic partitas, when recapturing the rhythms of landscapes. Confirming, in a way, these musical intuitions, composers write great music deeply inspired by birdsongs, wind rustlings, waves repetitions etc.

Making "Catalogue des Arbres", my ambition was to join this broad artistic movement devoted to natural phenomena and find my own way to describe trees: their forms, atmosphere and mystery. I have started with "open air" recordings, capturing mainly leaves' rustlings - from different distances, in different locations and weather conditions. This collection of nature recordings was transformed into a kind of "organic drone" and becomes a main background for instrumental and voice improvisations. My initial inspiration herewas Olivier Messiaen's bird songs transcriptions for piano - the composer's work title "Catalogue d'Oiseaux" I have paraphrased on my album. A piano, clarinets, violin and percussion parts, performed by the Kwartludium ensemble, were electronically processed, and afterwards all this electro-acoustic material was turned into a collection of eight soundscapes - forgotten songs performed secretly by my beloved trees."

Black Mass is an album of supernatural electronics from synth pioneer Mort Garson, the mastermind behind the cult classic Mother Earth’s Plantasia. Originally released in 1971, it’s his only release under the Lucifer moniker, and it taps into a profound darkness that may surprise fans of his sunnier work. These songs are Garson’s synthesizer interpretations of occult and esoteric phenomena ranging from the Satanic black mass, to exorcism, to witchcraft, and beyond, and they’ve inspired artists from Coil to Oneohtrix Point Never. This deluxe remastered edition presents the album in full with all original liner notes.

ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

• Supernatural and occult-themed electronic music from composer Mort Garson (Mother Earth’s Plantasia)
• Served as inspiration to contemporary artists from Coil to Oneohtrix Point Never
• Remastered from the original master tapes

Black Mass is an album of supernatural electronics from synth pioneer Mort Garson, the mastermind behind the cult classic Mother Earth’s Plantasia. Originally released in 1971, it’s his only release under the Lucifer moniker, and it taps into a profound darkness that may surprise fans of his sunnier work. These songs are Garson’s synthesizer interpretations of occult and esoteric phenomena ranging from the Satanic black mass, to exorcism, to witchcraft, and beyond, and they’ve inspired artists from Coil to Oneohtrix Point Never. This deluxe remastered edition presents the album in full with all original liner notes.

ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

• Supernatural and occult-themed electronic music from composer Mort Garson (Mother Earth’s Plantasia)
• Served as inspiration to contemporary artists from Coil to Oneohtrix Point Never
• Remastered from the original master tapes

After seven years, the second release of Max Loderbauer on Non Standard Productions arrives again in his style of post - german - electronic - avant garde. “Donnerwetter” is the perfect blue print of modern reduced electronic adventures. Carefully chosen out of a pool of recordings produced by Max in the last years, slightly edited and arranged into a full length album.

Mort Garson’s road to cool cultural caché and the sublimity of Plantasia meant a decades’ long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at Music from Patch Cord Productions, this set of queasy-listening you now hold.

Music from Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Were there really account managers out there in the early ’70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance.

Other curios and questions abound. How did Garson’s arrangement work for Arthur Prysock’s satiny body worship album This Is My Beloved transmogrify into the body-snatcher pulses of “This is My Beloved”? Are the two pieces even related? What is the IATA code for the airport of “Realizations of an Aeropolis”? What denomination is the “Cathedral of Pleasure”? If “Son of Blob” sounds like a hallucinatory melted ice cream truck theme, what on earth does Blob’s father sound like? Every sound wrangled out of that Moog by Garson pushes things further and further out.

Of course, these are all questions that may never get answers, as Garson wasn’t the most organized modern day composer, busy as he was conjuring strange new realms with his circuit boards and synths. He worked and wrote right up until his death in 2008, his daughter and Sacred Bones still going through all of the material left behind. He wouldn’t live to see it, but his renaissance was just around the corner, the seeds that had been scattered in record bins around the world suddenly coming to bear fruit. Take a bite!

Synth ambiences, acoustic landscapes, deep songwriting and subtle candombe percussions combine in most of the musical output released in Uruguay during the 80s. A very unique sound was developed within the narrow boundaries of Montevideo by just a small group of very talented artists. These sounds reverberated in singer-songwriting, jazz fusion approximations, experimental music and the work of musicians at the intersections of these worlds.

In “América Invertida”, ethereal vocal arrangements and acoustic guitars cohabit with synthesizers and drum machines; Candombe and Latin American music form a fellowship with new wave and dream pop.

"América Invertida" is presented with obi strip, deluxe artwork finishing and insert including extensive liner notes and previously unseen photos. Most of the tracks are reissued here for the first time.

This compilation is the fruitful output of a collaboration with Montevideo based label Little Butterfly, the first of many to come

The first release on EN.KI.DU.NU (a new project from the mysterious Light Sounds Dark crew), entitled 'Copernicus was my Grandad, Kepler was my Uncle' is a mystical journey to the outer reaches of space and back again, who knows what we'll find during our first mission, but you can be sure there shall be some curiosities along the way.

Yoshinori Hayashi debuted his musical career with 'The End Of The Edge EP' on Going Good Records (UK) in 2015. This release was received with critical acclaim and ended up at #6 in Juno's top 50 Singles of the year. He then dropped two other killer 12s the following year ("Asylum' on Lovers Rock & 'The Forgetting Curve' on JINN Records, the latter included a great remix by DJ Sotofett) Born & based in Tokyo, Yoshinori Hayashi debuts on Disco Halal (Moscoman's already cult imprint) with an out of this world 4 tracker, blending his unique take on house with psychedelic & jazz influences. Disco Halal counts in its catalogue amazing releases by Red Axes, Autarkic, Simple Symmetry, Chaim and many more. Deluxe packaging includes white vinyl & printed innersleeve.

Mannequin Records is elated to present a double-LP compilation of the Dutch industrial-experimental heroes Doxa Sinistra.

Preciously selected by the expert ears of Frank Brinkhuis, head of Trumpett, "Universo" is spanning from 1982 to 1988 through their entire discography.

Doxa Sinistra was formed in Amsterdam, The Netherlands, early 1982. On the strength of live performances at Paradiso and Ultra venue Oktopus, the two piece band was invited by Trumpett to record an album in the Freakowitz & Einstein Studio in Den Burg on Texel. Armed with their Korg MS-10 and Korg MS-20 synths they took the ferry to the West Frisian island, and spent a week recording in the legendary Trumpett HQ. The result, the debut cassette Via Del Latte, was released in June 1982. Just months later band member R. K. kidnapped the band name, formed a new duo and played one live date. After that the project fizzled out.

Until early 1984, when Trumpett and Doxa Sinistra received an invitation from Italian cassette label ADN to record a new album. The invitation was accepted and Doxa Sinistra Mark II was born. Conveyer Belt, recorded between June 1984 and February 1985, appeared as an ADN/Trumpett co-release in August 1985.

After the move of the Trumpett Studios to Amsterdam late 1986, Doxa Sinistra started demoing a new album in the Summer of 1987. California based Undergroud cassette label Ladd-Frith were keen to release the ultimate results. Recorded early 1988, Newsflashes, the group's third and final album, was released as a Ladd-Frith/Trumpett co-release in the Summer of 1988.
Limited edition of 300 copies.

Susanne Dundler a.k.a. Kirsche von Bubach is a contemporary artist whose artistic expression includes video, multimedia installations and sound. She is an active member of the sound collective Dynamische Akustische Forschung (DAF). „Change The Parameters A Little Bit“ is her first release.

Recorded as one take, „Change The Parameters...“ is a rough piece of sound art, evoking reminiscence to the sounds channeled at GRM as well as the general vibe of 80’s tape underground weirdness or bringing to mind contemporaries like Pauwel de Buck (in terms of experimentation) or Jasmine Guffond (in terms of minimalism).

For an example, as much as rhythm and sequencing make up an integral part of Dundler’s playing, she doesn’t aim for a cheap shot and uses it not as a means to organize sound, but more as a specific timbre - creating a certain vibrancy, where intervals of silence are as much of importance as the more audible oscillations in between. Of course, repetition plays a vital role on this journey, but again: you won’t hear pathetic build-ups on this release. It is not about construction, but all about creation. Recorded on a microkorg with minimal setup, this music is completely unsentimental, yet deeply personal and human. It’s like with every new track, she is cartographing new ways to walk, breathe, see. The Kirsche von Bubach is defining a territory of sound while walking through it - carefully, playfully, with open ears and a distinctive sense for phenomena.

Distilled from an hour-long improvisation and sparsely edited and produced, its rough, grainy lo-fi sound aesthetic is what holds these tracks together, as much as they work perfectly as single tracks, which is also owed to Dundler’s narrative titeling. For real - „Dead Silky“ or „Easy Escalator“ would make total sense as essays. Or take „Waking Up Late“: it takes you where it goes, harsh, yet super quirky, fucking with your perception in a super safe and open way - like this is what japanese harsh noise might sound like when you’d blow away all that toxic masculinity.

Also, as the album title suggests, you can read this one as a reflection of right now, a comment on how drastic the turning of a knob slightly into one direction or the other can change a whole system.

Clear Vinyl

Parisian lynchpin Krikor Kouchian summons spooked-out radiophonic sounds in his superb, as-yet-unreleased soundtrack for the 2014 redux of Jean Epstein’s pioneering, silent 1920’s avantgarde cinema classic. A must check for fans of Elodie, Kevin Drumm, Mika Vainio, Eliane Radigue.
The 1927 film ’Six Et Demi Onze’ tells the tragic romantic tale of two brothers who, unbeknownst to eachother, fall in love with the same woman. A timeless psychological narrative involving suicide and lies ensues across the film’s grand locations, but on his soundtrack Krikor prefers to home in on the internal thoughts of the film’s central protagonists, outlining a claustrophobic atmosphere in some of his subtlest and most affective soundtrack work, which follows from a panoply of scores for everything from an Arnold Schwarzenegger documentary, to films on Franco-Saudi geopolitics and fantasy sci-fi. It’s arguably Krikor’s finest endeavour in this arena.
Recording for the score was made on portable recorders and laptop, which serve to heighten and intensify a “huis-clos” (“behind closed doors”) effect. Limned in sferic and plasmic tones, the 12 pieces suggest scenes and sensations of intrigue, loss, and paranoia, using specific palettes and particular techniques to connote the internal thoughts for the trio of characters: modified soundfield recordings represent the older brother, while old school radiophonic processing
mirrors the younger sibling’s feelings, and what he terms “advanced time expansion” for the female love interest. The results were pre-planned and mapped to the film’s edits, but ultimately Krikor
improvised the parts, adopting a more classical, non-linear approach with cranky old upright piano for the other scenes, capturing a mix of subliminal instinct and more measured articulation.
The results weigh up as Krikor’s most elusive and haunting solo missive, mirroring a wealth of classic French film music and avant-garde minimalism, and serving to slot neatly on Boomkat Editions’ vinyl series beside soundtrack (and related) works by HTRK, Ø, and Akira Rabelais.

Lost PHILIP GLASS Recordings from 1975 - ORTF
The newly discovered and unreleased concert from 1975 recorded by the Philip Glass
Sextet at La Maison de la Radio, Paris.
The sextet is composed of Philip Glass, Jon Gibson, Dickie Landry, Michael Riesman, Joan
La Barbara and Richard Peck.
Music in Twelve Parts is a set of twelve pieces written between 1971 and 1974. This
performance in France includes part 1, 2, 3, 11 and 12 on a double LP.
Also included a very rare Philip Glass interview from 1974 in his NYC loft during the
rehearsals of this piece, produced for the French radio by Daniel Caux - musicologist and
co-founder of Shandar Records.
A never before released -Philip GLASS (1975) live recordings, released in partnership with
the National Audiovisual Institute - INA.
"A new sound and a new chord suddenly break in, with an effect as if one wall of a room
has suddenly disappeared, to reveal a completely new view." - A. Porter

Black/white riso printed Jcard, black tapes screen printed w/ white ink

Listening to Linja’s debut LP makes one think of Polish director Yuri Norstein’s gloomy melancholic (yet playful) movies, or perhaps just of a rainy day, or Chopin.

Velvet Noise is a collection of 7 experimental pieces made by Linja sometime around 2016-2017, using drum ma- chines and a lot of modular synthesisers. The album is woven with Simple melodies that crack through the squeaks and the bleeps, eery pads that fill the voids all sorts of FX. The atmosphere becomes filled with tension when it is playing in the room, as if something is clearly about to happen. Linja’s album is not so easy to describe, and yet due to its coherence and storytelling it has a certain feel and per- sonality of a good book rather than just a record. “It transcends its existence as a record”.

Estonian violinist & singer Maarja Nuut & LA's psyche-experimentator Sun Araw hand in gentle, unpolished improvisations on their collaborative album “Fantasias for Violin & Guitar”, recorded live on location by Jackson Bailey aka Tapes.

Brought together by Tallinn’s IDA Radio under the umbrella of a 10-day sound residency in magnificent Narva Art Residency on the border of Estonia & Russia, Maarja Nuut & Sun Araw set up their gear to jump head first into unknown territory of live-improvisation.

Don’t let the title fool you though, as the intro “White Comb” unveils, there’s more here than the old violin & guitar: Buchla magic, entertaining tries to MIDI a violin, gentle glockenspiel fills & ringing bells, occasional bursts of electronica zooming in from unknown sources & Cameron Stallone’s guitar swings all over the place glued together by Maarja’s stellar voice.

Bradley Zero celebrates five years of his Rhythm Section International imprint with 12” compilation SHOUTS Vol. 1 & 2. Vol. 1 represents the more club ready side of the label whilst Vol. 2 explores more mellow territories. Famed by Mixmag as one of the Top Ten DJs of 2019, celebrated as a “figurehead for the exploding south London scene”, and “responsible for spreading the gospel of the city’s new Jazz sound”, it’s clear to see why Bradley Zero is quickly becoming the taste-maker of his generation and Rhythm Section INTL as one of the most respected outlets for authentic global cuts. A go-to label for the
connoisseurs Rhythm Section INTL is a UK staple. The raison d’être has always been to unearth and nurture new talent, not just via the catalogue but through the now established network of radio shows,
concerts and club nights Rhythm Section has become known for. The SHOUTS compilation and accompanying celebratory tour is a continuation of this mission. SHOUTS is a nod to the online radio culture that birthed the movement. SHOUTS is the label using its
voice to amplify its peers. SHOUTS is Five years of Rhythm Section International.

Come join Spaniard Juan Alberto Arteche Guel and his musical co-adventurers on their good ship Finis Africae on an imagined musical journey along the Amazon. This is a CD and vinyl LP reissue of their 1990 album, a rare and highly sought-after Balearic classic, Guel's masterpiece. Finis Africae was part of the musical flourishing that emerged at the end of the Franco regime, and this album, guided by the visionary Guel, captures the mature results of that era of new-found openness and freedom. Capturing Guel's production skills at their peak, "Amazonia" is informed by Jon Hassell and Brian Eno and their idea of a "fourth world" music. Arrangements which are spacious and fittingly aquatic feature electronic and acoustic instruments in thematic pieces which at times free-flowing and at others ripplingly percussive. Vividly imagined and beautifully recorded, this is a pleasant and memorable journey.

Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.

Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.

A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).

In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.

In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.

"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."

John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.

Compilation of slow industrial punk EBM edits by Russian duo Olta Karawane. This is their second appearance on Maturre after their previous release on I'm a Cliché last year.

Untold’ is an experimental electronic LP from multi-disciplinary artist and author Sophia Loizou. Depicting a series of speculative sonic landscapes; animals, ocean waves and weather systems are abstracted into eco-centric cyber-dreams creating powerful ambient compositions that invite us to see the Earth through the eyes of others.

‘Untold’ is not about the natural or the technological but the relationships between the two; sonic textures, breaks and melodies are shaped by the dynamics of a lion’s roar or the rhythm of a dolphin’s echolocation emissions. “I didn’t want to make it human-centric,” explains Sophia. “I wanted to remove my compositional and structural domination, to find ways to make it about the symbiosis of systems I see in the world.”

‘Untold’ is part of a much bigger multi-disciplinary project that also includes a collection of poems with accompanying audio, artworks, an AV show and a lecture performance.

Mastered and cut by Matt Colton @ Metropolis.

For its third release Marginal Returns welcomes veteran DJ and producer Controlled Weirdness (London's Neil Keating) to the label. 'Tenth Floor’ showcases Keating's elegant, slanted take on classic techno and electro.

‘Flow State’ is signature Controlled Weirdness - sharp yet perfectly balanced acid-electro, ‘Halfpenny Hatch’ is a sparse but weighty peak-time tool, and the playful UK skip and belltones of ‘Italian Summer’ provides a lighter moment. Detroit meets Deptford on ‘The Art of Blagging’, which concludes the EP masterfully, techno music of the spheres.

MW007, 'Furi', is a collection of tracks from two Berlin-based friends / artists Exael and Arad Acid. The material highlights the commonalities between their individual and collaborative works, moving from boundless and chaotic energy to soft kinetic radiance over the course of seven tracks.

GES: Anthology of American Pop Music

Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original.
GES (Gesellschaft zur Emanzipation des Samples)
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Active members: Helmut Schmidt, Jan Jelinek
Founded: 2009
Headquarters: Federal Court of Justice, Karlsruhe, Germany
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GES Glossary

Acoustic Surveillance Series

A 7-inch vinyl record series curated by GES focussing on historical methods of acoustic surveillance. Each record introduces a surveillance system from the past. Starting with Uguisubari in 2017, the series will continue with the release of Orecchio di Dionisio in 2021. GES is open to further suggestions on this subject.

Bundesgerichtshof (German Federal Court of Justice), Karlsruhe

“The use of audio samples as artistic practice may justify the infringement of copyright and intellectual property rights.” (ruling of the German Federal Court of Justice pertaining to Metall auf Metall II, 2016). The court is also the official headquarters of GES.
Circulations

What happens to copyright claims when music from a passing car is captured in a street recording? Is it legal to use this recording freely or is it necessary to obtain licensing rights? Circulations re-enacts this recording situation: audio players are placed in public spaces, where they reproduce the desired sample material. The acoustically choreographed space is then recorded, creating a field recording in which everyday noises circulate together with seemingly incidental music.

Emancipation of Sampling

Fuelled by its criminalization, the act of sampling existing recordings forfeited some of its artistic prestige (see Sampling). GES wishes to rehabilitate and re-emancipate the practice of sampling as a form of art in its own right. Strategy: 1. Name samples and sources explicitly. 2. Choose samples that are as popular and as recognizable as possible (Beatles, Carpenters, etc.). 3. The editing and manipulation of the sample must not compromise its recognizability (negotiable). 4. Use as many samples as possible. 5. Always name more sample sources than were actually used in the composition.

Field Recording

A compositional practice widely used in sound art and ethnomusicology that involves the recording of natural acoustical phenomena. Two additional requirements are usually imposed: The recording process should take place outside a studio environment, i.e. outdoors. And the person recording does not generate any of the acoustic material him/herself. GES expands this definition by introducing the concept of choreographed public space (see Circulations).

Gambling

An acoustic event favoured by GES, already used in numerous sound collages (must take place in public). The most popular option is thimblerig, a cup and ball gambling game commonly played in the street. Compositional instruction by GES: Place an audio playback device in the proximity of a thimblerigger. Play works for orchestra (by Debussy or Mahler). Move slowly towards the gamblers with a microphone.

Helmut Schmidt

Multiple identity and fictional character devised by GES. Figures variously within the semiotic system of GES as member, guest artist or public representative. Following the historical example of Subcommandante Marcos (EZLN).

Kraftwerk

The German band founded by electropop musicians Florian Schneider-Esleben and Ralf Hütter (a.k.a. Die Prozessoren) is the natural enemy of GES. Protected by computer-generated avatars, Kraftwerk operates a quote-hostile cultural hegemony. Their strategy: Install a special brand in the collective consciousness by means of a sophisticated system of quotations and references that may in turn not be quoted by anyone else. Other bands with such delusions of omnipotence: U2, Metallica.

Marcel Duchamp

As the inventor of the readymade, Duchamp may be viewed as a precursor to the art of sampling. However, the artist is appreciated above all for his sonorous qualities, as his vocal silence has often been sampled and processed. It was the inspiration for Jelinek's radio play Zwischen.

Orecchio di Dionisio

This 65-meter-deep limestone cave in the Sicilian town of Syracuse, carved out of a hillside in ancient times, has exceptional acoustics: A person standing at the cave entrance can hear every word whispered deep down inside it. The painter Michelangelo da Caravaggio gave it its name (The Ear of Dionysius) in 1608. The cave indeed resembles an ear and – according to Caravaggio – had a specific function: The tyrant Dionysius I imprisoned his political prisoners in the cave in order to spy on them. Orecchio di Dionisio will be featured in the Acoustic Surveillance Series in the near future.

Sampling

Compositional practice whereby recorded music is fragmented, turned into sound collages and transferred into different contexts of meaning. Since the advent of affordable sampling technology in the 1990s, the music industry has been trying to criminalize and/or promote the practice. Both strategies are driven by the same principle: Profit.

Uguisubari

Sound-making floorboards in Japanese temple and castle complexes, featured in the Acoustic Surveillance Series in 2017. In the Edo period, the “nightingale floor” (literal translation of uguisubari) was a popular acoustic warning system. The principle was straightforward: When someone stepped onto the boards, nails would rub against metal clamps beneath the floor, creating a tell-tale squeaky sound that was said to resemble the chirping of the Japanese nightingale.

Wind

A generator of acoustic events and an amplifier/transmitter of existing sounds. A meteorological form of energy appreciated by the GES on account of its unpredictability. A series about wind as an acoustic phenomenon is planned. Working title: Hotel Corridors.

Zwischen (Between)

Radio play by GES member Jan Jelinek based on recordings of various public interview situations. From the speech of the interviewees (all of them eloquent personalities) the pauses between coherent utterances were extracted and assembled. What we hear is an archaic body language: modes of breathing, word particles and onomatopoeic turmoil. A key question for GES: Which comes first, personal rights or artistic freedom? For Zwischen, Jelinek used only recordings by public figures that were already available to the public.

Aber mich macht’s traurig ("But It Makes Me Sad") is Kai Althoff’s first regular release after several records as Fanal and before with his band Workshop. The music for the double album was recorded by Kai Althoff between 2016 and 2019 with numerous instruments - including synthesizers and various flutes, guitars and African drums, rattles, cymbals, ratchets and Japanese string instruments.

"Nobody had to bear this music, neither was it thought out by anyone, played by none, nor dedicated to someone. Also, one no longer is, and therefore this utterance generates itself and is music to nobody’s ears.

Organizing the entombed power structures, paving alongside the most beautiful nettle-seamed trickle of remembered civilization on one’s own authority, which eventually gives in to its assumption; its mouth pasted (over) with the dried-up vomit of its intentions, never to open again. It carries this desparate melancholy, always ready to ridicule all of its (own) forms, to get to the bottom of all matter. Poking in the flesh of doggedly pursued gnosis with fingers, with weary despisement, deflating to crinkly tissue after life’s bloating :Oh, seriously! How could I be sad, the way they carry themselves and sing as they do that Alas, those whose fingers these are, just take those flutes and instruments! —- in liberation without the Idol, to no longer play something."
A.M.

Loraine James follows up 2019's acclaimed 'For You And I' album with a new four track EP, `Nothing'. Her chosen collaborators empathetically extend the feeling in her music with their own unique energies; Uruguayan singer and producer Lila Tirdo a Violeta, Farsi language rapper Tardast, and HTRK front-woman Jonnine Standish. The arc of the EP starts with Lila Tirdo's numb, repeated vocal on the title track. On `Marg', meaning "death" in Farsi, the tense drama of Tardast's despairing poetry describes the hopelessness of refugee experience, cold chords rolling sympathetically around his words. Jonnine shifts the mood with `Don't You See It?', recounting a moment of clarity which allowed her to leave a destructive relationship, Final track `The Starting Point` finds Loraine solo, with punched in bass and chaotic drums pushed through fxs that settle into a plaintive piano melody, the first and only instrument she says she's able to play "properly".

Killer Compilation That Sheds Light On Oddball Tunes Made In Australia And New Zealand During The 70's And 80's.. Tipp
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For Musicians Inhabiting The Antipodean Countries Of Australia And New Zealand During The 70's And 80's, It Was A Geographically And Culturally Isolating Environment. Boutique Shops, Community Radio And Mail Order Exchanges Championed Independent And Contemporary Music From Across The Globe. It Was, However, This Isolation That Caused A Number Of Small Community-focused Scenes To Evolve, Creating Their Own Unique Interpretation And Reappropriation Of Outside Influences. Through Both These Scenes And Government Initiatives, A Vast Amount Of Music Emerged On Self-released And Independent Labels.

Yet, Even Among Small Scenes That Were Creating Unique Sounds, A Number Of Artists Seemed To Be Making Music That Was Neither Here Nor There, Often Meshing Together Numerous Genres And Influences To Create Anomalous Sounds. Artists Like Olev Muska Along With Ingrid Slamer Meshed Traditional Folk Songs Of Their Estonian Heritage With Cutting Edge Computer Technology. Ngahiwi Apanui Used His Native Language Of Te Reo And A cheap Drum Machine' To Create A Pulsating Tale That Highlights The Creation Of Aotearoa (the Maori Name For New Zealand), While The Free Radicals Would Sing Through Pvc Pipes To Construct Their Vision Of Post-apocalyptic Tribal Music. Sydney's Nic Lyon Used His Classical Training To Craft A Distinctive Gem Which Matched Eastern And African Influenced Instruments With Synchopated Drum Machines, While Artists Like Delaney Venn And Toy Division Managed To Challenge Their Post-punk Sensibilities By Blending Both Dub And Atmospheric Sounds Respectively.

Compiled By: Chris Bonato And Umut Turkeri

Various Artists: Introduction to Dungeon Rap ushers in a new movement in underground hip-hop. With a sound pulled from war time machinery, rituals and ancient runes, this 7" sampler pulls together cuts from the long sold-out tape release, with tracks coming from DJ Armok, Pillbox and DJ Bishop.

Tangerine Dreams Livekonzerte waren in ihrer 1970er Hochphase improvisierte Klangerlebnisse, die mit geringem oder gar keinem Bezug auf ihre ebenfalls esoterischen Hitalben Abend für Abend anders klangen. In den 1980ern konkretisierte sich ihr Sound zu erkennbaren Strukturen, wodurch die Band Soundtrack-Erfolge für einige der grössten Filmproduktionen des Jahrzehnts (Risky Business, Firestarter, Near Dark, Thief, Sorcerer) erzielen konnte. Heutzutage kehren die bestehenden Mitglieder Thorsten Quaeschning, Ulrich Schnauss, Paul Frick (Brandt Brauer Frick) und Hoshiko Yamane zur Improvisationsmethode der frühen Tage zurück und spielen Livesessions als Konzert oder per Stream, von denen die besten Aufnahmen in der "Sessions" Albenserie erscheinen, die im Herbst 2020 mit Vol. II und III fortgesetzt wird. Beide neuen Veröffentlichungen wurden vom prämierten Vinyl-Toningenieur Miles Showell (The Beatles, Queen, ABBA, Amy Winehouse, The Rolling Stones, The Who, Lana Del Rey, Dido, Underworld) in den Londoner Abbey Road Studios gemastered.

The music of Black To Comm is as powerfully intoxicating as it is subtly unnerving. The solo project of shapeshifting German producer and sound artist Marc Richter, his mastery of sonic manipulation is matched only by his astounding clarity of vision.

Following the acclaimed ‘Seven Horses For Seven Kings’ released just a year ago, ‘Oocyte Oil & Stolen Androgens’ applies Richter’s wild imagination to an exploration of the human voice, standing as some of his most immediate and affecting music to date.

Each of his phantasmagoric works is meticulously constructed from an omnivorous array of smudged samples and other sonic detritus, painstakingly collected by Richter from across the history of recorded music or his immediate environment and altered into beguiling new shapes. Sound sources seem tantalizingly familiar and yet often just out of reach, flickering at the edges of the subconscious.

Available on CD, translucent green vinyl and black vinyl. All vinyl packaged with digital download card.

Emotional Response is delighted to present a special project, a collection of music from Bartosz Kruczynski, recorded for "Selected Media" and presented here as a time-piece of his continuing works.

Initially known as one half of sample based project Ptaki (The Very Polish Cut Outs / Transatlantyk), Kruczynski first appeared for Emotional Response as The Phantom for the first series of SchleiBen in 2015. Featuring two works of deep 'fourth world' sounds, they highlighted a shift to more mellow, synthetic and hazy compositions.

His break out came, however, when he explored this sound further on his eponymous album Baltic Beat, for the acclaimed Growing Bin Records. This has been augmented with the recent club based music as one half of the wonderful Earth Trax (Rhythm Section International / Phonica Records) project.

Here though, Kruczynski returns to the ambient and ethereal - plus a touch of dub techno - to showcase his expansive collaborative work with Polish studio, TVP Culture. Given free artistic license, the 15 'short form' recordings included here were for programming, in the main, on modern Polish Art including the likes of Magdalena Abakanowicz, Miroslaw Balka and Tadeusz Kantor, as well as some international aspects for Enrico Prampolini, Ai Weiwei and Monica Bonvicini.

Taken from over 70 episodes the material included recollects imagery, video and memory to present a series of short vignettes that together create one whole. Minimal and hazy ambience (V, VII, VIII, XI, XII) envisages classic melodies and chords and is accompanied by further 'fourth world' pieces (I, II, III, VII, X) that present an oeuvre that is recognisably the music of Kruczynski, while remaining fresh and perfectly meditative.

A counter can be found in the atmospheric dub works (IV, IX, XIV) that hint at echo chamber environs to get infinitely lost in. As an album then, "Selected Media" can be heard as a snapshot to Kruczynski's music journey, a meeting of art and music that is oft overlooked but very much essential.