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Vanish is Julia Reidy’s yearning, fat debut for Editions Mego. Since 2019, Julia’s bubbling 12-string guitar work - sighing streams of crystal plucks drawn closer or echoing on - has moored a tactile, ever-lusher sound. On ‘Guitar’, the Australian, Berlin-based musician melts down sharp synths; electric fuzz and flex; uncanny found sounds; and autotuned voice and harmonica in a heady, overpowering potion.

Reidy’s music sweeps you up. It’s restless, always travelling on. Lonesome tones into machine chorales into hesitant hum. The LP’s side-long cuts sway between scenes but are always rooted: Julia’s guitar and vocal lines seem mapped to the natural ebb and flow of breath and thought, they lull you as they push through vast and secret spaces.

Vanish completes a trio of releases begun with last year’s ‘brace, brace’ (Slip) and ‘In Real Life’ (Black Truffle). The delicious unease, the anxious burning of the preceding volumes has settled, becoming more wide-eyed and resolute. For all its poise, the album’s sense of build - electric licks rasping into glistening synths, punctured by distant kicks - feels freshest. When 'Oh Boy'’s smudged whistle comes, it has fought its way out of the thickets, and hits like heartbreak.

* Mirae Arts presents Hush Residence. We are joined by old friends and new comrades from the Kantō underground.

* C-Kay is co-founder of the Tokyo-based collective Space Baghdad and resident DJ of Constant Value. C-Kay is typically busy shaking dance floors with her hypnotic DJ sets, but also producing music for experimental labels such as Subsist Records and Constant Value Records.

* Saraam is a Tokyo-based sound artist, performer, and DJ under the Constant Value banner. Saraam is also a resident of the yearly Tokyo Festival of Modular.

* Katsunori Sawa and Damaskin return to Mirae Arts in their usual noisy disguises.

* Hush Residence is a compilation featuring four experimental techno tracks from Katsunori Sawa, C-Kay, Damaskin, and Saraam. Mastered by James Plotkin.

* Artwork illustration is done by Sydney based architect, Patti Bai.

* Vinyl pressed at the highly reputable Gotta Groove Records, Cleveland, Ohio.

* Comes with polybag packaging

A Blade Runner feeling of anxiety blends with playful basses or haunting flanger sounds. Hope flashes from time to time and strong piano events moderate the energetic Hyper Jazz, released in two parts on Lockertmatik as the first. Recommended!!

For the second release on the Galaxiid imprint, a label of electronic music archeology and quality, we are transported to the strange sonic world of an elusive 90s pioneer. Solar X's 1997 album X-Rated will be released for the first time on vinyl, as well as reissued digitally, with new artwork by the Japanese artist Keiichi Tanaami. Two worlds connecting sonically, visually and culturally.

Solar X enjoyed a burgeoning career in post-Perestroika Moscow making playful, low-tech electronica from Soviet analogue instruments, which he masterfully configured to forge animated compositions and dancefloor rarities. Fascinated by chaos and complexity, his music explores the ways in which our minds can be manipulated by structure - an endeavour quite plausibly linked to his other career as a lecturer and researcher of AI, information theory and cognitive science, his interest in which was in turn triggered by his young experiments in computer music.

Solar X gained international attention at a time when Russia was (quite unfairly) seen as a vacuum for electronic music, but was exploding in the period of piracy, poverty and freedom following the collapse of the USSR. Young Russians had benefited from the soviet education system and there was a strong DIY computer programming and music scene, fuelled by hackers, gear freaks and party animals. Viewed from today, the album is reborn at a time of further political and social strife, which many see as fuelling the huge creativity and radical thinking of modern Russia's young creatives.

X-Rated treats tempo and form as fluid concepts, administering sudden changes to its sonic landscape with disorienting effect, underlain with a subtle dose of humour and experimentation. Downtempo trip-hop sits alongside frenetic IDM and blistering electro, all bound together by peculiar melodic inflections and lively distortions. Warm, trippy harmonies and robotic synths are offset with angular drums, shifting erratically through moods and genres with cunning intent. Much like his contemporaries from the era, it's his ability to breathe life into a humble production setup that makes his music so compelling some twenty one years later.

The track titles are from a book of call girl cards in London phone booths, that reached the artist in Moscow in 1995. "I liked the titles from these cards, which were self-promoting and offering pleasure (e.g. "Mistress awaits you"). So, I thought since my tracks also offered some kind of pleasure, they might as well advertise this through their titles.'

Label head Nina Kraviz was introduced to the work of the 83 year old sensei Keiichi Tanaami by Ukawa Naoshiro, founder of Dommune in Tokyo, one of the brightest figureheads for the arts in Japan, responsible for the graphic design of the cover. In September 2017 Nina played for the opening of Tanaami-san's first exhibition in Moscow at Gary Tatintsian Gallery. Nina performed a live sound palette, to accompany the looping 7 minute animation, of experimental music from the Soviet Union, Russian pioneers of electronic music like Species Of Fishes and SolarX, Soviet-time pioneer Lev Termen, Kuryochin, avant-guard rock mixed with some Stockhausen and just pure abstract sounds, as well as treasured artists like Biogen.

Tanaami's illustrative work has strong sexual elements, so out of the five art pieces Nina selected and commissioned for Galaxiid, the first fits perfectly for 'X-rated'. The vertical line of text on the left is the traditional form for Japanese covers of foreign releases. The cover, together with the accompanying poster and sticker, are printed in Japan to ensure the highest print quality and purity of the colours.

From Mille Plateaux to Leaf, Staubgold and Raster-Noton, ~scape, or on his own label Ripatti, the Finnish artist Sasu Ripatti aka Vladislav Delay has been exploring various iterations of the dub culture vs. electronica, since 1997. His sonic crafts and unique signature sound has been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective or AGF.

Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being, influenced, Vladislav Delay is building a drifting and coherent sound enigma.

Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project.

The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar and Shakespeare.

In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip.

This became a tribute to the 'dub spirit', but in a very personal way, far beyond any influence or "the obvious". 500-PUSH-UP is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments - for instance - such as Lee Perry's 'Scientist Rids The World Of The Evil Curse Of The Vampires' or the On U-Sound productions.

Written in Toronto and Montreal between 2017-2018, this debut LP from ex-terrestrial is in part the residue of long drives through Belgian countryside listening to shadow music. Gamma Infolded is a reflection of the fractured self, a culmination of distractions erected into intricate edifices. Dense foundations of dissonance support quirky, smile-inducing melodies in curious and odd states of being.
All that can break is broken and all that is amplified is nullified.

"Imagine the opposite of a snake shedding its skin: a body slithering among the debris of 21st-century music; a porous, viscid body, its skin an adhesive, lodging onto itself bits and pieces along the way. Some are scraps, rusted, discarded parts. Some are the jewels of crowns, unglued and fallen from grace, now re-attached on this makeshift contraption. Where does a body end? Does it end where these prostheses begin?

Jay Glass Dubs’ Soma (“body” in Greek) is a palimpsest. Look closely and you can find all sorts of DNA microarrays on the body’s skin – Bristol voices, Detroit electro hums, the amen break, the all-encompassing dub haze – but, as with all palimpsests, they are simultaneously one and a multitude. The body lives, its prostheses live.

The body moves."

On Pedro Vian's second album, the now Amsterdam-based artist opens up a new sonic chapter of his life, running through depths of emotions and feelings, traversing moments of euphoria, fury, serenity, hope and love. Recorded between 2014 and 2018, the self titled LP opens with a melodic flourish, drops down through mournful vocal driven pieces and lands on fast moving synths across a set of 12 deeply personal tracks.

A follow up to Vian's 2016 acclaimed debut album 'Beautiful Things You Left Us For Memories' - supported by Pitchfork, RA, XLR8R, Ransom Note, The Quietus, NTS - this sophomore LP shows the breadth and maturity of Vian's sound, falling in between the cracks of downtempo electronica, ambient and post rock. Pedro discloses: 'I have tried to be sincere, transparent and pure. During the recording process I have avoided artificiality. I do not like the overproduction of music. I like to feel the naturalness and the essence of the beat of the instruments. I like to look inside until I find something real with which to communicate'.

'Pedro Vian' arrives on Vian's own Modern Obscure Music imprint, home to like-minded artists such as Jamal Moss, Gavin Russom, Tevo Howard, Ivy Barkakati, Eterna and Sau Poler. Vian initially cut his teeth in the Barcelona scene, first as part of the duo Aster with JMII on Hivern Discs and Jamal Moss' Mathematics then as a solo producer on his own Modern Obscure Music, MM Discos and Spring Theory.

We are very proud to present THIS IS TECHNO JAZZ. VOL 1, a genre defining collection of music from artists coming from the jazz and techno scenes like Distant Echoes, TUN, Tensal, Mattia Prete, VSK, Fabrizio Rat, Gianluca Petrella, Flat Maze, Luigi Ranghino, Wrong Assessment, Irakli, Key Clef and more. Together, these contemporary innovators perfectly define the label's vision for jazz and techno fusions.

This label is all about drawing on the rich heritage of two of the most visionary and experimental genes in music: jazz and techno. Taking inspiration from the freeform creative nature of those two musical worlds, artists on the label mix tradition with modernity, improvisation with experimentation, and create a new sound known as techno-jazz. THIS IS TECHNO JAZZ. VOL I will showcase these ideas across 11 tracks (10 tracks in vinyl limited edition to be released in September).

Dystopian label associate and Out-er co-owner Distant Echoes opens up with 'Faction 200' featuring Gianni Denitto on sax. It is a cosmic adventure with freeform sax lines driving above rippling synths and broken beats. Milan based Wrong Assessment has built up a fine discography over the last five years, releasing his moody techno on the likes of Planet Rhythm and Dynamic Reflection. His deeply hypnotic sounds here feature the experimental jazz quartet Gamapawa, with swirling pads drifting about to make a mysterious atmosphere as distant trumpets bleed in and out of the mix and walking bass recalls the atmosphere of 70's jazz fusion. Heavy and industrial sound designer and audio engineer VSK then remixes the Torino Unlimited Noise trio's 'Jason' into a loopy, glitchy, unresolved bit of deep techno with thoughtful jazz chords and plenty of dubby bass weight.

Tensal is next and links with Torino Unlimited Noise for 'Devourer of Senses', a straight-ahead slice of linear techno that is powerful but also intriguing thanks to the off-grid keys, increasingly intense synths and dark sax motifs. Lecce's techno dreamer and forward thinking DJ, promoter and producer Mattia Prete offers 'Burning Man' Ft. Israeli pianist Uri Gincel and Berlin based experimental guitar player Daniel Calvi. It's a cavernous and absorbing track with freeform jazz drums and heavy drones that zones you out. Dreamy and abstract techno man Chevel can make all forms of techno, and here remixes Antares Mates's 'Movimento 2' into an experimental track with bright synths, sharp sax phrases and melodic rain over a jittery beat that suspends you in the cosmos. Producer and piano player Fabrizio Rat and brilliant trombone player Gianluca Petrella are another accomplished Italian pair and their 'Turn' is an elastic deep techno track designed to melt your mind with its dancing hi hats and increasingly manic trombone hits.





Irakli & Daniel Calvi's contribution is a dark and menacing piece with sci-fi synths that make for a turbulent intergalactic soundtrack, and 'Petardo Boy' by producer Stefano Mori and pianist Uri Gincel aka Flat Maze (who released their Dick Dunker EP on this label last year) is a tender and intimate techno cut with gentle keys and a sense of playfulness in the wonky chords. Last of all, synth magician Key Clef and piano legend Luigi Ranghino are label regulars who close things out with 'Piano Movimento 1', which layers up intricate phrases of jazz piano, evolving echos of drum machines and surging bass. It's poetic, intense, and thrilling.

The digital edition of the release includes also a bonus tracks by Finnish duo Aki Himanen on trumpet and electronics, and Aleksi Kinnunen on drums. “Dystopian morning jam” is an hypnotic progression of tight drum textures and dreamy trumpet phrases which slowly build up to a powerful final musical catharsis.

This is a collection of avant-garde music that breathes new life into both jazz, and techno, with fantastic results.

Colombian label Insurgentes welcomes back one of its own masterminds to present his eagerly awaited debut album, ‘Grial’. Verraco resurfaces as a self-reliant playmaker, willing to display a braindance articulation pulled from the south.

DJ Sotofett's double 7" album "Noldus" is a peculiar twist and travel. During 13 tracks & 27 min. it's compact and generous, short yet long, with a playback format that doesn't invite space of attentiveness to be left. Featuring Jaakko Eino Kalevi on drums, Tuomas Toivonen on synth & DJ Sotofett on vocals its recorded in a Helsinki Sauna, on a Swiss train and in Narrabeen Australia. The narration and music is beautiful, frenetic, with synthetic and organic elements battling as the King of Leftfield against sonic mice stuck in between two realities.

Founded by SHERELLE and NAINA, the highly anticipated label Hooversound has been making a lot of noise this year. Following on from their debut release from Hyroglifics and Sinistarr, they followed up in June with an another explosive EP from London’s Deft. They’re back to mark the third release on the imprint, this time with UK producer HØST delivering two moody bass driven tracks, with an official remix from Bristol legend, Om Unit.

HØST has experimented across a wide variety of genres, all laced with his uniquely dark sound. The two tracks on the EP are no doubtably the slowest BPM we’ve seen Hooversound explore, both spanning from 135-145, which shows the versatility and depth of the label whilst reflecting the broad sounds within the exciting UK bass scene.

Whilst HØST delivers the deep technical production, Hooversound brings in one of the most influential artists in electronic music, Om Unit, on the official remix of ‘Survive’. Om Unit brings the tempo up with his signature sound, flipping ‘Survive’ into a fierce 80bpm record, giving the EP an extra dose of energy.

HØST began experimenting with production around the age of 13. He went on to learn piano, trumpet and guitar which sparked his passion for electronic music production which leads to his sound today. Having had releases across Noisia’s imprints, Saturate Records and Aufect Recordings, HØST is a producer that experiments with twisted bass and melodic melancholy pads which is perfectly executed in HOO03.

Hooversound founders, NAINA and SHERELLE are excited to finally announce the official release date and tracklist for HOO03, that was teased in their recent DJ Mag mix.

Ltd. edition of 500 numbered copies on clear vinyl New Zealand-born sound artist and composer Annea Lockwood received formal training at various institutions before exploring the sonorous potential of glass in a series of performances in the late 1960s. With plates of wired glass, glass discs, chunks of green cullet glass, glass tubing, sheets of micro-glass, glass jars and other incarnations of the material, Lockwood elicited a staggering array of sounds, some subtly uncanny and others as outlandish and alien as anything emitted from the era's early synthesizers. Lockwood's glass concerts yielded a text-score published in Northern California new-music journal Source: Music of the Avant-Garde and attracted the attention of South African producer Michael Steyn, who encouraged her to record the glass pieces for his label Tangent. They worked for two years in a small, resonant church in London to document a veritable catalogue of the materials' tone and timbre; Lockwood wished to present each sound as if it were a piece of music in and of itself. Glass World originally appeared on Tangent in 1970.

"I wanted to entice people into really listening intensively," Lockwood once reflected. "Into really listening. I wanted a deep immersion in the sounds of themselves, for the audience."

First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.

LP reissue of the cassette edition "Solar Music Tent" documenting an installation and performance in Hagen, Germany, originally released by Joe Jones in 1982 in an edition of 10 copies.From the early 1980s onwards, Joe Jones released a handful of self-recorded music machine performances on tape under his own record label "Tone-Deaf Music". Most tapes came in a standard xeroxed sleeve with a handwritten title and instrument listing. A few, including "Solar Music Tent", were released in combination with a book: The cassette was included in a red ring binder that held a handwritten photo documentation of the performance of the same name at Karl-Ernst-Osthaus-Museum in Hagen on April 1, 1982, a handwritten music notebook, and an invitation card. The recording itself was titled "Solar Music #5" and was made on March 16, 1982, with the instrument ensemble of the Solar Music Tent at Jones' apartment in Düsseldorf.Like the previous Jones releases on Edition Telemark, this reissue is limited to 200 copies and comes in a gate-fold PVC sleeve: The right-hand side holds the LP, the left-hand side holds A4-sized facsimiles of all artwork that was included in the original edition.

'gulden onversneden' is the out-of-the-blue debut of klein volk, a cozy quatre-mains that used to brighten up birthdays and bedroom parties before it all got out of hand. The ten tracks of 'gulden onversneden' capture klein volk's cherished naïveté during the drawling heatwave days of June 2018, when the world cup frenzy ravaged the streets, squares and minds of tiny Belgium - a brief window in time that diffracted everything unwaveringly into black, yellow and red.

On the back of V- Necks re issue Auto and the Lost 1990s Recordings one half of the band V Neck Mark Churcher takes time out from from his Chicago Bee project to deliver his first full length album on Emote.

He teams up with the cult Brighton based experimental artist Alasdair Willis (The Vitamin B 12) who plays saxophone on 3 of the 11 tracks on the album.

The album has all the hallmarks of an Emote record and more. Likely to be listed as down tempo / abstract ambient and blending many different styles together.

If you are in tune with free jazz and abstract electronic tribal music you should find this good home spooky listening .

Supported by Chloe Alice Frieda of Alien Jams and Damo B of the Outer Limits Radio Show

Der unbestrittene König der japanischen Noise-Electronica Masami Akita aka MERZBOW kehrt zurück, denn sein bahnbrechendes Album "Venereology" feiert 25 Jahre Tinnitus-induzierende Jahre mit seiner ersten Vinylpressung! Das Meisterwerk wurde von James Plotkin (ISIS, ELECTRIC WIZARD, FULL OF HELL u.a.) remastered und es bietet auch ein überarbeitetes Artwork an. "Venereology" bleibt eines der härtesten und extremsten Aufnahmen in der elektronischen Industrial-Noise-Szene und die 2LP beinahaltet auch mehr als 20 Minuten von bisher unveröffentlichtem Bonusmaterial!

Noor1 is a duo consisting of Zevla and ANFS, which made its debut appearance on the first Vanila compilation from 2019, "ear". Their return here is in the form of an album, hosted by the LP series of Athens' Modal Analysis (MALP02). A.Psi.Mi includes 4 long recordings of Zevla's and ANFS impressions of industrial/noise soundscapes meeting the aesthetics of ambient/experimental.

Only six months after his sophomore album, Hentschel returns with a two-piece EP showcasing yet another aspect of his musical spectrum. While the first two albums featured only instrumental tracks, "Facades" are the first two pieces in which Orson Hentschel works with text as a main musical element for his composition, although he approaches vocals from a rather particular perspective. For Hentschel, the spoken word is always music and thus not di erent than any other instrumental input or sound layer. Consequently, he is only interested in the sound of the spoken words on Facades, but not in any content they convey

"Both profound and profoundly jaw dropping, the esoteric moves of this massively rare and insanely obscure 300 copy Japanese marvel have until now remained the sole preserve of a handful of heavyweight collectors. It's time to let the cat out of the bag on this one. The dankly cavernous and unsettling acid maneuvers of Dome circa their first three LP's (though absent vocals) are the nearest antecedent I can summon for the principal thrust of the sound here. So too, there's a ritualistic dimension to this stuff thats also a bit suggestive of something like Vasilisk or The Hybryds, though the arcane initiatory atmosphere here is far more penetrating that anything I've heard either of those two muster. Combine that with a Johan Hedran-like overlay of wafting, heat-warped systemic electronics and your at least in the general neighborhood, but these are only indicators pointing toward the occult sonic universe that The Mask Of The Imperial Family are enacting..." Mutant Sounds

Limited edition of 200 copies. This replica LP comes housed in a screen printed jacket. All copies are pressed on turquoise vinyl to match the sleeve.

2024 Repress

KMRU is the moniker of Joseph Kamaru, a sound artist, and producer based in Nairobi. One of the leading exponents of the burgeoning experimental music scene in Nairobi and beyond he was listed by Resident Advisor as one of '15 East African Artists You Need To Hear' in 2018 and is a regular performer at the fabled Nyegenyege Festival having also presented live performances at CTM festival and Gamma Festival. Peel is KMRU's first release for Editions Mego. exquisite mix of field recordings and electronics unravelling at a repetitive and leisurely pace to expose a rich tapestry of sound that has been revered for it's ability to cross bordear with the sheer undertow of emotional content. The subtle calming atmosphere within Peel belies the compositional prowess as layers of delicate sounds wrap around each other creating a hybrid new form ambient musics both captivating through it's textural depth and kaleidoscopic patterns. The track titles lend themselves to the themes and mood set within: Why are you here, Well, Solace, Klang, Insubstantial and the title track. This is a deep heartfelt journey with a new strong voice being expressed through the means of organically presented electronic ambient sounds, one which reveals further layers on repeat listens.

Italian electro-acoustic composers Giuseppe Ielasi and Nicola Ratti reconvene their unique Bellows collaborative project for a new album on Shelter Press.

Continuously drawing an hypnotic maze with albums on Boomkat Editions, Entr'acte, and Ielasi's cult Senufo label, Bellows offers their rst album on Shelter Press with Strand.

Clocking right under 40 minutes, Strand is direct and desorienting. With eight tactile but distant untitled tracks, the album convokes a complex sound palette between acousmatic sound and fractal beats.

Recorded in Milano at their very own Standard recording studio, Strand marks a shift in Bellows previous recording process, bringing more music gear on the table: tapes, modular synthesizers, effects and samples. Captured live over the course of a four days improvised session, the album oats between ghostly melodies, musique concre`te, and analog electronics.

Echoing with the artwork by Amsterdam- based artist Louis Reith, whose collages made of found black and white images are disrupted by bold geometric constructions, the album is disorienting and fascinating, seating right in between the challenging world of electro-acoustic and a more welcoming beat-oriented territory.

Strand is a fascinating body of work, growing over time and revealing more of its complexity at every listen.

Mastered by Giuseppe Ielasi and cut at D+M, with artwork by Louis Reith.

Adoration is the restrained yet ravishing début album by Mélissa Gagné a.k.a. CECILIA, a Rome-based Montreal artist who previously lit up two songs on Rabit's Les Fleurs Du Mal album, released an EP for Yves Tumor's label and now makes a commanding and significant impression with one of 2018's most haunting LPs, a filigree dramaturgy of trip hop, ersatz film score music and ambient collage.
CECILIA wrote and produced Adoration, singing in English, French and Italian with accompaniment by mutual spirits such as her friend Jasmine Pisapia and the poet activist Griséldis Réal, who help to render a stark yet subtly gilded cross-section of her psyche, which places the listener as dark interpreter to a series of tumultuous inner dialogues. 'One is summoned to whisper truth, beauty, tragedy to demon ears.'
Incubated for 18 months between Montreal, Toronto and New York, Adoration reads like intimately diaristic pages recalling an amorphous lucid dream. In that phantasmagoric headspace she meditates on loss and romanticism, using a shifting backdrop of highly visual stimuli to frame her thoughts and bring them to life with an uncannily immersive effect perhaps not felt so strongly since Félicia Atkinson's Hand In Hand album last year.
Electronic bass and percussion are shadowed with traces of synth and guitar improvisations, but the one consistent element is the female voice. Sometime detached, glossolalic, and at others uncannily familiar, plaintive, that vocal presence is integral to the LP's quietly absorbing atmosphere, and even if the listener can't understand their direct meaning, they connote so much
more through abstracted inference and ambiguity.
Following her early forays made with the Charity Whore EP for Yves Tumor's Grooming label, and previous work as DJ/producer Babi Audi, along with her hybrid stage works, CECILIA ties all those strands into an illusive yet highly distinguished work set to resonate with listeners from myriad backgrounds and disciplines.

Two years in the works, ‘Baroque’ follows from the D&B-styled flux of Ena’s early 2019 collaboration with Felix K (F&E #1) to sound out more unorthodox areas of inquiry of abtruse, Chain Reaction-like sound design and algorithmic decomposition. In terms of the music’s boneless construction and roiling spectral nature, it surely ranks among Different Circles’ headiest and most psychedelic releases following the dread kinematics of Logos’ ‘Imperial Flood’ album and the cult acclaim given to their killer Raime and Szare 12”s in the past year.
Variously recalling the sound of stressed-out machinery or the sferic mystery of The Conet Project, ‘Baroque’ sees Ena transition further from recognisable styles into a richly enigmatic tonal and texturhythmic language. Over the album’s six tracks he uses this futurist-primitive mode to express a detached, meditative state-of-mind that speaks to paradoxical ideals of club music and domestic listening: of being simultaneously in it, yet out of it; of finding yourself lost in the crowd of noise.
It’s a sound that resonates with the short-circuiting AI convulsions of Logos, Mumdance and Shapednoise’s EP for The Death of Rave as much as the hypnagogic mulch of Thought Broadcast or the most abstruse Chain Reaction releases - think a rusted and sunken Dynamo or Porter Ricks in radioactive waters - and comes primed in artwork by Raime that perfectly highlights the music’s strange, semi-organic nature and austere yet psychoactive allure.

"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."

Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

June 2018, Amsterdam, Nl: 12 Months Ago We Concluded A Series Of Experiments With A Test Subject Named Ben Penn. A Year On, We Decided To Repeat This Experiment At His Tilburg Base. Once Again, The Results Were Starting.
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After Being Provided With A Sizeable Dose Of An Enhanced And Notably Stronger Derivative Of 4-ho Met (codenamed St011), Penn Not Only Reported Intense Hallucinations But Also Enhanced Music Production Capabilities. With The Aid Of Electronic Instruments And Hardware, He Worked Quickly, Producing Both His Trademark higher Level Inter-dimensional Funk' And Compositions That Defied Our Previous Expectations.

During The Early Stages Of His St011 Experience, Penn Completely Ignored The Provided Rhythm Composer And Instead Crafted A Colourful, Humid, Jazzy And Beat-free Track Entitled nix', Which Boasted Loose And Fluid Synthesizer Motifs. As His Hallucinatory Experience Intensified, Penn Giddily Tapped Out Tropical Rhythms On The Provided Beat-making Device, Smothering Them In Alien Electronics And Sticky Melodies. When We Asked What This Devilishly Good Cut Was Called, He Simply Replied: not Important'.

As The Test Went On And The Most Intense Symptoms Died Down, Penn Was Much Like His Old Self. Before The St011 Wore Off Completely, He Was Able To Finish Two Examples Of His Trademark inter-dimensional Funk': The Skewed, Introspective, Bassline-driven Wooziness Of ben' And The Mazy, Kaleidoscopic Goodness Of people'. The Latter Composition Was Particularly Potent And Ear Pleasing, Suggesting That His St011 Experience Had Finished On An Intense High.

Príncipe’s reign of fire continues with the shockingly heavy return of the Blacksea Não Maya trio after the label’s banner year of shellings from Nídia, DJ Nigga Fox, and DJ Firmeza.
In step with the more polished production advances of their label mates, Lisbon’s DJ Kolt, DJ Noronha, and DJ Perigoso - aka Blacksea Não Maya - arrive 5 years on from their previous showing with a remarkably darker, muscular take on mutated Angolan dance music. Fiercely technoid and blessed with a newfound sense of late night drama, the sound of ‘Máquina de Vénus’ is exactly how we imagine this sound in 2020; reflecting the march of the machines and cosmic events beyond anyone’s control in their slickly mechanised rhythms and infectiously brooding atmospheres.
Like the leaps and bounds in production values and intricate arrangements found on the DJ Nigga Fox and Nídia albums over the past year, Blacksea Não Maya keep pace in their own way,
working to ruggedly squashed variations of Tarraxho and Batida styles that come to recall the developments of the UK’s hardcore continuum during the ‘90s into the late ‘00s. But where that scene arguably ran out of energy a long time ago, Blacksea Não Maya boldly charge it into an uncertain future.
Kicking off with the beastly detonations and hulking slow techno of ‘Terror’, they swing hard off-the-bone in ‘Obscure’, and weave in hard trap and reggaeton nods on ’Tchiling District’ to set the tone on the A-side, before the lustrous cyber-noir licks and choral pads of ‘Horizonte’ open the B-side to the slow, dive-bombing synths and the industrial-tarraxho swag of ‘Bubadagash’, a bubbling technoid stepper named ‘Africanalidade’, and for terrific measure, the positive rave upswing of ‘Estranhos e Loucos’ with its speed garage-style vocal chops and head high jackers pressure.
Breathtaking, thrilling, outrageously strong gear for body music fiends and dance connoisseurs

With His Concept Ep grey Specters Of Dead Communication' Breaklab Aims To Explore The Atmospheres Of Computing Systems.
Focussing On The Processes Underneath The Surface Of Our Electrified And Digitalized Mechanical Age.

Gnashing hardcore spirit meets razor-sharp sound design in a keen collab between Svbkvlt MVP Gooooose and chiptune survivor DJ Scotch Egg, with searing remixes by Slikback and Seven Orbits & TSVI
The debut collaboration between the Japanese and Chinese mentalists, ‘JAC’ was forged in the wake of Nyege Nyege Tapes’ 2019 festival, where Shigeru Ishihara aka Scotch Egg’s playful sense of drama proved an ideal match for Gooooose’s precision-tuned, bespoke software in the studio.
As mainstay of ‘00s electronica, with recent credits in Seefeel and WaqWaq Kingdom, Ishihara appears to lend a sort of cryptic sci-fi story-telling to the exacting, super-crisp contours and pointillist percussion of Gooooose across six surprisingly emotive works that provide a rocket fuel for the remixers, spurring Slikback to run riot while hard drum guys TSVI & Seven Orbits double down on their already excellent work for Svbkvlt.
Bringing Gooooose’s work arguably closer to the devilishness of peer 33EMYBW, title tune ‘JAC’ tweaks a fine line of breakcore, juke and neo-Far Eastern hyperstep that admirably updates what we know of Scotch Egg, while ‘Dengrouse’ cuts a super minimal figure recalling Untold’s vacuumpacked Eski tekkers, and ‘Rolex’ forms a wickedly chewy, turbulent tribute to Uganda’s favourite
street food alongside a lush, choral footwork pinnacle of their efforts in ‘Altered Destiny’.
Cemented with Swordman Kitala’s hoarse holler on the dancehall trample of ‘Goose Egg Dub’, plus the face-pulling G-force of Slikback’s rabid take on ‘JAC’ and Seven Orbits & TSVI’s glorious ambient hard drum remix of ‘Altered Destiny’, it’s all a proper doozy for the dancefloor dreamers and anyone looking beyond the usual rave hotspots for real, upfront thrills.

The weighty and heavily brooding debut album from Simon Shreeve’s Mønic project finally lands on Downwards following releases for Osiris and Tresor and those killer remixes from Burial and Regis. Grey, expansive and low-lit industrial landscapes are the order of the day here, a huge recommendation if you’re into anything from Joy Division to Pan Sonic, Tropic of Cancer to GAS or the rain-soaked zones stalked by Burial and The Bug’s Flame duo, Logos and Karim Maas.
Arriving at a time when we’ve long reached saturation point with user-friendly environmental/lifestyle Ambient, ‘In a Certain Light’ offers an anxious counterpoint for late night immersion carefully framed with a cinematic attention to detail in lighting, texture and space worthy of The Cure’s ‘Faith’, the defining aesthetic of the Blackest Ever Black label and Karl O’Connor’s own industrial frameworks.
The almost impossibly depressed opening vignette ‘From Sun to Sun’ ushers us into a morose, brutalist landscape that descends into the slow motion thud of “Where Can I Find You Now?” sounding like a lost Tropic of Cancer instrumental, while ‘Field Work’ recalls Vainio / Väisänen / Vega’s incredible ‘Endless’ collaboration and ‘Solar Enemy’ deploys tense strings and clipped subs to sharp and deadly effect, like Alva Noto taped on old, worn-out VHS.
It’s the more nuanced cuts that stand out most though; ‘Reversed Language’ could almost be an Elodie recording made in the middle of nowhere, outside, in the thick of night, while the title track unfurls from a dense GAS-like thicket into an unsettling Lynchian nightscape on a moonless night, with faint neon lights flickering somewhere far in the distance.

Black Truffle is pleased to announce Ashioto, the first international solo release from Japanese drummer-percussionist-composer Tatsuhisa Yamamoto. Active for over a decade, Yamamoto has performed and recorded extensively with artists such as Jim O’Rourke, Eiko Ishibashi and Akira Sakata, as well as participating in innumerable improvised and ad hoc groups.

Ashioto presents two wide-ranging pieces that combine Yamamoto’s percussion work with piano, field recordings, electronics, and contributions from guest musicians Daisuke Fujiwara and Eiko Ishibashi.

Beginning with a passage of chiming metal percussion, the first side slowly builds into a rolling, open groove reminiscent of Yamamoto’s work on Eiko Ishibashi’s acclaimed Drag City LP The Dreams My Bones Dream. Spacious piano and synth notes, along with Ishibashi’s spare melodic figures on processed flute, hover above this propulsive rhythmic foundation, the whole effect adding up to a more abstract take on the area explored on Rainer Brüninghaus’s ECM classic Freigeweht. The LP’s second side opens up a cavernous space filled with ominous electronics and shimmering metallic percussion, which organically transitions into a passage of rumbling piano chords and mysterious concrète sound. Later in the piece, Daisuke Fujiawara’s saxophone enters, playing melancholic melodic fragments that are looped and layered, creating a seasick swaying effect familiar to listeners of James Tenney’s works with tape delay systems. Beginning as delicate bass drum pulses, Yamamoto’s accompanying percussion eventually builds the piece into a raging torrent of free-improv splatter, processed sax and fizzing electronics.

Though grounded in instrumental performance, Ashioto is very much a studio construction, making inventive use of electro-acoustic principles in its editing and mixing. Together with its sister Ashiato – a different take on the same ‘script’ released simultaneously on Japanese label Newhere – Ashioto demonstrates to an international audience for the first time the true breadth and ambition of Yamamoto’s work.

Mastered by Jim O’Rourke. Cover photos by Kuniyoshi Taikou. Design by Lasse Marhaug.

The whelming noise swells of Yellow Swans’ final side, or swansong if u allow, resurface on the legendary band’s archive, marking 10 years since the seminal Type release with a timely reminding all of its oceanic might and eternal burn.
As anyone who survived the fecund ‘00s noise scene will attest, Gabriel Saloman and Pete Swanson’s Yellow Swans were among the most vital orchestrators of new horizons for noise.
Using obsolete electronics/guitars/FX pedals and playing countless shows, they epitomised DIY organisation and means, adapting timeless communal folk energy to collapse whole worlds of industrial, free improv, dub, psych, US hXc punk and good aul noise proper into a red-lining, Urgoop of emotional anguish, ecstasy and every feel between during the early to late part of this
century’s first decade.
After dozens upon dozens of underground tapes and records, ’Going Places’ was Yellow Swans final and perhaps for many, definitive release. Between the slowly ravishing blizzard of ‘Foiled’ that greets from the entrance, to possibly the greatest farewell this side of Pan Sonic’s ‘Finale’ in the Himalayan noise range of ‘Going Places’, they take in torrential psych-noise on the 13 minute classic ‘Opt Out’, alongside some of ‘00s noise’s finest moments in the staggering ‘Sovereign’, and the charred amp hymn ‘New Life’, adding up to a viciously beautiful album that still holds the capacity to induce feelings of transcendent familiarity, even if its the first time of listening.
Perversely and brilliantly, Yellow Swans disbanded right at the point when they were tipping into wider recognition, just as the rest of the world was catching up with the noise scene which shattered into myriad strains of kosmische noise, Neo-industrial and power noise and would give us everyone from James Ferraro to 0PN, Wolf Eyes and Prurient. But a decade later Yellow Swans’ ‘Going Places’ remains from this era like a scrawled note left by a lover who has fucked off to somewhere more exciting, and leaves behind a ragged palimpsest of memories, forgotten or suppressed emotions and maybe even an encrypted map of where to find them in the future.

After he featured on Various #2, the Russian artist Yssue is back on KUMP with three, slightly incantational, Industrial/Tribalistic tracks.

In this EP, Dmitry Nekrotkov explores Nature and expresses his vision of the bonds which Mankind shares with It. What's more? Two remixes. Ayaz, an artist from Azerbaidjan and founder of the Yalanci label, delivered a Dub-Techno remix which will turn your brain upside down before chopping it in tiny bits.

The second remix was made by the Duo DJ PG, from Lauzanne (Switzerland). The two pals, both members of the group "La Sacree Deter" revisited the track "Lust" adding a Psyche-dubik touch to it. Perfect for a matinee on your sofa.

"My music is often a reflection of the state in which I am at a certain period of my life, since I grew up from a musical punk scene, this often involves a certain set of means of expression. In essence, I am in an endless struggle to express some quite lively and human emotions through the cold and artificial world of electronic sounds. That is why there is a lot of melody and sometimes even drama in my music, and this is why I'm often got bored with a static music. This EP is called "Naturalist", a terms that defines a person who has devoted his life to the study of nature and its kingdoms. This directly relates to my strong belief that the further society advances, the more people are losing touch with nature, something that is real and to which they all belong."

- Dmitry Nekrotkov.

Damon Zucconi is a visual artist living and working in Philadelphia. He frequently uses custom software to create his work, and has spent the past decade working as a computer programmer, producing pieces which are typically accessible online. Some of his projects include 'Fata Morgana' a reworking of Google Maps code that hides everything except text elements; a website for the Arca site-specific performance-installation Tormenta; and recent solo exhibitions with Veda in Florence and JTT in New York of physical and digital works. This is Zucconi's debut music release.

Jasmine Guffond is an original creator of conceptual sound. This first output under her own name is its own study, and if you've heard her former projects Jasmina Maschina or Minit, you should not be surprised at the different driving force and fresh structure of sound behind this new venture. However, if you’re anticipating veins of clean, melodious folk or purely experimental electronic, you should shift your expectations.

Yellow Bell presents a broad spectrum of musicality, floating within hazy electronics, lost vocals, and ambient dimensions. The balance of digital synthesizer, loops, processed voice, and guitar creates a meticulous soundscape that both intrigues and calms. With its delicacy and immediacy, Yellow Bell distorts the perception of time and creates an environment for engagement and understanding.

While creating its own memorable dynamic, Yellow Bell resonates with the delayed endlessness of Grouper or lovesliescrushing and touches on the early electronic sounds of Musique concrete.

We all know anything released on Mystic Quantum is worth buying for the cover art alone, and this mightily impressive return of Legowelt is certainly no different. Beautiful on the inside and out, it's packed with the kind of delicately detailed soundscapes we've come to expect from the revered producer, who proves every bit of the musicality we associate him with across seven very good tracks.

'Squirrel' is perhaps the exception to the rule, its frustrated and distorted rumbling breakbeat and chain-gang high-hats cry out for some monster or other to be fed through the arrangement. On the whole, though, this is far from club stuff, opening on the lush bleeped harmonies of 'Once At The In & Out Burger Academy', closing out on 'Vesper Sprites'' mysterious, breathy refrains and metallic percussive accents, by way of the cinema-worthy piano piece, 'Meekian Lovedance'. Enough to keep you going until next month's album.

Anomi’ is Sonja Tofik’s first full-length LP, and a continuation of her debut ‘Neuros’. Anomi is the Swedish word for the sociological term anomie, first coined by french sociologist Émile Durkheim in 1893. Described as ‘the condition in which society provides little moral guidance to individuals’, he suggested that for societies to function and their individuals to prosper, they need to be driven by strong and distinct norms, both social and moral. If absent, individuals are exposed to anomie, and start to inhibit self-destructive behavior. Anomie is a state of suffering, an absence of affinity, both to the individual and to society - which creates dissonance in the human experience. It denies us the presence of death and disconnects humanity from its nature and inherent mysticism.

This model of explanation sparked interest in Sonja as being an interpretation of a spiritual presence in our monotonous present. In her work on ‘Anomi’, she uses music to delve into the notion of anomie, and what happens to us as citizens within a society restrained by rigid codes. She deliberately cultivates cliché symbolisms to examine the fracturing of emotions in this alienation of self, and how it affects our relationship to death. She also incorporates old folk songs in both Finnish and English and builds upon them - for instance ‘Sky Trumpets’, written in Finnish, is about the end of times and how only then can the hands of the working masses be set free. Using superimposed textures of synthesis, organ, concrete sounds and voice, she counters monotonous drones against more harmonic timbres to effectively summon these states of mind, through raw emotion, often with few elements and unobscured of any excess statements. ‘Anomi’ is her plea to resurrect mysticism into being alive and the wait it entails.

Electroacoustic musician and composer Sonja Tofik was up until recently a part of the studio collective Drömfakulteten, which was home to some of Stockholm’s most creative artists, including names such as Sissel Wincent, Maria w Horn and KABLAM. Now scattered to the wind after losing their studio space, its former members are still more active than ever with a persistent output of avant-garde music.

Sonja is one of those who was a member until the very end. Since her debut ’Neuros’ was released via Moloton in 2017, she has continually put out new music, including a collaborative LP with Mar-llena, ‘Vilar i dina spår’, an interpretation of Jaakko Pallasvuo’s dystopian text ‘Darkness of Winter’ released through Country Music, and a remix of KABLAM’s ‘Remembrance’ as a part of ‘Confusía Remixes’ earlier in 2020.

Her work focuses on superimposed repetitive structures of analog and digital synthesis, organ drones, sampled textures and voice, often presented with few simultaneous elements, which she uses in concoction with outbursts of raw emotion during performances. She is also pursuing a degree in social work, from which she draws inspiration through sociological models of human nature and concepts of spirituality, mysticism and death in modern civilizations. She has performed her music live in a multitude of contexts, including festivals such as Intonal in Malmö (alongside William Basinski and Holly Herndon), Transformations at Under Bron (alongside Robert Aiki Aubrey Lowe and Dungeon Acid) and Akusmata in Helsinki.