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Limited Edition of 500 handnumbered Box Set including 4LPs (180g), 1 CD, Download Coupon and a high quality 120 page booklet. NOTE: BOX IS SHRINK-WRAPPED BUT WILL BE OPENED FOR SHIPPING TO AVOID SEAM-SPLIT.

Black Truffle Together With Bernhard Rietbrock And Zhdk Are Honoured To Reissue This Stunning Boxset Celebrating Alvin Lucier's 85th Birthday Celebrations Which Took Place In Zurich, 2013.

Alvin Lucier Is One Of Most Important Figures In More Than A Half Century Of Avant-garde And Experimental Sound Practice. He Has No Equivalent. He Is Among America's Most Important Composers - A Towering Pillar Of Intellect, Creativity, And Beauty Realized Through Sound. His Singular And Unparalleled Body Of Work, Focused Around Acoustic Phenomena And Auditory Perception, Which Included, Among Many Others, The Groundbreaking Works Bird And Person Dyning, Music On A Long Thin Wire, And I Am Sitting In A Room, Each Quietly Shifting The Understanding Of What Music Could Be - Deceptively Discrete Gestures, Laying Their Mark On History And The Expectations Of Nearly Everything To Come, While Radically Expanding The Field. It Is Such A Life, Defined By Such Striking Accomplishment, Which This Release Celebrates Across The Four Lps, Cd, And Book Which Make Up The Lavish Illuminated By The Moon Release.

Recorded In October Of 2016 At The Alvin Lucier 85th Birthday Festival At The Zurich University Of The Arts, The Box Gathers A Remarkable Range Of Performances Of Works From Lucier's Life In Music, From The Iconic To The Lesser Known. It Begins With Wonderful Stagings Of I Am In A Sitting Room And Music For Solo Performer Performed By The Composer, Before Presenting The Work Charles Curtis Performed By The Cellist For Whom It Was Composed, And Double Rainbow, A Recent Work, Performed By The Incredible Joan La Barbara. Over The Course Of The Set's Many Discs, We Encounter Works Ranging From Nothing Is Real (strawberry Fields Forever), Braid, Two Circles, Hanover, Step, Slide And Sustain, And One Arm Bandits, Performed By Oren Ambarchi, Stephen O'malley, And Gary Schmalzl, With Further Contributions By Charles Curtis And Many Others Involved In The Celebrations Of Lucier's Life And Work. The Collection, By Offering An Expanse Of Material Otherwise Unavailable In The Composer's Discography, Opens A Rare Window Into The Breadth And Range Of Territory Which He Has Approached, As Well As Into The Unique Humor Which Has Quietly Bubbled Through His Entire Career. It Is A Singular Recording Event, The Likes Of Which Are Unlikely To Be Repeated.

A Worthy Tribute To One Of The Last Century's Most Important Composers, Offering Insight, Recognition, And Critical Investigation, Long Overdue And Lovingly Produced. Including An Extensive, Lavish 120 Page Book, With Numerous Unseen Images. Pressed On 180 Gram Vinyl, This Limited Edition Of 500 Individually Numbered Copies Is Unquestionably One Of The Most Beautiful And Important Releases Of 2018.

Key Selling Points: - Limited Edition Of 500 Handnumbered Units From Legendary Electronic Music Pioneer Alvin Lucier

- Lavish Box Set Including 4lps, 1 Cd, And A High Quality 120 Page Booklet.

- 180g Vinyl

- Incl. Download Coupon To Redeem All Tracks

- Over 190 Minutes Playtime

- Remarkable Collection Of Performances Of Works From Lucier's Life In Music, From The Iconic To The Lesser Known.

- Mastered & Cut By Helmut Erler At Dubplates & Mastering, Berlin.

ROW goes back to a collecting of field recordings that Hirsch took for Oerol, an annual theatre festival taking place on the West Frisian island of Terschelling / NL.
The recording was taken aboard the ARAD, a lifeboat of the Dutch rowing team Roeiteam Ter- schelling Recreatie during a training exercise on 25 April 2011. The course stretched from the harbour of West-Terschelling out into the Wadden Sea and back again. The focus is on the coxswain's commands which resemble a funk singer's ones and which make the team become one body working their way through the waters.

After numerous concerts and performances throughout the last years, Summe 1 is Andreas O. Hirsch's first release on makiphon. The album concentrates on peculiar soundscapes and drony pieces, carefully inter- woven by means of pitched harmonicas, electric guitars, mini fans, de- lays and the electric palm leaf, an electroacoustic invention of the artist. The eight titles evoke a space somewhere between interstellar geography (Maxwell Mountains - a plateau on planet Venus), abstract physics (Teilchenbeschleuniger), botanical scenery and animality: Kemeri 5 am features nocturnal crane calls that Hirsch recorded on a bike trip in a swamp near Riga while he was busy with decoding bird messages via morse code. Opossum Pravda is dedicated to the tenacious marsupial that likes to wander around at night and which is able to hang from trees by its tail. Kautschukwaage seems to suggest an exotic setting and provides a link to the rubber bands which one hears resonating in the miniature.
Sleeve designed by the artist. 300 copies. Mastered by Joseph Suchy.

Tape / Cassette
OG Evil Rock and Post-Punk Experiments by Phul Recorded between 2018 - 2020 Satanic payment methods accepted

We are extremely proud to announce the return of Pye Corner Audio to Lapsus Records with the EP "Where Things Are Hollow", comprised of four breath-taking songs that transport the listener to a dystopian future throughout its twenty-four minute duration. Martin Jenkins aka "the artist's artist" explores emotive techno in "Resist" and "Northern Safety Route", two tracks that coast through progressive arpeggios, slow pulsating beats and soaring pads. Meanwhile "Mainframe" and "Continental Drift" move through more ambient and melancholic terrains, two cinematic songs that are perhaps reminiscent of works by John Carpenter or Delia Derbyshire. In short, "Where Things Are Hollow" is a beguiling analogue electronica EP that is guaranteed to delight Pye Corner Audio fans and new listeners alike. This special release will also feature the collaboration of two of the country's most prestigious independent graphic artists, Alex Trochut and Basora, whose artwork for "Where Things Are Hollow" is sure to become a collector's piece.

»Efia,« the sophomore album by Rosaceae, picks up where the Hamburg-based sound artist’s 2019 debut on Neoprimitive left off, further exploring the topics that had already informed »Nadia’s Es- cape«. From its confrontative front cover to the eight tracks on the album, »Efia« is fully dedicated to the motif of resistance, but does not exhaust itself in polemics. Rather, it masterfully translates the complexities of its underlying central themes into a visceral narrative.
»Efia« was originally conceived as a commissioned work for the 2019 edition of Hamburg’s Noise- xistance festival and departed from a sentence uttered in the British 1980s TV show »Sapphire & Steel« which inspired cultural theorist Mark Fisher in his analysis of what he had coined »hauntolo-gy,« a term originally coined by the Algerian-French philosopher Jacques Derrida in the early 1990s: »There is no time here, not anymore.«
The album again showcases Rosaceae’s knack for combining abstract experimental sound art with a form of storytelling that had already been at the centre of »Nadia’s Escape« and which relies on both verbal and musical means of giving a voice to the voiceless. The disembodied voice of - amongst others - Jesseline Preach and manipulated vocal samples blend in with dense soundscapes, elements of Neue Musik and occasional pure harsh noise. It’s a mix that deliberately puts different artistic tradi-tions into a dialogue with each other: the hallmarks of European salon culture are con- fronted with Kurdish wedding music and the unnerving loop of someone demanding a »Zugabe« (»encore«).
Thus, »Efia« not only blurs the lines between cultural and regional traditions, but also conjures up the ghosts of a past, ghosts that are more than ready to haunt the timeless present trying so hard to repress the atrocities happening at its fringes. As a whole, this makes »Efia« both a chilling work of sound art and a vibrant political statement fuelled by burning hot energy.

Amnesia Scanner announces Tearless, the Berlin-based duo’s second LP. As Amnesia Scanner founders, Ville Haimala and Martti Kalliala watch their icy home country of Finland thaw, the staggering scale of political recalibration and the worldwide climate crisis to come blows open old norms. This album reflects what it feels to experience Earth at a time when collapse is emerging as the prevailing narrative.


The musical scope of the record is expansive, with guest vocalists—the Peruvian artist Lalita and the Brazillian DJ/producer LYZZA—descending into a vast uncanny valley of sound. Tearless follows the 2014 AS Live [][] mixtape, 2015 audio play Angels Rig Hook, two EP’s for Young Turks, and their 2018 debut album, Another Life (PAN).



“There’s a looming sense of radical change,” they note, connecting the present to a fin de siecle horror and curiosity regarding what new world is being ushered in. Someone called Tearless a “breakup album with the planet.” To which Amnesia Scanner responds, on the LP’s closing track: “Youwill be fine, if we can help you lose your mind.”


With the crossfader on Tearless sitting closer to pop than abstraction, so too does the audience for this record widen in scope. Listening through: Opener “AS Enter” sets a sombre tone until the fucking riffs of the second track(the titular, Lalita-helmed “Tearless”) make clear there’s plenty of roaring to come. A feature from metalcore band Code Orange on “AS Flat” follows, along with “AS Trouble” (feat. Oracle, the third, machinic ghost-member of Amnesia Scanner) and together they hit as black-metal-gaze dirges. At the album’s midpoint, Lalita returns for the beautiful, operatic breakdown of “AS Acá” (released as a single in 2019), before “Call of the Center” guides listeners through three club ready tracks—the grain-processed dembow of “AS Too Late” and “AS Going” with LYZZA, and then the ambientheadbanger “AS Labyrinth.” Closing “Tearless” is the sadboy grunge of “AS U Will Be Fine” with a clear statement of intent: doom, despair, insanity, absurdity, it’s all natural, all cathartic, and all OK. Refuse like the ‘90s and party like the ‘20s—if that seems senseless, you are doing it right.

After 2019’s „Our Complex Pleasures“, an exploration of queerness and polyamory through sound, „Neoliberal Folk Songs #2“ again show Sex Und Violence’s love for conceptual work. Recorded between 2017 and 2020 and based on writings by Mark Fisher, PJ Harvey and James Bridle’s „New Dark Age“, NLF#2 is a dark collection of repetitive drum sequences, anthemic drone pop and bits of trap. Songs from the margins of neoliberalism, songs from the eternal present.

Incidentally, the last finished track of the album, „Koan For A Careless Cosmos“, was also where the whole recording process began in 2017 – for a sound piece in the wake of Fisher’s death – and the last layer of lyrics was spoken on a hissing tapeplayer just right before the first C-19 lockdown. Meandering in the same vein is the slowly creeping, LFO-twiddling „Mass Unsconsciousness“, referencing 80’s acid as well as S.U.V.‘s deep interest in traditional eastern repetitive music. In stark contrast to these quieter pieces stands the onomapoeitic fallout of „NSFW“, which was improvised and recorded on the spot without any additional overdubs. The album is framed by different versions of the „Anthropocentric Blues“, which highlight S.U.V.‘s soft spot for simple pop melodies. But despite these sensibilities, there’s a constant uneasyness spreading throughout the record. Like Mark Fisher’s ghosts, who walk upon earth, sure to never settle anywhere.

From the numbing frequencies of „Engineering Consent“ to the wordless, minimal trap-take „Verbal Austerity“, these songs are a comment on the endless performances of neoliberal strategies, be it in the emptied out mainstream of social media output, or in the administrations of any given institution – a cacophony of signifiers that never goes anywhere, just as the restless beats of the „Cultural Assassination“. The renaissance of radical right-wing thought, the last rearing of patriarchy’s ugly head – „Neoliberal Folk Songs #2“ is the soundtrack to the collapse we are all witnessing.

The whole album was mastered by Marie Rose, a.k.a. Moon RA, at Fix In The Mix LABS and is accompanied by the radical artwork of Dicey Studios. Total Metaphysical Confidence Now! Unnamed Alienation Now!

This 3rd of the Motordiscs opens with a slow and delighted beat by The JuanMacLean, which turns into an electro mesmerizing track. Is it slow trance or is it some kind of house ? Are we early in the night or late in the after party ? Are we still dreaming ? A2 « Mark 211 » by Javi Redondo takes the energy level up with some acidy synth and punchy snares, proving that the power of a track does not necessarily lies in its speed. It is now time to flip the disc, Naduve takes us later in the night, bringing a murky vibe, thanks to haunting pads and low frequency instruments, picturing a proper underground club. The sun now starts to rise on the Seine river, the last track sounds like an ode to the dawn, where voices and shiny synths will emerge and open the crowd’s eyes. It was « Peppi » by Fairmont. This was a night at Garage

A Colourful Storm presents a new album by Beequeen, the duo of Frans de Waard (Kapotte Muziek) and Freek Kinkelaar (Brunnen). Over two long-form pieces, new material from 2020 and almost-discarded fragments dating back to 1988 are collaged to form a brand new composition. Think woodblock, guitar, static radio signals, ethereal ambience. An honourable addition to Beequeen's discography and a beautiful piece of the Dutch avantgarde with historic ties to Edward Ka-Spel, De Fabriek, Merzbow and Nurse With Wound. Mastered by Peter Johan Nyland with full-colour sleeve photography by Alfred Borland

Over the years, American composer Rafael Anton Irisarrihas become ubiquitous within the spheres of ambient, drone and electronic music. Whether it’s through Irisarri’scelestial long-form albums or his lauded audio engineering credentials for countless artists and labels, Irisarri’s consistent dedication to his craft never wavers from the forefront.

While Irisarri’s compositions typically field an array of modern ambient overtones threaded through oceanic symphonies with tape loops, bowed electric guitar and vast washes of overdriven sound, his recent debut album for Dais Records, Peripeteia, portray these common themes giving way to metal and classical influences that emphasizes Irisarri’s melancholic tendencies. These unique overtures, coupled with his signature layering of distortion and bleached-out textures, fabricate an audible environment that would seemingly be at oddswith, yet gracefullycomplementeach other. In Irisarri’s own words, “My previous works internalize any exterior forces or circumstances, while trying to make sense of the world. Peripeteia reverses that approach, focusing on the personal in order to tell a wider human story.”

The emotional depth found throughout Peripeteia is impeccably on display with the track, Mellified. A collaboration with Spanish composer Yamila, the choral arrangements bring to mind the sacred music of Arvo Pärt, while her voice combines the Andalusian “Cante jondo” style with medieval modes, almost drowning in layers of octave fuzz distortion and dystopian synths patterns. On Arduous Clarity, the bright arpeggiating melody that churns throughout, offers the initial glimmer of optimism in an otherwise decaying tale of personal turmoil. This encouraging glimpse is short lived however, as the song Refuge/Refuseseemingly plummets into the mourning depths of somber despair. A chorus of voices steadily crawls from its desolate terrain –a sea of broken spirits, eternally resigned to strain and bellow their final lament. Fright and Control, a piece which is equally soul churning, seems to possess a satisfying resolve, as if after years of searching, one’s very salvation has been laid to rest through the acceptance of mortality and the enlightenment in death. Irisarri’s complexity is utilized to a forcible success, slowly pulsing throughout the foreground of his audience, further emphasizing the impending dread of resolve.

Artist statement: "Peripeteia is about the last few years, sudden reversals in fortune, illness, and comforting mortality. These sudden changes in personal life mirrors the sociopolitical transformations happening at a larger global scale in countries all over the world. Previous Irisarri works internalize exterior forces/circumstances while trying to make sense of the world. Peripeteia reverses that narrative, focusing on the personal to tell a wider human story."

Multidisciplinary NYC artist Gavilán Rayna Russom launches her own label Voluminous Arts, dedicated to highlight electronic and experimental artists whose work challenges fixed categories of genre and categorization. Her aim is to create a platform for multidisciplinary work and events. The inaugural release being her second solo album as Gavilán Rayna Russom 'Secret Passage', following up last years 'The Envoy, an homage to the East Side Rail Tunnel in Providence, Rhode Island, and the friendships she made there.

In Rayna’s words:
“I grew up in Providence, Rhode Island in the 1970’s and 80’s. The booming jewelry and textile industries of the previous decades had pulled out by that point. The Italian mob ran most details of the day to day operations of the city. As kids coming up in that environment, before the internet, me and the people I hung out with didn’t know anything else and we worked with what we had to entertain ourselves. We found places that had been forgotten by market interests and made them spaces of creative community building. One of the most special of these places was the East Side Rail Tunnel. Running for almost exactly one mile beneath the city’s streets, the tunnel and nearby Crook Point Bridge were unsupervised autonomous zones where I tasted the possibilities of a world without surveilance. The tunnel was particularly important in my creative development because not only was it a marginal zone apart from monetized spaces of creative consumption, but it also had specific experiential properties. It had a bend in it which meant that when you got to the middle of it you were in complete darkness, and I learned quickly that when you spend enough time in complete darkness you start to hallucinate, which I liked. The acoustics were also remarkable; long natural delays and harmonic-reinforcing reverberances. Making any sound in there added layers of acoustic effects which made noises physical and fluid and, combined with the complete darkness, absolutely dissolved boundaries between internal and external experience. I started hanging out there when I was 14 and continued to return there regularly until development, gentrification and policing eventually made it inaccessible. By the mid ‘90s it was sealed off with progressively more impenetrable barriers. Nowadays it looks very different. This music is about some of the significant experiences I had in this beautifully neglected place and the people I had them with.”

SWIMS returns with their third release since last summer’s romance with London’s Kit Records which spawned two beautiful albums by Romeo Poirier and Electric Capablanca.

Leaving behind the soothing natural landscapes of the previous releases, Finomehanika is an intricate 42-minute machinist journey combining the frayed melancholia of Vladislav Delay’s recently reissued Multila, with the strangely real-sounding yet otherworldly mechanics of Autechre in their Confield era. However, Finomehanika sounds thoroughly unique. It makes heavy use of the piano and field recordings for depth and ambience. The line between synthesized sound and manipulated recordings blur to a point where one becomes the other. The often subtle use of field recordings prevents us from drifting too far into the abstract, keeping us grounded in a fragmented, confusing but familiar environment.

Finomehanika is Robert’s first solo release in 20 years since 2000’s Albumski on Phthalo. The sleeve was designed by Michael Tan known for his previous work with artists such as Blanck Mass and Dopplereffekt. The album features on piano Robert’s brother Miro, better known for his releases as Qwerty. The brothers also recently collaborated on 2019 album Na Vrućem Krovu by Robert’s art-pop band Marinada.

Sarmacja’s sophomore album ‘Jazda Polska’ follows up on their 2018 debut on Astigmatic Records, ‘Tutejsi’ is being released by London-based label Byrd Out. Above all there is dub on it - however unorthodox - originally captured. Mystical flow, reckless charges and joyful songs - all without restraint and with uhlan fantasy. The spirit of a holy madman in the sarmatian version hovers over the record - the one who after a few glasses of vodka, covered with gasoline fragrance from the barbecue – once being moved, telling about the misery of the nation, and a moment after falling into ecstasy of stories about bravery in battles. Then in anger - when reminding himself how much the neighbour's diesel burns. Bottom line is simple - having fun, especially until dawn. And even if the stories of the holy madman are slightly slacked, even if at times the vibe gets gloomy, and the story isn’t fully true - who cares? ‘Jazda Polska’ got even more colors thanks to the excellent features of Kacha Kowalczyk known from Coals and Muka. She appeared in two songs on the album – Doktor Słowo & Karaoke Dub.The Orb made a remix of Olimpijczyk to end the LP, commenting on Byrd Out’s suggestion of doing a remix “Sounds weird enough”, and The Orb’s Oak Island Remix has a quintessentially Orb feel. The Oak Island reference is a nod to the Knights Templars link to the Money Pit on Oak Island, Nova Scotia. Sarmacja is Paweł Bartnik, Michał Kołowacik and (now also) Aleksandra Szalińska aka. FLicker Fox, musicians operating at the forefront of the Polish experimental scene .

Mika Vainio about Tetra album: "This is how it sounds when bacteria sours milk to acid".

The first solo album of entirely new material in more than 15 years from DENNIS YOUNG (founding member of LIQUID LIQUID). This collection of instrumental pieces may surprise those familiar with his previous projects as it charts a new direction in his career. 12 tracks. Pressing of 300.

To anybody with the slightest interest in electronic music and krautrock Hans Joachim Roedelius needs no further introduction: as founding member of Kluster (with Conrad Schnitzler and Dieter Moebius, after Schnitzler's departure as Cluster) and Harmonia (with Mebius and Michael Rother) he is one of the highly reputated pioneers and key figures in both genres. Now in his eighties, Roedelius is still very productive and not only performs regularly but also released an impressive amount of work in the recent years. "Ubi Bene" sees him join forces with Leon Muraglia, electronic artist and guitar player of a younger generation who besides his solo recordings also works as DJ and studio musician. The 12 tracks of the album add up to an elegant musical trip that meanders between moody piano ambient, experimental passages and contemporary electronica that adds a new fascinating chapter to Roedelius' impressive oeuvre.

Lixo - the production alias of Alex Hislop, founder of influential London party collective, GETME! - returns to the crew's label arm with new single 'Writer's Block', featuring 1-800-Dinosaurs signee Trim.

The follow-up to 2015's 'Gloomer' EP, 'Writer's Block' sees Lixo lay the perfect foil for Trim - and his notoriously off-beat flow - to navigate through. Sections of coarse, blacked-out vocal sampling are off-set by warm, tribal bass sounds and fluttery, dreamscape melodies that tug at the more experimental, exploratory corners of London's club music landscape.

With a back catalogue already spanning 13 records - including key releases from the likes of Becoming Real, Slime and Dam Mantle - and a regular slot on NTS Live, London party-come-label GETME! have established themselves as one of the city's key bass hubs over the last 10 years. Formed by Alex Hislop (Lixo) in 2006, the brand now spans events, radio and their aforementioned label arm.

MANSUR is the newly initiated project by Jason Kohnen (ex-The Kilimanjaro Darkjazz Ensemble, ex-The Mount Fuji Doomjazz Corporation) joined by Dimitry El-Demerdashi (ex-Phurpa) and introducing Martina Hórvath on vocals. The sound of MANSUR navigates between the waters of musical fantasy and reality - it morphs and blends traditional instrumentation with modern day electronica.

Using kalimba, violin, cello, ney, erhu, zhonghu, jinhu, kemenche, dilruba, bansuri, rammerdam, double bass and various percussive instruments such as cajon, castanets, krotal and various organic shakers and drums MANSUR leads the listener into mystical and magical unknowns, that lie far past the realms of material perception. The result is a new unique sound which is at the same time warm, dark, misty, cosmic, mystical, cinematic and dynamic. It's an escapist journey.

MANSUR are starting this trip with the five-piece debut record called "Temple" followed by the debut album "Karma" in late 2020.

The globe-trotting Robert Millis returns to Helen Scarsdale for this beautifully fragile album of dissolved glass rendered as a collage of recontextualized minimalism. To astute listeners, Millis should be a household name due to his work in the unpredictably diverse Climax Golden Twins as well as his impeccable curations for Sublime Frequencies (collections include the Deben Bhattacharya: Men and Music on the Desert Road and Indian Talking Machine books). Hie previous solo work include Relief (released here on The Helen Scarsdale Agency in 2013) and The Lonesome High for the Sun City Girls’ Abduction Records in 2016. His scholarship into the hidden corners of music across the world has also earned him Guggenheim and Fulbright fellowships.

Related Ephemera is an album composed mostly from the hiss, the crackle, the surface noise of 78rpm shellacs and wax cylinders. “Horrifying,” Millis explains “is the concept to record collectors that vinyl degrades and can be easily damaged. however, initially records were considered ephemeral, especially 78rpm records. They were novelties. Fleeting. Entertainment.” Millis intends for the album to be a feedback loop whereby the patina of handling, playing, living with the record will circle back to the original source material. Furthering that metaphor, Millis amplifies and dilates feedback tones generated from his collection of vintage gramophones.

That said, Millis does cite the intrusion of exactly one field recording, a broken toy, and a few notes from a cello. But the construction of these rarified tones, crispy textures, ghostly rattles, and fluid resonance that ripples through all of Related Ephemera has its origins in the tactile nature of the vinyl medium. It’s hardly the stuff of sentimental nostalgia though. Related Ephemera is more an act of time travel, slipping backwards and forwards with the scratch of a needle (Watch out! What pre-recorded needle jump sound is not your turntable going haywire!). The emotional core to the album is that of a resigned melancholy, almost Bergman-esque in its starkness but not without a brief moment of dark humor.

Here is an album that aligns itself aesthetically with Nurse With Wound’s Soliloquy For Lilith, Philip Jeck’s more languid collages, and even some of Harry Bertoia’s sculptural atmospherics.

The vinyl was mastered and cut by Helmut Ehler at D&M Berlin, whose expertise was necessary given that part of the original compositions from Millis’ reworked surface noise were exceedingly problematic to cut. The D&M cut does temper the composition into a mysterious, diaphanous cloud; where the digital-only mastering provides a cascade of insects gnawing within your inner ear. Two facets. One piece of music.

Through Passages of Time by The Hardy Tree is the second LP from Clay Pipe Music's founder Frances Castle.On stunning turquoise vinyl and with unique artwork designed by Frances. This is a limited run of 500 hand numbered records.

2020 Repress

2017 Reissue of "Succubus" - the second work of The Mount Fuji Doomjazz Corporation (the improvisation alter ego of The Kilimanjaro Darkjazz Ensemble) from 2009. Not existing anymore since 2012 The Mount Fuji Doomjazz Corporation now finally makes all long-time sold out releases available again on all formats (cd vinyl digital).Seductive but perilous, The Kilimanjaro Darkjazz Ensemble's session under the Mount Fuji Doomjazz Corporation name is a new combination of drones and jazz. Creating sensual, murky and dark atmospheres, Succubus' the evolution of this band, with stronger horns and a focus on hypnotic, soundtrack-like material. A deep, dark and yet seductive trip again for the corporation. After the corpses, the succubus. Faithful to the original The Kilimanjaro Darkjazz Ensemble concept of drawing inspiration from movies, they recording what later became Succubus' while watching Jess Franco's film of the same name. This iconic 1969 movie, with its strong erotic mood, fragmented story line and oneiric photography encompasses perfectly the goal and means of TKDE / TMFJDC, in the way the band builds mesmerizing, deep and otherworldly atmospheres. More jazz-oriented than their heavier first album "Doomjazz Future Corpses", Succubus' leaves more room to Charlotte Cegarra's vocals and Hilary Jeffery's trombone, while the narrative is still led by Gideon Kiers's drums and Jason Kohnen's bass. Additional improvised charm by Eelco Bosman on guitar and Sarah Anderson on violin. Succubus' displays the corporation' in its most macabre yet entrancing side. Audio cinema has seldom sounded so lustful like on this album. Currently founding member Jason Kohnen is paving the way with his new dark jazz project "The Thing With Five Eyes", continuing the mystical and occult universes people got to love from the "Here Be Dragons" period. In a parallel corner - founding member Gideon Kiers and trombonist Hilary Jeffery are conjuring up a twenty first vision of spiritism with Inconsolable Ghost, working together with artists such as the cellist Anthea Caddy, the viola player Zsolt Sorés Ahad and the filmmaker Makino Takashi. Vocalist Charlotte Cegarra went on to explore her ambient and lyrical vocals as part of Psychedelic-Pop duo Charlotte&Magon.
Together with "Bohren und der Club of Gore" and "The Dale Cooper Quartet", The Kilimanjaro Darkjazz Ensemble and The Mount Fuji Doomjazz Corporation through the years have succeeded in creating a brand new genre of music. Time to get absorbed again by this unique and fresh sound.

Sbire Label Boss Isolated Lines And Colombian Producer Gotshell Come Together In An Inspired Meeting Of Minds, Collaborating On 'particule' And 'dual'. On The B-side, Two Solo Tracks From Isolated Lines Complete A High Quality Ep And Step In A Darker, Dancefloor Direction For The Label.

Having Met Whilst Isolated Lines Was Touring In Colombia, The Pair Found Common Ground In Their Tendency Towards Austere Atmospherics And Tense Exercises In Rhythm. Their Collaborations Here Are Mind-bending Bleep Techno Tracks With High-impact Arrangement And Sound Design; 'particule' Recalling The Eerieness Of Isolated Lines' 'obsid' On Tommy Four Seven's Label 47. On The Flip, His Headier Side Is On Show. Alluring Pads Sweep Between The Drums Like An Icy Wind, Making These The Type Of Tracks That Glow Within A Techno Set. The Record Delivers On The High Expectations Set For These Rising Artists And Shows Sbire To Be Pushing The Front Line.

Lixo - The Production Alias Of Alex Hislop, Founder Of Influential London Party Collective, Getme! - Returns To The Crew's Label Arm With New Ep 'cicada'.

The Follow-up To 2016's 'writer's Block'single Feat Trim And 2017's "ida" Ep In Collaboration With Quays.the "cicada" Ep Sees Lixo Explore The Gamut Of Electronic Music With Washed Out Vocal Sampling, Warm, Tribal Bass Sounds And Fluttery, Dreamscape Melodies That Tug At The More Experimental, Exploratory Corners Of London's Club Music Landscape.

With A Back Catalogue Already Spanning 19 Records - Including Key Releases From The Likes Of Lil Jabba , Slime, Trim And Dam Mantle - The London Party-come-label Getme! Have Established Themselves As One Of The City's Key Electronic Hubs Over The Last 10 Years. Formed By Alex Hislop (lixo) In 2006, The Brand Now Spans Events, Radio And Their Aforementioned Label Arm.

Schwarzes 180g Vinyl im Gatefold inklusive Download Code

Following his critically acclaimed 2017 debut album Apeiron, enigmatic artist Noumen, aka Andriy Vezdenko, returns to CPU with his second album 'Obscurium'.

Vezdenko demonstrates mastery in the studio again with his signature melodic, uneasy and challenging rhythms. Obscurium travels down a path seldom trod in experimental electronic music; thoroughly enjoyable and brimming with musicality.

Quintessential abstract electronics.

If you like Autechre's LP5 or Jega's Geometry you will love this.

Die 2CD besteht aus jeweils 10 Fabric- & FABRICLIVE-Exclusives, die beiden LPs erscheinen entsprechend separat. Fabric steht für den Londoner House- und Techno-Underground, ob melodisch von Nina Kraviz, electroid von Steffi oder experimentell von Margaret Dygas. Der neue Resident IMOGEN serviert Dark Techno, Marcel Dettmann seinen klassischen Late-Night-Sound. Call Super (Houndstooth) lässt es deep-melodisch angehen, Maya Jane Coles spielfreudig-housig und der britische Dance-Pionier Sasha bestreitet das Finale mit euphorischen Höhen aus Vocal- und Melodiestrukturen. FABRICLIVE repräsentiert das beste aus Dubstep, D&B, Jungle, Breaks und Experimental-Beats. Den Anfang machen Junglist Special Request (Houndstooth) und die D&B-Koryphäen Source Direct und J Majik. Shackleton und Pinch & Trim zeigen die neuesten Entwicklungen in der Bassmusik auf, Daniel Avery und B.Traits ihre Dancefloor-Flexibilität, Mantra die Zukunft des Londoner Undergroundsounds. Das Finale bestreiten zwei der frühesten Gefährten des Clubs, Groove Armada und Original-Resident James Lavelle als UNKLE.

This album features sound recordings of the low-level vibrations pulsing through the megastructure that is the Coventry Ring Road. Built between the 1950s and 70s, it was a key part of the plan to rebuild Coventry after the devastation of World war II. The Ring Road was intended to keep traffic out of the city centre and form the basis for a radical vision of a modern pedestrian-focussed city. However, politics, economics and the contingencies of history combined to produce a situation in which the plan was compromised in a number of ways. Nowadays, the Ring Road has come to be seen as a misguided Modernist project that ended up deterring pedestrians and killing the city centre. The process of disassembling, mitigating, and repurposing the structure is already under way.

To capture these sounds I used contact microphones attached to the concrete pylons that support the road, at various points around its circumference. I was immediately surprised by how melancholy the ring-road sounds. The first track is a collage of field recordings from around the Ring Road. Most of the subsequent tracks take these recordings as raw material from which to build a series of poetic interpretations of the lifeworld of the Ring Road. The final track adds induction coil recordings of the electromagnetic fields that surround and emanate from the structure, including the flittering fragments of the EM fields dragged around by traffic passing above.

Frédéric D. Oberland and Irena Z. Tomažin’s »ARBA, DÂK ARBA« was conceived as the soundtrack for the eponymous installation piece by the French artist Fanny Béguély. First presented as part of the group exhibition »Panorama 21 - ›Les Revenants‹« at Tourcoing’s Le Fresnoy Studio National des Arts Contemporains in December 2019, Béguély’s chemically painted photographs focused on humankind’s propensity for self-examination and its attempts to probe the mysteries of the past, present and future. Oberland’s heavily processed electric hurdy-gurdy, the »boîte à bourdons,« provides the foundation upon which the Borghesia member Tomažin unfolds her gripping vocal magic(k). Their dense mesh of soundscapes and singing mediate between the mystic and the modern, the natural and the all-too-unreal to further examine our persistent desire to decipher the signs we find in nature. As the first collaboration between these prolific experimental artists, »ARBA, DÂK ARBA« is as evocative and thought-provoking as the art that has inspired it.

It’s easy to see why a curious instrument like Oberland’s electric hurdy-gurdy would be well suited for the duo’s ends, and within its first few minutes the opening track »Grotta« makes it clear that the Oiseaux-Tempête co-founder is more than capable of weaving dark psychedelic sound tapestries with only limited means. The ritualistic energy that Béguély’s »ARBA, DÂK ARBA« draws on is channeled through abstract drones that mirror the aesthetics of the eight suspended paper rolls the artist’s audience were faced with. When the music becomes denser and Tomažin finally enters the picture with her signature glossolalic vocal performance, it seems as if the drones emanating from her musical partner’s curious instrument bleed right into her voice. Even as the sound of the boîte à bourdons becomes more visceral and Tomažin’s voice more discernible, »Grotta« remains as intangible as the mythological oracles that had informed the work of Béguély. Shorter pieces like »Amena« or the closing track »Hereafter,« though condensed, offer just as much to decipher - a whole musical world to get lost in, full of riddles and uncertainties.

»Fumes« and »Hieromancy« in the second half of the LP are the best examples of how much creative friction lies at the heart of the French experimentalist and the Slovenian singer’s collaboration. While in the former song, Tomažin first takes the lead singing uncanny, circular motives before stepping aside so Oberland can let the processed sounds of his hurdy-gurdy evolve into chilling crescendi, the latter sees both of them take turns in channeling the pervasive mysticism around them. Blurring the lines between the physical and psychic as well as the real and the hallucionary with their music, Frédéric D. Oberland and Irena Z. Tomažin’s »ARBA, DÂK ARBA« is one of the most radical albums in recent years. An unsettling dialogue between two kindred, yet freely wandering spirits.

Uniting cosmic tones and lovely notes, unique sound collages and electronic noises, Muzak pour ascenseurs en panne ("Muzak for Broken Lifts"), Brigitte Barbu's first album, explores a dreamy universe, at the crossroads of electronica and the 70s’ post-tune-in/drop-out, echoing shadows of the peculiar doppelgänger; Pépé Bradock. Ça Plane pour Brigitte Barbu…

Resonant guitar notes, odd sounds, electronic hallucinations, and unexpected warm synth layers all gather together in Brigitte Barbu's first enigmatic album. Recorded and mixed during a reclusive one-week residency in a very special studio, under the benevolent cubic radiation of "Our Lady of the Ark of the Covenant,” using a computer, synthesizers, and various string instruments, giving birth to this resolutely unique album. The guitars were sharply disciplined, propelling strings into strange and hypnotic limbos, somewhere between a weightless journey through time and a fresh science lab experiment.

A perky cosmic album running away from rules and gravity.

"I wanted to compose an ethereal abstract Hip-Hop LP" says Brigitte, "with guitar as a brainwashed instrument, mirroring machines and computers, even if surely far from being unplugged". So much for that… With a real introspective dimension, the record stands out for its pure whimsical mood. The artist had strict rules for composing: “Each track is based on the association between a title chosen for its consonances, an open tuning, a random tempo and frequencies chosen for their supposed effects, real or imagined, on the mind, body & soul.” For example: Taro Patch -> Whale -> 93,75 BPM or Dobro -> Bear-> 118,125 BPM, Air Resistance -> Open Em -> Panther-> 480 BPM etc.

Brigitte surgically framed an electro-acoustic compendium, finding its atmospheric mothership… Brigitte Barbu, referring to a special interlude from a vintage release "Escalope de Dingue” (Fool’s Cutlet), explains that Muzak pour Ascenseurs en Panne is in fact a custom tribute to family, friends, triggered cosmonauts, René Clément and the card game where the winner is the bearded monarch nonchalantly stabbing himself in the head. It’s a lot!

In 2018 I landed in Amsterdam to start a Europe Tour. The venue could not find a hotel for me, so I asked Gilbert, who invited me to stay in his guest room. I felt at home when I saw what was on Gilbert's table/mind. The book 'Shantaram', a double reed flute photo, Saravah... (as a friend of Pierre Barouh, I had visited Saravah where I met Jacques Higelin in the 70s). Gilbert and I exchanged many ideas, and I invited him to record at my place in Australia. He did, and here is the result! I am thrilled that the words issued from my Head Voices are highlighted by the arrangements co-created with Gilbert - also the sheer genius of I:Cube to polish our gems has a lot to do with that!

Enjoy your listening experience!
Ariel Kalma

DRUMIRA features four heavyweight tracks by Stefan Schneider, ghanaian drummer Nicholas Addo Nettey and percussionist Sven Kacirek (Hamburg).

Nicholas Addo-Nettey was a former percussionist with Fela Kuti and his famous Africa 70 band during the most legendary years of his career. He has left band in 1979 in Berlin where he has been living ever since. His early solo album PAX NICHOLAS from 1971 has gained fame through a reissue in 2009.

It is interesting to note that DRUMIRA was first released anonymously in 2011 in a minuscule private pressing edition which only had a Spiegelmotiv hand stamp on the sleeve. Due to legal issues in 2009 with some of the mapstation releases, Stefan Schneider decided to put his project on hold until things got cleared. After nine years the record finally finds a place in the mapstation catalogue and gives full credit to all musicians involved. The EP comes with a luxurious hand assembled sleeve in a small edition.

Music-wise this EP is most distinguished by the combination of slow paced dark electronics and inimitable percussion patterns by Nicholas Addo-Nettey.

Nicholas Addo-Nettey: Percussion
Stefan Schneider: Electronics
Sven Kacirek: additional percussion

Absorbing new album from this very special artist. Hand printed sleeves. Very limited edition.

Marta De Pascalis is an italian composer living and working in Berlin. Her solo works employ analog synthesis and tape loops, incorporating free playing into steady, repetitive patterns. She has produced two albums of Berlin School minimal synth excursions: the self-released Quitratue (2014) and Anzar (The Tapeworm, 2016). Her new piece ‘Her Core’ has been published on spring 2018 by The Wormhole. Marta creates densely layered collages of glowing melodic shards and growling bass lines, her hypnotic minimal synth figures warping and whirling around each other before dissolving into entropic oblivion. For her compositions she uses improvisation on a tape-loop system, in which patterns of repetition create a sense of a dense, dynamic and cathartic distance.

All music by Marta De Pascalis Recorded at WORM Sound Studios in Rotterdam, artist's studio and Big Snuff Studio in Berlin, between 2019 and 2020. Mastered by Giuseppe Ielasi. Artwork by Lorenzo Mazon Studio. All rights reserved to the respective owners. doser039LP - Morphine Records 2020

"Nicolas Gaunin's surreal sound experiments lift you out of the everyday and transport you to an off-world Tiki lounge set high amongst the tree tops of a tropical rainforest, where you're surrounded by bizarre, colourful creatures and weird psychotropic plants. Noa Noa Noa is modern Dada, a neon soundtrack to your most outlandish fever dreams.
Nicolas Gaunin is the alter ego of Nicola Sanguin, part of the vibrant experimental music scene around Padua, Italy where he plays in outsider rock groups The Lay Llamas and Orange Car Crash. Nicolas Gaunin is his solo electronic project, a bright and playful cosmic mash-up that uses the rhythms of traditional African percussion groups and skews them slightly to create unsettling, off-kilter grooves. These drum machine experiments are laid over a teeming microscopic sound world of bird calls, insect chatter and weird jingles reminiscent of advertising earworms or video game soundtracks.
Noa Noa Noa takes its influences from music from around the world, and inspiration from high and low culture; from composer Gyorgy Ligeti to the cosmic sounds of Italian DJ Danielle Baldelli, from the experimental music of Moondog or Harry Partch to the playful sounds of Francis Bebey or the exotica of Martin Denny, from Iannis Xenakis to 8-bit video game music. Noa Noa Noa ends up sounding something like the imaginary soundtrack to the Nintendo Gameboy version of a lost William S. Burroughs novel.
Incredibly, most of the tracks on Noa Noa Noa were recorded live in one take with the express intention of creating music that is, in contrast to much of today's electronic music, bright, sunny, light-hearted and mischevious. The resulting album is both totally essential and also completely throwaway.
These tracks were originally released in 2018 by Artetetra Records (Italy) as Noa Noa (cassette & digital) and Danse de l'Oiseau (digital only). Hive Mind Records are proud to present Noa Noa Noa on vinyl for the first time."

Hypersonic tunes and (un)danceable break-beat rhythms. A new hero has landed on Land Of Dance.

Nine tracks of classic Muslimgauze material: Tribal and percussive, mixed with tape loops, ambigue atmospheres and some noisy edginess. Bryn Jones originally recorded and mixed this album at the Abraham Mosque in Manchester. It was then released in 1995 on CD (in an edition of circa 1800 copies) via the Portland based Soleilmoon Recordings, which was a sister company to Staalplaat back then. The nine tracks have been remastered for this reissue, that also comes with a new artwork.

All tracks written and played by Muslimgauze.
Recorded and mixed at the Abraham Mosque, Manchester.
Engineered by John Delf.
Re-mastered by C-drik.
Artwork concept and photography by Dmytro Fedorenko.
Artwork design by Zavoloka.