Nouveautés et Sorties Vinyles Beats - News

As part of the 2016 festival Night of the Experimental Film, French duo Opéra Mort (= Èlg + Fusiller) performed a live soundtrack for two films that centre on the paradoxical symbiosis of love and death: ‘The Potted Psalm’ by Sidney Peterson and James Broughton, and ‘Dream Work’ by Peter Tscherkassky. Both films convey love and death as both direct opposites and kindred concepts, turning to cryptic surrealism, poetic hallucinations and flickering alternations between flesh and ecstatic abstraction. Opéra Mort’s sonic accompaniment is a squirming contradiction, fraught with micro-harmonic friction and bleeps of electronic alarm. Is the soundscape melding into a solitary whole or blowing itself apart?

With ‘Film Works’, the duo have adapted their soundtrack into a standalone recorded work. Synthesisers flicker like computers trapped inside calculative loops. Flailing organs knot into tendrils of microphone feedback. Occasionally it’s possible to identify traces of body and voice within the wretched lattice – resting-state heartbeats, regulatory beeps of life support – which are only ever faintly present within Opéra Mort’s transcendent elsewhere, like echoes humming through the membrane between the corporeal world and the heights of ecstasy. Just like the films that inspired it, ‘Film Works’ enacts the strange disputation that defines the climactic extremes of human experience: to love and death, the body is both the fundamental vessel and the husk that is left behind.

According to the theories of Greek/Roman scientist Claudius Galenus (131–216 AD), human temperament has a direct and reactionary link to the world around us. A phlegmatic personality is connected to water and the moist chill of winter; the aridity of summer is associated with fire and human irascibility.

For the B.A.A.D.M. debut of Mattias Gustafsson (aka Altar Of Flies, Ornaments, Cryme), we presented him with this theory of human/world symbiosis and asked him to explore its numerous implications: the transience of environment and being, the regenerative intimacy between life and the earth, the prospect of death and decay as integral components of rebirth.

'Nattmusik' is Gustafsson’s first record under his own name, removing the mediation of the artistic alias to fully embrace the symbiosis between body and environment. Keyboards splutter through bad wiring and wither into despondency, with notes engulfed by the sounds of earthly stir (tectonic rumbles of low frequency, muffled winds of sine wave). Symphonies of piano and electronics start to bloom and then flicker into states of death as the temperature suddenly drops. Body and telluric elements respire into eachother, as the contours of Galenus’ theory ripple with crumbling field recordings and spurts of melodic dejection. 'Nattmusik' depicts a world in which emotional decay feeds the flourish of nature – an earth thriving upon inevitable human decline.

Nocebo, the first full-length by the Boston, Massachusetts five piece Elizabeth Colour Wheel, is inspired by anxiety, the fear and the desire of being constantly overwhelmed. The album came to fruition over the summer of 2018, when the band embraced a heavy “kill your idols” mindset, crafting an album that is distinctly schizophrenic yet familiar, touching on ’90s heavy rock, shoe-gaze, and black metal influences.

Mixed and mastered by Seth Manchester of Machines of Magnets (The Body, Street Sects), Nocebo is a five-walled haunted house, constructed from the wild, chantlike vocals of Lane Shi, the heavy, reverberant guitars of Emmett Palaima and Alice Jackson, the sludgy, distorted bass of Billy Cunningham, and the powerful, aggressive drumming of Connor Devito. Inside these walls frequencies of spectral anger echo and resound, gathering into thunderous waves, which crash against the borders of the room before dying out into eerie silence.

Elizabeth Colour Wheel, whose name is pinched from The Lily’s track of the same name, formed in 2014 around the Boston area. The band has shared the stage with numerous bands, mostly notably The Flenser label-mates Have A Nice Life and Planning for Burial.

Lexachast is an ongoing collaborative work by Amnesia Scanner, Bill Kouligas & Harm
van den Dorpel. Initially birthed as a joint, improvised performance between Amnesia
Scanner and Kouligas at the ICA, London in 2015, it was later recreated and extended
with visual artist van den Dorpel into a 15-minute online-only audiovisual work – known
simply as Lexachast.
Since then, it has expanded into a live show that has been performed at Transmediale,
CTM Festival, Unsound Krakow & Adelaide, Next and LEV Festival and during Paris Fashion
Week in collaboration with the brand Ottolinger. Now to be released on PAN, is a new
document of Lexachast in its current, full-grown form.
Whilst broadly inspired by the experience derived from and exposure to algorithmic
patterns as generated by visual artist Harm van den Dorpel’s specially-devised program,
the work is a sonic reference to the fallouts of avant-EDM and cyberdrone. This in turn is
simultaneously mirrored by the perturbing visuals, created by a unique algorithm that
sources and blends various filtered imagery from DeviantArt and Flickr in real time –
with a bias towards the NSFW, extreme banality, and ornamental melancholia. The results
were a perfect fit for the deliberate intention of non-intent, an anti-video of sorts, which
ended up as a defining element for the project.

Infinite Greyscale release Damn Lieu Lit, a new 10" recording by Andi Toma, also known as one half of electronic music pioneers Mouse on Mars. Following on from the band's percussive masterclass, Lichter (also on Infinite Greyscale) and their ambitious 2018 album Dimensional People (Thrill Jockey), Damn Lieu Lit sees Toma going it alone in an exploration of off-kilter rhythms and extraterrestrial sounds. From an opening of bird song an inorganic structure is assembled; and with the stage constructed, the performance begins. What follows is a deep and engrossing exploration of an alien ethnography. Within a frame of hypnotic rhythms Toma traverses sounds and rituals to reveal field recordings from another planet.

Comes with a digital download, including an extended mix of Damn Lieu Lit. Each edition features handmade artwork by Paul McDevitt and Cornelius Quabeck. Screenprint by Ulrich Schmidt-Novak. Mastered by Cem Oral at Jammin Masters, cut at D&M, Berlin.

Deaf Center's second album Owl Splinters from 2011 gets a lavish re-packaging as a gatefold 2LP. It includes the Svarte Greiner re-interpretation album Twin as well as new cover-art with photos by cinematographer Joshua Zucker-Pluda.

Owl Splinters was originally released 6 years after DC's debut Pale Ravine. In contrast to their previous work, it was recorded in a studio setting (Nils Frahm's Durton studio, to be exact), and the lo-fidelity, haphazard techniques of their early recordings where all but gone. With the benefit of high-end engineering and analogue equipment, Erik K Skodvin and Otto A Totland's murky compositions were transformed from sketches into glorious widescreen spectacles. 8 years later the album sounds as moving, beautiful and obscure as it did back then.

Twin is a 40 minute interpretation of Owl Splinters by Erik K Skodvin under his Svarte Greiner alias. The record takes the long-form, ghostly sections of it's parent album and expands them into crushing drone epics. The two parts are cut into four sections, pieced together by used and unused material from the recording session. It first appeared in form of an accompaniement CD that came with the initial 100 LPs of Owl Splinters. This is the first time Twin appears on vinyl.

Daughters Of The Sun's singer / guitarist Nick Koenigs has been toiling solo as Filthy Huns for a couple quiet years at this point, layering grease-stained drum machines with badlands guitar, mirage keys, and desolate vocals, alternately broke-down and road-burned. His debut is a dusty midnight ride through black hills. “Watch Of The Bear” in particular captures a loner-in-leather mood, headlight off, pushing 70, chasing the horizon under a sea of stars. Elsewhere there's woozy, hungover dub (“Hot Morning”), peyote campfire awakening (“Infinite Ride”) and stoned sunshine raga (“Out Of The Grave"). Barren times on the highway, through darkening deserts.

Special Record Store Day 2013 release! LP version includes free download! One explanation for the 90s-fascination with Casio, Korg and other analogue synthesizers is quickly at hand: The 1st video-game generation was coming of age and were happy to hear that their dearly loved “Space Invaders“-soundtrack was suddenly popping up in electronic music. It takes slightly longer to explain why one record from that time - “Beautronics“, the debut by UK-synth-duo ISAN first released in 1998 - kept its appeal until today. “Beautronics“ does not grab you immediately. You don’t hum these tunes after a few listens, in fact you might not even hum them after dozens of spins. It’s not about humming. It’s about soft cushions and a cosy duvet made of sounds, it’s about aural sheets floating around like warm humidity during a hot bath. Occasionally it’s even about IDM, but in a very late-night kind of way. Antony Ryan and Robin Saville, the two English lads behind ISAN, are very open about their goals. They separate the longer tracks with short, often abstract pieces they called “Tints“. So it’s as much about tonal colour, as it is about melodies. The “Tints“ form an interesting contrast between ambient sounds and the more focused tunes. But even their most bass-dominated songs such as “Skeek“ are not exactly four to the floor. There’s no more than one to the floor, while the rest is sailing somewhere above in a haze of beautiful sounds and melodies. The album’s sleeve and title are straightforward about this: it’s all about the human beauty in electronica. Just like your mom’s heartbeat that set the tone for the first nine months of your life, “Beautronics“ produces sounds that radiate a warmth and naturalness that make them feel familiar upon first listen. The 15 years since its initial release don’t change a thing about this. That’s why it’s certain, that “Beautronics“ will win a new generation of listeners with this re-issue.

‘Joyrobix’ is Brummy-abroad Joe Snape’s flooring return to Slip: a songbook of nimble,
aching pop that wrings raggedy solace from dejection and displacement. Begun as a
danceable refix of pieces for chamber ensemble toured the last three years, production
on ‘Joyrobix’ stalled sharply in 2016. Instead of a self-confident exercise in documentation,
the record twisted into a darker, more lyrical original: a period portrait of dislocation and
burnout following Snape’s move to the US in 2015.
There’s still plenty of fun to be had. Between the adult contemporary guitars, gospel
grooves, and Broadway melisma, the tropes of a musical America are present, correct,
and indefatigably uptempo.
But even at his most playful, Snape sounds like a musical mind running on fumes, the
optimistic experimentalism of 2015’s ‘Brittle Love’ audible only through a weary cloud, and
the black dog never altogether quieted. Nor could it be: ‘Joyrobix’ sounds like a working-
out – here manic, there taciturn – of a New World dream gone sideways.

Woe are King Midas Sound on ’Solitude’, their crushingly desolate new album, auspiciously cued for a Valentine’s Day release on Shapednoise’s Cosmo Rhythmatic label. A meditation on loss, narrated by Roger Robisnon and produced by Kevin Martin (The Bug), ’Solitude’ sees KMS gut out their sound following the bittersweet shoegaze-dub blooms of their ‘Edition1’ 2015 collaboration with Fennesz, resulting in a starkly noirish elegy to extinguished romance and love in the endtimes

Combining the grown-up, confessional vulnerability of Robinson’s lyrics and dreader-than-dread delivery with the most stripped back arrangements in Kevin Martin’s entire catalogue, the duo drill deep into emotional sufferation with simultaneously suffocating yet somehow beautiful results. Over the course of 12 songs, they glacially limn a coming-to-terms with a loss that has been enforced or unexpected, and ultimately arrive at the starkest conclusions with cinematic effect.

’Solitude’ pushes King Midas Sound’s pessimism to heart-rinsing degrees. Staging Robinson in a series of vantablack scenes veiled by smoky, minimal synth-lighting, the poet processes irrational and incessant feelings of rejection and loneliness. From the aching desolation of ‘You Disappear’ to the unflinching realisations of ‘X’, the ache imparted by Robinson’s lyrics is only amplified by his quiet stoicism, while Kevin Martin finds power in a sense of deferred gratification and his embrace of negative space.

The effect is nothing less than transfixing in the physicality of Robinson’s descriptions and the detached nature of Martin’s sferic electronics on ‘In The Night’, while pangs of lush optimism lend an exquisite contrast to the desiccated riddim and gloom of ‘Alone’, and the sylvan keys in their sensuous reverie, ’Her Body’.

‘Solitude’ is a more than worthy follow-up to King Midas Sound’s two albums for Hyperdub and their collaboration with Fennesz for Ninja Tune. It’s bound to reset what you know about KMS, and become a go-to album for anyone going thru conscious uncoupling, domestic strife, or meditating on love in the age of info overload.

IVVVO mounts an ambitious debut album for Rabit's Halcyon Veil with 'doG', a 2LP of
synth-driven panoramas painted in neon, riddled with rave tropes and rendered in
hyperrealist, cinematic sound design
The follow-up to 'Good, Bad, Baby, Horny' 2017 sees him unpackage and build upon
that EP in all directions at once in a viscerally corporeal and sorely emotional salvo
intended to be taken as his definitive opus to date. Across its 15 songs the London-based,
Portuguese producer spells out a narrative as vividly hypermodern as a Nicolas Winding
Refn flick but set in the fashionista underbelly of London, with crucial assistance on two
of the album's highlights coming from soundtrack composer and 'Hollywood Medieval'
producer Maxwell Sterling.
Like a magpie with fancy taste, IVVVO picks the shiniest and most affective elements of
contemporary dance/rock/pop and electronica - from deconstructed trance synths to
blockbuster sound design and choral arrangements - and then weaves them into searing,
reactive expressions of modernity. The results are skizzy, veering from anxious to
ecstatic and often in the space of one song.
Kicking off with convulsive samples of Korn's Jonathan Davis wedged into the nerve-
jangling opener 'This is Dog', the LP bleeds with emotion at each step, from the heart-
bursting Lorenzo Senni-esque style of 'Life' to the clenched and knotted grunge reflux of
'Forever Your Mouth' to the visceral, Arca-like incision of 'Blade', while two pieces with
Maxwell Sterling, the Coil-like arabesque 'Untitled' and the vertiginous flight of 'Last Days',
seal the deal with decadent flourishes.

Techno mutant Oliver Ho invokes divine noise via distorted guitars, synths and drums
with hypnotic industrial psych-drone project Slow White Fall for Regis' Downwards label.
The 30 minute 'Total' EP is a naturally extension of Ho's increasingly noisy forays into
industrial musick found in his Broken English Club and Zov Zov outings of recent years.
Gnashing right at the biting point, the EP's five tracks are variously soused in distortion
to degrees recalling The VU, Swans, and Bourbonese Qualk, bringing Ho as far as he's
travelled from techno proper and closest to his formative industrial and rock influences.
He fully commits to this sound with opener 'A Blinding Light', toiling booming drums and
slavish hi-hats with electric blue raga drones in a way that resonates with everything
from Tony Conrad to Clay Rendering, before 'Releasing Together' locks into a tantric vortex
sounding like a duel between TG and John Carpenter.
'Slate' then returns to the amp worship with sanctifying slow riff distortion worthy of
Dylan Carlson, while Ho's plaintive vocals interject the sludgy crawl of 'Our Eyes', and 'Vein'
sounds like he's repeatedly stabbing a live 1/4' jack into industrial rock's beached and
bloated corpus, releasing noxious gasses that build into a tarry fug of guitar distortion.
This is Ho at his most stare-down intense and timelessly, narcotically effective.

Berlin-based collective African Acid Is The Future inaugurates its new label partnership with The Vinyl Factory by releasing the first in a three-part 2×12 series Ambiance.

The first instalment, Ambiance I, captures two extraordinary live performances in Berlin, backed by remixes from AAITF members Dauwd and Wolfonacid on the second 12.

The live performances feature Kenyan dodo singer Ogoya Mengo & The Dodo Women, and the woman once described as Zimbabwe's mbira queen Stella Chiweshe. The former was recorded live in Romain's Azzaro apartment, while Chiweshe's performance was captured in front of an enraptured crowd at Berlin's iconic Funkhaus venue.

* Featuring Kenyan singer Ogoya Nengo and 'the queen of mbira' Stella Chiweshe
* 2 x 12 180g heavyweight vinyl includes in a gatefold sleeve
* Includes printed inner and outer sleeves and an African Acid Is The Future booklet
* Artwork by Louis Vignat
* Vinyl edition of 500

- the Picture You See Is No Portrait Of Me (true Faith 1989) With innere Tueren', Ergin Erteber Publishes His Artistic Approach To Sound And Vision. It Is A Journey In Which Sound And Images
Unite Compellingly And Form Multidimensional Spaces.
After A 5-year Period Of Experimentation, innere Tueren' Is His Decampment And, At The Same Time, His Liberation From The Dogma Of The Often Functionality-reduced Claim In Electronic Music. With Him Sound Formations Arise Exclusively Through Images, Already In Existence. He Sets These Images To Music And Fills Them With An Emotionality That Was Hardly Heard Before.
Born And Raised In Heidelberg, Ergin Erteber Has Always Been A Prisoner Of His Very Own World Of Images, Which Later Led To His Intense Involvement In Design And Photography. Constant Companion In These Times Was The Music With The Result That He Had To Merge Both Worlds For Himself.
In The Course Of This His Way Led Him To Darmstadt Where He Discovered Music-production In Addition To His Studies. At The Same Time, He Was Both Creatively And Musically Involved In The Art And Club Project galerie Kuzweil'. In This Environment, He Was Able To Gain Many Experiences That Were Certainly Also Formative For His Approach To Music.
His Previous Projects Such As things From The Basement' Also Show Stages Of This Development. In This Particular Collaboration With Steffen Neuert (bergheim 34) It Was Already Apparent That He Was Less Concerned With Functionality, But Rather With Aesthetics And Charisma - In A Figurative Sense, A Rapprochement With The concept Of Beauty' By Umberto Ecos, Whereby Here Rather The Ear As The Eye Is The Center Of Perception. This Approach Is Now Even More Delicate In innere Tueren'.
With The Help Of Jan Barich (map.ache) Ergin Erteber Has Now Been Able To Translate His Own Fragile-poignant Soul Language Into Wonderful Music. The Album, Which By The Way Was Mastered By Josh Bonati In New York, Appears On March 22nd In 2019 On Kann. On 21.03.2019 An Exhibition For The Album Will Take Place In The Gallery Ortloff In Leipzig.

2x12"

The Caretaker slips beyond recognition in the first 'post awareness' stage of Everywhere
At The End of Time. The ability to recall singular memories gives way to confusions and horror. It's the beginning of an eventual process where all memories begin to become more fluid through entanglements, repetition and rupture.Though the metaphoric device of worn-down ballroom 78s and Jack Nicholson's descent
into madness in The Shining, The Caretaker connotes the transitory cognitive breakdown of moderate into severe late stage dementia. Memories of the good times are recollected in glitching picnoleptic flashes as the music struggles to follow consistent lines of thought, instead fluctuating between a fractured mosaic of ideas and elusive emotive gestures, but still occasionally able to gather coherent thoughts.
In aesthetic, the sieve-like mindstate of stage 4 vacillates a serene sort of psychedelia with utterly paranoid and petrifying mental subsidence. Smudged traces of sublimated musical hall memories give way to shocking tracts of atonality and discord with runaway rhythmic logic, perpetually tumbling farther into states of mind perhaps best compared with K-Hole-like dimensions or the babble of after-hours psychonautic journeys.
The concision of previous stages is here replaced with wandering, side-long tracts.
Three of those are titled Post Awareness Confusions and correspondingly explore and reflect agitated, irritable mindsets as they navigate an ephemeral, confusing complexity of structures. The other piece is called Temporary Bliss State and starkly contrasts the other parts in a coherently lush traverse of ambient crackle and glittering melody...

Penultimate, 5th Stage of The Caretaker's 'Everywhere At The End of Time' series charting severe levels of musical/mental deterioration and sensory detachment through four extended, smudged and hallucinatory side-long pieces.
As we near the end, 'Stage 5' sees our protagonist enter a near-permanent state of confusion and horror. Mirroring the endemic deterioration of dementia's latter phases, were pulled through the most extreme entanglements in the series so far; repetition and ruptures, barely maintaining a connection to waking life and a sense of self.In the most classic sense, we become witness to an abandonment and dissolution of ego,
as the mulch of bygone '78s totally loses itself in a way that connotes misfiring synapses failing to properly relay information at advanced levels of the disease.
It feels as though our skull is being scraped out, uncovering hellish layers of accreted sensation and mulched imagery, occasionally recognising calmer patterns, only for them
to fray into the ether before it's possible to parse and dwell on them.
At this point it's also perhaps worth pointing out the uncannily profound synchronicity between the timelines of 'Everywhere At The End of Time' and Brexit, which both started in 2016 and are due to wrap up in spring 2019. It should be no stretch of the imagination to read into their parallel progression from nostalgia and historic/collective amnesia, to progressive dementia and complete obliteration of (the) sense(s).

The Caretaker despatches the final scene of a 20 year-long act that has uncannily lurked in
the shadows of so many of our listening lives. Clad for the last time in Ivan Seal's specially
comissioned artwork, this final stage sees The Caretaker mirroring the ultimate descent into
dementia and oblivion, again using a patented prism of sound to connote a final, irreversible
transition into the haunted ballroom of the mind that he first stepped into in 1999.
The project really took on new dimensions in 2005 with the 72-track, 6CD boxset 'Theoretically
Pure Anterograde Amnesia', which was accompanied by an insightful unpackaging of its ideas by
cultural critic Mark Fisher aka K-Punk; a stalwart of the project who identified it (alongside music
from Burial and Broadcast) among the most vital, emergent works of Hauntological art - a form of
music often preoccupied with ideas about memory and nostalgia (but one distinct from pastiche),
and the way that they possibly overwhelm, occlude, or even define our sense of being.
By using fusty samples from an obsolete analog format, and by doing so in the 2nd decayd of the
2nd millennium, The Caretaker perfectly and perversely bent ideas of anticipation/expectation
with his arrangements, playing with notions of convention and repetition. The project crystallised
as a real gesamtkunstwerk for these times, and one arguably defined by a stubborn and intractably
chronic drive against the grain of modern popular culture, or even a refusal of it.
And so to the project's final goodbye. With the outside world muted, and only the timbral residue
remaining like smoke, everything moves as slow as a Lynchian dream sequence, until a conclusion
so ineffably sublime occurs that we can't mention it for fear of waking up.
With his departure, we'll just take respite in the fact that The Caretaker was always there,
inverting our world and supplying space and time and theory for thought, prompting us to dwell
on the realest and darkest matters via the prism of the surreal and the unreal in a way that, in the
long-run, can prove to be more effective at grasping the immediate state of cultural amnesia and
the world's increasingly tight feedback loops, and arguably bring us to the realisation that it's
all a hyper-complex mess beyond anyone's conception, but we must at least attempt to try and
understand, no matter how futile it seems.

This is the first reissue of Tim Hecker's classic 2003 album. The original recordings were remixed by Tim Hecker and mastered by Matt Colton at Alchemy Mastering.
- Reissue of classic 2001 album by renowned ambient / noise / electronic artist.
- Received acclaim upon release, including Pitchfork giving it a 8.3.
- Originally released on Alien8 and now long out-of-print.
press quotes for Radio Amor:
"Hecker at his most painterly and evocative.' Pitchfork
"Radio Amor has a simultaneous tangible/intangible quality that is both miraculous and enigmatic.' Tiny Mix Tapes
"Tim Hecker may be the finest sonic photographer around, the re-release of Radio Amor being further evidence for this claim.' Brainwashed
"Hecker's 2003 standout is a stirringly emotional narrative, without the slightest aid of a single voice.' Treble
"A slow-shifting mix of steely headrush and protracted morse code dispatches from the bottom of the ocean.' Dusted

hand-painted / signed / numbered / ltd. to 99 copies

Polyarrythmics is an EP by Mark Spn, a music producer and sound engineer who lives in London. While this is his debut EP under this moniker, he has recorded under various other aliases, one favourite being Holdie Gawn on Sylphe Records.

This release slows things down a notch from Mark's other output. He presents a densely layered work that conjures Herbie Hancock's sextant & Kirk Degiorgio's arps, J. Majik's mermaids & Underdog's attic tapes. It is cerebral and cohesive, made to be consumed as a sum of its parts: found sounds and urban field recordings, hushed Hammond grooves and modulated keys, muffled beats and unsyncopated rhythms, flickering electronics and hovering pianos.

Artist John Tsombikos has been commissioned to provide one-off artwork for the limited edition physical product, to be released in mid March. Hand painted, signed and numbered, limited edition of 99.

Primarily known as Codex Empire, Mahk Rumbae slides his Antechamber project over to Horo for an EP of crushing, relentless stagger-tech.

Following on from his s/t Antechamber debut for Instruments Of Discipline, Rift sees the artists minimalist brutality refined into an even more dominant language. From the nightmare grinds of Dagger Complex and Rift to the sinister rhythm of Repudiation and the conjuring ambience that emanates from Arch of Hysteria, the Rift EP offers an intimidating assemblage of doom laden sonics. The limited vinyl edition of this release is a 10" cut onto a 12" plate.

Optimo Music is thrilled to present 'Weaponise Your Sound', which has been curated, conceived and designed by Kristina McCormick (Diet Clinic). Diet Clinic is an NTS radio show showcasing female DJs/artists.

It is the first vinyl release on Diet Clinic's newly-formed sub label of Optimo Music marking International Women's Day 2019 and featuring brand new tracks from artists C.A.R, Cucina Povera, Fantastic Twins, Human Jones, Maral, Marika Underspreche, Odete, Penelope Trappes, Slime, Sue Zuki and Zoe McPherson.

They may be scattered across the globe but their love, strength and support for their art and counterparts continue to inspire on a daily basis.

All proceeds go London based charity, Focus E15 which demands social housing, not social cleansing!

Liam Blackburn's Ancestral Voices project is a nomadic journey of self discovery, exploring expansion of consciousness through sound. Since it's inception in 2016 the project has traversed from transcendent ambient to jagged 170 bpm beat experiments over the course of 2 full length LP's and 3 EP's. In 2018 Liam launched his own label 'The Fifth Kingdom' with the entirely beat-less release - Mycelia.

Liam returns to Horo to follow up his second LP 'Divination' for the label in 2017 with the next step in his musical evolution - Navagraha.

Navagraha means "nine celestial bodies" in Sanskrit. Each 'Graha' is a specific vibration and relates to the nine planets of our solar system, as well as the different parts of our body.

In 1978 Hans Cousto, a Swiss mathematician and musicologist discovered the natural law of the cosmic octave as the link between different kinds of periodically occurring natural phenomena, such as the orbit of the planets, the weather, colours, rhythms and tones.

For the Navagraha project Ancestral Voices has taken Hans Cousto's 'frequency' of each planet and created a unique tuning system which he uses for each track.

The result is a mixture of Ptolemaic, Pythagorean and other 'Alternate' Harmonic scales that can create a profound effect on the consciousness of the listener. Steering away from equal temperament opens up an infinite amount of possibilities and more 'colours' to paint the picture with.

Cologne is Danny Lane and Vasilios Manoudakis - a photographer and a ship captain who make songs together. Vasilios works as a boats captain in New York while Danny stays landlocked, producing tracks and hustling work as a photographer/actor in Los Angeles.
The two communicate with one another through music, sending loops and snippets from wherever they happen to be, independently writing pieces of songs that smoothly snap into
place. Throughout this, the two share a thing for synths and classic pop, creating songs that are warm, relaxed, and inescapably catchy. Though their influences range from 80s dance music to minimal house and ambient music, they see Cologne as something new and have a very pure idea of success: If people like it, we are happy. Vinyl tastes better...

After 'Mars II' and 'Fortune de Mer', the album Frederik made together with Timo Van Luijk, Croene releases 'Cul de Sac': a record where he explores the boundaries and limits of the piano. A mind-blowing journey through his soul and his past.

After graduating from Conservatories in 1999 Frederik Croene embarked on several projects in which he would reflect on the ever-changing and multi-layered identities of the classical pianist. As the Gestalt of his instrument is grounded in 19th-century Romanticism, he still uses virtuosity to communicate about what it is to be a pianist. He has performed and recorded the classical repertoire and worked intensively with composers such as Michael Beil, Johannes Kreidler, Simon Steen-Andersen, Michael Finnissey, Alexander Schubert and Stefan Prins. In 2010 he reached a turning point in his career as a composer-performer with the formulation of the concept of Le Piano Démécanisé ('The De-mechanised Piano') in an article and LP release.

Croene composes almost exclusively for piano or dismantled piano, using extra-musical tools such as video, text and choreography (Roll over Czerny, Piano Hero Parasite, On Education, Eagle Finger). To realize these often complex setups he founded PIANOGUIDE, a piano duo/think tank with pianist Elisa Medinilla (Nadar Ensemble). He established an enduring collaboration with underground musician Timo van Luijk, which has given rise to many live performances and two LP releases (Voile au Vent, Fortune de Mer).

He has been invited to perform recitals at Holland Festival, Transit Festival Leuven, Time of Music Festival in Finland, Huddersfield Contemporary Festival and Festival van Vlaanderen. In addition to his career as a performer, Croene also curates a piano series at PostX, a small venue in his hometown of Merelbeke. He teaches piano and founded the Vinim atelier, where he coaches youngsters in experimental composition and improvisation.

- Limited vinyl only release - Including postcard with download code for another new album from Jacek Sienkiewicz.

IMOW, or 'In My Own Wave' - Atmospheric, cinematic, stirring and utterly engaging, this is surely Sienkiewicz's most personal work to date and very possibly his best!

IMOW, or 'In My Own Wave' is a moody record. Although overtly experimental in form, it's quite different to Sienkiewicz's abstract, improvisational albums recorded with Max Loderbauer or AtomTM. Clocking in only 35 minutes and comprising of eight tracks, 'IMOW' is several years of work distilled into a dense, concise whole. Atmospheric, cinematic, stirring and utterly engaging, this is surely Sienkiewicz's most personal work to date and very possibly his best: his constant struggle to find a perfect balance of flesh and machine, or to translate human emotions to sound by means of a modern studio is manifested here in its purest, most consistent and, surprisingly, very accessible form. From subtle drones, through chants and rhythms echoing in mountainous chambers, to innumerable insect-like sounds and tiny details, it's an encephalogram recorded to tape (or disk). With all its complexity, it's not overwhelming: the meticulously constructed compositions leave both space for the sounds to breathe, and for the listener to fully experience it, without being bored, tired, wishing for less or being hungry for more. And there's beauty in this record, and hope - in the world of overpowering darkness and constant noise 'IMOW' feels like a peaceful trip into the untouched nature with all its wonders - offering in equal parts rest, strength and inspiration.

Initially created as a soundpiece for a group exhibition, this meditation on, according to Broshuda himself 'Self help / depression, universal painful truths and memory via twitter bot content' - peruses quotes snatched from text-to-speech conversion taken from a selection of twitter bots that offer automated emotional services to those in need of some reassurance and motivation in times of depression or doubt. To many, a perplexing scenario in itself... But no doubt one that we are becoming more and more accustomed to in the age of hyper-connectivity, and frequent reliance on technology.

Broshuda's 'You'll Always Stay Beautiful' certainly raises thoughts and questions about the way our society is headed, but as the NoCorner press release aptly puts it - 'rather than an obvious criticism, 'You'll Always Stay Beautiful' lets the listener indulge in which ever way they feel. Placing the all familiar, and ultimately still very human commentary in a light-headed tangle of computerised harmony, melody and abstract rhythm...'

You'll Always Stay Beautiful points out the absurdities of such automated emotional help facilities in our social age, but also remembers the beautiful fragilities that make up the human mind, which is always in search of strength and reassurance, and ultimately - love.

Aside from the guiding voice, what makes this 33min excursion so intriguing is Broshuda's deft use of abstract sound-forgery and manipulation... No matter how eschewed, there's often an underlying sweetness in tone & style, a very colourful, unique approach to sound and melody, amalgamating in something which is as close to oblique sound-art, as it is to his self-coined 'glambient' or 'mindgaze' styles... In other words, a style totally his own.

Edition of 75, gold cassettes + dl code.
Served with A3 risoprint poster design by Broshuda, vacuum-sealed.
Inlay artwork by William Binta.
Design & layout by Broshuda & Studio Tape-Echo.

Whether the drummer mimics the machine or the machine mimics the drummer is no longer a question for cultural critique or estrangement theory: rhythmitised assembly on the factory line concerns only a minor part of today's working world. More important is the animistic core question: Is the subject (drummer) contained in the beat or does he lose himself to the beat Or does he follow an experimental setup that functions like a composition or a conceptualist experiment, that allows for both, considers both - Diedrich Diederichsen

Jan Jelinek, electronics Sven-Åke Johansson, percussion

recorded live at SYN/CUSSION Festival, Radialsystem Berlin, 07.05.2017

JAZZ DUO. New full length album by Wojciech Bakowski out now on DUNNO Recordings.

DUNNO: How was 'Jazz Duo' created

Wojciech Bakowski: It was made at home with an old equipment. I really do not like to develop in this regard.There are a lot of recordings from stock, more than on 'Telegaz'. Generally, I like working with some foreign style and mix it with my stuff, preferably on the principle of
incompatibility of the atmosphere. This has been my method for a long time. Combining contradictory emotions is not just about knocking the listener out of their senses, it's also supposed to create some kind of harmony. I listen to stock on my web browser while playing or listening to my recordings. Sometimes I mix only stocks with one another. This is how the song is made, to which I add my own thing. Later, I adjust the text, sometimes I also play out live instruments, such as bass.

Lapsus Records proudly presents the first solo material from Scottish artist 'Brick Reds, Black Mauves', and is due for release at the end of April. Behind the Brick Reds, Black Mauves pseudonym is producer Alex Ander, better known as part of the renowned duo, Dalhous, one of most interesting projects to emerge from London label Blackest Ever Black.

Together with cohort Marc Dall, the Edinburgh pairing immediately achieved international recognition thanks to releases including "An Ambassador For Laing" (2013) and "Visibility Is A Trap" (2014), which subsequently led to their participation at the first Lapsus Festival in 2014.

It is not the first time that Alex Ander has collaborated with Lapsus Records. In 2016 Dalhous formed part of a dual release with Pye Corner Audio entitled "Run For The Shadows", demonstrating the strong sound connection shared by both projects. Alex Ander returns in 2019 to present his new adventure Brick Reds, Black Mauves.

His debut release for Lapsus Records is a four-track homonymous EP that could be considered as a soundtrack to a post-apocalyptic feature film, full of exuberant ambient and melodies in constant motion, somewhat reminiscent of names like Demdike Stare or even Scottish band Boards Of Canada. On the EP's excellent fifth track, remix duties are expertly performed by Dalhous, giving "Cabochon" an even more introspective and experimental atmosphere, if that were deemed possible...

The "Brick Reds, Black Mauves EP" is, without a doubt, one of Lapsus Records' most exciting debuts to date and will be released at the end of April. Once again, the Basora studio has been vgiven the task of designing the artwork for this EP, which will be released on both vinyl and digital formats.

Buoyed by the success of Endless, their 2015 primer on forgotten electronic explorer Dimitris Petsetakis, Into The Light Records has worked with the Greek composer to compile a follow-up album that takes an even deeper dive into his archive of previously unreleased material. Like its predecessor, On Shores draws on music recorded in the 1980s and early '90s. It contains just two previous released tracks, the humid 'Clearance (Part 2)' and poignant 'On Endless Shores', both of which first featured on Petsetakis's cult 1991 album Missing Links.

On Shores offers another unparalleled insight into the picturesque and atmospheric soundscapes created in the Piraeus-based composer's basement studio using a mixture of electronic and acoustic instruments, a wide range of global influences and a keen interest in both minimalism and new age ambience. Listeners will encounter a range of stunningly beautiful and beguiling compositions, from the creepy, slow-burn exoticism of 'Pythia's Dance' and rhythmic, otherworldly escapism of 'Violated Asylum', to the gentle bliss of 'Like a Knife' and sun-bright joy of 'Nearxi (Minimal Marimba Edit)'.

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

"This is the long overdue follow-up to the tape-only Knackless 1. The record's 3 tracks make up some kind of electronic-yet-organic microcosm, somewhere 'in between'. Just like the German label's hometown of Halle claims its own space in between the better known cities of Leipzig and Berlin.

MAXXA, Philipp Matalla's alter ego which recently saw the light of day for a new 7' on RDK Island, [and as half of the duo EEL, on Ethbo] starts off with five minutes of what feels easy and heavy at the same time. Detuned chords team up with a comfy bass joined by 'that' synth, which could just as well be the voice of a unicorn from some underground youtube video with 1130 clicks on it.

Space Kopa by label founder Tim Rosenbaum is something of an audio tour through the hydroponic gardens of an unpopulated space station. No need to fasten your seatbelt.

Jacob Stoy has released on Uncanny Valley and is one half of the punkers-turned- synthfiddlers duo Inkasso. On 'Rehearsals' he rearranges synthlines like kids build stuff with Lego: you can stick to the construction manual, or just build something fresh and exciting with the stuff you have. Jacob chose to do the latter.

It could all be totally different though. Go have a listen for yourself."

Oqko_012 Is The First Release Of Pang:
Pang™ Is The First Product Collection From Pang™. Carefully Produced And Curated To Fit All Occasions, This Collection Will Be Enjoyed Whenever And Wherever You Wish: In The Club, On The Move Or In The Comfort Of Your Own Home. Pang™ Consists Of 6 Individual Premium Sound Products, Elaborately Chosen To Meet All Sonic Desires. Pang™ Is Specifically Packaged For Your Convenience; Quick, Handy And 'on The Go', In Order To Make Your Shopping Experience As Smooth As Possible.

Through a cascade of field recordings over deep waves of Ambient and Classical meditations, "After Life" by British composer & producer Suplington is a grand yet forbearing course charted through the currents of one's final moments. His second album to chance a curious glance beyond the veil of waking life, "After Life" paints a nautical panorama with a variety of guest appearances, including flutist Nadiya Darling and Brooklyn-based Archie Pelago members, cellist Greg 'Cosmo D' Heffernan and saxophonist Kroba. "After Life" comes on 140 gram black opaque 12" LP with a special sleeve featuring poetic vignettes & track credits in a smooth, glossy jacket featuring a colorful collage by Suplington built from his own photographs taken on the British coast. All records include a card with a one-time use download code.

After seven years of label making, Dorfjungs says goodbye with a final collection. GroupWorks mixes improvised vocal jazz and tropical ambient with sweet pop music, bad-tampered hip-hop and pitched down techno tracks. Thanks to all friends, fans and collaborators. Adieu

DJ Rubio delivers the latest Man Band 12. A masterful blend of deep broken cuts and raw ambient by the Helsinki resident.

Dez Williams returns to Bedouin with a 100% solid EP. Against Your Will is a call to a wild dance ceremony. High definition sound waves and a reference to the Drexciyan world, through timeless electro beats. A sci-fi dip into our subconscious and back to the surface, where everything seems to be untouched but it will never be the same again.'

'For the 9th Marionette, Kilchhofer and Anklin release their collaboration record Moto Perpetuo. Michael Anklin is a drummer and percussionist based in Switzerland. He's involved in various bands, collaborations and interdisciplinary projects. Anklin has previously appeared on a few recordings from Kilchhofer's Album The Book Room. Kilchhofer uses his main instrument - the modular synth - in a more electroacoustic manner, where he derives and processes voltages from Anklin's playing.

The album title describes the fascinating idea (yet impossible reality) of a perpetual motion - where no energy is lost yet energy is constantly being created, an endless music, yet far away from generic ambient or minimal music. Anklin's live drumming influences delicate feedback patches on Kilchhofer's synth, where dry and transient heavy percussion and synthesizer sounds erupt into a feral electroacoustic instrument.

A fluid concept of time where the Rhythmic Pulse constantly shifts is at the heart of the record. The idea was to create an instrument where acoustics and electronics are interconnected and dependent on each other. The smallest disturbance could sway the entire system out of order. This idea of a circular motion was at the center of the recording process and is also reflected in the artwork which resembles a topographical view of a closed natural habitat.

Kilchhofer and Anklin draw inspiration mainly from their rural surroundings and mountain landscapes where natural overtones and stumbling rhythms navigate through high plateaus and velds to stony ravines and wooden trails - on a never ending quest for an "ur-klang'; a primordial, ancestral music.'