Виниловые новинки и релизы Beats - Новости

Welcome to a time of global sousvelliance and psychophysical burnout _
Welcome to an inconsistent present that calls for schizophrenic rhythms and mutable harmonies _
Welcome to a future that doesn't need you anymore _
Welcome to your world _
Welcome to End2End _

Het Interstedelijk Harmoniumverbond (The Intercity Harmonium Alliance) is the collaborative construction carrying Glen Steenkiste, Brecht Ameel, David Edren and Steve Marreyt on their quest for yet undiscovered dimensions of drone. Each member resides in one of the Flemish province capital cities (Brussels, Ghent, Antwerp and Bruges), they all play harmonium and share the genuine interest for temporality in music. Initiated from Steenkiste's idea to expand the solo harmonium of Hellvete into a more dialectic and immersive format, this new league had its premiere on Eastern Daze V festival in November 2018.

The release is an uncompromised gesture claiming one of today's main scarcities: the liberated and emancipated attention. The drone sound has a rare capacity to reflect upon the most delicate patterns of the human experience of time, hitting straight to its core: duration. Long, layered tones of four harmoniums stretch from past towards future, and from emotionally charged warmth of an ensemble to the coldness of post-human electronics. They trigger an uninterrupted flow of music and call for an intensified and extended ritual of contemplative listening on multiple levels. In regard to that, the recording process was carried out with an ambition to capture both micro sounds and detailed textures from each of the harmoniums, as well as the surround sound blended through the acoustics of space. The record comes with the extensive liner notes by the renowned essayist Sven Vitse (in Dutch).

Recording and mixing: Jürgen De Blonde
Mastered by: Christophe Albertijn
Photography: Krysztoff Dorion
Design: Ruttens-Wille
Tekst: Sven Vitse
Distribution: N.E.W.S.
Thanks to Kraak & Vooruit

Fourth release by Japanese artist Kosei Fukuda from his own platform. Great atmospheric sound scape with Japanese precision. Minimalistic Experimental IDM Techno. Including one Digital Bonus.

Theres always something up with The Germans. An elusive quintet whose music has been balancing between pleasantly mundane and absolute racket since 2002. 4 years after the release of their instant cult classic 'Are Animals Different', followed by an equally legendary tour, the new chapter is upon us. On their new album 'Sexuality' (Unday Records), the band challenge the cult of celebrity and self-promotion by displaying their ugly as well as their sexy. The tone is confusingly kinky. Raw, at times uncomfortable and even abrasive, but also sultry, sweaty and exotic. Sexuality quoi, captured on tape, undisguised, by producer Micha Volders (Meteor Musik). Primitive percussion, tatty guitars, a lewd Hammond and many other instruments play a major role in this hot mush of psych, easy-listening, Flemish polyphony and cocktail jazz. Blixa Bargeld meets Tito Puente (and they end up in bed together). The Germans are (in random order of sexyness): Jakob Ampe, Vincent Cauwels, Lennert Jacobs, Timothy Jacobs en Boris Zeebroek.

Clear vinyl in gatefold sleeve, including
the album on cd format.On their new
album 'Sexuality', the band challenge
the cult of celebrity and selfpromotion by displaying their ugly as
well as their sexy. The tone is
confusingly kinky.

Incredibly unique concept album from the one and only, Tom Ze´. As featured in
Rolling Stone magazine's 100 Greatest Brazilian Albums of all-time list (2007).

One of Ze's finest albums in our opinion, originally released by Continental
Brazil in 1976 - a tough one to find at a good price in its original form now.

'Estudando do Samba' (or 'Studying The Samba') is a post-Tropicalia studio
experimentation laiden with layers of hypnotic percussion, effects & samples
that deconstructs the 'samba' form. Recorded during what was arguably his most
creative period.

David Byrne found the record in Rio in the late 90's and included several songs
on his Tom Ze collection for Luaka Bop a few years later. At that time Tom was
not recording or touring much; playing low-key shows in Sao Paulo and
contemplating a move back to Irara´ to work at a service station owned by one of
his cousins. Byrne's project helped to reignite his career and he hasn't looked
back since.

Official Mr Bongo reissue. Licensed courtesy of Warner Music UK Ltd.

Helado Negro returns with This Is How You Smile, an album that freely flickers between clarity and obscurity, past and present geographies, bright and unhurried seasons. Miami-born, New York-based artist Roberto Carlos Lange embraces a personal and universal exploration of aura - seen, felt, emitted - on his sixth album and second for RVNG Intl. Helado

Negro's 2016 album Private Energy, re-released as Private Energy (Expanded) in 2017, is an urgent affirmation of self-love and solidarity driven by Lange's personal response to sanctioned violence towards people of color. The widely embraced album furthered the artist's visibility beyond a community of fans long established through a rigorous recording and touring career, with moments like 'Young, Latin and Proud' and 'It's My Brown Skin' aligning with a larger social demand for basic rights amongst marginalized people and the universal imperative to love, be loved, and thrive.

This Is How You Smile's opener 'Please Won't Please,' a call back to Private Energy, finds vitality in turning the privacy dial further inward. Setting the scene with a spare drumbeat that moves the music forward in a more maligned than militant march, Lange's voice tenderly permits himself weariness: 'We light ourselves on fire, just to see if anyone believes.' Something must be reserved, 'will anyone rescue what's left of me.' Diving into glimmering spirals, the remainder of the album takes leave of the broader 'we' and mines intimate pairings - siblings, parent / child relationships, partnership, and old friends. The story of This Is How You Smile includes a jaunty, head-nodding walk with his brother on hot pavement to the community pool of his childhood neighborhood in Florida. Such days end with a welcome fatigue and chlorine blurred reveries in 'Seen My Aura.' The confidence and security of youth, moves away from family, across years and regions, to a bleak winter of 'Imagining What to Do,' and loving partners deciding to make each other smile, while waiting for the sun to return.

This Is How You Smile derives from Jamaica Kincaid's 'Girl,' a story she wrote in the form of a mother's sole, complicated, but loving voice, speaking a 'How to' litany of advice ranging from domestic chores to what a daughter, an immigrant and young woman of color, must do to protect herself in a world that was not designed by or for her. This is how joy, or its visage, at turns comforts, constricts, or becomes armor.

Contemplating a parental voice, or its absence, becomes a question of where one may choose to return or depart. The lyrics of 'Running,' seem to retrace the cyclical path of pop's familiar obsessions, addressing the unrequited, fickle, or feared lover, 'I feel you in my mind, all the time... you got me running, running...' Instead, the repetition of fleeing breaks with a languid laugh of recognition, that the lives of those who came before are within one's own, even when we diverge, 'I see you in my hands... just like you.' The song may also be read beyond seeing the humanity of self and parent, to the ever more visible global failures of patriarchal structures, and those moments when one sees their traces in self and those dear. Lange describes the album as the soundtrack of a person approaching you, slowly, for 40 minutes. In 'Fantasma Vaga,' one of the first songs he wrote that set his approach for the album, a ghost wanders in from the low end, building a fuller form with each shaking step. Whirring, stops and starts of an eco espectral, may be musician trying to imitate, synthesize, the sound of a haunting, or a ghost itself trying to render the human voice. Lange often visualizes meeting strange beings, the odd encounters that occur in the creative process, a sound form of manipulation, in which who, or what is changing whom, becomes unclear. This Is How You Smile invites listeners on a walk through the changing colors of early mornings and evenings, writing, recording, or hearing a friend, a figure emerges, and there you are. The album will be released across various formats on March 9, 2019, with Helado Negro ever present on stages around the world in support.

Chances are if you are reading this, you are probably already familiar with Dinosaur L's Go Bang' and danced countless times to Loose Joints' "It's All Over My Face". A prolific musician, Arthur Russell produced an abundant amount of recordings over the course of his career. Although a classically trained cellist, he released a number of successful underground dance hits under various monikers and collaborations. As a solo artist however, his inability to complete projects resulted in a limited amount of official releases, World of Echo (1986) being his only full-length solo effort to see release in his lifetime. After releasing a number of Club singles on labels like West End & Sire, Russell went on to form Sleeping Bag Records with Will Socolov as an outlet for a sound not as restrictive as his "disco" material. The initial concept was that Russell would provide the musical direction while Socolov handled the business side. The label had huge success early on with Class Action's Weekend' remixed by Larry Levan, and Russell's seminal Go Bang,' credited to Dinosaur L and remixed by Francois Kevorkian. Although Russell and Socolov shared a lot of musical common ground, the difference in vision began to show. Russell's avant-garde sensibilities and perfectionism were not compatible with an industry standard to release singles in quick succession, and his "work in progress" approach began to be financially draining, ultimately resulting in the dissolution of their partnership around 1983. With Arthur's departure, Sleeping Bag moved away from the experimental and towards a successful hip-hop route with the growing involvement of Kurtis Mantronik and leading to propel the careers of artists like Todd Terry, Just-Ice and EPMD. By the mid-80s, Russell's health began to deteriorate after contracting HIV. Although the business partnership did not work out, Socolov and Russell maintained their friendship. Aware of the time he had left, Russell reached out to Socolov to record what was to become Indian Ocean, his last release on Sleeping Bag and the last great collaboration between Arthur and his old friend Walter Gibbons. Unlike the rest of Russell's Dance collaborations, School Bell/Treehouse' is very intimate composition, putting to the forefront all the elements that defined him musically, with his own voice and cello as the anchors to a piece that keeps growing in intensity, melding the tribal rhythms of Mustafa Ahmed's conga with percussions that sound like distorted drum machines. There is a lot of beauty in this piece, with Peter Zummo's melancholic trombone lines and Arthur's keyboard playing. Adequately "mixed with love" by Walter Gibbons, "School Bell/Treehouse" really synthesizes the energy and soundscapes of Arthur's dancefloor.

I'd Rather Be Lucky Than Good is a new recording collaboration of Sam Ashley and Werner Durand. Sam Ashley's mystic parables mbued with benevolent humor are drawn from a lifelong pursuit of a present-day shamanism. Werner Durand's wind work on invented and traditional instruments stems from the minimalist tradition, routed through his unique study of obscure world musics.The two artists first met in Berlin in 1984 while Sam was touring Atalanta with Robert Ashley's opera company, with whom he was a principle vocalist for many years. Sam Ashley's work has appeared on other Unseen Worlds releases (J. Jasmine: My New Music) and in solo and collaborative performances alongside "Blue" Gene Tyranny and other artists across the world.Werner Durand, also active since the late Seventies, performs music for saxophones, Iranian ney, and self-made wind instruments. He is a linchpin figure in the experimental music scene in Germany and abroad following formative studies with Ariel Kalma and Gilbert Artman in Paris, Indian Classical Music with Kamalesh Maitra, and Iranian Ney with Ali Reza Asgharia. He has worked notably with David Behrman (Music From Memory), Arnold Dreyblatt (Animal Magnetism), Muslimgauze, Henning Christiansen, Catherine Christer Hennix, David Toop, and Amelia Cuni.

Tape / Cassette

Outernational free jazz madness from Lisbon trip Alförjs. It could as well be an ethnographic soundtrack from another planet as the trio of Mestre André (saxophone, electronics), Bernardo Álvares (contrabass) and Raphael Soares (drums) dwelve deep into the outer realms of what jazz/electronics music can sound like.

Urban shamanism, magical practices and ancient/future world views collide in unsuspecting ways on this out there tape.

An unique sound from an unique trio, 'Alförjs has a very special place among what is out there of more intriguing and radical in this final stretch of the 21st century's second decade.'

Banha da Cobra is a project of Lisbon based artists Mestre André (laptop) and Carlos Godinho (objects).
Stream of research and electroacoustic sound intervention, Banha da Cobra starts from the sonic imaginary of handcrafted, ritualistic and traditional activities and landscapes. The compositions are made as sound ruins, based on an ecology between the sustainability of the sound nature of the found - structures, places, objects, etc. - and their appropriation and transformation. The collecting inherent in this project of archaeological character is complemented with processes of alchemical manipulation like musical creation in real time.
On Mãe D'Água, Banha da Cobra present a live recording of their concert/performance on a 4x4 channels system at Mãe d'Água, 21st of September 2018 within the context of Lisboa Soa festival.
Mãe D'Água (Mother of Water) is an old water reservoir located in the center of Lisbon. It used to be the main reservoir for Lisbon being fed by a massive 19th Century aqueduct.

Closing our unoficial New Weird Portugal tape batch on Sucata Tapes is Eosin aka Diana Combo with a mixtape of crackling and droney vinyl mixed with Field recordings recorded outdoors on a later summer afternoon in Alentejo. In Diana's own words:

''This piece was made during a residency in Elvas (Alentejo, Portugal), in the context of the first edition of the festival A Salto, in July 2016. Each one of the invited artists for this residency was given a specific place where to develop a work to be presented during the festival.
I spent a week at Fábrica Frutas Doces, a small 'factory" dedicated to the preparation and confection of prunes and plums in syrup. Some families have been linked to this sector of activity for several generations, as is the case of Luís Silveirinha family, the current owners at that time.
Frutas Doces isn't the only factory of this kind but it is the only one operating exclusively in an artisan way.
There, Luís and his only employee (back in the day the team of workers was larger) were cooking the plums, adding fire to the already high summer temperatures of around 40 degrees Celsius. This has to be done when the plums are collected, preserving the fruits at their best, so there is no escape from hell. 
I recorded bits of our exchange of words while they were doing their job. At home, I worked with a collection of vinyl records and made a composition using ones and the others.
It was like I was creating the tone, a certain voice of the space, a construction that becomes a new reality of it. Like a register of its possible soundtrack, one which means from the space and is crystalized by the manipulation I make over my perceptions of that place during that period.
At the same time, I joined Beniko, a visual artist, for the creation of her performance to be presented as the opening of A Salto, and one thing influenced and inspired the other.
The piece I have made was presented as a live composition using the pre-recorded bits, at the terrace of the Fábrica in a late afternoon that was surprisingly mild.

I decided to name the recording of this piece For Beniko, as she was an inspiration and remains as a beautiful memory of the time spent in Elvas.

Listening to the piece is a way to go back in time, relocate there and remember the period of its creation. Sounds can bring images, other sounds, feelings, smells and taste to memory in a way that is so acute and live, even when the material that documents that certain reality is a construction of it, quite afar from its figurative or realistic representation.''
Diana Combo, January 2018

New from Sucata Tapes (Discrepant), comes a new project by Berlin-based artists Pedro Silva (turntable percussion) and Stefan Brunner (guitar and field recordings).
The Hour of the Wolf is an improvisational piece based on an associative storyline, written by Stefan Brunner and divided into 8 chapters. We invite you to look at the score http://hourofthewolf.org while you play this tape.

Recorded live @ Ausland Berlin.

New from Sucata Tapes (Discrepant), comes a mini album by Gonçalo F Cardoso's most experimental and retro avant-garde moniker, Papillon.

After an LP back in 2013 (S/T) and a 2-part tape (Aqueducts) for Dinzu Artefacts in 2016, the Henri Charrière inspired alter ego hasn't been the most prolific of late. He now returns with 7 mini-vignettes full of mood swings, silly 'ambiances' and made up stories to make you dream and wonder (why). Featuring contributions from Mike Cooper (Guitar) and Yannick Dauby (Field Recs and Modulators).
This mini-album will be the precursor to Papillon's swan song aka final album (Le Banco) to be released on main label Discrepant early 2020. For now recline on your burnt up sofa chair and enter the schizophrenic trip wonderland of Papillon's Cercueill Flottant.
Artwork by the ever talented Evan Crankshaw

'Chuck Johnson's impact on the contemporary guitar
world continues to be felt. His first two solo records signaled
the arrival of a unique player, steeped in various forms
of playing and influence, yet distinctly modern. Johnson
eschews a weathered traditionalism for the wide-scope
expanse of 21st Century Americana.
'On his third album, Blood Moon Boulder, Johnson
reaches a compositional peak in a nod to the picturesque
naturalism of the American landscape. The dynamics of
his range can be felt on this singular record, a soundtracklike
listen that rewards the ear with rich detail.
'His precision and tone recall the heights of Ry Cooder's
Paris, Texas on the extended opening track 'Corvid Tactics.'
Notably, the guitarist duels with a phantom Chinese radio
signal that slips through the silences during the recording
session.
'One can hear the ghostly sounds peek through at moments
as Johnson bends his strings. 'Medicine Map' delivers a
melodic melancholy, with an every-note-perfectly-placed
aesthetic. Rather than ramble or evoke some kind of
outdated nostalgia, Johnson lets his cinematic instincts
take lead.
'Perhaps most evocative of this approach is 'Private
Violence,' a meditative composition with gorgeous pedal
steel played on top of electric six-string, ending in a
sustained tonal minimalism that could easily stretch into
a whole LP of its own. Blood Moon Boulder contains a
lyricism, an exactitude and emotional arc all its own. And
that's worth playing again and again.'
—Steve Lowenthal, author of Dance of Death: The Life
of John Fahey, American Guitarist

'Shays Vacation House' is a work that feels suspended in time - both ancient and modern -- a microcosm that ceases to exist in any particular time or space...exceptional acousmatic sound design animates amorphous creatures and entities, whose movements echo on dripping walls, yet the eerie, mysterious environment remains entirely ambiguous. hovering above the post-apocalyptic landscape of a scorched planet regenerating. Emra Grid's second Opal Tape is a profoundly beautiful work, loaded with emotional weight

The hyper blaze of Jay Mitta's debut LP 'Tatizo Pesa' kicks off a trio of searing Singeli albums from the sound's ground zero - the Sisso Studios of the Mburahati ghetto, Dar Es Salaam, Tanzania. A breathtaking boost of 180bpm+ rhythms, syncopated loops and nagging hooks, 'Tatizo Pesa' notably introduces 14 year old MC sensation Dogo Janja alongside nine knockout instrumentals that make much western dance musics seem prissy and pedestrian.
Despatched by the acclaimed Nyege Nyege Tapes outta Kampala, Uganda; 'Tatizo Pesa' presents the raw, untrammelled energy of Tanzanian Singeli with immediate effect. Like his peers, Bamba Pana, DJ Balotelli, and DJ Longo, Jay Mitta combines traces of older, local folk melodies with elements of 'Bongo Flava', or up-to-the-minute Swahili rap music, but at breakneck tempos that give the sound its inexorable energy and verve. Their style takes traditional music into orbit of contemporary,
accelerated styles ranging from Grenedan Jab Jab/Soca to Chicago footwork, hardcore UK rave and
French flashcore Jay Mitta's debut offering renders the lushest, variegated spectrum of Singeli since the style emerged in its current form only a few years ago. On the one hand he plays up to pure rave needs with outright steamers such as 'Don Bet', and the ratchet tension of 'Mwakidimba', but they're balanced with hip hop swagger in the standout title tune featuring 13 year old Dogo Janja, and the deep south bounce-esque of 'Masera', while the mercurial quickstep of 'Dura' and 'Mchuma Bet' are bound to snag wider-eared ravers with their so-fast-they're-weightless string and key arrangements.
It's very hard to ignore that with 'Tatizo Pesa' Jay Mitta has produced a new and unmissable high-water mark of the ancient yet up-to-the-second East African music bound to translate directly to all willing bodies.

*Limted to 300 copies worldwide* It all began in summer 2017 when Peter Broderick's former Efterklang bandmate Rasmus Stolberg invited him to perform at his new festival in Denmark, with the specific idea that Peter would play an entire set of Arthur Russell songs. As a long-time lover of Arthur's work, Peter immediately accepted the invitation and began to learn a collection of Russell songs. Stolberg put together a band of Danish musicians to join Broderick on stage, and the festival performance went off without a hitch.

Immediately after, Peter starting receiving invitations from other festivals, asking for the same thing — a full set of Arthur Russell songs. Even Arthur's long-time partner Tom Lee took notice of these performances of Arthur's work, and reached out to Peter personally. It wasn't long before Broderick was invited to examine some of Russell's archival work, and asked to do audio restoration work on the old tapes.

Peter's strong love for Arthur's work grew exponentially as he dove into the psyche of his hero, listening to hours and hours of unreleased material. He discovered that some of his favorite Russell songs have yet to be heard by the masses, and felt inspired to learn some of these tunes himself.

It was inevitable that Peter would record an album of his own renditions of Arthur's songs. And there was no better place to do it than the state of Maine, where most of Arthur's surviving family are based, and where Broderick himself was born back in 1987. With a large cast of friends and family, including Arthur's niece Rachel Henry and nephew Beau Lisy, Peter set out to capture his love for Arthur's music with a diverse collection of 10 songs, two of which have yet to be released in their original versions.

Its cover adorned with an original painting by Tom Lee, 'Peter Broderick & Friends Play Arthur Russell' is a vibrant and joyful tribute to one of Broderick's greatest heroes. Peter extends his deepest gratitude to all of Arthur's family, friends and fans who have so warmly welcomed his own versions of these tunes. It is hoped that these recordings will serve to honor the truly staggering legacy of Arthur Russell.

The mercurial, industrial pop fetishism of 'Raging Tender' forms the 3rd and most impressive EP from producer Jan Grebenstein and vocalist Christine Seefried for Karl O'Connor/Regis' Downwards label
Stepping on from 2016's 'Strong Proud Stupid and Superior' LP, rebenstein's sound is now tauter, more spacious and seductively strung out, finding a sublime tension between quicksilver slow/fast drum programming and deadpan gothic delivery. Their means of production is still bare-bones minimal in an economical Berlin style that has served the duo very well thus far, from their self-titled debut for Downwards in 2014 thru to more
recent outings on experimental D&B labels Horo and Osiris Music UK.
Title cut 'Raging Tender' zips up fanged arps and needle-toothed hi-hats under Christine's close mic'd vocal with hypnotic poise and force, before 'Breathe' diffuses and unlocks that anaerobic tension with tantric 808 rhythms. After lulling listeners into a false sense of security, 'Arab Icon' raises the heart rate again with jarringly atonal electronics and an unyielding rhythmic grip, while the title and feel of 'Body Electric' speak to the duo's most
prurient desires, with Christine's opiated, any-hole's-a-goal mantra of 'I Sing The Body Electric' set to knackered, bummed-out pads and oozing bass.These are uncompromising, virulent songs about sex, death, and dancing that will surely resonate with knowing connoisseurs of the contemporary darkside.

'Futuro' is Not Waving's sublime synth/ambient soundtrack to one of the world's most intense art/theatre experiences: Sean Rogg's radical immersive artwork 'The Waldorf Project' - fusing choreography, spatial design, music and performance into a cohesive experience.
Drawn from more than 20 hours of material made for the project between 2013-2018, 'Futuro' finds Alessio Natalizia exploring a style of tonal and spatial minimalism that works as a fine palette cleanser from much of what you've heard from him in the past. While not a new solo album, per se, the long form, Eno-like results of 'Futuro' demonstrate the full wingspan of Not Waving's obsessive knowledge and emotive feel for electronic composition, making it in some senses one of the more substantial and unusual releases in his catalogue to date.
Natalizia's site-specific work ranges from highly emotive synth meditations thru to bittersweet Kosmische intuitions, and milky, Eno-esque beauties. But if any part sums up the widescreen scope of Not Waving's music in 'Futuro', it's the final side's 17 minutes of awning, gently curdled synth pads - originally used in a performance to 4000 people in Thailand laid in pitch black, with bodies formed in triangles while dancers caressed their faces. It ends the album with such memorable effect as to make it something of a modern day environmental/ambient classic - and perhaps our favourite Not Waving release in an already enviably deep catalogue.

Meg Duffy grew up in a small town in Upstate New York and they cut their teeth as a session guitarist and touring member of Kevin Morby's band. The Hand Habits project emerged after Meg moved to Los Angeles; it started as a private songwriting outlet but soon evolved into a fully-fledged band with Meg at the helm. Hand Habits' debut album, Wildly Idle (Humble Before The Void), was released by Woodsist Records in 2017. The LP was entirely self-produced and recorded in Meg's home during spare moments when they weren't touring. Wildly Idle (Humble Before The Void) is a lush, homespun collection of folk songs that found Meg in an exploratory state as an artist moving out on their own for the first time. Two years later, Hand Habits has returned with their sophomore album, placeholder. To make this album, Meg chose to work in a studio and bring in collaborators, entrusting them with what had previously been a very personal creative process. Over the course of 12 tracks, Meg emerges with new confidence as both a bandleader and singer. This album is as tender and immediate as anything Meg's ever written, but it's also intensely focused and refined, the work of a meticulous musician ready to share their singular vision with the world.

The name placeholder stems from Meg's fascination with the undefinable. Their songs serve as openings -- carved-out spaces waiting to be endowed with meaning. As a lyricist, Meg is drawn to the in-between, and the songs on this new album primarily confront the ways in which certain experiences can serve as a stepping stone on the road to self-discovery. 'A big aspect of my songwriting and the way I move through the world depends on my relationships with people. The songs on placeholder are about accountability and forgiveness,' Meg says. 'These are all real stories. I don't fictionalize much.'

Meg describes these songs as their most direct to date, crafted with clear intention, and unlike Wildly Humble (Idle Before The Void), placeholder doesn't meander. 'It's less of a submerged landscape and more a concise series of thoughts,' Meg explains. Instrumentally, placeholder can be situated alongside some of Meg's folk-adjacent contemporaries like Angel Olsen or Big Thief, and the guitar work on this album proves that Meg continues to be one of the finest young musicians working today. placeholder is another entry in the Hand Habits songbook, but it's also a valuable testament of our time. While placeholder inspires a sense of ease, simple questions rarely beget easy answers and Meg honors the indescribable joy and profound sorrow that comes with figuring things out, one step at a time.





[E] 5. yr heart [reprise]

Mehmet Aslan returns to his own Fleeting Wax imprint, in order to deliver the first in a series of releases as part of a new project, ghost station, including a collaboration with fellow Turkish singer, songwriter and vocal producer, Idil Mese.


Efsun, translating to enchantment in Farsi, is the sound of Idil Mese transforming an understated, somewhat folksy instrumental of Aslan's into a bewitching and subtle musical spell. Initially tense,
Idil Mese's vocal spell wraps beautifully around a brittle guitar motif, inches above a sea of atmospheric ambience. In it's second half, synthesis and sitar unite, taking efsun into more revelatory territory, employing a playful melody and warm, cosmic textures.

Meanwhile, on 'ghost station', from which the project takes its name, layers of meaning and recording slowly unravel, revealing a compelling soundscape. Recorded in one take, and completed across one night, 'ghost station' began with Aslan and his sampler surfing the busy radio waves of Berlin, eventually settling on a beautiful score broadcast on one of the city's classical stations. Just as soon as Aslan had the frequency on lockdown, the signal disappeared unable to be retrieved quickly enough, if ever. Loosely inspired by the work of Swiss visual artist and musician Pipilotti Rist, the track instead unfolds woozily like a dream, undulating through offbeat bleeps, ghostly voices and improvised swells of noise, while still maintaining it's own quietly propulsive groove.

Sounding more like himself than ever on his own Fleeting Wax outlet and incorporating an impressive range of musical techniques over just two tracks, 'ghost station' further establishes Mehmet Aslan as a restlessly inventive musical talent. -Text by John Thorp

In support of their forthcoming documentary 'Subotnick - Portrait of an Electronic Music Pioneer', Waveshaper Media — the same team behind the wildly-popular, acclaimed modular synthesizer documentary 'I Dream Of Wires' — presents a special reissue: a deluxe, 50th-anniversary-edition vinyl LP of Morton Subotnick's landmark 1967 debut electronic release, "Silver Apples of the Moon." Here are some of the features that make this 50th-anniversary-edition vinyl LP special:

All-new, full-colour gatefold jacket.
Vinyl edition is strictly limited to 1,000 copies.

Audio has been REMASTERED from the original, pre-mastered digital tape transfers. Unlike previous reissues of this LP (both vinyl and CD), remastered for Wergo's 1994 CD edition and narrowing the recording's stereo field, our reissue has been remastered maintaining the full stereo field of the original recording.
Brand new liner notes by Morton Subotnick.

The original, iconic liquid-light cover artwork by Tony Martin has been re-scanned for full-resolution clarity.
Featuring rarely-seen, newly-scanned photos of Morton Subotnick in his Bleecker Street studio where "Silver Apples..." was recorded.

Also includes a scan of the LP's original Nonesuch-edition liner notes

In support of their forthcoming documentary 'Subotnick - Portrait of an Electronic Music Pioneer', Waveshaper Media — the same team behind the wildly-popular, acclaimed modular synthesizer documentary 'I Dream Of Wires' — presents a special reissue: a deluxe, 50th-anniversary-edition cassette tape of Morton Subotnick's landmark 1967 debut electronic LP, "Silver Apples of the Moon." Here are some of the features that make this 50th-anniversary-edition cassette special:

First-ever cassette tape reissue, and first new cassette edition since the LP's original 1967 release!
Cassette edition is strictly limited to 300 copies.

Audio has been REMASTERED from the original, pre-mastered digital tape transfers. Unlike previous reissues of this LP (both vinyl and CD), remastered for Wergo's 1994 CD edition and narrowing the recording's stereo field, our reissue has been remastered maintaining the full stereo field of the original recording.

Brand new liner notes by Morton Subotnick.

The original, iconic liquid-light cover artwork by Tony Martin has been re-scanned for full-resolution clarity.

All-new, full-colour J-card artwork, + slick silver tape shell.

Neville Watson returns to DBA with The Midnight Orchard, his first full-length in five years. Watson is a key figure on the electronic music scene at large and has made regular appearances on Don't Be Afraid, as well as on celebrated imprints such as Crème Organization, Clone and Rush Hour, where he released some of his best-known work alongside Kink.

In a crowded landscape of factory-line jack trax and synthesis for the sake-of-it, it's little surprise that Watson's physical, arresting takes on house and techno have been such a staple in the record bags of the world's leading DJs for the past twenty years. Throughout The Midnight Orchard, Watson seamlessly bridges his futurist leanings gleaned from a lifelong commitment to electronic music with the anarchic spirit of his acid-house heritage.

The record still finds catharsis in the relentless pulse that has defined Watson's life since his early residencies where he peddled ecstatic escapism to towns on the commuter belts of London, notably via his involvement in seminal Reading party Checkpoint Charlie. However, there's a more somber, arguably introspective and perhaps even somewhat wistful tone at play throughout. This might surprise those who've invested their feet and hearts in tracks with titles like Night Of The Inflatable Muscleheads and Everything I Know About House (I Learned on Facebook).

In a move away from his previous musical leanings, The Midnight Orchard embraces a distinctly more UK sound, unapologetically chronicling the paranoia that can be found skirting the euphoria of rave. And while Watson has avoided the eyebrow-arching pitfalls of the self-serious DJ full-length, it must be noted that the rhythms here are more skittering, the atmosphere less jubilant and the signature lo-fi hiss, fully popularised and bastardised since Watson's last album, has taken on a more fore-boding tone.

Meanwhile, the atmosphere elsewhere harks to a more idealistic world, particularly on the cascading and subdued Eine Kleine Emusik, and the euphoric We Own The Night. Twin Tub and Reet Dux provide dubby, sensual moments of escapism. There's uncompromising, hard-nosed rhythms on Dee Sides, and cosmic electro throughout 4am in the Trees. The album then concludes in a bold fashion with Displays of Brotherly Love and the resolutely hopeful atmosphere of Phosphorescent.

Reflecting decades of immersion in club culture and taking inspiration from wider-found sounds, The Midnight Orchard is loaded with thrilling parallels and a sense of genuine unpredictability. Tracks like Come On In and Anarcho Midnight are layered with unease, utilising pitch dark arpeggios and skittish, growling electronics to devastating effect.

Having dedicated the last eighteen months of his life to the studio, Watson has rec-orded what is undeniably the most unexpected music of his career. Amid the dark-ness, The Midnight Orchard has borne fruit.

'A Thousand Strands' is the debut long-player from The Dandelion Set, a new collaboration between Glyn 'Bigga' Bush (Lightning Head, Rockers Hi Fi) and PK Chown (James Beige, Mr Liquorice). The album travels back to their formative years in the mid 1970s, with sleevenotes, lyrics and vocals by cult writer Alan Moore (V For Vendetta, Watchmen) and passes through a cavalcade of musical landmarks en route to the present day.

After 'Cobraxine', 'Boogie Throb', and the Ana Ott released 'Molochville', Brecht Ameel (Razen/Ameel Brecht) gives us his new album under the Br'lâaB moniker 'Other People's Crimes'; a high-on-paranoia, pre-crime-surveillance narrative, constructed after hours in the studio from a combination of Ameel's own recordings on a widely varied set of instruments, library music, flea-market broken vinyls and old cassettes. Part blind-overdub palimpsest-collage, part straightforward composition, the 10' contains both Br'lâaB's loop constructions and tracks performed by the found audio phantom band called the Acid Boogie Quartet. Bearing more gritty layers of both sound and subtext than ever, the 'Other People's Crimes' EP stands as an artefact of wild paranoia and spy-thriller sonics, weaving vignettes of surveillance gone wrong, doublethink and confessional echolalia.

Police and thieves are in the streets, running wild with nosebleeds and ill will ids. Dial v for victim as the night horizon broods a neon luminol glow. Howling at the vortex, buried under blindfolds, vigilantes take to crime with fear and ketamines.

The first 4 Dictaphone albums now available as a very limited boxset with a wonderful new timeless artwork.

Already formed in the late nineties in Berlin, Dictaphone was born by Brussels-bred multi-instrumentalist Oliver Doerell. In 2000 Oliver Doerell found a partner in Berlin's Roger Döring, who shares Doerell's love for the Brussels-based music of the eighties. In the following years the duo and several guest musicians (e.g. Stephan Wöhrmann (SWOD) , Malka Spigel (Minimal Compact) & more) released the critically highly acclaimed "m.= addiction" (2002), the "Nacht" EP (2004) and "Vertigo II" (2006) via the City Centres Offices label of Thaddeus Herrmann and Shlom Sviri (Boomkat, Modern Love). In 2009 the violin player Alex Stolze joined the band. During their two decades of existence Dictaphone played shows in more than 20 countries with festival appearances at Mutek, Transmediale, Unsound, Benicassim & more. Their latest release "Poems from a rooftop" from 2012 came as a very limited edition through the Berlin-based boutique label Sonic Pieces. In 2017 the band released the long awaited third album "APR 70" on denovali. The label now also offers a reissue of the trio's past repertoire.

Dictaphone never make music for the sake of it, they always want to create something which was missing before. And they did.

Praise for Dictaphone:

"minimalistic and subliminal elegancy" (ARTE)

"Dictaphones gives warmth to the concept, your thoughts a body and atmosphere to the music" (Spex)

"This is the music to fall in love with over many evenings, each subsequent rotation capturing another moment of time to be recalled in the future. Highly recommended" (Headphone Commute)

"When played from a rooftop, this music may be as quiet as a poem, but it carries the power of a manifesto." (A Closer Listen)

Two new longform recordings by Felix Kubin.

A - Max Brand Studie IV Composition for 8 loudspeakers, arranged in a circle. All sounds: Max Brand synthesizer (two mother oscillators with 4 subharmonic oscillations each and B-oscillator). Recorded in the former premises of the Institute for Media Archaeology, Hainburg a.d. Donau, November 2013. Premiere of the original version: Audible Festival, Paris, September 2016. Revised stereo version: April 2018. "As I experimented with different settings and sounds, the apparatus began to develop a life of its own. Its monophonic, swaying tonal registers conjured a ghostly presence in the vaulted space. Here I sat with the egocentric and stubborn Max Brand, we sat together on a long thin wire and listened to a distant war that was not our own." - Felix Kubin, 2013

B - T O P I A Composition for a 3-channel video installation by Josephin Bo¨ttger. All sounds: Rob Hordijk modular system and sounds of the port of Hamburg. Recorded at Hammerbrooklyn Studio, Hamburg, September 2016. Premiere of the original version: Oberhafenquartier Halle 4, Hamburg, September 2016. Revised stereo version: March 2018. "...an indeterminate figure climbing from hill to hill - mounds of earth, remains of excavation work on building sites, the negative form of the office towers collapsed and turned outwards, superfluous material. With yardsticks, tubes and fold-out plans, the figure struggles to measure the land that no longer seems to obey (...) the scene - of an absurd fable of growth - in an endless loop." - Nina Lucia Groß, 2016

This killer Italian library album by Luciano 'Arawak' Simoncini was only ever released on the elusive Orrery Records label, and is now very hard to find. Still very much under the radar, Explosive reveals itself as a swift tangled web of beats for the discerning DJ. Tracks includes the driving cosmic funk Hardware with sharp hip-hop breaks and spaced-out abstract synth keys.

Kangoroo Court is an even better alternative version dubbed with underwater and weird'ish train effects. More electric piano madness on the insane Oil Spot. Also includes the two superb Fender Rhodes & environmental FX tracks Shotgun (First compiled on Vroommm funk cinematique and recently sampled by Tomppabeats) and the intriguing track Warhorse. Classic Arawak moods not to be missed!

Fully remastered and licensed reissue, limited to just 350 copies on black wax.

After their highly acclaimed debut album »Decadent yet Depraved«, Berlin and LA-based producers Belief Defect invited a variety of artists to join their »Remixed« project. The following 12' EP is a first four-track release of this project. The original tracks of the album are only an approximate starting point for »Remixed«. In contrast to »Decadent yet Depraved«, largely conceived in song structures, this EP is about transferring the pieces back into abstract space, and each remixer does it in his very own way. Alessandro Cortini's one-take live recording is a lesson in classical ambient music. Telefon Tel Aviv's remix is timelessly modern and extremely delicate sound design. Rather opposite concepts are coming from Surachai's brutal pattern design and Kangding Ray's expressive and analogously saturated repetitions for the dance floor.

Once more the Netherlands proves to be fertile ground for adventurous sonic explorations defiantly untainted from outside influences. The Levende Opjekten Sjooo (L.O.S.) was developed by Artist Hans Frisch, who had made a name for himself as a painter by dripping black car paint on white formica panels, calling this: Clean Art. His next project involved a set with moving statues and music. The statues were actually naked dancers hidden between layers of linnen and plastics. As soon as the music started they would erupt from their disguise and start dancing naked on stage to a rather organic & compulsive music that discarded melody in favour of strange sounds and rhytmic patterns. Through a series of fortunate events, the L.O.S. was invited to make a record, which they did in a short 4-hour session with the use of Flutes, percussions and a Philicorda Organ.The result was a true testimony to what the L.O.S sounded like to the few thousand people who were lucky enough to experience them live. Some pictures of some of the shows survived as well as a handful of original copies of this record. Most copies were confiscated by the police and the rest dissapeared. Luckily we were able to unearth an original copy from which the music was then remastered, with kind authorization by two of L.O.S. band members. We hereby present a restored and remastered version of an utterly rare document of Dutch Psychedelia lost for decades.

Audrey Chen - Voice
Julien Desprez - Guitar
Lukas König - Drums, Synthesizers
Accelerated Frames Of Reference Is The Blistering Debut Album By Mopcut. Lukas König (koenigleopold / Kœnig / Kompost 3) On Synthesizers And Drums, Julien Desprez On Electric Guitar And Vocalist Audrey Chen On Analog Synthesizers. Three Artists Have Joined Forces To Create Songs Beyond Language And Gravity At The Interface Of Sound Architecture And Performance-ritual.
Minimal And Maximal Improvisation, Noise And Electronics Overlayed By Audrey Chen´s Ecstatic Vocal.

NYL's 1976 sole release is curiously still very much under the radar despite it being one of the most intriguing French psychedelic/prog albums from the 70's. The music is highly creative and energetic with a definite space-rock feel in the style of Hawkwind, but also a clear krautrock edge reminiscent of Amon Dull II and Agitation free. Michel Peteau's guitar is the driving force around which all other elements create a whirlwind of sonic psychedelic infusion veering between loud psychedelia and irreverent pulsating rock groove a la' Gong. Features Ariel Kalma (flute and sax), as well as Janick Top (From Magma) and Bernard Lavialle (from Ame Son). Originally released on Richard Pinhas "Urus Records", this fully licensed album is released in high quality heavy paste-on gatefold cover, limited to 500 copies in black vinyl

Founded In Wendelstein Near Nuremberg In 1970, Their Sole Lp Saw A Release Only In 1978 On The Collectable Brutkasten Label. Long Before The Band "kiss" Became Famous In Europe, These Guys Were Delivering Quite Unique Live Shows With Pyrotechnics, Burning Torches And Fog In A Sinister Decor With Their Faces Painted Very Much Like Kiss Did. The Music Is Leaning Between A Progressive And Mystical Edge Close To Pink Floyd And The Harder Raw And Darker Side Of Black Sabbath And Paternoster, Fully Sung In English. Here's A Fully Licensed Official Release, Faithful To The Rare Original Lp. For Fans Of Black Sabbath, Paternoster, Lava, Ufo.

Ryan James Ford's Productions Are Rarely Anything Other Than Inspired. Through Regular Releases On Marcel Dettmann Records, Answer Code Request And His Own Shut Imprint, Ford Has Proved To Be An Exciting Producer, Capable Of Mangling Sounds And Styles To Fit His Wide-ranging Musical Vision.

The Berlin-based Canadian Arrives On Happy Skull With A Label Debut That Dramatically Emphasizes The Point. For Example, Ep Opener "ormst Kaban", Whose Wild, Crashing, Off-grid Breakbeats And Twisted, Foreboding Electronics Aggressively Spar With Glacial Chords And Icy Textures. The 16 Bit Arpeggio Lines Of 'hobrv Kegdit' Are Underpinned By Powerful Sub-bass Tones And Industrial Drum-breaks That Merge To Create A Densely Sprawling Mass Of Dance Floor Melancholia.

This Pattern Continues Throughout The Ep, With "slown Ridel" And "nos Ummi" Balancing Skittish, Noise-seeped Percussion With The Dreamy, Glassy-eyed Swell Of Classic Ambient And Pioneering Early '90s Idm.

Tony Buck: drums, percussion, vibraphone
Massimo Pupillo: bass, electronics

Italian composer and bassplayer Massimo Pupillo (ZU) and Australian drummer Tony Buck (The Necks) colloborate in a beautifully haunting, absorbing ambient set, taking in electronic abstraction and free improvisation. Pupillo & Buck are well known for their work with their long-running bands, as well as for their collaborations with musicians of the current international avantgarde scene - Pupillo released f.i. with Cindytalk, FM Einheit, Ambarchi, Corsano; Buck with Fennesz, Branford Marsalis and Magda Mayas.In TIME BEING / UNSEEN we experience floating uncanny percussion sounds underlined with heaving subs, sealed in deep and noisy atmospheres
Recorded with Boris Wilsdorf in 2017 at andereBaustelle Tonstudio Berlin.
Each format comes with a different artwork/titel and tracklist.

As a first listen it was 2 am, 46° in a village Portugal, in a Convent, after a good night out. That moment stroke me from being magic, the energy was perfect, we were laughing and relaxing amongst friends. That listen was pushing the magic further because of the surprises it has all along the journey. A first groaning A simple rhythm Soft realms Noisy Round sounds Type machine sounds, of a sampled hi hat that never reveals, cut cut cut cut. Just because it's fun to not reveal it. And put that fist cut part of the upcoming timber that is not 'yet' one. It's like if the drum pack was used the wrong way, which is a great way. Flipping. (=to flip something) Belp has this ability to bring the most horrible samples in front, and turn over your mind to enjoy what first sounds like 'horrible'. Facade. 'Crocodile' is flipping it over. Rhythmically vibrating, ears are wide open, full attention. I'm into the non-repetition. Track 'Crocodile's call reminds me of the call in 'Klabb' by Deena Abdelwahed as well as within its playful change of tempo, of notes. Who cares The album is like a randomly composed pack. It is not random. It's flipping something, and I like that disturbance, it's what I want to hear. It is alive, through composition, arrangements, falsely randomised, non-arranged, it is a trick; it is the drunk clown playing 'endless preparations for a ceremony' and 'catch'. Not bothering about anything reveals a deep understanding of music and of arts, a crafted album in details. It is years of listening, it is years of challenging ones ears, and putting it all together in this piece.

Tarawangsawelas are a musical duo from Bandung, mainly performing a contemporary version of Tarawangsa, the sacred music from Sundanese West Java. Here they are joined by their teacher and maestro, Pak Pupung Supena, together with, Pak Jaja, on Sekalipon. Wanci is a minimalist, cosmic album composed with a careful modern interpretation of one of the most mystical and spiritual genres in Indonesia. A gorgeous and infectious six track album. TIP!
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Producer Rabih Beaini says "Last year, Europalia Festival commissioned me to work on a musical project with local musicians from Indonesia and develop a performance to tour during Europalia 2017. I chose to work with Tarawangsa, the sacred music from Sundanese West Java. Tarawangsa is played on two string instruments: a rababa-like two-stringed bowed instrument itself called Tarawangsa, and the Jentreng, a seven-stringed kecapi-like instrument. Typically from Rancakalong village in Sumedang, West Java, Tarawangsa is played as part of a ritual consisting of almost eight hours of music and dance, complete with offerings and prayers. During a performance, a selection from the forty two known Tarawangsa pieces slowly build up from a cosmic slow groove to more repetitive and hypnotic rhythms, inevitably bringing the listener and dancer to a trance state. During the residency I had the great honor to be able to develop new structures and pieces together with Tarawangsawelas, recording them in Bandung, and ultimately having them joined by their teacher and Tarawangsa maestro Pak Pupung Supena together with Pak Jaja on jentreng. This album is a modern description for one of the local Indonesian music scene, but mainly it is an offering for the Tarawangsa ritual, like the food and incense and the prayers, and the messages of the ancestors to the people of Rancakalong."

Composed and performed by Teguh Permana, Wisnu Ridwana and Rabih Beaini, except Sekalipun (traditional) performed by Pupung Supena, Jaja Rohmat, Teguh Permana & Wisnu Ridwana.
Recorded in Bandung, march 2017
Produced, mixed and arranged by Rabih Beaini.
Mastered by Neel at Enisslab.
Cover design by George Sowden, curated by M-L-XL,

Long before Howard Williams crawled out of Honest Jon's basement to kick out his jams as Japan Blues on NTS, and record, he had been running a micro label, Ethbo. Possibly the slowest label in the world, clocking up 10 releases in over 20 years. But, when they happen to be the first 12' by Mike Cooper (2000); Tokyo bass, drum and vocal outfit Femini Flyers; Electronic Rock Non Music maven Kadmon; and, when most tragic hipsters thought Japan was just sushi and manga, Killing Melody, a killer selection of Japanese gangster soundtrack funk (2010). Not to mention 60s garage rockabilly Dean Carter. To name a few.

For light relief, last year he also co-started JWM Records, with a compilation of 20s to 50s Yiddish jazz from London's East End. Not satisfied with that, he has once again revived the Ethbo mini-monolith. Ramping up the speed a little, with four releases in the pipeline for the first half of 2019. The first, Leipzig unit, EEL.

Ever tried to grab an eel If so, maybe you'll have an inkling how difficult it would be to pin down the sounds you're about to deal with on this EP. Think you've got it nailed down Nah, suddenly, it's slithered out your hand and is lithely hurtling off into the water.

'HDD is EEL's first bundle of rendered audio. Soldered textures wrapped in duct tape embracing recycled aesthetics on four tracks. Yelling snapshots that went down the data bus to result in de-culturalized patchworks. Not from a sphere but from all of them. EEL are Philipp Matalla and Robert Schulze.'

Philipp has released a small, perfectly formed collection of 12' over the last few years, on Prins Thomas' Internasjonal Spesial, Doumen Records, Kann Records (collaborating with MM/KM) and Kashual Plastik - his sound is playful, and impossible to categorise. Robert has joined forces, expect the unexpurgated.

HDD 1 A flock of birds trapped in a shirt folding machine, hurtle down Elon Musk's neon tunnel, disintegrating and constantly re-forming into obtuse consumer objects looking for a market.

HDD2 Memories of a summer festival no one has ever seen, a celestial organ makes formless arpeggios, impossible to recall, lysergic crystals constantly multiply skywards celebrating a spirit's ascent to an illusive enlightenment.

HDD3 Every video game ever created in a last pitch battle to the death. We deserved this.

HDD4 An army of wooden ants, the queen below ground on bass, marching through the tundra to a rendezvous with nirvana.