Beats Vinyl New Releases - News

In February 2017 Moving Furniture Records released "1", the first LP by Radboud Mens and Matthijs Kouw. The album consists of two long drone tracks that make you forget music is a time-based art. Music that immerses you in a warm bath of frequencies that are evolving slowly around you, revealing you all sides and details of a sonic sculpture.

With this second release, which is simply titled "2", Mens and Kouw continue their exploration of long-form drone. By using precisely tuned analogue synthesis, Mens and Kouw create a rich tapestry of drones and slowly changing environments. To the careless listener, nothing much seems to happen. However, an attentive ear will reveal a rich variety of resonances and sonic artefacts. Starting as a deep and warm drone music both pieces gradually develop into a collage of textures and frequencies that are carefully moving in and out of the drone. This record is the second of a two-part album that was recorded live in the studio in December 2014, released in an edition of 300 LPs that are packaged in reversed sleeves and are provided with a digital download.

Matthijs Kouw is a sound artist exploring the relation between movement and stasis. Using a wide variety of source material that includes field recordings, amplified objects, software synthesis, and analog synthesis, Matthijs has worked on music for theatre, dance, and film, as well as sound installations. He has released music via various outlets, including IO Sound, erstwhile tape-label Grel and Moving Furniture Records. Matthijs lives in Utrecht (Netherlands), where he is slowly working on a new solo work.

Radboud Mens is a sound-artist, composer and sound designer who is working with sound since 1982. He started creating noise-machines in 1988. In the early 90's he attached contact-microphones to dog's brushes that he used to destroy vinyl records by scratch-playing them, boosting the signal through broken cassette- decks and recording the results. Currently, like for example for his album Cycle (2015), he builds his own acoustic instruments and sound-installations. These instruments and installations are played live through a computer for real-time processing and then recorded. The recordings are used in new compositions. Radboud Mens has worked with a broad variety of sound artists and composers, including Stephan Mathieu, Janek Schaefer and Timeblind, voice-artist Jaap Blonk, guitarist Dan Armstrong (as Fitness Landscape), Michel Banabila, Mark Poysden (as Alignment), Craig Ward (ex-Deus), and Matthijs Kouw. His music has been released by Staalplaat, Mutek_Rec, AudioNL, ERS, Bake Records, Noise Museum, Takashi Mobile, Tapu Records and Touch. In live situations he collaborated with video-artists such as Marco Douma, Remco Schuurbiers, Bas van Koolwijk and Jpech.

Debut album by Düsseldorf based electronic music producer Pondskater aka Axel Ganz.

Experimental Music. Music with experiments. From the mind for the gut. Your gut gets affected a lot during the 38 minutes of this remarkable album. Restlessness is evoked. It is disturbing with its cold energy and its unfolding abstract sound layers. These compositions evoke questions: Has balance been lost and should be re-established Or is it all about finding the right way of balance for a very first time Is there any fruitless kind of balance, that should be undone Which price is to pay, which effort to make defending balance against those unsteady forces that threaten it

The eight tracks of the album give answers to these questions. They all are created with an obstinacy, that has yet been typical for Pondskater's earlier projects. "Balance" is an excentric and wilful orbiter inside the Düsseldorf electronic galaxy. Pondskakter's tunes are puristic, cold and surprisingly little hesitant to make references to Düsseldorf pioneers Kraftwerk and abandon them at the next moment. The most startling moments of the record, however, are both its humour and melancholy that radiate through all the pieces. Pondskater has managed to create an extraordinary coherence of both.

"Balance" has a strange sparkle around it, seeding an impression that lasts after repeated listening: It is the fascinating sparkle of an ice-blue coloured piece of jigsaw against the larger background of contemporary electronic music.

LP DELUXE EDITION includes: Pink vinyl / Poster / Redeem code, Ltd to 300 copies, LP includes redeem code / Ltd to 700 copies - PRAED's fourth album. This is the ultimate kit to prepare calmly for the sixth extinction! The Lebanese duo delivers a raging interpretation of the chaabi - popular Arabic music - using synthesizers, drum Machines, samples and other devices. The result is hypnotic and psychedelic, on the verge of trance. The clarinet of Paed Conca and the soaring lyricism of Raed Yassin sound like distant calls for help emerging from a world that is falling apart and slipping away. The record itself is enhanced by its sleeve - designed by the Lebanese artist Raphaëlle Macaron - printed in 5 Pantone colors making it as explosive as the music.

LP DELUXE EDITION includes: Pink vinyl / Poster / Redeem code, Ltd to 300 copies, LP includes redeem code / Ltd to 700 copies - PRAED's fourth album. This is the ultimate kit to prepare calmly for the sixth extinction! The Lebanese duo delivers a raging interpretation of the chaabi - popular Arabic music - using synthesizers, drum Machines, samples and other devices. The result is hypnotic and psychedelic, on the verge of trance. The clarinet of Paed Conca and the soaring lyricism of Raed Yassin sound like distant calls for help emerging from a world that is falling apart and slipping away. The record itself is enhanced by its sleeve - designed by the Lebanese artist Raphaëlle Macaron - printed in 5 Pantone colors making it as explosive as the music.

Dutch label Field Records is back with another special album project, this time from Japanese producer ENA aka Yu Asaeda. Bridge is an introspective soundtrack for a documentary also called Bridge - out this Spring - which is about the Dejima bridge, a reconstructed symbol of the Dutch-Japanese trading history in Nagasaki, Japan. The album finds the producer stepping outside of his usual remit of dark ambient and experimental music, and instead comprises ten shorter tracks that touch on abstract and rhythmic sounds that define the essence of Japanese culture. Although he has worked with the director before, this is ENA's first Original Sound Track and finds him freely inspired by the movie and heading in exciting and unknown directions. Hugely atmospheric throughout, there is hypnotic repetition of sounds, strange audio design and a mixture of melancholic moods with more dreamy synths. Sometimes gloopy rhythms gently ripple beneath soothing harmonies and at others times a micro-rhythm appears through the constantly shifting and evolving found sound loops. It's a compelling and unusual album that seamlessly mixes human emotions with a mechanical sense of industry.

Dj feedback:

Mano le Tough (Permanent Vacation): "Amazing sound"

Inverted Audio: "Subconsciously affecting, emotionally invigorating work here. Loving this."

DJ Mag LA: "This album shows that the of ENA sounds are an overflowing line that perfectly combines human emotions. Feel is the perfect word to define the entire album."

Samuli Kemppi (Deep Space Helsinki): "Really really good album. Thank you."

Eric Cloutier (The Bunker NY): "absolutely brilliant."


Philip Sherburne (Pitchfork): "Really interesting stuff here, looking forward to delving into it."

Amandra (Semantica): "Love it ! Thx"

Nihad Tule (Sloboda): "perfect cinematic scapes, thanks!"

Breach (Aus Music): "super enjoyable on a lot of levels and so warm. "

Jonas Kopp (Tresor): "love it ! thanks."

Mosca (Not So Much): "First two tracks are enough for me to know I'm into this"

Fugal (BleeD): "<3"

natural/electronic.system. (Tikita): "This is a great release. Thanks!!"

Roger Gerressen (Yoyaku / Sushitech): "lovely"

Maarten Mittendorff (Indigo Aera): "Amazing all over!!! <3 ENA... really out of the box organic evolving music. Big up Field for releasing this beautifull music!"

Albert van Abbe (VANABBE / No Comment): "This is just great! Suburb travel music, thanks!"

Simo Cell (Livity Sound): "Yes this is brilliant ! "

Efdemin (Dial): "Great textures and sounds. Really interesting work!"

Clouds (Electric Deluxe): "wow this is dope!"

Zadig (Construct Re-Form): "Need to check quietly but i know i already love it. Beautiful ... Thanks !! "

Voiski (Super95): "really beautiful bridge music "

The King is a remarkably absorbing collection of abstract torch songs by Cee Haines aka Chaines, a Manchester-based artist in possession of a starkly singular sonic language, who has collaborated extensively with the London Contemporary Orchestra and had their work performed at The Roundhouse, Union Chapel, Printworks and Tate Modern.
Leading a thematic expansion of Chaines' OST (2015), their 2nd solo release yields a phantasmic and richly evocative soundtrack-esque series of works written over the past three years, including exclusive versions of their commissions by the LCO and Union Chapel, all serving to frame an intimate yet beautifully elusive portrait of a unique artist coming into their own.
In eight parts, Chaines draws a mercurial line that connects the almost bestial intimacy of purring strings and whispered vocals in For Your Own Good to something like Scott Walker-invoking-
Fantasia in Eraserhead, conjuring a mutably surreal and mystic atmosphere that keeps listeners teetering between knife-edge suspense and sublime relief as they scale from delectably detailed
avant-garde psychedelia in Knockturning to a bout of Grouper-as-spectral-Jazz diva styles of Population 5120, and all in a way that makes the exploded hyaline castles in the sky dimensions of Airship seem totally feasible next to the cavernous avant-techno impulses of Carpathia. Never following a linear path, Chaines is as likely to incorporate doom-laced chamber motifs and
asymmetric techno rhythms as operatic vocals and microscopic sounds, always with a sensitivity to the metaphysics of space and spirit which coolly sets their work apart.
Held up beside Slip's celebrated recent releases such as Yeah You's Krutch and Object Collection's opera-in-suspension based on Fugazi, It's All True, Chaines find themselves amid exemplary,
boundary-morphing company, whose diversity finds a common strength in the will to express something of a pathos beyond easy comprehension, yet which can be felt and understood
immediately and instinctively by anyone with an open mind and a thirst for the new.

Zoom is a verité collection of situational recordings made by Cucina Povera - aka Finnish-born, Glasgow-based sound artist Maria Rossi - in intimate spaces full of acoustic or ideological intrigue, primarily using a capella voice. It is a document of different locations and moods that interested the recorder, a postcard look into the stream-of-consciousness processes of an artist developing her own language. Using little else other than a Tascam Zoom recorder and loop pedal these are highly personal recordings originally intended as notes for future compositions that ended up becoming the purest rendition of this first phase of Cucina Povera's music to date.

Originally presented as WAV files named simply ZOOM---, these on-the-fly compositions are a perfect distillation of Rossi's practice. With no augmentation, not even a song-title, these bare, beautiful tracks become a materialist document of the wonder of the every-day. While Rossi's previous album, Hilja, was a sculpted whole that at times used post-production techniques and electronic instruments, Zoom presents acoustic sound as a source of joy and discovery largely without artifice. Rossi's voice is used a searchlight, shining into the crevices of a room's dark corners, or as on ZOOM0005, projected into a Coke bottle aperature, for an almost Shakutchi texture. Voice's meaning dissapates into texture, with rhythms created by simple hissing sounds and the interweaving of loops. ZOOM0001 interlocks 4 different a capella melodies to create a chorus, an improvised solo hymn that seems to rise and rise. ZOOM0010 uses staccato vocal bursts, like Meridith Monk huffing out Steve Reich rhythms, while the soloing Rossi expertly ducks in and out of the frame. Like the most celestial moments of her debut Hilja it is a religious experience but rendered more powerful in its naked form.

Indeed, there are shades of Hilja in the sounds, with some strains resurfacing from that album, insinuating that Rossi's practise is a continuing form, a series of sentences in the artists' personal language that mutate over form, bending into new shapes. On Zoom, Rossi's minimalism is fully stark, a process fully transparent and all the more celestially powerful because of it.

Perhaps one of the most unique and unlikely exponents of the highly collectible genres of ambient electronics, experimental tape-music and PINA (Private Issue New Age), this English-born Jamaican- raised sound designer, artist and existentialist furrowed his own unblinkered path through lesser chartered electronic fields for many moons before eventually teaming up with Bill Laswell (with Material) and Daevid Allen in New York to bring self-taught synthesis to Gong during their most oblique periods.

Creating two impossibly rare self-pressed vinyl LPs of conceptual inner-visionary outer-galactic angular tonal-dronal alien-art soundscapes in the process, the man known under figure shifting guises such as Dennis Wise/Denis Weise/Dr. Wise etc, combined a culture of sound system circuitry and radiophonic trickery adding Tea-pot poetry and sci-fidelity future- folk to his magnetic mesh.

Presented here as the first ever dedicated Wize Music collection this record combines compositions spanning 1979-1984 in both a solo capacity as well as small- group projects featuring members of the Emerald Web band.

Imagine a comic book where a Funkenstein monster called 'Laraaji-Scratch Perry' invaded your record shelf while Komendarek and Holger Czukay kept lookout... Dr. Dennis might be the only one Wise enough to outsmart all of them with his powerful amorphous anaesthetic.

A killer blast of Linekraft's Japanese junk metal cut-ups and cyclonic noise, new on Hospital Productions.
Japan's foremost exponent of 'metal junk' cut-ups transposes the nihilist energy of his notorious live shows into this devastating debut LP for Hospital Productions. Hailed by Prurient's label as 'the premier industrial performance unit arising from today's contemporary Japanese underworld',
Masahiko Okubo a.k.a. Linekraft lives up to this mantle with a severely brutal suite of hacked and charred concrète noise.
Like his predecessor Kimihide Kusafuka's K2 ventures in the same arena (we imagine a cage, a bit like Robot Wars or MMA), Linekraft rudely manhandles his recordings of percussion and
vocals, pitching them into a morphing torrent of abusive clangour and analogue chicanery with Kafkaesque results.

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 _

produce by theo parrish

Electro-Psych Origins! Nobody went full-on electro-rock before Fifty Foot Hose. Before their brief-but-groundbreaking run in the late '60s, Bad Trips collects the demos, outtakes, and other rarities that complete the story of a band too far ahead of its time to last. From the pre-Hose tracks of boldly atonal, proto-psychedelic freakout music to early versions of songs that would land on their opus, Bad Trips boldy displays how Fifty Foot Hose changed the landscape of rock and experimental electronic music.

Subliminale Materiale is the 5th installation on Lustpoderosa. Kind of a split EP. The A side with two remixes and two original jams of Jack Pattern on the B side. With this release we want to point out the remixes on the A side. Both done by Lustpoderosas favourite producers and DJs: Sneaker aka Dunkeltier (Uncanny Valley, Rat Life, Frigio) and Kris Baha (Power Station, Pinkman Cocktail D`Amore) . We guess you know and love them as much as we do.

In the last three years Nika Roza Danilova has gone from being an outsider, experimental, teenage noise-maker to a fully-fledged, internationally-celebrated, electronic-pop musician. It was a huge accomplishment, and, despite her age (young), her origins (mid-western, desolate), her accelerated scholastic achievements (high school and college were each completed in three years) and her diminutive physical size (4'11', 90 lbs), she has triumphed. She has emerged as a figurehead— a self-produced, self-designed, self-taught independent woman. Zola Jesus is not a singer, she is a musician. Zola Jesus is not a band, it is a solo project. That is not to say the people who have helped her along the way were not deeply important. Her irreplaceable live band (whose drummer Nick Johnson lends a hand on several tracks here) and her friend Brian Foote (who co-produced this album), in addition to the live string players who contribute here (Sean McCann, Ryan York), were all crucial in the process. Still, Nika is a woman who can command a room—any room—without needing a band, a stage, or even a microphone. Her voice is unmistakable; it cuts right to the core. Conatus is a huge leap forward in production, instrumentation and song structure. The definition of the title says it all: the will to keep on, to move forward. From thumping ballads to electronic glitch, no sound goes unexplored on her new record. It is an icy exploration in refined chaos and controlled madness, an effort to break through capability and access a sonic world that crumbles.

1967 Electro-Psych Opus! An electronic rock band wasn't even an idea when Fifty Foot Hose released their landmark debut album at the end of 1967. Their fusion of psychedelia and electronics resulted in a truly trailblazing sound. Cauldron stands as a signal achievement that laid the groundwork for genres that didn't even exist when it was released. Pressed on colored vinyl and featuring a zine-style insert with liners by FFH electronics mastermind Cork Marcheschi!

This record was created for the space age lounge, a technomystical chill room in Goa, India.

A misty glow flows along the recumbent silhouette of Kayla Guthrie's new ep, FALLING STAR. This is the body of the artist as aural ghost, her figure lit by shuddering rhythms and synthesized echoes, and she knows what she is doing when she stands in front of that light. Not only did she build it but she has written all about it, gathered the notes and transcribed the lyrics onto paper that is as sunshine. Guthrie is dazed and dazzling with so much light, yet the clouds roll in toward the light every time. Her translucent voice lifts your hem and so tender is her bite, so weird, so intense. This is new music spinning fast in a dance with archangels (Jarboe, Cocteau Twins, Lydia Tomkiw and Leslie Winer) and barreling straight through heaven's gate.

Mixed by Ben Greenberg. Cut by Josh Bonati. Photography by Lena Shkoda, lettering by Will Sheldon. Edition of 200.

Raw formed during the summer of 1990 in Athens, Greece when keyboardist Giannis Papaioannou and percussionist Makis Faros started composing music for imaginary waiting rooms. They combined the traditional cut-up technique of tape-loops, the industrial timbres of musique concrète with the harmonics of world music, all filtered through digital sampling and computer programming. Their first recordings generated an 8 track demo, which was freely distributed among friends and the local underground press. After 6 months of work and several sessions with guest musicians on acoustic and electric instruments, Raw self-released their first album 'Land' in December 1991 on Elfish Records. In 1992 they recruited the band's sound engineer, Coti K., as a third member, both on stage and studio sessions. 'City' was their second album fully inspired by the mechanisms of their home town. Presenting a different electronic face of Raw, manipulating rhythms with analogue synthesizers and harsh sampling to evoke the atmosphere of Athens. 'City' was released on CD only by Elfish Records in 1994. 'Fragments' is a collection of 4 songs from 'City' presented on vinyl for the first time plus bonus track recorded during the 'City' sessions previously released on a compilation in 1992. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. Each copy includes a double sided postcard with photos and notes.

It was way back in 2007 when Claremont 56 boss Paul Mudd'
Murphy and longtime friend Ben Smith made their debut on the then freshly-minted imprint. In the years since, they've delivered a string of luscious and atmospheric releases for the imprint, including three high quality albums.
It's perhaps ftting, then, that the duo returns to mark the start of
Claremont 56's second decade. Amazingly, Janet 50' not only
contains their frst new material since the release of 2016 album
Gorthleck, but is also the pair's frst single for six years.
Janet 50' is classic Smith and Mudd, a rich, heady and gently
unfurling instrumental rich in relaxed instrumentation, leisurely grooves and spacey, far-sighted synthesizer motifs. The track is underpinned by a shuffing groove high on hand percussion and toasty bass guitar, but it's Smith's cascading guitar lines and Murphy's fuid electric piano parts that catch the ear.
There's something of a treat on the fipside, where Versatile Records veteran Nicholas Chaix dons his now familiar I:Cube alias to provide a stunning remix. Over the years, the Chateau Flight member has earned a reputation for delivering high quality material that touches on a variety of styles, from blissful ambient and jacking house, to off-kilter jazz, Giallo-style horror soundtracks and pitched-down Yorkshire bleep
and bass.
His take on Janet 50' is, if anything, even dreamier than Smith and Murphy's original, smothering a low-slung, bass-heavy electronic groove in intergalactic chords, delay-laden congas, occasional acid lines and reverb-heavy passages of guitar and electric piano. It feels like a future classic in waiting.

XGLARE (all caps), is Jessee Egan, a Brooklyn-based producer, sound designer and multimedia artist. She has released music under multiple aliases since 2011, most notably on AY Japan. Her latest incarnation, XGLARE, balances warped sound design, unearthly atmospheres and experimental rhythms that reject genre boundaries.

Representing Brooklyn in full force on the debut record, 'Morph EP,' XGLARE yields incredibly heavy atmospheres. This is a mature record showing patience, design and a thoughtfulness sorely lacking in much of the electronic music scene. Beats and dance elements take center stage alongside impossibly powerful, almost elemental transitions. Track 1, Lymph sets the tone with an updated halcyon rave sound. Imagine standing in a field in the countryside at an illegal rave at 6 in the morning as the sun is rising, wind blowing in the air. Track 2 Fossa feat ARIADNE, an Opera trained singer, immediately submits you to whisper shouting, a highlight of the album. In between more dance floor-oriented tracks, Spore and Plexus, sit two sound design gems, title track Morph with its pounding rhythmic charges and vast reverberated rooms, and Ganglia, which reminds of early Do You Know-era Squarepusher. A well-rounded EP showing off the many talents of XGLARE also comes housed in beautiful artwork designed by Egan herself.

This release blows the trio's instrumental palette wide open for a single continuous piece.
Begun as a one-off collaboration in 2009, the trio of Keiji Haino, Jim O'Rourke and Oren Ambarchi has now become a solid working group, refining its craft through a series of annual concerts at Tokyo's legendary SuperDeluxe.  Much of their recorded work has focused on their intense, ritualistic take on the rock power trio of electric guitar, bass and drums, with last year's 'now while it's still warm let us pour in all the mystery' (BT09) containing a series of instant compositions of stunning power and concision that demonstrated how familiar and attuned to one another the three have become.

Presenting the entire first set of the trio's March 2013 concert at SuperDeluxe (the second set will follow on Black Truffle later this year), 'only   wanting to melt   beautifully away is it a lack   of contentment  that stirs affection   for those   things  said to be as of yet unseen', their fifth release,  blows the instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion. Featuring one of Haino's most delicate and moving recorded vocal performances, the opening section of the record takes the form of a spare duet between O'Rourke's 12-string acoustic guitar and Haino's kantele (a Finnish variant of the dulcimer), behind which Ambarchi provides a hovering backdrop of wine glass tones. While on previous releases the listener has often sensed that Haino was firmly in the driver's seat, here O'Rourke takes centre stage with an acoustic guitar performance that takes the lyricism of John Abercrombie or Ralph Towner and refracts it through the free improvisation tradition of his mentors Derek Bailey and Henry Kaiser. The atmosphere of meditative, abstracted song is reminiscent of some of Haino's greatest recordings, such as the legendary 'Live In The First Year Of The Heisei' volumes recorded with Kan Mikami.

In the Pacific there was another Atlantis, connecting Japan to what is now known as the United States. Swim with us through ancient caves and discover a secret that has been hidden from human eyes for thousands of years... Long thought lost Maiovvi productions from the early Berlin days remixed and remastered and made available for the first time.

Sydney via Melbourne-sider Cop Envy brings forth two heartbursting, patient and effective tools to mark the return of the Cry Baby imprint - long silent after their debut exploration with Dan White.

The anachoic, blistering tones of Balanced push the vinyl medium to it's absolute limits with Heavy, HEAVY bass and incredulously well produced embellishments making this a DJ tool for the year 3000.

Leisure laces the flip with something a little closer to the present day no thanks to barely melodic musical structures peeling away to reveal the rhythmic intricacies and soul rattling subsonics that roll effortlessly through to the bitter end. REWIND.

Techno's arch, dark alchemist Juan Mendez rolls out a powerful 2nd Silent Servant album with 'Shadows of Death and Desire' , arriving some six years after his 'Negative Fascination' side
triggered a sea-change toward EBM and gothic sonics in a way that's never been felt more strongly. The album also features the unlikely reappearance of longtime collaborator and vocalist
Camella Lobo of Tropic of Cancer.
Over the past two decades the storied, L.A.-based producer has made his presence felt both by stealth and frequency. From his earliest work on LA's Cytrax thru his pivotal role on early Tropic
of Cancer releases and as recording and visual artist with Sandwell District, then later as the go-to-guy for fusions of post-punk, industrial, EBM and techno with DJ sets and releases as Silent Servant, Juan Mendez's myriad efforts have inarguably exerted an enormous influence over contemporary techno and dark electronics.
With his sophomore album Silent Servant presents an affirmation of his prowess with properly physical effect, wielding some of the most strapping arps, possessed vox and moody pads in his
catalogue. In contrast with 'Negative Fascination', its influential predecessor, the seven tracks of 'Shadows of Death and Desire' are defined by a toothier drive and bite, moving with shark-like
momentum thru ruggedest club functions while allowing little room for anything like beat-less reflection or downtime.
Locking in with 'Illusion', he pursues singular, writhing permutations of EBM, industrial and post punk moods; taking in slathering highlights with the agitated bruxism of 'Harm In Hand' and the rotor-jawed syncopation of 'Damage', along with the trampling drone-dirge of 'Loss Response', and the needling panic attack dynamic of '24 Hours', before drifting off centre with the glorious, swingeing torque of 'Glass Veil', and a swooning goth finale in 'Optimistic Decay' which sees mendez reunite with longtime collaborator and vocalist Camella Lobo.
Exquisitely rendered in-the-mix by Joshua Eustis, we can practically guarantee that if you fell for the first album, this one will push your buttons hard, too.

Ooh-sounds Inaugurates A Series Of Splits On The Topics Of Increasing Complexity, Dependencies And Miscommunication In A Media-saturated Digital Era. Georgia / Bellows Open The Series Shaping The Two Vinyl Surfaces Between Futuristic Eclecticism And Avant-garde Pan- Aesthetics.

"in Software Engineering D E C O U P L I N G Is Generally All About Discerning Whether Or Not Two Components Need To Closely Work Together Or Can Be Further Made Independent. Independence Is Great Because It Makes Those Things Easy To Change Or Use Somewhere Else. Usually, You Can't Remove Coupling Between Components Completely. D E C O U P L I N G In That Context Normally Means Loosening The Existing Coupling, Making Sure Each Component Knows As Little As Possible About The Other Components Around It'.

The First In A Series Of Split Vinyls Concerning Dependencies, Miscommunication And Increasing Complexity In Our Media- Saturated Digital Era. Georgia And Bellows Inaugurate The Decouple )( Series With Works Between Futuristic Eclecticism And Avant-garde Pan-aesthetics, Where Musical Themes Flow Tangentially. Similar, But Without Effectively Engaging One Another. A Metaphor For A World Of Surfaces.

Recorded In Georgia's Chinatown Nyc Studio, 'tiwala Sa Buani' Abruptly Throws Us Into Freaky Percussion Clusters Constructed From Heavily Processed Sounds Which Seem To Keep In Balance Just By The Magic Of Repetitions. Justin Tripp And Brian Close's Stylistic Fusion Acts Like An Antidote Against Gps Localization, With Sounds And Voices More Reminiscent Of Data Flowing Through A Proxy Server Than An Acoustic Performance - A Myriad Of Tiny Elements Resonates With The Multi-cultural A-geographic Perception Of A Contemporary Metropolis. 'a Habitual Sway' (an Anagram Of The First Title) Flows More Slowly, Mixing Hypnotic Rhythmic Percussions Loops, Melodic Sketches And Controlled Distortions Into Sophisticated Layers. Nai¨ve Digital Strings Pads Incursions Widen The Picture Further. Georgia Run An Nts Monthly Residency Of Oddball Electronics.

Digging Into Their Sound Archive, Bellows Build An Immersive Konrad-esque 19 Mins Of Humid And Winding Electronics With'untitled'. Drawing On Years Of Improvising Experience, Nicola Ratti And Giuseppe Ielasi Take A Puristic Avant-garde Approach, Using Tape Loops, Static, Modular Synths And Field Recordings. A Subtle Nostalgia Pervades The Whole Work - The Music Sneaks Through Lush, Decadent Dystopian Visions Like In A Travelogue. Mallets, Statics, Cut-up White Noise, Synthetic Kiks And Uncannily Pitched Voices Branch Out Like Roots, While Digital Birds Whistle All Around In An Aquatic Atmosphere, Perhaps Suggesting An Ironic Take On 'orientalism' - Down To The River's Delta.

The first phase of K. Leimer's recorded work began in 1972 with the production of the Grey Cows cassette and culminated in 1983 with the release of Imposed Order. Though work seemingly stopped following the release of I/O, Leimer continued to record and experiment with sound during what proved to be a 15-year interegnum for his Palace of Lights label. That work, never before issued, is included in this expanded remaster. Imposed Absence features ten tracks recorded in the years between Imposed Order and his return to releasing music with The Listening Room

Top-compilation Des Londoner Labels Houndstooth, Das 26 Künstler Um Einen Musikalischen Beitrag, Angelehnt An Das Apokalyptisch-klaustrophobische Gedicht "the Hollow Men" Von T.s. Eliot Von 1925, Bat. Die Tracks Erschienen Bereits Anfang 2018 In Digitaler Form, Seitdem Wird Nach Einem Physischen Tonträger Gefragt, Der Jetzt Einen Zusätzlichen, Exklusiven Bonustrack Enthält. Stilistisch Erinnern Die Werke An Electronic Listening-acts Der 1990er (artificial Intelligence, Future Sound Of London, Global Communication). Dark Music For Dark Times. "a Work Of Pure Desolation, An Echo From A Point Of No Return." - Pitchfork

Top-compilation Des Londoner Labels Houndstooth, Das 26 Künstler Um Einen Musikalischen Beitrag, Angelehnt An Das Apokalyptisch-klaustrophobische Gedicht "the Hollow Men" Von T.s. Eliot Von 1925, Bat. Die Tracks Erschienen Bereits Anfang 2018 In Digitaler Form, Seitdem Wird Nach Einem Physischen Tonträger Gefragt, Der Jetzt Einen Zusätzlichen, Exklusiven Bonustrack Enthält. Stilistisch Erinnern Die Werke An Electronic Listening-acts Der 1990er (artificial Intelligence, Future Sound Of London, Global Communication). Dark Music For Dark Times. "a Work Of Pure Desolation, An Echo From A Point Of No Return." - Pitchfork

Alex Troubetzkoy releases for the first time on his own label, with 3 personal tracks. Still picking on his jazz influences, while keeping texture and sound quality as a priority, the music we are dicovering is full of personality. Denis Kaznacheev joins him for the remix.

After the solo album Paths Of The Errant Gaze in 2016 Reinier van Houdt returns to Hallow Ground with Igitur Carbon Copies - an album based on the unfinished gothic tale Igitur, a collection of texts that eventually was abandoned by its author Stéphane Mallarmé in 1869.

Connecting with Mallarmé's obsessions about chance and destiny, Igitur Carbon Copies is the fragmentation of all the roots that ran under its predecessor Paths Of The Errant Gaze and brings these to a provisional close: guided by David Tibet's voice reading the reworked text we descend through spheres of deserted anthems, disembodied voices, morse signals, crank calls, corroded tapes, radio statics, stones, while doing counting games. Here the acoustical spaces are manifold, blended or shifted in a heartbeat, where far and near, up and down are relative, where Riemann's god is pointless and angels are enjoying their space. Here perception is a vice that constantly hallucinates realities.

Reinier van Houdt started experimenting with taperecorders, radio's and objects at a young age. Later he studied piano at the Liszt Academy in Budapest and the Royal Conservatory in The Hague. He developed a fascination for all matters that defy notation: sound, timing, space, physicality, memory, noise, environment - points beyond composition, interpretation and improvisation. He has built himself an unusual repertoire that consistently resulted from personal quests; from composing with non-musical sources, from collaborations with composers and musicians, from research in archives or from unorthodox studies of classical music. He has collaborated with artists like Francisco López, Maria de Alvear, Robert Ashley, Luc Ferrari, Annea Lockwood, Alvin Curran, John Cage, Christian Marclay, Walter Marchetti, Charlemagne Palestine and joined the legendary outsider-collective Current 93 in 2012.

The Day are Laura Loeters from Utrecht/Netherlands and Hamburg based Gregor Sonnenberg. Since meeting at 'Hogeschool voor de kunsten' in Arnhem the two keep reconciling distances, differences and always new approaches and perspectives. What runs like a thread through all of this is the interest to take charge of things themselves, try out and grow on it together.

The Day is where whimsical Dream Pop meets a DIY ethos learned from hardcore. A sparse, springy and rapturous dynamic alternates with a wildly imaginative dream-pop harmony, rock and synths create just as inspiring contrasts as the refreshing, reduced postpunk references. This is continued in the songs by themes that connect and contrast the private and the political as often as possible. The Day's music expresses utopia as well as melancholy in its escapism and thus refuses to be interpreted in an overly fixed way. The band is an international long-distance constellation, an almost celebratory pan-European idea of unification (which sadly can't be emphasized too often in recent months).

The Day have released two EPs by themselves, were constantly on the road, supported Kate Tempest live and have formulated their own version of melancholic pop music. The two continue to work on creating their own version of introvert, melancholic pop music: intimate without being intruding, and speaking with inner calmness.

Emotional Rescue is delighted to offer this compilation of music from Elaine Kibaro and her particular coalesce of chanson, folk, balearic and touch of disco, all encased in her strong French and North African roots.

The music included here, released between 1979 to 1989, is an expression of her development, of music changes matching growth in life, conveyed through her emotions in song. Opening with the spoken word Introduction from her debut album, "Mirrors" and the folk rock of melodies of Le Reveil from the 1981 follow up, Au Soleil, her early works are characterised by band, orchestra and choirs complimenting her voice as one.

This is further heard on the mystical Sorciere, psyche percussion of Secret, the marching Le Guerrier and the inclusion her first "hit" with Aurore, appearing her in all it's extended, off-kilter guitar meets organ form.

Exploring sensitivity and desires the compilation matches these earlier folk and world inspired songs with her move towards electronic production that accompanied a return some 4 years later, adding balearic and even pop dance found on 1985's Le Long De Fleuve Amour and the following 1989 opus, in Kiroel.

L'Amour Pour Bouclier and Ne Doute Pas lift her music higher towards lovers' heights, with word, melody, and rhythm giving the desire to dance and be free, while her continuing exploration of chanson and spoken word takes on new meanings via the new wave meets estoric Douleur, while the emotionally charged soundscape of Kiroel brings balance.

Inspired by the purity of song, Kibaro's music's has a timeless essence to behold, a voice and words found through life experience - beauty, discovery, nature and dreams.

A love and hope in music, her quest for the infinite potential in song.

Lost Futures is a new label that explores experimental and often radical approaches to dance music from the past. In a musical landscape that increasingly claims to seek and reward new forms and ideas, Lost Futures delves into the recent past to revisit forward-thinking, optimistic projects that, owing to the social, musical or outright political climate, perhaps struggled to find an audience. Allowing only time to re-contextualise these leftfield, sometimes misunderstood and ultimately human bodies of work, Lost Futures taps into the inherent idealism of rave.

LF001 trips back until the early nineties to revisit the alternative scene emerging from the Dutch city of Utrecht. Here, three young men - DJ Zero One (Sander Friedeman), TJ Tape TV (Arno Peeters) and DJ White Delight (Richard van der Giessen) - joined forces to form 'The Awax Foundation'. Inspired by the transcendent and revolutionary electronic music arriving on their shores imported from Chicago and Detroit, combining their knowledge, gear and ever-expanding vinyl collection allowed additional freedom in paying sincere tribute to these intoxicating sounds, while also developing their tastes in a more personal, eclectic direction.

The musical flavours of Awax initially leaned toward acid house and the roots of techno. However, with three different mindsets in the mix, their tastes were rarely fixed. One thing each shared in common was a devotion to collecting rare sounds, specifically more adventurous and international samples than those emanating from the increasingly-hard, masculine dance music emerging from the Netherlands during the period. Inspired by the cross-over global sound of bands like Suns of Arqa, or 'World Music', as it was perhaps patronisingly termed at the time, the trio became interested in the idea of making techno with 'ethnic instruments'.

Of course, this being 1992, none of The Awax Foundation had access to such instruments, instead, they had a vast, collective library of samples from all over the world. There were no collaborations and no clear plan. Instead, they set to work using a Yamaha TX16W sampler, the legendary Atari 1040ST computer, a cheap mixing desk and a couple of low-end synths and FX machines. When Richard mentioned the project to his friend, Akin Fernandez, the London DJ and owner of cult label Irdial Discs, Fernandez was intrigued enough to invite the trio to record a one-hour show for his 'Monster Music Radio' series on London's then-burgeoning Kiss FM.

Forced to come up with a name, 'CultureClash' seemed like the obvious choice, even if the members of Awax were only creatively sparring among themselves. Along with the term 'ethno-techno', slightly dubious to a hopefully more conscious Western audience in 2017, these were the only guiding principles to the quietly ambitious project that soon combined cutting-edge machine rhythms with samples sourced from everywhere from Bolivia to Togo, and inspired by everything from Ravi Shankar's epic soundtrack to the Oscar-winning movie Ghandi, to the technical limits of their own setup requiring a dazzling degree of cut-and-paste work. Some tracks even emerged out of academic studies within the ethnomusicology department at The University of Amsterdam.

The show aired on October 2nd, 1992, recorded in one blistering take and without any rehearsals, traversing a huge variety of tempos and styles. If the performance wasn't seamless, it was undeniably thrilling, fresh and ambitious. As such, several labels, including Fernandez's aforementioned Irdial Discs expressed an interesting in commercially releasing CultureClash, while another imprint proposed a series of twelve-inches and an album. But the sheer complexity of the project meant that it never saw the light of day, while the trio embarked on different journeys ahead, both creative and personal.

Twenty five years later, and the original CultureClash lineup and founding members of The Awax Foundation provide the sound of the first release from Lost Futures. An otherworldly, ambitious and optimistic compilation, accompanied by extensive sleeve notes from the trio, CultureClash is a timeless ode to experimentation in dance music's ever-overlapping culture.

'2 Sim' is a phrase the references mobile phones with two sim cards to describe people of mixed heritage, dual nationality or multiple residence. After being called 2 Sim in conversation with a stranger while on a walk through Freetown (a recording of this moment features on the record) Duval began to explore what the 2 Sim experience is in contemporary West-Africa.

2 Sim EP was created from 2 months of field recordings and interviews with family, friends and peers in Freetown Sierra Leone. These site specific recordings are collaged with solo piano recordings and production recorded in Sierra Leone and the UK. The EP is accompanied by a short film/ music video of the same name which Duval shot and Directed whilst making the record.

2 Sim EP is the second release from Carrying Colour which follows on from 2017's 'Sen Am'"

Go Dark are out there on the fringes, two lone
figures working in the twilight to illuminate the
world. 21st Century cyberpunk that touches on the
sickness of modern life, Ashley 'Crash' Gallegos
and Adam 'Doseone' Drucker are bound by an
incommunicable sense of purpose, the two
merging completely on scorched debut album
'Neon Young'.
'Go Dark is music for women of my kind, the
striving maniac animal,' says Crash. 'bitches that
wear skirts and knives who can go into the woods
and track things.'
Dose adds: 'A lot of music is meant to take you to
a place you'd rather be, but this is meant to be a
score for the way it is.'
Go Dark emerge from digital ghettos, torn up
synths and blunt, punk-edged Brutalism that
conjures John Carpenter-style visions of futuristic
dystopia - except it's happening right here, right
now.
LP format includes digital download code.

New LP on Udacha label comes from Moscow based artist Vasiliy Stepanov. Abstract electronics, nu house, beyond pop, dub, soul, fourth world, tribal, comedy, parody and all other distinctive weirdy magic vibes for all another dimension lovers.

21 vinyl records in high quality sleeves manufactured with italian cardboards from 100% recycled waste and silkscreen printed one by one using luminiscent ink.

18 vinyl records in 12" with full works by:
Carl Finlow - Microlith - Cignol - MetaComplex - Nullptr - Scape One - Nebenprodukt - Franck Kartell - Kan3da - Das Muster - Johan Inkinen - Luxus Varta - Obergman - Foreing Sequence - Mesak - Mental Note - Cygnus - Noise&Noise

2 vinyl records in 12" VV.AA.
Hieroglyphica - Heimelektronik - Darren J Horgan - Acidulant - Jensen Interceptor - Luke Eargoggle - Automatic Tasty - Mutex - Aquagonia - Noamm - Binary Digit - Martin Matiske

Extra record in 7" by ARPANET

High Quality T-Shirt silkscreen printed in luminescent ink that glows in the dark

Very Special Wooden Box, designed in exclusive for this project.

'String Figures Remixes' is a series of remixes released on December 14th 2018 following the previous-ly highly acclaimed LP String Figures by Zoe Mc Pherson. (Watch her Boiler Room live show)

Remixers for this EP include Ben Vince (Hessle Audio co release w/ Joy Orbison & Where To Now solo album where collaborators include Mica Levi & Rupert Clervaux), N1L (Opal Tapes & UIQ), Hester-1, Bartellow (ESP Institute, Public Possession) & Sukitoa o Namau (First Terrace Recordings).

The EP is pressed on transparent vinyl & comes along with transparent sleeve.

When asked why Zoe chose each artist for her remix album she writes:

Ben Vince is my mate since he opened for my release in London last April and he was really excited about making a remix. Which I think is even nicer is that he only remixed and did not play saxophone. He actually properly very much remixed all the elements, all recognisable, which is a delight to listen to when you know all the parts seperately. The only thing he did is making it a UK club banger track !!!! :)


N1L is a friend whom I admire totally for his capacities of producing incredibly wicked tracks in no time. He's got 10 000 collabs going on ( abit like Ben). I don't know how he does it, but damn his remix is also one of these that are a delight to listen to when the samples are re organised in a very cool way which is his own.


Hester -1 is also a friend, violinist and producer from Antwerp. She is a nerd, her style and projects are developing, we jammed together, and I wanted her to be on the original album, so now she is in the remixes and made a very dark piece and now I'm thinking she should meet N1L :)


Bartellow is also a friend, behind SVS, and he was the first one to make a remix in 1 hour on a flight I think actually even before the album came out!!!! He had already made a proper groovy banger, as he always does, with his style.


Sukitoa O Namau I've been chatting with since a while, she's an incredibly inspiring artist, releasing on First Terrace records, she used to be a dancer and is an explorer of sound and of many things. She basically fucked up my track, by changing the rythms into no rythms and purifying it very much which reveals other things. Only keeping rough elements of it and I think it's absolutely brilliant.

[A] A1 | Sabotage Story (Ben Vince's Perculator Mix) 2) The Gate