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This Manifesto Of Outsider Orchestrations, Teenage Symphonies And Cultivated Concrete Is The Debut Album Of Experimental Irish Avant Garde And Electro Acoustic Innovator Roger Doyle. A Pianist, Composer And Improvisational Jazz Drummer With A Penchant For Experimentation That Would Marginalise Him From Traditional Seats Of Learning In His Native Homeland But Embrace Him To The Bosom Of Europe's Leading Forward-thinking Research Centres For Electronic And Computer Music. Here He Would Piece Together Two Highly Sought After Experimental Albums Before Returning Home To Channel His Multi-disciplinary Work Ethic Into The Agit Pop Theatrical Company Operating Theatre And Play A Leading Role In The Burgeoning Irish New Wave Scene As An Early Signing To U2's Mother Records.

A Collection Of Some Of Doyle's Earliest Works As An Indomitable Scholarship Student Of Composition At The Royal Irish Academy Of Music In Dublin And Then As Founding Member And Drummer Of Experimental Jazz Rock Outfit Jazz Therapy (who Would Later Become Supply Demand & Curve), This Patchwork 1975 Debut Long-player Draws From What Was An Already Bulging Portfolio That Included Academic Assignments, Living Room Compositions And Soundtrack Collaborations With Irish Filmmakers.

Originally Part-recorded And Subsequently Aborted When The Would-be Label Vanished Without Trace Overnight, Oizzo No Was Shelved Indefinitely Until A Scholarship At The Prestigious Institute Of Sonology At The University Of Utrecht In Holland Afforded Doyle Not Only The Opportunity To Partially Revise His Humble Opus In Their State Of The Art Studios (as Well As Those Of The Ems Studios In Stockholm) But Also The Money To Press A Limited Run Of 500 Copies And Help Further Cement The Foundations Of His Future Status As One Of Ireland's Leading And Most Versatile Contemporary Composers.

Ab 1981 Entwickelten Wilfried Franzen Und Thomas Grötz Eine Experimentelle Popmusik, Die Zwischen
Songstrukturen, Geräuschhaftigkeit Und Psychedelischer Trance Changierte. Instrumentales Fundament Ihrer
Kompositionen Waren Bass Und Keyboard, Die Das Duo In Seinen Eigenproduktionen Um Gitarren, Violine,
Klavier, Elektronische Perkussion, Samples Und Anderes Erweiterte. Als Instrumente Dienten Den Beiden
Alles, Was Sie In Die Finger Bekamen, Egal Ob Sie Diese Beherrschten, Hauptsache Es Entsprach Den
Musikalischen Vorstellungen. Die Ergebnisse Hielten Sie Zunächst Mit Kassettenrekorden Und Später 4-spurgeräten
Fest. So Entstanden In Einem Zeitraum Von Fast 20 Jahren Mehr Als 250 Titel. "nachtwerk (1991-
1998)" Ist Nach Privaten Kassetten- Und Cd-produktionen Die Erste Offizielle Veröffentlichung Von Solarize.
"nachtwerk" Präsentiert Zehn Ausgewählte Stücke. Sie Bilden Ab, Was Die Stilistisch Nicht Festgelegte, Aber
Zugleich Konsequente Herangehensweise Von Solarize Ausmacht: Sonnig-strahlende Melodien, Knarzige
Geigen- Und E-bow-ausflüge, Bierernst Ausgetüftelte Kompositionen, Polyrhythmische Und Dichte Ambientlandschaften,
Teelöffel-samples Mit Interview-ausschnitten Und Dramatische Klavier-exkurse.

Very special and highly limited project from the Fundamental Records camp, produced by different artists that will remain anonymous if they choose to. Words about the project: ''The main aim of this project is, on the one hand, to provide the artist with complete anonymity in order to create in absolute freedom and, on the other hand, to offer the listener the work of the artist without any external distortions. The use of words to describe or define music is a senseless task. Most of the time the intention of descriptive text is not to shed light on the work of the artist, but rather to serve as a promotional tool to drive sales and increase recognition. This often has the unfortunate result of limiting the creator and his work. Music is all we need, any other additives are completely dispensable. This project is also a tribute to the legendary James Stinson, an artist who was blessed with the gift of creating with a mind that was completely free from prejudices. He took his music beyond the imaginable. Beyond any name, label or genre.''

To sign off 2018, Malka Tuti are releasing a mega 4- tracker ep by Khida, in collaboration with their old time friend from back home Mihai Balabas. The 4 different tracks were written over the past few years, slowly plotted produced and perfected, each in its own 'twisted' direction. There are no dancefloor killers here, but instead 4 very unique voyages, experimental sonic excursions in time and space. It was the track Chloe that caught our attention, back in 2015. It's not a typical Khidja track, but the musicality and the composition in it reminded us of lost balearic moments. It made us reminisce on summery Sunday mornings back when life was still a bit more innocent, and naive. Out of our infatuation with that track came the idea of 'sitting on it' until the right tracks will be ready, and here we are, more than 3 years later.

Deena Abdelwahed's first album is shifting the epicenter of contemporary electronic music south: 'Khonnar' will be released on November 16, 2018 by InFiné. Pronounced 'Ronnar' (an essential detail so as to avoid facile misinterpretation by French-speakers) it is a term that makes the most of Tunisia's cultural and linguistic spectrum. It evokes the dark, shameful and disturbing side of things, the one we usually seek to hide, but which Deena instead sticks our noses in with her debut. It is a testament to Deena's coming into her own as a world citizen, and as an artist. A self-construction made of frustrations and constraints, borne of retrograde mindsets, which are not the prerogative of either the East or the West, and which she tirelessly strives to expose and break. Throughout the 45 minutes of 'Khonnar", Deena breaks down the codes of bass, techno and experimental music, and writes the manifesto for a generation that does not seek to please or to conform, taking back control of its identity - with all the attendant losses and chaos. A new creative world order is taking shape, a new tilting point between north and south, the response of a connected and liberated youth who takes the control of the new decolonization. About Deena Abdelwahed A Tunisian producer and DJ, Deena Abdelwahed arrived in France at the age of 26 after earning her stripes on the Tunis scene and as part of the Arabstazy collective.

Das französische Label Infiné ist dafür bekannt, elektronische Musik jenseits ausgetretener Pfade zu veröffentlichen - hier wird Techno und House neu definiert. So passt es ganz gut, dass die aufstrebende tunesische DJ und Underground-Produzentin Deena Abdelwahed bei dem Lyoner Imprint eine Veröffentlichungsplattform gefunden hat. Abdelwahed performte in den letzten Jahren zwischen Boiler Room und Berghain in allen namhaften Clubs und hinterließ bei der globalen Dance-Gemeinde mehr als staunende Münder. Nach der im Frühjahr 2017 veröffentlichten EP "Klabb" präsentiert die Tunesierin mit "Khonnar" jetzt ihr sehnlichst erwartetes Debütalbum.

Was beide Tonträger vereint: sie verbinden nordafrikanische Klangelemente mit elektronischen Sounds, haben jedoch mit Weltmusik nichts am Hut.

On Board Music Comes Back With An Original Ep From Finnish Artist Mesak. Articulated Over Ambient Sounds, Idm Ballads, Futuristic Techno Textures And Unrefined Electro Beats This New Release Unrolls A Pure Masterclass Of Electronic Music. Also Known For His 90's Electro Classics Within Duo Mr. Velcro Fastener, The Veteran Producer Teams Up Here With Fellow Finnish Artists Mono Junk, Claws Costeau And Horns Specialist Antti Hevosmaa To Display His Impeccable Expertise In Crafting Rhythm And Sound. The Release Also Comes With A Splendid Full Cover Artwork From Berlin Based Painter Natacha Mankowski.

The new FEMUR release features the Swiss duo SAVAGE GROUNDS, agents of a dirty, raw and miserable sound. 'Es un flash electrónico' is a true exercise of proximity and freshness combining mid-tempo landscapeses with stimulating accelerated bursts. The release consists of 3 original tracks and a remix by Esplendor Geométrico, which elevates the original called 'Última línea' to another dimension.

Emotional Rescue returns to the music of Takenoko, the Bordeaux based synth-pop project from 1982-1988, to follow their LP collection L'Amour Est Mon Arme (ERC062), with an EP of remixes from Dresden's cult-like producer, Sneaker DJ.
The meeting of Takenoko and Sneaker offers a perfect marriage of left field cold wave tones, inventive drum programming and pop lyrics, with a master-mixer, programmer and DJ of today.
Following releases on cult labels like Uncanny Valley, Rat Life and Frigio as Sneaker and numerous labels such as Macadam Mambo, Bordello A Parigi and Bahnsteig 23 under several pseudonyms, Sneaker first contacted the label after his trance-inducing, drum heavy remix of C Cat Trance , with the suggestion to research an idea to create a reissue / remix project out of a band he had discovered, Takenoko.This was soon expanded to become a stand-alone album and remixes EP after the discovery in the vaults of a cache of unreleased songs. The breadth of styles found on L'Amour Est Mon Arme is matched with these "Mixes", as Sneaker takes 3 of their singles and indelibly puts his marker on them.
Starting with his retake of their second single, Lee Harvey Oswald, he reworks their pop ode to the Kennedy tragedy and strips it groove back for a near 9 minute vocal-meets-discodub that lets the lyrical structure remain, before stretching it out and letting the instrumental interplay between keys, guitar and rhythm machines glide before bringing it all back for finale.
Next, their 1988 single Trans Amor Express is given what is becoming a trademark Sneaker treatment. In a similar vain to his remix of C Cat Trance, here he rips the original apart to extend a single vocal refrain with the raw percussion elements for mind-inducing results.
Finally, his mix of the anthemic John Wayne is almost gentle in comparison, adding 909 overdubs but letting much of the original stay, showing again a modern mastery of mixing desk technique and craft.

Six fresh, nervy experiments with grime, ambient, d&b, garage and glitch, bristling with ideas and drama, by this up-and-coming producer from Monza, for the Milanese label Beat Machine, plus a heavy remix by Bristol prodigy Walton, stepping up from Hyperdub and Tectonic. Beautifully presented, too: white vinyl in hand-painted fluorescent sleeves.

Krikor Is Back On The Label With A New Six Tracker. Following Up His Pacific Alley Lp From Last Year, We Now Get Pacific Alley In Dub, Taking Tracks From The Lp And Re-working With Ample Echo And New Riddims Strictly Made For The Dancefloor. Spacious Pads And Linn Drum Claps Are Run Through The Board As Voices Ping Back And Forth In The Chamber, Equally Blissed Out And Trippy Turning These Tracks Into Completely New Freaked Out Compositions. Summer Jams Guaranateed

A true holy grail of Italian post-industrial music, The Cop Killers' sole, eponymous tape is remastered and issued on vinyl for the first time via Alessio Natalizia's Ecstatic label (see also the essential Trax Test compilation also on Ecstatic). Fetching triple figures on the 2nd hand market (there's a copy on 'scogs atm for
£300) this is an indispensable slice of '80s Europe's underground experimental rhizome.
A n important release for Ecstatic and one very close to their heart, 'The Cop Killers' was originally presented in 1982 on the legendary Trax label as 'the first (and last) spoken word 'industrial opera' in (anti)rock history'.
It features the industrial power trio of Trax co-founder Vittore Baroni and label regular Daniele Ciullini assisted by UK's Mark A. Phillips (Five Times of Dust) in supposing a sci-fi narrative set in a not-so-distant future society '... where all ethical and moral values had been reversed'.
While clearly drawing influence and literary license from classic sci-fi by Orwell, Ray Bradbury and William Burroughs, the trio also take cues from the Marquis De Sade and the not-so-distant history of Italian fascism to offer a subtly coded and subversive warning against right-wing ideologies. In the process The Cop Killers distinguished themselves by preferring to plants seeds of hope amid the rubble of their peers nihilistic/apocalyptic visions, implicitly turning the album into a sort of 'pacifist parable'.
The political aspect wouldn't be half as crucial without the music, though. A coarse blend of Italian-accented english vox with backing tracks ranging from jaunty synth figures to cloven drum machine malfunctions and noisier wig-outs, it was mixed on a dual cassette deck and mixer from numerous tapes in just over 90
minutes, and successfully carries the narrative and its message to the point it's become such a sought-after classic - not just for its obscurity, but also its charged energy, a condensation of candescent anger focussed into a pointedly oblique yet smartly allegorical condemnation of fascism.
Vittore Baroni: 'As a music journalist and fan of radical and avant-garde audio researches, at the start of the 80s I was becoming increasingly bored by the mannerism of so many industrial and noise bands, and also annoyed by their gratuitous and stereotyped use of images of death, Nazism, war, with titles and texts soaked in right-wing ideologies. I wanted to produce an antibody to this depressive trend, with seeds of hope well
concealed under a nihilistic-apocalyptic 'industrial' camouflage.'


a2 Cop Killer Theme / Calma Atmosphera
a3 Starsky And Hutch Are Dead
a4 Crime & Punishment
a5 Ultrax Theme

b2 Our Daily Raid
b3 Bel Fra Gore
b4 Warhead Talk Show
b5 Subliminal Sexual Screams

Ukrainian label Muscut celebrates its anniversary - Muscut X (10) Test Pressign II - is the tenth record in a row. The first release was published in 2012 on 7 inches and was called simply Test Pressing. Like six years ago, the current vinyl is a compilation of Muscut's 'residents', as well as new friends of the label. Test Pressing II is 12 inches on which there are exactly ten tracks. Both sides are significantly different in color of mood. Party A starts with dub-drone sketches of key figures of the Odessa underground - Wildstyle Crew and Bryozone. Then we hear the mantra-like M2 - the work of the creative union of Nicola Ratti, Mads Emil Nielsen together with Nikolaenko. The Canadian sound-artist Mark Templeton continues the line of rhythmic textures crowned with unhurried percussion - it is in all senses of Soft Education at number four. The first part is completed by an exquisite curtsy from the Andrew Pekler label frequenter called Underwater Nocturne as a soundtrack for the perfect tea ceremony.

The second side confidently sets a completely different compilation rhythm from the very start - the tribal tribal dance from the Berlin project Native Instrument instantly introduces into a trance. It is followed by a warm, enveloping minimal synth track from the Ukrainian trio Nisantashi Primary School. The middle of the second side is decorated with the pensive house-ballad of St. Petersburg producer Fadeev known as AEM Rhythm Cascade. Another Russian settled next to him - Muscovite Oleg Buyanov, aka OL, with a massive broken dub Nutmeg. The final composition consists of burning afrosint motifs from luminary Odessan Vakula.

Börft's long run & superb sublabel Ufo Mongo presents the 4th Synthesator LP - this edition by Daniel Fagerström. With many years in between one can get a hold of an exeptionally catchy synth-music LP - while lingering in the curve of typical "analog synth music" these tracks are sonically senseful, melodically giving and one of the live drum tracks (A3) are so well paired with the synths the execution should have been on a "Missing" poster since 1975

A strange confluence of sound that sounds part Krautrock synth label Brain records, part Hyperdub.   Techno haze and synth wormholes with spectacular sound design that has banged at Berghain and soundtracked winter night drives.

Greenspan is known mainly for his work with Junior Boys and Jessy Lanza and Taraval is a longtime touring member of Caribou, but both have released several 12' and EPs of electronic exploration over the past few years. 

Inspired by synthesizer minimalists like JD Emmanuel, Cluster and John Carpenter, the two attempted to create a type of dance music with hardware that was indebted to their influences but did not feel intrinsically retrogressive. The idea was to make a type of raw synthesizer and drum machine music that could be listened to beside the hypermodern techno of Pearson Sound or Actress.  

The cover art is a tribute to a mysterious mural that looms over the Hamilton Ontario area where the album was recorded.
Each of the five tracks on the EP were edited down from much longer recording jams which were done with hardware sequencers in real time. The recording was done completely off the floor with no overdubs or added material after the fact. As this release might appeal to synthesizer hobbyists and enthusiasts it seemed appropriate to compile a list of the instruments used in the original recordings. they are as follows: Arp Odyssey  Pioneer Toraiz SP 16 Eurorack Modular System Roland JX8P DSI Tempest Simmons SDS8 Roland SH101 Roland Jupiter 6 Yamaha CS50 Oberheim OBXA

Aurora Borealis proudly presents the debut album from Maze & Lindholm, 'Where The Wolf Has Been Seen'.
Combining the talents of P.Maze, one half of noise/techno duo Orphan Swords, with fellow Brussels-based producer and musician Otto Lindholm, 'Where The Wolf Has Been Seen' is a meditative and claustrophobic work for electronics and double bass.
'Where The Wolf Has Been Seen' will be available on deluxe 180g black vinyl housed in a reverse board heavyweight sleeve with spot varnish and download code, limited to 300, in addition to limited CD and digital formats.
The four parts evolve and spread outwards, throbbing bass drones colliding with slowly bowed arcs of keening strings that make for a deeply immersive listening experience. 'Where The Wolf Has Been Seen' explores the boundaries of the modern classical and electronic disciplines, with slowly shifting and expanding compositions that thrive on the tension between.
Mastered by James Plotkin and cut for vinyl at The Carvery, East London. Cover photography by Solal Israel.
Otto Lindholm : Brussels-based producer evolving between drone music and modern classical , Otto Lindholm employs an array of loop pedals and electronic effects in partnership with his double bass to produce a range of rich and voluptuous tones, emotions, and elongated melodies. Otto Lindholm came to light in 2016 with his debut eponymous LP (Icarus), a "stunningly beautiful" record (FACT). His second LP 'Alter' (2017 Gizeh), was introduced on BBC6 by Mary Anne Hobbs as an "Extraordinary new LP. Deeply meditative". Early 2018, he opened the new Houndstooth compilation "In Death's Dream Kingdom". « The set opens with Otto Lindholm's Cain - all Ligeti / Xenakis style doom and dirge and cooling solar flares ». (THE WIRE) « Cain by Otto Lindholm with its tortured voices and shards of cello, is like William Blake soundtracked by Arthur Russell ». (MOJO). Upon invitation of Stuart Argabright, he has collaborated on the new Black Rain EP that is due on Blackest Ever Black at the end of this year.
P.Maze is half of the duo Orphan Swords. Described as 'a brutal hypnosis' by Ransom Note, Orphan Swords music has been released on Aurora Borealis, Desire Records, Clan Destine and Instruments Of Discipline. The duo has collaborated with Ike Yard, Helm, SHXCXCHCXSH, Emptyset, and many more. Earlier this year, Orphan Swords was invited to live score the Walter Van Beirendonck show at Fashion Week Paris. That meeting resulted into a techno-driven menacing album to be released in 2019. The art cover curated by Walter Van Beirendonck will present a painting of Wouter Steel. Next to the furious maximal output of Orphan Swords, P.Maze is exploring a quieter and much more minimal side. The collaboration with Otto Lindholm represents his first official output under that moniker. A solo debut album is in the works for 2019.

Originally released digitally back in 2016 and now available physically on Pro dubbed c70 cassette with risographed artwork & encased in coalesced molten candy floss blue and pink expandable foam The Modern Institute and Domestic Exile invite you to view a new album:

Another exhibition at The Modern Institute.

As communication is becoming less and less trustworthy - and one could say, purposely and progressively emptied out of meaning through politics and mass media - we search for meanings that lie elsewhere.

How can we free ourselves from set definitions enforced by spoken language's power structures This current exhibition (or rather the works within it) deal with the relative non-state and impossibility of that passage. This sort of empirical navigation can't be discovered through an unavoidable application—its compass is the unconscious knot that throbs in your lower gut when you learn your therapist's office is one level up from the fine French bistro where you first met.

In this new ambitious Exhibition by The Modern Institute, the subtle frictions of—faux—eel skin, ostrich, snake, crocodile make for a tactile image of vital interiority; and keep one from slipping haplessly through the ceiling cracks.

The Modern Institutes recent awards include Werkbeitrag, the Swiss Arts Council Pro Helvetia; Weiner Werkstipendium (Art Prize) City of Zurich, CH; and Art Prize 2011, Nationale Suisse Credit, Basel, CH; the recipient of a selection of very important awards such as the Spanish National Radio prize 'El Rojo Crítico', J. Vettriano Excellence Achievement, and scholarship from the Pièce Montée Fondantion in Paris. The Modern Institute have been awarded by a number of institutions including Arts Council Britain and Helvetia Arts Council, and National Council of the Kingdom of Iceland.

Moritz Simon Geist, media artist and robotic musician, publishes his first record. It is the world's first techno record played entirely by self-made futuristic robots. All of the sounds on his records are played by robots: small motors that beat on metal, futuristic 3D-printed robo-kalimbas, salvaged parts from old hard drives that click and cut. It took Geist several years to build, tweak, test and play all his DIY robotic instruments. His 'Sonic Robots' try to push the boundaries of the imaginable. He did so already in 2012 with his well-known oversized 808 robot - an iconic drum machine gotten real, 4 by 2 meter, filled with robotic parts which play the instruments live and in front of the audience. Now, Moritz Simon Geist goes even further to discover the unknown and futuristic world of techno robotics. For this quest he teamed up with the berlinian sound wizards from Mouse On Mars and dug deep in the history of mechanical music and experiments of early electronic music. On the Album "Robotic Electronic Music" Moritz Simon Geist extends the futuristic approach to music making he introduced in his first EP. The opener "Entropy" could already be found on his EP, a bassy club-track, played by robotic kalimbas, a psychedelic pattern of tonal glasses and pneumatic hi-hat patterns. It is also featured in the main video, but even without a visual part, listening to his music, a sound world opens up which is unheard before: in definition, reference and organic nature. Geist: "When you listen to robots playing, you realize, that they sound precise, but in contrast to digital sounds they transport an immense organic feeling. No beat is like the other, everything is played with actual acoustic physicality and thus actual error. On the same time, the repetitive nature of the robots make it perfect for playing electronic music. Its industrial and organic at the same time." The track "The DNA of Drumming" explores the combination of ritual drumming and robots. Moritz Simon Geist took several tuned drums and let robotic actuators play rhythms, combining everything to a reduced slow stomper that slowly moves in a hypnotic manner. "In G# (Katze läuft über Klavier)" is a direct reference to Terry Riley's "In C". The song starts with a robot hammering on prepared piano strings, being slowly filled with robotic marimbas, glasses, robotic shakert robots and Moritz' own invention, and mechanic relay synthesizer, which plays notes and melodies with mechanic tongues. It's the warmest song on the album and the only one featuring stronger melodic movements.

What Moritz Simon Geist came up with is a stunning record of what is possible today - to explore the sound of mechanics that keeps on filling our world. Geist creates a smashing soundtrack for both the precise automation and physical fragility that shapes today's society.

Repress

An introduction to Zru Vogue's world. A percussive no wave, minimal and funky electro. Oscillating between psychdelic rock and modern postpunk. "Assembly For Body Movements" regroups tracks composed in 1981, 1984 and 2011.

M.E.A tends to develop an interest to music that never seen light, through the most large electronica spectrum. Here's MEA-0002.

Antoine Harispurus was raised by a robot called V.I.C.T.O.R. The robot took care of little Antoine and early on he gave him music lessons and also the right equipment, for example a Roland 808. Robotic, mechanical precision became significant for Antoines music and soon he left the safety of his mothers toy store for the huge European club scene under his new pseudonym 'Golden Bug'.

This year he releases two songs as a 7 inch vinyl and in digital format on Hoga Nord Rekords. The A-side, 'Viaje A Tenderloin' sounds like the inside of an East German military liaison in 1975 where the tabulating machines haven't had service since the raise of the Berlin wall. On the B-side 'Hitodoma', guest vocalist Jessica Ho is plays with her voice in a bubbly way above Golden Bugs characteristic metallic, world music influenced sounds and beats. The music would fit perfectly in a vast alien mountain landscape.

In conclusion, the music on this 7 inch is the sound of human and robot in close symbiosis - Golden Bug is music by robot and human for robot and human

Melly Aka Dj Aprés Ski With Four Tracks Of Cerebral Club Music Only For The Headstrung. Highlights From Where To Now And Jheri Tracks Alumnus Include The Tripped-out Meandering Tease Of 'shrubbery' And The Space Bass Of 'mineral Water', Which Closes The 12' On A Locked Groove. Mastered By Someone's Dad Cut At Schnittstelle. Artwork By Mel Keane.

achim Nordwall marks 20 years of his iDEAL label with 'The Black Book', a blinding sweep of original material from JASSS, Stephen O'Malley, Ramleh, Robert Aiki Aubrey Lowe, Carlos Giffoni &
Prurient, Ectoplasm Girls, JH1.FS3, JS Aurelius, Autumns, John Duncan, and many more.The story of iDEAL starts out in London 1998, when Nordwall was living the hardscrabble life: working in an underwear shop near Liverpool Street station; living in a filthy Bayswater apartment; scoring industrial records from the Music and Video Exchange; getting drunk in cheap pubs, and dreaming of starting a new record label and platform. He called it iDEAL, and 180 releases, 20 years later, it has become an invaluable node for non-standard, wayward expressions of modern electronic noise in all its mutable variation.
iDEAL's success and longevity may well be down to the way that Nordwall treated it as a social and artistic home, offering a place where mutually exclusive styles could bed down away from the
mainstream or the genre police, and feed into a much larger, work-in-progress definition of fringe music. 'The Black Book' extends, in the spirit of the label, an idealised compilation of disparate possibilities connected by a sense of musical mystery and chaotic energy.
To focus on just a few highlights, the ever unpredictable JASSS makes a notable inclusion with the serene vignette of LP opener, 'Parental Youth', while Jim O'Rourke unfurls 17 minutes of gloaming post-industrial drone with 'In Regards'. Label friend Jonathan Uliel Saldanha contributes the tense, searching horns of 'Siren Frontier', and Ectoplasm Girls cook up the grim, thrumming electronics of 'Neuropean'. John Duncan parses the airwaves to find the curdling organism of 'Shortwave6', and Frederikke Hoffmeier (Puce Mary) and Jesse Sanes seduce with the narcotic drone-pop of 'At The Bottom Of The Night' as JH1.FS3, alongside a powerful rhythmic oddity from Stephen O'Malley,
a stark death rattle from Trepaneringsritualen as Týr × Reið × Vend with 'nd þau né átto, óð þau né hfðo', and Norn Iron's Autumns 'Lose It' on a mucky acid 'floor swille.

Long live iDEAL!

Boomkat Editions is honoured to present a first vinyl edition of Akira Rabelais' sophomore album, 'Eisoptrophobia' a spellbinding, uniquely decayed rendering of solo piano pieces by Erik Satie and Bela Bartók. The 2001 release forms a poetic farewell to the
20th century and a bittersweet embrace of new technological possibility. It's required listening for lovers of The Caretaker's haunted ballroom elegies, Stephan Mathieu's electro-acoustic microphony, or indeed the original, classical pieces.
First released in 2001 on CD by Ritornell, a sub-label of Mille Plateaux, 'Eisoptrophobia' is an early iteration of Akira applying his Argeïphontes Lyre software to classical music, and opening a fascinating schism between the original object and his modern, subjective perspective in the process. This process would also generate rarified and haunting results on Akira's 'Spellewauerynsherde' (2004) CD, which was coincidentally issued on vinyl by Boomkat Editions for the first time in 2017.
The original piano recordings of Satie and Bartók pieces were made at Wave Equation Studios in Hollywood, California, and subsequently transformed with Argeïphontes Lyre, Adobe After Effects, SoundHack, Peak, and Pro Tools with beautifully elusive results.
The recognisable melodies here ring out in myriad new ways, sometimes fractured and indented by patinas of crackle that echo the original contours, while, at other times, they're smudged into mind-bending obfuscation or spectral, timbral thizz. They have
the uncanny capacity to resemble exhumed artefacts, dug up after decades of decay, and riddled with potently psychedelic mycelium ready to spore on the listener's mind.
In its unique process and disjointed effect, 'eisoptrophobia' is arguably an album without precedent, and one that never ceases to yield anything less than a deeply reflective, perhaps even transformative experience with keener ears.

a1 | Notturno
a2 | Troisième Gnossienne
a3 | Aphorisming, Second
a4 | Rhythme Bulgare
a5 | Aposiopesis
a6 | En Y Regardant À Deux Fois
b1 | Gymnopedie No. 1
b2 | Gymnopedie No. 2
b3 | Gymnopedie No. 3
b4 | M2s Broken & Together
b5 | Berceuse
b6 | Bociumeana
c1 | Cinquième Gnossienne
c2 | Première Gnossienne
c3 | Aphorisming, First
c4 | Notturno (Lovely)
d1 | Quatrième Gnossienne
d2 | Aphorisming, Third
d3 | À L'Orientale
d4 | Impromptu In Second Person
d5 | m2s M7s (Fragmented)
d6 | Pe Loc
d7 | Sarabande No. 2

Limited to 150 hand numbered copies with screen printed artwork! This is what happened when Keimpe Koldijk (one half of Bebe Fang) and Wouter Venema (musician and visual artist) locked themselves up during the summer 2011 in a 14th century church in the village of Blessum. This Frisian village, in the northern part of Holland, consists of less then 100 inhabitants. In this tranquil and withdrawn environment the musicians recorded their improvisations on the church organ (which is the second oldest in Europe) accompanied with subtle electronics and a few other instruments. The result is a stunning experience of free spirited music. Meditative soundscapes, lo-fi ambient music and drones including accidental recorded sounds of the surroundings during the sessions.

Brian's pioneering Ambient album from 1975 has been Half Speed Mastered by Miles Showell at Abbey Road Studios, London and is now presented in a gatefold sleeve on 2 heavy weight albums which are played at 45rpm for a superior listening experience. Now housed in a gatefold sleeve with an Obi and Abbey Road Certificate. Contains a Download Voucher.

Brian's pioneering Ambient album from 1978 has been Half Speed Mastered by Miles Showell at Abbey Road Studios, London and is now presented in a gatefold sleeve on 2 heavy weight albums which are played at 45rpm for a superior listening experience. Now housed in a gatefold sleeve with an Obi and Abbey Road Certificate. Contains a Download Voucher.

The demons of night are out again: Seoul's one-stop shop creative collective Byul.org returns this fall with its third international album, entitled Nobody's Gold, out via Alien Transistor (worldwide) and the group's own Club Bidanbaem imprint (South Korea). Comprising 14 new songs, it's a dizzying, haunting affair that channels the group's manifold influences and references points (from post-punk to Stockhausen and back via club culture) and yet sounds intriguingly coherent.

Moving in and out of the shadows, Nobody's Gold breaks forth as pure sonic landscape - a universe of its own, folding and unfolding into both more experimental patterns, yet also with occasional hooks and dark catchy structures, gracious build-ups flickering among the hazy roar and thunder. After the screak and squeal of 'Lamb with a Wolf Mask,' the foreboding sounds of 'The Museum of The Two of Us' segue into a synthesized party tune about a missing friend being chased by police ('Nari Yuko Yin'), one of several vocal tracks with a sinister edge. Taking things up another notch, 'Friendly Enemies' is probably the closest this group will ever get to creating a stadium-ready anthem. On the other end of the spectrum, 'The Place Where Designers Go To Die' is a magnificent void with an immense and irresistible undertow...

Never too jolly (not even while 'Day Drinking at a Seaside Town' or during takeoff via epic pop tune 'Bats We Are'), Nobody's Gold compiles soundscapes with a very tangible, corporeal presence - iridescent sonic sculptures placed in unlikely settings (e.g. outer space, see: 'Dirty Dirtiness'), born at the fringes where night blends into day and vice versa.

Inspired by everyday life, half-remembered drug/club experiences, Pascal Quignard's disturbing La haine de la musique, Stockhausen and Bill Evans, the new LP sees the collective remain true to its DIY foundations while repeatedly questioning our listening habits and 'the exaggerated love for the concept of love,' as they put it.

Founded around the dawn of the millennium as a group of poetry-loving friends who'd occasionally meet for drinks, Byul.org has long become an extremely prolific and versatile collective within Seoul's scene: Main song-writer TaeSang Cho and his mates Yu Hur, Jowall, YunYi Yi, SuhnJoo YI, HyunJung Suh, and SoYoon Hwang went from publishing to recording, from releasing tunes to design, art direction and more. Although their list of clients includes Atelier Herme`s and the Venice Biennale (they did the Korean Pavilion twice), the group still remains a drinking circle of close friends at its core: Pals who simply like to create and carouse and dream and live and perform and play tunes together.

Mu¨stesna is an Istanbul based independent record label founded in 2018 with an aim to reveal and re-evaluate the underrated sounds which was either forgotten, or not yet discovered.

Their first release comes with a selection of tracks recorded between 1995-2006 by Etnik Sentetik, the infamous electro synth-pop band from Istanbul. This 8 track LP offers a dark journey of uncanny sounds, fostered by 90's influenced raw electro-acid beats and eerie vocals.

Earlier this decade, when Óscar Silva chose his alias Jibóia, he was already thinking of the variations his music would take on in each record. Jibóia is Portuguese for Boa constrictor and at his fourth record we got used to his instincts and ability to change over his sound and search for different collaborators to reach his intentions. After collaborating with the likes of Makoto Yagyu, Sequin, Xinobi, Ricardo Martins and Jonathan Saldanha in his previous records, in OOOO he goes deep into interconnecting his music with other musicians/past collaborators.

Joined by Ricardo Martins (Lobster, Pop Dell'Arte, BRUXAS/COBRAS, among other projects) and Mestre André (aka O Morto, Alacrau and Notwan), Óscar intended to create a record that sounded like Jibóia with the direct collaboration of the musicians that accepted the invitation. And what does it mean to sound like Jibóia A fluent and rich dialogue between outer-world sounds mixed with a free jazz approach to rock, living in the limbo between what is fiction and reality. Meaning, it's music that's doing soul searching without any space or time barriers.

It flows as it should and in OOOO it's no different. Inspired by the philosophy of Pythagoras and his concept Musica Universalis, that speaks about an inter spatial harmony created by the movement of the planets and the sound frequency it creates. It's a poetic theory that imagines the sound produced by the movement of the planets and what we can listen to when we listen to the universe. The first three tracks are a reference to those frequencies and the last one, Topos, references an idea of accomplishment, of arrival and the sum of the experience.

NormCore emotions from two Bristol lovers and Dreamers that involves the deliberate choice of unremarkable or unfashionable casual electronic music. Odd Shy Guy & Rose Again after several Mango Juices..

The new album by respected underground figure, composer and producer Ricardo Donoso "Calibrate" proffers the highest of fidelity, with blockbuster sci-fi levels of production value and bombast. Donoso channels sonic spirits across fluro pointillism, futuristic industrial tribalism and more serene moments of synthetic reflection

This 12' is a document of modern contemporary music, containing future artifacts made by a selection of old friends and new faces. All of them deviate from what's obvious, possessing the ability to be serene and mental at the same time. Their coming together here is a great opportunity to appreciate this kinship, while at the same time acknowledging what distinguishes them from each other in terms of sound and representation.

Volume 2 of retakes of C Cat Trance's unique post-punk meets world beat brings the collaboration between Malka Tuti and Emotional Rescue to a close. Here again, the label's call in a selection of heads to re-envisage a modern vision of the music to present a perfect representation for today.

Starting with Red Axes retake of an almost untouchable classic, the booming, sound system-quaking version of Shake The Mind is a heads down mover that should add to their reputation and finally give DJ's a follow up to utilise.

Next, Jamie Paton gives the perfect trance-inducing, dubbed edit of Take Me To The Beach. Looping the drums and horns infinitum, building through repetition was never truer, before release. His individual take on remixes is again displayed, deep dubs from the brethren.

To close the 2 EPs, the final side is given to a meeting of older and established artist and new, upcoming, but already respecting crew. In Prins Thomas, the psychedelic protagonist of the heralded northern disco lights, his name was first to be penciled. His live, drum-heavy reversions have become trademark and in Sudaniyya, it's all there. Subtle, confident and alluring, Thomas builds to a steady jam of machine and man, letting it all hang and simply, groove along.

In finale, Khidja bring in friend and fellow Romanian production rising star, Borusaide to cover Simple Helen. A slow-burning ode in original form, their genius reversion captures the essence and much more, giving C Cat Trance's music a whole new lease, while presenting their production talent and musicianship. As was the hope and intention of these updated versions - Re-mixes for the 21st Century - with a nod to the past, but feet firmly in the future. Play loud and play out.

ABOUT THE 'LIBRARY TOOL KIT' SERIES

The new sub-label from WNCL Recordings features 12 short 'tools' per release, for use on discotheque sound systems and home stereos alike. Released on 10' vinyl with digital to follow at a later date

ABOUT THIS RECORD

EKOPLEKZ contributes to the Library Tool Kit series with 12 unique transmissions, live and direct from his radiochronic workshop.

Manchester miasma-house specialist Andrew Anderton aka Olsen sculpts swirling, stream-of-consciousness rhythms inspired by subliminal perception, hyperspace anime, and reflections on how the mind works. His latest is also his haziest, tracked at home on analog synths bathed in echo, tape-hiss, and found sounds, conjuring a liminal realm between sleep and reality ruled by a shadowy figure: the Dream Operator. Opaque acid, mumbling voices, and decayed keys whisper in the periphery, tethered by black hole bass, a narcoleptic kick, and dusty claps. This is music for 'the space between,' where the dream operator takes control, and 'shows you an image of a tree, soft fruit growing... night falls, and the black dog serenade continues.' Compelling contemporary warehouse noir by a producer poised for heady depths.

Ltd Edition!

Battle Lines Ist Das Zweite Album Von Bob Moses. Es Folgt Dem Debütalbum "days Gone By" Das Ende 2015 Veröffentlicht Wurde Und Zu Einem Auftritt In Der Ellen Degeneres Show, Zwei Nominierungen Bei Den Junos Und Den Grammys (und Einem Grammy-gewinn) Und Einem Top 15 Us Alternative Radio-hit Mit Der Single "tearing Me Up" Führte. Ineinandergreifende Gitarren-licks, Dancefloor-ambiente Mit Lyrischer Tiefe Und Klassischem Songwriting, Der Sound Von Tom Howie Und Jimmy Vallance Spricht Clubbesucher Und Rockmusik-fans Gleichermaßen An. Das Neue Album "battle Lines" Baut Natürlich Auf Dem Vorgänger Auf, Verstärkt Aber Den Groove Und Die Unmittelbaren Chöre, Um Eine Platte Mit Zukünftigen Hymnen Zu Liefern.

Battle Lines Wurde Von Bob Moses In Los Angeles Geschrieben Und Aufgenommen Und Von Lars Stalfors (health, Local Natives, Cold War Kids) Koproduziert.

- Keyfacts: Bunt Marmorierte Heavyweight Doppel-lp In Gatefold Sleeve Mit Mp3-downloadcode

Orphra Clipz are dark synth techno tracks from varum (Leipzig) vs. edgy Electrotunes from overdose (Rotterdam). Hypress based in Connewitz-Leipzig. Techno, Bass, electro, experimental selected, founded and produced by one part of Mod.Civil (ornaments, ortloff) from the Arno-Nitzsche Smoking Box. This is the first sign of Hypress.