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- Legendäre experimentelle Jazz-Aufnahmen von David Lynch und Angelo Badalamenti von Anfang der 90er Jahre. - die Musik wurde versatzweise in David Lynchs Film- und Fernseharbeiten verwendet, ist aber nie als richtige Veröffentlichung erschienen. Thought Gang wurde nach der Ausstrahlung der zweiten Staffel von ,Twin Peaks" geboren, als die Hauptproduktion des Kinofilms ,Fire Walk With Me" gerade erst begonnen hatte. Das esoterische Jazz-Side-Projekt von David Lynch und Angelo Badalamenti entwickelte sich ursprünglich aus dem Slow Cool Jazz, der die ,Twin Peaks" TV Serie mitgeprägt hatte. Thought Gang erblühte zu einem experimentelleren Sound: horizontlose Aussichten auf LSD-getränkten Freejazz, geschnürt mit gesprochenen Wortnarrativen und ausgedehnten Geräuschkulissen. Der Soundtrack zu ,Fire Walk With Me" präsentierte zwei vorläufige Tracks ("A Real Indication" und "The Black Dog Runs at Night") von einem Album, das von Mai 1992 bis 1993 stückweise aufgenommen und zweieinhalb Jahrzehnte lang nicht veröffentlicht wurde. In den folgenden Jahren tauchten Fragmente und Arbeitsversionen von Thought Gang-Material immer wieder auf: in einem von Lynch geführten Adidas-Werbespot; in Szenen in ,Hotel Room", ,Mulholland Drive" und ,Inland Empire"; in gelöschten Szenen von ,Fire Walk With Me" und am meisten in Showtimes dritter Staffel von ,Twin Peaks". "Frank 2000" und "Summer Night Noise" sowie ein alternativer Instrumental-Mix von "Logic and Common Sense" unterlegen Szenen der dritten Staffel und helfen, den ausgesprochen experimentellen, rauschhaften Soundtrack der Serie zu definieren. David Lynch über Thought Gang: "It's sort of like jet-fueled jazz in a weird way, but it's all based on stories. It's Modern Music."

Known for a broad swath of genre-obliterating club tracks on crucial labels including Critical, Exit, and 50Weapons, Sam Binga approached us earlier this year with a radically different kind of project, a collaboration with Welfare, true junglist and label boss at D&B bastion Rua Sound. The result of their team-up is Conamara Fieldworks. Its unique inspiration and patient process are best described by the duo themselves:

"In early November 2016, we set off through the bleakness of an Irish November into the wilderness that is Conamara, County Galway, Ireland, with about half an idea of what we wanted to do. Our friend Laney had been kind enough to allow us the use of a 300 year old cottage overlooking the sea, itself belonging to her family through generations which she was bit by bit restoring to its former glory. The isolation was perfect - very little in the way of creature comforts, no network coverage, but plenty of turf for the stove and Guinness for the belly.

Our routine for the next few days consisted of trudging the length of the rugged coastline in search of interesting sounds we could potentially process into usable elements for some kind of dub/dub techno-inspired composition...This took us inside tidal caves and abandoned ruins, across sheep fields, up and down mountains and winding country lanes, in and out of the odd pub, under upturned boats and (carefully) across huge washes of seaweed-covered shoreline. Using our handheld recorder (shouts Danny Scrilla for the lend) we assembled a palette of varied noises, constantly battling with the peaking and distortion created by the incessant Atlantic gusts.

Each evening, following some intense huddling around the stove and vital Irish home cuisine and stout, we'd examine and dissect what we had collected that day, sometimes discovering the most interesting material firmly planted in the background of the soundscapes. A certain amount of (but not too much) processing later we had the bones of a few short loops of each sound which made some kind of musical sense when played alongside each other.

Binga suggested staying true to the craft and keeping the rawness to the foreground by attempting to develop the loops into full compositions via live desk mixing, arrangement and effects. We said our goodbyes to Conamara and a month or two later said our hellos to the Dubkasm shedio. Following a crash course from the dynamic duo, we set to work for the day, learning as we went along and enjoying to the full the unpredictability, intuition and sheer vibes a dubbing session can bring, particularly in a studio kitted out with some fine analogue gear which undoubtedly helped us to keep that damp, saturated feeling that Conamara had sown."

The resulting collection of music speaks for itself, and does so in its own language. It is meditative, deeply textural, and richly saturated, with awesome sound design, generous bass weight, and dubwise finesse. Referencing ambient, concrete, and dub techno while never letting any genre dictate its path, Conamara Fieldworks is a deeply rewarding and intensely involving listen. A restrained yet transporting remix from the one Ossia completes the set.

Edition Telemark presents the ninth album by this long-running improvisational noise & electro-acoustic project, founded in 1999 and originally called Angel, recently renamed as die ANGEL. It is the duo of German musician Dirk Dresselhaus alias Schneider TM, who has been active in electric and electronic music since the late 80s in various bands and projects ranging from rock music to electro-acoustic improvisation, and Ilpo Väisänen, well-known for his work in Finnish electronic duo Pan Sonic beginning in 1993, as well as, more recently, in a number of solo projects.

die ANGEL's music inhabitates the no man's land between improvised noise and electro-acoustic music, with tracks incorporating processed electronic sounds, instruments, and field recordings. Yön Magneetti Sine is their most stripped-down album to date, completely recorded in July 2017 in Väisänen's cottage near Karttula, Finland. It contains five improvised tracks featuring only processed acoustic signals from two self-built one-string resonance instruments, a spring, and an acoustic guitar. Both one-stringed instruments were built by Väisänen from parts of a weaving loom, a bench, and two barbecue bowls.

All tracks were recorded live without overdubs and, according to Dresselhaus and Väisänen, relate directly to the surrounding landscape and the special atmosphere of the white nights that occur in central and northern Finland during summer. To them, the music heard here is to be called blues, albeit with non-standard instrumentation and structure. Thus, their working title for this album was "The Electro-Acoustic Blues Album". Edition of 300 on blue vinyl in full-colour sleeve with various photos of the recording process and the surroundings.

In the first part of a two-volume release, Eric Copeland (Black Dice) delivers Trogg Modal Vol. 1. It has been one year since releasing Goofballs and Eric has doubled down on his unique approach to crafting dance music, pushing a sort of 'Freakbeat 4/4' agenda even further than before. Where Goofballs was the first album recorded in its entirety in Eric's current home of Palma de Mallorca, Spain, and the result of countless hours spent working in the studio, Trogg Modal Vol. 1 is a bit less serious and more carefree, with tracks that are propelled forward by a singular, frenzied energy.

Chunky percussive layers, hard steady kicks, and tweaked loopy vocals create a playful vibe that is best described as a tropical-industrial hybrid. The final product comes together via seven succinct, self-described 'rippers,' music created both deliberately and accidentally, and always with a sense of humor that bubbles over and out through the speakers. With Trogg Modal Vol. 2 out in early 2019, this two-part release pulls into focus a vivid and unfamiliar new direction for Eric Copeland.

The Maciunas Ensemble was founded in Eindhoven, The Netherlands, in 1968 as a free improvisational music group that set out to realize the score "Music for Everyman" by Fluxus initiator George Maciunas, which they interpreted as allowing total freedom in the sounds being produced. In the mid-80s, after a number of personnel changes, the group settled on the line-up of artists Paul Panhuysen and Mario van Horrik, musician Jan van Riet, and scientist Leon van Noorden, which remained stable until Panhuysen's death in 2015. The group met and played together on a regular basis, usually improvising on instruments that were at hand and recording every session. Before playing the next session, the previous recording was listened to and discussed. In 1980, the Eindhoven art Initiative Het Apollohuis, also the home of Panhuysen and his family,became their home base, a place that subsequently gained fame for being one of the first and longest-running venues for sound art and experimental music in Europe.

In the recent years, the Maciunas Ensemble has begun to go through its vast archive of recordings and select material for publication that remained unreleased so far. The first bundle of archival recordings, dating from 1968 to 1980, was released on an 11-CD set on Apollo Records in 2012. For their 50th anniversary in 2018, the second part of archival recordings is to be published, its first instalment being this LP on Edition Telemark comprising unreleased tracks recorded between 1982 and 2012. More archival material will be released in digital format by the ensemble.

This LP allows a glimpse into the musical directions the Maciunas Ensemble has been undergoing during those 30 years. Side A features two repetitive, thundering tracks from the early 80s on guitar, piano, and cello, heavily inspired by minimalist rock and post-punk music. Side B contains four shorter tracks, with "Russolution" (1985) played on self-built aluminium monochords, "Stamples" (2002) employing sampled voices, and the other two, from 2009 and 2012, respectively, being improvised tracks on vocals and a number of instruments.

Regular edition of 250 in brown Kraftpak sleeve with printed inner sleeve containing various photos of the ensemble and liner notes by Mark van de Voort and Werner Durand.

Emotional Rescue returns to the music of "dark ambient" pioneers O Yuki Conjugate (OYC) with the reissue of their debut album, 'Scene in Mirage'. Released in 1984, it's post-industrial; cold wave overtures mixed with an ambient oeuvre created a compelling album that has gained cult status.

Recorded in a four-track basement studio in Leeds it showcases two very different sides to their sound. Side E follows the earlier recordings of their debut cassette release "Untitled" (ERC051), with use of analogue drum machines, synthesizers, bass an the ingenious use of tape loops made from audio cassettes stolen from local public libraries.

Side O however, points to the future development of the band with experimental sound collages. Built from percussion, voice, flute and drones created using a home made digital delay with a 1.6 second sampling feature for instant soundscapes. At the touch of a button this was DIY at its core when at the time most samplers cost more than a four-bedroom house in Knightsbridge.
Quickly selling out in its original pressing, inexplicably their record label decided not to re-press, so an expanded cassette version called 'Scene In Mirage/Soundtracks' was re-released on the band's own Final Image label with an accompanying video. Here, Emotional Rescue's re-issue combines the best of both versions in a lovingly recreated sleeve taken from the original design templates.Based around original members Roger Horberry and Andrew Hulme, OYC is now returning in its fourth incarnation with live shows and hopefully, new music to come. Watch the horizon.

Following the recent reissue of Vox Populi!s Aither album, Emotional Rescue further explores the more discerning, esoteric sounds of the French 80s avant-garde scene in coute Visual artist, sound designer, musician, label founder and emotional tree consultant Ramuntcho Matta is a man of shifting, relentless talents. Diagnosed with autism at a young age. Therapy based on yoga and music set him on a path, leading to learn from the likes of composter Cuarteto Cedrn. Discovering avant-music at an early age, he moved to New York to study in the "Third Street School of Music", meeting John Cage and going on to work on projects with Laurie Anderson, Brion Gysin and Don Cherry. His architectural concepts applied to composition were explored on his 3 solo LPs from the 1980s. The middle of these, coute, is possibly his most cohesive, exploring the use of extra-European musicians, especially African and Brazilian percussion, jazz horn playing, as well as Uruguayan singer Elie Meideros. Mexicos Cacau de Queirozs performance on saxophone and flute is stunning, former Gipsy Kings member, Jorge Negrito Trasante attributes much of the LPs Brazilian percussive flavour, while Magmas bassist Jannick Top brings gravitas, including performing a water claps duet alongside Matta on the exquisite O Clapo. As one piece, coute endlessly avoids standard musical formulas, seeking textures of far-flung elements; alchemy against a background of freedom to experiment that would be the theme throughout Mattas career, whether setting up SSR records under the alias Michael Pope or in his more recent output, teaching methodology of doubt

The first legendary Pink fairies album: a real must for all psychedelia and garage fans. Contains 'Do It', 'Heavenly Man' and the manifest-track of the band: 'Uncle Harry's Last Freakout", 10 long minutes of anarchist rock, rich of feedback and acid guitars.

This really was 'proto-punk'!

The packaging is just like the original one, with an external artwork on plastic sleeve.

The first legendary Pink fairies album: a real must for all psychedelia and garage fans. Contains 'Do It', 'Heavenly Man' and the manifest-track of the band: 'Uncle Harry's Last Freakout", 10 long minutes of anarchist rock, rich of feedback and acid guitars.

This really was 'proto-punk'!

The packaging is just like the original one, with an external artwork on plastic sleeve

The first legendary Pink fairies album: a real must for all psychedelia and garage fans. Contains 'Do It', 'Heavenly Man' and the manifest-track of the band: 'Uncle Harry's Last Freakout", 10 long minutes of anarchist rock, rich of feedback and acid guitars.

This really was 'proto-punk'!

The packaging is just like the original one, with an external artwork on plastic sleeve.

Emotional Rescue and Woo once again come together, this time to reissue their masterpiece, the previously cassette-only album Into The Heart Of Love. A joyous, uplifting ode to love in all it's forms, the trials and tribulations and
ultimately the triumphs are all encapsulted in Woo's unique soundscapes. Of all the myriad of released and unreleased Woo recordings, Into The Heart Of Love is without
a doubt their most complete and cohesive body of work. Full of Woo's quirky analogue dub electronics, there is also a very English sense of folk. With more vocals then their other albums,
the structure and softness of mood quintessentially comes from the Mother Isle. Mark's guitar craft is at its most expressive, entwined with subtle bass, a breadth of clarinet
and touches of piano. This is all mixed and merged beautifully with Clive's now recognisable desk and synthesiser mastery. As individual as anything you'd hear coming from the Black Ark.
More peaceful and uplifting than Whichever Way You Are Going, You Are Going Wrong and encompassing than It's Cosy Inside, the album presented as Into The Heart Of Love is exactly
that. Drawing you into it's swirls and layers upon layers, slowly wrapping you in it's own special, spectral soundcape.
It is love indeed that permeates throughout. Again and again the titles lead the way, but it's more than that. The lilting hopes, joy, optimism and peace expressed in songs like When Your
Find Your Love, Sarah and The Heart Of Love show Woo in all their glory. Of all Woo's songs and craft, their best is all included. The simplicity but detailed interplay between the two brothers is as telepathic as imagined. Pushing and pulling together to
represent a wondrous album. Of course, it had to be. It's Love.

Belgium's Kontrast is releasing a third Ep. This time your mind will be set into trance by the futuristic sounds of Les Points, the Swiss crew that consists of Audino, Barbir, Louh and Nicola Kazimir. Six beautiful tracks containing the typical Les Points electro-techno rave sound are pressed on black gold for your sonic pleasure.

The most exciting techno records are those not afraid to break a few rules, and that's exactly what's on offer on this latest slab from Pittsburgh-based imprint DETOUR. It comes courtesy of SEER, a new Brooklyn-based project from Maroje T and M Parent. Maroje's previous handiwork includes streamlined acid techno on boutique label Chem Club and down 'n dirty electro for Dutch weirdos Pinkman, meanwhile, M Parent's first 12', also on Chem Club, is dubby, driving, and psychedelic. Together as SEER, they've threaded a needle in between their respective styles and sounds, coming up with something altogether different.

After scrawling his name on releases with close affiliates PRR! PRR! and for the Mannequin and Unknown Precept labels, new Brussels transplant Mazzocchetti finds good company among the
oddballs on Editions Gravats for 'Gag Flag''s blend of avant dance music and absurdist experimental pop.
For 'Gag Flag' Mazzocchetti adopts the persona of 'Snippet Boy', a fictional avatar who first came to life in his live shows, and now in hyperstitious manifestation on the album sleeve. Lurking behind this persona, Mazzocchetti becomes an art-dance-pop puppeteer who yanks listener's strings and takes popshots at industry overproduction, deflating egotism and hackneyed convention in a way that echoes the subversive approach of his heroes such as Devo and The Residents.Using a blend of plugged in and acoustic instruments, Mazzocchetti conjures nine psychedelically
misshapen and inexorably funked-up grooves, splashing from the lysergic swagger of 'Looking For Cheese' to the Arabian electro-acid styles of 'How To Hate You Without H' via the lap-steel dancehall slosh of 'Ron's Roof', demented yacht-boogie in 'Fonk Left The Ytown', and what sounds like Depeche Mode doing knackered EBM on 'Sultan 1997'.
This is the sound of an artist unafraid to pursue their own sound and really coming into their own, albeit channelled thru a deflated, winking rubber avatar.

After a break of 6 years, Atlanta based electronic musician, producer and sound designer Richard Devine returns with a new album 'SortLave' on Venetian Snares' Timesig imprint. Recorded between 2016 and 2017 using Richard's custom built Eurorack modular system and two Nord G2 Modular units, SortLave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as 'Revsic' to 'Astra's dazzling juxtaposition of sounds and onto the radiant ambience of the album's closer 'Takara'.

Talking about the album's genesis Devine explains 'I've been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.' 'I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.' This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. 'I really wanted to break free from timeline-based music creation and do things with my hands on the fly,' he explains. 'So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven't heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I'm very excited to share it with the world.'

Making his debut in 1995, Devine's releases for labels including Schematic, Warp Records and Detroit Underground have established him as one of the leading figures within the electronica community. In addition to his musical productions, Devine has enjoyed a lengthy and successful career in sound design, developing patches for many of the world's leading music technology businesses and working with companies such as Google and Nike.

We don't know what's in the water in Dusseldorf, but apparently it must be good... Latest export product from the city's lively scene is this repress of new label on the block Candomble. Quite the versatile EP with a midtempo banger, percussive house and some more midtempo goodness. Highest recommendation!

Pussyfoot is back with one stonking big compilation album. 'Space Is The Plaice' is a 28-track aquatic space opera which fits neatly onto triple vinyl and a double CD with the extended digital version spanning a massive 35 tracks. The album sees artists contributing worldwide: UK, Japan, Hong Kong, Thailand, USA, and all over Europe. The album artwork by Dan MacMillan and Kieron Livingstone melds together psychedelic prog-rock with space electro-eccentrics themes which cover the 3LP with its tongue in cheek Douglas Adams inspired designs.

'Space Is The Plaice' features exclusive releases including:

Howie B Featuring Norman Reedus - A Letter From Space
This may seem like the unlikely pairing of an electronic music man and a zombie killing super star (Walking Dead) but these boys have a friendship that spans over 20 years. Reedus lends his vocals to an astronaut's love letter written while looking down on the world from space. A dramatic and beautiful spoken word piece with an eerie treated piano and electronic synths.

Blood Wine Or Honey - Brilliant Pebbles
BWOH are: Shane Aspegren, Joseph von Hess and James Banbury - all multi instrumentalists. Their style builds on tribal rhythms, electro-psychedelia, and afrobeat sounds to create an eclectic sound. Blood Wine or Honey are a favourite of BBC 6 music DJ Gilles Peterson and this track continues where their album left off.

Ancient Lights Featuring Flowdan - Crash Landing
Go-to producer Joe Hirst's musical alias Ancient Lights is joined by Flowdan, AKA the founding member of Roll Deep and massive Grime MC. Flowdan lends his vocal stylings to this ambient electro grime track. Slow building synths ebb and flow in and out of X-Files-esque keys steeped in mystery. Gravelly spoken word vocals accompanied by female choral sounds.

Jacknife Lee - Overview
Jacknife Lee AKA Garrett Lee is a huge name in production having worked with the likes of Bloc Party, Snow Patrol and The Killers. 'Overview' Is Lee's first release on Pussyfoot since his 99 album: 'Muy Rico'. Hollow electronics bleeps, cinematic synths, background drums accompany warped sample vocals musing on earth from space. All-encompassing sound without overpowering the senses.

Tojin Kit - Machina
Tojin Kit is made up of super producer Jim Abbiss (Adele, Arctic Monkeys), Chris James (Stateless, DJ Shadow) and Massive Attack cohort Kidkanevil (aka Gerard Roberts). The groups sound is vast, electronic and cinematic and their track 'Machina' is no exception. Intergalactic looping keys steeped in beautiful mystery, joined by grinding beats and robotic vocals.

'what The Night Is For' Is Teresa Winter's Engrossing 2nd Album For The Death Of Rave. Unfolding Around Recollections Of A Bad Dream About Being Murdered By Her Boyfriend And Hidden Under A Hotel Bed, Teresa's New Side Expands Upon The Morbid, Psycho-sexual And Occult Fascinations Of Her Cultishly Acclaimed 'untitled Death' Lp In A Singular And Unpredictable Style Of Composition Where Avant-classical, Acid-house And Ambient Dream-pop Collapse In A Confounding And Traumatic Account Of Her Hauntological Reality.recorded In Northern England Amid The Socio-political Tumult Of 2018, 'what The Night Is For' Is Concerned With Notions Of Liberation And Repression, Both Sexual, Psychic And Political, Which Feel
Ever More Impending In The Nocturnal, Criminal State Of Mind Conjured By Capitalism's End Times.
Teresa's Music Reflects This Sensation Of Heightened Alertness And Near-psychedelic Intensity With An Abstract Dramatic Narrative Implicitly Referencing On The One Hand, The Convention-challenging Feminism Of Jean Rollin's Cinema Fantastique And Its Soundtracks, And The Charged Atmospheres Of Coil, As Well As The Sexually Liberated Writings Of Amanda Carter And The Marquis De Sade.in Its Unfairly Weighted Formation, The Lp Vertiginously Drops Into Freefall With 7 Minute Of 'marishly Captivating Dissonance In 'canticles Of Ecstasy', Landing In 9 Minutes Of Disquietingly Lush Ambient Electronics And Teresa Intoning Bestial, Brutal' On 'heathen's Gate', Which Marking Her Descent Into Night, Proper.
The Other Side Is An Entirely Different Affair. From The Wigged-out Pipes And Cinematic Intrigue Of 'vulgaire', Teresa Plays Out Stark Contrasts Between The Stellar Acid-pop Detournement Of 'for Murder', The Palpably Eerie Electro-acoustic Aura Of 'apostrophising The Cunt', And A Gut-
Wrenching One-two Of Proustian Fantasy In 'mother Of Death', And The Piloerect Tristesse Of 'from So High That I Might Die'.
Like Cosey Fanni Tutti's Seminal Early Artwork, Created In The '70s Against A Backdrop Of Yorkshire-based Serial Killers And The Adult Industry, Teresa's Music Can Be Taken As A Form Of Psychic Self-surgery, As A Way Of Parsing Her Own Ideas From The Inherent Violence Of Heteronormativity And The Lingering, Insipid Pall Of Roman Catholicism And All Its Connotations Of Sexual Repression. And Like Cosey, Teresa Obliquely Acknowledges The Female Perspective Defined In The Tarot Card, Eight Of Swords' - She's Damned If She Does, But Also Damned If She Doesn't. So F*ck It, Here It Is. Deal With It.

Musique Plastique (Visible Cloaks, Pedro) rescue a nearly lost soundtrack to a Belgian avant-theatrical work from the 80s. For fans of Nuno Canavarro, Roberto Musci and Vito Ricci.

HINOSCH are a duo of Koshiro Hino from Osaka and Stefan Schneider from Düsseldorf, they first (met and) began their collaborative work of musical interaction and exploring contrasting possibilities in 2017. After a number of concerts in the EU and in Japan a debut EP (HINOSCH EP/TAL05) was released in late 2017. Fully instrumental, their first full-length album HANDS offers a more steeply focussed approach than its largely improvised predecessor.

Encouraged by the momentum generated during a number of on-the-spot recordings in Osaka, where Schneider had held a residency in April 2017, the overall sound of the album has been honed down through meticulous studio engineering. One of the outstanding qualities of HANDS certainly is an unprejudiced approach of sound and song structures. The instrumentation is condently reduced to a small range of analogue and digital machines. Snatches of tape-loops deliver lower-pitched vocal and drum machine samples. This characteristic technical set up soon proved ideal in order to dene a tactile vocabulary of fully unsynchronized rhythm patterns. The word tactile perfectly conjures that quality which is the very essence of HANDS. It is the result of the manner in which interdependent threads of rhythm units are deliberately disconnected to form a cohesive, soulful and exible whole. Most tracks on HANDS are devoid of a central motif and examine an unpredictable dialogue. A fantasy of constant change and a search for musical suggestions is the most vital ingredient in this abstract environment.

The album title HANDS refers to physical aspects of electronic music production. Every live concert of Hinosch usually starts out with a hand shake between Hino and Schneider. The general process of collective music making, programming, button pushing, playing, recording, decision making, all demand utmost concentration. The image on the front of the abum sleeve (designed by Takashi Makabe) reects the general approach of HANDS: layers of tuckled fabrics confronting one another to articulate a form for themselves to no other end than their own orchestration.

After having emerged from the ever thrilling Osaka music scene onto the international playgrounds of electronic music just a few years ago Koshiro Hino's solo activities as YPY and his involvement with the band GOAT have already garnered him a very favourable international reception. Stefan Schneider has over the years produced and collaborated with a.o. Joachim Roedelius (Cluster), Arto Lindsay, Klaus Dinger (NEU!), Dieter Moebius (Cluster), Alexander Balanescu, John McEntire (tortoise), Katharina Grosse, Bill Wells and St.Etienne.

Unfolding the darkest of dubwise techniques sprawled across shards of post-punk, drone, doom metal and techno, Spiritflesh go six feet deep across a short-run of promo cassettes, a 12 single and now the full-length album.

The latest project to rise out of Bristol, Spiritflesh is the brainchild of Julian 'Dj October' Raymond-Smith and Boris 'Borai' English...
The culmination of countless hours spent in an infamous basement studio full of old machines, BBC-grade reverbs, delays, phasers and little known mixing technique, Spiritflesh are now presenting their eponymous piece.

Taking in a host of sounds, the pair have truly blurred the conventions of influences and spawned a sonic that is all theirs... Phased, delayed and crashed through red-hot electronics, their sonic is at a constant boiling point, doubled in menace via evocation, constantly spewing and spitting like a skeletal, fog-riddled construct of otherwordly ambience, guttural bassline and rhythm.

Dream-like, yet crushingly physical, their sound is a cerebral kind of music that touches, with great conviction, on ideas of life, death and the in-between...

Their self-titled debut LP expands across eight crushing, drone-heavy juju meets techno meditations, exploring the darkest themes of the spiritual world and the open spaces in between.

Served on 180gsm vinyl, mixed at BB studios, mastered and cut by Lewis at Stardelta. Studio Tape-Echo design, served with two colour screenprint, handprinted in Bristol. Edition of 300, housed in anti-static bag, with insert sticker.

Great Edits By A Great Artist ! Must Have !

French producer LB aka Labat returns with a new LP named “Fake Memories” on his own label Alélah Records. He surprises us with some more Hip-Hop and R’n’B music, liberating his love for jazz rythms and harmonics.

Greetings From The Darkness.

Tunnel Vision Records Is Delighted To Introduce You This Forgotten Masterpiece : Lola V. Stain - Ikona .

Lola V.stain Was A Not So Typical Band Formed In 1987 In Skopje, Republic Of Macedonia. They Took Inspiration For The Name From A Marguerite Duras Novel.

Their Music Can Be Described As Avant-garde, Electro-acoustic Ambient With Macedonian Ethno Influence. They Released Two Albums, Ikona (1990) And Mansarda (1992), Both For The Croatian Label blind Dog Records'. The Group Ceased Work After Its Second Album.

This Is An Historical Masterpiece From Europe. The Music On This Record Is A Great Document Of Pre-war Yugoslavia As It Was Released On A Croatian Label : Blind Dog Records.

The Ethnic Identities Of Four Of The Quintet's Members Might Have Been Best Described By The Term Serbo-croatian, An Eventually Discarded Name For The Mix Of Languages Shared By Much Of What Was Once Yugoslavia.

The Founding Member Of The Group Was Zlatko Origjanski, Who Was Born In Skopje In 1963. He Formed The Band Gospodinot Otiden In The Mid-'80s And This Is The Ensemble That Formed The Roots Of What Would Shortly Become Lola V. Stain. The Fifth Member Is What Really Gives This Group A Distinct Identity. He Is Pece Atanasovski, A Traditional Macedonian Bagpiper . Lola V. Stain Creates A Blend Of Traditional And Modern Instruments, Throwing In Everything That Comes To Mind. It Is A Totally Unique Concept. The Combination Of Bagpipe And Oboe Is Beautiful, And Many Of The Percussion And Electronic Textures Seem To Foreshadow The Post-rock Movement That Would Come Along A Few Years Later.

Although An Obviously Negative Impression Was Created By The Series Of Wars That Followed The Breakup Of Yugoslavia, The Involvement Of A Croatian Label In Releasing Macedonian Music Was Just Typical Of The Kind Of Artistic Cooperation Between Sections Of The Country That Made The Independent Record Scene Successful. Of Course, Enjoyment Of Music Is So Much A Matter Of Time And Place ( And Space ) , And Perhaps No Sensation Could Match The Impact Of Hearing Music Like This In Sarajevo In 1990, Only A Matter Of A Year Or More Before A Terrible War Would Split The Country Apart, Making Collaborative Efforts Between Serbians, Croatians, Bosnians, And Macedonians Not Impossible, But Much More Difficult.

Yet There Is Plenty Of Majestical Mystery Residing In The Grooves, And Fans Of World Music Fusions Can Keep This In Mind Anytime They Want To Embark On A Quest For Something Next To Impossible To Find.

Enigmatic Austin based producer/starlet Samantha Glass untangles their serpentine mind on the ambitious new full length Nine Memories Between Impression & Imprint out October 12, 2018. Since 2010, Beau Devereaux has chronicled their romantic and turbulent process of self-identification as Samantha Glass through the use of electronics, field recordings and a seductive, baritone voice. Abstract soundscapes rise and fall around addictively brooding ballads and introspective monologues as Glass deconstructs themself beneath the weight of their poetry and lyrics. Nine Memories Between Impression & Imprint unveils an allure through vulnerability, elegantly depicting the endless audition of becoming Samantha Glass.

Devereaux came from rural beginnings in the countryside of Wisconsin before spending most of their adult life engrossed in Madison's noise, power violence and punk DIY scenes. They sought to create a balanced form of art representative of their ever fluid sexuality and gender identity while incorporating elements of dark wave, musique concrète and New Age music. Samantha Glass evolved into an outlet for drag-based performance art coupled with drum machines, cassette loops and down-tempo crooning. Through years of touring and a prolific discography, Glass came to be known beyond the Midwest as one of the most dense and multi-layered projects amongst experimental music spheres. This exploratory essence gives Glass a broad crossover appeal as they dive into new territory with each successive release. Narrating a uniquely nuanced perspective on life and art, Glass richly crafts each composition around deeply rooted biographical and contemporary themes, encapsulating a haunting and captivating portrayal of an elaborately creative mind.

Nine Memories Between Impression & Imprint is Devereaux's culminating effort to define Samantha Glass thus far. At times delicately wistful and intensely personal, Glass' emotional tenor is matched by the ingenuity and creativity given to the recording process. Self produced at home, this album embraces experimentation as an elemental part of the writing process. Underwater contact mic recordings share a place alongside warm analog synthesizers as Glass consistently finds ways to incorporate fresh sounds with unorthodox methods of composition. 'Putting the Male to Rest (Pt. 2)' and 'From Behind Our Wings' construct lucid ambient collages out of a vague mixture of samples and live electronics, featuring an illusory feminine voice speaking on behalf of Glass. The songs 'Cruel Anxiety' and 'The Carpenter in Us All' are catchy, beat-driven highlights of cathartic energy that propel the album forward with hypnotic vocals and crushing lyrics. The duality of male to female, spoken to sung and atonal to melodic echoes throughout the albums eight tracks, allowing for satisfying repeat listens and personal connections that go beyond the obvious aesthetics.

Samantha Glass reaches deep within themself to manifest a truly inspiring work of permanence. Nine Memories Between Impression & Imprint surpasses the expectations of long-time fans and recruits the faith of new audiences as Glass reverently embodies an enticing blend of outsider art.

Soren Jahan launches a new limited series from the Ygrok camp, (ssto). Variations on an Oud melody combine with his signature complex rhythm programming. Taksim Part 1 and 2 are two different recording sessions live sequenced directly to cassette. Mastering by Anscorm.

Superb concept album for a story telling spacial Ambient moment... Discupt surprise !

Mythologen, Aka Alexander Palmestal Follows Last Year's Debut Album 'mythologen' With The 12'' Ep 'church Music'. This Ep Is A Love Declaration To Londons Club Scenes And Some Of The Titles Are Named After Parts Of Districts In South East London.
The Tracks On This Record Are Free And Loose In Its Melodies And You Hear That Palmestal Has Worked On Pure Intuition In The Song Making Process, Inspired By The Surrounding Smells, Sounds And People. As Explosively Impressing As The Album Was, Is Also 'church Music' And The Airy, Uplifting Sound That Has Become Part Of Mythologens Trademark, Is Developed With A Sacral Touch.
Alexander Palmestal Have Since The Days Of Pistol Disco In The Early 2000's Been One Step Ahead Of Most Acts In Leftfield And House Music And Have Created An Own Musical Space To Exist In - Something Most Artist Never Achieve! 'church Music' Consolidates Mythologen's Position As Both A Guardian And An Innovator Of Modern Dance Music

Facit, which debuted on Minimal Wave's sublabel Cititrax back in 2013 now gives us a beautiful Swedish cover on the A-side, about a man growing up still playing with his dolls.The B-side his dark helping hand, trying to reach out.

Pliant, jazz inflected techno meets mutated off-beat breaks and alien electro from New Yorker and co-founder of Exotic Dance Records Jiovanni Nadal aka J. Albert. This is gritty urban techno reflecting on street life in Gotham City. On the A side we got the squealing and hissing grind of "Bloo N Red" followed by the sublime and broken house of "Ting Waan", absolutely loved this bittersweet and emotive piece. On the flip "Dyslexia" has that haunting and dusty attic jam style, much like fellow NYC hero Patricia and then "Earring", equally nailing that particular aesthetic too but with more of an industrial edge with its textured and metallic rhythms doing a fine job. 12" Vinyl 140g.

Album Description By Brian Not Brian:

Bad Technology. Missed Calls. Broken Languages. International Timezones. Fourth World Fantasies. Late Night Conversations - These Are Just Some Of The Elements That Combine To Make 'elixir Of Immortality' One Of The Most Compelling Records You Will Hear All Year. It's 'ambient', It's 'jazz', It's 'electronic' - But Not As We Know It. In Fact, It's Everything All At Once, In One Huge Psychedelic, Synthesised Burst Of Colour And Sound. Distant Rhythms Jostle For Position In The Dense Fogs Of Melody And Dub, Dislocated Voices And Instruments Weave In And Out Of The Mix And We Eventually Find Ourselves Surrendering To The Sheer Sonic Beauty And Complexity That Greets Us When The Smoke Clears. There's No Point In Trying To Studiously Navigate The Verdant, Psycho-geographic Terrain That The Cosmonaut Mårble Is Busy Terraforming With His Unique Blend Of Musical Expressionism, It's Better To Let The Winds Carry You Further Downstream And Open Yourself To Possibilities. Dip Your Toes In. A Truly Special Collection Of Music From The Furthest Reaches Of The Other Side Of St.petersburg, Curated With Love And Care By The Ears And Minds Behind Nummer. Artwork And Design Courtesy Of Atelier Superplus. 2018.

Culminating as the purgative 'finale' to her improvisational live performances, Pan Daijing's debut album also offers an insight to her future works.
The process was intuitive and raw, born out of her previous explorations. Over the past 2 years, she has composed, recorded and edited different concerts and field recordings across Europe, China, and Canada, forming the basis of the record. Arriving as her first full-length album, 'Lack ' was crafted from this long, painstaking mental and physical practice.
Daijing's pieces are created around a very intense and intimate mental catharsis, often expressed through a close physical interaction with strangers in her live sets which seek to engage them in a highly personal way. When I was finalising this album, they didn't feel like tracks to me anymore, but more like a psychoanalytical process,' she says. I saw myself being this absurd, mad person 'acting' out the sounds... It's rather physical, and became like a mindgame. All things came out naturally as part of me.'
The narrative of the album presents a perspective of the world as 'the theatre of our minds' - where Daijing sees the record as an 'opera piece' in its storytelling and drama.

Recently discovered material from the KPM Music Library released for the first time! New York Trouble - Punchy driving soul for both serious and light hearted contemporary drama . Electric Progression - Strikingly progressive themes featuring synthesizers, electric piano and rhythm section. All tracks composed by: Flowers, Morgan, Lee. Limited Edition 180 gram vinyl

A1. Barnyard Bam Bam - Various Artists (New York Trouble)
A2. Heavy Stakeout -Various Artists (New York Trouble)
A3. Where'd He Go - Various Artists (New York Trouble)
A4. Street Freedom - Various Artists (New York Trouble)
A5. Light Stakeout - Various Artists (New York Trouble)
A6. Nightly Visits - Various Artists (New York Trouble)
A7. Hustle Don't Hate - Various Artists (New York Trouble)
A8. Discotech Stepper - Various Artists (New York Trouble)
A9. Cool, Not Cold - Various Artists (New York Trouble)
A10. High Five Shake Down - Various Artists (New York Trouble)
A11. There's Your Man - Various Artists (New York Trouble)
B1. Honk Kong Hang - Various Artists (Electric Progression)
B2. Non Suqensor - Various Artists (Electric Progression)
B3. Zen Furious - Various Artists (Electric Progression)
B4. Better Than Boogie - Various Artists (Electric Progression)
B5. Sonic Swarm - Various Artists (Electric Progression)
B6. Bionic Bossa - Various Artists (Electric Progression)
B7. Manhatton Moon Rise - Various Artists (Electric Progression)
B8. Electric Procession - Various Artists (Electric Progression)

Black Truffle is honoured to present the first reissue of a true underground masterpiece, Massimo Toniutti's Il Museo Selvatico (The Wild Museum), originally self-released on LP in 1991. Like his better-known brother Giancarlo (whose classic 1985 Broken Flag LP La Mutazione was reissued by Black Truffle in 2015), Massimo Toniutti was active in the vibrant underground industrial/noise scene of the 1980s, contributing to releases on legendary labels such as Broken Flag and RRR and self-releasing a series of cassettes between 1984 and 1988. Existing in a private world apart from the noise and dark industrial tropes of many of his contemporaries, Toniutti's Il Museo Selvatico is an entirely singular work of domestic electro-acoustic exploration. Made up primarily of what Toniutti calls 'small and rare noises' or sonic 'knick-knacks' recorded between 1987 and 1990, the five pieces that make up the original LP usher us into a crepuscular space populated by mysterious traces of everyday life. Toniutti weaves a loose net of distant clanks, dull thuds, metallic resonance and skittering percussive sounds, allowing the sounds to breathe against a backdrop of near-silent atmosphere. Although the haunted ambience recalls the work of contemporaries like Organum, Toniutti generally steers clear of long tones and drones, preferring to arrange brief, sometimes staccato sonic objects into patters of repeating figures and isolated events whose overall compositional shape remains somehow ungraspable. Although glimpses of recognisable location recordings and instrumental sounds can occasionally be made out, for most of the record the sources of the sounds we hear remain teasingly mysterious, an abstracted memory of everyday actions and atmospheres. l Museo Selvatico is accompanied here by an additional LP of material recorded at the same time, composed especially for this reissue into two side-long suites that inhabit the same haunted space as the original LP while occasionally making use of more maximal compositional strategies. Black Truffle is pleased to return this overlooked masterwork to the world. Essential listening for fans of Organum, Nurse With Wound, Christoph Heemann, and the tradition of outsider musique concrète. Lovingly presented as a double LP in a lavish gatefold with printed inner sleeves featuring archival images and notes. Remastered and cut at D&M, Berlin

Experimental cinema sonics, electroacoustic research practice and shadowy wind instruments come together to form this unique interpretation of the mythical city of gold. Utilising rare, half forgotten Soviet era synthesisers Vladimir Karpov creates immersive soundscapes under the name XYR. The Formanta mini keytar and the Alisa 1377 lend Karpov's music strange, seldom heard atmospheres which the St. Petersburg native then combines with field recordings, toy percussion and wood flute to further build upon his utopian narratives.

Part concept album, part nod to Popol Vuh, his attempt to channel the thematics of the ancient tale of the Muisca people through his modest home studio left a lasting impression on us here at 12th Isle and we're proud to present a selection of the tracks on vinyl for the very first time. Originally confined to just 25 cassette tapes, for this edition we have assembled some of the most inspiring tracks from the sessions as well as the bonus closing piece 'Aguirre Song'. Immediately engaging, sincerely heartfelt and strikingly original, these are recordings we have returned to time and time again.

Limited edition LP comes housed in screenprinted sleeve. 'El Dorado' recorded April - August 2014, originally released via Illuminated Paths (March 2015).