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Andrew Bernstein is a Baltimore-based multi-instrumentalist, composer, sound artist, and a member of ecstatic rock quartet Horse Lords. One could be forgiven for believing at first that An Exploded View of Time's

ceaselessly tumbling billows of tone and self-consuming recursive mantras are the product of loop pedal or delay manipulation, when in fact Bernstein performed each session in real time using only his saxophone.

As such, his pieces stand not only in the realm of heady minimalist composition but within the physical world as one human body engaged in a marathon of dexterity, breath control, manual repetition, and constant self-regulation.

Bernsteins protracted circular breathing techniques and superhuman finger work stun at every turn, as he flits between passages of glistening major key bliss and tumultuous expanses of overblown skronk.

Pure DDR-groove! The Exorcist is a gothenburg-based trio consisting of Osynlige Mann, Pontus and Petrus - members from bands as Uran, Tentakel and ultra Satan.

Hoga Nord invites you to their soundscape with their full length debut album The Exorcist GBG: Everyone could be an informant. The cold war is alive. Dark Cabaret. Spy-theme-mode. David Lynch-electro. Italian horror. Easily put - This is kinky organic acid-funk for all of you looking for a gateway - but know you have to stay.

Ismo Laakso's very well produced and spaceously mixed Ofelia (from 1996-99) is a blend of industrial, avant garde, modern classic, bleeps and clicks. The narrative of this album sometimes undefinably blurs the lines between recorded material & samples, and also juxtapose the main grooves with highly psychedelic sound effects and (beautiful) melodies.

An astounding, epic journey into the more obscure areas of early electronic music, Phillip Werren's Electronic Music is wellspring of contemporary composition across four LPs. Originally released in 1971 in an edition of 100 copies, this impossibly rare piece of early Canadian electronic music has finally been reissued on vinyl in an exact replica box with a silk-screened cover.

Electronic Music was recorded at Simon Fraser University (Vancouver), McGill University (Montreal) and Radio Warzawa (Poland) between 1967 and 1971. Influenced as much by serialism as by psychedelia and the occult, the album features elements of tape collage, voice, and experimental composition. Most of the recordings were performed on a Buchla System 100, one of the first modular synthesizers. An absorbing piece of the Canadian avant-garde, Electronic Music is a journey through space, sound, texture, and unbridled experimentation.

Recommended for fans of artist ranging from Stockhausen, Xenakis, and Ferrari to Basil Kirchin, Conrad Schnitzler, Throbbing Gristle, and Coil - Manufactured Recordings' reissue of Electronic Music aims to shed light on this crucially overlooked composer. Limited to 500 copies worldwide

Jay Glass Dubs sublimates Athenian distress and ennui into plasmic dub ether on 'Plegnic', his lushly evolved 1st collection of new material for Ecstatic, following from their acclaimed, 2LP 'Dubs' (2017) set of his earliest, hard-to-find tape releases Deconstructing and rebuilding Jamaican dub with musique concrete production methods and a lingering air of inspiration from classic 4AD, new age and Laïko, or Greek popular music, on 'Plegnic' Jay Glass Dubs fascinatingly evolves his sound with richer melodic and harmonic arrangements in a concerted effort to bridge and expand the nostalgic, esoteric and dancefloor dimensions of his unique sound world.
The key to the record lies in its title, 'Plegnic', an extinct word meaning to strike like a hammer', as well as its palpable sense of nostalgia. In this archaic context, JGD uses vintage machines and obsolete samples into junction with vocals from Yorgia Karydi - former beau of his childhood neighbour, and Andreas Kassapis one of his oldest friends, who provides the cover art - to conjure a strikingly new, mutated take on classic and well-trodden styles, metaphorically and anachronistically renewing their purpose while connoting his newfound dancefloor drive in the process. Recording took place at his mother's house in the Athens suburbs, with Fugazi's 'Steady Diet of Nothing' on repeat. It was here that he dug out an old Juno, a Yamaha RX5 drum computer, and some ...crappier equipment' that provides the structural scaffold to his array of nostalgic, melancholic Laïka samples, which could be considered the ghost in the shell or the diffused soul of this superb five part crop.
On the A-side he sets out to spook with the desiccated, teetering steppers motion of 'Temple Dub' featuring heavily processed vox by Georgia Karidi, but the heady nostalgia takes over with a sublime tactility in the vaulted chorales and endless reverb tails of 'Umbro Dub', and again in the aching sehnsucht of 'Mouthless Dub', where traces of Laïka's bouzouki melodies most beautifully glimmer thru.
However, the B-side is far more upfront and up-for-it, firstly putting his weight behind the cranky skank of 'Dry Dub' with its hexagonal drums and acidic bass squirm, then in the super squashed swagger of 'Fearless Dub', a near 10 minute long pinnacle of his dancefloor output to date.
Ultimately Jay Glass Dubs' music is riddled with the kind of nostalgia that can make an unfamiliar piece of music feel like an intense déjà entendu, like you've heard it before in a dream or some altered state. That's a rare and precious thing






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»sichten« refers both to »opinions« as well as the »examination of material«. in lose sequence, we will invite friends and colleagues, but especially music lovers to share their opinions on music with us or to look through their collected materials in order to present music that tends to be out of the focus of current media channels. as a label for electronic music our focus is on examining exactly this genre. but in the context of the series, we are rather looking for more hidden, unknown, perhaps forgotten music. we want to present the yet undiscovered, and also offer a platform for other cultural environments with different musical approaches. each issue will be supervised and compiled by a curator. an introductory text shall explain the ar- tistic approach of the respective curator. in this sense, the format of a double lp can only provide a first insight and wants to invite to a more in-depth research. for the first issue of the series, »sichten 1«, we asked frank bretschneider to compile his own, very personal selection of current electronic music. his choice fell on six artists, whose different styles me- ander between accessible music on the one hand and very abstract compositions on the other hand.

"sichten" bezieht sich sowohl auf "Meinungen" als auch auf die "Auseinandersetzung mit dem Material". In loser Folge laden wir Freunde und Kollegen, vor allem aber Musikliebhaber ein, ihre Meinung zur Musik mit uns zu teilen oder ihre gesammelten Materialien durchzusehen, um Musik zu präsentieren, die nicht im Fokus der aktuellen Medienkanäle steht. als label für elektronische musik liegt unser schwerpunkt auf der untersuchung genau dieses genres. im rahmen der serie suchen wir aber eher nach verborgener, unbekannter, vielleicht vergessener musik. wir wollen das noch unentdeckte präsentieren und auch eine plattform für andere kulturelle umgebungen mit unterschiedlichen musikalischen ansätzen bieten. Jede Ausgabe wird von einem Kurator betreut und zusammengestellt. Ein einleitender Text soll den künstlerischen Ansatz des jeweiligen Kurators erläutern. In diesem Sinne kann das Format einer Doppel-LP nur einen ersten Einblick geben und will zu einer vertieften Recherche einladen. für die erste ausgabe der serie "sichten 1" haben wir frank bretschneider gebeten, seine eigene, sehr persönliche auswahl aktueller elektronischer musik zusammenzustellen. seine auswahl fiel auf sechs künstler, deren unterschiedliche stilrichtungen ich zwischen zugänglicher musik einerseits und sehr abstrakten kompositionen andererseits unterscheiden.

Unique psychedelic killers from Niagara, mounting a sterling debut album with Lisbon's Príncipe five years after their first 12', 'Ouro Oeste' (2013). Trust that they have lost none of the weirdness
that's endeared them to freaks around the world ever since they emerged. If anything they're stranger, spaced-out and more porous to wild influence on the 13 tracks of 'Apologia'.
Outlining Niagara's definitive description of contemporary exotica, 'Apologia' limns a frayed, buzzing sort of Fourth World PLUS' sound, where the PLUS' refers to their embrace of noise
as an agent of chaos. But it's not necessarily malefic chaos, and should be taken as a smart acknowledgement of the overlooked yet crucial role that roughness of grain and construction play
in contrast with so many clinically smooth and even anodyne efforts from the same, imagined arena of worldly music for a new age.
In allowing for the entropy of time and the inevitable infidelity of attrition to enter their soundsphere, Niagara's organic machine music keenly reflects a natural world order without the
need for algorithmic process. Their world is a fertile interplay of acoustic and electronic sources rendering hazy, fata morgana-like glimpses of musical possibility, practically triangulating
the visions of likeminds such as Jamal Moss/Hieroglyphic Being and Dolo Percussion with the explorative precedents of Portugul's Telectu to realise a fine expression of anachronistic
modernism
Most of the tracks loosely work around 3 minute timeframes, lending a zig-zagging mosaic quality to the tracklist in between its longer parts. Richly colourful spiritual jazz arps and raw
machine grooves spring from opener 'França', triggering a cascade of ideas that bends between acidic kosmiche in '6:30' to the heatsick boogie gliss of '40' and the stark emptiness of 'Senhora Do Cabo', to give up the gorgeous, extended flute and acid meditation 'Siena', and mess with Vangelis-
style synth majesty on 'Via Garibaldi', before spending their coolest energies in the drowsy Afro-latin swagger of 'Cabo Verde.'
It's hard to ignore the fact that Alberto, António and Sara a.k.a. Niagara have distilled their sound to imperfection on 'Apologia', resulting one of 2018's most crucial lo-fi electronic albums.

Just the Right Height is the solo music project of New York-based artist Keke Hunt. Hunt's stop and go, deconstructed songwriting is emotional and bare. Her undressing of the radio hit is so lyrically labrinthine, the urge to dance might escape you — and dance with me.

I Want to breathe

that old song

we danced to

Just the right height is an investigation of pop lyricism and a satire of feminine objecthood; The perfect size, The perfect longing shape to fit inside, the perfect fit. Just the right height is a rubber mouth. Formless liquid silicone poured into a mold that mimes agency, vocalization, but says nothing; careless. An empty silhouette, inciting arousal and movement. Mouthy, Vapid, Stupid, Hot; Vain and thoughtless song.

Tonight let's get drunk, tomorrow hold my hand.

In her album Let Forever Be Only You Tonight, Hunt writes lyrics by compiling text from an online lyric generator which outputs jumbled lines sourced from the lyrics of existing popular songs. Hunt exhales composited speech, a synonym of the virtual pop star whose personality program is compiled from the thoughts and feelings on her fans blog posts and online output; Her face surgically modified to reflect the image of her fans.

Heat rises from the spreadsheet city —
who knows if I was asylum bound

Rhythm stripped of melody is the dominant form in Hunt's musical work. Nevertheless, Hunt intersperses her catalogue with heartfelt, melodic tracks as if to tie a polite bow on a rude package.

For you and I,
So so thoughtless so,
thoughtless so,
thoughtless so careless.

Hunt's earliest released music was written in collaboration with Los angeles based painter Marisa Takal. The tracks released on their 2014 split with Odwalla88 are the product of a 3 year collaboration. Hunt has also collaborated with Multimedia Bryan Edward Collins on a project called Hard World Fashion. This album features a song co-written by Collins and Hunt. Since 2015 Hunt has released music under with tape labels such as Primitive Languages and ALL GONE tapes, under various titles, culminating in her current moniker, Just The Right Height. Let Forever Be Only You Tonight is her first full-length LP and release through She Rocks!

Transversales is very glad to announce the release of Mémoire Magnétique, vol.1 spanning 1966-1990, revelatory collection of commercial and secret music by electronic music pionneer Bernard Parmegiani.

collecting orders for repress ... !

Following On From His Acclaimed Works Stories And Apologues, Berlin-based Composer And Vibraphonist Masayoshi Fujita Will Release His New Album Book Of Life, The Third Instalment In A Trilogy Of Solo Vibraphone Recordings, On July 27th Via Erased Tapes. Stories, The First In The Series And Masayoshi's Debut Under His Own Name, Will Be Re-issued By Erased Tapes At The Same Time.

With Book Of Life Masayoshi Continues His Mission In Bringing The Vibraphone — A Relatively New Invention In The History Of Instruments Often Kept In The Background In Orchestras And Jazz Outfits — Into The Spotlight. Having Trained As A Drummer, Masayoshi Began Experimenting With The Vibraphone, Preparing Its Bars With Kitchen Foil Or Beads, Playing It With The Cello Bow Such As In Fog Or Using The Other End Of The Mallets To Create A More Ambient Texture Of Sound, As With The Title Track. Focussing On The Vibraphone In This Way Sets Masayoshi Apart, Dedicating His Artistic Life To Celebrating This Fascinating And Often Underappreciated Instrument And Making His Take On Ambient And Modern Compositional Styles A Unique One.

'i Think The Vibraphone Is Capable Of More Interesting And Beautiful Sounds That Haven't Been Heard Before. It's Quite A New Instrument But It's Often Played In A Similar Way. I Feel That There Is A Lot More To Explore With This Exciting Instrument.'

Book Of Life Sees Masayoshi Expand On His Compositional Skills, Bringing In More Orchestral Elements Such As Strings, Brass And Even A Choir To Interact With The Vibraphone. And Not Just Any Choir — Members Of This Chorus Include Musical Friends Peter Broderick, Hatis Noit, David Allred And Shards Who Featured On Nils Frahm's Latest Album All Melody. The Instruments Come To Represent Characters In Masayoshi's Stories, Hinted At In Each Accompanying Text Contained In The Album Booklet, Which Masayoshi Recites At His Live Performances. They Set The Scene For Each Piece, For Example 'the Choir In Misty Avalanche Is Meant To Resemble The Blizzard, While The Vibraphone Is The Bird Hovering Above,' He Explains.

The Title Track However, Was Unusual From The Start; 'book Of Life Is Very Different To My Other Songs. It Was About Humans, Whereas The Other Songs Are All About Animals And Nature. And It Was Improvised Initially, Whereas Normally My Songs Are Composed And Planned. This One Was Free. I Scratched The Vibraphone Bar As If I Was Writing Something. An Image Connected In My Mind: These Two People Meeting And Sharing Their Lives. This Image Was The Book Of Life.'

The Upbeat Lead Single It's Magical Features Two Cellos And A Flute As Extensions Of The Vibraphone; 'like A Man Who's Put Artificial Wings On His Arms To Attempt To Fly Like A Bird, Before An Airplane Was Invented,' Says Masayoshi. A Different Version Of The Song, Called Spaceship Magical, Also Appears On The Erased Tapes 10th Anniversary Box Set 1+1=x. 'like Most Of My Songs, It's Magical Started From One Simple Phrase That I'd Played Again And Again. But At One Point I Had Two Very Different Versions; One Acoustic With Orchestral Arrangement, Whilst The Other Had Distorted Guitars With Electronic Bass That Perfectly Suited The Collaborative Nature Of The Label Residency When Robert Invited Me To Participate.'

His New Album Arrives At A Time Of Renewed Interest For Percussive, Ambient Music Following The Reissue Of Minimalist Composer Midori Takada's Seminal Album Through The Looking Glass Last Year And Compounded By The Comeback Of Ryuichi Sakamoto, Whose Cinematic Compositions Parallel Masayoshi's Storytelling Soundscapes. Bbc Radio 3 Confirmed This Renaissance Of Japanese Music And Culture, Dedicating Their Recent Night Blossoms Season To New Experimental Artists, Including Fellow Erased Tapes Vocal Performer Hatis Noit. Masayoshi Previously Released Two Albums Under His Alias El Fog That Touched On The Vibraphone But Appeared Mostly In A Supporting Role, Accompanying His Intricate Electronic Production. Much Like His Instrument, He Has Often Been A Collaborator As Opposed To A Front Man — His Sympathetic Musicianship Complimenting A Variety Of Creative Outputs. Most Frequently With The Adventurous German Producer Jan Jelinek. Their Most Recent Offering Schaum Displays A Dialogue Between The Two That Makes It Hard To Tell Just Where Fujita's Vibraphone Ends And Jelinek's Whirring Loops Begin. Another Fruitful Partnership Was The
Experimental Needle Six Piece, A Bbc Radio 3 Recording Of An Improvised Session With Uk Electronic Artist Guy Andrews For Late Junction. The Mesmeric And Compelling 30-minute Piece Was Released For Record Store Day In 2016. In Addition His Label Peer And Fellow Berlin Resident Nils Frahm Mastered Stories, Providing A Fitting Symmetry To Its Re-issue On Erased Tapes Now.

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

Vinyl comes in ultra ltd. edition of 100 copies, each one wrapped in a different hand-printed folder.

AAR is a project by Milan-based producer, DJ and designer Giorgio di Salvo. The First Grade LP is his first record under this name, self-released in collaboration with Haunter Records, the first chapter in a new series dedicated to tonal and rhythmic experimentation. ADVANCED AUDIO RESEARCH is the ironic definition of this new music course of his, a nod to the large amount of esoteric studio gear accumulated and (ab)used during the years. 
The project itself is the result of years of study and experimentation with generative music matrices, based on the application of a three dimensional array of variables and unknowns to algorithmic pattern creation. The result is punishing, close to the most radical exploits in ear-wrenching breakcore, footwork and jungle, albeit with a sonic and structural finesse that reveals the producer's manic dedication. Track A-4 is produced in collaboration with Somec and B-01 in collaboration with Heith, channeling abstract and melancholic vibes into the project.

Recorded, Mixed and Produced by Giorgio Di Salvo.
Track A-04 produced in collaboration with Somec.
Track B-01 produced in collaboration with Heith.
Additional mix by Luca Pace at Eden Garden Studio.
Mastered By Rashad Becker at D&M.

A collaborative project between Advanced Audio Research and Haunter Records.
2018 all right reserved.

**VINYL BACK IN STOCK**Latino Bugger Veil presents the long-awaited vinyl reissues of Butthole Surfers' first four full-length albums. Originally released between 1984 and 1988, these classic and influential LPs capture the band at their peak, drawing
from punk, rock, psychedelic and experimental influences for a truly inspired and unmistakably unique
sound. Comes with coupons for free digital downloads

Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer Frick, is set to release his second solo album for London imprint Erased Tapes on October 12th. Titled Channels, the new record follows the release of the London and Berlin based producer's solo debut Eternal Something from 2017. The seven-track LP is Brandt's biggest statement yet, with the album's thrilling avant-garde framework interweaving chord-driven techno, orchestral flourishes,
rich electronic textures and hints of dark cinematic pop.

Following on from Eternal Something, which captured a contemplative kind of isolationism, with Channels Brandt set out to create an album that captures the essence of minimalism whilst lending it to a more playful context. After performing and recording Steve Reich's
Six Pianos in a group of six, Brandt began regularly composing long meditations on the piano, something that permeates the sound of the new record. Its frenetic energy and shape-shifting identity was also born out of touring with his new band Eternal Something — comprised of Brandt on piano, drums and synthesisers, Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire to translate both the sound and spiritual unity of their live shows in which musicians locked together to create an intriguing.


Detroit techno with an orchestral background. As with all of the tracks on Channels, 'Flamingo' began life as a sketch with very basic instrumentation, before taking it into the studio to rehearse with his band members, giving the album a live and visceral sound that sets it apart from his debut; 'It was a great experience to do it this way as I have always wanted to have the chance to try out something in a live setting before recording it in the studio and not the other way round,' explains Daniel. 'The actual typical rock band recording style that I
never had the chance to do before.' The album's most immersive, club-ready track 'Sailboats III' is built with a vivid and pulsating bass line that takes inspiration from a Lichtenstein painting, as well
as the UK bass scene and producers like Tessela and Lord Tusk.

The blossoming cosmos of 'Cherry Dream' is informed by Tangerine Dream's iconic soundtrack to the film Risky Business, a compelling reinterpretation of Love On A Real Train replete with darker, electronic elements and live orchestration. 'Daze', co-written with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a
rhythmic percussive pulse, whilst the understated 'Ltd' was stylistically inspired by Steve Reich's Electric Counterpoint as well as Daniel and his band's live improvisations with orchestral collective Stargaze, whose founder and conductor André de Ridder contributed violin on the album. Title track 'Channels' melds instrumental ambient with melodramatic embellishments, whilst the record's closer 'Twentynine Palms' takes it's name from the vast Californian desert, and was written while Daniel was travelling there, evoking the widescreen and rapturous sound of open space and nature.

With Brandt also being skilled as a filmmaker, directing and producing visuals for BBF and Eternal Something, much of the new album's creative ideas reference a rich visual palette. He directed the video for 'Flamingo', a sideways glance at the art world that takes the concept behind John Cage's 4'33' and turns it on it's head. 'The video for Flamingo is deliberately non performance — people sitting in a
room and watching basically nothing, never really sure if anything is ever going to happen. It's also a play on John Cage's 4'33', except in this instance there isn't even a performer present.' — Daniel Brandt
Daniel's passion for film even prompted him to kick start his own online television channel Strrr.tv in 2017 that since attracted a lot of attention with guest moderators including BBC Radio DJ Gilles Peterson, modular synth legend Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the most popular episodes.

Recorded between Berlin and London, Channels is a deeply enthralling listening experience, which sees Daniel Brandt build upon his distinctive percussive sound whilst exploring new and expansive horizons.

Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer
Frick, is set to release his second solo album for London imprint Erased Tapes on
October 12th. Titled Channels, the new record follows the release of the London
and Berlin based producer's solo debut Eternal Something from 2017.
The seven-track LP is Brandt's biggest statement yet, with the album's thrilling
avant-garde framework interweaving chord-driven techno, orchestral flourishes,
rich electronic textures and hints of dark cinematic pop. Following on from Eternal
Something, which captured a contemplative kind of isolationism, with Channels
Brandt set out to create an album that captures the essence of minimalism whilst
lending it to a more playful context. After performing and recording Steve Reich's
Six Pianos in a group of six, Brandt began regularly composing long meditations
on the piano, something that permeates the sound of the new record. Its frenetic
energy and shape-shifting identity was also born out of touring with his new band
Eternal Something — comprised of Brandt on piano, drums and synthesisers,
Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire
to translate both the sound and spiritual unity of their live shows in which
musicians locked together to create an intriguing meld of expansive works.
Intricate floor-filler and lead track 'Flamingo' synthesises the measured pacing of
Detroit techno with an orchestral background. As with all of the tracks on
Channels, 'Flamingo' began life as a sketch with very basic instrumentation,
before taking it into the studio to rehearse with his band members, giving the
album a live and visceral sound that sets it apart from his debut; 'It was a great
experience to do it this way as I have always wanted to have the chance to try
out something in a live setting before recording it in the studio and not the other
way round,' explains Daniel. 'The actual typical rock band recording style that I
never had the chance to do before.'
The album's most immersive, club-ready track 'Sailboats III' is built with a vivid
and pulsating bass line that takes inspiration from a Lichtenstein painting, as well
as the UK bass scene and producers like Tessela and Lord Tusk. The blossoming
cosmos of 'Cherry Dream' is informed by Tangerine Dream's iconic soundtrack
to the film Risky Business, a compelling reinterpretation of Love On A Real Train
replete with darker, electronic elements and live orchestration. 'Daze', co-written
with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a
rhythmic percussive pulse, whilst the understated 'Ltd' was stylistically inspired
by Steve Reich's Electric Counterpoint as well as Daniel and his band's live
improvisations with orchestral collective Stargaze, whose founder and conductor
André de Ridder contributed violin on the album.
Title track 'Channels' melds instrumental ambient with melodramatic
embellishments, whilst the record's closer 'Twentynine Palms' takes its name from
the vast Californian desert, and was written while Daniel was travelling there,
evoking the widescreen and rapturous sound of open space and nature.
With Brandt also being skilled as a filmmaker, directing and producing visuals for
BBF and Eternal Something, much of the new album's creative ideas reference a
rich visual palette. He directed the video for 'Flamingo', a sideways glance at the
art world that takes the concept behind John Cage's 4'33' and turns it on its head.
'The video for Flamingo is deliberately non performance — people sitting in a
room and watching basically nothing, never really sure if anything is ever going
to happen. It's also a play on John Cage's 4'33', except in this instance there isn't
even a performer present.' — Daniel Brandt
Daniel's passion for film even prompted him to kick start his own online television
channel Strrr.tv in 2017 that since attracted a lot of attention with guest
moderators including BBC Radio DJ Gilles Peterson, modular synth legend
Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the
most popular episodes.
Recorded between Berlin and London, Channels is a deeply enthralling listening
experience, which sees Daniel Brandt build upon his distinctive percussive sound
whilst exploring new and expansive horizons.

Aurora Borealis proudly presents the debut album from Fermata. Titled 'Salvaged Space', the album is constructed entirely out of phone and handheld recordings of quiet moments, street performers, instrumental improvisations, and noise pollution; 'Salvaged Space' is a document of the last few years that Fermata has spent experimenting with different methods of arrangement and composition.
"I aimed to prevent myself from overthinking the musical material, instead focusing on shaping and warping sound so that it shared the same alive/imperfect nature of the recorded soundscapes each piece is inspired by.' Fermata is the project of Harry Smith, highly complex, accomplished and nuanced for such a young artist. Embracing the full spectrum of electronic music, field recordings and sound design, 'Salvaged Space' is a deeply rewarding listen with a strong feel of the different geographies involved, giving a sense of linear and temporal travel.

Le Matin, always rare and uncategorised, following the reissue of his early synthwavepop tunes on « poussière d'époque » and a track on the good Lena Wilikens' Dekmantel Selectors 005 comp, this new EP on Lost Dogs Ent. let you hear some of his last works. Expect an ultra-cold-minimal-electro riddim, a less-mental-nearly-good-for-the-dancefloor tune with depitched haunted r&b vocals, an analog and bassy arpeggio ride ... On the flip side, Oh My God ! This is the peak-time-for-weirdo-nearly-techno tune, a blast, only for craziest DJs that like broken-frustrated-uncomfortable dandefloors and to finish this well balanced 5 trackers : the « are you depressed that much It's the 10th time you're listening to this OST of a dying world, this won't get any better but at least this is good music ! » tune. Le Matin is a good kept secret that prefer to take care of his kids than to travel the world of nightclubbing with drunk teens (ok that's how it is in France, that looks better in some other countries), but sometime you can hear his music on decks of some wise people and DJs like Call Super, Lena Wilikens, House of Traps, Charles Drakeford, Jon K, Bergsonist, Body Motion...

Nordra is the solo project of composer, programmer, and activist Monika Khot, who is also half of the avant noise/prog duo Zen Mother. As Nordra, Khot uses guitar, trumpet, voice, synthesizers, and other electronic and acoustic instruments to craft exploratory, inquisitive music that is both cerebral and soulful, combining post-industrial elements with musique concrète and gently melodic ambience.

PYLON II is an original score composed for an immersive performance choreographed by Coleman Pester for the 9e2 festival of technologically-driven art. This multimedia piece uses architectural design and live surveillance feeds to probe the dynamic relationship between observation and consent. Nordra's riveting score captures perfectly the tension between the vulnerability of embodiment and the dystopian apathy of the technological gaze, subtly raising questions about control and complicity through the lens of its own deftly manipulated simulacrum.

This limited edition vinyl release of PYLON II from SIGE records follows Nordra's 2017 self-titled debut for the label, "sounding like nothing else and not at all attempting to"

Stuart & Phil Moxham - Young Marble Giants
Also Features Alison Statton...so File Under Ymg


Originally Released On Rough Trade In Europe / Circa 1982

Rough and ready machine tracks from Brazilian producer/December collaborator Innsyter (LA Club Resource). CYN002 picks up where Coletivo Vandalismo left off, channeling that same wild, DIY bedroom studio spirit across nine individual recordings. Opening with sprawling synth motifs fighting against a steady rhythm track, 'Desintegrado' sounds like an industrial dub punk trying to channel early Cluster or Moebius and strangely succeeding. The rest of the LP treats us to vaguely Drexciyan, subaquatic electro ('Bries') and twisted lo-fi minimalism with bonus eerie monologue samples ('Superficial Love'). The one recurring theme on Magnetic Healing is Innsyter's clear love for mournful, post-punk inspired melodies. It comes across loud and clear on almost every track yet never sounds tired. Things eventually draw to a close with the hopelessly romantic new wave instrumental 'Forest Shaman' - a short ballad for all those weary-eyed party-goers who stuck around til the sun came up!

American composer and multi-instrumentalist Alvin Curran has remained one of the great emblems of experimental music for the last half-century. In 1966, along with Frederic Rzewski and Richard Teitelbaum, Curran co-founded Musica Elettronica Viva, a seminal gesture in collective free improvisation. In the early '70s, his solo work would become a crucial bridge between minimalist traditions on both sides of the Atlantic.

Canti E Vedute Del Giardino Magnetico, Curran's solo debut, was recorded by the artist himself and issued on Ananda, the small Italian imprint started by Curran and fellow composers Giacinto Scelsi and Roberto Laneri. The piece itself was put together in the winter of 1973 and presented for the first time at Teatro Beat 72 (Rome's The Kitchen).

Encouraged by the work of Terry Riley, La Monte Young, Charlemagne Palestine and Simone Forti, Curran binds the listener to aberrant notions of place and time: blending field recordings (wind, high-tension wires, beach waves, etc.) with simple and often primitive instruments. Across two sidelong tracks, Giardino Magnetico forms a lyrical collage of synthesizer, glass and metal chimes, plastic tubes, brass and the composer's alluring voice - converging in an immersive realm of Curran's inner / outer experiences.

This first-time vinyl reissue is recommended for fans of Harry Bertoia, Michel Redolfi and Lino Capra Vaccina.

Collaboration between Andrea Neumann (composer, inside piano, mixer) and Mads Emil Nielsen (composer, electronics).

Andrea Neumann and Mads Emil Nielsen's collaboration was initiated in 2014 with a common focus on creating music combining graphic scores, open improvisations and remixing. This led to their 'Deconstruction' series and a graphic score (Framework) interpretation. In 2018 Neumann and Nielsen produced a 4-channel composition and they now release a 10' vinyl.

The starting points for these ten short pieces are selected parts of recorded improvisations made with electronics and inside piano, which were remixed by both musicians. Different musical aspects such as tactility, three-dimensionality, repetition, rhythmical elements and transparency are explored by the two musicians as the ambiguous characters of the original improvisations are transformed into ten new compositions.

Recorded in studioboerne45, Berlin. Edited & produced by Andrea Neumann and Mads Emil Nielsen in Berlin / Copenhagen, late 2017 and early 2018.

An Island In The Moon is the perfectly conceived minimal ambient project from Italian composers Pier Luigi Andreoni (Doubling Riders, ATROX) and Silvio Linardi. Andreolina being a mix of the names of the two musicians who were both deeply involved with the label Auf Dem Nil on which the album was originally released in 1990.

The duo stick to a disciplined and simple palette using only two synthesizers and a Roland S50 sampler. They are joined by fellow electronic journeyman Riccardo Sinigaglia who contributes piano and samples on two tracks. Taking influences from Italian minimalism while adding some jazz hints Andreolina sprawls, weightless instrumentals that never stay soporific for too long on this singular rare album.

Auf Dem Nil or ADN was one of the most adventurous Italian record labels of the 80's and early 90's with releases by De Fabriek, Riccardo Sinigaglia and Pierre Bastien. Leaving their mark on the experimental music scene back than and influencing musicians worldwide up until today.

Debut Double Lp Album From Blakk Harbor The Greek Berlin Based Artist And Sound Designer Behind Native
Instruments, Angelos Liaros. Soaring Drones, Dark Ambiences And Expertly Crafted Sound Design. 'madares' Title
Derives From The Actual Dune Mountains Of Crete. This Moonlike Landscape A Sacred Land Of Ancient Ceremonies
And The Main Inspiration For The Album Concept, Cover And Artwork. Percussive Samples And Drones Are Created
From Traditional Custom Cretan Instruments (lute, Skin Drums, Lyra, Tsabouna) & World Instruments (tibetan
Bowls, Gongs, Dungchen Horns) Granulized To Death Drones Through Modular Synths And Hardware Samplers.
A Black Hole Soundtrack That Sucks You In Tearing The Fabric Of Space And Time. Enter A Ritualistic Occult Trip To
The Unknown.


-Black poly-inner bags
-Limited edition of 250 copies
-Including bandcamp download card

On her debut EP, Brussels-based multi-instrumentalist Esinam gives us an entrancing insight into her eclectic world of jazztronica.

Released 21st September via Sdban Ultra, her self-titled EP carries influences from different worlds geographically, culturally and musically. Blending traditional and modern instruments with her soulful voice, the acoustic sounds of the instruments are allowed to evolve and take on new dimensions, opening up a kaleidoscopic spectrum of sound and colour.

Esinam Dogbatse is part of a new generation of musicians bringing forth a cultural blend of music. Having opened for the likes of Nakhane and Témé Tan at Les Nuits earlier this year, Belgian rapper Baloji invited her to guest on his latest critically acclaimed album '137 Avenue Kaniama'. She has also supported Alsarah & The Nubatones, Selah Sue and Melanie De Biasio on her sold-out shows at Ancienne Belgique.

For the recording of the EP, Esinam joined forces with Jules Fradet from Studio Planet (Damso, Afrikan Prötökol). Producing and playing most of the instruments herself, the EP was mastered by LA-based producer Kelly Hibbert aka Almachrome (J Dilla, Madlib, Little Dragon, Flying Lotus, Ebo Taylor, Mark de Clive-Lowe and Arca).

Lead track 'Birds Fly Under a Heavy Sky' is a mesmerising opener that smoulders effortlessly against a backdrop of subtle beats and sensual rhythms, with Esinam's soft vocals and hypnotic flute providing the groove.

On 'Do Not Go Into That Black Night', she is dark and direct. It's a magnetic take on jazz noire that doesn't distract from the sultry inflections of her voice, while 'Gavoé' recalls the spirit of her Ghanaian roots in a ballet of instruments that display a level of personal freedom and sensitivity. Through merging different genres of music, we are warmly welcomed into Esinam's musical universe.

Esinam teamed up with Senegalese DJ and producer Ibaaku on the highly charged 'Electric Lady', who provided some distinctive musical hues. A track drenched in afro-futurist colours, sonic samples and collages freely mix with electric and raw sounds, supporting the energetic playing of the flute. The structure of the song remains true to Esinam's signature sounds: surprising ruptures, poetic atmospheres and constant affirmation of groove.

When Esinam performs live, she juggles traditional instruments such as the tama, kalimba and pandeiro, which she loops and blends with the sound of her flute and voice. It sometimes triggers dance, sometimes contemplation

Black Box is a series of releases by Mads Emil Nielsen with music & audio originally made for theatre pieces / performances, installations and more. The first release,Black Box 1, is based on music/audio made for MHPH, a dance/theatre performance in DK, 2017.

The series shows the more melodic work of Mads Emil Nielsen who, during recent years, has been focusing on more abstract electronic/acoustic material - such as his collaboration with Andrea Neumann and Framework series (graphic scores). Future releases in the series will include tracks made specifically for radio soundtracks and compilations.

Mads Emil Nielsen (b. 1989) is a musician/composer based in Copenhagen. He works with basic sound sources, often combined with short percussive and orchestral samples, real sounds and an amplification of machine produced errors. In 2014 he founded arbitrary, the label and artistic platform on which he released a series of graphic scores and recordings and various solo works & collaborations including Neumann (2018).

Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early '80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound.

The second album and perhaps the most rare in Niblock's vast catalogue, 1984's Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli's oboe and English horn to create seamless, enchanting drones.

Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing.

This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.

Tape edition of the Bloodline album. One side is the version from the LP and on the flip is a chopped and screwed version.

...a 2x1m metal plate hung on a stand or frame is stimulated by amplifier driven modified motors used as strong transducers, and sensored by pickups. The computer controlled feedback uses digital filters and dynamics effects as signal processing to try to resonate the plates within their individual overtones. These playable feedback filters are controlled as notes by playing increasing and decreasing sounds near the composed frequencies of the notes which evokes speech and 'singing-like' musical phrases in a wide range of frequencies typical of the chosen material. As a result of this arrangement, normally barely detectable resonances are produced in the musical space and create metallic-sounding multi-tonal clusters, whereby, due to the formation of formants and noise between the shifts, fast phrases and extremely slow polyphonic chords emerge from the sound plate. What initially appears as chaotic movements can soon be experienced as structured recurring patterns...

- Winfried Ritsch

Articulat is the (new) artist name of Ovidiu Stanciu, a Romanian dj/producer living in Rotterdam. Under the moniker Manikin, he worked on several concept albums with titles like Popular Mechanics, Taxim and Grandma's Attic Revival over the last couple of years. While selecting tracks for this debut EP it felt like curating a 'best of', and we chose to put three thriving and pounding slow-beat bangers on the A side, and to show more of Articulat's versatile style on the B-side. Expect experimental electronic songs inspired by themes like Steampunk and Romanian folklore, very precisely engineered to experience storytelling in the most physical way.

Released to coincide with Kraftwerk's forthcoming June 2017 tour - their first UK dates since the breathtaking shows witnessed at the Tate Modern in 2013 - Parlophone are proud to announce the release of Kraftwerk 3-D The Catalogue on 26th May. This is the ground-breaking 3-D Kraftwerk Concert brought thrillingly to life, developed using high definition 3-D visuals, with Dolby Atmos surround sound and presented to the technological and audio standards one would associate and indeed come to expect from the pioneering Germans led by founder Ralf Hütter. For the very first time, every Kraftwerk fan can now experience a "Gesamtkunstwerk - a total work of art' in the comfort of their own home. Kraftwerk 3-D The Catalogue is released across a number of formats including: Blu-Ray, Vinyl, CD, DVD and Download
3-D The Catalogue features new recordings of Kraftwerk's 8 classic albums performed / filmed at various locations around the world between 2012-2016 and mixed at the band's own state-of-the-art, Kling Klang Studio, Düsseldorf


Vinyl Box Set
12' x 12' rigid board slipcase, housing 8 albums across 9* pieces of heavyweight vinyl + a download card (*'The Mix' is double vinyl)





















































ZZA o4 | Metal On Metal
[ZZB] o5 | Abzug
[ZZC] o6 | Home Computer
[ZZD] p1 | Boing Boom Tschak
[ZZE] p2 | Techno Pop
[ZZF] p3 | Music Non Stop
[ZZG] p4 | Planet Of Visions
[ZZH] q1 | Tour De France
[ZZI] q2 | Prologue
[ZZJ] q3 | Etape 1
[ZZK] q4 | Chrono
[ZZL] q5 | Etape 2
[ZZM] q6 | Elektro Kardiogramm
[ZZN] r1 | Aéro Dynamik
[ZZO] r2 | Vitamin
[ZZP] r3 | La Forme
[ZZQ] r4 | Regeneration

Reissue on LP with some of the only known recordings from the infamous occultist, mystic, magician, poet, novelist, sexual deviant, and all-around misfit, Aleister Crowley. Recorded onto wax cylinder in the early 1910s, and later transferred to 78 RPM discs. The tracks include Crowleys recitation of the first two Enochian Keys, original poetry, incantations, and songs. An absolutely essential piece of occult history reissued on LP.

Lurka returns to Timedance with the follow to his 2016 single Beater. The Bristol producer turns to dial up to eleven here with two expertly designed carnival stompers. Combining a knack for groove like no other alongside sound design from another planet, this record helps stamp Lurka out as one of the most singular and exciting dance music producers around right now. Take note!
140g record / black sleeve w/ sticker

'unplugged vol. 1' is the first in a cd series by ssaliva. The first one contains 11 synthetic vignettes, a very stripped back affair, much more then we are used of this ever so elegant master of layering and kingpin of the lighter kind of electronic lasagna, digesting the latest flavors long before they get stale. Not on this one though. These are more skeletons of pop songs, bare and glassy, played on a fake nylon-stringed koto for an imaginary court of internet angels.
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Digipack in silver pantone with black
500 pcs