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

It was Vladimir Ivkovic who introduced me to the world of Rex Ilusivii. A world where the spirit of a genius holds sway. I remember spending an entire night at Vladimir's house in Germany, listening to all those recovered pieces, and feeling like I had entered another space-time.

Mitar tragically left us, one November night in 1999 in Brazil, leaving behind an extensive body of work consisting of more than 500 pieces, for the most part never released. Being submerged in such a unique universe, so singular, brought me happiness. It also filled me with hope, because I tell myself that today there must be many other outstanding musicians who produce in the shadow of the traditional circuit, just for the pleasure of making music.

Listening to the music of Mitar Subotic makes you part of his world. He did not stop producing from 1983 to 1999, in different styles, but with an instantly recognizable touch.His music also marries the evolution of recording techniques with new instruments that have appeared over this time, from the TR808 to the digital samplers. It took me more than two years to select the music for this record, as each time I listened to the material it revealed other details and other possibilities.

I am extremely happy and honored to present this record to you, in which I try to do justice to the different, "versatile" facets of Suba.

Steve Pepe's 'danza Moderna' Takes Cues Of All Manuel Cascone's Musical Experiences (from No Wave To Weird Pop, From Sound Scores To Abstract Ethno Music And Even Children Music) And Puts Them "inside The Big Container Called Dance Music Trying To Demolish Some Of Its Automatisms". The Result Is Seven Tracks That Feel Too Alive To Enclose Them In A Genre. Music That's Playful And Transcendental At The Same Time, With The Kind Of Natural And Effortless Feel That's So Hard To Achieve. The Path To It, Indeed, Wasn't An Easy One. Cascone Had Always Had The Steve Pepe Project In Mind. But, As He Admits, The Need Of Having A Studio Where To Produce Music Full-time Took Him To "several Disastrous Solutions And A Lot Of Logistic And Legal Problems". Having Been A Fixture Of The Underground Scene Of Rome Since The Mid-2000s, Two Years Ago He Finally Found A Proper Space In The City's Suburbs Where He Could Develop His Electronic Music Experiments. The Starting Point Was To Eliminate Everything He Considered Overrated. The List Included Ableton Live, Samplers, Effects, Drones, Modular Systems, Loop Stations And Straight Kicks. Synchronizing Two Drum Machines And Two Synthesizers, The First Incarnation Of The Project Only Existed As A Live Set. But When He Decided To Start Recording, Everything Changed. In His Own Words, All Of It "sounded Weak And Pointless". He Then Reconsidered Things A Bit. He Expanded The Tempo Ranges And Inserted Tape Echoes, Added More Melodic Synth Lines And A Flute To Finally Found The Sound He Had Been Chasing. does This Mean He Has Succeeded Not Really. In The End, And As He Puts It, "the Languages Needed For Sharing Ideas Necessarily Rely On The Rules Of Understanding". Maybe We Should Add That It's Not Necessary To Understand Something In Order To Enjoy It.

Experiential composer Tim Hecker's ninth official full-length, Konoyo ('the world over here') was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo.
Inspired by conversations with a recently deceased friend about negative space and a sense of music's increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.
As with the Icelandic choir he arranged on 2016's Love Streams, the heights of Hecker's talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.
Hecker will stage a series of special performances in tandem with the album's release, featuring members of the gagaku ensemble on sho¯, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale.

Nikolajev Hits Hard With His New 12' Release 'retta' On Pa¨a¨stevest. Tallinn Lekker Club Co-founder Robert Nikolajev Channels Raw Grit And Pulsating Energy In Retta (dance Mix). The Flip Side Houses An Internal Dialogue Of Unnerving Tension.

Limited 300 Press.
All Tracks Produced By Robert Nikolajev. Mastered By Alex Gordon.
Pressed At Deepgrooves.

Yugoslavian Space Program is the first ever electronic space music themed record from former Yugoslavia. It spans the period between 1981 and 2015 and is a result of long-term research by Discom record label as a part of their ultimate effort to present undiscovered electronic music from this part of Europe. The compilation is made in collaboration with yugo artists, whose work is already highly appreciated by record collectors and DJs worldwide.
The album opens with two tracks from the Slovenian synth pioneer Miha Kralj: "Robot"- a very obscure, a la Rockets experimental electronica, and "Juh-Hu"- his recently rediscovered space gem. Next two are the previously unreleased, but surprisingly good tracks of the Serbian band Oskarova Fobija: "Izmedju Dve Kapi Znoja" (Between Two Drops of Sweat), a floating 80's synth space song, and "Mayan Spacecraft", a dancy instrumental featuring Akai's ubiquitous Shakuhachi flute patch.
Equally interesting, the B-side showcases influences of the Berlin school of electronic music. First, by the legendary group Beograd's "Eenterstallar", which is a Klaus Schulze-like psychedelic contemplation, and their second song reminiscent of 70's krautrock masters like Tangerine Dream, "Mozak Primopredajnik" (Brain Sender Receiver). However, the highlight of this compilation comes from Digitron, a Serbo- Croatian group formed by Zoran Jevtic (of Sizike, Data, and Master Scratch Band) and Andre Koy. Like their heroes the Kraftwerk, these guys excel in forging their unique synth sound. Their song Digital Minds' is a perfect dystopian vision of a future society, while the equally electrifying track Kosmos', akin to many Kraftwerk songs, draws its inspiration on the Soviet technology and culture. The distinctive characteristic of featured recordings is the fact that all sounds and patches are synthesized and manually programmed, without extensive use of commercial samples or drum loops. In addition, the entire concept of this meticulously devised compilation, from its music selection to sound design and artwork, covers a wealth of messages and symbols of the time in some detail. On the record cover, along with sketches of Yugoslavian scientists and astronautic pioneers, whose ideas were way ahead of their time, you will also find communist-era sculptures, monuments and buildings depicted as flying crafts or celestial objects.
The goal to present Yugoslavian space electronic music in much broader context - as a result of perception and aspirations of generations of those who grew up and lived in Yugoslavia - is more than perfectly captured in this release. The fact that the country itself does not exist anymore and that this kind of music is thus impossible to create again makes this record even more significant today.

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

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

Formate:

- Cd In Minigatefold Mit Zwölfseitigem Booklet
- Schwarze Heavyweight Doppel-lp In Gatefold Sleeve Mit Mp3-downloadcode

Following on from Angophora's beautiful long player, Ken Oath is back with another full length LP from Low Flung. Friends of the label will note that this is his third release for Ken Oath, and it's a fittingly mature and expansive statement for a debut LP. Perhaps mature is the wrong word here, as all his brilliant ideas are backed up by a sense of whimsy that betrays his playful side. The music strikes a balance between styles and spaces that could perfectly soundtrack moments at home, in the club, and in the liminal spaces between.

Danny's efforts at writing dance music still contain the idiosyncratic approaches of his ambient works: The deadly deep subs and endless echo spirals on "Rising Damp" sounds like someone trying to piece together a Drum & Bass track after an off-hand conversation about the genre. He's transmuted the propulsive energy of jungle into something no less dynamic, full of stops and starts and sonic pressure but flush with space. "Tarp Climber" is at heart a rollicking digi-dub.

The more ambient moments of the LP are equally captivating - the glassy tones of "Frozen Coat" sound like a space-age ensemble soundtracking a floating lounge on a suite of glass instruments, while "Ocean Grove" blends field recordings and dreamy synthesizer melodies to create an uncanny sense of place that unroots you from wherever you're listening.

There's a heavy emphasis on Danny's collaborators as well - the Cold Emotion duo is reprised on the spacey 'Hills Hoist'. Closer "Bacchus Marsh" is a collaboration with Prophets, a cross-state ensemble that defy any easy categorisation. The music here flirts with jazz and minimalism but with a dubwise production aesthetic to produce something that recalls Khan Jamal's visionary "Drum Dance to the Motherland" in spirit and practice, but this whole album sounds as otherworldly and one-of-a-kind as the aforementioned LP.

In search of the sublime, contemporary electronic musician Steve Hauschildt has designed grids and panoramas of sound across multiple releases through the rise and dissolution of his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music. Consistent with his solo work is Hauschildt's ability to coil his craft in precise, varied, and distinctly physical forms. Gently spinning arpeggios converse with post-industrial decay. Sonic bers sway like pendulums from static melancholy to motorik bliss. Dissolvi, the artist's rst full-length with Ghostly International, engages sublimation from an ontological perspective: by dissociating the self. Hauschildt steps out from the singular path, for the rst time in a traditional studio, to compose and arrange contributions from friends. As a result, his most collaborative work to date extends a vast, vibrating framework in which to consider the state of being.

The album's title — a reference to cupio dissolvi, the Latin phrase meaning "I wish to be dissolved" — needn't be taken one-dimensionally or as purely solipsistic. It does, however, serve an apt reference. Physiological phenomena are of interest to Hauschildt. These back-of-mind ruminations nd their way out. Songs are cerebral in orientation, but beyond explanation, the music is truly visceral.

Involuntary eye movement inspires the serene, sanguine-nearing-suspicious "Saccade." Hauschildt feathers soft percussion beneath the echoed refrains of Los Angeles musician Julianna Barwick, together shaping a svelte suggestion of the anxieties brought about by modern-day surveillance; if everyone is being watched constantly, there is no individual, no self, only a broadly monitored and clumsily cataloged populous. The work of Chicago poet Carl Sandburg comes to mind: 'I am the people—the mob—the crowd—the mass.' The individual dissolves into the taxonomic crowd.

Minimalist techno impulses provide a stylistic through-line for Dissolvi. Understated synth phrases and drum grooves take hold in selective moments, like synchronistic structures onto which nebulous mists, like the rapturous voice of Gabrielle Herbst aka GABI on "Syncope," cling to and cloud, producing a dazzling rift in consciousness. The 7-minute centerpiece "Alienself" reiterates this creative logic, burbling like an amorphous body of water on a low-gravity planet, on the verge of dissolving, but never fully dematerializing.

The album was constructed in Chicago (where Hauschildt now resides) and partially in New York. "Much of it was recorded in a windowless studio which removed elemental or seasonal references to time in the music," says Hauschildt. "The focus this time was on mixing the album and incorporating a broader set of instrumentation. I describe my compositional approach as being quasi-generative." Embracing new methods and philosophical curiosities, and in turn, expanding the range of his repertoire, Hauschildt proposes a fascinating and profoundly rich experience in listening, being, and deliquescing.

Andrew Weatherall Remixes numbered

Highly synergistic split from Eleh and Caterina Barbieri featuring two sides of similar audio dimensions. These two electronic sound poems slowly unfurl rich timbre and harmonics with an austere stillness that is, somehow, ever-changing. It hardly matters whose side is whose.

In December of 2016, Denver, CO industrial act Echo Beds suddenly found themselves locked out of their rehearsal space. Their gear was being held hostage as city officials all over the country cracked down on unsanctioned artist collectives and the various DIY structures where many outsider creators lived and worked. This weighed heavily on the duo, who spent the next eight months experimenting and writing the material what would become Buried Language in their living rooms. Deprived of their usual tools, they was forced to improvise using unfamiliar electronics and various cobbled together devices in order to flesh out the embryonic ideas. With the plight of their colleagues fresh in their minds, these new working conditions served to shape the industrial landscape of this release, their second full-length album and first for The Flenser

Ekin Fil continues her quietly complex dream-pop oeuvre on Maps. For many years now, this Istanbul musician has been writing mysterious and haunting songs, rich in heavy-reverb effects and an introspective torpor. With each successive album, her songwriting has blossomed through broader instrumentation and more intricate melodic phrasing, though the somber atmospherics and ghostly manifestations remain a judicious constant. Minor-key, tear-stained notes of piano, organ, and guitar veer along elliptical orbits as a soft-whisper lilt of Ekin's voice narrates more by emotive decree than by literary couplet.

Maps addresses the distance and dislocation of the self from the bustling center of Istanbul, where Ekin FIl (neé Ekin Üzeltüzenci) had once called her home. Having spent her first winter on a relatively quiet island in the Sea of Marmara (while still in the greater metropolitan umbrella of Istanbul), Maps is lonely, different, kind of isolated,' according to Ekin, who also noted that the island had 'too much silence around. There is no other choice but to concentrate, I guess.' Her poetics of silence on her previous recordings had been noted as an antidote or a dream capsule of sound in response to Istanbul's cauldron of politics, culture, and philosophy that has been boiling almost since the beginning of civilization. Maps bends that maritime silence into wind-swept smudges that complement her already spacious compositions.

The saddest songs of The Durutti Column excised of rhythm and those few plunges into sorrow by Harold Budd make for apt comparisons to Maps, in addition to the drone-on classics of Grouper, Slowdive, and Sarah Davachi.

Sub Rosa present a collection of Pauline Oliveros' early material, aptly titled Early Electronic Works 1959-66, released as a part of the label's Early Electronic series. Released in 2008 in CD, now finally on vinyl!

Oliveros was an important American composer, born in Houston, Texas on May 30, 1932; the music she produced in the latter part of her life is akin to the breath of life, notably, through her pieces for accordion (particularly those which she herself performed). In addition to her performances, she also made an impact in the world of contemporary composition through the creation of the Deep Listening Center, her approach to improvisation, and her numerous and varied collaborations including those with John Cage, Morton Subotnick, Terry Riley, Sonic Youth, Erold, and Andrew Deutsch. The music presented here is her early and definitive contribution to the tape and electronic music of the late 1950s and 1960s through her systematic exploration of electronic sounds, which was fundamental during this period.

"My work with electronic music began in 1959. My first tape piece was an ambitious four channel work called Time Perspectives (1959). The piece was made by recording small sounds from objects resonated on a wooden wall and changing the tape speed. I used cardboard tubes as filters by inserting the microphone into the tube and recording sources through the tubes. I used my bath tub as a reverberation chamber." - Pauline Oliveros

When a band calls itself Rhein it is a brave move. The superstructure is weighty and demands a dedication to art. Although the musicians Jürgen Krause, Johannes Rix and Peter Michael Witt claim to have chosen the name because of their residential locations in Cologne and Düsseldorf. This may be so simple, but it is perhaps only the obvious part of the story. Are not the kilometers of current between the cathedral city of Cologne and the Rhine metropolis Düsseldorf the Mississippi delta of electronic music That culturally fertile section of the river that first gave birth to Krautrock and then to the very music that was shaped into today's Techno and House in Detroit and Chicago Rhine is the primordial soup of electronic music.

The German name Rhein - the pun is permitted to the author of these lines - always resonates with the word "rein" (which means pure or clear). Audibly, the band Rhein cultivates the original, the primordial state. Their two "takes" are snapshots of music in statu nascendi: pure sound. There is no evoking of Schnitzler, nor Rother, nor Hütter/ Schneider. No melodies or rhythms that would give hints for an interpretation. When the layers, the pulsation of the synths in search of synergic elements and harmonies meet on guitar fragments, Rhein is in the flow: This trilogy oscillates from a flat rivulet to a profound, unbridled torrent. Like its name giver, Rhein is unpredictable. Rhein rises from the bed of digital listening behavior, giving sound the space it deserves, and astonishes the astute listener with a psychedelic experience of music. Rhein is beauty.

American experimental musican Shane English continues in a long tradition of outsider electronics as he's been humbly prolific in his output though the years involving himself in numerous recording projects.Collaborating with Jonah Lange in their group Corporate Park as well as an ongoing collab with Beau Wanzer (seeing a release last year under the CP/BW name), English now commits his second full length solo offering to vinyl in the form of the General Dimensions lp.Sparse machine driven electronics dominate the recording providing a back drop for the occasional pulsating rhythm, metallic clank or floating obscured vocal. While it is a dark and sparse affair there is a quiet downtrodden beauty throughout giving the recording a sense of uncertain serenity in an almost shoegazey way. Highly recommended for those into early electronics.

'The first release from Berceuse Heroique arrived at the Honest Jon's basement the 21st of April, we didn't sell it until the next day, though, 'cause we don't like all that RSD bullshit. This April we wanted to celebrate 5 years since that day, with our 50th release, but manufacturing records is becoming a very weird place where time and deadlines don't exist. So, today we are releasing 3 new tunes by our dear friend Florian aka Don't DJ and a remix from one of our favourite artists ever, Mr. Newworldaquarium. It's properly cut on two 12"s (180g vinyl as always) and properly mastered by our favourite mastering engineer, CGB of the D & M crew.'

Etch Presents the second release on his new imprint Altered Roads. Again looking down different avenues in terms of sonic diversity, tempo and functionality with disregard for preconception. Opening with the spacious and weightless drum choppage of 'Lost Orbit VIP' looking back to BBC Radiophonic era synth work and all the cosmological imagery that conjures up. The second track 'Phenomena' is a different beast altogether, stripped back to the bare minimum of a claustrophobic sub bass, off-kilter Loefah-meets-J Dilla beat and the monotonous groan of an unknown entity, built off the back of an admiration for psychological survival horror video games such as Silent Hill and Forbidden Siren. The first track of side b 'Beggars Belief' is a distant cousin of Etch's 2015 release on Wisdom Teeth 'Toxin', with grimey basslines clashing with swung beats, broken glass and gushes of warm synth chords. The final track 'Paging Dr.Octagon' Etch directly inputs his admiration for Kool Keith's alien surgeon. Chopping up old school breaks in the hardest way possible over looped synths and samples from the Mo Wax classic.

Repressed on transparent sea-foam green vinyl, it includes a booklet that tells the story of Smalls Lighthouse, a download of the LP and the bonus mini album 'Flotsam' - that was included with the initial CD release on Second Language.

"A murky neo-classical album, Music For Smalls Lighthouse plays like a salt-soaked requiem, perfectly capturing the inevitable breakdown when you're alone with a body 20 miles off Wales."
[Drowned in Sound]

With the five year anniversary of its first release on Clay Pipe approaching and the original fetching high prices on discogs, it seemed like the right time to make more copies of Plinth's Music For Smalls Lighthouse available.

Plinth's, Michael Tanner is a musician from Lewes in Sussex who has recorded under a myriad collection of names and guises these include Cloisters, Taskerlands, Thalassing, part of the duo The A Lords - on Mark Fry's 'I Lived in Trees', and with Irish improvisers the United Bible Studies.

"Music For Smalls Lighthouse fosters a subliminal mixture of arcane atmospherics and mournful chamber music....Tanner seals six exquisitely evocative pieces together into one bleakly alluring whole..."
[DOA]

Smalls Lighthouse, is located approximately 20 miles west of St Davids Peninsula in Pembrokeshire Wales. Engineered by a violin- maker and standing on flat rocks battered by the sea, the original lighthouse resembled a squat hut on giant stilts. In the year 1800 two men Thomas Howell and Thomas Griffin, well known locally for their drunken spats and quarrels, boarded a fishing-vessel to spend six months together as lighthouse keepers on Smalls Rock. During this time Griffith was killed in an accident and Howell was left alone to fend for himself struggling to stay sane in the isolation of the lighthouse. The music on this record soundtracks the events that took place with beautiful and often gruesome clarity.

- Reissue of 2003 debut album of renowned ambient / noise / electronic artist .
- Most recent album is on 4AD and garnered a 8.2 rating from Pitchfork .
- Originally issued on the Alien8 label and now long out-of-print.
This is the first reissue of Tim Hecker's classic 2001 debut full-length. The original recordings were remixed by Tim Hecker and mastered by Matt Colton at Alchemy Mastering.
press quotes for Haunt Me, Haunt Me Do It Again:
"Haunt Me is alien, amorphous and occasionally noisy, but always welcoming.' Pitchfork
"Haunt Me Haunt Me, Do It Again is a brilliant album of subtle, evocative mood music.' AllMusic
"Hecker was already on a different wavelength with Haunt Me, clearly seeking something that would trigger ASMR-induced enlightenment, and he ran with it.' Stereogum

Two Words is the debut release from the duo of Canadian sound artist crys cole and Australian songwriter Francis Plagne. Building on a series of experimental live performances in which the pair toyed with possible common languages for their seemingly unrelated approaches to music, the LP's two sides present a single piece that brings together abstract texture and slow-motion song in a sonic space where genre cedes to the logic of dreams.

The piece begins with a long, nearly static sequence built primarily from rubbed surfaces, using movement in the stereo field and changing mic placements to create a unified but unstable sonic environment that mimics wind, water, and breath, opening an impossible space between nature and artifice. This artificial outdoors ultimately makes room for Plagne's electric organ, which sounds a series of melancholic chords to accompany a wandering Wyatt-esque keyboard line as cole's intimate contact mic textures sizzle and pop in the foreground.

From here the piece makes a surprise detour into song, as the majority of the second side finds Plagne intoning a series of obtuse two word phrases (from a text by Berlin-based poet Marty Hiatt) to an austere organ accompaniment. Working closely with engineer and producer Joe Talia, cole and Plagne extend the studio-as-an-instrument tradition of Teo Macero and This Heat, introducing subtle yet unexpected production shifts that lead the listener from the initial austerity of the organ and voice to an oneiric space of asynchronised vocal doubles, creaking textures, and distant whistling, ultimately arriving at something like an imagined meeting of Organum and Arthur Russell.

Packaged in a suitably mysterious sleeve featuring a lush work by Australian painter Anne Wallace on the front and text by Hiatt on the back, Two Words is both comforting and strange, a disorienting blend of seemingly discrepant elements.

Freshly based in London, Cabasa mixes up his own UK influences with what his dad has been listening to at home since he's a kid (electronica, jungle, acid-house...). What comes up is a subtle fusion between ambient soundscapes and percussive sounds, from 90 to 180 BPM. He seeks for boundaries between beatless and rhythmic compositions.

Naschkatze duo was founded in late 2015 by two visual artists and musicians Farhad Farzali and Ali Hasanov. Naschkatze goes beyond strict genre and style definitions and boundaries; the producers/composers duo constantly works on expanding and developing their sound resources through research of the musical heritage of different cultures of the world, with a special source of inspiration definitely coming from the Caucasus.

'Dilber' is sourced from the samples of two songs - "Dilber" from the "Lak Songs" (*The Laks is an ethnic group native to an inland region in Dagestan, North Caucasus in Russian Federation) for baritone and chamber orchestra by Shirvani Chalaev with voice solo performed by the author, as well as the song "Beautiful leaves fall" by Thomas Korganov, performed by the Children's Big Choir of the All-Union Radio and Central Television of the USSR.

Several notable names of the contemporary electronic music scene - Ulrich Schnauss (UK), Johan Troch (BE), Nico Niquo (AU), Katya Yonder (RU), Dmitry Evgrafov (RU) - were invited to support the EP with series of remixes on its key track.

In 2007, the Australian trio Drunk Elk recorded a singular self-titled cassette for Sean Bailey's Inverted Crux label. Despite limited release, the album circulated through the freakier channels of the international underground via bootlegs, private downloads, and whispered praise. While Drunk Elk has since spawned a string of equally powerful releases, this first album remains exceptional. It is a snapshot of the band in embryo, exuding the kind of vulnerability only achieved when nobody else is listening.

Drunk Elk was recorded in Battery Point, a coastal suburb of Hobart, Tasmania, where deep harbors and heavy skies set the appropriate backdrop for the band's peculiar strain of moody, romantic repetition. With keyboard, bass, and singer Dave Elk's devotional verse as the only instrumentation, the songs are by nature skeletal, but they somehow ooze a luminous melancholy. Sam Acres wrings delicate melodies from the cheapest keyboard presets. Simon Kraus's bass lilts in and out of time with a blunt, buzzing tone. Dave Elk's sings with an exalted pathos.

Drunk Elk is elegant even in their clumsiness. They hit all the wrong notes at the right moments. Homespun shambles are rendered with strange finesse and a dark, poetic extravagance. When Dave sings Play that strange tune again / That off-key melody, I believe he is singing as his listener--confounded by the music's strangeness, but captivated by its curious charms.

By now, the story of how Jlin went from working in a steel factory in Gary, Indiana to being one of the most widely appreciated electronic musicians is well known. 'Black Origami' was one of the most reviewed and lauded albums last year. Seriously prolific and seriously hard-working, she has toured constantly since its May 2017 release and despite being involved in a wide range of projects, still manages to find a balance and 'do some personal healing and growing.'

Here we are over a year later with 'Autobiography,' the score for her collaboration with renowned British choreographer Wayne McGregor arranged by Unsound. This isn't technically her third album (that's due to arrive in 2019 or 2020), but the soundtrack stands up on its own with all the emotional peaks and troughs of a well-sequenced longplayer.

For Jlin, making music for dance is the fulfillment of one of her lifelong dreams - and remarkably, Company Wayne McGregor's performance was the first show she'd ever seen. She describes the process of working with Wayne: 'We first met face to face in October 2016 in a downtown Chicago hotel, talking for about a solid two hours. Immediately, I saw Wayne was very friendly and energetic. He's brilliant, witty, and knows exactly what he wants; an absolute gem to work with. Before I even started composing for Autobiography, Wayne told me so gently that he trusts me completely with my direction of creating the score. That was the best feeling in the world. I would wake up at two in the morning and work until six in the evening until I completed all the pieces. We were both very happy with the outcome. Creating the score for an impeccable piece of work such as Autobiography changed my life as an artist.'

'Autobiography' is a highlight in an evolving and growing career. During the last year, Jlin has also become an in-demand remixer, securing her place among a roster of music heavyweights. Unsurprisingly, given her positive and outgoing nature, she also developed friendships with the artists she has remixed such as Björk, Max Richter and Ben Frost.

Jlin will be touring with Company Wayne McGregor performing 'Autobiography' this year in addition to completing a commission for the Kronos Quartet titled 'Little Black Book.' She still approaches every performance 'with the same attitude of doing my best to execute a good show, no more, no less. Doing my best is what's most important to me.' She also still lives in Gary, Indiana, which keeps her grounded. She notes with her typical humility, 'The local community is a little more knowledgeable of me now. But I don't mind my community taking its time.'

LNS' self-released six tracker mixes excellent electro impulses with sturdy leftfield. Imagine a PCB board soldered with a crafted hand, finely shaped metallic, solidly sequenced connections where every single element has a saying for its entirety. Compositions are tight, filled with two types of rhythms - snappy & booming as well as deeply induced. Comes with an E-GZR remix & mixdown.

After a nervy début with 'The Future of Discipline' (2016), the Leichtmann / Tricoli duo gel in more sensuous curves and oneiric space on their 2nd collaboration for Entr'acte
Pulled along by viscous grooves in la Casa delle Chimere, it feels like the duo found a new route out of their previous tangle of tape loops, percussion and FX, only to periodically lose the thread and
dissolve the rug woven by their noumenal looms.
Recorded live to two-track at Plivka, Kiev, in 2017, the results resemble the environmental sound of an alchemical lab or some experimental machinery workshop that comes to life afterhours
when nobody is listening - seemingly documenting inanimate objects in etheric dialogue, drills seducing vices and soldering irons spunking flux on live circuit boards, perpetually short-
circuiting half-built systems.
In the best way, we hear both artists' well established processes and approaches subsumed into a greater, indivisible whole with plenty of ephemeral remainders that will keep you coming back the plate.

Fresh from wowing us with that crazy limited promo 45, Krikor Kouchian delivers 11 tracks of expertly executed, shimmering boogie funk. BIG TIP!
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Think of the neon lights of the boulevard or a late nite drive through the lonely hills, Krikor Kouchian's "Pacific Alley" propels you to a world of sleaze and excitement, where passion, money, and illicit substances take precedent and the sun beats down in a relentless unforgiving fashion.

Spending time as a youth in Southern Cailifornia, the French-born Kouchian developed an obsession with this Americana and the magic of everything California. The music on the radio, from pop, to funk, to hip hop fueled his impressionable mind, later on taking influence in his own music.

Pacific Alley is a snapshot of this lost period, full of juicy low slung basslines, slow bpm cruisers, Linn drum crashes, and ride or die melodies. The elements all meld together through this 11 track lp, it's equal parts uplifting and melancholic, downtrodden, yet not without rays of light; the soundtrack for days hanging in front of the corner stores and nights on the strip, both a naive love affair and backstabbing doublecross.

This is boogie funk for the grift, a dollar here buys a bottle there so step into the shade, pop the tape in the deck and enter into the concrete dreamworld.

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.

The thrid an final installment of archive material, selected by Antinote. A killer suite if you ask us. TIP!
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You can trail away with it. It is easy to enter, but hard to drop out. Tolouse Low Trax just needs an MPC, a small Synthesizer set up and some effects to create subliminal hypnotic music trips, driven by dark synthlines and drunken shuffled patterns. The primitiveness in my music is linked to something simple, and that don't have to be obligatory minimal. For me it is enough to dance rough around the core. Music you don't shape till the end contains of a moment of beauty. A veil of secrecy. I work very simply. I rather reduce my possibilities in ompass. Limitations offer lots of liberties.' He reveals about his work ethic. Even if his music sounds darker then any ever experienced night, he mostly produces it in the morning in his highly inspirational studio home. During the dark times of the day Tolouse Low Trax mostly performs live around the globe. Or hangs out in his second home: the Salon Des Amateurs club bar in Dusseldorf, which he once founded and where he held until today two weekly DJ residencies. The moments and atmospheres he inhales during these lightless moments are mirrored in his shadowy music, about which he also confesses: My art is more a cinematic, literally idea of a large to explore Megacity. This is one of the pictures I would link to my music.' On ' part one he now offers five sounding visions about that Megacity'. They listen to mysterious names like Hidden Flat' or Studies in Drama'. They are nervous. They have ephemeral pieces of dub, Industrial, wave or Italian library music. And at times strangealienated voice samples dance within his highly addictive arrangements. Words can't express their magic. But one thing is fore sure: his hypnotic dance-not-dance tracks do not only illuminate so-called freaks!

"Eux sont de ceux qui trament en accordant desseins sur dessins." MinimalRome is back with the second volume of Trame compilation. A full lenght 2xLP release gathering Legowelt (as Phalangius), Heinrich Dressel, Alessandro Adriani, Ian Martin, Teslasonic, Polysick, C-34, Iron Blue and David Kristian among others. Traveling through these eighteen ambient cosmic tracks from true heirs of library music, you'll expand the surrounding space. Limited to 300 copies

Picking up from where she left off with last years successful Tools of My Purpose, E- Saggila has returned to BANK employing a more sublime and immersive electronic document. Previously leaning toward noisier and distorted rhythms, she has incorporated more sophisticated elements into writing and production. Dedicated to Sublimity is a product of growth and progression but still reflects the raw elements we've heard in her early recordings. Lush and atmospheric elements coincide with the brutality of her live sets and play off one another as a cohesive representation of the E-Saggila project.

Das vierte Studioalbum von Florence + The Machine, - High As Hope', führt Florence Welch musikalisch auf neues Gebiet, aber ebenso zu den Wurzeln zurück. Sie schrieb das Album in ihrer Heimatstadt London, wo sie ihr neustes Werk auch aufnahm. Sie nahm die Songs mit nach Los Angeles zu ihrem Freund Emile Haynie, mit dem Florence das Album erstmals co-produzierte. Danach mischte sie das Album in New York ab, wo die Aussicht auf die legendäre Skyline - oft im Kontrast zum Chaos in der Welt zum Albumtitel - High As Hope' inspirierte. Das Ergebnis ist der Sound einer Künstlerin, die sich ihrer sicherer und bewusster erscheint als je zuvor

Bergsonist is the moniker of Moroccon born and NYC based Selwa Abd. 'Solyaris' follows the self-released '' and a prolific slew of releases for labels such as Styles upon Styles, Borft, and Angoisse amongst others. For Selwa her uncompromising & otherworldly, hypno technoid creations aim to capture a given moment in time, contextualising her often direct, hugely affective, & unpolished approach to production.

Selwa describes 'Solyaris' as 'an ode to the present broken education system that allowed me to sustain my dreams in NewYork', explaining, 'As an immigrant from Morrocco, I felt always fearful of the future, pressured to succeed at school. The only way I was able to channel all that anxiety was through music'.

There's a undeniable physicality to Bergsonist's work, and the idea of expunging anxiousness into her music is felt from the oft as 'Solyaris' strides into vision with it's quickening roaring pulse and scrambled explorative electronic probes. This sense of anxiety eases as layers of rhythm build - heads begin to turn down and lush minimalist swathes eventually envelope bodies in calm unity, Anxiety diverted.

'Conflict in Yeman' opens with a gambit of off-kilter percussive experiments & electronics, conveying a sense of determined urgency. Things grow more & more intricate & immediate as we progress - layers of disruption weave around a reoccurring 140BPM shuffle, anchoring Selwa's constant explorative concrete diversions.

'Former Alien who has been naturalized by a U.S Citizen' brings things down a notch - skittering drums linger below a truly haunting whispered melody, occasionally broken down by collapsed rewinds and thunderously raw in the red beat grit - to dizzying effect. Whereas previously 'Solyaris' had taken its cues from Drexciyan Detroit Electro 'Former Alien...' stands closer to a Fantastic Damage era EL-P instrumental rather than anything aimed at the floor.

The EP rolls out with 'Fidel Gastro', a structured & focused piece of Machine Funk & end of days drop cues, conjuring an effective mix of both euphoria & imminent dread.

Bergsonist cuts a unique figure for electronic music in 2018 as someone explicitly exploring the relationship between head & body music. Although undeniably more than oft aimed at the dancefloor, Selwa's work also holds an equal respect and understanding of the head & heart. From her politically loaded Track titles, to her ideologically aligned guise of 'Bergsonist', to most significantly - her music's ability to elicit a spectrum of finely tuned emotional responses within the confines of each track

'Konata Kanata' is the Tokyo-based trio Hontatedori's second release, following their self-titled debut LP from 2013 on the Japanese Compare Notes label. Taku Unami, Moé Kamura and Tetuzi Akiyama are better known as solo performers and in their numerous collaborations than they are in this unique, lovely trio - at least until now.
Hontatedori places Kamura's wonderfully delicate voice amidst the mercurial two-guitar landscape of Unami and Akiyama in crystalline settings of aphoristic song. The group describes their pieces as originating in monophonic compositions by Unami that gesture eccentrically toward medieval plainchant: 'Originally their music sounded like covert and whispering folk music, however, they've come to the sound of quiet funkiness and cold psychedelia.' Some listeners might liken them to a dialled-back, considerably more reserved version of various Dagmar Krause-led groups such as Slapp Happy and the Art Bears given their erasure of separation between art and pop song.

The eighteen exquisite minutes of 'Konata Kanata' ('Here There', in a slightly antiquated Japanese word choice) hearken back to the golden age of unclassifiable post punk 12' EPs, in which at a certain point all that you might know of a particular group consists of rigorously vetted representative pieces but also to miniatures -
tantalizing scraps of song - that are one of the legacies of musical
modernism.

Taku Unami's work is influenced by science fiction, supernatural
horror and weird fiction. He's the composer of film scores for
directors including Isao Okishima and Takeshi Furusawa and has
collaborated with, among others, Annette Krebs, Radu Malfatti, JeanLuc Guionnet, Jarrod Fowler and Graham Lambkin.

Moé Kamura began her career performing in plays and films and
singing her own songs at live music venues. After a career break she has collaborated with numerous musicians; she is also a member of Taku Sugimoto and Moé Kamura and Hotorapikara.

Tetuzi Akiyama is a widely revered guitarist whose many recordings include solo works and improvisations with Jozef van Wissem, Toshimaru Nakamura, Taku Sugimoto, Alan Licht, Günter Müller and Donald McPherson, among many others.

* 180 gram audiophile vinyl
* Includes Insert
* First Time On Vinyl
* The front Covers Of Volume 1 To Volume 4 form one image together

Klaus Schulze And Pete Namlook Created Their The Dark Side Of The Moog Series By Combining Different Techniques And Synth Driven Sounds To One . The Third Instalment In The Series Is Based On The Pink Floyd Album "atom Heart Mother". This Album Got A Dark Themed Kind Of Feeling, But Also Got Some Upbeat Melodic Parts. The Spooky Drone Sounds Make Up Part I, Before Entering The Ambient On Part Ii. Part Iv Is The Most Interesting Track With Some Deep Beats From The Moog.

The Pioneering German Music Composer Klaus Schulze Created Over 60 Albums During His Career Which Started Back In 1969. Pete Namlook Is Another German Composer Which Played A Big Part In The Way Electronic Music Became Popular.

After introducing Griffit Vigo 'the Gqom legend' on the Originators EP on Gqom Oh! Records back in February with the percussive anthem Ree's Vibe and the historical track featured on MTV Base Gqom Nation documentary "Gqom 5 - Gqom Oh! is finally ready to release Griffit Vigo's first solo single 'DJ' on a 7" vinyl, with on the b-side another Gqom viral Durban track coming from the numeric series "Gqom 6. Griffit Vigo, a real innovator in the Gqom genre who grew up in Clermont and started to produce music around 2007, has attained a legendary status amongst his peers as he was one of the originators of gqom, inventing sounds as Umshanelo (meaning broom in Zulu) and chopping vocals that everybody then started to sample. Many of his beats were appropriated or sampled, so now the time has finally come for him to show his talent and unique style and inspire the listeners in the same way he inspired everyone in Durban. This single introduces his forthcoming album on Gqom Oh!, to be released in September/October 2018 entitled 'Gqom is Alive'. As the Gqom sound has massively changed in the past year, taking over South Africa and the world, also by evolving into a more commercial-focused and melodic branch which derives from Sgubhu, Griffit Vigo's intention is to keep the original Gqom sound as pure and authentic as it was when it was first birthed whilst still pushing the sound forward in the future.