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* Rare Private Press Electro And Ambient Synth * Solo Album From Former Cybotron Member Ian Macfarlane * Electronic Outsider Musicpost-nuclear Mind Music Lizard Strategies Void Spirit... These Bizarre Titles Are Just A Few Of The Self-coined Terms That Australian Electronic Musician Ian Macfarlane Has Conjured To Represent His Eccentric Sonic World. An Artist Whose Unique Style Of Electronic Experimentalism Has Balanced Dangerously Close To The Edge Of Popular Convention, Existing Outside The Mainstream And Extending Well Beyond The Fringe Of Any Sanctioned Independent Scene. A Futurist Outsider Whose Extraordinary Musical Vision Has Explored The Uncharted Realms Of Consciousness And Fantasy.following A Brief Stint With The Legendary Australian Krautrockers Cybotron, Macfarlane Produced Three Independent Solo Albums Throughout The Late 1970s And Early 1980s. His Debut Lp Void Spirit, An Experimental Album Issued Under The Pen Name 'violet Lightning', Was Followed By A Further Two Albums Published Under His Own Name, The Cosmic Influenced Back From Beyond And Finally The Privately Issued Electro-ambient Suite Planetarium.presented With Hours Of Unreleased Home Recordings, The Roundtable Has Begun A Dedicated Search Through The Fascinating Archives Of This Under Exposed Artist. Beginning With A Vinyl Release Of The Rare Cassette-only Album Planetarium, This Private Press Sees Macfarlane Armed With A Bank Of Roland Synthesizers, Drum Machines And Field Recordings, Spawning A Mutant Amalgam Of German Kosmische Musik, French Library Electro And Private Issue New Age.surrender To The Stars And Welcome To The First Instalment Of muzak To Moralize By'.

- Voronoi New Release Explores How Sounds Behave In Aseptic Experimental Environment To Discover A New Present Of Digital Fantasy.

- A Work Of Precise And Complex Sound Design That Looks Over The Techno-scientific Contemporary From A Positive Angle.

- Includes Extended Re-work Track By Jesse Osborne-lanthier Who Reassembles Vis-viva's Sonic Materials Into His Unique Style.

- Riyl: Mark Fell, Lee Gamble, Gabor Lazar, Mesh, Yves De Mey...

Vis-viva Is The Surprise Of Movement, The Wonder That Leads To Imagine New Possible Configurations Of The Present, Objects Created With Materials Not Yet Invented Move In Aseptic And Virtual Spaces Without Respecting The Normal Laws Of Physics. Used For The First Description Of Kinetic Energy In Elastic Collisions The Historical Term Vis-viva Titles Second Ooh-sounds Release From Voronoi, A Work Inspired By Post Humanism Literature, Experimental Observation And Speculative Evolutionism Where Sounds And Motion Seem To Face Over The Contemporary Techno-scientific Corpus From A Positive Angle.

Can Sounds Behave Like Particles Do How Sound Reacts And Transforms If Treated Like Organic Matter Voronoi Tries To Answer Back By Sculpting A Precise And Complex Sound Design In An Anti-climax Approach To Composition. Rhythms Are Free, Unpredictable, Tracks Always Seem To Respect Some Grammars Of Club-music But Abstracting From Its Normal Timbres And Denying Its Conclusions To Face A Digital Fantasy.

Vis-viva's Experiment Is Completed By An Extended 6 Minutes Re-work Track By Electronic Music Producer And Multidisciplinary Artist Jesse Osborne-lanthier (halcyon Veil, Raster-norton, Wtn) Who Reassembles Voronoi's Sonic Palette Into His Unique Style. The Result Is As If Everything Has Traveled Outside The Lab To Be Exposed To The Outside World.

T-1000's Suspended Atmospheres Set The Vis-viva Experiment With Pulverized Granular Sound Debris, Occasional Rhythmic Pulses And Reverberant Movements. Built Over Two Distinct Parts, In Which The Second Seems To Deny The First, Sphero 2.0 Forces A Dynamic Dialogue Between Raw And Ultra Processed Sonic Material. Elements Orbit Around A Fast And Joyous Drum Pattern That Builds Up In Marbles, A More Complex Experiment In Which Particles Slow Down And Accelerate In Chaotic, Though Controlled, Collisions To Generate Micro Melodic Bursts.

B-side Opens With Innovative Artist Jesse Osborne-lanthier Who Re-works Vis-viva's Raw Recordings In An Apparent Disassembled Hierarchy, Layering The Original Sonic Elements Over An Amazingly Sounding, Erratic Texture Made Out Of What Sounds Like Iper-processed Field Recordings. Gumbody Flash Closes With The Slower, Uncanny Precision Of An Out-of-battery Mechanism, Whose Degree Of Freedom Decreases As Its Elastic Repetitions Get Looser And Contradictory.

'Source', a new release by Wolfgang Tillmans, comes in an original version and two remixes by legendary German producer Roman Flügel.
The sixteen-minute original version is a vocal piece in which Tillmans explores his abilities to generate vocal sounds to tell a story while refraining from using actual words. Meshing six different sequences into one composition, each sequence investigates different moods and emotions meandering between the guttural, sacral, and absurd. Recorded in a studio session in 2017, the piece focuses on the immediacy of vocal improvisation as much as on its post-production and edit.
Tillmans knows that whatever is achieved through spontaneity can as easily be lost, as he recently told Emily Bicks in a feature for 'The Wire': I am, of course, always planning things ahead, and I am managing an archive of 25 years, and communicating in the now with dozens of contacts, but the fortunate thing that I feel I've retained is an ability to get in touch with this moment of being in the here and now, and seeing, or hearing, or allowing words or melodies to pop into my head in such moments.
The A-side and an additional bonus track are both remixes by German producer Roman Flügel. In a ten-minute remix, the multi-faceted producer stays true to the original's spontaneity and develops changing arrangements wherever Tillmans' vocals are creating momentum. Exploring various directions, Flügel's experience allows him to glide effortlessly through the different sequences. The bonus 909 Mix instead takes a tighter direction with claps and high-hats and builds up around Tillmans' staccato laughter before culminating in beautiful house piano chords.

The title may suggest a specific origin, a 'source' that is to be located, but in Tillmans' understanding it is a transient space abundant of undiscovered possibilities.
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- New album from Yeah You
- A joint release between Slip and Opal Tapes
- 100 copies

Yeah You's Mykl Jaxn & Elvin Brandhi wreak fresh havoc on Slip and Opal Tapes with KHOT<, where the improvising father/daughter duo steer their battered unit down the grimmest ginnels between Black Metal, freestyle rap and surrealist performance art. Making up their 3rd release of the year already, KHOT< follows the KRUTCH LP and VHOD tape with a typically obstinate and expressive new blast of avant guts sure to keep the dilettantes at bay and keep the pair's cult following beguiled by their every move.
Refusing to lapse into anything that may be deemed conventional or commercial, Elvin sprays improvised verbal pebbledash against her dad's cranky backdrops of piercing electronics and crippled beats in a way meant to keep everyone at arms length. And that's where the fun' lies, as any attempt to latch onto or follow Elvin's exasperated yowls and pronged phrasing becomes even more difficult as her dad's cheap infrastructure of inside-out Casio keyboard coupled with dictaphone both shields and distorts her wretched truths, fireproofing them against easy or half-
arsed reception.
By their own admission, This is the worst album Yeah You has ever made', which conversely translates to a pleasingly foul experience for those already attuned to Yeah You's dare-to-differ
style, especially in the traverse from shrieking electronics to sourest BM gestures between Krutches and Yeah You', and again with the headlong plunge into rotted bleeps and techno
squabble in Reap Your Defects and the burned out resistance of The Apologetic Extra Accidentally Invades Emblem
Make no mistake, Yeah You are among the most vital, prickly and unmissable units in
contemporary UK music, and KHOT< is yet another fiercely in/direct and cuttingly impulsive showcase .

LTD Edition!

Singularity beginnt und endet im Kern seiner Dinge auf der gleichen Note: der emotionalen Ehrlichkeit. Hopkins, beeinflusst von jahrelangen Erfahrungen mit Meditation und Transzendenz, bewegt sich durch ein selbstgeschaffenes Universum, das sich unaufhaltsam ausdehnt und zum Schluss wieder zu einem unendlich kleinen Punkt zusammen zieht. Nahtlos geht es dabei von rauem Techno hin zu choralen Melodien, und von Solo-Piano Etappen über zu psychedelischem Ambient. Wo Immunity sich in die dunkle Realität einer epischen Club Nacht stürzte, erkundet Singularity nun die Dissonanzen zwischen dem urbanen Leben und der grünen Natur. Was beide Alben verbindet, sind ihre unmessbar breiten musikalischen Sound-Paletten.

So steht auf Singularity die Erkundung der Verbindungen zwischen Geist, Klang und Umwelt im Vordergrund und vertont so die verschiedenen geistigen Zustände, in denen Hopkins sich während des Schreib- und Aufnahmeprozesses befand. Und so viel sei schon verraten. Durch die ernüchternden Erfahrungen, die Hopkins mit dem Blick auf die heutige Welt machte, blieb ihm die letztgültige Schlussfolgerung, dass ein wahres Gefühl von Frieden und Zugehörigkeit nur aus der Einzigartigkeit der Natur gewonnen werden kann.

Keyfacts: Zwei blaue heavyweight LPs im Gatefold Sleeve inklusive MP3-Downloadkarte

Extra Noir is a coldwave, minimal synth and post-punk soundtrack based in South Korea. This is the first of a series of compilations, featuring artists from the hosts' three most recent homes - Scotland, Korea and Texas. Available on digital and limited release vinyl. About the artists:
Aadm Our Hatley is a Texas-based multi-instrumentalist who has played in a long list of underground Austin acts, such as Red X Red M, Attack Formation, Those Peabodys and Bangaar. He currently plays guitar in Chamberlain Greene and drums in Boss Eye. Straddling the dank border between industrial and no wave, Glasgow duo Total Leatherette also brings pervy disco fetish to their sleazy brand of mutant music.
Kübler-Ross is one of the many aliases of Glasgow electronic producer / remixer Dave Clark. A versatile and prolific producer, Clark has worked with JD Twitch of Optimo as one half of the Optimo (Espacio) remix team, played guitar in Badalamentian blues band Big Ned, and has been recently recording synth-based solo tracks as Kübler-Ross.
Comprised of techno producer Seonggu de Kim and minimal ambient artist Eajik, Airy Textile is a synth duo originally based in Seoul, South Korea. Their contribution to Extra Noir Vol. 1 marks their first release on vinyl. Tengger are an electronic psychedelic duo from Seoul, South Korea, comprised of Itta (harmonium and vocals) and Marqido (modular synth).
Texan synth wizard Xander Harris is one of the most influential artists in the 'horror disco' genre, and has consistently delivered tense, garish and unflinching journeys into the darkest domains of dance music. This track, 'The Velvet Hand', is exclusive to Extra Noir Vol. 1. Pecht is the nom de plume of a Manchester-based solo artist who retreated to the wilds of northern Scotland after years in the London entertainment industry. His self-titled debut album was recorded during his exile on the north coast. 'unlock' is Pecht's first release on vinyl. Cucina Povera is the musical identity of Maria Rossi, a Glasgow musician and vocalist originally from Finland. She is a collaborator in Luxos with Daniel Magee of Lo Kindre, and a former DJ on Glasgow's Subcity Radio. Her debut LP, Hilja, was released in January 2018.

Soil launch his first tape reléase on Black and White tape edition that also includes a poster and 2 stickers inside.
limited edition of 25, engraved tape.First reference SOTA001 has signed by Group who Works 100% on analogue stuff and live recording.

Using a modular system comprised of Make Noise modules (as well as a Prophet 5 synthesizer), Kaitlyn Aurelia Smith created Abstractions as a live score for the film of the same name by visual artist Harry Everett Smith. Comprised of a single track across the record's two sides, Abstractions presents a unique experimental release within Kaitlyn's stellar catalog of contemporary electronic music. This Make Noise Records release was Digitally Mastered by Shawn Hatfield at Audible Oddities
Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve and Matte Jacket featuring artwork by Harry Everett Smith (comprised of film negatives from Abstractions, licensed from the Harry Smith Archives), assembled by Sean Curtis Patrick.

Belgian-based Artist's Beyond Beyond Is Beyond Debut. Like Tangerine Dream's Early Work, Pagus Wasiae Casts Off A Ragged Rock Shore Into A Bubbling Sea Of Electronics And Navigates By Dark Starlight, Leaving In Its

Wake Shadows And Smoke. Depaepe Charges Waves Of Synth Ambience, Swirls Clouds Of Electric Guitar And Summons Subtle Beats Of The Earth To Make Pagus Wasiae A Fully Enveloping And Dynamic Listening Experience-astral Traveling Without Moving. Cluster, Taj

Mahal Travellers, And Pink Floyd's Deepest Space Excursions May Be Waypoints Pagus Wasiae's Navigation.

Glyn Bigga Bush has been producing electronic and sample-based music since the early 90s when he formed Rockers Hi Fi, going on to release numerous albums. Since the turn of the century he has produced and DJ'd as BiggaBush as well as various side projects such as Lightning Head (Sonar Kollektiv), the Dandelion Set (Buried Treasure) and the Magic Drum Orchestral (Tru Thoughts).

Bigga's latest project 'Sunken Foal Stories' represents a departure from much of his other work in that it is not primarily based on beats. Instead, his working method was to go with fascinating samples, accidental juxtapositions and irregular loops - inspired by pioneers of sound such as Faust and the audio experiments of Julian House as well as early stereo test records, soundtracks and library music.

The 21 concise tracks of Sunken Foal Stories link into two 15 minute segments on the LP. Bush explores the random elements created by overlaying disparate samples, where chimes of baroque psychedelia clash with ascending classical strings, or a haunting Eastern European folk song is looped into an eternal cadence of longing. Various voices float over the speakers, lost poets, disturbing therapists, dreaming vampires, chuckling cabaret singers. Sourced almost entirely from charity shops and carboot sales, the source material speaks of a forgotten yet relatively recent period, when stereo was something new and exciting, when home entertainment first came into its own and suburban homes thrilled to the exotic sounds of home organs, primitive beatboxes, LPs bought in unusual holiday destinations and 'glamorous' soundtracks.

Founded By Producer Paul Re´gimbeau (mondkopf, Autrenoir, Extreme Precautions, Foudre!) And Multi-instrumentalist / Photographer Fre´de´ric D. Oberland (oiseaux-tempe^te, Le Re´veil Des Tropiques, Foudre!, Farewell Poetry, The Rustle Of The Stars). Nahal Recordings Makes Limited Edition Weird And Wonderful Records And Physical Objects (patches, Silkscreen Prints, T-shirts And The Like).

As A Sister To The Electronic Label In Paradisum, Nahal Has Teamed Up With James Plotkin, Sound Engineer, Cult Musician And Creator Of Extreme Sounds (khanate, Old, Phantomsmasher) For Mastering, And Thibault Proux (sonic Protest, In Paradisum, Warp) For Graphics. At A Time When Dematerialised Music Has Radically Changed The Rules Of The Old World, Nahal Recordings Wishes To Forge Increasingly Stronger Bonds Between Lovers Of Eclectic Genres Of Music And The Artisans Of Rare And Essential Objects.

Nahal Takes Its Name From The Mythological Labyrinthian Diagram. The Malekulans Of Vanuatu Call The Orthodox Home Of The Dead 'wies', And Say A Spirit Reaches It By Traveling To The North, Effortlessly Crossing The Lagoon And Passing Through A Distorted Landscape. There It Confronts Temes Savsaq, The Female Priest Who Sits Before A Rock, Before Her, A Sand-traced Diagram Called Nahal, 'the Path'. As The Spirit Approaches, Temes Savaq Wipes Away Half Of The Lines And Tells The Traveller That Before They Proceed Further They Must Complete The Plan Correctly. Their Success Will Eventually Reveal A Map Of The Path To The New World.

Good Luck In Death Is A New Collaboration Between Paul Re´gimbeau And Lebanese Improviser Charbel Haber. Haber Is A Lebanese Musician, Performer, Visual Artist And Composer From Beirut. His Work Has Seen Him Collaborate With Artists From A Wide Range Of Disciplines - Film, Video Art, Visual Art, Theatre - Both In Lebanon And Abroad. As A Solo Artist And As A Member Of Post-punk Band Scrambled Eggs, He Has Composed Music For Directors Khalil Joreige, Joana Hadjitouma, Nadim Tabet And Ghassan Salhab, Video Artists Lamia Joreige And Akram Zaatari And Playwrights Rabih Mroueh And Lina Majdalani, To Name But A Few. His Prolific And Collaborative Career Includes Ambient Duo The Bunny Tylers, Free Improv Group Johnny Kafta Anti-vegetarian Orchestra And Psychedelic Arabic Music Ensembles Malayeen And Orchestra Omar. He Is The Founder Of Those Kids Must Choke And Co-founder Of Johnny Kafta's Kids Menu - Two Experimental Record Labels - And Has Recorded And Collaborated With Notable Artists From The Fields Of Free Rock, Ambient And Improv Such As Oiseaux-tempête, Mondkopf, Mats Gustafson And Eddie Prevost.

The Direction Of Paul Régimbeau Was Set At The End Of The 1990s While He Still Lived In Toulouse, France. A Discovery Of The First Discs Of Vangelis And Aphex Twin Giving Him The Impetus To Experiment And Explore The Possibilities Of Production Software. At The Age Of 22 He Moved To Paris, And The Success Of His Remixes And First Releases Catapulted Him To The Heart Of The French "electro" Scene. A Scene In Which He Quickly Distinguished Himself By His Organic Sense Of Melody. This Success, However, Hides A Very Different Side, A Far More Introverted Temperament And A Deeper More Intimate Relationship To Music As Personal Catharsis.

Mondkopf Made His Mark By An Almost Total Immersion In Extreme Metal, A Repertoire Of Sensations And Emotions Giving Way To Revelation. His Album Hades The Voice Of This Unprecedented Synthesis Is A Wave Of Electronic Impressions And Recreations Of These Textures, Riffs And Ferocity. The Follow Up, 'they Fall But You Don't' Was Described By The Wire Magazine As "the Only Music That Fits That Once Promising And Much Abused Term Power Ambient: Massive Sharp-edged Drones, Slow Lightning Cracks Of Guitars, Tangerine Dream Synths Curling Around One Another, Everything Glowering With An Inner Intensity That Still Feels Closely Reined In."

As Ever Increasing Evidence Of His Ability To Transcend Genres, His Music Takes Centre Stage Not Only At The Most Cutting-edge International Festivals Such Atp Or Ctm (in First Part Of Electric Wizard), The Post-industrial Hangars Of Northern Europe And The Industrial Evenings, But Also At The Plethora Of Underground Events That Straddle The Continent (berghain In Berlin, "kaos" In London Or At The Underground Village For The First Part Of Nurse With Wound). He Explores The Spaces And Silences Of Places Of Worship (st Merry Church In Paris), Museums Of Visual Art (musée Des Beaux-arts Of Brussels, The Parisian Bal) And Classical Concert Halls (cité De La Musique In Paris, Auditorium De Lyon). A Constantly Shifting Array Of Opportunities To Surrender To The Pure Intensity Of Live Performance, On A Shared Journey With An Ever Increasing And Dedicated Audience.

Introspection Has, In The Meanwhile, Given Way To Multiple Collaborations Such As Charlemagne Palestine, Guitarist Greg Buffier (saåad) For Autrenoir, The Post-rock Band Oiseaux-tempête And The Japanese Black Metal Group Vmo Along With The American Noise Artist Pete Swanson. His Meeting With The Lebanese Guitarist Charbel Haber Marks The Most Recent Stage Of This Ever Evolving Journey In Contrasts.

After Years Of Appearances On Compilations And As A Group Member, Composer And Improvisor Jeff Snyder Has Released His Debut Album, Sunspots, On Carrier Records. Much Like The Actual Phenomena Of Sunspots
- Cyclical, Chaotic, And Powerful - Snyders Album Invokes The Sense That There Are Underlying Forces At Work Which Do Not Easily Conform To Human Expectation Or Yield To Human Analysis. This Is Pure Electronic Music, Meant For Loudspeakers. Drawing On His Love Of Great Synthesis Albums Of The 20th Century, Snyder Created Sunspots Using A 1970s Buchla Synthesizer At Elektronmusikstudion In Stockholm. He Improvised Each Of The Four 18- Minute Tracks, Controlling The Buchla With One Of His Own Creations, The Snyderphonics Jd-1 Keyboard/ Sequencer. Organic, Mysterious And Inscrutable, Sunspots Is Nonetheless Purely Human, As The Records Audible Honesty And Vulnerability Draw The Listener Closer. Sunspots
Is Available As A Digital Download In Both Stereo And Quadraphonic Mixes, And As A Stereo Vinyl Dual Lp. The Two Pieces On First Record Are A Patchwork Of Extures, Recalling Morton Subotniks Silver Apples Of The Moon (also Recorded
With A Buchla Synth) Or Bernard Parmegianis De Natura Sonorum, But Filtered Through Snyders Grittier Modern Language. The Second Disc Abandons This Frenetic Melange And Settles Into A Pair Of Static Drones, Alternately Punishing
And Ethereal, Merzbow Versus Radigue. Yet Throughout The Music Is At Ease: Perfectly Refined Timbres Given Fragile Placement In Time, At Once Focused Yet Depicting Large Spaces And Magnificent Structures. But Sunspots Exists As More Than An Album. Snyder Has Also Created A Website (http://sunspots.scattershot.org/) That Functions As An Immersive Virtual Installation, Combining Music With Arresting Visuals. Three Generative Web-art Pieces Allow The Listener To Virtually Travel Inside A Space Inspired By The Sonic World Of The Record. In The Installation, Fixed Forms Dont Apply - The Listener Creates Their Own Visual And Aural Trajectory In Collaboration With The Algorithms That Continuously Permutate The Material.

Creeping Out Of Torino's Longest Dark Winter Nights, Isolated And Shrouded In Mystery Just Like The Cities' Deep Connection To Black Magic, Here Comes Sabasaba, The Newest Addition To The Maple Death Family. Western Esotericism Converting Pagan Mystic's One By One!

The Trio Of Tommaso Bonfilio (tape Loops, Drum Machine, Organ), Andrea Marini (electronics, Flute, Guitar, Bells) And Gabriele Maggiorotto (drums, Percussion, Effects) Is A Rare Beast, Night Phantoms Embarking On A Digital Dust Adventure Set In A World Punctuated By Ballard's Dreams And William Gibson's Visions. Sabasaba's Self-titled Debut Is An Industrial Cinematic Dub Scorcher That Is Not Afraid To Mix Dark Isolationist Off-kilter Machines, Tape Recorders And The Earthy Beat Of Primordial Dancehall Dub Productions (king Tubby, Horace Andy). Album Opener Bells Sets The Tone Right Away, A Pulsating Horror Tempo And Crowley Cadence Symbolically Uniting The Disques Ocora Catalogue And The Ambient Droning Of Nurse With Wound. Magma Is A Witch March Advancing Slowly Into Kosmische Lands, Drops Is An Opium Induced Hyper Dub Ballad Where African Head Charge's Sun Is Eclipsed By Coil's Black Moon. Peradam Inspired By René Daumal's 'mount Analogue' Ascends And Weaves Ideally Upstream Across The Po River While Red Nights Sees Italian Occult Legends And Co-conspirators Father Murphy Spreading Their Cathartic Chanting. Eden - Olympia Is The Perfect Closer, A Calming Distant Tribe Of Percolating Bells Awakening The Spirit.

This Is Not Wishy-washy Psychedelic Music, This Is The Real Deal, A Voyage Into Mind Alteration Through Sound, A Chariot Proceeding East, West And Everywhere In Between, Hands Turning Digital Knobs, Feet Raising Dust And Grain While The Heart Beats Analog To The Pulse Of Mother Earth.

'Ancient Lights' is the debut album from Uniting of Opposites, the new musical venture from Tim Liken, Clem Alford and Ben Hazleton, bringing to life a melting pot of cultures and inspiration, using new technology

as an opportunity to explore and merge aspects of jazz, electronica and traditional Indian musical styles. The band was established when, within the myriad forms of jazz, Hazleton met Alford and begun studying the classical Indian tradition in order to open

(his) ears to new melodic and rhythmic possibilities'. As a lover of all types and styles of music, Liken's involvement fused together their collective musical journeys, creating Uniting of Opposites.

Coming from a DJ/producer background, Tim Liken started making music in 1995, setting up one of the UK's original garage labels, Ice Cream Records, later spawning the monikers Double 99 and Tim Deluxe. Clem Alford's musical

journey began when he purchased a sitar and a Jayasri Banerjee record before hitch-hiking to India in 1968 to be taught sitar by Pandit Sachindra Nath Saha (Banerjee's father). Over the past five decades Alford has recorded for EMI

and collaborated with western musicians and pop groups to film composers, including Amancio D'Silva, John Williams, John Mayer, John Dankworth and Hemmant Kunar. Having been named 'Young Jazz Musician of the Year' in 2003, Ben Hazleton

is predominantly a jazz double bass player and has played with many of the British Jazz greats, performing regularly with The Tony Kofi Quartet and The Jonathan Gee Quartet. Named after the 'Ancient Lights' English property law,

that gives home owners the right to receive natural light, the LP brings together creative musical forces, colliding to continuously redefine the music itself and express a fluidity that's found at the heart of Uniting of Opposites' ethos.

Bespoke artwork comes from acclaimed Japanese artist Tokio Ayoama.

The Second Of May's Pair Of Ace New Deep Distance Lps, Sees A Second Studio Full Length From Brighton Based Kraut / Kosmische Juggernauts Zofff.

Described Recently As "the Finest Purveyors Of Kosmische Heaviness On The Planet Right Now" By Shindig! Magazine, The Band Release Their Eagerly Awaited Follow Up To The Quickfire Sell Out Of zofff I' In 2017 (separated By An Equally Hastily Sold Out Live Album On Drone Rock Recs), fff' Is Released First Week Of May And Again Is Expected To Move Out Quick Style.

Over To Ben Graham For A Few Words: zofff Are All About Light And Shade, And The Dynamic Movement From The Subtlest Curlicues Of Gentle Sound To The Full Raging Storm Of Sonic Attack, And Back Again. On Their Second Studio Album 'fff', The South Coast Psychedelic Five Piece Serve Up Six Tracks Of Improvised Instrumental Experimentation That Blend Seamlessly Into A Consistent Whole: A Trip, If You Will, From First Faltering Feelings To Final Full-blown Freak-out.

'ye' Assembles Around A Lonesome Trumpet Overture, Before The Drums And Dirty Fuzz Guitar Kick In And We're Off, With No Messing Around And No Ambient Noodling: Direct To The Cranium And The Groove With High-energy Space Rock Reversing The Polarity And Shaking Out The Ghosts. 'vav' Takes It Up Another Notch: Tense And Urgent, It Climaxes In Coltrane-like Sheets Of Sound Over Double-time Drumming, Before 'har' Arrives At A Relatively Gentle Pace, Dub-like Sonic Action Swooping And Fluttering Over A Rock-solid Beat Until The Bass Takes Over And The Direction Becomes Clear: Ffforward!!!

Side Two Starts With The Appropriately Titled 'dig'. All The Elements Are In Balance And The Band Are Firing At Full Force. 'ca' Kicks Off With Horn, Static And Splash, A Classic Slow Burn Taking Us Up To The Final Eleven-minute Climax Of 'zeta'. This Surprisingly Exploratory Piece Doesn't Just Aim To Go Out With A Bang But Takes Time To Set Up New Possibilities And Juxtapositions, Opening New Doors Right To The End Where Other Lesser Bands Would Already Be Packing Up The Scenery.
Recent Years Have Seen Zofff Reaping Acclaim And Blown Minds Wherever They've Appeared.

Their Live Album, (2017's Kozfest Mmxvi Baring Striking Testimony To This), With Psychedelia An Increasingly Devalued Term, Zofff Remain The Connoisseur's Choice. That's Zofff With Three Fs By The Way. We Wouldn't Want You To Forget Now...'

The Lp Is Released As A (clear) Vinyl Only Pressing Of 300 On Deep Distance, The Go-to London Label For Kraut Flavoured Kosmische With A Sold Out Back Catalogue Of 60/60 Releases Including Cavern Of Anti-matter, Jd Emmanuel, Colin Potter And Many Others...

Reissue of their 1987 album! A diverse blend of New Wave, Turkish Pop and Oriental-Rock, Funk & Soul, Hip-Hop but also Disco in a exotic way.
.
The Official 30th Anniversary Vinyl Reissue of
Elektro-Dschungel Kebab- Und Andere Träume'

Restored From The Original Reel2Reel Mastertapes
Mastering And Lacquer Cut by Mike Grinser at Manmade Mastering
LP 33 1/3 PM 4-Page Insert With Original And Expanded Credits

Following two previous excursions into degraded tape loops, fuzzed-out ambience and bittersweet moments of tenderness, O$VMV$M return to Idle Hands to complete a trilogy of LPs with 12 vignettes from the underbelly of the Bristol scene.

Bound to Young Echo's ever-swelling cult of wayward sonics, individually Amos 'Jabu' Childs and Sam 'Neek' Barrett have plenty of irons in the fire. Childs deals in forlorn, vocal-led introspection alongside Alex Rendall and Jasmine Butt as Jabu, while Barrett can be found laying down punishing modern grime variations alongside Kahn, or delving into more traditional soundsystem sonics in Gorgon Sound. Meanwhile the pair were clearly heard laying down some of the tones that seep out of the uncredited Young Echo collective LP from earlier this year. Their production work behind Rider Shafique's killerLion7" on Lavalava was unmissable, and their blunted beats behind Manonmars' debut LP are awaited with anticipation.

As O$VMV$M, the pair enter a particular sound world that mixes cosy nostalgia with creeping dread. Even at its most mellow, a sense of unease hovers beneath the surface, and that's what makes their approach so compelling. The sound palette is broad, from pitch-shifted RnB vocal licks to foggy trumpets crawling at half speed, but over it all a dense blanket of dust gives the sensation of peering back through time.

Putting paid to the idea that immersive music needs to be long and drawn out, the dose response on these condensed mood capsules is quick and strong. In a little over 20 minutes O$VMV$M take you far and wide. The trip over the past three LPs has been an adventure for both label and artists - Sam and Amos have shaped out a style that now feels like a fully formed entity independent of their other ventures. We look forward to seeing where O$VMV$M heads from here.

Zelectro breakcore ambiences. The sound is bad, but the music is good. DHR Style !

Tint is the first new solo recording from Joe Talia in over a decade. Australian-born but now based in Tokyo, Talia is known to many listeners as a drummer (frequently collaborating both live and in the studio with artists such as Oren Ambarchi and Jim O'Rourke) and as a recording and mixing engineer responsible for dozens of releases across the fields of contemporary experimental music, wayward pop, and jazz. Alongside James Rushford, he is also responsible for one of the most legendary releases in the Kye records catalogue, the creaking electronic morass of Manhunter (2013).

Lovingly crafted over many months in his tiny Tokyo studio, Tint is an album-length electroacoustic suite that brings together Talia's expertise as percussionist, studio engineer, and performer on analogue electronic instruments (primarily modular synth and Revox tape machine). Ranging from minimalist austerity to kosmische lushness, Tint refreshingly refuses the dark and moody sonic palette of much contemporary electroacoustic music in favour of an airy, at times almost weightless sound-world of gliding tones, skittering percussion, and burbling field recordings. Drawing inspiration from Jean-Claude Eloy's epic concrète love letter to Tokyo, Gaku-No-Michi, Talia makes extensive use of his own recordings of his new home, but removes any sense of audio verite, abstracting them into transparent glosses of outdoor ambience or unidentifiable chimes and creaks. Flowing seamlessly between distinct episodes, Tint is compositionally controlled while retaining a sense of played spontaneity, eventually building to a maelstrom of analogue synth zaps and tape manipulated percussion that reflects Talia's deep engagement with the relentless yet constantly shifting dynamics of free jazz.

Fresh on Francis Harris' Kingdoms imprint comes Adamo Golán's seven track LP, 'Exile And The New'. Golán is the alter ego of British-German artist Laurens A. Schmidt, who has been pursuing a more club-focused techno project, while developing an ever deeper fascination with experimental music, ambient and film scores. Drawing influence from his adopted homes Berlin and currently London, the 26-year-old has been uncompromisingly trying to develop his own musical voice.

'Exile And The New' expresses this ongoing pursuit and, being the first full-length and first ever release by Adamo Golán, marks the start of his most personal project to-date. Stretching over seven tracks, it touches upon a diverse set of sceneries, moods, and emotions whilst a distinctive sound design gives the work a subtle framework and guiding thread.

'Fis' starts the proceedings, introducing drones and field recordings and enveloping the listener in Golán's distinct sound world. 'Just Friends' merges distant snapshots of disembodied vocals with granular sound design and a sense of both space and creeping claustrophobia simultaneously. It's an approach the young producer has mastered - 'Replica' maintains an ambience of the deeply personal and a wider, hazy focus, realised via exquisite melodic fragments against a backdrop of pads and chiming electronics. Title track 'Exile And The New' unfolds around another cinematic world scored via a single stringed instrument, static interference and oceans of space. 'Lie to Me' brings a piano refrain to the fore, wrapped in luscious ambience and more fragments of a conversation heard through the rain. 'Then Rely On Me' slowly develops out of a haunting atmosphere and finds an uneasy but strangely beautiful flow, before 'The Hungry Years' closes out the album as it started - floating in space.

The 26-year-old artist sees the album as a journey that should captivate but never impose itself on the listener. It´s a gracious and neighborly invitation to dive in, get lost and explore its facets and peculiarities

In light of his hugely acclaimed and recently reissued classic 'If You're Into It, I'm Out Of It', CDB's monstrous 'Scylla & Charybdis' [2008] plate creeps back out of whatever hole it slid down for a 10 year anniversary reissue on his Hamburg-based CFET label.
Scylla & Charybdis is a first rate example of breakcore at its mutant and gothic best, executed by one of the sound's definitive operators. In two 12 minute parts - De Babalon unfurls scenarios
traversing from darkly cinematic, atonal strings and looming bass to lurching hybrids of Alexandra von Bolz'n's doom metal vocals with distended speedcore rhythms and harpy chorales in Scylla,
while the B-side's Charybdis tests out a more mercurial, fluid blend of rolling 180bpm jungle breaks and uncannily naif vocal from Panacea-collaborator, Hanayo.

Enigma - A Posteriori

Since Smoke Bellows Debut Release Blooming/middling In 2014, Core Members Meredith Mchugh And Christian J. Best Have Relocated From Baltimore Usa To Melbourne Australia And Back Again.

The Inherent Chaos Of Moving Across The Globe Twice, Plus The Pull And Influence Of Varied Geography And Culture Have Shaped This Latest Release, Isolation 3000, Immeasurably. These New Perspectives Have Led To An Entirely New

Writing Process, Drawing From 70s/ 80s Ny Post Punk, High Minded Pastoral Krautrock, Modern Minimalist Composition, As Well As West African Guitar Groups. Isolation 3000 Was Written Over The Summer Of 2016/2017 In A Quintessentially

Australian Backyard Shed. The Record's Title Is A Reference To The Conditions It Was Created In, A Musical Summary Of Two People Feeling The Effects Of Being Uprooted From Their Former Musical Community In Baltimore. The Days Writing

Would Involve Endless Cups Of Tea, Backyard Chickens And Visits From Australian Wildlife. Similarly, The Record Was Recorded In A Bush Cabin Just Outside Of Sydney, Pitched In A Small Clearing Between Eucalypts, With Long-time Friend

Todd Dixon. This Release Is In Many Ways An Attempt To Reconnect With A Sense Of Home And Place.

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.

Akauzazte Are The Last Secret Band In Europe. From Their H.q. At The Azkoitia Abandonned Abbatoir (matadeixen) Over The Last Twenty Years They've Always Taken Their Time To Perfect Their Records, Their Discography Is Vast, And They've Evolved Their Sound In Each One Taken Risks Which Few sacred Cows' Would Take.

Between The Industrial Tribalism Of Missing Foundation, The Crushing Force Of Early Swans (not In Vain Their Rhythmic Section Is Comprised Of Two Drums And Two Basses) And Their Own Deconstructed Version Of Black Metal Or Power Electronics.

Most Bands In Industrial/noise Music Scenes Are Markedly Urban, Akauzazte On The Other Hand Sound Rural, Ritualistic And Mystical. An Oasis Of Ritual Psychedelia And Basque Industrial folk' With Ancient Horn Instruments And Deteriorated And Destroyed Guitars That Sound As Though Their Amplifiers Are About To Explode.

Akauzazte, Playing Since The Early 90's (on Other Labels Like Esan Ozenki, Arto Artian, Afeite Al Perro) Have Played Many Festivals In The Iberian Peninsula Such As Mikrofilm Music Festival, Ertz Festival, The Vanguardist Festival Kaiola, Nova Ona Ii And Are Becoming A Legend In The Spanish Underground Scene.

The warmth of the electronic element is almost frightening. By this I mean to say, that music of this tremendous beauty, composed through elements completely opposed to natural history, seems to vaguely hint at a new precipice of human evolution, where we lose track of ourselves entirely. Who is this second Prometheus whom hath given us this blue flame and how does he suffer for his generosity

But now we must speak plainly... Blooming Summer seems to come together with an un-canny ease, one that could only possibly express a true and monumental love between its two collaborators. Do not even attempt to show me a more beautiful voice or gentle nature than Raphael's, for you will not be able to find one. As Percy Blysse said to Mary Shelley whilst rowing their boat across the River Styx: I'll love you forever, I'll cherish you always, as long as I'm living, my baby you'll be.'

For the moment, I need no other piece of art than Blooming Summer. I am satisfied and can rest in harmony with the blooming summer. Girls and boys, they love in the colour blue...

Starting As A De Facto Studio Project His Songs Have Slowly Matured ,in Cassettes And Limited Editions, Until Reaching A New Level With The Edition Of His First Lp humo Y Espejos' (smoke And Mirrors), Which Will Be Released On Early 2018. As His Live Shows Have Multiplied He Has Perfected A Language That Bastardizes The Legacy Of Birthday Party And The No Wave With The Deconstructed Noise-rock Of Sightings On Top Of Rythms With An Industrial But Heterodox Flavor. On Top Of This He Spits Lyrics Who Intertwine The Personal With The Surreal And That Often Reference To A Sometimes Blurry, Longed Or Traumatic Past.

Coàgul is Marc O'Callaghan -synths, voices and bells- playing Suicide's shamanic trance via Esplendor Geometrico's industrial sound or Einstürzende Neubauten playing electronic psychedelic noise with PIL circa Flowers of Romance', only with more drony, epic, anthemic and minimalistic processions, sometimes played at a roman slave ship pace.

At the same time his music feels medieval -even rural- with lyrics formed by esoteric dark poetry in Catalan, chanting and proclaiming things like Be the light that burns the world' or Riding with Death, there's blood in the mud, will is annulled, useless organs, the army of victims holds up the pyramid!' or I want you to eat my intestines so I can be virgin for you once more, I want you to eat my balls to be the scorpion that sticks it deep into you'.

With an aesthetic halfway between black metal and David Tibet, his themes are plagued with ancient Mediterranean symbolism, references to tarot, surrealism and old secrets, and through all this he still manages to sound punk. And still all comparisons miss the point.

La Roda de la Justicia is his first LP and his later works have been released by other labels such as The Nekofutschata Musick Cabaret, Burka for Everybody, Ozonokids, Dead Moon Records between others.

Viktor Lux Crux is a key figure in Barcelona's vibrant post-industrial scene as a musician, producer and co-founder of the label Màgia Roja. He has performed more than 300 shows, almost 200 of them touring abroad in Europe and the US as Futuro de Hierro and with past bands Ordre Etern and Qa'a. Collaborator of Jochen Arbeit (Einstürzende Neubauten), Nurse With Wound, Paddy Shine and Chris Haslam (Gnod), and others. Among many other places he has performed in 4 editions of Sonar Festival, Incubate Festival, Klangbad Festival, 2 editions of Primavera Sound and Periferias Festival. As Comisarios de la Luz DJ he has performed more than 200 sessions in the last three years.

With Futuro de Hierro he mixes the legacy of Esplendor Geometrico and Throbbing Gristle with the heavyness of Swans or early Laibach and transcends the nihilism of the genere creating a cosmogony of songs where the personal, the esoteric, the present and the future intertwine. His live shows are a visceral and energetic deal, a hands-on approach to electronic music with an unseen control of rythmic feedback, dynamics and noise.

His latest 12 Un Paso en el Vacío' has been co-released by Màgia Roja and Opal Tapes the 28th of June 2017.

Collaboration Project Of Jochen Arbeit, Guitarrist Of Einstürzende Neubauten And Experimental Post-punk Band Die Haut, With Huan (viktor Lux Crux, Mastermind Behind Ordre Etern, Qa'a And Sporadic Collaborator Of Nurse With Wound).

Armed With Guitars And Drum Machines They Move Between Epic Ascendent Passages, Ambient, Walls Of Noise And No-wave Dissonance To Create A New Germanic-catalan Psychedelia.

"arbeit & Huan's Collaboration Feels Purposeful, Departing From The Merely Ambient & Moodscaping, Sustaining Interest By Providing Variety & Detail Of Timbre, Range, Development, Motif & Dynamics.... "

Last handful of these 1961 & 1962 recordings, compiled from the 3 CD volumes of John Cage Shock on Em Records - except track B2 which is exclusive to this vinyl release. Packaged in single pocket jacket with 8-page booklet including notes in Japanese and English.

"It was the most beautiful summer of my life."

Memories — places, vacancies, allusions — are fundamental characters in Mary Lattimore's evocative craft. Inside her music, wordless narratives, indenite travelogues, and braided events skew into something enchantingly new. The Los Angeles-based harpist recorded her breakout 2016 album, At The Dam, during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, Texas color her compositions. In 2017, she presented Collected Pieces, a tape compiling sounds from her past life in Philadelphia: odes to the east coast, burning motels, and beach town convenience stores. In 2018, from a restorative station — a redwood barn, nestled in the hills above San Francisco's Golden Gate Bridge — emanates Hundreds of Days, her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It's an expansive new chapter in Lattimore's story, and an expression of mystied gratitude. A study in how ordinary components helix together to create an extraordinary world.

Awarded a residency at the Headlands Center for the Arts, Lattimore spent two summer months living with 15 fellow artists — writers, playwrights, musicians, poets, painters, activists, curators — in a cluster of old Victorian military buildings on the Northern Pacic Coast. Days offered solitude, Lattimore set up in a spacious barn, able to arrange her instruments at will. Nights welcomed new perspectives. "Hanging out with a lot of accomplished artists with poetic ways of looking at the world was really inspiring. My heart was in a bit of a tangle after leaving Philadelphia. I was holding onto things instead of moving forward. My time there was a nostalgia detox, a way to press reset in a healthy way. Also breathing in the freshest air in America, straight off of the ocean, felt good."

Throughout the shifting locales there is one consistent companion Lattimore engages: a 47-string Lyon and Healy harp. The instrument wires directly into her psyche. Pitchfork's Marc Masters posits, "she can practically talk through it at this point, she's created a language." The space and stillness of the Headlands afforded Lattimore freedom to her expand her vocabulary, to stretch out and experiment with layers of keyboard, guitar, theremin, and grand piano. Lattimore's voice sweeps beneath the plucks and washes of opener It Feels Like Floating,' enraptured by the winding current, and reappearing in the second minute of the immense "Never Saw Him Again." The track elevates towards a shimmering apex of static and percussion before organ drone yields to signature halcyon utters. As with much of Lattimore's work, the track titles are telling, "Baltic Birch" is a somber windswept march that sways gracefully out of step, a remembrance of a recent trip to Latvia where she was struck by the abandoned resort towns along the Baltic Sea. Hello From The Edge of The Earth' is an earnest reection of Lattimore's love of the natural world, recognizing the thresholds of varying terrains.

The album's fth track borrows its name from Lattimore's favorite line in Denis Johnson's short story Emergency' from Jesus' Son. A character, lost in a blizzard, reassesses a disjointed universe, a clash between curtains of snow and angels descending out of a brilliant blue summer: it isn't an apocalypse, it is a drive-in movie, with stars hovering above the lot, off the screen, in the throes of the Midwestern storm. This mix-up is disorienting and existentially tragic, Lattimore's darkly strummed piece is a melancholic parallel, mimicking Johnson's elegant suture attaching two remarkably discontinuous spaces.

Micro-revelations, not quite as bright as torn skies but nonetheless enlightening, were everyday occurrences during Lattimore's residency. Living small days with small tasks — feeling little dramas within the arcadian universe of a national park — rendered her the sense that disjointed spaces can be interconnected no matter the enormity that divides them. It's in this elastic scale of perception that something as simultaneously simple and intricate as Hundreds of Days can ourish.

- Second solo album for Ghostly, past releases on Thrill Jockey
- Recently toured w/ Sharon Van Etten, Jarvis Cocker, Kurt Vile, Steve Gunn, Julia Holter, Iceage
- Mary Lattimore has been featured on Pitchfork, NPR, The Wire Magazine, and more

Following In The Tradition Of The Dark And Stark Imaginary Of Artists Such As Lorka And With Distinct Mediterranean Fire, The Sound Of Ordre Etern Is Bleak And Vile As The Void The Spirit Of Their City Represents. Ordre Etern Is Not The Defeat But The Struggle, The Endless Struggle, And The Celebration Of The Endless Crises-not Just Economic, But Moral-of Present Times.

With Lyrics Dark As The Period That Brought Them To Light, They Speak Of Fighting And Resisting In A Cruel Present, Against Adversity, Urban And Moral Desolation And The Divide Between The Two Natures Of Man.
With Feedbacking Drums That Ressemble Guitars And Guitars That Ressemble Shards Of Metal-without A Single Note-together With Electronic And Modified Drums, Synths And Tímpani, Ordre Etern Have Created A Dystopic Postindustrial Nightmare.



Ordre Etern Is Formed By Viktor L. Crux (futuro De Hierro, Qa'a, Collaborator Of Jochen Arbeit And Nurse With Wound) And Yarei Molina (qa'a).

Euphoria indeed. Rie Lambdoll and Mayuko are the two euphoric Synth Sisters, Osaka-based musicians who also comprise Crossbred. Euphoria' is the duo's long-awaited second release, following their 2014 debut. This release consists entirely of new Synth Sister recordings, featuring Mayuko's synthesizers, and Rie's electric piano and synthesizers as well as her celestial vocals. The euphoria on offer here features equal parts of angelic arpeggios, seraphic sequences, meditative melodies and transcendental timbres, masterfully mixed and mastered by Kabamix. The pieces here, all composed and produced by Rie Lambdoll, combine drifting drones with rhythmic elements sure to appeal to fans of Tangerine Dream, (Terry) Riley-esque meditations melding with psychedelic musings in blissful ease. Euphoria' is yours for the asking. (Cover art: Ginji Kimura)

Rie Lambdoll (synthesizers, electric piano, voice) Mayuko (synthesizers)
Composed by Rie Lamdboll Recorded and masterd by Kabamix at LMD Mixed by Kabamix and Rie Lambdoll
Cover art: Ginji Kimura

Präsens Editionen is very excited to present the new LP of Berlin based musician Brendan Dougherty. Economy and Failureis a work stemming from two tumultuous years for the artist: births, deaths and other big changes. The music was made in hotel rooms, airports, cafes and various studios using a basic setup of laptop and headphones.
In contrast to Dougherty's 2016 LP Sensate (Entr'acte), which used heavy synth patterns to create jittering rhythmic pulses without drum sounds, Economy and Failure sees the drums return on longer arrangements that bear some resemblance to techno. These tracks are interspersed with shorter études in texture and pulse. The resulting pattern heightens the tension between minimalism and emotional depth, making Economy and Failure a peculiar and poetic piece that the artist himself counts as his most direct and emotionally connected yet.

Limited edition of 300 copies with cover photography by Justinas Vilutis and typography by Kaj Lehman.

A techno-nature synthesis for an East-West confrontation / a musical travelogue from a Dutch musician searching for inspiration in the East in the early 80s,,,

MFM's curious and utterly killer Afro/Belgian electronic project gets the re-whip by a bunch of current producers. The EP also includes the previously unreleased, Veronika V02 (a synth bass heavy version of the compilation track, Veronika 02).