Beats Vinyl New Releases - News

Amon Düül's 1969 debut-LP 'Psychedelic Underground', here reissued on vinyl, is music at its most experimental and relentlessly uncommercial, using late '60s influences as a launching ground for what would become known as Krautrock. Taken from a jam session from the previous year, but treated with many studio effects that enhance the strangeness of the collection, 'Psychedelic Underground' rocks to its own weird beat.

Super collectable GIORGIO MORODER album performing as EINZELGANGER (German for Individualist). This one-off project from 1975 provides a look into MORODER's experimental side of his disco synth. Luckily someone has provided us a chance to offer these limited promos thought long lost.

Meat Beat manifesto formed in Swindon in 1987 by Jack Dangers (MBM's only permanent member) and "Impossible Star" is the first full length album in over seven years from the seminal electronic band.

Minimal, textural and cinematic in scope, Impossible Star follows the music innovators deeper into more experimental territory. From the thick and discordant soundscape of "One" to the cut-and-paste pastiche of "Bass Playa" to the downtempo of "T.M.I.", Impossible Star is a layered exploration of sounds and rhythms.

MBM's consistent musical invention has led to all forms of electronic musical experimentation over its 30 year history, from jungle to techno to industrial to dubstep to jazz fusion. Its long string of influential futuristic classics includes such groundbreaking tracks as "God O.D.", "Strap Down", "Psyche Out", "Helter Skelter", "Radio Babylon", "Edge of No Control" to "It's The Music"

All tracks written and recorded by Bruce Gilbert, mastered by Russell Haswell

Design: David Coppenhall, front image/ concept: Bruce Gilbert
Cut by Rashad Becker @ Dubplates and Mastering, Berlin

Editions Mego's 250th release continues its ongoing legacy of cross-pollinating and perverting various threads of radical 20th Century music whilst concocting and properling further ideas into the nebulous region where we currently reside.

With Ex Nilhio, Editions Mego resumes it's enduring relationship with long term collaborator and stalwart representative of the labels aesthetic with a new release from London's most charming deviant occupant, Mr Bruce Gilbert (formerly of Wire, Dome etc..).

Gilbert's peculiar approach to sound over four decades has seen him engage with a wide variety of practice and performance always hovering amongst the grey area between his mind and the surrounding architecture. Ex Nilhio is another significant entry into Gilbert's outre sound-book.

Inhabiting a murky zone between interference and trauma, Ex Nilhio is a daring and dark audio ride through a contemporary ketamine haze, one which haunts identifiable parameters whilst remaining too oblique to be truly quantified. Change and Not teases discomfort, Black Mirrors embraces disorder, Nomad skirts the unsettling.

Whilst never quite resolving its own logic Ex Nilhio invites the casual listener to privy a devastating peculiar and somewhat paranoid fantasy (reality).

Another effortless Gilbert classic.

Originally released on Prestige in 1957, this is the third LP from NYC street performer and avant garde/minimalist composer Moondog. Perhaps the least accessible of his early releases, this album is made up of percussive jams, usually on instruments of his own creation, street sounds, poetry, and Far East melodies, despite opening with a swinging number that is, oddly, the most bizarre thing on the album. Another classic from Moondog reissued with its original Andy Warhol artwork. Limited edition of 1,000 on purple and green starburst vinyl.

S>>D aka Sean Dorris from Belfast delivers his debut album 'Co Intel Pro' on CPU. Refined sampling alongside hip hop influenced breaks sees S>>D operating in a similar dimension to VHS Head. Reminiscent of 1980s sci-fi soundtracks interwoven with IDM-tinged electro, haunting atmospheres prevail throughout with hints of a genre that has yet to emerge. Presented over 2x12" vinyl at 45rpm for superior sound quality.

Fans of Pye Corner Audio, Gescom or indeed anything on Skam will certainly dig this.

The third and final release from Halocline Trance for the calendar year is Perfect Lung, a collaborative album from Istanbul-based composer Ipek Gorgun and Ceramic TL aka David Psutka (Egyptrixx, Anamai, Limit). A decadent yet durable offering of material sound, recorded remotely during 2016 + 2017 in Toronto, Ankara and Istanbul. Seven songs of original, accidental music that span colour and feeling; the petroleum psychedelia of Ceramic TL framed by Gorgun's precise and emotional landscapes. Inhaling/exhaling full register slabs hint at the multi-dimensionality of optimism and voicelessness...multiple things in multiple ways. Chill melodies plod then dissolve entirely like a casual toil. Whatever you like. All creative output is eco-political in nature but this record avoids directive and cliche. Moments of clarity glint through piles of junk; total quantity mimics eruptions of precious material - an unrealistic examination of the concept of material value as defined by its relative scarcity...this album is a lot. A fixation with excess contrasts the corporeal impermanence of humans with the material half-life of their consumer existence. Our legacy is trash - stray objects inside the perfect lung.

3rd vinyl cut from "Decomposition" by Japanese Dub producer Mantis including A remix by Pole. Mastered by Stefan Betke aka Pole from scape mastering.

Lullabies for Insomniacs brings you the debut release from the intoxicating Garland. A project which emerged years ago and subsequently developed and transformed through overseas exchanges. Influenced by popular media and musical practices the duo channels a resonating wonderland that echoes, calling for magic to ignite.

The first full length LP on KSE comes from the Belgium electronica mastermind Luc van Acker. Taking Snapshots is his first full-length album recorded in the early 80's in his own home. Witness Luc van Ackers enlightened musical spirit at the start of his career with this far-out experimental electronic release.

A few years ago, American composer and trombonist PETER ZUMMO discovered a 1984 recording of unreleased material from his Six Songs suite in his archive. Six Songs was the basis for LATERAL PASS (Foom 2014), his award winning score for modern-dance choreographer Trisha Brown's work of the same name. Material taken from Six Songs can also be heard on his seminal ZUMMO WITH AN X (Loris Bend, 1985/Optimo 2012).

The work is now being released as a new LP, FRAME LOOP. Recorded live and in single takes, it features a stellar line-up of longtime ZUMMO collaborators: ARTHUR RUSSELL on amplified cello, BILL RUYLE on marimba, and MUSTAFA AHMED on congas. ZUMMO plays trombone and euphonium.

ZUMMO describes the recording as 'an exercise in spontaneous arrangement'. He mainly hews close to the score, while from time to time introducing canonic lines and variations. ARTHUR RUSSELL, using his signature amplified cello sound, alternates between solos and rhythm playing. BILL RUYLE vamps on the notation, while MUSTAFA AHMED's improvised percussion drives the forward momentum. Sometimes the music takes its time traversing a sonic landscape, at other points, it jumps from one section to another. Players' decisions push and pull the downbeat, rounds emerge, then disappear.

PITCHFORK have previously called ZUMMO's trombone work peerless' and have described his music as the sound of sublimity...that sends shivers down the nervous system.' In an interview with THE QUIETUS, OPTIMO's JD TWITCH characterised ZUMMO's playing as sheer bliss.' In addition to performing his own compositions and leading his own ensembles, ZUMMO has worked with myriad bands, orchestras, composers and musicians. His celebrated trombone style is recognized as one of the most beloved features of ARTHUR RUSSELL's sound, for whom he played and collaborated with in the recording studio. Among many others are PETER GORDON and his LOVE OF LIFE ORCHESTRA, drummerproducer TOM SKINNER (Hello Skinny), cellist-composer/producer OLIVER COATES, the LOUNGE LIZARDS, including the recording of TEO MACERO's Fusion, which also featured the London Philharmonic Orchestra, and the Downtown Ensemble. He lives in New York City.

Siegmar Fricke describes his music as 'dynamic dancable collage-pop with a 90s technoid tendency'. The music on this release is made by Yamaha sampling- keyboards, Yamaha multieffects, synthesizers and 60s magnetic tape recorder, recorded on a four-track Tascam tape-machine. From 1987 - 1993 he produced twenty four cassette releases, some on his former label 'Bestattungsinstitut' and some on other tape-labels all around the globe. This vinyl is a fine selection of various tapes from 1988 - 1993 slightly edited for club use and remastered by Berlin's masterchef Kitaro from Schnittstelle. Heavy underground dancematerial for the first time on vinyl!!! Comes with a strong extended dancefloor remix by Manfredas.

Boris Bunnik is no stranger in the worl d of electronic music. He released several albums and ep's under a variety of monikers since 2007 on labels like Delsin, Shipwrec, Frustrated Funk and his own Transcendent imprint. Fauxpas Musik welcomes him for a new project called Severnaya. Originally hailing from the Island of Terschelling, the most Northern and remote part of the Netherlands he now made a piece of music dedicated to this special place. Severnaya means north in Russian and refers to the bright frozen landscapes of the northern archipels. Boris often plays with the influences and elements of ambient in his music. If we have to believe the man himself, Polar Skies is his most personal sound trajectory to come from his mind. Drum programming is scarce and what remains is a lush and profound listening experience floating on scapes and melodies. We clearly hear his roots and intentions represented in the airy, tranquil sound design of this new album project. Things sound spacious, and life is at ease in these melancholic compositions. Crispy crackling percussions and icey pads place you in the midst of a resonant arctic landscape. You can hear influences drawn from producers like Biosphere, Pub, Brian Eno but we also hear more contemporary influences from modern day film composition but most of all we here Boris his own signature. The tracks were composed over a couple of years (2015-2017) in a more contemplative mindset. At some point this selection formed a consistent piece of music and as a result you hear his most personal and fragile works to date. Fauxpas Musik is proud to release this new project in 2018. written and produced by Boris Bunnik aka Conforce at the PasadenaOceanlab Studios Special thanks to family, friends and Fauxpas

90s material from the man also responsible for the Rex Illusivii material we've been adoring here. Stunning again. Download Code Included. Artwork by Emilija Radojicic. TIP!
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'Otherworldly, poetic, imaginative and full of exploratory spirit: the music of Mitar Subotic aka Rex Illusivii aka Suba is somewhere out there. Pure spheres of sound, ruled by absolute expression and a sounding language beyond our notion of a language.

Now Offen Music reveals another unknown chapter of his large archive. This time it's a Suba record, an alias Subotic started to use already in the late 1980s in Yugoslavia. It became prominent after his relocation in São Paulo in the late 1990s, where he became one of Brazil's most demanded producers of the time. Wayang' was conducted in 1995, just shortly after Suba produced an album together with his old Yugoslavian friend Milan Mladenovic under the project name Angel's Breath. Their record unites ambient, world grooves, polyrhythms, haunting synth lines, post-punk, funk, reggae, dub, Asian melodies and vocal experiments all turned into a demanding, yet slightly pop story arc for open minded searchers. Somehow the Angel's Breath is discreet mirrored in Wayang', that was recorded in Suba's Wah Wah Studio in São Paulo, Brazil. The album features eleven tunes of whom each single one dances in its very own pipe dream. You hear particles of classic, tripping trip hop, minimal music madness, drone psychology, African percussions, the sound of a jungle, all-consuming Wagnerism, tragically moving psychedelic, tribal neo wave, Balearic desire, ethnic pureness, industrial rudeness, traces of Alan Lomax and the Smithsonian Folkways world as well as syncopated polyrhythmic adventures, religious chants, sample experiments, mumbling synthesizers and even techno. It's all there and as if time hasn't moved on, its sounds fresher than fresh. Music that has been produced with no specific audience in mind, only guided by sound and the dimensions it is able to create. Consequentially it seeks for a listener that is willing to surrender, to feel the many particles of Suba's divine musical imagination beyond the common grounds. You don't love someone for their looks, or their clothes, or for their fancy car, but because they sing a song only you can hear.' Oscar Wilde once said. Suba is singing these songs without using his own voice. He chants with sounds, found voices and unheard rhythms. If Wayang' would have been released during the times of its origin, Mo Wax music would have sounded frumpy and Warp would have loved to drop it for its fierce musical attitude.

If someone now says, it is easy to judge backwards, we recommend to listen and jump irrevocably forwards. It will be a sublime, sparkling, spiritual, impressive, thrilling journey that elevates its listeners to a place of inspiration and enlightenment.' Michael Leuffen, November 2017

barking /ba:kin/ adjective BRITISH informal completely mad or demented. "we are all a bit barking" barking /ba:kin/ Noun BRITISH suburban town in the London Borough of Barking and Dagenham. bark /ba:k/ verb 2. utter (a command or question) abruptly or aggressively.

Björk has released two remixes of the track 'Blissing Me', from the current album 'Utopia', one which strips back the existing layers of song to purely her voice and a harp arrangement by herself, and another by the enigmatic artist serpentwithfeet who has gifted his heavenly gospel tones to the track.

New project and new label from the creators of the fantastic 808 Box, Fundamental Records.There are many details that make this project something really unique. These records will become classics if they are not already!. The music of every record is very special, also the artwork and the technic use to print each sleeve, but the concept behind this project something you need to understand, as you can read in the website everything is based in two factors:First, to provide the artist with complete anonymity in order to create in absolute freedom.Second, to offer the listener the work of the artist without any external distortions.The use of words to describe or define music is a senseless task. Most of the time the intention of descriptive text is not to shed light on the work of the artist, but rather to serve as a promotional tool to drive sales and increase recognition. This often has the unfortunate result of limiting the creator and his work. Music is all we need, any other additives are completely dispensable.- This project is an experiment.- Only six artists are part of this project.- The identity of the artists involved in the project will remain private but they are free to reveal their identity after some time, even if we would prefer they didn't (that is the reason we provide a special code in the back of each record)- The artists involved in the project are not aware of the identity of the other artists.- During the following 12 months we will periodically release 12 records: 11 x 12 and the last one, a special 7- Each record is a full album, a trip into the mind of the artist. There is no need for 'perfected' tracks as this is not a collection of hits compiled on a 12' for massive sales. We asked each artist to work without any limitations or expectations that their previous 'sound' might impose. In this way the artist may expose ones true self in the music or choose to demonstrate another side of their creative self.We strongly recommend to take some time and read about this project at their site:

William Gibson's prophetic sci-fi novel Neuromancer inspires Mumdance, Logos and Shapednoise to sensational new heights on their 2nd EP in The Sprawl trilogy for The Death of Rave. The trio's EP2 is all about 'Data Flow', or the relay of information between software, hardware and its human agents, triangulating The Sprawl as biologic semiconductors in a quantum network of emerging AI consciousness, parsing their corrupted memory flashbacks of physical ecstasy, excess and synaptic muscle memory into premonitory visions of future hardcore rave.
Arriving at the project's midway point, equidistant to futures past and the singularity, the trio's 2nd cybernetic merger generates pivotal plot twists and an expanded palette of styles in flux between virulent mutations of noise torque, hardcore techno and sci-fi cinematic memes.
Across its four tracks, each producer's recognisable characteristics are strategically subsumed, consolidated to an inseparable, if fractious, energy that describes and manifests the themes and energies of William Gibson's prescient cyberpunk fiction in hyperstitious form.
The A-side picks up directly from EP1 with the synaesthetically-enhanced sensations of Burning Chrome, titled in reference to one of Gibson's first short stories set in the fictional dimension of The Sprawl - the first to coin the word 'cyberspace' - with a turbulent roil of bruxist shockwaves unpredictably punctuated by lush pads, before the cyberpunk terror of Black I.C.E. hacks into the nervous system with visceral, arrhythmic dynamic.
On the B-side, the story really shifts up a gear or five with X System, a breathlessly brutal 150bpm techno assault that sounds like late '90s Dutch rave or NYC bunker techno dialled in via faulty ISDN connection, which makes for a steep contrast with the shocking emotive pathos of the EP closer Online Seance, where the trio fulminate a transcendent vision of cinematic synth noise redolent of Leyland Kirby's Intrigue & Stuff series, but with a vicious digital edge and serontonin-frying euphoria of their own imagineering.
This is the sound of The Sprawl really coming into their own as a thrilling, innovative, and boundary-probing prospect within the noise techno nexus.

Based on a small inspiration by Kudo Tori, with additional material added from the voicemail recordings made by Hashizaka Ai (and her family) and from a Maher Shalal Hash Baz 30th anniversary show in Shinjuku, to make up three levels of sound.

Hashizaka's sounds are full of the highly entropic sadness of northern Wakayama and Maher at Shinjuku sounds like they were a little angry.

Kudo-san says that he picked up a sense of blankness and kindness from these fragments. Something like the feeling you get at an out of the way bookstore that has a nice collection of books, or at a small cheap bar that features fried organ meat, or a bakery, or taking a long trip, or when you're extremely busy with cooking, cleaning, housework and child care, or other real experiences that make life worth living.

- Notes by Geshi Nodoka translated by Kato David Hopkins

- CD Mixture Of All Tracks

Belgian musician Dijf Sanders pens and produces soundtracks for distant, far-flung places that brood with exotica, psychedelia, jazz and electronica. His new album 'JAVA', is a psychedelic and modern search for the sounds of the homonymous Indonesian island. Armed with a set of field recorders, Dijf traveled to every urban and rural corner of Indonesia in the spring of this year. As a contemporary incarnation of ethnomusicologist Alan Lomax, he collected an impressive repertory of recordings, commissioned by the Europalia Arts Festival and KAAP Creative Compass. 'Kacapi', 'Kendang', 'Angklung', 'Calung' or 'Gamelan' are not the names of indigenous tropical diseases by the way, but those of local instruments that Dijf encountered on his adventurous musical quest. For two weeks the American expert ethnographer Palmer Keen stood by Dijf through his total immersion into the island's colourful culture and rich, ceremonial traditions. On his return to Belgium, Dijf headed straight back into the studio with the gathered material and invited some of his musical soulmates to put the icing on the cake. It is no coincidence that the three guests - Nathan Daems, Filip Vandebril and Simon Segers - are all part of Black Flower, a band that famously flirts with Oriental sounds. From hours and hours of field recordings, Dijf distilled ten psychedelic pieces which ride on waves of ecstasy and trance, and bridge the gap between two worlds. Tribal rhythms and warm melodies are fused to a seamless and beautiful musical work in utopia. The Brugge-born, Gentbrugge-based musician is one of those great Flemish talents. In the past, he earned his stripes with Teddiedrum and The Violent Husbands and has produced bands like Kenji Minogue and Blackie & The Oohoos. He has also released music under his own name including the critically acclaimed album 'Moonlit Planetarium'. Welcome to Dijf Sanders' wonderful journey into future exotica.

Greenock's Polonis makes his debut on Astral Black under his Rebore Kid alias. The 'Rebore Kid' EP follows up the release of 'Campaign' on Boxed004 with 4 DJ friendly club-tools made entirely of gun shots, proxy mines and homing missile sound effects - with the odd kick to remind you what traditional club trax should sound like - early support comes from the likes of Grandmixxer, Logos, Spooky & Oil Gang.

Across the 4-tracks Rebore Kid reimagines grime classics 'Straight', 'Lucky 7' as well as liberating the legendary OG 'Rebore Riddim'. The EP is available on 200 x hand-stamped white labels, each individually numbered by the man himself (so it's a bit like an autograph).

In der Pause' (During the Pause) was the title of the last track on the b-side of , the first album by Die Tödliche Doris. In der Pause' was pause music, as well as the announcement of the interval between their debut album, released in 1982, and the box format project 'Chöre und Soli' that followed in 1983. The original sounds of In der Pause' survived on a single audio tape dating from 1981.Now, about 35 years later, Chris Dreier and Wolfgang Müller have used the material recorded on the audio tape as the source for five new tracks of pause music. The material on the original audio tape has was reworked using Moog analogue effect modules and Ableton Live. It has been supplemented with archived announcement interludes from radio and television stations, including German stations WDR, NDR and HR, Radio Italy IBF and Radio Kamerun.Sprechpause' was recorded in 1981 — 1982 by Chris Dreier, Nikolaus Utermöhlen and Wolfgang Müller and reworked by Wolfgang Müller and Chris Dreier in 2017.

The Fossil Aerosol Mining Project continues their post-industrial dialectics through their "songs of enhanced decay and faked resurrection." This cryptic ensemble from the American Midwest has been quietly producing such works since the '80s, with a deep catalogue highlighting a uniform brilliance in the exquisite reconstruction of exhumed cassette tapes and moldering 35mm film stock.

On August 53rd, Fossil Aerosol has collaged their reclamations of found sounds into an inquisitive, dynamic cinema of the ear. The tape loops and recombinant samples create elliptical orbits and vertiginous spirals. Down-pitched, disquieting rumbles form the foundations for much of Fossil Aerosol's compositions, which mutate the fractured, crumbled, and mildewed artifacts into patterned yet shifting phrases. The result seems like hybrid, time-compressed mimicry of the evolution of our media-driven language.

The official statement from the ensemble reads as such:
"This album, arranged specifically for Helen Scarsdale, might be considered a prequel to The Day 1982 Contaminated 1971, featuring the damaged remains of certain pop culture pleasantries in a less decomposed state than found on the previous vinyl release. August 53rd, a month extended to accommodate a changing climate, predates the day 1982 contaminated 1971."

Such inquiries characterize the many non/fictions that contextualize the work of Fossil Aerosol. Through the process of decoding lost melodies and dialog of the 1960s, '70s, and '80s, Fossil Aerosol intentionally or unintentionally deflates the vanity of consumerism while at the same time providing an archaeological view of contemporary culture.

These conceptual frameworks would be meaningless if Fossil Aerosol did not deliver on the aesthetics. And deliver the Project most certainly does. August 53rd harbors the rich enigmas of distressed sound collages found in the work of likeminded artists such as Philip Jeck, Felicia Atkinson, and of course Fossil Aerosol's occasional collaborators :zoviet*france:.

Noted photographer Michael Eastman (Vanishing America, Havana) contributed the artwork used for the cover of the album, specifically selecting imagery from decaying landscapes of the American Midwest.

Braindance Records, Giving the Morning calm a Second Chance.

After spending years venturing between ocean and land, I.M.J.U.S has found solitude back in his hometown, Seoul. Upon returning he has dedicated himself to delivering the Paganist Delusion E.P. Five recordings of melting rythmics derived from hypnotic Minimal to pace driving tracks.
I.M.J.U.S break codes up and this output shows his unique and unconventional sound interpretation. With inspiration peculiarly drawn from Industrial sounds through his experiences, we are left with a convergence of experimental and uniquely imaginative techno.

Ltd. to 500 copies, 180 gram vinyl, letterpress on Foldkraft paper sleeve, incl. 12-page full-size booklet

Empty Editions presents Jean-Luc Guionnet and Daichi Yoshikawa's collaborative debut, Intervivos. Recorded during a week-long residency at Hong Kong's Empty Gallery, Intervivos (Latin for between the living'), refers to the vital and unexpected acoustic synergy that developed between Guionnet's extended alto saxophone techniques and Yoshikawa's feedback systems during these sessions.

Although Guionnet and Yoshikawa both come from prolific backgrounds in free jazz and electroacoustic improvisation - Guionnet plays in The Ames Room with Will Guthrie and Clayton Thomas and Yoshikawa studied with AMM's Eddie Prevost - Intervivos sees them developing an approach to improvising which seeks to escape the increasingly narrow stylistic confines of these musical provinces. The album is characterized by a brutal foregrounding of process and material lacking from the experimental music of so many of their contemporaries. Rather than seeking refinement or resolution through existing structures, Guionnet and Yoshikawa prioritize a sort of collaborative musical searching in which the aural entanglement, layering and folding of their scorched intonations creates an emergent musical form - a non-linear music which sounds both ancient and futuristic.

Corruscating alto saxophone riffs appear suddenly, before disintegrating amidst slabs of feedback and flurries of metallic percussion. Other times, Yoshikawa and Guionnet conjure shifting clouds of sustained tones from the timbral meshing of their instruments - yielding a sound somewhere between the dense textures of Iancu Dumitrescu and the floating harmonics of Gagaku. Far from improvisation as we know it, this album instead gestures towards a speculative electronic' music created through the ritualistic misuse of acoustic instruments. Intervivos is a fierce, undecorated triumph in the ruinous expression of instruments - exalted in both its turbulence, and in its extreme testing of improvisational reality. Put summarily by Seymour Wright in the album's liner notes: You don't need me to tell you how it sounds, or how to listen (...) this record begins when you play it.'

The release is mastered by Rashad Becker at D&M, featuring artwork by Jean-Luc Guionnet and 12- page liner notes by saxophonist Seymour Wright. The LP is produced in an edition of 500 on 180 gram vinyl in a letterpress on Foldkraft paper sleeve.

Jean-Luc Guionnet is a Parisian artist whose practice encompasses composition, improvisation, filmmaking, and philosophy. He has toured extensively as a solo saxophonist, and has spent the past 15 years performing on on historic church organs around the world. For him, music is one of many methods by which to test reality. Having studied musique concrète under Iannis Xenakis, his acousmatic sensitivities reveal themselves through the reverence that guides these interrogations. Approaching his instruments as imperfect vehicles of artificial intelligence, his attentive engagement applies speculative pressure to the expressive limits of their material properties. In his hands, design flaws and repressed qualities transform into catalysts for novel sonic emanations, and the simplest of processes are mobilized to extract infinitesimal acoustic detail. Although a formidable solo performer, Guionnet is no stranger to collaboration. In addition to his ongoing relationship to the seminal French improvisation group Hubbub, he has worked extensively with artists such as Taku Unami, Eric La Casa, Toshimaru Nakamura, Will Guthrie, and Mattin.

Daichi Yoshikawa is a Japanese sound artist based in London and Berlin. A former student of AMM co-founder Eddie Prevost and sound artist David Toop, Yoshikawa's distinct sound comes from feedback systems generated between homemade assemblages of speakers, contact microphones, and various found objects. Developing his ability as an improviser through years of attendance at Prevost's weekly workshops, Yoshikawa is singularly unique in his facility to wield electronic feedback as an instrument capable of both dialogic potential and genuine musicality in a group setting. Combining the collaborative sensitivity of a player like Toshimaru Nakamura with a techno and noise-derived penchant for enamel-peeling feedback tones and lurching metallic rhythms, Yoshikawa's electroacoustic practice creates brutalist landscapes of sound from the space between noise and silence. Yoshikawa is also part of the ensemble llln, a London-based group with Seymour Wright and Paul Abbott, and has collaborated with Joel Grip, Antonin Gerbal, Samo Kutin, Lee Patterson and Rie Nakajima.

Exceptional recordings by this New age maestro. Only recently re-discovered by his friend JD emmanuel & the band Sun Araw. Originally released on cassette in 1983 and now for the first time available on 180gr. Vinyl. For fans of joanna brouk, JD Emmanuel and Iasos

Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance.

These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City's Alternative Museum in October, 1983.

The Music of Rana' Enviromental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning Sunbreath', has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music's original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition.

This album is the second volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall's book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. EQ settings of treble and bass levels determine the music's effect upon you. Please explore until the most comfortable settings are found.

Ricochet Screen is the first proper LP from New York based TINT (aka Zane Morris). Encompassed as an overview of his solo recordings dating as far back as 2007, Ricochet Screen unfolds as a storied arc on the obsessiveness of composition, conception and mechanism. Culled from ad hoc recordings in vacant industrial buildings, lunchroom cafeterias and bedroom studios, the record functions as a meditative associative collage regarding a rebounding from omnipresent glass monitors, intrusive security measures and indeterminate barriers.

After his well acclaimed soundtrack lp on Hivern Discs,Brussels based producer Lawrence Le Doux is returning to homebase Vlek for his next offering. And what a project it has become: Le Doux, heads first, dived deep into the Belgian national history of electronic music, and came up with a   sampler covering the various fields the Belgians have explored over the last 30 years.  
From digi dub over simple drum computer house to one­man industrial cassettes: 'Host' has it all." 
Lawrence Le Doux opened for   Matias Aguayo in one of Brussels' major venues: Ancienne Belgique earlier this year.   
Lawrence Le Doux' latest album was released on Hivern Discs (Music For Documentaries' -  3,8/5 on RA)
VLEK designer Dimitri Runkkarri's take on the analog type press / glass printing process: With Lawrence Le Doux, from the beginning (with "Terrestre", 2014) we used different materials to print out the sleeves. We used cork, overlapping letters, plastic cross for wall carving.
This time, I had some glass left at the workshop. We wanted to try. We broke it on the press then printed it with all the texture, scratch, accidents caused by the pressure of the press..."

Karl Lukas Pettersson has searched through his vaults of DAT tapes to create a personal album of lost projects, ideas and forgotten gems. The album includes a remastered version of Professor Laphroaigh originally included on his Dr Lindh - Sounds Interesting EP for SCSI-AV
Limited to 300 copies

Bonsai Superstar is the second album from the band Brainiac, released in 1994. It is the first album on which guitarist John Schmersal appears. Originally released through Grass Records, and long out-of-print, the album was recorded in Brooklyn, New York with engineering and production done by Girls Against Boys bassist Eli Janney. While the album received little critical attention upon its initial release in 1994, today it is considered one of the best recordings by the band.

After a slew of acclaimed releases by Equiknoxx, Robert Aiki Aubrey Lowe, Shinichi Atobe and Mica Levi in 2017, Demdike Stare's DDS start 2018 in typically unexpected style with a remastered reissue of David Moufang (Move D), Karl Berger, Jamie Hodge, Gunter Kraus and Jonas Grossmann's gorgeous sophomore Conjoint album, Earprints (2000).
Conjoint was the little-known but hugely regarded ensemble founded by David Moufang two decades ago, featuring techno pioneer Jamie Hodge, Deep Space Network's Jonas Grossmann, acclaimed jazz guitarist Gunter Ruit Kraus and, most intriguingly - Karl Berger (Jazz Pianist and Vibraphone player for Ornette Coleman, Don Cherry and George Clinton to name but three).
The ensemble are accompanied on Earprints by Andrew Pekler, Anna-Lena Fiedler, Burkhard Höfler, and Kai Kroker, among many others, and flesh out a full frequency spectrum of instrumental and electronic timbres, precisely yet louchely coalescing a timeless and cool blue sound that is entirely respectful to its roots, yet dares to imagine them in an altered context. In that respect it's an influential, memorable precursor to Jan Jelinek's acclaimed Loop-FInding Jazz Records that was eleased the following year.
Democratic in its construction and flush with pregnant contemplative space between and around the notes, the lasting impression made by Earprints is indelibly classic, quietly awaiting immersion by a new wave of listeners who will no doubt marvel at its many charms.
If you're into late night listening and have followed the work of Move D, Miles Davis, Tortoise or Jan Jelinek's frayed, late night Jazz minimalism - this one's for you.

The music of Hawthonn is dense and atmospheric, but not inaccessible. Experimental electronic techniques fuse with doom-laden organ riffs, crystalline piano, elemental drones and haunting vocals. Largely guided by their own unconscious muse, the band's chief inspirations lie outside of music, in Romantic poetry, dreams and reveries, esoteric symbolism, the history of magic and witchcraft, folklore and the English landscape. Hawthonn is Leeds-based duo Layla Legard and Phil Legard. Having previously collaborated in music, as well as text and photography, they officially formed in 2014 to deepen their uniquely imaginative approach to musicmaking. Often developing from obsessive explorations of a particular theme, their work precipitates dreams and imaginative journeys, which inform the direction of their music. Their earliest music explored the afterlife mythos of Coil's Jhonn Balance through the image of the Hawthorn tree and Cumbrian landscape where his ashes were scattered. Their approach draws lyricism from the psychoacoustic phenomena of phantom words'—sonic textures translated from geographical space into droning sound spectra, and verbalized dream imagery. The prime symbol of Red Goddess (Of This Men Shall Know Nothing), is mugwort. An herb associated with dreaming, travel and menstruation, mugwort particularly favors edgelands: those abandoned, untended places, part man-made, part rural, where nature begins to reclaim what humanity has left behind. The music here unfolds a mandala of symbolism from these liminal spaces, drawn from a web of fascinations which unfolded during the recording process.

"Mystiphonic" is the third release from Roland P. Young on EM Records, following "Isophonic Boogie Woogie" which was originally released in 1980 and re-issued by EM in 2005, and the 2009 "Istet Serenade."
"Mystiphonic" is the fruit of two years of recordings at Young's Isophonic Sound Laboratory in Brooklyn, "comprovisations" which are more electronic than the previous EM releases, and yet this new CD retains Young's emotional life-long horn playing, a romance which began in his youth in Kansas City. Also carrying on from previous releases is the all-encompassing warmth and organic/oceanic feeling of Young's music, a rootedness that has been present since his early exposure to Charlie Parker, on through his San Francisco years and ever forward, linking past, present and future through deep American soil to his world-embracing current music, all united through his "Isophonic" philosophy.
The "Mystiphonic" blend of electronics, percussion and horns is one of subtle beauty, sure to please Young's fans while attracting new admirers.

Die Orakel presents three spaced out excursions by Edward.