Beats Vinyl New Releases - News

The urgency and viscera - both live and on record - that led Yorkshire-based five-piece Hookworms to prominence across two blistering full length albums, 2013's 'Pearl Mystic' and 2014 follow-up 'The Hum', remains. However, as they return with
their much-anticipated third record 'Microshift', the band deliver a seismic shift in their sound, dynamic, songwriting and production.
Radiant, immersive and teeming with light but still heavy and forceful, the music on 'Microshift' acts as a very deliberate counter to some of the difficult topics the album's lyrics address - ranging from death, disease, heartbreak, body image and even natural disaster.
Hookworms have pulled off a triumph against adversity, a comeback with what they may see as a 'Microshift' but is in fact a massive advancement.
CD in spined mini LP wallet and printed inner sleeve. LP pressed on 180g heavyweight black vinyl, with printed inner sleeve and digital download code.

Wriggling away from any clear classification, as 80s Italian new music was wont to do, yet clearly drawing on a number of traditions and procedures, Andreoni and Paladino's AEOLYCA project stands on its own as it intersects the two musicians' already well established partnership in A.T.R.O.X. and The Doubling Riders among other settings with the sounds generated by Mario Ciccioli's aeolian sculptures. Neither aiming for the organic purity of Harry Bertoia's Sonambient recordings or the complex constructions of Mario Bertoncini's works with aeolian harps, AEOLYCA walks a line of resistance in refusing to get with any program. The music that was produced in Andreoni and Paladino's interaction with the recordings extracted by Emiliano Licastro from Ciccioli's sculptures is one that breaks the boundaries between the sound and musical sources.

The work is divided between the quick pop timings of the Rain on the Bells', Sunday Clothes for Brass Bands' and The Peruvian Club' and the longer eponymous structured compositions that bookend the record each track characterized by a dominant sonority inspired by specific iterations of globalized musics. Ultimately, though, notwithstanding their individual structural and sound diversities, the project is indebted to the sampler, the ultimate absorber, the sound source that takes up the most musical space and the possibilities of eroding sources and styles that it imposes.

Further, to indicatively attest the historical context from which it emerges, the 1980s as they came to a close, AEOLYCA was originally released on cassette, that decade's foremost format, agile, immediate, economical and for a US label (Violet Glass Oracle).

This is music that has digested many of the period's instinctive gestures. It exists as a satellite, incapable and unwilling to articulate antecedents and to nurture descendants. This is a unique work in Andreoni and Paladino's well documented activity, individually, in duo, and in their eclectic collaborations with the likes of Roger Eno and Riccardo Sinigaglia. Like the Time Zones Festival from which this project got its start AEOLYCA is what you find on the 'path of possible musics'.

- Peter Sarram

And so, steadily, Roberto Musci's works are being made available for our listening pleasure. Soave's edition of 'the complete sessions' of The Loa of Music, Musci's debut album from 1984, is now flanked by Urban and Tribal Portraits, another milestone from 1988, a key collaboration with fellow sidereal world traveler Giovanni Venosta, whose essential and amazing debut album Olympic Signals was also recently repressed. While a number of the recordings that comprise this particular work have been (relatively) available --through a ReR anthology that also included tracks from the other Musci/Venosta collaboration, Water Messages on Desert Sand as well as some integrated in the Music From Memory compilation, Tower of Silence, released under Musci's name only—this is indeed the first time one can listen to this fundamental work as it was meant to be heard. Not a minor detail for a work that was obviously conceptually and narratively rigorously conceived by Musci and Venosta.

And what a listen it is.


Urban and Tribal Portraits reaffirms the idea of postmodern pastiche as a multimedia multisensory experience and sound as an ecosystem that is both aleatory and concrete, ephemeral and durable. In these binary paradoxes, a radical notion of the nature of collaboration, that is both chance induced and conversely conceptually worked out, is also established. The result is a work that exposes the fixed assumptions about the constructed boundaries and flows between musical traditions and practices. On its own this is the ultimately problematic place where many of the so-called musics concerned with the world reach an impasse, incapable as they are of questioning their own basic assumptions and ultimately end up strengthening those very same boundaries and flows that they had apparently set out to challenge. Musci and Venosta go further, principally and more fundamentally, by picking away at the margins of pure sonorous events and musical material, noise and sonance. In doing so,Urban and Tribal Portraits repoliticizes the notion of pastiche, engaging as it does in a kind of ecopractice, turning the process rather than the musical object into the poetic focus of the work. Fixed categories are rendered ephemeral, temporal and spatial categories including the margins, so hard to overcome, between composition, improvisation, authorship, recordedness and live performance are deconstructed. In the end, where one would expect seriousness there is levity and where one might see some postmodern appropriative ironic juxtaposition there is intensity and respect of the magical organicness of the material sources.


Like much Italian experimental music from that magical decade of the 80s this is not your dad's fourth world music, with all of its ambiguous aestheticism of 'unifying' some not so well defined primitivism of 'world ethnic styles' with the futuristic sounds of whatever 'advanced electronic techniques' were the platter du jour. In this sound the 8-bits of the E-Mu Emax is as primitive as the Jews Harp while the electronically treated Pygmy chants turn out to be as futuristic as the multi-timbral capacities of the OB-8.


From the funk ostinatos of El Lamento de Los Ayatollah' where Venosta showcases his straight piano playing to the rarefied queer guitar arpeggios in Tamatave', the peaceful ripples in Dialogue Between a Dreamer and Others', the playfulness of Starfish & Kangaroos' or the post-punkish This Heat/Cabaret Voltaire aggression in The Fear of a Soldier' this is destabilization as praxis, a shifting of the ground. The new cover image, that replaces the ethno patchwork of the original sleeve (beautiful as it was) is indeed more to the point: Sven Hedkin's photograph of early 20th century Tibetan death masks is at once urban and tribal, surrealist in its uncanniness. Just like in surrealist praxis these sounds offer some kind of redemption: sounds used in alternative ways, distinct from their usual connections, deconstructed. A DIY bricolage: a destructuring of everyday sound objects towards new uses fed by local ecosituated experiences, transformative of performance and listening. Surrealist 'musicking' indeed.

-Peter Sarram

Eccentric, polymetric polyphonics from inquisitive Australian sound artist Ross Manning, returning to Lawrence English's Room40 with a scattershot batch of pots 'n pans rhythms and noise.
In august this year, Manning opened his first major survey exhibition, dissonant rhythms, at brisbane's institute of modern art. As part of the exhibition, a monograph and LP edition, titled reflex in waves, were prepared to celebrate this milestone.
This LP brings together a series of sonic approaches Manning has been developing for over a decade. specifically concerned with waves and the impacts of their resulting vibration. quietly producing audio works out of his studio in Yeronga, on the south side of brisbane city,Manning's works are based on a series of deeply personal instrument designs, tape manipulation and other exploratory approaches. his instruments, which are often percussive, use harmonically related materials that are activated by motor-driven strings. the resulting sound is a chaotic but pulse-like cluster of harmony. developing sets of uniquely pitched materials. His instruments each maintain a distinct quality; no two instruments sound alike and although the way in which they
are 'performed' may be similar, the resulting sound is anything but familiar."

Sole release by this Colombian band that surfaces briefly after the Speakers, Young Beats, Ampex and Time Machine era comes to an end. The band boasts an Italian jazz-rock drummer Roberto Fiorilli and legendary Genesis Bassist Humberto Monroy. The record consists of one theme divided into two long experimental progressive ventures (Viaje I and Viaje II) of fierce, fluid and free collective improvisation with spacey feels and a rich texture of Hammond organ, guitar, bass, tenor sax, percussion and drums that takes the listener on a trippy psychedelic krautrock-sounding out there' voyage.. First performed live at the Festival de la vida' in Bogotá in 1970 with an audience of close to ten thousand, Siglo Cero's concert was then recorded in the legendary Ingeson studio with the same musicians and same production as the live gig. This concert became a pivotal and highly influential experience for an entire generation of soon to be Colombian rockers who tuned-in to the irreverent breaking of boundaries that this music showcased. Comes with liner notes From Zodiaco co-founder Álvaro Díaz Manrique.

This fully licensed album is released in high quality heavy paste-on gatefold cover, limited to 500 copies in black vinyl

From Ernst Thoma's secret vaults. First 2 chapters of Mr. Thoma's fun with the Serge Modular Music System and TMS Synthesizer, accompanied by Knut Remond on weird "laced square drum"

Live recorded at Raum 2 and at Koprod Studio Zürich in 1981 and 1982

Remastered reissue of Whitney's recording originally released on tape cassette in 1983.

.
Produced and engineered by Walter Whitney from April 1982 to August 1983 at Subterranean Sound Studios, accompanied by Carl Weingarten and David Udell's guitar magic sounds.

Japonaiserie was the term the Dutch post-impressionist painter Vincent van Gogh used to express the influence of Japanese art. Artists including Manet, Degas and Monet, followed by Van Gogh, began to collect the cheap colour wood-block prints called ukiyo-e prints" A mini LP by Benoit B, the boss of Banlieue Records , on which he creates a futuristic environment influenced by the Japanese electronics of the '80s. A musical "Japanaiserie" that can melt your cold cold heart.

Idiology was originally released in 2001 and is now finally back on vinyl. This re-issue is pressed on white color vinyl and presented in a die cut jacket with artworked inner sleeve and free download card. From their beginnings in 1992, Cologne native Jan St. Werner and Dusseldorfer Andi Toma have consistently challenged electronic music"s paradigm in often surprising and always intriguing ways. Idiology is the duo"s seventh album and is no exception to this rule, as Mouse on Mars surround themselves with strings, woodwinds, brass and the band"s own heavily modified fleet of machines in the St. Martin"s Tonstudio. Fans should once again brace themselves for the inevitable shock of the new as Germany"s most irreverent audio renegades have created the perfect soundtrack for a highly sinister dance party. Kicking off with "Actionist Respoke", the album"s first single, Mouse on Mars officially declare their independence from glitchtronica"s shoegazing legions. Longtime collaborator Dodo Nkishi lends a uniquely warped vocal sensibility to the track which already features Mouse on Mars"s darkest grooves to date. The rest of the album continues to thicken the group"s sonic stew. Tracks such as "Presence" and "Catching Butterflies With Hands" have their populist intentions undermined by Werner and Toma"s meddling hands, while the duo reprise their flirtation with the orchestral as heard on the opening tracks from 2000"s Niun Niggung. At the other end of the spectrum, "Introduce" is a truly evil slice of twisted lympho-zoid hip-hop. Idiology takes no prisoners in its dual-pronged assault on the conventions of modern music. Only with the loungy closing number, "Fantastic Analysis" (a term Werner and Toma invented to describe their working process), do Mouse on Mars let the arrangements breathe a long sigh of relief, the calm after the storm. To enable these stylistic achievements Mouse on Mars enlist the help of partners in crime such as: Nkishi, the multi-talented Harald "Sack" Ziegler, house icon Matthew Herbert on piano, violinist Matty Arouse, in addition to fellow programming wizards Adam "Vert" Butler and F.X. Randomiz. The latter two toured with Mouse on Mars in 2000 as they successfully triumphed over audiences around the globe.

Following the Adelaide electro sounds of Furious Frank's 'Magic Mountain EP', Ken Oath returns with an eye-opening survey of modern ambient music along Australia's coast. "Breathing Space" is the intermingling of organic and synthetic textures - lyrical birdsong and field recordings that evoke the immense natural beauty of Australia alongside blissful pads and synthesizers that echo the calming waves from lazy days spent by the beach. With contributions from Ken Oath alumni Donald's House and Angophora's Max Santilli alongside 9 other hand-picked Australian artists, these meditations on antipodean flora and fauna are essential listening for anyone interested in a contemporary relaxation experience.

An Edible Body, Wind Atlas' new album, marks a turning point in the band's trajectory. Their third record builds a new space for the band to experiment and play with new sounds and electronic rhythms. Strangely, An Edible Body is the band's most experimental album and at the same time the most accessible.

After a change in the band's formation at the end of the Lingua Ignota (BFE, 2015) tour, Wind Atlas take a break from performing as to discover new sounds and work on a new album. Without a bass player, the band turns to electronic music as an answer for mixing their ritual ways with new intensities and rhythms never explored by them before. If their first albums, the EP Fen Fire (BPR, 2012) and The Not Found (BPR, 2013), were essentially influenced by 4AD's eighties bands like Cocteau Twins or Dead Can Dance, with Lingua Ignota, Wind Atlas discover an array of possibilities beyond the bands initial reverb-pumped folk songs. Opening up to post-punk, primitive sounds and spiritual chants, they begin to include post-industrial hints that would later crystallize in the form of this new album, An Edible Body.

In search of this new sound, the band decide to record the album in New York with Sean Ragon, main figure of the current post-industrial scene, leader of the band Cult of Youth -whom they meet after performing together in Barcelona- and occasional guitarist of Psychic TV, seminal band of the industrial music scene: the chemistry in the studio was immediate. An Edible Body was recorded in just two weeks, one freezing month of February in 2017, at Sean Ragon's basement studio in Maspeth, Queens, New York.

The album experiments not only with new sounds but also with new forms of speech. That's why 'Desertor'opens the album, a crude and simple song, in which the voice finds itself almost alone, in the aridity of a desert, threatened by a noise in the background. Interferences interrupt the words and the voice goes out of tune due to tape manipulation.

That interference foretells what is to come, the anticipation of a new affirmation called 'Shedding Light'. The drum machine blends with the acoustic drums and metal plates, the synthesizers stand out and the voice sings ironically to a new reality, built in a more assertive and cruder way than in previous albums.

Despite the apparent distance between songs, An Edible Body sounds oddly solid. The dark ambient sound of 'Camino de la cruz' is far from 'How to Liquify' or 'Ruins', the most unabashed pop song the band has composed to date. In a way, Sean Ragons production gives unity to an eminently heterogenous album. The eastern influences of Lingua Ignota reappear in 'Herencia de Jade', with a danceable industrial beat that takes on more significance when performed live.

'En la cruz' is a techno tribute to San Juan de la Cruz and probably, one of the central tracks on the album. The new version of some of the verses from his Cántico espiritual combined with a dense rhythm that culminates in a polifony of voices affirming the existence of the force of the invisible, product of Sean Ragon's magic in the studio thanks to the sound processors used on bands like Coil or Chris and Cosey.

On the other extreme we find 'Under these Waters', a sound poem that sings to a theme present in the band's imaginary from the start: the uncanniness of water. 'Under these Waters' is a song with a strong sexual component built through hipnotic cadences and suggestive synthesizers.

'To Clarice' is a post-industrial ballad, fundamental to understand Wind Atlas' new vibe. Again, the influence of poet Leopoldo María Panero is reflected in the lyrics, which speak of a cathartic encounter. 'To Clarice' is also an offering to writer Clarice Lispector, as well as a recognition of one's body and the foreign body, its senses and its meanings.

Frío y Vacío is a band based in México City, formed in 2015 by the prolific Angel Kauff (vocals, guitar, synths, drum machine) and Jon Gil (bass, drum machine). Angel also created his more synth orientated Stockhaussen and Isotropía projects, Jon is also half of the Identik Fact project, the other half being his twin brother Jeremy Key who in turn is the guest vocalist in Frío y Vacío's song 'Autodestrucción'.What Frío y Vacío do is a reflection of their name, meaning 'Cold and Void'. They have been influenced by different music genres, from post-punk and goth rock to cold wave and synth punk, all with a classic 80s sound. The lyrics are a consequence of Kauff's personal experiences and feelings. The music, a maelstrom of fast rhythms, sharp guitars, thumping baselines, everything to create an oppressive atmosphere, charged with a high load of electrostatic power that is released in almost every song. Pure, dark energy.The first published material by Frío y Vacío was a 6-song digital only ep available from their Bandcamp site. The release was named 'Nueva Era De Comunicación'. Another song was added and the title was eventually changed to 'No Somos Máquinas'. At this point the first physical release saw the light in form of a 7-song cassette. More songs were added to the artist's Bandcamp, including two collaborations with other bands. 'Autodestrucción' was recorded with fellow Identik Fact vocalist Jeremy Key and 'Ansia' was co-written and sung by Makaria from the city of Rosario, Argentina.So 12 songs now complete the first album by Frío y Vacío, an album that we have remastered entirely from the original mixes, exclusively for our vinyl release and are glad to present on a limited, hand numbered edition of 265 copies including download code, housed in a matt finish sleeve with insert (lyrics and credits).

"After a concert of Kenyan singer Ogoya Nengo in Berlin in 2015 in a pleasant conversation Guillermo Lares told me about his father, Oswaldo Lares, a studied architect who, parallel with his professional activity, began to make field recordings of the traditional and indigenous Venezuelan music from the early 1960s onwards up until today.

His search and fascination for finding the musical roots of his country led Oswaldo Lares to visit the rural villages outside Caracas, investigating the many and varied musical cultures of the region and the complex relationship between Venezuelan folk music and its various origins, including the African (mu´sica afrodescendiente).

The vast amount of music documents in the form of sound recordings, photographs and videos accompanied by notes and studies reflect the scope of this entirely self- taught sound engineer's work and represent a passionate documentary, making his work today one of the most comprehensive and systematic that has ever been assembled by a single person in Venezuela. Oswaldo Lares as an ethnomusicologist remained an amateur in the most direct meaning of the word: amare. Whereas most studied ethnomusicologists travel around the world to explore far away continents and foreign cultures, Oswaldo began to devote much of his spare time to the generally overlooked folk traditions that existed right in his very neighbourhood.

Currently Guillermo Lares has started to promote his father's work through the Achivolares Foundation, turning it into a living archive that preserves an essential part of Venezuelan musical memory. It is a pleasure and honor of our label TAL to support the invaluable work of Oswaldo and Guillermo Lares with this album."

We've encountered during one sunny Belgrade afternoon while he was chasing what he was calling fish (actually Slavic seniors transformed into dolphins and dolphin is not a fish). He might or might not told us the fore-coming story:
A man complains of being hungry. All the time. Dogs, it seems, are never hungry. So the man decides to become a dog. To be a dog, one must walk on all fours. The hero decides to wear shoes on his hands, only to discover that there is no hand left to tie the laces on the fourth shoe. What does a shoe-shod dog tie laces with Its mouth. Organ by organ, the man becomes a dog.'
One lace at a time, his record transformed us into a new type of misunderstood creatures. Most of the tracks are surprisingly fast and playable yet broken while others are groovy, however noisy. I'm pretty sure you haven't heard anything like it before. But what do I know, I'm a fish.

AJC DOR is an alias of 33.10.3402

Cover by Martyna Bolanowska / Kaja Kukula
Mastered by Tim Xavier at Manmade Mastering

This Franco-Swiss trio is a three-headed beast, discharging a singular energy in which one may detect echoes of traditional music, saturated repetition, ethereal harmonics or imaginary choreographies.There are no starting points, no ending points, no standard form structures - these all disappear as the senses encounter the first shock waves. The music employs a rich timbral palette, combining long heavy descending harmonium sweeps, relentless percussion, and the ever more precise patterns and drones of the hurdy-gurdy.

iDEAL follow up aces by Jasss and Vanligt Folk with a side of hand-cranked, lo-fi anti-music in Gabi Losoncy and Allen Mozek's (Twin Stumps, No Intention) Good Area, coming off the curled back of their sides for Kye, Recital, and Hanson Records. They sound like a sedated Yeah You or Smegma jamming with anguished alley cats on a battery of garbage cans.
As the label explain:
'Once upon a time, there were two very difficult people who loved music very much. They loved music so much that they stayed together despite having clear signs that it was not necessarily the right thing to do. They made music together, or next to each other, and everything that happened, happened in the music. It was all whatever, but they still like it.
iDEAL presents Macbeth, Good Area's second LP (first one was on Graham Lambkins great KYE label). It's the best material they ever did, and their last one ever. Lo fi beauty for anyone into the calmer parts of BRAINBOMBS, maybe The DEAD C, or for you worshipping the Siltbreeze catalog OR just anyone insane enough to get into deep, weird stuff.'

Sue Zuki's inaugural recorded document the ''WE ARE ALL VERY ANXIOUS'' tape is in our opinion one of the most innovative audio expeditions that has resonated with us. Boldly defying and deconstructing conventional genre tropes we aren't being bias by saying that either. This is a genuinely sincere perspective. The key to Sue Zuki's music is her vocals where she misanthropically preaches the records themes of psychological alienation and despair, trapped within an augmented virtual reality. Whilst trapped and unable to properly function inside this distorted simulation there are the bewildering sounds of a thousand voices and 'every conversation' unhealthily looping inside you're mind, through the echo chamber. Manifesting into a bleak neurotic obsession and feelings of inadequacy, a desperate plea, blinded and fatigued by the unnerving glare of the computer screen, processing too much information and not knowing if the human 'interactions' you're experiencing are genuine or artificial.
The trauma of this hollow existence is further emphasised with the combination of fragmented and jarring rhythmic grime percussive kick drums that is boosted by the metallic coiling density of detached, propulsive industrial structures. Synthetic frequencies writhe, becoming more lysergic as they progress. DnB tempos accelerate and shift in pitch as if in an erratic state of panic, dissonant foreboding drones absorb you as if drowning under the hypothermic pressure of the deepest, coldest and darkest frozen oceans. Throbbing sub bass fuelled with dread and agonising noise grips you into a suffocating claustrophobia, compressing further and further.
Rather than suppressing these feelings of insecurity and affliction there is a degree of exaggerated, self-deprecating sardonic humour that gradually unravels helping to confront the despondent nature of the record. Accompanied also by subdued, fragile and sunken RnB / Rhythm and Gloom vocals with desolate acoustic guitar fusions which overall provides an empathetic tone. Sue Zuki's music is a profound and startling glimpse into the growing cultural discomfort and paranoia of the conscious state of the human condition in the 21st Century.
Pro dubbed c60 cassette with digitally printed artwork. Lucky dip transparent blue & red glitter cassettes.

Following the intense sonic exploration of his work with Christopher Jarman as Dot Product,
Adam Winchester steps out on his own with a bold new body of work, his first under his own name, that further expands on his ideas about non-conformist sound generation.

Winchester had previously been immersed in the early days of the Bristol dubstep scene as Wedge, but in more recent times has applied his knowledge of sound processing and technology to more scientific means, using an array of tools to harness resonant frequencies and interference generated in the space around him.

The image that adorns the cover of this release was taken by Winchester and used in
Daniela de Pauli's Optiks installation, which is based around the work of a globally connected group of amateur astronomers who collaborated to beam images into space and bounce them off the moon. Only a small fraction of the radio signals carrying the images are reflected back onto Earth, where they are picked up by radio telescopes before being converted back into the original image.

The interference picked up in the process is the result of the vast distances the information travels, and the poor reflective qualities of the moon's surface.

In the grainy textures, crunching rhythms and steely tones that inhabit this EP, Winchester captures the same spirit of invisible interference by eschewing traditional production methods, drawing his sounds solely from a range of noise, feedback and resonance found in objects and physical spaces.

Next to being one of the core members of the acoustic deep listening ensemble Razen, Ameel Brecht is a trained guitar player who has a life-long involvement with the instrument's repertoire under his belt. On his debut album Polygraph Heartbeat', he puts his guitar-heart on the line by means of 9 compositions for steel resonator and resonator mandolin.

Vision Songs Vol. 1 (1984) is the LARAAJI album like no other, located at the intersection of new age and gospel. It is both his outlier and magnum opus, the feel-good DIY tape of the century.

Discovered busking in Washington Square Park by Brian Eno in the late 70s, engagement with the eternal flow has led Laraaji to, seemingly by magic, emerge as the most beloved avatar of the unstoppable new age music revival of recent years. Now Vision Songs rewrites Laraaji's musical history. Unlike the many instrumental, free form albums upon which his reputation was built, this is an album of songs, with lyrics, verses, choruses. Vision Songs is literally a revelation -- of a master songwriter whose unbelievably catchy best compositions such as We Shall Be Lifted', All Of A Sudden', and Is This Clear' belong in any great American songbook. Casio synth jams recorded at spiritual retreat guest rooms and a tiny bedroom on the Upper West Side, lysergically-spectacular anthems for a continually arriving new moment, channeled,' as Laraaji states in the album's eloquent liner notes, from the sky,' previously available in an edition of 100 cassettes sold at yoga retreats and on the streets of New York City, Vision Songs is humbly offered on vinyl, CD, and streaming for the very first time. This is where this is going on, this is where this is taking place, this is how this is going on. Is this very clear

Vision Songs Vol. 1 (1984) is the LARAAJI album like no other, located at the intersection of new age and gospel. It is both his outlier and magnum opus, the feel-good DIY tape of the century. Discovered busking in Washington Square Park by Brian Eno in the late 70s, engagement with the eternal flow has led Laraaji to, seemingly by magic, emerge as the most beloved avatar of the unstoppable new age music revival of recent years. Now Vision Songs rewrites Laraaji's musical history. Unlike the many instrumental, free form albums upon which his reputation was built, this is an album of songs, with lyrics, verses, choruses. Vision Songs is literally a revelation -- of a master songwriter whose unbelievably catchy best compositions such as "We Shall Be Lifted", "All Of A Sudden", and "Is This Clear?" belong in any great American songbook. Casio synth jams recorded at spiritual retreat guest rooms and a tiny bedroom on the Upper West Side, lysergicallyspectacular anthems for a continually arriving new moment, "channeled," as Laraaji states in the album's eloquent liner notes, "from the sky," previously available in an edition of 100 cassettes sold at yoga retreats and on the streets of New York City, Vision Songs is humbly offered on vinyl, CD, and streaming for the very first time. This is where this is going on, this is where this is taking place, this is how this is going on. Is this very clear?

The visionary Turkish percussionist and the great South African bassist were introduced by Don Cherry in 1969, when Dyani moved to Sweden after the break-up of The Blue Notes. They worked together regularly over the next decade, starting out with Cherry in the Eternal Ethnic Music trio.'Another world,' recalls Temiz. 'At that time I was trying to learn as a big band jazz drummer, and when I met Don Cherry, I said, forget it. We played another kind of music. Indian music, Turkish music, Bulgarian, Chinese, you know... All kinds of music.' 'Every musician,' Dyani said later, 'should realize and acknowledge that folk music is the backbone of every music.'Recorded in Istanbul in 1976; originally released in an edition of one thousand copies only, on the Turkish label Yonca. The first side features Turkish material arranged by Temiz; the second, SA-oriented music put together by Dyani, opening with a stunning interpretation of Cherry's Marimba (Goddess Of Music).In a handsome gatefold sleeve, with excellent notes and previously unpublished photos.

On its return to the Kerridge's Contort label, Emanuele Porcinai's WSR project renders a dense, gut-wrenching session combining self-built string instruments and field recordings in a sort of shoegazing noise-techno stress test.
Chambers was written over the course of the last three years between Manchester, Florence and Berlin, and pursues the themes of structural decay and melancholic ambience from his Stainless debut into a more coruscating, haunting zone of hypnagogic sound design and textural expression.
Porcinai's self-built string instruments, guitar and field recordings are processed and layered with additional cello and double bass by Thomas Griffiths in a seamless movement of eight parts cleft
over two sides, giving ample room for the sometime techno artist to thoroughly, systematically draw out and exasperate his instrument's character in a way that recalls Colin Stetson beasting his sax as much as some sore as f*ck JK Flesh recording or his label mates, SØS Gunver Ryberg or Sam Kerridge, for that matter.
It feels like music purpose built for the transition of seasons and darker, longer nights where there's nowt to do but get your head stuck right in the jaws of a slab like this.

For her third outing on the German label Jahmoni, Marcelle is as inventive and unpredictable as ever. The four tracks on the wittily titled 'PSALM TREE' EP go from wild techno to abstract dub, and all bear that undefinable 'Marcelle' touch of freedom and imagination, which sets the DJ/producer so apart from almost all of her younger peers. The ever-travelling Dutch lady, who was one of the highlights of this year's 'Nyege Nyege Music Festival' in Uganda, toys with musical styles and expectations, both live and in the studio, she has always deejayed more or less like a musician. This was amongst others recognised by Faust founder member Hans-Joachim Irmler, who between 2008 and 2014 released 4 Marcelle albums on his Klangbad label.

Opener 'TO EVACUATE IS DIFFICULT AND INFREQUENT' is a deranged techno stomper, bristling with crazy, desperate sounds. Only halfway during the track these voices make 'sense': the track deals with the problem of constipation, and offers near the end a possible solution. As a dubplate this track is heavily tested on the dancefloor and, eh, 'dropped' very well.

'TO REVEAL THE SECRET', an abstract dub work-out with an eerie feeling, samples the voice of one of her favourite actors, the late Philip Seymour Hoffman.

'WALKING AROUND AIMLESSLY', the longest track on the EP, is just as swinging as it is weird. The relaxed whistling over the treated sounds that drop in and out, make for a both happy and strange stroll into unknown territory.

'TO SING ALONG' combines heavy bass with an addictive synth melody and is a short, energetic closer of the EP, which once again shows Marcelle's instinct for both the dancefloor and the avant garde.

The record's curious title 'PSALM TREE' hints at Marcelle's love for palm trees, hot weather and reading books (although not necessarily religious texts, contradictions and odd combinations are never far away in Marcelle's work!) The artwork of the record is as colourful as on all her releases. On stage and on her records Marcelle transcends a sense of openness and a feeling of freedom, which has her described as 'totally enriching', 'a true ear opener', a real 'pioneer'.

collecting orders for repress ... !

First official vinyl reissue of original cassette 'Fondation - Le Vaisseau Blanc'.

Fantastic cosmic, space, ambient and experimental music from mysterious French duo Annanka Raghel and Ivan Coaquette (formerly of Spacecraft and Musica Elettronica Viva). Originally released in 1983 as a limited edition cassette of only 500 copies on Camouflage label; this ranks up there with anything by Ash Ra Tempel, Agitation Free, Heldon or Richard Pinhas. Incredibly evocative and highly recommended.
Historic moment - a lost piece of the puzzle of the wondrous french avant-garde. This official reissue comes in a double album gatefold sleeve with archives from Ivan Coaquette collages. Limited to 500 copies.

Bonus : comes also with an insert with trippy photo by France Annanka Raghel herself and brief description of Fondation band.

"EOD/CN forwarded this super fresh release to WeMe records in 2016 from meggablockx, a long-time friend of his based in miami. A side fresh timeless "IDM", B side electro synth jams" Limited Supplies!!

Alec Storey aka Second Storey präsentiert mit seinem zweiten Houndstooth-Album "Lucid Locations" eine erhabene Kollektion 10 bassgetriebener und akribischer Tracks, perfekt ausbalanciert zwischen Filigranität und Wildheit, irgendwo zwischen Bass, Electro, Techno, Ambient, D&B und psychedelischer IDM. CD und farbiges 180g Doppelvinyl (einmal gelbes, einmal schwarzes Vinyl).

Lyrics and vocals by artist and poet Leslie Winer, production by Bokeh Versions staple Jay Glass Dubs.

The industrial project of Oliver Ho and Tommy Gillard at its most subversive and evocative, with two preoccupations threaded throughout: Middle-Eastern percussion, most vivid in the chimes of Casting and the driving doumbek rhythms of Burning and The Sands; and the structural iteration of chaos, underlying a collage of wild left-turns, scornful of repetitive hooks and other musical routines. Early birds bag a 7' by Ho's Desert Burials, evoking classic punk/funk hybrids like Cabaret Voltaire.

The seventh EP on FireScope Records, the new sub label of the legendary B12 Records, welcomes Bauri (Martin Abrahamsson) a producer based in Malmö, Sweden. Bauri has been releasing tracks on labels such as Drumcode, Neo Ouija, Sloboda, Random Island and is known to cross various styles of electronic music. The EP entitled Vinkelvolten showcases Bauri's form of techno on a platform that; as promised; will diversify and show consistency. This EP takes us on a journey built around gorgeous sounds and crisp abstract beats to a place calmness and peace. Originally part of Bauri's 2nd album that never got released due to the slow down in the IDM scene; these tracks have matured like a fine wine for 12 years; and now are on a 12' released by B12.
'Warm Fuzzy Feeling' A stunning baseline wraps the listener up into a hypnotic loving hug while strings and beats take us on a journey of peace and calm.'Kirmumxyl' Abstract beats and voice like accompaniments conjure up images of a place of loneliness but calm; inspired by Swedish ambient artist Tupilaq.
'Vinkelvolten I' The title track - its again built around abstract sounding beats with a wonderful every present top line; disjointed in nature but creates a sense of calm that is ever present in this EP.'Amethyst' filled with shimmering melodies, again a soothing track that that creates a sense of green to this dynamic producer.
Finished in glorious green and grey marble vinyl with exclusive full colour artwork by the wonderful Catherine Prendergast AKA Cellar Door,

I received a phone call from BP Fallon the day before Henry McCullough's funeral. He was heart broken having lost his dear friend and asked if he could stay at mine after returning from the funeral.
When I picked him up from the train station he asked me if he returned early enough to record
something. I started working on the music that day, then I had an idea which was to record something
about Henry and their relationship. When BP returned that evening I sat him down in front of the microphone and this happened in one take! We both knew we captured a very special moment that couldn't have been created at any other moment -
magic. David Holmes 2016 To celebrate the 10th anniversary of Record Store Day we've created something very special. We have two fantastic remixes of 'Henry McCullough' by Andrew Weatherall packaged in our prettiest sleeve yet. The white vinyl has a unique gold and black colour splatter along with a Gold screen printed
reflective 'mirrorball' sleev

Two spontaneous recordings made by Mystic Jungle and Rico Milord during an hot midsummer night at West Hill Studio (Camaldoli, Naples). Lo-fi reverbered analog cheap drums, fm synthesizer, electric bass and lazy guitar movements amplified in a vintage space echo.

Dys Functional Electronic Music is a compilation release from Repitch Recordings, celebrating the label's first five years. Its ambivalent title aims to represent the sonic behaviour of its content, often deviating from norms or distancing itself from common club functionalism. For this release, the 3 REPITCH masterminds Ascion, D. Carbone and Shapednoise are joined by a selection of the artists who contributed shaping the Repitch sound throughout the years, along with guests that inspired them in this adventure. During the past 5 years the main focus of the label was to set up a platform for experimentations across the dancefloor canon, establishing a standout musical identity. A spirit that resonates within each artist's personal approach: from Ascion's dark breakbeats to The Exaltics and AnD's acid frontalism, Shapednoise's brooding noise, Sote's fractured rave, D. Carbone and Gaja's intrusions into melody, Pinch and the Zenker Brothers' dub-infused atmospherics, Skudge's love of gloom and Nuel's IDM-ish minimalism.

Conceived as a kind of sequel to 2012's Sleep Games, there's an epic sensibility to Stasis. The haunted concrete caverns of the earlier album give way here, to vast, awe inspiring spaces. The album has a strong narrative flow that can be read either as the soundtrack for an interplanetary voyage under suspended animation, or the exploration of vast inner realms under some other form of technologically enhanced sleep.

Martin Jenkins' unique production sound is unmistakable: Carpenter-esque slow kosmiche disco and ambience, woozy synth melodies and somnambulistic grooves with soft, rich textures.

Leeds-based post-metal six-piece Hundred Year Old Man follow up their stunning debut single Black Fire with Rei, a three track EP, released via Gizeh Records and Wolves & Vibrancy on January 26th.

Pushing even further into the abyss, this new work opens with Sun & Moon and a monstrous slab of heaving guitars fall out of the atmospheric beginnings. Paul Broughton's vocal erupts and the track explodes into life, destroying everything in its path until the shadows return to close, leading the way into an interlude that corrodes and drifts before joining these two monolithic pieces together. The title track demonstrates the staggering ambition that Hundred Year Old Man posses. Ripping into a cathartic sludge reminiscent of Neurosis at their best, it's a towering, immersive, nine minute journey that refuses to loosen its grip until the dying moments.
Rei is released as a limited 12' vinyl with an etched b-side in an edition of 300. With a debut album due for release in 2018, this EP is the perfect offering to stoke the fires for a full-length whilst comfortably holding its own as a stand-alone piece of work.

Sam de la Rosa, best known under the alias Samuel Kklovenhoof of the band Led Er Est and with Karen Sharkey of The Coombe, is back on Mannequin Records for a stunning 4-tracks electro-wave-experimental release.Texas born but strongly connected with the New York cold wave and disco scene from mid 2000, and the Wierd Records family, Sam's music is a clever mix of post punk, electronic hybrids, experimental pop and catchy melodies.Additional mix by Michael Stein from S U R V I V E, already debuting on Mannequin Records back in 2011, before to get worldwide known for the Netflix's 'Stranger Things' soundtrack.

2 tracks from the post-MA sessions. More music for blind observers.. Limited stamped 10"

Growing up in the bustling port city of Busan and running his own record shop there from the late '70s, Kim Byoung Duk had a front-row seat to the finest in foreign record imports and a taste for the psychedelic that naturally evolved into spiritual, ambient and avant-garde sounds. His growing interest in Tao philosophy and the meditative music that accompanied it provided a fertile environment for his audio imagination. Unhampered by limited access to musical gear, he made use of a wide assortment of self-
sourced pots of various sizes and curvature, cymbals, wooden sculpted flutes and percussion tools—each chosen for its unique harmonic vibration—to create an entirely new and unique body of work.

Experiment No. X retraces the oeuvre of Kim Byoung Duk, assembling tracks from Experiment No. 2, Pot Concerto and New Trilogy, illustrating a meditative journey from the freeness of the Tao sound, in the borders of ambient music and the avant-garde, to later groove-oriented jams which introduce rhythmic elements to the palate.

This fully licensed release is the first collection of Kim Byoung Duk',s music, remastered from the original tapes and including for the first time on vinyl songs from the very scarce CD New Morning. Includes four-page booklet with photographs and an interview from Kim',s personal archives.

All Music by Kim Byoung Duk.
A Meditative Morning, brought by Another Planet Publishing.
Daehan Electronics, 2017