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By restricting myself, I feel like I'm connecting with a larger arc of producers throughout time,' explains Leo Maymind. People who were crammed into a corner of their bedroom with headphones on while the rest of the world was out gallivanting.'

Following nearly a decade entrenched into the Brooklyn DIY scene, a move to Los Angeles signalled a change in approach for Maymind, limiting his gear to a small tabletop hardware setup, sometimes as little as a single drum machine and a rackmount effects unit. Illumina is Maymind's first full length release since this change of location and approach, focusing in on the liminal and transitional moments within the musical spectrum. The limited timbres across Illumina shift and evolve before your ears, each track unfolding at its own pace. Sometimes they reach a resolution, other times simply fading off into the ether.

I think the commodification of music and having streaming available at all times has made listeners very impatient,' says Maymind, even when it comes to ambient or drone music.' Illumina battles against this, the deep buried rhythms consistently getting disrupted by stray new percussive notes, or the gently sketched melodies getting spliced overhead, mutating into new textures. Inspired in part by his own stuttering problem, this element of aleatory interruption informs Maymind's adroitly crafted minimalism on Illumina. I wanted to make music that mirrored life more closely,' says Maymind. Things cutting off sharply—life is full of twists and turns.'

All tracks written and performed by Leo Maymind in Los Angeles. Mastered by Felix-Florian Tödtloff at Ætherweight in Berlin. Artwork by Daniel Castrejon.

Born in a cave in Bordeaux, Radiante Pourpre is one of the many children of Simple Music Experience, a collective and label floating somewherebetween Marseille, Paris and Bordeaux and which inexorably attracted to itself many outsider experimentalists from the French electronic scene for the past few years. Antinote is now reissuing a long out-of-print tape that the duo recorded in 2014 in Brussels' art space Komplot.
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Alex & Léopold, the two halves of Radiante Pourpre, learned in some smoky basement how to give life to their own desolated mental landscapes - only populated by the ghostly figures of the likes of Muslimgauze and Genesis P-Orridge - and to merrily loose themselves into them during long sessions surrounded by Korg synths and cassette players. Ghostly, their music is indeed: by suffering the many manipulations that the two are applying to their huge collection of samples, these fragments of sonic material, little by little, loose their consistency to become nothing more than a faint reminder of their previous life, a dilapidated version of their past-self.


Manipulating the very essence of the sounds sampled, the duo is lurking on dub as well as industrial or musique concrète. By their multiple tape manipulations the two musicians reshape our world's map, as the whim takes them, fostering the most improbable meetings: faint synths crash themselves against a solid wall of Irakian percussions while Brazilian voices melt into field recordings of fearsome machineries.
payback 6 euros - limited hand print silk + insert

"The Body return with 3 brand new tracks pushing their experimental doomed and blackend heavy sound ever forward! Since the release of 2010's critically lauded "All The Waters Of The Earth Turns To Blood", The Body have toured as the stripped down duo and the added ensemble, and collaborators on various releases, of the ethereal voices of the Assembly Of Light Choir (S/T - 2012) and the orchestral drone of Braveyoung (Nothing Passes - 2011).

The blackened punk / hardcore burst of "The Ebb And Flow Of Tides In A Sea Of Ash" w/ the contrast of Chip King's screeches and Leslie Weitz (Otesanek) growls cumlminating in noise and feedback. Beautful yet erie sound of Chrissy Wolpert (Assembly Of Light Choir) & Reba Mitchell's (Whore Paint) vocals contrast w/ a women's saddened confession of mental anguish. A pump of a shotgun, a sludgy foreshadow moves to a explosion of sound and tortured screams. Hypnotic tribal rythms, feedback and noise erupts into the slow crush of low end and the bellowing of "an end to beliefs and an end to these truths"!" - At A Loss

Damon Carruesco departed his decade on bass with Chicago's minimalist fringe rockers Disappears in 2015, deciding experimental music more his thing and opting to pursue the bold sound of TüTH. Aiming to search out his own limits, potential, and abilities as an artist, the atmospheric sounds on Transgression are Carruesco's attempt to make atmospheric electronic music that exists outside of "the grid". Transgression draws from field recordings and hand-made sounds, taking key inspiration from brutalist architecture, the acousmatic music of Romanian composer Iancu Dumitrescu, and the passing of somebody very close to the artist. Throughout Transgression throbbing tones play out into cavernous otherworldly atmospheres, while bass demons collide with far icier synthesizers issuing moody melodic patterns. The references for this deeply abstract music are few and far between - the most fractured and sparse dub, Tangerine Dream's earliest primordial trips, György Ligeti's creaking galactic symphonies - so with Transgression, TüTH has appeared as his very own, unique, and fully fledged new voice.

All tracks written and performed by Damon Julian Carruesco in Chicago, IL. Mastered by Felix-Florian Tödtloff at Ætherweight in Berlin. Artwork by Daniel Castrejon.

Vakula has been a Dekmantel label member ever since the very early days. The Ukraine based producer now drops his album Cyclicality Between Procyon And Gomeisa on the label.
'This album is about cycles, repetition and interaction', says Vakula, whose Cyclicality between Procyon and Gomeisa is the third of a series of albums and reflects a dashing experimental record that evokes the endless and captivating potential of electronic music. It creates a mesmerizing journey through various music genres, exhibiting a singular sonic experience, whilst he works through a process of improvisation and refinement.
Once again the mastermind proves to be capable of creating complex, yet diverse musical pieces beyond genres and trends. The result: an audio adaptation of his fascinating mind. 'There are two parallel processes that come together in my work: me writing music and working on the sound I want to achieve, and the energy from outside that flows and transforms into thoughts, correlations, and actions.'

The track titles relate to the source of Vakula's inspiration and connect the dots between his obsession for the vastness of our universe and electronic music. ''To wonder about the universe and to dig into mythology and scientific research discovering at least some of its secrets is what keeps me endlessly motivated as a producer.''

With hard-to-define instruments Varkenshond creates ritual and tribal madness in the vein of early Silvester Anfang and Zero Kama. Varkenshond was founded in 2006 in Antwerp, Belgium while the to-be members were studying Maggergergorian spiritual philosophy with Wim Vanaeghe, Thomas Gergeti' Kreuzfeld and Koera Mönggüm Sorgan.

They released a cd in 2007, the result of a series of therapeutic music sessions led by G. Karkaronga, and a cassette in 2013, a selection of songs and meditations recorded with local musicians in Brasil, Belarus, China, India, Indonesia, Mongolia and Russia.

Their new album Hargawaan Por Shail is a collaboration with animal communicator, flute player and percussionist Yori Yoki. It consist of Támoldut and Maggergorian vocal and instrumental traditional music from Asia, Africa, South America and Europe. The album includes the first recording ever of the instrument "Life Hooter" and an atmospheric electric version of Qéfelni."

ltd. to 200 copies on dark green vinyl

Apart is a mini-album containing a set of cello improvisations, concieved during days of solemn recording in the basement of an unused industrial space outside of Bern, Switzerland.

- In autumn 2015 I was invited to perform and stay for a week - residency at the - as it turned out one off - Rebirth Festival in Bern, Switzerland. I was staying at an abandoned farm in the hills, half an hour outside the city with the group of young people responsible for the festival. My room was equipped with a mattress on the floor, some strange paintings, and a lot of spider webs. The view outside was straight into an open field with mostly hills, a forest, and some tents, all of which would be covered in fog every morning. By night I was driven to the venue - an unused industrial building slightly outside of central Bern. Three of the nights there I was given a cello, a sleeping bag, full access to the building, and especially its big open basement space for recording. Something that ended up as both a fruitful and an uneasy experience. The walls were spray prainted and the space was scattered with bizarre, elaborate tree / steel sculptures. Most of the rooms was made into some kind of surreal art object, often recalling a sort of Mad Max post-apocalyptic feel.

I realised that getting a clean recording here would be nearly impossible, as the building had a tendency for strange noises, clicks and sounds, seemingly turning itself on and off at random. It was also located right next to the train tracks, which meant I had about 10 minutes of quiet in which to record in between the thunder of passing trains - a lot of recordings were ruined. However, all these off elements somehow had their charm. Having such a big empty space for myself, filled with strange installations and sculptures set up for the festival, was both inspiring and eerie. When not playing and just sitting still, it was unnerving. The lights were on motion detectors and would automatically turn off after 5 minutes without movement, leaving me alone with nothing but a small lamp and my thoughts. Sometimes I wished my imagination would be less vivid, as I´d have an easier time not imagining all kinds of obscure happenings in the shadows. Then again, this is also something that intruiged me so much that I felt no choice but to investigate closer. Spurred by this intrigue/paranoia, I would often walk around the empty building to soak up the atmosphere and check if someone was there. - Svarte Greiner

Scarlatti played cheap tune 8bit sounds ^^ Weird Experimental stuff !

Directed and produced by David Toop, DIRTY SONGS PLAY DIRTY SONGS reacts against our poisonous present, inspired anti-nostalgically by similarly reactive records and live performances from the 20th century: Soft Machine and Pink Floyd 1967-68, The MC5's Kick Out the Jams, The Stooges, Sun Ra's Cosmic Tones For Mental Therapy and The Heat Is On by The Isley Brothers.

DIRTY SONGS PLAY DIRTY SONGS is the musical offshoot of a project conceived by artist Maxime Rossi, originating in (among other things) speculations on the (then unreleased) legendary Pink Floyd John Latham' recordings (1967) and FBI investigations (1964) into subversive and obscene messages supposedly buried within the recorded lyrics of The Kingsmen's Louie Louie'. Developed through conversations between Maxime Rossi and David Toop and through support from Fondation Fiminco & MRAC, these ideas metamorphosed into the band and recordings known as DIRTY SONGS, existing both as audio recordings and audio-visual elements of Maxime Rossi's installation Christmas On Earth Continued, exhibited at MRAC in November 2017.

DIRTY SONGS is David Toop (bass, guitar, digital electronics, VCS3 synth), Phil Minton (voices), Evan Parker (soprano and tenor saxophones), Steve Beresford (Farfisa organ, VCS3 synth), Mark Sanders (drums).

Super electro experimental techno music. Japan oldschool rare weird thing.

Neue EP des Electronic Duos Emptyset, bestehend aus James Ginzburg und Paul Purgas, auf dem Chicagoer Kultlabel Thrill Jockey. Die Beiden loten mit jedem Release die Grenzen des Machbaren aus und experimentieren mit minimalistischen Ansätzen und kreieren gänzlich ungewöhnliche viszeral-raue wie auch hypnotisch-rhythmische Klangwelten. Emptyset waren bereits Teil diverser Kunstprojekte, zum Beispiel der Architecture Foundation Installation im Ambika P3 Raum, in der Nähe der Londoner Baker Street, oder dem Tate Britain's Performing Architecture Programme, in dessen Rahmen sie gemeinsam mit dem Konzept-Künstler Cevdet Erek die Installation Spike Island realisierten, welche im Londoner Victoria and Albert Museum zu sehen war. Eine überaus ungewöhnliche Performance lieferte die Band auch letztes Jahr in Berlin, als sie live während der Show Signale via Radiowellen einmal 1000km durch due Ionosphäre nach Frankreich und zurück schickten und inklusive der dadurch entstehenden Einflüsse auf den Klang in den Auftritt integrierten.

Following the success of their debut 7inch "Heavy Tint/Dip-Dab", Brighton psych-funk combo MNP (featuring Beta Hector and his long-time bandmates from Baby Charles and Derriere) returns with a new single.Heavy 70's slasher-inspired "Ratto Nero" on the A-side is backed with the spooky flute-driven "Beard" on the flip. With additional spices and bat tails from Markey Funk, this horror-themed new release on the Delights label drops right on time for Halloween.

Utterly destructive and heart-wrenching power noise and catharsis from the don gorgon of Hospital Productions, making his first album confession since the release of the stunning Frozen Niagara Falls.
Taking almost 40 minutes to spell out a litany of ills that mark up as classic, pain-saturated Prurient in contrast with the more layered, nuanced narrative and more complex production values of his last album, the set boots off with the infernal backdraft and flagellating vox of the album's most succinct piece, Let Your Mind Free (Whip The Corpse). Sharp blasts of noise distortion conceal a forlorn Fernow vocal, like that classic Lynchian conceit of obscuring dialogue at the most crucial moment, perversely enhancing narrative through obstruction. It's a brilliant, disturbing, opener.
Sore chord progressions and those same distanced vox crushed by needling distortion fill the nine minutes of Before Rain Becomes Snow with much emotional impact; revealing a sort of disturbed and buried Shoegaze appeal that sounds like a Grouper x Prurient recording session from another dimension.
However, the album's most captivating tract comes with the gaping black holer, In The Ruins of My Brother - where the distortion dissipates to the edges, allowing vast blooming bass flares and slithering high registers to wrap around the neck with a spacious, full spectrum dominance that recalls Prurient's Pleasure Ground classic, before Red Poppy Laughter slips back into an opiated sort of naval-gazing noise bliss

23 year-old violinist and vocalist, Sudan Archives writes, plays, and produces her own music. Drawing inspiration from Sudanese fddlers, she is self-taught on the violin, and her unique songs also fold in elements of R&B, and experimental electronic music.
Sudan Archives grew up in Cincinnati, Ohio, where she messed around with instruments in the house' and took up violin in the fourth grade, eventually teaching herself how to play the instrument by ear. When she discovered the violin playing style of Northeast Africa, her eyes opened to the possibilities of the instrument. The way they played it was different from classical music. I resonated with the style, and I was like, 'Maybe I
can use this style with electronic music,'' she says.
This fusing of folk music and electronic production was the turning point for Sudan. I started mixing my violin into beats,' she says, It wasn't complicated — I'd just sing straight into the iPad.' She honed her at-home style after moving to Los Angeles aged 19 to study music technology, and after a chance encounter at a Low End Theory party with Stones Throw
A&R and Leaving Records owner Matthewdavid, she signed with Stones Throw. At the very start of her musical career, she's already won plaudits from the likes of the New York Times and Pitchfork, and played live at experimental festival Moogfest

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Instrumental Thursdays:
i&i Musik and Wahever Records present an album of quirky and eclectic instrumentals written and produced by Archiver and Matteo Boyero. It was recorded over the last two years during regular Thursday sessions at Matteo's studio in Homerton. The album draws inspiration from the diversity of musical genres and cultures present in London, crossing borders and genres, spanning Dub, African, Electronic, International, Hip Hop, House, Tropical, Techno and everything in-between. The sunny artwork made by Risa, captures the vibe of Instrumental Thursdays, and gives an idea of the wide variety of instruments and effects used throughout, from drum machine to steel drum, saxophone to synthesiser, passing through reel-to-reel tape, springs and delays.

About the artwork:
I wanted to create a sleeve that reflected the album, it's sounds and the Thursday sessions that created it. I hung out in the studio with them, did some drawings, took some photographs and used these as a starting point. To me, the album sounds a bit tropical, with some cosmic vibes, slightly twisted samples, hints of Hip Hop, Techno, Dub and some African influences chucked in for good measure. The studio and recording process was all very 'organic', with many of the parts being recorded in live so I kept the drawings spontaneous and fun and used positive, vibrant colours. During the creation of this album, Matteo and Archiver both adopted cats who equally seem to enjoy hanging out in the studio, so we decided to stick them on the cover too! - Risa,

About i&I Musik:
i&i Musik is an independent, London based record label, setup and run by Archiver. The label features Archiver's own productions and also showcases both up and coming and well established artists. The label mixes genres, taking influence from Archiver's eclectic musical taste and his own vast record collection. i&i Musik represents many different styles of music, particularly those with an emphasis on bass. The label's debut release Pusherman, features Jamaican Reggae veteran Mike Brooks with a vocal and dub cut. On the flip side, Good Morning (co-produced with Matteo Boyero) features the uplifting voice of fellow Jamaican Wallace Adalphus, who brings his positively infectious vibe to the table. Released as a 10" with hand stamped vinyl and a limited edition linocut artwork by Risa. 2017 brings the release of i&i Musik's first co-produced album alongside some more interesting projects in the pipeline.

About Wahever Records:
Wahever Records is an independent record label Based in London. Started in July 2015 by producer Matteo Boyero with the help of graphic designer Adam Zelig and Basile Carel. Trying to keep the musical spectrum as wide and adventurous as possible, London is the melting pot of cultures that gives inspiration to the music. From Nepal to Burkina Faso passing by Jamaica without moving from Homerton, Wahever Records is slowly trying to create a friendly community of artists from all over the world and from all musical backgrounds living in London. Over the last year the label has expanded with new people and is working on a series of new projects favouring quality over quantity.

In 1975, CAMIZOLE was an early french electronic duet that used to play many summer festivals. Thus, a recording was done at "Festival de Solymieux", then was sent to Klaus Schulze and Klaus D. Müller, who were interested in producing an album. Unfortunaly, the band didn't last long enough. 42 years later, this sought-after tape resurfaces on a limited vinyl edition for the first time ever.

"Signals" is Hukkelberg's long awaited fifth studio album and will cement her position as one of the best writers of electronic pop music the Nordics has produced in the last decade. Her new album made of gorgeously fluttering electronics and Hannes' pitch-bent vocals is set to be something special.

Nocturnal Emissions has been one of the best kept secrets of the industrial genre since the 1970s.
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Led by Nigel Ayers, the band was one of the first to use tape cutting, avant-garde art, and underground video works to create a stage experience that was being cultivated by like-mindedartists like Throbbing Gristle and Cabaret Voltaire.
The band moved on to using samplers and electronic noise in their early 80's work, creating a twisted funk sound that would go on to influence everyone from Foetus to Negativland. They still utilized their former tricks, upping the ante with extremist performance art and more professional video displays. The group avoided signing to a major label, instead focusing on releasing their own music more effectively. They followed this path into the 90's when they started earthlydelights, an incredibly detailed website that promotes their various ideologies (they are strongly against the British monarchy and believe that citizens should have unlimited access to space travel) and constant release schedule. The band has released countless tapes and CDs of their material, and continues to unleash their noise through their website.

Following some ear-catching manoeuvres across releases like last year's self-released 'Only' and 'Lagata', which gained her early fans like Bjork and Dev Hynes (who she supported in the USA), 'Tommy' marks Klein's deepest plunge yet into the deep, dark ocean' of her musical imagination on her Hyperdub debut. On 'Tommy' her vocals play with Fifties-esque melodies before switching to familiar tones akin to Brandy and Rodney Jerkins, her live voice and live piano playing filtered through hyper-glitchy and looped production with a loose, internal logic, cutting from angular atonality to pockets of skewered harmony. 'Tommy' also steps things up in conceptual terms. Its eight tracks are broken down into acts that are rooted in themes of vulnerability, sisterhood and death, threading the chaotic sonics with modern operatic undertones and a Shakespearean sense of tragedy. There's a lot of bluster about originality in contemporary UK music and what rises from the noise here is a creative voice who, by her very nature, plays with the construct of what pop is. This is Klein's world ... it's on us to get with it.

Digital Transfer: Jonathan Fitoussi

Translations: Valérie Vivancos
Layout: Stephen O'Malley

Coordination GRM: Daniel Teruggi & François Bonnet
Executive Production: Peter Rehberg

Grand Bruit (1991), 28'55

The great mobile sound bodies have an ordinary yet amazing ability to place the listener-traveller within, as if he or she was inside a giant double bass, in this case a train stroked by a double bow: the rails and the air.

In 1991, I explored this phenomenon during my daily commute from the studio to my home. I used only a 21 minutes recording and treated it as a single sound object. I then processed and enhanced it as a photographer would have done, immersing it in successive 'baths'. The title I chose for this singular form was Grand Bruit

Stop ! l'horizon (1983), 18'05

Saturday morning, nine o'clock as I reach the studio.

No one here.

I only turn on the spotlights as the fluorescent tubes are too noisy. I switch the power on, shut the door, unplug the telephone. I then switch the mixing desk on, which sends an electronic impulse into the amps. The four speakers react individually with a very brief and low hiss. A kind of presence.

I haven't listened to anything since the evening before and my ear is refreshed by a night's sleep.

I feed the original mix into the master recorder and sit down in the centre.

Remote control: PLAY

With the first sound I close my eyes. The studio instantly vanishes. Another place, a much larger space opens up.

I enter it.

I have the very distinct feeling that music is merely a "great noise", chiselled inside with a thousand details. It opens up like a living organism to let my hearing wander across it. A magnetic relation quickly occur and all the sounds that constitute this great noise draw me towards the East.

I accept this direction.

Cut by CGB at Dubplates & Mastering, Berlin, June 2017

Digital Transfer: Jonathan Fitoussi

Translations: Valérie Vivancos
Layout: Stephen O'Malley

Coordination GRM: Daniel Teruggi & François Bonnet
Executive Production: Peter Rehberg

Tremblement de terre très doux (1978), 28'14

climate 1 / transit 1 / landscape 1 / climat 2 / landscape 2 / transit 2 / landscape 3 (walking - jumping - sliding - flying) / climate 3 / landscape 4 / climate 4 - transit 3 / landscape 4, end.

The familiar generates the strange.

These rolls, these hums, these sudden rushes, this song, these peaceful circlings, these sudden outbursts, these returns to quiescence - what do they remind us of

This piece's trajectory could also be a representation of the dramatic unfolding of a day - of a life - from sunrise (climate 1) to night-time (landscape 4) via restless encounters, transitions (1 to 3) that announce the drama climaxing in landscape 3, before reaching its denouement in climate 4... A whole concrete 'story'.

The subterranean properties inherent to listening gently shift our ideas...

François Bayle

First performance: 19 March 1979 - Grand Auditorium of Radio-France,

Ina-GRM's Cycle Acousmatique. .

Toupie dans le ciel (1979), 21'

A wave is swaying on two minors thirds. This constantly uniform yet constantly varied swaying revolves in a swarm of sharp designs that blink on and off in a layer of growing density and mobility.

Distance, speed, pressure, density, temperature, colour, intensity, are the "themes" of the 27 short interconnected cells flowing together though this seemingly unified movement.

Occasionally, a breach in the texture reveals skyes dotted with little comets. In the centre, a slow gliding picks up the distant harmonics of a basic chord. Toward the end, this gliding returns with a fiery burst.

Fine lines and whirs are generated from the song of a spinning antique top.

To end on a lighter note the title Toupie dans le ciel - Spinning Top in the Sky reminds us of Lucy in the Sky with Diamonds by The Beatles as well as Lucy, the oldest Australopithecine (3 million years), our African grandmother in the Erosphere...

The overall title Erosphere alludes to the desire inherent to the listening experience, and to the very primitive cues that sustain the auditory attention and are the basis of all musical pleasure.

François Bayle

First performance: 21 January 1980 - Grand Auditorium of Radio-France,

Ina-GRM's Cycle Acousmatique.

Electronic excursions from Düsseldorf/Osaka duo: HINOSCH is the performing moniker of Koshiro Hino (Osaka) and Stefan Schneider (Düsseldorf), who present their joint debut release on Düsseldorf's TAL imprint.

Having just finished a number of collaborative live sets in Japan und Europe, Hino and Schneider have prepared four unruly studio tracks, pushing unsynced electronic instruments into knotted spaces of tape treatments and sinuous operations.

Running parallel to their various solo and collaborative works Hino and Schneider are fully committed to HINOSCH as a joint project with its very own DNA.

Although the four tracks of HINOSCH do carry a sense of spontaneous and rough syncopation, the production here is tightly crafted. The opening title TALENT offers swelling arpeggios which wobbles over distant drums before playfully proceeding into the hiss and bliss of a pitched down vocal drone. From here the music of HINOSCH unfolds as a playful circulation of fragmented connections and pulsating motifs.

After having emerged from the ever thrilling Osaka music scene onto the international playgrounds of electronic music just a few years ago Koshiro Hino's solo activities as YPY and his involvement with the band GOAT have already garnered him a very favourable international reception.

Stefan Schneider has over the years produced and collaborated with a.o. Joachim Roedelius (Cluster), Arto Lindsay, Klaus Dinger (NEU!), Dieter Moebius (Cluster), Alexander Balanescu, John McEntire (tortoise), Katharina Grosse, Bill Wells and St.Etienne.

Uncloaked Infinite is the debut solo album from Oakland, California-based multi-disciplinarian Kevin Gan Yuen, better known as the founding member of blackened noise metal luminaries Sutekh Hexen and the design studio viraloptic

This focused body of work examines the concept of the transitory in nature. Throughout the work, the cycles of life/death/rebirth shapeshift, arcing into alternative frameworks and branching toward both rift and sky. A document of the losses and victories of a personal era, the album faces the passage of life and seeks to distill it to blistering radiance. It contemplates and reimagines mortality. To wonder, to wander, and to renew is fundamental to the Uncloaked Infinite.

The foundation of the album is a culmination of electric guitar sources and personal field recordings captured from the last decade across the varied landscapes and temperaments of California. This reserved material then underwent a lengthy process of transmutation, the result of which is as expansive as it is biting, as revelatory as it is arcane.

Although suggested playback settings and speeds listed on the jacket design are the standard 33 and 45 rpm, self-experimentation with variable speeds and altering of dynamic values through EQ/mixer are encouraged - thus realizing an infinite potential for innovative direction in the living practice and art of redefining music.

For its very first vinyl release after 2 years of activity in the digital realm, experimental ambient label Arythmic Records from Strasbourg (France) did a rather bold choice by putting its hopes into a local techno artist well known for its open-mindedness and creativity: Letherique.

After over a year of various experiments, the best ideas were selected and compiled into a series of 3 EPs, each one dedicated to a particular vibe. The first part is about the more synthetic and futuristic outcome. The second one will be rather dark and organic. Finally, the third and last one will be about the more experimental and minimalistic remainder.

Taking from many influences way beyond the world of casual techno music, Letherique ended up crafting unexpected techno tunes, usually starting with an ambient base on which he couldn't help himself adding beats in order to develop what he knew best. After years of activity in the dark, he needed something a little bit special to put into what he could proudly call his first EP as a testament of his passion for the infinite realms of the electronic music genre. These were the perfect fit.

'Great Many Arrows' is the 6th studio album from Damien Dubrovnik, the Danish duo of Loke Rahbek and Christian Stadsgaard. It is also the 200th release on their Posh Isolation label, marking 8 years for both the label and project. The label's inception came with Damien Dubrovnik's debut album, and since then the two have been inseparable. Without Damien Dubrovnik there would most likely have been no Posh Isolation, and vice versa.

'Great Many Arrows' is undoubtedly a high point in the varied discographies of both Rahbek and Stadsgaard. It is the most realized Damien Dubrovnik recording to date, and a standout in Posh Isolation's troves.

As a record, 'Great Many Arrows' manages to translate the intensity of the duo's often unrestrained live shows in to carefully crafted studio productions. Unlike the pair's earlier and largely electronic recordings, the compositions on 'Great Many Arrows' set organs, cellos, violas, wind and other acoustic instruments against the backdrop of an electronic landscape.

The new toolset is as apparent on the surface as it is in the enclosed detail, taking the project further from its noise roots than it has ever been. This is not to say that Rahbek and Stadsgaard have traded ferocity for formal constraint. It is rather the opposite. While 'Great Many Arrows' is certainly the pair's most 'musical' work to date, its veneer of accessibility might also make it their most terrifying.

The strength of the recording lies here in the interaction between the melodic, acoustic instrumentation and the bulldozing electronics. Moments of beauty and light are transfigured into utter chaos and rage, the mesmerising change an expression of the equal and opposite form's natural sway as it beckons and slips between its own passing.

'Great Many Arrows' takes its name from a historic archery competition in Kyoto, Japan, in which archers would shoot as many arrows as possible for a 24 hour period. On April 26, 1686, Wasa Daihachiro from Kishu successfully shot 8,133 out of 13,053 arrows, averaging 544 arrows an hour, or 9 arrows a minute, becoming the record holder.

Wosto, Alene Marie, Salo Mentale, Autonom, Die Kartoffel. From Dub to Industrial, from Hamburg to Den Haag. 5 tracks for your worst feelings.

Trance-derived melodies, murky industrial grooves and all-consuming harsh noise attacks. Created in transit between New York, Seoul and Berlin and recorded between the fall of 2016 and the winter of 2017.

Over 23 minutes, the EP shifts from densely layered textures to subtle piano notes and hard-hammering beats, seemingly mirroring the drastic changes of the times in which they were conceived.

With the help of Dirch Heather (modular synths), Elysia Crampton (piano), Mica Levi (dubbed piano), Jesse Osborne-Lanthier (synths) as well as Dominick Fernow alias Prurient and Death Grips drummer Zach Hill on percussion, Fred Welton Warmsley III reminds us that now is not the time to give up.

Having left behind a career as Joey Bada$$'s producer and his previous moniker Lee Bannon to pursue a more experimental musical approach.

It's a conceptual entity that draws on creative collaboration and aims at gathering unique artists under a single musical vision.

Amidst the cacophony, a distinctive voice can be heard. The Expanding Domain might sound bleak and unforgiving at first, but also communicates a hope as well as a desire to resist.

After all, there is a reason that this record was created as a loop.

I've always tried to make music for clubs and outward facing experiences, but often in spite of my best efforts I end up supplying a sound that translates best on a private level. The communal listening experience is great, but not my favorite, never been. I have been escaping into albums on a solo mission for as long as I can remember. As a result I've developed a familiar closeness with dealing with myself and the emotions I navigate on a daily basis. Heaven is for Quitters is at it's heart about dealing with yourself, both the good and the bad. I want to share this album with the hope that it can be used as I have, a guide, a blanket, a reassurance that the path I have chosen is the right one. It is my job to share my experience and there is a lot of work to be done here on Earth, the thought of going to Heaven too early is paralyzing. I venture to think you'll agree. When I started Blueberry Records I didn't fully know what I was creating. It is fitting then that I release Heaven is for Quitters on my label, as it has become abundantly clear how much I love this label and what it is and can be, my future but ultimately continue to be a platform for others as well. When artists hand me their demos I see what Blueberry can be, this megaphone for peoples inner existence and a clear channel for their articulation. You know that feeling when you are so close to something you can't see the bigger picture, but when you step back you see what you have made and it is a mirror image of yourself That. This album is for those who've chosen their own path and all of its uncertainty and end up finding themselves along the way. How the roller coaster of life sounds. It is about Blueberry Records as much as it is about my daily life. I am thankful everyday for opportunity, both granted and created. Follow your own inner light. And please, please listen loudly. * I make music to the specifications of my studio. It honestly all sounds best right here. And even better at one spot at the mixing desk in particular. You should come over and hear it.

This reissue documents Knud Viktor's only two releases on record - Images and Ambiances - both released in 1972 on the french label L'Oiseau Musicien. These records have long been out of print and are hereby made available again, gathering the two separate albums on this double-release.

The utmost care has gone into creating a reproduction that is as faithful as possible to the original works. These have been transferred from the original analog master tapes and have not been remastered to any other extent than to prepare them for the vinyl reproduction. Thus, Knud Viktor's pieces appear with the same degree of tape hiss, hum and other artefacts' related to his aesthetics, compositional process and tools.

Knud Viktor (1924 - 2013, born in Copenhagen) was a Danish recordist and sound artist. Viktor was a pioneer of phonography and sound ecology. Formerly a painter but also a photographer and a film maker, Viktor wanted to picture the landscape by capturing the impact of the intense light and sounds upon animals. He spent most of his life trying to capture the tiny sound of animals and the sound of erosion on the rocks of Régalon (Lubéron, France) where he lived for almost 40 years.

Viktor considered the rural landscape of Lubéron as an open territory with its own idiosyncratic acoustic signature. Viktor's methodology of work involved long periods of deep listening before placing his microphones at the right point of ear.

"I don't pretend to make music, even if what I hear in nature is produced by forces that seek harmony. I see what I do as a continuation of the painting, surveying sounds that organises sonic intensities most unattendedly, contrastingly, modulated and dissonant. I try to create an enhanced sensation via the sounds, the air, the light, the wind, the rain, the rocks, the vegetation, the smells of Lubéron".

Originally released in 2016 on Danish label Phinery Tapes. Now re-issued on Pulse Emitter's own Expansive imprint. Professional duplicated with printed shells, full color J-cards, and download card.

There is a constant struggle between the organic and inorganic aspects of our personal nature—an effort aided by the drive to define our own physical boundaries through intangible experiences and ephemeral thoughts. But for Portland-based musician Daryl Groetsch—who records curiously reassuring and intricate synthesizer music as Pulse Emitter—this determination isn't given credence by volume or density but by an emotional center around which everything else revolves. He peers deeply into our relationship with our environment and positions himself as a mediator of sorts between the fierce wilds of our instincts and the calming constancy of nature. He possesses a particular fascination with the hold that the environment and memory hold over people and discovers mesmerizing ways in which to link each influence to certain emotions.

Scattered across the tracks of his latest release, Through the Portal,' Groetsch maintains an intimate connection with both his audience and their perceptions of his freewheeling rhythmic insight. Over the course of eight songs, he applies his new age prudence to determine whether individuals have an innate need for natural connections, or whether we're simply a collection of pinging neurons in the service of a dispassionate body. He surmises that there could be a case made for either reality, but he's certainly offering us evidence to support the former supposition. Imbued with glacial synth melodies, found sound maneuverings and a mischievous sense of imagination, Through the Portal' finds Groetsch supplanting all doubts with one of the most beautiful and electronically pastoral releases you're likely to hear this year.

New Pulse Emitter album released on Pulse Emitter's own Expansive imprint. Professional duplicated with printed shells, full color J-cards, and download card.

These are crazy times, it's easy to get frazzled. But everyone needs moments of tranquility. This is where the new Pulse Emitter album, Chilling in the Eye of the Storm comes in. A peaceful, spacey, minimalist trip through realms light and dark, at the confluence of a comfy earthy vibe, and escapist science fiction dreamings. His recent progressions continue, combining electronic synthesis with global percussion and field recordings. If you need to chill out friends, you are welcome here.

- 180 GRAM AUDIOPHILE VINYL
- TOUR EDITION OF 1.000 NUMBERED COPIES ON PINK VINYL

The Residents are one of pop history's best kept secrets, throughout the group's existence, the individual members have ostensibly attempted to operate under anonymity, preferring instead to have attention focused on their art output. Much outside speculation and rumor has focused on this aspect of the group. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tails—a long-lasting costume now recognized as its signature iconography.

Intermission: Extraneous Music From The Residents' Mole Show is an EP by The Residents, originally released in 1982. It featured music from the opening, closing and intermission portions of the Mole Show. It was the first in a line of albums that would bear the warning that it was not part three of the Mole Trilogy. Punk band NoMeansNo covered Would We Be Alive' twice: once on an EP of the same name, then again on their In the Fishtank EP.

This limited Tour edition of 1.000 numbered copies is pressed on pink vinyl.

- 180 GRAM AUDIOPHILE VINYL
- TOUR EDITION OF 1.000 NUMBERED COPIES ON TRANSPARENT VINYL

The Residents are one of pop history's best kept secrets, throughout the group's existence, the individual members have ostensibly attempted to operate under anonymity, preferring instead to have attention focused on their art output. Much outside speculation and rumor has focused on this aspect of the group. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tails—a long-lasting costume now recognized as its signature iconography.

Please Do Not Steal It (1979) by oddball group The Residents was a promotional compilation album sent out to various American radio stations to promote The Residents after the release of Duck Stab.

The full title is This is a special DJ record of The Residents' alleged music. Please Do Not Steal It! Keep it at your station - we need the radio airplay. Originally, a limited run of 975 copies were pressed.

This limited tour edition of 1.000 numbered copies is pressed on transparent vinyl.

BLACK VINYL VERSION - 300 ONLY PRESSED - NEW ALBUM RELEASED BY THRILL JOCKEY ON OCTOBER 20TH..INCLUDES DOWNLOAD.

Her classic second album The Golden Morning Breaks and final Leaf release Les Ondes Silencieuses have long been out-of-print and are much sought after .This is the first time Colleen Et Les Boîtes À Musique has ever been released on vinyl, with brand new artwork by long term collaborator Iker Spozio

The Golden Morning Breaks (2005) draws on a rich palette of live instrumentation, marking a significant leap from the sample-driven sound of Colleen's debut album

Colleen's debut album, the much loved Everyone Alive Wants Answers, was reissued on vinyl in early 2016 as part of the Leaf 20th anniversary celebrations

Colleen (Cécile Schott) is as popular as ever with a new album due soon, and her 2015 album Captain Of None (Thrill Jockey) featuring in many end of year lists including Uncut, Rough Trade, NPR, New York Times, The Quietus and KEXP.

The Golden Morning Breaks (2005)

«... The Azmari are singers and musicians wandering through the territory of Ethiopia. They carry the stories of different worlds, the sagas of cold lands with wispering winds, of flying islands, of ancient dances on the top of red mountains, of the demoted Ethiopian Princes and their doubles ... " by chronicler Tekle - Ezana (1698)

Vespero, the southern Russian wonder band formed in Astrakhan, time and time again refining their means of expression from a intricate blend of space- and retro-progressive rock with various other inspirations. This time there is an exploding mixture of afro-beat and space-kraut that paves the way to new uncharted territory. For fans of Fela Kuti, Mahavishnu Orchestra, Gong and the Ozric Tentacles. "Azmari: Abyssanian Liventure" is a live album from the VESPERO`s "Liventure" series. Recorded live in different locations in 2015-16. Azmari' shows the power of live performances of the septet. This vinyl edition includes 3 extra track not available anywhere else.

Quality pressing by SONY Austria.

Ziúr is one of the most exciting producers to come out of the fringes of Berlin club music in the last few years. A new generation is breaking out of the techno mould and creating in a spirit of freedom and experimentation, taking seemingly incompatible influences and balancing them into a new and exciting sound. Ziúr is also the founder and resident DJ of 'Boo-Hoo', a night championing diverse lineups, reflecting it's creative audience, bringing through the cream of the experimental dance underground. Planet Mu are proud to release Ziúr's debut album 'U Feel Anything' in collaboration with Objects Limited, a label run by Lara Rix-Martin which releases music by women and non-binary people. For someone who has previously released just two EPs, the vision of Ziúr's music is advanced and precise. It's music which beckons you into an alternate world, wonderfully alien pop music that eschews conventions. She creates eldrich atmospheres that balance gentle melody and warm pop, in which strange elfin voices sing from other worlds and spiralling rhythms feel like entire structures moving. In the latter half of the record these harden into a pounding, martial symphony of steel, and introduce the kind of rough electronic riffs and guitar samples that betray her background in punk. 'U Feel Anything' was written as a way to think about music as a tool of enlightenment, a de-conditioning force and the kind of yin and yang that can be summed up in the title of one of the songs 'Laughing and Crying are The Same Things', a track which features Swedish pop singer Zhala, whose vocals straddle twisting beats, space and staccato strings. The album also features a collaboration with Aïsha Devi on the epic 'Body of Light', in which Aïsha's vocals are pitched up and down, manipulated and distorted into wispy angelic tones, setting the tone for the first half of the album. There's a process to Ziúr's music that's informed by this wish to get beyond the small things. She says "Putting a relation on what's big and small and certainly meaningless behind our existence, how nothing is everything at the same time etc... it's something that I try to explore again and again by putting myself into a thought process, rather than having everything already formulated."

It's a record of powerful, emotional twists and turns and mind-flipping contrasts that resonate with depth. As Ziúr says "I believe you can only tell that something is harsh when you have a soft side to compare it to. If everything is amazing then nothing is, right"