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Conceptualised (2010-2013), composed and produced (2014-2017) by Carl Michael von Hausswolff in Palma (Majorca) and Stockholm. This musical piece consists only of sounds emitted and extracted from physical matter using emission spectroscopy as the sole basic technology. Acknowledgements to Linköping University (IFM), Sweden.

'Still Life - Requiem' consists of one piece with the same title and is divided up into two to fit the LP format. The piece is, as the title suggests, a requiem and it's contents are solely composed by sounds captured from a specific physical solid state material. The composer has used a technique called 'emission spectroscopy' whereby the frequencies generated from the material was analysed and transferred into, for humans, a listenable pitch (between 15 and 14000Hz). This captured organic sound material has been stretched, looped, equalised and composed to produce the recording.

A requiem is a piece of music dedicated to certain sole or several restless souls that wander our worlds looking for a place to call home. A requiem radiates calm, peace and perhaps comfort for tormented spiritual beings - it's a piece dedicated to promote and insert tranquility and transcendence.

This requiem also provides the listener with a certain feeling of connection - perhaps a connection with the unknown and with the energy field clusters and mental abilities of post-mortem life forms that would be the incorporeal essence of a living being.

CMvH (born 1956 in Linköping , Sweden) has a long history within the communities of contemporary music and visual art. His first records was released in early 80s while the most recent saw the light just a few years ago ('Squared' (CD - Auf Abwegen, 2015)). In recent years he has been collaborating with Leslie Winer ('1' (LP - Monotype 2016)) and Hans-Joachim Roedelius ('Nordlicht' (LP - Curious Music, 2017)).

He has also instigated and curated the collective sound-installation 'freq_out' during 2003 - 2017, which includes artists such as Jana Winderen, JG Thirlwell, Finnbogi Petursson, Christine Ödlund and others.

Lag Records are delighted to announce our first official release, a reissue of the 1986 single Neo-plant by Koharu Kisaragi and Ryuichi Sakamoto, licensed by King Records Ltd co,. Japan. The first and only single taken from Koharu Kisaragi's Tokai No Seikatsu LP, was cowritten and produced by the Academy Award winning musician, composer and producer Ryuichi Sakamoto, best known for his contribution in the pioneering electronic group Yellow Magic Orchestra and has musical scores for Merry Christmas Mr. Lawrence, The Last Emperor and The Revenant.
Singer, songwriter, dramatist and theater director Koharu Kisaragi sadly passed away 14 years after her very short musical career, single Neo-plant and her LP Tokai No Seikatsu her musical legacy. Ryuichi Sakamoto after featuring on over two hundred different releases over four decades is still creating music in varying capacities. His most recent 16th solo effort async has been met with fantastic reviews.A-side Neo-Plant is a sample heavy, avant-garde, synth pop piece driven by early hip hop and dancehall rhythms. The B-side is a completely different affair, Traumerei a minimalist piece takes more from Japanese folk with Koharu's voice swooning over bassoon melodies, finally Tail is a new age gone in a flash instrumental.Neo-plant has been cut using the original master tapes by King Records engineers in Japan. The record comes with all its original artwork including the obi and insert with English and Japanese lyrics on standard black 12' vinyl.

Gang of Ducks launches G.O.D. CUTS, a new catalogue dedicated to a series of super limited EPs.

Available in a non-specified number of copies, these releases are hand-cut on vinyl by the label itself.

Vinyls are all transparent, without the paper center label but with a white silk screen design + hand stamped cat. number.

They will also come with a brand new series of cover artworks designed by Airbag studio, realised with white silk-screen print on black paperboard.

On the inside, an internal sleeve with another artwork + all the info about the release.

Due to this, the final price will be higher than the standard GOD catalogue and every shop is asked to take no more than 5 copies, to let everyone have them.

The first Ep of this series couldn't be by any other but Travis Galloway and Chris Durham aka TRAAG. The Detroit based guys have inaugurated the Gang of Ducks imprint with the magnificent "White Wall" ep and after that, in 2014 they released a mini-lp named UPN 50, one of the most appreciated outputs of the label.

"Money Orientated" ep explores the most narcotic side of their sound, which takes influence from the Michigan noise scene spitting out some bad washed EBM beats.

The 5 tracks follow one another perfectly, proving that the Traag sound has become a solid thing.

THE OCEAN IS CLOSED is a collaboration of music ensemble zeitkratzer with performance group She She Pop.

Play - according to the cultural historian Johan Huizinga - is a free activity carried out within certain fixed boundaries in time and space according to voluntary, but necessarily binding rules. It has no goal outside itself and is accompanied by a feeling of excitement and joy. It creates social alliances that for their part often surround themselves in a secret or set themselves off from the everyday world by means of disguise.
In THE OCEAN IS CLOSED the "modern composition super group" (THE WIRE) zeitkratzer and the performance collective She She Pop observe each other across the limits of their own categories. They look in fascination at their "exotic" colleagues. Outside eyes and ears are interested in different things, ask the right wrong questions, misunderstand the agreements and breach basic laws.

She She Pop and zeitkratzer play a concert: secret, order and ocean. They celebrate music and play per se.

Social Decay expands on their intense approach to techno with nods to noise, industrial and drum & bass. The Manchester duo's second LP-a triple vinyl package-follows 2014's Cosmic Microwave Background, which also came out on Speedy J's label.

Although there are hundreds of newer electronic music acts who wield heaviness and saturated sound as their primary weapons, AnD keeps finding bold new ways to separate themselves from the rank and file. The production duo of Andrew and Dimitri - conduits for the industrial music legacy of Manchester - excels at showing that aesthetic extremity does not have to equal monotony, and that it can be applied to any number of song forms.

Their new Electric Deluxe LP, Social Decay, is simultaneously one of their most overwhelming and most innovative efforts. This visceral new release comes from the same hazardous, blasted terrain that informs the work of kindred spirits like Kerridge, Oake, and Justin Broadrick's many projects (Broadrick has incidentally remixed material from AnD's previous LP). However, there is lots of room to maneuver within this landscape of constant tension, and AnD brings a diversity and story arc to their overloaded attack that distinguishes them from their peers.

Whereas AnD's previous LP Cosmic Microwave Background utilized the duo's intensity to pay homage to the enormity of the universe and the incomprehensibly violent processes involved in its creation, Social Decay takes things back to earth and right down to a 'street view' more gritty and contentious than what Google Maps often reveals. While AnD could have easily made a topical album in the way that classic hiphop considered itself an alternative news source, they sidestep obviously current affairs in favor of broad concepts that could be applied to any point on the timeline of human struggle.

Beginning with a feedback-drenched, shuddering premonition of things to come ('The First Element'), each successive side of the album presents a new level of intensity, itself brought about by increasing levels of tempo and compositional coherence. The first suite of tracks, including 'Corrupted Structures' and 'Anarchic Rhapsody,' is pure industrial music comprised of multi-layered noise collage, venomous and halfcomprehensible whisperings, and rhythm structures that compel listeners to maintain an obedient posture rather than to ecstatically hit the dancefloor. Without completely abandoning this atmosphere, the next four or five tracks flirt more heavily with hip-hop inflected beats and an unmistakable sense of hyper-urban vigilance. Window-rattling tracks such as 'Pandemonium' come across like urban audio camouflage meant to defend its users against surveillance by shadowy and invasive entities, while 'Screaming Voices' adds infectious EBM sequences to the mix.

Just as it seems like the duo is settling in to a groove, the mutant drum-and-bass rhythm and cinematic bombast of 'Resisting Authority' strikes with explosive high-tempo energy. As carefully planned out as a well-choreographed, climactic sequence from a Hong Kong action thriller, this is one place where AnD's dedication to narrative really shines through. 'Taking Control' and 'Kepler' provide the effective aftershocks to this number, while 'Disturbed Reality' closes out the album in an unexpected sense. While many would rely on a reflective, ambient 'outro' to help fade listeners back into reality, AnD just keep continuing to deliver the crunching beats and looped warning cries, maybe hinting at the fact that reality is not far removed at all from this record's representation of it.

This vibration is cast into new dimensions. Liberating Eros, it circles the globe, backwards and forwards, flowing to and through us. It is said the artist has a gift— suited for the erotic life of property.On Eros in Arabia, Richard Horowitz channels this vibration and bends bandit sounds by pairing the ancient ney cane flute with the Prophet-5 synthesizer. Interspersed with other instruments and ideas, like echo delayed Moroccan drumming and self-made magic, these elements deal in duality like the ever-shifting characteristics of the composer: the Hollywood Horowitz who scores films like The Sheltering Sky and Any Given Sunday, and the Morocco Horowitz who founded the Gnaoua Festival in Mogador, attended by 500,000 people every year. Working in natural succession from end to beginning, Elephant Dance' demonstrates the central synth and ney node to explore energetic sound patterns Horowitz imagined to be played in the 16th century on the island of Java, around the time Sufi's may have arrived in Indonesia. Delicately trampling the twenty minute mark, the piece offers an immersive climate of microtones that might, with the primordial matter of love, alter DNA. Baby Elephant Magic' is Elephant Dance' but sped up— producing digital baubles that sound less like an Indonesian forest, more like an urban hive of mechanical insect interaction. The piano on 23/8 for Conlon Nancarrow,' with John Cage technique at play, is played as fast as possible by a human.' The sounds are driven to derail from the space time continuum. On Never Tech No Foreign Answer,' a cheap cassette recorder microphone captures the Prophet-5 left to the devices of its master's inner clock, taking on a frenzied sound form that vibrates in place before bouncing off the tape case walls. Chaos is concentric.Queen of Saba' incorporates the vocals of long-time collaborator, Sussan Deyhim. Described as one of Iran's most potent voices in exile, Deyhim's work is in both the tradition of Sufis and the late feminist poet, Forough Farrokhzad. Recently Deyhim and Horowitz worked together on a multi-media performance based upon Forrokhzad's Iranian New Wave film, The House Is Black. Here Deyhim performs a tarir where vocals go low to high without any semantically meaningful words. Horowitz's associations with great cultural icons of the Middle East, like these women, soften (in)appropriations.Less aggressive than its predecessors, Eros Never Stops Dreaming' introduces the bendir frame drum, the feathery wind of the ney floating above its bowing rhythm with effortless mathematics. Bandit Nrah Master of Rajasthan' begins where the album ends, an ode to Shakuhachi flute players known to indulge in both trance-inducing circular breathing and espionage.Horowitz is linked with the worldly sound seeking circles of minimalist and avant-garde New York City musicians, especially Lou Harrison and La Monte Young, with whom Horowitz shared Shandar as a record label momentarily. He recorded and toured with Jon Hassell and collaborated with David Byrne and Brian Eno, Jean-Philippe Rykie, and Bill Laswell. Along his travels he befriended Brion Gysin and Paul Bowles, the latter whom mentored Horowitz over decades of correspondence, some of which documents the making of Eros and comes quite literally with this edition. A record of physical and intellectual love for Arabia, FTS extends this flowing forward and backward - a shimmer that reverses the backward spelling of Ztiworoh. Eros is presented in the ever present. To borrow from a song title, Horowitz remains gainfully employed as an inter-dimensional travel agent.LP edition purchased directly from Freedom To Spend includes exclusive Risograph printed insert with original Eros in Arabia cover collage and a reproduction of a letter from Paul Bowles and Richard Horowitz's long documented correspondence.

It's been four years since Zach Saginaw, aka Shigeto, returned home to Michigan from a stint in Brooklyn, NY, and since then, the multi-faceted musician has become a part of the fabric of Detroit's music scene. While always having a personal approach to his projects, Saginaw's influences for his third album, The New Monday are more about the community of Detroit than anything else. Named after a weekly DJ event called Monday is the New Monday that Saginaw does at the unassuming Motor City Wine with a group of friends, The New Monday is the result of Saginaw diving into the city's deep record culture, where there legacy of artist's of the past help Saginaw embrace his own contributions.

It's focused on a couple things and they all kind of come together to represent different things,' explains Saginaw. My time back in Detroit, back living in Michigan and spending time with a lot of kind of original people who have always been here, learning from them, hearing stories from them, being influenced by them, and inspired by them.'

While, in the past, projects like Lineage or No Better Time Than Now were rooted in strong personal messages, family and relationships respectively, The New Monday represents a communal eort where solidarity is the key. Going for a simplified approach of just trying to make good tracks, The New Monday is diverse in its styles leaning more into a dance music direction - new ground for a Shigeto project. A new air of confidence in Saginaw has expanded his horizons since his return to Detroit, but traces of his past work will continue to be present.

I don't want people to think I'm leaving anything,' says Saginaw. I'm still me. It's a result of me being immersed in the culture, and inevitably making music that is influenced by that culture whether it be house, techno, jazz, rap. It doesn't matter. It's all coming from what I love about Michigan.'

While The New Monday still features the jazz textures long associated with Shigeto projects, the varied elements that make up the album cohesively come together to show the distinct inspiration that Saginaw has drew from since his return home to Detroit. Like on Barry White', which features Detroit hip-hop artist ZelooperZ (a member of Danny Brown's Bruiser Brigade crew who Saginaw also has a side project with called ZGTO), Saginaw captures everything he's been doing all on one track. As much as it's hip-hop influenced, it's a mutant that encompasses elements of dance music, jazz, and ambient sounds

Throughout The New Monday, Saginaw poignantly references the musical influences that have either always been with him or newly discovered. It is Saginaw's interpretation of Detroit's rich culture of innovative artistry, but done so with respect for the history and to contribute, not disrupt.

I think over the past four years, I can confidently say that I found my place here,' describes Saginaw. I'm happy here and I feel that I have the respect from the people I need respect from, that I want respect from. It's all of the result of embracing it and embracing, not Detroit, but embracing community, embracing family, being closer to my parents, being closer to my oldest friends.

- Shigeto's third full length, his first album since 2013's No Better Time Than Now
- In between has remixed Anna Wise, Hundred Waters, Su-an Stevens, U.R. etc.
- Media support from BBC Radio, Pitchfork, Stereogum, Fader, THUMP, Resident Advisor,
- Vinyl is housed in a matte gatefold jacket with purple foil

After a storied recording career that has so far taken in albums for Further, Mathematics and Danyy Wolfers Strange Life label, Spanish artist Vagon Brei added label boss to his CV earlier this year with launch of Mystic & Quantum. Record labels come and go but few arrive driven a real specific concept in a way that Mystic & Quantum are with each album length release conceived to show stories of "adventures, magic, science". Having launched in auspicious fashion with albums from DMX KREW and San Laurentino, Vagon Brei helms the third release with a nine track set entitled The Secret Of Swamp Castle. Seemingly taking influence from Giallo Horror, Brei's album comes across as a compelling collection of synth explorations that will have you returning again and again in order to uncover the Swamp Castle's secrets.

another piece in the anom vitruv puzzle. might be something about what it's like to be a shadow.who can flip it like this

V0FWRUZPUk1UUkFOU01JU1NJT05XQVZFRk9STVRSQU5TTUlTU0lPTldBVkVGT1JNVFJBTlNNSVNTSU9OV0FWRUZPUk1UUkFOU01JU1NJT05XQVZFRk9STVRSQU5TTUlTU0lPTldBVkVGT1JNVFJBTlNNSVNTSU9OV0FWRUZPUk1UUkFOU01JU1NJT05XQVZFRk9STVRSQU5TTUlTU0lPTldBVkVGT1JNVFJBTlNNSVNTSU9OV0FWRUZPUk1UUkFOU01JU1NJT04

An absorbing look at Ariel Rosenberg's early musique concrète epic. All songs written, recorded and produced by Ariel Pink. Restoration and mastering by Alain at One Million Mangos Berlin.

Thrash and Burn dates from a time when Ariel Rosenberg, then a few years from turning "Pink", first proclaimed himself a "20th Century Composer", without a trace of irony in his voice. Appropriately, this early work takes the form of a musique concrète epic forged from Rosenberg's late-90's faux-primitif, garage-punk, and tape-loop experiments. At 94 minutes and 36 tracks, Thrash and Burn displays the symphonic ambitions of his genre-devouring pop saga, Haunted Graffiti, but with little in the way of fastidious album-oriented constructions. Rather, Thrash and Burn is a free-form tape ramble that uses gauzy atmospherics to strike up a wicked dialogue with the likes of Rosenberg's non-pop influences, like Iannis Xenakis, Pierre Schaeffer and Luc Ferrari. (In particular, Schaeffer's "Symphonie pour un homme seul" seems to get plenty of nods here.) Thrash and Burn was discovered in 2005, in an ankle-deep pile of cracked cassettes and scratched CD-R's in Rosenberg's Beverly Hills flat. Grier and Rosenberg then made an initial reconstruction attempt, and Thrash and Burn became a 4-cassette box set for the inaugural release of Human Ear Music, in 2006. The Wikipedia page for Thrash and Burn places its origin sometime in 1998. Thrash and Burn was remastered in September 2012 in Berlin, Germany. The final master was brought up to 24 bit resolution, dynamically and tonally balanced on an Apogee Rosetta and two solid-aluminum monoblock amps.

Body Consonance is the follow up to Precipice, Byron Westbrook's critically acclaimed debut from 2015.

Taking a turn towards greater immediacy, this new album is far from "ambient" with ecstatic abstract rhythm as its anchor. An artist who also operates in visual contexts, Westbrook utilizes binaural qualities of the stereo listening format to sculpt three-dimensional sounds in perpetual motion, producing works that are both pointillistic and psychedelic.

Body Consonance is a meditation on physicality, a virtuosic choreography of sonic textures, colors and shapes woven together, Bodies in motion, conversing, orbiting, colliding.

Matt Mondanile's sixth full-length album as Ducktails, Jersey Devil, is a mature, multi-faceted work that showcases the New Jersey musician's return to his DIY roots. Drawing inspiration from diverse sources, including the cosmic jazz fusion of Haruomi Hosono, the album is a huge leap forward in songwriting and production. It is also a testament to Mondanile's artistic perseverance and the project's true magnum opus.

Jersey Devil was recorded over the span of two years despite frequently unfavorable circumstances. Mondanile started working on the record in Los Angeles prior to his departure from Real Estate, in a cramped, stuffy warehouse space he converted into a modest studio. A few good friends came to his aid: John Anderson (Girls, Sky Ferreira) and Malcolm Oliver Perkins both played guitar and helped to compose and produce the songs, Perkins and Samira Winter also sang beautiful harmonies while Josh da Costa contributed brilliant drum fills. Mondanile also flew over Chi Yoon Hae of the South Korean indie band Parasol to play bass.

However, the music really became what Mondanile had envisioned after moving back to his hometown of Ridgewood, New Jersey, where he finished writing and recording the songs in his mom's basement. The quiet, familiar space surrounded by wood-paneled walls provided endless inspiration. Once finished tracking, Mondanile would take the commuter train to Hoboken, grab a cup of coffee from Dunkin' Donuts, and mix the album with engineer Ernie Indradat at Sonic Youth's studio. Everything felt right, the mini-mall across the street, the stock brokers walking their dogs, and the sweet summer smell in the air,' says Mondanile about the final days of work.

Debut album of Manchester post-punk band."When I was first told about Duds, it came with the considered opinion that the guys were far from what you'd call 'careerists'. 'They don't take themselves too seriously' was another comment. I could have taken this as a warning that they weren't in it for the right reasons—but that couldn't be further from the truth. From my perspective Duds simply won't bend over backwards to 'get on'. They do what they do and you can take it or leave it. I took it—with both hands...with a vice-like grip. They have the invention and urgency of Edinburgh legends The Fire Engines. The Post-Punk ethic. Short songs, short sets = short album.They're one of the most thrilling bands I've seen in years—and the fact that they're releasing this brilliant piece of work on the Castle Face label adds the last piece of a perfect 'outsider' jigsaw puzzle. Duds sitting alongside Oh Sees, Ty Segall, White Fence, Useless Eaters, et al. There is a god!" —Marc Riley, June 2017

Following an earlier release on Opal Tapes, several releases through her Summer Isle imprint and a smattering of vinyl issues on the esteemed BANK Records NYC and Aught Void, Rita M's E-Saggila project returns to Opal for the most advanced statement of intent from her so far. Lux Campaign is an elegant union of industrial and rhythmic noise music with techno (Lux Campaign, Green Zone) Jungle + DnB (Stature and Scent) and as stand alone pieces of gothic abstraction.

Holotype Editions was founded as a means of bringing out music by some of the most unique and peculiar artists of the last decades. What could be more fitting for the imprint's seventh release, than the duo of cult artist Ghédalia Tazartès and multi-instrumentalist, composer and singer Maya Dunietz.

Recorded live at Cafe Oto, in December 2013, Schulevy Maker documents the duo's first live appearance. An amalgam of bizarre samples, concrete sounds, live piano and bells, juxtaposed with the otherworldly voices of Dunietz and Tazartès. At times light and humorous, at others dark and ritualistic, Schulevy Maker can hardly be labeled or tagged. The album title refers to Shoemaker-Levy 9, a disrupted comet that collided with Jupiter in July 1994. Tazarte`s and Dunietz freely reassembled the syllables of the comet's name, coming up with this obscure title.

A truly life-affirming record, by two artists defying categorization, Schulevy Maker comes in a limited edition of 300 copies, pressed on black vinyl with a beautiful cover designed by We Are Still Bold and Beautiful.

Group Rhoda is the solo electronic music project of Mara Barenbaum, based out of Oakland, California. The project started around 2009 with a debut album 'Out of Time, Out of Touch' in 2012 on Night School Records and '12th House' in 2013 on Not Not Fun. She is also one half of Max and Mara who released the album 'Less Ness' in 2013 on Dark Entries Records. She is committed to live performance, situated within the analog synthesizer and drum machine medium.

'Wilderless' is Group Rhoda's third full length and first for Dark Entries Records. Each of the these 7 songs draw forth tones of tropical darkwave and soft industrial, while negating the sound of conformity and control. The album explore themes of societal and spiritual displacement, contemporary serfdom, the depths of empathy, regeneration through destruction, and the tyranny of claiming recognition and power. Lyrics are poetically expressed through allegory and explore archetypes rooted more in abstract observation rather than hard line experience. Through transgression and imagination, Group Rhoda explores the arc of songwriting interwoven into stark electronic environments, and creates a bridge between the corporeal and the dream worlds.

Each song was mixed by Mark Pistel at Room 5 in San Francisco and mastered by George Horn at Fantasy Studios in Berkeley. Each LP is packaged in a jacket featuring a colorful custom made collage by Hugo Barros and includes a full color sticker and digital download card.

Hainbach is the experimental electronic project of the German composer Stefan Paul Goetsch. Using modular synthesizers, tape loops and his voice Groetsch is able to excise the most haunting tones from his rig. These are laid out or the listener to peer into or to hold the shell to the ear. The sound is organic, microbial almost, rich with micro-details and texture like some sonic mold sporing out. Later some crystals form as recital of new age styles never quite realised, the fata morgana, a desert environment where the smallest gestures are noticable against such minimalism. A fragile and exquisite listen.

Planet Mu are very excited to announce Jlin's long awaited second album Black Origami'. A percussion-led tour de force, it's a creation that seals her reputation as a unique producer with an exceptional ability to make riveting rhythmic music. Black Origami' is driven by a deep creative thirst which she describes as this driving feeling that I wanted to do something different, something that challenged me to my core. Black Origami for me, comes from letting go creatively, creating with no boundaries. The simple definition of origami is the art of folding and constructing paper into a beautiful, yet complex design. Composing music for me is like origami, only I'm replacing paper with sound. I chose to title the album "Black Origami" because like "Dark Energy" I still create from the beauty of darkness and blackness. The willingness to go into the hardest places within myself to create for me means that I can touch the Infinity.' Spirituality and movement are both at the core of Black Origami', inspired largely by her ongoing collaborations with Indian dancer/movement artist Avril Stormy Unger whom she met and collaborated with at her debut performance for the Unsound festival - 'There is a fine line between me entertaining a person and my spirituality. Avril, who collaborates with me by means of dance, feels the exact same way. Movement played a great role in Black Origami. The track "Carbon 7" is very inspired by the way Avril moves and dances. Our rhythms are so in sync at times it kind of scares us. When there is something I can't quite figure out when it comes to my production, it's like she senses it. Her response to me is always "You'll figure it out". Once I figure it out it's like time and space no longer exist.' Similar time shifting/folding/disrupting effects can be heard throughout the record - especially on Holy Child' an unlikely collaboration with minimalist legend William Basinski. She also collaborates again with Holly Herndon on 1%', while Halcyon Veil producer Fawkes' voice is on Calcination and Cape Town rapper Dope Saint Jude provides vocals for Never Created, Never Destroyed . Jlin will be touring extensively this year and is currently lining up appearances including Sonar festival. Later this year she will be collaborating in London with acclaimed UK choreographer Wayne McGregor who played her music recently on Radio 4's Desert Island Discs and described her music as quite rare and so exciting".

For the third full length document of his classical works, Mario Diaz de Leon presents his most unified offering to date, distilling the modernistic hellfire of his previous releases to a crystalline essence. Sanctuary' is an album length piece created in collaboration with TAK Ensemble, a brilliant NYC based quintet devoted to energetic and virtuosic performances of contemporary music. Featuring soprano voice, flute, violin, bass clarinet, marimba, and the composer's own synthesizer work, the album is a hypnotic and ritualistic journey through realms of angelic and demonic experience, combining acoustic and electronic elements with visionary intensity.

Since 2002, Mario Diaz de Leon has created a significant body of new works for acoustic instruments and electronics. Following his teenage years playing hardcore punk, metal, and electronic music, Diaz de Leon was inspired by the mystically oriented modernisms of Stockhausen, Scelsi, Messiaen, and Dumitrescu, and soon after developed his signature style while a student at Oberlin Conservatory. His debut album as composer, "Enter Houses Of" was released in 2009 on John Zorn's Tzadik label, and praised by the New York Times for its "hallucinatory intensity". A second album, entitled "The Soul is the Arena", was released in 2015 on Denovali, and was named a notable recording of the year by New Yorker Magazine. Pitchfork wrote that the album "combines his interests seamlessly into music that throbs with snarling exuberance." Both releases were performed by his longtime collaborators in the International Contemporary Ensemble (ICE).

He currently leads the metal band Luminous Vault as vocalist and guitarist, whose Charismata' EP was released on Profound Lore Records in spring 2017. From 2012-2016, his solo electronic project Oneirogen (o-NI-ro-jen) toured internationally and released three full length albums on Denovali. He collaborated with director Zev Deans to create the score for Alien: Biotic, a short film commissioned by Fox as part of the official Alien: Covenant campaign. In 2016, the Los Angeles Philharmonic commissioned and premiered his Lightmass' for their Noon to Midnight' festival of contemporary music. He has also collaborated with Nate Young of Wolf Eyes on Standard Deviance One', which they recently performed at Tectonics Festival Glasgow with the BBC Scottish Symphony Orchestra.

Born in Minnesota, he has lived in in New York City since 2004, and received a doctorate in music composition from Columbia University in 2013, where he currently teaches.

21st century chamber music that combines crystalline clarity with the disorienting turbulence of a sonic vortex.' - WIRE Magazine
Plenty of people can write a one-off 'amplified' piece for chamber musicians, but few artists have built a language as stable and rewarding as Diaz de Leon's.' - Pitchfork

Nazoranai is the supergroup of Keiji Haino, Oren Ambarchi and Stephen O'Malley. For close to four decades, Haino has been a legendary figure in Japan's avant-garde community through his commanding presence in the band Fushitsusha and numerous solo ventures. Ambarchi, a prolific electro-acoustic composer of heavy ambience and hypno-rock, has long stood at the leading edge of Australia's experimental music scene, while O'Malley remains a principle architect for the drone / doom metal project Sunn O))) in harnessing extreme sub-harmonic frequencies.

Collectively, Nazoranai operates as a live recorded collaboration, although Haino is quick to point out the difference between the words "nazoranai" (which in Japanese calligraphy means "not repeating," as in developing a distinct, individual style) and "sokkyo" (referring specifically to improvisation). In this parsing of terms, the group separates themselves from the free-music scene, which can be just as convention-bound as the established genres from which improvisers hope to escape.

On the trio's third album, Beginning To Fall In Line Before Me, So Decorously, The Nature Of All That Must Be Transformed, Nazoranai explore two side-long tracks of superb abstraction. Ambarchi and O'Malley provide the perfect brute-rock rhythm section to Haino's wrecklessly pure expression through instrument and voice. Blurred noise, dark hurdy-gurdy and thunderous harmonics build an accretive mantra of jagged electricity.

While Haino's extensive discography resists easy interpretation, he constantly challenges himself to further his art by channeling the unknown. Shifting from his native Japanese to English, he asks: "Do you still have a mystery" This existential plea could apply to the artist's own deep inquisitions or stand to confront his audience about that which eludes their understanding.

W.25TH / Superior Viaduct present Nazoranai's latest work, recorded at SuperDeluxe in Tokyo, which marks the band's first release on an American label.

Le Cabanon presents a new artist, Othello Aubern, for the 4th installment of their Couleurs record series.

Born in 1987 from an Italian mother and a Swiss father, Othello Aubern is now living in Omsk. He begins to shape his own radio transmitter at the age of 12. During his teenage years, Othello became interested in the exchange of Earth-Moon-Earth signals and in sound synthesis.

His work led him to record his experiments and, later, to sequence them. Othello's first EP is the result of this work of collecting, assembling and creating musical figures.

Ships September 19th. Autotomy is a collaboration between Belgium's Sleeperhold Publications, Brooklyn-based musician Patricia (Max Ravitz) and the Dutch artist Louis Reith. This output is the result of a long process of contemplation, discussion and elimination which gave us a record that encapsulates both Patricia's sense for hardware production and dance floor rawness. Describing this release is not a simple task. So we'll just tell it like it is: it's a record that slows down and, in this process, reveals its mystery. Referencing the title of this release, wunderkind Max Ravitz seems to provide the listener with the possibility of transformation, a way to shed part of your own being.

When running though the tracks, one discovers the essentials of Patricia's sound architecture: the presence of lightness, of longing, mixed with the ability to deny it in the next instant. Sonically, there's a careful balance in these productions that belies their fundamental function as body music. It's ambient yet danceable, approachable despite it's often deconstructed layout, and ultimately warm and inviting.

The entire record is made using Ravitz collection of hardware, which gives it its uncompromising texture. The presence of kicks, beats and soundscapes does not originate from a clean digital source but from a physical action, an excerpt of movement, a tick of the human hand. It is floating versus rhythmical movement, visceral versus strict. But above all, it is alive.

The artwork used for Autotomy's sleeve design and the etching on the B-side was provided by Louis Reith. (All three tracks feature on the record's A-side.) Just as Patricia, Reith tries to resist technology in favour of physical and craft-based media, though the contrast between digital and analog is always present.

Dutch artist Louis Reith produces works through a variety of different media, ranging from collages to wood sculptures, to paper objects and ink on paper works, always keeping an interest in simple abstract shapes and their combination. With an interest in materiality Louis resurrects found footage and creates new landscapes of shape and color, celebrating the human hand at work. Deliberate compositions form an illegible visual language where hidden words are portrayed as abstract sculptures.Reith also co-runs Jordskred, an independent publishing company worth checking out.

Ravitz certainly is unstoppable and releases in a relentless and uncompromising fashion. Besides many collaborative projects with an array of artists (released under monikers such as Masks, Pulpo, Inhalants, DSR.MR...) he's released music on labels like Opal Tapes, L.I.E.S., Russian Torrent Versions, Ghostly Intl.,... 2017 has been quite a year for him so far. He not only founded his own imprint, Active Cultures, but also released a triple LP. Ghostly Intl. describes the release as a kaleidoscopic, a multi-faceted techno trip' and we couldn't agree more.

11 years since it´s inception, the surreal and darkly romantic Knive still sounds like a mystery and something that´s hard to pin down. Svarte Greiner´s debut album feels like a trip into the forest at midnight, with all the sounds and impressions that comes with it. Spiritual, horrific and fragile in essence, it´s melancholic core is hard to shake off, and feels as present today as it did back then.

While starting off the sub genre of Accoustic doom' back in 2006, it´s difficult to say what else to name it now, with it´s inspiration and elements from countless genres. The record flows through the dissonant cello´s and washed out vocals of Ocean out of Wood' past the introverted church organs of The Black Dress', distorted guitars and wooden beats of The Dining Table' to the operatic finalé of Final Sleep'. Everything scattered with field recordings from crows, branches, walking, sleeping, rain, wind and who knows what. Knive stands on many feet, wherever they may be.

Erik K Skodvin´s path as Svarte Greiner have since been dwelling more and more into this world, picking each element apart to focus on them, stretching them out or cutting them down, looping, experimenting and flooding with reverb - trying to make time stop and night fall. But for now a re-visit to where it all started seems appropriate.

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

There's so much complexity in life and human emotion that I have a hard time feeling convinced a song is always either happy, sad, melancholic, angry or scared. I look at these emotions like elements that are constantly colliding with each other, so it's my duty as a songwriter to reflect that. I want to fall in and out of the cracks of genres, finding the nerves not yet hit. It's usually in the disturbing part of the spectrum...'

So says Joe Haege, who's earned a reputation for unsettling sounds with 31 Knots and Tu Fawning, and also performed as a member of Menomena and The Dodos. Haege formed WHITE WINE (also known early on as Vin Blanc) as a solo project, but it developed into an informal duo following the release of second album, 2013's In Every Way But One, after Haege invited Menomena / Tu Fawning soundman Fritz Brückner to join him on a European tour. When an apartment fell vacant next to Brückner's home in Leipzig, Haege deserted Los Angeles, and, newly settled in Eastern Germany, added Chistian "Kirmes" Kuhr (of local heroes Zentral Heizung Des Todes) to the coven while helping to build what would become WHITE WINE's default home, Haunted Haus. Having our own fully functioning studio,' he points out, is just an incredible tool to have at our disposal.'

This new line-up finds Haege delivering the most realised, intense and, at times, horrifying music of his career. The product of 18 months spent touring together, Killer Brilliance emerged, he says, from the trio's need to get something dark and sinister out of our systems', and this is reflected, too, in the album's title. We're all killers in some way or another,' he continues. Some kill hope. Some kill honesty. Some kill fear. Some kill greed. Some kill out of greed. All kill, in some ways, for our sheer survival. However, the underlying fact is that so many ways of killing are simply amazing in their complexity. When you really dig into the details, one can see how there is no escaping a little bit of blood on everybody's hands.'

This sordid realisation is mirrored in Killer Brilliance's disturbing, sometimes even distressing songs. Brückner's effects-heavy bassoon gives the record a macabre depth, while Kühr's aggressive drumming and percussion, firmly upfront in the mix, drive songs relentlessly to their ultimate demise. Haege, moreover, displays the urgent, menacing air of a preacher man delivering sermons about an imminent apocalypse. Punctuated by contrastingly feminine, spoken word vignettes that add to the uneasy cinematic mood - one that draws upon dystopic visions to '60's style Film Noir - Killer Brilliance piles in with the rabid 'Broken Letter Hour' and the desperately tense 'Hurry Home' (which opens notably with the line Feeding on the flesh of the young and indifferent') before the extraordinary title track, with its sinister chorus, pops eardrums and eyeballs. There's also the Birthday Party malevolence of 'Falling From The Same Place', the growing threat of 'Abundance' - which addresses notions of prosperity and its price - the baroque, carnivalesque 'I'd Run' ( Release the devil!') and the deceptive calm of 'Bird In Hand', which begins with Haege's description of how The streets were just crawling with people just dying to breathe...' and concludes with the ugly truth that When one of us wins, some of us must lose'.

Musically, WHITE WINE feed upon an extraordinarily diverse range of ingredients, including PJ Harvey, Liars, Beak, Suicide, Minute Men, David Bowie, Chuck D and Diamonda Galas. I like to make music that is played when a cafe is closed,' Haege cackles, and not when it's open.' Lyrically, meanwhile, Killer Brilliance exhibits Haege's self-confessed weird affinity for double entendres. It fits my thinking when attempting to cover the ground of a subject. In a world of art and media overload, and the unyielding barrage of advertising, it's not easy to find any territory not already well-trodden. Many musicians seek to create music of a fantastic escapism, poetically reframing the harsh reality we're all forced to swallow every day. It's an unbelievable skill that I wish I had. However, I'm not one of these. For some weird reason, I have this need to hold onto the sheer madness of existence, all of the suffering and celebrating happening at the same time.'

Timely and unflinching, this is, by name and by nature, Killer Brilliance. Here's to your health. You'll need WHITE WINE.

BKV013 is 7 inches of infectious, Osaka-matured, aquatic dub from 7FO. 7FO-san has been in touch with Bokeh for over a year and kindly showed them round Kyoto on the BKV Japan world tour (we ate a baby squid that had a boiled egg where the brain used to be - crazy).


This is 7FO's first proper wax outing after homegrown albums made local waves with his fusion of Japanese new age and dub miniatures. Previous albums also had mastering credits by Bokeh alumni and Osaka mixing desk alchemistKabamix.


2016 saw 7FO reach wider audiences withWater Falls Into A Blank,a cassette and multi-media project viaRVNG Intl's Commend See series. Bandcamp userStandard Greysummed it up best:


"IfJoe Meeklived on to collaborate withHarry HosonoandInoyama Landand make idiosyncratic dubbed out Japanese Minyo and off-world colony exotica... "


'Water Vapour' features the enigmaticSea Urchin- the duo of Francesco Cavaliere (on FX) and Leila Hasan (on otherworldly vocals). They've released an LP for Belgian imprintKraakand Francesco notched a 2016 highlight with his solo LPs onHundebiss.

These is the 4th Bokeh release to come out of Japan.....

Stonedwave presents the latest EP offering from Jochen Heym, - Sonoaut on snow white vinyl limited to 300 copies. Bridging the gap between Hardcore, Drill and Bass and Braindance on tracks like Exit Vessel and Init Conversation the artist creates dadaistic piano arrangements that meet talking funk basslines while the tracks are still heavily rooted on the dance floor. Songs like Winterlicht and Unreachable connect the artwork taken by Icelandic Photographer Halldor Ingi to muted microtonal sounds and hypnotic piano loops . Inspired by his hiking trips to remote locations in northern Europe Jochen Heym started to invent his own microtonal tunings which can be heard throughout the whole release and define his personal unique sound character.

Establishing his style of writing electronic music and creating music with classical instruments in 2005 Jochen Heym kept on composing tracks on a daily basis of which a small exclusive selection can be heard on this record.

Expanding from 5.1 Surround Installations and orchestral recordings in Darmstadt / Germany the artists relocation to the city of Cologne also exposed his writing style to unusual tunings and ambient textures while still true to his roots in hardcore, breakcore and acid house. Artists like Miles Davis, Jacques Loussier are in the same way present in the music as more comtemporary composers like Aphex Twin, Stockhausen and Autechre.

Sononaut is the first installation of a series of releases where additional tracks will be selected from the vast archive the composer created during the last decade.

We begin our history with the first full-length Dada Ques release, written and produced by the founder of the label, Flaty.

Called '1' ('One' or 'Album One'), the release is timed with the launch of ANWO / AMONARI-NO-WORD which has been conceived and designed as a creative platform for own musical projects and various other art initiatives.

'Album One' presents a wide array of styles grinded and melted into one solid and breathing soundscape, it's electronic romanticism with advanced detail.

After collaborations with Merzbow and Daniel Avery, Alessandro Cortini (Modwheelmood, Nine Inch Nails) moves to The Point Of Departure for his third solo full length album. Alessandro Cortini today announces his third solo LP, AVANTI, due for release on 6 October via The Point of Departure Recording Co. Speaking about 'Perdonare', the first single to be taken from AVANTI, Cortini says: Perdonare embodies the often strenuous search for strength to forgive someone for their behaviour, when it becomes apparent that such behaviour is not conscious nor wanted, but merely a by-product of one's upbringing.There are few more potent examples of the power that music holds over our memories than hearing a song and being instantly transported back to a specific time or place. But what if we could change the soundtrack retrospectively If the scenes from our life played out on a big screen, how would we choose to score them It's an idea that Italian multi-instrumentalist Alessandro Cortini found himself preoccupied with on his latest album AVANTI.
Prior to making the record, Cortini rediscovered an archive of home videos made by his grandfather, who passed away a few years previously. Among the cache were several Super 8 films of family gatherings as well as hours of dinner-time conversations recorded on cassette for posterity. It was as if Cortini had unearthed a perfect fossil of his childhood. The films, however, were missing one crucial element - the sound. So Cortini decided he would restore the miss-ing audio in his own way, by composing a musical accompaniment to the footage.
As it turned out, Cortini had a few blanks to fill in himself. The films exposed some inconsistencies in his memories, moments that he romanticised or misremembered. But what surprised him the most was that the recordings appeared to be almost as fallible as his recollections - both showed signs of degradation. I really like that about memory and music, both from an instrumentation and playback point of view, I like imperfection,' he says.
AVANTI is rich in anomalies and irregularities - much like our memories - which Cortini let creep into his compositions by recording live on a single synthesiser, the EMS Synthi AKS, without overdubs. Just like the films, there are errors and mistakes in the music, some of which became the theme and some which are peculiar things that happen once or twice,' he says.

An organismic moment denotes a state of unity with nature. It's a state of fulfillment, even euphory, but it never lasts for very long... The album is a protest against the line of thinking stating that humans stand above nature. Even though it is an obvious truth that we all spring from this planet, we are manipulated to ignore it, there is profit to be made from people forgetting the Earth and its needs. The music taps into a sense of grief for something we've lost in modern society, mixed with humour and a feeling of having someone telling you an ancient story. It is a soundtrack for an alien perspective of a possible future. Limited edition of 300 copies.

The release will be accompanied by music videos to Earth by Jonathan Penca, and Observatorum by Gertje Graef.

This is a selection of previously unreleased tracks created at home by Enrico Serotti, without any purpose other than the fun of playing with new musical devices. The tracks date from 1983 to 1999. A pretty long time span, coinciding with the transition from analog to digital technology. Cover Art by Alessandro Pessoli.

Double LP: first one includes tracks remastered from "Kondens" original master tapes (originally released in 1982), second one includes unreleased tracks taken and remastered from 1983-1984 original master tapes (produced and composed for Scandinavian "theatre" performances)

First release from the Beat catalogue serie which is focused on new artists. All music produced and mastered by Kevin Skyler. Electronic delight ranging from dance to experimental style

Sonder: The realization that each random passerby is living a life as vivid and complex as your own. -- Introducing the new ambient tape series from Banoffee Pies Records You don't remember how you got home and now you're waking up again. The alarm won't stop ringing, and the person on the radio won't stop talking, you're opening your phone while your brain is busy, and it's burning right into you, stinging all over the parts of your mind that you cannot reach. So you arrive here, because your thoughts are piling up, and falling over, and crashing round your head and you want to take the swirling mess and hold it outside of you. Repeat Machine.

Seductive and cinematic soundscapes between ambient, drone and indie-neoclassical music: these are the best words to describe Hior Chronik's style. A style that captures ears and soul, bringing you into an imaginary world, arousing emotions, making the mind wander to distant places. This is the goal of the Greek musician, now living half of the year in Athens and the other half in Berlin. You can hear it in his new record "Out Of The Dust", produced by himself, mixed by John Vallasis and mastered by Francesco Donadello at Calyx Studio, Berlin. I tried to combine ambient and drone sounds with strings and piano following a harmonic direction", Chronik explains. I wanted to make a soundtrack for a movie that was never shot'. The mood is melancholic, but not only that: There's a dark side, but I made it run parallel with bright soft melodies', Chronik continues. And on the topic of his music influences: It's hard to specify what exactly they were, but I think I'm close to Max Richter and in some ways to Arvo Part. Besides that, true inspiration comes from my life experiences, even the small little things: books, films, people I meet, travels. And being close to nature: I would say that's the base of everything'. After three solo records and two in collaboration with Arovane, Chronik is now ready to launch his new work Out of The Dust'. The title is a political quote about how we can fight against the crisis, but also against the existential anguish of surviving. A movement of no fear and the beginning of a new life', he explains. On how he developed the songs, he says: I recorded piano, trumpet and strings in their analogic sound, then I used effects as I always do for the ambient and drone sounds'. Out Of The Dust' shows a personal and unique style that brings Hior Chronik's music to a wider audience. His sound is able to embrace at the same time the delicate piano themes and the dark ambient/drone tones, while at the same time searching for new territories to explore in the neo-classical scene.

On the surface, Giallo Oscuro is a pop-oriented project about 60's italian love songs. Giallo Oscuro is the missing link between romance, lightness, recklessness and fear, terror, murder and psychosexual dementia. It's an homage to the music of those "maestri" who forever changed the sound of pop music, as much as the movie soundtracks of the time: Bruno Nicolai, Egisto Macchi, Alessandro Alessandroni, Gruppo di improvvisazione Nuova Consonanza, Ennio Morricone...

More than a rereading of this beautiful music, Giallo Oscuro is about love, loss, distance, time, heartbreak, falling, "pop star's" fall and decadence. This project is about death, about the dead.

Silk-screen, hand printed cover.