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The visionary talents of multi-instrumentalist Zach Witness have sprouted full life in this world, lending his sonic touch to the bulk of Erykah Badu's latest album, But You Caint Use My Phone (Motown Records). This project was brought to life with Erykah Badu at the Badudio and World Witness Studios in Zach Witness' hometown, Dallas, Texas. This project put him on a unique trajectory, harnessing his intricately designed fusion
productions into the periphery of an entirely new audience around the world. His forthcoming debut EP, Electric Revival: Rise of an Outkast Nation, is the first project to find the light of day after this expansion phase, initially created as a birthday gift to Zach Witness' friend and collaborator, André 3000.
The catalyst behind the creation of Electric Revival has a very specific initiation point. During the recordings for But You Caint Use My Phone, Erykah Badu called on André 3000 for collaborative assistance. This would result in the album's last track, Hello,' created at the home studio Zach Witness has lived in his whole life. This moment in time compelled Zach Witness to create an offering for André 3000, and this was in the
form of an entire body of music.
Electric Revival takes on the stories of the lives entangled around
society's most crippling and hopeless of situations. The social and
political intentions of the EP paints a very defined purpose in this context.
Experience the transformative sounds of Zach Witness and his debut manifesto.

The third album by San francisco psychedelic synth wave trio BRONZE.

Bronze is Brian D. Hock, Rob Spector and Miles Friction. This trio coalesced in 2006 when Hock returned to San Francisco from Berlin after splitting with his former band The Vanishing and moved into a warehouse with Spector, who was a long time collaborator in the S.F. musik scene. Friction was enlisted shortly thereafter and the three began experimenting with synthesizers, samplers, vocals and heavy repetitive rhythm via live drums. After a european tour opening for Erase Errata and grip of singles they recorded their first album 'Copper' released on New York's 'RVNG Intl' in 2011. Numerous U.S. and European tours followed and in 2014 they released their 2nd full length 'World Arena' on Los Angeles label 'Not Not Fun' The sound of 'Bronze' is influenced by psychedelic synth musik, punk, wave, industrial and jazz, blended into a heavy cocktail of sonic witchery. 2015 will see also the release of a live album on John Dwyer's (Thee Oh Sees) Castleface Records.

Edition: Mastered by Rude 66 / Tape edition through Not Not Fun records

'Few bands perplex like San Fran riddler trio Bronze but ever fewer have managed to hatch and hone such an obliquely singular sound. The group's third long-player, In Stone, twists and burns through eight new iterations of their classic oscillator-fusion psychedelia, inflected with shades of post-punk raga, skronk lurch, modal incantantion, deep space narcosis, lizard kingmanship, and home-wired industrial dementia. As an album, these recordings skew tenser, twitchier, a touch paranoiac, bloodshot tweakers stalking steep foggy streets. The alchemy of drummer Brian Hock, vocalist Rob Spector, and electronicist Miles Friction is always riveting in the live sphere but In Stone feels like more of a studio document, exploratory and expressionistic, full of ideas and psychic interplay. Bay Area burnout rendered as psychotropic sculptural waveforms. Confusion isn't sex, it's something stranger. Black tapes mastered by Ruud 66 with J-cards designed by the band.'

Minimal Man was founded in 1979, in San Francisco by avant-garde painter and filmmaker Patrick Miller, and the band included a revolving cast of musicians from fellow SF art punks Tuxedomoon and future members of Factrix. Minimal Man have been historically marginalized in a fertile underground music scene that included many other influential artists (including Z'ev, Flipper and Nervous Gender), and they are no doubt unfavorably compared to stylistically similar artists such as Suicide, Chrome or even NON.
In truth, the Minimal Man sound was somewhat derivative, but Patrick Miller's intensity and willfully anti-musical aesthetic provide a fascinating footnote to the history of post-punk and industrial music.
The debut album, The Shroud Of was released on Subterranean
Records in 1981... The Minimal Man sound is relentlessly dark and
aggressive, with cheap synthesizers and drum machines, jagged guitar and occasional shrieks of saxophone all purposely pushed into the red, creating a dissonant blanket of treble-heavy distortion. Patrick Miller's vocals are unmodulated and flat, his lyrics nihilistic, each line echoplexed, doubled or otherwise mutated into a synthetic oblivion.
Chugging sequencers spit out fuzzy non-melodies as Miller cultivates his Kafkaesque persona, full of anxiety, angst and existential dread.
With lyrics that indicate an adolescent fascination with Philip K. Dick, William S. Burroughs and J.G. Ballard, Miller creates a cinematic ambience of high-contrast black and white, like a German expressionist filmmaker let loose in a recording studio. Just listen to the hypnotic, swirling maelstrom of noise and dark, grainy atmospherics on Blue Step.' Perhaps because of its relative obscurity, Minimal Man's debut album has weathered the sands of time gracefully, and with legendary acts Suicide and Tuxedomoon currently attempting to destroy their legacies with mediocre reunion albums, The Shroud Of sounds
positively refreshing in comparison...' Brainwashed
It includes a text from the drummer Lliam Hart telling memories from these years / Remastered

Neues Soloalbum des Animal Collective-Mitglieds! Avey Tare, bürgerlich David Portner, ist den meisten bekannt als Mitglied der amerikanischen Eletro- und Psychedelic-Experimentalisten Animal Collective. Seinem letzten Solo-Album "Enter The Slasher House" von 2014 folgte 2016 das Animal Collective Album "Painting With". Tares neues Solo-Album "Eucalyptus" wurde von seinem Animal Collective Bandkollegen Josh Dibb alias Deakin aufgenommen. Empfohlen wird an dieser Stelle sich das Album bei Sonnenauf- oder Sonnenuntergang anzuhören. "Eucalyptus" vollzieht in elektro-akustischer Weise eine Bewegung durch Blätter, Felsen und Staub. Erdacht wurde es während der hawaiianischen Morgenröte, geschrieben in einem sonnendurchfluteten Schlafzimmer in Los Angeles und geprobt in den dunklen Stunden der kalifornischen Dämmerung.

Ende der 70er Jahre waren Boffomundo Live Talk Shows in L.A. (produziert von Ron Curtiss und Aaron Weiner) eine wichtige Adresse für viele namhafte Progressive Rock Musiker. In dieser TV Show sind z.B. Robert Fripp von King Crimson, Bernardo Lanzetti von der legendären italinienischen Prog-Rockband PFM, sowie Brand X & Phil Collins (noch bevor er ein Weltstar wurde!) aufgetreten. Auch der legendäre Synthesizer Master und Gründer von The Far East Family Brand ("eine japanische Antwort auf Pink Floyd") Fumio Miyashita ist im Oktober 1979 und im März 1980 in dieser Show aufgetreten. Die Aufnahmen aus diesen Shows erscheinen nun als limitierte Vinyl Only Edition bei Drag City Records.

Ein Muß für alle Fans von The Far East Family, Pink Floyd, Tangerine Dream, Ash Ra Temple, Kraftwerk, Klaus Schulze.

With an iridescent shower of auto-tuned vocals and encrypted synthetic forms, Khalil presents a luminous route into a future of cadences pitched to a crushing intensit

Parallels is the fourth full album released under Jason Chung's distinctive moniker, Nosaj Thing. Masterfully dimensional, Parallels represents the acclaimed Los Angeles-based electronic producer/composer/performer's most diverse, vital work yet. As such, Chung sees Parallels represents a kind of redemptive rebirth. The album's compellingly elusive, uncategorizable sonics developed out of what he terms a personal & musical identity crisis.' According to Chung, working with a group of collaborators on Parallels that combined both longtime friends and new creative partners added new energy which pushed me not to limit
myself. Everything felt fresh and alive.'
Chung is known specifically for his innovative, unexpected musical pairings: Kid Cudi hit up on Nosaj Thing via his MySpace page in 2006, resulting in Chung producing Cudi's autobiographical classic The Man on the Moon.' Kendrick Lamar flowed over Nosaj's ethereal boom bap to create the YouTube gem Cloud 10', Chance the Rapper, meanwhile, freaked a Nosaj beat for his 2013 breakout masterpiece Paranoia' and appeared on Nosaj Thing's previous LP, 2015's Fated. Chung and Blonde Redhead vocalist Kazu Makino are also longtime creative partners on each other's work, her voice appears on Parallels as an otherworldly spirit animating the icily '80s-synthetic How We Do.'

Shit&ShineGODREC18Shit&ShineGODREC18Shit&Shine
is the polymorphous project lead by the Texan-born Craig Close.With more than a decade of activity between the USA and the UK, it has spawned one of the most fascinating and promiscuous saga of the latest years.Within its huge discography, definitely noteworthy is the 2014 "Powder Horn" released on Diagonal Records, which was considered by many to be one of the best electronic albums of that year.Lately Shit&Shine has released the great "Everybody's a Fucking Expert" LP on Editions Mego in 2015 and "Total Shit!", again on Powell's Diagonal on March 2017.
Shit&Shine and Gang of Ducks share an arguable good taste for naming and, most of all, a wide-range approach to the sonic palette, always exploring different sounds.Hamburger Ep brings the work Craig has developed so far to the next level, keeping his unique mix of sluggish EBM beat, drugged funk and futuristic proto-techno.RIYL G.O.D's previous releases like Traag, Sudden Infant, Datashock...
***300 copies, silk screen printed on special chrome bag***

Hyperdub + Warp Records artists Babyfather and GAIKA rework two 18+ tracks from their second album 'Collect'.

Hyperdub's Dean Blunt, a category-rejecting artist and an art-pop provocateur tackles 'Drama' under his Babyfather guise, looping a low slung swagger beat under the vocals of DJ Escrow and Samia Mirza.

Warp Records multi-disciplined South London artist GAIKA rips apart Glow into a discordant sub-low bassline drone, pitching Samia's vocal as slow as can go, harsh high pitch tones and field recordings.

One of the strongest things we've heard from the divisive producer.' - boomkat

Strictly limited to just 200 dinked white labels - One for the collectors.

Ladies and gentlemen, we are no longer floating in space.. we are lost in it. Pete Bain aka Pete Bassman, pioneer and the true bassist from Spacemen 3, The Darkside (Beggars Banquet) and Alpha Stone (BOMP!) revisits Hoga Nord. Last time we heard from the legendary Rugby resident he came with ten minutes of pure acid-folk straight outta Drugby. (On now sold out HNR005 7" Small Town Illusion/Poison Butterfly). Now he's back with hist first solo album, Lost in Space. Opening track Music For Modern Living sets the tone: psychedelic, electronic and atmospheric. Tracks Sweet and Echo Lane will make you braindance - off piste style! Haunting, dark and beautiful track Scars sounds like stalking aliens lurking from a distance. Searching for ideal human guinea pigs. Ambient music to get abducted and spaced out to!

BIG BEAT FROM POPOF !!! 2 superb tunes. Fat classics.

Khidja are back on Malka Tuti and this combo cannot and will not dissappoint. After their successful debut on John Talabot's Hivern-Discs, Khidja continue their current direction of leftfield-club music exploration, this time in the form of Microb, a track that is a wolrd of its own, fusioning heavy industrial vibes with their own take of "worldly music" to create this peak time dancefloor bonanza. On the flip side Salon Des Amateurs Tolouse Low Trax delievers two takes on the original track, stripped down and turned upside down, adding those Massive vocals. These takes are hypnotic as they are groovey and they complete a unique package for the modern dance floor explorers... Zuruck zu Sprecher eins

The last few years have been a rollercoaster ride for brothers Brooke Blair and Will Blair. In 2013 they scored Jeremy Saulnier's brutal revenge thriller Blue Ruin. Saulnier had been a longtime friend, and Blue Ruin also starred their brother Macon, as the slightly incompetent Dwight, looking to enact his revenge.
2015 saw the composers, actor and director reunited for the excellent and perhaps even more brutal Green Room.
This year, they've scored two new films for Netflix. Macon Blair's hilariously bloody I Don't Feel at Home In This World Anymore, and Small Crimes which has just premiered this past month.
Before these two latest projects, they worked on to score Logan Sandler's 2016 dramatic thriller Live Cargo. A dark monochrome thriller weaving together a plot of struggling relationships, child loss and the dark world of human trafficking. The Blairs worked closely with director Logan Sandler to capture the tone and texture of a particularly depraved way of life in the Bahamas. Violin bows were were used to resonate old piano strings, metal fans and acoustic guitars. Church organs and a small chamber choir provided a hymn-like chordal foundation. Distant lap steel guitars and accordions suggest somber melodies and slightly detuned vintage synths including an ARP 2500 and a mellotron create a sense of disorientation and uneasiness.
This vinyl edition is a co-release between Blackest Rainbow and Wayfind Records, the Blair's new label.
Pressed at 45 rpm on 180 gram seafoam coloured vinyl, packaged in UV gloss finished sleeves with black polylined inner sleeves.

Caddywhompus are lions of a noisy, emotive new school of math rock which has thrived in recent years, especially in the South. At this point, you're just as likely to nd their records in the racks of a DIY space as you are on the walls of record shops around the world. With close ties to Community Records, they are rightful bene ciaries of a nationwide grassroots underground support built on their consistently excellent output, tireless touring and necessary live show.
These 3 live tracks, being their rst ofcial live release, encapsulates what is so magnetic about the duo - nimble yet mushrooming euphoria in each composition. The A-side single, Decent, is a chugging, arpeggiated and absolutely contagious live sing-along that can also be heard on their 2017 LP Odd Hours on highly respected NYC indie In ated Records.

Portland's Golden Retriever expands its sonic palette with a full chamber ensemble on the meditative, lush, and emotionally arresting Rotations LP version pressed on virgin vinyl packaged with artworked inner sleeve and free download card in
LP jacket with spot metallic ink and spot high gloss varnish. CD version in 4 panel mini- LP style gatefold package.

Golden Retriever is recommended for fans of Jóhann
Jóhannsson, Mica Levi, Terry Riley, Nico Muhly, Oneohtrix Point Never, William Basinski, Pulse Emitter, and Tim Hecker Lead single Sunsight' already placed on multiple Spotify playlists (Fresh Finds w/509K Followers, Fresh Finds: Cyclone w/17K Followers)
Full in-house playlist pitching, marketing, and press
campaign to run until street date Golden Retriever will play select shows in support Tranquil, glistening, zen-like' - Tiny Mix Tapes

Terry Riley-inuenced long form synth and (clarinet)
studies shouldn't rightly sound this engulfng and gorgeous, but Golden Retriever have managed it without even a hint of the expected stuffness.' - FACT

A great synth record with the energy of experimental rock and the interplay of jazz, a mix of dissonance and resolution, the Earthly and the cosmic.' - Rolling Stone

Like a gradually dawning revelation that is too beautiful for words.' - The Stranger

Ovals Klassiker von 1998 wird erstmalig auf Vinyl zum 25-jährigen Bestehen des Thrill Jockey Labels wiederveröffentlicht.

In 2017, the musical term electronic' is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn't be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith's music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track An Intention,' which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith's watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith's ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of In The World But Not Of The World' which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one's own identity to begin giving back to the formative forces of one's upbringing, which is arguably the duty that all great artists
aim to fulfill. This side ends with the exploratory album cut Who I Am & Why I Am Where I Am' recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble
piece of sound design serves as a contrast to side four's verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a
return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best' this concept is voiced in the bittersweet refrain one day I'll wake up
and you won't be there' which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the
listener, and both interpretations are equally moving.
Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners,
and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar
gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.

Alan Watts, another logical inspiration of Smith's, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. You're not there unless you're recorded,' Watts muses, if you shout, and it doesn't come back and echo, it didn't happen.' The Kid speaks to this idea directly. As Kaitlyn Aurelia
Smith explores her existence through music, she guides us in gleefully contemplating our own.

Kutmah (pronounced koot/mah) releases his long overdue debut album 'The Revenge Of Black Belly Button!' (or TROBBB!) via Big Dada. The record features an incredible cast of guests - Gonjasufi, Jonwayne, Natureboy Flako, Ta'Raach, Jeremiah Jae,
Zeroh, Zackey Force Funk, N8NOFACE, Sach, Akello G Light and DJ Chris P Cuts - spanning experimental meditative, Zennist loops, crackly oddball beats and abstract raps, as far as outright punk / noise and even folk / blues.

For fans of Flying Lotus, Knxwledge, Dabrye, Jonwayne.

I'm so glad the world finally gets to hear the debut album of one of the most influential DJs of the beat movement.' - Flying Lotus

2LP pressed on heavyweight 180g black vinyl in artworked innersleeves housed in a 5mm spined outer sleeve. Includes five vinyl-only bonus tracks and digital download code.

Photography by Kutmah. Artwork by Brandy Flower.

As a DJ / curator, Kutmah has tirelessly searched for and championed new underground talent from across the globe. His passion, hunger and most importantly, his incredible ear for new music have made him Flying Lotus' go-to warm-up DJ.

He founded his own IZWID label in 2013. In 2004 he co-founded the now legendary Sketchbook Sessions at Little Temple alongside Take, Eric Coleman (Mochilla) and DJ Nobody (Low End Theory). It was LA's first instrumental beats and art night and it paved the way for the city's inimitable musical renaissance.

POLIÇA & s t a r g a z e veröffentlichen "Bruise Blood: Reimagining Steve Reich's Music for Pieces of Wood" als limitierte Vinyl-12" & Download. Indem POLIÇA & s t a r g a z e gemeinsam Steve Reichs "Music For Pieces of Wood" aus dem Jahr 1973 als Ausgangspunkt wählen und im Verlauf ihrer gut 20-minütigen Version immer neue, polyrhythmische Wege einschlagen, betreten sowohl die US-Band als auch das Berliner Kollektiv Neuland. Auf diese erste gemeinsame Veröffentlichung wird ein weiteres Gemeinschaftsprojekt folgen: Für September haben POLIÇA & s t a r g a z e ein komplettes Album bei Transgressive Records angekündigt, das mehr auf das klassische Song-Format setzt, wenn die beiden Acts sowohl brandneues Material als auch überraschende Neuinterpretationen von bekannten Pop-Songs präsentieren - und sie dabei auch diese Stücke umkrempeln, um zu ihrem jeweiligen Kern vorzudringen. Diese 12" erscheint als 33rpm einseitiges Heavyweight Vinyl mit Etching auf der B-Seite.

Rashad Becker's new full length album, 'Traditional Music of Notional Species Vol. II', due for release next month on PAN is a newly developed continuation and exploration of work since his highly-acclaimed first volume.

Incorporating more instrumental-sounding components, the record moves through both fluid and dissonant sounds which take on different structural and sculptural challenges through carefully-layered compositions. Following 'Traditional Music of Notional Species Vol. I', the new album expands in various elements, distorted and warped, focusing in on the tension and energy synthesised sounds that appear to exist hauntingly physical.

Known for his unrivalled attention to sonic detail across his work, Becker's unique techniques and expressive manipulations of sound are laid bare in an exhilarating new form, stylistically distinctive and uncompromising.

The album is mastered and cut by Rashad Becker at D&M, featuring artwork by Bill Kouligas.

Der Titel deutet es schon an - es ist das neunte Solo-Album von Martin Rev. Martin Reverby ist neben dem im letzten Jahr verstorbenen Alan Vega ein Gründungsmitglied der New Yorker Band Suicide. Deren bahnbrechenden musikalischen Verdienste aufzuzählen, würde Seiten füllen. Daher sagen wir einfach: die Klangwelten von New Wave bis Techno wären ohne sie eine andere. "Demolition 9" stellt das erste neue Material seit 2009 dar, und auf Altersmilde von Martin Rev sollte der Hörer nicht hoffen. Mit über 30 Soundskizzen (die längste währt gerade 3 Minuten), bietet Martin Rev eine Überfülle an Ideen und Stimmungen an. Percussion-Experimente, Ambient-Sounds, Synthie-Lärm und Noir-Soundscapes im ständigen Wechsel, fordern den Hörer. Das Album erscheint auf Atlas Realisations, dem neuen Label von Craig Leon, seines Zeichens Produzent von den Ramones, Blondie und den Bangles.

Originally released only on cassette in 1986, "Embrace" is mixture of experimental tracks of the duo Martin Kornberger & Volker Kuhn. 600 copies LTD. Recommended!

The independent, South African record label Mushroom Hour Half Hour presents "Open Letter To Adoniah" and "Unlearning", two moving albums by talented guitarist and songwriter Sibusile Xaba, who improvises the musical legacy of KwaZulu-Natal into an exciting, genreless future!

The independent, South African record label Mushroom Hour Half Hour presents "Open Letter To Adoniah" and "Unlearning", two moving albums by talented guitarist and songwriter Sibusile Xaba, who improvises the musical legacy of KwaZulu-Natal into an exciting, genreless future!

This will mark the first time all of these tracks will be available on vinyl - previously they could only be found on cassette or download. Further, the album will feature unreleased tracks from Cringe Machine as well as a TWINS remix of Love Letters' contribution Nag. An interview of Harsh Riddims' Ryan Parks by 2MR's Mike Simonetti (and vice versa) make up the liner notes and the labels will be throwing parties in NYC and Atlanta to celebrate the release. Harsh Riddims started a few years back. Our first release was a compilation tape featuring some of my best friends. Stefan Ringer (REKchampa), Drew Briggs (Divine Interface), and Matt Weiner (TWINS) live here in Atlanta. They are among the most talented and encouraging individuals I know. B L A C K I E is good friends with Negashi Armada (Bluntfang). Negashi suggested asking him for a track, and he turned in "It's hot livin n' tha south". That's one of my favourite tracks off of the first compilation. About a year ago, we released the second comp. This record is a mix of the two, featuring a few unreleased tracks. I met RAMZI while on tour in Montreal. Love Letters is my friend Maxime Robillard, who lives in New York City. ThinkThrice is a kid in Atlanta that ordered one of Stefan's tapes. We later met at a house party: I'm pretty psyched he's got a track on here! WGM is Gavin Mays out of Memphis. He also produces as Cities Aviv. Cringe Machine is my good friend Justin Bauman. He passed away not too long ago, so I feel really fortunate to be able to share one of his songs. He was a big influence on me, and was overall a really sweet and giving person. Much love towards his family! Lastly, Co/Coaches is one half of Coco and Clair, Taylor Nave. She's such a talented song writer, buck performer; she's one my favorites. Hope you dig!

First single Eastern System made BBC Radio 6Music "Recommends" playlists of Lauren Laverne and Tom Ravenscroft, with extensive play across the station. - Album of the month from Gilles Peterson. - Spotify playlist support from FourTet and Fresh Selects, Top 50 Viral tracks in America. - Hector Plimmer won the PRS Steve Reid InNOVAtion Award, with mentorship from Floating Points, Four Tet & Gilles Peterson. - First release appeared on Gilles Peterson's Brownswood Bubblers 11. - Monthly radio show on NTS Radio.

'It's the soundtrack to joining a really great cult, that's somewhere warm and pretty." Tom Ravenscroft Recommends, BBC Radio 6Music
Albert's Favourites are extremely proud to present 'Sunshine', a new album from Hector Plimmer.

We first approached Hector after watching a live performance of his at the legendary 'Sounds of the Universe' Record store in Soho. He stunned us with his attention to detail in his productions, and we were keen to talk further.

What we weren't expecting was the full body of work that Hector sent over.

Previously released work was mixed in with new unfinished ideas, and as we progressed we realized that there was already a good albums worth of material
to work with.

It represents (in no particular order) my musical journey over the past 4 or so years, some of which may never have seen the light of day.

All of the music in this album has come about as organically as possible, from tapping a light bulb I was changing to finding a sweet sounding Kalimba at Raw Material in Brixton and recording it on my phone (shout out to Miles laughing in the background of 'Kalimba 2').

We whittled down the original folder to what we present to you today. 'Sunshine' is a well-rounded body of work that truly represents Hector's influences and passions.

From the frantic drum work of 'Eastern System' that we released back in December on 7" vinyl, to the ambient beauty of 'Sunshine', this album unfolds and morphs beautifully to capture the feeling of inner city dwelling. "The process also included finding out my next door neighbours Rob & Lu (Drahla) made amazing music & meeting Andrea (And Is Phi) at the Brainchild Festival Warm Up party in London last year.

In the same way groups like Portishead and Leftfield captured a moment in time, Hector's work, although influenced by them, is also drenched in tribal rhythms and beautifully crafted bass. Melodies weave and shift to make way for glorious synths or vocal lines. Clearly influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era Drum and Bass, this album will definitely leave you wanting more.

* Cosmopolis is an electronic music release from artist Fonemi. This work is inspired by the novel Cosmopolis by Don DeLillo, a book that tells of a modern odyssey along the streets of a great metropolis. The four pieces here, composition of Cosmopolis, sounds as the soundtrack of an introspective journey rich in ancestral suggestions and forgotten rituals recalls over time. The undervalued atmospheres that characterise the whole work seem to be held in suspension by a percussive magma that marks the passage of the past that becomes present. Cosmopolis is a fluid that carries our lost memories.

* Cosmopolis: a tribal and primitive dance, a propitiatory rite that has been handed down unchanged over the centuries.

* Fiori carnivori: what you do not expect, the flower, a symbol of delicacy and sensitivity that turns into an inexorable predator.

* Verso Casa: the return from a long journey, the lights that illuminate the asphalt and the distant flashes of unidentified cities.

* Tra Le Rovine: an ancient song, a prayer that exorcises a universal omen.

3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band's non-musicality.

Their debut 7-song mini-album No Motive' was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we've added 3 previously unreleased bonus tracks. Doug says, These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.'

All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We've also printed a special 12'x24' fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to.

We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka's diner. Drugs and no-drugs. Gay and not-gay. New York.' - Jesse Hultberg

Hard experimental techno, electro and distroted... Total weird stuff !!

Repress - Originally released in August 2011.

Parts 2 & 3 merge loping HipHop into quickstepping Juke momentum with swirling atmospheres, kinda like Blue Daisy jacked up on meth. 'Turiya' is sweeter cool-out 2-step joint with textured Burial-esque finish applied to crisp, classic-referencing 2-step Rave.'

Gorgeous and essential archive material from this master of mood. The latest unearthing on Chee Shimizu's 17853 - previously only available on a very limited Japanese cassette back early 80s. BIG TIP!
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The late Hiroshi Yoshimura, a pioneer of Japanese ambient music. Yoshimura was involved in a wide range of fields, such as sound design for public installations, graphic design, visual poetry, free improvised performance (using his own body) and inventing his own instruments, right up until he passed away in 2003.

The seven songson this album were created for a fashion exibition held at a warehouse in the Tokyo bay area. He released it on cassete tape on Japanese label 'Fukusei Gijutsu Kohboh' ran by Yoshio Ojima who produced the album.

Referring to the Loft: "As the time goes by, the Loft that was swept away ( forgotten) from the City but it somewhat has a look of a " City of Ruins" that reminds you of something you have forgotten. Something nostalgic. Sounds from the City and the vast landscape gave me a great opportunity to take a fresh look at Tokyo." says Yoshimura.

Referring To the Pier: His look towards Tokyo bay takes on the shape of sonic particles....tickling down gently while tinged with change. A landscape of Seven Sounds.

This is the first-ever vinyl release, 34 years after it's recording. The sleeve image is the same as on the original cassette release.

A totally unexpected and absorbing side of electro-acoustic-jazz and dark electronics from this new 8 piece ensemble; reaching into bass depths and pop dimensions via microscopic miniature sounds and widescreen vistas. A huge recommendation if you're into Supersilent, Arve Henriksen, Deathprod, Gruppo Di Improvvisazione Nuova Consonanza, Luigi Nono, Rashad Becker!

Basic calculations tell us that eight players are more than Supersilent's three, but like the Norwegian trio, this ensemble's music sounds much greater than the sum of its parts. This becomes especially evident once we factor in their 9th player - Matthias Erb manning the Klanggestalter; a semi-organic array of amps, filters and live algorithms used for 'neutralising the difference of acoustic and electric instruments' in a manner comparable with the 'Audiovirus' deployed by Supersilent's Helge Sten (Deathprod).

The nine players here each bring a fluency in pop, jazz, or contemporary musics to the table, as well as a couple of technical and post-production roles, in effect dealing with a democracy of pluralities and diversity. The way they consolidate them within morphing psychoacoustic parameters is nothing short of compelling.

The unfathomable dimensions of their sound are gradually revealed in the unfurling sound field of Erster Teil (First Part), morphing the sound stage from the hushed glow of electric guitar and Richard Koch's Henriksen-esque trumpet to the spatter of extended techniques against shifting backdrops which become the foreground, only to recede and leave the listener suspended in a sublime state, unsure of where they are or what to expect next. In this sense, Martyn Heyne of Efterklang's 'mix fuzz and fairy dust' comes into play in a way comparable to the lighting guy's role in film or opera dramaturgy.

The 2nd movement, Zweiter Teil finds those experimental urges in dizzier flight, veering with almost schizoid form between the animalistic tussle of skillful abstraction and more urgent, controlled swells of percussion and vibes with an effect recalling Gruppo Di Improvvisazione Nuova Consonanza at full, psychoactive flex, whilst a 3rd movement Dritter Teil affords the widest angled perspective, zooming out to a melancholic plateau rendered in sliding, oily streaks of pitching trumpet strewn with windswept percussion which coalesces into a febrile scuffle sounding something like one of Rashad Becker's noumenal Dances turned tempestuous, with drinks thrown, tables overturned and tents burned in the cranky finale.

Repress - Originally released in August 2011.
Strong and diverse single from DjRum, following a killer remix of LV and Message To Bears with a mixture of hi-Tech Rollers, Juke and emo Garage with detailed compositional flourishes. 'Undercoat' sets the tone with low-lit pads and vocals giving way to sleek stepping rhythms, finely balanced for club or home play. The centrepiece 'Mountains' shows a keener Technoid vocabulary, with Part 1 exhibiting flash, fluid Techno steppers programming with warm, jazz touches hitting the mark between Scuba and Shifted

Mannequin Records is proud to present a LP compilation of Michael Antener (Swamp Terrorist) early 80's minimal synth/industrial projects Nacht'raum (with Michael Stämpfli) and, as solo, Bande Berne Crematoire.
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Heavily influenced by the works of SPK and Nocturnal Emissions, Michael Antener made his first recordings in the basement of his parents house in a small village nearby Bern, Utzensdorf. He started BBC in 1980, a hybrid of Neue Deutsch Welle and noise/experimental, making a household name in the international home recording scene of the time and participating to many tape compilations.

Teaming up with Michael Stämpfli as Nacht'raum, he self-released the untitled mini-lp in 1983. Coming out from the same town of Grauzone, the duo moved into the darkest minimal electronic sounds, choosing German as main language for the lyrics and a Roland Tr-808 as main drum machine, bringing the sound to a proto-electro dimension. Nacth'raum will be historically a real gem in the 80's Swiss underground electronic music, together with Mittageisen, Grauzone, Liliput, The Vyllies.

Michael, by the way, later teamed up with Ane Hebeisen and they went by the name of Swamp Terrorists, releasing seven albums and touring throughout the world until the end of the nineties. At the end of the nineties he sold all his instruments and became independent as a graphic artist.

Saint Abdullah is a project by two Iranian brothers based in Brooklyn and Tehran, who create sounds largely inspired by the religious, political, and cultural history of Iran.

With The Sounds of Evil, Saint Abdullah passionately and unapologetically revisit the roots of their childhood in war-torn post-Islamic revolution Iran. These are family stories—of martyrdom, of loss, and of the tragedies of war, pieced together through aggressive sound collage, cultural sample archeology, and rhythmic structure.

Driven by spliced samples of the thundering sound of see-ne za-ni (ritualistic self flagellation or chest beating), the cry of Shia orators, distorted howls, vintage news clips, and a molten and pummeling pulse, Saint Abdullah twist and renew a sense of time and space. At once channeling and challenging these times that we live in.

This is political music, this is sacred music, and for most of us in the west, this is new music.

Raised in a conservative Shia Muslim family between Iran, Canada, and the UK, Saint Abdullah's most prominent exposure to music came from family visits to the mosque. Particularly during the holy month of Muharram, where Shia orators would lead mass ceremonies commemorating the martyrdom of Husayn, the grandson of the prophet Muhammad, in the Battle of Karbala in 680 CE.

For the two Iranian brothers, there's no question that Saint Abdullah formed out of a deep frustration with the way the West perceives—and treats Muslims and the Islamic faith. Their hope is that through music, they can help inform a larger inter-cultural dialogue—to build compassion in the way humans deal with issues surrounding race, religion, culture.

Limited edition 7" single housed in a full color high quality matte printed jacket, with artwork by Moshen Zare.

One foot on the dance floor & one foot in a garbage can.

Founded in 2016 in Paris by Stéphane Bodin and François Marché, DELODIO cultivate his eclectism.

Issuing vintage tracks recorded on cassettes and modern productions with the same passion. One way of doing things, differently and sincerely.

Berlin's Andromeda Mega Express Orchestra returns with its fourth album Vula'. Having celebrated their 10-year anniversary with a stunning series of concerts last year, the 18-piece's new full-length showcases a stronger focus on harmony and melody - and yet AMEO sound no less explosive or unpredictable than before.

It arrives gently, with shimmering lights, soft winds, sashaying melodies, and of course, the isotherms and isotheres function just as they should: All of a sudden, lighting strikes amid the concord of instruments, unforeseen energies erupt and upset the rhythmic scenery with elemental force. Making a combined effort to create sheltering patches of harmony within the unfolding drama, leader Daniel Glatzel and his 18-piece working band' set out to harness album #4: Vula' is out 09/07/ 2017 via Alien Transistor/Morr Music.

Another musical tour de force that connects too many dots, decades, traditions and genres to mention, Vula' is quite a different beast compared to its live predecessor or the orchestra's last studio effort Bum Bum' (2012): There's bigger, bolder strokes, and the compositions are linked by recurring motifs and harmonies, which is why the new LP sounds like one entity: It is ONE hour-long adventure that needs to be listened to in full. Listeners who just dip in and out won't be able to grasp it, I'm afraid,' says Glatzel. It takes concentrated listening from beginning to end with good sound to feel it out. It might sound somewhat anachronistic, but it actually reflects the working process, because there were so many hindrances and obstacles we had to overcome during the five years in which we worked on 'Vula'. And yet, despite all the hullaballoo I felt inspired to see it through: the music seems to tell us 'if you can't devote yourself to this, you're lost, but if you can, you're bound to experience this ride fully.'

A musical deluge of incredible breadth and depth, the title Vula,' taken from the Tumbuka language (spoken in the northern region of Malawi), indeed translates to tempest or thunderstorm: Compared to what we get in Germany, rainstorms in Malawi are actually a lot heavier - they really shake your senses,' says Glatzel, a frequent visitor of the area. The storms in Malawi are announced by playful winds that arrive in the sweltering heat, and the giant clouds soon erupt into downpours that can last hours. The sky is utterly black, as the loud rain keeps hitting the earth incessantly. Plus, there's the loud cracks of thunder, of course...'

Ranging from softly trickling melodies ( Lakta Makta Ha') and hazy interludes, the mood, vibe, and pace change faster than cloud formations come flying across the screens nowadays (e.g. qwetoipntv vjadfklvjieop' with its arrangement à la Helmut Lachenmann). In fact, even the flight of swallows is often misleading: head-nod bliss, motion picture soundtrack vibes, and even J.B. licks aren't mutually exclusive in these compositions, as AMEO showcase with J Schleia,' a track that nods both to Dilla/Grandmaster Flash and to Bach-era counterpoint techniques. Elsewhere, a pounding surf-rock beat metamorphoses over the course of 14 minutes ( In Light Of Turmoil'), only to see them return to patches that are surprisingly catchy and calm. The final applause turns out just as thunderous though, after the album ends with the vibrant and colorfully orchestrated Papaya Flyers IX Epsylon,' a live recording that already foreshadows the group's later collaboration with Hermeto Pascoal.

A work that's born out of turbulent times - both internally and externally,' Glatzel says that AMEO's fourth album is generally driven by an urgent search for some kind of truth, a feeling that pushes its way through countless layers.' In fact, one can actually hear that the entire process, from writing to intricate post-production, took almost five years: The album's somewhat vintage, almost dreamlike and unrealistic sound is due to the fact that a full year lies between recording and mixing', Glatzel explains. It resembles the feeling of looking back and experiencing the past all over again. There was an element of detachment, but at the same time I was able to see things in a clearer light.' And it's true: These puddles, rippled and ripped open by an onslaught of raindrops, do look even more magical in that sepia-hued light.

About Andromeda Mega Express Orchestra:

A self-organized, independent group of likeminded individuals, AMEO is unlike any other orchestra: It's a steadily working ensemble with a steady focus on experimentation. Comprised of 18 young, in-demand musicians hailing from various countries and musical backgrounds, its members have previously worked in constellations that couldn't be more diverse - including Ensemble Intercontemporain, Tony Allen's Afrobeat, Jazz-Legend Kenny Wheeler, Camerata Bern, The Notwist and post-conceptual artist Cory Arcangel. Daniel Glatzel, the orchestra's leader and saxophonist, has been the main composer over the last decade since it's inception in 2006, overseeing the groups three previous releases Live on Planet Earth' (2014), Bum Bum' (2012) and Take Off' (2009).
Besides playing concerts in internationally renown venues around the world, AMEO also hosts and curates its own genre-defying events such as their music festival Kosmostage', concert series and special projects with artists like Hermeto Pascoal from Brazil, tribal musicians from Malawi or the Latvian chamber orchestra Sinfonietta Riga'.