Nouveautés et Sorties Vinyles Beats - News

Whilst on a Balinese surf safari searching for a secret spot where pink dolphins populate the line-up, The Hands would be my guide. I'd been warned he had recently been busted trying to purchase human flesh on the black market. Bombing through the jungle, The Hands hit play and the truck was bathed in Gothic Berlin toilet techno. "Holy shit," said I,'what is this' The Hands said, 'The Hands.' But what else was I to expect from an Austrian/Balinese techno cannibal —DJ Harvey

Seekersinternational sends dub into another dimension, a place where the laws of physics appear irrelevant. Formerly solid structures are made improbable and surreal, songs become dizzying, recursive mazes. But for all this weirdness, the Canadian producer has generally hung onto dub's loved-up feel. This cassette is different.

Appearing on Japan's Diskotopia, the RaggaPreservationSociety EP traces dub's sonics as they developed into ragga jungle. The manic style is sunk deep in the dance music consciousness. Hearing it get a cubist makeover is a bit like having familiar memories smashed up and reassembled as crazy paving: in other words, disorientating. Crowds of sampled ragga chatter vie for attention, repitched chords and cartoonish basslines hint at two (or more) different keys, and breakbeats and delay trails meet in gruesome pileups. Structures are fragmented and, thanks to the release's mixtape sequencing, it can be hard to tell what is "track" and what is "transition." Most are probably a bit of both.

The chaos is glorious, but the EP is made extra special by the moments when unexpected order emerges. Somehow, several of these tracks are, well, catchy. The best come in a run on the A-side: "SoundDedication"'s sliced piano chords and delirious chipmunk coos, into "DanceGwaan(EazeUp!)," whose skittish breakbeat is cut with tender synth chords, and then "NoCompetition"'s quiet storm sweetness, aided by twinkling Rhodes and a female vocal. On the flipside, "ChannelTwo(MurderousDub)" is just as good. A sliced vocal and bassline form an improbably singable hook, before tumbling into a big old sentimental piano breakdown. Or perhaps the word "breakdown" is redundant on this marvellously broken release.

Early Halcyon staple, and recent LA transplant, Ezekiel Honig's new limited-edition LP is a breathtaking collection of ambient and downtempo electronic pieces. Melancholic yet warm, Honig layers field recordings from around NYC that are bolstered by softly nuanced instrumentation and woozy beats.

Lvis Mejía's third release is a self curated selection' of his renewed old recordings.
Lostoys is the result of a well-polished archive looking through the glass of composed atemporality.
Perceiving it as a full circled voyage wandering through jazzy hues, adventurous electronica, analog warmth and edgy digital synthesis, Lostoys represents his most ludic material released, so far.

1st solo album in 5 years, recorded, produced and written by Richard H. Kirk, founding member of Cabaret Voltaire, the album was constructed at Western Works, Sheffield, over a three-year period. Work began with recording on midi and analogue synthesisers before guitar and vocals (Kirk's first use of vocals in 10 years) were added. Kirk explains, A lot of time was spent on post-production, editing and then living with the material and I think it benefited from stepping back and then revisiting after doing other things.'
Although not an overtly political album, it's hard not to hear a reaction to recent years' world events in the overwhelming urgency of 'Nuclear Cloud' or '20 Block Lockdown' or in 'New Lucifer / The Truth Is Bad'. When questioned Kirk admits, It's not really a political album, but over recent years - during the recording - all manner of horrorshow events have cropped up and now we seem to be in a rerun of the Cold War with Russia back as the Bogeyman.' The album's title, Dasein (a German word meaning being there' or presence', often translated into English as existence'), is a fundamental concept in existentialism. Kirk explains culture succumbs to nostalgia in much the same way that an individual looks back wistfully to adolescence or childhood - the nostalgia is partly for a time when he or she wasn't nostalgic, just lived purely IN THE NOW.' In 2014, during the recording period, Kirk began work on Cabaret Voltaire live and so the two projects coexisted in tandem. Although Kirk's varied projects have always existed separate to one another, says Kirk, in the past some solo works served as a blueprint for what I did later with Cabaret Voltaire'. Billed as a performance consisting solely of machines, multi-screen projections and Richard H. Kirk, Cabaret Voltaire recently announced the first UK performance in over 20 years at the Devil's Arse Cave (aka Peak Cavern) in Castleton, Derbyshire on Saturday 29 April. Kirk will perform entirely new material for a performance relevant to the 21st Century with no nostalgia. RECENT PRAISE FOR RICHARD H. KIRK One of the UK's pioneering electronic agitators' - Electronic Sound In five decades of key-bashing and knob-twisting, Richard H. Kirk has remained at the vanguard of electronic music' - FACT ...decades of electronic innovation, forged in Sheffield' - Uncut
Kirk was toying with distorted realities from 1970s onwards' - Record Collector

DDD Records is a label and a store based in Paris.
Un Drame Musical Instantané is a collective of French composers led by Jean-Jacques Birgé. In 1984, they composed their own score to Dziga Vertov's groundbreaking 1929 film The Man With A Movie Camera.

This release features original 1984 copies of L'Homme A La Camera, as well as more recent material. In 2017, several producers were approached by DDD records to create new tracks or remixes using this rich and unusual recording as source material.

A1. Jorge Velez - Coquillage
The EP opens with Coquillage by US producer Jorge Velez. The word means sea shell in French, and this track is like putting one to your ear. Definitely on the more ambient side of things, Coquillage is full of eerie sounds, from the sea to marine wildlife and other unidentified sources which all create an unsettling atmosphere. Ever shifting and phasing, differently textured pads create a sense of wide open space and spiralling free fall through it.

A2. Un Drame Musical Instantané - L'Homme À La Caméra (Tuff Sherm remix)
Australian producer Tuff Sherm aka Dro Carey delivers a remix which plods along at 112 BPM with an infectious rhythm section thanks to terrific drum programming. Add a bunch of short samples, from metallic sounds to flute licks and many other instruments used in the original UDMI recording and the result is a stripped down remix that nonetheless remains full of surprises.

B1. Un Drame Musical Instantané - L'Homme À La Caméra (Eltron John remix)
Polish producer Eltron John's remix increases the BPM slightly. With the combination of flawless drum machine sequencing and a mellow bassline with a variety of UDMI samples, this is a tune where brass instruments, tubular instruments, lush pads, and other incidental sounds are used to great effect. There's an undoubtedly positive, uplifting vibe in this track which successfully uses UDMI's sounds in a house music context.

B2. Thurston Moore - 7-11
Closing the EP is this distinctive remix by Thurston Moore of Sonic Youth fame. You think you're in a for a purely musique concrète trip as the song begins with prepared piano, beeps and heavily treated noise. That's until an infectious drum loop evocative of music played in warehouses rather than concert halls appears. Said loop is cleverly treated and gets noisier and noisier as the track progresses. The contrast between the track's more experimental approach and the immediate pleasure procured by the drums makes it quite unforgettable.

REPRESSED !!
Air Cushion Finish's distinctive sound palette reconciles pop music with experimental electronics, think Alan Bishop meets White Noise (with a touch of Super Collider) ...
Air Cushion Finish formed in Berlin in 2007 and comprises of composer jayrope and natural vocal synthesizer Lippstueck, who have graced Berlin's underground scene together since the 1990's. Lippstueck sings, wordless and backwards in time while his partner jayrope tends DIY, electronic, string or percussion instruments small enough to fit into a small suitcase. Changing setup and subsequently music is programmatic to the band, resulting into an unforeseeable slow motion cacophony of whispers, bleeps, rhythms and harmonies. There's a notion of Dada, but you never know.The 8th studio album of ACF marks their current state of poetical accident, swaying, swinging and bouncing, boldly careful, like a transparent tattoo on your forehead.

Andrew Hargreaves (The Boats, Tape Loop Orchestra) presents his striking first works for dance with Pose Plastique; the unrequited, roiling musique concrète score to choreography by Belgian dancer Anaïs Ureel.
Pose Plastique marks bends and loops in time as the first release under Andrew's government name since 2010's Avant Garde for ONO, following a period of belligerent industrial rhythms and abstracted electronics with a much more refined sense of biokinetic movement captured within stark, echoic space.
Pushing himself beyond usual comfort zones, and using a kinetograph score of movements which was effectively illegible to Andrew, the results of Pose Plastique reveal a keen sensitivity towards supple and super spacious sound design, eschewing any sort of 'incessant pounding', as he initially feared he was supposed to, in favour of a series of diffused rhythmic triggers and physical gestures that mirror elements of Ostgut Ton's Masse works for dance as much as Jeff Mills' most abstract techno navigations and the plonging, weightless meters of Bernard Parmegiani's seminal GRM works.
As these things go, the commission never fully manifested. Anaïs ended up disenchanted by dance (not due to Andrew's music, we might add!) and eventually moved to New Zealand. Fast forward a few years and Andrew made the decision to edit the recordings for this 31 minute release, simultaneously offering encrypted instructions for movement to any willing bodies, while its free-floating sequence of rhythmic and tonal structures act as a hugely absorbing listen in their own right.
It's perhaps testament to Andrew's gifted, mutable compositional skills and musical vision that Pose Plastique works in its own right. By his own admission, Andrew's not really a dancer, but but he's clearly attuned to what makes abstract dance music tick, and to the integral connection between living bodies and machines,
and the way they've become conditioned by electronics ever since the explosion of avant-garde electronic music in the '60s, to the impulses of disco and new wave, and its contemporary application.

All source material recorded in Gran Paradiso, July 2015 Engineered at Odd Phasing and Echoes, Amsterdam NL Photography BJNilsen BJNilsen is a composer and sound artist based in Amsterdam. His work primarily focuses on the sounds of nature and how they affect humans. Recent work has explored the urban acoustic realm and industrial geography in the Arctic region of Norway and Russia. His original scores and soundtracks have featured in theatre, dance performances and film. Celebrating 27 years as a recording artist Massif Trophies is the first solo release for Editions Mego. In 2015 he set off on a month long hiking trip in Gran Paradiso to explore the acoustic environments in the alpine landscape. Drawn to the monotonous and physical effort that mountains and high altitudes contributes, this became one of the main inspirations for the album, reflecting upon the perception of the landscape during several hours of physical difficulty, let alone rapid weather changes, horizontal thunderstorms and rock avalanches. It is also about the scope of details and perception of the path and the myth of the mountain as the accursed or sacred place. The five pieces contains narratives based on experiences and recordings from the trip.

The Ngashi tune is a long electro nagging to the big nothing,... Psychedelic acid Glassworks coming around supported by a 70's synth and glichy electro high frewqs breaks. Perfect wirling tune... A Hundred Thousant bringhs a crazy hundred frogs songs in the nite sensation... Electronic fucked up music ! LOVE !

The synthetic lustre of Memories Live Longer Than Dreams already appeared cracked and damaged the first time around, and in 2017 its phosphorescent glow remains a beacon of
shelter for contemplation and secluded mind-drift, offering a surreal, nostalgic night-light to the gloomy and confused world it diagnosed and predicted nearly ten years ago.
Written during James Leyland Kirby's forlorn purgatorial years spent in Berlin during the period which shaped the modern world as we know it - a time when global financial institutions collapsed, YouTube's all-encompassing archive was beginning to spill
over, and Facebook and Twitter were starting to enmesh the entire planet - this final instalment finds Kirby channelling osmotically absorbed visions of the future, as spelt out by Vangelis, Lynch & Badalamenti, Eno and Kirby's own The Caretekar alter ego, into a waking dream sequence of quietly anguished sound poems for the contemporary echo chamber, relinquishing a traversal of the hive mind's private fears and shared nightmares rendered in ghostly scrolls of synth noise and sweepingly emotive cinematic gestures.
It effectively diagnoses a sort of cultural malaise that was perhas embryonic in 2009, as the golden age of dance/pop form and optimism which resulted in radical acts such as V/Vm and the Ccru was now left shimmering in the rearview, with the momentous energy of its accumulated, independent scenes being diffused into institutions or calcifying into hyper commercialism;- leaving little or no room for ambiguity, irony or subversively
socialist thought within its increasingly binary wake; a wake which has now bifurcated into extreme left and right-leaning politics with a gulf of misunderstanding in between.
Keening and reeling away his own thoughts on the matter in that interzone of negative space, Kirby draws on ever tightening coils of cultural feedback loops and the infidelity of memory to parse, process and secrete a slow, plasmic ooze of melancholic musical form that perhaps best represents the feelings of our age; of our shared future occluded by an inglorious or illusive past that promised much, yet never paid up.

Lightning In A Twilight Hour is the new project from Bobby Wratten (The Field Mice, Northern Picture Library, Trembling Blue Stars) with Beth Arzy (The Luxembourg Signal, Trembling Blue Stars) and Michael Hiscock (The Field Mice).

For their fourth release, Bobby is joined by Anne Mari Barker-Davies (The Field Mice, Northern Picture Library) on vocals, and regular producer Ian Catt. "Quiet Actions" is a cassette only edition of 100 copies.

It features two brand new long-form compositions - "Abandoned Islands", whereby a repeating series of simple phrases relies on increased effects to achieve the movement within the piece, and "Suspended Animation" featuring the afore-mentioned Barker-Davies and a close mic-ed portable cassette player providing a subtle rhythm, a nod to the intended format. Both recordings were made in late February 2017 and both feature field recordings made in Liverpool in April 2016.

* Ziúr is a female Berlin-based producer and she's bringing some future club industrial vibes to Objects with her Deeform EP. In 2015 she started 'BOO HOO', a night dedicated to the queer community, along side Joey Hansom. Bookings are inclusive, having female identifying and people of colour on the bill with a core friendly and accepting space for people to party.

* Ziúr first made stirs when she remixed Peaches 'How You Like My Cut" from the totally NSFW but incredibly fun 'Rub' LP. She then Exploded on to the scene with her debut club vibe Taiga EP on Infinite Machine earlier this year. Ziúr has come a long way from her experimental noisy punk band 'Sissters'. Punk vibes still run through the dark and bass-heavy sound of Deeform EP though. Her use of environmental noises, dogs barking and the like, are evocative of cityscapes and dimming lighting when the streets meet dusk. 'My testing ground (for my own music) is when I work at a venue and I do a sound check,' she explains. "If people freak out, then I know that it's a good track."

Micromanic is a colossal slab of percussive energy composed and performed by Berlin based Matti Gajek. Micromanic begins with tentative steps, which soon morph into a chattering electronic birdsong before giving way to an assertive, hammering bassline. The structure eventually crumbles into discordant noise and echoes, eventually giving way to something gentler and almost bucolic. Gajek weaves a complex and varied narrative with absolute technical aplomb, resulting in an experimental and hypnotic recast of Krautrock. Gajek is signed to Monkeytown Records and recently toured with Chris Clark. He is also a member of the freshly formed New Composers Collective (NCC) together with Andi Toma, Jan St. Werner and Michael Rauter.

Following 2015's remarkable Yellow Bell, Jasmine Guffond finally unveils her sophomore album
for Sonic Pieces: Traced develops a broad sound spectrum that goes far beyond her previous
efforts.

Influenced by digital surveillance technologies, Guffond examines data generated from facial
recognition systems and global monitoring networks and translates their algorithms into auditory shapes. She draws sonic portraits that manage to capture what normally eludes human
perception turning peripheral data into deeply engaging compositions. These pieces unfold through shifting drone patterns interspersed with refined cut-up vocal snippets. Commanding
bass pulses are counterposed against assemblies of beats and subtly measured guitar. Emotionally suspenseful, the album alternately rises to intense highs that descend into soundscapes almost trancelike in affect. Collectively, the tracks on Traced attest to Guffond's profoundly sensitive approach to communicating contemporary ideas re-imagined as intricately inventive tonal
possibilities.

Traced is a living recording that sounds like something we are yet to encounter. It suggests humanity at the spot it has aneuevered itself into: surrounded by machines, humans have simultaneously become the traceable components of a much wider network. The album's success lies in its ability to transform socio-technological observations into driving and compellingly expansive sonic structures.

Light the Currents is the third release by Glasgow's Sound of Yell, following their 2014 LP Brocken Spectre and 2015 single Fortunate Fume on Chemikal Underground. Composed by Stevie Jones, and performed together with Georgie McGeown, visual artist Vikki Morton (Muscles of Joy, Suckle) and Trembling Bell's Alex Neilson, Light the Currents is a bright and buoyant acoustic arrangement in two parts, the first written for a special performance at an exhibition of artwork by Katy Dove at Dundee Contemporary Arts in October 2016, the second written afterwards as a response to the exhibition and the experience of playing there.

Stevie Jones is one of the great music collaborators of Scotland, involved with a variety of projects incorporating theatre & film, playing as a member of Alasdair Roberts Trio and Arab Strap as well as a wealth of ensembles from Glasgow's genre bending fringes, all to the benefit of his own project. Sound of Yell possess a musical dexterity and lightness of touch that seem distinctly of their home town. These two gorgeous compositions are the perfect summer soundtrack.

Contradictions embraced: Although SQÜRL's music is anti-mathematic, SQÜRL loves mathematics. We love the Fibonacci numbers. And magic numbers. Perfect numbers. Bell numbers. Catalan numbers. 260 is none of these. It isn't a perfect number, and not factional of any number. It's not even a regular number. 260, though, is the number of days in all Mesoamerican calendars. The Mayan calendar. The Tolkien calendar. 260 is also the number of days of human gestation. (Orangutans also). 260 also has an elliptical connection to the dark rift, a series of molecular dust clouds located between our solar system and the Sagittarius Arm of the Milky Way. And although not a magic number, 260 is the magic constant of the magic square investigated by Benjamin Franklin, and part of the solution to a famous chess problem, the n-queens problem for n=8. 260 is also the country code for Zambia. And the US area code for Fort Wayne, Indiana. Therefore, SQÜRL has labeled this recording EP #260.' -Jim Jarmusch, March 1, 2017

SQÜRL is: Jim Jarmusch, Carter Logan and Shane Stoneback.

An enthusiastically marginal rock band from New York City who like big drums & distorted guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped & screwed hip-hop, and imaginary movie scores.

SQÜRL began in 2009 when Jim Jarmusch and Carter Logan teamed with producer Shane Stoneback to record some original music for the film The Limits of Control. Echoing the varied Spanish landscapes captured in the film, the three emerged with a set of slow-motion psychedelic rock instrumentals (releasing them as Bad Rabbit). Following these scoring sessions Jim, Shane, and Carter continued to record new originals while also exploring the back-alleys of American country, noise, and psychedelia. SQÜRL released a series of 3 EPs, recorded over a 3 year period by Shane at Treefort Recording in Brooklyn, NY. Jarmusch and Logan's collaboration continued as a duo with SQÜRL's acclaimed score for Paterson, and a trio with Stoneback for EP #260

Tools of My Purpose goes hard. The new 12' by E-Saggila - solo project of Rita Mikhael who co-runs Summer Isle Records - is beautiful, raucous and engaging. Prior to exploring techno, Mikhael has been rooted in the Toronto Noise scene. She implements the hostile themes of power electronics into bass heavy ear-splitting techno. Across four discordant yet melodic tracks, we catch a glimpse of E-Saggila's potential as a future artist to be reckoned with.

After a successful first collaboration for a 12" in 2016, Zimbabwean mbira maestro Jacob Mafuleni and his wife percussionist / singer Martha THom have teamed up once again with French electro-funk producer Gary Gritness, this time for an album recorded in Paris during the last RED BULL MUSIC ACADEMY festival.

The 16th vinyl release on Pinecone Moonshine presents four Drum and Bass tracks with elements of jazz, dub, and ambient. Drums range from live percussion to sampled break beats.

Martsman returns to Pinecone Moonshine bringing his signature basslines and hinting at jazz and dub influences for two Drum and Bass tracks. Starting with pleasant jazz chords, a few guitar strums, and rolling percussion from sticks and light hi-hats, Capital-K switches to a stuttering, pulsating bassline. Several layers of percussion create a live feeling over the highly syncopated drum loop. Zeezer's squelching bassline and high pitch sound effects are offset by warm, echoing dub stabs. The drums mostly focus on a dominant kick drum and 4/4 hi-hats in a dub-techno style. The progression is guided by excerpts of break beats including the Amen break in the second half.

Dissident's Stuck in Texture combines one break beat and sparse percussion to carefully control transitions in this ambient roller. The optimistic tone builds through the intro and focuses on repetition to create a calm, atmospheric vibe.

Bjork. Babyfather. Internet. Comes In A Hand-Stitched Fishnet Sleeve. 100 copies...

Limited edition 180g vinyl reissue 2LP's on Virgin EMI. Download cards included.

The grandaddy of ambient and electronic chill out

Limited edition 180g vinyl reissue 2LP's on Virgin EMI. Download cards included.

Limited edition 180g vinyl reissue 2LP's on Virgin EMI. Download cards included.

Transparent vinyl LP, download card included. Whether their muse lies in 60s sci-fi soundtracks, The Radiophonic Workshop, the prototype electronic sounds of The United States Of America, the retro-futuristic edge of Broadcast, the dream pop ambience of Angelo Badalamenti/Julie Cruise, or the shimmering shroud of Mazzy Star, will doubtless be raised in countless interviews. But what matters more is that Death And Vanilla have woven a stunning tapestry that envelops all that preceded them, into a literally head-turning album, of kaleidoscopic proportions... Formed in Malmö, Sweden by Marleen Nilsson and Anders Hansson, Death and Vanilla utilise vintage musical equipment such as vibraphone, organ, mellotron, tremolo guitar and moog, to emulate the sounds of 60s/70s soundtracks, library music, German Krautrock, French Ye-ye pop and 60s psych. They revel in the warmth of older analogue instruments to create a more organic sound, each loose wire and off-kilter noise adding to the rich atmosphere. After a handful of successful releases including a debut EP in 2010, their self-titled LP in 2012 - which sold out on pre-order - and a beautifully designed 7' single, the experimental pop duo were invited to compose a live soundtrack for the classic horror film, Vampyr (1932), for the Lund Fantastisk Film festival in Lund. Now, newly signed to Fire, the band return with 'To Where The Wild Things Are.' Named after the Maurice Sendak children's book, the album is comprised of pop music with a wild, dreamy and experimental edge, celebrating imagination and the ability to travel to stranger recesses of the mind. 'Where the Wild Things Are' starts off with some of the most pop' songs they've ever recorded, typified in the sweet and melodramatic Arcana', and the classic pop inspired Time Travel'. Like Sendak's book of the same name, the album then proceeds into stranger and stranger territory, resulting in some of the most experimental material Death and Vanilla have produced, such as the six minute Something Unknown You Need to Know' and the machine-like, surf-guitar track The Hidden Reverse'. The band recorded the new album themselves in their rehearsal space, using just one microphone - a 70's Sennheiser - which they bought at a flea market for a tenner. It is this unconventional recording process that gives Death and Vanilla their unique personality, using a trial and error approach to recording has rewarded the album with a strangeness that would not have otherwise been achievable. Creating deliciously enticing soundscapes, full of moody moogs, swirling melodies and breathless vocals, their influences on 'To Where the Wild Things Are' are apparent and diverse, ranging from Ennio Morricone to Scott Walker, Tom Dissevelt to Norman Whitfield, The Zombies to Sun Ra, and Bo Hansson to The BBC Radiophonic workshop. Death and Vanilla's sound is like an elaborate dreamscape composed of foggy visions and mind-altering notions.' Redefine Magazine // Death And Vanilla are a Swedish haunted-pop duo who have found themselves caught in the vortex of retro-futurism circa 1969... they've got a good grip on the baroque psychedelia of the United States Of America and Free Design,' Aquarius Records

Roots In Heaven is a Berlin-based act that could very easily capitalize on his past accomplishments within the world of intrepid electronic music. As a label owner, resident DJ at cutting-edge clubs, and accomplished solo artist behind a number of conceptually unique full-length albums, the conceiver of this project won't likely need any introduction to the intrepid fans of electronic music. As an extension of this artist's already solid commitment to deep sound, Roots in Heaven represents a new voyage without the help of biographical cues to his listeners: hidden behind an evocative mesh mask lined with obsidian feathers, Roots in Heaven ignores the need to provide 'social proof' or self-justification. He communicates purely through the language of concentrated sensory impression, for which reason he has titled his debut, 'Petites Madeleines,' after one of the most memorable descriptive sequences in literary history (the famous meditation on the madeleine from Proust's À la recherche du temps perdu). Built on a chassis of pure analog electronics, unaided by computers, 'Petites Madeleines' presents a single sprawling track whose immersive, meditative quality initiates participants into a realm of reversed energy currents. Using a sonic technique which, for example, drapes the listener in darkness until it becomes light (and vice versa), this piece provides a pervasive feeling of other realities opening up that complement the already familiar. The looped pulses and frequency sweeps hover and expand with all the assuredness of, say, early-'70s Cluster, but without anything consciously 'retro' or overtly referential in their presentation.

Pioneering music producer SI BEGG is set to release his sixth studio album, BLUEPRINTS, on Berlin's legendary label SHITKATAPULT. His first LP in four years, BLUEPRINTS is a celebration of raw electronics welded to the 'romance of engineering'. The project was inspired by the discovery of an old diagrammatic notebook that belonged to Begg's grandfather, George, in his lifetime a cutting-edge engineer.

Dubbed 'visionary' by The Who's Pete Townsend and widely considered a producer's producer, BEGG has been making genre-defying electronic music for more than two decades. Backed over the course of his career by the likes of John Peel, Thom Yorke, Leftfield, The Glitch Mob, Bassnectar and Mouse On Mars, he has carved a reputation as a recording artist, DJ and sound designer, and in more recent years as an award-winning composer for television and film.

BLUEPRINTS sees BEGG's passion for contemporary score collide with his love of electronic music. Since the release of his last LP, 2013's Permission To Explode, BEGG has written scores for four feature films as well as for Netflix Original series, Lovesick, and Battle Rap documentary, War of Words.

The concept for the album sprang fully formed when BEGG came across the notebook, a beautifully preserved leather-bound volume, annotated in his grandfather's precise hand. The book was filled with meticulous diagrams of compressors and parallel air ducts, graphs recording comparative noise levels at different factories, statistical information detailing the thermal efficiency of power stations, alongside blueprints for futuristic machines yet to be built.

At the same time, BEGG was reconnecting with his own back-to-basics studio machinery, the voltage-powered hardware instead of the slick high-end software used to create most electronic music today. The parallel discoveries felt like synchronicity and BEGG began producing tracks using analogue synthesizers recorded live in one take, augmented by circuit bend effects units and the electro magnetic field noise created by mobile phones and hard drives. In his characteristically uncompromising way, rather than try to hide the cogs and gears and remove the excess distortion, BEGG decided to champion these idiosyncratic machines. In putting them centre stage, he aimed to demonstrate that not only were these unique tools to create art, they were simultaneously works of art in their own right. Like his grandfather's designs, they had an aesthetic beauty all of their own, form following function.

The pieces on the album evoke the beauty and romance of great engineering, often overlooked in a landscape of post-industrial gloom - the breathtaking geometry of vast gasometers, the sweeping grandeur of a suspension bridge, the finesse of circuit diagrams, a precisely laid-out city viewed from the air at night. From the hums and sparking pops of Heat Resistant Alloys to the relentless subsonic sine waves underpinning Resistance Is Expensive, raw electrical signals pulse through the heart of the music.

This is a work of complex, evolving mathematical patterns, circuitry bent out of shape. It is a hymn to the voltage-controlled oscillator.

This collaborative project between Mats Erlandsson and Yair Elazar Glotman draws on their respective musical backgrounds to create an imaginary, dislocated "folk" music for the current dark ages. The project brings together instruments out of their historical or national contexts and focuses on local sounds that have lost any connection to locality or folk and transforming them through current production techniques.

Negative Chambers feels completely timeless in its quiet minimalism and is made up of an array of instrumentation such as gimbri, violin, karkaba, miniature cymbals, cello, harmonium, steel string acoustic guitar, zithers, transistor radio, tibetan singing bowl, amplified plate & piano frame, partly led by a slow, almost spiritual contrabass. There is some incredibly detailed and wide sound design encompassing the pieces, from the pictural stillness of Orchid Sedation to the unnerving mass of dissonant strings on Ceramic Relic. Glotman & Erlandsson are masters in creating a sound filled with solitude, anxiety and intrigue.

Recorded both independently and in very close correspondence between Stockholm and Berlin, Negative Chambers is a dialog between the two composers and manages to be both a meditative reflection on the past while also presenting a surreal and detailed piece of contemporary music.

All limited, numbered copies come with a download code and will be shipping for release on the 9th June 2017.

'Autres Directions' is his third album for Clay Pipe Music and took inspiration from experiences, feelings and emotions garnered from time spent in Brittany and Normandy. Brooks transforms synths, programmed percussion, drones and various field recordings of wildlife, people, ferries, trains and unconventional environmental spaces into a flowing sustainable piece.

A new piece by Australian artist Tarquin Manek, devised in collaboration with poet Martina Quake of Canvey Island, UK and recorded at M.E.S.S. (Melbourne Electronic Sound Studio), utilising EMS VCS3, Oberheim OB-Xa and ARP 2600 in combination with cheap, contemporary consumer electronics. It is, to all intents and purposes, a short, cautionary story about love. It is also a folk-tale, a science fiction, a suicide note. Unusually for a long-form spoken word piece, it is immediate in its impact, and lasting in its effect. Our narrator is damaged and unreliable: Quake's voice, digitally processed into a flat, AI affectlessness, conveys this all too well. Is this the vernacular poetry of the Uncanny Valley, or is it just that loss makes robots - numb and listless not-quite-humans - of us all Locks revels in the space between the spontaneous and the programmed (what is a poem if not a programme). It's part Tales Of The Unexpected, part Susan Howe, part Ruth Rendell, part HAL (or Holly). Manek's music is widescreen but understated...a becalmed landscape populated by distant drones, just-out-of-focus field recordings, and phased, minimalistic, Rhodes-style keys. A sort of sombre, lunar jazz. Space-age bachelor pad music, maybe, for a bachelor at the edge of space and the end of his tether. Just as Quake's words are cumulative in their tragedy, so the music grows more agitated and turbulent, at certain points harking back to the smoked-out psycho-acoustics of Manek's 2015 Blackest Ever Black LP, Tarquin Magnet, and his work in F ingers with Samuel Karmel and Carla dal Forno.

Second in the Diving Bird series, a dubwise informed trip into the mind of Cornish producer Andy Mac. Picking up where the first well recieved 12" left off.

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


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

2017 Reissue of "Succubus" - the second work of The Mount Fuji Doomjazz Corporation (the improvisation alter ego of The Kilimanjaro Darkjazz Ensemble) from 2009. Not existing anymore since 2012 The Mount Fuji Doomjazz Corporation now finally makes all long-time sold out releases available again on all formats (cd vinyl digital).

Seductive but perilous, The Kilimanjaro Darkjazz Ensemble's session under the Mount Fuji Doomjazz Corporation name is a new combination of drones and jazz. Creating sensual, murky and dark atmospheres, Succubus' the evolution of this band, with stronger horns and a focus on hypnotic, soundtrack-like material. A deep, dark and yet seductive trip again for the corporation. After the corpses, the succubus. Faithful to the original The Kilimanjaro Darkjazz Ensemble concept of drawing inspiration from movies, they recording what later became Succubus' while watching Jess Franco's film of the same name. This iconic 1969 movie, with its strong erotic mood, fragmented story line and oneiric photography encompasses perfectly the goal and means of TKDE / TMFJDC, in the way the band builds mesmerizing, deep and otherworldly atmospheres. More jazz-oriented than their heavier first album "Doomjazz Future Corpses", Succubus' leaves more room to Charlotte Cegarra's vocals and Hilary Jeffery's trombone, while the narrative is still led by Gideon Kiers's drums and Jason Kohnen's bass. Additional improvised charm by Eelco Bosman on guitar and Sarah Anderson on violin. Succubus' displays the corporation' in its most macabre yet entrancing side. Audio cinema has seldom sounded so lustful like on this album.

Currently founding member Jason Kohnen is paving the way with his new dark jazz project "The Thing With Five Eyes", continuing the mystical and occult universes people got to love from the "Here Be Dragons" period. In a parallel corner - founding member Gideon Kiers and trombonist Hilary Jeffery are conjuring up a twenty first vision of spiritism with Inconsolable Ghost, working together with artists such as the cellist Anthea Caddy, the viola player Zsolt Sorés Ahad and the filmmaker Makino Takashi. Vocalist Charlotte Cegarra went on to explore her ambient and lyrical vocals as part of Psychedelic-Pop duo Charlotte&Magon.

Together with "Bohren und der Club of Gore" and "The Dale Cooper Quartet", The Kilimanjaro Darkjazz Ensemble and The Mount Fuji Doomjazz Corporation through the years have succeeded in creating a brand new genre of music. Time to get absorbed again by this unique and fresh sound.

During Kris Baha's migration north, an introduction with Berlin cult figure Dane//Close has led to Power Station's latest offering and debut mini LP 'The Miniature Industrial Complex'. Originally released on limited cassette via Noisekolln tapes, the LP brilliantly displays the Sameheads resident's appetite for all things wave, industrial and weird, with an eye firmly to the floor. Opener 'Rockbox' plays like a forgotten B-side dub, 80s drums chug as brazen noises bounce off a delicately nostalgic lead. 'Fourth Voice' slings low, incessant bass drones as sci-fi vox and metallic hits to the Rhein. 'Mercy Mercy' increases the tempo, an arpeggio leads the way as intensity rises, unnerving samples introduce a flurry of gunshot snares. Flip over to 'Ancient Rome', a dancefloor musica lirica complete with a forward baseline, air raid sirens and raw drum workouts, the fall of the roman empire! Not part of the original cassette release, 'Beard' maintains the energy, wild guitar shreds in a neurotic ritmo frenzy - Alan Vega crossing into 2016 dance floors faintly comes to mind. And lastly rounding out with fine experimental ender 'Thunder' ...Mayday

Bill Laswell is one of the most prolifc, infuential and innovative musicians of the end of the last century: bass player, record producer, label owner, his carrier escapes every classifcation.
Starting from the enormous hit Rockit' by Herbie Hancock, Laswell boasts an outstanding artistic portfolio which includes, among the others, collaborations with Johnny Rotten, William Burroughs, Pharoah Sanders, Julian Schnabel, Sly Dunbar, Ryuichi Sakamoto, and Yoko Ono.
Baselines' is the artist's debut solo album, a jazz-funk experimental release that came out in 1983 via Celluloid Records, the legendary label that Bill Laswell contributed to making glorious. Audiophile edition 45rpm pressed on virgin vinyl 180gr.

New wave mezcalero, Thomas Bullock, has linked London based new artist Dave.I.D. to his STD label while Thomas himself is reaching for the outer spheres on his quest to release his new book steeped in authentic mezcal culture in Mexico and its production.

Dave.I.D's Gore LP is a haunting combination of industrial and soul stylings.
Let that take you where it must, there's no other way to put it.

If you know Thomas from the Rub-n-Tug days of yore, and the subsequent vibes from Whatever We Want and STD, then you know the compass goes in all directions way beyond North, South, East, West.

* Back with the heat, Chicago native DJ Jana Rush kicks off Objects Limited's 2017 with her debut album 'Pariah'. Jana Rush received attention for her mind-bending drum acrobatics on last year's 'MPC 7635' EP also released by Objects Ltd. Jana started djing aged just 13, releasing her first record on Dance Mania back in 1996 but having a hiatus from music between 2000 to 2013. With 'Pariah' she has created an album rooted in Chicago's footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz and house, developing her sound on from 'MPC 7635'.

* We kick off with 'Midline Shift' whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims creating a shimmering robotic effect. Moving on, the frantic 'Beat Maze' confuses the mind with white noise rushes and interlocking snares. Changing the scene, 'Divine' is sweetly soporific and charming, a beautiful, almost eerie track. The pace picks right back up with ' ', whose warbling jazz clarinets cut into a juke bounce. The stripped back beats of 'Break It' give one room to breathe before the croaking bass and distorted acid of 'No Fuks Given'. 'Old Skool' is exactly what you'd expect, its sample syncopated around a feverish rhythm throughout. Both 'Rapid Fire' and 'Acid Tech 2' are bangers, hitting you deep in that sweet spot. Jana brings it back down with 'CPU''s computer noises and sub bass hits. 'Chill Mode' gives time for reflection after all that fire, but its no ambient track, theres still that Chi-Town vibe. We finish with 'Frenetic Snare' whose Amen breaks will have Brits thinking of jungle, but it's a different beast altogether.