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Recorded live from the cloisters at Evreux Cathedral, Normandy, France by Franck Dubois, 14th June 2014, as part of L'Ateliers. With thanks to Denis Boyer.

Remastered by Thomas Köner
Photography by Jon Wozencroft

Formed from plastics and particulars by Richard Chartier, 2015 - "I am lonely, yet I feel wonderful..."
Pinkcourtesyphone is a continuing project by Los Angeles-based sound artist Richard Chartier. He is considered one of the key figures in the current of reductionist sound art which has been termed both microsound and Neo-Modernist. Chartier's minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself.
Pinkcourtesyphone is a more emotional, dare one say musical side of his work. Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Pinkcourtesyphone is amorphous, changing, and slipping in and out of consciousness. Pinkcourtesyphone operates like a syrup-y dream and strives to be both elegant and detached.

Pinkcourtesyphone has collaborated with the likes of Cosey Fanni Tutti, Kid Congo Powers, harpist Gwyneth Wentink, AGF, William Basinski, and Evelina Domnitch. Pinkcourtesyphone's work has been released internationally on labels including: Editions MEGO (Austria), Room40 (Australia), LINE (US), Important Records (US), Dragon's Eye Recordings (US), Farmacia901 (IT), Champion Version (UK), Boomkat (UK), and IO Sound (Canada).
Chartier's sound works/installations have been presented in galleries and museums internationally and he has performed his work live across Europe, Japan, Australia, and North America at digital art/electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism.

Norwegian sound artists Alexander Rishaug and Lasse Marhaug have worked together as a duo for almost 20 years. In this time they have produced one album, 2004's "Feel Free At Home".
Now, the pair are ready with their follow-up: "Corneal Clouds". The music was recorded in 2012, then put through an extensive and meticulous fermentation process of five years until now - at last - it is ready for the public. Rishaug Marhaug promotes positive thinking through their unique brand of electronic music.

Shorter than many of Muslimgauze's 1990s albums -- 13 untitled songs over 45 minutes -- Azzazzin, originally released as part of the limited-edition subscription series, feels more like a collection of random experiments than a cohesive piece of work per se. If not something that would intrigue the casual listener, the hardcore fan will likely find something of interest on the various tracks here. Starting with an extremely minimal opening number -- it's no surprise Finnish experimental duo Pan Sonic are Muslimgauze fans, based on this track -- Azzazzin has a much more electronic feeling than most of Bryn Jones' other albums, eschewing the traditional elements used elsewhere for a rough, quietly aggressive and disturbing feel. Comparisons with Aphex Twin aren't too far off the mark here, but this is still clearly a Muslimgauze release than any sort of ripoff. The fourth track, with its unpredictable keyboard snarls over a low, quiet pulse, and the sixth and seventh songs, with distorted, high-pitched noise tones mixed with a soft series of bass notes and a slight spoken-word interjection from time to time, are some of the strong points from this intriguing release. Beats are used in an extremely limited way throughout Azzazzin, with rhythm, always a key component of Jones' work, more suggested at points by the nature of the keyboard lines than anything else. Closing with an equally minimal track, Azzazzin won't be everyone's cup of tea, but adventuresome listeners will find themselves rewarded.

At the beginning of the 1930s, the press magnate Dominique Willem Berretty still held power over the Dutch East Indies. From the very lowest rung, this teacher's son, born 1890, raised a media empire upon a single principle, 'Activity, Activity, Speed'. As a clarion call from the future, it heralded the construction of a new world, one where information was faster than light, where modernity would be celebrated by an ever firmer grip upon the accelerator pedal. But control of his press agency (baptised Aneta, for always number one in spite of everything), driven at full bore, would begin to slip away: politicians no less than his competitors, began to tire of his monopoly. In October 1932, as his empire was fading, he commissioned architect Wolff Schoenmaker to construct the palace of his dreams: the Villa Isola, north of Bandung. D.W. Berretty would have but several months to enjoy his art-deco pearl. On December 20 1934, bankrupt, he would fly to Europe aboard a DC-2 Uiver in order to sell Aneta to the highest bidder. But he was never to complete the voyage: the first flying machine equipped with automatic piloting would crash down upon the town of Ar Rutba in Iraq.

By tracing back through time and his memories (particularly those of a trip to Vietnam), Pilooski - who we've seen in duo as Discodeine and solo, in the Dirty Edits series - would end up pushing open he door to the Villa Isola: a vestibule leading to a double spiral staircase framing a marble pediment engraved with the words M'ISOLO E VIVO (I isolate myself, and live). On the first floor lay a grand semi-circular reception room opening onto French gardens. Before the windows, leather easy chairs arranged with maniac regularity about a round table. On the lid of a grand piano, a virgin in polished glass, and on the walls, oil renditions of Dutch canals jostled with jungle watercolours. One floor up in the constructivist bar, Berretty had installed a film projector. What would he have watched, cocktail in hand, alongside his guests Herbier's The Inhuman Woman, Murnau's Tabu, or Chaplin's City Lights. Who could tell

As a tribute to this projection room, Pilooski has imagined four original soundtracks owing as much to radio broadcasts for insomniacs as they do to recorded recitals for children. With Eden Ahbez's Eden's Island album in mind, he has called upon the following contributors:

Jarvis Cocker (Pulp) has chosen an extract from Carl Gustav Jung's The Red Book; Judah Warsky has written an homage to the sun and the moon ; Narumi Hérisson (Tristesse Contemporaine) reads a passage from Ango Sakaguchi's Sakura No Mori No Makaï No Shita; and writer Simon Liberati (Anthology of Apparitions, Jayne Mansfield 1967, Eva) a fragment from one his 113 Studies of Romantic Literature.

For four exotic and minimalist pieces of spoken word, over which Clément Froissart plays flute, Axel Lecourt, percussion and Julien Vichnievsky the guitar. Together, the pieces make up Isola, the new Pilooski EP.

Artwork : Laurent Fétis & Sarah Martinon

Album of all new material from this maverick Spanish producer.

Many influential characters graced the stage of Max's Kansas City within the creative zeitgeist of New York City during the late 1970's, but one local native named Annie Bandez thrust herself into the downtown scene with her punk ensemble Annie and the Asexuals, establishing her nom de plume Annie Anxiety (later known as Little Annie') and colliding head-on with the social norms of contemporary punk culture entangling the city at that time.

After a couple years of disintegrated pursuits in New York, Annie relocated to England, finding herself at the doorstep of the famed anarchro-commune Dial House headed by activist Penny Rimbaud. It was here that Annie Anxiety established herself as a singular artist and voice with her debut 1981 single Barbed Wire Halo' on seminal Crass Records and forging a creative alliance with Crass members Penny Rimbaud and Eve Libertine. As the landscape of punk in the United Kingdom was shifting towards a more diverse, multicultural focal point, artists such as Annie Anxiety found themselves exploring musical signatures in styles such as dub reggae and rocksteady.

In the summer of 1983, Annie began work at Southern Studios on what would be her first full length endeavor which encompassed all of her creative assets at that time. Employing the expertise of legendary dub producer Adrian Sherwood to realize this vision, Annie pulled together members of Crass, Flux of Pink Indians, Family Fodder, African Head Charge, London Underground and Art Interface to record her groundbreaking dub industrial masterpiece. Upon its initial release by the unofficial Crass off-shoot label Corpus Christi in 1984, Soul Possession started the avalanche of activity that would include dozens of releases and collaborations with Nurse With Wound, Coil, Current 93, Swans and Marc Almond.

Relay For Death are the twin sisters Rachal and Roxann Spikula, whose noise mantras transcribe the harsh realities of urban blight that complicate and threaten their own survival. It was in the context of two month medical study that the Spikulas composed their debut album in 2009, grotesquely amplifying the emptiness of hospital rooms into a ghastly pall worthy of the classic works by Maurizio Bianchi. Natural Incapacity sprouts from a similar research and development, manifesting from the sonic pollution that proliferates in their current residence of Richmond, California. Clocking in at well over two hours, Natural Incapacity was composed as a seamless, glacial accretion of locomotive grind, subharmonic environmental rumble, nocturnal street sweeping, and the quavering hum of toxic chemicals perpetually leached into the water table. By design, Natural Incapacity's oil-stained drone is completely relentless, implying neither beginning nor end to this cycle of contamination. Relay For Death's industrial meditation recognizes abjection, horror, and defeat as the prevalent conditions to existence. Even as a declared rejection to those conditions, Natural Incapacity is engulfed in a bleak nihilism constantly churning back upon itself. Grizzled antecedents can be found in the apocalyptic works of Maurizio Bianchi, Kevin Drumm's Imperial Distortion, and Organum's Vacant Lights.

While intended to be a seamless document, Natural Incapacity is split over two CDs and does feature a download of the composition in unedited form. The physical edition features hand-rusted metal covers by the noted corrosion artist Jim Haynes and is strictly limited to 150 copies.

REPRESSED !
Ultra bleak, minimal, ritual electronics. Debut releases from this new duo.

From the fertile fauna of the Swedish scene comes Vargdöd, the official pairing of Jonas Rönnberg and Anders Karlsson, better known´as Varg and Celldöd. Across six long form tracks the duo exercise their keen instinct for expansive, gloomy atmospherics and techno subtleties with a spirit that naturally aligns with the overcast outlook of Opal Tapes.

This outing is not the first time the two have been seen together. The ever-prolific Rönnberg adopted his Black Leather Harness alias to appear alongside Celldöd on Krig, the first cassette release on Karlsson's own Brutal Disciplin label. From those early manoeuvres in 2014 Karlsson has quickly established himself as a proponent of uncompromising, unconventional techno on labels such as Suction
Records and Kess Kill. Rönnberg meanwhile has continued to be a potent force both with his solo and collaborative work and at the helm of Northern Electronics, most recently releasing the third installment in his Nordic Flora series. On Brutal Discipline, the tones and textures shift but the mood remains consistently foreboding. The mechanical rhythms strain through distortion and the clouds of noise billow across vast space on opening track Kennel Murder Case', while the lingering minor pad on Starved To Death' spells out a more melodious foreboding behind the gently bludgeoning drum cycle. Bitten' takes a more tentative approach, letting its fuzzy backdrop slowly purr around the delicate, snaking patter of the percussion. Sharp, rasping beats take the lead in the barren landscape of Elite Dogs Of War', and yet still the opening scuff of K9 Warrior' will jerk your head around in a most uncomfortable of fashions. Here the noise is cloying, attaching itself to any sonic matter trying to peak through the muck, yet there's time and space for a militaristic narrative to unfold towards the climax of the track. That leaves it to No Dogs Go To Heaven' to round the release off in a suitably bleak fashion, placing the emphasis on low-end industrial pulse and swirling static firing out into an uncertain stereo field.

This is a collection of works from British musician GP Hall, recorded between 1994 and 1999.
For over four decades, guitar in hand Hall encountered many styles; jazz, blues, flamenco, rock, folk, and classical improvisation. All contributed to the creation of his unique style. Emerging from the British blues boom of the 1960's, he then followed a long and winding path through various scenes and cultures. In Spain, he was Influenced by flamenco master Manitas Del Plata before touring Europe with Liverpool band Casey Jones & the Governors. He was commissioned three times (twice by The Arts Council of Great Britain) for original music and was immersed in the avant-garde scene of the 1970's as an improviser, a pioneer of electric flamenco and a composer of large-scale ensemble pieces. During the 1980's Hall turned his focus to soundtrack music before reinventing himself as the solo performer he is today. With this strong foundation he branched into a tactile expression of his craft, discovering a new style which he called industrial sound sculptures. These sonic compositions are performed on electric and acoustic guitars as well as the six-string bass and are played with various techniques and implements including slides, battery fans, the psaltery bow, razors, toys, Velcro and crocodile clips which are fed through sound processors to create a rich sonic environment.

Eldritch electro-acoustic explorer and uncompromising sound artist Luke Younger aka
Helm presents his first new material since casting the subterranean concrète psychedelia
of his 'Impossible Symmetry' album for PAN across end-of-year lists in 2012 and
petrifying numerable witnesses to his granite-hewn live set.
Issued as a split release between PAN and his own Alter label, 'Silencer' documents
four studio actions conducted in the wake of his renowned LP, charting the alchemical
relationships between base, stripped down rhythms, cruddy electronics and acousmatic
source material manipulated on cassette tapes. The magic of these four tracks lies in the
curious sense of detachment and friction between those fractured, awkwardly reactive
elements, klanging flinty drums against detuned, cryptic synth scrabble and buckled tape
FX to create charged and metaphysically affective atmospheres intended to corrode and
infect your listening space.
The title track follows a tumbling line of inquiry between primal percussive clatter and
salted, scratching synth drones into the boggy, noxious ambience and quaking bass slap
of 'Mirrored Palms', which features a desolate, sustained peal of foghorn brass from John
Hannon of Liberez. In the tunnel of 'Bergamo', effluent rhythms and vapourous brown
gases deliver a cold, claggy soundsphere, with Barrow-based multi-instrumentalist Tom
James Scott contributing metallic scrape to the para-dimensional murk and insectoid
shivers of 'The Haze'.

This is the first volume in a series of release showcasing the analog hardware experiments of Michigan-raised,
New Jersey raised Michael Alan Rogers aka Personator.


Running the gamut from raw, springy machine rhythms propelling the snarls of modular synths to softly pulsating
white noise adorned with lullaby-like melodies, two of the tracks were recordded straight to DAT in the artists studio,
while a third was recorded live at a late night loft party in Chinatown.


Perfect for fans of Hieroglyphic Being, Jahiliyya Fields, Nation, Trilogy Tapes, etc

ussell Haswell strikes bone on this 2-track, 20 minute follow-up to the napalm massage of 'Conceptual nO!se' for Poland's Bocian label, and his fearsome split with Pain Jerk for Editions
Mego. It also marks his return to the catalytic Diagonal imprint after the deviant blatz of his '37 Minute Workout' LP in early 2014, which was hailed at No.11 in The Quietus albums of the year so far. 'Double A' renders Russell at his slyest and most honest, presenting spasmodic, un-edited improvisations belying influence from the pivotal epoch of diamond-cut '80s freestyle, industrial and Detroit techno. Depending on your perspective, they're either splintered, tetchy DJ tools or skeletal nO!se inversions. Either way, they bristle and spark with a compulsive nervous energy and disciplined impulse control that's Haswell to the core: challenging, uncompromising and bloody crucial. On the A-side, 'Foxy' sparks manic hi-hat chatter and bruxist squall masticated with unpredictable intensity, angled and affective like a box of knock-off fireworks hoyed at the 'floor. Stand back and watch 'em scatter. On the flip, the mercurial sleight-of-hand at play in 'One Take Dub No Edit' gestures the hard-ass chops of 12' bonus beats and the show-off breakdown edits of Carlos Berrio or The Latin Rascals. A non-stop, one-shot flashback to a vital time when futurist Latin freestyle and industrial funk were the dancer's choice. The 12' vinyl is due to arrive on Diagonal around the same time as Russell's incredible collaboration with Philip Best's consumer Electronics for Dirter, all surely cementing his position as one of the world's most valued and necessary techno mutants.

12' EP wrapped in a poster by designer Giorgio Di Salvo *
* Two years have passed since 'Tregua', Petit Singe's debut on Haunter Records. A key moment for both the label and the artist, it represented Hazina Francia's move out of the shadows, introducing her unconventional taste for hybridization.
* Innumerable gigs and experiences later, Francia's vision and artistic capability have grown richer and broader, leading her to new path. The 5 tracks that compose 'Akash Ganga' are here to testify an unresting spiritual investigation. They construct a sonic scenario that brings her mix of post-club sensibilities, and reminiscences of her native India directly into space, injecting her tabla-led polyrhythms with cinematic sound design.
* Francia's talent for gracious meditative moments is here constantly mutating into unprecedented heavier tones, letting the moments of melodic reverie and those of sheer percussive intensity strengthen each other. All this elements fuel the impressionistic narrative Francia has decided to arrange: mixing elements of her personal biography (like naming one of the tracks after the date her foster parents brought her to Italy from Bengala) with fragments from the history of digital experiences and elements of her eastern heritage.

Amazing debut album by Copenhagen based Delayscape.

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.

Bold, exuberant, expansive re-charting of the same neck of the sleng-teng invasion as vintage Jahtari and Tapes.
The Upsetter meets Raymond Scott meets Horsepower Productions... on a writhing, pinging bed of Spaghetti Western... at the synthy grassroots of Library.
Tremendously enjoyable, next-level stuff from Seekers.
Blood-red vinyl.

Leftism 22 arrives 22 years on from the release of the acclaimed original, in a remastered version overseen by Neil Barnes and Paul Daley. It will be available in a 2CD 22 track special edition featuring a bonus disc of the 11 album tracks remixed by a host of top house/electronica/techno artists (full tracklisting to follow).
Also available in limited edition gatefold 3xLP heavyweight vinyl, mirroring the original vinyl release, with download codes for the new mixes plus digital configurations.

After releasing two 12's for Lee Gamble's fledging UIQ label, Latvian artist N1L flits to Where To Now to present four new compositions of smudged, innovative, and completely otherworldly bass mutation.

'Mud Diver' begins with the aptly titled 'Chasing the Sun', at first holding all the intentions of aiming for a big room anthem - introducing itself with familiar melodic pads and focused, drop friendly peaks. Anyone who knows N1L's work though will understand that this settling for a straight forward approach is not his vibe... at drop point the anthemic nature absolutely plummets face first into the grit and accelerates away into layer upon layer of revving synth mayhem, transforming with grace into the complete polar opposite of its initial gambit.

Title track 'Mud Diver' takes us further down into the realms of machine trouble and its mechanised cyclical movements. Held together by the deepest of off beat kicks, we wade through this horrorscape of construction and collapse in search for light. This light comes in the form of 'Jaget Och Maskerna' where swathes of rapid-fire signals weave through the darkness and speed away towards the hopeful bloom, holding an escapist and otherworldly aura, a hallmark of much of N1L's work.

Submerged for 9 minutes 'Clockroach' takes us deeper and deeper down into the basin, where dubwise flutters of percussion and sparks from the breaks of rolling dread bubble around the vessel. Recalling the deepest moments of Raime, the tensest moments of Kode 9, and the most desolate moments of Demdike Stare, 'Clockroach' best embodies N1L's ability to respectfully reference a rich history of bass music, whilst injecting his own deeply experimental learnings and leanings at every turn.

'Listening to the music of N1L is at times like staring into a vast, bleak expanse where time moves at a different rate to the rest of the world...N1L's music feels stretched and compressed in equal measure, combining a nostalgic traces of 90s techno, jungle and rave into something that sounds like it's been torn from another era and warped in the process.' - Scott Wilson (FACT)

The LP "The World is Shit" is a radical and depressing statement by Sebastian Reuschel looking at the world, the society and the people living in those.
A-side track "Exav 2B" is a warm and deep industrial ambient track which starts rough and noisy but culminates in a rolling and dark atmosphere.
"Dying Alone" - the b-side track - is a sample based rolling noise dream of suicide and total apocalypse.

"The freewheeling collective have been busy on their own terms since their last group efforts, but they reconvene for The Rise And Fall Of The Eurojesters at a time when the external pressures of global politics, economics and environmental concerns point to an uncertain future. In the face of such ambiguity, the dogged experimentation of Tru West feels like a logical response, manifested here in two original pieces and some equally daring remixes and edits. Tru Children' is a bubbling stew of sounds flowing into each other, unbound to the dogmatic structure of a timeline. A basic rhythm tick emerges from the music, of course, but this is really an exercise in letting go, as the rippling percussion and field recordings intertwine into a dualistic whole - chaotic yet strangely calming. Herva takes this meditation as a starting point and crafts his sharply focused Cobra 90' revision with brittle drum machines and post punk bass as the main ingredients. The bass in particular stands out, not least because Herva recorded it through the titular Carlsboro Cobra 90 amplifier. While the groove may be more discernible, the slippery qualities of the original version linger in the background to keep this far from the conventional dancefloor. Captured in 2013 during Tru West's first live improvisation at the Meinblau Gallery in Berlin, Chasing The Loophole in a Relentless Spiral of Human Self-indulgence' was performed alongside the Standpunkt exhibition by Alessandro Lupi. In the spirit of the environment, this piece heads even further out, on a surge of haunting piano, tonal interference and verbal reflections on telekinesis. Where Tru Children' was an organic, fluid mixture of many sounds, this is an uncomfortable claustrophobia triggered by clamouring machines. Marcello Napoletano takes this maelstrom of sonic activity and creates his own brand of intensity with a two-part edit. Rather than paring down the extravagant original, in Part 1 he instead pushes the material further, layering up even more wild sounds from percussion to heavily processed jazz instrumentation. In Part 2, the veteran Italian producer makes the concession to bring a rugged drum machine beat into the mix, but uses it merely as a structure around which to wield vast slabs of sonic matter. It's an apocalyptic finishing move to a record that, as ever, feels like a shriek in response to an ever-more-unhinged world."

No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences, whilst retaining the subby funk-and-hot-breath pressure of Shackleton's soundboy, club roots.The result is an evolutionary, truly alchemical music — great shifting tides of dub, minimalist composition and choral song (Five Demiurgic Options), ritual spells to ward off the darkness (Before The Dam Broke, The Prophet Sequence), radiophonia and zoned-out guitar improv (Seven Virgins), even the febrile, freeform psychedelia of eighties noise rock (Sferic Ghost Transmits / Fear The Crown). Over the five years since Music For The Quiet Hour, Vengeance's vocal and lyrical range has rolled out across this new terrain. Throughout these six transmissions he's hoarse preacher, sage scholar and ravaged bluesman, blind man marching off to war, and exhausted time-traveller warning of impending socio-ecological catastrophe. Six dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo's early collaborative work into something subtler and more emotionally shattering — its shades of brightness more dazzling, and its darkness even murkier. "We almost didn't hear it when the foundations went."

Maiden union between two of Hospital Production's longest
standing collaborators
Full textural spectrum of oiled subbass, abrasive noise and
charged electronics
Edition of 500 copies
RIYL Prurient, Rainfoest Spiritual Enslavement, Kevin Drumm

Following on from that hugely sought-after Green Graves issue by Rainforest Spiritual Enslavement, Hospital Productions re-examine a longstanding tradition of industrial ambient music on this exceptional collaboration between two of the label's most consistently innovative, highly absorbing producers.
Originally released in a private press run of handmade tapes, the collaboration was made in person with both Alberich and Lussuria making use of Digital synths in homage to that distinctly
European scene of the mid 90's that combined hardcore Industrial textures with Ambient pulses.
It's a sound you'll be familiar with if you've immersed yourself in the most unnervingly quiet sections of the last few Prurient albums, building a kind of futuristic soundscape situated
somewhere between David Lynch, Kevin Drumm and a more dystopian variant of Brad Fiedel's distinctive soundtrack to The Terminator.
Alberich's instinct for harsh propulsive rhythms is here tempered by Lussuria's weird topography, the digital rendering adding a kind of artificial foundation quite removed from the throbbing
earthiness you'd find on a hardware session. Instead, the more linear trajectory of so many dark
Ambient excursions is replaced with a constantly shifting landscape, veering from an oddly displaced vocal narrative into pounded, crumbling rhythms at some points, while those sinking
subbass sands keep things resolutely atmospheric for the duration.
There are no concessions to that blackened aesthetic here, if you were into Green Graves or want to immerse yourself in one of the most brutally atmospheric albums you'll hear this year, we urge
you to check it out.

After a flurry of releases over the past 4 years for the likes of Deep Medi, Zam Zam Sounds, Danse Noir, and most recently for Discrepant with his acclaimed long-form abstraction "Ghost Tapes," El Mahdy Jr. returns to Boomarm Nation for an anticipated follow up to his internationally praised and sought-after 2013 debut LP "The Spirit of Fucked Up Places'.With "Time to Sell the Golden Teeth," El Mahdy Jr. continues where he left off with an evolving palette of rough hewn-beats unburdened by genre constraints, thick atmospherics, and a very deep and dubwise center of gravity. Drawing from the sounds of his cultural background, and the daily grind of living in an increasingly loud and hostile capitalist world, the sounds presented here display the deft evolution of an ambitious young beat maker and experimentalist into a poised, focused, and selfless artist who places his emphasis on the emotion and energy of sound and place over the wild self importance of being an "artist".

DOUBLE BIRTHDAY RELEASE !! KARLRECORDS celebrates its 10th birthday, ZEITKRATZER even its 20th! And the party starts with the necessary re-interpretations of early compositions by electronic pioneers KRAFTWERK. CD on ZEITKRATZER PRODUCTIONS, 180gr LP on KARLRECORDS.

Founded in 1997 by REINHOLD FRIEDL, ZEITKRATZER have since been creating an impressive catalogue of recordings that embraces 20thcentury avant-garde composers (CAGE, STOCKHAUSEN, LUCIER) as well as electronic artists (CARSTEN NICOLAI, TERRE THAEMLITZ) or underground experimentalists like THROBBING GRISTLE or COLUMN ONE. In their 20thanniversary year, the critically acclaimed ensemble will release a series of diverse albums that will explore new grounds in the typical, adventurous zeitkratzer way - the first of these albums is dedicated to KRAFTWERK and their early, kraut-esque albums "Kraftwerk" and "Kraftwerk 2". As KRAFTWERK never re-released these albums, ZEITKRATZER gave its best to cover the first tranche of the songs (second tranche to come...,).

Recorded in Marseille / France in May 2016, the six tracks reveal a bucolic and even psychedelic aspect of the ensemble that's mostly known (or feared) for its interpretatory and aesthetic acerbity. And yet there's no doubt that "Songs From The Albums "Kraftwerk" And "Kraftwerk 2" turned out a true ZEITKRATZER recording in the best and full meaning!

zeitkratzer directed by Reinhold Friedl

Having established himself through a consistent stream of quality releases for Uncanny Valley and the immaculate collection of Rat Life, Credit 00 - real name Alexander Dorn - bring sthe heat on NYH81. These are recordings taken from his old apartment, and feature a heavy dose of reference to classic Gertronica. From Can to Kraftwerk to Neu! to (now) Munich's Dopplereffect, this is some really nifty classic electro.

After his acclaimed Heatwave and Shadows mixtapes, Leonce releases Insurgency on Fade to Mind, the first official EP from the young Atlanta-based producer. Insurgency was born from demos and sketches first recorded in 2014-2015, inspired by Leonce's favorite elements of house music and his desire to recraft these influences into his own club microverse.

In Leonce's words: 'If house is a feeling, then Insurgency is me subverting that feeling across different tempo ranges and going into weirder and darker territory, like the classic raw house tracks that inspired me.'

Created as both a tribute to classical house and a critique of contemporary assembly-line dance music, the 9-track LP lovingly defies convention at every turn. Opting for deep shuffles and hypnotic progressions, his drumwork is allowed to breathe in this deeply personal spectrum, with carefully sequenced percussion and haunting melodic work. The digital version includes a bonus beats club mix of Snakes, with two additional tracks from Shadows included in the LP.

Like many of his peers working in and amongst QPOC club architecture, Leonce takes personal and direct inspiration from resistance movements in contemporary America. His tracks reflect his own resistance, first weaponized for his own DJ use. There is a natural darkness to them, speaking to struggles in his own life and the constant violence against POC and queer americans. Insurgency is an artifact of symbolic black rebellion, and a sign of what's still to come for Leonce's productions.

undreds of releases and countless live performances littered the path that lead to 2012's Modern Jester, artist Aaron Dilloway's last major artistic statement as a solo artist and one his most well received documents since leaving Wolf Eyes, the prolific noise troupe that Dilloway co-founded in the late 90's with musician Nate Young. Within these pieces, we find a surreal treasure hunt that helps guide us through Dilloway's obsessions, neurosis and influences while also developing a splintered maturity of someone with great complexity stumbling through a well thought out, yet totally unplanned 'long game' of an artistic career. Since then, Dilloway has been busy collaborating with the likes of Genesis Breyer P-Orridge and Jason Lescalleet, releasing various short form sketches and running his retail outpost, Hanson Records, while slowly working on his next major album, The Gag File.

Introducing itself with the cover image of a posed dummy ready for his yearbook portraiture, The Gag File pick up right where Modern Jester left off; its identity is directly tied to an absurdly uncomfortable head shot that stays permanently fixed in the listener's mind whenever the album is summoned. The opening track, 'Ghost', sets the heartbeat for the record. A rogue pulse that becomes lost in a disjointed, trapdoor loop but becomes even more unorthodox as Dilloway introduces himself through parable of jumbled, confused vocals and phrasing. Past this point, nothing in this record is typical or expected.

Sudden, crude cuts from one piece to another and psychotic jumps in fidelity make one rethink the ideas of confusion and desperation as something more abstract rather than visceral. 'Karaoke with Cal' and 'It's Not Alright' have an intoxicated sense of depression, taking in the world's problems and regurgitating them back in hopes of finding some enjoyment. That enjoyment seems to be found in the non-music aspect of side B's long form party field recording, that loops in on itself making sure you never really know when the party begins or ends, regardless of one partygoers claim.

Nods to Dilloway's recent live performances have been unusually captured as the song 'Inhuman Form Reflected' doubles as a sound portrait of the artist's internal struggle with hysteria, but suddenly breaks away from a recorded song into an accidental segue way of someone on the edge. Most hallmarks of Dilloway's signature are seemingly here but not firmly imprinted into the recording. Instead, Dilloway used his methods of vocal manipulation and frenzied reference to tell a completely foreign narrative, one that subjects himself to naked uncertainty, audible anxiety and discourse.

For Fans Of...Wolf Eyes, Nurse With Wound, The Residents, Pete Swanson, Ghédalia Tazartès, Bruce Haack

* For the first release on the Wysing Polyphonic label three-piece Ectopia have created a suite of seven new works in which intricate cello and screeching and spoken word vocals are carried along on a wave of dark electronica, taking the listener on a journey into sad acid house, scratched DVDs, lipstick clogged with rolling tobacco and hangovers with absent lovers.

* Ectopia are Adam Christensen, Jack Brennan and Viki Steiri. Previous works have included sound-tracking Jack Smith's experimental film Normal Love (1963) and Carl Theodor Dreyer's The Passion of Joan of Arc (1928). They recently played a sell-out show at London's ICA in a Wysing Polyphonic showcase that also featured xname, SIREN and N-Prolenta who made their UK live debut.

* Wysing Polyphonic has emerged from the Wysing Polyphonic music festival, now in its 8th year, which has programmed the likes of Beatric Dillon, Elaine Mitchener, Hannah Sawtell, Helena Hauff, Holly Herndon, James Holden, Karen Gwyer, Klara Lewis, Nik Colk Void and Russell Haswell, amongst many others, play at the Cambridgeshire centre.

We Release Whatever The Fuck We Want Records is delighted to announce the release of Nino Nardini's experimental/musique concrète/sci-fi masterpiece MUSIQUE POUR LE FUTUR, available for the first time since 1970 and housed in a phosphorescent glow-in-the-dark heavy cardboard sleeve from...the future!



Originally recorded for Crea Sound Ltd, a sub-label of Louis Delacour's Neuilly imprint, MUSIQUE POUR LE FUTUR finds French composer, arranger, producer, possible time traveler, and all around music library legend Nino Nardini experimenting with synthesizers, percussions, prepared piano, echo, and special effects. Fans of electronic oddities, eerie cinematic audio-landscapes, Piero Umiliani or Bernard Parmegiani will rejoice at this full-length musical adventure that could very well be the soundtrack for a film in which characters from a 70s Italian horror movie visit a distant (forbidden) planet from a 50s sci-movie. It's bizarre, hypnotizing, slightly spooky, always out-of-this-world and goddamn BRILLIANT!



Nino Nardini, also known as Georges Teperino, had a very fruitful career in library music, much like longtime collaborator Roger Roger. He composed a very large amount of works for French and British libraries which continues to be featured in numerous programs (radio, tv, films) all around the world. His passion for electronic music experimentations began in the late 60s and kept going till the 80s.



Points of interests



- For fans of musique concrète, library music, early electronic, cosmic oddities, movie soundtracks, forbidden planets, synthesizers, Bernard Parmegiani, and Bruno Spoerri.



- Nino Nardini's masterpiece MUSIQUE POUR LE FUTUR LP available for the first time on vinyl since 1970 - housed in phosphorescent glow-in-the-dark heavy cardboard sleeve.



- 13th release from We Release Whatever The Fuck We Want Records (John Carpenter's Dark Star Soundtrack, Midori Takada's Through The Looking Glass, Piero Umiliani's Tra Scienza e Fantascienza and Il Mondo Dei Romani...), label founded and curated by Olivier Ducret of Mental Groove (Miss Kittin, Brodinski, Kadebostany, Donato Dozzy...) and Stephan Armleder of Villa Magica Records (Genesis Breyer P-Orridge, Christian Marclay, Stephan Eicher, John Armleder, Sylvie Fleury...)

Apollo are proud to present a stunning new project from NYC / Berlin based artists Soundwalk Collective AKA the trio of Stephan Crasneanscki, Simone Merli and Kamran Sadeghi.
Formed in Manhattan to produce concept albums, sound installations and live performances, they create immersive audio excursions from field recordings which they gather from all over the globe - previous works have seen them collaborate with Berghain, Nan Goldin, the films of Jean-Luc Godard and Patti Smith.

For 'Before Music There Is Blood' they have collaborated with the world's most prestigious music conservatories (the Shanghai Conservatory of Music (China), The N. A. Rimsky-Korsakov Saint Petersburg State Conservatory (Russia) and the Conservatorio di Musica S. Pietro A Majella in Napoli (Italy),
They entered the hallowed courtyards, corridors and classrooms of these three academies, recorded hundreds of hours of these elite students practicing and rehearsing to the highest standards of virtuosity.
'The piece questions what is music, composition, and ultimately what is harmony,' they explain. 'It is an attempt to capture notes out of their context - bleeding into each other through the walls, windows, courtyards and alleyway of the conservatory.'
These unexpected melodies are the result of an impromptu, anarchic musical composition of all instruments, where composers, centuries and civilisations are echoing each other in one acoustic space - ghostly fragments of conversation, skittering percussive stabs, burbling synthesis, oscillating swathes of droning strings and hushed, gauzy ambiance. Max Loderbauer supplies a stunning rework that lets the sunshine into the hallowed academic halls a percolating iridescent odyssey - A fitting return to Apollo Records for Max Loderbauer who produced a series of classics for the label in the nineties as half of Sun Electric.
To give Soundwalk Collective the last word on the topic 'Our microphones wondering through the architecture were the silent spectators of the music left behind.'

"1979 follow-up to his Eclipse debut, Voyage Cerebral was the second effort by french synthetist Didier Bocquet. Like the first album, it was recorded on his own private studio and self-released, this time via legendary french custom label FVLM ("Faites Le Vous-Même", meaning "Do It Yourself"). Inspired by the first wave of german kosmische sound-travellers (Klaus Schulze and Tangerine Dream and the whole Berlin School spring inmediately to mind) but retaining that typical french urgency that places it close to Heldon / Pinhas, Lard Free or even Besombes / Rizet territory. In-your-face sequenced electronic music that sounds both spacy and violent at the same time whilst keeping a certain lo-fi, self produced vibe. Recommended to fans of all things kosmische' and synth music in general."

Forrest James Ackerman was THE ultimate American science fiction expert. He was a magazine editor (the man behind Famous Monsters Of Filmland), a science fiction writer, a literary agent (he represented authors such as Isaac Asimov, Ray Bradbury or L. Ron Hubbard, a.o.) and an avid collector of genre books and movie memorabilia.

Frank Allison Coe was a famed sound effects editor in Hollywood. Films having benefited of his experience include Monsters Crash The Pajama Party, The Girl With The Hungry Eyes, The Agony Of Love, Barn Of The Dead, a.o. In addition, he also acted as a sound editor for many movies and even composed the soundtrack on some (Blood Shack, Lila, The Wizard Of Mars).

Joining forces together, Ackerman and Coe recorded Music For Robots in 1961. One side offers the electronic sound effects by Coe, on the other Ackerman narrates the stories getting into the spoken word genre, for the joy of fans of stuff like Andromeda Strain's soundtrack or Raymond Scott, Tom Dissevelt works.

Comes in ultra cool silver foil flipback sleeve in a limited edition of 300 copies only.

Pioneers of electronic experimentation in Venezuela, Musikautomatika is one of the best kept secrets in Latin America's experimental sound scene. They were formed in the late 70s by Luis Levin, Alvise Sacchi and Stefano Gramitto, and counted on the complicity of Mirella López and Gabriela Gamboa. They issued four albums (Musikautomatika -1983, Boston Tape - 1987, Kuba - 1987 y Frecuencias en peligro de extinción - 1993), which are nowadays highly sought after pieces among collectors from all over the world. Free improvisation and cosmic electronic music defines the path this collective of sonic travellers took.'

For fans of 60s-era INA-GRM concrète, electro-acoustic free-improv ensembles, Jean-Claude Eloy, Maurizio Bianchi and even the kind of melodies Tom Dissevelt and Kid Baltan explored on Song of the Second Moon.

1983s Musikautomatika is at last available again on a gorgeous limited edition that features a booklet with plenty of photos and text written by Luis Levin plus an interview with the band made by Luis Alvarado (Cazar Truenos blogzine / BUH Records).

"Inhabiting this grey area between late psych efforts and early PINA (private issue new age), 1977's Pythagoron TM is an electronic oddity originally marketed as some sort of musical narcotic ( a new invention that gets you high with sound' original ads read) sold via magazines like High Times.

Shrouded by it's corporate-like design are two enigmatic side long suites of droning electronics which evoke similar autistic synth experiences like early Conrad Schnitzler, Lorq Damon, Udder Milk Decay or the whole Pascal / Narco Records output whilst recalling also more articulate efforts such as Steve Reich's early opus, Charlemagne Palestine's sinewave experiments or Eliane Radigue's synthetic bliss.

A truly bizarre artifact which was apparently the brainchild of NYC's early media art collective USCO (The Company Of Us) which already pionered inmersive sound/light environments fusing mysticism and state-of-the-art technology back in the 60's. Intriguing period piece."

Raül G. Pratginestós (Fauni Gena)

Comes in original artwork printed on silver cover in a limited edition of 500 copies only.

ZOS KIA was formed by John Gosling (MEKON), John Balance (COIL) and Min - with guest Peter 'Sleazy' Christopherson (THROBBING GRISTLE). Their one and only album, Transparent, was released August 23rd 1983 in a cassette only edition on the now defunct Nekrophile label, Austria. They were the first released recordings of both COIL and ZOS KIA. It was reissued years later by COIL (Threshold House / Eskaton) in an edited edition. The entire recordings are now released on CD/vinyl for the first time and are completely remastered from the unedited tapes. Includes two previously unreleased bonus tracks by AKE (pre-ZOS KIA).
The music on Transparent is genuinely unsettling and disturbing, with a more primal Industrial feel than the Coil album which followed, 'Scatology'. An essential insight into the very early work of these extraordinary artists and an undeniable link between Coil and Throbbing Gristle.

ZOS KIA was formed by John Gosling (MEKON), John Balance (COIL) and Min - with guest Peter 'Sleazy' Christopherson (THROBBING GRISTLE). Their one and only album, Transparent, was released August 23rd 1983 in a cassette only edition on the now defunct Nekrophile label, Austria. They were the first released recordings of both COIL and ZOS KIA. It was reissued years later by COIL (Threshold House / Eskaton) in an edited edition. The entire recordings are now released on CD/vinyl for the first time and are completely remastered from the unedited tapes. Includes two previously unreleased bonus tracks by AKE (pre-ZOS KIA).
The music on Transparent is genuinely unsettling and disturbing, with a more primal Industrial feel than the Coil album which followed, 'Scatology'. An essential insight into the very early work of these extraordinary artists and an undeniable link between Coil and Throbbing Gristle.

2015 liquid. Real music for real spaces.
Shouts 2 P. Santo

DJ Bone is Differ-Ent.

But then again, he always has been. A pioneer DJ and producer hailing from Detroit, whose technical skills are perhaps only equalled by the upper echelons of the city's most advanced techno trailblazers, he's nonetheless forged a path only of his own. Eschewing commercial expectations, scene pressures and anything other than his own exquisite taste, Bone has earned a vital, dedicated audience while remaining comfortably and individually underground.

Despite his stellar reputation, Bone's recent studio activities have steered him towards a new, altogether more personal direction. In late 2015, Differ-Ent's arrival on Don't Be Afraid with the 'Differ-Ent(Hrall)' EP paved the way for its follow-up, 'M.O.M.:' both were forceful slabs of psychedelic outsider techno, with the latter taking on a tangible emotional resonance as it honoured the memory of Bone's late mother. 'M.O.M.' quickly became one of the label's best celebrated and widely played releases. Bone, typically self-sufficient and known to turn down remixes for huge clubbing brands, was impressed by the Bristol label's honesty and persistence. As he continued to rock parties internationally, Bone set to work on an LP embracing his deeper, darker and more cerebral side.

Not that 'It's Good To Be Differ-Ent has found Bone veering away from the dancefloor. "It's like, the natural vibe for me is always going to be funky", admits Bone. "It's going to swing, it's going to have that element of soul. But the Differ-Ent vibe is almost angrier. Determined, perhaps is a better word. I would typically just go to the studio when I had an idea. To the point where I say, 'OK, I'm going to do something, I'm going to make it happen.' But the process for Differ-Ent...it's kinda methodical. It's borderline predictable. But the thing that makes it Different is that it could go any which way at any given time. And it can be harder edged usually, or it can go in a soundtrack direction."

Film plays a significant influence on the landscape of Differ-Ent, with the record's more melodic flourishes sometimes designed to evoke the doubtlessly imaginative chase sequences swimming around Bone's mind. If Bone's usual movements are 'Do The Right Thing', his Spike Lee joint, then in his own words, 'It's Good To Be Differ-Ent' is his tribute to Paul Verhoven's 'RoboCop'.

"The only way I think the album evolved differently was the electro stuff", recalls Bone. "I was excited about that. Because that was a different type of electro as well. It wasn't a normal, 80s funk kinda electro. It completely separates you. It's still for the dancefloor, but it's almost as if it shakes you to dance, rather than coaxes you."

'It's Good To Be Differ-Ent' certainly feels powerful, mastering a mix of Drexicyan tones and drums that align more with a newer wave of house and techno experimentalists. Many of these, from Hodge to Ø/Phase, have been an influence on Differ-Ent, all sharing what Bone describes as a unique affinity with "creepy shit." It's his thunderous, occasionally paranoid but overwhelmingly positive contribution to a forward thinking European scene he has come to relate to on a par with his native Detroit.

Much of ''It's Good To Be Differ-Ent' has been inspired by Bone's frustration. Frustration with the modern political system as well as the creative conservatism of his own scene. In the studio, he has created a unique riposte. But the commercial pressure Bone has always avoided is only growing stronger. Is it harder than ever to be truly different

"It's harder for the majority of people", observes Bone. "For me, it's really easy. I've been preparing myself for this for years."