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'Versus' flows from the innovative and inspiring collaborators that have run with the label's energy during our first two years out On the Corner. The A-side 'South of the River' is a diverse collection of versions that all riff loosely from Collocutor's 'Instead'. The flip gives 'the door to the cosmos' a firm knocking with experimental vibe and outer-national electronica. Radio Play has come from Radio 1 (Benji B), 6Music (Gilles Peterson), Radio 3 (Nick Luscomb) and hyped digital services such as KCRW, NTS, Radar, BCR, La Mellotron, Rinse and 22Tracks.

The 12" begins with The Expansions (London's primal funk 4-piece, gettin' up-and-into the time of 'Gozo', squaring it 'up' and pushing-on with a smoked groove. The psyche elements land it in the territories of Karl Hector's cinematic desert ambling.

If FYI Chris doesn't urge you to move with 'Loop Thriller' then go grab a Doctor.

Al Dobson Jr's, indica haze envelops the low-slung groove of 'Agama'. This beat has been lauded as an 'Underground Smash' and has garnered international support on scenes far and wide.

BodyMoves' stripped-back approach reveals the percussive textures behind 'Archaic Morning' and nimbly amplifies the hip rhythm with subtle ear-warping techno frequencies.

The FLIP continues with collaborations from our first two years whilst taking the sound further-out, across-borders and up-through the 'spheres.

Black Classical - this elusive internet otherkin is renowned for his epic spiritual jazz and Sun Ra radio shows makes a wax debut for OtC with 'Running the Voodoo Down', "a blistering percussive thunder cascades over heady carnival vibes to raise even the recently departed".

Petwo Evans take on the experimental Fiium Shaark's devastating 'Bogan Sunrise' and plunge the depths with their formaldehyde remix grinding out a subterranean boom.

Group As Salaam. 'L'burgh l'burgh' - a traditional Saharan folk number urging action by 'rolling up your sleeves'. Label Boss and curator Pete OntheCorner shared his Group as Salaam desert sessions with drummer/producer Rich Thair (Auntie Flo / Red Snapper) who is the first to vibe with this hypnotic desert band.

Emanative under the Antoine Abayomi guise provides a grime-laden tropical-bass banger that was the first remix from 'Instead' to be championed by Gilles Peterson. The Emanative, Collocutor and Earl Zinger combo that cast the label into being in 2013 have just warmed-up the earthly sprites that stepped-out to see the hyped Kamasi Washington in Berlin.c

Paul Bley, synthesizer, electric piano, Annette Peacock electric bass and vocals, Han Bennink, drums, Mario Pavone, bass, and Laurence Cook, also on drums.

Originally released in the same year as her recently reissued solo debut, I'm The One. Peacock's liberated vocal style sits well alongside her husband Paul Bley's early jazz Moog synthesizer experimentation. Dual Unity was recorded in 1971 in Rotterdam and Paris. Professionally re-mastered original sound recording with expansive liners, interviews and rare archival photos.

Hospital Productions collect some of the strongest coldwave pop dirges of a generation in Contrepoison's Discography 2010-2012 survey, wrapping up both his self-released tapes and releases for Dominick Fernow's cherished imprint.Since the late '90s, Québécois musician and noise artist Pierre Marc-Tremblay has been recognised as a vital force in nether musical realms with a palette ranging from hermetic black metal (Akitsa) to the bitterest rhythmic noise (Âmes Sanglantes), and, more recently, the nerve-bitingly melodic pop of Contrepoison, whose I Keep On Searching 12' - included here - is a dead firm fixture 'round these parts.Arriving at the vanguard of a new slew of coldwave revisionists and fetishists in 2010, his music stood, and still stands, head and shoulders above the rest thanks to an incessant drive and directness that can't be ignored by anyone into the original stuff, or who has arrived via the sound's prevailing, contemporary winds.Vacillating belting vocal pop arrangements with howling, stygian instrumentals of synth, guitar and enslaved drum machines, Discography 2010-2012 drags a perfectly malformed body of work, cycling chronologically from the pounding mix of industrial kicks and neofolk cadence of ...Until Next Morning's amazing title cut to the blank-eyed dirge of To Never, Forever, before taking in the stomping Deserted Story from his 2011 split with Vatican Shadow, and committing the frankly fucking addictive hits of I Keep On Searching, best summed up in that raging, glam title tune and sandwiched with aces from the compilation Around The Dragon's Broken Neck Hangs the Medal of Saint Lazarus.It only gets more wonderfully bombed out and crestfallen from therein, from the plangent siren call of Nectar of Destiny to the exclusive instrumental, The Moon Has Mad The Eclipse, and a grip of killers off The Thunders Which Collide tape, including the raging banger The Thunders Which Collide and another cut exclusive to this set in the T2-finale-esque instrumental, As The Blazing Sun Enters Scorpio.Basically, it's riddled with memorable hooks and rages like a wounded beast trapped down a well. You'll know within seconds whether you love it or not, and we definitely fall in the former category.
Hugely recommended.

Head-turning debut from classically-trained, Boston-based Kaan Erbay a.k.a Insha featuring ten tracks of pure tension/relief informed by reconstituted club music and video game scores, highly recommended if you're into Arca, Burial, Actress, RabitEmerging from right under Type's nose, Dysplazia by Boston, MA's Insha debuts a remarkably absorbing push-and-pull narration of sci fi sonics and collapsed R&B haunted by the ghosts of British dance music; forming a mid-air collision of sawn-off soundtrack noumena and tumultuous grooves that diffuse Burial's worn down soul by way of Arca's lacerating dynamics with a unique sleight of hand. At an aerially severed yet intimately involving perspective, the founder of Boston's DRAW collective subsumes himself with cybernetic assimilation into the ten tracks of Dysplazia, offering an oneiric representation of the physical body simulated thru decontextualised rap samples and a twisted backbone of encrypted 2-step rhythms.In a synaesthetic, metaphorical sense reflected in Dysplazia's cover art - which uncannily recalls the analogue-to-digital phase shift of Cybotron's Enter sleeve design - this record is about transcending physical and virtual spaces; about locating and inhabiting the ambiguous interzones which lie between and outside of taxonomic conventions. It models these processes of transformation with a keen sense of narrative, navigating mutable circuit boards of grey goo with a beguiling sense of melancholy and elusive glimmers of hope.Panicked intercom chatter and hyperprismic harmonies light up the gravelly torque of Breaking Point at the album's turbulent intro, giving way to a captivatingly tortuous series of flashpoints and perilous junctures that flare up as quickly as they move back into the ever-looming murk, most memorably in the tangled 3D coordinates of Ima, Physique, and the woodblock 'n scimitar punctuated dynamics of Coming Down, which perhaps most undeniably nod to Burial and Arca, whilst the amorphous, melancholic ending of Reason leaves the session perfectly unresolved and open to a sequel.Dysplazia is a startlingly astute debut record from Insha, providing Type's freshest insight since Clams Casino's Instrumentals back in 2011.

Melody As Truth is proud to announce this split 7" by Jonny Nash and Suzanne Kraft. The release features two tracks of melancholic ambience and kicks off a new string of releases for the label in the latter half of 2016....High Price On This Due To Large Production Costs - The Label Apologise. Limited to 350 Copies. TIPPED!

The original Environments album was conceived and written back in 1993. It became one of the great lost albums by The Future Sound Of London before the guys took in back to the studio to complete and issue in 2008. Since then has come the success of further instalments and following additional studio work during a period of extreme creativity comes two further volumes. Released separately but simultaneously, Environment 6 and accompanying Environment 6.5, when combined, create a two CDs of 46 tracks. Sweeping between luscious dreamscapes to delicately melodically compositions to intensely highly programmed electronics sculptures Environment 6 and Environment 6.5 continue the journey towards the boundaries of the future of sound. Silent Around Them' exclusive to LP vinyl (no CD/digital)

Since their eponymous arrival in 2010, L.A.'s DVA Damas have emerged as the most distinctive players on Downwards' new wave of techno mutants.
Clear Cut leads on from their sought-after Wet Vision (2015) 12' for Downwards America to farther stake out and crenellate their own grubby mound in the no-mans-land between post punk pop and industrial techno.
Tooled up with asphyxiating bass pressure and camouflaged in stringently minimal-yet-rudely physical electronics, the four songs on Clear Cut embody the spirit of all-night,
'phet-charged techno raving, keeping your heart rate high but your head ice cool with an unswerving intent matched by ascetically measured production levels.
The sullen, ætheric swagger of Clear Cut carves up from the front, placing Taylor Burch's gaunt vocal in acres of warehouse space for 10 minutes of surgically cut, bleedin' tech 'n roll marking up one of the strongest in their catalogue, whereas the panting, auto-erotic phyxations of Do I Dub sutures the wound with sheer bass pressure alone.In The Clear opens the B-side with a stylus troubling sub-bass (set your weights right and don't come crying) moulded into a dead-eyed, grinding come-on sounding like HTRK
in heat, and Clear Cut reappears in a truncated Radio Edit upping the techno canter and condensing the vox for closer, cocksure effect.

Anders Enges interest in modular synthesizers comes from a desire to shut down conscious decisions about form and to focus on rhythm and timbre. This does however not land in traditional techno but rather in a riff-oriented style, the riff being both rhythm and "melody" and also a morphing entity in the music. Drums and percussion attempt to follow this entity, while maintaining a link to the dance music pulse. The resulting style makes for a hybrid timewarped experience of travelling a parallell electronic music reality, a brooding technoid that grooves.

After These Hidden Hands re-surfaced earlier this year with the collaborative single These Moments Dismantled featuring Lucrecia Dalt, Tommy Four Seven and Alain Paul a.k.a. Shards are set to release Vicarious Memories, their second full length LP, on August 8th 2016. Vicarious Memories builds substantially upon the sound forged with their debut album and brings a considerable new level of detail, complexity, and musicality, which ranges from flowing mellifluous grooves, somber drones, to the outright bizarre and unexpected. Although loosely an instrumental electronic album, the album makes extensive use of guitar and vocals and features prominent guest vocal contributions from underground Berlin based musicians Julia Kotowski and Ale Hop. The album's preceding single, SZ31X71, a track which features on the LP is out July 11th, featuring a remix by revered Tri Angle artist, Roly Porter. Vicarious Memories will be released via the group's own imprint, Hidden Hundred available both digitally and as a 12 vinyl LP featuring gatefold cover art by Norwegian illustrator Anders Røkkum. Vital Sales Points: - Upcoming press: The Quietus, Thump, I-D Magazine, XLR8R, Future Music, Boiler Room, Mixmag, Resident Advisor, Ransom Note, Tsugi, Rockerilla & more - These Hidden Hands play Berlin Atonal, August 2016

For fans Of: - Stone Throw records - Analog experimental sample based music - Psychedelic rock - Afro Ancestral "I may have no possessions, but here lies everything one needs" This is Alexandre Francisco Diaphra's motto as governor of his own life. A multifaceted artist from Guinea-Bissau, based in Lisbon: rapper, poet, edutainer & beatmaker, creating music based on improvisation in which he blends his psychedelic, black music, afro ancestral influences and love for the non-quantized beats in the same way as with experimental jazz, mixed contemporary and urban styles. Last year Diaphra wons the 3rd place at the 1st International Poetry Slam in Rio de Janeiro (Flupp). In 2012 Diaphra featured & toured Europe as MC/performer for Angolan/Portuguese project Batida's eponymous debut album (Soundway),"a record that could change the african electronic music on the 21st century" (Songlines) - their live show was also "one of the best 10 acts from Womex" (NPR Radio). Diaphra's Blackbook Of The Beats is following the idea of building instrumental bases on the outside environment wherever Diaphra feels inspired. A backpack, some vinyl records, a portable turntable and a sampler for self deconstruction / recreation from which resulted this (mainly) instrumental album and which is documented in form of musical videos in the dvd. The particulary of this project resides in the non-quantized beats over which the enlightening poetry is spoken, rapped and chanted in portuguese, where trial and error take part of the compositions which are enhanced with the use of instruments played by invited musicians and sometimes by Diaphra himself. Add to this various carefully handcrafted editions " including a silkscreened reproduction of the real Diaphra's Black Book Of The Beats " and you get the kind of artifact we love to bump into. Available as CD also.

'Satan's Slave' is the latest release from Moscovitch Music (Terror/Prey), the brainchild of producer/compiler Joel Martin (Quiet Village/Velvet Season & The Hearts of Gold/Maxxi & Zeus) whose 'de Wolfe Music' compilations 'Bite Hard/Bite Harder' are considered essential primers of the library genre.

This Holy Grail Black-Magic British Jazz soundtrack from 1976 is the most requested movie score of cult film composer and top English Jazz saxophonist/flautist - John Scott (Symptoms/Wake in Fright/Craze).

For aficionados of rare library music and obscure Horror soundtracks this is an essential album.

'Satan's Slave' - The original soundtrack to Norman J Warren's (Terror/Prey/Inseminoid) nihilistic tale of Witchcraft and occultism conjures an uneasy yet compelling experience for fans of exploitation OST's, and a veritable smorgasboard of dark progressive samples for the producers. The ritualistic tribal beats of 'Sacrifice' could have been culled from the KPM library catalogue (John Scott was a regular session player for them) while 'Drive to Alexander's and crash' is forgotten filmic UK Modal Jazz with a tropical flavour which harks back to Scott's legendary Columbia Lansdowne LP from 1967 'Communication', a firm Gilles Peterson favourite. 'A walk in the grounds' is pure mellow heat - fuel for the MPC 2000, with its crisp Fender Rhodes chords and 'Dusty Fingers' vibe, and 'Unused Cue' which is an additional recording we discovered on the reels is a fiery free-Jazz odyssey for explorers of the fifth dimension!

The complete 'Satan's Slave' soundtrack, which is being presented here for the first time on any format, has been lovingly remastered from the original half-inch master tapes courtesy of Sean P(Z Records), and sounds as edgy, fresh and relevant as it did back in the swinging seventies.

Pour the Absinth, switch off the lights and say a little depraved prayer!

Katsoulis has been making avant-garde electronic pop steadily since the early '80s, but it wasn't until 2014 that he transcended cult status. That year, Into The Light issued a collection of Katsoulis' early and unreleased material, The Sleeping Beauties.

In October, Alex Bradley's Utopia Records will handle a new record from the low-key artist. The press release says of the opener, "All The Blue Skies," "Katsoulis and his accompanying musicians deliver a diverse and contemporary work with a level of sophistication that will challenge the current electronic musical landscape." The label adds that "'Grand Delusions' sounds like it could work in a Berlin techno club, from a man that has probably never been to one."

Katsoulis is becoming more active in the underground electronic music scene as of late. He performed at the inaugural Strange Sounds From Beyond festival in Amsterdam in June. A 2015 remix EP featured Young Marco, Max D and Telephones interpreting tracks off The Sleeping Beauties.

One of New York-based experimental artist Fred Welton Warmsley III's (FKA Lee Bannon) many monikers, Dedekind Cut (pronounced "Ded-da-kend Cut") has set up the release of his debut LP titled $uccessor (DED004). Sharing his lead single "46:50" featuring Active Child in the guise of a modern approach to Noise, New Age, and Ambient music.
$uccessor will be released digitally on November 11th along with NON Worldwide limited vinyl and limited cassette via Dominick Fernow's Hospital Productions label

"Meat. The story needs meat. (And blood ... coagulated blood (Gore)). The substance we are seeking here lies beyond the bare bones of fact, thewhen and the where (founded in 1988, Mülheim an der Ruhr) or personnel and instruments (a trio since 2016, built around keyboards, saxophone, bass & drums). The story is more than the sum of its facts. Mysteries may very well lurk here or there along the way. What keeps the final two foundermembers going after all this time Do Morten Gass and Robin Rodenberg have skeletons locked in their closets How dearly we would we love to know the answer to that one, alas the most beautiful puzzles tend to remain unsolved.
Including their debut Gore Motel' (1994), BOHREN & DER CLUB OF GORE have amassed an impressive eight longplayers. Four album titles allude to the night - their debut was followed by Midnight Radio' (1995), Sunset Mission' (2000), and Black Earth' (2002), whilst the most recent instalment carried the name Piano Nights' (2014). The nocturnal quartet was punctuated by Geisterfaust' (2005), Dolores' (2008) and a mini-album entitled Beileid' (2011), adding rather eerie overtones to the after
hours ambience. The BOHREN & DER CLUB OF GORE legend has grown stronger both at home and abroad with every record they have released and every show they have played. Strange as it may seem, there is a uniform consistency to their reception. Whatever the band does, critiques are unfailingly positive,
yet repetitious. References, links and associations recur almost word for word.
Consider the arrival of Christoph Clöser in 1997, by way of illustration. When he joined the group, his saxophone replaced the departing Reiner Henseleit's guitar as one of the defining instruments in the band. This was arguably the sharpest break in their sound to this day and a significant marker in terms of the band's reverence for Dutch instrumentalists GORE
(the clue is in the name), whose repetitive riffs paved the way for how the guitar would be deployed in a post-everything future. Nevertheless, this fissure in the BOHREN continuum has barely merits a mention in the greater scheme of things. Similarly conspicious by their absence in the BOHREN chronicles are the numerous instruments which they added to the mix - vibraphone, organ, tuba, bass trombone to name just a few. The
introduction of choirs at least had a clear visual impact. Since Thorsten Benning left at the end of 2015, the band has continued as a trio, sharing shifts on the drums (although they have equipped themselves with mechanical brushes).
A decrease in personnel was conversely accompanied by quantum leaps forward in the group's musical development - or more precisely, minor adjustments triggered major effects. Such changes may not get any easier to spot in the future, such is the intensity of internal imagery sparked by the music, a maelstrom of distractions so powerful that its promises are too sweet and too dangerous in equal measure. The music of BOHREN & DER CLUB OF GORE opens up remarkable rooms of association, from a warm burrow to a pristine secret lodge, from a
dusky woodland tavern to a smoky quayside dive. Individual and collective floods of images rush forth irresistibly. Loneliness is not at all problematic: empty multi-storey car parks, nighttime drives, remote bridges to nowhere. All in your mind. This is the temptation, a sweet, guilt-free addiction. It's all in your mind - and only there. These sinister crackling songs are invitations to secrete oneself in darkness. With track titles such as 'Maximum Black', 'Zombies Never Die' or 'Dandys Lungern Durch Die Nacht', the mind wanders inexorably into filmic spaces.
Echoing the masters of midnight cinema, stories evolve all by themselves. As the American Film Noir Foundation observed so smartly: 'the vivid co-mingling of lost innocence, doomed romanticism, hard-edged cynicism, desperate desire, and shadowy sexuality.' Their definition of Film Noir serves just as well as an appraisal of the group, 'Bohren For Beginners'.
Which says it all really, doesn't it A final word of warning! Sources close to the band describe the double CD
released in October 2016 as a gateway drug to the Bohren universe. Enter at your own risk, some have never found their way out again."
(by Lars Brinkmann)

DJ Marcelle is one of the most seasoned and widely respected DJ's in Europe. She's a true pioneer with her 'free', brave and creative way of mixing. Besides this she has always been following the latest developments in forward-thinking music and has therefore a keen ear for exciting new sounds. For the label Klangbad, owned by Hans-Joachim Irmler of krautrock band Faust, she has released four double vinyl albums, mainly dedicated to and comprising her three turntable composition/mix talents. The Munich based label JAHMONI is proud to release her first 2-track Club EP.In The Wrong Direction echoes what she does on stage: it's non-mainstream club music, and it's highly functional. Marcelle is on a life-long quest of proving that most music in club culture is quite boring but that's justified as having to be so because of functionality and audience expectation, while she claims that this is not true, it's just a lack of intelligence, courage and creativity on the part of most dj's. According to DJ Marcelle, you can make the most boring crowd dance to the most awkward music recording, it all depends on attitude, mixtalents and in which context you present it. And it's in this spirit, that the two tracks on this 10inch are both provocative and unusual, but at the same real club smashers - the stuff you play at prime time in your set.
Genre-wise we're speaking NL tribal techno, post dubstep, broken beats, glitch, eclecticism, but really, we're talking about attitude, roughness, freedom and - a raving dancefloor.

Following on melancholic Ono-Sendai Cyberspace, Morkebla's latest outing is a 5-track EP titled A Field Of Secondary Craters. Opening with The Ground Under My Feet Became Water, an obscure and incantatory looped segment made entirely with found sounds and field recordings (a plaintive horn, metallic sounds, water), A Field Of Secondary Craters is due to be released september xxth 2016 on Edinburgh-based cassette label Czaszka.

The next tracks from A Field Of Secondary Craters pull away from the vaporous introductory loop-based process, not so far from Lee Gamble's Diversions 1994-1996, revealing a more luminous facet of his (by whom) work. Utilizing some analog drum machines (Alesis SR 16 and MFB 522), tape echoes, delay effects and a Roland Juno-106, Morkebla's new EP is a twenty minute long journey throughout synth-laden textures with moments of pure reverie.

While Snow Canvas is an ode to minimal composition, a celestial held chord accompanied with chugging beats, third track Infrared Ice Image is a one-minute synth bass loop in slow-motion, reminiscent of an early Boards of Canada interlude.

Disrupting the peacefulness that the ambience suggests, Astro:Dynamics'signee and Posh Isolation's remix contributor Quiltland delivers a remix for Snow Canvas emphasizing on the ambient chord intro and a progression that stirs the listener up from quietude through an incursion of more assertive snares and hi-hats, fnishing up with gradually built Autechre-esque synth harmonies.

To conclude Morkebla's A Field Of Secondary Craters, elegant eleven-minute long synth arpeggios entwine on Submerged Dunes with a simple hi-hat and strangled bell as rhythmic elements, leaving a unsettling feel as the synth fares slide across cut-off and filtered sounds. We are now literally sunk and submerged into another world. As we let go of the fear of uncertainty, A Field Of Secondary Craters plays a second time, starting all over again from the shamanistic introduction. The dunes, the ground, the water....

White & Green Heavy Splatter Vinyl !

The 5th album, was billed as, ' A Voyage of pure exploration beyond the broad established horizons of electronic music.It is an adventure into perceptions of an unparallel universe all it's own'. Originally released in 1998 on CD only! A one track album 42.10 mins.

a sound collage of oscillator noises and sounds with percussion. Available for the first time ever on vinyl.

The 5th album, was billed as, ' A Voyage of pure exploration beyond the broad established horizons of electronic music.It is an adventure into perceptions of an unparallel universe all it's own'. Originally released in 1998 on CD only! A one track album 42.10 mins.

a sound collage of oscillator noises and sounds with percussion. Available for the first time ever on vinyl.

The 5th album, was billed as, ' A Voyage of pure exploration beyond the broad established horizons of electronic music.It is an adventure into perceptions of an unparallel universe all it's own'. Originally released in 1998 on CD only! A one track album 42.10 mins.

a sound collage of oscillator noises and sounds with percussion. Available for the first time ever on vinyl.

Written and recorded by Cindytalk between 2013-2015 at Roi Vert, Okamoto, Japan and Thirteenth Floor, London, UK

Film clips on Sea Of Lost Hopes, Lost Unfound and Filthy Sun: Ghost Dance (UK 1983), directed by Ken McMullen

Design/images: David Coppenhall

In praise of The Invisible College

'The Labyrinth of the Straight Line' is a compilation of chimerical poetry. Ambiguous haikus of agony, melancholy, obscurity and dissensus are unfolding over time. Walking on the shapeshifting paths of transgression, on the search for new realities since the early 1980's, Cindytalk's latest release pays hommage to their industrial roots, comprising brutalist outbursts in abstract sceneries of beauty and abysmality.

As surreal and introspective as a film by Jean Cocteau, as labyrinthic and enigmatic as a story of Borges, Cindytalk succeeds in spatializing subjectivity. These introverted detournements follow the logic of dreams and form the unsettling soundtrack of an unresting mind. The outcome can be abrasive and balearic at times, but also delicate and melancholic. 'The Labyrinth Of The Straight Line' forms an alphabet of dark and obscure detachment. Acid shivers of a body without organs and convulsive pumps of arteries alternate with poignant murmurs of the past that dissolve in tender shades of hushed despair and graceful debris.

We find ourselves in spaces with walls crumbling down or concaved by glazed mirrors terrorizing the claustrophobic body. From time to time we can hear a disembodied voice, speaking soft and clear like a narrator from a different reality.

Sonic psychogeography between somnambul dark ambient, claustrophobic post-industrial and nightmarish techno. Delightful sketches of escatology.

Nadja return on November 4th with

The Stone Is Not Hit By The Sun, Nor Carved With a Knife - their first release for Gizeh Records. The Canadian/Berlin-based ambient doom duo of Aidan Baker and Leah Buckareff continue their ultra-prolific output with a monolithic record which explores the depths of heavy noisescape-related music. Encompassing distorted riffs and hypnotic rhythms the album sonically attempts to continue on from the more structured elements

of the duo's recent

Queller album, coupling that approach with Nadja's more traditional sprawling, dense and challenging sounds.
The relentless fuzzed-out textures repeat and build into a blissful and cathartic whole - a place to be completely immersed. In the deep, glacial and all-consuming world that Baker and Buckareff provide us with here, there is a will to dissolve, to let the record wash right over you or perhaps even through you. At times crushingly beautiful,

Stone, Sun, Knife is brought to life by its clever restraints with quieter interludes serving a perfect purpose against it's more intense, heavier moments.
The album's intriguing title comes from a runic inscription on an Icelandic burial stone but the phrase also appears on the Eggja Stone which provided some of the lyrical content on the record.
Nadja have a habit of transcending genres and indeed throughout their career they have been incredibly difficult to pin down.

The Stone Is Not Hit By The Sun, Nor Carved With A Knife is a welcome addition to that hefty catalogue and stands up tall against their most impressive work.

Swedish duo Gidge present their debut album Autumn Bells out on Atomnation.

Mystery, poetry, a play of masks: artistic creation according to John Cravache. His collaboration with Versatile dates back to the beginning of the millennium. A childhood friend of I:Cube, he is 44 years old, lives in a Paris suburb, and is not a professional artist. Getting involved in writing, he has been boasting his artistic and economic independence and his crafty attitude outside of the industrial system. He gave himself time to invent a personal world, wild and funny, which eventually gave birth to the album "Cités Nomades". Even though his influences are quite varied and avant-garde (Magma, Captain Beefheart, Tom Waits), they did not really affect this unclassifiable project. Poetry and mystery come before all, because John Cravache is appearing masked.
John Cravache and Nicolas Chaix (I:Cube) have recorded radio creations since the early 90s, in particular for Chimère FM in Paris, as well as numerous long improvised music sessions. At the approach of the millennium, they embarked on the creation of an album that was not completed until sixteen (!) years later. John is a poet, accomplished pianist, and registered truck driver and Nicolas, a self-taught musician, have both made the realisation of "Cités nomades" possible.
This is not an ironic pop album, this album is simply all you want.
Listening will do you much good.

'Satan's Slave' is the latest release from Moscovitch Music (Terror/Prey), the brainchild of producer/compiler Joel Martin (Quiet Village/Velvet Season & The Hearts of Gold/Maxxi & Zeus) whose 'de Wolfe Music' compilations 'Bite Hard/Bite Harder' are considered essential primers of the library genre.

This Holy Grail Black-Magic British Jazz soundtrack from 1976 is the most requested movie score of cult film composer and top English Jazz saxophonist/flautist - John Scott (Symptoms/Wake in Fright/Craze). For aficionados of rare library music and obscure Horror soundtracks this is an essential album.

'Satan's Slave' - The original soundtrack to Norman J Warren's (Terror/Pre /Inseminoid) nihilistic tale of Witchcraft and occultism conjures an uneasy yet compelling experience for fans of exploitation OST's, and a veritable smorgasboard of dark progressive samples for the producers. The ritualistic tribal beats of 'Sacrifice' could have been culled from the KPM library catalogue (John Scott was a regular session player for them) while 'Drive to Alexander's and crash' is forgotten filmic UK Modal Jazz with a tropical flavour which harks back to Scott's legendary Columbia Lansdowne LP from 1967 'Communication', a firm Gilles Peterson favourite. 'A walk in the grounds' is pure mellow heat - fuel for the MPC 2000, with its crisp Fender Rhodes chords and 'Dusty Fingers' vibe, and 'Unused Cue' which is an additional recording we discovered on the reels is a fiery free-Jazz odyssey for explorers of the fifth dimension!

The complete 'Satan's Slave' soundtrack, which is being presented here for the first time on any format, has been lovingly remastered from the original half-inch master tapes courtesy of Sean P(Z Records), and sounds as edgy, fresh and relevant as it did back in the swinging seventies.
Pour the Absinth, switch off the lights and say a little depraved prayer!

We're particularly proud to bring you this 2xLP based on unreleased tapes recorded in 1975, way before Marianni's first LP back in 1980! After 2 years remodeling the archives at Jeangérard's studio, they now deliver a brand new 75 minute album. Not only does the music remind such bands like Popol Vuh or any GRM act (where Marianni taught himself), but also modern artists like Massive Attack or Boards of Canada!

The duo of Nate Young (Wolf Eyes, Regression) and David Shettler (Viands, SSM) return with their highly-anticipated full-length follow-up to MEQ 2LP remixes, released by Midwich in 2015 (MW-001). Humanizer is sonically diverse featuring varied modes of production throughout. Humanizer jettisons with their live staple 'New British Blues', the 10-minute track recalling Shettler's long-form work in Viands (MW-003), putting synthesizers in space, as live drums invigorate the track with an earthbound brashness. 'Cycloid' is the album's most concise, bracing and dare-we-say catchy number--a real ear-worm. 'Sea Dust' is a blasting electronic collage also featuring live drums (we think). The title track 'Humanizer' is classic Moon Pool, creepy and menacing with an off-kilter bass thump. 'A Gray Glow' continues in classic mode with thumping bass and queasy synths. 'Hospital Quiet' features pleasing, sunward-facing ambience to reassure listeners that all is good. Moon Pool and Dead Band have been a Detroit cult techno favorite since Shettler and Young joined forces in 2011. Uninitiated listeners are caught off-guard by the funkiness of the group, shaking assumptions about the group's perceived roots. We've all heard bad noise-techno records--this isn't one of them. The danceable style is one that grows organically from the duo's life experience. Moon Pool and Dead Band approach the music with respect, knowledge and humor. Humanizer is a party-starter that could have only come from Detroit.

Cryptic signals bounce between the munros and the Pyrenees as Glasgow crews Strobe Pie and Cru Servers turn out a duo of warped bangers for the third EIS HAUS release. On remix duties, YTAC inject some alcoholic disco bounce.

The tracks for the Omegapavilion cassette are three improvisations played, recorded and edited by UnicaZürn specifically for this release across one weekend in March 2015. Instrumentation comprised an ARP Solina String Ensemble, EMS Synthi AKS, electric guitar, and two iPads. Artwork by Danielle Dax.

Joe Banks, writing about the group for The Quietus: "UnicaZürn is an ongoing collaboration between David Knight and Stephen Thrower, two musicians with some serious avant rock credentials - Knight was a key member of Shock Headed Peters and songwriting partner to the divine Danielle Dax, while Thrower was with Coil for eight years and is also one half of Cyclobe. The music they make together using a variety of vintage keys and reed instruments is a viscerally organic strain of proto-ambient, strongly influenced by the pre-sequencer Tangerine Dream of Zeit and Atem. We're firmly in drone territory here, but a long way away from throwing a few synth loops into GarageBand and hoping for the best."

NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS...

Introducing Carbo Flex, aka Graeme Evans, from Sunderland UK - spotted by CPU amongst the sea of music on Soundcloud. Standing firmly in the genre of IDM where many have tried but failed to capture the necessary elements. Carbo Flex's first album and vinyl E.P. Trifolium is bursting with beautiful synth melodies and challenging but on point percussion reminiscent of early Autechre, Jega and Mu-ziq. An alien, addictive and essential addition to any IDM aficionado's collection.

Part of a limited binary catalogue series.

Hazel following the newcoming Blaník tradition with this piece of various ambient/experimental adventures.

Patrick Cowley is an electronic music trailblazer and a revolutionary in the canon of disco music. He created his an original brand of Hi-NRG dance music, "The San Francisco Sound." Born in Buffalo, NY Patrick moved to San Francisco in 1971 at the age of 21. He studied at the City College of San Francisco where he founded the Electronic Music Lab. During this time, Patrick, along with his classmates Maurice Tani and Art Adcock, would create electronic pieces using the school's equipment: first a Putney, then an E-MU System, and finally a Serge synthesizer. The Lab was interested in creating sounds that mimicked nature, like drops or birds, and also very unnatural sounds unattainable any other way. Patrick was a young alchemist discovering new elements all around him. He would layer experimental soundtracks by blending various types of music and adapting them to the synthesizer.

In 1972 Patrick was living in the Haight-Ashbury neighborhood with some friends from back east. Through these roommates he met Candice Vadalla, a singer, actress and art student from Queens, NY. Candice would later take the stage name Candida Royalle becoming a pornographic film actress, a producer and director of feminist erotic films, and a sex educator actress before passing away on September 7, 2015. Candice was performing in shows with Cockettes splinter troupe The Angels of Light as well as performance projects Warped Floors and White Trash Boom Boom she formed with friends. Patrick arranged, embellished and recorded music pieces for these theatrical performances in his bedroom studio. Candice, meanwhile, played both musical muse and sex goddess to Patrick. Playfully enamored with each other, the pair became occasional lovers, the sexual energy fueling their musical collaborations and improvisations. In the collection of pieces compiled here, Candice's sweet, melodic and playful voice hints at the more public persona she would cultivate as Candida Royalle. Influenced by Tomita and Wendy Carlos, Patrick crafted his electronic sound from synthesizers (Serge modular, Electrocomp system, Arp 2600), percussion, modified guitars, and hand-built equipment. Candice's multi-octave range chirps, soars, and growls, going into operatic staccato runs a la Yma Sumac and 'Illuminations' era Buffy Sainte-Marie. The vocals add an organic, human element and at times lyrics can be deciphered such as in alchemic adaptation of the Latin hymn Tantum Ergo.' As a bonus included is the sultry, jazzy Tomato Song' that Candice sang a capella for the Angels of Light 'Kitsch-On Show' in 1973.

Featuring over 30 minutes of music recorded between 1973-75 found on tapes in Maurice Tani's attic. All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features an alluring photo of Candida seductively sprawled with a broken Virgin Mary statue around her head, originally commissioned by Jorge Socarras for an Indoor Life single, and shot by Arne Svenson. Each copy includes a 16-page booklet with never-seen-before photos, interviews and liner notes from Patrick and Candida's friends, roommates and musical collaborators. Released on the week of Patrick (Oct 19) and Candida's (Oct 15) 66th birthday, Candida Cosmica' presents a glimpse into the liberated, playful wonderland that San Francisco was at the time. These recordings shine a new light on the early experimental collaborations of a disco legend and of a feminist pioneer who were taken too soon.

Gamayun is back to the Udacha universe strictly from own cosmic dimension to invite you to a special music journey. No bad trip guaranteed.

After some acclaimed productions on Unknown Precept, PRR!PRR! and Mannequin Records, we are really excited to announce 'Laugh Tool', the debut full-lenght of Maoupa Mazzocchetti, pseudonym of Florent Mazzocchetti, young and talented French producer based in Brussels.

Maoupa Mazzocchetti is finally bringing back to life the earlier days of electro-industrial, in a mixture that is very close to the late 70's/early 80s period of Fad Gadget, Throbbing Gristle, Portion Control, Cabaret Voltaire and Front 242, crossed with the more fresh and innovative deep electronic experiments of Beau Wanzer and Charles Manier. Strongly addicted to a DIY ethic, and so to a punk ideology and anticonsumerism, most of Florent's releases are recorded in his bedroom without any professional equipment, using analog synth and sequencers, modified drum machines, tape loops and a load of pedal effects.

Florent started to experiment with the rhythm since his early age. Developing a passion for the drums at the age of 10 years, soon after he was moving to rock records and guitar, which became his instrument and one of the keystones of his perception of music. Florent approach with rhythm and drums was never traditional, making him feeling more a researcher than a musician.

To an audience of contemporary electronic music consumers, who had only closely followed techno, electro and disco, the sounds of 'Laugh Tool' will appear unearthly, entirely unexpected, withering comets of strangeness. A 10 tracks album ready to change their minds...

...the Symbiosis piece by Malcolm Pointon was very interesting and is the kind of use synthesizers should be put to. Synthesizers should explore new sounds rather than imitate conventional ones... Practical Electronics Magazine c.1975

Malcolm Pointon was born in 1940, Stoke on Trent. He spent his life and career in tape, synthesizer and keys, academia, sound, music and machine. Here, for the first time, Public Information and Ian Helliwell present the rarely heard works of Malcolm Pointon. With permission given by Malcolm's widow Barbara, Helliwell has compiled an LP of material taken from master tapes of home-recorded, never released electronic material.

Following a period at the BBC, Malcolm joined Homerton College, Cambridge, in 1969 and it was here where he would discover his electronic-muse. Inspired by Stockhausen and the surge of avant-garde tape music, Malcolm began to build compositions at home using a 4-waveband radio and multi-speed tape recorder. His first piece using these techniques is the skittering Radiophonie' which opens this LP.

After mastering tape-music, Malcolm began reading, and eventually contributing to, Practical Electronics magazine (edited by our own F.C. Judd no-less). He and engineer cohort Doug Shaw entered an electronic music construction challenge' in 1973 - and so a battery powered, stylus activated self-build synthesizer was presented to the dedicated circuit heads of Practical Electronics. The Minisonic was born.

Many of the pieces on here were produced using the Minisonic, including the staggeringly heavy centerpiece of this album Symbiosis' - replete with Malcolm's own introduction. Elsewhere, Pointon takes us down pummeling arpeggiated rhythms ( Sonata Elletronica), mind-melting-inside-beehive tape pieces ( Poreira', Boogie'), freaked-out concrète trips ( Trojan Woman' Then Wakes the Ice') and shimmering noise works like the beautiful, Study 2'.

Malcolm Pointon would be cruelly diagnosed with Alzheimer's at the age of 51. He became unable to operate his studio and so his rare gift to electronic music was gone, until now. Public Information and curator Ian Helliwell are incredibly proud to share Malcolm's music with you. We will be sending all profits of this release to the Alzheimer's Society, helping to support people with dementia and their carers on their long journey, right here and now.

Mastered by Rashad Becker at Dubplates and Mastering

2016 - 2017 will also witness a series of electronic music events raising money for the Alzheimer's Society. Memory Dance. Look out on social media for more news forthcoming.

Nicola Ratti holds a rich history in the world of experimental and minimalist composition, having released music under his own name on labels such as Kning Disk, Anticipate, Preservation, Holidays, and Senufo Editions and in recent times concentrating his energy into his collaborative project 'Bellows', work which has seen the light thanks to Entr'acte Records and most recently Boomkat Editions. His latest solo work 'Pressure Loss' finds Ratti at a potential turning point in his musical career, exploring rhythm and tonality with a new vigour, in a way which embraces the fluid and consistently evolving modern world of electronic music, yet still references a history of electronics, limiting his sound palette to work only using the Serge and ARP Modular Synthesizer.

Bass, rhythm and melody, those basic ingredients of musical composition, are always present throughout the 8 compositions Ratti presents here, although it is almost like this balance was only briefly explained to someone who had never heard a conventional music piece before and was then left alone to improvise with the recipe with deep curiosity. A devastating pulse runs throughout, acting as a basin for a world of strange syncopated rhythms caught amid sonar blips, ghostly serrated hi-hats and dripping stalactites. The fluttering melodies that creep around the compositions' edges sound like a tentative and childlike version of grime's simple but visceral paranoid hooks.

There is in fact very little that is conventional about Ratti's music. There is pace and pulse but only the most oblivious or bloody minded dancer could keep moving to it. While Nicola's sonic vision occasionally encroaches on territory reminiscent of Pierre Schaeffer jamming over a old Hype Williams cd-r, there is a trove of isolatory emotion, brooding tension and even playful intent to be gleaned from the enveloping tones of 'Pressure Loss'. Ratti has here created an absorbing world of rhythmic idiosyncrasies, otherworldly tonal experiments, minimalist moments of beauty, and understated environments of menace and suspense.


Ratti says of the record - 'Pressure Loss was recorded at Worm's studio in Rotterdam during October 2014, where the creative and compositional process took place via a very limited palette of sounds and elements. The aim was to achieve a complex rhythmic ensemble whilst limiting myself to 8 low frequency oscillators through 8 modular filters patched together with few variations. This album freezes a moment within Ratti's musical research of the rhythmic possibilities achievable by using the fundamental and not complex elements of modular synthesizer systems'.

We are proud to announce the double LP edition of echospace's phase90 project, lovingly remastered by Bazza (Abbey Road Studios/Thom Yorke) @ Alchemy Mastering, London. Features unreleased new material and beautiful silk screened metallic sleeves and art direction from the very talented Lindsay Todd of Firecracker Recordings & House Of Traps. The entire album was bounced down to 1/4" analog tape prior to remastering to preserve the integrity of the masters. This project was deeply inspired by the possessive quality of supernatural textures, field recordings and found sounds conducted at the Calvary Cemetery. There's something quite haunting in the underlying tone of these recordings, an ominous feeling not for the fainthearted. "Illuminati" celebrates the progression of the soul, a concept which stems from metempsychosis. The material on this album can be interpreted as sinistral--dark,, heavy due to the hardware and its currencies emitted by its source--the phase 90. An acidic dream of transliminality, this is the first Phase90 project to materialize in its essence, until now.

- Screen printed sleeve

- Etching by Anna von Hausswolff

- Strictly limited edition of 500 Numbered and signed

Track listing: Side A Källan (Betatype) pt 1 12' 10" Side B Källan (Betatype) pt 2 9' 21"

Performers:

Anna von Hausswolff - Acusticum pipe organ

Ulrik Ording - drums

Filip Leyman - synths

Karl Vento - guitar, zither

Joel Fabiansson - guitar

Written by Anna von Hausswolff, inspired by Walter Ljungquist's Källan

Recorded, produced and mixed by Filip Leyman

Mastered by Hans Olsson Brookes