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Bokeh Versions presents more outernational transmissions from the fringes of dub music.

Moving from light to dark across 45 minutes of dub electronics, New Teeth for an Old Country references Jay's native Greece - steeped in glacial classicism it's refined and dark as hell. This is dub strictly in the abstract - snatches of horns, a distant scream of organ - Jay Glass Dubs comes across like some bedroom-producer Bauhaus sacrificed to the On U Sound mixing desk.

BKV 007 follows an under-the-radar run of 'Compound Dub' dubplates and the hottest dancehall mixtape of the year (Glacial Dancehall) on Bokeh. Jay recently completed a trilogy of tapes on Hyle Tapes, THRHNDRDSVNTNN and Seagrave. Forthcoming releases on The Tapeworm and anòmia foreshadow his debut 12" on Bokeh Versions next year (featuring a very special guest on vocal duties).

Jay Glass Dubs is an exercise of style by artist Dimitris Papadatos focusing on a counter-factual historical approach of dub music, stripped down to its basic drum/bass/vox/effects form.

"Jay Glass Dubs dives into the methodology of dub more deeply than anything since Creation Rebel's epochal Starship Africa"

Tristan Bath, the Quietus

100 copies, strictly limited c45 and digital.

" ..., to consider the Song Books as a work of art is nearly impossible. Who would dare It resembles a brothel, doesn't it" John Cage.

Volume 3 in the PERIHEL series on KARLRECORDS is dedicated to one of the most iconic composers of 20th century: JOHN CAGE. All 92 pieces of the "Song Books" in stunning interpretations by REINHOLD FRIEDL, recorded at RASHAD BECKER's Clunk Studio who also contributed live electronics.

JOHN CAGE (1912-1992) is one of the most important composers in modern music: with more than 250 compositions, many of which are considered key works of New Music, and theoretical essays on composition he significantly changed the way we think about and perceive music today. But CAGE not only left a major impact in the academic world, he is also cited as an important inspiration by a wide range of diverse musicians from a younger generation, be it electronic producers, experimentalists or noise artists. His "Song Books", published 1970 in threevolumes, is a collection of open works that contains not only songs but a strange hybrid collection of compositions, graphic scores, meditation rules, experimental settings, absurd musical instructions, performance settings, musical references, and Fluxus-inspired actions such as eating fruits or drinking cognac (CAGE loved whiskey and cognac) ...,

When REINHOLD FRIEDL (director of the ensemble ZEITKRATZER) entered the CLUNK Studio to record the whole cycle with RASHAD BECKER (who handled the feedback cabinet and live electronics), the idea was quite simple: to approach each single piece in an informal way but to do all 92 pieces in the right order. What came out in the end is a kaleidoscopic lecture and interpretation of the compositions with the help of a strange mixture of ancient and modern tools: new electronics, old and special microphones, self-built instruments, arbitrary garbage sounds, sophisticated live-electronics devices, quotes ..., "Complete Song Books" turns out to be an early hymn for sonic freedom, a sonic promenade full of beautiful references.

All music composed by John Cage

Constructed by Reinhold Friedl

Performed by

Reinhold Friedl: voice, toys, wooden games, metal objects, complex objects, microphones, garbage, ...,

Rashad Becker: feedback cabinet, live electronics

Mastered & cut at D&M, Berlin

Artwork by Lillevan





















































[ZZA] 53. Solo for Voice #53
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[ZZZL] 90. Solo for Voice #90
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[ZZZN] 92. Solo for Voice #92

Professional Sunflow is the first-time collaboration between Laraaji & Sun Araw, two colossal forces in contemporary electronic music. Laraaji's musical radiance has continued to shine brightly over four decades since being discovered by Brian Eno in New York's Washington Square Park in 1979. Sun Araw emerged out of Los Angeles' experimental scene in 2008 with transformative releases on a variety of trend-setting labels (Not Not Fun, Drag City and more).

The live performances on this double LP - recorded in Germany and Switzerland - combine prewritten elements and improvisation. Laraaji's soulful vocals and signature instrument, zither, blend beautifully with the free-floating rhythms of Sun Araw's Cameron Stallones (guitar / keyboards) and Alex Gray (computer synthesis) to shape Professional Sunflow's unique sound: dreamy layers of percussion, ambient textures and vibrant melodies.

W.25TH is proud to present Professional Sunflow as our inaugural release. As a sub-label of Superior Viaduct, W.25TH will focus on inventive sounds from current artists. Forthcoming releases include Nazoranai (Keiji Haino, Stephen O'Malley and Oren Ambarchi) and the (as yet unnamed) collaboration between Richard Pinhas, William Winant, and Comets On Fire's Noel Von Harmonson and Utrillo Kushner.

Kreidler's Detlef Weinrich digs back into his solo archives and furnishes the excellent Antinote Records with a series worth of unreleased jams. BIG TIP! You can trail away with it. It is easy to enter, but hard to drop out. Tolouse Low Trax just needs an MPC, a small Synthesizer set up and some effects to create subliminal hypnotic music trips, driven by dark synthlines and drunken shuffled patterns. The primitiveness in my music is linked to something simple, and that don't have to be obligatory minimal. For me it is enough to dance rough around the core. Music you don't shape till the end contains of a moment of beauty. A veil of secrecy. I work very simply. I rather reduce my possibilities in ompass. Limitations offer lots of liberties.' He reveals about his work ethic. Even if his music sounds darker then any ever experienced night, he mostly produces it in the morning in his highly inspirational studio home. During the dark times of the day Tolouse Low Trax mostly performs live around the globe. Or hangs out in his second home: the Salon Des Amateurs club bar in Dusseldorf, which he once founded and where he held until today two weekly DJ residencies. The moments and atmospheres he inhales during these lightless moments are mirrored in his shadowy music, about which he also confesses: My art is more a cinematic, literally idea of a large to explore Megacity. This is one of the pictures I would link to my music.' On ' part one he now offers five sounding visions about that Megacity'. They listen to mysterious names like Hidden Flat' or Studies in Drama'. They are nervous. They have ephemeral pieces of dub, Industrial, wave or Italian library music. And at times strangealienated voice samples dance within his highly addictive arrangements. Words can't express their magic. But one thing is fore sure: his hypnotic dance-not-dance tracks do not only illuminate so-called freaks!

The second Wanda Group LP on Opal Tapes sees camouflage alter from the greyscale negative sludge of the earlier Piss Fell Out... LP into a dramatic and more dynamic sound-world. Field recording, stochastic process and tape drag combine with Wanda Groups wit and reflectivity on the banal and the life changing aspects of the everyday and the process of the body ...moments recurring multiple times or bookending others to form oblique poetic sentences. The results function like a particularly cryptic, labyrinthine mini-mixtape... Johnstone's relationship to the current crop of noise-techno fusionists is only passing, mostly this is an album of weightless moments: delicate washes of electrical hum, amplified grit in the wires, burbling synth clusters and stringently buried melodics. What's remarkable is the pathos that Johnstone wrings from these most microscopic of sonic phenomena.â - Angus Finlayson / Resident Advisor

The 27-minute piece 'Needle Six' is a BBC recording of an
improvised session between Masayoshi Fujita and Guy
Andrews that took place at the prestigious Maida Vale
Studios on October 26, 2015. Recorded as part of BBC Radio
3's Late Junction the performance continues the show's tradition
of introducing two musicians on stage for the first time and
documenting the unpredictable and compelling sounds, which
unfold. Following on from Masa's label colleague Nils Frahm,
who also improvised with Ghostpoet on a previous session,
both Masayoshi and Guy were encouraged to abandon their
usual respective preparations and adopt a totally new approach.
On the subject of expectations and preparations Guy explains:
"I was pretty excited, but equally had feelings of being out of
my depth. Despite it being amazing, I actually tried to not listen
to Masa's music too much until a day before, as I knew I'd
potentially end up over-analysing it and not putting my own
style on the session. Having very little music theory knowledge
under my belt, and being known for doing things by ear, meant
being matched with a classically trained musician was
reasonably daunting. I decided to only prepare by making some
field recordings in the week before, and trying not to think about
it too much."
Masayoshi expands, saying: "basically I am not an improv guy.
I do improvise with certain other musicians but we usually have
some rough plan. This time was different, so I just tried not to
think too much and see how it goes. I think it made sense that
I only played acoustic and Guy played electronic stuff. It made
our approach more simple and clear. I think both sounds
complimented each other very well."
Masayoshi Fujita, the Berlin-based Japanese vibraphone
player, came to the attention of Erased Tapes founder Robert
Raths a few years ago. Not only because the vibraphone is an
intriguing instrument, but also the way Masayoshi treats his
instrument and draws ethereal and layered sounds, is what truly
attracted him to Masayoshi's work.
His new LP 'Apologues' saw Masayoshi for the first time use an
array of instruments besides his lead instrument - such as the
violin, cello, flute, clarinet, French horn, accordion, piano and
snare drum played by friends, but arranged by Masayoshi
himself. Guy andrews is a London based producer who is best known for creating textural electronic music which combines an array of influences from post rock, techno and ambient to afro to afro-beat inspired genres. Guy has since released on a number of acclaimed labels such as Hot Flush and Pennyroyal, scored for the acclaimed photographer Nadav Kander, as well as collaborated with
Massive Attack's Robert Del Naja for a remix of his well
respected 'Battle Box' series. On March 4th 2016 Guy released
his debut album 'Our Spaces' on Houndstooth.
'Needle Six' will be released by Erased Tapes in collaboration
with Houndstooth on April 16 - exclusively for Record Store
Day 2016.

Producing and playing under Chymera for more than 15 years, Brendan Gregoriy's distinctive take on house and techno has seen him play at iconic venues like Panorama Bar, Womb, Output, and Rex Club, and release music on respected labels including Ovum, NRK, Delsin and Cocoon.

2016 sees Brendan take on a new alias...

"I'd just finished a particularly grueling album and I just didn't enjoy the process.," Gregoriy describes. "Around that time, I started listening to people like Steve Moore & Oneohtrix Point Never and it blew my mind. I tried making a few sketches and realised that I enjoyed it a lot more and this became a gateway into discovering ambient properly."
Inspired by the sounds of artists like Klaus Schulze, Biosphere and Abul Mogard, and finding renewed focus in creating without external pressures or deadlines, Gregoriy's ambient experimentation emerged, fully-formed, as Merrin Karras. His debut album under this moniker, Apex, has been announced for a June 10th release on A Strangely Isolated Place.

Written and recorded in two Berlin winters, it's a record driven by a widescreen contrast between celestial beauty and engulfing black hole intent. Flawlessly produced, Vangelis panorama and vintage sci-fi exist in a space where drums and rhythmic elements have been willfully stripped out - and where the synths can truly breathe.

The process of album creation benefited from new freedoms that Gregoriy bestowed upon himself. "I decided to set myself a few ground rules for the music: no drums or percussive elements and no samples. They helped me to focus but, in a sense, it's not such a drastic shift. I've always made melodies the focus point of all my tracks and it was quite liberating to make music where I didn't have to worry about the best way to arrange it for the dancefloor."

The results are remarkable. Combining his gilded production with an armory of hardware (including the Moog Minitaur, Vermona Mono Lancet, Juno 106, Nord Rack 2, and the Korg Monotron) Apex serves as both a modern ode to the synthesizer and a reverential nod to the early pioneers. Freed from the focus of the club, it allowed Gregoriy to craft a narrative; each track following a similar arc as the tension builds before dissolving. From the spectral ebb and flow of title track to the Blade-running intent of "Elevate"; the unsettling darkness of "Severance" to the star-lit swirl of "Liberant", these beat-less constructs bloom and exhale with an uninhibited cinematic purpose.
"I wanted to make something that I could listen to when I travel, something I could enjoy just for what it was," he concludes. "I only realized when I was about 80% done that I had the makings of an album, and one I actually liked through and through. I didn't want to take any tracks out, or make other ones to add to it. I'm really proud of the album because it's something that I still listen to and enjoy. Hopefully other people will feel the same."

Apex will be available on limited edition double vinyl + digital download through A Strangely Isolated Place who in addition to being a record label, is a highly respected music community dedicated to bringing focus to inspirational electronic and ambient music. Apex is the label's third artist specific release, following Arovane & Hior Chronik's In-between and Markus Guentner's Theia in 2015.

A 30 minute performance by Aleks Jurczyk called 'Footfalls'. Footfalls was inspired by work of Samuel Beckett, specifically his play of the same name and his themes of repetition, call/response and decay. A footfall was synthesised and broadcast on FM with the received broadcast then routed back through a modular synthesiser, processed and the resultant controlled feedback recorded live while being broadcast as part of the Radiophrenia festival 2015.Collected here on C30 tape, individually hand wrapped in risograph printed bible paper and sealed with a Hells Teeth sticker.

group A started in Japan in 2012 by Tommi Tokyo (synthesizers, electronic rhythms, vocals) and Sayaka Botanic (violin, tapes, voice). Since the beginning this project has been developing a very unique sound and image blending performance art and DIY post-punk. Their music could be described as a clash between UK industrial and Japanese underground from early 80s. Their shows are very conceptual and stagey with the use of looped projections and original outfits. Group A have been playing their mix of spiky noise, no wave minimalism and sinister cabaret on the road for the last four years. It's taken them from Tokyo to London and their present home in Berlin.'Wire Magazine, July 2016. After some releases on digital format, cassettes and self produced CDs, including a 2-track collaboration with Tom Furse (The Horrors), their last album '70 + a =' is finally pressed on vinyl with a brand new extra track ('Deadly 16'). Deluxe edition with fine black paper silk-screened jacket and an exclusive insert with some graphics and notes.

The word innovative and groundbreaking is dished out a lot these days but in this project the facts speak for themselves. Mn'JAM experiment have turntables doing it all from atonal sounds to melodies, rhythms or even harmonies, visuals synchronized in real time with the music, electronics in conjunction with electric and acoustic instruments, live looping and even quirkiness, just to name a few. It's like being immersed in a live art experiment where conceptual laws give way to superb executions.

If you zoom in on the music, the multi-medium integration also occurs. You'll find a mix between empirical and rationally constructed elements, between acoustic, electric and electronic instruments, urban rhythms and traditional melodies, vocal loops and guitar solos, turntables and acoustic drums.

This experiment breaks away from just being another project that uses poetic and metaphorical delights to describe what they do and is literally a new platform in jazz.

Melissa Oliveira - voice JAM - visuals/turntables Virxilio da Silva - el. guitar Matt Adomeit - Bass Tuur Moens - Drums

On his project HUE, British multi-instrumentalist Simon Goff explores the musical space between minimal music and drones, music performance and installation.

After being a member of Leeds (UK) based cult-pop band Hope and Social for 6 years, known for their inclusive brand of music making, Goff is now further exploring how to involve spectators and other performers in his creative process. Relocating to Berlin in 2015, the home of experimental electronic music, Goff is a regular collaborator with the likes of Andrea Belfi (Constellation, Miasmah), Aidan Baker (Alien8, Brokenspine) and Pete Simonelli (Enablers). His interest lies in challenging his up-bringing as a classical violinist and deepening his understanding of the sounds that have surrounded him for over 20 years, engaging with electronics to enhance his ability to include other people in the music creation process, for him the most important and enjoyable part of being a musician.

Created with visual artist Sebastian Kite (Royal British Society of Sculptors) and choreographer Lisanne Goodhue (Sebastian Matthias, Tanz platform 2012, 2014), HUE is a work that challenges the traditional notions of dance performance, concert music and visual art exhibition. Using colour as a bridge between their practices, the artists designed an experience that allows people to choose their own method, pace and duration of reception. HUE focuses on the spaces between mediums, encouraging sensitive observation through repetition and change. The sound is created through a series of motion sensors positioned throughout the space that trigger samples and musical devices engaging participants in the sonic creation. Taking inspiration from Terry Riley and his contemporaries, the musical performance follows a modular score allowing an improvisatory approach to interacting with the musical proposition created by participants movement. The result is a soundscape, shifting through ambiences that engulf the listener, propelling them on a journey through colour.

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Simon Goff is a British multi-instrumentalist, improvisor, producer and composer currently based between Berlin, DE and Yorkshire, UK. He is a classically trained violinist who also spent his formative years studying bass guitar with Herbie Flowers (David Bowie, Lou Reed). A regular touring musician he has collaborated and performed with the likes of Aidan Baker (Alien8, Brokenspine), Bee and Flower (Neurot), Andrea Belfi (Constellation, Miasmah, Nils Frahm) and more. His own music focused mainly on string instruments and electronic processing and in recent years he has written music for dance, film and sound installation. He has performed and shown work in Europe, America and the Middle East and since mid 2016 he has been part of the team at Vox-Ton studios in Berlin working on records for the labels such as Erased Tapes and Naxos as well as film soundtracks with composers Hauschka and Dustin O'Halloran.

The recording debut of a collaboration between Jordan 'Jordache' Czamanski and Ilya Ziblat Shay. Three freestyling chunks of hallucinatory electronica and freaking jazz, plus a sublime remix by Parisian maestro I:Cube, with MT's wild keyboard lines, distant bells and general insobriety threading a tactile, sunrise-friendly house groove. Tropical jazz-funk for the synthesizer generation. Call it Balearic and die.

New 12 by highly regarded DJ Nervoso. From Principe -

"We can't stress enough the importance of finally releasing an EP by scene originator DJ Nervoso. This release features newer tracks alongside unreleased older (we should really say Classic) ones, demonstrating the level of perfection he attained early on. Nervoso is the main reason why DJ Marfox, DJ Firmeza and many others started deejaying and producing, hooked on his fiery DJ sets since they were barely in their teens, around 2001-2002.

He is well known for a bare bones approach to rhythm, working the basic hypnotic feel of pounding drums to mesmerizing effect, in his permanent quest to make people move. His sound is meant to unite, not divide, the dance floor. Even before he started producing, Nervoso was quick to perceive that some people were alienated in parties where Angolan kuduro got played, for the simple reason they didn't command the specific moves associated with the style or its variations. So his production focused on adapting the beats of this much-loved dance music, changing the codes for a more inclusive experience. Some call it techno"

Gentlemen, this is a leap year, therefore it is a year and a day since our last annual meeting.' - The Hell Club, Glasgow.

Helena Hauff - Lovely stuff! Really like the first song, beautiful!

On his riveting debut for Rabit's Halcyon Veil, Jesse Osborne-Lanthier hacks club, classical and
avant-garde music in a visceral, time-warping car crash of styles perceived from a multitude of
angles with unflinchingly candid, cinematic sound design under the urgency of accelerationist
tendencies.
Wrenched into being just ahead of his rumoured Raster-Noton release and some months after
the obsolete technology salvage of C L S M with Grischa Lichtenberger, Osborne-Lanthier's latest
work is p'raps best described as a sui-generis, intemporal laceration of contemporary electronic
music, consolidating the memes of noise, grime, avant-classical, computer music in a scrolling,
vertiginous simulation of video game sound design violence, racial and cultural tensions, political instability, and the virality of social networks.
It's sensational stuff in the most bruising, breathlessly beat-em-up 1st player style, but executed with a clinical approach that practically sutures as quick as it cuts, as though operated by a
squadron of invasive nanobot drones programmed by Burroughs and Shane Carruth to decimate the present and let encrypted future codes bleed thru in the milliseconds of strobing space
between.
Unfortunately we're not up to AI speed yet, but, like Autechre, Osborne-Lanthier appears to be attuned to their level of cybernetic computation and emotion, conducting a symphony of pure physics encrypted in cultural and esoteric references between the mechanized slaughter of North Face Killah and the TCF-alike proprioceptive headf**k of Velocity, Bilocation, Pyrokinesis feat. Bataille Solaire, taking in the fragmented data bursts of Mi©rochipped and the strangely ancient-futurism of Weed Kit's hydraulic chronics, which feels to theoretically emulate the effect of THC on a cybernetic mind.
Seriously, if Elon Musk needs an artist in residence for his mission to Mars, send for Osborne-Lanthier.

We're extremely pleased here at Invisble Inc HQ to be releasing this amazing new album by veteran multi-instrumentalist and ethno-musicologist Jon Keliehor.
Originally from Seattle and musically active since the 1960s Jon started out playing drums and percussion in bands like The Daily Flash and Bodine all the while becoming known as a venerable session and touring musician in his own right. Not many people can claim to have played alongside Jim Morrison AND James Brown....but Jon certainly has.
Moving to London in the '70s where he lived until the mid '80s, Jon started composing music for theatre, drama and dance. During this time his own work veered toward the more experimental and it was during this period that two of his 'cult' library music albums saw the light of day (East Meets West on Bruton and Avantgarde on Studio G).
Returning to Seattle in the early '90s Jon joined Gamelan Pacifica where he developed his knowledge of Javanese and Balinese gamelan and for whom he became a primary composer of non-traditional pieces. In the late '90s Jon moved to Glasgow with world renowned percussionist (and his then partner) Signy Jacobsdottir and they both became staple members of Gamelan Naga Mas with whom they are still active today.

Here's a new remix record from Aaron Spectre, an American producer known for building bridges. Nearly a decade after his first "Amen, Punk" vinyl was released in Japan and became a worldwide underground staple, he's back refining the energetic hybrid sound further. Jungle Boots is four tracks of genre-unifying white label goodness, flawlessly cut to vinyl and ready to rock.

Mysterious, super-advanced, future classic white label that has been causing a bit of stir amongst the heads.... very limited, get it while you can !

Now for some Japanese psyche and experimental music of the mid 1970s. Do not expect any lush pop harmonies from this music collective formed in 1974 which was at least active up to the early 90s. GEINOH YAMASHIROGUMI approach psychedelic music with from a rather krautish point of view and their first album from 1976 about which I write this review is rather a collage of strange noises, screams, a few rhythms patterns and wide open structures that seem to be borrowed from late 1960s psyched out free jazz. And you can bet, this is an ever flowing freak out but definitely an intense and mind bending experience. I recall German oddities like ORGANISATION (pre KRAFTWERK), FAUST and others but there is another aspect in the music that is more difficult to trace down. Funk and jazz rock with a breathtakingly smouldering atmosphere you would rather expect from English groups emerging from the Canterbury scene like SOFT MACHINE or some of the rather jazz oriented Italian progressive acts. But all in all GEINOH YAMASHIROGUMI find an even more radical way to express their feelings and make their inner visions manifest in sound despite a sweet smoothness coming with these rocking jazz elements. Oh dear, this is definitely far from being ordinary. Choirs with typical Japanese chants add some wicked exotic tinges to the whole musical picture. If you dig progressive, krautish psychedelic jazz rock, this is exactly what you are looking for. The whole album is divided into two parts of which - Osorazan' comes closest to rock music while - Doh no kembai' seems to be a live performance of a stage play by this music and theatre collective based nearly entirely on vocals. Open minded lovers of truly progressive music from the 1970s will go nuts.

as a central point of reference of grischa lichtenberger's »la demeure/il y a pe´ril en la demeure« complex, raster-noton releases a limited edition of three 12' vinyl EPs that are accompanied by a handmade, signed and individualized screen print.
the three EPs were set up as an experiment. each of the records is guided by a word that could be described as a phantasmagoria, a delusion of the 20th century - like a metaphor that is concerned not only with its immediate meaning, but with an implication more emotional, more irrational, telling something about the mindset of the not so distant past.
these keywords already existed before the production on the tracks began and thus played the role of an indirect orientation or playground for association. nevertheless, the EPs are not conceptualized, but rather a collection of habits and strategies in relation to the titles.
common to all EPs of the triptych is the question of a connection between intimacy and the public sphere. aesthetically, the music presented on the EPs ranges from distressing and unaligned dancefloor-oriented tracks to tribal and politically charged drones to unsettling noise ballads. on »spielraum«, for example, hypnotizing music box melodies are combined with claustrophobic breakbeats. »allgegenwart«, on the other hand, presents mechanical rhythms and sawing pads, topped with high-pitched warning sounds. last but not least, the final EP »strahlung« features self-forgetful, gloomy and melancholy tracks backed by melodies that remind of a barrel organ turned upside down.

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.

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 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.

In 1979 the Fairlight CMI (Computer Musical Instrument) was launched, the year that the BBC Radiophonic Workshop celebrated its 21st birthday. At the price of a house (approx. £30,000) this state of the art piece of equipment was embedded with an 8 bit digital sampling synthesizer capable of emulating acoustic instruments and orchestras alongside the manipulation of sound effects.

For the BRW this was a major game changer, where previously, composers would spend weeks editing small pieces of tape together to create sounds. Ingenuity and creativity in music and sound was still at the forefront for Workshop members but suddenly made a whole lot easier. This 1983 collection (a first time re-release here of the complete album) celebrated these new found freedoms most notably on the opening track where five Radiophonic composers combined to add their own musical identity to a rhythmic percussive sequence from the Fairlight.

Highlights include music from the radio production of The Hitchhiker's Guide To The Galaxy and Fancy Fish based on Saint-Saen's Carnival Of The Animals which was the first BRW project to utilise the Fairlight.

Bristol-based illustrator and musician Adam Higton welcomes you back into the mossy realm of the Cosmic Neighbourhood. With each song acting as a response to a series of paper-and-scissors compositions, 'Collages II' documents the daily goings-on of an imagined world.

Sonically, this record straddles new and old, taking modular electronics, flutes, bells and softly pattering drum machines, before colouring them all with the amber glow of some forgotten, psychedelic kids' TV programme. Higton's benign toots and echoing jingles bring to mind Daphne Oram's early delay experiments or the meandering playfulness of Tom Cameron. Radiophonic and time-worn, it still somehow sounds like the future.

Way ahead of their time, Gruppo di Improvvisazione Nuova Consonanza were an experimental collective fully based on improvised music. It was the only European group exclusively made of composers, instead of simple performers. The Group tried to break the schemes by making use of new instruments and electronic effects, reinventing new timbres, using the voice in an unconventional way. They were also known for the presence of Ennio Morricone on trumpet who, at the same time (1966), was also working as a soundtrack composer for Sergio Leone's western movies!

One of Prurient's most captivating raids on the borderlands of power noise and symphonic doom rears its furious head once again for this epic gatefold reissue on Hospital Productions, 10 years on from its original release on double tape and then as a single vinyl pressing for the legendary Load Records in 2007.
Pleasure Ground stands as a key part of Prurient's golden quadrant alongside The History Of Aids (2002), Black Vase (2005) and Cocaine Death (2008), its immolating rage renders Fernow at an early crest of his energies, consolidating the hi-pitch intensity and bile of his idols, Whitehouse,
with the majestic, meditative inspirations of Black Metal and a more personalised bloodlust for unheimlich synth tones and pulsating electronic undercurrents.
Its four long tracks are riven with the paradoxes that make Prurient's music so compelling and practically a genre unto itself, meting out a sound in Earthworks / Buried in Secret that's
simultaneously nerve-gnawing yet bleakly tender, or weighing up caustic harshness with a melodic vulnerability in Apple Tree Victim that appeals far beyond the bombed-out no mans land of pure noise to intersect with the entrails of EBM in the raging but poised thunder of Military Road - one of his finest moments, bar none - and coldwave pop and fetishistic synth themes in Outdoorsman/Indestructible.
If you're willing to bite down you will find a depth of bittersweet flavour submerged beneath the tidal waves of white noise filled with nuance and vulnerability, slowly dragging you into the abyss.
Ultimately though, there's no mistaking that in the end this album is just unflinchingly fucking heavy...

'Gatefold cover with full art, booklet and sticker'

'Soil' is the first release on ( NILØS ), a music label from Third Stone, the organisation behind the fashion brand ( JULIUS ). Julius' collections and work exist in the heart of the fashion industry, showing during the Paris Men's Collection, and attracting a following from many international artists including: Nine Inch Nails / Marilyn Manson /Richie Hawtin / Ben Klock / Marcel Dettmann.

Julius has always been a crossover of music, art, and other vectors, and not simply just a fashion brand. ( NILØS ) now incorporates this and transmits the industrial ethos of the brand within a new sound-approach.

For the first release, ( ENA ) has created 'Soil', a piece incorporating the world of (NILØS ) through sound. This concept album is one track, extending over 40mins. Rather than structuring small details, the album is an atmospheric, mono tone space, created through a mixing and layering of sound. On the top of this industrial sound, (ENA ) has inserted elements of colour, creating a piece with a dramatic variation of sounds.

For the vinyl version of the 'Soil' project, the creators of the label have put together a deluxe package. A black 180g pressing housed in a beautiful gatefold cover with artwork from the ( NILØS ) collection, with a newsprint booklet and transparent sticker. The full 'Soil' piece has been edited to fit the LP format. Mastered by Lewis at Star Delta and pressed at MPO, a very limited amount of these LP's are being made available in Europe through selected retailers.

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.

Interstate 87 presents an experimental trilogy of swirling textures, crunchy glitches, and mysterious synth lines. From the introspective, wandering melodies of the title track, to the cold, expansive chords in Islay, and finally, the uplifting drone of Truckers, Interstate 87 is a meditative journey through a dynamic and nuanced sonic palette.

Yann Novak is a multidisciplinary artist based in Los Angeles. Ornamentation is Novak's first physical release on Touch and continues his investigations of presence, stillness and mindfulness through the construction of immersive spaces, both literal and figurative. On Ornamentation Novak resists modernism's problematic relationship to race, class and labour, and attempts to decouple contemporary minimalist sound work from this historical precedent. The title refers to Adolf Loos's notorious 1913 manifesto, 'Ornament and Crime,' in which the author argues that the desire to adorn architecture, the body, objects, etc., is a primitive impulse, and the proper and moral evolution of Western culture depends in part upon the removal of ornamentation from daily life. Loos devalued the labor traditionally associated with aesthetics and beauty, and equated ornamentation with the degenerate. In this context, one could consider ornamentation as a way of viewing decay. His examples as such (tattoos, fashion, style, painting, et al.) predictably fell along divisions of race and class, coding modernity as the next outward manifestation of white, capitalist patriarchy. Throughout the process of creating Ornamentation, Novak attempts to sidestep some of Loos's modernist intolerances by focusing on the labor of composition itself, rather than particular processes or structures. Novak began by incorporating specific field recordings from his archive, deliberately selected for their poor quality, awkward interruptions, low fidelity smartphone recordings, problematic frequencies. The selection of these difficult sounds, processed alongside recordings of his modular synthesizer, created a unique set of challenges for Novak where the familiar, reductive approaches would fail to be useful and ultimately abandoned in favor of more dynamic, additive, and laborious process. Unlike minimalism with its roots in modernism, or "sound art" with its conceptual biases, Novak creates a work that acknowledges these conventions, yet stands apart as a meditation on beauty, labour, and aesthetics, Ornamentation as an adornment of time itself.

Outstanding EP by Finest Ego Beat Championship Winner
Promotional support through Project: Mooncircle and Finest Ego
Limited Edition - 300 copies!
Video for "Maria Parhuzan" (End of December)
Berlin's producer wonderkid and Finest Ego Beat Championship winner Playpad Circus is finally ready to drop his debut solo EP "Phantasma" on Equinox Records - an experimental, but yet utterly banging adventure in electronic music! Exteme edits are combined with a flipped vocals, impeccable drumbeats and multiple layers of sounds and melodies. With the EP Playpad Circus enters the beatmaker scene with a completely inimitable style. Through the additional support from Project: Mooncircle and Finest Ego the EP should be another big step forward in Playpad's uprising career.

After 14 releases spanning early gospel, blues, folk and field recordings, Death Is Not The End reveal their first ever release of "new" music. A reissue of a tour tape made earlier this year by East of the Valley Blues, aka brotherly acoustic guitar duo Kevin & Patrick Cahill out of Toronto, Canada.

Recommended for fans of sprawling Bashovian raga & Fahey-esque american primitive. LP limited to 300 copies only, cassette contains unreleased live recordings.

After 14 releases spanning early gospel, blues, folk and field recordings, Death Is Not The End reveal their first ever release of "new" music. A reissue of a tour tape made earlier this year by East of the Valley Blues, aka brotherly acoustic guitar duo Kevin & Patrick Cahill out of Toronto, Canada.

Recommended for fans of sprawling Bashovian raga & Fahey-esque american primitive. LP limited to 300 copies only, cassette contains unreleased live recordings.

The next Alien Jams 12" is from rkss, entitled Cutoff EP. These four tracks were recorded in 2014 within a period of two weeks, using a Juno-60 and Vermona Retroverb Lancet. Perhaps their most dance-able release to date, Cutoff interweaves aquarian dream-like electronics throughout soggy percussion and glistening chimes. Propelling the listener forward, rkss churns through water-logged signals, while synths cut through in gusts of euphoria.

Dubbed-out cosmic pastorals and politically exasperated techno-exotica from Blackest Ever Black's most secretive and shape-shifting project. Guest contributors include Conrad and Jonnine Standish of HTRK, Genevieve McGuckin (These Immortal Souls), and Lucas Santanna. The ghosts of Les Baxter, Rowland S. Howard and Nina Simone are also in attendance. But whoever is pulling the strings remains hidden...possibly in plain view. Structurally Wreck His Days recalls the grand collective statements of This Mortal Coil or Massive Attack, but musically its dreamlike overtures have more in common with Deux Filles, Global Communication, Arthur Russell, Penguin Cafe Orchestra, Anthony Moore, even Robert Wyatt circa Old Rottenhat/Nothing Can Stop Us. It roams far and wide: from the lambent, near-Balearic piano loops of the title track, to the Audrey Horne-worthy death-jazz of 'Ghost From The Coast', and hulking, bass-heavy soundsystem weapon 'Reverberasia'. Side Two opens with the swelling, uplifting astral psychedelia of '...And I Tried So Hard', while 'I Beat As I Sleep As I Dream' reprises the bleak existential synth drift of T.T.W.F.U.'s extraordinary 2014 10', How Great A Fame Has Departed. A deep-seated socialist impulse drives the whole thing: with a dedication to women who have fought oppression throughout history, references to the Spanish Civil War and the UK Miners' Strike, and an overarching belief in the international ideal (in fact the closing 'Rosa / Kollontai' explicitly invokes the Internationale). Written and recorded over the course of 2014-15, Wreck His Days is a plea, or perhaps a requiem, for a world that embraces difference and upholds equality. Its contemporary relevance hardly needs emphasising.

"Rundgång"(Feedback in Swedish) is a track made with feedback and i would call it A.O.T's very own and personal interpretation of Dubstep with "lyrics"that reflects his wicked sense of humor.
"Woot!"on the other hand is an evil excursion in filtered frequency noises and a distorted start/stop rhythm and this is nothing for the faint hearted so brace yourself you are in for a crazy trip verging on Techno.
The " (Go Koyashiki Remix)"takes remixing to another level because Go has stripped "Rundgång"to it's bare essentials and produced a very minimal and slow pulsating track that ends with sublime pianoplaying.

British composer and experimental music artist Christopher James Chaplin studied the piano with Irene Denereaz in Vevey/Switzerland before moving to London in the early 80ies. In 2009 he was invited by Viennese label Fabrique to collaborate with electronic musician KAVA on Seven Echoes', an album released in 2010 and presented live at the Art Brut Museum Gugging in Austria. There he met electronic music pioneer Hans-Joachim Roedelius (Cluster, Harmonia) who later invited Christopher to take part in a Late Junction session for BBC Radio 3. The result of this second collaboration eventually led to the album King of Hearts', released in 2012.

In the following years Christopher Chaplin and Hans-Joachim Roedelius performed around the world, these were largely improvised performances with Roedelius on piano and electronics, and Chaplin on synthesizers and orchestral samples. Amongst others they captivated audiences in Paris (Silencio), Sao Paulo (Sesc Belenzinho), Barcelona (Primavera Festival), Iceland (Extreme Chill Festival), Vienna (Casino Baumgarten, Thyssen-Bornemisza Art Contemporary, Volkstheater), Linz (Lentos Kunstmuseum), Lunz am See (More Ohr Less Festival), Tiradendes (Mimo Festival), Madeira (MMiFF Festival) or Berlin (Akademie der Kunste and Haus der Kulturen der Welt).

October 2016 will see the release of Christopher Chaplin's first solo album "Je suis le Ténébreux , which has been partly recorded at AIR's Atlas Studio in Paris and various studios in the UK. It combines experimental musical influences around a sixteenth century text, an epitaph known as the Enigma of Bologna'. The album will also feature the voices of Hans-Joachim Roedelius and Christine Roedelius, French actress and soprano Judith Chemla and Italian tenor Pino Costalunga, as well as the text and voice of poet Claudia Schumann.

- The album is based on the Enigma of Bologna, a text in Latin from the XVI century inscribed on a tombstone near Bologna, Italy. The text describes a man named Lucius Agatho Priscius and a mysterious woman named Aelia Laelia Crispis. Not much can be said about the enigma, other than it holds a certain fascination. As André Pieyre de Mandiargues once put it: beware of resolving the enigma of the stone, lest it loses its power. Christopher Chaplin, 2016.

Hermann Nitsch Orgien Mysterien Theater - 25. Aktion
Re-Performance of the 25. Action , march 1982 in the gallery Pakesch, Vienna (Premiere was in New York 1968).
The music was released on a small gallery tape edition in 1982 - remastering for vinyl by Martin Siewert 2016

Hermann Nitsch, Austria, painter, performance-artist and composer, was a crucial founding artist of - Viennese Actionism . Exhibitions and Performances all over the world since the 60s.

The idea of the very sensual and archaic - Orgien Mysterien Theater was developed in the late 50s and is performed in variations untill today.
Nitsch works out all settings of the rituals, the feast in great detail, precisely composes days of art, performance, food, wine and music - to celebrate the existence of mankind