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Lubomyr Melnyk returns with his new album 'Rivers and Streams', the embodiment of his signature style

Ukrainian pianist Lubomyr Melnyk has often felt that his unique Continuous Music playing is akin to water - flowing and ever connected. As he further developed his technique, and the more the notes flowed, the closer to water he felt. 'I found my hands and arms and everything inside them changing from normal muscle and flesh to well... water.'

With his latest album, 'Rivers and Streams', Lubomyr focuses deeply on this connection to water, to the point where the music itself begins to embody its liquid form. Produced by Robert Raths and Jamie Perera, the album flows seamlessly from the live recordings of 'The Pool of Memories', captured in a church, to pieces entirely born in the studio, such as 'Sunshimmers' and 'Ripples in a Water Scene', which feature Perera on acoustic and electric guitar.

Amorphous, ever-changing, Lubomyr as performer becomes subsumed into the natural ebb and flow of the keys as the album drifts between nascent upstream trickles and deeply reflective passages through winding river valleys. The album reaches its climax in 'The Amazon', a 20-minute piece dedicated to the world's largest river. Raths invited Korean flautist Hyelim Kim to guest on the first part, before Lubomyr closes the album with cascades of arpeggio figures, stretching across the breadth of the keyboard with rapid virtuosity.

Following on from 2013's 'Corollaries' album and last year's 'Evertina' EP, Lubomyr's latest offering compounds upon his existing fluid signature style, and breathes an organic vitality, both nuanced and thoughtful.

"In the body of the Continuous Piano Master, the fingers and the hands turn into Water, Air and Stone. These are the three manifestations of the Continuous Technique. And for the Continuous Pianist, the fingers physically transform the music into one of these three elements.

The greatest of all miracles in the universe is Water. It is also, I believe, the rarest of all physical things in the universe. Water is the most magical and the most mysterious of all things we know! And so I dedicate this album to the Rivers and Streams of this world - in gratitude for their Beauty!' - Lubomyr Melnyk

The cover artwork shows the surface of vines captured with macro photography by French artist Marion Benoit, which Lubomyr discovered in early 2015 as the perfect visual counterpart.

'Rivers and Streams' will be released by Erased Tapes in LP/CD/DL format on November 27th, 2015.

Previous press: 'Modern classical raptures' 8/10 - Uncut
'Superb' - Mojo 'Captivating as ever' - The Wire #

Hungarian imprint Farbwechsel has built up a varied and interesting discography over its 4 years of existence. This limited edition cassette from 'Bouchons D'orelles' deviates slightly from the label's normal aesthetic, taking a more industrial/drone route with the original tracks. The remixes are also a fantastic and well thought-out edition to the release, with the S.Olbricht remix standing out

52 minutes and 39 seconds to listen this tape before it explodes!

Arthur's epic minimalist orchestral composition, conducted by the late Julius Eastman, originally out on Chatham Square in 1983 in an edition of only 320 copies is available again on vinyl through Audika records with replicated artwork and remastered audio!

150g transparent clear vinyl enclosed in silkscreened PVC cover. Mastered and cut by Rashad Becker at D&M, Berlin. Contains two locked grooves. "Brandon Nickell hardly makes room for spaces between the threads, for lines trickling downwards towards gaps and fissures, for non-hierarchical entry and exit. The economy of hacking demands a certain selectivity. Years before relocating to San Francisco from neighboring Oakland, Brandon grew interest in computational models and in engineering simulations with algorithmic overlays. In 2003, he began his Isounderscore label releasing titles for Concern, Rale and Nicholas Szczepanik, to name several, in addition to his now defunct noise project Aemae. Titles on Isounderscore often emphasize mathematical rigor and structure, with foil-embossed covers of theoretical graphs. Starting in 2010, Brandon began releasing titles under his own name with tracks inflected by speeds and haecceities, containing hyper-concatenated, generative rhythms. He released his first full-length album on CD, And If You Set This Mind Of Mine Afire Then On My Bloodstream I Yet Will Carry You, in 2010, on his Isounderscore label, followed by The Art of Memory, a 12"" for the Tundra label, in 2013. Brandon has performed live with the likes of Clipping., Holly Herndon, Rene Hell, Daniel Menche and Pedestrian Deposit. Somewhere to the side, Brandon Nickell's productions root up as continuous functions of open source programming. His Ge-stell debut situates the scrambled bustle of angular, ambient-tipped beats against a pointillist attack of deft drum programming. Passages, both near and far, branch backwards and re-enter narrative borders where events do not link conclusively, but in momentary and inexplicable ways. The result is a meticulous mesh of acid-tinged, obtuse dance beats of industrial-grade arranged in a disjointed, hip-hop indebted framework. Irreconcilable parts of systems should not be viewed as permanently given or beyond question." Click here to listen

Marvelous split mini LP from the Rathmines nook..mastered at New Atlantis by Sonic Boom, TIP!
Licked a drop from the silver tether, The vein that held the grit together, Ridges scored when grunt met bone, When shtones were shplit when shplittin' stone.
He rose from the roots in fine spirits did Lankin, And magicked up money from none. With no cause to work I'm
bone-idle and bored! And I miss the days, days shplittin'
the shtones.by Lee Eel.

Rare outtakes from early pioneering and controversial electronic jazz experiments presented on vinyl for the first time !!
This previously unpressed music provides and absolutely essential insight into Zen master experimental jazz outrider Don Cherry on the eve of his fertile Holy Mountain period which saw the composer combine all his well-travelled influences - such as the free music incubation of France and Germany with the traditional instrumentation of India, north and west Africa - then return to New York with a technicolor dream team and a healthy appetite for emerging synthesisers and electronic music. This project between electro-acoustic pioneer and Synclavier developer Jon Appleton coincided with his own history defining years at Dartmouth College where he played an integral part in the formation of one of Americas first electronic music institutions. Recording benchmark LPs for Folkways Records and Flying Dutchman Jon collaborated with Cherry to create the album Human Music which tested the boundaries of electronic sound, jazz and ethnological disciplines in a series of melodic and rhythmical interfaces that would polarise both musical tastes, pop politics and potential spiritual beliefs in the process.

Recorded in the exact same sessions at Bregman Electronic Music Studio, Dartmouth College, New Hampshire the two tracks Don and Jon did not appear on the Human Music LP and now show a glimpse of what future unisons might have bequeathed before both artists coincidentally re-located to Sweden to pursue their individual and very specific journeys into contemporary music. Released with the blessing and encouragement of Appleton himself this record is quite simply a treasure of a dream-combination from the early doors of genuine alternative popular music. These rare sides combine the creative technology that directly coincided with the dawn of Bob Moog's and Don Buchla's synthesiser revolution with the homecoming of outernational free jazz which, in tandem, spearheaded America's most radical music developments in the subsequent two decades and beyond. Don/Jon and The Human Music sessions also prelude Cherry's further imminent electronic positioning alongside Carla Bley and Don Preston (on Escalator Over The Hill) and in film soundtracks for Jean Rollin collaborator Jean-Noël Delamare and Jodorowsky's The Holy Mountain (with Walter Sear) before a hiatus from the for almost a decade. This extra glimpse of that important era, at the hands of these two pioneers, is now available in this very special package.

Over 3 years since the last edits 10", he's back with another slab of reworks of beatless music, this time taking in Afro-American Gospel and a staple rework of some 80's synth gear. Both clocking in at 140bpm.

TROPY is a new musical project consisting of Artur Mackowiak and Bartek Kapsa of Something Like Elvis, Contemporary Noise Sextet, Innercity Ensemble or Potty Umbrella fame. They say their debut album, "Eight Pieces", was inspired by the experimental films by Pedro Fereira. The music included on the album can be said to constitute an amalgam of their previous musical experiences. The eight tracks seamlessly fuse elements of improvisation, psychedelic synths, jazz rhythms and noise-rock guitars. Even though each of the pieces tells a separate story, evoking unique moods and emotions, they definitely belong together.

Jaumet is back, but not alone: he asked 3 artists to revise music from his latest album La Visite. On the A-side, we have a brand new band from Düsseldorf, called Die Wilde Jagd. We know those boys from their previous band Der Räuber und der Prinz, released on Desolat, which is a favorite from everyone at Versatile. They deliver a surprising mix of La Visite, in pure Kraut fashion. Neu is not that far... On the flip-side, the Frenchman Low Jack turns La Visite into a dub marshland, multilayered as is typical for Low Jack's music. And finally, Gilb'R delivers his own ambient version of one of the highlights of Jaumet's album; Midnight Man, a tribute to I:Cube who used to come to the studio at night.

* Tom Knapp has been active in the UK underground music scene since the late 1990s, as a DJ, musician, label owner and promoter for the Leeds-based electronic music night Vector; Knapp formerly ran the Icasea label and was in Mortal & Chemist - a leftfield duo that released on the Skam Records label

* Tom Knapp's Ge-stell debut 'Mophoc Rez' unfurls through hard edit juxtapositions and morphological destabilizations, combining the nuances of free-time electroacoustic improvisation with well-tempered granular tactility

* Tracks such as 'Apnea' and 'Ingeborg' feature recurring digital malformations and asymmetrical percussive patterns alongside crunchy digital signal processing

* Each track on the EP is a free-time computer based composition; mastered and cut by Rashad Becker at D&M, Berlin

MELT BANANA'S TEENY SHINY LP GETS REPRESSED FOR THE FIRST TIME IN AGES ON VINYL. THIS PRESSING ONLY WIL LBE A BLUEY/GREY VINYL They are headlining the Raw Power festival in london at the end of may.

MELT BANANA'S TEENY SHINY LP GETS REPRESSED FOR THE FIRST TIME IN AGES ON VINYL. THIS PRESSING ONLY WIL LBE A BLUEY/GREY VINYL They are headlining the Raw Power festival in london at the end of may.

Following her acclaimed debut 'Ett' (Editions Mego) and the subsequent Msuic EP (Peder Mannerfelt) Editions Mego is very proud to present the second full length lp by Klara Lewis.

Lewis' skill at sculpting the hermetic shines on Too as she twists her idiosyncratic vision into nine tracks of blurred rhythms and haunted backdrops. Too is a powerful statement where the individual works tread a vast landscape as dour and aggressive elements rub shoulders with warmer optimistic works. Neither looking behind nor forward these works spiral in a time of their own devising, presenting themselves as a most audacious theatre for the ear. With a strong momentum developed from an organic outset the works move into a logic of their own, forming themselves as abstract landscapes, jitered rhythms and even pop like structures.

Too is a deeply engaging display of sound and skewered sensibility which hovers the cusp of reason and eludes the concrete. The results are Lewis' boldest statement to date.

Following her acclaimed debut 'Ett' (Editions Mego) and the subsequent Msuic EP (Peder Mannerfelt) Editions Mego is very proud to present the second full length lp by Klara Lewis.

Lewis' skill at sculpting the hermetic shines on Too as she twists her idiosyncratic vision into nine tracks of blurred rhythms and haunted backdrops. Too is a powerful statement where the individual works tread a vast landscape as dour and aggressive elements rub shoulders with warmer optimistic works. Neither looking behind nor forward these works spiral in a time of their own devising, presenting themselves as a most audacious theatre for the ear. With a strong momentum developed from an organic outset the works move into a logic of their own, forming themselves as abstract landscapes, jitered rhythms and even pop like structures.

Too is a deeply engaging display of sound and skewered sensibility which hovers the cusp of reason and eludes the concrete. The results are Lewis' boldest statement to date.

Bruce returns to Hessle Audio with a 3 track EP, following his debut on the label in 2014. The A side is given over to the shape-shifting dancefloor mechanics of 'Steals', with the eyes-down 'Relevant Again' and 'Petal Pluck' completing the release on the B side. Each tune demonstrates Bruce's unique approach to sound design, and confirms his status as one of the most versatile and exciting young producers in the UK.

A true gem from the Portugese underground. Sparse electronics blended with mystic vocalism — think Ghédalia Tazartes on the coffee by Diamanda Galás.

Deep in the Portugese underground Calhau! is constructing an absurd universe in which nightmares, rural Catholic mysticism and surrealist spirituality play the lead role. Performance, movie and music are contributing to one melancholic and cruel whole. The music is deeply rooted in Roman mysticism, using the dark hand of alchemy to beseech the insane 21st century.

The duo sounds like an updated verion of Ghédalia Tazartes and Throbbing Gristle, blending tape collages and sparse electronics, not unlike the PAN back catalogue.

Foremost, Calhau! are their own isle, at the point where the Old Europe disappears in the sea.

Ú is their third album up to date, and the first release by KRAAK. The A-side builds upon 5 song particles, in which a grotesque voice float over hard samples and rough electronics. The voice sings Portuguese, or Latin, maybe French or Mongolian throat singing. Vom Grill's gurgles could be a reference.
Side B is a re-release of the limited mini-cd A Corte D'Urubu. It's one long droney piece, a result of a collaboration with a choir, recorded at the Portuguese coast. The composition is a loose interpretation of Gregorian pieces, like Stabat Mater and Veni Creator Spiritus, mixing choral works with gritty synths and sinistre opera.

Calhau! is not unlike the Portugese language: familiar and far out exotic, hermetic and poetic. The duo establish with Ú their status as the most talented duo of the Portugese Avant- Garde.

A new album by Razen with four pieces of hardcore melodic minimalism and raw dystopian deep listening.

Exclusive artwork by Bryan Lewis Saunders. Endrhymes is a ne recorded 4 pieces in which they explore a new form of Minimalism. The pieces thrive on an almost compulsory focus and improvisation — carefully developed during many concerts. As a trio, Razen erased the acoustic deep listening from their last record to explore a new territory of raw melodic and psychedelic minimalism, which refers to the massive works of Louis Andriessen.

The first and last track are raw pulsating improvisations, build out of short melodic motives, creating a slow changing arch of musical tension. The center pieces Sorcerer / Reaper destroys the musical center and drops the listener into a cold, dystopian place, left alone, subject to powers beyond him.

Razen leaves with their new album the listener no choice: immerse.

OREN AMBARCHI, STEFANO PILIA and MASSIMO PUPILLO (ZU) team up for an instrumental trip bridging post rock, drone and improvisation. "Aithein" is available as limited 180gr LP, housed in a silk-screened sleeve (artwork by SARA D'UVA) incl. DL code, and download on Karlrecords.

Since the late nineties Oren Ambarchi has been exploring new grounds as composer and multi-instrumentalist (mainly focusing on guitar), fusing a wide range of influences and inspiration from improvisation, contemporary music, modern electronics and rock, and has been building an impressive catalogue of solo or collaborative albums with acclaimed artists such as KEIJI HAINO, JOHN ZORN, OTOMO YOSHIHIDE, JIM O'ROURKE, PHIL NIBLOCK, EVAN PARKER or SUNN O))). Bassist MASSSIMO PUPILLO has gained high reputation as founding member of Italian jazz-core trio ZU and in different projects / collaborations with a.o. FM EINHEIT, MATS GUSTAFSSON, LASSE MARHAUG and both BRÖTZMANNS (PETER and CASPAR). Last but not least there's STEFANO PILIA on guitar, member of the BELFI / GRUBBS / PILIA trio, playing with MIKE WATT in IL SOGNO DEL MARINAIO and for ROKIA TRAORE and featured on collaborations with DAVID TIBET, JOHN PARISH or GIUSEPE IELASI. On "Aithein", recorded live in Bologna in april 2015, the three embark on a captivating trip that starts quietly with reductive sounds only to raise volume and intensity on its way towards an cathartic peak (or skywards, considering the album title that references different meanings of ether). Available as 180gr LP, housed in a silk-screened sleeve (artwork by SARA D'UVA) incl. DL code, or as download.

Slipping Control derives from the text piece "Tztztztzt Î Í Í...." wrote last year by Ben Vida (and published as a book by Shelter Press). Composed to act as a score, a sound piece and as raw data for electronic control source, Tztztztzt Î Í Í... became the intrinsic element that tied all different pieces of art made by Ben Vida.

House Number 44 is the first volume of The Composite Moods Collection, a new cycle of Dalhous recordings that examines the relationship between two individuals co-habiting in the same confined space - their interactions, their sense of self and of each other, and the pregnant space between. The title of The Composite Moods Collection nods to the world of film and library cues, riffing on the utilitarian idea of music 'to suit the mood' and the appealing if archaic notion that a 'mood' can be a discrete or fixed thing, a unit of feeling. Longtime followers of Dalhous will observe that House Number 44 contains some of their sparsest, most malevolent-sounding electronic music to date (see especially the brooding synthesizer throb of 'Response To Stimuli' and 'End Of Each Analysis') but some of their most disarmingly beautiful too, with indelible melodies and atmospheres as deep as thought: 'Methods of Élan', 'On A Level', the elegiac 'Lines To Border'. Marc Dall's enduring affection for neo-noir film scores of the '80s and early '90s, with their gleaming electronics and submerged existential torment, is more palpable here than ever, and you may hear echoes too of Klaus Schulze, Pete Namlook, or Eno's The Shutov Assembly - but Dalhous continue to plot their own course, obsessively and meticulously, oblivious to contemporary trends and unconstrained by historical influence; driven, indeed, by their own demons.

W WINGS are relatively new trio made up by the likes of Lit Internet, Lit Daw and Lit EYNE, who probably all have net art-leaning Tumblrs. W WWINGS come from the ashes of BWW WOYS. Of those three artists, you're most likely to be familiar with the first, whose mixtape/album "Angelysium" came out last year to critical acclaim. Now, they debut with Infinite Machine with a solid grime / experimental EP, or how they like to call it "depressive suicidal black metal music". Comprised by 4 tracks ,including one that features their long time collaborator ENDGAME.

June Records presents RR Hearse - Call of Oedipus. Completed between 1981 and 2013, Call of Oedipus is a collection of solo works and collaborations of RR Hearse with S/M, A.Rib and Mr. Cricket. The tracks were recorded live at concerts on Greek University campuses, squats, in studio as well as in RR Hearse's bedroom. This mini LP is a never released before document of the Greek underground music scene, transferred from cassettes and reel-to-reels's from RR Hearse's personal archive.

Very Limited!!

Zwischen Noise, Ambient und Minimal: Elektronische Musik, die in keine Schublade passt.

Für die Werke des Kanadiers Tim Hecker, der als einer der wichtigsten Musiker in der E-Musik-Szene gilt, eine Schublade zu finden, gleicht einer Herausforderung. Er selbst nennt seine Ergebnisse "fake church music" oder "neo metal drone". Tatsächlich verbinden seine Sounds an der Schnittstelle von Melodie, Dissonanz und Lärm so ziemlich alles, was - vielleicht - nicht zusammengehört, aber dennoch gut klingt. Mal sind das Kirchenorgeln, mal Samples von Streichern, Pianos oder elektroakustischen Komponenten, die in eine rauschend-ozeanische Klangwelt ausufern: tiefgründig, majestätisch und eine Brücke zwischen Noise, Ambient und Minimal schlagend. "Love Streams" entstand Ende 2015, nachdem sich Hecker für längere Zeit nach Los Angeles bzw. zusammen mit Johan Johanssen und Ben Frost ins isländische Greenhouse Studio zurückgezogen hatte. Das Album ist das vielleicht ambitionierteste Werk in der mittlerweile fünfzehnjährigen Schaffenszeit Heckers sowie ein konsequente Weiterentwicklung seiner Schlüsselwerke "Radio Amor", "Harmony In Ultraviolet" und "Virgins", die in den Jahren ihrer Veröffentlichung sowohl von Kritikern wie auch Fans jeweils in allerlei Bestenlisten gewählt wurden.

MUSIC VOL. is a piece of gentle acoustic excitement. Evolving around concepts of silence and sound in a profound sense, each track reveals to the listener a different emotional chamber. The intimacy provoked is deriving from the fact that VOL. is meant literally here. Similar to classical music, Pavlov is putting variations of volume and soft progressions of sound to the fore. It is these gentle, silent tones that force us to pay attention to the inner qualities of each sound, its colour and vibration, while simultaneously revealing its tactile and corporeal qualities.

Kicking cheerfully against the compression and conformity of the modern digital age, antique futurist analogue wizards metamono return with their finest, fittest album to date. Comprising Jono Podmore, aka Kumo and sometime collaborator with Can members Irmin Schmidt and Jaki Liebezeit, Paul Conboy and fine artist Mark Hill, the Crystal Palace based trio enchanted audiences during 2014 with their live soundtracks to Secrets Of Nature, early 20th century short films using new photography techniques to reveal the processes of the natural world including the lives of cuckoos and barn owls. Many of the pieces they wrote feature on the new album. It was an ideal fit for the metamono sound - organic, playful, basking in the joys of new mechanical possibilities. Recalling the early electronic adventures of Raymond Scott, Brian Eno, Cabaret Voltaire, Cluster and acid house but always bearing their unmistakable bespoke signature, metamono are as unmissable live as they are on vinyl. Do not miss this!

Recorded and mixed by Peter Rehberg at Twisted, Wien March 2015-January 2016 Mastered and cut by Rashad Becker at D&M, Berlin, January 2016

Artwork by Tina Frank

Dedicated to Thomas Jerome Newton

Twelve years have passed since Editions Mego boss Peter Rehberg released his last full length release 'Get Off' on the Hapna label. In the interim, along with running the label, Rehberg has embarked on a series of soundtracks for the French artist and choreographer Gisele Vienne. Out of this collaboration the seeds were planted for the prolific KTL, guitar/computer duo with Stephen O Malley.

After a surprise return to live performance in 2015 we are now presented with Pita's new full length document under the banner of Get In.

Get In extends the perennial Pita sound into a paradox of intimidation and beauty. 20150609 teases the juncture between the human and the tool, the improvised and composed and the analogue and digital. Aahn inhabits a field of electronic nebula, simultaneously inviting and alien. Line Angel could be a new form of minimalism for the post internet crowd. S200729 harks to an acid most splintered whilst Mfbk completes proceedings as an ambient drift underscored with classical overtones.

Get in is a beautiful, engaging and unsettling listen. A multi-headed hydra presented as the ultimate dystopian sonic journey.

* 25-year old Bristol based multi-instrumentalist Memotone (aka William Yates) returns with a bleak, beautiful and politicised new album, set for release on electronic mavens Black Acre in April.

* His new album Chime Hours' follows his stunning debut LP I Sleep. At Walking.' A master of 11 instruments, Memotone comes from a family of artists and grew up on a diet of grunge, minimal classical compositions and electronic music. Yates is also an illustrator and film composer (he recently sound-tracked a horror serial produced by Eli Roth), something that runs deep within his avant-garde productions.

* Creating an otherworldly sate of mind with sonic soundscapes, the albums roots twists around rural horror, techno and neo-classical sounds mixed with field recordings documenting archaic seasonal ceremonies. From the spiralling darkness and crackled techno pulse of Poison Arrow' to Memotone's ghostly melodies intersecting brutal electronics on All Collapsed', the album buzzes with a variation of moods and ideas from an artist not afraid to run the full gamut of emotions.

* Emphasizing texture over tone, CHIME HOURS' is heavily centered around the sounds of a analogue synthesizer, whilst also featuring live cello, piano, clarinet, violin, church organ, guitars/bass and trumpet that's given a distorted twist. The album also sees Memotone bring his voice further forward, creating brief flourishes of glimmering effects.

* On tracks All Collapsed' and You Saw the Future' Memotone toys with ideas surrounding a post apocalyptic world that's stripped bare by humans, whereas the rest of the album takes influence from The Middle Ages, rituals, civil war, gritty hand to hand combat and a fear of ghosts and the religion that surrounds them. Memotone recorded the rituals practiced at a folk celebration in a village near where he grew up, explaining that: I thought, perhaps there is a reflection of our distant future in our past. Not only the middle ages but spanning human history. We have already lived, and more importantly survived, through times as hard as the ones we are self imposing now.' The title CHIME HOURS' is taken from English folklore, which believed that those born at certain hours could see ghosts.

* Layered with abstract noises, analogue electronica and snatches of fragile melody, CHIME HOURS' evokes darkened alleyways and ethereal worlds, making for a deeply immersive album that's testament to a distinctively inventive artist.

* Featuring remixes from Fis (Triangle/Exit/Samurai Horo) and Shapednoise (Type/Hospital Productions/Opal Tapes).
* 'Exosomatic Artifacts' inhabits the world of ideas while enacting the decay of the body.
* The Sensorial Surrogate' captures and reproduces fragments of the world, surrogating them in representations. The human sensorial experience is stripped of its physicality and mediated through plastic and glass, pixels and vibrating cones. Can we still define ourselves as human, or has the sensorial surrogate turned us all into cyborgs
* Disguised doses of venom absorbed via electrical stimuli injected to the human brain: Envenomation'. An orgy of geometrical luminescent constructions of abstract realities, conceived and perceived by swarms of connected brains. A socially hyper-connected form of life or an envenomed wasteland where the vitality of the body is entrapped in a world of ideas which try to transcend it, bypassing life and propelling towards corporeal death
* Computer Worm', a virus infecting a vast biosphere of code, occupying, multiplying, and corroding from within. When are we no longer the computer and in fact the wormhen are we no longer the computer and in fact the worm

Low Jack's Editions Gravats present Black Zone Myth Chant (a.k.a. High Wolf) at his most 'floor-friendly with five tracks of mutant, refractive rhythms and cosmic melody cut-out and expanded for DJ purpose from last year's 40-minute judgement mixtape.
The collaged, psychedelic fabric of his mix is teased into new, minimalist rhythmelodies and chaotic harmonics, flipping its fragmentary ideas into colourfully-plumed,
outer-limits dance trax that sound quite unlike anyone beyond the obvious aesthetic touchstones like Hieroglyphic Being, Sun Ra or DJ Screw.
Reload Pain starts up like some Far Eastern synth phantasia replayed by khat-high Ethio-jazzers, whilst Pitchblack stirs a viscous brew of screwed vox and cranky discord lightened up with glittering celestial arpeggios, and Jail Love opens a 3 minute window of beat-less kosmiche synth contours. Night Chicks float us back to the dance on choral pads and trickling tribal drum patter, before closing with the hyper alien set-dance of Zero To One.

Erda (1972)

This piece illustrates my early research carried out in a professional composition studio. After studying every available tools and creating variably hybrid connections between them, I chose to compose several short sequences, each being the expression of a research based on a sonic manipulation and exploring a well defined sound hue. Besides, my background as a percussionist and a jazzman encouraged me to conduct a rhythmical study in each of these sequences.

'Erda' consists of seven movements:

1. Variations: a lengthy framework interwoven with granular variations.

2. Cellules (Cells): this movement comprises a group of melodico-rhythmic cells shifting from the left channel to the right channel. The slightly raucous and acid texture of the 'square' sounds, that can be heard in several movements, is a reminder of saxophone and muted brass sonorities, as used in contemporary jazz.

3. Grillons: (crickets) an evocation of the realm of insects.

4. 54 oiseaux (birds): stereotypical bird songs produced by the generators of the studio 54.

5. Erda: a tribute to the Goddess of Wisdom and the Earth in Wagner's Das Rheingold and Siegfried.

6. Genorgue: this sequence is somehow mirroring Cellules. The sound has however lost some of its aggressiveness and is getting closer to that of an organ or an electric piano.

7. Klook: rhythmical drumming figures such as those Kenny Clarke (aka Klook) used to teach me.

8. In memoriam J.C.: a tribute to John Coltrane.

Suite N (1982)

Commissioned by the Direction de la Musique and the Ina GRM.

Composed in the Ina GRM's numerical composition studio with the assistance of Benedict Maillard and Yann Geslin.

In a composition studio, musical research is never very far removed from madness. The first step is the initial work on the sound picked up by the microphone and the varieties of delirium that result from it : exaggerated amplification, inversion, transformation. Synthesizers and their crazy possibilities com next. The third step is the computer, one of the purest products of logic. All the same, the musician approaches the robot warily : he prefers his own models to formal and mathematical models, and he uses the computer like an instrument. Anyway that seems to be the choice of the computer group in charge of studio 123 at the G R M , and we may congratulate ourselves that this is the case. Thanks to the MUSIC V program. GRM's PDP 11 computer can synthesize sounds from any instrument. Mainly it can transform and treat absolutely any sound fed into its memory : sequence accumulation, contraction, drawing out of sequence, acceleration, slowing down, reversing, spatialization, filtering, speed variation, etc...., all this on a much broader scale than comparable traditional means. My intention in 'Suite N' was, on the one hand, to use solely sounds produced by the computer either by direct synthesis (MUSIC V) or by sound treatment, and, on the other hand, to work with a definite form. A, B and C correspond to the exposition of the themes. A' B' and C', to their variations. Each of the nine families of sounds represents a different instrument. Once the musical lines are established, they are re-used, together with their variations, in the development of the piece.

Jean Schwarz is an idiosyncratic figure in the world of electroacoustic music. With a dual background in jazz and ethnomusicology, he has crossed times and genres with an unwavering singularity, infusing improvisation, ballets or cinema with the art of acousmatics. 'Erda' or 'Suite N', each in their own way, demonstrate Schwarz's unique propensity for exploring sound, its cross-fertilisations and its evocative power.

After nearly a decade, Fog is back. Andrew Broder's project has been tough to trace, leaving a trail of acclaimed albums, each considerably different than the last, on notable electronic labels before disappearing like its namesake. But For Good is as much a return to what the Minneapolis auteur does best — piano, turntables, and voice caught up in a gorgeously taut swirl — as it is a foray into music without precedent: digital soundscapes seamlessly wed to guitar, bass, drums, violin, sax, and synths.

It's the sad/pretty pop of Antony and the Johnsons, Bon Iver, or Julia Holter spliced with the new noise of Arca, Shabazz Palaces, and Oneohtrix Point Never. Broder flexes his knack for better mood-building through collaboration and collage. His Twin Cities geniuses pitch in — Mark Erickson, Tim Glenn, Jeremy Ylvisaker, Mike Lewis, et al. — plus Dntel and Doseone (behind the scenes) and violinist Leah Ottman.

For Good's sonic focus isn't a surprise. In 2015, Broder produced a bleak-banging rap tape for MC Crescent Moon, covered Beach House and FKA Twigs on Soundcloud, and dropped a five-cassette drones-and-beats set for the heads. But the production here is also cleaner than ever, and likewise the vocals, which Broder honed most recently fronting his rock-ish band the Cloak Ox. The lyrics showcase an eye for observation and introspection that makes cousins of Bill Callahan and Phil Elverum, and if there's a heaviness haunting the words, it's the workingman's wont. After holding a series of random, short-lived side jobs, Broder learned a trade so he could better support his family — he's a handyman and commercial painter back home. But in giving more of his time to the grind, he conversely found himself at his most musically inspired. That push/pull is a crux of the new Fog.

Broder funded For Good via Kickstarter, and recorded parts at Justin Vernon's April Base compound (with basketball breaks) and Eau Claire studio Hive (where co-producer Brian Joseph actually keeps bees). But the album was made mostly in Broder's basement, in the company of his space heater and 3-year-old boy, Sonny. While the poetry stays oblique, these are ostensibly songs about hard work ("Jim"), stubborn love ("Trying"), and elusive purpose ("Made to Follow"). Also, being a dad. Tender closer "Father Popcorn" lets all the digitalia recede as Broder contrasts his hustle against the relief of a child's naïveté: "Sticks his tongue out, flops his earlobe... Presses his mouth to the window, blows his own cloud." And right there, in the record's final moments, the concept of "Fog" flips, from a mysterious haze that connotes dread, to a gesture that is, decidedly, For Good.

After nearly a decade, Fog is back. Andrew Broder's project has been tough to trace, leaving a trail of acclaimed albums, each considerably different than the last, on notable electronic labels before disappearing like its namesake. But For Good is as much a return to what the Minneapolis auteur does best — piano, turntables, and voice caught up in a gorgeously taut swirl — as it is a foray into music without precedent: digital soundscapes seamlessly wed to guitar, bass, drums, violin, sax, and synths.

It's the sad/pretty pop of Antony and the Johnsons, Bon Iver, or Julia Holter spliced with the new noise of Arca, Shabazz Palaces, and Oneohtrix Point Never. Broder flexes his knack for better mood-building through collaboration and collage. His Twin Cities geniuses pitch in — Mark Erickson, Tim Glenn, Jeremy Ylvisaker, Mike Lewis, et al. — plus Dntel and Doseone (behind the scenes) and violinist Leah Ottman.

For Good's sonic focus isn't a surprise. In 2015, Broder produced a bleak-banging rap tape for MC Crescent Moon, covered Beach House and FKA Twigs on Soundcloud, and dropped a five-cassette drones-and-beats set for the heads. But the production here is also cleaner than ever, and likewise the vocals, which Broder honed most recently fronting his rock-ish band the Cloak Ox. The lyrics showcase an eye for observation and introspection that makes cousins of Bill Callahan and Phil Elverum, and if there's a heaviness haunting the words, it's the workingman's wont. After holding a series of random, short-lived side jobs, Broder learned a trade so he could better support his family — he's a handyman and commercial painter back home. But in giving more of his time to the grind, he conversely found himself at his most musically inspired. That push/pull is a crux of the new Fog.

Broder funded For Good via Kickstarter, and recorded parts at Justin Vernon's April Base compound (with basketball breaks) and Eau Claire studio Hive (where co-producer Brian Joseph actually keeps bees). But the album was made mostly in Broder's basement, in the company of his space heater and 3-year-old boy, Sonny. While the poetry stays oblique, these are ostensibly songs about hard work ("Jim"), stubborn love ("Trying"), and elusive purpose ("Made to Follow"). Also, being a dad. Tender closer "Father Popcorn" lets all the digitalia recede as Broder contrasts his hustle against the relief of a child's naïveté: "Sticks his tongue out, flops his earlobe... Presses his mouth to the window, blows his own cloud." And right there, in the record's final moments, the concept of "Fog" flips, from a mysterious haze that connotes dread, to a gesture that is, decidedly, For Good.

* In this age of electronic surrender, where identities and realities can be sloughed from you as easily as leprous skin, it must be considered: What is the storage capacity of our personal spiritualties Does our ease of transition affect only the exterior, or do our humanities become ragged with use—or does it become compressed as these fragments of reality splinter away from us What is the sound of a soul in 2016

* The scream of such corruption may be incomprehensible to the untrained mind, yet in the aural abattoirs of Gainstage these flayed metaformations are brought into our UnReality. Beneath the sediment of humanity, the sun shines in RGB: convert to grayscale, and watch a world of self-buried definition open before you. In this new landscape, the cold light illuminates shattered ideologies and the dust of forgotten deities left behind from some cosmic flea market. Inhale this world: serrated serotonin dragged up spinal digitalis, crushed-god ecstasy snorted up behind your third eye. Pounding metamorphosis as Void whispers to you incessantly: chug. chug. chug. A celebratory consumption of self, filling the pipes of the body with shambling effervescence and an eternity of hissing and indecipherable voices. Soft light—the color of stone, of ancient mountain and dirty concrete—fills the spaces behind your eyes: eigengrau as lover, her crushing arms enfolding you with the promise of silent dominion.

* In these alien pieces of audio, one need not find terror, but enlightenment. There is no deception in destruction, nor lies in death. Allow the weight of Elevated Noise to act as psychogenesis—you may find yourself rising faster than you fall.

Off on a slightly different tangent to Ed DMX's more customary electro-funk nuggets, this substantial six-tracker takes DMX Krew into darker, tougher and more abrasive territory. No sh**!

Claire Boucher speaks a different language. And Halfaxa, her second album, feels like the dictionary from which we might discern just where this being comes from. Halfaxa is simultaneously more human than Geidi Primes, and yet falls deeper into a hole of mystical obscurity. The lyrics, as throughout this album, are designed to be an additional instrument, and not necessarily a device that gives obvious meaning to the proceedings. There is a strong focus on primeval and simplistic percussion to Boucher's music, though I am apprehensive to compare it directly to club music. Even with all the fog and barriers she presents us with, at the core of her music is the human heart. There is a heartbeat in every note. Her breath is often used as a percussive element. Somehow, Grimes says more about life through her methodology than through what she literally chooses to say. Like all great world music, her sound transcends language.

'Six Cycles' is the debut artist album from one of the world's leading orchestrators, arrangers and conductors; Matt Dunkley.

Having worked on films such as 'Inception', 'The Dark Knight' and 'Black Swan', and with artists such as Patti Smith, Nick Cave, Massive Attack and Kronos Quartet, as well as a successful composer for film and television, it was only a matter of time before Matt Dunkley released his own album. Recorded with the renowned Babelsberg Film Orchestra, the result is a rich and nuanced cinematic soundscape, replete with stirring builds of Wagnerian grandeur.

'The inspiration for the six pieces that comprise 'Six Cycles' all derive from disparate sources, whether it a piece of poetry, a painting or the emotion of personal loss. Initially they seemed to be unrelated, but as I listened to them as a whole, a sense of them belonging together slowly emerged, forming a true "cycle". I want the listener to discover their own world within my music, hence the wilfully enigmatic titles.'
- Matt Dunkley

Matt Dunkley studied trumpet and piano at the London College of Music and has gone on to conduct all of the UK's top orchestras as well as international ensembles such as The Los Angeles Philharmonic (at The Hollywood Bowl), and The Sydney Symphony Orchestra (at the Sydney Opera House). He has scored two feature films, a number of network series for British Television as well as music for adverts and production libraries. For the theatre, he wrote and arranged a ground-breaking arena version of Peter Pan: The Neverending Story, that is currently on a world tour, and he has just completed the score to Flanders Fields, a theatre piece set alongside a war grave cemetery in Belgium.