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Brainfeeder's de facto New Age guru and all-around production wizard Matthewdavid returns with a sophomore full length for the label, an all-inclusive mindflight entitled 'In My World'.
Unlike prior album 'Outmind', a largely ambient and inward journey, 'In My World' expands exponentially to a multitude of lavish sound worlds liberally punctuated with 'Low End Theory'- approved doses of speaker-rattling sub-bass.
Whether rapping or singing, the producer's vocals are pushed forward as the centrepiece of this album. Rightly so - with a freshly minted marriage and the recent birth of his first child, the Los Angeles-based Dublab resident and head of Leaving Records has an abundance of wonders to vocalise.
- Fans of Matthewdavid include Flying Lotus, Nosaj Thing, Jonwayne, Gaslamp Killer, Thundercat, Peanut Butter Wolf, Dam-Funk, Machinedrum, Baths, Knxwledge, Onra, Benji B, Gilles Peterson, Mary Anne Hobbs, Stones Throw, Alpha Pup, Low End Theory, Anticon, Teebs, Ras G, Sun Araw and many more.

Darkjazz/ Experimental/ Electro. This split consitutes an exciting collaboration of these two French experimental/avant-garde/dark jazz acts. In mutual respect and appreciation, both DALE COOPER QUARTET and WITXES selected a track of their split companion and created a fundamental and independent rework of around 20 minutes length. Based upon parts of Witxes' ""The Apparel"" -- from the last album ""A Fabric of Beliefs"" -- and afternoon summer recording sessions, the DALE COOPER QUARTET's ""Le Strategie Saint-Frusquin"" contains the classic sounds of the Quartet: ambient soundscapes, lazy jazzy rhythms, drone and distorsion guitar and a deep saxophone breath. Being mostly instrumental, the deep tone of Ronan Mac Erlaine's voice comes to ease the stormy start of the music piece. A grainy and blissful track that resembles music coming through of a 50s radio speaker, letting dark jazz flooding the room. ""Pisces Analogue"" is a new WITXES piece based on ""Nourrain Quinquet"", a track from ""Quatorze pieces de menaces"" by Dale Cooper Quartet & the Dictaphones. In five movements, the track explores the interstices and cracks of the dark, minimalist, lurking, cycle-evolving original piece. It offers to take a look at some of its nooks, focus on a few of its endless micro-universes and jump from one to another in a flash. Just like swimming in a puzzling dream. If there is anything in common with previous Witxes output, it is a strong sense of motion as well as narration to be seized by the listener. Though this piece uses heavily processed instruments takes from ""Nourrain Quinquet"" as well as a few typical Witxes field recordings, it is Witxes most synthetic work to date. It was written, recorded and mixed in 3 weeks during summer of 2014 in Lyon and co-produced by Michael Mysak. CD: digipak, Vinyl: thick gatefold sleeves, 180g vinyl, different colors, free download code.

The Soft Pink Truth is the solo alter ego of Drew Daniel, one half of Matmos. Why Do the Heathen Rage whose subtitle 'Electronic Profanations of Black Metal Classics' reveals its agenda as an unrequited love letter to a justly divisive genre. A gleeful queer travesty of black metal's undying obsession with kvlt authenticity, Why Do the Heathen Rage is also a formally precise homage executed with a scholar's obsession

Soaring melodies, marching synthesiser-sequences and lush phasing drones wander through the still void. Attempting to find ground, floating through an infinite myst. A faint memory of a forgotten past shines through. Extinct existence, brought back to life. With meandering repetition we are brought closer. So too the aberrant melodies of Circular Ruins as they wander atop a returning rhythm. Each cycle brings an echo from a future utopia or the ruins of civilisation...

From Jonas R

The origin to the name Oakeater is instructive to the underlying framework for this Chicago outfit. Loosely influenced by Norse Mythology and an industrial shredder' cites Oakeater's Alex Barnett, locating the band as a chimera of loaded allegorical components. Barnett, alongside Seth Sher and Jeremiah Fisher, formed Oakeater in the mid-aughts, recording and performing in fits and starts. The division of labor is rather fluid in the use of re-purposed electronics bolstered by guitars, synths, drum machine, and voice. The compositions evolve out of their greater collectivity and an atmospheric tension made manifest through Oakeater's channelling of dark energy. That metaphysical, nihilistic energy is cathartic in nature, as Fisher explains I induce an anxiety attack within myself and then navigate through it.

Fresh, expansive, experimental EP by Martino Marini and Niccolo` Daniel Rufo (from Tru West and Nightdrivers). Warmly spontaneous forays into tribalism, motorik punk, twisted disco... including field recordings, live guitar and electronics.
The new creation of the poly-sided Martino Marini and Niccolo` Daniel Rufo brings Marmo back to an improvisational-executed cross-genre mode. The authors of Tru West and the club-banging Nightdrivers project don't` have enough of exploring further. The Leftovers embodies another experiment, another call to get loose, to go punk, away from club mentality and functionalism.

Music from the documentary "I Dream Of Wires" f/several large-format modulars as well as his own Eurorack system. It doesn't revel in classicist synthpop motifs or vocoder-pop of recent years but focusses on making strange sounds sing.

Several years ago, Valentin Stip was sitting alone by a harbor in the small French town where his parents grew up. 'I heard all the sailing strings hit the masts, and I realized that every sound you hear is potentially music,' he says. 'The only thing that makes sound into music is the mind, arranging it.' Since then, Valentin Stip has been building a bridge between the sounds that live inside and outside his head. On Sigh, the 21-year-old producer's full-length debut on Other People, Stip organizes classical piano, lightly sputtering grooves and intimate found sounds into an album of compositional grace and emotional honesty. Valentin Stip emigrated to New York City in middle school and immediately fell in with a creative crowd-including then-fledgling producer and future Other People label head Nicolas Jaar. Upon learning the ins and outs of electronic production, Stip discovered a new, more personal way of interpreting the darkly shaded piano music he'd been writing. He soon released a string of melancholy, beat-based EPs on Nicolas Jaar's Clown & Sunset label, Anytime Will Do (2011) and Angst (2013), and toured alongside Jaar, all while he was still in college. With eight songs clocking in at nearly an hour and sequenced as a continuous piece of music, Valentin Stip's Sigh charts a winding path through its creator's psyche. As Sigh unfolds, sounds become as tactile as objects: overcast electronic atmospheres rumble and swirl, minimalist piano melodies chime in the distance, and subtle programming percolates like ripples on the surface of a lake.

Levantis - the moniker of one of electronic music's serial innovators - will release his debut long player on 30th October 2015 via Technicolour Records (Ninja Tune's imprint for excursions into techno's shadowy fringes). The first Levantis output since 2013's Believe EP on Trilogy Tapes, the 11-track album entitled Romantic Psychology 1 is reportedly "about Nigredo and possession of the shadow".

Ninja Tune set up Technicolour as a singles label. After 12"s by Legowelt, Hieroglyphic Being, Florian Kupfer, Kutmah, BNJMN and U, Romantic Psychology 1 is the first full-length album the label has released.

LP: Black 180gm vinyl housed in an Inspira deep black sleeve with spot varnish type. Includes an artwork insert by Eve Ackroyd printed on uncoated 300gsm art card.

LIMITED EDITION OF 200, WHITE HAND STAMPED 12"
Following on from our Pact Infernal 12" we present another debut release. Very little is known about DiNT, but these tracks capture perfectly a pitch black corrosive vibe and sound like nothing else we have heard before.No Facebook, Twitter or Instagram will ever exist for DiNT but those who seek out their music will feel rewarded for their discovery.

"Empty Airport", Chra's first LP on Editions Mego may be read as a reference to Brian Eno's ambient classic, though this time we find ourselves in a territory of transit that sounds like a dystopian swan song on civilizatoric debris - a heteropia in which the listener restores himself in a surrounding that is emptied of human remains, having left just some ghostly echoes behind. Chra aka Comfortzone-Labelfoundress Christina Nemec has traced out a post-anthropocene area in which acoustic entries of field recordings are stratified in layers of deconstructed noisescapes. Partly interspersed with clunky technoid bass-lines, an introspective space is opened, which excavates in a discreet and subtle manner, layers of abandoned wasteland. Nemec, who is a member of various band projects like Shampoo Boy (together with Peter Rehberg and Christian Schachinger) or the female berzerker formation SV Damenkraf as well as Pasajera Oscura, has succeeded in producing a significant LP, that merges dark techno and industrial with found sounds and ambient scapes, resulting in a compositoric minimalism that is ushering us in a state of existential trance.

Invada Records (owned by Geoff Barrow/Portishead) are proud to announce the vinyl release of the critically acclaimed, Drive - Original Motion Picture Soundtrack on 28th May 2012. Released in full colour gatefold sleeves on 180 gram heavyweight vinyl and is available as a double LP black vinyl / double LP pink vinyl and a limited edition 2LP picture disc The soundtrack features original music by Cliff Martinez (The Lincoln Lawyer, Traffic) with Eurosynthstyled songs by Kavinsky & Lovefoxxx ('Nightcall'), The Chromatics('Tick of the Clock'), Desire ('Under Your Spell'), College featuring Electric Youth ('A Real Hero'), and Riziero Ortolani featuring Katyna Ranieri ('Oh My Love'). Rolling Stone Magazine named Drive the No. 1 movie of 2011. In Variety, Laura Ferreiro wrote,'while a synthetic electronica score may seem an unusual choice for a cerebral action thriller, it plays a pivotal role in setting Drive apart from other heist-gone-awry films, and arguably helped it become one of this year's critical darlings.' The Drive soundtrack raced to the top of the iTunes album charts, hitting No. 4 within a week of its digital release and peaking at No. 35 on the Billboard Top 200. The soundtrack re-entered the charts in February 2012 when the film was released on DVD.

New Zealand's downtempo-bass producer Consequence, aka Cam McLaren, always treads the line musically, to the point that the line became blurred entirely. His debut album, 'Live For Never,' reminded the electronic world of the intricacies and emotional heights of Drum & Bass, and carried the genre into new realms of sonic possibility.

Real name Dan Griober, Dan HabarNam has been active since the '90s, doing production for Romanian pop artists while also working on his own projects. His solo catalog is pretty slim, with just a few appearances on drum & bass labels like Santorin and Subtle Audio, but From the Known is clearly the work of an experienced artist: though loosely anchored in techno, ambient and bass music, it's stylistically open-ended, and produced with an audiophile's attention to detail. According to the label, Groiber's meticulousness extended to the mastering process as well (the CD, for instance, was recorded direct from the vinyl to achieve that special analog feel)

- Original Motion Picture Soundtrack
- 12 new compositions by Gesaffelstein
- Pressed on two 180gram heavyweight vinyl
- Screenprinted gold on black gatefold & inner sleeves
- Musical score art print on X-Ray paper
- Limited to 1000 copies worldwide

Having changed the face of electronic music with his hard-edged and uncompromising but brilliantly persuasive sound, Gesaffelstein returns with 10 original compositions created for the motion picture soundtrack of new thriller Maryland, which also comprises three classic tracks from his discography.

Pressed on double 180-gram heavyweight vinyl, housed in screen printed gatefold and inner sleeves with one of his musical scores printed on X-Ray paper, this beautiful vinyl edition is limited to 1000 copies.

Gesaffelstein is already an electronic music icon, having conquered dance floors and festivals across the world with the sound of his outstanding 2013 album Aleph, which also spawned two incredible music videos clocking up millions of views in the process.

Acclaimed at Cannes, and starring Diane Kruger and Mathieu Schoenaerts, Maryland is set to become a cult classic.

First release on Sun Cat Recordings / Ancient Sound From Outer Space is by Italian obscure electronic producer named Healing Force Project, that means freedom of the soul.


Inspired by space jazz and experimental techno, Antonio Marini reconnects distant horizons until the sky falls away, sonorizing the last ancient astronaut landing on Earth in five hypnotic tracks.


Mastered by Andrea Merlini and illustrated by Fernanda Veron, "Last Journey To Heliopolis EP" pictures early dawns and aching nights, combining different analog and digital elements.


A cosmic trip without return only makes sense if has no stops or boundaries.

A unique synthesis of time-dilating folk-jazz romanticism, brittle chamber dub and plasmic post-techno electronics, Tarquin Magnet is Australian artist Tarquin Manek's first full solo release on Blackest Ever Black, but by no means his first contribution to the label: he is one half of Tarcar (with Carla dal Forno) and a member of F ingers (with dal Forno and Sam Karmel), while his track 'Not Missing You' features on the BEB compilation I Can't Give You The Life You Want. Manek has been busy elsewhere, too: he released Th Duo, an LP made under his LST alias, on Another Dark Age earlier this year. The disturbed and enchanted environments of Tarquin Magnet are the result of improvisation, domestic field recording and fastidious editing; for all its rough textures and strange juxtapositions, this is masterfully mixed and arranged music, its deep spatial dynamics and higher dub logic powerfully apparent.

Left Blank return from a long hiatus with their first and only release of 2014, from Portland's Best Available Technology.

Kevin Palmer is someone the label has been in touch with and an admirer of for a long time now, and after acclaimed releases for Opal Tapes and Astro:Dynamics amongst others, we're thrilled to finally be able to put out some of his most uncompromising music yet. Headed up by the relentless metallic post punk of title track 'Neon Razer Chain', this EP moves effortlessly through experiments in billowing ambience, dubbed out machine jams and buzz saw techno, to make one of his most diverse releases to date. Released on vinyl & digital 17th November 2015.

Wilde Calm Records is honored to present new work from the late Elodie Lauten, New York City composer and recipient of the 2014 Robert Rauschenberg Award. Lauten had been exploring microtonality and alternative temperament since working on a Fairlight CMI synthesizer in the early 1980s and up until her untimely death, had been continuing these explorations with the Klio, her custom modular Reaktor software synthesizer.

Many Wilde Calm fans will be familiar with Lauten's music from her numerous collaborations with fellow downtown luminary Arthur Russell. Lauten and Russell met through their mutual poet friend Allen Ginsberg and shared a similar sensibility of musical openness and possibility as evident in their spiritual club classic 'In the Light of the Miracle' and Russell's appearance on Lauten's seminal post- minimalist masterwork The Death of Don Juan.

Five remastered selections from her most recent album Transform feature on the EP in addition to a Wilde Calm remix. For fans of Laurie Spiegel and Suzanne Ciani, Lauten's synth explorations are essential.

Travis Egedy is the Technomancer. You'll know him as Pictureplane, the Brooklyn-based multimedia artist whose forays against the status quo have disrupted fashion, galleries, and music in kind. While his 2011 album, Thee Physical, explored sensation and human touch, his newest dives into more ethereal territory: the anxiety of daily life in an era defined by constant technological interaction and observation. But the 11 songs heard here — fleshed out using sonic scraps of industrial, darkwave, '80s EBM, '90s house — aren't purely paranoiac. As the title implies, Technomancer is as much about rediscovering the magic in our relationship with our machines.

Travis Egedy is the Technomancer. You'll know him as Pictureplane, the Brooklyn-based multimedia artist whose forays against the status quo have disrupted fashion, galleries, and music in kind. While his 2011 album, Thee Physical, explored sensation and human touch, his newest dives into more ethereal territory: the anxiety of daily life in an era defined by constant technological interaction and observation. But the 11 songs heard here — fleshed out using sonic scraps of industrial, darkwave, '80s EBM, '90s house — aren't purely paranoiac. As the title implies, Technomancer is as much about rediscovering the magic in our relationship with our machines.

Dritter und letzter Teil der "CARGAA" EP-Trilogie auf Warp, die der Underground-Grime-Szene von Lissabon gewidmet ist, wo junge Produzenten polyrhythmische Inspiration aus der Afro-Diaspora zu einer elektronischen Clubmusik-Mutation verarbeiten. Der Begriff "CARGAA" kommt aus dem Straßenslang Lissabons und bedeutet "heiß", "geil". 12" mit bedruckten Innentaschen plus Downloadcode.

*Ltd. 500 Edition on Coloured Vinyl* 'Howl' is the new album by Rival Consoles, London-based electronic producer Ryan Lee West, set for release through Erased Tapes on 16th October 2015. Foremost a guitarist, growing up listening to rock rather than club music, West continues to strive towards finding a more personal balance between music for home listening and larger spaces. The title track was inspired by the howl-like tones he developed by running synths through guitar pedals.

"By slowly drifting the pitch through distortion and delays, the result sounded like vocal cries - something which was perfect for the song and this inspired me to take on a darker set of tones across the whole album. It was made over the past few years, inspired by capturing small performances on synths, touring with some of my musical heroes, playing with feedback when I should have been catching a train, sampling my voice in unexpected conditions and recording textures in different countries.'

The album explores a wide range of emotions; from the dissonance eruptions and primal rhythms in 'Howl', to the mournful
improvisations of '3 Laments', which features a sample of his own
voice. Alongside his performances on Moog, Prophet, tape delay and guitar, West enlisted the help of drummer Fabian Prynn for 'Low' and cellist Peter Gregson for 'Walls', both long-time collaborators of Erased Tapes peers Douglas Dare and Michael Price.

"This album features a lot of my own recordings, rather than simply using samples that I have sitting on my computer. This gives the album a more personal feeling, which is very important to me because I think we live in a time where there is just so much recorded material out there, and accessible at a click of a button, that the joy of recording your own drum sounds, your own percussion, your own claps, seems redundant - but it's not! That should be a priority because its often more interesting and makes you choose a different creative path."

It's rarely reported that Rival Consoles was Erased Tapes' very first signing, with a CDR of early demos under the name Aparatec that inspired founder Robert Raths to start the label. Indeed West has more in common with his contemporaries Nils Frahm and Peter Broderick than some might think. His consistent desire to create a more organic, humanised sound sees West often draft early ideas on traditional, acoustic instruments like the guitar or the piano; forming pieces that capture a sense of songwriting behind the electronics.

"I try to create atmosphere and mood throughout with a ess-is-more approach to composition. I'm always trying to find an exciting reaction from a few ingredients, because that is magic to me. To make something interesting with tons of layers of effects just doesn't excite me. But to make something interesting with just three layers requires a special alignment of sounds, ideas and timing.

This is my most personal work to date, following on from 'Odyssey' and 'Sonne' which gave me the confidence to continue exploring my own ideas and approach to sound. The essence of this album was made with a few synths, some guitar pedals and lots of cups of tea. I hope you'll enjoy it."

Having repeatedly performed at such prestigious venues as the Tate, and having created a bespoke audio-visual performance for Boiler Room at the V&A Museum, the blueprint for West's current live A/V show was formed. Featuring self-programmed visuals in Max/MSP has earned him appearances at music festivals around the world including Mutek, Decibel, Big Ears and Berghain's Pop-Kultur Festival, as well as tours in support of Clark, Nosaj Thing, Luke Abbott and Kiasmos.

The Space Lady began her odyssey on the streets of San Francisco in the late 70s, playing versions of contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and harmony.
Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah being devotees.

Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a home-made CD. "The Space Lady's Greatest Hits"(LSSN021) features the best of these recordings - mostly covers but with some originals - pressed on vinyl for the first time and features archival photographs and liner notes from The Space Lady herself. 'Greatest Hits' contains The Space Lady's personal favourites; her haunting take on The Electric Prunes' 'I Had Too Much To Dream (Last Night),' a frantic 'Ballroom Blitz' amidst other reconstructed pop music. Included are also 4 originals that easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new material and travelling the world to present her message outside the United States for the first time.

In the mid 90s The Space Lady packed away her Casio synth and silenced her distinctive voice, retiring from the streets of San Francisco. Now, more than 30 years after her initial forays on Haight Ashbury, she has surfaced with the first ever official release of her timeless, startling music and, even more remarkably, has re-started her live career. Now in Colorado, The Space Lady continues to spread her message of peace, harmony and love.

VINYL LP: Edition of 500, black Vinyl. Gatfold Poster and printed insert with Download Card.

After the ground-breaking release of 1990's "Love's Secret Domain" album, Coil were not dormant; the main project was "Backwards", which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal coaching, producing haunting, passionate vocals, while reaching new heights.

23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, "The New Backwards" (2008), "Backwards" contains the original versions of Coil's much-loved tracks; 'A Cold Cell' and 'Fire Of The Mind', which have appeared on various compilations over the years, and are now presented as originally intended.

This album is the essential bridge between "LSD" and the later "Musik To Play In The Dark" series. It is an essential conduit, to understand the journey that was taken. It was to be released... it should have been released... but because of issues with grey men it wasn't. It is now, so enjoy. (Danny Hyde).

Philly's Metasplice are back with another double LP's worth of unique soundscapes. To be sure, they're previous sides for Morphosis's Morphine label and they're own imprint _bruxist have been some of the most engaging works of electronic music in recent memory. This collection of new works is even more arresting and vital. Very limited copies!

Named after a track off Chrome's epic 'Alien Soundtracks' LP, PHAROAH CHROMIUM is the brainchild of Berlin based, German / Palestinian Ghazi Barakat. The project draws upon influences as diverse as 'free jazz, rituals from ancient past and near future, the dream syndicate, science fiction, novels and neo-brutalistic architecture'.

Recommended to the label by Tim Gane, this record draws especially upon -and focuses on- the Berlin School; (a key influence on the formation of the label in the first place). 'Chromosphere' features 2 side long pieces heavy on Schnitzler influence with nods to the work of Kluster, 'Electronic Meditation' era Tangerine Dream and some of the more extreme elements to Chris Carter's work with and outside Throbbing Gristle. Hugely recommended to fans of Schnitzler's four legendary single colour sleeved and titled series of gallery edition / private press LPs from '73 to '84.

Of a previous release ('Electric Cremation') Julian Cope was sufficiently moved to say 'Epic in scope and always radically novel in sound FX and their execution, ignore this lavish package at your peril, mes dames et mes motherfuckers...' !!

'Chromosphere' is packaged as equally lavishly, presented as a hand numbered pressing of 300 beautiful, suitably whacked out Picture Disc LPs

A sort of Cabaret Voltaire for the iPhone age, DROOIDS are a collective of three multimedia artists who produce electronic music using improvisational, often anarchic methods. Utilizing a hodgepodge of gear both old and new, and not-wholly-quantized, they create a collage of sounds that verges on chaos before slipping back into a dark yet weirdly club-oriented beat.


Their live shows usually feature multiple guest collaborators, costumes, sculptural props and performative antics. For their debut release on LSE we tried to capture the spirit of these shows and recorded over 11 hours of DROOIDS improvising in the studio of the course of one week. Those 11 sprawling hours then got edited down to these 4 snapshots, mastered and pressed in a limited edition of 200 (40 with original gelatin silver prints) for our 6th vinyl release.

PAN grip one of Europe's finest freaks - Dennis Tyfus ov Ultra Eczema infamy - for a head-wobbling collage of tapes loops and concrète clangour contrasted with a side of extended vocal technique and electronics.'Knerpen! (Bevel)' translates reflexive, haptic actions into freeform sequences of 'scrunched' loops and location recordings on the A-side, whilst juxtaposing opera singer and actress Emilie Fleamountains with warbling tape improvisation on the other side.Jarring perfectly with the label's recent run of idiosyncratic zingers from Errorsmith & Mark Fell, Helm, Lifted, and M.E.S.H., Tyfus spools away on his own trajectory into a ferric miasma of alien, avant sound. The first side works in a lo-fi textural tradition running from M.B. to Wolf Eyes via much more zonked outliers - many of whom have released on Tyfus' Antwerp-based stable of instability, Ultra Eczema - threading a series of piercing, shocking and unhinged improvisations across your mucky tape head. In stark relief, the B-side opens out with Emilie Fleamountains' multitracked, operatic vox blossoming strange harmonics skewed by unpredictable, extreme pitch shifts for the first half, before invoking a schizoid hall-of-mirrors sound twisting and scrunching his tapes into disorienting möbius loops and backwoods wail.

Limited to 300 copies only! Some beautiful 1980s Art Pop reaches my desk with this album by Yugoslavian band KATARINA II. First released in 1984 this record fits well with the epic atmospheres Mike Oldfield once created on his quite successful mainstream masterpieces 'Crisis' and 'Discovery' around the same time period. The sound of this album comes as big as it was possible back then and it has a very clean and slick but still vivid approach in a tune like 'Geto' but 'Katarina II' can also get rough and demented when it comes to the more eruptive independent -, punk - and hardrock moments it offers to the listener. You may compare it to early U2 and BAUHAUS as well as to other Eastern bloc rock bands like OLYMPIC from Czechoslovakia but in a very unique fashion. They seem to have devoured every musical influence from Western shores they could get hold of. The depth of their musical background is amazing. 'Katarina II' is quite an accessible album but with sharp edges and spiky corners. The new wave and new romantic aspects are still obvious but the post punk weirdness overshadows the sunny pop appeal of many tunes. If all the Western releases from the 80s were that good. KATARINA II is a strange band among average pop rock acts and still captures your soul with beautiful rock tunes that stay with you forever if you listened to them just once. So this is the progressive way to behold the new wave rock of the 1980s and I must admit that I can drown my mind in these colorful tunes. Lovers of strange but easy to access music, be welcome to get onto the trip of your life.

Another great but late (1928 - 2003) synthesizer artist and pioneer, this time from Italy. His works date back to the early 60s and maybe even beyond considering his age. In the mid to late 60s he became quite active in the field of western movie soundtracks for example. This album I have the honor to review is a concept album on the zodiac signs and the music it contains could not be more diverse. The elements that unite all the tunes are the entirely synthetic, yet warm analogue sound and the surreal, spaced out atmosphere. Several different basic genres deliver the inspiration from which Marcello Giombini forms his melodies, harmony patterns and rhythm structures. There are tunes you will easily recognize as pop songs with a typical 60s approach concerning the melody writing, there are baroque elements and even pure soundscapes that make you feel like being trapped in the interior of a thinking machine. The synthetic sound adds a futuristic shine to each composition. The mood changes are dramatic. You can float down a peaceful river of dreams at one point and then become swallowed by a vortex of musical fury that projects a galactic battle before your third eye. Indeed the whole album could work as a soundtrack for an epic science fiction movie whose story drags you far out into space. In case you love movies such as 'The black hole' and enjoy the compositions of other synthesizer heroes such as Mort Garson you will certainly hold one of the most precious musical treasures ever in your hands. Every fan of 70s synthesizer music should at least give this a listen and decide whether it has the power to lift him off the ground.

Another great but late (1928 - 2003) synthesizer artist and pioneer, this time from Italy. His works date back to the early 60s and maybe even beyond considering his age. In the mid to late 60s he became quite active in the field of western movie soundtracks for example. This album I have the honor to review is a concept album on the zodiac signs and the music it contains could not be more diverse. The elements that unite all the tunes are the entirely synthetic, yet warm analogue sound and the surreal, spaced out atmosphere. Several different basic genres deliver the inspiration from which Marcello Giombini forms his melodies, harmony patterns and rhythm structures. There are tunes you will easily recognize as pop songs with a typical 60s approach concerning the melody writing, there are baroque elements and even pure soundscapes that make you feel like being trapped in the interior of a thinking machine. The synthetic sound adds a futuristic shine to each composition. The mood changes are dramatic. You can float down a peaceful river of dreams at one point and then become swallowed by a vortex of musical fury that projects a galactic battle before your third eye. Indeed the whole album could work as a soundtrack for an epic science fiction movie whose story drags you far out into space. In case you love movies such as 'The black hole' and enjoy the compositions of other synthesizer heroes such as Mort Garson you will certainly hold one of the most precious musical treasures ever in your hands. Every fan of 70s synthesizer music should at least give this a listen and decide whether it has the power to lift him off the ground.

It is amazing what you may discover when you dig the vaults for unknown musical pleasures from the field of electronic music of the pioneer days. This album has been originally released in 1968 but it seems to be a kind of compilation with the best tracks the two electronic music prophets Tom Dissevelt (1921 - 1989) and Kid Baltan (aka Dick Raaijmakers, 1930 - 2013) have created in the late 1950s and early 1960s. Before that it has been released in 1962 under the moniker of THE ELECTROSONICS as 'Electronic music'. So much for the history of this Dutch project. While kneeling to the gods of Kraut and their epic cosmic journeys we should always keep in mind that courageous music aficionados from a classic or jazz background have been as far out before and maybe even further. There are shreds of melody here and there and there are passages that remind you of primitive rituals from wild folks somewhere in earthly places still undiscovered but most of the time this is a gathering of electronic sound eruptions, strange rhythmical patterns and swirling noises. It is definitely a mind expanding experience and has enough melody to conjure and enchanting atmosphere but should have left every regular music listener back then floored due to its radical approach to popular and progressive music. Nice Egyptian and quite mythical harmonies by an early synthesizer on a pulsating rhythm bed build the song 'Sonic re entry', one of the more accessible tracks here that is still miles away from the ordinary and average found in music back then. Orchestral music and jazz are melted somewhere on this record. Elements of exotica, bits and pieces of gentle Latin sounds and whatever was popular back then have been swallowed by thinking machines. And suddenly a dark swing played by an orchestra hits your ears with quite mysterious harmony patterns interwoven with the one or another occasional freak out either in an electronic manner or with a free jazz expression. This could make the soundtrack of a 1950s horror movie or any cool secret agent flick of the time and it even proves one more thing. It shows how well modern, yet handmade popular music and electronics could work together. All this happened years before there were bands like THE SILVER APPLES or even HAWKWIND. I have no clue to whom I may recommend this but it is indeed a real masterpiece. All who enjoy the electronic works of PIERRE HENRY, musique concrète in general and STOCKHAUSEN should give it a try. Made by visionaries for visionaries.

It is amazing what you may discover when you dig the vaults for unknown musical pleasures from the field of electronic music of the pioneer days. This album has been originally released in 1968 but it seems to be a kind of compilation with the best tracks the two electronic music prophets Tom Dissevelt (1921 - 1989) and Kid Baltan (aka Dick Raaijmakers, 1930 - 2013) have created in the late 1950s and early 1960s. Before that it has been released in 1962 under the moniker of THE ELECTROSONICS as 'Electronic music'. So much for the history of this Dutch project. While kneeling to the gods of Kraut and their epic cosmic journeys we should always keep in mind that courageous music aficionados from a classic or jazz background have been as far out before and maybe even further. There are shreds of melody here and there and there are passages that remind you of primitive rituals from wild folks somewhere in earthly places still undiscovered but most of the time this is a gathering of electronic sound eruptions, strange rhythmical patterns and swirling noises. It is definitely a mind expanding experience and has enough melody to conjure and enchanting atmosphere but should have left every regular music listener back then floored due to its radical approach to popular and progressive music. Nice Egyptian and quite mythical harmonies by an early synthesizer on a pulsating rhythm bed build the song 'Sonic re entry', one of the more accessible tracks here that is still miles away from the ordinary and average found in music back then. Orchestral music and jazz are melted somewhere on this record. Elements of exotica, bits and pieces of gentle Latin sounds and whatever was popular back then have been swallowed by thinking machines. And suddenly a dark swing played by an orchestra hits your ears with quite mysterious harmony patterns interwoven with the one or another occasional freak out either in an electronic manner or with a free jazz expression. This could make the soundtrack of a 1950s horror movie or any cool secret agent flick of the time and it even proves one more thing. It shows how well modern, yet handmade popular music and electronics could work together. All this happened years before there were bands like THE SILVER APPLES or even HAWKWIND. I have no clue to whom I may recommend this but it is indeed a real masterpiece. All who enjoy the electronic works of PIERRE HENRY, musique concrète in general and STOCKHAUSEN should give it a try. Made by visionaries for visionaries.

»LA DEMEURE, il y a péril en la demeure« is the opening to a five-part complex of works by artist grischa lichtenberger. »LA DEMEURE« - the residence - could be outlined as intimacy, a symbol of isolation and its possibilities. the joy of being isolated and having the change to work, explore and most importantly, experiment free from economic, temporal or social restraints is the center of attention of »LA DEMEURE, il y a péril en la demeure«.the single tracks on »LA DEMEURE, il y a péril en la demeure« and their components are constantly broken, disassembled and reassembled again. some parts may remind of hip hop and breakbeat, others may evoke associations to a broken music box, something mechanical that is not working as it should. in his very own way, grischa lichtenberger is examining limits, new experiences and unfulfilling expectations. this unfilteredness and rawness, the lack of a target group the music is made for, is what is fascinating about this record. »LA DEMEURE, il y a péril en la demeure« thus becomes a luxurious-kafkaesque collection of materials, an uncensored archive of a seeker.»LA DEMEURE, il y a péril en la demeure« will be released on CD and accompanied by three vinyl EPs that will put the experiment in relation to the public. the five-part cycle will be completed with a second album whose focus will be on »IL Y A PÉRIL EN LA DEMEURE« - danger in delay.