Beats Vinyl New Releases - News

2LP with matte finish and custom inner sleeves, limited run of 750.
Ben Zimmerman's The Baltika Years is a collection of recordings created between 1992 and 2002 mostly using a Tandy DeskMate.When Ben solicited the recordings to Software in 2013, we were taken aback by how personal the music felt considering the palette used. It was like reading an abstract diary. The clues into Ben's world are so stark and strange that they feel like monuments.Reducing Zimmerman's prolific output down to four album sides was a challenge. Much like the myth of the process-oriented painter in his prime, you get the sense that Zimmerman is subconsciously actualizing an artistic scenario that he may or may not be privy to.When The Baltika Years is absorbed as a canon of work, a super-effect emerges which bonds all of his output. This is somewhat represented in the way we assembled the anthology, focusing on certain stylistic epochs that Zimmerman moved through over a decade of solitary experimenting and obsessing. In many ways, The Baltika Years embodies the spirit of Software. It articulates a belief that idiosyncrasy is inevitable, and that human affect and technology are linked. One helps the other express something mysterious about the world. Via limiting himself to one very specific instrument, Ben realized his own style -- a monochromatic computer music that glows with the intimacy found in life's barely audible sentiments, curios, and details.

Prodigious Hungarian minimalist, Gábor Lázár, twysts out six cuts of super-forward avant-techno on his debut vinyl, 'EP16', for The Death Of Rave. Combining viscerally affective electronic timbre
and hyperkinetic patterns, they're real-time recordings of Gábor extracting maximum funk from a single note rendered as sheer gradients pitched and punctuated with unique, algorithmic meters. In a sense the process is drily academic, but the results are seriously funked-up. Gábor seemingly intersects myriad minimal dancefloor patterns - hardcore, footwork, electro, digital dancehall - with uncompromising electronic tones to create some kinda new rhythmelodic syntax and grammar of his own. Cannily nudging every scything, whirring, strobing hit off-the-grid, he's
practically re-programming and skewing our sense of rhythmic proprioception and temporal awareness in real time, throwing down the gauntlet to body and brain with stoic rigour and
reckless effect.'EP16' follows Gábor's split tape with Russell Haswell for his Budapest-based Last Foundation, plus debut album, 'ILS' (2014) for Lorenzo Senni's Presto! label, and precedes an upcoming 2LP collaboration with Mark Fell, due on The Death Of Rave.

Gigi Masin, Max D, Co La, Jordan GCZ and friends unite for this shimmering improv session for PAN. 140g wax mastered and cut by Rashad at D&M, housed in spotgloss-printed jacket featuring photography by Trianos Pakioufakis and artwork by Bill Kouligas. Includes an instant download of the album** Lifted is a stellar new project sparked off by Matthew Papich (Co La) and Future Times overlord Max D for PAN. Realised and rendered together with Jordan GCZ and Gigi Masin, among others, their debut LP '1' is an elegant exercise in breaking free of the grid, consolidating a spectrum of congruent ideas and idiosyncratic styles with a beautifully communal spirit putting a contemporary spin on the freedoms of '70s jazz fusion. From initial studio sessions recorded by Matthew and Max in their respective Baltimore and Washington DC studios, they incorporate synth and piano overdubs dialled in from Amsterdam and Venice, hashing out an inter-continental web of hyaline electronics, jazz ballistics and alien dance patterns that surprises and delights with every turn. Stepping into vividly new territory with the fractious post-footwork spurts of '3D', their kaleidoscopic world twists between the sheer computer jazz fusions of 'Intoo' and visionary 4.1 World house in 'Total Care Zero', glyding on the digitally creamed quintessence of 'Bell Slide' to the intra-dimensional ambience of Gigi Masin's keys and Papich's 3D FX in 'Silver', and adroit Afro-futurist jazz in 'Mint' starring 1432R co-founder Dawit Eklund on bass + synth. On a lysergic level of production detail, '1' is up there with Pete Kember's work on the recent Panda Bear album, but the dextrous grooves and intoxicating jazz vibes place it over the horizon, just beyond Move D's classic Conjoint project or Detroit's Urban Tribe classics. That's our summer listening sorted, then!

With "Skies Okay Blue" Nonplace offers two pared-down vocal tracks that place subtle and unexpected rhythms alongside the manifest regularity of electronic dance music.

Measuring in at DJ-friendly 122 to 128 bpm, the seemingly straightforward grooves turn out, on closer listening, to be intertwined with uneven beats: 12 in the case of A1, 5 in the case of B1. These beats, ubiquitously and erroneously described as 'polyrhythms', are based merely on the combination of the always unalterable even metre - in this case bass drum and hi-hat - with superimposed, actually formative, rhythms recognizable by a cycle of sequences, melody, bass or percussion, etc.

Extra-long versions of both tracks were mixed for this 45rpm super-sound EP. The third track, 'Silberne Libelle', is a 2-minute sound poem featuring Friedman-typical xenophile instrumentation. All three tracks are exclusive to this vinyl edition.

The voice of Daniel Dodd-Ellis, a Berlin-based performer and vocalist from Texas, was first heard on Burnt Friedman's 2007 album First Night Forever (non22). The lyrics stem from both artists and were cut-up and re-assembled several times over by Friedman during production in 2013 and 2014. The line 'Skies are blue inside of you' comes from Aldous Huxley's novel Brave New World, which appeared in 1932.

Leave is the third album from Rasmus Rasmussens ethereal electronic project Aerosol. During the nearly six years that has passed since it's predecessor Airborne, Rasmussen has spent his musical efforts in acid rock outfit Causa Sui and as part of various constellations, playing alongside musicians from Sunburned Hand of the Man and legendary kraut bands Can and Faust.

These freeform psychedelic influences seep into the already recognizable style of hazy electronics, known from his own previous work as well as from the music of
his colleagues in former band Limp (Manual/Syntaks).

Cosmic sounds and psy- chedelic effects mingle with cascading guitars and kraut-infused beats on a collection of tracks that sends obvious nods to the german
synth pioneers of the seventies, but is still unmistakably an Aerosol-album - an album set on beating emotions, moods and melodies out of old synthesizers, cheap drum machines and Rasmus' trusty white Stratocaster.

Philadelphia-based producer Chaperone has been working as a creative partner at Great Circles for the past six months, as well as collaborating with Westov Temple on an ongoing A/V project, Seppuku Overwrite.
P O N D is his first 12' release on the label.

The A-side of P O N D is comprised of three slow-paced, meditative takes on techno. Samples are blended with cut tape loops, following suit from earlier Chaperone cassette releases - No Gold//Hawaii (Crisis Urbana CU-03) and Reflex/Contaminant (Vague Audio Tapes VAT-003). Artifacts become instruments. Capstan motors seem to slow, only to catch up again. Torn speaker cones from an earlier noise session are left to flutter, without question or regret.

On the B-side are three re-works by Westov Temple, Hero/Victim (of Vague Audio Tapes) and Thug Entrancer (Software), making for faster, more rhythmic versions of the originals, each one zeroing in on and exploiting specific peculiarities of Chaperone's sound.

Antigravity is a new trio album from legendary trumpeter Jac Berrocal and two fellow travellers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock 'n roll The Berrocal/Fenech/Epplay trio's first album together, Antigravity is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece 'Rock 'n Roll Station', which first appeared on his '77 LP Paralleles with chain-wielding, leather-clad wildman of British rock 'n roll, Vince Taylor, singing the lead, and Berrocal on mic'd up bicycle; here, the Frenchman takes the vocal reins. A barely recognisable interpretation of Talking Heads' 'The Overload' pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum machine rhythms, humid electronics and jagged guitar phrasing, while 'Where Flamingos Fly' reroutes the Gil Evans Orchestra's classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trio's reading of 'Kinder Lieder', the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walker's Climate of Hunter. Originals include the agitated Iberian psychedelia of 'Spain', and 'Panic In Bali', which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered 'Lonely Woman' quotations. 'Solaris' is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocal's trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay - like Antigravity at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humour pervading: see the anarchic cross-hatch of 'Ife Layo', or 'L'essai des Suintes ou le bal des Futaies', Berrocal's poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow and the ReR axis will find much to chew on. Play, as we know, is a serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, let's go.

Mundo Recordings proudly presents the new album release "Being Human Being"! A new collaboration between Erik Truffaz and Murcof, with a special artwork by Enki Bilal.

Art is the product of singular vision, but singularity is often enhanced when the 'artist' is plural. Swiss trumpeter Erik Truffaz has worked with Mexican-born sound artist Murcof (originally Fernando Corona) since 2006 when they worked as a trio with Talvin Singh. That fruitful relationship brought together Truffaz's investment in modern jazz (he has been that archetypal thing, a Blue Note artist), a sharp ear for the new discoveries of contemporary composers like Giya Kancheli and others in the eclectic world of new music, and developed a creative conversation with the world of noise, glitch and spectral electronics that is the abode, though by no means isolated abode of Murcof, who is an arch-collaborator, the kind of artist who seems most himself when in dialogue with others. That relationship was suddenly broadened and lent fresh intensity when in 2012 Truffaz met the charismatic Enki Bilal, painter, illustrator and creator of the 'Nikipol' sequence, an man who can conjure a whole world with a few strokes of pen or brush, and imply a whole narrative in a facial expression or modification of the body. It was inevitable that when these men came together, that extraordinary work would ensue. That work is the multi-form piece BeingHumanBeing, which exists as recorded event, as film collage and as the basis - the score, if one likes - of further performances. Its subject matter is clearly stated in the title. If homo sapiens is a singularity in planetary evolution, these are the men best qualified to peer over that event horizon and into the strange world that is our collective future.

Electronic experimentalist James Pants returns with his first full-length release since his 2011 self-titled album. Savage is inspired inspired by Martin Denny flourishes, royalty-free breakbeats, Gary Wilson, and Hamburg's infamous Golden Pudel club.

It's been four years since James Pants' last record, and accordingly it sounds different to what has come before: Savage adds more of a lo-fi digital sheen compared to Welcome (2008), Seven Seals (2009) and James Pants (2011). Over those four years, he's honed his skills as a webmaster - check rds.zone for his latest creations - and stockpiled new music. In fact, there are more than 100 tracks that were considered for the release. As Pants explains, 'Instead of labouring months over one song, I like to move quickly onto the next.'

Savage tracklisting:

Bambooman returns with two fresh cuts on a 7" for Sonic Router, his third release with the label. One features legendary UK rapper, Jehst who paints his trademark vivid imagery over sparse, introverted production.

The album evokes the deadening American landscapes of school shootings, military suicides & societal dissolution. Written and recorded in a crappy apartment in North Hollywood while surrounded by poverty, drug abuse and suicide. A dynamic LP that covers a lot of ground in it's 45 minutes: ethereal voices, techno rhythms, blasts of electronics. Released in an edition of 200 with unique silk screened sleeves and stamps, color print insert and download code.

Oh f*ck !
That very first, stone-cold killing ASDA 10 on FuckPunk has been repressed in slapdash fashion for those who still need this and didn't want to pay extortionate prices on disc*gs.

Since this record came out, Young Echo's very own ASDA have delivered a highly-regarded full-length, as well as a 55 second single for the NoCorner label, and have made a name of notoriety in venues across the UK & Europe with their inimitable live show...

This 10 will always remain as the artefact that cemented this beautiful combination of Chester Giles & Seb 'Vessel' Gainsborough.

Comes with original centre label art on one side, and marker pen on the other.

When it was originally released, the label wrote:

ASDA is named after their local 24hr supplier of wine, cider and vodka, chips and fish cakes -
ASDA is the moniker for the output of late night / early morning sessions between the two FuckPunk activists...
Aggrovated, love-sick, tarnished and pure - Chester Giles speaks his poetry - universal, personal, introvert, observational.
The rhythms and noises are created interactively / reactively.

This is music that doesn't hold back, music that does what it wants, music that cuts through the struggle, coming out on top with a few scars to show, a few stories to tell...
Punk music for the new age.

Explosive business straight out of the FuckPunk HQ -

Don't f*ck around, grab your copy before you get a slap from the boys!

M.D.O.F. (Multiple Degree of Freedom) EP brings us to the 8th Modal Analysis release; an improvisation-noise extract from the studio collaboration between the Greek electronic producer Panos Kyveleas, (a.k.a. BIOMASS), and the Italian impro-noise duo R.O.M. (Alessandro Quintavalle/electronic bass & Luca Pastore/tenor sax). M.D.O.F.#1 presents a series of soundscape textures, blended with (processed) saxophone melodies. M.D.O.F.#2 and M.D.O.F.#3 are two very unique
noise/free-jazz sessions, including both bass and saxophone solos, along with distorted ambience. M.D.O.F.#4 is based on rhythmic bass themes and abstract electronic and saxophone sounds, fused into drone layers. All tracks were recorded and mixed at Music Trade Lab in Napoli (Italy) by Fabrizio Piccolo.

RRose is a recording artist for Sandwell District, Eaux and Stroboscopic Artefacts labels - James Tenny was an electronic & computer music pioneer and one of America's greatest composers Short info: Rrose has found her own niche in the American techno underground. Her hypnotic tracks incorporate ideas from ambient and minimalist music as prominently as they do the history of dance music, operating in the same fruitful cross-section between techno and the abstract as many other Further Records releases. Rrose's debt to experimental music has never been more obvious than on September 20, 2012, when he performed James Tenney's 'Having Never Written A Note For Percussion' live in Washington, DC. The simple yet colossal piece is one of that American composer's most famous works, requiring the performer to play one percussive instrument constantly, taking it from the quietest point to the loudest and back again. Done well, it's a fascinating exploration of tone, volume and decay, and a showcase for drone music's unusually transportive powers. 'Never Having Written A Note For Percussion' has always been a personal favourite of Rrose's. He was struck with the inspiration to try it out after touring a disused trolley tunnel beneath downtown DC, where the possibilities of 'seemingly endless and unpredictable reverberations' seemed like the perfect environment for Tenney's composition. He made a 32-inch gong played with two mallets the central device of his performance, creating a towering leviathan of sound capable of the softest highs and the deepest lows.

thick sleeves + thick printed inner sleeves, 180g vinyl, incl. mp3
Piano Interrupted remixed by artists from Denovali Records' artist roster. Oscillating between dub, techno, abstract hip hop, ambient and post-classical, each interpretation offers a completely fresh approach to the work, sometimes barely recognisable, and sheds new light on the infinite directions that Piano Interrupted's intricate compositions can be taken.

Solar One Music is proud to present a very special project. Arne Weinberg (Valanx) and Robert Witschakowski (The Exaltics) join forces as "Val_Ex" and present their first album. Dark and deep tracks are featured on both sides of this album, the intention and atmosphere is undeniably pure darkness. The common goal of achieving this is audible each second of this record. The music ranges from ambient to electro, industrial and electronica. The album features full printed cover artwork.

T C F is the moniker of Norwegian contemporary artist and experimental computer musician Lars Holdhus. His work explores themes of code, cryptography and privacy through the use of visual, sonic, built and written concepts. Often the titles and descriptions of his work are written in cyphertext, the key to which is hidden within the piece itself. His forthcoming release on Liberation Technologies will further this cryptographic theme, consisting of digital and physical content containing the necessary keys to unlock the full meaning of the work.

An ornate globe made with many layers of exotic woods spins on its axis. Through the stained glass window diffuse light casts russet hews across the study. Looking out over the walled garden to an orchard, great swollen purple and black fruits hang malevolently from mangled moss-covered trees. A gentle wind pushes the tangled branches and as they creak and moan the fruits thud lazily to the ground, gathering in mouldering clusters on the dewy grass.

From two floors down a door slams angrily shut. A snakes head emerges from a bucket of rust. The weight of expectation pushes plants back into their roots and draws the forgotten ones out of stygian corners. Bintus throws wide his star cloak and beckons that we step through time with him. A black mirror points the way to oblivion while a disheveled figure appears, rain sodden, skin blanched like a slab of pre-historic granite. Stumbling over centuries, crushing asteroids with mind fire. Shango is among us tonight, bringing his wrath but also his forgiveness for those who show willingness to be forgiven.

O/H is a new collaboration between Dave Foster (Huren, Teste, etc.) and Rich Oddie (Orphx, Oureboros, etc.). Future Ready is a four track EP which conflates their histories in noise and power electronics, industrial techno and rhythmic noise and marries all methods together into a ritual assault. There are lots of adjectives to describe this music and you've heard them all before so just skip the bullshit and listen. Each record ships with a vial of bull hormones*.

New Pudel 12" is featuring 4 Tracks by Hamburgs finest House/Minimal/Cosmic-Producer RVDS (of IT'S and DIAL-Fame). Interstellar House-Music between Chicago, Detroit, Milan and Hamburg-City. Yes, this is: IT!
Limited!

Following from his recent Bass Clef releases with both PAN and Alter, London based musician Ralph Cumbers presents a new album of material from his Some Truths alter ego. Bringing together strands of house, techno, fractured rhythm and anthemic modular synthesis, the album demonstrates Cumbers' vision as one of experimental music's most singular voices, adeptly distilling strands of the familiar and abstract into a series of tonal and percussive collages that effortlessly navigates the balance between stark functional electronics and a playful psychedelic humour. Bliss Abyss highlights Cumbers' position as an artist embedded in the lineage of British pioneering synthesis, whilst filtering these technological and esoteric histories through a razor sharp dancefloor sensibility and a defiant ear for both intricate construction and dynamics, moulding contorted evolving structures and tense shards of rhythm into oscillating synthetics and expansive dubbed out coma.



At the centre of the production process for Bliss Abyss is the resurrection of a broken Roland TR606 drum machine combined with a eurorack modular system. The combination opened up a rhythmic vista for Cumbers that was recorded onto 25 tapes that were then repeatedly recorded over multiple times, creating imperfect palimpsests as sound leaked through from layers of previous recordings. This sits as the percussive bedrock for an exploration of acoustic modelling, and the uncanny potential for synthesis to both mimic and depart from the real.



The album is released through We Can Elude Control on 24th November 2014 and is available as a double vinyl LP and digital.

Everything is a function of that that preceded it. We are the cuttings of our past and we are put back together only to cut, and be cut up again....and so the sequence will continue, for good and for bad, for better and for worse .... everything true is harmony .... everything true is a mistake .... we are but the harmony of our spheres .... surrounded by music ... echoing the past as we hurtle towards the future.

My Favorite Robot serves up another unique and uncompromising release from Pink Skull, this time in the form of an exclusive vinyl release, months ahead of its digital companion. Energetic analogue forms that are simultaneously playful and moody define the sound of their latest full length Huitlacoche.

Huitlacoche, the group's fourth release, sees its first full length foray with a new pared down line up of Julian Grefe, Justin Geller, and Joe Lentini. Days on end spent tethered to their synths have yielded a purely electronic record; in a way, a return to their roots and a serious step forward.

This line-up has recently made waves with their EPs for MFRR, Throne of Blood, and Days of Being Wild, with each garnering attention across the globe.

The title track kicks off with a serious raw groover, whose ticking, machine made percussion lays down a strong foundation for the dance floor whilst the synth frippery completely takes one's mind away to another place.

'Trans Gender Express' continues in the same vein with molten acid lines set off by gentle, ambient synthscapes. 'Perfect Suites' is a deeper, more elastic affair offering up sublime and surreal synth work that conjures up images of otherworldly perfection.

'Mutant Comfort' is a trippy melodic free-fall and 'Burmese Engines' is a beatless trip through inner space. All of the releases conjure up the ghosts of synth pioneers past, from warm ambient to proto industrial - all the while keeping their attention focused on the future... and

Recored while reading Stanley Milgram's 'Obedience to Authority' the feelings of claustrophobia and brutality are slowly revealed across the album. The set opens with 'Agentic State' - an exercise in atmosphere and rhythm before moving into the more confined 'Obedience Experiment'. On side closer 'Antecedent Conditions' distant percussion interacts with analogue synths lying on a bed of industrial atmospheres. The second side is where things take on a darker and more oppressive turn. 'Situational Obligations' ramps up the distortion levels alongside a hypnotic, overridden bassdrum, propelling the incessant keys to create a suffocating listening experience. 'Remote Feedback' keeps up the driving momentum before 'Touch Proximity' brings the album to a close by taking a steps back without offering any comfort. Those who have noted the changes to the sound of The Boats of late will not doubt draw parallels to this latest solo transmission from one half of the duo.

Dark Pool is the new studio album from Black Rain, the project's first in 18 years. Produced in New York City by Stuart Argabright, Black Rain's founder and figurehead, Dark Pool is a work of hard-edged sonic fiction rooted in cyberpunk's quintessential neo-noir cityscape/dataspace but projecting into a farther future of biotechnological advancement and alienation. Partly inspired by the writings of Philip K. Dick protégé K.W. Jeter (particularly 1996'sEdge Of Human, which picked up where Ridley Scott's Blade Runner left off), and Paolo Bacigalupi's 2009 novel The Windup Girl, a vision of 23rd century Thailand plagued by genetic and economic terrorism, Dark Pool's humid dystopia is also acutely Ballardian in its vision of manmade and natural worlds encroaching upon each other: a vivid psychogeography of half-submerged high-rises and hidden jungle laboratories. Stuart Argabright first landed in New York in 1978. By day, he worked as a landscape gardener for the upscale likes of Rock Hudson and Bob Dylan, while at night involving himself in all manner of subcultural activity - the reverberations of which are still being felt today. He co-founded seminal no wave minimalists Ike Yard (whose early 1980s work has been cited as an influence by the likes of Kode9, Young Echo and Silent Servant), collaborated with the late Rammellzee in futurist hip-hop outfit Death Comet Crew (recently reactivated for an LP on Powell's Diagonal label) and as Dominatrix scored a bona fide club hit with the downtown electro classic 'The Dominatrix Sleeps Tonight' (1984). Black Rain was revived in the wake of 2011's Now I'm Just A Number's release and Argabright has toured extensively under the name and last year released an EP of live recordings, Protoplasm, on BEB. Three of the EP's four tracks appear here on Dark Pool in radically revised and expanded form: the stuttering ribofunk of 'Endourban' is now anchored by ominous string pads faintly redolent of Argabright's labelmates Raime, while 'Data River' revisits the accelerated beat-stream of Black Rain's 1996 album Nanarchy, and the low-slung 'Protoplasm' has evolved into a sprawling, syncopated techno epic - the sound of red dawn rising on an illegal replicant rave. A further seven new productions feature. 'Burst', its title perhaps a nod to Sogo Ishii's 1982 biker gang saga Burst City, harks back to the scrap-metal-banging brutalism of Black Rain mk.1; 'Xibalba Road Metamorph', the album's angry, anguished centrepiece, externalises the sadness and self-loathing of Jeter's oppressed post-human workforce. 'Night In New Chiang Saen' reimagines dub as the viral product of one of AgriGen's morally suspect scientific initiatives in The Windup Girl, before 'Who Will Save The Tiger' calls upon spidery, Metalheadz-esque breakbeats and wailing guitar drones to summon a 23rd century Ark. Vocals (on 'Profusion' and 'Profusion II') from Zoe Zanias (Keluar), and a brief spoken intervention from Sean Young (who of course played Rachel in Blade Runner) are simply the most audible manifestations of a dejected feminine presence that haunts the entire album. For all its textual references, Dark Pool is a visceral and straight-talking affair: its bodyhammer rhythms and brooding sound design require no explanation for their impact to be felt.

MARBLE COLOURED 2LP VINYL

Apollo Records is proud to present "SOL" the highly anticipated second album from Los Angeles based producer / composer Eskmo AKA Brendan Angelides. Inspired by our life giving planetary body, "SOL" is a masterful meditation on human emotional plane as effected by planetary bodies. Angelides has delivered perhaps his strongest musical statement yet.

Written, produced and recorded over the course of a year on the Eastside of Los Angeles in his home studio, SOL's epic grandeur bears the traces of Angelides's recent work composing orchestral pieces for live performance with the LA based Echo Society.

"From the moody cinematic opening of 'SpVce' and exhalting synth melodies of 'Combustion', to the touching delicacy of the watery ballad 'Blue And Grey' to 'Mind Of War''s tromping existential digi-funk, the heartbreaking piano paen of 'Tamara', to the snarling drone saturation of the title track, to the beaming, epic euphoria of 'The Sun Is A Drum' it's clear that this is a record that is a truly cinematic experience."

20 minute E.P. featuring two re-recorded  tracks taken from last years N' album. Since taking the material on their highly successful touring throughout 2014 the material mutated from kraut-rock to a more neo-techno feel. Nisennenmondai is the world's best-kept secret among noise rock enthusiasts. The vinyl of "N" consists of two tracks

Over the past 2 years Houston-based producer Rabit has developed a formidable reputation within the underground via a steady stream of acclaimed 12' releases and mixtapes. His notable credits include close ties to and collaborations with similarly buzzed about producers Mumdance and Logos, culminating most notably in a guest spot on the latter's debut LP, Cold Mission, as well as affiliations with the severely hyped Janus crew (M.E.S.H. designed the artwork for Baptizm). Singularly, he delivered a genuine hit on the British grime scene with his 'Black Dragons', featuring Riko, last fall.

Baptizm is a record of 2 halves, the ornate, gothic waltz of 'Imp' and 'Hex' grinding against the pounding mechanical violence displayed on 'Bloody Eye' and 'Straps'. On an emotional level Baptizm is about having one's life thrown completely out of order and finding solace in an imagined world. Themes of destruction and regeneration dominate throughout, as well as an ongoing obsession on the often-ugly clash between sexuality and religion. All in all, Baptizm finds Rabit continuing to feel out the parameters of his increasingly alien sonic world in a typically exciting fashion.

Featuring just two tracks, The Entropik EP sees Ekoplekz stretching his sound towards breaking point, each track extending well past the ten minute mark, slowly evolving yet with a sustained intensity, strength of purpose and emotional impact that ensures that neither outstays their welcome. "Entropy Flash" is a pile-driving epic - the relentless, heavily filtered analogue rhythms and skull-splitting drones offset by delicate, wistful melodies and a warm, extemporized bassline. It's title might make reference to a classic techno track by Beltram, but there the similarity ends. This is no homage, the sound is pure Ekoplekz, and the onus is on the listener to gauge what statement, if any, is being made here. Fans of a certain late-eighties psychedelic drone-rock group might spot another reference in the title of the flipside, "Entropy Symphony", though as with the A-side, all sense of 'Ecstasy' has long since evaporated. Beginning with a volley of pensive, densely entwined melodic loops, the track is gradually submerged in layers of searing drone-noise. Though further propelled by the introduction of a one-note bass hit, ultimately the 'symphony' disintegrates into a grey void of instability. Whether or not the listener chooses to interpret this EP in a conceptual sense, there is no doubt that this is some of the most powerful, life-affirming music to emanate from Ekoplekz' lo-fi studio hideaway to date.A:Entropy Flash B:Entropy Symphony

- LP edition of 300 copies, in custom printed tri-tone jackets with oversized LP booklet containing scores and translations, and handstamped LP labels. Album art by Jessika Kenney and Faith Coloccia.

- This is Jessika Kenney's first solo release following collaborations and recordings with artists such as Eyvind Kang, Gamelan Pacifica, Hossein Omoumi, Jarrad Powell, Ellen Fullman, Oren Ambarchi, Asva, Gamelan Madu Sari, Sun City Girls, Sunno))), The Black Cat Orchestra, Mamiffer, Wolves in the Throne Room, etc.

- Jessika Kenney's interactive 12-channel sound and 3-channel video installation Anchor Zero' was on exhibition this January 10 - February 1st at the Frye Art Museum in Seattle. She is the recipient of the 2014 James W. Ray
Distinguished Artist Award, and the 2013 Stranger Genius Award.

- Jessika has toured and performed world wide, both as a solo artist and as a member of various groups. Her performances have appeared on labels such as Ideologic Organ, Present Sounds, Haft Dastgah, Touch, Southern
Lord, Tzadik, Southern Records, Drag City, etc.

- Atria' was recorded and mixed by Mell Dettmer (Gambari Band, Jesse Sykes, Boris/Sunno))), Eyvind Kang, Wolves In The Throne Room, etc).


Atria is a full length LP featuring compositions written between 2007- 2013, including performances by esteemed musicians from Gamelan Pacifica, Gamelan Kusuma Laras, and Gamelan Rakyat, as well as Eyvind Kang, and
recorded in multiple contexts with sound engineer Mell Dettmer.

The term Atria' emerged in a dream in 2007, at a time when I was simultaneously writing new music for the Cornell Gamelan Ensemble at the invitation of Chris Miller, and recording Voices of Spring' with Ostad Omoumi. Atria' sounded
like the Latin plural of atrium, evoking the chambers of the heart, and reminded me of the Javanese Satriya or Knights', but it was only later I realized the reference to the Arabic triliteral root atr' or scent. This music has come into being in a similar way, by associations, breaths, correspondences, and dreams, with the untranslatable and the inexpressible as a compass. At the same time it is a document of a learning process, and although I have been so fortunate to have incredible teachers, all the errors and delusions are my own. This is a meditation on an internalized meta-historical dynamic between Javanese and Persian traditions, and is a tribute to the role of sound in the context of esoteric practices, including prophetology and healing water.

2015 Repress, Cover in Fulltone Green & Black, incl. mp3
Kreng's debut album - repressed to vinyl!
Noise lost the power to insult. Silence hasn't' - John Cage
Over the last few years Erik Skodvin, whilst finding time to release a plethora of his own material as Svarte Greiner and Deaf Center, has developed a well-earned reputation for releasing beautifully disturbing music on his own Miasmah label. Acts such as Elegi and Jacazsek have already set the bar high, creating masterpieces of contemporary doom-laden experimental music. Now adding to the label's impeccable roster, 'L'Autopsie Phenomenale De Dieu' is the incredible debut album from Belgian artist Kreng.

Outstanding reissue from the early-80s French underground. Drawn from rare cassettes, with some stuff out here first. Cluster, cold wave and wasted synth pop, with psych and Afro licks. Clear vinyl; limited.

* Channels electroclash era rapid-fire bass and syncopated beats amidst soaring synths * A songwriter who wears her heart on her sleeve, with deeply personal sentiments imbuing her brooding, expansive soundscapes throughout this record
* The intricate, deft production flourishes that flow through the album and the breadth of moods showcased point illustrate a fully-fledged artist * Pitches her voice down on the vampish Miracles to duet with herself in haunting fashion
* 'DREI' is ultimately about freedom. Coping with freedom. Limitations vs Freedom. The shock of a miracle. The madness of being alone. Ambitions and insecurities. The perils of a limitless creative mind. And without a doubt, my desire to produce fat hard beats without needing anyone - complete with a fresh sound.' - Emika

Björk is a rare artist - a true original, a non-conformist with wide appeal, an extraordinary genre-busting musical individual who speaks to the heart, the head and the feet. She is the quintessential modern musician, ceaselessly innovating, and completely multi-dimensional in the way she uses performance, technology, fashion, video and art to complement her music.

'Vulnicura' was written, produced and recorded in collaboration with Venezuelan producer Arca and British musician The Haxan Cloak. Of the album's nine tracks, six are written by Björk with two co-written with Arca and one co-written with Spaces. Six songs are produced by Björk and Arca, one by Björk, Arca and The Haxan Cloak and two by Björk. All string arrangements are by Björk. The album was mixed by The Haxan Cloak, except two songs mixed by The Haxan Cloak and Chris Elms, and mastered by Mandy Parnell.

Also available as a standard digipack CD.

01. Stonemilker
02. Lion Song
03. History of Touches
04. Black Lake
05. Family
06. Notget
07. Atom Dance
08. Mouth Mantra
09. Quicksand

Ramzi's debut 12" for Total Stasis gets the repress treatment here. Very limited copies!!

Dan Deacon, der vollbärtige Wunderwuzzi des Popgeschäfts, meldet sich mit seinem neuen Album "Gliss Riffer" zurück. Das selbstsproduzierte Werk ist ein 'back to the roots' für Dan Deacon. Nach seinen letzten Ensemble-lastigen Alben "Bromst" (2009) und "America" (2012) findet er wieder zu einem einfacheren Schreib- und Aufnahmeprozess zurück. Und obwohl "Gliss Riffer" größtenteils elektronisch produziert ist, ähnelt die Klangpalette doch auch wieder den letzten beiden Alben. "Gliss Riffer" umfasst alle gewohnten instrumentellen Spielereien und hyperventilierenden Nuancen, die wir von Deacon erwarten, aber er legt ein größeres Selbstvertrauen an den Tag, was den Gesang betrifft, wie man auf "Feel The Lightening" hört. Und ja, auch die "weibliche" Stimme ist Dan Deacon. Wie schon sein 2007er Werk "Spiderman Of The Rings" ist "Gliss Riffer" ein musikalisches Erlebnis, das vor Ekstase und Energie wahrhaftig sprührt. Der klangliche Übermut wird nur von den Lyrics gedämpft, die den quälenden Ängsten der menschlichen Existenz trotzig die Stirn bieten.

Mannequin Records is proud to present one of the most rare and unknown Italian Minimal Synth bands from the 80's. Musumeci were formed in Turin at the beginning of 1985, from an idea of Mauro M. (synthesizers - ex guitar player of Rude Pravo) and Franco G.
(programming - ex noise maker of Errata-S-Corrige).
The group was founded as a link and expression of various experiences, aimed, at least initially, to highlight the individual personalities of the members. The formation settles after six months of testing with the final entry of Laura G. (ex-keyboardist of Rude Pravo) and Paul C. (voice of K Position). Musumeci were playing several shows, preceded by long monologues in which find space rumorism, electrical scans, voices, screams, etc.
Presented here are the two super rare demo tapes that Musumeci recorded in 1985 ("Schwarz Morgen") and in 1986 ("Zusammen"), on their own label Zeltweg.

- 12'' LP on black vinyl, 33 RPM
- Limited edition of 300 copies
- Artwork designed by Mushy and Alessandro Adriani
*Strongly recommended to fans of D.A.F., Severed Heads, Liaisons Dangereuses, Single Gun Theory.*

"Scheich in China" is a project from Hamburg, mixing electronic soundscapes with ambient, industrial & a minimalistic approach

Since we heard for the first time the music of Gianluca Petrella something within us got changed. Deep, incisive, fine, introspective.
All that our soul has always loved and looked for...
He is one of the most talented trombonist all around the world, his international collaborations include, among others: Steve Swallow, Joy Calderazzo, Jimmy Owens, Greg Osby, Carla Bley, Gerard Pansanel, Klaus Suonsaari, Steve Coleman, Tom Varner, Michel Godard, Joel Allouche, Lester Bowie, Sean Bergin, Hamid Drake, Marc Ducret, Roswell Rudd, Lonnie Plaxico, Ray Anderson, Pat Metheny, Oregon, John Abercrombie, Aldo Romano, Steven Bernstein and the Sun Ra Arkestra directed by Marshall Allen.
Collaborations with italian musicians: Enrico Rava, Roberto Gatto, Antonello Salis, Gianluigi Trovesi, Roberto Ottaviano, Paolino Dalla Porta, Paolo Fresu, Danilo Rea, Enzo Pietropaoli and many others.
In the 'electronic area' he has collaborated with 9lazy9 (Ninja Tunes) and performed with the worldwide famous avant duo Matmos. In the same music fields stands the collaboration with Ricardo Villalobos and Max Loderbauer for the project Re:ECM.
'103 Ep' is traveling on the most intimate and electronic side of Gianluca's music, clarifying its fine taste with a series of cinematic atmospheres described with the combination of haunting jazz melodies with obscure electronic pathways.
This record captures completely the atmospheres evoked by dark cities, midnight, smoky streets, loneliness, existentialism and romanticism, allowing you to experience the jazz music from an unusual perspective.

This precious Ep is served on a 180gram Audiophile.