Beats Vinyl New Releases - News

Ben Vida's Damaged Particulates LP represents the conclusion of one body of work, and the beginnings of a new long form project titled Reducing the Tempo to Zero.
The version of Damaged Particulates included in this LP is the final iteration of a piece that Vida has been developing for close to four years. It first materialized as a number of individual
synthesizer studies under the title Damaged Parts which started to take shape following a commission from the Unsound Festival and which was also eventually presented at festivals,
galleries and museums around the world, including Experimental Intermedia, New York, Cricoteka Museum, Kraków, Poland and Leap Gallery, Berlin, as well as the Museo d'Arte Moderna di Bologna, Electrónica en Abril, Madrid and at the Akousma Festival, Montreal.
Reducing the Tempo to Zero on the flipside is the first recorded dispatch of Vida's new longform composition of the same name, here included as an instrumental passage taken from a much
longer work that, in its full duration, clocks in at close to five hours. Live performances featuring a four member vocal ensemble have been presented at Lampo, Chicago and at The Kitchen, NYC, and it will be reconfigured once again in late 2016 scored for choir and electronics, to be staged in Italy
and Belgium.
The piece represents Vida's return to the durational drone based forms that he first experimented with in the mid-90's with his group Town and Country, further developing an exploration of
phonetic based text scores. This method of scoring was used in his project Slipping Control which debuted at Audio Visual Arts Gallery, NYC and creates a continuous thread between his work as a composer and his developing career as an artist.

Returning with another debut release, Second Circle's eighth record to date comes this time from young Viennese musician Giuseppe Leonardi. Performed on an array of synthesizers and experimenting with spoken word and vocals from various local singers, Giuseppe's 'TBC' EP take us on a dance through the catacombs and out through the jungle floor with ritualistic rhythm and haunting song... Whilst at other moments Giuseppe's horizontal ambient pieces leave us gazing out on the shores of a distant half-remembered planet.

The View From Nowhere is a record of experimental electronic music that explores possible relationships between voice and modular synthesis. Composed and recorded by Matt Carlson at
Worksound in Portland, OR, the record develops and expands ideas discernible in his early solo works or as one-half of the duo Golden Retriever.
.Although melody and a good dose of Matt's unusual sense of humor shape the record, another key emphasis in the composition is his specific approach to rhythm and sequencing. Rhythmic
patterns are used but the music is somehow never fully on or off the grid. Carlson opts to use Nancarrow-esque overlapping meters and tempos to keep the music out of any kind of predictable
patterns of electronic music.
The View From Nowhere is thematically centered around ideas of confusion, panic, misunderstanding, and bad faith' communication. It's interested in the process of how something
moves from being an abstract' sound into becoming a signifier of specific meaning, and the interstitial space in between.
The felt attempt to communicate meaning lay behind the artwork as well, standing as a visual representation of the way the music approaches language. The text-based imagery strives to exist
between sense and nonsense, the meaningful and the meaningless. Individual syntactical units point' to one another but don't necessarily cohere into comprehensible statements. Relationality is implied and seems to emerge merely by placing signifiers against one another.
Taking influence from text-sound composers such as Charles Amirkhanian, the early voice synthesis work of Charles Dodge, and Robert Ashley's more speech-heavy work, The View From
Nowhere might be Matt Carlson's most challenging and refined record to date. It's like being near a million tiny entities all trying to communicate with you simultaneously, or being in a crowded
place hearing the rhythms and cadences of communication but not quite being able to parse it.

Bewildering and beguiling blend of field recordings and post-
techno abstraction woven into uniquely polymetric, insectoid
techno designs Mastered by Giuseppe Ielasi
Native Instrument is a Berlin based sound collaboration bringing together the fieldrecordings archive of Felicity Mangan and the abstract vocabulary of Stine Janvin Motland Often referred to as insect techno, Native Instrument's music is constructed using electronic and vocal adaptations of wildlife audio recordings originating mainly from the Australian and North European fauna; mixing the natural rhythms of animal calls with digital effects and vocal imitations, Native Instrument enlightens a sonic ambiguity between rural nature, electronics, and the human voice. With their debut release Camo, Native Instrument presents their true artificial nature; sound collages moving between tropical ambience, club inspired bug beats and amphibian trance.
With Deep Frog we could be listening to a plainchant chorus of crickets or a drone race, both egged on by a flock of birds, whilst Vögel Unserer Heimat opens to a racket of running water whooping macaques and busied insectoid pulses building to a purposeful techno march.
Waldfest follows in pursuit of a more crepuscular scene threading Donato Dozzy-esque pulses thru an intensely detailed pastoral scene of chattering dolphins and panicked cicadas - we've no idea what they're doing together on the Wald, either - before Emutional Flutes rotates a crackly narration from a nature documentary amid a call centre of nattering feathered creatures, striking a very odd and disorienting balance of stasis and psychotomimetic repetition maybe best termed as amphibian trance.

All tracks produced, written and mixed by Giuseppe Tillieci a.k.a. Neel.

Recorded in Rome and Curinga between summer 2013 spring 2014.

Track 4 contains elements recorded in Rome, courtesy of Filippo Scorcucchi.

Mastered by Giuseppe Tillieci at EnissLab Studio in Rome.

There's a large empty space on your record shelf, in between Nurse With Wound's "Space Music" and Pete Namlook & Tetsu Inoue's "Shades of Orion": a gap between the cold, lifeless experimentations of Steven Stapleton-space heard as a largely silent void punctuated by the sudden and infrequent arrival of massive objects-and the romantic imaginings of 90's space ambient which filled space with idealistic longings of earth. There aren't many records to put right between those two. But now Neel has given us one, Phobos, and it's both a lustrous and shadowy beauty. After debuting stellar live performances at Mutek in Montreal as well as Berlin Atonal, the time to release an album documenting the material has arrived.

Phobos is the debut LP from Neel, well-known as the sonic mastermind behind the Voices from the Lake project, together with his fellow Italian DJ, friend, and cosmic joker Donato Dozzy. Neel is a young mastering engineer with golden ears, and through Voices from the Lake, he and Dozzy have brought a level of immaculate sound production to techno which, to be honest, simply hasn't existed before. Alone, however, you might feel Neel sounds even better.

Phobos is a carefully cut gem, reflecting layers of patient detail and filling the full frequency range with a perfect balance. Voices from the Lake is an organic project, with a tight focus on water and life, but Phobos has leapt to the opposite end of the spectrum. You cannot take a sampler's magnifying glass to a place that does not transmit sound-another kind of imagination and technique is required. The sonic results are a real treat. This album more than most, will benefit from whatever outrageous hi-fi you can swing at it. Don't just play it loud-play it well.

Legend has it Neel constructed Phobos out of an elaborate narrative concerning Phobos, the larger of Mars's two moons, Fear and its brother Dread, the son of Aries and Aphrodite, the moon which sets twice across the Martian sky each day, and which each century draws closer to its red parent by one earthly meter, in a 50-million year gravitational tease that can only end in destruction. Further investigators will have to tease out the real details of that story from Neel, but for us the album slowly traverses through deep space over the course of a single hour-long track, patiently passing slow-turning objects and desolate plains, until the final minutes where it unpacks itself-presenting all the pent-up emotions from a long trip-in a blissful moment that marks the end and beginning of this voyage into space alone.

All tracks produced, written and mixed by Giuseppe Tillieci a.k.a. Neel.

Recorded in Rome and Curinga between summer 2013 spring 2014.

Track 4 contains elements recorded in Rome, courtesy of Filippo Scorcucchi.

Mastered by Giuseppe Tillieci at EnissLab Studio in Rome.

There's a large empty space on your record shelf, in between Nurse With Wound's "Space Music" and Pete Namlook & Tetsu Inoue's "Shades of Orion": a gap between the cold, lifeless experimentations of Steven Stapleton-space heard as a largely silent void punctuated by the sudden and infrequent arrival of massive objects-and the romantic imaginings of 90's space ambient which filled space with idealistic longings of earth. There aren't many records to put right between those two. But now Neel has given us one, Phobos, and it's both a lustrous and shadowy beauty. After debuting stellar live performances at Mutek in Montreal as well as Berlin Atonal, the time to release an album documenting the material has arrived.

Phobos is the debut LP from Neel, well-known as the sonic mastermind behind the Voices from the Lake project, together with his fellow Italian DJ, friend, and cosmic joker Donato Dozzy. Neel is a young mastering engineer with golden ears, and through Voices from the Lake, he and Dozzy have brought a level of immaculate sound production to techno which, to be honest, simply hasn't existed before. Alone, however, you might feel Neel sounds even better.

Phobos is a carefully cut gem, reflecting layers of patient detail and filling the full frequency range with a perfect balance. Voices from the Lake is an organic project, with a tight focus on water and life, but Phobos has leapt to the opposite end of the spectrum. You cannot take a sampler's magnifying glass to a place that does not transmit sound-another kind of imagination and technique is required. The sonic results are a real treat. This album more than most, will benefit from whatever outrageous hi-fi you can swing at it. Don't just play it loud-play it well.

Legend has it Neel constructed Phobos out of an elaborate narrative concerning Phobos, the larger of Mars's two moons, Fear and its brother Dread, the son of Aries and Aphrodite, the moon which sets twice across the Martian sky each day, and which each century draws closer to its red parent by one earthly meter, in a 50-million year gravitational tease that can only end in destruction. Further investigators will have to tease out the real details of that story from Neel, but for us the album slowly traverses through deep space over the course of a single hour-long track, patiently passing slow-turning objects and desolate plains, until the final minutes where it unpacks itself-presenting all the pent-up emotions from a long trip-in a blissful moment that marks the end and beginning of this voyage into space alone.

Rauelsson is probably best known for intimate guitar and vocal based songs with releases on Hush and even an appearance on the early sonic pieces album Portland Stories compiled by Heather Woods Broderick. With this in mind, Vora comes as a surprise in a grandeur way with its mixture of everything from piano solos, orchestrated classical music, synth buildups and even an shoegaze inspired organ piece sounding like Windy & Carl performing in an empty hallway.

Like a coastal dream impossible to differentiate summer for winter, Vora feels like cold winds slowly warming up. Made in the time Raúl moved from Portland, OR back to his native Spain, settling on the east coast, you can hear the influence of the endlessly forcing waves and empty off-season tourist cities left for the remaining few to discover in peace. Vora is a sure win for fans of Deaf Center´s Pale Ravine, Nils Frahm´s more melancholic moments or film musicians such as Philip Glass and Clint Mansell.

Ltd. to 450 copies, handmade textiled artwork, incl. printed inner sleeve, incl. mp3

Following the intimate but epic Vora from 2013, Rauelsson is back and in grand form with the utterly captivating Mirall, his second full-length album for Sonic Pieces. The new record continues the lush landscapes of earlier times while moving his sound into a feast of organic beats and textural dynamism.

Among the novel elements there's a great sense of joy and upbeat moments scattered throughout the album, mirroring its melancholic base. This combination feels very natural and merges perfectly with the overall majestic sound. Raúl also blends an impressive array of instruments and genres while still reflecting his personal and somewhat secretive presence. The producer lives on the Spanish coast in a rather detached way from any online presence, focusing on family life and the real sense of humanity. This feeling vibrates through the sound of Mirall making for a very emotional venture.

Expect to hear organs, synths, tape-loops, clarinet, strings, piano and percussion, just to name a few key sounds present on this record, all compiled and produced with a passionate taste for acoustic experimentation. This sense of sonic open-mindedness was skillfully amplified by Nils Frahm's studio work, who mixed and mastered Mirall. The album finishes off with a surprising unaccompanied lullaby, interpreted by Heather Woods Broderick. Rauelsson delivers another timeless album we already can't wait to re-visit again and again.

With Contemplative Figuration we see Broshuda pushing his amorphous, impossible-to-pin-down music in exciting new directions. Stitched together in various European cities over the last few years, it is the artist’s most dynamic and ambitious release thus far, drawing equally from musique concrete, beat research, ambient, tape collage, and spoken word. Episodic in nature, the collection functions well as a sort of impressionistic travelogue, with romantic, hazy atmospheres coaxed from borrowed equipment, serendipitous recording sessions with old friends, and even a drum sequence programmed with Mario Paint, among other curios and sleights of hand. Broshuda deftly wrings bonafide cohesion and balance from these disparate source materials, tools, and locations, as on opener “Kakigori,” which allows a snaking harmonic drone the space to evolve before exploding it into a sort of seething, dubbed out pointillism. Later, “Lied Für Hase” concocts a potent, humid atmosphere of beautifully evolving acoustic piano loops and elegant narration. Taken as a whole, Contemplative Figuration is a weightless, transportive record, one that is bursting at the seams with ideas, mischief, and a restless spirit.

Mastered by Helmut Erler at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.

Over the past fifteen years, Florida-based multi-instrumentalist Eric Lanham has quietly generated a diverse and remarkable body of work both as a solo artist and in group settings. From the disorienting drone/collage ecstasies of Caboladies, his trio with Christopher Bush (Flanger Magazine) and Ben Zoeller, to wildly divergent solo flights under both his own name and as Carl Calm, Lanham’s carefully meted out recordings display the talents of a chameleonic composer who is as capable a sound designer as he is unconcerned with trend in experimental electronic music or notions of prolificness. “Objet Dirt” arrives ten years after “The Sincere Interruption,” his excellent longplayer for the now defunct Spectrum Spools imprint. Captured live, these compositions are brimming with kinetic, elastic, off-grid rhythms, an articulate and enigmatic language that restlessly darts around the stereo field. Of the collection, Lanham says "I haven't made a single piece of music that sounds like this since and it is hard to imagine doing so again.” If this is the case, the 20+ minute closer is a formidable final document. At once chaotic and tightly controlled, it is a torrent of coiling low-end, submerged and stretched rhythms, and seething high-end filigree that is as indebted to the hungry ghosts of free improvisation as it is anything resembling techno.

Under their exael moniker, Berlin-based producer Naemi makes highly imaginative music that can be seen as a study in contrasts - precise, hyper-detailed drum programming sits atop fuzzy, organic pools of ambience, virtuosic futurism is wrung from a falling apart laptop. Following a string of excellent releases, both solo and in group settings, “Flowered Knife Shadows” features eight productions that feel like the full realization of the project, demonstrating the artist’s range and knack for vivid, pressurized productions. From the dextrous, chops-flexing “Koch Metish” to the sanguine “Reality’s Sweetheart,” Naemi’s clarity of vision and instantly recognizable aesthetic are delivered here with remarkable potency. Frost on the window, whispers in the dark.

Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint (Bass Clef), further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.

Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.

Brooklyn's Color Station label debuts their first vinyl pressing with this album from su na. Gorgeous, and spacious new LP from su na the recording alias of Minneapolis-based musician and DJ Alec Ness.

((( O ))) is unveiling her highly anticipated fifth studio album, ((( 5 ))), marking the latest milestone in her visionary series of releases. Continuing her tradition of fusing music with the rhythms of the universe, she has introduced the concept of 'MoondropDISABLEDs,' which are individual pieces of audio-visual art released every full moon. These 'MoondropDISABLEDs' are then compiled into an annual collection called 'Sundrops,' released on her birthday. ((( 5 ))) represents the fifth installment in this series, offering a mesmerizing blend of genres and sonic landscapes that reflect ((( O )))'s deep connection with nature and the cosmos. Each track is crafted to resonate with the energies of the lunar cycle during which it was created, offering listeners an otherworldly experience. Looking ahead, ((( O ))) aims to complete a full collection of 12 'Sundrops' by the year 2032, creating an unparalleled anthology of art that spans a decade and encapsulates the cycles of the moon. Her work continues to inspire a global audience with its innovative blend of music, visual art, and spiritual exploration.
In the words of ((( O ))): “Each 'Sundrop' is a reflection of my journey through life, intimately connected with the rhythms of nature. With ((( 5 ))) being my first fully-produced album, I invite listeners to join me in sitting with the moments in between, with the simplicity of instrumentals from sounds that I used from my journeys living in the Philippines, celebrating the beauty and power of our cosmic connection. I needed it to create space versus taking up more space in an already overwhelming world we live in now.

Following acclaimed albums by Piotr Kurek, bela, and Antonina Nowacka and Sofie Birch, Unsound will release the album SHAME by 2K88 on 28th June, on vinyl, as well as in digital format and on streaming.

On SHAME, producer 2K88 (Przemysław Jankowiak, fka 1988) invokes the era and spirit of PL SOUND, a local genre inspired by British soundsystem music but infused with the social, urban, and sonic themes that developed during Poland’s post-communist transformation. SHAME is a progressive, bass-fueled transmission built from scraps of hip-hop’s past; it’s a cinematic vision of Y2K Polish rap that’s in constant flux, where every detail is just as important as the whole structure.

Sampling the Polish canon of beats from the low-rent districts of the nineties, 2K88 plunders tracks already based on samples and channels the experiences of the generations that grew up with those sounds, struggling and celebrating with them. And just as he did with his previous projects Etamski and 1988, 2K88 draws out, processes, and ages his elements in an echo chamber, asking questions and formulating answers.

Jankowiak works on the fringes of genre: traces of ambient, dub, rap and jungle flicker into low-lit urban rhythms, chunky nightclub basslines and paranoid production touches. This is in keeping with his new, futuristic handle, 2K88. Not for a second does he succumb to today’s omnipresent nostalgia, instead putting reconstruction before deconstruction — he finds whole worlds in his scraps, and in the long-gone turn-of-the-millennium period, whose liminal qualities feel like a precursor to the unease of the present moment.

The end-of-the-20th-century paranoia has only intensified in the past 30 years, and paranoia, as Philo Gant once said in the 1995 sci-fi film Strange Days, is “just reality on a finer scale”. By that logic, 2K88 offers a picture of the grittiest reality blown up to truly awe-inspiring proportions.



2K88— fka 1988, aka Przemysław Jankowiak — is a music producer, graphic designer, and audio director raised in the Poland of the 1990s and on the pioneering rap records of that time. The rawness and paranoia he took from this period have always been an integral part of his music. They were there when he made his first homemade beats and stayed with him when, in the following years, he distanced himself from hip-hop, going deeper into the world of sampling experiments and the post-genre avant-garde. Later, he and Robert Piernikowski created the universe of Syny - an irreal spectral/ontological phenomenon built out of memories, dreams, and bass, rap, dub, and smoke.

Since the end of Syny, Jankowiak has let loose his beatmaker impulses on a collaborative record with Warsaw’s legendary MC Włodi, created the album Ruleta with over 30 featured guests, and struck up a dialogue with the electronic soundsystem work that’s fascinated him for years on the Ring the Alarm EP. He’s also created chart-topping avant-pop with Brodka and a mimetic soundtrack to Splinter, but it is SHAME that is the album we might call his sonic résumé.

Laced Records have teamed up with 65daysofstatic and Hello Games to bring you No Man’s Sky: Music for an Infinite Universe across digital, CD and vinyl formats. After the track ‘Debutante’ accompanied the first reveal of No Man’s Sky in 2013, the band spent over a year composing original music for the game’s soundtrack. No Man’s Sky’s procedurally generated universe is unlike anything yet seen in the gaming world, and 65daysofstatic’s sonic assault is equally ambitious. The release itself comprises 10 tracks of original music, plus a second collection of 6 soundscapes and sound design, an all-encompassing journey of almost two hours. The 6 additional soundscapes are exclusive to the Laced Records release.

On September 27th, Sheffield-based experimental stalwarts 65daysofstatic release their anticipated, expansive new album replicr, 2019 via Superball Music. This immersive album highlights a continuation from previous releases and a constant evolution which has been evident since their formation. In 2016, they released their critically-acclaimed score for ‘No Man’s Sky’, the most anticipated game in the world at that time. Their generative, infinitely long, in-game score was experienced uniquely by each of the game’s millions of players. This crash course in algorithmic music led to the band building their own procedural musical systems and generative soundscapes, crafting custom synths, live coding and writing software to make music for (and against) them. This new way of working they called “Decomposition Theory” — decomposing from the infinite possibilities their systems churned out instead of composing from the ground up, a dialectic between the band and their machines. From the eventual smouldering wreckage of their broken software systems and entropic algorithms, the band realised their next record needed to be the opposite. An album born from the debris, but stripped down to its most focussed, intentional form. replicr, 2019 is the album carved from the wreckage. Forty two minutes of dread. A record that stares head on into the abyssal futures of late capitalism and refuses to blink. A melancholic, tireless soundtrack of acceleration. A feeling of frayed-nerved, time-smudged, light-speed drifting through cities built upon cities. Neon seen through rain-riddled windowpanes. replicr, 2019 is a stark, angular, stripped back slab of focussed noise. It wastes no time because there is no time left to waste.







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Following March’s 9696 Dream mixtape and July’s Flex Time EP, this new album sees 96 Back shine the spotlight on his own vocals for the first time, at points (such as on lead single ‘9 To Find 6’) operating fully in the realms of experimental pop. At other times, such as on ‘Teach Me Tenderness’ and ‘Feel Hard’, 96 Back stretches and processes his vocals to almost breaking point, while album closer ‘Melt You’ sees him duet with past collaborator Iceboy Violet, ending Love Letters on a sombre but romantic note. That’s not to say Love Letters is fully removed from the dancefloor, however: tracks like ‘Don’t Die’ and ‘Love Compact’ are precision-tooled for the club, while the likes of ‘Felzin’ and ‘Vibrant Colours’ continue to explore the intricate but emotive electronics that 96 Back has been so successful with in the past. More varied and vivid than any of 96 Back’s releases to date, Love Letters feels like a coming of age moment. It casts its net incredibly wide at points, and it’s an album full of ambition, but it meets every challenge it sets itself — as affecting in its quieter, tender moments as during its dramatic peaks. In 96 Back’s words: “This is a record I feel like I’ve been trying to write for years, it feels like the most accurate body of work to match the ideas in my mind. Trying to project a lot of the records I hold very dear to me through this lens, interpreting how they sound to me and merging them with ideas of finding the drama and excitement in the full spectrum of emotions on the tip of my tongue, that’s what ended up being Love Letters, Nine Through Six.”

9T Antiope have made a name for themselves in the vibrant experimental music scene of Iran over the past years. Now based in Paris, Sara Bigdeli Shamloo and Nima Aghiani are expanding their stylistic scope and team up with long-time friend Siavash Amini for their debut release on Hallow Ground. After 2017’s »TAR« and »FORAS« the year after 2018, »Harmistice« is Amini’s third LP for Hallow Ground and his first in collaboration with other artists. Recorded in Paris and Tehran, the four tracks are the result of »all the long hours of speaking online, being kilometres away, it is a love child of those short times we actually got to be physically in one place.« Vocalist and lyricist Shamloo enters a dialogue with Aghiani and Amini’s sound art, which is from restrained but interlocks voice and noise with striking subtlety. »Harmistice« seamlessly blends the visceral with the sublime, the abstract with the oh-too-real.

From the very first second of »Blue as in Bleeding«, »Harmistice« evokes a sense of suspended terror. Shrill frequencies and aleatoric bursts of feedback give way to a hard-hitting bass drum until Shamloo’s voice arises from the chaos with an uneasy clarity. It’s the perfect opening for a record that is built upon stark contrasts like this one. Amini and Aghiani bring together synthetic sounds with acoustic instruments, creating a tangible tension on which Shamloo’s sometimes sensitive, sometimes emotionally detached delivery thrives. »It’s all based on a dream, a nightmare about war,« she says in regards to her lyrics that move between poetic abstraction and first person prose, blurring the lines between lived experience and sinister premonition. »Harmistice« takes inventory after the oneiric damagehas been dealt in real life.

As a whole, »Harmistice« is thus as ambiguous as its title suggests. As an all-too-lucid dream about unspeakable things that are being lent a voice it overwhelms the senses with an unheard-of volume. Drawn from the depths of the subconscious, »Harmistice« may just be the most challenging album in either 9T Antiope or Amini’s discography.

A 4 song EP of remixes of songs from A Grape Dope's Backyard Bangers album. Featured remixers are Laetitia Sadier (of Stereolab), Four Tet, Jeff Parker (of Tortoise), and Roberto Carlos Lange (also known as Helado Negro).

Following up on 2021"s highly acclaimed Hologram EP, the rebooted lineup'
vocalist/guitarist Oliver Ackermann plus drummer/vocalist Sandra Fedowitz and
bassist John Fedowitz (both of Ceremony East Coast)' delivers an overclocked
set of futuristic electronic punk music encoded with punishing industrial rhythms,
swirling voltage- starved guitars and unclassifiable auditory annihilation. Across
thirteen tracks recorded in seclusion throughout the nihilistic absurdity of the
coronavirus pandemic, See Through You is proof-positive that the group hailed as
'The Loudest Band in New York' is still finding new ways to push the needle
deeper in the red

A Produce is Californian trance artist, Barry Craig. The Clearing was his spacious and rhythmic debut album album, originally released in 1988. He co-founded the Trance Port Tapes label which specialised in giving DIY electronic music a platform. Scott Fraser from Kronos Quartet, Daniel Voznick from Afterimage and guitarist Scott Marc Becker all aided the creation of The Clearing. Craig sadly died in 2011, aged 59.

The Clearing is the debut album by the late Los Angeles-based musician Barry Craig aka A Produce. As co-founder of the underground cassette imprint Trance Port Tapes, Craig managed to assemble local artists who were working within the realms of DIY electronics and rhythmic, spacious sound. Incubated over a three year period, '88 release The Clearing draws on the roster of TPT associates such as Scott Fraser (Kronos Quartet), Daniel Voznick (Afterimage) and guitarist Scott Marc Becker resulting an 'an album of conceptual space', owing equally to the guitar-based new-wave releases of the imprint prior as to the later, and deeper ambient trance sound that would follow. Coming at this intersection of styles, there are moments of deep introspection and sulking, minimal drum machines followed by pieces of more outward expression only to be plunged back into tense, oppressive atmospheres. Yet despite these shifts in style, the sense of mood and cohesion throughout is ever-present, giving a true sense of inhabiting a unique space - or 'The Clearing'.

This is an official reissue, with the blessing of Craig's estate and artwork replicated by the original artist - renown designer Bruce Licher of Independent Project Recordings. Edition of 500.

A. G. Cook’s debut, 7-disc, 49-track album, painstakingly refined to 21 tracks. Limited edition Silver Vinyl. No secret tracks.

Double LP, 12” Vinyl Records (140g, Silver)
Gatefold Pantone 877C Silver, Matte Flood, Spot High Gloss
Full Colour Inner Sleeves
24x36” Double-Sided Poster Insert, CMYK & Pantone 877C Silver with Spot High Gloss

Art Direction by Supermodel
Packaging & Layout by Timothy Luke

"Aaron Turner’s solo debut Repression's Blossom explores the realm of avant-garde and reductionist metal. Avoiding the pitfalls of unintentional monotone, the album's abstract narrative tightropes through viscous noise mayhem and clinical serenity towards the mythical echelons of minimalism with gravity analogous to Kevin Drumm, Caspar Brötzmann and Pauline Oliveros. The drone-supported fragments of exquisitely manipulated audio create a magnificent multi-layered backdrop for Turner’s feral guitar mangling, which extends across lyrical abstraction and concrete art." - Pekka Jääskeläinen

Besides his solo works, Aaron Turner is renowned for his participation in the bands SUMAC and Old Man Gloom. His other projects include Mamiffer, Split Cranium, and House of Low Culture, as well as collaborations with other artists such as Tashi Dorji, Daniel Menche, Keiji Haino, and Circle. He is the founder of Hydra Head Records and co-founder of SIGE Records.

Quetzals are strikingly colored birds in the trogon family. Their wings are suited to camouflage under rainy conditions. The name quetzal , from the mesoamerican Nahuatl language, refers to " an upstanding plume of feathers " in terms of standing up. The origin of churros is unclear. One theory suggests the concept was brought to Europe from China by the Portuguese Another theory is that the churro was made by Spanish shepherds to substitute for fresh baked goods. Churro paste was easy to make and fry in an open fire in the mountains, where shepherds spend most of their time. Licasso is a thermodynamic sound world where colors and sounds become the same thing.

Aho Ssan ist der Künstlername von Désiré Niamké, einem in Paris lebenden Komponisten und Elektronikmusiker, der sich im Laufe des letzten Jahrzehnts als zentrale Figur an der Schnittstelle zwischen experimenteller Elektronikmusik, Klangforschung und zeitgenössischer Komposition etabliert hat. Zu seiner Diskografie gehören ,Simulacrum" (Subtext, 2020), ,Limen" mit KMRU (2022) und ,Rhizomes" (Other People, 2023) mit Moor Mother, Angel Bat Dawid und clipping. Er trat bereits im Lincoln Center (NYC), im Muziekgebouw (Amsterdam), in der Krakauer Philharmonie, bei Atonal Berlin, CTM, Rewire und Sonic Acts auf - und war Support von Autechre im Le Trianon (Paris, 2024). Aho Ssans künstlerisches Schaffen lässt sich als hochpräzise Klangskulptur beschreiben, in der gewaltige Ströme digitaler Klänge in rohe Texturen zerfallen, um die Themen Identität und Chaos zu erforschen. The Sun Turned Black basiert auf field recordings, die während einer Reise nach Ghana, der angestammten Heimat von Aho Ssan, gemacht wurden. Aufgebaut um einen klanglichen Dialog mit der international gefeierten Geigerin ASIA, wobei alle perkussiven Elemente bewusst weggelassen wurden, nimmt das Album einen einzigartigen Platz zwischen Ambient, Noise und elektroakustischer Musik ein. Das Projekt wurde ursprünglich von der Maison de la Radio für das Hyperweekend-Festival in Paris in Auftrag gegeben, das Album in Coop mit Subtext Recordings aus Bristol veröffentlicht.

aja monet ist eine surrealistische Blues-Dichterin, Musikerin und Bandleaderin, deren Werk fließend zwischen Poesie, Musik und politischem Ausdruck wechselt. Aus der Spoken-Word-Szene der Lower East Side in New York City hervorgegangen, wurde sie die jüngste Gewinnerin des Nuyorican Grand Slam Poetry-Titels, bevor sie ihr Schaffen auf genreübergreifende musikalische Darbietungen ausweitete, die ihre Wurzeln im Jazz, Blues und experimentellen Sound haben. Ihr Debüt-Poetry-Album ,when the poems do what they do" wurde 2024 für einen Grammy Award in der Kategorie ,Best Spoken Word Poetry Album" nominiert und etablierte Monetas als einzigartige Stimme in der zeitgenössischen schwarzen Musik- und Performance-Szene. Das Projekt verbindet Poesie mit Live-Instrumentierung und Improvisation und erkundet Themen wie Widerstand, Liebe und Freude durch einen kollaborativen, ensembleorientierten Ansatz. Als tourende Bandleaderin ist sie weltweit bei großen Festivals und in bedeutenden Veranstaltungsorten aufgetreten, darunter das Newport Jazz Festival, das North Sea Jazz Festival, das Montreal Jazz Festival, das Guggenheim, das Lincoln Center, das Barbican Centre und die Fremantle Biennale. Neben ihrer musikalischen Arbeit ist monet eine gefeierte Dichterin und Autorin. Ihr erster vollständiger Gedichtband, ,my mother was a freedom fighter" (2017), wurde für den NAACP Image Award in der Kategorie Poesie nominiert. Ihr jüngstes Buch, ,florida water", erschienen bei Haymarket Books, schöpft aus mehreren Jahren des Lebens und der Organisationsarbeit in Südflorida und setzt ihre Auseinandersetzung mit Ort, Bewegung und kollektivem Gedächtnis fort. Zu ihren Auszeichnungen zählen der Marjory Stoneman Douglas Award für Poesie, der Nelson Mandela Changemaker Award, der Harry Belafonte Voices for Social Justice Award, der EBONY 100 Artist in Residence Award sowie der Malcolm X & Dr. Betty Shabazz Vanguard Award. Zudem ist sie künstlerische Kreativdirektorin von V-Day, der globalen Bewegung zur Beendigung von Gewalt gegen Frauen und Mädchen, und Schöpferin von VOICES, einem Hörspiel aus dem Jahr 2022, das die Geschichten schwarzer Frauen in der Diaspora und auf dem afrikanischen Kontinent in den Vordergrund rückt. aja monet's zweites Studioalbum, ,the color of rain", wird im Mai 2026 bei drink sum wtr erscheinen.

win moon transmission to Akasha System’s vinyl monument Echo Earth, Echo Lost side-winds a parallel meridian of nocturnal wilderness, fogged coastline, and fiber optic electronics, broadcast from the wooded outskirts of Cascadia. The EP’s six songs sway, swoon, and slide, club sonar refracted by space and solitude, waveforms for wandering stars and distant satellites seen between branches. Concise, crystalline, but covert: echo as emotion, lost in life’s spiral.

Akio Niitsu's first album, "I/O(i?o)" released in 1978, was produced in a homemade studio that had been converted from a storeroom in his home, and he spent three years doing everything from composition to engineering by himself, using overdubbed guitar recordings. 's first analog re-release has been decided.

As a guitar multi-recording album, the idea was realized six years earlier than the album "E2-E4" released in 1984 by Manuel Göttsching, the central figure of "Ash La Tempel", but it was too early. A hidden experimental/ambient gem!

The paradoxical sound that makes you feel as if you are lost deep in a labyrinthine forest, combined with Tadanori Yokoo's artwork, is a piece that allows you to enjoy Akio Niitsu's worldview with your ears and eyes.

Los Angeles-based experimental producer Al Lover will release his new studio album ‘Cosmic Joke’ on May 27th via Fuzz Club Records.
A staple of the global psychedelic scene, Lover has spent nearly a decade fine-tuning a broken, abstracted form of electronica that pools together a tapestry of trip-hop, synthesised krautrock, dub and dark ambient. Utilising an arsenal of samples, drum machine, analogue synths and live instrumentation, Lover’s is a kaleidoscopic sound that’s J-Dilla, DJ Shadow and Lee Scratch Perry by way of Brian Eno, Kraftwerk and Kluster. Central to Lover’s music is a desire to explore the fringes of psychedelic music and the common threads that run through its far-reaching styles, drawing elements from the past and connecting them to the future. Through the years he has released a number of studio albums and beat tapes, remixed the likes of Osees and Night Beats, been resident DJ for the Levitation and Desert Daze festivals and collaborated with the likes of Goat, Anton Newcombe, Cairo Liberation Front and White Fence. Now, Lover returns with his latest studio album, ‘Cosmic Joke’ – a series of synthesised philosophical meditations on modern life, in all its tragicomic absurdity. "'Cosmic Joke' came from observing the rising, compounded absurdity in recent years and seeing structures of normalcy dissolving. It’s my attempt to view these things as part of a higher-order process, through a metaphysical lens rather than an ideological one. It’s been an exercise in holding the paradoxical relationship of comedy and tragedy, joy and pain, growth and decay, scale and decline as part of an interlocked system that, at a deep level, is essential to how we interface with the world.”

Lost Map Records are excited to announce a special deluxe edition of the wonderfully uncategorisable album The Corner of a Sphere by London and Manchester based spoken word artist, writer and saxophonist Angus Fairbairn AKA Alabaster dePlume, following a sell-out of now two physical runs. The result of monthly development concerts that brought together different disciplines and communities at the Total Refreshment Centre in Dalston, the album is available again on heavyweight vinyl LP with download codes. This edition is accompanied by an exclusive bonus album titled If In Doubt Yes – a collection of live recordings, new material and remixes co-released in partnership with the Total Refreshment Centre (see below for full tracklisting). Following the release of the successful compilation To Cy And Lee: Instrumentals Vol.1 in 2020, Alabaster dePlume will release more brand-new music on the Chicago-based label International Anthem in association with Lost Map in 2022. Informed by such diverse experiences playing in polyrhythmic punk bands in his youth, tuition in jazz and Indian classical music, five years as an accompanist for other artists on international tours and ten years of working with adults with learning difficulties, Alabaster dePlume’s output is thoroughly special. A disarming, unpredictable, wilfully awkward and totally life-affirming meld of richly evocative poetry and singing, sweet soft music, deadpan comedy, left-wing political fire and righteous helpings of right-on good vibes, as encapsulated best by Angus’s positive mantra: “you’re doing very well, it’s not always easy”. When he plays live and in his element, Angus seeks to elevate audiences out of their comfort zone, by taking a behavioural approach to performance. “I want to make use of my natural, semi-vain concern for ‘what is my effect on the people around me right now?’ in order to frame certain thoughts and feelings,” he explains. No two shows are the same, each is a collector’s item. First released in May 2018, The Corner of a Sphere was Alabaster DePlume’s fourth of now five albums to date and his first for Lost Map, following three successful self-releases on vinyl, CD and digital formats before that in collaboration with Manchester’s Debt Records. Featuring tracks including ‘Is It Enough’, a by turns funny and sad take on obsessive consumption and how greed is not a sustainable motive for activity, the whimsically cosmos-gazing ‘They Put The Stars Far Away’ (“What would you do with the stars? Try and smoke them?”) and uplifting ode to humankind at its worse and best ‘Be Nice To People’, The Corner of a Sphere is a provocative invitation to reconsider where the distinctions between styles and genres and modes of performance lie, and whether or not we even need those distinctions in any case. Angus first built an audience in East London through his monthly development residency PEACH at the Total Refreshment Centre in Dalston. Featuring friends and special guests and a different improvisational live band every time, it was described by Laura Barton from The Guardian as “one of the most thrilling performances I’ve seen this year; a reminder of how vital and adventurous music can be”. Alabaster DePlume has gone on to perform at major festivals, theatres and clubs around the UK and Europe. In 2020, his song ‘Visit Croatia’ was prominently sampled by Bon Iver on ‘PDLIF’, a track since streamed more than 14 million times.

Tolle News für Fans von Suicide: Das New Yorker-Label Sacred Bones fördert das verschollene Album "Mutator" von Alan Vega zu Tage. Vegas Name ist ein Synonym für ungebremste Kreativität. Von den späten 1950er-Jahren über seine Zeit als Musiker beim legendären Protopunk-Duo Suicide bis zu seinem Tod im Jahr 2016 war Vega ständig am Schaffen (u.a. auch als Maler und Bildhauer). Dieser Prozess führte zwangsläufig zu einer Fülle von Material, das nicht sofort das Licht der Welt erblickte, als es aufgenommen wurde und bis heute im Vega Vault schlummert. Das Mitte der neunziger Jahre in Vegas NYC-Studio aufgenommene Album "Mutator" ist die erste in einer Reihe von anstehenden Veröffentlichungen aus seinem Privatarchiv. "Mutator" wurde mit Vegas langjähriger Partnerin Liz Lamere aufgenommen, die seit Beginn der 1990er-Jahre Keyboards und Gesang zu vielen seiner Aufnahmen beigesteuert hat und heute zusammen mit ihrem gemeinsamen Sohn Dante Vega Lamere den musikalischen Nachlass von Vega verwaltet. 2019 wurde das Album von ihr und Vegas engem Freund und Vertrauten Jared Artaud von The Vacant Lots im Vault entdeckt. Beide erkannten schnell das visionäre Potenzial, das in diesen Bändern steckte. Sie mischten und produzierten das Material, das jetzt erstmals als "Mutator" in Albumlänge vorliegt.