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Two previously unreleased collages for magnetic tape, both realized at the Studio di Fonologia Muisicale RAI in Milan. These pieces are precious testimonials to Aldo Clementi's intense and ongoing interest in electronic music in the 1960s. The electronic composition »Collage 2« from 1960 was his first experiment with electronic music. »Collage 3« dates back to 1966. It's an electronic collage on »Michelle« by The Beatles.

The composer wanted to replace old concepts and clichés which had become popular and common, through the use of "natural wells of timbre, live and organic, springing from a world of symmetry and fixed blocks." This original idea underwent a drastic transformation when the RAI (the Italian radio) commissioned Clementi to write a longer work. To his initial desire to start from scratch was added the problem of a longer duration. It was only when Clementi had almost completed the piece that he gave it its final title of "Dies irae," owing to the extreme tension that accompanied its composition.

Born Manchester raised Al Robinson specialises in a languid style of bittersweetfunk music, spurred on by the blue eyed soul of 70's icons Todd Rundgren & Daryl Hall besides taking heavy influence from the legends of poetic groove; Curtis Mayfield, Stevie Wonder & the brothers Isley.

A former touring musician with Los Angeles psych-pop outfit Drugdealer, starlet Charlotte Gainsbourg and New Zealand's iconic Connan Mockasin, RH remains aprolific and determined figure in Manchester’s musical scene, often seen collaborating & performing with The Birthmarks, The Foetals and Duds.

In his debut LP "Respect 4 Devotion", he unveils the Timbaland flavoured'Since 1992', Jazz fusion inflected "Better 2" and sorrowful pop ditty 'Jaded Lovers', featured on the LP amongst others are pianist John Carroll Kirby (Solange, Sebastian Tellier), drummer Stella Mozgawa (Warpaint) and guitarist Alex Brettin (Mild High Club).

Tocelebrate the release, Aldous RH shares first single ‘Since 1992’. Al explains, “Lyrically we're talking about looking for true love, with some trials and tribulations along the way”. The track is accompanied by a video which Al adds, “mainly serves as an homage to RNB video directing. The idea behind the clock is to show that time can heal almost any wound of the heart. And of course some believe the zodiac to serve as an oracle for relationship compatibility - how true that rings I cannot say. Henceforth I believe the potential for the zodiac to find you your soul mate is merely down to the time elapsed in your search for them & for me personally I was born in 1992, so it all began on that day.”

'Tense from the first note and decisively uncompromising ‘GHSTING’ is the debut collaboration by Polish artists Alex Freiheit and Aleksandra Słyż, an incredibly unique piece of work that mixes fiction, spoken word poetry, theatrical antics, dense synthesis, acoustic ensemble and dark landscapes all set within the backdrop of a sinister Eastern Europe hotel. The resulting sound is menacing, humorous, harmonious, tumultuous, and at times quietly erotic.

Alex Freiheit, a poet and vocalist, is widely recognized for her captivating work with the SIKSA duo. Over the past decade, she has delved into the realms of personal feminist storytelling, postmodern fairy tales, and queer legends, crafting unique and thought-provoking narratives. In this groundbreaking collaboration with talented composer Aleksandra Słyż, they are now delving into the herstory of lies and exaggerations, extracting the raw essence of these tales filled with stench, stains, secretions, and torn organs. Eyeless Freiheit haunts the hotel guests while dressed in a binder and holding a bottle filled with a corrosive substance. She shares compelling stories about the hidden activities and other secrets that unfold within the walls of hotels when no one is watching. Her gripping narrative is complemented by equally haunting and eerie music. Słyż divides the text into four chapters, skillfully intertwining synthetic and acoustic elements. She combines the sounds of synthesizers, woodwind and percussive instruments with vocals, creating a tense, dynamic soundscape. Freiheit’s voice possesses an earnest quality, where a frightening cadence suspiciously flips into a meditative cycle.

Together, Freiheit and Słyż have crafted a bold and suggestive story that feels like the mesmerizing soundtrack to a contemporary Eastern European horror film, captivating an essence that is hard to pinpoint but instantly recognizable. This is abstractly powerful music that pushes listeners into a kaleidoscopic spiral that channels ecstatic over loss.

MILK is the new EP born from the collaboration between Brussels-based producers Alex Lesage and Eekway. The project marks the convergence of two complementary approaches to contemporary electronic music, united by a shared vision: creating music with strong physical impact, designed for the club while maintaining depth and high production standards.



Developed in Brussels, the project's home base, MILK sits at the crossroads of Drum & Bass, Jungle, and IDM, combining the heritage of UK bass traditions with a distinctly modern sonic research. The EP explores sharp rhythmic structures, massive low-end pressure, and detailed sonic architecture, driven by extensive work in sound design, sampling manipulation, and spatial composition.

For 46 minutes Alex Zhang Hungtai punctures our perception of linearity, working like a conductor, encouraging percussive flurries to trip and fall over each other, sometimes tempered by contact mic feedback to help skewer the chronology. He’s assisted by three additional percussionists - Wet Hair’s Ryan Garbes and Shawn Reed, and Leonard King - while Signal Decay’s Nick Yeck-Stauffer plays trumpet, with each extra voice blurred into the middle distance, curling like pipe smoke into convulsive whorls.

The piece is frankly astonishing in its grasp of the maelstrom. Initially tentative, searching, with higher register hits like moths butting lone lightbulbs in an abandoned apartment block, the distant, plangent peal of twin brass wafts between rooms to impart a distinctly floating, OOBE- like feel for space. The brass recedes while the drums’ low end thickens and roils like a gamelan tempest, blurring impressions of knackered buildings or the temple rituals of ancient epochs, with sounds wafting in from other rooms to mess with the stereo field like ghosts of worshippers doing their thing. Remarkably, it conjures a fever dream miasma of ricocheting, thunderous polymetric clatter and proprioceptive fuckry without ever losing its head.

Hungtai’s canny use of contact mic feedback drone and cymbal saw gives the whole thing a sense of gauzy delirium that unites the grouches like mildewed grout and cobwebs, coarsely gelling the elements in a way that resonates with Pauline Oliveros and co’s Deep Listening band acousmagique as much as Basil Kirchin’s keeling ‘World Within World’ classic, the ghosts of Sun Ra’s ‘Nuclear War’, the possessed atmosphere of the cabin where Harley Gaber recorded ‘Wind Rises in the North’, and no doubt Harry Bertoia’s massive metallic sculptures, agitated at midnight.

Humid, menacing, and wraithlike, the album’s’ sense of keening chronics belies a visionary hand at the tiller, here tightened by Rashad Becker’s mastering, which faithfully brings to light, and shadow, the depth of perception and wild but concentrated energies at play, sealing in place a truly staggering session for adventurous ears, cineastes and Lynchian acolytes alike.

Here is the second solo LP by the wonderful London-based singer/multi-instrumentalist Alison Cotton. Originally issued on cassette by the mighty Bloxham Tapes, just about everyone who heard Only Darkness Now suggested it might make for an excellent LP. And hey -- they were right.
Alison’s debut LP ‘All Is Quiet at the Ancient Theatre’ received wide ranging critical acclaim from placing in the Guardians Writers Album Of The Year to placing in the Quietus Albums of the Year.
Ms. Cotton has a storied past performing with Saloon and The Eighteenth Day of May, and she still may be found doing likewise with The Left Outsides. And don't get me wrong -- those are all great bands, but solo work allows Alison to follow different and often darker paths through the forest of sound. Of which this album is a perfect example.
‘Only Darkness Now’ begins with a sidelong instrumental track, “Behind the Spiderweb Gate,” during which Cotton displays her immense drone chops, organizing rich, thick layers of viola, Omnichord and voice into the soundtrack for a totally immersive trip. The effect is such that Seconds become minutes and as time stretches till eventually, in the peak, time ceases to have any meaning whatsoever - a beautiful state to be transported too as everything slows down. You could spend a whole year listening to this one.
The second side starts with “In Solitude I Will Fade Away,” a collage of Alison's voice, twinned and then some. It's short and sweet with just a little drumming to move things along. “How My Heart Bled in Bleeding Heart Yard” brims with as much longing as it title suggests. It opens with a long instrumental passage, emphasizing the human pace of a harmonium's breath patterns, soon joined by a viola, also offering tones of a very human quality. All of this swells into a chorale of immense and mournful depth before being joined by Nico-like vocals that raise a wordless alarm. ”The Hill Was Hollow” is a short mystery for percussion and violin. Unravel at your own peril. Finally there is “Shirt of Lace.” This is a studio recording of one of Alison's regular live covers. The song is by the late Dorothy Carter (a visionary American musician whose work bridged experimental and medieval musics) and Cotton's version is a sheer blast -- her vocals curling and twisting high above a supple bed of key drones, string plucks and sliding arco passageways.
Wow, what a great record. It's one of the the very few albums I can name that matches the cold fire of Nico's Marble Index and it does so without taking a single step that isn't purely Alison's own.
Prepare your record shelf to deal with a miracle. Only Darkness Now. (Byron Coley)

** 2LP BLACK VINYL / 2LP COLOUR IN COLOUR MAILORDER EDITION** In collaboration with composer Amos Roddy and developer Gareth Damian Martin (Jump Over The Age), Stumpy Frog Records has pressed the soundtrack to the critically acclaimed and BAFTA-nominated Citizen Sleeper to 2LP vinyl. Wake up, Sleeper. Studio Jump Over The Age invites you into a world unlike anything you’ve experienced. In Citizen Sleeper, you inhabit a digitized human consciousness in an artificial body, owned by a corporation that wants you back. Inspired by the vast options of tabletop role playing games, developer Gareth Damian Martin set out to create an entirely new world for you to inhabit. Live a life through a game of chance and strategy. Build friendships and discover the stories of spacestation Erlin’s Eye. Gareth Damian Martin’s world isn’t just created through visuals and dialogue. Composer Amos Roddy (In Other Waters, Cloud Gardens, The Wild At Heart) imbues the world of Citizen Sleeper, and its inhabitants, with the sounds of mystery and melancholy, darkness and glimmers of light in the frontiers of the future.

** 2LP BLACK VINYL / 2LP COLOUR IN COLOUR MAILORDER EDITION** In collaboration with composer Amos Roddy and developer Gareth Damian Martin (Jump Over The Age), Stumpy Frog Records has pressed the soundtrack to the critically acclaimed and BAFTA-nominated Citizen Sleeper to 2LP vinyl. Wake up, Sleeper. Studio Jump Over The Age invites you into a world unlike anything you’ve experienced. In Citizen Sleeper, you inhabit a digitized human consciousness in an artificial body, owned by a corporation that wants you back. Inspired by the vast options of tabletop role playing games, developer Gareth Damian Martin set out to create an entirely new world for you to inhabit. Live a life through a game of chance and strategy. Build friendships and discover the stories of spacestation Erlin’s Eye. Gareth Damian Martin’s world isn’t just created through visuals and dialogue. Composer Amos Roddy (In Other Waters, Cloud Gardens, The Wild At Heart) imbues the world of Citizen Sleeper, and its inhabitants, with the sounds of mystery and melancholy, darkness and glimmers of light in the frontiers of the future.

On "Not Around But Through", Portland-based experimental musician and tape wizard Amulets
 navigates the process of acceptance and the tumultuous journey of looking within. Over the course of 8 tracks he explores the emotional path of moving through rather than circumventing, in the process soundtracking a purposeful desire to face trauma and vulnerability.

Infusing his trademark ambient soundscapes with ambitious blends of post-hardcore, emo, and metal, "Not Around But Through" connects the dots between personal and social dislocation, leaving us with a taste of the fragmented and fallen future we are all steeling ourselves for. Traversing a landscape that varies from gentle and meandering to explosive and cathartic, Amulets uses cinematic tension and relentless attention to detail to construct his sonic apparitions. On "Lifelike" he collaborates with Midwife, incorporating Madeline Johnston's voice into a song that pulsates with post-shoegaze transcendent energy.

Amulets is the solo project of Portland-based audio + visual artist Randall Taylor. Amulets employs handmade cassette tape loops and live processed guitar loops to create live, lush soundscapes and immersive drones. Through the recontextualisation of cassettes, sampling, field recording, and looping, these long-form compositions blur the genres of ambient, drone, noise, and electronic music.

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

Selected unreleased works from 1980 to 2000 by a key composer of Belgian electronic music. Perfect complement to the 2LP previously released on Sub Rosa (SRV377).

Belgian electronic music composer André Stordeur born 1941. His musical career started in 1973 with a tape composition for the soundtrack to a film on Gordon Matta-Clark titled Office Baroque. Later in the 1970s, he participated to avantgarde music ensemble Studio voor Experimentele Muziek, founded in Antwerp, Flanders, by Joris De Laet. Since 1980, Stordeur composes exclusively on Serge synthesizer, either a Serge series 79 and a Serge prototype 1980, which was especially built for him by Serge Tcherepnin himself.

In 1981, Stordeur composed the music of Belgian film director Christian Mesnil's documentary Du Zaïre au Congo. He studied at IRCAM in 1981 with David Wessel and then flew to the US to study with Morton Subotnick. Stordeur became an influential sound synthesis teacher and, in 1997, completed his Art of Analog Modular Synthesis by Voltage Control,(4) a guide to everything modular.

Berlin-based, Italian-born sound artist Andrea Taeggi introduces his debut release on Hands in the Dark records with 'Nattdett', an album showcasing six mesmerizing and rhythmically intricate electronic compositions. Drawing inspiration from previous works such as 'Mama Matrix Most Mysterious' (2015), 'Batch 0006' (2017), and 'Zimní Král' (2018), Taeggi delves further into his exploration of cyclical patterns and tension-filled compositions within his creative process.

The album's tracks focus on unsettling atmospheres, unusual rhythms and percussive tones, using a vast array of rare equipment, including the analog computer from the Willem-Twee synthesis studio in the Netherlands, initially employed for flight simulation in the Cold War-era. 'Nattdett' eloquently showcases Taeggi's talent in transmuting the essence of vintage machinery into a compelling primal language, offering an immersive and mind-expanding listening journey.

All music written and mixed by Andrea Taeggi between The Netherlands and Germany

Mastered and cut by Rashad Becker at Clunk

Cover art by Morgan Cuinet

Layout by Floriane Min

Catorce reflexiones sobre el fin (Fourteen Reflections on the End) originated from an installation exhibited at the Museo de Arte Contemporáneo de Oaxaca, Mexico, in 2019. Fourteen magnetic bodies of tape that dialogued with the fourteen pieces of electroacoustic music now contained in this album composed from the sound anthology of Angélica Castelló. Thus, Catorce reflexiones sobre el fin is a complex piece consisting of multiple parts that, although articulated with each other, hold a life of their own.

Like every body, these have a unique history made up of mixed fragments spun by Angélica, ranging from field recordings, references, and self-references to previous pieces, experiences, and voice recordings made specifically for these compositions re-recorded in various formats, from lo to high fidelity, analog and digital, composed, decomposed and recomposed (Castelló, A., 2019). Likewise, as any body, they also reflect on their end, whether absolute or temporal, of the many ways of being finite and of saying goodbye.

During the Catorce reflexiones sobre el fin, Castelló takes you on a journey that is difficult to locate. An ethereal space between shattered glass, stridulation of cicadas, war drums, murmurs in French, Italian maledictions, and soft recitations in Spanish. From uproar to solace, all wrapped in a soft abstraction that only allows access to the subtle whisper of these expressions. A gesture between invitation and sharing because who does not recognize oneself in this emotional storm?

First, the approach of the winds, the first breeze that caresses the body. Then the bewilderment announced by the scent of uncertainty condensed in the air’s humidity. The prelude to the storm, to something that will shake you from head to toe, something from which there will be no return.

To the acceleration of the winds comes the percussions, the tremor of the storm with its lightning. la Ira (1). A vibration running through the whole body, unstoppable. This reverberating sound, resulting from its re-percussion with our body acoustics, owes its tones and echoes to the cavities and organs of different masses. From what is hollow and what is full; what is void and what is matter. There is no turning back. It is a dive into the void; to fight and resist because there is no other way to go. It is a matter of survival.

Ma fin est mon commencement Et mon commencement ma fin (2)

After this, the cicada resumes at the crack of dawn, a gentle breeze, and solitude, that temporarily musical silence of embraces (3) with hints of harpsichord and bells.

The breaking of the waves in Sicily is accompanied by the antenna that picks up radio transmissions that already invite other tastes. The Mediterranean and its currents mingle and divide tense routes of escape, exchange, and struggle between Blutorangen, tides, and birdsongs.

An immersion into deep waters.

And in the end, we all commit sins! Queste maledette! (4)

Lorena Moreno Vera, 2023

Berlin based cellist, composer and improviser An?l Eraslan brings together 11 musicians from Istanbul. The dreams of these musicians are composed and improvised for this album. Dream Works offer an extended musical experience that is surrounded by traditional and experimental approaches.
Limited 250 Copy

Ann McMillan did not record prolifically, but she was at the vanguard of electronic composition in New York in the 1970s. A student of groundbreaking composer Edgard Var se, McMillan’s primary medium was magnetic tape, which she manipulated to create surreal soundscapes. On Gateway Summer Sounds, her debut album released on Folkways in 1979 and recorded at the legendary Princeton-Columbia Electronic Music Center, she sources sounds from the natural world - frogs, insects, field recordings from the Gateway National Recreation Area in New York Harbor - along with
gongs, bells, and a harpsichord to conceive remarkable, hypnagogic compositions. Like the music of Daphne Oram and Pauline Oliveros, her compositions for tape have been overshadowed by those of her male counterparts, but her work is no less revolutionary or vital.

Anybody who has witnessed a live performance of Anna von Hausswolff and band can attest to the extraordinary and commanding nature of the experience. The distinctive music, as captured across five full-length albums, comes to life, shifting from hypnotic and mantra-like moods to thunderous drama, dissonance and cacophony. The musicians master playful dynamics and wield immense power.

Since more than 40 years, Anne Gillis has discreetly unfolded her proper singular universe without any compromise. She playfully moves with determined restrictions, excavating contrasting forces; sensual and visceral, mechanical and organical, black and white, … She extends this personal expression in her visuals using self-portrait photos, handwritten text and her theatrical performances are equally aligned. Her music can be considered as musique concrète using the tape machine as compositional tool, manipulating her recorded sources, mainly consisting of extended voice and different (instrumental) sounds with addition of electronics and treatments. In both her photography and her music, Anne Gillis works fully analog.

Die LP wird mit einem 48-seitigen Hochglanz- Booklet geliefert. Das Kunsthaus Bregenz freut sich, ,Wish You Were Gay" von Anne Imhof anzukündigen. ,Wish You Were Gay" ist eine sehr persönliche Ausstellung, die mehrere neue Werkgruppen präsentiert, die eine Reihe von Kernelementen reflektieren und weiterentwickeln, die seit Beginn an das Repertoire von Imhof geprägt haben. In der Ausstellung untersucht Imhof Vorstellungen von Endlichkeit, Realität und Künstlichkeit, Zufall und Schicksal, Abwesenheit und Anwesenheit vor dem Hintergrund einer postapokalyptischen Isolation. ,Wish You Were Gay" umfasst brandneue Skulpturen, Gemälde, Klangarbeiten und eine Serie von sechs bisher unveröffentlichten Videoarbeiten, in denen die Künstlerin auf frühes Material aus den Jahren 2001-03 zurückgreift, einer entscheidenden Übergangsphase im Leben und Werk der Künstlerin. Zu dieser Zeit waren Imhofs Leben und Werk eng miteinander verbunden und manchmal nicht zu unterscheiden, was der aktuellen Ausstellung einen deutlich biografischen Charakter verleiht und Themen wie die Wahlfamilie anspricht, eine Realität für viele queere Menschen. Mit dem Aufkommen von handlichen digitalen Camcordern, bei denen der Bildschirm zum ersten Mal gedreht werden konnte und die Vorläufer der heute allgegenwärtigen Frontkameras sind, nutzte Imhof diese neue Technologie als Spiegelaufnahmegerät, vor dem sie Bewegungen und Gesten ausführte, um die Szene zu beleben und zu gestalten. Mit ihrem Körper als Medium, zusammen mit anderen provisorischen Mitteln wie geliehenen Gitarren und Verstärkern, und der Aufnahme von Liedern und ihrer Stimme als Mittel, diese zu finden, schuf sie Kunst mit ihrer Gemeinschaft Freunden, Liebhabern, Mitarbeitern - und nutzte dabei die Rohstoffe des Lebens, wie es sich gerade entfaltete. Diese Videoarbeiten vermitteln ein unterschwelliges Gefühl der Dringlichkeit, verkörpern Kraft durch Beharrlichkeit und Präsenz, die sich in kontinuierlichen Proben und Improvisationen manifestiert. In den folgenden zwei Jahrzehnten verwebte Imhof diese Elemente - durch unzählige Spiegelungen, Verdopplungen und Variationen der Motive aus dieser prägenden Zeit - zu einer tiefgründigenPraxis der Bewegung, die den Körper in den Mittelpunkt stellt. Rohe Momente werden manchmal auf surreale Weise verlangsamt, in eine Stille versetzt, die voller Spannung und Potenzial für explosive Handlungen ist, etwas, das in ihren eigenwilligen Performance-Stücken, die von anderen aufgeführt werden, wiederkehrt und ihre skulpturale und malerische Praxis prägt.

There are many hyperbolic adjectives that can be applied to Russian trio Antethic, but in the process of trying to pin down and define their hybrid of electronic experimentalism the more intriguing their sound becomes. On their latest and third album Mythographer - their first to be released internationally - the band reach new heights of mysticism and wonderment. Rich and full bodied low-end synths contort with equanimous resolve throughout, giving way in the more cacophonous moments to hypnotizingly crackling lead instrumentation. Antethic”s previous post-rock leanings aren”t entirely disregarded, with song structures that still lean into earth moving crescendos. The key difference lies in Mythographer”s highlights, which take their previous formula and morph it into glitched out effects and (dare we say) danceability - look no further than “Absurd Hero”“s quasi drum-n-bass passages, the rumbling “Frontier” and closer “The Unturnable”, or the Shlohmo-evoking liquid melodicism of “Tyro”. It”s clear Antethic have honed in on - and blossomed into - a newfound identity that is entirely theirs.

British experimental musician, composer, performer and producer Anthony Moore was a founding member of Slap Happy and has worked with Henry Cow, Kevin Ayers, and Pink Floyd among other great names in the British scene. In 1971 he moved to Hamburg, Germany, and worked in the boiling experimental scene of the city. As a result, two LPs were issued on Polydor in 1971 and 1972, right before forming Slap Happy with old school pal Peter Blegvad and Dagmar Krause.



"Pieces From a Cloudland Ballroom" is the first of those early solo LPs by Moore on Polydor. It was released in 1971 under the production of Uwe Nettlebeck and featured Anthony Moore on conduction, Ulf Kenklies, Glyn Davenport and Gieske Hof-Helmers on vocals, plus Werner 'Zappa' Diermeier on hi-hat.



Pure minimalist experimentation with echoes of Richard Young's "Advent" or even Moondog, done just a month after Faust (who included Werner 'Zappa' Diermeier) recorded their first LP. The missing link between British "art-rock" and the German "krautrock" scenes!



This is a 500 copies only reissue done in collaboration with Anthony Moore himself. Comes housed in its original artwork.

British experimental musician, composer, performer and producer Anthony Moore was a founding member of Slap Happy and has worked with Henry Cow, Kevin Ayers, and Pink Floyd among other great names in the British scene. In 1971 he moved to Hamburg, Germany, and worked in the boiling experimental scene of the city. As a result, two LPs were issued on Polydor in 1971 and 1972, right before forming Slap Happy with old school pal Peter Blegvad and Dagmar Krause.



'Secrets Of The Blue Bag', Moore's second solo LP for Polydor, was issued in 1972 but recorded in the Fall of 1971, just a bit before Slap Happy were backed by Faust on the recording sessions of their first album. Anthony Moore was joined by soprano Geeske Hof-Helmers, violinists Toni Sen and Patrick Strub, celloist Rolph Braun and Wolf Schreiber on fagott.



The missing link between British "art-rock" and the German "krautrock" scenes!



This is a 500 copies only reissue done in collaboration with Anthony Moore himself. Comes housed in its original artwork.

Seventeen years after its original CD release, the ART BOULEVARD collection returns on vinyl. This edition brings together all the demos and the tracks from their EP, recorded between 1985 and 1987. Creators of a distinctly New-Wave sound with a soft, graceful touch of Psychedelic Pop, they delivered a dark, hypnotic atmosphere shaped by influences such as The Sound and The Teardrop Explodes. Compiled by Fred Ventura for REtroACTive.

This is the repeated call and the rallying chorus of the nearly 40-minute centerpiece to composer and percussionist Asher Gamedze’s new album Constitution. The expansive double album, a minoritarian fellowship in breath, is Gamedze’s follow-up to 2023’s Turbulence and Pulse (IARC0057), and his first with The Black Lungs. The album – recorded in one day at Cape Town’s Sound and Motion Studios – is an elaboration of the possibilities of autonomous constitution in and through polyrhythmic, modal, large ensemble music.
On Constitution, the power of the question, the possibility of an improvised answer and the celebration of being together exists not in the solo but in the group, the ensemble. Here The Black Lungs collectively explore and deconstruct the conceptual, tonal, and atonal possibilities of themes which are at once of old and new dreams - curious and instantiative, melancholic and emergent.

“The Black Lungs is inspired by the revolutionary thought and practice of the Black Consciousness Movement. In particular, the relationship between antagonism – constituting a united front of all the oppressed against white supremacy and racial capitalism – and the possibilities for resistance and elaboration - the creative militant capacities of those assembled – enabled and unleashed by that process of constitution.”

Astral Colonels are Anthony Pateras and Valerio Tricoli and this is their second album: On side A (The Difference Of Similarity) the formidable use of a sound arsenal based primarly on prepared piano and tapes and a bright use of echo and repetition create winding tensions grafted into harmonics, irregular spiral-shaped non-progressions intertwining costantly on the ridge between the familiar and the unknown, a recurring alternation of stasis and fibrillation that delivers listeners to a thrilling, eventful audio experience. Side B (The Similarity Of Difference) is more focused on the piano that here sounds just like an elegantly lame carillon able to take us in a charming journey dappled by only apparently discreet electroacustic whiz and burst.

Debut collaboration between these like-minded English underground titans, perfectly mixing the long-form pop eccentricities of Grumbling Fur with the free electric sound of Astral Social Club to produce four epic and memorable tracks. The music is dense and layered, with hidden hooks, haunting vocals, unidentifiable electronic shuddering, delicate ambience, etc. Challenging but completely accessible and beautiful stuff. After a brief vocal declaration of purpose, “Back To The Egg” rides a motorik pulse ala Harmonia or Kraftwerk for ten hypnotic minutes. “Three Years Apart” pulses gently in a burbling cloud, reminding that along with crafting song gems, Grumbling Fur has collaborated with noted avant-composer / performer Charlemagne Palestine. “Ozone Antifreeze Intelligence” layers electronics over a haunting piano and vocal melody, framed by subliminal fuzz guitar. “Toejam Boxdrum” closes the album with an uproarious polyrhythm hidden by more layers of soft-focus electro-fizz, gradually giving way to thick bass riffs and tremelo’d interjections.

This is the first ever solo album from the legendary cult singer Attila Csihar, known for his work in Mayhem, SUNN O))), Plasma Pool and Tormentor. For this album Attila traveled to the Monolith of Baalbek archeological site in Lebanon and conducted two sessions. The first was an all night session situated directly across from the massive trillion stones of the Temple of Jupiter. For the second session he recorded directly on one of the 900 tons trillions a few km from the temple site. A work in progress for ten years, I am deeply honoured to have the chance to present Attila's work on Ideologic Organ. He has continued to be an inspiration of what is possible to surprise and develop within the extreme sides of music, in a radical and intelligent way. To say he has been a fundamental inspiration of art music creation is an understatement.

Indulge in a delicious audiophile preview with this Appetizer 12" from the upcoming 2024 compilation by Swiss DJ Princess P. This musical amuse-bouche offers a taste of her eclectic sound, in anticipation of her full, richly curated collection.

Swiss DJ Princess P, known for her eclectic sound, has been a dynamic presence in the electronic scene since the 90s. From her early days exploring house music to working at Plattfon Records, she's honed a genre-defying style. Her sets, a blend of savory house with indie and techno, are renowned at clubs and festivals alike, showcasing her deep musical knowledge and innovative spirit.

Half Speed Cutting and mastering by Sidney Meyer @ EBS Berlin Studios (formerly Deutsche Grammophon).

Liner notes by Kirk Degiorgio

Aukai is a Hawaiian word meaning ‘seafarer’ or ‘traveller’. It’s also used as a proper name, and people who are called Aukai tend to have a mystical, philosophical, introspective nature. All of which makes Aukai the perfect name for the new album and project by multi-instrumentalist and composer Markus Sieber.
It’s a collection of ambient acoustic soundscapes that take the listener on an inward journey to a place of peaceful stillness and tranquil beauty. “This album has a lot to do with memories from travel,” says Sieber, “but also memories from childhood and nature. How did the river smell in summer? I wanted to create a sonic space where music guides the listener into some imaginative inner world.”

Barbara Proksch (born 1943 in Berlin, living in Salching, Lower Bavaria) is a German visual artist. After having studied Lettering and Illustration, she first worked in graphic design and theatrical painting before in 1982 deciding to become a freelance artist, concerning herself mainly with drawing. Her works are characterized by her long lasting fascination for letters and geometrical figures and often incorporate signs, characters and writing as well as calligraphic elements. Another thread of influence stems from her background in theatrical painting: the physical aspects and the body language of painting which come to the fore when working on huge canvas with large brushes and litres of paint. From the beginning, a further aspect has drawn her attention, namely the sounds that occur while drawing and writing, and the way they influence the resulting work. She noticed that the sounds made by the tools she uses feed back into her drawing process, and that just like speech and writing – in a linguistic sense – cannot be decoupled from each other, drawing and listening cannot either: Eye and ear become partners, drawing becomes a performance with the specific tools and materials used as musical instruments.

This observation has led to the development of her group of works called OPTO_PHON, a name which, from the 1990s onwards, Proksch uses for performances that draw upon this synaesthetic process: Usually, Proksch works on large sheets of paper, mounted like drumheads and tackled with various tools (scrapers, brushes, pens, knives, twigs, etc.), the sounds amplified through contact microphones. The early OPTO_PHON performances were made with herself standing in front of the paper sheets, visible to the audience while drawing. Later, she decided to stand in the back of the paper with a spotlight behind her, so that light shines through it when it is cut and ripped.

Side A of this LP contains excerpts from OPTO_PHON performances, the first made in a church in Cheb, Czechia, in 2003, led by the strong echo emerging in the hall, the others recorded in her studio. They are contrasted on side B with a very different performance that is, however, conceptually related to OPTO_PHON: While travelling on the Trans-Siberian Railway, Proksch experienced a similar synaesthetic process while listening to the repetitive rattling of the train and watching the landscape passing by. In 2010, this experience was transformed into a sound piece for amplified sewing machine.

Edition of 300 in full color sleeve with printed inner sleeve and insert, containing images of optophonic tools and drawings, and extensive liner notes.

BASIC - das Trio aus Chris Forsyth (Gitarre), Mikel Patrick Avery (Percussion, Drumcomputer, Elektronik) und Douglas McCombs (Fender Bass VI) - hat sein neues Album mit sieben Titeln innerhalb von zwei Tagen in den Electrical Audio Studios in Chicago aufgenommen und die Overdubs sowie den Mix zusammen mit Je Zeigler in Philadelphia fertiggestellt. Die Aufnahmen sind groovig, aber leicht und locker, wobei die Songs viel größer klingen, als man es von einem Trio erwarten würde. Für reichlich Detail sorgen die ineinandergreifenden Gitarren und Averys einzigartige Kombination aus elektronischen Beats und akustischer Percussion, die er live mit verschiedenen selbstgebauten elektronischen Prozessoren bearbeitet und manipuliert. Kurz nach der Veröffentlichung ihres Debüts (This Is BASIC, 2024) stieß Bassist McCombs (Tortoise, Brokeback) zu der Gruppe, und zusammen mit den in Philly ansässigen Kernmitgliedern Forsyth (Solar Motel Band) und Avery (Natural Information Society) tourte die Band mit dem Album die Westküste rauf und runter sowie durch den Nordosten und Mittleren Westen der USA und machte Halt bei einflussreichen Festivals wie Sound & Gravity und Big Ears. Die Chemie zwischen den dreien führte fast sofort zur Entwicklung von neuem Material, und die ,Dream City"-EP erschien im Frühjahr 2025.

Anthoney Hart returns with his second Basic Rhythm album for Planet Mu. 'Electronic Labyrinth' is a maturing of his sound that draws a line under his work as Basic Rhythm thus far. The title itself conveys the overarching theme of the album, evoking the journey through a musical labyrinth that Hart has undertaken over the last 30 years or so, following a path through to the centre where thesedisparate strands have coalesced and solidified into a coherent whole. The underlying themes are of a more personal nature, intimated by the cover photo of St Fabian Tower where Hart first joined the now infamous Rude FM in the late 90s, the sometimes misleading directness of the track titles, as well as explicit references to books such as Wilson Harris’ Palace of the Peacocks, the ontological promiscuity of Harris’ writing mirrored here in Hart's own musical endeavours. What you end up with is an album that not only draws upon a wide range of influences from both the musical and literary worlds, intertwining them within a deeply personal context that imbues the music with a depth of meaning, but that is also somehow more coherent despite such a wide range of references and hidden meanings. It is at once both an album of subtexts open to interpretation, and a cohesive whole that fits together perfectly.

Originally issued as a tour-only download (2011) as a follow up to Baths’ critically acclaimed debut LP, Cerulean. Presented here in remastered form for the first time on vinyl. Released on Baths’ own label, Basement’s Basement.

In the spring of 2010, life changed overnight for Will Wiesenfeld. The San Fernando Valley native had recently rechristened himself Baths after a series of largely unheard bedroom experiments under the name Post-foetus. Barely old enough to drink, the angelic dancefloor confessionals from his debut, Cerulean suddenly made him one of the most celebrated new artists in electronic music. Critical acclaim and underground fame ensued. But rather than drown in the predictable clich s of drug abuse or chasing pop stardom, Wiesenfeld redoubled his pursuit of the perfect song. It was the mixtape era and Wiesenfeld was recording like Lil Wayne in his prime. During the months between Cerulean and his national tour the next year, 13 new Baths songs emerged from the miasma. They were compiled on the first volume of
Pop Music/False B-Sides, which was originally a tour-only digital download and sold in person in shows as a printout on card stock.
This was a home for all the weird outliers, the misfit slappers and shimmering fugues that had nowhere to go. Smashed together they could have their own home to seamlessly coexist. The title was a direct interpretation of Wiesenfeld’s emotional relationship to these songs: both held at arm’s length, but also a cohesive and clarion body of work. Each song was written entirely without premeditation. The recordings occurred simply because he felt like it. Songs began as sketches, but were inked and colored in as the 21-year old Wiesenfeld went along. The themes still ring true to him a decade later,
but he admits, ‘I was still early on in figuring out my relationship to my sexuality’there are things that are bumpy or difficult for me to listen back to. In ‘Damnation,’ the refrain starts, ‘the lives of my wife and I, you can have.’ My wife? lol.’ The instrumentation varies from weightless electronic pop to crystalline ambient blissouts to melancholic falling leaf reveries that recall Fennesz or early Prefuse 73. An underlying musical thread exists inasmuch as there are less sounds per song than much of the Baths catalogue. This and its sequel Pop Music/False B-Sides II are imbued with a minimalist grace, a loose-limbed propulsion that lends itself to meditative departures.
There is ‘Overseas,’ a pastoral escapist piano glide that plays out like the Boards of Canada but speed up and sadder. ‘Nordic Laurel’ hints of frigid blankets of white snow and stark wintry trees, like a gifted young artist’s take on Pantha Du Prince or Four Tet. ‘Flux’ is glitchier and atonal. Wiesenfeld’s voice is more nasally and experimental, and you can watch the fledgling artist begin to find his voice in real time. ‘Inuiria Palace’ might lack the polish of later Baths songs, but there is a power in its roughness. His falsetto is wild and unrestrained;
the emotions are tangled with the discordant youthful rawness that is rarely as effectively channeled later in life. While ‘Lovesick Synthetic’ is like a video game melody from 2040. Wiesenfeld’s voice is chopped up and with a beautiful android croon, he sings, ‘I wish you’d come back to me’I miss you so much’I’m so sorry.’ Give credit to the power
of the post-adolescent fever dream. PMFBS is very much of its time yet timeless. Vitality is brief but art lives long. Here are 13 reminders of the complications inherent in finding oneself, interspersed with the first joyous float of creation.

With a back catalogue that spans half a dozen studio LPs as Boom Bip,
plus another two as one half of electronic pop duo Neon Neon, Bryan
Hollon has already made a name for himself as a Mercury prizenominated producer and multi-instrumentalist
Equally impressive are the credits to Warpaint drummer Stella Mozgawa's name;
she's contributed percussion to albums by Kurt Vile, Cate le Bon, Courtney
Barnett, Sharon Van Etten, and Kim Gordon, among others. But as improvisational
techno duo Belief, the pair make music that harkens back to '90s acts like LFO
and 808 State – artists that indelibly, but near-anonymously, altered club and rave
culture, mostly identifiable by clean, bold logos on 12" sleeves. Without being
derivative of the era, they add their own instincts and experiences to grace the
musical universe with new answers to the question: What Would Mark Bell Do?
Hollon met Mozgawa just after she joined Warpaint, when Boom Bip shared a
rehearsal space in Echo Park with the band. The two quickly bonded over a love
of early Warp Records, drum breaks, acid house, and Y2K- era rave flyers. They
swapped playlists and ideas when Mozgawa played drums for Neon Neon's 2013
West Coast tour, but due to busy schedules, it would be another three years
before they packed every piece of gear they collectively owned into Eric
Wareheim's Absolutely Studios for an initial jam session. Instinctively playing to
each other's strengths and whims – and recording the session to build on later –
allowed Mozgawa to explore a style of music she'd long considered a dark art,
and pushed Hollon, known for his meticulous planning in previous work, to be
more spontaneous.
It was all in good fun – early shows billed the pair as 'Beef' with a comedic wink
to its pulsating minimalism. But as the two began committing themselves to
finalizing and recording more soulful, enigmatic tracks, the reverent nature of
what they were doing began to emerge: while Belief pays homage to the pioneers
of techno, the project is born out of an oddly divine foresight Mozgawa and
Hollon share, the synergy of two devout tastemakers building a shrine to inner
peace and outward pleasure

When electronic artist Ben Chatwin plugged his Moog synthesiser into the mains at home one day, he was surprised to find the electrics of his home faintly singing. His house was built in the Nineteenth Century and what he was listening to was the building’s natural hum. He boosted the volume and in doing so found the inspiration for his next release, The Hum, out on Village Green.
 ‘The Hum’ is Chatwin's sixth solo album of experimental electronic music under his own name and his eleventh in total. It amplifies the hidden frequencies that swirl invisibly around us in the air all the time but which most of us never hear, including the 50Hz hum of the power grid that producers will know all too well from the studio but is almost undetectable to the human ear. “There are so many sounds around us that are lower and higher than we can hear,” Ben says. “I wanted to make it all audible.”
 Taking inspiration from Mika Vainio’s physical sound worlds and Jóhann Jóhannsson’s immersive soundtracks, ‘The Hum’’s emotive accumulations and caustic textures form dense stratas, with strings and analogue synths harnessed as melodic anchor points among electric storms of pulsating sound.
 After discovering the drone of his home he began extracting and amplifying as many ghost frequencies as he could from other sources to make tracks for the album. ‘Interference’ includes aeroplane communications pulled from the sky; ‘War of the Ants’ resurrects long lost echoes from previously erased recordings on blank tape. At one point, he found what sounded like human chorus in the signals - nobody else could hear it so he also brought in singer Kirsten Norrie (MacGillivray) and buried her voice in the mix among the signals on ‘Creep Strain’ and ‘Snow Crash’. Strings are arranged and performed by Ben’s regular collaborator Pete Harvey (Modern Studies).
 Ben avoided using the computer as a sound source, and most of ‘The Hum’ is completely analogue - it was mixed live and mastered to tape. This record marks a technological and textural leap in his music, as an album that is both made with and is about the hidden sounds of tubes, tape and the air between us all

Originally released in the early 1980s this reissue features the Belgian
electronic artist Benjamin Lew along with Steven Brown, the front man of
US band Tuxedomoon.
With his small analog synthesizer, Benjamin had a unique talent for creating
magical, evocative and poetic atmospheres. “Douzieme Journee” takes the listener on a journey through alien landscapes, which has elicited comparisons to
the music of Jon Hassell and Brian Eno.
“An album of mesmerising strangeness, an exotic, surreal trip. Elusive and fascinating” - New Musical Express, 1983