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'Resort for Dead Desires' is the third LP from Casual Nun, a noise rock band made up of a mixed up bunch of Londoners who originally hail from Greece and in one case California via Dartford, Kent. Strange beginnings we know. They're fond of psychedelic speedfreakery, mixing weird and abstract in a blender with a heady dose of amphetamine.

'Resort For Dead Desires' dips into the memory banks reflecting on events and times and spaces and all that stuff that bands love to write about. Oh, and Rabbits, there's a song about a kid that thinks immortal rabbits live inside your head, so that's a first we think? Either way, it's nine tracks of joy wrapped in one convenient package, regardless of what's immortal inside your head.

PRESS/ONLINE:
"On Resort For Dead Desires, Casual Nun are not afraid to experiment and set fire to the box – tracks like the chanting see-saw wander of Pink Celestial Heron to the squealing, balls-out raging soundstorm of sludge-rock closer Amulet all showcase just how exciting, experimental and deadly the noise rock template can become if you delve deeper" - Echoes And Dust

“Whoooooaaarggggh! From the same scene as Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, Pigs and Luminous Bodies, Casual Nun come at you with the relentless forward motion of the best Can songs; Sabbath meets Hawkwind meets High Rise guitars; and Gibby Haynes (but much less annoying) style vox. Heavy psych doesn’t get much better.” – The Sleeping Shaman

Phonetic script: Xièxie
Chinese characters: 谢谢
谢谢 ( xiexie / xièxie ) is composed of these characters: 谢 (xie) , 谢 (xie)
English translation: thank you, thanks
to say | to thank | literally means 'thanks'. 'Thank you' in Chinese would be xièxie nĭ (if you thank an individual), or xièxie nĭmen (to say thank you to a group of people).

- Chinese -> English Dictionary


A week before leaving, I bought a dictionary and phrasebook.

Covered in rain, during the days and even the nights, Shanghai was lit in a glow, a mist turning to a constant grey fog. Buildings lined with neon and lcd screens flashed, and from around corners and behind buildings, the night was illuminated much the same as the day. Cars separated the classes, their horns voices punctuating the streets, as pedestrians in groups loosely scattered the streets, talking and walking on speakerphone.

Standing by the metro escalators, there in the square with the overhanging trees of a park, there is construction all around. The buildings seem to be climbing into the darkness at... more

For the first time in vinyl format the work of the Bolivian avant-garde composer, Cergio Prudencio, together with the Orquesta Experimental de Instrumentos Nativos (OEIN). The OEIN is the result of the incorporation of Aymara musical traditions into the realm of contemporary music to produce a new sonic world. The work of Bolivian composer Cergio Prudencio (La Paz, 1955) is indissolubly linked to the project of the Orquesta Experimental de Instrumentos Nativos Experimental Orchestra of Native Instruments (OEIN), which he co-founded in 1980 and of which he is the emeritus director. It constitutes one of the most challenging adventures in the music that has emerged in Bolivia and Latin America. The OEIN is the result of the incorporation of Aymara musical traditions into the realm of contemporary music to produce a new sonic world. In the composer's words, it is about "...finding in the indigenous conception of music, elements of change and transformation, to establish a historical continuity." This incorporation is not only based on using native instruments but also involves integrating their socio-historical context and philosophies from the Andean indigenous world. In addition to forming ensembles with highland native instruments (sikus, tarkas, mohoceños, pinkillos, wankaras, seeds, drums, etc.), the foundation is laid on the three structural principles that govern Aymara music: "arca-ira," which means alternation of sounds between two musicians; "tropa," which involves the formation of large ensembles of instrumentalists and sound amplification; and "wakiña," meaning community strength. According to Prudencio, the acoustic and expressive identity of Andean-highland sounds originates from these principles, as does that of the OEIN. The release of Cergio Prudencio - Antología 1: Obras para la Orquesta Experimental de Instrumentos Nativos Cergio Prudencio - Anthology 1: Works for the Experimental Orchestra of Native Instruments allows us to delve into this wealth of thought and sounds, into the work of a fundamental and radical artist, for whom decolonization is also an opening to experimentation and the new. These compositions project a historical memory into the present, constructing new horizons.

How can music be violent when it's not loud? When is malice beautiful? Amidst the gloom, listening to Chalk is a restorative experience. Neophobia is a meditative saga which, despite the name, radically embraces the aesthetics and methods of post-modernity. In between identical gamelan pieces, Chalk weaves an abrasive collage of sounds and musics that touch on peace punk, musique concrete, & American primitive. Neophobia explores the schizophrenia and horror of living in the contemporary era, an odyssey with an indeterminate point of departure or return. Chalk is an amorphous musical project orchestrated by Barry Elkanick (Institute, Blue Dolphin) While this is Barry's 'solo project' he regularly invites friends, other musicians and artists to accompany him. Under 'Chalk' Barry has self-released 8 cassettes since 2015. While wildly ranging in recording techniques & approach, the cassettes have informed and culminated in the final sound present on "Neophobia" which is his first LP for Post Present Medium. Barry wrote and recorded "Neophobia" independently out of his home in Houston, TX on computers and tape machines. LP limited to 300 copies, includes poster.

Dark-folk songwriter Chantal Acda and beyond drums-percussion musician extraordinaire. Eric Thielemans propose a new score for Koyaanisqatsi, re-actualising the incredibly beautiful, raw, rhythmic and touching images of this 80’s cinematographic masterpiece. Slow deep electric waves, lonely synths in sonic desert landscapes, rhythmic pulses, transporting drums and bells, and deeply longing sounds and voices make up the audible fundamentals of this imagined, neo shamanic, ritualistic music to accompany the Earth as it keeps on supporting our post human frenetics even today. This release contains a selection of the musical material scored for a live performance together with the screening of the movie. The live performance premiered on Film Festival Gent and Vooruit in the fall of 2022. Tracklisting LP SIDE A 1 Koyaanisqatsi Part I / 23'36 SIDE B 2 Koyaanisqatsi Part II / 13'00 3 Koyaanisqatsi Part III / 10'48

We used to enjoy presenting Chapelier Fou's work using the idea of music in the form of a treasure hunt. However, while the phrase in itself it still just as relevant today, we would never have imagined that it would become such an integral part of one of his albums. Or two of his albums to be perfectly exact - Méridiens and Parallèles. Two records with twelve songs each which answer each other back in the form of anagrams. They are like the two sides of the same planet - similar but simultaneously so different. They need to be discovered one after the other taking the time necessary to travel through the sound territories produced by his imagination. The starting point is a sombre night in Uqbar… Chapelier Fou's opening reference to Borgès was obviously not made by chance. He subsequently confided in us the objective of his diptych, namely to combine reality with fiction to question certainties and our relationships with the imaginary sphere. He has continued with his traditional classical-contemporary electronic approach which, although now known to a wide audience, has the advantage of opening up a whole range of possibilities right up to the infinite scale. Moving away from an "État Nain" (Dwarf State) to take refuge on an asteroid...Throughout Méridiens, each composition can be seen as a universe in itself or a specific landscape with its own temporality. Proof of this is the introduction to the chamber music format composed for and performed by only strings which can only be given the date we want to give it. This is "État Nain" in which violins are played like guitars. In some parts we find the spirit of the Penguin Cafe Orchestra and the idea of cheering up classical instruments and not taking everything too seriously. In other parts, we find something close to a mischievous and childish unplugged grunge anthem that could be from the French series Les Shadoks. This mischievous view of things is shown to full effect in Am Scharchtensee. The introduction shows Chapelier Fou's whole classical universe and mastery of orchestration in which "modular" electronics provide a subtle and discreet backdrop. Then, the record suddenly switches to a surrealist dialogue between these classical sounds and modular synthesizers with the flavour of the German pioneers Kluster/Harmonia to name but one example. Timelessness and imaginary places. La vie de cocagne confirms this choice of total freedom. It's traditional music with old sounds, a kind of forgotten bourrée (old French dance) in which electronic sounds disturb the established order and thus reach another musical dimension. Le méridien du Péricarde followed by Désert de Sonora push this idea of a trompe l'oreille and a hall of mirrors even further. The latter track ends almost like a catchy 80s melody and we can no longer find any logical meaning. We let ourselves be carried away by this profusion of madness and are a little amazed by this mastery of sound, composition and space. It sometimes all seems like a succession of conjuring tricks. Chapelier Fou takes not being serious very seriously indeed. The end song Everest trail is the perfect conclusion, a deadpan track in which the primary aspect of a totally classical melody in all its straightness is underpinned by a permanent exchange of electronic tweets which mocks the main musical posture. This impertinence harks back to Pierre Schaeffer who directed the ORTF's very serious experimental department in another era and allowed the development of Jacques Rouxel's series Les Shadoks thus introducing the general public to the notion of concrete music. This is also perhaps why Louis Warynski's stage name is French – because he has opted to use his French musical heritage. Thus the first singles selected from this album, Constantinople with its groovy and jazzy allure and Le Triangle des Bermudes evoke composers like Michel Magne or Michel Colombier both of whom have totally open minds and consider all music to have the same importance, namely that of sound. In absolutely all the tracks that make up Méridiens, you will find at least one detail - a pattern, melody, sometimes a simple sound - that will draw you back to explore it a little more. And the words are carefully weighed for sure. It's quite simple. This is undoubtedly his most hypnotizing and catchy album. Chapelier Fou has become a complete master of his own universe. He draws the start and finish lines himself and no one can follow him in a field that now belongs to him alone. Composed imaginary spheres, illustrated territories...Music is just as meaningful as the more visual arts. Therefore the artwork of Méridiens had to project each of the twelve tracks considered individually and not just the whole album as such. Chapelier Fou therefore asked his old friend the contemporary artist Corentin Grossman to create twelve windows to represent glimpses of the twelve worlds composed for the record. Windows or mirrors when it comes to that? You can never be sure of anything...Space OK. But what about time? The years go by and sometimes we forget that fact. But a simple glance back is often enough to gently touch the time that has passed. It is over 10 years since his first official record and he has been composing, recording and sharing his music for almost 20 years. 20 years is a long time. It makes some people look old while others fall into reassuring but sterile nostalgia. Chapelier Fou, on the other hand, has released his most ambitious project and tried to take a higher view of his discography that was itself nevertheless irreproachable. Although the journey is over we can see Parallèles universes on the horizon. Chapelier Fou has announced 12 additional tracks which are like echoes of the compositions on Méridiens' and will be released on the album Parallèles next spring. They are neither twins nor opposites – they are instead totally original new compositions which go further in exploring a universe which is already richly abundant.

SloMo A/V is the cooperation of DJ and producer Chloé Thévenin, who works in the studio to build soundscapes, Dune Lunel, Paris-based art director and Adrien Godin, a young artist from ECV Digital in Paris who works as an art director and graphic designer. This special live recording will now be available on limited edition gatefold vinyl.

HIGHLIGHTS "Cathedral" is a radical experience of listening and investigating the possibilities of the saxophone. DESCRIPTION Christian Kobi is one of the leading names on the improv scene in Bern, Switzerland. His work includes collaborations with Phill Niblock, Jürg Frey, Taku Sugimoto, and Keith Rowe. His new album, "Cathedral", closes a trilogy for saxophone solo that started with "Canto" (2010) and "r a w l i n e s" (2013), and which was recorded in the former Swisscom high-bay warehouse - probably the largest underground space in Bern. That space serves Christian as a place of exploration of sound, silence and action in space. "Cathedral" is an extensive piece that is built from the articulation of discrete blocks of sounds that allow us to enter a new listening universe proposed by Kobi, as they seek to amplify a range of microtextures, feedbacks, mysterious extended techniques, whispers and passages where sound is a pure, dramatic, and vague exhalation in an empty space. Kobi uncovers a wide range of sounds, which he extracts from the instrument in a singular sonic monologue, making "Cathedral" a radical experience of listening and investigating the possibilities of the saxophone. "Cathedral" is released through Buh Records in a limited vinyl edition of 300 copies. Christian Kobi was also part of the compilation "Interactions: A Guide to Swiss Underground Experimental Music" (Buh Records, 2019).

Jeju is a volcanic island in the East China Sea somewhere between Japan and Shanghai, south of the Korean peninsula. After a long period of being an autonomous and matriarchal society, it nowadays belongs to South Korea. Women play an important role on the island and enjoy a special status. This matriarchal tradition among other things manifestates in the culture of the legendary Haenyeo – female divers for shellfish, octopus, fish et al. Two years ago, Setaik Yim invited Christophe Piette to this island to film the paintings of Myonghi, a South Korean visual artist. She paints beautiful works exploring the hidden dimensions within nature. Her work is much loved both inside and outside the artworld.

Next to his 8mm and 16mm cameras, Christophe Piette brought with him a handheld Olympus sound recorder that he used as a sort of 'travel log' and expanded a film beyond the screen. With his particular ear (and eye) for detail and humanity, he registers an organic sound world in six chapters. Creating a 'Deep Listening' experience where normal everyday sounds receive mystical connotations. The album is an interesting self-portrait of the sensible artist with an idiosyncratic attention for particular facets and situations, tangible directly in these moments when the artist records himself while being in conversation… “qu'est-ce que tu écoutes là?”.

Did you ever see Pedro Costa’s Casa De Lava? In this film, a dramatic story unfolds to the backdrop of Mount Fogo (lit. Fire Mountain), an active volcano in Cabo Verde. This volcano is a classic “absent” personage which is abundantly present. There’s not necessarily anthropomorphism at play, but one surely feels a manifestation and a devastating influence throughout the whole of the movie. A hissing and seductive company. During the course of Christophe Piette's album we hear the dormant volcano Mount Hallasan (lit. “high enough to haul the universe”), Jeju’s centre and origin. The inhabitants of Jeju deem this mountain with mystical qualities, where Gods and spirits dwell. The mountain is the core of Jeju’s ecology, and its presence is heard all over the island, and throughout this collection of composed sound.

As being fond of the volcanic island myself, I love how the impressions we hear on this CD perfectly constitute that specific small world. A world that’s equally tragic, problematic, and balanced. Something else coming to mind is Walter Marchetti’s Perpetuum Mobile (1981), a 'serenade' of a motorway in dialogue with a pond of frogs. Christophe Piette shares a similar attention for the everyday sound, where a passing truck, a random conversation, indeed frogs croaking, a dinner conversation, airport atmospheres, a bus ride, light restaurant jazz, and a band practice by the people of Doksu village are all having their status inside a certain reality; a reality that is now preserved for eternity.

In my personal trade, and in the development of the Edições CN catalogue, Christophe Piette was and is of great influence. His concepts enter my mind quiet regularly, and live on in the many books, films, drinks and music he recommends me to explore. Needless to say we’re over the moon to present to you this work.

This is the third chapter in the Edições CN “artist in situ” series - after the first two entries by Spencer Clark and Gonçalo F Cardoso which received many praise in many press… . Enjoy x

Little Bone Lodge, aka The Last Exit tells the story of two criminals on the run, who seek shelter in a remote sheep farm in Scotland, only to find out that the house holds a dark secret of its own. On the back of the critically acclaimed movie starring Joely Richardson, the groundbreaking soundtrack by Christopher Carmichael. Taking the listener on a journey into the dark recesses of the human mind, Carmichael mixes experimental sound design with hard-hitting percussion and raw emotional melodies.

Christopher Carmichael

Christopher Carmichael has written and produced music for over 50 feature films and television shows, both in the US and abroad. In addition, his music has been heard in over a dozen international stage productions and attractions, including the closing ceremonies for the 2008 Beijing Summer Olympics. Chris has also had the fortune to work with outstanding film makers such as John Madden, Fred Cavayé, and Werner Herzog. After attending the Berklee College of Music in Boston, Christopher moved to Los Angeles and began his career working alongside Klaus Badelt (Pirates of the Caribbean, Gladiator). Since then, Christopher has recorded and produced music around the world, from the studios of Abbey Road in London to the stages of the National Center for the Performing Arts in Beijing.

Matthias Hoene

Matthias is a multi-award winning film, TV and branded content director. He made his film directing debut in 2012 with StudioCanal’s horror/comedy, Cockneys vs. Zombies, which premiered at London’s FrightFest and has become a British cult classic. He then helmed the martial arts actioner, Enter the Warriors Gate, starring Dave Bautista and written by Robert Mark Kamen and Luc Besson for EuropaCorp. For his first TV project he directed the first season of HBO Max’s adventure romp, Theodosia, with Cottonwood Media. He recently released Little Bone Lodge starring Joely Richardson.

" The myths of our Western tradition have often captivated me, whether they be Greek, Roman, or Judeo-Christian. Myths are a transcendent collective narrative; a buried memory, not intellectual but spiritual, alive to all the senses of another world. These stories often describe forbidding passages guarded by terrifying monster-like creatures, which, if conquered, give access to other planes. 'Door 1 - Door 2' are two of these planes, opening to prophecy and kingship." (Christopher Chaplin)

Following the release of his powerful and dark album trilogy "Je suis le Ténébreux", "Paradise Lost" and "M", British avant-garde composer Christopher James Chaplin has unveiled his latest project in 2021: "Patriarchs", released to critical acclaim. This project is a musical exploration of the Antediluvian patriarchs, from Adam to Noah, and is another captivating and daring work of art that straddles experimental electronic music and the avant-garde. Chaplin has also been wowing audiences with his live performances, releasing the concert album "Patriarchs Live" to shorten the wait for his new studio album "Door 1 Door 2", which will be released on September 20, 2024.

It is another powerful work of art, located between electronic music and avant-garde. Once again, Christopher Chaplin breaks genre boundaries and manages to condense experimental and colorful electronics in chamber music in a unique way, transporting the listener into mental and spatiotemporal intermediate states. A completely unique musical microcosm that can also be experienced in his impressive solo live performances.

‘Director’ is the follow up to Chrome Canyon’s
2012 debut ‘Elemental Themes’.
Chrome Canyon is a composer for film and TV,
including the HBO Max / Cartoon Network series
‘Infinity Train’.
‘Director’’s lead track, ‘Broken Theme’, was used
in an iPhone 13 Pro advert.
Vintage synths were used to create ‘Director’,
including the PE-1000, which was Korg’s first
polyphonic instrument, and the Chroma Polaris,
which was the second synth made by
Fender/Rhodes.
Chrome Canyon’s music is greatly influenced by
scores that are as revered as the films they
soundtrack: ‘Tron’, ‘Blade Runner’, ‘Metropolis’,
etc. His new album, ‘Director’, arrives ten years
after his Stones Throw debut ‘Elemental Themes’,
and is his vision of a soundtrack to an unmade
film.
The ten pieces across ‘Director’ are intended spark
vivid, cinematic imagination. The album was
recorded between downtown LA and the
Californian desert and is inspired by the drama of
the natural landscape.
For fans of Ben Frost, Mica Levi, Kyle Dixon &
Michael Stein, Trent Reznor.
Radio - Radio 1, KCRW, 1Live, Byte FM.
Online - Music Radar, Music Tech, Fifteen Questions, The
Vinyl Factory.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

The 3rd album by Scottish industrial enigma Cinder aka Cindytalk began life as the soundtrack to an experimental film by English director Ivan Unnwin entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), and was originally slated for release via Factory Records' video division, Ikon. Inspired heavily by Alan Splet's eerily disembodied sound design in David Lynch's Eraserhead, the collection's 15 pieces seethe between field recordings, wistful piano vignettes, and lurking metallic haze – a hybrid palette Cinder characterized at the time as “ambi-dustrial.” Unfortunately Ikon collapsed on the eve of the project's completion so the film was never distributed, but the Midnight Music imprint repackaged Cindytalk's score as an LP in 1990 under the name The Wind Is Strong... (full title: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky).

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

Across decades of activity Cinder’s body of work has forever followed its own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as “a call to arms” inspired by Scotland and its struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.

Opening with an aching solo vocal rendition of the British folk standard “The First Time Ever (I Saw Your Face),” the album then surges into the Cindytalk classic, “A Song Of Changes,” sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on “Wheesht”), bagpipe drone, and apocalyptic post-punk. Given its aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a “precarious” process, composed from “scraps” with abruptly shifting personnel – a situation only compounded by the impending dissolution of their label at the time, Midnight Music.

Experimental musician Claire Rousay and visual artist Dani Toral have been in each others’ orbit since young adulthood in San Antonio, but it took a decade for them to find A Softer Focus.
Before Rousay had put her compositional gray matter to task for the album’s music, she knew she wanted to work with Toral- being familiar with her past work centering her Mexican heritage. Toral’s vibrant color palette and reinterpretations of comfort in oneself and the natural, vegetative world connected easily with her explorations in communication and intimacy.
Historically, Rousay primarily operated in non-melodic experimental music, sculpting compositions from obsessive field recordings, inserting voice-to-text, percussion played via text message sounds, conversations, and daily life.
By contrast, the six-song collection and collaborative project A Softer Focus is lush and almost entirely melodic, even veering into pop at a couple points.

Clap! Clap!'s beats are as indebted to the Inuit tribes of Alaska as they do the Staccato footwork of Chicago and LA's low-end theory. Cristiano's music features traditional Italian folk rhythms and melodies mixed with a global harvest of found-sounds smashed through an electronic beat machine mindstate. With all these disparate influences it would be easy to lose form and style but our fully-fledged Jazz practitioner adds his own unique gait to each track. The Simple EP is a return to the basics for Clap! Clap! Brave and exciting music for your carnival.

South London’s Touching Bass is proud to be collaborating with Melbourne label, Wondercore Island, to present its first move into label territory — the debut album from Hiatus Kaiyote drummer and self-taught, multi-instrumental producer, Clever Austin. Much like his Grammy-nominated work for HK, Pareidolia is a genre-bending sonic and emotive pilgrimage with virtuosic, percussive groove at its core. Conceived via countless nights in his home studio, it dreamily roams across 18 tracks which slowly unravel with the cinematic feel of a movie; all mixed and self-produced over a period of two years. Guest appearances are spontaneous, late night drop-ins, cross town musical crossovers and moments of respect paid to established and emerging innovators. Touching Bass are proud to be the first UK label to introduce the mesmeric talents of Texas native, Jon Bap on first single “Blue Tongue”. Elsewhere, fresh from her well-received 2018 release on Brainfeeder, Georgia Anne Muldrow blesses “You Are All You Need” with her mercurial voice. Closer to home, Cazeusx O.S.L.O’s baritone spoken word grounds “Mothership Strip” and Brisbane-born multidisciplinary artist, Laneous (aka Lachlan Mitchell) croons on “Catapult”. As with most organic collaborations, the label connection was a result of sheer serendipity. Touching Bass founder, Errol, has been following Clever Austin and the Wondercore Island mixtape series since 2013. But it took until 2018 — during their debut Australia/Japan tour — for him and Alex Rita to make their own way to Melbourne. One night, following on from a Touching Bass event, the pair got involved in a late night jam session at Clever Austin’s studio with Lori, Silent Jay and Mandarin Dreams’ Kuzich. “We were all bigging up and sharing music made by friends in our respective homelands but when Perrin started playing his own project, everyone was just in silence. He’d crafted something that was equal parts peculiar, innovative and so beautiful that it brought us to tears. That’s when we knew it was special.” Pareidolia further cements a trans-global cultural exchange between the soulful sounds emanating from Melbourne and London. "Channelling the spirit of Sun Ra, Digable Planets and Dilla across 12 tracks of jazzy beats, spoken word and soul...expect the collection to further confirm Touching Bass as London’s modern day Soulquarians." — The Vinyl Factory “Touching Bass may very well be one of the last bastions of a bygone era where community and feeling remain at the centre of everything they offer...the next step in the evolutionary chain of spaces like Plastic People.” — TRENCH Magazine.South London’s Touching Bass is proud to be collaborating with Melbourne label, Wondercore Island, to present its first move into label territory — the debut album from Hiatus Kaiyote drummer and self-taught, multi-instrumental producer, Clever Austin. Much like his Grammy-nominated work for HK, Pareidolia is a genre-bending sonic and emotive pilgrimage with virtuosic, percussive groove at its core. Conceived via countless nights in his home studio, it dreamily roams across 18 tracks which slowly unravel with the cinematic feel of a movie; all mixed and self-produced over a period of two years. Guest appearances are spontaneous, late night drop-ins, cross town musical crossovers and moments of respect paid to established and emerging innovators. Touching Bass are proud to be the first UK label to introduce the mesmeric talents of Texas native, Jon Bap on first single “Blue Tongue”. Elsewhere, fresh from her well-received 2018 release on Brainfeeder, Georgia Anne Muldrow blesses “You Are All You Need” with her mercurial voice. Closer to home, Cazeusx O.S.L.O’s baritone spoken word grounds “Mothership Strip” and Brisbane-born multidisciplinary artist, Laneous (aka Lachlan Mitchell) croons on “Catapult”. As with most organic collaborations, the label connection was a result of sheer serendipity. Touching Bass founder, Errol, has been following Clever Austin and the Wondercore Island mixtape series since 2013. But it took until 2018 — during their debut Australia/Japan tour — for him and Alex Rita to make their own way to Melbourne. One night, following on from a Touching Bass event, the pair got involved in a late night jam session at Clever Austin’s studio with Lori, Silent Jay and Mandarin Dreams’ Kuzich. “We were all bigging up and sharing music made by friends in our respective homelands but when Perrin started playing his own project, everyone was just in silence. He’d crafted something that was equal parts peculiar, innovative and so beautiful that it brought us to tears. That’s when we knew it was special.” Pareidolia further cements a trans-global cultural exchange between the soulful sounds emanating from Melbourne and London. "Channelling the spirit of Sun Ra, Digable Planets and Dilla across 12 tracks of jazzy beats, spoken word and soul...expect the collection to further confirm Touching Bass as London’s modern day Soulquarians." — The Vinyl Factory “Touching Bass may very well be one of the last bastions of a bygone era where community and feeling remain at the centre of everything they offer...the next step in the evolutionary chain of spaces like Plastic People.” — TRENCH Magazine.

Before clipping. signed to Sub Pop; before their frontman DAVEED DIGGS went to Broadway and won a Grammy and got nominated for a Tony; before they even blew up for their mixtape midcity, they released 100 copies of a cassette called face. The title track has long been a live favorite, showing off Diggs’ rapping skills at a speed unmatched by even most of his own tracks. Seven tracks on the vinyl with an additional three songs on the download. Features guest appearances from JPEGMAFIA, YOUTH CODE, DURAN DURAN DURAN, FOOT VILLAGE, SIGNOR BENEDICK THE MOOR and FLANCH.

Before clipping. signed to Sub Pop; before their frontman DAVEED DIGGS went to Broadway and won a Grammy and got nominated for a Tony; before they even blew up for their mixtape midcity, they released 100 copies of a cassette called face. The title track has long been a live favorite, showing off Diggs’ rapping skills at a speed unmatched by even most of his own tracks. Seven tracks on the vinyl with an additional three songs on the download. Features guest appearances from JPEGMAFIA, YOUTH CODE, DURAN DURAN DURAN, FOOT VILLAGE, SIGNOR BENEDICK THE MOOR and FLANCH.

"Enjoy The Ride Records proudly presents Closure In Moscow - Pink Lemonade. In celebration of the album's 10th Anniversary, we are thrilled to have pressed the first domestic vinyl release!

Housed in a gatefold jacket, there are two colorful variants for Pink Lemonade. The pressing is limited to 500 copies."

Cluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded 10 regular studio albums between 1971 and 2009. Their debut album ("Cluster 71") was in Wire Magazine"s "One Hundred Records That Set The World On Fire" list. Follow up, Cluster II, has now reached it"s 50th anniversary and to celebrate bureau b are releasing a limited anniversary edition, vinyl only, gatefold sleeve limited to a 1000 copies.

CM von Hausswolff pays tribute to writer Ira Cohen and musician Angus MacLise in this piece recorded in Kirtipur, Nepal.

‘A Concrete Pasture’ by Coen Oscar Polack is the follow-up to ‘Haarlemmerhout’ (2020), an album named after a park close to his home in Haarlem in the Netherlands. ‘A Concrete Pasture’ brings Polack’s interest in exploring the larger world around him back into his music. Polack is a magician in combining field recordings from all over the world, be it a temple in Bangkok, the Dutch Wadden Islands or a the percussive Gamelan instruments, and electronic processing of these recordings. With all these ingredients he creates a vivid, nostalgic, futuristic but familiar world of sounds and emotions.

At first, the colors of the recordings seem scattered, the sounds unrelated, but there is a deeper train of thought running through the music. It is the persistent impression of a travelogue; of places, family and friends, helping Polack in co-creating his music. In ‘Cuore Nero’, nostalgic powerchords are composed into tapestries of ambient-noise, ‘Unseen Shores’ uses a recomposed recording of Polack’s children on the Dutch island of Schiermonnikoog and develops into visceral, almost spiritual music, and a field recording of Wat Po in Bangkok in ‘Phra Buddhasaiyas’ becomes a luminous homage that the incorporated guitar sound burns into your skull.

While listening, it becomes evident that Polack is being reflective in auditive images and memory, giving a meaning to a music that is liberated of its formalities and charged with a poignant imagery by transformation, one that is bright and lucid and respects the process from recording until ornamentation.

The longest piece of the album ‘Kraaiennest’, starts with the recording of a Hong Kong traffic light, later to be cut up and transformed into a technoid Musique Concrète piece, with a slow progression into a warm crescendo-decrescendo themed electroacoustic piece, which takes on a life on its own. The finale is Polack on this tenor saxophone putting a stamp on the completion of his work, a performance reminiscing of the raw expressiveness of Albert Ayler.

‘A Concrete Pasture’ points to a landscape, or to a person’s current situation in life. Coen Oscar Polack did himself justice by writing an elegant, vibrant album, a tribute to his reflection of reality, his aesthetics, and with raw authenticity and skill, leaving a great space for the audience’s imagination.

Long standing influential British experimental group Coil began performing live again in 1999 after a 15 year hiatus. These now legendary performances included many pieces that were never released on album, including this album length epic version of "The Universe Is A Haunted House", captured live 12th of October, 2002 at London's Convay Hall.

At the turn of the millenium the original „Astral Disaster“ subcription-only vinyl release was somewhat of an Unholy Grail for Coil collectors!



Virtually unobtainable in its original fiercely limited format of only 99 copies, it is the only album apart from the original „Musick to play in the
Dark“ record to combine the genius of Balance and Sleazy with both Drew McDowall and Thighpaulsandra's talents.

Like „Musick“ it is an essentially tidal/lunar record with literal washes of sound enveloping the listener. Intensely engaging tracks like „The Avatars“ and the later concert tour-de-force „I don't want to be the one“ owe equal amounts to drone and kraut, but are quintessentially Coil.

The record was re-imagined and enhanced a short time later, but even this more widely available re-edition on Coil's own Thresholdhouse imprint has been unavailable for too long now.

Infinite Fog are delighted to present another piece of the intriguing COIL puzzle. In the mid 1990s the core team of John Balance and Peter Christopherson were continuing their exploration of the outer reaches of electronic sound production as exemplified by the "Born Again Pagans" release, originally an EP only, featuring both the hugely danceable "Protection" smash which had Danny Hyde's influence writ in large letters all over it, as well as the first outings of their intriguing more ambient/glitch-based ElpH material, probably their most haunting and haunted works. This new 3LP anthology re-edition collects all of the ElpH material which didn't appear on their later "Worship the Glitch" album, namely the pHILM #1 10", a host of very rare compilation tracks as well as a number of at the time unreleased pieces in the same vein. The stunningly presented release also features the ElpH entity's last ever appearance originally available as part of raster noton's award winning 20' to 2000 series of releases, the "Zwölf" EP.

All the material has been lovingly remastered by Jessica Thompson with re-imagined design-work by Oleg Galay and including a replica of the original St. Sebastian on acid poster.

"Recoiled" is a rambunctious alchemy, of magikal Coil sensibilities and hi-tech home circa 90s mixing technique, all fused in the cave-like early studios of Danny Hyde / Peter Christopherson. These were the unrestrained PRE- BIG studio- mix downs, of four songs which long time Coil admirer / collaborator Trent Reznor requested Coil to remix. Reznor sent over the original multi-tracks and DATs to Hyde / Christopherson, who independently mixed versions and then met to synch both creations, molding them into these master versions. "Recoiled" includes a fuller, more opulent version of the track 'Closer', which eventually made it onto the opening credits to the movie "SE7EN". These 5 lengthy compositions are pre-Ableton / laptop generation type priest song creations, with the use of baby alarms and numerous wires to create bespoke effects. These legendary tracks were always rumoured to exist and, only the due diligence of a dedicated NIN forum who hunted them down, are released/unleashed for your listening pleasure. Black vinyl LP+, printed inner!

Frances Castle is the illustrator/owner behind the Clay Pipe record label and The Hardy Tree is her on- going musical project. Common Grounds was started during the first 2020 lock down - when time moved very slowly and travel away from home became impossible.

The album was recorded at home by Frances, then mixed to tape with Ed Deegan at Gizzard Analogue Studios in East London. Ed plays drums on three of the tracks.

“Like many others with nowhere else to go, I walked the streets of my neighbourhood for exercise and well-being. I rambled like I might in the country side; stopping every now and then to take in the view, or notice something I’d missed before. I took to looking up local streets in historical newspapers, and read reports of mysteries and crimes that had happened here in the past. I researched the names of the people who had lived in my flat before me, viewed old census returns from the surrounding area, and noted the birth places and livelihoods of past residents. I began to see the ghosts of these people on my walks, and notice the things that they had left behind; shapes of ancient tram tracks creeping under the tarmac, an old gas street lamp in an alleyway, a tiny metal sign indicating a culverted river. I spent my evenings writing and recording the music on this LP, and then the following day would listen to the rough mixes as I walked, the music began to soundtrack the walks, and the walks began influencing the type of music I was creating.” - Frances Castle, 2022
1. A Garden Square in the Snow 2. The Spire of St Mary's 3. St Saviour's Through the Railings 4. Shop Fronts and Parked Cars 5. The New River Path, August 6. Railway Tracks 7. Mist on the Playing Fields 8. Face at the Window, Seaforth Crescent 9. Up on the Hill

Active from the late 1980s through to the present day Contrastate have released several critically acclaimed albums. Their early experiments in music were heavily influenced by the industrial and experimental music and art scene of the 70’s and 80’s. Contrastate’s idiosyncratic take on challenging, industrial tinged music has certainly changed and evolved through the years. Their current sound insinuates itself inside the dark ritual ambience of the electronic avant-garde shot through with a vein of experimental noise and stentorian vocals that are strewn amongst touches of industrial surrealism and sonic soundtracks. “Contrastate achieve an amazing equilibrium between organic sound and brooding electronics.” – Heathen Harvest “Contrastate covers a bit of everything in their sound, and that black humor component…makes for a project that I can never predict what they will sound like next, but I know it will be fascinating no matter what” – Brainwashed

The sonorous drift of four trombones, like gentle waves lapping at the edge of a celestial shoreline, opens Craig Kupka’s second album for Folkways, Crystals: New Music for Relaxation 2. Featuring two side-long compositions for trombone and synthesizer, the album is intended as an aid for meditation, a guided journey inward towards selfdiscovery. Before its original release in 1982, Kupka and his wife Nancy took these recordings to relaxation classes and dance studios, field-testing them with participants primed for a meditative experience, and received extensive positive feedback. Like works by contemporaries Michael Stearns, Iasos, and Steve Roach, this is healing music that opens the outer reaches of the mind.

La Tragédie D’Oreste Et Électre is the high-water mark of Cranes’ work in a specifically high-art realm. Recorded before the release of 1993’s Loved, its release was held up until 1996 due to copyright clearance issues from the estate of French existentialist Jean-Paul Sartre, whose work is used as the album’s lyrics.

Highlights from the release include “Danse D’Electre,” a gentle piece that turns into a haunting wash of ambient sound, and the understated chills of “Au Temple,” one of Shaw’s best vocal turns on the album.

La Tragédie D’Oreste Et Électre is available on vinyl for the first time as a limited edition of 1000 individually numbered copies on crystal clear vinyl. The package includes a 16-page booklet containing all the story notes for the adaptation in both English and French.

Cristopher Cichocki is an interdisciplinary artist from the Coachella Valley, with an extensive body of work that examines transmorphic cycles of decay and renewal. His multi-faceted practice addresses environmental and socio-political disintegration above and beneath the surface of everyday perception.

Cichocki is as accomplished in maximalist, immersive composition as he is with painting, sculpture, photography, video, installation and Land art interventions. Desert Drone Cycle returns from the Southern California desert and Salton Sea, a region which has long been a subject of his work as well as an integral source for his materials. Water recordings and windstorms are amplified and dilated into thrumming movements of ominous frequencies and hypnotic echo. Cichocki girds such sounds around a somatic rhythm akin to a heartbeat and frames the notion of the ‘drone’ both as the trance-inducing, keening sound, but also as the unnamed aircraft conducting infrared surveillance.

On one level, Cichocki’s sound research and experimental applications highlight the complexities around land use management when humanity encroaches upon sensitive environments. And on another, it stands as a harrowing document of isolationist composition paralleling that of Thomas Köner, Deathprod, Alan Lamb, and BJ Nilsen.