Beats Новости

3 Vinyle in bedruckten Innentaschen in extra breitem Cover-Sleeve, inkl. Dowbload-Code.

3 Vinyle In Bedruckten Innentaschen In Extra Breitem Cover-sleeve, Inkl. Dowbload-code.

3 Vinyle in bedruckten Innentaschen in extra breitem Cover-Sleeve, inkl. Dowbload-Code.

KARL is excited to welcome a new artist on board: R.A.N. is the dark electronic / rhythmic ambient music project by HÜMA UTKU. "Seb-i Yelda" is available as 12" and download.

Hailing from Istanbul and based in Berlin for a couple of years now, HÜMA UTKU has been a prolific artist lately:as R.A.N. (Roads At Night) she released her debut album''Her Trembling Ceased'',followed by the remix album 'Remixed: Stories Retold' (both 2015, PARTAPART RECORDS), and contributed several tracks and remixes to various compilations. Besides studio production, she travels the planet to perform live or as DJ, and in November / December 2017 UTKU was Artist in Residency at YARA MEKAWEI'sSubmarine Studio, Cairo.

The title of her debut on KARL, "Seb-i Yelda" (pronounced Shab-e Yalda in English), is a Persian term that signifies 'the longest night'. Inspired by the Ottoman poet BOSNIAN SABIT EFENDI's verses,R.A.N. created four new, very personal tracks, developing further her musical language by fusing traditional instruments with deep electronic sounds, distortion and dark ambience, in order tocreate intense atmospheres of anger, anxiety, grief - but also empowerment and hope. These compositions are UTKU's personal reflections on the long lasting devastation and turmoil in the Middle East as well as witnessing the individual experiences related to these happenings. The titles translate as:'"Seb-i Yelda" (The Longest Night), "Ay" (The Moon), "Sabah" (The Morning) and "Kul" (The Servant of God).

elected Early Keyboard Works is the first in a series of planned archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It comes hot on the heels of Traverse´e Du Fantasme at the Stedelijk in Amsterdam, Hennix's first solo museum exhibition in over 40 years, and coincides with both Blank Forms' publication of Poe¨sy Matters and Other Matters, a two-vol- ume collection of her writing, and the closing of Thresholds of Perception, a retrospective archival show of Hennix's visual work at The Empty Gallery in Hong Kong. The record also marks the first time Hennix's own music has been given a full-length vinyl issue.

In 1976 Catherine Christer Hennix's just intonation live-electronic ensemble The Deontic Miracle performed Hennix's orig- inal compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer's Lattice at the Moderna Museet in Stockholm. Culled from rehearsal tapes recorded during the 10-day Dream Music Festival, Selected Early Keyboard Works features three pieces of minimal music, performed by Hennix on tunable electric keyboards. 'Mode nouvelle des modalite´s,' for well-tuned just intonation Fender Rhodes and sine wave drone, is a consummate expression of Hennix's formative years, a probing meditation giving the mercurial quality of early electronic music an instrumental life replete with the dexterity of Cecil Taylor and shades of Paul Bley's synthesized reveries. 'Equal Temperament Fender Mix,' performed on the same Rhodes but in twelve-tone equal temperament tuning, employs a tape delay system not unlike that used famously by Terry Riley, here towards more sombre, hallucinatory means. Hennix is joined by Hans Isgren for the collection's centerpiece, 'The Well-Tuned Marimba,' for well-tuned Yamaha, sheng, sine wave, and live electronics. Using the same approach and just intonation keyboard featured on Hennix's The Electric Harpsichord, but with marimba in place of harpsichord stops, the piece is an undulating marvel of lysergic drone, equally deserving of its companion's status as 'THE obscure masterpiece of the days of the early American minimalism'. Now accessible for the first time, these recordings only begin to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Tape transfer and mastercut by Andreas [LUPO] Lubich. Audio restoration and mastering by Stephan Mathieu.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm's pioneering Elektronmusikstu- dion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the bur- geoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky's invita- tion) at MIT's Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer. A two-volume collection of her writing is forthcoming from Blank Forms.

Dark Entries reissue the 3rd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1987, towards the end of art school, Carolyn won another award from the New York Society of Illustrators. During the trip to New York to accept the award, she met electronic/dulcimer musician, Dan Joseph. After writing some letters they decided to make a split cassette titled 'Hypno-Seizure'. CYRNAI contributed 30 minutes of music to Side A of the cassette, 10 untitled pieces that ran into each other. She had just bought a round-the-world ticket going from China to Europe via Eurails, to Egypt, where she liked to wander. She picked up instruments from several countries and recorded the sounds of her new surroundings. Technology was changing into early sampling and she used a Commodore 64 with large floppy disks to record loops. Originally self-released in 1988, this reissue adds 3 unreleased bonus tracks recorded during the same period. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

Dark Entries reissue the 4th full-length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

By 1988 Carolyn's recording gear had many changes and upgrades, from cassette 4-tracks, 8-track reel-to-reel 1/2 inch, a TASCAM 388 to DAT, to floppy disk sampling. She spent three to four nights a week developing sequences for 14 hours from 10pm onwards. Samples would sometimes begin on a Synclavier keyboard with its sophisticated sequencing capabilities. Her fourth album, 'To Subtle-Drive', was self-released in 1988 as 8 untitled songs spread across a 30-minute cassette. Then in 1989 Carolyn discovered the first Digidesign digital recording software and changed the project to have more ethnic sounds and samples stemming from tapes collected during a trip to Egypt. In 1990 'To Subtle-Drive' was re-released with 2 songs from the 1988 release and 4 new compositions. This reissue adds 5 bonus tracks recorded during the same period spread across a double LP set. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios. "Old-soul beat tracks on cassette with time and techno-guilotine songs."

Following his 2016 debut tape, 'A Revolution in Customer Service', Scottish producer Object Agency returns to Kit with his first LP proper, 'Abaa Cove'.

Where 'ARICS', hovered in a cloud of viola-fuelled static, 'Cove' kicks off with an alarmingly crisp KLANG. This is bell-clear, defiantly positive dance music; the sound of a data farm coolly exploring every corner of itself, laughing, lifting free of its moorings and floating into space. Recommended for fans of YMO, Craig Leon, Beatrice Dillon

Exiting Cuts!
Produced by Earthly & R. Mexico
Artwork by Finn Hansen and Earthly ~ Liner notes by Travis Swinford
Mixed & Mastered by R. Mexico

Thanks to our Moms, Dads, Grandmoms, Finn, Laura, Holly, Isabel, Ben, Brad, Clark, Dane, Dylan, Max, Matt, Katie, Redeye, Night-light, Mook and Ruby

Form A Log / Moth Cock split LP. Packaged with insert. First edition of 300 copies. Mastered by Patrick Klem and manufactured at Gotta Groove. Artwork by Sam Nigrosh (Grasshopper, Potions, Oozing Wound)


Includes unlimited streaming of Form A Log / Moth Cock - split LP via the free Bandcamp app, plus high-quality download in MP3, FLAC and more

Form A Log is: Noah Anthony, Ren Schofield, & Rick Weaver
Moth Cock is: Doug Gent & Pat Modugno
Artwork by Sam Nigrosh
Mastered by Patrick Klem

NNA is honoured to be releasing the latest full-length solo recording from Anthony Child, UK electronic music legend perhaps best known for his forward-thinking techno production as Surgeon. A native of Northamptonshire England, Child has been at the helm as a DJ, writer, and producer of electronic music for nearly 20 years, creating works for reputable labels such as Counterbalance, Tresor, and Downwards. Aside from dancefloor-commanding techno, Anthony has also been creating a private collection of tone-based experimental works over the years, much of which have become the backbone for his latest solo album. 'The Space Between People And Things' finds Child revisiting his collection of unreleased experimental studies from the last 16 years, collaging them into an entirely new framework. Using a sound palette reminiscent to his techno works, Child focuses in on the molecules within the sonic textures and frequencies, delicately emphasizing the negative space that surrounds them. These sounds are then intensified to form vast new worlds, enveloping the listener with bright, crystalline detail and clarity. These two side-long pieces seem to exist and not exist simultaneously, filling the listening space as an almost physical presence, to a point where they blend harmoniously with the air that surrounds you. The brainchild of intense focus and exploration, this record serves as an artifact that gives the listener a very personal glimpse into the mind of one of electronic music's most creative producers. According to Child himself, this record 'consists of location recordings, tonal experiments, and thought-forms from many different positions in space and time. It is the sound of the space between people and things.'

Der britische Musiker Ben Chatwin lebt zur Zeit in Schottland.
Er hat bereits mehrere Alben unter seinem eigenen Namen ( Heat & Entropy, Staccato Signals, The Sleeper Awakes) und einige unter dem Pseudonym Talvihorros bei Plattenfirmen wie
Denovali Records, Ba Da Bing!, Benbecula Records, Hibernate Records veröffentlicht. Er bewegt sich in den Genres Noise, Drone, Ambient, Experimentelle Musik und Glitch. Für sein neues Album Drone Signals arbeitet er erneut mit Village Green Recordings zusammen. Seine Post-Apokalyptischen Soundlandschaften basieren auf Synthesizern, die mit
Streicherparts gefüttert werden, modernen Samples und mikroskopischen elektronischen Texturen. Diesmal ist die Palette etwas breiter gefasst, statischer und mehr mit monumentalen
Strukturen als mit scharfen Kanten beschäftigt.

1. Sequel 03:26
2. Night Terror 04:12
3. Another Dollar 03:34
4. August One 03:17
5. Rose 04:52
6. A Thing Or Two 03:09
7. We're All Going To Die 04:00
8. Insideout 03:51
9. You're An Odd One 02:59
10. Axel Take 2 04:04
11. S Is For Cyanide 04:54

To hit play on D33J's long-awaited debut album is to tumble headlong into a rich sonic universe of captivating improbabilities. Where narcotic house music slow-pulses alongside deconstructed futuristic R&B and lush ambient dreamscapes. Where an astoundingly 3-D aural depth of field radiates with incredible intimacy. Where digital means of production are usurped by guitar play, analog synth, field recordings, or tape edits. Where experimentalism and accessibility aren't the least bit mutually exclusive. Perhaps that's why the taste-making Los Angeles producer and DJ named the project after a thing that doesn't, shouldn't, and couldn't exist: Death Valley Oasis.

We'd expect nothing less from D33J, who racks up plaudits whether he's rocking sweaty gigs with his Wedidit crewmates, producing blissed out rap tracks for Lil Yachty's albums and mixtapes, or composing solo songs that instantly immerse us in an ever-shifting grid of odd rhythms and melodies. It's all par for the course for someone who grew up in the hyper-cultural melting pot of Mid-City L.A., raised by a Rio-native father who promotes Brazilian cultural events and an East L.A.-born mother who, among other artistic ventures, designs elaborate Día de los Muertos coronas. The young Djavan Santos attended the city's esteemed (yet public) Hamilton High magnet school, joining the music program by falsely claiming he knew how to play guitar. But after taking a rare-for-its-time electronic music class, his talent became obvious. While there D33J not only met future tourmate and Death Valley Oasis collaborator Baths (see the beautiful four-four thumper "Wisp"), but played in bands with the surf-punkers who'd found FIDLAR, plus loaned his sweater to Odd Future's Syd in biology that one time. His path to now has never not been strange and fascinating, with stops at the San Francisco Art Institute for a degree in audio-visual design (which he plans to put to use on tour), and Hamburg for a two-month warehouse residency crafting tech-heavy interactive art installations, all while developing a peerless sound.

Death Valley Oasis came together over the last three years, each track slowly accreting the bits that'd make it whole while D33J worked from Wedidit's L.A. studio. Producing for others (Yachty, Tory Lanez, Killavesi, Purple) delayed things, sure, but it also honed his mastery as an engineer and instinct for the line where left field meets listenable. The end result, this album, contains no filler but there are standout moments: like Anticon labelmate and Dirty Projectors alumna Angel Deradoorian channelling her inner Destiny's Child on the jittery "Spark", or D33J taking a rare turn on the mic to wax druggily romantic on "Plateau," or the eerie Burial-like gloom-bomb that is "Dead Sea," or "Rot," a teamup with Shlohmo (who also provides the LP artwork) and soul man Corbin (a.k.a. Spooky Black) that opens on acoustic strum and reinvents the "quiet storm" genre before closing with something akin to death metal pounded out on an MPC. Again: a would-be oxymoron that actually plays as raw genius. Death Valley Oasis isn't just another entry in D33J's book of "Emotional Dance Music," as he once coined, it's the definitive tome and a paragon of what can be accomplished when a blatant disregard for musical boundaries is matched with ace technical ability and endless tangible heart. This is one to get lost in — the desert and the slake.

Bringing electronic music to the physical realm, genre-bending drummer Ian Chang is set to release his debut EP 'Spiritual Leader' this September via Kowloon Records. An acclaimed drumming virtuoso known for his work in Son Lux and Landlady, Chang uses his kit to control and manipulate samples resulting in a seamless synthesis of raw performative intensity and sophisticated sound design. The process began in 2015 when Chang was beta-testing Sunhouse's Sensory Percussion, culminating in a psychedelic light show of a video and track entitled 'Spiritual Leader.' Since then, Chang has honed his creative voice in gearing up to release his debut with Kowloon Records. The EP explores the relationship between human and machine, exuding an intuitive physicality meshing off-kilter rhythmic ideas with hypnotic textures and exploring the edges of IDM, ambient, free jazz, and much more with futuristic creative abandon.

'In recent years I have been researching old Japanese culture and customs in order to deepen my musical production. I found that, countless times, we still don't see through it as a whole. I am still excited to find that there are many untouched roots yet to be discovered which only motivates me to pursuit my research further.
As I dig deeper, I'm always struck with the general idea that 'everything has its own ground', otherwise known as rigid ideas and concepts.

Indeed, it is important to have a clear ground to explore things from. Especially as our times are overloaded with too much information, things which are spoon fed to us will always be short lived, so for me it becomes a case of those rigid ideas becoming less flexible.

One of the many benefits of computer music is being able to separate it from history/traditions and allowing you to simply enjoy mixing sounds and concepts, regardless of its original meaning. By being free from 'having to' make sense we can make creation much more enjoyable.

When I made this album I put my priority in freedom, rather than being stuck with those rigid ideas and concepts. This way I could really enjoy and get deep into the 'mixology' of it all.
Like my other works, Japanese is always a fundamental motif and I envision it like an imaginary radio drama by adding spontaneous dialogs throughout.

I will be happy if listeners pay attention to these (and other) details and enjoy listening to my work.''
- Sugai Ken, 2018

Tasos Stamou presents his most recent electroacoustic music project 'Musique con Crète'.

The project is the result of a three-year creative research project across Crete (GR). Starting with an artist residency the musician visited the Greek island over the course of three summers, collecting field recordings, performing with local musicians, producing electronic compositions and gathering old records and tapes of traditional music of the region. The project resulted in the assembling of a unique sound collage which reflects his personal experience as a music visitor to this part of the Mediterranean with one of the richest ancient history and living traditions.

Tasos Stamou is an electroacoustic music composer, performer, alternative music technologist and tutor. During a decade of sound performances and recordings Tasos Stamou developed a unique style of live electroacoustic composition. Long and continuous pieces are created live using a 'portable electroacoustic music studio'. His gear consists of acoustic (prepared strings, reeds, objects) and electronic instruments (handmade electronics, modular synthesizer systems soft synths). Based on sustained tonal textures and free improvised instrumental solos, his live compositions create a particular and unique atmosphere of ritual noise. He has collaborated in recording and performing projects with a wide range of free improvisers and sound experimentalists (Adam Bohman, Steve Beresford, Sharon Gal, Alan Wilkinson, London Improvisers Orchestra, Mike Cooper, Andrea Parkins, Kuupuu & Lau Nau, Terry Day, Adachi Tomomi, Ignaz Schick, Magda Mayas, Arma Agharta, Thodoris Ziarkas, etc.).

UVB-76 Music's latest offering ushers in new blood to the camp in the form of Stave. The Chicago resident's 'ATK' EP sees the tempo submerge to lower depths and the pressure intensify amidst the harsh dynamics and sonic battery that the label is now synonymous for. A four track rhythmic cavort that plays the urge to dance and the allure of subversive nature. plays on*

Following the release of his collaborative EP with Arovane on Apollo Records, Synkro is proud to present the first release on his own label Synkro Musik. Despite having come up during the dubstep era McBride's music has always resisted easy classification - 'Luminous' sees him shift his musical focus back towards the Autonomic / ambient drum & bass sound of his early works for Apollo & Exit Records, backed with a killer remix from drumfunk legend & good friend Dev Paradox.

Going Good's 13th release is finally upon us and we are quietly confident that it is indeed a truly special one. This is London duo Weird Weather's second sonic offering and already their stepping left-field sounds are pricking up all the right ears. Contained within are some heavyweight signals transmitted live and direct from the capitol's infamous MAP Studios, giving us a heady blend of Shaka inspired sound-system meditations, early 90's FAX reflections and spirit invoking downtempo meanderings. Weight for the bass.

First taste of the upcoming Tempo Dreams Vol. 5 album, compiled by LA based beatmaker Free The Robots. Coming in with a seperate vibe all it's own, the 7" features the exclusive track "Nasi Goreng", a lo-fi psychdelic beat heavy romp through South East Asia, complete with Gamelan vibes. On the flip, "Marano" is a downtempo ultra bass heavy joint with sparse production, vocal chops and swirling synths.

Domino introduce 'Devotion', the hugely
anticipated debut album from one of London's
most exciting underground talents, Tirzah.
Arriving on the back of a lauded run of releases on
Greco Roman, 'Devotion' shines a brilliant new
light on Tirzah's unique experimental pop,
exquisitely soulful voice and potent contemporary
lyricism.
Written and produced in collaboration with
longtime friend and collaborator Micachu,
'Devotion''s hallmarks are rooted in a fresh, raw
emotion and feeling.
CD and heavyweight black vinyl with digital
download code.

4 Tracks Carefully Selected From Ernst Thoma 80's Private Catalogue, Including "winterspiel" (projectos & Progestos Coimbra), A 1981 Portugal Performance In Collaboration With Peter Trachsel . Mr. Thoma Having Fun With Commodore Sx 64, C-lab Sequenzer, Oberheim Xpander, Tms Synthesizer & Polyphon And Serge Modular Music System.

Sacred Grove Is An Artist Collective Based Out Of Malmö Sweden.

Following the release of lo-fi electronic masterpiece I Don't Remember Now / I Don't Want To Talk About It and his brilliant follow-up Plaster Falling, Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982.


While all of Bender's work draws from intimate home recordings - featuring the artist alone with various keyboards, analogue sequencers and tape delays - Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the "pop" concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.


Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia's classic '70s style.


"I pressed a single run of 500 copies," Bender recounts. "The only review I remember railed at the poor production quality. The DIY era had clearly come to an end."


This first-time standalone reissue is recommended for fans of Suicide, TG's 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.

12 Vinyle in jweils bedruckten Innentaschen (weiß mit schwarzer Heißfolienprägung) im zweiteiligen Hardcover-Schuber (weiß mit schwarzer Heißfolienprägung), inkl. Download-Code.

3 Vinyle In Bedruckten Innentaschen In Extra Breitem Cover-sleeve, Inkl. Dowbload-code.

The Four Tracks Composing All My Time Reveal A Unique Bird's-eye Perspective Over The Contemporary Pop Landscape, With Its Ambiguities And Fictional Public. By Developing A Personal Approach In The Bosom Of A Universal Notation, Mechatok Informs Naturally His Compositions With A Deep, Emotional Insight. Ornate But Undisposable, All My Time Glides Through The Skies Of Today's Music With A Rejuvenating Melody. Limited Edition Vinyl. Includes Dl Card.Timur Tokdemir Aka Mechatok Hails From Munich But Now Calls Berlin His Home. With His 2016 Debut 'see Thru' Ep On Staycore The Young Producer Exhibited A Rare Gift Of Honing A Distinct And Unique Style At Quite A Young Age. The Title Song Was Accompanied By A Captivating Videoclip Shot By Benjy Keating On The Stairs Of Athens' Panathenaic Stadium, Able To Reflect Both The Wide Scope And The Intimacy That Defined The Compositions. Mechatok Also Attracted Attention Thanks To The Single 'still Life' (co-produced By Toxe) Which Scored The Kenzo Fw 2016 Prints Presentation. The Allure Of Mechatok's Compositions Can Be Partly Traced Back To The Fact That He's A Classically Trained Guitarist, But A Distinct Expertise Can Also Be Recognized In His Dj Sets, Where He Instinctively Juggles Melodic Pieces With Club And Pop Music, Conveying Feels From Vulnerability To Bliss. In His Mixes For Dazed And Mixmag, Mechatok Tells Stories Of Melancholy, Always Radiating With A Moving Energy. Mechatok Has Also Shown His Face As A Top-notch Pop Producer, By Providing The Instrumental For Uli K And Yung Lean's "schemin" Or By Remixing Sinead Harnett's "rather Be With You" Or Mr Mitch And Palmistry's "vpn", Which Got Recently Published On Planet Mu.

2nd Album By Turkish Free Jazzers Konstrukt And The Japanese Avant-garde / Noise Icon Keiji Haino, This Time Recorded Live In Concert.

Celebrating Their 10th Anniversary These Days, Konstrukt Have Since Been Creating An Impressive Catalogue Including Collaborations / Performances With Significant Musicians Like Peter Brötzmann, Joe Mcphee, William Parker, Akira Sakata, Marshall Allen, Evan Parker, Thurston Moore, Michael Zerang, Alfred Harth Or Alexander Hawkins That Gained Them An Ever Growing Audience And Media Attention (e.g. A Recent Wire Feature), And They Keep Exploring New Grounds. Like In 2016 When Konstrukt Invited Keiji Haino To Their Home Town Istanbul For A Recording Session That Resulted In A Quite Unique Album: "a Philosophy Warping, Little By Little That Way Lies A Quagmire" Offered - Besides All The Elements You May Well Expect From Such A Musical Meeting Like Konstrukt's "acerbic Razor-edged Sound" (mark Corroto, Allaboutjazz) And Haino's Unmistakable Voice / Guitar Explosions - Some Actual Surprises Like The Really Groovy Opening Track With A Funky Feel And A Kind Of 70's Fusion Style Album Closer. Two Days Later The Free Jazz Quartet And The Japanese Avant-garde Icon Continued Their Adventure With A Public Performance At Saloniksy, Pushing Things Further And Raising The Level Of Energy And Rawness. Carrying The Same Title ""a Philosophy Warping, Little By Little That Way Lies A Quagmire" Proves A Condign Sister Release To Their Previous Studio Effort. Or, As The Famous Asian Phrase Goes: "same Same But Different!"

3 in the PERIKLAS series comes from NICOLAS WIESE, a Berlin based electronic and audio-visual artist. "Unrelated" is available as handnumbered lim.ed. clear vinyl LP in silk-screened sleeve and download.

Born 1976, NICOLAS WIESE studied design, illustration sound art, philosophy and sociology and has since been working on various fields: his (audio-)visual art has been presented in galleries and at exhibitions in Teheran, Gent, London, Vienna, St. Louis, Istanbul, Madrid a.o. As musician / composer, he released a number of solo and collaborative albums under the [-Hyph-] moniker and his civilian name on labels like WALTER ULBRICHT SCHALLFOLIEN or CORVO RECORDS. WIESE's latest effort "Unrelated" contains seven new pieces, constructed from sonic elements of various compositions, audiovisual works, fragments, remixes and experiments from a time span of 6 years, drawn from different contexts and a wide range of international musicians and collaborators. WIESE's trademark working method is to combine complex sample-based layers with modulated feedback which is triggered by the samples, their overtones and harmonic properties. This playing technique, using the mixing board as a feedback-instrument, adds a special live feel to the meticulous musique concrète constructions based on the original acoustic source material.

Rich in details, "Unrelated" is a vital proof of WIESE's artistic skills and a highly entertaining concern, melting electro-acoustic, musique concrète and sampledelia!

Christopher Chaplin returns with a new solo album featuring voices and vocals by renown musician, poet and artist Leslie Winer and Nathan Vale , the British classical tenor vocalist. The longplayer translates John Milton's poem about the descent to hell of fallen angels into epic soundscapes!

"Paradise Lost' is the second album by London-based musician and composer Christopher James Chaplin. Following 'Je suis le Ténébreux' (2016), 'Paradise Lost' condenses experimental electronics into a chamber music setting, once again transporting us to intermediate mental and spatiotemporal states. This album features the voices of Nathan Vale and Leslie Winer. Vale is a British tenor and reciter, who specializes in baroque singing. The US musician, poet and artist Winer is almost his counterpart: Jean-Paul Gaultier described her as the first androgynous model, and she has worked with Sinéad O'Connor, Grace Jones and Helmut Lang, among others. Whereas 'Je suis le Ténébreux' was an artistic interpretation of Gérard de Nerval's poem of the same name, and of the 'Enigma of Bologna', Christopher Chaplin's new album translates John Milton's poem about the descent to hell of fallen angels into epic soundscapes. Nothing is clearly structured - instead we find ourselves in a dreamlike state of limbo. Moments of turbulence transform into musical states that collapse, roam through space, or grow into complex structures. It is a music of dark shimmering poetry that thrives on its own ambiguity'

Remarkable Explorative Techno Cuts.

Mika Visited The Moog Sound-lab In April 2015. He Made One His Last Known Solo Studio Recordings In The Form Of Two Vinyl Sized Side Long Pieces. Entitled lydspor' - Danish For 'soundtrack'. Mika Worked Almost Exclusively With The Lab's Moog Modular System 55. This Uk Sound -lab Instrument Is The Sole Protoype Model (containing Several Golden Filters) Of Moog's Recent Sold Out Reverse-engineered Edition (55 Units Only) Recreating The 1970's Classic. On Completion Of His Sessions Mika Announced 'i Could Work With This Machine For The Rest Of My Life....i Would Need Nothing Else'. A Second Moog Session Was Planned But Tragically Mika Died In An Accident In April 2017, Shortly After He Had Approved The Vinyl Mastering.

After last year's first record with Serenus Zeitblom Oktett, Berlin's Hyperdelia comes back with a second release - a lucid underwater music composed and arranged by Swedish composer Kajsa Lindgren.

»WOMB« is a musical narration for abstracted ears and bodies - engulfing a listener simultaneously in subaquatic sonic environments, distant dreams, memories and voices from the unknown: where time and space fold into each other.

The initial material of field-recordings, interviews and compositions has been re-recorded and re-amped underwater in a swimming pool - and has been re-arranged now for stereo home listening. It's like we've travelled from the outer space fantasies into the alien underworlds to surface in your homely headspace.

»WOMB« at times resembles Gustav Mahler's distant rememberings, dramatised by Björk, in other moments the sounds become tiny and intimate, when »WOMB« makes one think of Felicia Atkinson's music, while the environmental ambiences reminisce the static music of Kevin Drumm. The delicate layerings of field recordings, re-recordings and environments makes »WOMB« a fascinating phonopoetic fiction, that conjures its own surreal virtual ecology: of distant strings, filtered through hydrophones (on cocoon), deep sea creatures singing to a de-tuned toy piano (the garden), of folk songs sung through telephone hiss (on all the other children), of waves crashing at the sea shores of Narnia (the inanimate world pt. 2).

Kajsa Lindgren is a composer educated in both western contemporary music and electroacoustic composition, based in Stockholm.

Kajsa explores different sonic relationships within specific environments in both sound art and electroacoustics, her work focuses on field recording with which she sonically investigates ecologies and eco systems. These works become musical research studies of underwater worlds or of public spaces in the city. Kajsa has studied electroacoustic composition at the Royal College of Music in Stockholm.

»WOMB« is Kajsa's first full length record. There will be an underwater release concert in Stockholm, at Storkyrkobadet on 2 June, a virtual reality installation online, followed by a digital EP of remixes of the original material.

øjeRum is a Danish artist who focusses on collages and on ambient music, using the same approach by bringing different elements together to create a conclusive new piece of art. The album Selv I Drømme Lyser Den Første Sne' combines those two artistic approaches and the result is a beautiful album with a collage artwork by øjeRum and a 20minutes long ambient track in two variations.

Selv I Drømme Lyser Den Første Sne' is Danish and means Even In Dreams The First Snow Glows'. Side A features a 20minutes long ambient track, which evolves out of short loops that model themselves into a floating, waving and mesmerizing soundwall. Side B features a different version of the track, formed of the same melodies like on side A, but this time played on cello by Aaron Martin. øjeRum arranged the cello parts, like using his own ambient loops. The result is a cello based track with also evolving sounds that seem to change during the track. You also get the idea of vocals or other instruments, but it´s just the looped cello themes.

Bonus Digital Track: Selv I Drømme Lyser Den Første Sne (Dual Version). This version brings both tracks together into one and shows a new perspective. This track is only available with the download code, that is included in every vinyl order.

There are experimental musicians that know how to well craft the best of pop music, and there are pop musicians that know how to experiment at upper echelons of instinct. Samara Lubelski is both of these musicians in

one. It may be a bold statement, but yes, it is true, every word.Her breadth of experience in both of the otherworldly sides of these spheres grants her an enlightened gift in song writing. It is elegant and transporting,

and it coalesces in that golden new age of purple and orange psychic pop music that ducks its head into the present realm from time to time. Flickers at the Station' is an album that showcases Lubelski at a creative apex. Beautiful and

breathtaking, it is a forever keeper of a baroque pop record. Its late evening music. Its early morning revelation music. Its a glorious day unto itself. The pure connection between Lubelskis outr improv and instrumentation and her

poppsychic songwriting is in complete harmony.

originally released in 1993 - with Ric Ocasek & Liz Lamere-Never released on vinyl-

Born in Brooklyn, Alan Vega was reared on the rock 'n' roll sound of Elvis Presley and Roy Orbison, but originally struck out on a career as a visual artist and light sculptor, making pieces out of electronic debris. But on the occasion of seeing Iggy Pop fronting the Stooges at The Stooges at the New York State Pavilion in 1969 was an epiphany for Vega. It showed me you didn't have to do static artworks, you could create situations,' he said. That show was the first time in my life the audience and the stage merged into one." It was that eradication of barriers between the two that Vega took to heart.

Their first two albums, 1977's Suicide and their 1980 follow-up, remain two of the era's greatest touchstones, beacons for others seeking to transform their worlds with sound. And even during the group's hiatus through the 1980s, Vega continued to pursue his singular vision across an individualistic solo output. From his 1980 self-titled debut and rockabilly-infused albums like Saturn Strip, through bracing albums like Power On to Zero Hour and IT, Vega forged his own singular path.

For all the darkness and despair that encompasses this moment in our world - and despite his work being depicted as bleak and nihilistic - for Vega there was always a sense of hope and a place for dreams to become reality. People have always told me that my music is angry,' he said. To me, it was always just an energy. It was the way I perceived the world. The key Suicide song was 'Dream Baby Dream,' which was about the need to keep our dreams alive. I knew back then that something poisonous was encroaching on our lives, on all our freedoms.' He fought to his very last breath for that freedom.

Zelectro breakcore ambiences. The sound is bad, but the music is good. DHR Style !

Mating Surfaces ist das zweite Album von den Lithics aus Portland, Oregon.
Es umfasst 12 straff aufgezogene Songs mit abstrakten, gleichlaufenden Gitarren, treibenden Rythmen und beinahe absurden, bildhaften Texten .
"A stern danceable sound that summons cut up snapshots of Su Tissue and Mark E Smith, an imagined landscape where Captain Beefheart hits that 99 Records Too Many Creeps beat." -Layla
Gibbon (Maximum Rocknroll, Skinned Teen).

Collaboration Project Of Jochen Arbeit, Guitarrist Of Einstürzende Neubauten And Experimental Post-punk Band Die Haut, With Huan (viktor Lux Crux, Mastermind Behind Ordre Etern, Qa'a And Sporadic Collaborator Of Nurse With Wound).

Armed With Guitars And Drum Machines They Move Between Epic Ascendent Passages, Ambient, Walls Of Noise And No-wave Dissonance To Create A New Germanic-catalan Psychedelia.

"arbeit & Huan's Collaboration Feels Purposeful, Departing From The Merely Ambient & Moodscaping, Sustaining Interest By Providing Variety & Detail Of Timbre, Range, Development, Motif & Dynamics.... "

No More Dreams reissue an expanded edition of 1991's classic self-titled LP from 2012, on double LP and cassette.

No More Dreams reissue an expanded edition of 1991's classic self-titled LP from 2012, on double LP and cassette.

Whities 014 is by Londoner and master digger, Jules Venturini. It's a 3 track 12" of discordant choral euphoria with artwork designed by Alex McCullough.

A very intensive LP... Mixing the breakcore to the Ambient to the Hip Hop to the Noises....One of the hard to Find DHR's !

Another excellent DHR Limited... Dancefloor matter !

* In his first release for Milan's Haunter Record, Berlin-based producer Broshuda generates simple yet complex emotional vignettes. Evading all definitions, he makes use of an an array of tools and techniques akin to those of classic dub and contemporary sound design on obscure/ random equipment, drawing from a limited pool of sound sources while paying a lot of attention to detail in the construction of sound. His post-rave power ambient poems, coalescing with a pronounced melodic element, give the release a profoundly introspective and earthy character. Blurring and masquerading different layers of sound into new forms and shapes.

From the shrapnel of the unlikely collision point where Mancunian post-punk royalty collides with sci-fi cinema and art house animation, this obscure diamond in the rough shines a new light on the Northern DIY era providing disc detectives with a whole new punk funk perspective. Recorded in 1976 by Invisible Girls' Steve Hopkins and Martin Hannett for a truly bizarre stop-motion animation called All Sorts OF Heroes, this hard edged funk instrumental theme reveals another side to this versatile production team joining the hidden dots between Hannett's own discoid experiments with ESG, Gyro, A Certain Ratio and the mythical Afro Express recordings from the same year. Embodying as much in common with 1970's bass heavy European funk soundtracks by bands like Goblin and Placebo, as the expected parallels with John-Cooper Clarke's backing tracks or early Happy Mondays, this early 1976 session is the perfect example of Hannett and Hopkins' under-the-radar artistic commissions working to a storyboard brief in what has now become recognised as a fertile arena for lost filmic funk.

Drawing historic parallels with Leeds based Graeme Miller and Steve Shill's home recorded DIY soundtracks for The Moomins animation and accentuating the connection between Manchester based animation house Cosgrove Hall (Dangermouse/Chorlton And The Wheelies) and it's employees Bernard Sumner, John Squire and members of Gerry And The Holograms, this lost recording adds kudos to a quirky micro-niche and reveals another dimension to Northern anti- pop's snarky personality.

Pressed here by Finders Keepers for the first time on vinyl, in close accordance with the wishes of Steve Hopkins himself, this custom-composed track originally appeared on the short film by Rick Megginson and Steve Hughes which was shown at the Ottawa International Animation Festival in 1976 where it might have otherwise remained, preserved in an 8mm film box up until now. As relevant today as it was then, this closely recorded, cosmic cartoon, slappy funk theme provided the films backdrop for a workshop montage scene where an aardvarkian spaceman constructs a giant metal face robot which might well leave fans of Madlib and MF Doom fans pondering time travel! Like much of the lost and unreleased projects that stalled on the peripheries of early proto-Madchester, including the disco-pogo music of Spider King, Gerry And The Holograms, The 48 Chairs, Naffi and The Mothmen, this record has been frozen in time waiting for the wider marathon of independent pop to catch up!

Presented here faithful the 45 format of choice, this 7' might well be another missing link between your Rabid, Absurd and Factory records, backed with another lesser- known Invisible girls recording Scandinavian Wastes which has also been begging for its first vinyl outing since its recording in the early 1980's. Another historical bucket list release for Finders Keepers Records outernational discography, leaving zero stones unturned, even the ones under our own doorstep.

Ltd. edition of 500 numbered copies on clear vinyl

Considered as the first piece of electronic music to accompany a ballet, Totentanz is the arrestingly abstract and mightily expressive result of Warner Jepson's experiments with tape and Don Buchla's groundbreaking synthesizer, the Buchla 100. Totentanz, originally self-released in 1972, reveals a composer relieved of convention.

In the 1950s and 1960s, Jepson was part of an informal circle of Bay Area artists that included Pauline Oliveros, Terry Riley, La Monte Young, Morton Subotnick and Steve Reich. A fixture of the legendary San Francisco Tape Music Center, Jepson was among the performers who realized the world-premiere of Riley's seminal minimalist composition In C and worked closely with postmodern dance figure Anna Halprin as well as the Welland Lathrop Dance Company.

Jepson's affection for the performing arts meant that he was thrilled to be commissioned by the San Francisco Ballet Company to compose a piece to accompany Carlos Carvajal's beguiling, danse macabre-inspired Totentanz. Jepson, who passed away in 2011, incorporated concrete sounds from his collection as well as creations on the Buchla 100, which had recently migrated to Mills College. As the composer once wrote, "Don Buchla's box ... offered numerous sound possibilities without a map."

First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.

Cardboard Sleeve + Black under sleeve

Includes unlimited streaming of Wolves of the world via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

It was chance that brought about the release of One/Three, Dabrye's debut album. Early demos were tucked on the B side of a cassette Tadd Mullinix passed to Sam Valenti in 2000 while working at the Dubplate Pressure record shop in Ann Arbor. Mullinix had spent the late '90s producing jungle, techno, house, hip-hop and more using the All Sound Tracker software as a primary instrument. Each style pulled from a similar sound palette as Mullinix used limitations to define the contours of di-erent musical personalities. Dabrye was his hip-hop wildstyle, a captivating collage of sparse instrumentals inspired by the laid back vibes of midwestern hip-hop and east coast boom bap, the futuristic funk of Umma-era Jay Dee, and the calculated subtlety of Detroit dance music. Released in 2001 as the first in an intended trilogy, One/Three announced Dabrye's arrival with an unavoidable contribution to Detroit hip-hop. Ghostly International is reissuing the album in 2017 for the first time, including a long overdue vinyl edition.

On its release One/Three was the rare album that appealed to both fans of Slum Village's smooth yet rugged hip-hop and enthusiasts of the distinct American IDM released by labels like Schematic. Over the following decade, the inadvertent demo submission turned into a body of work that placed Dabrye alongside innovators such as Prefuse 73 amid the cannon of a new generation of producers. Today, One/Three remains a concise and intriguing study in instrumental hip-hop that helps join the dots between J Dilla and Flying Lotus.

One/Three is a record that says much with little. There are no obvious hip-hop tropes. Instead Mullinix captures the ingenious minimalism of '90s hip-hop instrumentals to build tracks both supple and hard, joyous and melancholy, full of sharply angled rhythms and warm rubbery basslines: 'The Lish' throws a sickly sweet saxophone against digitally fragmented melodies, 'How Many Times (with this)' draws you in with an irresistible, clipped guitar groove, the rhythmic stutter of 'Smoking The Edge' makes your head spin with pleasure. Playing with his inspirations, Mullinix injects omitted downbeats for imagined rhymes and repurposes the intricacy of ragga jungle for breakdowns.

But what really defines One/Three is the rhythmic sensibility and metric modulation of Detroit's school of hip-hop production, which Mullinix was a fervent student of. The beats feel like they're constantly escaping a rigid tempo grid even though they are, in fact, pretty tight. A lot of it is nuance,' Mullinix explains. I've been known to say that I'm not impressed by spectacle. I think that nuance is what really captivates people.'

If you like your beats with a dash of class, do not miss this. An essential purchase of the highest order.' -BBC

- First time all tracks from the original 2001 release appear on vinyl.
- Remastered by Daddy Kev
- Standard weight black vinyl is inserted in to 3.5mm matte finish vinyl jacket.
- Download card includes free download of the Payback EP

When Ann Arbor's Tadd Mullinix began exploring hip-hop under the name Dabrye 20 years ago, he soon honed in on a startling vision of what the genre could be: ingenious, refined, daring. This vision came to life across two albums for Ghostly International — 2001's One/Three and its 2006 follow-up Two/Three— with each record further positioning the quiet Michigan producer as one of his generation's best, equally comfortable creating minimalist instrumental meditations or sharp rap salvos. In the late 2000s, following critical acclaim and accolades from both peers and inspirations (including the late Jay Dee with whom Mullinix collaborated before his untimely passing), Mullinix put the Dabrye moniker on ice and dedicated himself to other genres and ideas. All the while the influence of his work on a new generation of electronic musicians continued to make itself felt in subtle but meaningful ways.

All this changes in 2017 as Dabrye makes his long-awaited return with Three/Three, a razor-sharp rap album that brings to completion a prophetic trilogy. Mullinix's incisive productions provide the backdrop for equally acute rhymes that run the gamut from intergenerational observations and being your best self to back alley deals and having fun in the ride. Guests include indie rap legend DOOM, whose previous collaboration with Dabrye remains a point of reference for many, Wu Tang storyteller Ghostface Killah, L.A word fanatic Jonwayne, and Long Island's rugged surrealist Roc Marciano. Most importantly Three/Three is, much like its predecessor, an unfettered celebration of Detroit-area talent with Guilty Simpson, Phat Kat, Kadence, Quelle Chris, Danny Brown, Shigeto, Clear Soul Forces and more all lending their touch to Dabrye's return.

The blend of American and British dance music, hip-hop sampling, and Jamaican sound clash energy that underpinned Two/Three remains a quiet, guiding principle. At the same time Mullinix rejoices in a refreshed perspective, having had time to incubate ideas and find clarity in the distance between albums and the evolution of scenes.The beats are looser and less angular, more embracing of repetition. Organic techniques inspired by soul and jazz round off some of the harsher sonics. The resulting broad palette of tracks reflects both this evolution and the range of the Dabrye persona: relaxed headnod ("Tunnel Vision"), nervous, slow-motion electro ("The Appetite"), glacial motifs ("Emancipated"), jazzy, cut-up funk ("Sunset"), minimal brutalism ("Electrocutor"), intricate layering ("Culture Shuffle").

Three/Three marks the return of an innovator after close to a decade of silence. Despite what the title might imply, the album isn't the end of the story but rather the completion of a creative arc. Expect more Dabrye in the near future. The game is far from over.

- Final installment of the /Three series, started in 2001
- Guests include Ghostface Killah, Jonwayne, Doom, Danny Brown, Shigeto, and more.
- Media support from: The Wire, FACT Magazine, The Detroit Free Press, Pitchfork, XLR8R
- Past collabs with Jay Dee (J Dilla), MF DOOM, Beans & more
- Vinyl is housed in a matte jacket with black hot foil and includes 24-page zine designed by Michael Cina.

Obscure Dutch private pressing from 1977. Laid-back instrumental psychedelic / progressive sounds with jazz-funk-groove and abstract / experimental / Latin-indigenous touches. Stoned homemade atmosphere with treated / distorted electric & acoustic guitars, flute, electric piano, primitive drum machines / homemade electronics...Much in the vein of the experimental-underground scene of France & Germany during the early 70s but actually recorded and released in Holland.

Wild Havana was the project of guitar player Johan Smith, helped by his brother Cor on flute. Influenced by artists like Zappa and Herbie Hancock, Johan recorded the Wild Havana' album at his home studio on a 4-track, using effect devices developed by himself, like a modified proto-drum machine taken from a Hammond organ. He also used effects like phase shifter, chorus, etc and experimented with putting wool on the guitar strings and electric effects on the mandolin. The result sounded like nothing else at the time.

Buried for many years, we're excited to bring to life this unique album.

RIYL: HERBIE HANCOCK, RICHARD PINHAS, CHRISTIAN BOULE, OREXIS...

*Insert with liner notes by band member Johan Smit.

...a beautiful, strange psych-prog LP with abstract compositions ,experimental edges and some funk hints' - Mutant Sounds

Cape Town duo Christian Tiger School provide the 3rd part of the Lissoms series. Both graduates of the Red Bull Music Academy and part of the Sónar line-up this summer - they've previously posted an LP for the mighty Tommy Boy & remixes for SubPop, and had their work remixed by luminaries like Mndsgn.
'If You Want To' embodies their sound and the fervent Cape Town beats scene aptly - esoteric UK influences sit amongst ambient soundscapes and a cracked breakbeat, pinned on a looped bassline - growing in intensity but using the most subtle of touches.Gacha Bakradze's version posits the track somewhere between slow-burning disco and krautrock, framing the character of the original with loose jams on his array of studio gear.Finally, Edmondson's version is a minimal, 2-steppy take honed by the Berlin sounds which have pricked his ears for the last couple of years.

Having debuted with a fine EP by Job Sifre, Artificial Dance has returned to the source for release number two. The 12' pays tribute to one of the most influential figures of original DIY electronic music scene of Holland, Hanjo Erkamp.
During the first half of the 1980s, Erkamp had a hand in some of the most experimental and forward-thinking releases on the now legendary cassette label, Trumpett. Famously, he was a member of two of the label's key bands - industrial outfit Doxa Sinistra and new wave combo Ende Shneafliet - but during the period he also recorded a swathe of solo tracks as C. Stein, most of which only saw the light of day decades later.

La Bombe Plastique', a thrillingly spacey and futurist cut rich in proto-techno rhythms, intergalactic electronic motifs and drowsy choral vocals. For this timely reissue, the superb original version comes accompanied by a fresh re-edit created primarily for DJ use.

The music of Hawthonn is dense and atmospheric, but not inaccessible. Experimental electronic techniques fuse with doom-laden organ riffs, crystalline piano, elemental drones and haunting vocals. Largely guided by their own unconscious muse, the band's chief inspirations lie outside of music, in Romantic poetry, dreams and reveries, esoteric symbolism, the history of magic and witchcraft, folklore and the English landscape. Hawthonn is Leeds-based duo Layla Legard and Phil Legard. Having previously collaborated in music, as well as text and photography, they officially formed in 2014 to deepen their uniquely imaginative approach to musicmaking. Often developing from obsessive explorations of a particular theme, their work precipitates dreams and imaginative journeys, which inform the direction of their music. Their earliest music explored the afterlife mythos of Coil's Jhonn Balance through the image of the Hawthorn tree and Cumbrian landscape where his ashes were scattered. Their approach draws lyricism from the psychoacoustic phenomena of phantom words'—sonic textures translated from geographical space into droning sound spectra, and verbalized dream imagery. The prime symbol of Red Goddess (Of This Men Shall Know Nothing), is mugwort. An herb associated with dreaming, travel and menstruation, mugwort particularly favors edgelands: those abandoned, untended places, part man-made, part rural, where nature begins to reclaim what humanity has left behind. The music here unfolds a mandala of symbolism from these liminal spaces, drawn from a web of fascinations which unfolded during the recording process.

After "La Légende d'Eer" in 2016, the PERIHEL series presents one of the milestones of electroacoustic music: IANNIS XENAKIS' mindblowing 54-minutes oeuvre "Persepolis", mixed from the original 8 track tapes by MARTIN WURMNEST and mastered / cut by RASHAD BECKER.

"Persepolis" is the longest electroacoustic composition by IANNIS XENAKIS (1922-2001) who ranks among the most influential 20th century avantgarde composers. Commissioned by the Persian Shah, the piece was part of a multimedia performance - XENAKIS' so-called "polytopes" - which premiered in 1971 in Shiraz-Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation. XENAKIS had realized "Persepolis" on 8-track analogue tape in the Studio Acusti in Paris and released a stereo reduction on vinyl in the famous Philips series "Prospective 21e Siècle" in 1972, adding the new subtitle "We bear the light of the earth", his most hymnal title ever.
Out of print for decades now, the LP became - especially the Japanese edition from 1974 - one of the most expensive collector's item of electroacoustic music. There were some later CD versions with different durations - too long due to a wrong sample rate, others shortened by 3 minutes due to other reasons. The PERIHEL series now presents a new version: mixed from the original (!) master 8 track tapes by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER at D&M, Berlin - the same experts who had already taken care of the 2016 KARLRECORDS release of "La Légende d'Eer", another milestone composition among the works of the Greek-French avant-garde composer.

Helios - Killing Sound 2015 Redux
Stand - LTO Redux
Siren - DB1 Redux
In The Sun - Silo Redux

Mastered at Photon Mastering by Dim.

All reductions recorded in 2015.

Original material lifted from the album Aeonflower, available via Night School & Finders Keepers.

-

The Sky Looks Different Here

Blink and you'll miss it, limited tae fuck tape from Ratkiller on Jon Rust's Levels imprint. Essential.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- PRINTED INNERSLEEVES
- REMASTERED
- 4 PAGE BOOKLET
- EXPANDED EDITION
- 1500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT BLUE VINYL

The album was the first (and only) The Art of Noise album to spawn two UK top 20 hit singles, Peter Gunn' and Paranoimia'.

The original album is remastered and this reissue features 17 extra tracks above the very original vinyl LP edition of In Visible Silence. The second LP features some previously unreleased tracks.

All tracks are taken from the original master tapes and the remastering sessions were overseen by Anne Dudley, JJ Jeczalik and Gary Langan.

It's beautiful packed and we went full out for this one: gatefold, coloured, numbered, 4 page insert, printed inners.

Check the iconic video in the link below.

Robert Rental was the stage name of Robert Donnachie (1952-2000), a British pioneer of post-punk, DIY, and industrial music. Originally from Port Glasgow, Scotland, he moved to the south of England with Thomas Leer in the late 1970s where he met Glenn Michael Wallis. Glenn was recording music with the group Heute and leaving to start his solo projects NKVD and Konstruktivists. Both were heavily involved with Throbbing Gristle and the Industrial Records crew.In the Summer of 1979, Robert invited Glenn to his studio in Battersea to jam. Robert on guitar and Glenn on an EDP Wasp synthesizer. For each session that summer they would play for about 40 minutes, maybe longer, stoned. Robert suggested they record it, many times erasing and over recording one session for the next. The music had no titles, as they were never intended to be released. On these recordings, Robert enjoyed playing like Robert Fripp of King Crimson, while Glenn channeled Wolfgang Flur of Kraftwerk. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia, as well as Terry Riley and Brian Eno the duo forged a unqiue brand of Industrial music. Tape loops and synthesizer sounds played backward conjure dark ambient moods. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a jacket that features a drawing by Robert Rental from Glenn's archives as well as a handwritten note from Robert to Glenn. Each copy includes 2 photo postcards featuring a transcription of Robert's letter and liner notes from Glenn Wallis.

Eccentric, polymetric polyphonics from inquisitive Australian sound artist Ross Manning, returning to Lawrence English's Room40 with a scattershot batch of pots 'n pans rhythms and noise.
In august this year, Manning opened his first major survey exhibition, dissonant rhythms, at brisbane's institute of modern art. As part of the exhibition, a monograph and LP edition, titled reflex in waves, were prepared to celebrate this milestone.
This LP brings together a series of sonic approaches Manning has been developing for over a decade. specifically concerned with waves and the impacts of their resulting vibration. quietly producing audio works out of his studio in Yeronga, on the south side of brisbane city,Manning's works are based on a series of deeply personal instrument designs, tape manipulation and other exploratory approaches. his instruments, which are often percussive, use harmonically related materials that are activated by motor-driven strings. the resulting sound is a chaotic but pulse-like cluster of harmony. developing sets of uniquely pitched materials. His instruments each maintain a distinct quality; no two instruments sound alike and although the way in which they
are 'performed' may be similar, the resulting sound is anything but familiar."

Another first of year release, this time for Polytechnic Youth's older sibling, the more kosmische / kraut enthused Deep Distance. Following hugely acclaimed releases for labels such as Kranky, Constellation Tatsu, Not Not Fun and Great Pop Supplement, Jesse Reiner's esteemed JONAS REINHARDT return to the fray with the mighty Conclave Surge' LP.

The eight tracks contained within open the listener to a new dimension to the Reinhardt oeuvre, expanding deeply on the sonic themes explored in previous albums with a sense of immersive, meditative intent. The sharp sound design of minimal techno, early industrial music's capacity for dramatic shock and awe and the fervent rhythmic experimentation of West African synthesists all weaved their way into Reiner's palette for Conclave Surge.

Inspired in equal measure by the throbbing urbanity of coastal cities, continental European art-rock experimentation, and improvised electronic minimalism, Jonas Reinhardt's music transcends its influences into a wholly unique amalgam.

As Jesse himself says 'The latin origin of 'Conclave' translates to with key. The pieces of music selected for this album are designed to unlock, by way of machine and human synthesis, ritual and musical ceremony previously hidden from public view. The Conclave ceremony, traditionally designed to introduce something important, is a tool of power and of powerful groups. 'Surge' here refers to electric discharge arcing across a room, crackling gear, and skittering currents sourcing ground'.

Another wonderful Jonas Reinhardt record released as a limited edition pressing of 300 on vinyl only by Deep Distance Jan 2018.

The new Carlton Melton album Mind Minerals' will be released on February 2nd 2018.
This will be their first full length release since 2015's widely lauded Out To Sea' double opus, itself a languid drifting of drones and psychedically enhanced riffmongering. Sure, there's been some long EP releases since.. Hidden Lights in 2017 (featuring the immeasurable drone sike float on Rememory') and Aground in 2016 (a companion, the Desert Island weather beaten psych-flow follow up to Out To Sea), now its time to soak up.. Mind Minerals.
Mind Minerals finds Carlton Melton in fine fettle, all the songs were recorded and engineered at El Studio in San Francisco by Phil Manley on September 3rd and 4th 2016 (except 'untimely' - recorded at the Dome by Brian McDougall), the studio setting suits them -- a logical progression from a weekend's recording out at the Dome.
Under Manley's watchful ear/eye, Carlton Melton have created a futurescape soundtrack.., a 3001 Space Odyssey'. The drums are more pounding and direct than before, the constantly re-assuring bass creates a helping hand to propel you through the clouds of static and shards of electrifying guitar dazzling your horizon. Synths help soothe the sharp edges and lull you into some out of body experience whilst and orchestrated calamitous scree pulls you back.... This is a breathless, yet deep breathing album. It demands full immersion..

Searing guitar piercing the drone with relentless power, the core trio of Carlton Melton, Andy Duvall (drums/guitar), Clint Golden (bass guitar), and Rich Millman ( guitar/synth), have some alchemical bond that's helped them create a post -rock / psychedelic / freeform organic slab of American Primitivism / space drift , this is unashamed head-music from the melting pot of Northern California.. 5 decades ago this album would have been released on the ESP Disk Label or even Apple.. there would have been no helter skelter if the desert Hippies had locked onto these vibes, plug in, turn on, tune out..float free.. Carlton Melton can provide your own aural microdose to reset your Mind / Psyche!!

One of the pioneers of musique concrète and electronic tape manipulation, 'Prélude Au Sommeil' is Perrey's debut recording but shows a composer already at maturity. Originally released at the end of the fifties, as a private press under the fake institutional name "Institut Dormiphone", it consisted of 2 side-long tracks played on the Ondioline (a vacuum-tube based, spring-loaded electronic instrument). The music contained in this mysterious vinyl is like something between dreamy church organ hymns and the keyboard-based minimalism that Philip Glass and Terry Riley developed a decade later. It was intended as sleep-inducing and tranquilizing for use in mental hospitals. It is unclear if the copies pressed actually had been distributed to mental hospitals or if the whole story was just a fantastical joke on the part of Mr. Perrey. Essential.

Lost-in-time Kosmische / Kraut / Avant-Garde artefact, produced by Toby Robinson aka The Mad Twiddler circa 1975 for his private Pyramid label.

Tolkien inspired dark ambient soundscapes with spooky / ritualistic atmosphere, treated percussions, gongs & guitars, trippy Hammond & Mini-Moog, tape loops, weird noises, drones...

File under dark ambient, proto-industrial, kraut, experimental...

RIYL: KLUSTER, STOCKHAUSEN, TAJ-MAHAL TRAVELLERS, NURSE WITH WOUND, THROBBING GRISTLE, LUSTMORD, COZMIC CORRIDORS...


* 24-bit domain remaster from the original tapes.

* Insert with detailed liner notes by Alan Freeman (The Crack In The Cosmic Egg).

* LP Includes download coupon.

A major work of electronic avant-garde - high quality deep esoterica of the weird and spooky kind.'
- Alan Freeman (Ultima Thule, The Crack In The Cosmic Egg)

"Invisible Cities", the first collaboration between AIDAN BAKER (NADJA, B/B/S) and bass clarinetist GARETH DAVIS (OISEAUX-TEMPÊTE), offers finest ambient / chamber jazz / subtle drones of a highly meditative quality. Available as 180gr LP and download.

Be it solo, as member of the drone duo NADJA or B/B/S (his trio with ANDREA BELFI and ERIK SKODVIN / SVARTE GREINER) or in various collaborations with artists like TIM HECKER or THISQUIETARMY: the Berlin-based Canadian is one of the most productive and versatile artists when it's about postrock, drone or ambient and without doubt a true master on his instrument, the guitar. In recent years BAKER also starting exploring new grounds as a composer of contemporary / ensemble music - e.g. his composition "An Instance Of Rising" was commissioned by SPÓLDZIELNIA MUZYCZNA CONTEMPORARY ENSEMBLE and SACRUM PROFANUM FESTIVAL for their 2017 edition. "Invisible Cities" marks BAKER's first collaboration with GARETH DAVIS whose eclectic oeuvrespans contemporary classical, free improvisation and orchestral music through to rock, noise and electronica. The bass clarinetist is a steady member of the critically acclaimed post-rock formationOISEAUX-TEMPÊTE and A-SUN AMISSA, interpreted compositions by ALVIN LUCIER with MACHINEFABRIEK, worked with BERNHARD LANG and PETER ABLINGER, performed with musicians likeNY Downtown veteran Elliott Sharp, MERZBOW or ROBIN RIMBAUD (aka SCANNER) and realized multimedia work with artists including CHRISTIAN MARCLAY and PETER GREENAWAY.

Recorded in November 2016 at MUZIEKHUIS, Utrecht, the four tracks create a calm, even meditative atmosphere in their reduced manner that gives much room to the individual instruments / sounds, occasionally spiced up by field recordings that intensify the overall chamber jazz / ambient moods.

Welcoming Sibla to the label for Episode 5 where he presents 3 sound system bangers, unleashing our most dancefloor focused release to date.

21 shades of freak from the illuminati of lost sides, Light Sounds Dark.

All Greg Beato productions! A compilation of sorts - the tunes THEY didn't want you to hear. Strong stuff!

Limited Edition gear on Mr Beato's on NI UN PERO label...

Edmondo Giuliani - "IL MARE: Musica Con Strumenti Elettronici", originally released in 1972 on the micro-label Dischi Egede. A Mega-Rare Italian Electronic Underwater music Library production - recorded for an obscure documentary on sea from the early '70s. Infectious and trippy Abstract Experimental music that plumbs in the sea depths with abyssal echoes, sound iridescences and marine electronic themes. Addictive record out for our Underwater Library tryptych release. Another great vinyl obscurity is filed and published on our label with amazing renewed artwork.

Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of Avant-garde, Neo-psychedelic, Minimalism, art and electronic - along with violin-bowed guitar, Theremin and a glut of effects pedals, and it's an ear-bending rush of lush soundscapes.

Trees Speak - as much a sound laboratory as a rock and roll band - is the musical venture of acclaimed visual artist and musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors & Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis, the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab, - Joshua Levine

Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt to create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.
- Trees Speak


The music was recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a 5 day period at Sacred Machine Studio and Dust & Stone Studio.

The New Backwards, created in 2007, was originally included in the Ape Of Naples box set released on Important in 2008 and was constructed by PETER CHRISTOPHERSON using material from the Backwards sessions recorded in the early '90s for a planned release on Trent Reznor's Nothing Records label. The New Backwards, like The Ape Of Naples, is an intense fan favorite and an essential part of the COIL catalog.

Alésia Cosmos was a collective of musicians led by Bruno de Chénerilles formed in the early 1980s in Strasbourg, France. The group consisted of Pascal Holtzer (guitar, synthesizer, tapes, drum machine, vocals), Pierre Clavreux (vocals, gong), Marie-Berthe Servier (vocals), Bruno (guitar, tapes, synthesizer, drum machine, vocals) and Tunisian percussionist Lotfi Ben Ayed (darbukas, bendir). In 1981 Bruno composed and wrote some sci-fi radio plays for French state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, he developed tape music studio work. By 1982 he appeared for the first time under the name Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. This experimental show lead to a music project based on Bruno and Pascal's compositions to be performed and recorded with other musicians in the beginning of 1983.

Exclusivo! was the group's debut album recorded and self-released in 1983 on Planetarium. Pascal and Bruno would compose tunes in their personal home studios. Then they would bring the tapes, electronics, guitar lines and lyrics to experiment and rehearse with the other members of the group. Improvisations and adaptations brought more ideas and the album was recorded in a few days. The result was a musical mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians take turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese. All songs have been remastered cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica of the 1983 cover and includes a 6-page insert with photos, lyrics, reviews and liner notes by Bruno de Chénerilles.

Produced by Ivan Pavlov/COH

Digital assistance: lit-e, g-race, tin-y, a-lisa

Revised and re-mastered 2017

Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2017

Cover photo & graphic design by Victor Robyn

The ongoing relationship between Editions Mego and COH continues with this special collection of works made by COH over a number of years released on a variety of labels. What brings these works together is the incorporation of vocalists and lyrics. Neatly compiled here, a diverse pool of vocalists elevate the otherwise instrumental works of COH ( Ivan Pavlov) into worlds of narrative, the human and the haunted.

Little Annie brings her sly subversive cabaret style to one of the works whilst delivering an intense lkist of daily activities on another whereas Peter ,Sleazy' Christopherson conjures a world beyond our own with his cracked spectral delivery interpreting Pavlov's disembodied electronics. "I wrap my last kiss in a bandage... I send you this message".

Frankie Gothard provides classic distorted industrial swagger to the proto-disco FFFETISH where LOVE'S SEPTIC DOMAIN (feat. John Balance & Louise Weasel) screams from the abyss of "dirty hospitals", As starlit and damaged as any of the classic Balance deliveries. A previously unreleased work featuring the renowned fashion designer Ann Demeulemeester skips along a metronomic beat whilst the voice lays out dry settings and instruction. Elsewhere Noriko Taguchi embeds a fragile sensibility to a music box melody whilst Anna Yamada's collaboration results in an exquisite blend of disorientating pop.

The versatility of Pavlov's practice is on display as proto disco, industrial simulation and pop all come together with the vocalists presenting a wide range of human function, from the absurd to the mundane to world's unknown.

Music For Dreams is proud to announce the new album by Danish legend Dub Tractor. One of the founding fathers of electronica in Denmark in the early 90s, Anders Remmer has remained a reluc-tant beacon of Copenhagen's scene ever since, with his musical legacy still a work in progress. As well as being a member of Future 3, Remmer has released material under a number of different ali-ases, but his most frequent guise dating back to 1994 has been Dub Tractor. Under this name, he gently crafts complex yet warm and organic electronic music that flirts with ambient, dub and IDM.

With Hello Ambient Wash', the first Dub Tractor album since 2009, Remmer explores further the pos-sibilities of Dub Tractor after the more pop-oriented & shoegaze-flavoured approach of his last album "Sorry". In addition to new material, the second half of Hello Ambient Wash' presents a retrospective of hand-picked tracks from his first three albums on Flex Records (the label which Music For Dreams founder Kenneth Bager ran with Ole Mortensen from 1994 to 2007). Two "Discrete Recordings" tracks from 1994 highlight the atmospheric dub origins of Remmer's sound, while the two tracks from the 1996 album "An Evening With.." see Remmer at his most accessible and funky. The four cuts from his seminal 2000 album "Delay" still sound as vibrant and fresh today as they did then, and perfectly add weight to this unique collection.

Back on the new material, we see Remmer experimenting further with the style he has become syn- onymous with. On tracks like "Wow" and Flutter', he plays with elements of distortion and layers of sound to create an atmosphere of fragility and nostalgic haze. Loops trapped in reverse over the delicate but intense humming of lo-fi ambient noise create a sense that these tracks could fall apart at any given moment, but still push forward at a cautious pace. The melodic side of Dub Tractor shines through on the opening track "C8 90", the title track "Hello Ambient Wash", and "A7 94". Coming off as crackly old cassette recordings of some lost Southeast
Asian folk music filtered through the high-tech dub engines of Remmer, the sound of the new
Dub Tractor proves a heady stew of influences that still sound wholly their own.

Stay Home' echoes more the shoegaze direction Remmer took on "Sorry" with a melancholic sway which layers ghostlike vocals over muted lingering chords. While on tracks like "SIne Song" and "Ltl" Remmer truly gives cause to the name Dub Tractor, as he ploughs down tight rhythms over sub-bass frequencies and a myriad of trickling effects. Like walking through a dense rain forest of sound,drum clicks stick to your body like moist leaves - these tracks conjure the sensation of a cannabis high or an ASMR episode (google that if you don't know it). Remmer must have tapped into some masterful technology of sine wave manipulation to push the listener into these mind altered states.

Visible Cloaks' Lex proposes a utopian dream language and its accompanying sound, a limitless, delicate space developed by fluid musical techniques and subconscious voices. The six pieces comprising Lex simulate a more peaceful future, their mysteries telling a new tale in an unknown but imaginable melodic language. Visible Cloaks are the Portland-based musicians Spencer Doran and Ryan Carlile. Utilizing software-based composition rooted in randomization, MIDI-translation and chance operations, the duo has established an improbable humanist mode of music from esoteric processes. Following their self-titled debut album, Visible Cloaks offered Reassemblage, an album simultaneously honoring the post-Yellow Magic Orchestra school of avant musical adventure and diverging from it. Veering from the paths cleared by Japanese and Italian electronic pop and ambient artists of the mid-80s / early-90s, Reassemblage established Visible Cloaks' own camp in a forest of deep sound canopied by trees grown from synthetic seeds.The sound represented on Lex is webbed with sculptural arrangements and interpolated by the sounds of alien speech. These strange and serene utterances were created by Doran feeding a chain of multiple dialects and accents through a language translation software to create an auditory poetry of an evolved place and time.

Lex features both the final version of this process and earlier, simplified experiments with it ( Keys'). The idea - building on 'fourth world' or 'global village' type concepts - was to create a projected language that was a fusion of many,' Doran explains. The result was a very disorienting form of non-language that amplifies the lapses in meaning that occur with the inaccuracy of auto-translation software.'

Permutate Lex, a companion short film to Lex made by Visible Cloaks in collaboration with artist Brenna Murphy (who also created the artwork for Reassemblage and several virtualist videos for the album), is an integral counterpart, both visualizing an aesthetic alive with human form and guiding the sonic experience of the first five pieces: Wheel,' Frame,' Transient,' Keys,' and title track Lex.' World,' the longest piece presented on Lex, is redrawn from a generative composition originally produced for an installation Doran made with Murphy.

The original work incorporates LFOs and randomized MIDI-information, and was intended to variate indefinitely. In this 'fixed' version, World' provides a more conclusive view into the impossible musical environments Visible Cloaks make real. Longer than any track on
Reassemblage, World' expresses the deepening, patient intimations suggested by Lex.

Doran says the Lex attempts to communicate the essence of a world distant enough that it can't be captured or comprehended from the present, appearing only surreal and inscrutable.' The statement reveals a broader musical philosophy fueling this new moment, an awakened voice woven through complex melodic shapes and phrases establishes communication between listeners and the unknown, here presented by Visible Cloaks as sounds coloring the very edge of the envisionable.

Over the last twenty five years Robin Rimbaud - Scanner has traversed the experimental terrain between sound, space and image, connecting a bewilderingly diverse array of genres - a partial list would include sound design, film scores, computer music, avant garde, contemporary composition, large-scale multimedia performances, product design, architecture, fashion design, rock music and jazz. Today he announces his first studio album since 2009, 'Fibolae', set for release on December 1st 2017 via the independent label run by Anna von Hausswolff, Pomperipossa Records.. With a catalogue busy with commissions, soundtracks and strange projects this is the first studio album since 2009's Rockets, 'Unto the Edge of Rockets' (Bine Music). In this time much has changed - he lost his entire family and left the comfort of a familiar city, London, to live in a former textile factory in the UK to re-invent his life. 'Fibolae' offers up a world that splinters between melancholia and penetrating energy. Combining digital technologies, software and live instrumentation it is both a rhetoric of mourning and a celebration of music to empower. Warm, organic, sensual, passionate and frequently angry, it's an album that radiates with possibilities. As to the meaning of the title, 'Fibolae' There is none. It was a word that appeared to Scanner in a dream, at a time of great challenges in his life. The fact that his unconscious mind could conjure up such inventions that offer no history and context was appealing and yet it was suggestive, playful and open.

These rare recordings were recorded as part of the legendary prescription label
album series in the late 1990's that resulted in the album "Astral Disaster".
Coil were invited to record at sun dial's studios beneath the London Bridge Hop Exchange. This studio was originally know as Samurai studios that was originally built and owned by Iron Maiden. The premises in Victorian times was an old debtors prison which had three levels underground, and still had the original chains, manacles and wrought iron doors from the old prison. This caught the attention of John Balance and was very keen to record there.

At Gary Ramon's invitation, Coil spent a number of days recording at the studio during Halloween 1998 and they developed a number of tracks some of which resulted in the "Astral Disaster" album.
For various reasons, some of the unissued material and mixes released on this album were omitted from the original Astral Disaster album, and so now is the opportunity to listen to the "Astral Disaster" sessions.

The album includes previously unissued mixes, and the rare version of "I Don't Want To Be The One" that was only included on the very rare 1999 promo CD only Prescription sampler and the 14 minute track "Cosmic disaster" that was the original working title of the album.

Taken from the master tapes and remastered by Denis Blackham.

For the last ever release on Astro:Dynamics, we drop the third and final volume of Excavated Tapes from Portland artist Kevin Palmer, aka Best Available Technology.

Turkish free jazzers KONSTRUKT and the Japanese avant-garde / noise icon KEIJI HAINO present their first collaborational album.
Formed early 2008 in Istanbul, KONSTRUKT have since been gaining high reputation and an ever-growing audience within European improvised music circles. Over the past decade, the Turkish free jazzers not only released a couple of superb albums under their own name - they also regularly invite significant musicians like PETER BRÖTZMANN, JOE MCPHEE, WILLIAM PARKER, AKIRA SAKATA, MARSHALL ALLEN, EVAN PARKER, THURSTON MOORE, MICHAEL ZERANG, ALFRED HARTH or ALEXANDER HAWKINS for recording sessions and/or concerts (a.o. at festivals like A L'ARME, .KONFRONTATIONEN NICKELS-DORF, KRAKOW JAZZ AUTUMN). Their latest work "A Philosophy Warping ..." sees KON-STRUKT team up with the Japanese avant-garde / noise icon KEIJI HAINO - and besides all the elements you may well expect from such a musical meeting like KONSTRUKT's "acerbic razor-edged sound" (MARK CORROTO, ALLABOUTJAZZ) and HAINO's unmistakable voice / guitar explosions, there's also some real surprises ...

Recorded and mixed by Ozan Öner at Pür Recording Studio, Istanbul..
Mastered by Rashad Becker at D&M, Berlin.
Cover painting "Escape" by Artur Trojanowski.

ORE- BELATEDLY is to be released on 2xLP and digitally and features collaborations from Khyam Allami, Beck Baker, Sophie Cooper, Thomas Stone and Kazuyuki Kishino (KK NULL)

ORE is the project of Sam Underwood. Belatedly in his words:

The title is derived from the fact that I failed to complete this album the first time around. I started it as a gift to my father when he was diagnosed with lung cancer in late 2014. But I failed to complete it before his death 8 months later. I subsequently aimed to complete it but found that too hard...so had to start the whole thing afresh. This is now ready, Belatedly.

Aged 35 - the average age at which fewer cells regenerate than die - Sam Underwood left his previous job to pursue his dream of being a musician. He also put down his guitar, intent on exploring what he hoped would be a rich sound world, a compound formed of doom metal and low brass. ORE was formed.

For me, playing the tuba was the first time I really felt a connection - in every sense - with a musical instrument. An extension of my own pipework, my resonant frequency. A truly physical instrument to play.

Discrepant is proud and excited to present a magical live recording from the legend that is Pierre Bastien, showcasing his mecanoid orchestra at its intricate best during a performance at Studio M, the historical studio-concert hall of Radio-Television of Vojvodina, Serbia.Around 1986, French composer and multi-instrumentalist Pierre Bastien started creating and building his own orchestra called Mecanium: an ensemble of musical automatons constructed from meccano parts and activated by electro-motors, that "play" on acoustic instruments from all over the world. On this record the Mecanium plays amplified Meccano parts, drums, reeds, rubber bands, paper, nails and flutes whilst Pierre plays kundi, rubber band, prepared trumpet, video loops, nail violin and râbab. Recorded live at Studio M, Novi Sad, October 8, 2016.

The first release on Palto Flats' PFF series for contemporary electronic / experimental / dance releases in limited format. Conga Square - Secada Mondatta treads similar musical territories as Toulouse Low Trax, Burnt Friedman & Holger Czukay.
.
Featuring Jimy Seitang, Brian Close (Georgia) Andrew Felix & Ross Menuez. First track, 'Fifth Season' spends its 9'+ duration locked in a downtempo groove, 'Raiders' is cavernous electronic jazz, and 'Secada Mondatta' is minimal dubby electro with propulsive rhythmic patterns.

Conga Square was recorded and mixed by Davey Jewell in NYC & LA, and mastered/cut by Helmut Erler at Dubplates & Mastering. Artwork & design by Brian Close.

We don't know much about George Boutz, except that he released two cassettes in the early 80's. All recorded at home, using several synths such as the OB-08 and the Micromoog, making weird, spacey and trippy tracks. Tip tip tip! Orbeatize has 3 more releases coming up in December, check out the link below the info of ORB 06!

Basil Kirchin was a pioneering British composer who blurred the lines between musical genres. While his career began in the '40s as a professional jazz drummer, in the '60s he started to make field-recordings, painstakingly splicing tapes and slowing-down sounds until the source material would be virtually unrecognizable.Originally released on Island Records in 1974, Worlds Within Worlds juxtaposes Kirchin's various tape manipulations - amplified insects, animals, engines, glossolalia of children - with traditional musical instruments to form an organic totality that has the overall effect of otherworldly, ambient soundscapes.As Brian Eno writes in the liner notes on the original release, "Within the first couple of minutes it became obvious to me that Basil had not only discovered a whole new area of sound, but had exploited it with extreme skill and sensitivity, producing beautiful and evocative music as well.... So Basil Kirchin has made a double contribution: he has not only built the instrument, but has written and played the first successful works for it."

Worlds Within Worlds remains a lost classic in sonic abstraction. This first-time reissue is recommended for fans of Broadcast, Aphex Twin and Nurse With Wound.

Istanbul's drone-pop producer Ekin Fil turns her sites to the big screen for the first soundtrack in her impressive catalogue of recordings. Inflame (2017) is a psychological thriller laced with paranoia and nightmares, directed by Ceylan Özgün Özçelik and was showcased at the Berlin International Film Festival and the SXSW Film Festival, amongst others.

In making her cinematic debut, Ekil Fil turns synths and electronics, in building the score that in part is brimming with tension and claustrophobia through out all the blank spaces. Always known for her restrained compositions that float amidst ethereal pools of drone and whorl, Ekin Fil sets forth haunting minor-key melodies, monotone arppegiations and plenty of seance-fiction dread. Scattered bits of the film's sound design flicker at the edges of these tracks, as an aural hallucination that dissolves as quickly as it becomes evident. Dubbed electro rhythms creep through the recursive leitmotifs and variations on themes always cast in a dim, crepuscular light.

Less informed by the retro-garde aesthetics of Carpenter and Argento, the spectral electronics of Inflame's soundtack finds its neighbors in the skeletal sprawl of Raime and the darker ambient propositions sponsored by Posh Isolation.

Stelzer/Murray is the duo of Brendan Murray and Howard Stelzer, two stalwarts of the Boston noise / experimental scene over the past two decades. Both artists have long been friends and both artists have never shied away from collaborating with avant-garde musicians hither and yon. Yet, this marks their first collaborative work together. Better late than never, we say.

Stelzer brings to the table an array of mangled and partially demagnetized tape, and Murray brings his knack for compacted harmonics, obfuscated field recordings, and long-view compositional strategies. An irradiated, almost Kirlian glow permeates Connector through the duo's slow accretions and erosions amidst the soaring crescendos of compacted tone and vacant shadows of mechanical thrum. On occasion, rasping saw tooth frequencies and oblique synth-noise phrases stridently pop in a clinical opposition against the field of hiss. Screaming cascades from ice storms. Tape symphonies from urban blight. Life-support machines at the point of obsolescence.

In describing the process of building this album, Stelzer reflected, "When you've known someone for this long, the act of collaboration is like conversation over dinner, you don't fuss over it or worry about it, it's stress free, even instinctual like exhaling."

Good things come to those who wait.

Debut vinyl release for this curious Japanese producer combining electronics with subtle field recordings across a gorgeous set of arrangements. A maiden voyage too for the Lullabies For Insomniacs label. Blissful TIP on this one!
SUGAI KEN is an electronic musician based in Kanagawa, Japan. Using synthesis and recordings of his daily surroundings, he conjures the subtle and profound ambience of the Japanese nightscape. His music evokes a nocturnal peace that reflects the intangible qualities of his memory and dreams.

- On The Quakefish is an immersive exploration displaying a rugged invention, compressed into short bursts of electrifying genius. The release represents a romantic desire for dispersion into nature. Earthy as well as ethereal in his appreciation for figurative beauty, SUGAI KEN summons the Zen tradition of Satori. He invites one to listen with a sense of intimacy and introspection, reflecting on the extremes of subtlety.

Christa Päffgen aka Nico has been a femme fatale extraordinaire, a woman always searching for and always running from something. She began her career as a model and actress, but soon got addicted to music and all kinds of unhealthy relievers for her spiritual pain, which in the end caused a bad health and helped to generate the circumstances for her untimely death at the age of 50 in 1988. A few months prior to her passing due to a bicycle accident on the Spanish isle Ibiza, she performed her last show with mostly new and unheard tracks, plus one classic tune from her proto-gothic album The end' (originally released in 1974). If you are familiar with her avantgarde type music you may guess what awaits you here but I think I should explain it to all those who have never heard of Nico before. She had one of the most captivating and outstanding voices in the whole music scene during her active years, with an utterly dark and manic expression even while performing her vocals absolutely flawless. Besides her unique voice, Nico also performed as a supermodel, which flatened her path to the hearts and music of several well known artists from that time, like Andy Warhol, Brian Jones, Bob Dylan, Tim Hardin, Leonard Cohen, Jackson Browne, Jimi Hendrix, Danny Fields, Iggy Pop and Alain Delon. Andy Warhol connected Nico to Lou Reed, who's band THE VELVET UNDERGOUND she joined for the first album as a singer on Warhol's wish. Her later backing band THE FACTION created a thick carpet of pulsating melodies and rhythms with a spacey feel and a morbid atmosphere. Peter Murphy of BAUHAUS once called Nico's albums The marble index' (1968) and The end' (1974) to be the first ever true GOTHIC style records and he was right. Even twenty years after her first records Nico still had this gloomy but majestic charme and the older she got, the better and more intense her music became. With these accessible but still mind twisting songs on Nico's last concert: Fata Morgana' we get a rough idea where she wanted to go. All in all this is one of those cult albums from the 80s dark psychedelic music scene, which certainly deserves to be heard by current generations for it easily stands the test of time. Just phreakin awesome.

PTP is proud to present the debut album by Celestial Trax (real name Joni Judén) entitled Nothing Is Real, which he describes as a departure not only in sound but also geographically and spiritually from his previous output, having found an increased interest in mysticism and the esoteric. Taking inspiration from a quote by Anton Chekov, "if you want to work on your art, work on your life," Judén aimed for the album to be a true representation of his voice at this time. He felt a need to distance himself from the distractions a creative hub like NYC can often provide, not wanting to become too influenced by the city's current trends, and instead shifted his focus inward to cultivate a more meaningful self-connection: this journey and struggle thus serving as the main inspiration to the writing. In beginning Nothing Is Real, Judén had reached the point of creative purge, deleting almost all samples, sample packs, and software synths. Fueled by ideas of rebirth and true self-projection, he amassed a library of field recordings from New York City, plus samples from his own cassettes, vinyl, and Youtube search history - utilizing every sound source he could come across in his studio whilst trying to spend as little time as possible on the computer screen. The result being an album less concerned with achieving a masterful polish and sonic bombast, instead aiming for more organic textures where noise and imperfection reflects the human experience, with recurring themes of existentialism, surrealism and nature permeating throughout.

We are very excited to present the new collabo release between Cosmic Compostions and Jitwam's selftitled album " ".

Born in Assam, Gauhati, in Northeast India, but currently based in New York's storied borough of Brooklyn, Jitwam spent his formative years in New Zealand and Australia, before living in monasteries in Thailand, orphanages in South Africa, and washed out apartments in London. Of everywhere and nowhere, his music draws influence from a litany of iconoclasts including, but not limited to RD Burman, Moondog, The Velvet Underground, Yayoi Kusama, Jay Electronica, Jay Dilla, Moodymann, Leon Thomas, Madlib and Asha Bhosle.

Across " (selftitled)", he utilizes knowledge acquired through years spent digging through dusty crates, and talents honed as a multi-instrumentalist, producer, and vocalist. A series of stumbling, jazz/soul-rooted beat sculptures, each buried beneath a haze of fuzzy psychedelia, broken microphone blues, and articulated through a freestyled process he describes as "first thought, best thought", " (selftitled)" solidifies Jitwam's spot as a major emerging talent.

Recalling the fourth world dreamscapes explored by oddball songwriters like Connan Mockasin, Clarence Clarity, Jai Paul, Silicon, and Unknown Mortal Orchestra, it represents a time of transition and remembrance for Jitwam, while still fulfilling the core qualities he looks for in song. In his words, "Music is a refuge. A shelter from the storm. A place you can go to close your eyes."

Since he first shared his music with IZWID Records boss Kutmah at a Brainfeeder afterparty in London, Jitwam has released through Leaving Records, Cosmic Compositions, and The Jazz Diaries (the label he co-runs with Casey Van Reyk and Nigel Mphisa). He's also written with Inkswel (BBE) and Paul White (R&S), featured on Moodymann's K7! "DJ-Kicks" compilation and been championed by Gilles Peterson, Alexander Nut, Andrew Jervis (Bandcamp), and Funkineven. Mainly mixed and mastered by Matthewdavid at Stones Throw studios in Los Angeles, " (selftitled)" will be available on vinyl and digital formats.

Originally released in 1969, this LP features music by BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson alongside David Vorhaus, an American born composer and musician with whom they formed the experimental electronic band White Noise'. It was put out by the Standard Music Library label, set up in 1968 by Bucks Music and London Weekend Television, which supplied production music for use in TV, commercials, radio and film. Many of these tracks were used in the 1960's cult TV show, The Tomorrow People' and each one has a short description of the music after the track title.

Both Derbyshire and Hodgson assumed pseudonyms in the credits: Li de la Russe & Nikki St. George respectively.
Two of the tracks are co-written by the pair, who also worked together to set up the organisation and studio project Unit Delta Plus', which was extensively involved in the promotion and exploration of electronic music.

'Six Harmonies', the febrile opener from Killing Sound's recent EP double-pack (BLACKEST028), refashioned as a shapeshifting, shark-eyed junglist wrecker. Nine minutes of pure dread at 180, cut by Matt Colton at half-speed for maximum dancehall pressure. A one-sided 12" release.

In 1979 the Fairlight CMI (Computer Musical Instrument) was launched, the year that the BBC Radiophonic Workshop celebrated its 21st birthday. At the price of a house (approx. £30,000) this state of the art piece of equipment was embedded with an 8 bit digital sampling synthesizer capable of emulating acoustic instruments and orchestras alongside the manipulation of sound effects.

For the BRW this was a major game changer, where previously, composers would spend weeks editing small pieces of tape together to create sounds. Ingenuity and creativity in music and sound was still at the forefront for Workshop members but suddenly made a whole lot easier. This 1983 collection (a first time re-release here of the complete album) celebrated these new found freedoms most notably on the opening track where five Radiophonic composers combined to add their own musical identity to a rhythmic percussive sequence from the Fairlight.

Highlights include music from the radio production of The Hitchhiker's Guide To The Galaxy and Fancy Fish based on Saint-Saen's Carnival Of The Animals which was the first BRW project to utilise the Fairlight.