House Vinyl New Releases - News

Hans-Joachim Roedelius, Onnen Bock und Armin Metz sind Qluster, die inzwischen dritte Inkarnation eines Musikprojekts, das 1969 von Roedelius, Dieter Moebius und Conrad Schnitzler unter dem Namen Kluster ins Leben gerufen worden war und 1970 zwei Meilensteinsteine elektronischer Musik schuf. 1972 verließ Schnitzler die Band, woraufhin Roedelius und Moebius als Cluster weitermachten. Nach der Auflösung des Duos in 2010 hielt Roedelius zunächst mit dem Keyboarder und Elektronikmusiker Onnen Bock unter dem Namen Qluster das bewährte Konzept aufrecht. Seit 2013 sind Qluster wieder ein Trio: Mit Armin Metz stieß ein Musiker dazu, der als experimentierfreudiger und virtuoser Bassist bekannt ist, bei Qluster aber vor allem Tasteninstrumente spielt. "Echtzeit" ist Qlusters sechstes Album. Nach dem reinen Piano-Werk "Tasten" (2015) widmen sich Qluster hierauf wieder verstärkt ihrem elektronischen Equipment, wobei Roedelius' Lieblingsinstrument, der Flügel, auch zu seinem Recht kommt. Trotz der hohen Experimentierfreudigkeit ist das Wort Experimentalmusik fehl am Platz. Dissonanzen, Geräusche oder Glitch-Sounds fehlen weitgehend - "Echtzeit" ist durchgängig harmonischer und zugänglicher als die elektronischen Vorgänger-Alben. Vielleicht liegt es daran, dass die meisten Stücke in einer Kirche aufgenommen wurden.

Schnell vergisst man, dass Rival Consoles das erste Signing auf Erased Tapes war. Mit einer Handvoll
Demos inspirierte Ryan Lee West einst Robert Raths im Februar 2007 zur Label-Gründung. Nun erscheint
das neue Album des in London lebenden Produzenten. Es trägt den Namen "Howl". Die neun Tracks des
Albums erforschen ein weites Spektrum an Emotionen, das von dissonanten Eruptionen und ursprünglichen
Rhythmen im Titelstück bis zu schwermütigen Improvisationen in "3 Laments" reicht. "Howl" entstand über
einen Zeitraum von mehreren Jahren hinweg und ist inspiriert durch Improvisationen mit Synthesizern,
Erfahrungen aus Liveauftritten mit einigen von Wests musikalischen Helden, das Spielen mit Feedback,
Samples mit der eigenen Stimme und Aufnahmen von Geräuschtexturen verschiedener Länder. Daher
enthält das Album auch viel selbst produziertes Material. Für West hat das Musizieren höchste Priorität
(selbst wenn nur das Einspielen redundanter Klatschgeräusche gefragt ist), da es für kreative Pfade sorgt, die
über das Abspielen von konservierten Samples per Knopfdruck verschlossen bleiben. Das verleiht "Howl"
einen sehr persönlicheren Anstrich, der durch eine dunklere Auswahl an Klängen geprägt ist.

Vinyl Only!

Another mysterious release from the dark vaults. This time featuring June, Beta Evers and SSRI!

Na, mit Kaytronik hat sich das Label R2 aber mal einen dicken Fisch geangelt. Kaytronik ist gewissermaßen das Alter Ego von Kris Klayton aka Karizma. Der 1970 in Baltimore, Maryland, geborene Produzent und DJ ist bekannt für eine große Bandbreite vielfältiger Veröffentlichungen, die von Deep House und Techno über Jazz bis Hip-Hop und Broken Beats reichen. Stilistische Grenzen sind nicht so sein Ding, Hauptsache das Ganze hat Groove. Sein Alias Kaytronik hat sich Klayton bislang für Remix-Arbeiten fremder und ausgesuchter eigener Produktionen reserviert. Dieses gestatte ihm größere musikalische Freiheiten, wie er selbst betont, und dadurch mehr Ausdrucksstärke und Leidenschaft. Dass die Ergebnisse dennoch eine eindeutige künstlerische Handschrift tragen und von einer berührend-emotionalen Klammer gehalten werden, stellt "Thee Album" unter Beweis. Hierauf erkundet Kaytronik zwischen laszivem Feierabend-Downbeat und Peaktime-Dancefloor-Brett den ganzen Reichtum elektronischer Klangwelten. Kategorisieren lässt sich das Album nicht, aber es klingt famos.

limited to 200 copies !

Der Berliner Musiker Klaus Schulze ist einer der bedeutendsten Elektronik-Künstler Deutschlands. Bevor er 1972 seine Solokarriere mit "Irrlicht" startete, war Schulze Schlagzeuger bei der Krautrockband Tangerine Dream. Sein Debüt trug den Untertitel "Quadrophonische Symphonie für Orchester und E-Maschinen". Und tatsächlich sind bei den Stücken auch Orchesterklänge zu hören. Heute weiß man, dass diese vom Colloquium Musica Orchester stammen, einem richtigen klassischen Orchester. Für die Erstveröffentlichung musste sich Schulze einst verpflichten, den Orchesternamen geheim zu halten. Er war einfach zu einer derer Proben gegangen, hatte 30 Minuten mitgeschnitten und dann die Aufnahmen für seine Tracks verfremdet. Wie Schulze anlässlich des Re-Release berichtete, hat "Irrlicht" mehr mit der Musique concrète zu tun als mit heutiger Elektronik. "Ich hatte damals auch noch keinen Synthesizer", so Schulze. Und weiter: "Ich besaß einen defekten Verstärker, den ich kurzgeschlossen hatte, und der auch nur diese eine Platte durchgehalten hat. Wenn man den Volumen-Regler aufdrehte, machte er ein internes Feedback, einen Sinus, und mit dem Tremelo habe ich ihn zwitschern lassen. An den Rückkopplungen ist er kaputtgegangen. Auch die Orgel hatte ich modifiziert, damit sie nicht nach einer normalen Orgel klang."

After two releases on Music Control (the label of italo-disco pioneer Casco) and Cocktail D'Amore (run by Berlin's hottest duo Discodromo) Miss Plug Inn is back with a new EP! The original track is a 100% analogue groovy machine, where Miss Plug Inn's vocals team up with a driving Juno 106 bassline that moves between multiple layers of synths. The italian glam duo Hard Ton (Permanent Vacation, ToyTonics-Gomma, Gigolo) turn the original into a late 80's Chicago affair, with catchy strings, 303 arpeggio and Mr. Ton's unique falsetto grooving up all together. Italian synths wizard Massimiliano Pagliara (Live At Robert Johnson) and Brazilian producer Rotciv (Luv Shack), under their moniker The Rimshooters, deliver a dub version that brings the original track to a more seedy and smoky club atmosphere. Last but not least a melancholic German cover version by the mysterious duo Clima: the perfect closing act to this flamboyant single! Limited supplies!

Limited white label 12' of Shit Robot's 'End Of The Trail' featuring Alexis Taylor (Hot Chip) on vocals b/w the instrumental mix and a killer Roman Flugel remix.

Two nice house cuts from Andre Lodemann on Innervisions.

Rotterdam strikes again! Machinegewehr's debut release with the gorgeous vocals of Gees Voorhees. Elitechnique delivers a very nice remix to complete the A side. On the flipside we have the golden combination of A Visitor From Another Meaning (aka Alden Tyrell) and the legendary Fred Ventura with a rework on the lyrics and the beat. A huge release with a big package of artists and a nice picture cover shot by Bordello's in house photographer Eric Gonzalez. Limited supplies!

The illustrious duo Doms & Deykers debuts on 3024 with this three song "Fonts for the People" EP!

FULGEANCE drops his own vision of club funk and future beats. 4 original tracks that prove FULGEANCE has no limit in sound. From dreamy vocoder poetry to broken dance moves, this EP is complete. Even more with 2 remixes from CLAUDE (Fulgeance bipolarity project) this one is for the 4/4 DJs DOLLKRAUT the new sensation from Amsterdam, analogue sound wizard as they're calling him.

GRAZE minerals possess a superlative lustre, which is most notably seen in diamond. Such frequencies are transparent or translucent in nature, and have a high refractive index . Tones with a true adamantine lustre are uncommon, with examples being cerussite and zircon.

MWeapon minerals display luminous bass bands, which appear to move as the specimen is rotated. Such frequencies are composed of parallel fibers, which reflect sound into a direction perpendicular to their orientation, thus forming narrow bands of light. The most famous examples are FM and subtractive, but the effect may also occur in other sound banding - such aquamarine, moonstone and tourmaline.

Scrap minerals consist of thin transparent co-planar sheets. Light reflecting from these layers give them a lustre reminiscent of pearls. Such minerals possess perfect cleavage, with examples including muscovite and moss opal.

Limited 250 Copies vinyl
Techno Pop from the Woods of Sweden. Dark, dreamy and danceable. Electronic sounds of drum machines, mellotron, synthesizers, floating and barren landscapes together with the characteristic vocal harmonies of producer duo LOKATT. Techno tracks influenced by sisters Nina & Johanna Piroths background in the Indie Pop Scene. In May LOKATT released their first single The Hill, which got great feedback from all around the world. The 27th of November LOKATT will be releasing their debut EP, Karg (digital and on limited vinyl). The EP will be released on techno producer Harald Björks label Kranglan Broadcast together with LOKATTs label Oma Gusti Records. Distributed by Wordandsound, Artwork by Stina Göthlander.

There isn't much around about Metropolitan Soul Museum...,..yet, dropping on the eponymous label's first release. The 2 sided vinyl only release features 'Ruff Trk 4' - a stomping and rolling club destroyer: a ruff (as the title suggests) disco inspired 4/4 beat, driven by a powerful and hypnotic bassline. On the B side Hivern Discs man 'Round' drops his own version of the original, mixing his outstanding talent for melodies with a Nu Disco analogue groove. After being featured on John Talabot's 2013 DJ Kicks, the producer is going from strength to strength and has delivered a killer re-interpretation of the original track.

Der in Hamburg und Bremen lebende Bildende Künstler und Musiker Ulli Bomans ist mit einem außerordentlichen kreativen Ausdruckswillen gesegnet. Die Liste an Ausstellungen, Performances, Veröffentlichungen und Kollaborationen lässt sich kaum in knappe Worte fassen. Zum Verständnis von "Sort By Dragging" ist es jedoch interessant zu wissen, dass Bomanns zum einen unter dem Alias Schieres mit Hilfe diverser Styles ein musikalisch schillerndes Panoptikum erschaffen hat, und dass zum anderen "Sort By Dragging" auf Shitkatapult erscheint, dem Label von Apparat und T.Raumschmiere, und damit der Nachfolger des Autorenalbums "Riven" (2014) ist. Das ist nicht die einzige nennenswerte Verbindung, denn mit Marco Haas aka T.Raumschmiere besteht seit 1995 eine enge freundschaftliche und musikalische Beziehung. Als Shrubbn!! haben die beiden schon zahlreiche experimentelle und kompromisslose Techno-Tracks in die Umlaufbahn geschossen. Auf "Sort By Dragging" entführt Bomanns den Hörer in eine fremdartige, düsterglimmende Parallelwelt, die irgendwo zwischen Fritz Langs "Metropolis" und dem verfallenden Detroit angesiedelt ist. Hier bestimmen klare Beats, Noise-Wände und Loops das weitgehend melodiefreie, dafür jedoch sehr rhythmische Geschehen. Techno der anspruchsvollsten Art.

the second breaker!! white vinyl!!

- Dieser magische Moment... Genau darum geht es.'
(Anthony Rother über Verbalizer)

Kein Platz für lähmende Gedanken. Stattdessen gibt es nur noch Musik. Der Körper gehorcht allein dem durch den Raum ulsierenden Bass. Das ist es, wovon Raver sprechen, wenn sie erklären, was ihnen synthetische Club-Musik bedeutet.
Und genau darum dreht sich auch Verbalizer, das nun erscheinende Album von Anthony Rother, auf seinem neuen Label Nextdata.

Der Club als abstrakter Raum. Es geht um das Loslassen. Menschen machen sich frei, begegnen einander
und die Musik wird zum gemeinsamen Taktgeber.

Irgendwann nennt Rother diesen Prozess - die Dramaturgie der Ekstase', kann sich dabei aber das Grinsen
nicht verkneifen. - Die Leute sollen mit Verbalizer einfach ihren Spaß haben. Ich stand im Club und fühlte
plötzlich den Sound für dieses Album.

Verbalizer treibt im Raum nach vorn, ohne ins Intellektuelle abzugleiten. Es ist die Geschichte, der Augenblick und das anbrechende Abenteuer einer tanzenden Gesellschaft, irgendwo auf dieser Welt.
- Ich war auf der Suche nach einem expandierenden Klang. Dabei war wichtig, wie ich diesen Sound den Synthesizern in meinem Studio entlocke, so dass dabei eine Kraft entsteht, die alles Weltliche und den Alltag beiseite zu drücken vermag', erklärt Rother den hedonistischen Ansatz von Verbalizer.

Club-Tracks wie diese kommen ihrem Wesen nach ohne erzählerische Inhalte aus. Dennoch sorgen sie
beim Hörer für das Durchleben - oder besser für das Durchtanzen - ihrer ganz eigenen Geschichte. - Einige meiner vorherigen Alben haben ein komplex durchdachtes Konzept. Verbalizer wechselt
dagegen vollkommen die Perspektive: Der Inhalt und was sich aus dem Album ergibt liegt im Körperlichen, dem unaussprechlichen.'
Um es also kurz zu machen: Verbalizer - um zu verstehen, sollte
man das Album feiern.

Wolf & Lamb Black Series 12" edits of Doug Hream Blunt, Ariel Pink, Nick Cave, and Ashrae Fax.

3 x DJ Mixes mixed by Nervo, Nicky Night Time and Madeaux - over 70 of the biggest tracks form the world of dance music.

Miami's ever growing reputation as a central power in pioneering electronic music stateside has been further enhanced in recent years by the advent, and subsequent popularisation, of the Winter Music Festival, now firmly established as the leading electronic music festival in the world for the whole spectrum of sub-genres.

To mark this occasion, Cr2 return with their critically acclaimed annual Miami compilation showcasing three flawlessly mixed and deeply dug mixes from Nervo, Nicky Night Time and Madeaux. Curating CD1, after taking a break from packing out arena's and collaborating with the likes of Kylie Minogue and Nile Rogers on their latest single 'The Other Boys', Australian duo Nervo bring together a eclectic mix of contemporary electronic music and main room progressive House for their flawless mix.

A fellow Australian, Nicky Night Time showcases his flair for cultivating an atmosphere in his mixes, featuring contemporary essentials from Bicep, Catz & Dogz and Tensnake alongside the classic sounds from familiar classic artists, Nicky creates the ideal contrast to the thundering mix provided by his fellow countryman.

Finally, introducing Fools Gold new blood Madeaux, he packs the heat direct from the club with a selection rich in rapid, cross-genre electronic tracks from some of the most exciting underground producers from across around the globe.

With three contrasting mixes representing all corners of electronic music in 2016, Cr2's Miami 2016 once again confirms it's status as the definitive house music compilation to soundtrack the Winter Music Festival in Miami.







































[ZK] CD3-04. Valy Mo - [Redemption] (Rare Remix)

From the liner notes: "Stepping into the Silence, this is literary music, epic little bouts of brilliance. That expands and stretches across what you might call instant reality, the lining or other side of the cosmic blanket where ordinary yet extraordinary people live, it swings and is balanced, it knows where to stop and begin again. It Bees and it Bops, it is and isn't at the same time, but the main thing is they don't scream -- not that the scream and the shout are bad. It's that you have to play inside your destiny rather than a musical style. It's all about playing free instead of asking others for freedom, so I celebrate Drake, Shipp, and Walerian for choosing life over music. Choosing intuition over tradition." - William Parker

2016 marks the return of wildly surrealist experimental hip-hop group Curse Ov Dialect, back after a 7 year hiatus with a brand new socially concious, zonked-out album called Twisted Strangers, the follow-up to 2009's critically acclaimed Crisis Tales.

Renowned for their non-conformist costumery and political ethos the enigmatic Australian group has garnered a strong worldwide cult following. Twisted Strangers includes guest appearances from Hemlock Ernst (Samuel T. Herring from Future Islands), Curse's Japanese ambassador Kaigen and Stormtrap from Palestine's Ramallah Underground.

Twisted Strangers sees them continue further down their own uniqe musical path, revelling in the openness of their eclectic sample concoctions paired with hard but twisted beats. The conventions of hip-hop are used as a foundation to build a unique voice that broaches no comparisons.

Atsusaku is the collaborative output of Gareth Davis (Oiseaux Tempete, Scanner, Elliott Sharp, Machinefabriek etc) and Japanese noise mastermind Masami Akita aka Merzbow. A massive wall of sound over two tracks that moves from the shifting low-end structures and the ricochet of howling reeds to the blistering haze of dense white noise and rapid-fire electronic tones. The title Atsusaku, suggests pressure or mechanical compression and it was from this starting point, the idea of Davis' reed sound being compressed and constrained by the saturation of Akita's textures, that the album was born. The acoustic sound almost suffocated beneath the sweep of sonic overload, but through limitation and pushing the mechanics of the instrument itself, finding a space to cut through with layers of self-distorted screams. Haihan, a furiously abusive maelstrom of coloured-noise, digital cross-fire and distorted bass clarinet is unrelenting as it searches for moments of pulse within the haze only to move abruptly back into the mechanical barrage of looping textures. Kyouhan is is far more open in its texture, the low-end layers of reeds moving across the sound space as the squall of chirps and mechanical screeches build slowly into a dense mass of reverberated pointillist details.

Artwork is by Rutger Zuydervelt and mastering by Jos Smolders.

was für ein sampler

Philadelphia native and arch noise provocateur M Ax Noi Mach, aka Robert Francisco, releases On The Edge; his first full-length LP in six years after 2010's In the Shadows.

Recorded once again with the help of Arthur Rizk (Prurient, Power Trip, Cold World, etc) at Salomons Gate in 2014, this new record chronicles some of M Ax Noi Mach's heaviest, most intense recordings to date; their minimal, bare immediacy comes from primal desires brought to a boiling point in the US city he calls his home.

'M Ax Noi Mach has always been a primal endeavour,' Francisco told Noisey in an interview last year, 'and it definitely comes from a private place. I've always had a fire inside of me; I've always had a feeling that I've had to release. Pure intuition. Pure rage, the animal let out of the cage.'

Musical touchstones on this 8-track album move from Nurse With Wound through Prurient and SPK. It's an unholy, clamorous din spewed up from the bowels of hell. It's the industrial trepanning of your psyche. The crunchy distortion of 'Walking at Night', album highlight 'Second Glance' and 'Indulgence', deal in anguished, hateful vocals - with words spat out like flames of fury. Then there's the relentlessly abrasive drone of 'Surrounded', the muted, glossolalia-like mutterings of 'American Child' and the warped synth poetics of 'White Heat'; all in all, a visceral, brutal record that absolutely refuses to let up.

The shadowy Robert Francisco has been a vital artist in the US underground since the late 1990s. He has done time in the power electronics unit Angeldust as well as Veiled (with Arnau Sala of Exoteric Continent and the Anomia label.)

But M Ax Noi Mach is the nexus of his poetic, visual, and sonic pursuits: his discography stretches back to 1999 and his immensely powerful live show has gained the project legendary status in electronic music circles across Europe and the US. The defining principle of M Ax Noi Mach's sound is that it has resisted easy genre categorisation, remaining a singular rock through waves of American underground culture; in it, the shattered pieces of several strategies of urban, extreme musics cohere in a way that only Francisco can envision.

Modelbau is one of the many names Frans de Waard (Kapotte Muziek, Goem, Wieman, Freiband, etc) uses for his music. Moving Furniture Records is proud to release the first proper CD by this project after many tape releases and a couple of CD-R's.

Frans de Waard in his own words about Four Squared Wheel: Somewhere in 2012 I had the idea that it was time for that all needed change, having played around with laptops for a decade or so. Actually it was something that was in the air for some time, as I already used cassettes in my work with Kapotte Muziek and in some of my solo concerts. With Modelbau (and yes, that is a deliberate misspelling of the word) I set a few parameters, such as using many cassettes, small synthesizers, little to no laptop and recorded as much 'live' as possible, plus to do only digital releases. Some of that still goes, but the digital releases only went out of the window pretty quickly. In 2012 I played a concert as Modelbau, carefully planned into a fifteen-minute composition and released the first (digital) album. Other work came along and I didn't do much again as Modelbau, until in June 2014 I got various offers for solo concerts and while preparing those, I had a bunch of material recorded, which was released by various labels on cassette (Barreuh Records, Lichtung). During one of these rehearsal/recording sessions I picked up some guitar effect, which was in my way and thought it would be good to use that also in the set-up. Since then the palette seems to be complete; while preparing for concerts I record everything and select pieces from that to be released, with little to no change, save for doing a better beginning or ending when needed. In that respect the almost one hour long 'Four Squared Wheel' is a bit of a different work. It wasn't recorded as part of a rehearsal, but rather in a more elaborate set-up in my studio, using my Philicordia organ, a microphone, guitar amplifier, guitar effects, mixing various signals on the spot into this piece, while retaining that 'live' feeling. It has four distinct parts with considerable gaps of silence in between. They are intended to stay as such. 'Four Squared Wheel' is the most drone based/ambient recording by Modelbau to date, and not something that would be easily re-created in a live situation. As such it is quite a unique work.

Orphax is the Amsterdam based musician Sietse van who has been active with music since 1998. Time Waves is his second proper CD release after 34 CD-R, Tape, DVD-R and download releases and various compilation contributions and remixes.

ABOUT TIME WAVES
On December 8th I performed at the famous Bimhuis in Amsterdam in a special evening organised by STEIM where I shared the stage with Yannick Franck and Thomas Köner. My performance got recorded and this was the starting point for Time Waves. In addition I did a live recording at home which I mixed and edited into one piece with the first recording. The result is the work on Time Waves.

The inspiration for this work goes back to my time as geology student where I learned a lot about the various eon's, eras and period's, epoch's, ages and what's more used to describe time on the geologic scale. While at one side it was always different on the other somethings never changed. The music you hear on this album is an exploration for the natural flow of sound. As if sound is like the geologic time it slowly floats on with layers coming and going without revealing what is next in a randomly fashion. The transgressions, the waves, billowing over each other, on a tranquil pace. Only the occasional unexpected change seems to break the slow transitions.

Though, if geologic time is too abstract for you, you can also just think of cat hair, just like you see in the pictures in this artwork.

Hard to pin down, harder to hold onto; bent circuit board snake charmers unfurl across hexagonal grids. A seemingly familiar sound, but then you realize you have your ear pressed against a reflection.

Sunwatchers are a distorted prism to so many past greats: reminiscent of Ethiopiques, John Handy Band, Terry Riley, Art Ensemble meets Laddio Bolocko. Forever-swirling saxophone blended belly-to-belly with elastic guitar and tinfoil-thin phin (a Thai instrument not unlike an electrified tenor guitar or sitar); a whirlpool of repetitious interpretations; militaristic marches ascend into meditations. These songs map out great pyramids and deep, buried labyrinths; they are massive, they are leviathans.

The band is comprised of NYC improv heavy hitters—Jim McHugh (guitar, electric phin), Peter Kerlin (bass), Jeff Tobias (alto sax), Cory Bracken (vibes, percussion), Jason Robira (drums)—and sitting in are Dave Harrington (guitar, synth), Ben Greenberg (guitar), Dave Kadden (keyboard), Jonah Rapino (fiddle). Notable previous projects include Dark Meat, Arthur Doyle's New Quiet Screamers, NYMPH and Chris Forsyth's Solar Motel Band. Amazing cover painting of Handsome Jimmy Valiant by artist Scott Lenhardt—a strange but somehow sensible match made in heaven. Dream machinery, just plain far out. Look for traces of this one in your brain jelly afterwards.

Electro Deep Selection is the new dedicated to a sophisticated sound and refined series. The flagship aims to be the first CD devoted exclusively to the strongest songs in the deep landscape in which we find the likes of FEDER caliber LOST FREQUENCIES, both topped the world rankings in the industry. The second CD is a collection of electro-house tracks dedicated to djs "club oriented."

Arriving like the mysterious fully formed monoliths in Stanley Kubrick's 2001: A Space Odyssey is the new album from Warsaw, Poland based artist Aleksandra Grünholz aka WE WILL FAIL. Despite the fact this isn't her debut (that was 2014's "Verstorung" also for Monotype Rec.), this new double barreled shotgun of an album entitled "Hand That Heals / Hand That Bites" rings with the boldest sense of arrival you could possibly imagine. With a unique sound that is neither electronic, noise nor experimental but a unique off-cut of the three assembled into a style all her own, Grünholz's sound runs parallel to artists like Scott Walker, Autechre, Pharmakon, Daphne Oram, Pansonic, Grouper, Laurel Halo, Demdike Stare, Vessel and beyond.

Both dark and anxious, the seven "Hand That Bites" tracks follow the blood reds of its cover art, deeply rhythmic, pulsing, energetic and brimming with the intensity of an artist who has clearly arrived at an important place. Aleksandra notes "This part is ruder, more brutal, stronger, but at the same time more basic. The pulse, the harshness and the anxiety were really important to me. I know that some sounds are even dull. I left some parts dirty, raw. I wanted to show the strength that can seduce and mesmerize at the same time." The rhythms here have some associations with Techno and club music, but for the artist this is music for listening rather than dancing. Like Emptyset and other sonic explorers Techno elements embedded are merely part of the construction - a sound reaching beyond any kind of norm.

The companion eight tracks, an alternative version of the same story according to Aleksandra, make up the "Hand That Heals" segment of the album. Again like its artwork, these tracks are lighter in touch, focused on atmosphere and experiments yet equally compelling and unique. Grünholz notes "I wanted one part to be more subtle with rich sound that was intricately constructed. I was concerned to make compositions that are really refined, full of details, so that each listening would allow listeners to find something new. There was some room for field recordings. I intentionally have chosen recordings of common situations - overheard conversation, some sounds recorded during travels - that in the same time are notations of specific memories." Being a visual artist as well as a sound artist Grünholz works in ways that can sometimes be conceptual: "The title/s were created before work on the album started - Hand that Heals / Hand that Bites - it was an irrational string of thoughts in my head for a long time - two inseparable elements that somehow make a complete configuration." Yet the end result has proven here to be quite immediate.

The title of Aleksandra's project We Will Fail comes from an observation - "I often think about perceiving reality. Everyone sees it a little bit differently. Our thinking affects how we interpret things that we see. Watching is not equal with seeing things how they really are. In conflict someone's victory is always someone else's failure. The fact that something could be black and white at the same time was the starting point to work on this new album." We Will Fail has performed live on many European stages including at festivals such as CTM, Unsound Krakow and Unsound Toronto. The album will be accompanied by stunning visuals developed by the artist who also works as a graphic artist. Live performances in Europe and America will follow the albums release in early March 2016.

Auf seinem dritten Album, "The Steam Age", widmet sich der Düsseldorfer Kreidler-Schlagzeuger Thomas Klein mit Hilfe eines stillgelegten Klaviers als Klangquelle einer maschinellen Ästhetik jenseits des allgegenwärtigen Binärcodes. Klein klopft, scharrt, kratzt und zupft - das Bearbeiten von Holzkorpus und Stahlseiten sind die Bausteine eines weit gefassten Klangspektrums, das er später im Sampler gegen den Strich bürstet. Alle verfremdeten Patterns und Sequenzen dürfen anschließend auf dem typischen SølystSchlagwerk-Groove tanzen und verschmelzen mit ihm zu einem hypnotisch treibenden Maschinenfunk. Dabei folgt Sølyst keinem Muster oder einer Chronologie. Der programmatisch gewählte Albumtitel verweist auf einen imaginären Überbau, der versucht, eine in Klang und Grooves gegossene Studie von Abnutzung und Gebrauchsspuren widerzuspiegeln. Die Musik ist durchsetzt von Zeitspuren wie Staub, Patina und Rost aus der Welt der Maschinen und ihrem Zusammenspiel und Ineinandergreifen von mechanischen Bauteilen wie Zahnrädern und Kolben. Auch Lärm, Hitze und Dampf gehören zu diesem assoziativen Inspirationsfeld.

Auf seinem dritten Album, "The Steam Age", widmet sich der Düsseldorfer Kreidler-Schlagzeuger Thomas Klein mit Hilfe eines stillgelegten Klaviers als Klangquelle einer maschinellen Ästhetik jenseits des allgegenwärtigen Binärcodes. Klein klopft, scharrt, kratzt und zupft - das Bearbeiten von Holzkorpus und Stahlseiten sind die Bausteine eines weit gefassten Klangspektrums, das er später im Sampler gegen den Strich bürstet. Alle verfremdeten Patterns und Sequenzen dürfen anschließend auf dem typischen SølystSchlagwerk-Groove tanzen und verschmelzen mit ihm zu einem hypnotisch treibenden Maschinenfunk. Dabei folgt Sølyst keinem Muster oder einer Chronologie. Der programmatisch gewählte Albumtitel verweist auf einen imaginären Überbau, der versucht, eine in Klang und Grooves gegossene Studie von Abnutzung und Gebrauchsspuren widerzuspiegeln. Die Musik ist durchsetzt von Zeitspuren wie Staub, Patina und Rost aus der Welt der Maschinen und ihrem Zusammenspiel und Ineinandergreifen von mechanischen Bauteilen wie Zahnrädern und Kolben. Auch Lärm, Hitze und Dampf gehören zu diesem assoziativen Inspirationsfeld

The Hidden Jazz Quartett returns with "Tap On The Backdoor" featuring Greg Blackman getting on the good foot with a straightforward soul mover. on the flip you find a remix by labelmate Renegades Of Jazz. play it loud !