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Motordiscs is a various artists record serie created by the people behind Garage. The parisian club was shut down during summer 2018 but its spirit continues with Motordiscs: Putting artists together and promoting independant electronic music has always been the credo and is now continuing on records.

Motordisc 1 features tracks from Kasper Bjørke, Khidja, Curses and Zombies In Miami

Livity Sound's final transmission of 2019 comes from the esteemed Freerotation resident and UntilMyHeartStops co-founder, Leif.

Quietly earning himself a well-deserved reputation for his outer-worldly production stance and forward-thinking approach to Dj-ing, Leif has spent the last decade refining his musical palette with a slew of releases including highly acclaimed LPs for Whities and UntilMyHeartStops. In 2017 he launched the TIO-Series label as a vehicle to showcase the more off-kilter rhythmical side of his own productions releasing contemporary anthems such as July V and Bluebird.

This new EP for Livity Sound continues in the exploratory TIO-series vein finding Leif in percussion mode, combining nimble rhythms, deep bass and hazy synths in his idiosyncratic style to dazzling effect.

This 12” vinyl release comes with brand new art direction from Tess Redburn in a full colour artwork reverse board sleeve.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

Legendary UK outfit Future Sound Of London kicks off with a trippy head jam to soothe the mind of electronic dreamers. Berlin's Monolake aka Robert Henke follows with a beat-driven and heavy industrial piece of clattering sounds and whirring rhythm mechanics. David Morley completes this sixth EP of the 10 years series in style: "Traytor" brims with depth and floaty atmospherics pushed further by low range beat parts. Real endorphin material.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering, pressed on 180 grams vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

Two things become immediately clear when you hear “Body Electric”, the third original album by White Haus, João Vieira (X-Wife / Dj Kitten)’s solo project. The first is that we’re faced with an insatiable music lover, with an exemplary historical awareness. The second is that is music, although it channels all that passion, does it in such a way that is increasingly all his own. The thing is, that if on one hand, in these twelve new tracks, we’re assailed by the presence of the tutelary Talking Heads and their satellite projects, by Vivien Goldman, Sexual Harrassement or Konk’s New York No Wave, by the electronic pop of Soft Cell or New Order, by the hybrid funk of Prince and his Minneapolis accollites, by the Italo-Disco inspired by Giorgio Moroder or Patrick Cowley or the Acid House of Adonis or Maurice.

Cosmocities Records presents their first triple LP compilation
A trip through electronic world with rare and beautiful instrumental tracks.
500 copies . Vinyl only .

LP (incl. coloured vinyl, full picture outer sleeve, full picture inner sleeve, poster, sticker, downlad code, all stored in plastic protective outer sleeve)


The Rising Sign "Fragments"

Down the rabbit hole of sonic sounds, catchy melodies with captivating bass lines and drum grooves – those are the essential Fragments of their music.
Coming from the northern part of Slovakia, The Rising Sign defy any straightforward genre definition.

They just play music the way they like it and the way they feel it.

The group was founded by two teenagers back in 2012 - Adam (lead vocals, guitar), who was then 16 and Martin (drums) who was only 13. They simply decided to record their first common musical ideas. Michal (keyboards) and Juraj (bass) (together with the head of recording and mixing Jaro – guitar at that time) joined the two in 2015. This was the year they made their first recording sessions and they released their own digi-only album: "Moments Like This".

Four years have passed and another set of songs have been recorded and produced by the band. They have mixed all their musical influences into one big ball of noise. Fragments of 70's hard rock, indie rock, grunge, a bit of jazz, funk, but always loyal to an underlying pop structure in their songs. Sometimes happy, sometimes melancholic, but always very melodic. Just Fragments of all.

LP+CD (incl. CD in plain paper bag, coloured vinyl, full picture outer sleeve, full picture inner sleeve, poster, sticker, collectible postcard, download code, all stored in plastic protective outer sleeve)


The Rising Sign "Fragments"

Down the rabbit hole of sonic sounds, catchy melodies with captivating bass lines and drum grooves – those are the essential Fragments of their music.
Coming from the northern part of Slovakia, The Rising Sign defy any straightforward genre definition.

They just play music the way they like it and the way they feel it.

The group was founded by two teenagers back in 2012 - Adam (lead vocals, guitar), who was then 16 and Martin (drums) who was only 13. They simply decided to record their first common musical ideas. Michal (keyboards) and Juraj (bass) (together with the head of recording and mixing Jaro – guitar at that time) joined the two in 2015. This was the year they made their first recording sessions and they released their own digi-only album: "Moments Like This".

Four years have passed and another set of songs have been recorded and produced by the band. They have mixed all their musical influences into one big ball of noise. Fragments of 70's hard rock, indie rock, grunge, a bit of jazz, funk, but always loyal to an underlying pop structure in their songs. Sometimes happy, sometimes melancholic, but always very melodic. Just Fragments of all.

Sensible Soccers is a 4 piece live band. Their music faces no categorization and their debut album named “8” was acclaimed in Portugal as one of the most popular records of the year. The first vinyl pressing sold out through domestic direct selling and a 2nd pressing is almost out of stock with a part of it now being finally available for worldwide distribution.

Toada returns to his own Plūma label for another innovative two track release.

Toada is a Berlin-based Portuguese producer who started under this alias—which is intended mainly to be a live act—in 2015. Emotional melodies, combined with forward thinking, playful rhythms define the project, it is a unique musical venture providing a place where Northern and Southern influences meet to superb effect.

The first track here came after the artist wentthough some defining personal experiences leading to him reflecting on the nature of melanin and its role in shaping “social hierarchies.”

Opener ‘Airosa’ is the Portuguese word for elegant or delicate, but also proud, and is a suitably beautiful track with gentle hang drums tumbling over the softest of rhythms. Yawning chords drift around the groove and the whole thing is utterly soothing, thoughtful andmesmerising.

Then comes ‘Melanina’, with a drunken lead synth line taking the lead over further smooth sashaying drums. Warming pads add scale and lilting percussion helps move things along, but this is another cerebral and emotive track that really makes you think.

These are two superbly musical offerings that will bring genuine moments of emotion and reflection to any setting in which they are heard.

Beginning a new series of Remix Packs, in which favorite artists and label affiliates are remixing tracks from different Malka Tuti back-catalogue releases. The first one includes Toulouse Low Trax and Die Orangen remixing Xen & Yovav’s critically acclaimed 7” release from 2018, as well as 2 remixes of the Tel Aviv duo Plazmot by Benedikt Frey & Borusiade. All Tracks were mixed by Gordon Pohl. This record will also be the first to present Malka Tuti’s brand new specially designed generic record sleeves.

A mind-bending blend of modular synth performance, Anthony Baldino’s dynamic Twelve Twenty Two LP is a treat for all ears. Baldino’s transcendent album is available both digitally and on vinyl on Thursday, October 24 via MethLab Recordings.

“The record focuses heavily on the modular synth as a composition tool and instrument. I originally approached this as a collection of tracks that were recorded straight out of the machine with little to no editing. The work flow of generating a complex patch and then figuring out the overall arch and performance of the piece was really exciting. The Tip Top Audio Circadian Rhythms was a key compositional tool in this process and was used to organize the overall structure of these pieces. It wasn’t until I stumbled upon a patch, the opening synths in ‘Fading Quickly Now,’ that I went back to how I used to write and shifted to harvesting sounds and rhythms from the modular and arranging and editing them in the box. That patch was originally created for a different track on the album, which I’ll let you find, but IH ad accidentally changed the clock rate before tearing the patch down. Hearing it in that new way triggered a whole new thought process and emotional reaction for me.” - Anthony Baldino

Originally approached as a collection of tracks recorded straight out of Baldino’s machine with little editing, Twelve Twenty Two is a complex piece of thoughtful modular work. A truly stunning display of masterful sound design, Baldino’s sound resonates with listeners from first note to last. Existing in a unique space where ambient sounds meet vivacious bass, Baldino seemingly exists in an impressive league of his own, with Twelve Twenty Two standing apart powerfully from the masses. With an already powerful arsenal of artists and releases, MethLab Recordings adds a brilliant 10-track addition to their already wild playbook.

“From the beginning, it was important for me to keep this record musical and emotional and not just an exercise in technicality, so using both the modular and the computer to arrange felt really good both emotionally and sonically and created a different balance to the record that I really liked. Switching the process up a bit halfway through kept things interesting and I think the body of work really benefits from it. This record is split in half with performance based/straight out of the machine tracks and the other half organized in the box. But when listening back, the two approaches overlap so much that it’s hard to tell where one approach ends and the other begins.” - Anthony Baldino


About Anthony Baldino:
Born and raised in New York, Anthony Baldino is an LA-based composer and sound designer whose work spans an enormous range of production avenues. The likelihood that you haven’t heard his world is nearly impossible, with music and sound design in too many trailer campaigns to list, including Prometheus, Interstellar, Ex-Machina, Star Wars: Rogue One, and Avengers: Infinity War and End Game just to name a few. From there, his work ventures to the opposite pole of production with custom sound design based compositions for Dolby Labs mixed in Atmos, beautifully glitched out remixes, and continues on to mind-bending modular synthesizer performances.

With his debut artist release, he delivers a devastatingly beautiful album grounded in IDM that focuses on modular synthesizers/ While a vast amount of modular synth music is currently being released, this album goes far beyond the typical beeps and boops that one may expect when they hear “modular IDM record.” This record is as technical as it is emotive. Tasteful and incredibly detailed, Twelve Twenty Two bridges the gap between sound-design laden beats and cinematic motifs and ambiences. This record does not disappoint and is sure to become a favorite of electronic music fans.

The album opens up with a slowly unfolding melody that seems to be within grasp, but never actually repeats itself. Incredibly tasteful glitchy sound design leads us into a build that one would only expect to be in a movie, and then drops into a full-on sonic assault of impeccable drums and rich synths. From there, the record traverses a wide array of texture, time and technique. Closing with a track that makes you feel like you could actually reach out and touch the sound and float in its space, the sonic landscape created in Twelve Twenty Two is a true treat for ears.

Vertigo Inc, the freeform house project of a veteran Canadian producer, returns to the Unfulfillment label with four tracks of kaleidoscopic psy-house, acrobatic acidic exotics, and modal boogie, coaxed from retro machines for a sophisticated, full-body buzz. Come to where the wild things are..

A DIY labour of love since its inception in 2014, Unfulfillment was founded in the US in 2013 to release dance music of an exploratory nature. Unfulfillment releases have been played and charted by Powder, Soft Rocks, Shireef Laffrey, Brian Not Brian, Jacques Renault, Mister Saturday Night, and Luke Solomon.

Strut present a new repress of the influential first volume of 'Disco Not Disco' compiled by Joey Negro and Sean P as part of the label's 20th Anniversary.
'Disco Not Disco' was a perfectly timed compilation back in 2000. Released when interest in the myths, history and playlists of original New York clubs like Paradise Garage and The Loft was at its peak, the album drew on the outer limits of leftfield disco championed by Levan and Mancuso, bringing together unlikely dancefloor anthems by rock acts like Yoko Ono and Ian Dury, obscurities from cottage labels like BC and Splash and selected oddities from the unique mind of avant-garde hero, Arthur Russell.
It was essentially a celebration of the sonic melting pot in New York during the early '80s, an era when punk had burnt itself out and disco had become commercial and saccharine; in its place, the post-punk movement threw up brilliant oddities which tore up the accepted rulebook.
The album features full original artwork and Kris Needs' sleeve notes and is remastered and cut by The Carvery.

Under the tree - In The Cave - At The Water, there's where you'll find Eleventeen Eston, savouring the shade since his 2014 debut LP 'Delta Horizon' turned the spotlight his way. Taking shelter in the subterranean, the Perth musician has found a sound saturated with entheogenic splendour, growing something gorgeous from the grotesque. Finding a natural home on Hamburg's Growing Bin, Eston emerges into the daylight with a dreamy LP.
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The vision quest begins with 'C in Sympathy', a freefall into the perverse beauty of the Domus Aurea, brought to life with E2-E4 electronics, chorus pedal shimmer and muted bass. Leaving the grasslands we dip a toe in the water with the hypnotic ripples of '2 d'Or (Cab Chassis)', a Carl-Craig-goes-New-Age number which fuses the electronic and acoustic to perfection. Delicate piano, crystalline synth tones and tape-saturated emotion lend their cinematic charm to 'East Perth Stories (Closing Titles)' before the propulsive bass and soft focus groove of 'The Four Fountains' hits you with the heat haze. Eston takes another tapey diversion on the sci-fi synthscape 'I Remember', while the coastal cool of 'Thread & Truth' picks up the wavy white funk baton from Spike.

The B-side brings more beauty as the drifting and dreamy ambience of 'I Float, I Am Free' gives way to the Windham Hill guitar licks, snaking bass and billowing textures of 'A Squall, 1988', offering a welcome echo of the wonder of Wilson Tanner. 'Where There Is Rain' sees Eston tune the Ute radio to 96FM Perth, marrying cascading keys, evocative vocal samples and lush guitar with a solid 80s pop beat, before he slows the pace for 'Sand Man' a skewed and stoned bit of beach funk that's perfect for seduction. We part ways with the panoramic 'Dory On Swan', a serene soundtrack to lapping waves and magic caves. Always in season, Growing Bin do it again.

After just 6 months since first seeing Big Yawn perform, we are thrilled to welcome them to the Research family. A compelling prelude to their debut album "No!" due out in late 2019.

Over six years the Melbourne-based group has evolved, with members of the band running various releases through label and collective Fallopian Tunes. As of 2019, Big Yawn had become a four-member music group, motivated by a history of studio production, prolific collaboration and quality hangout time.

The groups freshest effort 'Skin Rat/Thomas' captures the band performing live in the studio, and it's typical Big Yawn: fat and punchy low-end bass; drums and live drum processing; delay fx samples; thick syrupy synths. 'Skin Rat' is a hyperbolically dubbed out, tongue in cheek, magnetic blend of UK garage, footwork and breaks. And 'Thomas' takes cues from a slightly damaged post-punk sound, amplifying a brittle and sinister type of atomic porn-funk.

Limited to 200 copies. Hand numbered and housed in a screen-printed sleeve, artwork by Julian Hocking.

OOSSHA continues her path with a second release by G. Markus titled Warning! OOSSHA is an outlet for music that’s dedicated to house and alternative styles while always maintaining ferce and unique ingredients that conquer hearts. UK producer Ben Gomori revisits his G. Markus alter ego for an EP that pays tribute to the Jungle and Drum & Bass soundtrack of his formative years. Dreemscape ’93 opens the EP; a vibey piece that instantly recalls old school house tracks with its use of a contagious groove, fltered elements and a specifc vocal sample taken from Dreamscape's 1993 NYE party. On the same side we find queniv turning B side track The Sleepless Moon into his unique blend of breakbeat elements and twisted ambient layers. On the fipside, Roger Gerressen turns Dreemscape 93’ into his own interpretation of lo-f fltered chord sweetness and combining it with hypnotizing Rhodes patterns. B2 makes space for the original Sleepless Moon which is all about the rhythms. Intricate midi programming triggers acoustic drum samples that intertwine with twinkling ear candy and a jungle break before breaking up the patterns with an infectious bassline.

The Fall is the fourth studio album by British virtual band Gorillaz. The album was officially announced on 20 December 2010 as a holiday gift to fans. The Fall was first released on 25 December 2010 to stream for free on the Gorillaz website, only available as a download for paying members of the band's Sub-Division club, a premium access campaign the band ran throughout 2010. The album features fewer guest artists than previous Gorillaz albums; collaborators include Mick Jones and Paul Simonon of The Clash and Bobby Womack.

* Facta delivers two lithe new cuts for the latest Livity Sound 12', featuring fresh artwork from Tess Redburn. The Wisdom Teeth label boss and Bristol resident deploys his deep rolling style, inviting dancers in to their groove with supple rhythms and rounded bass.

* Established in 2011, Livity Sound is a frontrunning label in UK electronic music. Since its inception, Peverelist's imprint has dedicated itself to releasing innovative music, eschewing existing forms and forging its own stylistic path.

Debuting on the freshly-minted Mad Habitat imprint, Greville’s EP is a bifurcated effort split between tranquil ambience, and hazy couch-locked house, with influences of each bleeding through and influencing each work in a stylistic osmosis. The sound palette blends crystalline synth patches, mimetic foley and field recordings in a playful spectrum of realism and synthesis; borne from the duality of always wanting to be in the studio while dreaming of the natural world outside it.

Following Not Waving’s stellar recent recordings with Jim O’Rourke , Colin Potter & Jay Glass Dubs,
‘Downwelling’ finds him in a striking Pas de deux with alt. rock god Mark Lanegan (Screaming
Trees, QOTSA). It’s one of those rare link-ups that truly transcends the sum of its parts, with Not
Waving’s rolling range of nuanced electronics acting as backdrops for Lanegan’s smoky barritone
storytelling. Delivered in a husky but pliable voice that has come to define the American alternative
rock scene since the early ‘90s, Lanegan inhabits the songs with a reserved presence that has
served him well for decades, but which has never been heard in quite this context.
Pairing music recorded by Natalizia between London, Italy, and Paris over the past five years,
with vocals recorded by Lanegan in LA, the duo arrive at dreamy non-place that’s not defined by
geography or time. Instead the album offers a timeless insight into human behaviour, as reflected
in the sleeve art details from the ‘Lights of Canopus’, a Persian version of the ancient Indian book of
animal fables, the ‘Panchatantra.’ Thanks to Lanegan’s classically dusty tone - famously described
as being “scratchy as a three day beard yet as supple as moccasin leather” - and the breadth of Not
Waving’s production, the results draw listeners deep into the artists’ shared plane of world-weary
but quietly hopeful conception, emphasising the power of closeness and empathy.
Their songs come on like waves lapping a shore that’s ever-shifting, ever the same. This cycle is
epitomised on the opener, ’Signifying The End’ with Lanegan’s raspy tone met by honeyed synths,
before scaling the nocturnal heights of ‘City Of Sin’ and coolly channeling Suicide in ‘Burn Out
Babylon.’ The waters calm again for ‘Persimmon Tree’ suitably set to harp-like arps, while the
deathly croon and impending throb of ‘Murder In Fugue’ comes to rest in the serene resolution of
‘The Broken Man’ in a manner that’s entirely modernist but speaks to eons of human emotion.
Echoing everything from latter-days Scott Walker to David Sylvian at his most strung out, and even
the odd energy of Moebius, Conny Plank & Mayo Thompson’s ‘Ludwig’s Law’ album, or the arcane
creak of John Duncan’s ‘Bitter Earth’, Natalizia & Lanegan’s efforts will surely realign listeners
presumptions of both artists and place them in a category all of their own.

Originally designed as a series to run concurrently with the Livity Sound label as an outlet that shares and reflects it's ideas and aesthetics, the Reverse series has evolved in to an institution of cutting edge UK dance music in its own right, featuring releases from the likes of Batu, Bruce, Forest Drive West and Hodge.

The series returns with a debut 12” from Bristol duo Cando following in that lineage of purpose built dance floor tracks. Cando's combination of percussion driven tracks and mystical hooks root them firmly in a Bristol tradition.

Don't DJ
Laniakea

Mediterranean pop songs screwed with dirty RnB sounds. Disorientating, freudian slip disco edit takes to the clubs; up-tempo, left of field and a down right dub siren infused banger - confused yet? Slow-mo dub melting in the heat of the eternal summer, untether yourself and drift away.

Jonny Nash (Guissian Curve / Melody is Truth) and Firecracker's Lindsay Todd get barefoot and turn out a stunner of an LP..
Over the course of twelve compositions we find the pair utilising their recordings in a whole host of ways, avoiding the well-trodden cliches of the exotic' and instead attempting to achieve a personal interpretation of the flora, fauna and climate of the island. Spending time amidst the insects, rice fields and scorching sun, the pair gathered a library of found sounds which were then taken back to a studio space to be stretched, mangled and manipulated alongside a variety of electronic and acoustic instruments. The outdoor studio itself became a living instrument, with the duo setting up multiple microphones for durations of up to 12 hours around the space, layering and processing the results in tracks such as Fauna Mapping' and A Series Of Small Frogs'.

Pumping West Coast electro in a new jacket, with bouncing 808's, driving acid, and old school futuristic vocoders.. Kleptocracy's are taking over the planet and humans are getting entangled in their own web. We need some extraterrestrial help. In the Thee J Johanz remix a bunch of oversexed electro disco aliens are coming to save the planet by love and destruction. Justin Cudmore (Bunker NY) is taking it to a darker space in his more abstract and highly effective remix. Three massive 808 floor fillers!

Dinosaur L is an alias donned by Arthur Russell, a man whose contribution to dance music from the late seventies and through the eighties was formidable but only quietly acknowledged. His innovative and left field dance records were way ahead of what people were used to hearing at the time. He was a cellist who studied classical and Indian music. As well as his great strides in dance music he was also involved in the New York downtown avant-garde music scene and produced some albums in a more avant-garde / experimental vein as well as trying his own unique approach to pop. He scored several hits on the underground New York dance scene at clubs like The Paradise Garage (Larry Levan was a huge supporter). His biggest tunes, 'Go Bang!' and 'Is It All Over My Face' were worldwide club hits and are still played today as classics. His records have influenced the scene from his first dance record in 1979 to the present day and his work has been much sampled. Sadly Arthur
died in 1992, but his music lives on and his influence is still felt on the dance music scene, his tunes still sound great and are still moving many dancers around the world, so his spirit lives on. Sleeping Bag Records and Traffic Entertainment Group is proud to present Dinosaur L's '24-24 Music' for the first time ever on double LP. Includes the original album tracklisting plus rare 12'remixes and edits.

Unsurprisingly for a creator as prolific as Muslimgauze's Bryn Jones was, when he was asked for a contribution for any sort of group project, he would tend to provide more options than necessary. In the case of longtime label Staalplaat's 1996 compilation Sonderangebot, where Jones would find himself in the company of everyone from Chalemagne Palestine to Reptilicus, the selected track was the characteristically headspinning "Kaliskinazure", nine minutes of insistent digital percussion bouncing the listener back and forth between samples of wailing women's voices and a trebly, blurry little whirr that traces the percussion. It's distinctive enough even among the vast Muslimgauze corpus, but as the continued excavation of DATs Jones submitted to his labels continues, sure enough there's more to that track's story, too. An extended "Kaliskinazure" makes up the second of four tracks on Babylon Is Iraq, although it's been lost to the mists of time whether an outside editor excised the more drifting, less needling coda that makes up the extra six minutes found here, or whether Jones simply submitted both versions of the track at different times. This more complete version of "Kaliskinazure" is surrounded by shorter tracks, with the opening "Kaliskinazure — Momada" sounding not very much like either track it references (instead being a barely-there wisp of far-away sampled wind instruments and what sounds like treated cymbal sounds) and the title track constantly coming to a full, roiling digital boil. The lengthy "Momada" closes out the album with a different, more tersely internal arrangement surrounding the same percussion pattern that will be familiar to any Sonderangebot fans, although the way the quieter atmosphere transforms the feeling of that rhythm indicates once more than Jones' way of reconfiguring his pieces over and over was perhaps more purposive and even more effective than he's sometimes given credit for. The result is a fascinating expansion on one of Muslimgauze's strongest stand-alone moments, as well as a fitting tribute to an artist who would never give you a track if an album would do. such strong powers of suggestion.

Cover made of 1mm thick bleu cardboard, sewed, text silver glitter screen-print, black image, name, and side lines are lasercut All done by hand hand ! All Tracks Written, Performed, Mixed By – Muslimgauze. Recorded, Engineer, Mixed By – John Delf. unreleased material. Format: Vinyl - Limited and numbered edition of: 500 Barcode: UPC (A).75390-73724-27 Catalogue#: Muslimgauze archive series

Mika Vainio left behind a lots of unfinished projects and unreleased music.

This archive series is presenting some pieces which can be considered as completed works.

The first volume comprise of two selections from the 48:22 long untitled recording Mika Vainio did as Ø for the radio project Ambient City at the Museum of Contemporary Art in Helsinki 1994.

it's a 2nd release of studio mule's new project with miyako koda aka dip in the pool.

following the cover version of ohnuki taeko's carnaval,we made the new version of japanese new wave classic 'shinzo no tibia by mariah' with a new lyrics in japanese(original is in armenian)which is written by miyako koda. yasuaki shimizu kindly gave us the permission to do this.

extended version on a side is full of the respect for the original version and dub version on b side is dark new wave dub version. kuniyuki said the idea of this version came from adrian sherwood's remix for depeche mode.

Like a blast of wind, lost in some forgotten place, Headflush is filled to the brim with emptiness. Recorded in a single afternoon in Brooklyn, New York Leila Bordreuil's debut album, a collection of unprocessed amplified cello works, explore the limits of tonal perception. The hushed stereophonics of the album could leave the listener wondering if they were perhaps listening to amplified smoke; twisting, turning, and dancing in some strange light. Adrift and strikingly original, Headflush is the sound of the artist hidden in sound, absent in a bleak bliss.

Leila Bordreuil is a Brooklyn-based cellist, composer, and sound-artist from France. She accesses concepts as diverse as jazz, contemporary classical, noise, and experimental traditions but adheres to her own vision of sound. The New York Times has described her work as "steadily scathing music, favoring long and corrosive atonalities". Driven by a fierce interest in pure sound and inherent texture, Bordreuil challenges conventional cello practice through extreme extended techniques and amplification methods. Her composed works frequently incorporate sound-spatialization by way of site-specific pieces and multichannel installations.

4 track 12" of mutant Rock 'N'Roll

23 minute drone piece. Another stunning extraction from the REX ILLUSIVII archive.
Previously Unreleased. 1 sided with embossed insert. Very limited. Essential.

Italian electronic music mastermind ABYSSY and the Marseille underground hero DONARRA, share for the ALLEY VERSION's 4th release the split E.P. "CLOSE".

ABYSSY aka Mayo Soulomon has, over the years, released records of great interest for Mathematics, New Interplanetary Melodies and many other labels, marked by Detroit and Chicago influences reworked in his personal complex cut.
DONARRA comes to ALLEY VERSION after two beautiful E.P. for Skylax Records and La Chinerie, and recently spotted with its synth-dark-industrial-punk moniker Cardinal & Nun, on L.I.E.S.

The opening ABYSSY's "Close To Me", an obscure rough track totally jacked with the legendary rhythm sampler E-MU SP1200, is an instant cult.
In the following "Lower Michigan Ave", a hypnotic dark plot of analog synthesizers runs on a leftfield rhythm cut, while a whiny female voice condenses the air.

First track of DONARRA's side, "Nostalgie Futuriste", is a surreal sound voyage where are merged Chicago House and Zen atmospheres.
In the culminating Detroit style banger "Rivières Lumineuses", the trippy movements of percussions and synthetic melodies are pure magic.

Exclusively on limited 12" vinyl.

“While he was still just a young adolescent who had perfected his drum technique under the benevolent wing of Kenny Clarke, the Club Saint-Germain liked to present Jacques Thollot as a prodigy capable of holding his own with the famous jazz musicians who came through Paris. It was there that Eric Dolphy immediately noticed him, and from René Thomas to Walt Dickerson, everyone wanted to work with him.

However, it was during the 1960s, first with Jef Gilson then François Tusques, Barney Wilen, Joachim Kühn and Steve Lacy, that the decisive encounters occurred. Without forgetting that he joined, in 1968, one of Don Cherry’s groups, went on tour with them and came back transformed. That being said, to present Jacques Thollot as an in-demand virtuoso who could adapt to any circumstances would be to ignore both his demanding compositions and his complete freedom from stylistic boundaries.

To prove the point, and although he had already featured on some cult albums (Our Meanings And Our Feelings by Michel Portal, Monkey-PockieBoo by Sonny Sharrock), the first album under his own name, recorded in 1971 for producer Gérard Terronès, who gave him free rein, would turn out to be an unexpected, unclassifiable and astounding work. Entitled "Quand le son devient aigu, jeter la girafe à la mer", (when the sound gets high-pitched, throw the giraffe into the sea) it is an extraordinary sonic collage, created from discrete re-recordings and using just a handful of instruments including drums and piano. The result is a miracle, though the economy of means the production technique succeeds in putting the spotlight on the oddly elaborate compositions under an enigmatic but well-chosen title, borrowed from poet Henri Michaux. It puts into words the mysteries of a fragile melancholic universe which can be compared to another album by an iconoclastic drummer: The End Of An Ear by Robert Wyatt. The difference being the highly personal elements which shine through the French musician’s album, clearly drawn from listening intently to classics from Debussy, Ravel and Barraqué (whom he knew), a seam which he would continue to mine on his equally excellent following albums Watch Devil Go and Cinq Hops.

Yes, it is true that Jacques Thollot recorded rarely under his own name (five albums during his lifetime), but what marvellous albums they are!”

A project founded by label owner Manolis ten Haaf in collaboration with musicians Ruben Kodheli, Arjuna Schiks and guest artists. Combining his Italian and Dutch roots of classical symphonies and urban electronics into an avant-garde painting of improvisation with no boundaries. The classical rustic Italian countryside versus the non-stop Dutch metropole and the New York city life.

Kuiper comes after last year's acclaimed debut album 'Elaenia' and is the second release on his own label Pluto. Check out the video here!:
Speaking about the new release, Shepherd says:

'Since starting a band to realise the music from my LP, it has sparked a deep interest in the band itself, and so Kuiper is the result of playing with Leo, Alex and Susumu. Each time we play it, its completely different. We set the scene with electronics, and some drum machines that form the foundation to allow the unfurling of the rest of the track. The version on this EP - believe it or not - was recorded at 8am!

The other side - 'For Marmish Part II' - is carbon dated by my singing voice. I can't get that high anymore! It was recorded way before ' For Marmish' on the album but the two tracks happened to be written around the same time.

I want to share them because both sides reflect in two tracks where I was right at the start of the Elaenia project, right up to now post-LP release, playing live and going on the road with a band. I hope, like I feel, people will find a common strand in the hypnotic nature of both tracks. '

Out of stock for aeons, includes the legendary Four Tet Remix. Limited to 600 units.

Grattis! Thomas Flachsbinder 40år EP, otto002.

The title of the EP is "Happy birthday! Thomas Flachsbinder 40 years" and it pretty much sum´s up the whole reason for this EP. Our dear friend Thomas have been making lovely music for some 20 years now. And this EP is an selection of different aliases his created or been involved with. The genres goes from 50-60´s surf, rockabilly, rock, german house, ska, jazz, amen breakbeat organ pop to bossa nova. So hopefully you´ll find something that you´ll like.

The 4th disc on Young Echo Records comes locked & loaded with Jabu re-works from the extended family: SKRS & Jay Glass Dubs at the controls!

Pressed to 12″ with two remixed cuts from Jabu’s Sleep Heavy LP on Blackest Ever Black, YE004 follows the murky lyrical showcase from Manonmars alongside O$VMV$M, and reaches out to two producers who have been operating with similar style & fashion to the YE family over the years – forward thinking, eyes-closed, ears-open individualism is the order of the day, and these two remixes showcase this unique application of sound in loose dub structures perfectly.

Each approach the originals with their own take on skewed & stretched dubwise styles – letting the vocals swerve & sway over hypnotic rhythms, off-kilter atmospherics and big belly bassline… Like the best of dub, there’s an instant infectiousness to the rhythm, and a new-found focus on the original elements of the song – however, it’s too easy to apply the dub-tag to this – SKRS & Jay Glass Dubs are doing their own thing – listen and hear for yourself.

[a] A1. Fool If (Jay Glass Dubs Rework) - Remix [Rework] – Jay Glass Dubs