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Another amazing exercise by Thee J Johanz! In R U There In R U There he's exploring the capabilities of the Russian/DDR Vermona synth for a massive brutal lead on a rocking 808 beat, with driving italoesque arpeggio's from the Jupiter 6. Having it's special moment in an unanswered synthesized ring tone, enhancing the haunting suspense. In K Clap West he lets the Moog modular sing like Kanye West, supported by the ancient Roland CR 8000 drummachine. Sleazy analogue goodness, slapping asses with the nasty clap. Sex with machines. More Cowbell! is just what the title promises. An orgy of live tuned cowbells, recorded in one take with his beloved modded CR 8000, it's a perfect atonal mixtool to add some uplifting madness and excitement. Sleeve art by David Homan and Thee J Johanz himself.

Early support from DJ Hell, Prins Thomas, Simeon Mobile Disco, Audio Soul Project, Severino Panzetta, Tensnake and more...

Originally released on Art Yard in 2017 finally back in print!

Solo album displaying a collection of foggy electronic dub meditations recorded between 2000 and 2005 by Berliner Ring member Alexander Christou under his Al Chem guise.

In 2009, the label Art Yard sent a probe into the outer regions of contemporary electronic music, releasing Berliner Ring's "Orbital" album, a dub techno hymnal for Berlin’s orbital ring road. Drawing together the disparate elements of invented instruments, modified keyboards, customized rhythm and string machines, it was built around moods and themes drawn from the Berlin landscape.

One member of the Ring, Alexander Christou, also a part of the Berlin electro rock group Elecdrones, recording for Katzensonne. The band were “not interested in the crafting of chunks of music ready to be consumed”. Christou has since been recording under the moniker Al Chem, crossing analogue and digital realms, synthesizing a kind of philosopher’s stone. As Al Chem, he released on Tummy Touch Records, and now follows with a collection of foggy electronic dub meditations recorded between 2000 and 2005 in a full album.

In the battle to harness the elements, ancient mists permeated Chem’s music. A murky, mercurial humidity saturates the project. A distinctly north European descendant of dub, a kind of Seventh Seal that Bergman could have made, if provided enough hydroponic infusions.

No Hopper is a rework of the Ras Michael song No Hoppers, from his legendary album, Rastafari Dub, Chem's version shuffles the pack of electronic percussion with organic, Moondog-like rhythms and hazy atmospheric chords; The Prophet pinpoints Chem's GPS firmly in Berlin, just as The Red Tower blurs that kick-drum parallel between reggae and house music; Baudelaire sputters digital delay, piling on the pressure, a clatter of surgical implements performing an operation out of Dead Ringers, the patient storming out of the theatre with loosely fitted mechanical body parts; the instrumental No Hopper only serves to highlight the distant gathering storm. Ladder of Perfection rounds off the set with a drone, creaking with bubbling digital mud pools

Mogwai return with their 9th studio album which was recorded with renowned producer Dave Fridmann (Mercury Rev, The Flaming Lip's, Mogwai's Come On Die Young and ROCK ACTION) at his Tarbox Road Studios in New York State.

Every Country's Sun named after a friends lack of knowledge in how the universe works, takes two decades of Mogwai's signature, contrasting sounds and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. It will definitely appeal to fans of the band and will gain many new ones along the way.

***Boxset includes: White vinyl double LP, 12" black vinyl (containing 6 tracks of album demos), CD, plus a set of Tarbox Road photographic prints - Includes download card redeemable from the label.***

Lost LP from 1977, rebuilt from original tapes, by the creator of BLACK DEVIL DISCO CLUB. The french electronic music pioneer behind Black Devil Disco Club, released three seminal library albums in the seventies: Suspense (1975), Cosmos 2043 (1977) and The Strange World of Bernard Fevre (1977). A fourth album called Orbit Ceremony, produced just a few months after remained in his home studio and never saw the light, sentenced to almost 40 years in the devil's vault. By chance, while working on the re-issues, Bernard Fevre recently found the original lost tapes of Orbit Ceremony, including the multi-tracks which he remastered himself. Spacy moogs, weird clavinet, and cosmic analog drum machines: it's all here. The quirky, cosmic library music found on this long-deleted 70s science-fiction-themed album is full of burbling synths and off-kilter melodies. There's only one man on this planet able to produce such a crazy sound. As soon as you press play you know you've embarked on a special and unique 'back to the future' trip. Don't worry, fasten your seat belt and relax. Captain Fevre is taking care of everything.

Cathy Berberian turned toward this repertory, critically, but with love. And even if she maintained a certain dose of ironical distance, she never stooped to parody. It would be a mistake to think she had any similarity to Paolo Poli in La Nemica. She had a repertory to explore according to the instructions of Proust, and she explored it with the same devotion that she had applied to the music of Berio or Bussotti. In this recital she explores the most varied vocal territories: from traditional songs to Berio and to... the Beatles. In this labyrinthine voice is a release for all vocals lovers.

clear vinyl in printe PVC sleeve, ltd. to 350 copies, incl. mp3

For The Modern Institute's self-titled first vinyl document, the practices of audio technicians Richard McMaster, Laurie Pitt and James Stephen Wright are brought into sharp focus, the initial analyses of a project which examines the rituals of performance, the signifiers of bourgeois culture and the absurdities inherent in the middle class art gaze. While undoubtedly disturbing in execution, it's a succinct reminder of the tension between lazy, electronic music tropes and the essential, quizzical attitude frequently lacking in the technoid culture, yet abundant in Glasgow's agent provocateurs.
Seen through the frame of primary music generators McMaster and Pitt's previous music projects - Golden Teacher, General Ludd - The Modern Institute's recorded output is an oblique, strategic examination of rhythm and the spaces between.

Rhythm is often re-defined and re-formed through out The Modern Institute, with the easy 4/4, communally cohesive beats of the Teacher and the Ludd some way off. Opener Black Blood is a case in point, with a elusive pattern providing a warped, skeletal framework for Wright to smother. The atmosphere is austere, aggressive, clinical as a gallery wall after the exhibition has failed. The yawning, sub-bass of False Beards and Diamond Hooves hacks at the exhibition floor opening up punishingly alien chasms. The narrator's deadpan poesy, battling against the brutalist backdrop, reminds the listener of early industrial pioneers Cabaret Voltaire, not least in the unmistakably northern accent. Side A closes out on the first attempt by The Modern Institute to break into a recognizable pattern, though rendered on Destroy Logic as a dry destruction of a Bashment rhythm. Arabic Eight is nightmarish, a Normal deconstruction of art music. A nonsensical, Dadaist mutation of electronic dance music, Intelligent Dance Music with no intelligence, dance or Music. Wright intones when I was younger you used to say you weren't in it for the money,' taking down conceptions of artistic integrity, inspiration and muse. On Springloaded, we're still deep in an alien lifeform's insides, viewing the tropes the art industry uses to sell itself, splashes of digital distortion and burps crossfiring across the stereo field. Shiver And Quiver ends The Modern Institute, sounding like all the cities' alarms simultaneously set off to the beat of the LPs only 4/4 beat, here juddering and unnaturally fast. Ask questions, just don't ask for answers.

hand numbered, limited to 1000 copies






























Homicide dub)

- Album premiere on The FADER & press includes Afropop, Sounds & Colours, Time Out, Remezcla, Univision, WFMU
- First edition vinyl limited to 500 copies worldwide
- Band members also part of M.A.K.U Soundsystem, Bulla en el Barrio & Names You Can Trust releases
- Artwork & videos by Colombian artists Goske Rojo & Hugo Oro
- Numerous shows & residencies around NYC
- No Regreso' mixed by Beyoncé engineer Stuart White

Rooted in Colombia and based in New York, Combo Chimbita lives in the future. Powerhouse vocalist Carolina Oliveros, synth and bassist Prince of Queens, guitarist Niño Lento, and drummer Dilemastronauta began experimenting with different traditional musical styles during late-night residencies at Barbès in Brooklyn. Exploring Afro-Caribbean styles through improvisational long-form trips, Combo Chimbita came together as a four-piece band after they started encouraging more vocals byOliveros, who tightens the rhythm with her guacharaca. Her voice is so powerful that it leads us in that direction,' says Prince of Queens.
The band draws on traditional music from everywhere: Panama,
Caribbean, Colombia, tamboritos, '70s funaná from Cape Verde,
kompa from Haiti, cumbia, dub and reggae from Jamaica. We try to incorporate it in a way that if feels ours, so you hear these influences there but they come from our background, and our background is heavy rock, psychedelic funk and soul,' says guitarist Niño Lento. As Prince of Queens puts it: Combo Chimbita is like a comeback to that raw punk energy, back to where it all started for me. But then obviously with the elements that we've grown to love and appreciate: the African diaspora
and Caribbean and South America.'

Little is known about this south pacific recluse. Far from his australian hometown, he now evolves close to trees, birds and spirits of Meganesia's remote Coral Sea. Abstract, Electronica, Dub, Lo-Fi, Ambient, Downtempo, Ethnic field Musics or experimental hip-hop... qualify the analog music of this
australian musician is a difficult exercise. Oceania, his last album under the alias of Tropical Hi-Fi, will be soon available on vinyl on UK imprint Emotional.
Cover painting by Tokio aoyama

Little is known about this south pacific recluse. Far from his australian hometown, he now evolves close to trees, birds and spirits of Meganesia's remote Coral Sea. Abstract, Electronica, Dub, Lo-Fi, Ambient, Downtempo, Ethnic field Musics or experimental hip-hop... qualify the analog music of this
australian musician is a difficult exercise. Oceania, his last album under the alias of Tropical Hi-Fi, will be soon available on vinyl on UK imprint Emotional.
Cover painting by Tokio aoyama

Harry Miller aka Glow In The Dark is neither to be found on any social media channel nor can you google anything about him, let alone does he maintain a website. The man hides completely behind his music and quite obviously in his studio. After his debut in February earlier this year, now already a few months later, his second album drops, Into Existence.'
Like his first album Future Bliss' (SK336LP) the 8-track LP shines in a stylistic richness encompassing musical landmarks like Nu Funk, Chill wave or Leftfield electro pop. But still the eight songs, played in the right order, result in a coherent overall picture. Apparently Miller's studio must be quite lugubrious. Or should one understand the dedication on the back of the cover ( Dedicated to all the lovers that exist in the dark') even as reflection of his emotional perception Listening to the music you tend for the latter. Hideaway' und Sultry Creatures' both base on a vocoder voice which at the same time sounds enraptured and also entranced. On The Key', though, you hear Miller's voice after all (almost) unalienated. got HYPE' is deceleration medicine in a dangerous dose. As well as Arise', which seems not to originate from this world. By now, Glow In The Dark lives probably in his very own universe and that's the reason why you can't find out anything about him at all. Only too well did he send us this postcard in form of Into Existence', this in every moment very impressive, very intimate album. Thanks.

Parallels is the fourth full album released under Jason Chung's distinctive moniker, Nosaj Thing. Masterfully dimensional, Parallels represents the acclaimed Los Angeles-based electronic producer/composer/performer's most diverse, vital work yet. As such, Chung sees Parallels represents a kind of redemptive rebirth. The album's compellingly elusive, uncategorizable sonics developed out of what he terms a personal & musical identity crisis.' According to Chung, working with a group of collaborators on Parallels that combined both longtime friends and new creative partners added new energy which pushed me not to limit
myself. Everything felt fresh and alive.'
Chung is known specifically for his innovative, unexpected musical pairings: Kid Cudi hit up on Nosaj Thing via his MySpace page in 2006, resulting in Chung producing Cudi's autobiographical classic The Man on the Moon.' Kendrick Lamar flowed over Nosaj's ethereal boom bap to create the YouTube gem Cloud 10', Chance the Rapper, meanwhile, freaked a Nosaj beat for his 2013 breakout masterpiece Paranoia' and appeared on Nosaj Thing's previous LP, 2015's Fated. Chung and Blonde Redhead vocalist Kazu Makino are also longtime creative partners on each other's work, her voice appears on Parallels as an otherworldly spirit animating the icily '80s-synthetic How We Do.'

Lapalux veroeffentlicht sein drittes Album auf Flying Lotus' Label Brainfeeder!

Lapalux veröffentlicht Ende Juni sein drittes Album, - Ruinism , auf Flying Lotus' Label Brainfeeder. Sein letztes Album, - Lustmore , war z.T. inspiriert vom Konzept der Hypnagogie, dem auch - Wachdenken genannten Bewusstseinszustand, der beim Einschlafen und/oder Erwachen auftreten kann. Auf - Ruinism setzt der britische Produzent nun seine Entdeckungsreise fort und erforscht diesmal den sogar ominöseren Schwebezustand zwischen Leben und Tod. In diesem Bereich, wo sich das Endliche und das Unendliche vermischen, ist Lapalux zu Hause - auf - Ruinism mehr als zuvor. Auf seinem neuen Album benutzt er zum ersten Mal in seiner Karriere ausschließlich Hardware und echte Instrumente, er hat Synthesizer und Drum-Versatzstücke aufgenommen und erneut gesampled, gepitcht, verbogen und miteinander verschmolzen, - until it was ruined , bevor er die völlig entstellten Samples aus dem mittlerweile entstandenen Trümmerhaufen barg und erneut versuchte, diese in etwas Kohärentes zu verwandeln, wie er selbst beschreibt. Mit Marielle Tepper als Kreativdirektorin auf - Ruinism , wird die LP als hervorragende und streng limitierte Deluxe-Doppelvinyl-Ausgabe erscheinen, die in Zusammenarbeit mit dem Pariser Atelier - Impremerie du Marais entstand.

Greetings fellow lovers of abstract truth.
How's living in a dystopian now working out for you
Here's hoping a new birdscare release can help take the edge off...
It's by Zu Dobson. And who's Zu Dobson
I honestly wish I could tell you.
She approached me at an A.L.F.O.S. gathering of the faithful and gave me a CD of her work with nothing on it but a PO address written on it. After corresponding by letter for a while we agreed that "Apple Knife" and "Wisdom Of Rumi" would be the first release (of hopefullly many). I only met Ms. Dobson fleetingly and she has no on-line presence so her identity is vague even to me. So next time you're on the dancefloor that young woman dancing next to you could well be ZU DOBSON.
Fondant regards... Andrew Weatherall

3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band's non-musicality.

Their debut 7-song mini-album No Motive' was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we've added 3 previously unreleased bonus tracks. Doug says, These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.'

All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We've also printed a special 12'x24' fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to.

We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka's diner. Drugs and no-drugs. Gay and not-gay. New York.' - Jesse Hultberg

Repress - Originally released in August 2011.
Strong and diverse single from DjRum, following a killer remix of LV and Message To Bears with a mixture of hi-Tech Rollers, Juke and emo Garage with detailed compositional flourishes. 'Undercoat' sets the tone with low-lit pads and vocals giving way to sleek stepping rhythms, finely balanced for club or home play. The centrepiece 'Mountains' shows a keener Technoid vocabulary, with Part 1 exhibiting flash, fluid Techno steppers programming with warm, jazz touches hitting the mark between Scuba and Shifted

"This is the first project they have worked on together for 25 years. And it sounds timeless."

25 YEARS LATER.
BEATE BARTEL and GUDRUN GUT do share history. They were both part of "the first german Punk Band" MANIA D. - John Peel's "Queens of Noises". 1981 Beate continued with LIAISONS DANGEREUSES and Gudrun with MALARIA! - Then experimented in sound and visual arts and released three albums with Matador along with Manon P. Duursma. Now the mature ladies got together again - kind of. Both did 5 tracks for Myra Davies spoken word album "Sirens" (moabit21)- independently as solo artists and producers. Moabit Musik releases a very special vinyl edition: the Instrumentals for Sirens.

They both did new extended mixed which differ from the original recordings.

Beate and Gudrun have gone in different musical ways for 25 years but on this album this does not count. It seems time does not matter. Both sides stand on their own right but also belong together somehow.

GUDRUN GUT is known for her activities in the Berlin music scene since the 80s, with MALARIA! and recent solo work as well as collaborations with AGF (GREIE GUT FRAKTION) and Hans-Joachim Irmler (GUT UND IRMLER). Latest work: "Gudrun Gut: Vogelmixe - Heimatlieder aus Deutschland remixed".

BEATE BARTEL was a part of the experimental impulse that made its way into today's art world and museums. Growing up in West- Berlin, Beate Bartel's interest in sounds and noise made her a sound engineer and she became a founding member of bands like MANIA D., EINSTÜRZENDE NEUBAUTEN, LIAISONS DANGEREUSES and MATADOR with Gut & Duursma.

MYRA DAVIES: Sirens
"Mischung', the German version of the visual art term "Mashup', describes this dynamic album of Word and Electronica. Myra Davies lyrics lean towards european culture through a lens of feminist authorship. But far from being an academic exercise, this is a Pandoras Box of biting Zeitgeist, past, present and future - propelled by beats, contrapuntal dynamics, broken rhymes, scraps from here and there, and fragments of great white deadmen. It is an acknowlegement, a connection and an affirmation of liberty to cut up any sacred cow. For Davies, clearly the personal is political and Art is even more so.

Davies & Gut have worked together since 1991 on several releases (DAVIES & GUT: MIASMA 1-3) and multi media performances. The last CD release was Myra Davies' CITIES & GIRLS, where BEATE BARTEL composed HANOI and was in parts performed together as part of "Paradiesisches Tor" at the Kulturbrauerei Berlin in 2011.

On SIRENS, Bartel and Gut have each contributed music for five tracks.

7"

Very Limited Trunk Website Only Release! (Until now)
Trunk Records caught everyone off guard way back in 2003 when they embarked on a series of reissues from the off-kilter musical world of Basil Kirchin, with his seriously scored orchestras, science fiction experiments, home-spun psychedelia and avant garde racket.

Now Trunk pulls out the trump card with an unknown Kirchin 1979 electronic floor-filler, in the shape of Silicon Chip. This nearly 40 year old tune contains all the analogue froth, cosmic thump and boogie down bass to get any party started.

Pressed on yellow wax, dead, dead limited, and brilliant. Backed with the stop/start helter-skelter arpeggio'd Silicon Sessions - works a treat when pitched down a little.

London 5-piece Hot Chip's debut album, celebrating it's 10th anniversary this year! There's a quite lovable oddball quality to this album, hints of Prince, the Beastie Boys, Beck.... a souled-up folk vision of chilled out pop music with a twist. 2005. A loungey, electropop sheen covers much of the music, but more than anything, Hot Chip displays an omnivorous approach to the entirety of alt, '60s pop and electronic music history. Their songs are infectious, silly and often weirdly beautiful. Wwith singer-songwriters Alexis Taylor and Joe Goddard at the core, Hot Chip's mixture of textured, smart, lo-fi groove with actual humor is incredibly rare, and great

DDD Records is a label and a store based in Paris.
Un Drame Musical Instantané is a collective of French composers led by Jean-Jacques Birgé. In 1984, they composed their own score to Dziga Vertov's groundbreaking 1929 film The Man With A Movie Camera.

This release features original 1984 copies of L'Homme A La Camera, as well as more recent material. In 2017, several producers were approached by DDD records to create new tracks or remixes using this rich and unusual recording as source material.

A1. Jorge Velez - Coquillage
The EP opens with Coquillage by US producer Jorge Velez. The word means sea shell in French, and this track is like putting one to your ear. Definitely on the more ambient side of things, Coquillage is full of eerie sounds, from the sea to marine wildlife and other unidentified sources which all create an unsettling atmosphere. Ever shifting and phasing, differently textured pads create a sense of wide open space and spiralling free fall through it.

A2. Un Drame Musical Instantané - L'Homme À La Caméra (Tuff Sherm remix)
Australian producer Tuff Sherm aka Dro Carey delivers a remix which plods along at 112 BPM with an infectious rhythm section thanks to terrific drum programming. Add a bunch of short samples, from metallic sounds to flute licks and many other instruments used in the original UDMI recording and the result is a stripped down remix that nonetheless remains full of surprises.

B1. Un Drame Musical Instantané - L'Homme À La Caméra (Eltron John remix)
Polish producer Eltron John's remix increases the BPM slightly. With the combination of flawless drum machine sequencing and a mellow bassline with a variety of UDMI samples, this is a tune where brass instruments, tubular instruments, lush pads, and other incidental sounds are used to great effect. There's an undoubtedly positive, uplifting vibe in this track which successfully uses UDMI's sounds in a house music context.

B2. Thurston Moore - 7-11
Closing the EP is this distinctive remix by Thurston Moore of Sonic Youth fame. You think you're in a for a purely musique concrète trip as the song begins with prepared piano, beeps and heavily treated noise. That's until an infectious drum loop evocative of music played in warehouses rather than concert halls appears. Said loop is cleverly treated and gets noisier and noisier as the track progresses. The contrast between the track's more experimental approach and the immediate pleasure procured by the drums makes it quite unforgettable.

The 2nd LP from Producer Steve Cobby and author Russ Litten, both natives of Kingston upon Hull following the critically acclaimed debut My People Come From The Sea.

The LP includes RIME, a four part musical narrative inspired by the Triple Trawler Tragedy of 1968 that saw 58 fishermen from Hull lose their lives in treacherous conditions in Arctic waters. The songs re-imagine a lost fishing industry in a modern setting, evoking ancient folk-lore, superstition and urban myths before repatriating the lost souls back to their home city. RIME was commissioned for John Grant's North Atlantic Flux Festival as part of the Hull  City of Culture celebrations of 2017.

Vinyl edition limited to 250 copies. RIYL: Clark, Colin Stetson, Pye Corner Audio, James Holden, Sarah Neufeld, Daniel Avery. 'We've All Been Swimming' marks something of a shift for Fieldhead. Previous releases have seen Elam take a detached view from the hillsides of West Yorkshire and Western Canada, but with his latest full length release the subject matter is closer and more immediate. Tensely wound synths lead throughout the album, shifting from the breathless momentum of the opening track through to pulses reminiscent of Colin Stetson on 'Ton'. The unique violin playing of Elaine Reynolds glides sparingly across the record, tempering the constantly shifting arpeggios and accentuating the human elements within the record's machine-like core. The haze found on previous releases still hangs, but now it's the haze of a crowded street or the last train home. 'We've All Been Swimming' is a concise and inspired attempt to reduce electronica down to the things that matter, with a narrative and sense of longing pervading the album reminiscent of Clark or Boards of Canada. It's the sort of work to be devoured in one sitting - that rarest of modern day beasts - where the tracks flow effortlessly into one another and finish leaving you wanting more. Paul Elam returns with a suite of immersive, pulsating, electronic reductions. Shifting arpeggios and minimal beats generate the forward motion, whilst the captivating violin playing of Elaine Reynolds helps to provide the narrative thrust.

Former half of the defunct Pitch & Hold duo under the banner of which he operated from 2006 to 2011, Simon Halsberghe steps up on Brussels' very own Vlek with his debut solo EP as Simon Hold.
First heard on Vlek's 2016 mix for Resident Advisor as they were appointed label of the month by the high­ranking platform last autumn, 'Maqam Bruxelloise' reflects the wide­angle beauty and compelling diversity of the Belgian capital and its throbbing heart, a city at the confluence of cultures and languages. Across a finely­layered interplay of synthetic modulations and intricate polyrhythms, Hold lays out a riveting kaleidoscope of pattern­welded textures and prismatic synth motifs played and arranged accordingly to a contemporary interpretation of the traditional Arabic maqam system of improvisation the track draws its title from. An ode to Brussels' all­embracing effervescence.
Translating as "soft drone" or "pleasant noise", the gritty 'Dhajij Doux' then welcomes you into a more disquieting, bipolar audio scenario that evokes the reality of living "in a sometimes difficult and hostile city". A curiously matching negative of the opener, in this that it taps into the same generous and plural matrix universe as main source of inspiration, but eventually opens on a more nuanced outcome, here Hold clearly shows a further abrasive facet of his work: harsh and vibrant, the track may be replete with a lead­heavy amalgam of sizzling bass and jagged drumwork thrown into the furnace, light and hope still manage threading their way through dark clouds and turbulence, slowly but surely turning this rough­hewn stone into a truly haunting gem.

Bill Laswell is one of the most prolifc, infuential and innovative musicians of the end of the last century: bass player, record producer, label owner, his carrier escapes every classifcation.
Starting from the enormous hit Rockit' by Herbie Hancock, Laswell boasts an outstanding artistic portfolio which includes, among the others, collaborations with Johnny Rotten, William Burroughs, Pharoah Sanders, Julian Schnabel, Sly Dunbar, Ryuichi Sakamoto, and Yoko Ono.
Baselines' is the artist's debut solo album, a jazz-funk experimental release that came out in 1983 via Celluloid Records, the legendary label that Bill Laswell contributed to making glorious. Audiophile edition 45rpm pressed on virgin vinyl 180gr.

New wave mezcalero, Thomas Bullock, has linked London based new artist Dave.I.D. to his STD label while Thomas himself is reaching for the outer spheres on his quest to release his new book steeped in authentic mezcal culture in Mexico and its production.

Dave.I.D's Gore LP is a haunting combination of industrial and soul stylings.
Let that take you where it must, there's no other way to put it.

If you know Thomas from the Rub-n-Tug days of yore, and the subsequent vibes from Whatever We Want and STD, then you know the compass goes in all directions way beyond North, South, East, West.

Pye Corner Audio return to Death Waltz Originals, with 6 brand new and exclusive tracks featuring his trademark sci-fi electronica. 'Do You Hear Them' pulses with a dance floor verve you've not yet heard from PCA bouncing along a killer 4/4 beat with a super melodic bass riff on top, 'The Spiral' begins with a riff on the classic Axel F bass synth and it's super hyped drums and refrain could be placed in any classic 80s action movie you already love. The other tracks are more contemplative and will sound familiar to anyone that owns any of the PCA Black Mill Tapes series.

Pye Corner Audio return to Death Waltz Originals, with 6 brand new and exclusive tracks featuring his trademark sci-fi electronica. 'Do You Hear Them' pulses with a dance floor verve you've not yet heard from PCA bouncing along a killer 4/4 beat with a super melodic bass riff on top, 'The Spiral' begins with a riff on the classic Axel F bass synth and it's super hyped drums and refrain could be placed in any classic 80s action movie you already love. The other tracks are more contemplative and will sound familiar to anyone that owns any of the PCA Black Mill Tapes series.

Lullabies For Insomniacs is pleased to present Yasuo Sugibayashi and The Mask Of The Imperial Family, a compilation of music from Mimic Records 1980-1982.
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Yasuo began his musical career playing guitar in a high school band, in 1980 after moving to Tokyo and immersing himself in various musical groups he founded Mimic Records. Inspired heavily by the art movements of the late 1970's, in particular the innovations of Brian Eno and David Cunningham he purchased a Roland System 100M. He was in search of a sound and the synthesizer had great potential. Simultaneously he had started experimenting with tape, playing with the tactility of the medium so he could understand how to best adapt it for his pieces.

Yasuo explored ancient ethnic music and wanted to combine his influences with daily experiences of city life. The short lived Mimic records was home to three of his solo releases, a self titled LP and two 7 inches, shortly after this period Yasuo went on to pursue other musical projects, in 1985 he was a founding member of the band Qujila which is still active today.

"Both profound and profoundly jaw dropping, the esoteric moves of this massively rare and insanely obscure 300 copy Japanese marvel have until now remained the sole preserve of a handful of heavyweight collectors. It's time to let the cat out of the bag on this one. The dankly cavernous and unsettling acid maneuvers of Dome circa their first three LP's (though absent vocals) are the nearest antecedent I can summon for the principal thrust of the sound here. So too, there's a ritualistic dimension to this stuff thats also a bit suggestive of something like Vasilisk or The Hybryds, though the arcane initiatory atmosphere here is far more penetrating than anything I've heard either of those two muster." - Mutant Sounds

Seahawks chart a course for the outer realms of consciousness where sea meets sky and sky meets space.

Two tracks new to vinyl from their esteemed 'Escape Hatch' album and three inspired remixes, 37 minutes of overlapping dream states and mantric resonance.

Setting sail with the wondrous 'Valparaiso', the siren like voice of Ed Macfarlane (Friendly Fires) calls the dancers to the beach, it's silken glide so smooth some have asked if it's Sade!

Nick Mackrory creates an alternative cosmos that is even more blissed, like a lost Lucio Battisti gem sparkling in the sun. (Nick was responsible for the lush 'Elle Dit' released on the Music For Dreams label not so long ago).

Picking up the pace disco viking Marius Circus enters the arena to create a woozy acid fever dream that throbs and pulses in a most heavenly way. Perfect for full moon beach jams and horizontal home hangs alike.

On the flip 'Starways' is without a doubt one of Seahawks finest creations, over 12 minutes of tropical kosmische odyssey that resolves into a glistening pool of crystal electronics, aquatic horns and celestial strings. A tonic for the mind and the body.

At the close of day Len Leise blesses us with a hazed subtropical jam where vapour tones float on an ancient ocean of bliss as organic beats massage the stress away.

An antidote to all that is dark and dismal in these fractured times.

Artwork is a specially commissioned airbrush work by Mervyn Beaver.

Brand new set of 3 x 7" on the Principe Discos Label out of Lisbon.

> Limited first pressing, individually hand-painted sleeves
> Debut showcase of this ground-breaking crew


Txiga means something like "come close" and that takes us right into the heart of the matter. Although especially apparent in the tarraxo style they are so connected to, the expression reveals unbounded enthusiasm for music, taken from the roots up, wherever the feeling projects it to. And so we felt this crew had to come across in a special way. Three seven inch records, one for each of the main producers (Wayne is kept as a reserve), represent three branches of the same tree.
The 4 tracks produced by K30 explore a more synthetic approach to the syncopated African sound of the streets, a sort
of avant-garde technoid expression of the batida identity. Sparse atmospheres, exotic percussion punches and something of a minimalist nature. "Melodias Do K30" bring in more drama but also a casual production method assumed as such - check the false ending. OK, DJ NinOo, with ondulating Oo's and that's exactly what it feels like when you get to the end of the spacey, romantic
"Ambientes Leves", an outstanding slow jam guaranteed to keep those rainy days happy. The extra heavy bassline pairs
up with circular synth waves for a sweet and sour atmosphere nothing else than unique. Then comes "Saudades Do Russel", a loving dedication in house tempo and sporting a complex, nostalgic keys workout. We chose two old cuts by Puto Anderson that might seem to limit the perspective regarding his production, but these actually push us back to the sort of raw ground zero where the whole batida substance has evolved from. Heavy, minimal, aggressive and happy in a way most os us can only try to grasp. The relentless, gritty groove on both tracks
comes from another era to fall flat on the centre of the dancefloor and keep things tight.

Ltd. to 300 copies, silk-screen printing on PVC sleeve.

LE CABANON presents its new Stand-alone series, beside its Couleurs EP series.

CLUSTER LIZARD are Dmytro Fedorenko (KOTRA) & Kateryna Zavoloka (ZAVOLOKA), Ukrainian musicians now based in Vienna and KVITNU label owners.

Edge of the Universe is a conceptual project that drives the listener into unique cinematic atmospheres, developing a sonic equilibrium between sensitivity and harshness, quietness and noisiness. A subtle alchemy which evolves progressively with loud layered rhythms, crystalline synths, crackling noises and unexpected breaks.

"Driven by cyberdelic rhythms across interstellar sonic scapes. Minimalist transmutation textures and pulsing dark matterfrequencies evolvewith superconsciousness bass vibrations. Sparkling high tech pads advance with tense raw analog buzz. Starburst trembling beats with psychedelic solar oscillations, that shine and burn mind into alchemical time drift."

Riccardo Sinigaglia, with Gabin Dabiré and Walter Maioli, made up one third of Futuro Antico - one of the most important collaborations to emerge from the 1970's and 80's Italian avant-garde. The project, whose name literally translates to ancient future, joined traditional sounds and instrumental from around world, with electronic music - the sonic past, present, and future as one. Recorded shortly after the collective's most prolific period and released in 1986, while more singular and more idiosyncratic, Sinigaglia's Riflessi caries these very concerns at its core. Built from field recording, collaged samples, synthesis, and instrumentation - shifting from hypnotic rhythm to radical and displacing structures, it establishes a remarkable link between ancient and non-western musics and efforts emerging from studios like Groupe de Recherches Musicales. A work of staggering rhythm, texture, beauty, Riflessi builds a world with almost no parallel - imbuing electronic music with touch, tactility, and humanity, while sacrificing none its challenges and intellectual heights. Rattling sonorous wonder, emerging for the first time on any format since its original pressing, before us is a historic moment - a lost piece of the puzzle of the wondrous Italian avant-garde.

"The Loa of Music" is the debut recording project of Milanese composer and musician Roberto Musci inspired by Voodoo Religion, Vever (the magical voodoo paintings) and Loas, the dark and magic spirits. The deep charm of non-Western music has led him to travel for many years across Africa, India and Asia, studying rhythms, scales, performance and interpretation of the most varied traditional and indigenous music, as well he make many field recordings and collected ethnic instruments that would then be combined with synthesizers and electronics in The Loa of Music.

Recorded in 1983, the project originally had 80 minutes of music but only half was released on original LP. SOAVE has pressed for the first time the Complete Recording Session from original tapes of this phenomenally ambitious masterpiece that entirely refuses the well trod path - distilling a remarkable range of sonic reference and reality. A work of field recording, musique concrète, electronics, synthesis, and instrumentation, pulling from countless musics from across the globe, the result is nothing short of brilliant and stunningly beautiful. A near perfect work - an egoless gesture, which rather than attempting to find consensus, offers every voice equity and cohabitation - harnessing the history music, with all of its cultural diversity, as a vision for a more ideal future. Geographies and their sounds intertwine, while Musci's interventions and instrumentation thread a path. Ambiences ripple, sounds and voices converse in a vision of unity that may only exist within sonic realms. Unquestionably seminal, and one of the most important works to emerge from Italy in the last 50 years. Never before issued on vinyl since it's original release, and surely not to be around for long, this is one not to miss.















[O} C3. Night Music II

Ltd. to 500 numbered copies, incl. printed inner sleeve

This Series of electro acoustic music and Musique Concrète has started in 2015 to celebrate the 50th anniversary of the Experimental Studio Bratislava, Exs. Series 1 introduced us to Ina Hudba/Other Music from the first generation of Slovak avant-garde composers recorded in the Exs, mostly with self-built electronic equipment behind the Iron Curtain. Series 2 provided a platform for Nova Generacia/New Generation of Slovak composers using Western equipment - now integrated in the 5 years plan' to purchase in the West...- and influenced by Karlheinz Stockhausen, György Ligeti, Pietro Grossi among others.

Series 3 called Nasi Hostia/Our Guests show casts the recordings at the Exs of foreign visiting composers like György Ligeti, Lothar Voigtländer, Liviu Dandara etc. The backbone to these unusual landmark recordings were the highly esteemed Annual International Seminars on New Music in Smolenice, Slovakia. The first Seminar held in 1968 was opened and attended by Karlheinz Stockhausen - playing his Hymnen' for the first time abroad - for the Slovak composers an ear opener and a learning process on how to make' this kind of music'... In the following years New Music personalities like Ligeti, Mauricio Kagel, Lutoslawski, Gorecki, Sofia Gubajdulina etc. attended the Smolenice Seminars. - Unfortunately the partial opening of the Iron Curtain and the general cultural upsurge of the 1960's were frozen by tanks in 1968. Neo-stalinistic normalization' of the early 1970s violently pushed this - and not only this - creative branch beyond the borders of permitted cultural activities.
We are especially proud to offer you on this issue a World Premier: Poème Symphonique for 100 Metronomes by György Ligeti, performed and recorded in Smolenice Seminars, 1969 - approved by the composer!

Of particular interest is a student of Stockhausen and Ligeti: Liviu Dandara, Romanian, with his outstanding electro acoustic composition Affectus Memoria' that shows his artistic development after his studies in Darmstadt. The famous East German composer Lothar Voigtländer is presented here with his never released Meditation Sur Le Temps', the almost forgotten Czech composer has here his comeback' with the extraordinary Speleofonie' - just to name a few East European composers to discover from the analogue past of the 70's.

Limited numbered edition of 500 LPs inclusive a CD with all the tracks in full original lengths.

'Stranger' is the debut solo album from Canadian artist Joanne Pollock. Released via Venetian Snares' Timesig imprint, with whom Pollock previously collaborated as Poemss, 'Stranger' is a stunning collection of electronic pop songs that range from the unsettlingly calm and beautiful through to ferocious explosions of caustic noise, all held together by Joanne's multi-octave ranging vocals.
What happens when we push up against that which contains us' asks Pollock. By distorting the mirror, we may become plastic. When the comfort of familiarity is stripped away, it can feel as though we become a stranger in our own bodies. Is it through embracing the Stranger that we discover ourselves Stranger explores the multiplicities of selfhood - what defines us, where the boundaries lie.'
On tracks like the album opener 'Carnival', 'Myself Apart' and 'Expect Me' Pollock's vocals weave in and out of the bruised and bruising bass lines, glacial synths and stop-start beats almost becoming one with the music, before suddenly overpowering the synthetic elements to take centre stage in bursts of joyful an intricate, detailed approach to music production with illusive almost dreamlike textures 'Stranger' sees Pollock further burnish her reputation as one of electronic music's most exciting and idiosyncratic new artists. Throughout the album's ten tracks she continually leads us down dark, surprising paths as she experiments with and twists song structures, resulting in an album that feels both eerily familiar and startlingly new and continues to reveal new secrets with every play.

Solo project of Vanishing Twin (Soundway) member.

The song Cucumuber Sword feat. vocals by Taishi Nagasaka (Fat White Family)

Man From Uranus has been making music inspired by the freakier edges of 60s and 70s library music and jazz for almost 2 decades, and like his predecessors - Sun Ra, Space Lady - he's never really fitted in, feeling more comfortable exploring cosmic realms than than with his feet firmly on his own planet. A prolific composer and home recordist, he has garnered a reputation for eccentric live shows, each presenting an entirely new repertoire. Alien Flowers, in a limited edition of 300, is one of few recordings capturing the spirit of an artist who is unwittingly on his way to attainting cult status.

Alien Flowers has been played on NTS, The Wire's Adventures in Sound and Music and The Independent Music Podcast. Support from The Sunday Experience, Tom Furse (The Horrors), Jonny Trunk, Doug Shipton (Finders Keepers), Emily Bick (The Wire) and Anthony Chalmers (Baba Yaga's Hut).

After making us wait almost two decades for new solo material before last year's "Saudade", Steve Cobby is back in the blink of an eye with his second LP in as many years, once again on his own Declasse imprint. I suspect self-releasing suits Mr Cobby, and "Everliving" sees him embrace the creative freedom it allows. The fourteen immersive and expansive cuts are spread lovingly across three LPs rather than cramped onto a double, allowing each track the time and space to grow and evolve at its own pace. The result is an LP which entirely envelops you within its own sonic world, beguiling your senses with hypnotic keys, lilting rhythms, gentle guitars and pan global sounds. More electronic than its predecessor, "Everliving" delves deeper, gradually easing you into a trance like state through repetition and an expert understanding of space. So far the release has been met with universal praise from the likes of Dave Harvey, Phil Mison, Richard Norris and Peter Kruder, and really, who are we to disagree Superb

Without knowing it, you've probably heard Kelly Lee Owens' work over the past few years: the 27-year-old London producer contributed vocals and writing to several tracks on fellow UK techno wizard Daniel Avery's debut LP, 2014's Drone Logic, and she's made waves with a pair of limited-release 12" singles showcasing her gifts for spectral, hallucinatory pop. On Oleic, her debut release on Smalltown Supersound, Owens flexes her considerable muscle as a dance producer with four luscious, deeply satisfying slices of big-room electronic music.
If previous single "Arthur" tugged at the threads of expansive house music, then Oleic finds Owens fully immersed in cavernous bass, circuitous melodical phrasing, and intricately textured synths. "C.B.M." wanders ominously through a thicket of rushed snares and distant synths, with Owens' vocal incantations occasionally emerging through the fog. Oleic's title track is ecstatic club fare, an endless loop doing swan dives around a patient, sturdy backbeat.

On the B-side, Owens' remix of Norwegian avant-musician Jenny Hval's "Kingsize" provides an experiment in the use of negative space, turning Hval's original into a propulsive, handclap-dotted journey with a few synth squiggles here and there that provide jarring bursts of color.

Oleic closes with a throwback to the days of Midwestern acid with the aptly named "Elliptic," all crisp drums and stuttering vocal samples with acid's signature squelches just close enough to touch the elements around them. It's a closer on an EP that showcases deep range and know-how when it comes to dance music's past and present, and Oleic only draws further intrigue as to what the future holds for Owens.