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Welcome To The Wonderful Worlds Of Soundesign, Electro-Acoustic Instrumentalism.

Die Orakel presents three tripped out leftfield excursions by Jaures

I appreciate the artistic expression expressed by this guy! Bil Basmala, Abstract Futuristic and Neo-Visionary Emcee, Writer, Sound and Print Designer. Over 50 projects from 1998 to present. Each purposefully aimed at elevating the human condition and concentrating on spiritual methods within an artistic design.' Bill Basmala is releasing his self-titled album in March. Silicon Circles' is the first track off it. I have to say, its different. Its dark and eerie but at the same time it has a lot of light in it. His flow is cool too, he kinda reminds me of Method Man on this song, just his flow, not what he's saying (and not in a biting way, more of a he's different who can I compare him too way). I like the ending where they discuss the ego. Dope.

These are ambiences from Australian landscapes, recorded by Spencer Clark (Monopoly Child Star Searchers, Typhonian Highlife, The Skaters, et al). Forced by undersigned into the genus of the field recordist. Natural sounds are mirrored to a world of fabricated aquarium music. Where lorikeets and ocean waves serve as a counterpoint for beautiful, light background airs. The recorder cunningly observes a building where the tourist forages, and fascinates the sounds of lands that are forever spiritual to the native. Captured on handheld cassette recorder as both being a study, and a recorded keepsake. Resulting in a document that is a particular addition to Clark's catalogue, where the sacred, the mirth and the mundane forever morph.

Recorded by Spencer Clark. Edited by Lieven Martens. Mastered by Christophe Albertijn. Typography by Jeroen Wille. Offset / Full Color artwork.

A real masterpiece! This incredible double album recorded in 1974 truly is an astounding experimental mystical trip to the desert and comes with the original longer uncut tunes from the master tapes. The rarest avant-garde music library by Egisto Macchi (founding member of GRUPPO DI IMPROVVISAZIONE NUOVA CONSONANZA) and surely one of the most interesting and intriguing experimental albums.

Hypnagogia is a word that describes the experience of transitioning from wakefulness into deep sleep. Mental phenomena that occur during this "threshold consciousness phase' include lucid thought, lucid dreaming, hallucinations, and sleep paralysis.

Shibuya Hypnagogia' is a 61-minute generative-music composition designed to induce the shift from full awareness into a state of deep delta. An alien transmission from the threshold of perception. A tool for introducing shifting gradients of consciousness. Trans-dimensional voices drift in and out over an ocean of gentle sonic-cascades. Sonic lifeforms hover weightlessly in your listening space. Sounds of ghosts in the wires. Nocturnal field recordings from Tokyo (Shibuya / Shinjuku) combine with prototype generative-music composition software to form this otherworldly audio landscape.

Mastering curves optimized for low-level playback. Tokyo recordings captured via Sound Devices 702 + Core Sound High End Binaural Microphones (DPA 4060 capsules). Mixed in real-time to a Tandberg TD20A recorder.

We've spent years now going through the analog tapes from the cv313 project archives and we're excited to have the long sold out, "Dimensional Space" (LP Edition) from cv313 finally available on CD. We had to pay tribute to the brilliant artwork from Lindsay Todd @ Firecracker/House Of Traps and the superbly mastered recordings from Bazza @ Alchemy Mastering, London. This edition features selected content from the LP set and unreleased versions of, "Isis", a killer new cut from the "Beyond The Clouds" sessions titled, "Beyond Dreams", this edition also features 2 unreleased cuts which were scheduled to come out on the LP edition of the album but were omitted due to budgetary concerns, never to be heard - until now. This might be the soundtrack to the other side of the galaxy, a place where space meets bass. Epic in every sense of the word!

Shlohmo fans have been aching for new material from the 'Bad Vibes' era since the seminal album's release and while he has since diversified his approach there's no denying the transcendent magic of the Los Angeles-based artist's early work. 'Bad Vibes - 5th Anniversary Edition' is a celebration of one of our generation's most adored producers, extrapolating on the twisted warmth of his seminal works in remarkable fashion. The 3xLP anniversary package include the original gatefold 'Bad Vibes' 2xLP, plus a bran new 12' comprised of b-sides, demos and outtakes from the album's progenitive sessions, bound together by a custom 'Bad Vibes' O-card.Having collaborated with the likes of Jeremih, Tory Lanez, Lil Yachty, How To Dress Well and Banks in the years since 'Bad Vibes', these unreleased tracks recall a simpler, more intimate time in Shlohmo's career and whether it's the live mix of Seriously' or the temporally defined 11_9_10 Asleep On The 22' that bridges the gap for you, these tracks will surely make waves for fans past, present and future.
Highest-selling record for both Friends of Friends and Shlohmo, Places' being the highest streamed single in the FOF catalog (over 7.5 million plays).Bad Vibes' reviewed positively by Pitchfork, Resident Advisor, Spin, Filter, Beats Per Minute, CMJ, XLR8R and more.Since the release of 'Bad Vibes', Shlohmo has produced for Jeremih, Post Malone, Banks, The Weeknd, How To Dress Well, Torey Lanez, and more.Regular international tour schedule including multiple world tours and festivals such as Coachella, Decibel, Osheaga, and Pukkelpop.
Shlohmo was handpicked for Rick Rubin's 'Star Wars Headspace' Compilation.Shlohmo performed live on Last Call with Carson Daly.

UnicaZürn (David Knight and Stephen Thrower). UnicaZürn build their long, ceaselessly evolving musical compositions through a process of improvisation followed by careful editing and processing. Their music, drawn from subconscious associations while recording, is frequently aquatic or oceanic in overall mood and texture. Knight has spent most of his life living on the banks of the Thames while Thrower resides on the East Sussex coast, and their musical flights of imagination tend toward rolling river dynamics and the open seas of synthesised sound. For UnicaZürn, tidal imagery, oceanic forms and the slow rhythms of coastal water are a recurring structural presence, with strong associations of rootlessness, of being far away from home, a stranger in a strange land. The inability of human lungs to breathe water endows rivers and seas with a special poetics: a boundary between two different but inter-related states. On the one hand, solidity, clarity, definition, on the other, fluidity, uncertainty, dissolution. The sense of a threshold between opposites gives rise to an elusive otherness, suggesting a portal through which the everyday world can be escaped. Death under the water, the survivors of a lost kingdom clinging to the rocks of an unfamiliar island, a coastal boat ride into deepest abstraction, a deserted beach expressing a world outside reality. A sexual frisson too: a hovering at the brink, poised at the turbulent edge of pleasure, swept away into oblivion. Do we head toward the sea when we want to escape And at the coastline, do we walk to the edge because we want to jump, or be swept away by an unexpected wave There's a darkness in the sea, even if illuminated by the most dazzling sunshine. Open horizons shows the clutter of our lives to be transient, and as we look to the sea we feel a dizzying sense of the eternal. Aquatic sensibility, oceanic timescales: the action of the salt sea beating on the shore. Each grain of sand a rock smashed to dust. Beaches are cosmic, elemental. They are images of time. UnicaZürn's core instrumentation blends analogue synthesiser, mellotron and electric piano with electric guitar and clarinet. Both Thrower and Knight draw upon their love and wide experience of of electronic music, from the outer shores of Stockhausen to the outer spaceways of Tangerine Dream. In addition, Knight is reknowned for his pioneering multi-textured fretwork with Danielle Dax and his ambient guitar settings for Lydia Lunch, while Thrower's reed playing provided a distinctive melancholy in Coil and emerged as electro-acoustic texture in Cyclobe. The title "Pale Salt Seam" is drawn from the poem "Night-Song of the Andalusian Sailors" by Federico García Lorca. Parts of "Pale Salt Seam" were recorded live at the Ironmongers Row Baths on 2nd March 2013.




[D] B1 | Pale Salt Seam 1 (feat. Stephen Thrower & David Knight)

Over the last 12 months Lee Bannon's transition into Dedekind Cut has yielded some of the most curious, immersive electronic music from the USA. His transformation now appears to be complete with the strikingly spacious and absorbing ambient sound designs of $uccessor, the NYC-based artist's debut album in this guise.

It feels as though Bannon's previous releases, American Zen for Hospital Productions, and the scything torque of R&D with Rabit, were cleverly planned stepping stones into this brave new world, where he establishes a dream-like topography of diaphanous ambient pads pitted with the shrapnel of grime and trap, ultimately revealing a simulated, otherworldly environment deeply personal to the artist.

His amalgamation of layered ambient dimensions with haunting harmonic figures nods to early '90s AI and electronica from FSOL to Coil via the antecedent spheres of modern sci-fi and computer game soundtracks, whilst also existing in a history of North American computer music and noise that connects to the spirits of Prurient and Carl Stone.

We're parachuted in like an avatar in No Mans Sky to the lush levels of Descend From Now, streaking across the iced out sino-eski zones of Instinct to the heart-rending eight minutes of Conversations with Angels and the perpetually elusive rhythms of Fear In Reverse, before he reaches to more optimistic new age planes on the aching chamber figure, 46:50.

It's telling that the album is brought to you via two highly individual labels such as Non and Hospital Productions - this meeting of worlds provides a context for the music itself, making for an album that we'd recommend as much to those of you who have enjoyed recent outings by Chino Amobi, Rabit or Arca, as much as followers of Prurient or, indeed, Dominick Fernow's Rainforest Spiritual Enslavement project. It's easily one of the most absorbing, sometimes disturbing Ambient albums you'll hear in 2016.

Hard to believe, but it's only been a year since Skläsh, Munich-based LeRoy's debut offering, made a huge splash, when countless trend-savvy media outlets dubbed it an electrified joyride, likened it to the discovery of an all-new orbital speed - or rather: a whole new dimension of time, space, everything. Indeed: Skläsh was (and remains) a globally-minded sonic time machine, fuelled by a refreshingly wayward and slack form of idleness.

And yet the world has changed and aged quite drastically over the last year - with lots of new scars, lots of bad news orbiting its overheating spheres: Whereas LeRoy personally went from strength to strength - visiting Vienna Winter Games, utterly amazing UK Festivals - Europeans had to face a shooting spree in Munich, an attempted coup in Turkey, too many Brits brexiting, and a Ba-ta-clan bloodbath on a horrible Friday the 13th: an increasingly steamy and explosive mix of events that led to a massive rightward swing and some hot debates that more often than not felt outright wrong and toxic. Enter Bambadea: An album born out of personal elation and European Weltschmerz.

Accordingly, Bambadea sounds both desolate and sun-drenched, gloomy and ecstatic - a para-doxical state that, in this current climate of extremes, actually has a subversive element of indetermination to it: These tunes feel both warm and cool, sexy and somber, sometimes even both high and heavy-hearted. Seen in this oscillating light, Advantage of Nothing' with its slow-moving bolero vibes is, well, pretty hardcore: A disturbed, sweetly insane tune with a wicked dash of Brian Wilson-ism: all the happy-happy sounds are merely foregrounding, a feel-good lid to cover the pit.

Underneath, there's a steady downbeat push, a breezy marine glaze, as if time was indeed suspen-ded for an instant: A lacuna, the kind of blank space that adds three-dimensional depth to the inter-locked syncopation of these tracks - and that makes Skläsh's tunes almost seem clunky and clumsy in comparison. A more grown-up approach then (despite the fact that his debut release ended with 'Niemals erwachsen werden') Not really. But clearly aged and matured. And severely so.

Album opener Quirly Stu' sounds like Neil Young's fingers let go of his guitar for a second: only to roll a cigarette while watching a tarred drum. And then, still in the same breath: the process of burning off as metaphor - for dealing with Nichts (nothing), and Nichtsein, nonbeing. Only to in- and exhale in the next moment ( Happened From the Void'), send enormous puffs of smoke into the blue skies above - and see: Love Is In the Air'. Growing increasingly denser and more atmospheric, Half the Way' encloses the listener like a sonic tunnel, and it's true: The flute that enters the picture towards the end is just that - a tunnel. A small tunnel filled with air in rhythmical motion.

And yet, while sunbathing and feathering one's thoughts in the gleaming light, there's ghostly voices, scraps of conversation amid the ebb and flow that perpetually hits these coastlines: an aquatic hustle and bustle, full of underwater sounds, that ultimately forms a maelstrom around Coral Girl'. It's the sheer intricacy of these tunes that makes Bambadea feel everything but aloof, everything but calculated or trying hard: This is pure pop as primeval force, the sound of eons combined to one big, harmonious ostinato.

Clearing the way to these ancient, prehistoric times is an onomatopoetic approach that ultimately - see Exposure' - hints at a possible future. It's an approach that dares to move beyond English as lingua franca or Manu Chao-style multilingualism, but creates a whole new language instead, a Neue Sprache: Bambadea = Awopbopalubopalopbambum reloaded. Or is it an ode to the African Bamba River, near the equator, the birthplace of various Mbam languages There's so many levels to this: After all, it's also nodding to the Bambaria' - a call to slave rebellion during the Spanish colonial era.

Last summer Berlin's otherworldly Saroos and Weird-Pop youngster Sequoyah Tiger from Verona have been remixing each other. Sharing a certain preference for hardly categorizable music, the results can be found here, pressed to the most beloved of all vinyl formats: the 7inch.

Available as 3LP set for the first time, incl. 6 pages poster featuring extensive critical and biographical notes!

This 3rd volume continues to show all the aspects of electronic music from the early beginning until now - including 2 pieces of historical concrete music (of the 70's), several piece of American tape music (Columbia University) with a special focus on all the electronic music from Germany - WDR early works - krautrock - electronic from 90's... Also featuring some recent work of the greatest noise artists + several unsung electronic pioneers ...

Datashock from Saarlouis, a collective of multi-instrumentalists. Founded in 2003, they've been losing themselves in the wardrobes of their subconcious ever since and have never been frightened to play around with whatever they can find in there, trying out colourful sound-costumes and sending out psychedelic-experimental sounds, with a huge discography counting more than 30 between albums, eps and miscellaneous.
Their latest work "Keine Oase in Sicht" released on Dekorder in May2014 has collected some great feedbacks from the like of The Wire, Pitchfork and more.With "HD Trailer EP" they find in Gang of Ducks a new sympathetic home where going ahead with their unique psychedelic sound.The cosmic caravan takes its journey in 4 different original tracks, exploring the psycho acoustic sound with echoes of far and never existed worlds together with an irreverent vision of our world today, with its new mania and obsessions.Printed in 180gr vinyl, matt laminated cover plus free digital download

One of New York-based experimental artist Fred Welton Warmsley III's (FKA Lee Bannon) many monikers, Dedekind Cut (pronounced "Ded-da-kend Cut") has set up the release of his debut LP titled $uccessor (DED004). Sharing his lead single "46:50" featuring Active Child in the guise of a modern approach to Noise, New Age, and Ambient music.
$uccessor will be released digitally on November 11th along with NON Worldwide limited vinyl and limited cassette via Dominick Fernow's Hospital Productions label

Written and recorded by Cindytalk between 2013-2015 at Roi Vert, Okamoto, Japan and Thirteenth Floor, London, UK

Film clips on Sea Of Lost Hopes, Lost Unfound and Filthy Sun: Ghost Dance (UK 1983), directed by Ken McMullen

Design/images: David Coppenhall

In praise of The Invisible College

'The Labyrinth of the Straight Line' is a compilation of chimerical poetry. Ambiguous haikus of agony, melancholy, obscurity and dissensus are unfolding over time. Walking on the shapeshifting paths of transgression, on the search for new realities since the early 1980's, Cindytalk's latest release pays hommage to their industrial roots, comprising brutalist outbursts in abstract sceneries of beauty and abysmality.

As surreal and introspective as a film by Jean Cocteau, as labyrinthic and enigmatic as a story of Borges, Cindytalk succeeds in spatializing subjectivity. These introverted detournements follow the logic of dreams and form the unsettling soundtrack of an unresting mind. The outcome can be abrasive and balearic at times, but also delicate and melancholic. 'The Labyrinth Of The Straight Line' forms an alphabet of dark and obscure detachment. Acid shivers of a body without organs and convulsive pumps of arteries alternate with poignant murmurs of the past that dissolve in tender shades of hushed despair and graceful debris.

We find ourselves in spaces with walls crumbling down or concaved by glazed mirrors terrorizing the claustrophobic body. From time to time we can hear a disembodied voice, speaking soft and clear like a narrator from a different reality.

Sonic psychogeography between somnambul dark ambient, claustrophobic post-industrial and nightmarish techno. Delightful sketches of escatology.

We're particularly proud to bring you this 2xLP based on unreleased tapes recorded in 1975, way before Marianni's first LP back in 1980! After 2 years remodeling the archives at Jeangérard's studio, they now deliver a brand new 75 minute album. Not only does the music remind such bands like Popol Vuh or any GRM act (where Marianni taught himself), but also modern artists like Massive Attack or Boards of Canada!

Formed from places, plastics, and particulars 2014-2016

Mastered at D&M, Berlin, September 2016

Design by Richard Chartier

The ongoing project by Los Angeles-based sound artist Richard Chartier (b.1971) sends you a new coded message of sumptuous distant drones and glacial orchestral heartrendings. Poised and polished slow motion pulsations tug at your emotions (but only a portion of them).

For those listeners desirous of the output of The Caretaker, Angelo Badalamenti, William Basinski, and other such dark wistful wonderment.

Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Amorphous, changing, and slipping in and out of consciousness, operating like a syrup-y dream and strives to be both elegant and detached.

Please don't hang up. This call is important. You're coming with Pinkcourtesyphone..., leave everything..., it's getting late.

Cryptic signals bounce between the munros and the Pyrenees as Glasgow crews Strobe Pie and Cru Servers turn out a duo of warped bangers for the third EIS HAUS release. On remix duties, YTAC inject some alcoholic disco bounce.

NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS...

"homemade jams from jules & jessicaís kitchen" is the follow-up vinyl release after SELA.'s critically acclaimed debut from 2015, "first". The Californian producer refined his take on leftfield R&B and footwork, trailing even deeper into ultra-minimal loops and found sound. There is an un-good atmosphere to most of his tracks, mostly due to the haunting chords and syrupy, loose programing. At the same time, the warm sound and hefty low-end clearly set apart SELA.sí production from lo-fi gimmickery. Fans of Angelo Badalamenti, Shlohmo, or BONES should give this one a try.

The sound to be found in nature can have a very slow groove. A groove embedded by silence, so slow it can almost only be felt while spending a few hours in the nature at sea, during a forest trip, in open fields, etc. It is this groove and the 'silence' of nature that was an inspiration for the Fieldtone compositions. The music is performed by an ensemble of string instruments (Kankles, Acoustic guitar, Electric Guitar, Double Bass) supplemented with drums

On two 12"s and over the course of a staggering 78 minutes, big things are happening on "Jams", Urban Homes' monumental sophomore album. The highly ambititous attempt at a certain history of dance music, a sweaty night on the dancefloor, an excursion into the fog...But one thing at a time: The 13 Jams go back to recordings of years of communal, midi- and hardware-based jam sessions which, over three years, were painstakingly discarded, refined, condensed, reconstructed and provided with occasional guest vocals by Hanitra Wagner (Oracles, Die Heiterkeit). The album was mixed by Jan Philipp Janzen (Von Spar) at Dumbo Studios, mastered by Cem Oral at Jammin' Masters. Sonja Deffner (Die Heiterkeit, Jason & Theodor) is responsible for the stunning gatefold artwork.On "Jams", Benjamin Riedl, Stephan Weinand and Oliver Bersin explore a history of dance music that is retraced in the 13 tracks: The seemingly clear cut references in titles such as "Verdub Lang Her (Stripped Down Killer Dub Jam)", "Blue Note Jam" or "As High Acid Can Get (:-)Jam)", however, are not to be taken as letters of intent, but—despite the playful handling of genre conventions and clichés—as hommages to the immaterial architecture of the club: the atmosphere, the vibe, the jam. In its rich texture, the dramatic composition of "Jams" reconstructs the resonance space of an excessive, foggy, and steamy night at the club, thereby approaching its point of interest. Despite the clear club compatibility (each of the 13 tracks will work on a dancefloor worth its salt), Urban Homes do not shy away from sticky harmonic arrangements and melodies that are bound to be called "pop". They do however, and this is one of the points of this great album, avoid any overarching narrative of organicity or authenticity which might refer the record to a context of "indie" music. Unlike the acclaimed and award-winning debut "Centres", which wore the socialization of the (previously four) Urban Homes on its sleeve, this is rootless, nomadic music that is in the most beautiful sense out there. So far out there, in fact, that we seem to make out figures such as Pharaoh Sanders or Sun Ra through the ever-present (see titles such as "4/20 Jam" or "Summer Rolls (Midnight Munchies Jam)" for reference) fog.What seems so effortless, casual and relaxed over the entire run time, finally, is in fact merely evidence of the band's musical mastery and precision: The staging of gaps, the fraying, dripping track ends and its general weirdness is part of the modeling of the history of a music that formed without a "quantise" command.

* Basmala is the debut album by the American World Music and Ambient Soul production Basmala, released in 2016 on Preservation Electronic Recordings. The album maintains a hip-hop base and ambient or minimal atmospheric sound, which is the unique signature of Basmala.

* Basmala is the debut album by the American World Music and Ambient Soul production Basmala, released in 2016 on Preservation Electronic Recordings. The album maintains a hip-hop base and ambient or minimal atmospheric sound, which is the unique signature of Basmala.

Bokeh Versions presents more outernational transmissions from the fringes of dub music.

Moving from light to dark across 45 minutes of dub electronics, New Teeth for an Old Country references Jay's native Greece - steeped in glacial classicism it's refined and dark as hell. This is dub strictly in the abstract - snatches of horns, a distant scream of organ - Jay Glass Dubs comes across like some bedroom-producer Bauhaus sacrificed to the On U Sound mixing desk.

BKV 007 follows an under-the-radar run of 'Compound Dub' dubplates and the hottest dancehall mixtape of the year (Glacial Dancehall) on Bokeh. Jay recently completed a trilogy of tapes on Hyle Tapes, THRHNDRDSVNTNN and Seagrave. Forthcoming releases on The Tapeworm and anòmia foreshadow his debut 12" on Bokeh Versions next year (featuring a very special guest on vocal duties).

Jay Glass Dubs is an exercise of style by artist Dimitris Papadatos focusing on a counter-factual historical approach of dub music, stripped down to its basic drum/bass/vox/effects form.

"Jay Glass Dubs dives into the methodology of dub more deeply than anything since Creation Rebel's epochal Starship Africa"

Tristan Bath, the Quietus

100 copies, strictly limited c45 and digital.

Via App is an alias of Dylan Scheer, Queens based electronic producer and performer. She started hosting and playing shows, as well as releasing tapes under the moniker in Boston. From there, she moved to New York in 2014 and quickly became part of the city's experimental electronic scene. Her early live hardware sets got her recognition for their often stark mode of sample manipulation and collage, their dynamic narrative compositions, and their refusal to adhere to any one genre. More recently her live sets have maintained a similar sense of precariousness. She works samples and her synthesized sounds into polyrhythmic infectious grooves which threaten to break at any moment, unpredictably giving way to manic frenzy, or complete pause. Her studio recordings exist, in part, as documentation of her performances and are all recorded live.



In 2015 she released "7 Headed," a heavily sample-based techno 12" that received critical acclaim, landing her a spot on the top 10 electronic releases of the year in the Wire, and an artist feature on Resident Advisor. She has toured Europe and played esteemed festivals such as Moogfest, Sustain-Release, and Rewire, and will play Unsound Festival in October. A Via App track is featured in an Objekt mix and its accompanying 12" of rarities on Tresor which was released

Inversions is a new imprint, spawned by parent label Power Vacuum.
The overall brief is broadly the same: driving, kinetic music of an exploratory and divergent bent, but employing more of a live/traditional instrumental approach. The first release encompasses electro-kraut, psych-punk, lo-fi pop-folk, prog-fusion and drone doom-metal, still with one eye on some sort of dancefloor, but equally at home on the turntables of bedrooms and after-parties.
With an insert and download code.

Alpha Pup Records presents Mù Chè Shan Chu by Howie Lee: an innovative producer, master sound curator, and ambassador from the Chinese musical underground. Born in Beijing where he lives now, Lee has lived in London, recorded in Taipei, and is now releasing his debut album on a Los Angeles label - truly a global phenomenon. After being hit up by Snoop Lion for a remix in 2012, Lee's future music from Downtown Beijing' busted out of China to captivate crowds with its thoroughly unique style. His distinct approach blends local samples, traditional Chinese sounds, and inventive modern rhythms. Tracks are drenched thickly in bass and imbued with the fresh feel of youth - and often, are right at home on the dance floor. Gripping from the very beginning, intro track The Gate' invites you into the artist's underground world and sets the tone for an expansive, epic journey. Syncopated beats strut through Cloud Lamps,' and Sinka (feat. Zhang Yang)' steps right into a thundercloud. Bei Hai' is a riveting experiment with an alluring rhythm, a warm wash of sounds that pulls in unexpected directions. Mù Chè Shan Chu is always in motion. Impossibly dense and lush, yet also incredibly spacious and vast - a juxtaposition that reflects China itself. From the plucked strings of the guhzeng to the butterrich bass of the 808, Lee brings an unmistakable Far East flavor to the leading edge of modern electronic music.

The 10th Anniversary edition of this classic album from the master of drone and Kosmiche Musik was originally released on CDr by Kill Shaman in 2006. Sonic Meditations presents a first time vinyl and cassette edition, newly mastered after being out of print since 2009.

"Gorgeous drifting ethereal krautrocky ambience is what Expo '70 is all about, and eyes closed, you'd be hard pressed to not think this was some Ash Ra Tempel disc or some long lost A.R. and The Machines lp. Crafted entirely from guitars, sitar and Moog, each track here is some sort of lengthy, mesmerizingingly blissed out minimal drone jam. Guitar figures are looped into hypnotic cycles, over shimmery whirls of fuzzy sound and distant drones, the looped riffs slowly shifting and gently changing shape. It's almost like some sort of new age space rock Steve Reich." - Aquarius Records couldn't have summed up the etherial mystique around Wright's developing project better.

For the fifth installment in the Common Thread series we're launching our series of Various Artists EP's called ''Knives Replace Air''. For the first effort in this series we have the likes of Chinaski, MangulicaFM, 33.10.3402 and Gitchell Moore cooking up stuff.

Expect an odd mixture of genres all sharing a common thread in terms of feel. Maybe not the most dancefloor friendly record but definitely some kind of miniature soundtrack in it's own right.

The fi rst Ever public available Vinyl edition of Pip Paine, the fi rst album by Metronomy. Initially released in 2006, this fi rst album was a collector edition limited to 2500 units and thereafter released only once for RSD 2013. This Album initiated the Metronomy Buzz thanks to the tracks « You could easily have me » and « Tricks or Treats ». This new version includes 4 Bonus tracks : « Are Mums Mates », « Hear to Wear », « Another Me to Mother You » and the un released track « In the D.O.D. ». Original Packaging, Gatefold, Double Vinyl + CD Inside. It's a very deluxe and unique edition.

After crafting Kykeon, the most detailed and finely intermeshed recording of their output, the cosmic compatriots Rhyton decided to get back to basics and kick out the jams with both ferocity and stateliness. Their newest slab entitled Navigating by Starlight features two sidelong improvised slices of molten music recorded by the redoubtable Jason Meagher at apex temperatures at his upstate New York Black Dirt Studio. The first side "Lovejoy Vapor Trail" comprises a journey from an initial solemn invocation, rushing through areas of blinding scree toward a summit of relaxed but rough and tough guitar elevation. The second side with its natural bifurcation was an instant composition of two halves that balance perfectly and exhibit a subdued menace. Rhyton is very pleased to be joining the stellar MIE family, just in time for the rebirth of the sun!

"Navigating by Starlight is the elegantly distended fourth LP by a New York band known for its fine taste in bourbon as well as its ability to explore strangely forested nooks of space. Composed of two side-long excursions of heavily-bearded improv, this is what Bruce Dern should have been listening to throughout Douglas Trumbull's Silent Running.

The first side is called 'Lovejoy Vapor Trail,' after the recently discovered comet said to be releasing enough alcohol to fill 500 bottles of George T. Stagg every second. Who could fail to be staggered by such a suggestion Not these guys. Dave Shuford's guitar vomits stars in all known directions, Jimy Seitang's bass and synth cover the proceedings with a blanket of darkness and Rob Smith's drums drive things along like a pulsar.

The flip, 'Scylla and Charybdis,' continues Rhyton's linguistic love affair with Ancient Greece. But with Shuford on electric mandolin, and the rhythm section picking their way between the twin threats more carefully than usual, the band creates a vibe that is more space-swamp than whirlpool (at least in this writer's opinion). By which I mean its method of sucking you into its vortex is staggered rather than continuous. Of course, once you've stuck your head into Rhtyon's sound-barrel, the specifics of destruction don't matter much do they

500 bottles of Stagg a second...that would sure take care of the world shortage, wouldn't it" - Byron Coley

Featuring remixes by artist across the ambient, experimental and EDM spectrum. John Tejada, The Sight Below, Arovane, Tonik Ensemble, bvdub, Ocoeur, Ambidextrous, Northcape, To Destroy A City, Nseven and Attilio Novellino as well as two remix contest winners HatGuy and Gustaf Fjelstrom.

Nearly 80 minutes of re-imagined versions of songs culled from one of port-royal's most heralded releases.

Youth isn't usually associated with wisdom, or depth or complexity for that matter. Most 22 year-olds are still figuring out how a washing machine works but in the case of Howes (the solo project of Manchester-based John Howes) he's making electronic music that is operating on innovative and experimental levels one might expect from a hardened career musician hitting their stride. Having released a more House-oriented 12' on Melodic a couple of years ago, his debut album proper is a record that is as expressive as it is cohesive. It's a release that floats between nocturnal stillness and insomniac driven intensity. The shift, Howes Says, 'Comes from the forced and narrow nature of a lot of electronic music. Most modern electronic music to me is too safe in terms of ambition, sound design and intention.'

The aforementioned middle of the night quality is hardly surprising, given the creative process behind making the record as he points out, 'Most of these tracks come from finishing work on Friday, going home and starting a patch, working on it till the sun rises, sleeping a couple of hours, waking up and working on it all day and through the night until Sunday night. By this point you've honed down all the madness into something you understand and control in real time. Then I record live to a cassette machine I've had since I was a kid. There's only two tracks on the record that have any editing and overdubbing, the rest are just recordings of the cassettes.'

The referred to patches come from Howes' experiments with modular synths, 'I used to struggle making stuff on a computer, you can do anything, sound like anyone, but there's nothing the computer gives back. To get around it I started making my own software to make tracks on, then I got into modular stuff and building my own bits of proper kit. I wanted to have a setup that works like my head and the only way to do it was to start making these bits myself, I'm not into the fetish of modular stuff and analogue this, vintage that, I just like the way I approach these things I've put together myself.'

Howes' work method has resulted in a record that feels at times personal and melancholic, charged with emotion and humming with a warmth that comes from such a labour intensive and solitary work routine. By not doing any editing or overdubbing Howes admits that 'Its pretty hard to listen to because I can hear the shortcomings' however, it's a process he's overall very pleased with, 'There's other bits that make me really proud. I like the fact there's nothing to hide behind, you can hear mistakes, you can hear me tweaking notes till I find the few that emotionally resonate with me, its like trying to put people in the room with you.'

Trying to place a label or genre association on this record is like trying to keep hold of an oiled snake, the second you think you have it, it wriggles away from you. Which, as it turns out, is exactly what Howes intended, 'I don't really think in terms of genre, most of the tracks are from self generating patches which sometimes come out with elements of house/techno but are mainly stripped back to the point where they can't resemble any established music form, maybe ambient but that's a cop out. I'm more into getting lost in something and not knowing what it is I'm making, getting stuck in a trance all weekend and then recording the last 5 minutes.'

Youth isn't usually associated with wisdom, or depth or complexity for that matter. Most 22 year-olds are still figuring out how a washing machine works but in the case of Howes (the solo project of Manchester-based John Howes) he's making electronic music that is operating on innovative and experimental levels one might expect from a hardened career musician hitting their stride. Having released a more House-oriented 12' on Melodic a couple of years ago, his debut album proper is a record that is as expressive as it is cohesive. It's a release that floats between nocturnal stillness and insomniac driven intensity. The shift, Howes Says, 'Comes from the forced and narrow nature of a lot of electronic music. Most modern electronic music to me is too safe in terms of ambition, sound design and intention.'

The aforementioned middle of the night quality is hardly surprising, given the creative process behind making the record as he points out, 'Most of these tracks come from finishing work on Friday, going home and starting a patch, working on it till the sun rises, sleeping a couple of hours, waking up and working on it all day and through the night until Sunday night. By this point you've honed down all the madness into something you understand and control in real time. Then I record live to a cassette machine I've had since I was a kid. There's only two tracks on the record that have any editing and overdubbing, the rest are just recordings of the cassettes.'

The referred to patches come from Howes' experiments with modular synths, 'I used to struggle making stuff on a computer, you can do anything, sound like anyone, but there's nothing the computer gives back. To get around it I started making my own software to make tracks on, then I got into modular stuff and building my own bits of proper kit. I wanted to have a setup that works like my head and the only way to do it was to start making these bits myself, I'm not into the fetish of modular stuff and analogue this, vintage that, I just like the way I approach these things I've put together myself.'

Howes' work method has resulted in a record that feels at times personal and melancholic, charged with emotion and humming with a warmth that comes from such a labour intensive and solitary work routine. By not doing any editing or overdubbing Howes admits that 'Its pretty hard to listen to because I can hear the shortcomings' however, it's a process he's overall very pleased with, 'There's other bits that make me really proud. I like the fact there's nothing to hide behind, you can hear mistakes, you can hear me tweaking notes till I find the few that emotionally resonate with me, its like trying to put people in the room with you.'

Trying to place a label or genre association on this record is like trying to keep hold of an oiled snake, the second you think you have it, it wriggles away from you. Which, as it turns out, is exactly what Howes intended, 'I don't really think in terms of genre, most of the tracks are from self generating patches which sometimes come out with elements of house/techno but are mainly stripped back to the point where they can't resemble any established music form, maybe ambient but that's a cop out. I'm more into getting lost in something and not knowing what it is I'm making, getting stuck in a trance all weekend and then recording the last 5 minutes.'

The Voice Calling is the first Mind Over Mirrors album to feature the addition of Circuit des Yeux's Haley Fohr (Thrill Jockey) on vocals

The LP is pressed on virgin vinyl and packaged in a full color jacket with free download card

Mind Over Mirrors will tour extenisvely in the US and Europe Fennelly has recently collaborated with Jon Mueller's Death Blues, Chris Forsyth and The Solar Motel Band, Zelienople, Scott Tuma, Koen Holtkamp (Mountains) and Wrekmeister Harmonies

Mind Over Mirrors has also collaborated extensively since 2001 with dancer-choreographer Miguel Gutierrez. The duo have performed at the Centre Pompidou in Paris and have
been covered in the New York Times

Fennelly is a veteran of the NYC early 00's experimental/noise scene with his previous projects Peeesseye (with Chris Forsyth), Acid Birds, and Manpack Variant*