Pop & Rock News

Berlin’s veteran mad scientist of discarded MIDI Hi-Tech, Novo Line’s Nat Fowler arrives on Protofuture for a special collaboration with Cocktail d’Amore resident DJs Dama (tracks selection) and Trent (mixing/mastering), combining their unique voices in electronic dance music for a choose-your-own-adventure of club transgressions.
“Racconti” – a concept album on cassette recounting those extended stays at our favorite overnight establishments in Berlin, Brescia, and beyond – takes Novo Line’s hauntingly disorienting yet danceable polyrhythms and three-dimensional harmonies through ‘Late Night’ (blue side) to ‘Early Morning’ (yellow side), echoing the sounds from within the dark cold walls of an industrial cellar to the outside garden terrace, as the morning’s blau stunde makes itself known. Birthed and bred between the three during the COVID-19 lockdown in their lingua franca of Italian, “Racconti” (translated best as “Stories” alluding to those brief life-excerpts compulsively shared on social media) recounts a prototypical night when we commit to entering that club full of friends, temptations, and an open schedule for the next day(s).

New 2xlp of grinding beat experiments from Black Dice's Eric Copeland. Controlled chaos, chopped sample mayhem, moments of beauty and destruction over four sides.

The latest release by the Mexican avant-garde label Akumandra is
founder Sainte Vie’s three track auditive voyage: From Desolate Places
and Forgotten Times. Going beyond previous experimentation with
sound assemblage and sampling from non-western musical traditions,
Sainte Vie crafts his signature mesmerizing soundscapes by
combining dreamlike synth textures, monumental drops and vibrant
melodies that feel deeply melancholic. Insistent arpeggios and
expansive build ups bind the tracks together in an ebb and flow of
dynamic energy

The best thing about trends is often their counter-movement. In times of digital hysteria, the
contradiction lies unsurprisingly in deceleration, in turning away from algorithms. The search
for the diffusely concrete, a kind of musical memory from the infinite ocean of sounds and
acoustic figures, is at the centre of a dark glowing cloud called Mantra Mantra.
Between Techno and Toto, drop shadows and ethereal patterns, Sam Irl and Daniel Helmer
simmer their hypnotic sounds.
The music whispers with every note: we are only two interconnected home studios,
quietly eloquent through the night as an anti-hysterical mantra to all the recipients of this
universe.

TAMBURI NERI’s WORKS 2 is the first LDDLM release of the new decade. Following their acclaimed EP on Optimo, Claudio Brioschi (aka Brioski) and Andrea Barbiera further their exploration in stripping down their psychedelia. There is a long tradition of slo-mo tribalism in Italian dance music, cosmic or not. But Tamburi Neri dissolve the tribal decorum, focusing on the beat-as-heartbeat, and on Italian language as incantation.

INDIO, the faster paced track, has been a staple in our DJ sets, pure raw energy for when things get settled in darkness. RELIGION REBEL is an exercise in menacing trance-funk, whereas IL VORTICE puts the vocal forward, a track and a story.

We have been a fan of Marco Passarani for more than two decades, a man constantly reinventing himself and rewriting the history of Italian electronics. He here remixes RELIGION REBEL in some kind of power-balearic anthem, a record for, yes, ecstasy and sunsets.

!K7 Music is proud to announce "Headroom", the debut album by James Alexander Bright. His music is a multi-sensory experience, one where smooth grooves, wonky rhythms, dreamy melodies and immersive atmospheres coalesce to form their own sphere.
James Alexander Bright's music is as visual a voyage as it is a sonic one; a kaleidoscope of colours that swirl, swoon, soar and sing. Stepping into his musical world is a multi-sensory experience, one where smooth grooves, wonky rhythms, dreamy melodies and immersive atmospheres coalesce to form their own sphere. "Sound as vision," says Bright of the audio aesthetic he relates to and aims for. "Music you can bite into." Based in the Hampshire countryside and an illustrator by day, Bright's world is often a dual one but one where elements overlap and inform one another. "I spend a lot of my day creating things visually and everyday life can be an assault on the senses, "says Bright." Evening is my quiet time; time for my ears. Invariably I'm inspired by the things that people and creatures do in the dark.

Nils Frahm, born in 1982, had an early introduction to music. During his childhood he was taught to play piano by Nahum Brodski a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians.

The three instrumentals, which make up his debut release 'Wintermusik' are piano led pieces, coloured with occasional celeste and reed organ parts. The record's equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again.

The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes. As the curator of the Swedish boutique label Kning Disk's Piano Series, Peter Broderick invited Nils to record a new Nils Frahm, born in 1982, had an early introduction to music.

During his childhood he was taught to play piano by Nahum Brodski a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians.

The three instrumentals, which make up his debut release 'Wintermusik' are piano led pieces, coloured with occasional celeste and reed organ parts. The record's equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again. The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes.

As the curator of the Swedish boutique label Kning Disk's Piano Series, Peter Broderick invited Nils to record a new album of piano improvisations the result is 'The Bells', which will now be released on Erased Tapes in the UK, Ireland and North America. Perhaps the most stunning aspect of what on the surface appears to be an entirely pre-planned and composed body of work comes with the discovery that these pieces were in fact improvised.

These two friends share a common affinity in that they both possess an absolute mastery of melody, composition and performance able to deliver with devastating effect. The modest Mr. Broderick states 'I remember thinking to myself as I lay there stunned, that I could spend ten years trying to write an amazing piece of piano music, and still it would never be half as good as these improvisations!'

Recorded in a rented, beautiful old church in the heart of Berlin over two nights, Nils 'just played' with the occasional instruction from Peter 'I spouted "Make a song using only the notes C, E, and G", or "Make a song that you could imagine me rapping over the top of" (Track 8 'My Things'). At one point I was even inside the piano, laying on the strings, asking him to make a song called 'Peter Is Dead In The Piano'. The resultant work 'The Bells' shares the same excitement and air of playfulness.

For a musician this early in his career, Frahm displays an incredibly developed sense of control and restraint in his work. As the recognition continues to grow for both, 'Wintermusik' and 'The Bells', we are pleased to announce that 2010 will also see his next album release on Erased Tapes.

Wicked 4 tracker of
.
Old Shady Grady & The Neighbourhood Character (OSGATNC for short) is the result of a chance meeting in Berlin the fall of 2013 between Eric Douglas Porter a.k.a. Afrikan Sciences, one of the most expansive and intensive musical torch bearers of modern experimental electronics and jazz, and Ari Robey-Lawrence, producer, vocalist, and DJ a.k.a. The Neighborhood Character, who began as a jazz guitarist and drummer. They quickly found a mutual bond and a musical partnership emerged soon thereafter, and debuted on Uzuri's The Wilderness Sessions with their EP, Tales from Caturday'.

Via their collaboration, Porter and Robey-Lawrence explore the intersections of diverse musical and emotional territories through improvisational, long format jam sessions-- experimenting both with a wide range of sampled sounds and expressive original vocals, sustained by pronounced, yet fluid rhythmic backbones.

Jordan GCZ says: I walked into their sound check at freerotation festival last year and was blown away. I feel privileged to be a part of putting this music out there'

Medical Records is elated to reissue a very special vinyl collection consisting of a hand picked selection of vocoder and synth tracks by the one and only Zeus B. Held. Zeus is a well-known and acclaimed German musician and producer also made famous for producing Gina X Performance (also reissued by Medical Records). Zeus first began his musical career in the mid 1970's with the German prog rock group "Birth Control". Subsequently, he recorded three solo albums: "Zeus' Amusement (1978), "Europium" (1980) and "Attack Time" (1981). He performed a number of interesting live shows supporting the albums all over Europe using a number instruments such as Fender Rhodes, Hohner Clavinet, Hammond Organ, Poly and Minimoog, ARP sequencers and most importantly, a Sennheiser Vocoder VSM 201 among other various instruments. His musical influences ranged from Rick Wakeman and Keith Emerson to Kraftwerk and Steve Reich. Zeus also was involved in a very diverse roster of collaborations with such important artists as Guru Guru, members of Can as well as French space rock groups ("Les Rockets" and "Visitors"). The tracks that make up this compilation were selected from the aforementioned solo records. Ranging from straight out cosmic disco to propulsive proggy funk to the unclassifiable, this collection is a perfect representation of his solo work. Standout tracks include the cosmic burner "Held It", the total vocoder/space jam "Musik, Music, Musique" and the amazing interpretation of Beatle's "Drive My Car" complete with vocal by Gina Kikoine herself (Gina X). This collection will appeal to fans of the synth/vocoder work and unmistakable razor sharp production of Gina X Performance as well as fans of left-field synth heavy prog and disco (a more rock based Moroder if you will). Specially remastered for this vinyl reissue. Presented on high-quality 180gram colored vinyl.

Ten years on from its digital-only release, Utter presents the legendary third Mu album on vinyl for the first time! What can we say? This is possibly the most bonkers and 'out there' Maurice Fulton has gone production-wise, from sub-heavy Hip-Hop to Country (!) to Thrash-Metal (?!) alongside a sprinkling of his signature genius House/Disco magic thrown in for good measure... all with Mutsumi's infamous vocals over the top. Limited pressing with fluorescent pink sleeve & insert. Remastered & cut by Rashad Becker at D&M.

Following on from Bodyjack's landmark "Nataraja EP" this summer which marked the 10th DEXT release, we welcome back our good friend Lo Shea to the label to continue the next phase in our journey. He comes to us fresh off his recent outings on Rekids and Dusky's 17 Steps, His first DEXT EP 'Durga' is one of the standouts from our early catalog.

We first heard "Activation" when he dropped an early version at our Fabric takeover earlier this year, and it grabbed us immediately. What essentially starts off as a super sharp rhythm track ends up very differently. This is a DEXT track through and through without a doubt!

Liam delves into his drum and bass roots for 'Pressure', marrying rolling broken beats and dark rave synth work but cleverly keeps the tempo right down and really adds to the sense of foreboding.

This LP is here to make party!
All actually styles are presents.
Must Have! and Dance!

If emptiness is heaviness is Godliness, Birds of Prey’s third full-length LP is an immaculate conception from on high. The record luxuriates in the spaces between. What’s left out says as much as what made it in. Deep, droning, and dub wise, “Vanishing Point” cascades in elegance. Its reference points call towards the sample manipulation of American tape music and the downward gaze of amniotic British bass music. It charts its own path nonetheless, building its own space for drifting off to. Unlike many peers operating in similar realms, Birds of Prey are a proper band, a foursome: Grant Aaron, Clay Wilson, Eric Holmes, and Camille Altay. Each are artists in their own right with a distinct practice. In Birds of Prey, their collaborations in studio take on a greater shape, whittled and edited into cosmic formlessness. Although borne of improvisation, you may never know that in the listening. “Vanishing Point” is a tight, coherent work, the sound of a cadre of talented musicians locked in flow. Rippling tones become glacial melodies. Cavernous drums emerge barely from the ether. Rhythms interlock, interpolate. Patterns repeat and dissolve whence they came. There is untold potency in simplicity, and Birds of Prey make it known.

Our final release of 2019 is a 4-track EP by Red Axes, the prolific production duo of Dori Sadovnik and Niv Arzi from Tel Aviv. The pair were raised on a diet of post-punk, new-wave, and Italo-disco at fogged out warehouse and basement parties. Their own productions and remixes have appeared on labels such as I’m a Cliché, Correspondant, and Hivern Discs. “Voom” kicks things off with wild percussive toms and bubblegum female chants over a fat electro break. “Doom” rightly brings us into a dark, menacing cave where see pulses of light in the form of carefully placed synth lasers. “Mister Q” serves up metallic rhythms a la Front 242 backed with a strobe-ready sound. “Prblems” is the 10-minute anthem that closes the EP in typical Axes fashion: militant drums, battered electronics and lovingly drowned traditional instruments hypnotically pulse and reverberate. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The EP is housed in a die cut jacket that keeps the dancefloor vibes with a bold, DIY design by Eloise Leigh.

For this ninth EP and special "10 Years De:tuned" emission we dig deep into Atypic's, better known as Andy and Ed from Plaid, archives for a couple of rare and previously unreleased tracks written in 1992. On offer two mighty lost classics gradually building into a fallout of immense, beautiful proportions produced by one of the most interesting electronic duos of the 90's and modern times.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering. This 12" is pressed on 180 gr vinyl and 1 track per side to transfer the rough DAT sound at best condition. A separate digital version will be available from the usual digital shops. Stay tuned!

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 it's 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.

Holy Fuck have today announced details of new album 'Deleter', which will be released on January 17th and is further previewed with the video for acclaimed latest single 'Luxe' (ft. Alexis Taylor). Having just concluded a US tour alongside Hot Chip, the seminal Canadian band will play a selection of European headline dates later this month (with a London show at Moth Club on October 23rd selling out immediately).

Arriving at a moment where attention spans are shot and anxieties are going into overdrive, 'Deleter', Holy Fuck’s fifth studio LP, is a defiantly full-bodied affair. Polyrhythmic and pleasure- focused, 'Deleter' sees Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt “Punchy” McQuaid utilises their signature sound - seamlessly fusing the gauzy drive of krautrock and deep house’s dreamy ineffability, expertly blending purring motorik percussion with the sort of fuggy synthetic fizz and tang they are renowned for.

From the thrusting minimalism of opener ‘Luxe’ through to the triumphant chug of closing track ‘Ruby’, via club-ready rollocker ‘Free Gloss’ and the cosmic clatter of ‘San Sebastian’, Deleter is a record that joins the Holy Fuck dots within their widescreen, technicolour, crescendo- heavy sound.

Andy Rantzen, Sydney, Australia.
This one is a special for us as we love dub and lo-fi music and also love the experiments of Andy Rantzen like "Rain in the Morning, Sun in the Afternoon / Dark Sea".
The more interesting part of the story is, that both tunes are written and recorded nearly 20 years ago by Andy - 1999-2000. But definitely still hot and vibing our sweet and sour DIY motto. We like!!!
A must in your collection!

Freestyle techno nonstandard DJ Sotofett produced this cosmic ambient excursion together with two Finnish producers Kalifornia Keke and Stiletti Ana.

Announcing Mad Zach's debut release on MethLab Recordings with his No Past Lives EP, which is available on 12" vinyl and digital formats. The four tracks within unfurl an exquisite and alluring journey into the recesses of the human spirit, circling between nostalgic yearning and a steadfast, driven intensity. No Past Lives will be available on Tuesday, October 1.

An intoxicating myriad of complex soundscapes, Mad Zach stuns yet again with impeccable sound design through four thoughtful tracks. A compelling story through the inner workings of the mind, Mad Zach does not hold back in his enigmatic MethLab debut. Featuring production techniques signature of the prolific producer, Mad Zach’s many influences shine through in No Past Lives; a mix of dub, hip-hop, techno, jungle, and various other styles, No Past Lives is the amalgamation of artistic passion and drive.

3x12"

The SENTINEL LP represents the manifesto of one part of the spectrum of MethLab's club-oriented sound. Featuring a cross section of our forward-thinking artists and special guests and illustrating a dynamic set of sonic aesthetics to usher in a new era of diverse music and an open-minded approach to the dancefloor. Expect searing audio that resides on the very cutting edge of bass music.

Nathan Micay is pleased to present another member to the Schvitz label family: Original Schvitz, a home for tracks he made purely for the rave. On the inaugural 12’’, Micay provides three of his most dancefloor-friendly cuts to date. A-side stormer ‘The Canadian Shield (Loon Song)’ is an epic trance journey that contextualizes the Canadian loon like never before. On the flip, Micay finally gives the heads the sought-after ID ‘Feed The Planetary Sharks’, a playful house groove that has worked dancefloors the world over. Finally, ‘I Like My Nudeln Fried’ successfully merges UK garage and trance to create a roller for the ages. As always, Schvitz gives back. This time all proceeds from record sales go to Give Something Back to Berlin, an inclusive space that offers free workshops, courses and events to teach people new skills in music and beyond. Hello Schvitz trifecta!

Berlin based Dame Bonnet makes music influenced by post punk and cold wave and with a primitive and reverb-drenched production he creates a tragic dream for the listener to sink in to.

The music has a sentimental feel to it but the pretentions are avoided thanks to the direct sound and the unremitting drums which contributes to give the tracks a forward momentum instead of a stuck in place-feeling.

Dame Bonnet makes sad club music with traces from the early eighties In England, a society ravaged by the cold individualism as a result to neo conservative politics - a time that resembles ours, where people gets categorized out of prejudice and the social welfare systems are uninstalled bit by bit in front of a sparser crowd of woke people.

In Europe, now in the 2010s, a supposed dead ultraconservative monster is coming alive again and Dame Bonnets music makes the soundtrack to that process.

Nick Warren, eine Institution des Progressive House, betreibt seit einigen Jahren zusammen mit seiner Partnerin Petra mit "The Soundgarden" ein Konzept, das Label, Compilations, Clubnächte und eine globale Radioshow beinhaltet. Nun veröffentlicht er für Balance einen DJ-Mix mit komplett exklusivem Material, das den Spirit dieses Konzepts aus Progressive House und Leftfield-Electronica, Deepness und Eklektizismus, perfekt einfängt. Zuerst erscheint die Doppel-CD mit 2 Mixsets aus 27 Tracks, ca. einen Monat später folgt die Doppel-LP mit 8 ausgespielten Highlights (samt Download-Code zu den CD-Mixsets).

Serious Trouble is back with a split EP by Dolphins and JATIBE. Two yet unknown collaboration projects delivering two multifunctional switch-hitter on heavy 180 gram vinyl. One to raise -, one to relieve TENSION. Both literally guided. To avoid any risks and side-effects we recommend a cautious usage.

Rooted in the São Paulo contemporary art scene, Laima Leyton’s credentials in the world of music are firmly established as one-half of Mixhell alongside her husband Iggor Cavalera (Sepultura, Cavalera Conspiracy) and for her work with Soulwax.
Now the producer, musician, activist, artist, mother and teacher unites her multifaceted talents with her ambitious double-vinyl debut album ‘Home’. It will be pressed and distributed by The Vinyl Factory and released by Deewee on November 8th. Featuring two records that are designed to be played simultaneously: Laima’s vocal and synth tracks on the ‘TONAL’ disc alongside Iggor’s beats on the ‘RHYTHMICAL’ record. Syncing two records offers an unconventional way to experience the music.
Rather than passively hearing the music, the listener’s need to ritualistically sync both records makes for an immersive experience. There are two key elements that make ‘Home’ such a distinctive project. Thematically it explores how the two core contrasts that inform Laima’s life can coexist. On one hand it’s about domesticity – her love for her family and her frustration with domestic routine. Yet on the other, it’s about her creativity – her desire to express herself artistically while still tending to her role as a mother and a housewife. “It’s almost like a family photo album in another format,” says Laima. “I needed to find the balance in this dichotomy, to feel good with myself in both roles, and be aware of things that really mattered to me. To be a woman, a mum and a female producer: all of these feelings were in the music.”

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

Traversing the tempo range, ASC is renowned for his versatility and ability to remain a consistent sign of quality no matter what sound he takes on. With his most recent foray into the Grey Area sound and his own unique take on Techno for labels like Horo, Semantica, ARTS and his own Auxiliary, ASC’s sound repertoire has expanded and been wholeheartedly embraced by a wider audience.

The Abyssal Plain sees James briefly returning to the tempo with which he initially perfected his craft. The Siren and Pyrrhic Parts I & II reboot the 85 / 170 Tempo with an advanced retake on the approach he mastered. Acidic scapes and soaring harmonies colour the discernible ASC frames. This is music to get lost in. Currents is an upfront 128bpm version of the ASC sound, a Grey Area / Techno blend that completes this formidable futurist quartet.

Re-Issue of the second Chained Library Release. Recorded in 2013, intiatlaly released in 2014.

Re-Issue of the first Chained Library Release; Recorded in 2012 - 2013, intiatlaly released in 2014.

Abduction is the fourth major full length by Thought Broadcast, the first in four years.
[...] "bizarre angles, reflecting a strange erotic architecture."[...] "everyday building re-appears as a prison, walls become sexual objects,"

"solar Nights" Heisst Der Nachfolger Des 2016 Erschienen Debütalbums "panorama Pacifico" Des Nu-disco-produzenten Tim Bernhardt Aka Satin Jackets Aus Deutschland, Der Bereits Auf Toolroom Veröffentlicht Und Blank & Jones Remixed Hat. Inspiriert Von Der Leichtigkeit Eines Nile Rodgers (chic) Und Dem Perfektionismus Eines Tevor Horn Transportieren Die 14 Neuen Tracks Auf Solar Nights" Mit Ihrem Frischen Sound Zwischen Smooth-disco, Balearic-house Und Leftfield-pop Plus Zahlreichen Gastvokalisten Den Spirit, Glamour Und Glitzer Des Spät-1970er Manhattan Ins 21. Jahrhundert.













d2 All For You
| d3 Through The Night (feat David Harks)

The leftfield electro disco gem originally released in 1982 with the rare 7" mix gets an official reissue.

Xao returns to Astral Black with his new eight-track LP, Eternal Care Unit. Created after relocating to Germany and distanced from the UK sounds and scenes that had influenced his previous work, ECU sees Xao further explore the ethereal futurism displayed on 2017's Alloys EP. In keeping with the title (Eternal Care Unit is a medical slang term for the morgue), the release soundtracks the transcendental shift from the physical to the spiritual realm.

Over the course of the record's thirty minute running time, Xao traverses through the hauntingly beautiful soundscapes of tracks like the opening 'Embryno' to the sonic brutalism of 'Corvid Tendencies' and 'Vent Jockey', interspersed with the driving off-kilter rhythms found on the likes of 'Bernet Franca' and 'Blades//Savants'.

The physical release comes with full colour sleeve artwork from fast rising designer Patrick Savile, whose has previously done work for the likes of Bokeh Versions, Warp, WGSN and more.

Jamie Paton makes music that could be described as 'Leftfield techno' or 'Slowmotion house'. 'Disk Memories' is his second release on Hoga Nord Rekords and Paton still work in the same spirit as on the previous HNR release from 2017.

'Disk Memories' is barren electronic music for the Brexit generation. Paton has established a dystopic electronic sound that aims straight at your frontal lobe, burns in your bones, and projects a lost Europe's anxiety on the grey London skies.

The music breathes of the cold 1980's, a time of crisis in England's history and a vibe to be recognize in today's society: right-wing winds once again blows hard over the British Isles and Jamie Paton's music catches the insecurity the wind carries with it.

Right here, right now ADF are the most important band in Britain. NME 1997
Rafis Revenge originally peaked at number 20 on the UK Albums Chart and was shortlisted for the 1998 Mercury Music Prize, with Bobby Gillespie hailing them at the time as the best live act in Britain. This 21 year anniversary reissue includes a limited edition, coloured 2xLP plus expanded digital & CD editions with bonus tracks selected by Adrian Sherwood. To celebrate the release the band are playing at Rich Mix, London on 28th March.
By the time they recorded Rafis Revenge in 1998, Asian Dub Foundation were primed to explode. Having initially emerged from East Londons grassroots Community Music project as a largely studio-based collective, the band had galvanised themselves into a riotously exciting touring machine by the late Nineties. Their extraordinary live shows around this period were electrifying to witness, kinetic and dynamic, incendiary and euphoric, confrontational yet celebratory. For sheer roof-raising energy, they were unrivalled. ADF have evolved enormously over the last two decades, of course, but their breakthrough album remains a fascinating chapter in the real, complex, unwritten history of Britpop. Expanded and enlarged for this anniversary edition, these multi-layered musical treasures still dazzle and delight with their grandiose ambition and riotous energ

AFAS Records follows up some head turning early EPs with another fantastic offering, this time in the form of the Treating Patient B EP by label founder Mike Chetcuti aka People Places & Things with Gabe Gurnsey on the remix.

Over the last 12 months, People Places & Things has released on the likes of the legendary R&S Records, as well as here on Art For Arts Sake (AFAS) with two releases that soundtracked the Adidas Spezial campaign

Here, two more terrific journeying tracks, inspired by a recent trip to LA get served up, to further cement his reputation.

PR at press radio & DJ will be handled by Justin at Dispersion.

Kreidler celebrate the 10th anniversary of their groundbreaking 2009 album, Mosaik 2014, with a remastered edition. The reissue of the record features an updated track list and is pressed onto 140g white vinyl.
Mosaik 2014 - that's how it is meant to sound. Arrangements that feel right, without me being able to map them out because all of the lines are woven together so intricately, and because the album was recorded mainly in a week of live sessions. Above all, this record has more. More rhythm, drums, percussion. More keyboards, better yet synthesizers that are immediate and cannot be turned away, sounds that demand something and yet retain great mystery. More off-kilter loops and more electrical storms. But it is all there to serve the same purpose: to make this the best Kreidler album of all Kreidler albums. There is a directness, and things come to the point while still leaving enough free space. There is longing, solace, fulfillment. In other words, big emotions.

KEY SELLING POINTS
- The best Kreidler album of all Kreidler albums
- 10th anniversary reissue
- Originally released 2009
- New mastering
- Updated track list
- Pressed onto 140g white vinyl
- Comes with printed inner sleeve

40 years after disbanding comes 'Fond Reflections', the
debut album that never was from cult 4AD band Rema
Rema.
Rema-Rema featured former members of The Models
and Siouxsie and The Banshees and their much-loved
'Wheel In The Roses' EP (1980) was among the first
records to be released on 4AD. Their only contribution
to the label's storied history, they split-up before its
release, going on to form or join bands as diverse as
Renegade Soundwave, The Wolfgang Press, Mass and
Adam and the Ants.
The debut album that never was, 'Fond Reflections'
comes almost forty years after their debut EP and has
been culled from the band's rich archive of reel-to-reel
and cassette recordings, with member Gary Asquith and
mixing engineer Takatsuna Mukai painstakingly working
on them to make the album as cohesive as possible.
The ten tracks pretty much reflect the band's live set
and is the closest to what their debut album could have
sounded like. Worth noting too that although all their
1980 EP tracks are present on the album, they are all
from different recordings.
The 2CD edition comes with a second disc entitled
'Extended Wheel In The Roses'. As its title suggests, it's
the four EP tracks as they were plus 'Entry' (taken from
the same studio session as the EP's A-side of 'Feedback
Song' and 'Rema- Rema') and 'No Applause' and
'Murdermuzic', two more tracks recorded at the same
1979 Albany Empire, London show as the EP's B-side,
'Instrumental' and 'Fond Affections'.

Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a one sound autobiography that exhibits the skill, feeling and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally.

And full-length it is:

The Golden Ravedays is an epic album of 24 tracks that was released in January 2017 and is stretching over 12 respective chapter albums during a one-year period.

The fifth piece of The Golden Ravedays puzzle will be released on Hippie Dance in May 2017.

Number 5 of the series introduces two further tracks of the sound adventure that Superpitcher is taking us on this year.

The djembe drum on the cover and the two titles of the tracks hint that this edition could potentially include stuff that was inspired by the rhythms and melodies of Africa - a sound legacy that is of great importance to Superpitcher. Side A features Bluesin.

Rumor has it that Superpitcher visited South Africa and adventurously traveled into the deep bush-bush where he met new friends with captivating voices who speak in enchanting tongues. Initially, Bluesin is bursting with aching, longing and the oldest story of sorrow but there is also comic relief and pride in this story; typical of the emotional signature of the sound of Africa and the Blues that it gave birth to later on.

Side B features Burkina.

It all starts rather innocently with Burkina.

One gets carried away by the funky, ethnic drumming thinking yummy yes, this is going to be a virtual trip to the Brazilian amazon, or maybe a corner of the Congo, Cameroon perhaps, and one is not even side-tracked by the arrival of birdsong and something that hypnotizes, like beautiful sirens because it is all too groovy for any dictionary, and then, oh boy, then their Mother Superior arrives and all hell breaks loose.

Frogs, kudu horns, rattlesnakes, things that hiss and croak and the haunting voice of Her.

As if that is not enough to make you believe you have been propelled to a new continent, wait until the ending of Burkina!

It will transport you to another universe altogether!

Debut Lp Of Industrial Jazz Psych Motorik Folk By Berkshire Based Musicians Richard Bentley, Roy Goss & Alan Gubby Plus A Host Of Special Guests Including Dolly Dolly, Emma Churchley, Stuart Henderson & Luke Daniels.

Krino Is The Latest Cinematographic Ep From Berlin Based Producer Trummerschlunk. He Produces Electrified, Raw And Cosmic Slow House Trip With A Focus On Rare Sound Artifacts And Beautiful Melodic Fragments. It's The Rough, Futuristic Soundtrack For A Psychedelic Motion Picture.

Jumanjí is the joint persona of RAMZi and Priori. This eponymous album is a deep adventure in Houti Kindom, featuring a cast of colorful characters practicing interspecific altruism in communion with the invisible world. All songs written and produced by Francis Latreille and Phoebé Guillemot at Jump Source Studios in Montreal, Canada.

As Longitude is the illuminated brainchild of Eva Geist and Laura ODL. Together they explore sonic waves in an exiting world full of spatial drum machine rhythms and sequenced riffs. Some of those trips feel like earth bound rituals, while others seem to be nothing less than ceremonies of stratospheric magnitude.

The third release for Planet Euphorique comes from none other than D. Tiffany herself, delivering four tracks of delicate yet driving, emotional anthems for prime-time dance floor bliss. 'Feel U' shows spacial finesse and rhythmic maturity, rumbling robotic basslines elevate the undeniable euphoria supplied by glowing pads and fleeting vocal earworms. Whilst the EP is diverse in mood and colour, that undeniable D. Tiff steeze is laced through from start to finish, resulting in a crucial record suitable for the club, after party or the next morning.

Dispondant's Acid Jazz EP is a near-future paranoia soundtrack that could as well be the ending credits of the next Black Mirror season. Each episode has its minimal and focussed intent from captivating synth pads and flashlight 160 bpm beats to signalling 303 lines and anodyne chords. Yet it is the sum of its parts that made the Londoner's debut release on Defrostatica Records not just a fit but a label blueprint of modern footwork inspired electronic music.

"Couple killers in here" - Om Unit
"Serious!!" - Rohan G, DJ Mag Spain
"Super interesting music - will play on my radio show" - Laurent Garnier
"Will support club and radio" - Ray Keith
"Death, Acid Jazz, Jazz Solo, Sanctum. What a tunes! Wow. Perfect." - Lixx, Signaii FM
"Feeling this EP... Dance floor,radio, head nodders and smokers. This is perfect for a session at Soundpieces :)" - Spikey Tee
"Great as usual!! Big up Defrostatica!!" - JCC, drum and bass promoter South China
"Wow - one of the strongest releases yet! Great mix of clubby and 'listen at home' type bits. Going straight into my radio show this Weds" - Gary Brown, Footwork Manchester
"Jazzy minimal footwork! I quite liked the Acid Jazz, Jazz Solo & Sanctum. Mellow sounds for the chillout lovers." - Aki Otto, Sciencehki
"Lovely ep - will definitely play ACID JAZZ and SANCTUM" - Soulsurfer, Bassdrive
"Nice one! Strong support to Sanctum, thanks for sharing" - Thomas, Pulse FM
"Pushes boundaries of bass and dnb. Nice one!" - Bill DeBlase, Fresh Baked Goods on DNBRadio
"Really good ep with plenty of variation" - New Forms
"Accciidddd great ep!" - Felix HP Ritch, Vandal Records
"So original" - DJ Effect, Tech Collective
"Excellent release completely different to anything out there at the minute" - Mark, RTE Spectrum

Strut Present An Exclusive New Compilation Curated By Optimo's Jd Twitch, 'kreaturen Der Nacht', Bringing Together Classics, Rarities And Oddities From Germany's Original Post-punk And Diy Scene. 1979 To 1984 Was An Era Of Particular Artistic Upheaval In Germany As Strong Subculture Scenes Formed In Many German Cities. Emphasis Was Placed On Expression Rather Than Technical Perfection, Artistic Impact Rather Than Skill. Diy Self-organisation Prevailed With The Establishment Of Small Record Labels And Independently Produced Records And Cassettes. Bands Experimented Across Genres And Consciously Abandoned The English-speaking Mainstream With German Band Names And Lyrics. 'although We Had A Small Underground
Scene, It Was Very Vibrant,' Explains Gudrun Gut Of Malaria! 'bands Like Die Haut, My Frst Band Mania D., Malaria!... We Organised Gigs Ourselves Or Friends Would Open A Gallery And
Have Bands Playing. We Hung Around Together In A Handful Of Clubs Like Risiko Or Dschungel And Went To Gigs At So36. West Germany Had Other Regional Scenes Too: Düsseldorf And
Köln Around Der Plan And The Ata Tak Label And There Was The Hamburg Side With Abwärts. Germany Didn't Have A Real Music Industry Like The Us Or England Back Then.'
This New Collection Is A Personal Selection From Jd Twitch, Built Over Years Of Playing The Tracks In Club Sets. 'it Is Not Designed To Tell A Defnitive Story Of What Was Going On In
Germany In This Era,' He Explains. 'rather, It Is Simply An Arbitrary Collection Of Records I Adore From A Specifc Era With A Specifc Attitude That Hopefully Together Sum Up Some
Of The Musical Undercurrents In Germany At That Time.'
The Package Features A Host Of Rare And Unseen Photos From The Period Along With Extensive Interviews With Artists Including Beate Bartel (mania D.), Christoph Dreher (die Haut),
Michael Hirsch (p1/e) And Thomas Voburka (weltklang). All Tracks Are Remastered By The Carvery With Artwork By Optimo's In-house Design Man Andrew Beltran.

RAMP is proud to welcome Visionist through it's esteemed halls.
*Appearing on the scene in 2011, new school Grime producer Visionist's dark, stripped down, emotive sound has won fans from Oneman, Benji B, Kode 9 and Pearson Sound to fellow RAMP artist Zomby. Visionist arrives on RAMP with "M" & " Secrets".

One year after Michigan-based artist Zach Saginaw released his third album as Shigeto, a genre-blending Detroit love letter called The New Monday, he returns with another eclectic display of affection for the musical community that makes Motor City music tick. The four new tracks on his Weighted EP, including a sumptuous remix from Detroit house luminary Andrés, continue to rene and augment the patchwork of jazz, hip-hop, and electronics that Shigeto has built his catalog with.

But far be it from Saginaw to repeat himself. Whether it's the heavy, disjointed beats of "Fight Club" or the vibey house roller "The Line Up (feat. Ian Fink)," Weighted drops as many low-key surprises as it does smokey grooves. A track as blown-out and deceptively simple as "Ooh Ooh" might at rst feel like an anomaly coming from Shigeto—once the cacophonous production settles in, however, it clearly bears the mark of a master producer exing new muscles. And that's true of Weighted as a whole. Saginaw is pushing his music into fresh spaces, forming imaginative shapes while keeping his focus on the city and culture that so deeply inspires him.

- Features remix from Detroit produces Andrés
- Transparent purple vinyl

Almunia (Leonardo Ceccanti and Gianluca Salvadori) unleashed their
debut LP in 2011 with a sweet heady mix of overdubbed disco, guitars
and psyched out grooves. With gatefold hand numbered copies selling
on Discogs for around £170, you now get the chance to own it as a
double LP without breaking the bank. Kicking off with 'Psychedelic'
the pace is set, before 'New Moon' pins you down for a sweet Pink
Flloydian ride. 'Dos Estrellas' hits home to deliver the promise of this
outft, a blissed out subtle-as-you-like intro, coming on like a 12' indie
dub mix from the late 80's, dropping half way through for full on sunset
smiles.
The essence of Peter Green is distilled through 'Electro Blues' and
underpinned with a rubbery dustbowl bassline, vocals wash over the
breakdown in what could be the soundtrack to a weird peyote inspired
movie scene that hasn't been made yet. 'Kissing Time' sweetens
things up with a nifty melody and vocal whilst 'Moving Up Slowly'
really does as it says and notches up the bass, FX, beats and voices
for a hefty slab of midnight boogie.
'Travel' then turns up the sweatiness, with a sluggish, pounding beat,
solid throb of bass and analogue lines from a John Carpenter chase,
dark and heady, with vocals added by Benjamin James Smith from
Smith & Mudd. 'Until She Comes' brings you round nicely at the other
end of the LP with a sweet lolloping bass, choral touches, nifty beats
and a delicate hand on the guitar.
Comes as a double LP limited to 300

* Following up his 2017 debut, Bristol's Via Maris is back on Livity Sound with an enigmatic two tracker pairing Glow Wall's aquatic reverie with the deeper rolling grooves of CU2.

* 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.

Through his output both as a sound artist and through his eclectic
Dekorder record label, Black To Comm (Marc Richter) has established
himself as a singular voice of new music. His Thrill Jockey debut, 'Seven
Horses For Seven Kings', is Richter's most direct and visceral to date.
A relentless sonic explorer, he approaches the studio as his instrument,
using sampling, analogue production and digital manipulation to sculpt
audio fragments into surprising new shapes. Samples from Richter's
contemporaries like German composer Nils Frahm are bent and
compounded with elements of early recorded music and medieval song,
creating pieces that transcend time and genre. Richter blurs the lines
between organic instrumentation and digital production to the extent
that the two become inseparable.
'Seven Horses For Seven Kings' was completed during a particularly
prolific period for Richter. Working on a broad range of commissions
since his last album - from writing for film and theatre works to
composing for art installations, apps and sleep music - generated a flurry
of new ideas and influences. Extensive touring would equally come to
inform a key shift in Richter's music, simulating the raw, unpredictable
energy of live performances on record. While rhythm has been largely
absent from previous Black To Comm releases, here the music seems
totally bound to it. The album's breathtaking pace drives Richter's music
to new levels of intensity.
'Liberated from any one set of formal constraints, Richter uses his many
resources to conjure delicate effects of mood and graded shading.' -
Pitchfork
'Marc Richter's music follows no line but its own. That's why it's a
disservice to simply call it drone, as Black To Comm curves in multiple
planes.' - NPR
'Black To Comm is... like an abandoned museum of late-Twentieth
Century instruments whose exhibits are still running at half power.' -
New Yorker

Through his output both as a sound artist and through his eclectic
Dekorder record label, Black To Comm (Marc Richter) has established
himself as a singular voice of new music. His Thrill Jockey debut, 'Seven
Horses For Seven Kings', is Richter's most direct and visceral to date.
A relentless sonic explorer, he approaches the studio as his instrument,
using sampling, analogue production and digital manipulation to sculpt
audio fragments into surprising new shapes. Samples from Richter's
contemporaries like German composer Nils Frahm are bent and
compounded with elements of early recorded music and medieval song,
creating pieces that transcend time and genre. Richter blurs the lines
between organic instrumentation and digital production to the extent
that the two become inseparable.
'Seven Horses For Seven Kings' was completed during a particularly
prolific period for Richter. Working on a broad range of commissions
since his last album - from writing for film and theatre works to
composing for art installations, apps and sleep music - generated a flurry
of new ideas and influences. Extensive touring would equally come to
inform a key shift in Richter's music, simulating the raw, unpredictable
energy of live performances on record. While rhythm has been largely
absent from previous Black To Comm releases, here the music seems
totally bound to it. The album's breathtaking pace drives Richter's music
to new levels of intensity.
'Liberated from any one set of formal constraints, Richter uses his many
resources to conjure delicate effects of mood and graded shading.' -
Pitchfork
'Marc Richter's music follows no line but its own. That's why it's a
disservice to simply call it drone, as Black To Comm curves in multiple
planes.' - NPR
'Black To Comm is... like an abandoned museum of late-Twentieth
Century instruments whose exhibits are still running at half power.' -
New Yorker