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An exploratory record that dances across time and genre, guided by fidgety miniatures and jazz inflected collage. Throughout, the band pool together their instrumental chops, moving from fluid and serpentine R&B to meditative, minimalistic piano, evoking a contrast of virtuosity and self-surrender.

While constructed from the inspiration of soul, funk and film music, BÉE mediate those influences having first digested them through the productions of Madlib & the RZA.
A sticker on the sleeve tells us Self Help “combines jazz-funk and mysticism,” a signpost to where its musical and spiritual concerns align. The jazz-funk component translates to arresting hooks in sideways song forms: echoes of Gainsbourg spooled through Azymuth-style Brazilian jazz and punctuated by the whip and snap of Steely Dan. “The Sound Where My Head Was,” the instrumental centrepiece, exemplifies present-wave jazz but also ancient sounds, giving off the mothballed air of a Hiroshi Yoshimura record in a library-music archive.

Self Help’s mysticism emerges in broad and specific ways, denoting not only a search beyond cliché and intellect but also an inquiry into the beat, the spirit, the one will. This isn’t new territory for them: Turnbull—the artist formerly known as Slim Twig, who writes and performs with U.S. Girls and various other Toronto concerns—named the group’s Nature, Man & Woman EP after the Alan Watts book. Building these songs from his drafts over three weekends at Toronto’s Palace Sound studio, the ensemble was free to tap out of the city and into some other place, taking up residence in a collective mind maze. The album produces, in equal measure, familiar surprises and the surprisingly familiar. Intoxicated jazz riffs swerve left at phantom intersections. Rhythms cut loose and tie you in knots. But wired in to each song is a sense of gentle accumulation, making every featherlight flourish weigh a ton. U.S. Girls’ Meg Remy brings serenity to “Sing a Silent Gospel,” and wears its antic melodies lightly. The soul shimmer of “Unity (It’s Up to You)” lets the players pool their R&B chops into something fluid and serpentine while, on guest vocals, the musical performance artist James Baley issues urgent declaratives: “Water must pool, as a rule, before tasted/Or else the water is wasted.” The words throughout the record complement the ensemble music while riffing on the precarious nature of unity itself. Then, closer “Extinct Commune” finds Turnbull deserted at the piano, playing phrases of meditative minimalism taking after the composer Joanna Brouk.

For all the record’s reach, it is these contrasting quiet moments that bring Self Help’s communal spirit into focus. A note on personnel: Badge Époque Ensemble now has a seventh member in Karen Ng, the saxophonist and sometime collaborator of Do Make Say Think, Feist, and others. In BÉE, Ng joins Chris Bezant and Giosuè Rosati, her bandmates in the Andy Shauf live band, as well as U.S. Girls co-conspirators Turnbull and Ed Squires, and other Torontonian cross-pollinators listed below. Guest vocalists across Self Help include Meg Remy, who sings with Dorothea Paas on the opener, James Baley, and Toronto singer-songwriter Jennifer Castle on the remarkable “Just Space for Light.” Words by: Jazz Monroe

This collection of demos and live recordings from Amsterdam/Dutch post-punk bands capture the early 80s sound and offer a unique insight into the spontaneous, DIY music style of the time. Wide representation of styles on here - from driving guitar punk to weird minimal synth .. Limited cassette edition... BIG TIP for the NL collectors and beyond!

Good Time​ is Teenanger boiled down to its very essence. A lean and muscular eight-song album that is the sound of a band who simultaneously has everything and nothing to prove. It’s what happens when seasoned songwriters flex their chops in an environment that fosters boundless creativity. It is also Teenanger’s most fun album. Choruses soar to previously unattained heights, descending to a rhythmically fertile ground to pull earworms that will stick inside listeners’ heads for days. If its songs were citizens, they would reside in a diplomatically neutral city-state, melting pots of art rock, pop, dub, post-punk and new wave.

The music of ​Good Time​ certainly elicits pleasure, but lyrically things are more weighty. The band does not shy away from its commentary on contemporary issues. There are calls to reject societal norms, ruminations on humanity’s obsession with technology and warnings about our impact on the environment. Teenanger never gets too earnest, delivering everything with an irreverence that has been there since day one.

Recorded at: Studio Z. Mixed by: Sandro Perri. Mastered by: Noah Mintz. Cover Photo: Colin Medley. Graphic Design: Thomas van Ryzwyek & Jonathon Yule.

This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters. Ce projet est financé en partie par FACTOR, le gouvernement du Canada et les radiodiffuseurs privés du Canada.

This album was created with the generous support of the Ontario Creates.

Cassette Version!

Dog Person is the deserved culmination of a whirlwind few years for Kean Kavanagh. His debut project, the ten-track collection prominently features his aforementioned semi-fictional, cigarette-bumming, binge-drinking, lovestruck alter-ego; a persona with just an echo of his real personality reverberating throughout the record.

Kicking off this year with the delectable “Roll Over!”, Kean returned earlier this month with his new single “EMMA”.
A developed sound, the single delved deeper into Kean’s incredible versatility as an artist - drawing a grittier sound
and formulating a high-octane single that wouldn’t sound out of place in a festival headline set. This all served to
prove that Kean Kavanagh had firmly stepped into the limelight; garnering support from the likes of i-D, DIY
Magazine, Clash, Notion and more.
Cofounder, producer and A&R of Irish Label Soft Boy Records, Kean had previously pulled the strings behind the
scenes; but is now becoming one of the most exciting names on the emerging music scene. A story-teller, word-smith
and dexterous musician with a strong imagination, Kean’s career is set to project far beyond his Irish roots. .

Founded in 2015, Soft Boy Records morphed into a cultural behemoth that gripped the Irish music scene and has
refused to let go - alongside his co-founder Kojaque, Kean found himself sharing stages with big names such as
Slow Thai and Lana Del Ray, as well as his consequential solo-slots opening for Maverick Sabre and Vampire
Weekend.
Earlier this year, Kean appeared on the Everything is Recorded project ‘FRIDAY FOREVER’, (curated by Richard
Russell of XL Recordings) alongside Aitch, Flohio, Maria Somerville, Ghostface Killah and others, and aligning
himself with a tastemaker and hot tipped selection of musical peers.
A sensational debut offering showing dexterous musicianship and lyrical magic, Dog Person places Kean as one of
the most exciting emerging talents coming through.

Blind Delon is back! This time, we are welcome in the Chapel among the "People of God" for their tenebrous prayer. Synthwave is taking a devilish turn for this release, carried by two electro-rave remixes from Maelstrom & Umwelt.

The EP is comes in a full color sleeve.

A must-have in every vinyl store and haunted mansion!

Berlin duo NNHMN creates moody and evocative music infected with dark synth sounds, eerie ambiances and mysterious female volcals. They are coming back to Oráculo Records with “Deception Island Part 1” where fresh cold beats meets hypnotic techno and avant-garde of a ferociously experimental nature. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios.

Seattle’s Profit Prison is back with a new 6-track EP.

The solo work of Parker Lautenschlager, previously in local hardcore and black metal bands as well as power electronics acts, was debuted by Dominick Fernow’s Hospital Productions in 2017 and his first full EP Six Strange Passions was released by Avant! approximately one year ago. Inspired by Franz Kafka as much as Kraftwerk, Profit Prison achieves a cold minimalism that speaks to the nightmarish dystopia in which it was created, even more so in the light of the political events that shook the US and Parker’s very hometown recently.

His new Dreams of a Dark Building continues on the dark path of its predecessor, mixing catchy synth melodies and gloomy atmospheres, all strengthened by 70’s disco-like Hi-NRG electronic beats for the perfect dungeon synth pop outcome.
The opener Cleric sports a riff that could have been written by the evil twin of Gershon Kingsley, A Premonition sounds like Ken Laszlo had joined the dark side. 120 Days is the main single of the EP and it’s just melancholically addictive, In This Hour Of Loss has got synths that would make Moroder proud. We could go on but we bet you got the score by now. If you’re in for the best umbriferous synth music, look no further.
Artwork by London-based talented young artist Hila Angelica.

RIYL: Kraftwerk, Experimental Products, Das Ding, Autumn, Fata Morgana.

“It’s not easy to transform a jam into a proper tune that haunts forever. The two Glaswegian friends MR TC and Lo Kindre are in possession of that special skill that can transform spontaneous tuned-in music into something significant without losing the gut feeling along the way.

As solo artists they have released on labels like Optimo Music, 12th Isle and Against Fascism Trax, and together released 'The Storm EP' in late 2018 on Vienna's Neubau. Now they continue their collaborative work on PHASE001 – an EP that also marks the launch of their own label that listens to the same name. The start-up brings four analogue tracks that courageously link cold waving synth-shocks, neon-light nonchalance and haunted spoken words; deep hypnotic musical witchcraft that peels itself out of the history of dark electronic music with a pulsating and haunting atmosphere.”

- Words by ML

The accomplished and uniquely characteristic world-builder Mart Avi delivers his most complete body of work yet with Vega Never Sets. His fifth full-length solo release, a record of abstract soul and spectral electronic textures finds him evolving further into a state of hyperkinetism and timeless grandeur. Like the great storyteller, Mart Avi blends the familiar and comforting with the new and the unpalatable, to seduce the unawares with a bold new record that veers between folkloristic tech-noir and melodic, post-digital ballads; a movement of electronic pulses, gently held together by his finely composed worlds. Pulling at deeper contexts, he expresses an unstrained defiance of gravity through his playful character — one that is smartly dressed, charming and full of boyish anarchism. As The Quietus wrote, Avi is “like a David Foster Wallace of pop”, cerebral and hot-blooded, with plenty of fervour and a lust for living.

Flute, congas, bass, drums, guitar and clavinet; this unconventional arrangement of instruments intertwine to form the debut album by Badge Époque Ensemble - a group of creative improvisers assembled to perform new, largely instrumental compositions by Maximilian ‘Twig’ Turnbull(formerly Slim Twig - DFA Records).

Badge employs an eclectic cast of characters from the Toronto underground music scene, whose combined experience would take pages to spell out. It includes stints accompanying songwriters Andy Shauf and Marker Starling, outfitting heavies Blood Ceremony and Biblical, and respective careers spent gigging Django-jazz and the classical cannon.

Badge’s distinctive sound arises from the diversity of these musical exploits, creating a palpable chemistry well captured on the live-tracked songs that form the group’s self-titled debut. Part of this crucial chemistry can be attributed to the fact that four of the six players in the Ensemble have been at the core of the live, U.S. Girls band, a group that has scorched stages internationally over the past year and was hailed by Paste magazine as the best live band of 2018. While it may call to mind an improbable collision between psych-era Stevie Wonder and the whimsically dark, Fantastic Planet score, it is clear we are operating in a post Wu-Tang paradigm. If a crate of library, tropicalia, prog and electric jazz records were flattened into a single 12” and then fed into a sampler, we might approximate the process.

As head of Italian (centric) Slow Motion label (and international artist sister imprint, Wrong Era), and through his own productions and remixes, Franz Scala has been pioneering the retro-futuristic aesthetic of club culture weaving together elements of proto-house, wave and Italo for the nuovo contemporary dancefloor long before it’s current vogue. Now alongside Bordello A Parigi, and supported by Sameheads, Slow Motion presents Scala’s Mondo Della Notte.

This is part 2 of the album, which is also available as 2LP bundle.

Formed in '92 with voice, distorted bass and drums. Band's symbol comes from a sign placed on witches graves, which is jolly. The assurance of the old sound sustained through energetic expression rather than shallow noise. Two MC's through Energeia, 'Simon Dreams In Violet' ('93), 'Dreaming The Lost' ('94).' Had Mick Mercer's 'Hex Files: The Goth Bible' been published a year later he would have added: 'and the self-released MC 'Follia' ('95) on their own label Interior Deus.'
25th anniversary limited edition vinyl of 341 numbered copies. Comes with a 16 pages insert also including digital album + bonus track.

A wild collection of wave rooted electro, modern electronix and ambient! While the 1980's output of Australia's oft misunderstood Severed Heads is well known, the 2000s were also an intensely creative period for the group. Along with a periodical magazine/album called Op, SH released limited hand-cut discs, two computer games and a handful of ultra-rare artworks. Medical Records is proud to present a new museum ''Clifford 2000'' - a 180gm double album holding 18 years of music over four sides of continuous montage personally segued by Mr. Ellard himself.

"Goodmorning. I wish you, a merry merry christmas. As you sit by the fire. I see your sadness on your face. You hear the funny bells inside your head. And I do look into your pretty eyes. So gray. The Funny Bells. You are my friend. Today." au

A mixture of electro, techno, house and nods to the soundtrack works of John Carpenter

Miami Beach Witches, which is the name of the album, has a sound that has been inspired by the goth and emo music culture from the 90's and 2000. Sonically filled with the high and lows of the teenage angst in a mixture of electro, techno, house and nods to the soundtrack works of John Carpenter. Visually wise, the world is filled with female teenage witches practicing witchcraft while having to deal with their everyday school drama. Sort of like the world depicted in the Netflix series: The Chilling Adventures of Sabrina, but in a more modern setting. It's faded, blurry and sometimes smoky like the mind of a teenager trying to deal with his life in high school.

2LP Repress

Written and produced in a country house surrounded only by vast, empty landscapes and an endless sky,
‘Suicide Disco’ is the fruit of a 3-year long collaboration and Years of Denial’s debut LP for Veyl.
Urged to escape from crowded cities and information overload, the duo sharpened their sound and working
process through isolation and introspection, crafting 11 songs filled to brim with enormous hooks, New
Wave nostalgia and razor-sharp production details.
Barkosina’s voice echoes and oscillates against Jerome’s snares, profound and wounded at once. Her
expressionist narrative take us to unknown yet familiar places, amplified by dub delays and otherworldly
reverbs. Each track tells a story based on the intensity of relationships, a touching and distorted invitation
into intimacy and complicity

PRUTSER = Pseudo-romantic, half-baked nostalgic, the generalizing idiosyncrasion,

preferably on prescription drugs with Latin names, flirting with fellenwort on a spread of dumb.

Netels = that warm round sensation when life finally seems to make sense.

Derealiteit = the madness that arises when the sensation disappears seconds later.

We embark on an exploratory voyage into the realms of (un)consciousness with these frequencies and vibrations of Italian producer Alessandro Parisi. Leave your burdens behind as he guides you through a visionary tour. Eight tracks of cerebral and dancefloor stimulation expanded over a deluxe double LP guaranteed to take you "there" and "back". Emotive and propulsive storms amidst delicate symphonies await you. Lovers of unique and unclassifiable vibes of dark disco/soundtrack/trance/electrosynth should dive in. Beautiful full color gatefold double LP. Limited Edition.

Mass Asphyxia, Retrograde Youth's new record comes in the form of
6 tracks to satisfy the escapist desires of troubled minds and souls. The Colombian artist operates in a sphere of his own where the lines blur between different styles, fusing oddball techno with deranged acid, industrial elements, ethereal synth and haunting vocal samples.
The sound aesthetic is just as diverse with atmospheres meandering between sci-fi, disaster and retro-futurism. Retrograde Youth once more shows his nonconformity and ability to surprise in great style.

Alex Dorn aka Credit 00 takes a sidestep from his Uncanny Valley/Rat Life camp to showcase his rumbling, industrial machine funk and bad-ass attitude on Pinkman. Vision gets blurry and panic sets in as the A-Side track "Exctasy Overdose" blasts with vibrating basslines and shrieking sirens. On the flip we have the stripped slowbeat electro cut "Data Control", showing a huge middle finger to online mass surveillance. The EP ends with the weirdo jam "Weg von diesem Ort" in which Alex samples synth and covers vocals of an obscure, industrial cassette tape from the early 80s."

Album composed, recorded and mixed by Elko Blijweert. Mastered & cut by Frédéric Altstadt. Original cover artwork painted by Joe Brockerhoff. Album pressed on 180g vinyl, in an edition of 500 copies.

Here we add a new classic chapter to tradition. A tradition known as the many exotic sounds of Maestro Elko B. The multi instrumentalist member of bands like ‘The Horse Head Bed’, ‘The Groovecats Deluxe’, ‘Dino And The Chicks’ and many more has once again composed a new solo album for Ekster. This fine and tasty selection of musical pieces vibrate colourful echoes ranging from blossoming fountains over casino-esque gambling. Space-cowboys play hide and seek with childlike innocence in an adult world. Many of the songs on “Realm of Rides & Romance”
have found its origin in Blijweert’s work as a composer of soundtracks for theatre, dance performance and artistic installations. Cinematic reflections providing EXO “Paradise Moods” by this multitrack one man band.

Recorded from 2017 to 2020, Elko has expressed finding inspiration in chance, the Sphinx, the casino, the Decap organ, colonialism, bats and frogs.

"Murmurs from Stockport (1982-1988). Throughout history there are many examples of artists who did not receive the credit their work is due during the years they were active. K.S. Eden is an artist who should be discussed in these terms."

Here comes the fourth release by Almería-based electronica artist Mynationshit titled ‘The Tycoon’. This is another addition to the independent label ‘Waste Editions’, run by Mynationshit’s frontman Carlos Martín along with his brother Ale. This record highlights Martin’s latest musical touches. Its melancholic undertones juxtaposed with humble romanticism will inspire you. Indubitably, this Spanish artist’s distinguishable nature mixes elements of Electro, Dark Wave, Synth-Pop and Post-Punk. Picture Johnny Cash and Peter Murphy singing catchy tunes to each other while on a cosmic journey to an unknown planet where synths and prose accompany their melodies.

First time available on vinyl LP (with limited edition color variants - black and clear) and on digital formats.- Artwork packaging by artist J.S. Aurelius (Ascetic House) with reflective linear notes by Ragnar Grippe. - LP comes with download

Recorded between the release of Sand (1977) and Lost Secrets(1981), Symphonic Songs is a formerly unreleased work that chronicles the dynamic shift and development in experimental Swedish composer Ragnar Grippe's canon.

Following his seminal release Sandin 1977, Swedish experimental composer Ragnar Grippe worked on various art and performance commissions, often returning to Stockholm during the summer months to focus his efforts on his compositional practice. It was there at the famed EMS Studioswhere he began employing the Buchla synthesizer and the facilities multi-tracking capabilities as new instruments to map his mining of sound and movement.

During the late 1970's, Grippe formed a creative collaboration with choreographer Susan Buirge, specifically writing compositions for her works Restes and Tamis, thus pushing Grippe to start working in a more intricate studio environment. These passages inspired Grippe into a more complex layering process that focused more on placement and structure, rather than the aural floods and flourishes of his previous Sand album, eventually germinating in his first full 24-track composition entitled Orchestra.

After debuting Orchestra in 1980 at the Electronic Music Festival in Stockholm, Grippe holed up at EMS Studios with those lessons and the fussy Buchla synthesizer, in which Grippe affectionately recalls needed to be tuned and calibrated every 20-30 minutes. He emerged with a new commission for Susan Buirge later formally titled Symphonic Songs and used in her avant-garde theater piece Ci-Déla which debuted in Paris in 1981.Symphonic Songsshowcased Grippe's sound au courant, pushing dense against sparse, calm into cacophonous, using each track as its own intersecting plane. Using the machinations of studio and structure to drive Symphonic Songs' voice, Grippe culled a haunting, often cinematic electronic work that dots and darts into unexpected corners with curious aplomb.

Listen to the words, both terms have their root in classical music, but not in its form but because now I had so many more stems or voices that could be played simultaneously compared to my earlier pieces. Coming from a classical background, but with big nostrils for pop and jazz music, I can now see a thread in which classical got a new costume, dressed up in Buchla synthesizer and real bass sounds Grippe says. Since its live theater debut over 37 years ago, Dais Records releases for the first time Symphonic Songs, one of Grippe's most ambitious compositions, as a deluxe double vinyl LP (with limited edition color variants) and on digital formats. Artwork packaging by artist J.S. Aurelius (Ascetic House) with reflective linear notes by Ragnar Grippe. e

Rotterdam Fuses With Berlin, As Das Ding Lands On Mechatronica For The Third Record In The Label's White Series, Dedicated To Limited Vinyl-only Pressings Of Ebm, Wave, Synth, Electro, Italo, Industrial And Experimental Sounds.

'alien Insane' Opens The Record With A Relentlessly Progressing Piece Of Dark Machine Music, Followed By The Dazzling Cosmic Journey Of 'idiomatic Transnominator', Both Tracks Vividly Blending Das Ding's Signature Sound With Classic Dutch Electro, Synth And Italo Styles.

On The Flip, 'i Am Not A Robot' Presents A More Blissful Soundscape, Elevating Higher Through Dreamy Synths, Tight Percussion And An Inescapable Bassline, Before Ksitigarbha Rounds Off The Record With A Slow, Enchanting Sonic Journey Into Strange And Ghostly Territory.

To honor Stephen and his impressive career as musician with Psyche (together with brother Darrin Huss) and as a solo artist, Artificial Dance decided to release his solo work on vinyl for the very first time. The Galaxy LP is a collection of 6 tracks recorded between 1983 - 2005 selected together with Darrin Huss. Belial, Quest 6 and Eternal City will be familiar to fans of Psyche as bonus tracks on the CD version of “Daydream Avenue”. Marooned In Step Time, Galactic and Rattlesnake are discoveries from solo archives that are being made available on a physical release for the first time.

Stephen’s music was featured on the Artificial Dancers compilation earlier this year and after discovering all the great music he has made as a solo artist Artificial Dance contacted Darrin to work on a compilation. Stephen’s music as the foundation of Psyche is known worldwide, but he kept his profile as a solo artist relatively low.

Together with Darrin, Artificial Dance selected 6 tracks that give a complete overview of Stephen as a solo musician. These wide-ranging synth instrumentals were recorded between 1983 and 2005 and you can clearly hear the range of talent through the early Psyche influences to his further experiments in the electronic genre. Let Galaxy be your guide into this unique musical experience created solely by Stephen Huss.

All tracks are remastered by Darrin Huss, artwork by Steele Bonus.

This compilation is a dedication to Stephen Huss and all the great music he has done.

Peter Kadergard has been active in the Helsingborg (Sweden) electronic music scene since the early 1990's. He was involved in various collaborations during the 90's and appeared on a few cassette releases under the names Grodans Fodelsedag, Marchentraum and Mannix System. Peter released his first Rittowski record on the Borft sub label Djuring Phonogram in 2004. Apart from this electro project Peter is a member of the bands Goz Mongo Alliance and Inyurmania, who has made a few releases on the Ufo Mongo, Pripuzzi and Skiboy record labels. This is new Electro!

A highly limited vinyl only release by the shadowy Safe Camp collective to mark Safe Trip's collaboration with Amsterdam skateboard brand,POP.

* Ships with a 40 page booklet of mind altering imagery.


b b1 |

The term 'cruelty' is so limiting according to our cultural expectations of it, an act may give perceived 'good' to the perpetrator and 'bad' to the victim. It may give good in the long run and bad in the short run or vice versa. The unifying factor to all forms of cruelty is GHOULIA.

The (in)famous ice skater Wosto, after his solo EP, returns on our label, this time, bringing reinforcements with him: NOSTALGIE ÉTERNELLE (Inox Kapell and Dieter Mauson) .

SAUERSTOFFF (oxygen / one F for every freak as they say) is the name of their band.

Three sick tracks, with a very German imprint, came out from their last meeting and we caught it on the fly and engraved on the groove for the pleasure of your ears.

The release will be available in a limited series of 150 hand stamped 7’’.
Mastered at Sensorium

The three man Austrian outfit ‘Leitstrahl’ debuts on "Bordello A Parigi". With more than fifteen years of band history, the trio of Stoff, Paul Raal and Boogaloo Steve are as proud as punch to announce their debut album: Chromium Dioxide, to be released this summer featuring Jon Jon Foster, Nicole Jaey, Christina Mirabilis and Jimmy Baker.

In anticipation of this release we welcome the band with an appetizer in form of this vinyl-only sampler EP, including two exclusive non-album tracks only to be found here. Get ready!

Elias Raschle's goal with Augenwasser is to emancipate himself from the classical label of singer-songwriter, in order to experiment more freely and to return to the roots of his musicality with a more electronic, experimental and emancipated sound. The boundaries between live recordings and studio productions are blurred, leaving a space where improvisation and spontaneity can easily flourish. "Sleepdancer" reflects this state of musical urgency, and the emotions emanate from these new pieces, pure and raw, but terribly stimulating.

Biography
Augenwasser represents the alter ego of multi-instrumentalist Elias Raschle from Biel. The project was born in 2014 with a first 7“ record produced by La Suisse Primitive and a selfproduced cassette entitled "Fireworks", under Augenwasser's own label Hot Dogma.

In December 2015, Augenwasser's first album "Drones & Love Songs" was released on Bongo Joe Records. Intimate compositions, solitary writings and raw melodies come together to create a personal and genuine project. He recorded it solo in the secrecy of his home studio. However, Elias Raschle asks for reinforcements for his stage shows. Trustworthy musicians agree to jump on board with him: Elias Gamma (Martin Savage Gang / ex-GOU, Shady & the Vamp), Juliette Rosset (ZAYK), Levent Pinarci (ex-GOU, LEVENT, UHT). Amongst others, the group performs at the notorious Bad Bonn Kilbi festival, and also tours abroad: Belgium, Greece, United Kingdom, France.

After joining forces with the American musician Kelley Stoltz in 2017, the duo gives birth to a collaborative album that got released on the "Transnational Serie" by the label La Suisse Primitive. On stage, Augenwasser becomes a solitary project. Elias Raschle now performs alone on the guitar for a more intimate experience. In 2018, he produces a collection of recordings entitled “The Last Campfire Smokeout“, that he put out on Soundcloud and Bandcamp. For his upcoming project, Elias immersed himself in the composition of "Sleepdancer"

Ike Yard remain a legendary band of early '80s New York City – at once immensely influential, yet obscured by a far-too-brief initial phase. Their debut EP, the dark and absorbing Night After Night, sounds almost like a different group, so rapidly would Ike Yard evolve towards the calmly menacing electro throb of their self-titled LP.

Originally released on Factory in 1982, the album put Ike Yard's indelible mark on the synth-driven experimental rock scene then emerging all over the planet. While historical analogues would be Cabaret Voltaire's Red Mecca or Front 242's Geography, opening track "M. Kurtz" makes starkly clear that Ike Yard is a far heavier proposition.

With a thick porridge of bass, ringing guitar and strangled/stunted layers of voice, these six pieces are densely packed and perversely danceable. "Loss" sounds like a minimal techno track that could have been made last week, while "Kino" combines Soviet-era imagery with sparse soundscapes à la African Head Charge's Environmental Studies.

Ike Yard somehow pull off the toughest trick in modern music: making repetition hypnotically compelling through subtle variation. The effect of Ike Yard's first LP can be heard in many genres – from industrial dance labels like Wax Trax to electro-punk bands and innumerable European groups (Lucrate Milk, Red Lorry Yellow Lorry, etc.).

The fact that the cover artwork does not include any photos of the band, but rather features the original catalogue number (FACT A SECOND) only further illustrates the release's importance and Ike Yard's timeless mystique.

Kogarashi is a Japanese word that means “the wind preceding the onset of winter”, – thus Kogarashi Tales showcases itself as a collection of stories that are connected and carried by that cold, windy feeling with songs that share the personal, yet universal, stories about love, loss, loneliness, dependence, and inner strength. Thoroughly crafted lyrics poetically penetrate the psychology of the mind, human desires, and flaws.

Memory Disks. Volume Two. Chevron. Jonathan Valentine returns to Shipwrec with a second instalment of his mind and motherboard melting music. This mini album is packed to bursting with ten tracks of acid soaked electronics, chiptune glossed chicanery and retuned rock reworks. Volume two picks up where the first left off as the Blackpool wizard reimagines and reshapes drill and bass, beatless ambient and funfair funk. A catherine wheel is ignited from the needle drop to send a rainbow of sounds and styles spinning and swirling under the shimmering brilliance of Valentine's daring creativity. Stand back and simply enjoy.

Repress

Rotterdam is miserably cold and rainy. Plagued by gentrification and technological unemployment, the harbor city is slowly turning into a desolate, mechanized metropolis. Secretly tucked away on the outskirts, if you know where to look, there are a few remaining military bunkers. This is where the city's youth go sporadically to relieve their anger and grief. During these nights, they tirelessly rage to the dystopian sound of Gamma Intel's slow-burning electro and hypno-acid, before returning to the struggles of their daily lives.

FREEDOM/FICTION REMIXES is a compilation of six experimental dance tracks featuring an international mix of well known and upcoming artists. Opening with a hybrid rhythmic statement by Berlin based multimedia artist Zoë Mc Pherson (founder of SFX-Label), to be followed by L.A.'s performance duo Pacoima Techno, who bring track 9 – Apparatus – of L Twills' recently released debut album Freedom/Fiction to the Drexciyan dancefloors of their self-proclaimed genre Casa Teka, Xiu Xiu ends side A with a disturbing but electrifyingly lynchian noise interpretation of Freedom/Fiction. Side B takes the Album's tunes to another night's sight: Automatic Subject gets a new coat by John Tejada's well known and intriguing techno-sound, Montreal based Tobias Rochman (one part of Pelada) turns M.A.S.T.E.R.S. into a techno-drum'n'bass version, whilst upcoming Berlin based producer and Dj Nomi Elektra finalizes the spectrum with an acid-house interpretation of L.A. Automatic Subject pt.2. Releasing on the 16thof October, the compilation is a limited edition of 300 12” Vinyls and can be ordered through Word&Sound. The Cover shows “Autoportrait”, a painting by Mexican artist Frieda Toranzo Jäger.






Automatic Subject pt2. Remix Nomi Elektra

"ALEATORY CHAOS" is coming back with the third chapter, a very special edition because it will include the unreleased 1984 original version of “No Words” by 'XYMOX' , a very awaited “truly wet dream” for any early post-punk vinyl collector.

The record becomes just indispensable thanks to the contribution of actual proposals as Vacant Stares (Portland/USA), Oby Wolf (New York/USA) and Abu Nein (Malmö/SWEDEN). It's a delicious white wax.
All tracks have been specially remastered for 'LONG CUT' vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Naïve Art is the debut album by San Diego (by way of Liverpool) synth-pop duo Red Flag, consisting of brothers Chris and Mark Reynolds. This is the 30th Anniversary reissue of the vinyl which has not been available since 1989. It contains all original versions from the initial release along with four additional bonus tracks. The original pressing was a single vinyl release with all the tracks severely edited down, so that it could fit on a single record. This has been remedied for this new re-release. And unlike the original '89 vinyl release, this deluxe reissue features a gatefold cover and printed lyrics. Red Flag, like other late-'80s/early-'90s bands such as Camouflage and Cause & Effect, offer a similar mix of gloomy, synthesizer-driven dance-pop made popular by synth rock kings Depeche Mode. Naïve Art is a strong debut and has often been deemed the perfect synth-pop album. The combination of cold synth beats and the atmospheric vocal approach (similar to Depeche's Martin Gore) makes perfect dance-floor fodder for the disaffected goth-pop club crowd.