Techno Vinyl New Releases - News

Repress

Inner Tension is the record label of Polish (Berlin-based) artist Blazej Malinowski which is an expression of his deep interpretation of techno. The label aims to provide an eclectic vision of dance music which reaches deep within the mind itself and projects atmospheric and warm sounds for the dancefloor.

The 001 sees a 4-track EP released January 2021 on vinyl/digital containing 3 originals by Blazej himself & a remix by Oscar Mulero.

The first release Inner Tension 001 called 'Katharsis' signifies the birth of the label and its sound & direction.

Katharsis (from Greek κάθαρσις, meaning "purification" or "cleansing" or "clarification") is the purification and purgation of emotions -- through art or any extreme change in emotion that results in renewal and restoration

The 4-track EP contains 3 originals by Blazej himself & great rework by Oscar Mulero. The A1, 'Katharsis' is a classic trippy and deep techno signature from Blazej. A2 follows with a more clubby track 'Behind' with a hint of psychedelic deep techno feeling. B1, 'The End' brings plenty of energy and without a doubt a peak-time flow; uplifting & high hats hitting.

B2, the Mulero remix of 'The End' captures a real twisted yet emotional journey with a long build up and subtle breakdown with a raw finish.

Original Cover Photo by eerie.mydriasis

Swiss Arrow is the latest musical incarnation of a Santa Fe, New Mexico based multi- instrumentalist who began as a classically trained musician and vocalist. He has taken a few notable off ramps that began with his exploration of free jazz and industrial music in the early 1980’s, and continued when his partner introduced him to ambient electronic music and Detroit techno in the 1990’s. Since 2010, he has performed DJ sets as LSTNR, rst with his Intergalactic FM, Dream Machine show, Speak No Evil and currently as part of the SEER collective.

First and Last Breath is a set of improvised devotional pieces that explore the long void between the events that denote the beginning and end of human life. Performed on a range of instruments including the earliest – the human voice, the more recent – cornet, guitar and tape loops, and the most recent – digital effects.

Spring Snow is a compilation of eight leading experimental artists from different cultures and musical backgrounds who were asked to freely reflect on the word, nostalgia.

The word, nostalgia, in particular comes from the Greek nostos (homecoming) and algos (pain), which are reflected on both sides of the record.

Li Yilei's SHI, meaning 'time' in Japanese, sets the stage with its free-form synth notes and traverse rhythms. The listener is then presented with a memory of an orchestra, conducted by Lucy Liyou, leading to euphoric moments from Sawako and Gonima.

The latter half explores the melancholic and sometimes painful side of nostalgia and youth. Forest Management opens the journey with a late-night rumination, which seems to loop endlessly. Jiyoung Wi, from South Korea, reflects on her birth and upbringing, and leverages her own voice to narrate the story.

Things take a deeper turn with Gaël Segalen's The Bed of Wewa, which paints a rougher picture with its noisy soundscapes, pounding synth notes, and synthetic voices. The trip concludes with Evicshen's rumbling and noisy track, titled Inguinal.

Emily A. Sprague’s deeply rooted insight and clear-eyed foresight is harbored once again in the newly carved space of Hill, Flower, Fog. “Hill, Flower, Fog is a place and a poem,” says Emily, “a personal letter and vision for myself, outlining priorities that I aspire to incorporate during my time on earth: family, sustainability, patience, and growth.”

Seeking language and dream between the stasis and shift of this year’s blur, Emily found nourishment in transformed daily practices, a process of retrieving the important things from the fog of past routines. Channeling deeply into the here and now fostered a far-reaching connectedness, a lifeline from the everyday to the cosmic.

If Water Memory / Mount Vision, Emily’s first forays into formless music, read as earth-bound passages, HFF scatters more ineffable references across its pages. The maximal stretch of the universe, and germanely, its minimal density, are explored through compositions that search and embrace the infinitude and human condition mirrored, fragmented, and felt in both.

On HFF, Emily invites meditation on perception and sensation in a six part spectra. “Moon View” and “Star Gazing” are cosmic commitments to look up, while “Horizon” and “Mirror” describe abstract views relating to the position of self and its projection outwards. “Woven” and “Rain” represent more textural and tactile impressions, elemental immersions in our earth’s perfectly imperfect patterns.

Each piece varies subtly, yet remains soundly familial. HFF begins with the groove of a restrained, molluscan signal, our ears perceive signs of hope with twinkling momentum. Rippling out in florets of sound, we slide closer to the source as a deeper drone is braided through thrumming tones. A meticulous music box drops notes precisely on an ideal garden, until we reach the collection’s most fine-drawn and final entry, watching little comet tails lighting up a muted scape of the deepest indigo.

The sounds of HFF share a visual space with a series of carefully arranged pictures captured by Emily. Welcome to Hill, Flower, Fog, an artist edition photography book offered with the album, usher the communal story from ether back to burrow, describing moments

Spazio Disponibile hits release number 13 in style with a collaborative effort between label co-founder Donato Dozzy and longtime friends Retina.it. It is a typically experimental release that features five weird and wonderful tracks, seeing the label taking yet another dip into the more leftfield areas of electronic music.

Marco Shuttle is back on his own label with unreleased material for the first time since 2017. The EP features 4 carefully designed and colourful Techno tracks with a strong electronic flavour, diverse in their elements but still very cohesive as a whole with the signature Shuttle spacey reverbs and organic textures. Dance music for body and for the brain.

The saga continues... This time Artefact, Tilliander, Lakej & Shifted are on the job.

Alpine Drone from the very depths of misty forests and snowy mountains. A mystic journey through Alpine nature appearing in front of your inner eyes. Winterstille is a unique conceptual Alpine Drone album by the inventors of Alpine Blackmetal

Repress

Kalahari is the first EP from producer Sindh, who, like many of the artists on Valentino Mora's IDO, expresses a wistful fondness for nature in its myriad forms. The project Sindh was named as such after the musician had an affecting encounter with the magnificent Indus River in Ladakh, the lush vegetation and landscapes in this region clearly inspiring Sindh's sound. Sindh's regard for the natural world as well as science fiction is reflected in the instruments employed in Kalahari ranging from flute, bongo, percussions and modular and Ciat Lonbarde synthesisers. Over the four tracks, Sindh leads us through four distinct landscapes, the narrative unfolding track by track. In Saptura, ethereal atmospheres guide us through a ruin-strewn terrain where vegetation has virtually obscured all traces of human life. The resoundingly tranquil mood maintaining faith in the arch of the universe. Sidam opens with a more mysterious tone, inviting curiosity into the next environment as a gentle rhythm guides, allowing space for strange, other-worldly surprises. As winds whisper and synthetic rain responds, the pared back percussions that prevail in Nun-kun introduce a human touch. The warm grooves and atmospheres hint at a more temperate (future?) climate than the tracks namesake currently suggests. Arriving at the closing track of the EP, Kalahari delivers deep grooves and spirited high-hats that will ignite the weariest of travellers. The bizarrely brilliant inflections will remain in your ears long after the track is finished. A stunning sixth release for IDO, Kalahari demonstrates the evolution of the label's sound, offering the opportunity to include traces of minimal and glitch sound palettes whilst maintaining IDO's luscious, spiritual qualities.

Delft-based label Omen Wapta's second release is An, an EP by Japanese producer Yuki Matsumura. Born and raised in Kochi, Yuki has previously released two albums of avant-glitch techno through Moph Records and Artificial Domain. On his new EP, the artist continues to pursue a sparse and introspective sound, defined by his heavy processing and editing techniques, labyrinthine sound design, and distinctive rhythmic patterns.

2 rare historical recordings (1983 and 1986) originally released as single sides and gathered here for the first time.

"Conductor might be my favourite composition and Life And Death Of Pboc might be my most sincere. Conductor was my first composed piece with no obvious reference points ... Life And Death Of Pboc was the second. These two compositions gave me the title Godfather of Dark Ambient."

Carl Michael von Hausswolff, born in 1956 in Linköping, Sweden, lives and works in Stockholm. Since the end of the 70s, von Hausswolff has worked as a composer using recording technology as his main instrument and as a visual artist using light projections, film/video and still photography as well as other media. He has exhibited at dOCUMENTA (Kassel), the biennials in Venice, Moscow, Liverpool, Istanbul, Sarajevo etc and in Copenhagen, Stockholm, Nicosia, Kaliningrad, Tokyo, London, New York, Philadelphia etc. His music has been played in festivals such as Sonar (Barcelona), CTM (Berlin), L'audible (Paris), el niche Aural (Mexico City), MUTEK, (Montreal) etc. and release works on LP/CD/DL by labels like Erototox (Ashevile), Sub Rosa (Brussels), Touch (London), Pomperipossa (Göteborg) and iDeal (Göteborg). He recently curated the 2nd part the sound-installation FREQ_OUT named freq_wave in co-operation with TBA21-Academy and collaborates with artist Leif Elggren, EVP re-searcher Michael Esposito, composers Hans-Joachim Roedelius, Mark Fell, Jim O'Rourke, author Leslie Winer and as Dark Morph (with Jónsi of Sigur Rós). He has also collaborated with Pan sonic, The Hafler Trio, Freddie Wadling and Erik Pauser (as PHAUSS).

For Delft-based label Omen Wapta's first release, Japanese musician/sound designer/coder/producer JEMAPUR explores the far reaches of abstract experimental techno on his album Mode Cleaner. Pulling from music made between 2016 and 2020, JEMAPUR demonstrates his distinctive use of glitch, microsampling, live coding, and granular synthesis techniques. The album was made when the producer was drawn to subjects like physics, geometry, murals, ancient civilisations, the logic of nature, and the observation of the universe.

Following an exciting end to 2020, which saw them sign to
Houndstooth, release a blistering single ‘Deadlock’ and named in the
NME 100 for 2021, SCALPING released their first full body of work,
‘FLOOD’ EP, and now this, ‘FLOOD REMIXED’, six remixes available
on translucent vinyl.
 ‘FLOOD REMIXED’ continues the band’s stellar trajectory. Over the
past few years, they have become an unmissable live act and gained
notoriety as one of the essential, electrifying new bands in the UK.
 Scottish post-rock icons Mogwai step up to remix ‘Cloud Burst’.
Stretching and expanding the track, creating new drum patterns, and
continually ratcheting up the drama inherent in the original; a naturally
sensational slab of post-rock.
 Fellow Bristolian, Hodge remixes ‘Monolithium’, a hybrid of hefty
bass, tribal techno and sophisticated, polyrhythmic drum interplay.
 The pre-eminent genius, multi-instrumentalist and composer Laurel
Halo supplies a remix of ‘Deadlock’, a single originally released in
2020. Laurel’s slick addition of a tight 808 groove underneath the
bombast subtly tweaks the atmosphere, creating a juxtaposition of
futuristic club and rock with vintage electro.
 Tokyo-born, Beijing-raised, London-based producer and DJ object
blue’s remix is a typically high-calibre experimental club cut, which
puts the propulsive drum beat front-and-centre underneath an eery
whispered vocal.
 ‘Empty Cascade’, remixed by the rising producer Azu Tiwaline,
leaves almost no elements of the original untouched, creating a
blissful and complex dub percussive driven ecosphere almost
unrecognisable from the source material.
 Aphex Twin favourites, AQXDM, deliver a raucous, rambunctious flip
of the single ‘Deadlock’. Packed full of blown-out breaks, maximalist
bass shots, icy synths, and cascading trance fragments; perfectly
excavating the elemental rave substance at the core of SCALPING’s
music.

Prairie is the project of multi-instrumentalist and producer Marc Jacobs, hailing from Brussels with roots in The Netherlands. He previously released an EP (I'm so in love I almost forgot I survived a Disaster - 2013) and an LP (Like a Pack of Hounds - 2015) on the Berlin imprint Shitkatapult. On stage, Prairie plays with two or three musicians and together they re-create a free association of musical ideas and atmospheres. Prairie has played in selected venues and festivals across Europe and toured with Apparat in 2016.If the apocalypse was painted in several layers of pastel gouache, its soundtrack might be PRAIRIE's Flash Flood. Listening to the album, we drift through a series of frozen landscapes that gesture at a post-apocalyptic ambience. This is a kind of blackened music that has been left to sediment, excavated from traces in ice core samples. Flash Flood showcases a deep sensitivity to narrative and rich cinematic textures as Marc Jacobs returns with palimpsestic sonic layers. It has been three years since PRAIRIE's last release—the 2015 Cormac McCarthy-inspired Like a Pack of Hounds—and it is clear that it has been several years of pensive reflection. Now, PRAIRIE takes the sentiment of his 2012 debut, I'm So In Love I Almost Forgot I Survived A Disaster, several steps further: it is after the apocalypse, and no one has survived. And yet with Flash Flood, we can hear the hum of this impossible future.

'After the Flash Flood' introduces the sonic ruins of distorted guitars, field recordings, drum programming and synths that create the textures of the entire album. The melancholic and subdued black metal churn of 'Raindeath' becomes the cold backdrop for unnerving, paranoiac speech. The third track, 'Sisters', foregrounds this coldness while slowly moving away toward alternate vistas where the acoustic timbres of the saz-driven 'A Permanent War Economy' take over. 'Underwater Body Hunting' and 'Rabid Ibrahim' are hard hitting beat-oriented tracks that insist on burning slow. There is a patience with PRAIRIE's FLASH FLOOD that is difficult to deny. The lamentation of 'Elephants Will Rise Again' perhaps signals that it is not only the human that is lost after catastrophe. The album closes with 'Hard Water: Cracked Ice' and 'Hayashi Clock'. The former is a beautiful coalescence of clean harmonious tones and softly overdriven drums, while the latter brings us back to a meditative state, drifting through the final pastel tapestry.

"... his cosmos is located somewhere between Bohren & der Club of Gore and Sunn O))), ambient is as familiar to him as brachial sounds, and he is as much acquainted with guitars as with synths and modern technology" (GROOVE)

"... Like Ben Frost, (Prairie) exudes a certain harshness while tempering his work with moments of sublime beauty. This isn't club material, it's music for the hammer in one's hand, the confrontation of the demon, the soul-shattering revelation." (A Closer Listen)

BLNDR's debut album L'Observatoire is a nostalgic overview of his past few years. The following pair of twelve-inch records attempts to capture meaningful memories from travelling around the world. Embodied with a marking touch of melancholia laced through most of the tracks; it is a contemplative ambient journey recorded in a period where fantasy and memory met.

This is Hypnus Records' third double LP and the first in a line of albums that will be released in 2018 and well into the following year.

"Wow - this music has so much freedom and harmony! Totally beautiful" - Cio D'Or
"Beautiful album, each track is a great journey with great atmospheres and sound design as I like" - Claudio PRC
"Beauty!" - Francois X
"beautiful work" - Oscar Mulero
"It makes the imagination fly wild! Breathtaking atmospheres with a cinematic touch and retrowave synths... Pure magic!" - Primal Code
"Beautiful." - Svreca
"Amazing to discover a soothing and emotional masterpiece from this talented producer. Pure food for the soul." - Toffes Varld

Further early support from Etapp Kyle, Eric Cloutier, Nihad Tule, Exium, Tensal, Deepbass, Samuli Kemppi, Takaaki Itoh, Synthek and AWB to name a few.

Released under the June full moon.

Love and light.

I had been walking for days through dust and brambles. I had been walking so long that I couldn't any longer feel thirst. I dragged my sinner soul stuck on me. Step by step towards that white light, which was pure like the origin of the universe. Salvation at the end of it all.

Following her debut album, I'll Look for You in Others (Past Inside the Present), Patricia Wolf joins Spain's Balmat label with See-Through, her second album. See Through finds the Portland, Oregon musician and field recordist continuing to develop her signature style of ambient, balancing radiant soundscaping with a carefully expressive sensibility. But the new album is also marked by an important difference. Where I'll Look for You in Others was largely written in response to the death of a loved one, See-Through represents a kind of rebirth.

Jonathan Kusuma makes his return to Cocktail d'Amore with a love letter to his Indonesian homeland. Each song is steeped in the ancient textures and timbres of the gamelan, brought to life through modular synthesis. 'Awalan' opens the EP with a delicate touch - otherworldly chirps and aural colours of an early morning sunrise. 'Roda Rodi' as Mr. Kusuma explains is his interpretation of interlocking as a traditional Indonesian way of life - "Gotong Royong" or "Mutual Assistance". The idea of mutual assistance is the sharing of burdens between the member of community. Modular sequences tightly fitting into one another, helping to support one another in the structure of their momentary existence. 'Kerontang' and 'Racacak' are two cuts which have Jonathan's signature sound design printed all over them. Big, booming and full of enraptured percussion. We're treated to a haunting close on 'Lorong K'. Menaced tones rising and falling, small fragments piercing through as to be bits of disintegrating concrete falling off the walls of a lost city.

A repress here of 2019's under the radar 'Box EP by The enigmatic British producer JS Zeiter, who executed more greyscale dub techno excursions of a typically high caliber on this one. After some spookily sensual ASMR action on intro 'The Code' he continues to build the suspense on the beatless Subarctic Soundscape of 'Darkness Falls' before dropping the power on the cavernous and glacial beats of 'On The Moor'. Flip over and take on more of the frozen seascape on the deeply hypnotic groove of "Empty" before one more emotional ambient outro in the form of 'Endgame'.

Succession of images, clean memories resurfacing abruptly, not foreseen, not governed by the rational will.

The element of air enlightens fresh harmonies of open spaces, nature in instrumental guise lies down, taking life on irregular, porous rhythmical surfaces.

Swedens sound art, noise and experimental main-stayer Carl Michael von Hausswolff with a two part sound piece from installations at Pierogi Gallery (Brooklyn), Museo Rufino Tamayo (Mexico City) and ZKM (Karlsruhe). Mainly recorded between 2001-03 this is a trademark, and maybe traditional, sonic landscape from the Nordic region of Europe's sonic art movement post 2000. Harsh, but always elegant. Consistent and with little traces of our current society.

Since launching a decade ago, the label has increasingly focused
it's attention away from generic club sounds and last year's releases include Sigha's IDM-tinged alias Faugust, as well as left-of-centre
EP's from Portrait and AVL.

Joining them for the label's first release of 2020 is innovative Japanese producer 'Masaki Uchida' who displays his prowess as a sound designer and multi-instrumentalist across six tracks. Uchida rips apart a variety of contemporary and classic electronic styles, reassembling them into a uniquely beautiful new whole.

Often walking the line between extremes, the release features both moments of chaos and times of complete silence, exemplary of not only Uchida's bold approach to the song writing process but also
his unquestionable talent as a sound designer and engineer.

Limited Edition 200x copies!

The Berlin based record label Triamb presents "Thema" Reworks, with ace reworks for the most representative tracks from Saumeth's album "Thema", which already made some waves in the techno music industry, getting the attention and reviewed by Faze Mag and many other electronic music media, and what better way to celebrate this with a 12" vinyl featuring the amazing reworks produced by Steve Parker, Marco Bruno and Mental Resonance.

Steve Parker reworked "Port", infusing some Acid vibes in the track, creating a groovy mind-washer. "Clinn" was Marco Bruno's business, the Italian producer pushed on the bpm, providing a fast and energetic Techno banger. To complete the ep we'll find Mental Resonance, who crafted two reinterpretations of "Awaking" giving his dark and percussive imprint to Saumeth's track.

Supported by:

DVS1, Skaliger, Relic Radiation, Arweenn, Drafted, Cisco Ferreira, YYYY, Anthony Parasole, Sciahri, Arnaud Le Texier, Raffaele Attanasio, Alfredo Mazzilli, Luigi Madonna, Hemka, SLV, Hd Substance, Dax J, Fragmentor, Slam, Chris Liebing, MTD, Paco Osuna, Secret Cinema, Dimi Angelis, Noir, Ilario Alicante, Angel Molina, Anika Kunst, Anderson Noise, Exilles, Radial, Kontal, Fixon, Juno Kusti, Marco Bailey, Sigha, Techno Cadeau, Takaaki Itoh and Mark August amongst others.

Continuing its exploration of improvised music as a haunting ritual at the confines of the Martian territories of noise, drone and ambient, FOUDRE!, the supergroup composed of Frédéric D. Oberland (Oiseaux-Tempête, Le Réveil des Tropiques, FareWell Poetry), Romain Barbot (Saåad), Paul Régimbeau (Mondkopf, Extreme Precautions, Autrenoir) and Grégory Buffier (Autrenoir, Mätisse) invites us to take part in its Future Sabbath. Fifth album of the group, this project stems from a desire to probe the invisible forces that live within us, through a ceremony that brings together occult sciences, forgotten landscapes and the fever of the unconscious. Created around the recording of one of their live shows at Instants Chavirés (Montreuil, France), overdubbed by the band then produced by their dedicated sound engineer Camille Jamain, it is also an invitation to a dance, a secret dance, embodied by a powerful breath of life, an electronic discharge against the temptation of a toxic cynicism.

Gathering regularly since their debut in 2015, FOUDRE! brings together electronic and acoustic instruments, merging incarnate and disembodied souls, past and snippets of a post-apocalyptic future. After the ghostly and hovering EARTH (2017) then the wild and telluric KAMI神 (2018), Future Sabbath travels even further into the tangle of genres and textures, offering a luxuriant palette of moods and emotions. Passing through the tracks with evocative titles, mystical symbols and spiritual signs set this Sabbath of machine sorcerers ablaze.

The US-born, Norwegian-Mexican musician and producer Carmen Villain, real name Carmen Hillestad, has spent the last nine years and four albums gently unraveling song into the sound of emotional impulse. From the tilt and croon of her first two albums to the expansive warmth that flows and pulses beyond ambient in her more recent output, Hillestad's journey is artful musical deconstruction but also somehow spiritual growth.Hence new album Only Love From Now On, her fourth full-length and the culmination of a build-up that really began with the turn in sound evident from third album Both Lines Will Be Blue (2019, Smalltown Supersound) and the subsequent releases Affection In A Time Of Crisis (2020, Longform Editions) and Sketch For Winter IX: Perlita (2021, Geographic North). While the seed of her aesthetic was planted earlier, it has blossomed into something unexpected, benevolent in its composure and altogether luxuriant in its sensuality. If her themes, especially now, are wide, philosophical, and occasionally abstract, the emotional tenor of Hillestad's music is clear and purposeful. Makes sense that her key musical touchstones are dub, ambient, and cosmic jazz - flexible vehicles for tranquil wonder. While it may not contain voice or lyrics, as her two earliest records do, she describes it as, "wishing to maintain a sense of careful optimism for the future, while on the cusp of something unknown." Listening to Only Love From Now On is simultaneously comforting and alluringly strange. Partly it's the contributions of guests Arve Henriksen (trumpet, electronics) and Johanna Scheie Orellana (flutes). Partly it's the fluidity between instruments - such as clarinets - field recordings, the studio, jam, and careful composition. She calls the process a conversation with sound that occurs in her deliberate attempts to experiment with new methods, like granular synthesis, for her music-making. But mostly that strange comfort is in the peace and grateful contentment she has found via the stark recognition of her own privilege - laid bare by the pandemic. Only Love From Now On is fueled by the sense of scale in feeling small in the face of things so large, the contemplation of how the biggest impact we can have is in the people close to us, the attempt to make sure that impact is a positive one, and the choice to try to focus on love instead of fear.

Lion's Drums full length exists as en exploration in multiple dimensions. First by challenging the notion of the album format by presenting a body of work that lies snuggly between remixes, edits and original works and secondly as a means to delve into the transcendent potential of the drum. The album sets the tone by putting these two concepts fully on display with its hypnotic chant, swaying one into ease over the first two songs. In orderly cue folding and unfolding, meditatively through, melodies as muddied pastelle whispers cast over the measured language of the drum. Breaking away from the musing themes of the opening songs we find an ecstatic ritual in "Tanz der Korperlinge" and "Journey to Middle Earth", two distinct varieties but both of the same perennial species. Inky ether seeps back in through the second half of the album with a peak of frenzied tumbling toms and incongruous textures hovering above in the Manos Tsangaris' collaboration "Crying Tafel" and his re-imagining of Tullio De Piscopo's unhinged drum excursion "Fastness". The closing exemplifies the edit/remix/original ethos proposed for this work with Lions Drums drawing from tapes and original material of electronic pioneers Suzanne Ciani and Roberto Musci. Drawing from unreleased music and song sketches by the original artists as well as field recordings from travels & studio sessions made by Roberto Musci & Manos Tsangaris in the 80's and early 90's he constructs a side winding journey through playful textures and ethereal moods.

Postdynamic starts its new series with a nice 4 tracker of Cliche Morph with his new project. The first track is -Black opinion-. The rhythm, melody and atmosphere of this track reveal the most mystical and mysterious sides of your subconscious. The next step into the world of the unconscious is -Paranoid effect-. This track enables us to see clearly what may previously have been hidden and gives freedom to your most secret desires. Leave all unnecessary beyond the borders of your inner world. Loose yourself in the most hidden corners of your soul with -Introvert-. And finally, it s time to cool off with -Frozen Frequency-. A cool emptiness covers your mind and helps you to reborn.

Night Songs is the latest record from awakened souls, the Los Angeles based husband and wife duo- James and Cynthia Bernard (marine eyes). In the Spring of 2021, they found a good night's rest was more important than ever to help them through pandemic days of schooling kids from home and balancing work and life. After going on an evening walk, James and Cynthia would write in their bedroom studio and test the evening's songs out for sleep. Even prior to being together, they both loved searching for just the right album to calm their minds at the end of the day. Night Songs is their combined version of a sleepy evening record, exploring slowly evolving loop-based ambient primarily using bass guitar and vocal textures. The tracks which ultimately made it on the album helped them relax enough to go to a place where thoughts fade.

Night Songs is the latest record from awakened souls, the Los Angeles based husband and wife duo- James and Cynthia Bernard (marine eyes). In the Spring of 2021, they found a good night's rest was more important than ever to help them through pandemic days of schooling kids from home and balancing work and life. After going on an evening walk, James and Cynthia would write in their bedroom studio and test the evening's songs out for sleep. Even prior to being together, they both loved searching for just the right album to calm their minds at the end of the day. Night Songs is their combined version of a sleepy evening record, exploring slowly evolving loop-based ambient primarily using bass guitar and vocal textures. The tracks which ultimately made it on the album helped them relax enough to go to a place where thoughts fade.

- Repress with new label artwork.
- Comes in a generic sleeve.

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

We hope that you enjoy the trip into the Bayou.

DIALOGUE was conceived as a series of musical letters written back and forth between Luke Slater, Anthony Child (aka Surgeon), KMRU, Lady Starlight, Speedy J and harpist Tom Moth (of Florence + the Machine) at the height of the pandemic between 2020 and early 2021. Using the common language of rhythmic ambient electronics, each DIALOGUE features three actors in a sonic conversation of longform improvisation between 15 and 25 minutes in length, with Luke Slater the common denominator. The results are a brooding, psychedelic exchange of melody, texture, bass, oscillation, key changes and volume swells, which organically merge into complete compositions. It’s music that both reflects and transcends the artists' common reality of isolation – a meditative, consciousness-expanding conversion of musical ideas born from necessity. Cosmic but not escapist. And very much of its time.

What is the difference between here and there?
What are the differences between countries and races?
between men and women?
children and adults?
you and me?

We are supposed to be the same person, but we are all different.
We look different, we were born and raised in different environments.
Our personalities are also different.
These differences create interest and new discoveries,
but they also create discrimination and prejudice,
which leads to division.
In recent years, this situation seems to have become more pronounced.

"You and I are different.
But sometimes I might be the same as you."

In this uncertain world,
this is what I wanted to express in this music.
--K Nogami

"Cape" was recorded in five days
at a cottage in west barnstable, massachusetts,
with ciat-lonbarde instruments, norns and op-1,
the sounds of surroundings, fused with memories,
pleasant and bittersweet,
finding fragments of what once was.

"Verdant returns with an intriguing release and continues to follow its unique, meandering path through the electronic music landscape.
The label's tenth record invites listeners to explore rich, enchanting, ambient textures and the sonics for which the Verdant name was first associated with decades ago. Naturally, the line up and music is overflowing with quality and its 4 artists are afforded an expansive 20 minute, untitled, single cut each. One of the UKs cherished electro producers, Reedale Rise, graces side A with a rare excursion into beatless space. Next, Out.lier casts an imaginative spell before talented live and recorded musician Jo Johnson captivates with cascading synthesis. Romanticise The World (who appeared under an alias on Verdant before) closes, assembling Detroit Escalator Inspired landscapes to fall into.
Ambient music how it needs to be experienced on vinyl."

The first time Richard Francis and Frans de Waard met was in Tokyo, Japan and they talked a lot. The second time was in Boston, USA and they danced all night long. The third time was in Nijmegen, The Netherlands and they recorded a lot of music together. During the course of a very long day they recorded in Frans' studio using a small modular set-up, Korg MS-20, computer, tapes and field recordings, all captured on a multi-track tape where it kept sitting for quite some time before Frans decided it was time to make heads 'n tails out of it. The usual process of editing and mixing resulted in the release that is now called "Retired Dilettantes". No track titles as both sides are to be seen as one composition all together. From delicate static and complex electrical textures to the bursting of loud drones.

Richard Francis is a sound artist working with electronics and field recordings. He has released solo and collaborative albums on Senufo Editions, Entr'acte, Glistening Examples, Korm Plastics, Banned Production and Aufabwegen. Recent collaborators include Frans De Waard, Ralf Wehowsky, Anla Courtis, Bruce Russell, Mattin, Jason Kahn and Francisco Lopez. His works have been performed, presented or exhibited at Issue Project Room, New York; Uplink, Tokyo; ZKM, Karlsruhe; Werkstatt fur Improvisierte Musik, Zurich; Adam Art Gallery, Wellington; IMA, Brisbane; The Toff, Melbourne; St Paul St, Auckland; Tuned City, Berlin; Alt Music Festival, Auckland; Te Tuhi, Auckland; Cave 12, Geneva; Radio New Zealand National.

Frans de Waard (1965) has been producing music since 1984 (Kapotte Muziek, Beequeen, Goem, Zebra, Freiband, Shifts, Modelbau, etc.). In 1984 he started his own record label Korm Plastics, releasing music from Arcane Device, Asmus Tietchens, Jim O'Rourke among others. He has worked for the pioneering Dutch label Staalplaat (1992-2003) and since 1986 as a reviewer for his own publication Vital (now Vital Weekly), a magazine which has been an online source for underground music since 1995, and which celebrated its 1000th issue in 2015. In 2016 Timeless published in France his first book, an autobiography of life in Staalplaat titled This Is Supposed To Be A Record Label. His interests in music creation ranges from ambient to noise to what he describes as 'silly disco music'. He has played concerts in Europe, USA, Canada, Russia and Japan, and collaborated with Steven Wilson, Jaap Blonk, Andrew Liles, Radboud Mens, Keiji Haino, Pan Sonic and others.

Japanese DJ mastermind Hironori Takahashi emerges with a new vinyl release for Kin-Ben LABEL. It is an effortless, seductive, hypnotic and floaty piece of work. Simply put, the entire EP is exceptionally DJ friendly. The one and only remixer on the record is a Spanish techno powerhouse and Tsunami Records founder Christian Wunsch.

For its first chapter, Monument Records is inviting Atomic Moog to take us around The Hesperian City.

With this EP, the French duo offers a polarized urban exploration that balances between cold, ethereal street vibes and hearty, powerful basement rhythms, with alternative paths provided by renowned figures Anthony Linell and Artefakt.

Hitting the pavement with a truly luminous and smooth deep-techno ride with "Chasing Blue", the record then takes the listener high with Anthony Linell's ambient chemistry and his extended "Alkaloid Mix". On the flip side, we dive underground with "Static Flow" to discover a solid, dancefloor-oriented techno hymn, before getting back to the light with Artefakt's absolutely gorgeous "Electric Therapy Version".