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Woe are King Midas Sound on ’Solitude’, their crushingly desolate new album, auspiciously cued for a Valentine’s Day release on Shapednoise’s Cosmo Rhythmatic label. A meditation on loss, narrated by Roger Robisnon and produced by Kevin Martin (The Bug), ’Solitude’ sees KMS gut out their sound following the bittersweet shoegaze-dub blooms of their ‘Edition1’ 2015 collaboration with Fennesz, resulting in a starkly noirish elegy to extinguished romance and love in the endtimes

Combining the grown-up, confessional vulnerability of Robinson’s lyrics and dreader-than-dread delivery with the most stripped back arrangements in Kevin Martin’s entire catalogue, the duo drill deep into emotional sufferation with simultaneously suffocating yet somehow beautiful results. Over the course of 12 songs, they glacially limn a coming-to-terms with a loss that has been enforced or unexpected, and ultimately arrive at the starkest conclusions with cinematic effect.

’Solitude’ pushes King Midas Sound’s pessimism to heart-rinsing degrees. Staging Robinson in a series of vantablack scenes veiled by smoky, minimal synth-lighting, the poet processes irrational and incessant feelings of rejection and loneliness. From the aching desolation of ‘You Disappear’ to the unflinching realisations of ‘X’, the ache imparted by Robinson’s lyrics is only amplified by his quiet stoicism, while Kevin Martin finds power in a sense of deferred gratification and his embrace of negative space.

The effect is nothing less than transfixing in the physicality of Robinson’s descriptions and the detached nature of Martin’s sferic electronics on ‘In The Night’, while pangs of lush optimism lend an exquisite contrast to the desiccated riddim and gloom of ‘Alone’, and the sylvan keys in their sensuous reverie, ’Her Body’.

‘Solitude’ is a more than worthy follow-up to King Midas Sound’s two albums for Hyperdub and their collaboration with Fennesz for Ninja Tune. It’s bound to reset what you know about KMS, and become a go-to album for anyone going thru conscious uncoupling, domestic strife, or meditating on love in the age of info overload.

Back in 2015, two of Sweden's most coveted electronic music producers quietly collaborated.

The duos outcomes where complied and made available via a trifling 20 self release tapes,circulated by the two during an event in Lithuania.

Ever since copies have traded hands in second hand market for staggering prices and cassette tape rips of the release have been circulating the web - one of these caught the attention of Vaagner, a label dedicated to reissuing noteworthy cassette releases from around the globe.

What makes the release so special is its expressiveness, the duo originally used the tape medium to explore various facets of their sound, resulting in an explorative release that feels both invigorating and reflective.

Now 3 years later, Vaagner is proud to present it's 3rd release, a reissue of Acronym and Korridor's seminal untitled cassette, made available digitally and on vinyl for the first time, re-mastered by Rashad Becker, featuring bespoke artwork and including an unreleased bonus track from the duo which was conceived during the time of the original release.

The vinyl edition is limited to 300 copies world wide and each release comes with a download code. 100 of these copies are limited to the vaagner bandcamp and additionally come with a riso printed insert.

This 3-part compilation is a celebration of On The 5th Day - a project born out of love - honouring the music, moments and individuals that have helped to make it so special.

What follows is a journey through the spectrum of sound On The 5th Day so proudly represents and has become renowned for, the full compilation mirroring the vision for our events: to create unforgettable flow from beginning to end - a record for each part of the night.

Our love and gratitude goes to all those who have joined us along the way.

Before another Vatican Shadow release appears on vinyl for the first time early next year, Hospital Productions reissue a killer 2011 tape release on a 2019 vinyl pressing after appearing on a long
sold-out LP edition for Type in 2012 Remastered and slightly edited from the original 4 x tape boxset, ‘Kneel Before Religious Icons’
reasserts its place in the pantheon of Vatican Shadow’s prized early releases which, with the benefit of hindsight, arguably amount to one of this past decade’s definitive projects.

Originally recorded in 2010, the album’s eight tracks revolve some of the first material recorded by Dominick Fernow in this mode, aside from his then better known work as Prurient. At the time, Fernow was still working under cover of anonymity and this release in particular only aided in heightening the intrigue and fascination surrounding this project and the way it eerily resonated with the both the redrawing of geopolitical borders and those between industrial, ambient, noise and techno styles.

The album contains one of the most valued VS outings in Worshippers At The Same Mosque’, with its pall of synth pads, needly harpsichord and stepping drums patently influenced by Muslimgauze,
while the parade ground trample of ‘Church Of All Images’ - which would form the basis for a now classic Regis remix issued by Blackest Ever Black - adds up to one of the project’s most militant
numbers along with the scudding, bombed-out terrain of ‘Gods Representative on Earth’ and ’Shooter In The Same Uniform as The Soldiers’.

As an historic document of the time and a gripping album in its own right, ‘Kneel Before Religious Icons’ holds tight among Vatican Shadow’s most crucial and convincing communiques.

Substrato continues its path through the research of sounds from the hidden worlds. The label returns with the first various artist called 'Submerged Worlds'. This release is marked out by the juxtaposition of artists coming from different areas lead together by the exploration of sharpened sounds, contributing to this timeless installment.

The A side brings together two Italian artists: Neel and Retina.it. The first with his 'Fumana' track showcases his high-level proficiency in sound design, hypnotizing us with a surgical production of dark and mindblowing sounds. The long-term friend duo participates with a psychedelic journey distinguished by the simple beauty of their crafted music with 'A spiral Ladder'.

On the B side of this release join forces two of the most talented Scandinavian artists: Acronym and Evigt Morker. 'Permafrost Melt' is a endless progression of dreamy and tripping waves leaning on a solid groove. 'Dodligt Sar' soaks your ears with its submerged sounds settings, moving constantly thanks to an accurate groove structure.

Tecture alias Paul Pankow is a Berlin based Producer and DJ.

On the production side he tries to reinterpret impressions from 90s-IDM, Old Detroit and Berlin Techno and forming sound textures combining both upfront and powerful music as well as ambient in assorted elements as an experimental approach on sound.

His approach on DJing is forming a tense and serried web of sound that does not leave any time to breathe rather than constantly floating into a deeper experience of music.

DJ Nobu returns to his own Bitta label, his personal playground for new musical projects with a focus on artists coming out of Japan. The label functions as a space for experimentation with the intention of instigating multiple styles by unexpected artists or pairing them with stimulating remixers. The unique chemistry created by these cross-genre connections results in an exciting catalogue carefully curated and directed by DJ Nobu himself. After recent outings on Rush Hour, Token and BleeD, the Japanese producer dives even deeper into a pure and adventurous techno journey with his most simplistic output to date. A DJ tool EP designed for the club, with four tracks of stripped down yet powerful dance floor workouts. All cuts have been tested and proven in Nobu's own DJ sets before now, so he decided to make them available for fellow DJs to play and experiment with.

Leandro Fresco and Rafael Anton Irisarri return with their second cross-continental collaboration on A Strangely Isolated Place with 'Una Presencia En La Brisa' (A Presence In The Breeze). Approached in a similar manner to their 2017 album 'La Equidistancia', the two producers have once again combined remotely between Buenos Aires and New York to form an expansive story of long-distance friendship and human connection. With Rafael taking the lead on engineering, culminating sketches, textures and isolated instruments, the warm, harmonic drones are once again apparent, albeit a lighter shine than their previous outing. With an emphasis on textures through voice manipulations, both Rafael's and Leandro's own personal stamp is interwoven throughout the six tracks, speaking to the close friendship that has developed between them both.

Radically shapeshifting and surrealist, as spinning sonic prisms taunting the ears, 'Cercle Vicieux' and 'Cercle Vertueux' channel Fluxus artistry, straying past jazz-licked drones, avalanching low end and blood red scatting. Scenes both condescending and anxious -- this release is carried by its interwoven conflicts, where strange attractors reveal knots at each listen. The fifth Plafond is a special joint project tying the synchronicity of two contemporary minds. Both Zoe Mc Pherson and Rupert Clervaux are known to actively transgress art forms, reconstituting production methods through respective audiovisual and literary pursuits. The listener is relocated in their musical interzone, bordered by avant-garde experimentalism on one side, and bass-heavy club mutations on the other. This ambiguation lays out a gateway, one through which modern producers can re-adopt the revolutionary energy of those who unraveled conventions on music and sound in the first place -- a 'Cercle Vertueux', indeed. Comes in a hand printed sleeve with multiple tints grey and silver, including an Obi-strip, by the BAKK Interzone Alcazar.

4th in the "Restless Breed" Series on STONEDWAVE and one of the last vinyl records on this label. Limited to official 75 double LPs with hand-painted artwork containing a full bucket of quirky and wonky techno and electro tunes by Dez Williams, Sane, Ghoul Detail, Thomas Grinder, Jochen Heym, Chordata DJ Ze MigL, Chip Tronic, and the Seahorse Drivers as Sterago.

Is it possible to capture the sound of a state of being, of a memory, of a past sensation? Is there a possibility to translate a thought which once was into vibrational waves? Behind this concept is based much of this work, this research carried out in the early autumn days of 2018.

Infinite Tape Loops Vol.1" immediately brings to mind the emotional and gorgeous series of Albums "The Disintegration Loops" by William Basinski.
The records revolve around a very short melodic loop of approximately N/A seconds, that plays through the whole pieces from the beginning to the end. Around them, strings and pad harmonization fill the gaps with a gentle tapestry of long diluted sounds becoming the primary element of the compositions.
Timbric variations are the push that gets these compositions to flow, amplitude automations and gradual filtering develop a certain movement and introduce changes in the background-figure relationship of the two main sound actors. This floating, a heavy sound is lightly elevating, into light sounds that become grounded in appearance and disappearances, underlining a static, eternal landscape that will never change its behavior.

Planning the imminent arrival of the 50th release on Touchin’ Bass, label boss Andrea Parker was digging through the warehouse during a stock take and it became apparent that there was something missing. There was a gap in the catalogue numbers. Where was TB036? Searching the archives it transpired that, for one reason or another (not least Parker’s inability to count), there actually wasn’t one.

So what better way to backfill this now documented gap than to welcome the multitalented guitarist and drummer, mathematician and multidisciplinary improviser Maria Gamboa Perez into the Touchin’ Bass fold with an updated focus for 2019.

Perez combines elements of rage, chaos, tension and anguish to form a visceral style. Her musical terrain and talent is shaped by dissonance and NO art. Under the moniker NonZero!, Perez brings Matrix Equation to the fore; a heavy 8 track EP with electro aesthetics from none other than Carl Finlow Scarletron/Silicon Scally/Voice Stealer.

Beginning her artistic career as a teenager playing as a bassist and guitarist in groups with influences from Noise, Avant Garde and the No-Wave, Perez was introduced into several areas of electronic music during the club culture years in Madrid and opted for styles such as Electro or Industrial, at which point she began to be interested in the introduction of rhythm boxes together with traditional drums.

Her passion for sound synthesis and musical exploration led Perez to introduce electronics into a solo project under the pseudonym NonZero!. Under this name she aims to make electronic music her field of sound research and for years has been continuously searching for existing relationships between sound and mathematics, focusing on the perceptual limit between music and noise.

Matrix Equation indulges in an evidential brooding angst, shifting between abstraction and the kind of elevated introspection carefully harvested over the years. With dramatic frontage in parts, blasts of boisterous energy and machine mayhem, its deployment of surprise, shifting focus and spontaneity operate in an assured statement.

Splintered beats and a foreboding sense of tension give way to a more DJ friendly logic of instinctive introductions and codas of gradual builds and breakdowns as Finlow further reworks the results to great effect.

Volume 1 consists of daring ambient works, experimental compositions and adventurous sound design explorations. It showcases the Belgian producer's forward thinking approach to electronic music in all its aspects.

2x12"

"Reactions" is the debut album from First Tone, the musical partnership of New Orleans-based artists Turk Dietrich (Second Woman, Belong) and composer Duane Pitre (Important Records). While the project has been at work quietly sculpting their sound for years, "Reactions" is the first available set of recordings. Those familiar with the respective works of the two artists will be happy to find a collection of music that is very much of the duo, and yet totally unlike anything they've produced before.

Over six tracks, First Tone unfurl poignant, flickering compositional works that utilize pitch material that is tuned using the system known as Just Intonation (which Pitre has studied for nearly 15 years) in conjunction with various software and a single hardware synth. The result is a collection of music that is both organic and alien. Layers of tone and texture build and dissolve from the ultra minimal to the enormous, on occasion seamlessly blending the two. A wide array of striking timbres patiently wash over one another, at times sounding like organic instruments, at other times sounding completely otherworldly.

"Reactions" is a masterclass not only in sound design and dynamic range, but also in sonic depth. The album's approach to the usage of time and dynamics work together to create the perception of a three-dimensional spaciousness of sound. The holographic effects produced from the spaces between the album's sounds are mesmerizing, with discreet arrangements that demand repeat listens to fully absorb.

This split release unites two female underground acts, both of whom have recently become pivotal parts of the contemporary electronic musical landscape in Japan. Hot on the heels of the acclaimed PAREDO EP compilation (TAL12), which has been released in May 2019 (and also includes contributions from Lena Willikens and Miki Yui), the SUPER MILD split album is the second outing by KOPY and TENTENKO on TAL. Their newest works punctuate their highly individual approaches to contemporary experimental dance music.

TENTENKO is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BIS. Immediately after her departure from BIS in 2014 she commenced work on her solo project under her artist name TENTENKO. Since then she has radically reinvented her music away from glossy J-POP towards weird and industrial rooted dancefloor. TENTENKO first made a name for herself on the alternative Japanese music scene with a steady flow of live performances as well as collaborations with members of the legendary Japanese noise band HIJOKAIDAN.

For a few years now KOPY has been an unpredictable and charismatic part of the vital electronic music scene of Osaka. She has quickly garnered a reputation for creating her live sets exclusively with borrowed electronic equipment. Her name KOPY very much originates from this "concept". Apart from a few performances at Düsseldorfs famous nightspot SALON DES AMATEURS, she has been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018. Her sinister dancefloor mystique is heavily steeped in the free spirited noise and rhythm cultures of her hometown.

N is one of the most profiled German drone / ambient artists - being active since the early 1990s he has released more than 50 records - on this new album he cooperates with Ricky Graham (Signals Under Test). Disrupt/Construct is a long-form music release featuring two compositions: Disrupt and Construct. Graham collected musical responses to a series of his own guitar improvisations from Neidhardt over the period of a year. Graham then crafted this album at the Elektronmusikstudion EMS in Stockholm, Sweden. Disrupt is a series of buckling themes that function as self-contained, shorter musical compositions. Construct presents a semi-improvised stream-of-consciousness piece that stands in contrast to the disruptive nature of its counterpart and divides into three self-contained musical movements. Limited to only 100 pieces w/ handprinted sleeves.

Sascha Borchardt (a.k.a Monoloc) will start a label, Unterland, with a new EP.

The label will serve as a vehicle through which the German producer takes a step away from the club environment by presenting new sonic interpretations, including experimental, minimalist, and atmospheric. Material will come from Monoloc himself and friends, and the focus will be on 'dramatic' sounds with drone and noise influences. Think movie soundtracks and film music, albeit with both feet planted in the electronic genre. Each release will aim to 'tell a story' through 8 to 10 productions.

Unterland will launch in end of march 2018 with a collaborative EP by Monoloc and Beauty of Inconsequenz, a unsearchable and unidentified project with no previous recording history. The eight tracks are all based heavily on field recordings; the sound is dark and deeply atmospheric with dubstep influences. While distanced somewhat from the 4/4 format, the tracks are cerebral and hypnotic.

From there on, there will be 3-4 releases per year, each of which will be accompanied by high quality artwork as curated by Borchardt, who will work closely with selected photographers and artists to provide imagery that aesthetically compliments the music.

Neurot Recordings are proud to reissue the landmark collaboration Neurosis & Jarboe, which was originally released in 2003. This latest version is fully remastered and with entirely new artwork from Aaron Turner.

Very limited silver metallic and black swirl 2LP - Non-Returnable

Steve Von Till explains the idea behind the remastering; "Bob Weston (Chicago Mastering Service, and member of Shellac) worked closely with Noah on making these new versions sound as good as the possibly can. Noah has the most trained critical ear for fidelity out of all of us being an engineer himself. We recorded this ourselves with consumer level Pro Tools back then, in order to be able to experiment at home in getting different sounds and writing spontaneously.  The technology has come a long way since then and we thought we could run it through better digital to analog conversion and trusted Bob Weston to be able to bring out the best in it....This new mastered version is a bit more open, with a better stereo image, and better final eq treatment."

He continues about the original artwork..."Aaron felt he could create something that would unify the energy of both Jarboe and Neurosis in an elegant manner.  We let him do his thing and I think it definitely adds to mystery of the album and sets it apart from the rest of our catalog."

When two independent and distinct spheres overlap, the resulting ellipse tends to emphasise the most striking and powerful characteristics of each body. Such is the case with this particular collaboration between heavy music pioneers Neurosis and the multi-faceted performer Jarboe (who performed in Swans and who has collaborated with an array of people from Blixa Bargeld, J.G. Thirlwell, Attila Csihar, Bill Laswell, Merzbow, Justin K. Broadrick, Helen Money, Father Murphy, the list goes on...) The musicians pull from one another some of the most harrowing and unusual sounds ever heard from either artist at the time - a sentiment which also rings true to some 15 years later.

Neurosis & Jarboe opens with a high-pitched whirring sound winding up as Jason Roeder's ominous tom-drum beat and Noah Landis' slinking synth line writhe in unison until Jarboe drops in, drawling in her characteristic, corrupted Southern belle voice, "I tell ya, if God wants to take me, He will." From there on in, the album is a series of abrupt shifts and cleverly juxtaposed themes that flows in a rhythm of its own. The sinister and ethereal sounds, vocal coos and electro-pulses of "His Last Words" seem like the perfect soundtrack to a David Lynch film. On "Erase," song parts are dissected and grafted one atop the other, continually building tension as Jarboe wails and yelps with Banshee fervor.

The project began with the artists working in seclusion, recording the elements that would best highlight their own characteristic integrity and personality, rather than either attempting to mimic one another's familiar elements. As recorded ideas were passed back and forth, the collaboration proved to bring out the most unhinged and urgent talents of all those involved.

Throughout the album, that signature "Neurosis note" - the sound of something simultaneously recoiling and erupting, the apocalyptic tone announcing the birth of a new world - reaches its apex and becomes evermore icy and eviscerating. Guitarists Steve Von Till and Scott Kelly trim their tones for cleaner, chorus-drenched effects layered between the thunderous distortion blasts of bassist Dave Edwardson. Likewise, Jarboe's operatic wail and other vocal contortions sound perfectly suited to the eruptive emotional fray of the music.

The collaboration is a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds. It unlocked the hidden potential of electronic music as a new force in heavy rock. At a time when groups like Oneida, Wolf Eyes and Black Dice were beginning to experiment with technology in making mind-numbing leaden electro-drone freed from any essence of "dance music," Neurosis & Jarboe redefined all notions of their past - and outlined the course of heavy music to come. It's interesting to look back through the lens of this release, and think about these ideas and concepts in the present.

Neurosis & Jarboe remains the meeting point of all art that takes us beyond ourselves.

Bellringer by day, DJ by night, Philipp Gorbachev returns to his own PG TUNE label for his fascinating third LP, KOLOKOL (‘The Bell’). A singular blend of cutting-edge techno and industrial with the distinctive sound of Orthodox church bells, Philipp Gorbachev’s unique vision, also extended to an accompanying experimental documentary and a radical new live show, documents the life and spirit altering experience of becoming a bellringer himself in the time since his last full-length, 2016’s uncompromising ‘Unlock The Box’. Now, on KOLOKOL, Gorbachev utilises his masterful use of electronic music textures and his multi-instrumental to adapt and subvert some of the most inspiring sounds that have ever rung out.

Originally conceived as an Eastern ‘gospel’ inspired album in the vein of Robert Hood’s pulpit trips as Floorplan, the resulting record is an earthier, more brooding journey, arguably echoing the soothing and powerful tones of the bells themselves, which match the earth’s frequency of 8hz, rather than classic and increasingly digital club sounds. Those anticipating claps, snare rolls, hi-hats and melodies may find themselves surprised and moved in unexpected ways; in the sonic church of Gorbachev’s creation, the ever-unpredictable Gorbachev mines tension, ecstasy and catharsis in the sound of more than 40 belfries, played live by hand, sampled and then sequenced with compelling and inspiring results.

In an accompanying and beguiling short film, we glimpse Philipp Gorbachev at the mercy of both the bell and a higher power at St. Nicholas Orthodox Church in Berlin, and wandering across the vast, snow-dusted plains of his native Russia. Abstract and provocative visual sequences combine the experimental, industrial sound design of the record with distinctive imagery from Christian Orthodox heritage, to subtle and even quietly psychedelic effect.

Completing Philipp Gorbachev’s holistic vision for the project is a new live show, already premiered at Moscow’s legendary Mutabor club in May, which sees the producer meld the communal and healing atmosphere of the traditional belfry with the more radical surroundings of the rave culture he is best associated with. A bracing and unforgettable introduction to this new style of spiritual music, the performance will tour avant-garde festivals and club spaces over the next twelve months. An ambitious and highly personal statement, KOLOKOL is an independent and necessary call for new bridges between spirituality and rave culture, demonstrating how an unexpected blend of technology and faith can transform ancient dogmas into communicative code that can heal anger and separation in the modern age.

Fresh modulating techno cuts from the Semantica back catalog rephased by Valentino Mora

Remix versions for Juergen Vonbank’s ‘Trial & Eros’ album from 2018 by some of Austria’s finest artists, ranging from well-established veterans to aspiring new talents. Limited hand-stamped
edition.

Attraverso is the debut album of new ambient trio PCM. The band consists of Francesco Perra (P) who also records solo as Perry Frank, Pop producer and sym- phonic ambient composer Matteo Cantaluppi (C), and sound designer/engineer and PCM creative director Matteo Milea (M). The album was conceived after a brief studio session exposed that each member brought something unique to their collaborative take on ambi- ent's many sub-genres. Attraverso, in concept, is meant to mimic four long-form journeys through human inner consciousness utilizing an amalgam of drone, modern composition, guitar ambient, and Koyaanisqat- si-eque arpeggiated kosmische musik. Each track title is the word "Attraverso" with three of the four being represented in different languages.
Attraverso is out October 18th on limited edition 180-gram ultra clear vinyl and gatefold compactdisc.

Beijing-based techno producer HWA (aka ELVIS.T) is releasing his first 12" EP "Granular Line" on Ran Groove, the sub-label of Bejing's Ran Music. This EP has 2 Deep Pulsating Techno tracks included as well as one Droning Ambient track produced using his customized modular synth system. As one of the leading figures in China's techno music scene, HWA's left-field experimental sound design, delicate poly rhythmic beat groove, dark and twisted massive soundscapes and the full hardware workflow, have earned him a reputation across China's dance music scene. Granular Line is the crystallization of HWA's persistent efforts on using the modular synth to produce techno music, it is the new envelope of his techno sound aesthetic.

HWA was born and grew up in Taipei and kicked off his DJ career in 1998 and soon started to produce his own music. He relocated to Beijing in 2006 and immediately became a part of China's electronic music scene, which had just emerged a few years before and was on its fast-rising phase. HWA is considered a brute force in the promotion of techno music and culture in the country, he was the early co-founder of Beijing's Lantern club, the most influential techno club in China's capital, he was also the co-owner of Acupuncture Records, which is the only techno label in China back in the 00's. In the past decade, he has played in the finest clubs and festivals in Europe, such as Tresor in Berlin and ADE festival in Amsterdam, as well as the top clubs in Toyko, Seoul, and Taipei, where Asian's best dance music scene exists. In 2016, he appeared in China's first ever Boiler Room event with his modular synth system, created the climax of that night and his live set was considered one of the best moments of Boiler Room China.

HWA has deeply embraced modular synthesis in recent years and it has become the centerpiece of his music production workflow and live performances. He attempts to explore randomized beat sequences and experimental sound design furthermore. He's one of the initial members of The Modular Commune, a Beijing artist community focused on the use of modular synths, which has gained a lot of attention across the globe. Through his music work and live sets, HWA's unique athletics and understanding of techno music made by machines, has become a unique label of his.

Mythology for the posthuman age. From "The New Kind" to "Posthuman Wonderland", Simon Grab's album "Posthuman Species" is a sonic journey through an astonishing land of fragile feedbacks, pulsating drones and opulent outbursts of noise.

Recorded on a no-input-mixing setup consisting of low frequency oscillators, filters, analogue effects and a mixer patched with itself, the album sneaks up on dub and leftfield electronica from the side. Over time, the self-oscillating setup falls in and out of tune with itself, emphasising its transient nature. The album is a work of science fiction, telling the story of a time when "The New Kind" shapes its own wonderland.

Swiss sound artist and musician Simon Grab explores new grounds by negating assumed borders. In his recent work, he focuses on reduction, and the peculiarity of self-referential systems.
The album "Posthuman Species" follows his recent EP "Extinction" on -OUS. His "Diamonds EP" in collaboration with Togolese rapper Yao Bobby and Asian Dub Foundation's Dhangsha releases on Bristol's LavaLava Records in September 2019. Simon Grab's recent works includes "Hirnmusik 1 & 2", in which he dives deep into musical imagery by transferring his sonic ideas directly from his brain to vinyl.

The vinyl LP comes with a printed inner sleeve designed by Hammer and a download card that includes the digital only tracks "Transformation" and "Posthuman Wonderland".

Wa Wu We is the artist alias and vinyl only label from Sebastian Mullaert. This is the third chapter, crafted in the Swedish woods. The first 6 episodes of the Wa Wu We label will form a collection of records, united by their significant and unique cover art and the way they've been recorded; this being the focus on improvising expression, resting in meditation and the nature surrounding Sebastian's studio. All 6 of these episodes will be released as vinyl only and will be limited to 500 copies each.

THE STORY Wa... the Wu are We Let the question appear, and dissolve in the dance! Wa Wu We is back with the third vinyl release, and like before its vinyl only. Deep jams nurtured by the Swedish woods, the home of Sebastian Mullaert.

The beautiful four colour sleeve is designed by art director Markus Clemmedson and include Sebastian's poetry.

For the 12th installment of Jose Cabrera's self-titled imprint, Mario Castillo appears under his long running 'Kastil' moniker to deliver a four track EP of mechanical dance floor sounds. With 'Anemic Lust', the resident of Vitoria- Gasteiz, comes up with a worthy addition to his rapidly growing discography. After a period of DIY work through his own label STALE, Castillo returns to the imprint where he last released his collaboration album with J.C. in 2017.

Musically, Castillo's palette is ever expanding, threading into the murky waters of mechanical textures and balanced, hypnotic beats, Anemic Lust is showcasing Castillo's love for dubbed out chords, orchestrated string work and power driven drum programming. The opening track 'Submissive' is a firm work of dance floor techno which uses a drone-like scream as it's back bone. While the bass and drums alternate skillfully, the hats and percussive elements penetrate entire spectrum and act in a vanguard-like fashion.

'Omniscience' is a work of growling and low down dub chords that are supported by a vigorous kick drum, slabs of fx, and high spirited hi-hats that change throughout. 'Red River' is the first effort on the B side if Anemic Lust. Castillo changes the pace to introduce a more inky side to his music. The drum work and bass sounds are ominous but the mood is shifted by a more soothing ambiance around the two minute mark.

Also on the B side, label owner J.C. translates Red River into an experimental sounding work of wintry drums and notable sound additions.

Anemic Lust comes in a 12" vinyl package

Elf Jahre nach ihrem letzten Kollaborationsalbum "Inlandish" veröffentlichten Hans-Joachim Roedelius, deutscher Experimental-Musiker und Krautrock-Legende (Cluster, Harmonia), und Tim Story, US-amerikanischer Neoklassik- und Ambient-Komponist, ihr neues Werk "Lunz3", angelehnt an ihr gleichnamiges Werk aus 2002. Das Ergebnis ist eine facettenreiche Exkursion im Spannungsfeld zwischen Electronica, Neoklassik, Ambient und Drone.

A collection of forgotten fragments, abandoned ideas, loops, alternate takes and outtakes. Recorded in 2006, mixed and arranged in 2019.
If you can picture the very furthest, coldest, darkest part of Norway, that's where Mind over MIDI resides. If you want to get an idea of what it's like there, and can do without the frostbite, then this is the perfect solution. Helge Tommervag produces sweeping, icy synthscapes, with digital snowflakes since 1995.

It's been three years since founding UVB-76 member, Pessimist put out a Drum & Bass release. The last time you could find a 170 track by Jabs was back in 2017 for his critically acclaimed self- titled debut album released on Blackest Ever Black. So we present in 2019, the Burundanga EP for UVB-76, which has been destroying dance floors across the planet.

The Burundanga EP consists of three Drum & Bass cuts. Think Ruffhouse meets tribal shamanism, gutter breaks with amazonian field recordings and thick atmosphere, you'll feel like you've been spiked by some ritualistic witch doctor. Also included within the four track EP is the long awaited Paian remix by Downwards Records and CUB affiliate, Simon Shreeve aka Mønic & Kryptic Minds, taken from Jabs's debut EP for The Buzzer. Trust us when we say this is not for the faint hearted, we're truly excited to have Pessimist back on the label with these four vintage, signature Pess, killer cuts.

Giorgio Gigli and Bichord team up for the first LP in the Planet Rhythm Black series. With their intricate drum patterns, sophisticated rhythms, and extended pads, these tracks will fit perfectly in any deep techno set. They take their atmospheric sound and submerge it deep in the ocean where only a few rays of light can penetrate. Nevertheless the music breathes and still has a very spacious and airy quality.

Original photography on the poster by Christopher Michel.

Mára is the solo project of Faith Coloccia, the hermetic composer, songwriter, and vocalist who has a central figure in numerous projects including Mamiffer and her ongoing collaborations with Alex Barnett. Her arrangements for piano, organ, electronics, guitar, and voice often take the form of deconstructed plainsongs, as elegant variations of a melody that smolder and dissolve into heavy-lidded assemblages of shadow, fog, and echo. As Mára, she continues with her signature aesthetics, while laying bare the emotional core of her being.

Here Behold Your Own follows the very limited Surfacing cassette from 2015. The album began to take shape shortly upon the conception of her son and evolved to encompass her becoming a mother in conjunction with the re-engineering of her creative processes. Coloccia reflects upon the album’s origins, stating "A lot of the material that I used to make this record felt like the last glimpses of ‘me’ before I became another me. Almost as soon as I conceived I felt the old me slipping away, and so these recordings and photographs were like the last time spent with myself before I changed."

Mára’s melodies draw from the lullabies that Coloccia would sing to her son. Dating back many years, she has employed the practice of hastily recording fleeting ideas, fragmented songs, and melodic phrases onto tape and then later drawing from this vast archive of documents to flesh out the broader compositions and arrangements. On Here Behold Your Own, the leitmotifs repeat as ghostly reminders of things past, appearing once as a soothing vocalization and later through church organ or piano and vice versa. It is not only the melody but also the encompassing swathe of timbral residues that lend to the album’s emotive thrust of the bittersweet, the nostalgic, the solemn, and even the holy.

Coloccia sites Gavin Bryars’ Jesus Blood Never Failed Me as a principle inspiration in the making of this album through its intertwine of sadness and joy. In truth, there is a very similarly sculpted cascade of passions evident on Here Behold Your Own with further comparisons to be found in Áine O’Dwyer, Philip Jeck and The Caretaker.

Jim Haynes, August 2019

Our loyal companion "Steve Parker" continues to raise awareness off what he can do in the scene. This "Interplanetary Dust LP" is another example of what he is capable of. A 2x12" containing 8 powerful tracks that fits right into the resume of our widely ranged techno collection.

Veyl Industries is releasing ‚Dreams & Memories‘, the debut work from Ori, one half of TV.OUT. This 8-tracker
features malevolent electronics, experiments with noise, textures and blood.

Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination.

Recorded at Berkeley, California's famed Fantasy Studios, Pale Bloom is comprised of two delicately-arranged sides. The first – a three-part suite where Davachi's piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress – recalls Eduard Artemiev's majestic soundtrack for Andrei Tarkovsky's Solaris. "Perfumes I-III" employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike.

While the first half of Pale Bloom showcases Davachi's latent Romanticism, the sidelong "If It Pleased Me To Appear To You Wrapped In This Drapery" reveals the Mills College graduate's affinity for the work of avant-garde composers La Monte Young and Eliane Radigue. Softly vibrating strings rise and fall like complementary exhalations of breath. As the fluctuating pitches create overtones that pitter and pulse, the piece slowly and subtly evolves – suggesting a well-tempered stillness, yet without stasis.

Davis returns on his own imprint with some dense atmospheric techno

Berlin based producer ''Synthek'' is a renowned name within contemporary Techno. Besides succesfully running his label Natch Records, he has been also a resident at the infamous Tresor.

For the seventeenth installment in the string of Attic Music releases, Synthek (Luca Landolfi) comes up with a staggering EP that contains a lot of adventurous drum patterns, bold arrangements and swells of daring FX.

On the A side we find ''Loser'', which is a brave cut of spherical yet moody techno that uses a buldging percussion line and otherwordly fx to create an ominous vibe. ''Uneven Mind'' is an exotic cut with tough drum sounds that uses a hypnotic synth swell that cuts throughout to create an alarming atmosphere. French producer and Concrete resident Antigone comes up with an uplifting (eight minutes long) remix for ''Uneven Mind'' on the B side which is beautifully orchastrated throughout.
''Faithless''is a percussive cut with intense FX blips.