Techno Vinyl New Releases - News

Faith Coloccia and Alex Barnett return to Blackest Ever Black with their second duo album, Weld, working with synthesizers, affected vocals, raw electrical noise, field recordings, EVP techniques, tape manipulation and drum machines to create a music at once lucid and mystic. Its songs embody various experiential philosophies and objectives: searching for the sacred in the forgotten and supposedly useless, exploring the meaning of natural', listening for the pulse of the ancient, using technology both to materialise memory and to dream a folklore for a future age. Coloccia and Barnett's ambition is apparent early on in the stately, medievalist keyboard/choral poetics of 'Truth Teller', moving through the agitated wormhole techno of 'Dreamsnake', to the white light-emitting, near-symphonic plainchant of 'Healer'. 'Blight''s zero-hour synth pulsations are first interrupted, then engulfed, by an extra-terrestrial broadcast of piercing bell and glass-tones, 'AM Horizon' is pitched bewitchingly between Prophet-5 pulp futurism and earthbound, atavistic dread, 'Agate Cross''s baroque harmonic sequence disintegrates at its very climax, cooling and dissipating into a deep starfield of pure tone. 'Ash Grove' and 'Rose Eye' are exhilarating exercises in contemporary musique concrète: complex timbral constructs in which Coloccia's disembodied glossolalia, swooping strings and other nameless sonic spectra conspire to evoke extra-dimensional space and the highest spiritual drama. Weld speaks its own distinctive dream-language, but we would certainly recommend it to anyone enamoured of the brittle sci-fi synth-scapes in Caroline K's Now Wait For Last Year, the amorphous electronics of Beatriz Ferreyra's recent work, Conrad Schnitzler's more gothic moments, and even the gravest metaphysical reckonings of a Stockhausen or a Rozmann.

Coming as transparent vinyl in a screenprinted limited edition of 200 pieces. This release contains 7 tracks by grmmsk from helsinki / finland. stretched in time haunted voices from the caribbian diaspora tumbling through misty and wet streets of baltic shores. drones of wire spring reverbs meet halftimed doom dub. beside unreleased tracks there are some versions of tracks released before on grmmsk own imprint totes format on cassette. Pressed on transparent vinyl in a hand printed translucent cover, it conceptualizes the album's title 'ONE WORLD - nowhere to hide'. When the idea of UNITY has failed with the result of a world that is increasingly ruled by a hegemony of fear and control, escape into something J.G. Ballard has been calling INNER SPACE, seems imminent. But what happens there Here's what: DOOMDUB! Dystopian versions of a sound, that has been associated with glaring sunshine of the caribbean before, is now dragged through the dirty snow flanking the ring-highway circling hellsinki.

Licht is the debut album by Shampoo Boy, a new guitar, bass and electronics trio from Vienna, comprising members Christian Schachinger, Christina Nemec and Peter Rehberg. Schachinger and Rehberg have played together in various projects over the last 25 years, most notably Peterlicker - see Last Slave (2010) and Nicht (2011), both released on Editions Mego. Schachinger was also involved in Der Scheitel, their album In einem Haus das Liebe heißt being a classic of German 'Schlagermusik'. Rehberg currently operates the Editions Mego family of labels and is a member of KTL, R/S and Fenn O'Berg as well as working on theatre productions with Gisele Vienne, and with choreographer Margret Gudjonsdottir. Nemec's background is in avant-rock and industrial outfits such as Bray and her own performance group SV Damenkraft. She remains highly active as a solo artist, both as Chra and under her own name, and she has performed on several occasions with Lydia Lunch. Licht is made up of four improvisations recorded and mixed at Twisted, Wien between April 2012 and January 2013. Mastered by Noel Summerville at 3345, London. Artwork by Stephen O'Malley.

Last years TBG01 was charted by german DJane Ellen Allien and broadcasted by Gilles Peterson of BBC-International fame - amongst others. The second installment (with the slightly confusing catalog-number TBG04) changes its appearance from 'white-label 12 in a black & white gatefold cover' to 'heavy white vinyl in a multicolored disco-sleeve". The label's patron Arthur Boto Conley showcases the work of obscure 1980s producer Clifford Trunk. The lo-fi dance and ambient tracks origin from a tape which was hand to Conley by Trunk during a brief encounter at Düsseldorf's 'Ratinger Hof' in 1986. Depicted on the cover you can see Italian designer Ettore Sottsass' work for the fashion company Esprit's european headquarter which opened up the same year. Clifford Trunk was working for the Sottsass Associati from 1982 on and had a leisure time obsession for drum-computers and sample synths. What a serendipity! - Limited to 333 records.

Pineal activation. IMAX phantasy. Drippy acid ecosystems. HD....everything. All contribute to the sentient environment that is Exo, Gatekeeper's debut LP dropping on LA-based label Hippos In Tanks. Demented and celebratory, sinister but pure-hearted, Exo is a cerebral spectacle, a gapless playback rush of digitally-enhanced stimulation.

With Contemplative Figuration we see Broshuda pushing his amorphous, impossible-to-pin-down music in exciting new directions. Stitched together in various European cities over the last few years, it is the artist’s most dynamic and ambitious release thus far, drawing equally from musique concrete, beat research, ambient, tape collage, and spoken word. Episodic in nature, the collection functions well as a sort of impressionistic travelogue, with romantic, hazy atmospheres coaxed from borrowed equipment, serendipitous recording sessions with old friends, and even a drum sequence programmed with Mario Paint, among other curios and sleights of hand. Broshuda deftly wrings bonafide cohesion and balance from these disparate source materials, tools, and locations, as on opener “Kakigori,” which allows a snaking harmonic drone the space to evolve before exploding it into a sort of seething, dubbed out pointillism. Later, “Lied Für Hase” concocts a potent, humid atmosphere of beautifully evolving acoustic piano loops and elegant narration. Taken as a whole, Contemplative Figuration is a weightless, transportive record, one that is bursting at the seams with ideas, mischief, and a restless spirit.

Mastered by Helmut Erler at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.

Under their exael moniker, Berlin-based producer Naemi makes highly imaginative music that can be seen as a study in contrasts - precise, hyper-detailed drum programming sits atop fuzzy, organic pools of ambience, virtuosic futurism is wrung from a falling apart laptop. Following a string of excellent releases, both solo and in group settings, “Flowered Knife Shadows” features eight productions that feel like the full realization of the project, demonstrating the artist’s range and knack for vivid, pressurized productions. From the dextrous, chops-flexing “Koch Metish” to the sanguine “Reality’s Sweetheart,” Naemi’s clarity of vision and instantly recognizable aesthetic are delivered here with remarkable potency. Frost on the window, whispers in the dark.

Soda Gong presents a razor sharp collection of rigorous and imaginative new music from Moscow-by-way-of-St.Petersburg-based musician and producer Flaty. "Generic TARGZ" places Flaty's precipitously complex drum programming and keen ear for atmosphere and space at the forefront, offering up a dynamic array of techno, ambient, generative footwork, and other tougher to pigeonhole rhythmic experiments. It is a dizzying and cohesive document in which ethereal productions, such as "Praaai" wherein a bewitching vocal pad hovers over delicate, pin-prick percussion, sit comfortably alongside tightly controlled chaos, as with the synapse-knotting "Thread" and heavy-hitting "Horn of Plenty".

Over the past few years, Flaty has released a wealth of diverse and uniformly excellent music under monikers such as AEM Rhythm Cascade, Dada Ques, and Wrong Water. He is most closely associated with the influential GOST ZVUK label, but his work has also appeared on imprints such as 12th Isle, Muscut, and his own ANWO Records. Although Flaty serves as his primary alias, "Generic TARGZ" is only the artist's second full-length under the moniker, following 2016's "New Suggestions", a high-water mark in the impeccable GOST ZVUK catalog. Mastered by Rashad Becker at D&M. Artwork and design by Alex McCullough and Niall Wynne Lewis.

HIGHLIGHTS 7697 Miles, the synth duo made up of Dieter Mauson (Hamburg, Germany) and Cristóbal Rawlins (Santiago, Chile), two long-standing artists of the underground scenes of their respective countries. DESCRIPTION The name of the project, 7697 Miles by Dieter Mauson and Cristóbal Rawlins, alludes to the distance that separates both geographical places. Mauson started in the 80s with various industrial and minimal synth projects. He currently performs as a solo artist under the name of Occupied Head. For his part, Rawlins, under the alias of Raw C, has become one of the fundamental names in the most innovative techno scene in Chile. "Iskay" (which in Quechua means "two") was recorded during a tour that the duo made in Peru, inspired by the Andean culture and its ancient traditions. The pieces that make up "Iskay" were composed using a wide variety of synthesizers and follow the lessons left by German electronic music from groups such as Kraftwerk and the Berlin school. But they are also open to ambient experimentations and echoes of techno culture, resulting in pieces that cover a whole tradition of electronic music, in a true hypnotic excursion for those who enjoy electronic sounds as a journey to new territories of sound and psyche. "Iskay" represents the debut of 7697 Miles on Buh Records and is released in a limited edition of 300 copies. The cover art was designed by the great Peruvian artist Paloma Pizarro (Infra_Intl).

The band describe themselves as a spaced out, instrumental loungerock outfit, with added vibes of folk music, jazzy surf, psychedelia, free improvised chill-out, jangly post-rock and travelling bass. Not much for us to add here, apart from possibly a pinch of krautrock. "Tellus" is the quartet's fourth album, and their debut on Rune Grammofon. Being something of an allstar team from the fertile psychedelic spacedrone scene in Haugesund on the westcoast of Norway, the members also pay their dues in bands like Electric Eye, Lumen Drones (ECM), Undergrünnen and The Low Frequency in Stereo, whose album "Futuro" we released back in 2009. On "Tellus" they are joined by Sigbjorn Apeland, a much esteemed musician largely operating in a landscape of folk music, church music and improvisation. He is a member of Nils Okland band (ECM and Hubro) and has collaborated with him for 30 years, also appearing on his two albums for Rune Grammofon; Straum (2000) and Bris (2004). Also appearing on "Tellus" is Ståle Liavik Solberg, a central force on Oslo's thriving improvised music scene. He has performed worldwide with numerous Norwegian and international musicians and curates the excellent Blow Out! festival. With "Tellus" ATS heads into the Hardangervidda (the big plains connecting the eastern and western parts of southern Norway) terrain of wide open spaces, spare vegetation and unruly weather conditions, especially during the winter. The album was recorded in a small studio in Haugesund during two days of heavy rain showers and stormy winds rumbling outside the windows. Per Steinar Lie - Lap-steel and electric guitar Oystein Braut - Guitar, organ and Mellotron Julius Lind - Double bass Orjan Haaland<

Lexachast is an ongoing collaborative work by Amnesia Scanner, Bill Kouligas & Harm van den Dorpel.
Initially birthed as a joint, improvised performance between Amnesia Scanner and Kouligas at the ICA, London in 2015, it was later recreated and extended with visual artist van den Dorpel into a 15-minute online-only audiovisual work – known simply as Lexachast. Since then, it has expanded into a live show that has been performed at Transmediale, CTM Festival, Unsound Krakow & Adelaide, Next and LEV Festival and during Paris Fashion Week in collaboration with the brand Ottolinger. Now to be released on PAN, is a new document of Lexachast in its current, full-grown form.
Whilst broadly inspired by the experience derived from and exposure to algorithmic patterns as generated by visual artist Harm van den Dorpel’s specially- devised program, the work is a sonic reference to the fallouts of avant-EDM and cyberdrone. This in turn is simultaneously mirrored by the perturbing visuals, created by a unique algorithm that sources and blends various filtered imagery from DeviantArt and Flickr in real time – with a bias towards the NSFW, extreme banality, and ornamental melancholia. The results were a perfect fit for the deliberate intention of non-intent, an anti-video of sorts, which ended up as a defining element for the project.

Ann McMillan did not record prolifically, but she was at the vanguard of electronic composition in New York in the 1970s. A student of groundbreaking composer Edgard Var se, McMillan’s primary medium was magnetic tape, which she manipulated to create surreal soundscapes. On Gateway Summer Sounds, her debut album released on Folkways in 1979 and recorded at the legendary Princeton-Columbia Electronic Music Center, she sources sounds from the natural world - frogs, insects, field recordings from the Gateway National Recreation Area in New York Harbor - along with
gongs, bells, and a harpsichord to conceive remarkable, hypnagogic compositions. Like the music of Daphne Oram and Pauline Oliveros, her compositions for tape have been overshadowed by those of her male counterparts, but her work is no less revolutionary or vital.

There are many hyperbolic adjectives that can be applied to Russian trio Antethic, but in the process of trying to pin down and define their hybrid of electronic experimentalism the more intriguing their sound becomes. On their latest and third album Mythographer - their first to be released internationally - the band reach new heights of mysticism and wonderment. Rich and full bodied low-end synths contort with equanimous resolve throughout, giving way in the more cacophonous moments to hypnotizingly crackling lead instrumentation. Antethic”s previous post-rock leanings aren”t entirely disregarded, with song structures that still lean into earth moving crescendos. The key difference lies in Mythographer”s highlights, which take their previous formula and morph it into glitched out effects and (dare we say) danceability - look no further than “Absurd Hero”“s quasi drum-n-bass passages, the rumbling “Frontier” and closer “The Unturnable”, or the Shlohmo-evoking liquid melodicism of “Tyro”. It”s clear Antethic have honed in on - and blossomed into - a newfound identity that is entirely theirs.

Indulge in a delicious audiophile preview with this Appetizer 12" from the upcoming 2024 compilation by Swiss DJ Princess P. This musical amuse-bouche offers a taste of her eclectic sound, in anticipation of her full, richly curated collection.

Swiss DJ Princess P, known for her eclectic sound, has been a dynamic presence in the electronic scene since the 90s. From her early days exploring house music to working at Plattfon Records, she's honed a genre-defying style. Her sets, a blend of savory house with indie and techno, are renowned at clubs and festivals alike, showcasing her deep musical knowledge and innovative spirit.

Half Speed Cutting and mastering by Sidney Meyer @ EBS Berlin Studios (formerly Deutsche Grammophon).

Liner notes by Kirk Degiorgio

The beats end of the catalogue, still wild, unfettered and experimental.

Originally issued as a tour-only download (2011) as a follow up to Baths’ critically acclaimed debut LP, Cerulean. Presented here in remastered form for the first time on vinyl. Released on Baths’ own label, Basement’s Basement.

In the spring of 2010, life changed overnight for Will Wiesenfeld. The San Fernando Valley native had recently rechristened himself Baths after a series of largely unheard bedroom experiments under the name Post-foetus. Barely old enough to drink, the angelic dancefloor confessionals from his debut, Cerulean suddenly made him one of the most celebrated new artists in electronic music. Critical acclaim and underground fame ensued. But rather than drown in the predictable clich s of drug abuse or chasing pop stardom, Wiesenfeld redoubled his pursuit of the perfect song. It was the mixtape era and Wiesenfeld was recording like Lil Wayne in his prime. During the months between Cerulean and his national tour the next year, 13 new Baths songs emerged from the miasma. They were compiled on the first volume of
Pop Music/False B-Sides, which was originally a tour-only digital download and sold in person in shows as a printout on card stock.
This was a home for all the weird outliers, the misfit slappers and shimmering fugues that had nowhere to go. Smashed together they could have their own home to seamlessly coexist. The title was a direct interpretation of Wiesenfeld’s emotional relationship to these songs: both held at arm’s length, but also a cohesive and clarion body of work. Each song was written entirely without premeditation. The recordings occurred simply because he felt like it. Songs began as sketches, but were inked and colored in as the 21-year old Wiesenfeld went along. The themes still ring true to him a decade later,
but he admits, ‘I was still early on in figuring out my relationship to my sexuality’there are things that are bumpy or difficult for me to listen back to. In ‘Damnation,’ the refrain starts, ‘the lives of my wife and I, you can have.’ My wife? lol.’ The instrumentation varies from weightless electronic pop to crystalline ambient blissouts to melancholic falling leaf reveries that recall Fennesz or early Prefuse 73. An underlying musical thread exists inasmuch as there are less sounds per song than much of the Baths catalogue. This and its sequel Pop Music/False B-Sides II are imbued with a minimalist grace, a loose-limbed propulsion that lends itself to meditative departures.
There is ‘Overseas,’ a pastoral escapist piano glide that plays out like the Boards of Canada but speed up and sadder. ‘Nordic Laurel’ hints of frigid blankets of white snow and stark wintry trees, like a gifted young artist’s take on Pantha Du Prince or Four Tet. ‘Flux’ is glitchier and atonal. Wiesenfeld’s voice is more nasally and experimental, and you can watch the fledgling artist begin to find his voice in real time. ‘Inuiria Palace’ might lack the polish of later Baths songs, but there is a power in its roughness. His falsetto is wild and unrestrained;
the emotions are tangled with the discordant youthful rawness that is rarely as effectively channeled later in life. While ‘Lovesick Synthetic’ is like a video game melody from 2040. Wiesenfeld’s voice is chopped up and with a beautiful android croon, he sings, ‘I wish you’d come back to me’I miss you so much’I’m so sorry.’ Give credit to the power
of the post-adolescent fever dream. PMFBS is very much of its time yet timeless. Vitality is brief but art lives long. Here are 13 reminders of the complications inherent in finding oneself, interspersed with the first joyous float of creation.

Bernard Grancher's Soleil Gris Eclatant was recorded at the same sessions as the sold out Avenugle Etincelle album (CiS052) from earlier this year. However, Bernard feels the LP has a much darker side. He explains "It is a kind of logical continuation but in the burying of the ego and all the aspects which make the depreciation of the personality after a wounding episode in the personal life. The material used for the recording is in the image of this dark mood: the synthesizers are at the end of their life and are synchronized with the rhythm machines with difficulty, the tape recorders are faulty and idle, causing suffocating soundscapes. And despite everything, the music starts almost alone, as if moved by the residual force of these old machines which still testify to their loyalty to prove that they still have things to tell..."

Soleil Gris Eclatant tells a secret story; that of its artist and the symbiosis which links him to his machines. It is the story of this light which arises from this marriage between the man and the dying machines. A grey light but dazzling and hypnotic, a light that invites you to look it in the face to better penetrate you and live a little inside you.

Who will listen to this curious sound testimony?

The album is pressed on beautiful black and white splatter vinyl with luscious sci-fi artwork from Nick Taylor. Initial copies come with two double sided art prints and all is housed in a plastic folder.

In an age that demands hyper acceleration, kinetic flashes and byte voracity, Blak Saagan sticks out like a sore thumb with a sprawling body of work that requires attention and unlocks profound symbols and meaning with every passage. After a 5 year gap, the Venetian composer returns with his most personal and openly political statement yet, ‘Un Sequestro Lungo 10.000 Anni’, a staggering 108 minute triple album soundtracking a dystopian city through flashes of futuristic fourth world visions, warehouse 80s rave-ups, meditative trance and dark rumblings. Following his acclaimed ‘Se Ci Fosse La Luce Sarebbe Bellissimo’ was never going to be an easy feat but Samuele Gottardello (Blak Saagan) approached the fresh canvas with a renewed sense of commitment sparking a dense parallel world inhabited by paranoia, control and repression. A world that is relieved by the figure of a woman with the body of a bird emerging from the asphalt and freeing humanity from the “sequestro” (kidnapping) to which it has long been subjected. Dystopia pushed to the limits and sadly close to our current affairs.

Mystery Circles is busy at the moment with a great series of tapes, albums and 7"s all dropping in relatively quick succession. This one is a nice heavy 180-gram vinyl long player with only 100 copies pressed. It's Brooklyn's Tyler Gilmore, aka BlankFor.ms, at his best, if you ask us. His highly textured ambient uses gorgeous spinet piano, dusty and degraded tapes and analog synthesisers to make for something that evokes deep memories and transports you to places you had long forgotten. It is a touching record that leaves an indelible mark.

NNA Tapes is thrilled to present brand new music from percussionist and
composer Booker Stardrum.
Over the past decade, the Los Angeles and New York-based musician has built
a language of sounds as a solo artist, frequent collaborator, and improviser.
‘CRATER’ is the artist’s third full-length album on NNA, beginning with 2015”s
‘Dance And’ cassette, and followed up by the 2018 limited edition vinyl release
‘Temporary etc.’
The worlds of electronic music and free jazz firmly root Stardrum’s unique
musical syntax; as ‘CRATER’ unfolds, a torrent of microscopic, staccato musical
gestures collide and coalesce into a singular whole, while jagged and angular
sounds coexist harmoniously with their smooth, polished counterparts, creating an auditory balance and swaying symmetry.

Following his critically acclaimed collections Electronic Music from the Seventies and Eighties and Electronic Music from the Eighties and Nineties, Carl Stone quickly follows-up Baroo (March 2019) with a double-LP album of recent works, including the final section of “Fujiken”, his epic journey through southeast Asian field recordings and street cassette culture. On all six tracks, composed between 2013 and 2019, Stone’s pan-global playground of looping synths and Asian pop culture remains as fertile as ever, digitally shattered into unimagined patterns and gestures, either through the MAX programming language or (in the case of “Kikanbou”) by generating live loops within an Elektron Octatrack sampler.

The title track is the first recorded release from Stone’s ongoing collaboration with the Japanese vocalist Akaihirume. Elsewhere new influences come from rock (the slow drum break of “Bia Bia”), disco (the Nile Rodgers-esque guitar riff “Kikanbou”) and hip hop (the frenetic percussion loop of “Han Yan”). Their diversity only adds to Stone’s borderless musical vision, a world where rhythm becomes atmosphere, song becomes beat, and pop becomes art.

Brand new album length offering from the San Franciscan sike-shroom cloudbursters, Carlton Melton… 5 tracks of crackling doom laden psychedelic thwack and strum. Burgeoning SF underground/overground label BROKEN CLOVER gets the honour to drop this hefty slab-o-sike, a counter part / adjunct to 2020’s “Where This Leads” and 2021’s “Night Pillers” releases.


The third part of a much travelled trilogy? Maybe, these are the last fruits of the laden tree of psych that blooms at the DOME in northern Cali, where the band returned to in 2017 to fire up their Magick Karpet…


The four tracks on side A range from a bubbling riff driven freak out to some wild and live electrical buzz/fuzz mongering.. typical / atypical Melton mind melts… and running roughshod over some pensive almost Canterbury driven guitar musings along the way... raw, alive.. essential.


But the B side.. a 19 plus minute title track that is pure psylocibian-pummel..strap yourself in…lets go for a ride..
Carlton Melton are still: Andy Duvall, Rich Millman, and Clint Golden. Flyyyyyy onnnnnnnn!


its limited..500 are made

Love in the time of collectively assured techno-capitalist-nuclear holocaust! It’s the endless summer the Brits have been harping on about since they think they won the World Cup. The soundtrack is the debut album of the Content Provider; where Octatrack illbient and industrial chanson mesh in a singed postcard addressed to the UK Border Force and co-signed by aliens plucked from the petri dishes of Young Echo, Cold Light and Avon Terror Corps.
It’s a name she tried to keep anonymous, but Drowned By Locals and Bokeh Versions are breaking contract to reveal that the Content Provider is in fact the shock production alias of DALI DE SAINT PAUL. Patron saint of Bristol’s self-destructive improv idols EP/64 as well as post-feminist chamber collective Viridian Ensemble, avant-terror duo Harrga and constant collaborator with the likes of *breathe* Moor Mother, Valentina Magaletti, Mariam Rezaei, Vincent Moon, Maxwell Sterling, Ossia, Ben Vince.
And isn’t it such a strange release? And won’t people be surprised? Endless Summer is grubby and heartfelt, defiant and hopeful, with flecks of warped reggae on E-System nudging the freeform dream balladry of A Feeling and Sunday Morning, Kode9 & Spaceape-worthy dread poetry of Close Ur Eyes next to anthemic electro-crush of Overdrive. Even to those that know her well, and EVERYONE with their belly in the Bristol underground knows her, Endless Summer is a revelation. Perhaps the apex of the known Dali-verse……where her live gigs have boiled with an experimental volcanic vocal force, Endless Summer is twisted, syrupy, sultry, POP.

Originally pressed in August 2014 on black vinyl, The Delian Mode/Blue Veils 7” is being re-issued on MAGENTA vinyl.

Delia Derbyshire's work at the BBC's Radiophonic Workshop in the 60's was recognised initially for her realisation of the now iconic Doctor Who Theme which was written for the show by Ron Grainer. More recently though, she has been celebrated for her own compositions and experiments at what was then the cutting edge of electronic music. Here on 7" vinyl for the first time are two of her pieces, one written for a TV documentary in 1967, Blue Veils and Golden Sands, in which she used her own voice and a handy green BBC lampshade: "I analysed the sound into all of its partials and frequencies, and took the 12 strongest, and reconstructed the sound on the workshop's famous 12 oscillators to give a whooshing sound. So the camels rode off into the sunset with my voice in their hooves and a green lampshade on their backs."

On the A side is The Delian Mode, which was used as incidental music during The Sky At Night in 1969, finding critical acclaim in Gramophone Magazine's review of the album BBC RADIOPHONIC MUSIC (often known as The Pink Album), in September of the same year: "Structures, Pot au Feu and Tomorrow's World are about equally good, yet Blue Veils and Delian Mode are probably the finest music here. It may be no accident that the latter is reminiscent of the beginning of Xenakis's OrientOccident for Delia Derbyshire follows the analytical approach of the more sustained electronic compositions. If her best pieces seem the most imaginative here—and they are—it is because she more fully explores the implications of her material."

Phantom Limb is excited to launch its new imprint - Visitant - a new series of split 12"s acting as a meeting point between electronic producers from across the globe, specially invited to collaborate on one side each on vinyl.

Its inaugural release, VISITANT001 is the tense, powerful marriage of South Korea's Enyang Ha and Mexico's Luz González Torres aka Demian Licht, two producers crafting thrilling, boundary-pushing experimental dance music that calls equally to the head, heart and body.

From Mexico City's vibrant, heady underground dance scene - Demian Licht emerged in 2016 as an electrifying new voice in techno with the self-released debut Female Criminals vol. 1 through her own label Motus Records. A brooding, fiercely intellectual, floor-orientated call to feminist arms, the record coincided with Demian's qualification as an Ableton Certified Trainer, making her the first (and as yet only) woman in Latin America to hold such a certification. Her stark abilities as a producer - those skills that attracted Ableton - are evident throughout her Visitant side. Opening cut "Ankaa" weaves broken vocal samples through a skittering beat and quasi-industrial, abandoned-factory reverbs. It ebbs and flutters by, grabbing at the senses until the 4m30s mark, when it true dark heart is revealed, bursting into a deep 4/4 charge. It is foiled perfectly by "Heyanajo", a more subtle and deceptively creeping exploration of the same vocal samples, now reduced to a melting-machine babble. More recently Demian Licht has also collaborated with Eomac (one half of Lakker) on a crucial 12" released by Eomac on his Eotrax label last year.

106 Kerri Chandler Chords” reflects the conceptual and archival obsessions of an artist committed to acting as an intermediary for the work of others. Compiling 106 chords by the legendary house music DJ and producer Kerri Chandler—and arranging them for string quartet, performed live by SEM Ensemble—this record by die Reihe presents a feedback loop of context and content, resulting in an entirely new work. Elemental and diffuse, yet compositionally cohesive, the presentation of single chords, each on their own, works to both wither and embellish the source of their creation. “106 Kerri Chandler Chords” is a road that encourages hours of meticulous listening, ending in a space where die Reihe, SEM Ensemble, and Chandler are all mysteriously both present and absent.

"Die Reihe" is the moniker of NYC-based composer and sound engineer Jack Callahan. Taken from the journal edited by Herbert Eimert and Karlheinz Stockhausen, die Reihe makes work that often examines and abstracts a single musical element, from the functioning of a vocoder to the harmonies of house music. With this project he has toured both the U.S. and Europe multiple times, been invited to numerous festivals and has released music with labels such as anòmia, Ascetic House, NNA Tapes, and Salon. In 2013 he founded Bánh Mì Verlag, an imprint dedicated to contemporary experimental music and culture.

We're absolutely delighted to announce the reissue of Ouroborindra on the Ghost Box Records label.

Ouroborindra was first released in 2005 on CD-R, and now re-issued on CD and, for the first time, on Vinyl. Eric Zann was an alias for the more experimental work of Jim Jupp, aka Belbury Poly and Ghost Box co-founder.

Inspired by early 20th century cosmic horror fiction, Ouroborindra sets out to conjure up it's own awe inspiring and chilling imagery. It's drone music with melodic elements, stitched together with synthesizers, samples, found sound and effects.

Another exceptional reissue from the consistently excellent Ghost Box.

Drop us a line now to order these.

Are you ready for seconds? Feed LA are back once again with their sophomore full-length album, "More Feed’.

With each release, Feed LA lifts away from familiar forms, offering listeners both inventive improvisations and unexpected harmonic textures. Based in Berlin, the band weaves freely across experimental jazz, punchy funk, and low rock treadings. Sidestepping neat categories and market gridlines, the group leans into the joy of jazz music—rich in wandering detours and pivoting surprises. Feed LA's tracks unfurl before our ears, inviting listeners to the intricate conversations between players, where every murmur, pause, and sudden spark waits to be discovered.

They describe their style as "Free Pop”, a blend of jazz, funk, and pop instrumentation, with a touch of vocal accompaniment.

Get a second helping of Feed LA's unique musical sounds with their newest album, "More Feed,” now available on black vinyl LP and compact disc. Only on Mighty Eye Records!

A collection of Elvis Presley covers recorded by the duet David Fenech & Pierre Bastien. The idea of "Suspicious Moon" started at a party around the topic of blue color. David Fenech had chosen to play "Blue Moon" and Pierre Bastien asked to join in. It was a very enjoyable party and then they recorded the song and decided to plan an album exclusively based on covers of the King. Not that we were absolute fans of Elvis... but as a starting point to go somewhere else. And this is what we reached: in many aspects a premiere for the two musicians. Pierre focuses on (prepared) trumpet for the very first time, while David is heard extensively as a vocalist and is more than ever responsible for all arrangements and textures. Playing other people's material is also a premiere for both of them. 11 tracks around very well known standards. Like familiar places that are changed when seen in a different light. Please enjoy. "Our choice of the Elvis Presley song book for this record may seem strange to many. It seems strange to me as well. Not that I dislike the original music, but before our sessions it had never been a direct source of inspiration. Paradoxically, this distance gave me freedom and flowing ideas. I hear similar qualities in David's parts too. We hope that our relaxed attitude and its positive outcome will be reflected in this album" - Pierre Bastien "The strange thing about these recordings is that the creative process was so fluid and natural_ that it seems that through playing other people's music, we almost reveal something of ourselves. As if these tracks were our creation, as if they were our own children!" - David Fenech

Features new collaborations with Laraaji, Janie Cowan, Masayoshi Fujita, Qasim Naqvi, Brad Weber, Hanna Benn, and PRINTtEXT. A coproduction of Anchorage Museum, National Geographic Society, and Temporary Residence Ltd. What does the Earth sound like? In Stations, the 10th volume in the Field Works series, producer Stuart Hyatt approaches that question with a team of scientists working on the EarthScope experiment. Using sophisticated ground recording
devices, Field Works has created a new type of music in which human voices sing along with the actual voice of the Earth. Stations features an all-star ensemble of vocalists and instrumentalists, including Hanna Benn, Janie Cowan, Masayoshi Fujita, Stuart Hyatt, Laraaji, Qasim Naqvi, and Brad Weber. The deluxe vinyl edition includes a bonus digital album of peer reviews by Deantoni Parks, Green-House, Olga Wojciechowska, Afrodeutsche, Nathan Fake, Ben Chatwin, Sophia Loizou, Amulets, Penelope Trappes, and Alva Noto. Stations was commissioned by The Anchorage Museum and The National Geographic Society. “For those interested in the intersection between field recordings and music, this is a must-have.” A Closer Listen // “A beguiling and quietly astonishing piece of work.”

The audiovisual-collage project 'Section 10_Traces by Filax Stael' was founded in 2013 from the artistic collaboration between Filax Stael (the pseudonym of artist/musician/graphic designer Bas Mantel) with old friend Okko Perekki

Sam Shepherd aka Floating Points announces new
single, ‘Someone Close’, released on vinyl alongside
three other new tracks he’s shared this year.
 ‘Grammar’, ‘Vocoder’ and ‘Problems’ were met with
widespread praise, including a Best New Track from
Pitchfork and a glowing review from Resident Advisor,
describing Shepherd as “one of electronic music’s
undisputed MVPs.”
 ‘Someone Close’ changes track completely, something
Shepherd has done effortlessly across his career,
capping off a run of releases that have showcased the
many strings to his bow yet still hold together
seamlessly.
 Over 2022, Floating Points has played festivals across
the globe, including Coachella (US), Portola (US),
Field Day (UK), Sonar (PT), Le Bon Air (FR) and Pitch
Music & Arts (AU).
 For fans of Aphex Twin, DJ Koze, Four Tet, Caribou,
Jamie xx.
 12” black 140g vinyl in a black paper inner sleeve
housed in a black 3mm spined outer sleeve. Artwork
by Hamill Industries.
 Press - Reviews & features in The Guardian, Pitchfork,
NME, Billboard, The FADER, Clash.
 Radio - 6 Music B-List, Craig Charles, Mary Anne Hobbs,
Lauren Laverne, Chris Hawkins, Nemone, The Huey
Show, Tom Ravenscroft, Radio 1 Benji B.
 Club Promotion - DJ support from Peggy Gou, Four Tet,
Bicep, Disclosure, Ben UFO, Bonobo, Overmono, Chloe
Robinson, Call Super, TEED, Joe Goddard.

The Flower-Corsano Duo, the world’s best and only drums / Japan banjo duo return to VHF for their first album since 2009’s monumental The Four Aims. Mick Flower (Vibracathedral Orchestra) and Chris Corsano (frequently seen with Bill Orcutt, Joe McPhee, and other luminaries) work an area that’s not really jazz, not really anything—a stream of endlessly mutating free sound, a unique mind-merge between Corsano’s nimble drums and percussion and Flower’s amplified Japan banjo (also known as a Shahi Baaja, a type of electric Indian zither with both fretted / keyed and drone strings).

Flower cuts a highly original line, playing neither “leads” nor making drone-music. Less amplified here than on the more “heavy” The Four Aims, the strings ring out with distinct clarity in short snippets of melody and a canvas of pleasing electric sound. Corsano’s bag is to charm out a flow of thoughtful percussion engagement, rolling around on his kit, continually varying his attack and approach in conversational free-jazz style. The Halcyon is a precious addition to a tiny discography, a fortunate event even in today’s world of small press overabundance. Thanks guys!

Fluence is the brainchild and first release of sound artist / provocateur Pascal Comelade. Recorded in Montpellier, France in 1974-1975, the project consists of exploratory electronic pieces in the Fripp & Eno vernacular with a Kosmische tinge.

"A Few Reasons To Stay / A Few Reasons To Split," a title inspired by Swiss conceptual artist Urs Lüthi, features Comelade's kaleidoscopic arpeggios and Richard Pinhas' howling guitar, which variously resembles a dreamlike cello and ghostly human moans.

"Barcelona Tango's" off-kilter exotica with pocket trumpet and looping drum beats foreshadows Comelade's later work, which would create a stir in some avant-garde circles for his use of unorthodox instruments (plastic saxophone, toy piano, etc.).

On the side-long "Schizo," Comelade's electric organ with probing, Terry Riley-esque swooshes collides with Gabriel Ibanez's thick, reedy buzz – together forming a truly magical soundscape. These incendiary performances ably join the ranks of other dreamily cosmic, impressionistic guitar-and-synth masterworks like No Pussyfooting and The Serpent (In Quicksilver) as well as Conny Veit's work with Popol Vuh.

Originally released in 1975, Fluence offers a remarkable emotional and textural range – richly experimental and deeply progressive – that sounds at once timeless and strikingly contemporary.

Berlin-based composer and vocalist FRANKIE, also known as Franziska Aigner, and Dominican-American producer Kelman Duran meet at the Twelve Apostles Church, in the Berlin district of Schöneberg, sometime in 2022, at the beginning of the spring season. They were each asked to engage the space’s solemnity, and its reverence, through distinct performances. Their chance encounter, abounding with mutual curiosity towards each other’s practices, smoothened the path for a years-long collaboration, culminating in McArthur, their first joint album. Following a period of exchanging musical fragments and prompts at a distance, Aigner and Duran come together in Athens, and later in Los Angeles, to prepare the stuff and material for the album, slowly developing a body of work informed by shared hauntings, and a commitment towards the disjointed and the residual. Aigner describes her process as writing “into the negative space” of Duran’s beats—filling in, if not invigorating, their thudding and inflections, but without rearranging the integrity of the whole. The result is an album where time and geography are made elastic, and where sonic improvisations become a site for quiet, and cryptic, articulations of intimacy.