Suche:maintenance

Olympic Pool Maintenance League takes us on a heavenly Techno ride.

It includes a raw remix of Head Front Panel, recalling the wild 90s and Giorgio Gigli with a more mental version of current Techno.

Das 17te Album des erfolgreichen US-amerikanischen Musikers, Multi-Instrumentalisten und leidenschaftlichen Skateboarders. Für Harper selbst auch so etwas wie ein Neuanfang.

Weithin inspiriert von dem Verlust eines langjährigen Freundes und dem anhaltenden Einfluss eines temperamentvollen und charismatischen Vaters, ist 'Bloodline Maintenance' das mit Spannung erwartete neue und siebzehnte Studioalbum des dreifach mit einem GRAMMY®-prämierten Singer-Songwriters/Musikers/Produzenten Ben Harper. Ein ungemein persönliches Soul-Album und das erste nicht-instrumentale Soloalbum mit neuen Songs seit 2016.

Auf 'Bloodline Maintenance' wendet Harper den Ideenreichtum des Hip-Hop auf bestehende Paradigmen des Soul, Blues und Jazz an und konfiguriert das Genre neu, a new black Americana, und setzt so seine lange Geschichte als einer der stärksten Protestsänger seiner Generation fort.

Schon im Alter von nur 21 Jahren tourte Harper mit Blueslegende Taj Mahal. In den Folgejahren machte er sich bei Kritikern wie auch Fans weltweit einen Namen, wurde für sein eigenes genreübergreifendes Werk insgesamt siebenmal für einen GRAMMY® nominiert (den er auch dreimal gewann), war gleichzeitig als Produzent tätig für u.a. Mavis Staples, Rickie Lee Jones und Ziggy Marley und kollaborierte mit einer Vielzahl von Künstlern, die von John Lee Hooker, Charlie Musselwhite und Jack Johnson bis hin zu Ringo Starr, Keith Richards und zuletzt Harry Styles reichen.

ercussive Maintenance is an initiative by drummer Simon Popp and Squama aimed at forming new ties through improvisation. For the monthly events at ZIRKA in Munich, Simon invites fellow artists to engage in an open-format collaboration.
The second episode featured Embryo's Marja Burchard on vibraphone and the recording is now available on tape in a limited edition.

Ben Harper’s new album, ‘Bloodline Maintenance’,
is a fearless and immensely soulful work, largely
inspired by the loss of a long time friend and the
lingering influence of a mercurial and charismatic
father.
 Never content to rest on his creative laurels,
Harper has continued to explore new sonic
territory. He has retained his signature lap steel
guitar but supercharged it through a coveted and
powerful Dumble amplifier, creating a far more
unruly tone.
 The album is both a political and personally
revealing work. It is soul music, but never a stylistic
tribute to some bygone era. The sound and words
are essential and undeniably timely. It is a powerful
musical reckoning.
 Ben plays guitar on Harry Styles’ new track,
‘Boyfriends’, and LeAnn Rimes’ ‘the only’. He is
opening for Harry Styles’ residency at The Forum
in LA throughout October and November.

Mind Maintenance is the new duo consisting of Joshua Abrams (Natural Information Society) and Chad Taylor (Chicago Underground Duo, Chad Taylor Trio). This is where the music begins, but Mind Maintenance can't be described simply as a summation of its parts and players. When you put on the sound, you'll know what we're saying - you'll notice how immediate and meditative it is; how simple, how "in the room," and how the natural buzz of each instrument sits remarkably well against the other. The percussive qualities of the guimbri and the mbira, so raw and unadorned individually, form with their shared resonance a soothing, sonorous whole. It's not about world music, it's not about jazz. It's about mind maintenance. The songs of Mind Maintenance exist in a zone somewhere between composition and improv. Based in melodies that unspool over time, they benefit from Chad and Joshua's intimately enmeshed sensibility and the intensity with which they listen to each other. Chad and Joshua have been playing together forever - or, if you need to think of it more tangibly, since around 1994. Based on our research, the pairing of guimbri and mbira is more than unusual - it appears to be without precedent! This is incredible if it's true, but more important to the music of Mind Maintenance is the shared ground of inspiration that both instruments occupy. Mind Maintenance pursue their inspirations on these instruments down similarly transformative paths. If some part of the 21st century isn't focused on destruction, but instead, locating a place where our traditions can work together in new ways to entertain and even ensure well-being, then that's just one more incentive for all of us to consider Mind Maintenance.

After a series of successful outings alongside sidekicks Ofofo and Zongamin, studio wizard MYTRON turns in his debut solo full-length for Multi Culti World Records. With contributions on Invisible Inc, Calypso, Bongo Joe, Kalahari Oyster Cult, LYO, Codek Records and Earthly Measures, Mytron has carved out a name for himself in a carefully-curated left-field quadrant of the indie-dance galaxy. Tuning his oscillators to myriad sounds — from dub and disco to krautrock — the London-based producer perhaps most notably channels the pristine compositional style of Kraftwerk. While most apparent in the use of vocoder, there’s a consistent efficiency of arrangement that recalls the man-machine in effervescent, idealistic fashion. Mytron manages to keep it simple, funky and musical — whimsical tunes that bop along with analog grit, wilderness, and wonk. There’s a warmth and wit that shine through every synth line, an understated confidence that speaks of years spent tangled in wires and waveforms, with an inclusive sonic eclecticism that flattens hierarchies between genres, geographies, and generations. Each influence is invited to the table, treated not as pastiche but invited to dine and dance in a space where kosmische dub disco and Afro rhythms can coexist without borders. The sleeve design echoes this philosophy: video-feedback patterns hinting at our modern screens, both portals and filters — coloured, distorted intermediaries through which we perceive the world. In the trippiest sense, the record is both reflection and refraction — a sonic mirror held up to an interconnected, glitchy reality. Tailored equally for DJ use and home-listening head trip, the album is meticulous, mischievous and merry.

BanBanTonTon review:

On Mytron’s debut long-player for Multi Culti groovy 21st Century leftfield house gear collides with Daniele Baldelli and Beppe Loda’s hugely influential `80s afro / cosmic. The 9 tracks are chunky, chugging and full of funky, funny noises. Old school B-lines mixing with eccentric electronics. Spinning, spiralling sounds.

Sugar is an electro-pop, vocoder confection, cut from the same sonic cloth as cult classics like Codek’s Tam Tam. Created from tough trap drums, splashing effects and a mutant Giorgio Moroder bass arpeggio. The title track, Propellor, pits Kraftwerk-esque hardware harmonised vocals against a bongo loop and a whistling hook. Playground has simian shrieks surround tumbling tom-toms. Highway Maintenance adds kosmische synths to a dance of woodblocks and buzzing bottom end. Keep On Dubbing is an organ-led, clip clopping percussive canter.

Tracks such as Speaker Can Talk, shot through with disco lasers blasts and recalling Curt Cress’ Dschung Tek, also lift the tempo up, but the bulk of the music here is a mid-tempo, techno drum circle. Squelchy sequences gurgling in and out of programmed percussion. On Quasar, spiky acid edges in and slowly takes over.

Key references that come to mind are Baldelli’s own turn-of-the-2000s Cosmic Sound Project productions, and Wolf Müller’s scene shaking sides on Themes For Great Cites, from around a decade later.

Oslo’s Sex Judas feat. Ricky announces 2 x LP for Norway’s Snick Snack Music
The band’s varied concept album portrays a break-up of epic proportions and releases Jabnuary 2025
Digital Release Date: 3rd May 2024
Vinyl Release Date: Jan 2025

“Are you ready for the big disaster? The moment when everything unravels?

On their third album, Sex Judas feat. Ricky portrays a break-up of astronomical proportions. The band's mascots, Sex Judas and Ricky, embodied by artist Sindre Goksøyr, find themselves in the midst of a separation, and their feelings are sprayed all over the big screen.

But what is actually going on? Sex Judas feat. Ricky consists of the musicians Tore Gjedrem (Ost & Kjex), Sidiki Camara, Ivar Winther, Tracee Meyn, Tore Brevik, Kristian Edvardsen and Linn Nystadnes, a stellar team part of Oslo's musical underground. Together, they play a mixture of funk, disco, post-punk, traditional music from Mali and electronica that always moves the dance floor, with two previous critically acclaimed albums on the Scottish Optimo Music and a Norwegian Grammy to show.

Sex Judas’ third album, ‘The Book Of Dreams / After Sex’, is a double disc and a two-part musical affair. In the first part, Sex Judas' version of the breakup is depicted in a band format, with music inspired by the alternative 80s. Think Grace Jones, Tom Tom Club, DAF, No Wave, and the Compass Point Studio backing band in a blissful cocktail.

In part two, depicting Ricky’s breakdown, the band has created their most experimental music to date in close collaboration with contemporary composer Ole-Henrik Moe. The songs influenced by Ole-Henrik's tones are fluid and beautifully ambient, with inspiration ranging from 30s and 40s film music, Norwegian folk, contemporary electronica and IDM topped with Moe’s modern string arrangements.” - Snick Snack Music

Based on an unbelievable true story, Roofman follows Jeffrey Manchester (Tatum), an Army veteran and struggling father who turns to robbing McDonald's restaurants by cutting holes in their roofs, earning him the nickname: Roofman. The film's score was composed by Grizzly Bear multi-instrumentalist Christopher Bear, with contributions from The War on Drugs' Jon Natchez. Christopher Bear is a drummer and multi- instrumentalist member of the Brooklynbased indie-rock group Grizzly Bear. He continues developing his independent career, most recently working on arranging soundtracks for the HBO series High Maintenance, and scoring the 2023 film Past Lives alongside his bandmate Daniel Rossen.

Format Details: 12” matte jacket, orange & blue side A/B effect colour vinyl, dust sleeve & marketing sticker.

Originally released in 2002, Daylight EP was the follow-up to Aesop Rock’s critically-acclaimed Labor Days album, a cult classic released only six months prior. The EP was built around its titular opening song, “Daylight,” one of the standout tracks from Labor Days, and continued expanding upon the range and depth of Aesop’s multi-talented gifts for writing and producing. In addition to the title track, Daylight EP also included its counterpoint, “Night Light,” an alternate version in concept whose paraphrased lyrics simultaneously refer back to– and stand in stark opposition to– the original's, over darker, more menacing production. The tracklist for Daylight EP boasted seven songs plus a hidden track for a total of eight, and collectively featured production by Blockhead, El-P, Blueprint and Aesop Rock himself, as well as guest appearances from Vast Aire (Cannibal Ox) and Blueprint.
At the time of its initial release, Daylight EP was only offered in CD and digital formats, while the vinyl was stripped back, available only as a three-song 12” single. Now, Rhymesayers Entertainment is pleased to present the complete EP on vinyl for the first time ever, pressed on two-color side A/B effect orange & blue vinyl to complement the original artwork. Finally, fans and vinyl collectors everywhere can own this integral piece of Aesop Rock’s legacy and enjoy the genius behind this project.

Exzellentes Best-Of-Album der australischen Folkrock-Band The Middle East, die nach zwei ausgezeichneten Studioalben Ende der Nuller-/Anfang der Zehnerjahre ("The Recordings Of The Middle East" & " I Want That You Are Always Happy") auseinanderging, um sich 2019 wieder zu vereinen. Die LP "The Songs Of The Middle East" ist ein wunderschönes Zeugnis ihrer Arbeit und Musik und der guten und schlechten Zeiten, die sie erstmals 2023 während ihrer zweiten Reunion-Tour durch die USA als Vorgruppe von Zach Bryan dabei hatten und die jetzt erstmals flächendeckend erhältlich wird.

Auf dem Debütalbum des australischen Duos The Ferguson Rogers Process, "Style And Or Substance", entdeckt Disco, dass es auch schmutzig werden kann, und Rock findet seinen Groove. Das Duo besteht aus Lance Ferguson, der alle Songs produzierte und fast alle Instrumente im Alleingang einspielte, und Tom Rogers, der 2012 mit seiner Band The Bamboos einen der erfolgreichsten australischen Tracks des Jahres feierte ("I Got Burned"). Sie werden begleitet von Graeme Pogson an Drums/Percussion (langjähriges Bamboos-Mitglied und zentrales Mitglied der Melbourner Boogie-Band Mondo Freaks), sowie von John Castle (Alex Lahey, Cub Sport, Vance Joy) am Mischpult.

More transmissions from the exciting new wave of UK Soundsystem Techno .... DJ Gonz with his debut. It smacks. TIP!

Der Album-Klassiker von Blockhead in der 20-Jahre Anniversary Edition inklusive der bisher unveröffentlichten ‘Lost Files ‘99-’03’ erstmal auf farbigem Vierfach Vinyl erhältlich!

Format:

- Marmoriertes, Dunkelgrünes vierfach-Vinyl im Gatefold inklusive der ‘Aesop Rock Instrumentals’, die bisher unveröffentlichten ‘Lost Files ‘99-’03’ und Downloadcodes.

WARNING!: This record explores the second verification of the origins of rotation in tornadoes experiment, VORTEX2. This sonic experiment is designed to explore the mechanisms of tornadogenesis, maintenance, and demise, the wind field near the ground in tornadoes, the relationship between tornadoes and their parent thunderstorms and the relationship among tornadoes, tornadic storms and the larger scale environment. This is the Supercellular Tornadogenesis. Hazards may occur! Beware!!..

Plastic-free disc production: Under the Waves OST vinyl is the first of its kind Biovinyl, with all petroleum in S-PVC replaced by recycling used cooking oil or industrial waste gasses. Plus this vinyl comes in a nice transparent green color called "petrol"

Eco-friendly packaging: this 2xLP gatefold packaging is made of 100% recycled paper and cardboard, and printed with sustainable inks made from plant oils.

Eco-friendly design: we set up a minimalist approach throughout the whole design to save the use of paper and ink: no printed booklet, no large plain-colored full-surfaces, only 1 color used.

Under the Waves OST is a 21-track piece of art composed by Nicolas Bredin, influenced by Icelandic composers such as Valgeir Sigurdsson and Ólafur Arnalds, as well as post-rock bands like Mogwai, Sigur Ros and Radiohead. Released by Kid Katana Records, it had to be consistent with the game’s ecological commitment, especially when talking about a physical edition. That’s why Kid Katana has found the most eco-friendly solution: this OST vinyl will be manufactured in Germany using the brand new Biovinyl process developed by one of the leading manufacturers in Europe, Optimal Media.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

Four years after they went all the way to Antarctica, Flat Worms are back in gen pop with the rest of us - but, as intoned on the album opener "Sigalert," "back again like I never was." Is this a nod to the way time passes over our sorely vexed synapses? Or are we to believe that there"s hope to be found in this broken world? Kick back with Witness Marks and see what other traces Flat Worms have left us in the dust. The album title alone leaves a foreboding impression. But look closer - "witness marks" aren"t something out of a forensic analysis - they"re actually practical; scratches placed in old clocks designed to aid continued maintenance further in time. Sure, there"s big questions and more on the board; primarily if we"re at all distinct from the absurdity coming down around us, or just another character in the mirror? Flat Worms are looking inward this time, outlining personal space in relation to themselves and others - sometimes even people they barely know. Among the slabs of slategrey outrage, the flowers of compassion are blooming, and the simmering power of their trio grows exponentially. Working once again with Ty Segall, Flat Worms continue to find new answers by digging into themselves and playing their kind of rock: hard and flat, bass and drums thrusting stalwartly forward with conviction, guitar twisting and spinning in outrage, deadpan vocals decrying a dire set of circumstances. The democracy of working together, so often messy and frustrating, was found to be a powerful release for Justin, Tim and Will. Acting as one, Flat Worms navigated challenging times by coming together, finding release in the clockwork repetitions of practice and the shared creative space they occupied together against the encroaching world. In the short century of their existence, Flat Worms have agitated against the status quo with a disquieting lyric bent, to emphasize the psychosis of the times. These are positions taken within songs, sung out to individuals in the world. As evidenced by the lyrics, "But I know I can always see you at the show Even though it"s only temporary and it"s time to go." . . .Witness Marks surveys an evolving sense of community. Flat Worms are dedicated to persevering and using the power of their collective. Come witness!

Four years after they went all the way to Antarctica, Flat Worms are back in gen pop with the rest of us - but, as intoned on the album opener "Sigalert," "back again like I never was." Is this a nod to the way time passes over our sorely vexed synapses? Or are we to believe that there"s hope to be found in this broken world? Kick back with Witness Marks and see what other traces Flat Worms have left us in the dust. The album title alone leaves a foreboding impression. But look closer - "witness marks" aren"t something out of a forensic analysis - they"re actually practical; scratches placed in old clocks designed to aid continued maintenance further in time. Sure, there"s big questions and more on the board; primarily if we"re at all distinct from the absurdity coming down around us, or just another character in the mirror? Flat Worms are looking inward this time, outlining personal space in relation to themselves and others - sometimes even people they barely know. Among the slabs of slategrey outrage, the flowers of compassion are blooming, and the simmering power of their trio grows exponentially. Working once again with Ty Segall, Flat Worms continue to find new answers by digging into themselves and playing their kind of rock: hard and flat, bass and drums thrusting stalwartly forward with conviction, guitar twisting and spinning in outrage, deadpan vocals decrying a dire set of circumstances. The democracy of working together, so often messy and frustrating, was found to be a powerful release for Justin, Tim and Will. Acting as one, Flat Worms navigated challenging times by coming together, finding release in the clockwork repetitions of practice and the shared creative space they occupied together against the encroaching world. In the short century of their existence, Flat Worms have agitated against the status quo with a disquieting lyric bent, to emphasize the psychosis of the times. These are positions taken within songs, sung out to individuals in the world. As evidenced by the lyrics, "But I know I can always see you at the show Even though it"s only temporary and it"s time to go." . . .Witness Marks surveys an evolving sense of community. Flat Worms are dedicated to persevering and using the power of their collective. Come witness!

Sam Barker returns with his first solo EP since 2020's BARKER002, this time on Oslo's Smalltown Supersound. While Barker's previous releases (2018's Debiasing EP, 2019's Utility LP) explored the possibilities of kickless dancefloor tracks, Unfixed sees him inverting the musical equation and exploring both the variability and sonic possibilities of a kick-drum - though the final result is not a concept EP. The four tracks emerged from a session that started out as both a technical study in bass drum design and cognition, specifically problem of "functional fixedness", which describes a mental block that restricts the use of an object to its traditional application. Exploring the so-called "generic parts technique", whereby an object is broken down into its component parts to help reveal novel solutions, the typical bass drum elements of waveform, transient, and noise were re-combined through modular synthesis to become fluid, expressive and dynamic. However, what began as a rule-based experiment was overtaken by a more organic music making process without specific conceptual constraints, which allowed the music to live and breathe. Tracks were started and then left unfinished, only to be approached again and again over lengthy intervals. Stylistically the result a mix of raw, stuttering, psychedelic growl, kosmische techno, and infinite iterations and of a single groove. In this regard, Unfixed sees Barker not only deeply invested in musical experimentation but also exploring his own biases in both composition and sound design. The result is, once again, a sound and musical framework all of his own.

Carlos Cipas neues Album in radikaler "Leisigkeit"
Erstaunlicherweise gibt es in unserer lärmenden Welt -
nicht nur in der deutschen Sprache - keinen Begriff für
das Gegenteil von "Lautheit". In Carlos Cipas fünftem
Album Ourselves, as we are geht es aber genau darum:
Der Pianist zelebriert auf seinem Instrument eine
"bewusste Innenschau", wie er es selbst nennt, "ein
Heranzoomen an das Objekt der Betrachtung, in diesem
Fall an sich selbst". Und dafür stellte er sich die Aufgabe:
so leise zu spielen wie möglich - eine radikale
"Leisigkeit"!
Das Ergebnis ist nichts weniger als die Entdeckung einer
neuen Klavierklangwelt. Carlos Cipa macht Leises hörbar,
Saitenklänge, Nebengeräusche seines Instruments, die
ohne technische Verstärkung kaum wahrzunehmen wären.

***
Herdersmat.
Morderstwo.
Rotterdam.
***

Albert van Abbe & Jochem Paap join forces for General Audio.

Recorded at Willem Twee studios in Den Bosch, General Audio explores a unique and esoteric approach to sound creation. Using test and measure equipment from the 1950’s, originally designed for the maintenance of various audio and radio transmitters, van Abbe and Paap create otherworldly walls of sound and dense rhythmic abstractions with an early form of synthesis. Rudimentary signals are combined and processed before being committed to tape via mic’s set up to capture the Willem Twee studio’s unique acoustics. The equipment itself predates the invention of the analog, modular synthesizers developed in the 70’s that are now commonplace in many studios.

The record opens with 220Lock-in, a gently undulating drone composition. Effervescent at the top end and fathoms deep at the bottom, it shifts ominously with ring modulated tones that build and then give way to thick washes of white noise. A single synth flourish provides a surprising final moment. The record continues with WZ-1Wobbel Zusatz, a low-sunk percussive piece with an off-kilter rhythm and wet spring reverb doing the bulk of the sonic heavy lifting. Deep in the mix, delicate shifts in pitch and tone deliver a kind of arcane musicality, and as the recording approaches its final moments the piece descends into an exhilarating chaos, with sonic components falling slowly by the wayside. Pegelmesser riffs on a similar reverb characteristic, but this time a driven, arp-like lead propels the work forward. Crisp shifts in colour and distortion arrive unexpectedly, providing a curious musical sensation once more – and harsher moments of feedback break up the recording in its later stages. On Rel 3L 212c LC-pi the pair strip things back, with more present percussive components and subtle distortion lines, before Wandel ups the ante with a corrosive dirge broken up by sporadic submerged synth hits. The penultimate recording SR 250 Boxcar Averager shows off impressive pitch modulation, resulting in a variety of intriguing sensations. Cinematic and remarkably visual, it charts a strange and affecting course, the synth lead underpinned by a repetitive percussive motif and all manner of sends delivering fascinating details. Nim Bin closes the record and once more van Abbe and Paap invite that subtle musicality into the recording. A tight VCO modulation drives the piece while various percussive synth strikes provide a kind of rhythmic component, though they remain untethered to any time signature – a neat conclusion to an intriguing and exploratory record.

Written and Produced by Albert Van Abbe & Jochem Paap

Slave To Society is the new solo project of Andrew Bowen (Ex AnD / Shadows)
Dystopian concepts and themes help build the intense sound and vision of the project. Known for exploring the extremities of the hardcore sound, tempo unrelated this is about the amalgamation of industrial and
experimental noise music, mixed with cinematic atmospheres, technoid rhythms, mechanical breaks and raw low frequency distortion. Releasing music with PRSPCT, Bank NYC, Murder Channel, Cyberspeak, Pure Hate Trax and many more. Think for ourselves, create and move outside the realm of ordinary submission.

Don’t be a Slave to Society!
Written Produced and Recorded by Andrew Bowen
Mastered and cut by Dietrich Schoenemann
Published by BANK Records NYC Ltd

The 4th full-length by Tokyo Metropolis electronica entity UNKNOWN ME, Bishintai, is a sublime synthetic suite of cosmic wellness transmissions exploring “the unknown beauty of your mind and body,” appropriately named for a kanji compound meaning “beauty, mind, body.” Crafted with software, synthesizer, steel drum, rhythm boxes, and robotic voice by the core quartet of Yakenohara, P-RUFF, H. Takahashi, and Osawa Yudai, the album unfolds like a holographic guided meditation, soothing but cybernetic, framed by subways and sky malls. Latticework electronics flicker with texture, glitch, wobble, and mirage, themed around sensory perception and body parts.

A diverse cast of collaborators assist in actualizing the collection's uniquely urban expression of new age ambient, from psychedelic footwork riddler foodman to multi-instrumentalist institution Jim O'Rourke to Japanese underground shape-shifters MC.Sirafu and Lisa Nakagawa. Although the group cites a therapeutic muse (“made for the maintenance of the minds of city dwellers”), Bishintai shimmers with an alien strangeness, too, like decentralized relaxation systems obeying sentient circuits. This is music of utopia and nowhere, channeling worlds within worlds, birthed from a sonic ethos as simple as it is sacred: “in pursuit of beautiful tones.”

Originally from Limerick, O’Brien’s work captures the everyday and the inbetween in a way that transcends any genre label. Writing from her own observations, O’Brien’s influences can be found in the realism of Mark E. Smith of The Fall, Patti Smith and The Slits, and the works of literary icons such Frank O’Hara, W.B. Yeats, Joan Didion and Albert Camus. Releases to date have drawn admiration from British and American outlets and radio stations as diverse as The FADER, Stereogum, The Guardian, Loud And Quiet, The Quietus, BBC Radio 1 and BBC Radio 6 Music, and more.

Speaking about the new single, O’Brien explains: “‘Most Modern Painting’ is about the creation and maintenance of ‘the self’ - the most epic task we are faced with in our lives. I wanted to work with structure in an unconventional way, linking the movements together using various voices from the narrative. The lyrics are voiced through a dialogue between the conscious and unconscious, through dream recall, memory, the individual and the ego.”

The accompanying music video for ‘Most Modern Painting’ was shot in a film-like manner on 16mm. Directed by Saskia Dixie, the movements are intrinsically linked to the lyrics; the choreography incorporates physical theatre, dance and elements of daily gestures and habits.

The chorus line on ‘Most Modern Painting’ birthed the title for the EP ‘Drowning In Blessings’ - “The more I said it, the more it meant. It’s an image which I find really cathartic; seeing the weight or build up of things as possibilities and opportunities instead of bearing their burdens. I approached the set of songs on the EP like a short album so the body of work feels full and tells a substantial story. Tracks allude and refer to one another and provide clues and hints to the future and to the past. It’s not only about language and music - it’s about energy, spaces, leaving room for other people to get in.”

A multifaceted artist, O’Brien’s writing has also been published by the esteemed London Magazine whose alumni include T.S. Eliot, Sylvia Plath and William Burroughs. Her unique fusion of spoken lyrics and art rock has piqued the attention of luminaries of both fields, seeing her perform with John Cooper Clarke and The Brian Jonestown Massacre at sold out theatres across the U.K. Playing live with her band and collaborators; Julian Hanson (guitar) and Oscar Robertson (drums), Sinead O’Brien’s transfixing performances are placing her at the forefront of a resurgent wave of independent British and Irish talent.

Alleged Witches debut album breaks down centuries of human labour into an eight-part instruction manual for company best practice, stock control and tips for the optimum commute. The final break from nature, it's Pagan funeral marches, insect rhythms and doomed ambience for one last trip up the river. Artwork from Bill Connors.

Analog and digital electronic devices, vocals

All tracks written, produced & mixed by MIRCO MAGNANI and LUKASZ TRZCINSKI
Recorded & mixed in Berlin at Undogmatisch in 2018/19
Mastered by KEN KARTER at DECODE STUDIO, Berlin
Publishing by KIZMAIAZ
Original artwork VALENTINA BARDAZZI
Sleeve design LAPO BELMESTIERI/THE ANTI-B NYC

“Lumiraum” is a neologism, the suffix AUM included in the title, according to the Hindu tradition is the basis of their ethical and spiritual conception.
Its meaning involves the passage and overcoming of four levels of knowledge that are expressed by the three letters A-U-M, plus the extension of the M as maintenance of the vibration.
Operating in a similar way Lukasz and Mirco through sessions of various kinds have taken a similar empirical path through improvisation, coding, editing and re-elaboration and finally mixing.
Recalling in their imaginary the spirituality of ancient cultures, symbologies and concepts that had analogue cosmogonic conceptions of origin of the universe. An imaginary that slips into a remote and anachronistic world.
“Lumiraum” also means a space of light, a circumscribed place in which a message is received and from which a spark arises, an idea.

The New York Downtown Producer/Composer Returns With His First New Album In 3 Years

EIGHTEEN: the year of release, 2018. EIGHTEEN: the age at which I first used a synthesizer.

In creating EIGHTEEN I worked independently in the studio, initially building up tracks with synthesizers and found sounds recorded in my daily comings and goings. After working with the tracks over a period of months,I shared them with a few musicians, who added their own instrumental layers. Though working independently, we all shared a similar working process: working in our personal recording spaces, as opposed to larger recording studios.

The musicians are: Gabe Gurnsey (drums) of Factory Floor, with whom I collaborated on the Beachcombing EP and performed live at London's ICA. I appear on Gabe's newly released album Physical;

Larry Saltzman (guitar) has played in my Love Of Life Orchestra since the 1970's. Well-known for his work with Arthur Russell ('Kiss Me Again', Flying Hearts), he is in high demand in NYC by acts such as Simon and Garfunkel;

Paul Nowinski, (bass) has played with LOLO since the 1980's. Paul has an impressive list of credits, including Les Paul, Keith Richards, Bernard Purdie and the Boston Pops; Matt Mottel, (electric piano), is the newest addition to the Love Of Life Orchestra. He is half the duo Talibam!, a leading act in the noise jazz scene; Lewin Barringer, (guitar), is a talented guitarist and producer in Philadelphia.

After mixing the final tracks, I brought the mixes to Berlin. There I worked with the brilliant mastering engineer Mike Grinser who helped to give the album a unified sound.

I think of this album as electronic music. It was created in my home studio, using analog and digital synthesizers, found sounds recorded on my phone, and instrumental parts contributed by friends. Finely crafted melodies and harmonies are set against subway noises, street construction, and distant foghorns. Sometimes there are sustained clusters, generated by my leaning against the keyboard. Deliberateness paired with randomness: this is what guided the artistic process.

This album is atypical for me as I am not playing saxophone. (I do play one reed instrument - a harmonica.) I grew up with the sax as my primary instrument. Yet my father was a radio journalist so the reel-to-reel tape recorder was a ubiquitous presence in the family home. From an early age,

I experimented with the tape machine: recording, overdubbing and splicing tape. I learned about Varese from Frank Zappa liner notes; I read John Cage's 'Silence.' Electronic music was on my radar.

My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a firstgeneration Moog modular synthesizer sitting unused in the maintenance room. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California - San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the 70's and early 80's. In the same way, recording studio technology became accessible in the 90's. . And thus the personal computer and digital audio allowed studio quality production in the home studio. Electronic music had become democratized.
Handmade music by way of digital technology: this is the music of EIGHTEEN

FIRST EVER VINYL PRESSING OF JOHANN'S 2006 ALBUM - DELUXE GATEFOLD SLEEVE, 2 x CLEAR LP - TWO BONUS TRACKS, DOWNLOAD CODE INCLUDED

Never before pressed on vinyl, IBM 1401, A User's Manual, is one of Jóhann Jóhannsson's most loved works. Released in 2006, the decade since its release has seen Jóhann establish himself as one of the most important composers in the World today, most notably scoring movies such as Arrival, Sicario and The Theory of Everything.
Inspired by the work his father did in the sixties when chief maintenance engineer of one of Iceland's first computers, Jóhann originally wrote IBM 1401, A User's Manual to accompany a dance piece by long-standing collaborator and friend, Erna Ómarsdóttir. For this album release, he rewrote it for a sixty-piece string orchestra, with a new final movement (built around a poem by Dorothy Parker) and incorporating both electronics, and reel-to-reel recordings made by his father and friends in 1971 of an enormous IBM 1401 mainframe computer singing the hymn Ísland Ögrum Skorið by Sigvaldi Kaldalóns as it was being decommissioned.
The first ever pressing of IBM 1401, A User's Manual comes in a deluxe gatefold sleeve, having been reworked by Chris Bigg (v23) from his original design. Pressed on clear vinyl, two album tracks recorded in 2010 with the City of Prague Philharmonic Orchestra at the Rudolfinum, Dvorák Hall in Prague have also been added and are exclusive to this release.