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The multi-media project Kraftwerk was started in Düsseldorf, Germany 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio where they conceived and produced all Kraftwerk albums.

Kraftwerk created the soundtrack for the digital age of the 21st century. AUTOBAHN 1974, RADIO-ACTIVITY 1975, TRANS EUROPE EXPRESS 1977, THE MAN-MACHINE 1978, COMPUTER WORLD 1981, TECHNO POP 1986, THE MIX 1991, TOUR DE FRANCE 2003. Their compositions, using innovative techniques, electronic sounds and synthetic voices combined with computerised rhythms, had a major musical influence on Electro, Hip Hop, Techno and Synth-Pop. 

The multi-media project Kraftwerk was started in Düsseldorf, Germany 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio where they conceived and produced all Kraftwerk albums.

Kraftwerk created the soundtrack for the digital age of the 21st century. AUTOBAHN 1974, RADIO-ACTIVITY 1975, TRANS EUROPE EXPRESS 1977, THE MAN-MACHINE 1978, COMPUTER WORLD 1981, TECHNO POP 1986, THE MIX 1991, TOUR DE FRANCE 2003. Their compositions, using innovative techniques, electronic sounds and synthetic voices combined with computerised rhythms, had a major musical influence on Electro, Hip Hop, Techno and Synth-Pop. 

Rian Treanor returns to Planet Mu for his raw and energetic second album "File Under UK Metaplasm". The enigmatic, sweaty energy of Tanzanian singeli and Chicago footwork are juxtaposed with slick, high-def bass weight which sits at the centre of the album. Opening track 'Hypnic Jerks' is the perfect example of this, with crinkled percussive loops cut through by machine-gun kicks and acidic wobbles. Elsewhere, 'Vacuum Angle' takes Sheffield's Warp-ed legacy and brings it crashing into the future, with rhythms collapsing into static and noise but never deconstructing or losing the flow. 'Debouncing' meanwhile folds gliding square synths into rattling dancehall kicks, joining the dots between SND, Equiknoxx and Wiley with a neon Sharpie. "It's using all those formulaic dance structures but just slightly mangled or messed up," he says. "I'm still focused on making dance music for clubs, but how far can you push that before it's just no."

B•O•M is the fifth album by freak electronic producer NCHX (NOCHEXXX). A percussive planet of acid-techno, UK bass, house and electro-phonk, hosed down with a chemical wash of post-dubstep and UK bleep contaminants.

Departing with a tube station screech, HUNTING HIDES signals a lone defender’s ride through the underground - trace amounts of musique concrete dart around the tunnel walls, while sub-low cushions the rumble. ENTERCOL is perfect 3am mix fodder; saturation hot-points push beneath a middle eastern theme, whilst SEVENTH GUN TERRITORY is pure rapid-fire bongo bizness - a concrete terrain punctuated with corrugated metal grids and moving shadows: distorted poly-metered brutalism! CYBERTUSH is the perfect OST to a club littered with vape pens, while B-Boi bots flirt with promiscuous A.I.

Arguably the most fierce cut is TEFLONTUAN - an ode to NCHX’s favourite pro Antuan Dixon - the Deathwish skater lands bolts with the illest of steeze. Side-chained 303 squelch rattles alongside x0x sequenced drums as wavetable pads float above kinked rails. A nights gallop over city curbs. The LP signs off with LOCATION SCOUT, a SpaceX sample-return mission heading back to earth with a fistful of deep house red planet crumble.

“A dance floor’s dream and a mixing engineer’s nightmare” - Resident Advisor

Techno boldness from the depths of Upstate New York. Mysterious L’estasi Dell’oro returns with eight mind-boggling machine songs. Twisted mechanical workouts, enchanted while driving hard like awakened nature recapturing unattended industrial structures. Circular melodies cut through the rectangular metallic clutter. This is the stuff to bring us back together. Following previous releases on Macro, Field, Flaneur Audio, Fifth Wall and Voodoo Down, Christopher Ernst leaves his Brooklyn phase behind and starts afresh with his first long-form release in five years.

From their early singles and their 1993 Mercury Music Prize winning debut album to their break up in 2003 , Suede were a fixture in the single and album charts , and in the music press too . They scored twenty hit singles and five hit albums (three of which debuted at # 1), and a double album of B sides even charted at # 9.

The band reformed for a one off charity concert in 2010 and decided to make it permanent they have released three new studio albums since 2013 .

Compiled by the band , this comprehensive six LP set features the huge 90s hits like “Metal Mickey”, “Animal Nitrate”, “Stay Together”, “Trash, “Filmstar”, “Lazy”, “Beautiful Ones”, “Saturday Night”, “Electricity”, “She’s In Fashion”, “Everything Will Flow” and “Can’t Get Enough”Enough”, along with favourite B sides like “To The Birds”, “My Insatiable One” and “Killing Of A Flashboy”Flashboy”. Also featured are classic album tracks like “The Asphalt World” and “He’s Gone”. The collection brings the story up to date with sixteen tracks from the three recent albums , including “Life Is Golden”, “It Starts And Ends With You” and “ Outsiders”.

The six LPs are pressed on 180 gram white vinyl and are housed in inner sleeves featuring all the lyrics as well as photos of dozens and dozens of items of Suede memorabilia and promotional items , all lent by fans.

From their early singles and their 1993 Mercury Music Prize-winning debut album to their break-up in 2003, Suede were a fixture in the single and album charts, and in the music press too. They scored twenty hit singles and five hit albums (three of which debuted at # 1), and a double album of B-sides even charted at # 9.

The band reformed for a one-off charity concert in 2010 and decided to make it permanent – they have released three new studio albums since 2013.

Compiled by the band, this two LP set features the huge 90s hits like “The Drowners”, “Metal Mickey”, “Animal Nitrate”, “Stay Together”, “The Wild Ones”, Trash, “Filmstar”, “Beautiful Ones”, “Saturday Night”, “She’s In Fashion”, “Everything Will Flow” and “Can’t Get Enough”. The collection brings the story up to date with five singles from the three recent albums, including “Life Is Golden”, “It Starts And Ends With You” and “Outsiders”.

The two LPs are pressed on 180 gram vinyl and are housed in inner sleeves featuring all the lyrics as well as photos of dozens of items of Suede memorabilia and promotional items, all lent by fans.

yellow & clear green marbled vinyl

For the inaugural EP, FOLD resident Gareth Wild presents "Common Assault". With metallic tubular synthesis, cut-throat percussion and rolling rhythms, this EP is an effective and essential piece of material demonstrating all angles of Techno, immersive to peak-time.

The release features three original tracks and two locked grooves from Gareth with stripped back, dark-side remix work from Madrid's very own Roll Dan.

Featuring bespoke, full colour cover art by designer Lion Sauterleute and pressed up on coloured neon wax the release lands 25th September at all good outlets.

In the meantime, check out the snippets on our Soundcloud. The movement continues!

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- ALBUM FEAT. SKRILLEX, EXCISION, DATSIK, NOISIA,
KILL THE NOISE, AND 12TH PLANET
- FIRST TIME ON VINYL
- LIMITED FIRST PRESSING OF 2.500 INDIVIDUALLY
NUMBERED COPIES ON COLOURED (SILVER AND
BLACK MIXED) VINYL

The Path of Totality is the tenth studio album by American nu metal band Korn. Originally released in 2011, the album finds Korn shifting gears and exploring new territory.

On The Path of Totality band collaborated with some of the leading dubstep and electronic producers in the world, including Skrillex, Excision, Datsik, Noisia, Kill the Noise, and 12th Planet. This resulted in something completely new, yet utterly and definitively Korn.

The title The Path of Totality refers to the fact that in order to see the sun in a full solar eclipse, you must be in the exact right place in the exact right time,' Korn frontman Jonathan Davis explained.

The album includes the singles Get Up!', Narcissistic Cannibal', Way Too Far' and Chaos Lives In Everything'.

The Path of Totality won Album of the Year at the 2012 Revolver Golden Gods Awards. This was Korn's first victory at the Golden Gods Awards, a ceremony that celebrates the best in hard rock and heavy metal music. Korn was also inducted into the Kerrang! Hall of Fame during the 2011 Kerrang! Awards.

Available on vinyl for the first time, the first 2500 individually numbered copies are pressed on coloured (silver and black mixed) vinyl! Strictly limited!

It's been three years since the last vinyl by Ntogn was unveiled and now we're glad to share with you the result of his venture through the recent winter.

'Smedjan' is inspired by the dwarven craftsmanship of Norse mythology. It is made completely with organic sounds gathered from, and recorded in, the forests of Bålsta which is rich with northern heritage. Everything you hear is either processed textures of birch wood blocks, layers of a custom made Ukrainian artisan mouth harp or the artist's own voice.

There is no synthesis in this record. The kick drums are made by hitting these pieces of wood against each other with contact microphones. Bass layers are extracted from bark scraping against bark. Hi hats are crafted by recorded fire of the same wood logs burning and ambiance is built from the forests where the trees grew and from the woodshed where the artist chopped the wood during winter to keep his cabin warm. The rhythms and sounds in this shed is what inspired the making of this record.

By shaping these sounds of wood and metal Ntogn strives to create a sonic experience that connects the listener to the old Norse stories of the dwarven craftsmanship of Svartalfheim. It is they who made the famous trinkets and weapons that empower the gods of Asgård through stories of trickery and despair which has later inspired tales and literature for over a thousand years.

The record has been distilled from material that was meant to become a two-hour live set specifically made for Mo:dem festival which was unfortunately cancelled due to the corona pandemic. It was also the foundation of the artist's thesis at the university of sound design where he made a study of the effects of organic sound on an electronic expression such as techno music.

It will be released digitally and as a 200 copy limited edition black vinyl adorned with an artwork drawn by the artist's partner Gabriella Holmström using the ashes of the same birch wood blocks that was used to make the sonic content.

The record has received early support from Francois X, Takaaki Itoh, Abstract Division, BLNDR and Rambadu to name a few.

*:･ﾟ✧*:･ﾟ✧

Ntogn en'togg-n is a conceptual electro-acoustic project developed by Hypnus Records' founder and sound design graduate Michel Iseneld (b. 1988, Sweden). It aims to breath life into a fascination for magic with the use of contemporary and classic sound design techniques. This has resulted in what Resident Advisor's William Lynch describes as 'fierce, artistic techno that sounds like little else out there' and a discography ranging from earth-shattering techno to dark, throbbing ambient excursions.

After spending nearly three years in isolation, deeply lost in literature on history, philosophy, occultism and epic fairy-tales; Michel developed an inner world which eventually found an outlet through the means of music in 2013. By the use of field recordings and various samplings of his voice and surroundings, something peculiar sprouted as his inner images started to manifest and mature into an organic sound inspired by the emerging hypnotic deep techno scene.

Today, all music is released on his own imprint Tome in order to preserve the projects' artistic freedom and originality. After two years of sound design studies at the university and a new-found passion for modular synthesis; there's plenty of music in store aimed to satiate the curious minds.

We all know anything released on Mystic Quantum is worth buying for the cover art alone, and this mightily impressive return of Legowelt is certainly no different. Beautiful on the inside and out, it's packed with the kind of delicately detailed soundscapes we've come to expect from the revered producer, who proves every bit of the musicality we associate him with across seven very good tracks.

'Squirrel' is perhaps the exception to the rule, its frustrated and distorted rumbling breakbeat and chain-gang high-hats cry out for some monster or other to be fed through the arrangement. On the whole, though, this is far from club stuff, opening on the lush bleeped harmonies of 'Once At The In & Out Burger Academy', closing out on 'Vesper Sprites'' mysterious, breathy refrains and metallic percussive accents, by way of the cinema-worthy piano piece, 'Meekian Lovedance'. Enough to keep you going until next month's album.

Straight from the depths of the burgeoning Austin, Texas weirdo scene, JT Whitfield delivers a six track mini-lp for L.I.E.S. after an impressive run of releases for Chondritic Sound. Whitfield follows suit where he left off on his cut from last years Eminent Domain comp. with absolutely punishing slow beatdriven industrial electronics. This is for true fans of metal on metal music as these tracks desperately plod and grind, ripping apart everything in sight. The appropriate soundtrack to endtimes.

Featuring a cover photo by the cult NYC street photographer, Richard Sandler - the first in a series.

We are thrilled to welcome Phaction back to the label for a follow up to last years debut Metalheadz EP, one which garnered support far and wide.

This time jumping over to Metalheadz Platinum for the 'Ubiquitous EP', Phaction has conjured up 4 uncompromising solo cuts that combine his passion for creativity and discernible production talents. The Cypriot-born producer has taken the word 'ubiquitous' quite literally with an overarching soundscape bound to fit the dancefloor as much as anywhere else, constructing a body of work that impresses from start to finish.

Black Truffle is pleased to announce Ashioto, the first international solo release from Japanese drummer-percussionist-composer Tatsuhisa Yamamoto. Active for over a decade, Yamamoto has performed and recorded extensively with artists such as Jim O’Rourke, Eiko Ishibashi and Akira Sakata, as well as participating in innumerable improvised and ad hoc groups.

Ashioto presents two wide-ranging pieces that combine Yamamoto’s percussion work with piano, field recordings, electronics, and contributions from guest musicians Daisuke Fujiwara and Eiko Ishibashi.

Beginning with a passage of chiming metal percussion, the first side slowly builds into a rolling, open groove reminiscent of Yamamoto’s work on Eiko Ishibashi’s acclaimed Drag City LP The Dreams My Bones Dream. Spacious piano and synth notes, along with Ishibashi’s spare melodic figures on processed flute, hover above this propulsive rhythmic foundation, the whole effect adding up to a more abstract take on the area explored on Rainer Brüninghaus’s ECM classic Freigeweht. The LP’s second side opens up a cavernous space filled with ominous electronics and shimmering metallic percussion, which organically transitions into a passage of rumbling piano chords and mysterious concrète sound. Later in the piece, Daisuke Fujiawara’s saxophone enters, playing melancholic melodic fragments that are looped and layered, creating a seasick swaying effect familiar to listeners of James Tenney’s works with tape delay systems. Beginning as delicate bass drum pulses, Yamamoto’s accompanying percussion eventually builds the piece into a raging torrent of free-improv splatter, processed sax and fizzing electronics.

Though grounded in instrumental performance, Ashioto is very much a studio construction, making inventive use of electro-acoustic principles in its editing and mixing. Together with its sister Ashiato – a different take on the same ‘script’ released simultaneously on Japanese label Newhere – Ashioto demonstrates to an international audience for the first time the true breadth and ambition of Yamamoto’s work.

Mastered by Jim O’Rourke. Cover photos by Kuniyoshi Taikou. Design by Lasse Marhaug.

Banging acid productions from Mik Izif AKA Acid Wanker !

tunes offering a large view on his possibilities : from Acid Techno just inbetween the Hackney Road and the Hardtrance with the first tune...
Second track is a midrange sniper from UK Hardtechno to French Hardtek... And the last one is a pure BigBeat acid devotion !

FAT !

A trippy machine for some, a warmchine for others... I.N.D. Melodies melt down in a perfect way with the 1NC1N ones. Both are very into thins kind of classical background... With I.N.D maybe we have a bit more of beat experimentations, kind of a light kicker, maybe less technoid, what 1NC1N totally capture for a better dancefloor effect. Superb tune motivating and clearly.. again... thanks for the visual !

This classic album, released in July 1972 on the back of three chart-topping T.Rex LPs – provides a perfect snapshot of the era the press dubbed ‘T. Rextasy’ and is proof of Bolan’s extraordinary and enduring appeal across the generations.

The Slider contained two UK Number 1 hit singles, Telegram Sam and Metal Guru and the first to bear the T. Rex Wax Co imprint, a seal of approval from EMI Records, who felt Bolan sufficiently important to warrant having his own record label. This edition features the complete album remastered by producer Tony Visconti and Ted Jensen.

limited vinyl

The Sweethearts is a project by Tyler Thacker together with Sam Mehran (ex Test Icicles).
Songs were written on a tiny casio between Sam and Zak Mering. Tyler pretty much played all the instruments.

As Tyler explains:
This album was recorded a decade ago underneath a bunkbed in a crowded apartment we shared in Brooklyn. At the time, ‘The Sweethearts’ was just another anonymous moniker among many, intended as a pop-minded musical outlet between primary contributors myself, Zak Mering and Sam Mehran, featuring whatever friends happened to be passing though that day including but not limited to Morgan Whirledge, James Ferraro, Zak Davis, Aaron Frankle, Ian Drennan, Ariel Pink, Ryan Howe.
Like so many of the collaborations from those years, these songs and many more floated to the wayside as we each barreled through various other configurative projects, eventually retired to failing hard drives. But the specter of this specific catalogue always haunted me despite shifting primary focus to painting shortly thereafter. Two years ago in July, the world lost one of its most fearless creators, Sam Mehran , and I lost one of my best friends who oozed melody as effortless as breath.
These songs are letter bombs to adolescence in the information age: reterritorializing the tropes of heteronormative psycho-sexuality proliferated throughout western pop music on top of self-deprecation, heartbreak, disappointment, indulgence, and loss of innocence.
At one point, I caught myself singing harmony to Zak and Sam on a song called ‘Tonight’s the Night’ and it was in that meeting place between the metaphysical and the spirit world, that I finally got to say goodbye to Sam.

Isolating is the industrial solo alter ego of London-based, Stephen Hindman, one half of The Golden FIlter. Coming off of their moody 2020 debut EP on Optimo Music, On August 28th, Isolating will release an analog, lo-fi, gritty full-length LP called Perennial on their own 4GN3S label. Disquieting and dystopian, the album shifts from the beatless drone of ‘Mortification’ to the IDM inspired electro in ‘Sacrament’, each track melding into each other with an unsettling anxiety.

The LP mirrors the concepts behind ’Perennial Philosophy’ by Aldous Huxley. Solitarily created in London room on a Modular system, ‘Perennial’ tackles the perspective in spirituality that views all of the world's religions as sharing a single, metaphysical origin, with a nod to the Lucretius quote; “To such heights of evil are men driven by religion.” The album photography of Stephen is by Agnes Haus.

Faitiche presents a new album by Frank Bretschneider. abtasten_halten was made as part of the raster.labor installation first presented at CTM Festival in 2019. It is perhaps the most radical work in Bretschneider’s distinctive oeuvre: abtasten_halten is a self-generating composition for synthesizer modules whose sole sound source is the movement of two VU meter needles. The resulting percussive sounds coalesce into rhythmic combinations – all random, without repetition. The album resembles a meditation on infinite rhythmic variation. abtasten_halten is Frank Bretschneider’s first release on Faitiche.

One sound can give birth to thousands of tones through self-fertilization. Pierre Henry, 1982

Frank Bretschneider on abtasten_halten:
abtasten_halten (sample_hold) is a largely self-generating composition for a modular synthesizer system. Self-generating here means that as soon as a current flows, the various modules interact, but within limits set by the composer via the connections between the modules (patches): timing, tempo, timbres, dynamics. These conditions are kept variable to a certain extent or left to chance, so that the composition created is always similar but never the same. On the one hand, the use of random generators opens up possibilities that would not otherwise have been considered. On the other, it offers the fascination of the unfinished and the unique: totally unexpected musical events that you might hear only once.

abtasten_halten combines my preferences for percussive music in general and electronic music in particular. Largely avoiding repetitive structures, the piece is more like a free improvisation, quiet and diffuse, but also extremely dense, in ever-changing contrasts and transformations.

The tone generators are two modified VU meters whose needles, driven by trigger impulses, create a simple one-bar pattern by hitting against a metal spring that is connected to a piezo element (thanks to Gijs Gieskes / Gieskes.NL). The tempo is continuously varied over a period of about ten minutes by several mutually modulating LFOs, ranging from about 0.06 Hz up to the lower audio range of about 18Hz.
The percussive sounds thus obtained are then passed through low-pass filters with moderate resonance and random frequency modulation to additionally colour the sound. Further processing is then executed by an echo module whose tempo and repetitions are again determined by random parameters. Finally the audio signal is occasionally enriched with reverb to add more spaciousness to the sound.

The concept for the installation raster.labor was developed by Olaf Bender, Frank Bretschneider and David Letellier. Many thanks to raster - artistic platform.

On Frank Bretschneider:

Frank Bretschneider works as a musician, composer and video artist in Berlin, making mainly electronic work based on complex rhythmic structures and interlocking textures, whose many-layered sound is inspired by the experimental set-ups of modern physics, often supplemented by perfectly synchronized computer-generated visualizations. In 1986, he founded AG Geige, one of the most influential underground bands in East Germany. In 1996, he co-founded the label raster-noton and has since released many solo albums.

Lina & Gwen Wayne have become notorious for their techno sets throughout Germany and Europe, maneuvering from insider to headliner depending on the premises. We are pleased to announce their first EP "Genug gelabert" will be released on 4th September 2020 via Hold Your Ground on 12" vinyl and digitally.

Worm & brutal, like falling face first onto the concrete floor on a warm summer night, is the first track "Palaber" by Lina & Gwen Wayne. For six minutes, the ground feels like the sky, lying feels like falling, dancing feels like breathing and beyond your immediate surrounding there is nothing. This is techno and for the moment these two producers from Hamburg and Berlin are your new horizon.

The two DJs started producing together in late 2019, with their no frills & dark, but fun style translating effortlessly into their own productions. "Genug gelabert" ist the title of their first EP, meaning Enough said, and we are gonna keep it at that. Come marvel at the beautiful brutalism. Incl. Remixes by Moog Conspiracy and Innacircle & Metatext.

Vital Sales Points:
DJ promo by Cutthenoize, German print & online by Audiolith Inhouse, UK/international online

‘Alterity’ is compilation of fifteen warped, experimental and deconstructed club music tracks featuring artists from almost every continent. It pieces together shared sounds that connect disparate scenes across the globe. The music is fuelled by a desire to dissolve borders and transcend perceived norms to promote the existence of alternate viewpoints, lifestyles and identities.

The listener travels to a parallel plane through amorphous techno wormholes, caverns of industrial beat science and colossal panoramas of glistening hyper-stylised trance. Each creation espouses local sounds and adapts global musical styles creating a singular, holistic map of modern dancefloors that champion diversity and inclusivity.

The cover art of a manipulated city shows an ordinary urban landscape remodelled as another world. It hints at an endless, borderless macrocosm concealed within.

The gatefold double LP is pressed on yellow vinyl and comes with a digital download code and printed inner sleeves.

2x12"
Radio Matrix returns! In the strangest of times a somewhat prophetic message reached us. A message delivered by Immediate Proximity, a collaborative project by Diana Napirelly & Niels Luinenburg, known for his output as Delta Funktionen. Their message comes in the shape of an album called '2334'. It covers nine tracks that perfectly act as the soundtrack for our society during COVID-19 times. With tracks and titles like The Apocalyptic Techno Cult, Broken Ether, Clone Morph or Skynet Skanner, we find our self on the brink of a new era where machines and algorithms have taken over humanity. Metallic beats kick hard and eerie melodies are placed against rhythms that remember us of ancient tribes carrying out ritualistic dances in order to try to escape the machine world. Fortunately, behind this somewhat dark and apocalyptic mood a strong statement appears and calls for hope and experience. It gives the listener a path to look beyond the horizon. This release is limited to 150 copies. Printed on 350g incada silk paper with high UV gloss varnishing. Includes a sticker sheet.

Marcos Cabral returns to L.I.E.S. with a new six track mini lp after a run of cult releases for The Trilogy Tapes as Chemotex. Here we get Cabral in top form falling somewhere in-between his last works for L.I.E.S. and Chemotex tracks. Through the record we get a rough yet refined style moving from metallic gnarled electro to melodic IDM and/or destructive the electronics as heard on "Secret Air". Our favorite being the introspective closer "Wearing Petrichor" Cover photo licensed from legendary NYC street photographer, Richard Sandler.

‘Life Guarding’ offers a first glance into an upcoming album by Wolfgang Tillmans. The song finds Tillmans in open waters, lyrically exploring wor(l)ds as they appear like undertows and tie in the listeners by his candid approach to accept whatever the drift throws at him and leaving him exposed at his most vulnerable. It seems no coincidence that the video Tillmans’ shot and directed for the song finds a similar approach to ‘liquidity’ in visual language. Shifting the lens between micro and macrocosms, collages of body parts, fruit and insects, we find him equally paying attention to the waves of the Atlantic Ocean as well as to the ’same’ water in the form of drops, evaporating on a hot kitchen plate. This current shape of ‘Life Guarding’, in equal measures upbeat and melancholic, emerged in sessions with Tillmans’ long term musical collaborators Tim Knapp and Jay Pluck in early 2019 at Trixx Studios in Berlin, that were further developed and produced by Tim Knapp and Bruno Breitzke. ‘Growing’ was originally part of Wolfgang Tillmans’ sound, light and video installation ‘South Tank’ at Tate Modern in 2017. This summer finally sees the independent release of this collaboration with the L.A.-based duo Wreck and Reference. The song also features excerpts of Fred Weyrich’s lyrics for German singer Alexandra’s 1968 hit ‘Sehnsucht’ (Longing). ‘Growing’ involved the band placing samples of Tillmans’ singing and spoken word over a kick drum-driven techno track made with synthesizers, acoustic drum recordings converted to digital drums, and noisy samples of jangling keys. ‘Wreck and Reference’ are an experimental music project from California by Felix Skinner and Ignat Frege. Drawing upon the blown-out intensity of black metal and noise rock, they eschew traditional guitar-centric instrumentation to construct songs with digital samples, drums, and voice. To date, the band has released four EPs and four full-length albums, and has contributed to the producti

The first notes of Relapse’s “Underground Rave Hits for a Shuttered Club” are obscured with abrasive noise. For this Pinecone Moonshine album, the Bristol based musician known for drum and bass drew from many influences. Melodies and harmonies suggest ideas from extreme metal, blues, folk, and unique medieval, ritual notations. The album ranges from slower tempos like the funky 100 bpm “Curse, or a Swan” up to the 200 bpm breakcore “Hitroll Beat Heart.”

Als Re-Release lässt Conrad Schnitzlers legendäres "Con" eine Ära wiederauferstehen. Conrad Schnitzler steht heute nicht nur für seine bahnbrechende Musik, sondern eigentlich für eine ganze Ära - er verkörpert einen gewissen Künstlertypus, wie ihn so nur die legendären 1970er Jahre hervorbringen konnten. Als in einer nie dagewesenen Abriss- und Aufbruchsstimmung eine junge Kunstszene allem Alten und Überkommenen - und in ihren Augen politisch korrumpierten - eine kategorische Absage erteilte, den Kunstbegriff generell in Frage stellte und die Forderung einlöste, dass Kunst und Politik immer zusammengehören. In diesem Klima entstand die Idee der Konzeptkunst, die Auffassung, dass das eigentliche Kunstwerk der immaterielle Gedanke ist, der ihm zugrunde liegt und nicht seine Ausführung. Eine Idee, die antikommerziell weitergedacht wurde, denn nun durfte, ja sollte, Kunst beliebig oft vervielfältigt werden, billig sein und war für alle. Zugleich darf Kunst fast alles und fast alles kann Kunst sein. Conrad Schnitzler ist Konzeptkünstler und verkörpert seine Zeit, wie kaum ein anderer - sein Lebenslauf liest sich wie ein Manifest der Unabhängigkeit, seine Musik ist radikal neu, mutig und zuweilen regelrecht antikommerziell. Der legendäre von ihm gegründete Zodiac Club war der vielleicht wichtigste Schmelztiegel und Motor der subversiven Kunst- und Musikszene Westberlins. Als einer ihrer Helden und Gallionsfiguren, nahm Conrad Schnitzler im Paragon Studio das 1978 veröffentlichte "Con" auf, eines der raren Kleinode, dieser Epoche und seiner Karriere. Stärker als in anderen Arbeiten ist der Einfluss von Tangerine Dream zu hören (deren Mitglied Schnitzler von 1969 bis 1971 war) und als professionelle Studio-Arbeit ist "Con" nicht zu sperrig und artifiziell, sondern setzt stattdessen auf klarere Songstrukturen und musikalische Eingängigkeit. Zu Recht gilt "Con" manch einem als Schnitzlers beste Arbeit. Fast 40 Jahre später erscheint das Werk nun als Re-Release auf CD, LP und digital.

Starting the new decade strong, the French label Public System Recordings debut R Gamble with his much anticipated EP, "Sever The Ties". Hailing from Memphis, TN and now functioning out of Brooklyn, R Gamble has been a staple of the New York underground for nearly ten years. This record presents you 5 original tracks and a remix, all ridden with infectious mechanical rhythms laced in haze, abrasive synth lines accompanied by metallic vocals doused in reverb. A secret weapon for the Industrial Synth freaksA!!! For the remix, Gotham luminary Shawn O'Sullivan returns to his "Vapauteen" project, providing an intoxicating and dizzying groove for those "lost in the fog" moments. The ultimate care package for your dance floor needs.

2020 reboot for Detroit's legendary Metroplex.

The Label Say "Cologne based producer Bas Grossfeldt has crafted an outstanding release perfectly aligned with Juan Atkin’s brilliant Metroplex aesthetic. As a relatively new name in the scene, Bas Grossfeldt’s music sounds as if it were the results of decades of focused experience in the studio.

With a background in installation, choreography and performance art, Bas Grossfeldt is the artists alias to focus on the musical side of things. His deeply rooted interest in the relation of space and body is also translated into his music. The fusion of spaced-out textures, rhythmical distortions, cold waves of synthesis, and enough modern production prowess ensures a release saturated with innovation and abundant imagination. A rare release for the seminal Detroit label, which also represents Juan Atkins’ interest in the arts world and new, different approaches.

The exchange between the label head and the artist, initially came to life because internationally renown conceptual artist Mischa Kuball, knowing Juan from a joint project, sent him the demo of Bas Grossfeldt. Especially intrigued by the track „Lost In Translation“, Juan and Bas started exchanging, approaching the record as an „art project“ and a classical EP at the same time, for example leading into the cover being made by Bas Grossfeldt/Søren Siebel himself and including numerous hidden references to the sound.

Each track embraces an incredible array of sounds and styles, from soundscapes to mind-bending Techno – all equally as effective for the brain as the dancefloor.

“Lost In Translation” opens the release with a cinematic piece of electronica permeating with frozen emotion and melancholic soul. The beautiful track captures a foggy morning’s haze, the first chill of winter with only a gentle kick-drum keeping the cold from completely taking over. It is also accompanied with a hypnotizing abstract video by film-artist Svenja Voß.

Continuing in a dubby, winter haze is “Lost In Sensation” which floats alongside a sharp, metallic rhythmic arrangement and a gentle, ever-present kick drum. Deep, heavily saturated atmospheric textures sleep underneath the sounds while lucid melodies float in and out.

“Your Orbit” rounds out the release with the most club-ready production. Disorienting melodies and gritty synths capture a dreamlike perception while a tough kick drum and clattering percussion drives the music deeper into undiscovered dancing territories just left of center. "

Brussels-based trio schroothoop (Dutch for ‘junk yard’) is formed by Rik Staelens (wind & string instruments), Timo Vantyghem (bass & clarinet) and Margo Maex (percussion). Their tribal oriented debut mini-album features homemade instruments built from lost and found objects like wood, scrap metal or anything that would end up in a landfill. The band’s music is infused with sounds from around the world orchestrated by PVC flute melodies, jerry can beats and washtub bass lines. The trio effortlessly incorporates jazz with North African chaabi, cumbia, reggaeton, Eastern oriental melodies and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip in 7 compositions through the Brussels melting pot. The musical members are part of groups such as La Clinik du Dr Poembak, Raksinaksi, Sea (Peoples), Borokov and Sea Shark Minor.

Berlin based producer and sound designer BLUSH_RESPONSE presents VOID IN, his first full length for MEGASTRUCTURE_.

VOID IN features 10 tracks of meticulously crafted sound sculpture that transmit the listener into a deep atmospheric liquid metal world. Blush’s signature synthetics create an ever changing sound palette that ebbs and flows through the album. Generative granular textures meld with echoing voices and rolling, distorted beats to create realities that contract and expand like gravitons spiraling through a black hole.

This album is a showcase of Blush’s prowess as a producer and sound designer, and presents yet another chapter in the ever evolving world of BLUSH_RESPONSE. Having contributed recent design work to companies such as Arturia and Elektron, Blush follows through on his commitment to personal timbral evolution. Join in once again for his annual report from the sonic dimension.

Two leaders from very different musical worlds, the innovative pianist Bruce Brubaker and scientist-now-electronic-artist Max Cooper collaborate to create this latest expression of music by Philip Glass and tell a story of diversity and vulnerability.

Commissioned by and introduced at the Paris Philharmonie in 2019, Glassforms melds the acoustic concert grand piano with synths and cutting-edge electronic production techniques to create a compelling album and a dynamic live experience.

Rather than just reworking or augmenting via traditional means, Max Cooper and Bruce Brubaker fundamentally rewire Glass’ forms in a manner that’s not possible with human composition tools. Max built a new system for musical expression through coding with software developer Alexander Randon, creating a tool for taking live data from the piano and transforming it into new but intimately related forms which drive his synths on stage.

The result is that each of the pieces by Glass becomes its own electronic “instrument,” an instrument Bruce plays in addition to, and simultaneously with the original piece. As Bruce plays the piano and controls synths with his playing, Max modulates and augments, sometimes adding his own melodies to form hybrid variants.

The Beneficiaries ist ein brandneues Detroit-Projekt von Jeff Mills, für das er sich mit zwei weiteren Detroiter Legenden zusammen tat: dem nicht minder visionären Detroit Techno-DJ/Produzenten Eddie Flashin' Fowlkes und der Poetin Jessica Care Moore, bekannt durch ihr 2015er Album "Black Tea: The Legend Of Jessi James" (feat. Roy Ayers, Talib Kweli, Jose James, Ursula Rucker), ihrem Beitrag zu Rawkus' legendärem Spoken-Word-Sampler "Eargasms", aus Russell Simmons' HBO-Serie "Def Poetry Jam", sowie Kollabos mit Nas ("Nastradamus"), Jeezy und den Silent Poets. Ferner wirken Amp Fiddler (Keyboards) und die beiden Perucssionisten Sundiata O M und Efe Bes mit. Die 6 Tracks haben eine Länge zwischen fünf und vierzehn Minuten.

On this third, consecutive 7" for Knekelhuis they showcase a slightly darker side, undoubtedly influenced by these current viral times. Still, shadows are always in need of light. These two anxious tunes are full of metal clanking, eerie synths and rolling basslines taking you straight into industrial territory, albeit with avant-pop leanings. De Ambassade will firmly hold their ground in the dead of night until the smoke clears and the agony of daylight returns.

Fusing dexterous hand-percussion, hypnotic guitar riffs & soaring melodies, Waaju rise from London’s rich cultural palette with their latest album ‘Grown’, proving UK Jazz doesn’t have to sound the way we expect it to. Led by drummer and percussionist Ben Brown (Alfa Mist, Dizraeli, Ashley Henry), the band comprises percussionist Ernesto Marichales (Jordan Rakei, Sigala), guitarist Tal Janes (Nubiyan Twist, Bahla), Sam Rapley (Fabled, Maria Chiara Argiro) and Joe Downard (China Moses, Judi Jackson), each with their own strong presence on the UK’s extensive music scene. Waaju’s refined and divergent sound connects the dots between the likes of Ali Farka Touré, Alain Peters, Los Muñequitos de Matanzas, Oscar D’Leon and Beth Carvalho. Waaju formed as a means of exploring music’s hidden connections, from trance-inducing Moroccan Gnawa to Caribbean carnival music, and embracing them to reflect different shades of London’s own musical culture. It was the band’s love for Mali’s folk music – and Ali Farka Touré’s stylistic prowess in particular – that first set the project in motion. London’s Jazz Cafe invited Waaju to reinterpret classic tracks from Farka Touré’s catalogue to sold-out audiences in 2018 and 2019. According to Brown: “Ali’s one of the best. He has such a unique sound. His playing is so gnarly. His spirit and attitude are things I always think of when making music.” Waaju (meaning ‘to urge, inspire or influence to take action’ in Malian language Bambara) blends pulsing Latin polyrhythms, psychedelic Malian blues licks and cinematic textures. Following the group’s 2018 self-titled debut record, Grown presents a group more unified and distinctive-sounding than ever with six fresh, bold compositions. The record begins with Moleman, a potent reminder of the intricacy and energy Waaju’s become known for. Gritty, clattering metal defines the landscape for sizzling builds, hinting at rave culture styles like Bashment and Jungle. Listening Glasses follows and it’s clear why this is the album’s lead single – its Afrobeat-like energy and joyful interplay between guitar and tenor sax lies somewhere between Tony Allen’s grooves, Chimurenga guitar and Headhunters’ funk. On late night jam Rollando, Joe Downard’s skulking bass frequencies rule and wonkiness reaches new heights as heavy dub grooves almost tear themselves apart. Time’s Got a Hold was co-written by Waaju and Jordan Rakei for a show together in November 2018. Kicking off side B, this version features special guest vocalist Will Heard over bouncing triplets evocative of 1970’s Sega from La Reunion. A kind of looseness found only at night, the quiet drive of Wassoulou is sparse yet purposeful. Pulling back the tempo and dimming the lights, cavernous percussion fills each corner of the room, springing back as spectral reverbs. The title and final track shows the many dynamic sides of the outfit’s far-reaching sound, with its expansive harmonies and explosive psychedelia, spanning Yoruba Andabo to Hendrix, signing off an exciting and energetic second LP from Waaju at their most scintillating.

Searching for new languages beyond the bitter and nihilist dialect of punk, bands like Gaz Nevada, Litfiba, CCCP, Diaframma, Neon, and many others, began spreading their message all along the Italian peninsula during the early eighties and many of the members of these bands are now some of the best musicians/producers in the Italian independent music panorama (Giovanni Lindo Ferretti, Piero Pelù/Litfiba, Bisca, etc.). 16 tracks by 16 Italian underground bands from 1982-1984: bands who faded into oblivion before ever releasing anything of their own on vinyl. It should, however, be stated that if these sixteen bands had been found on an album, EP or single, they certainly would not have lowered the average quality of albums in that genre…not even in terms of sound quality, which has actually been improved upon here (considering that the original tapes had been lying around collecting dust for at least a quarter of a century) by careful restoration.

Maestro Egisto Macchi (Gruppo di Improvvisazione Nuova Consonanza - The Group) recorded this mystical ethnographic trip to the South of Italy imbued with its rites, superstitions, magical symbols and popular mythologies in 1977 for the TV Documentary 'Sud e Magia'. Astoundingly evoking the intensity, magic and psychedelia of its subject with the use of inventive and unconventional techniques (aerophones, crystal glasses, prepared piano), Macchi harmonizes kindred spirits from transcendental, religious and metaphysical sound forms. Produced in the Feeling Records Studios, Turin, which had the highest level of equipment and technicians, this pinnacle of experimenal library music is released for the first time with audio restored from the original masters tapes.

Black Vinyl Edition

The Log and the Leeway follows a 6 year journey of personal exploration and drastic change for Bram Bosteels and his singular Kaboom Karavan universe. What entails is a sound-curiosity of rare format, following a metamorphosis that goes beyond the musical.

Early in the process, Bram was struck by the word/concept of a Leeway : the gradual departure from an intented course due to external influences. Following a boyish fascination for explorers travel journals, logbooks and the far fetched corners of the world, he could not have forseen how fitting of a title he had chosen. Drastically all of a sudden one day, completely unexpectedly, Bram experienced his own father dying in front of him from a rare disease. Shocked and confused by this intense encounter, his perspectives and musical course departed from its original path. But at the same time it was an enlightenment and a necessary influence for him to realise the initial idea and finish this album, started over half a decade before.

The ones familiar with Kaboom Karavan already know that nothing really sounds quite like it. Bram’s musical (and non-musical) universe is of the rare breed that seems to be entirely his own. Self-contained, but never opaque. Quite the opposite actually. Bram never pushes us away, instead, by listening to his music we are given view to a synesthetic wunderkammer of images, places, objects and possibilities. Distant but magnetic, alien but intimately familiar, Kaboom is folk music from another dimension. Listening to The Log and the Leeway is like waking up next to a bonfire in the middle of a swamp wearing somebody else’s clothes: You may not know how you got here, but whatever is happening seems to very directly involve YOU. What will happen?

Note from Erik K Skodvin (Miasmah): All the sounds, fabrics, instrumentation and stories that binds The Log and the Leeway together go far beyond what can be touched up in this simple writeup. As someone who have followed this journey since the beginning, and seen it shift from lighthearted fun to the most crepuscular personal experience, heard the stories behind (almost) every field recording and gone through boundless amounts of clips, visual details, notes, and inspirations – I can only say that it is with great pleasure and certain nostalgia I can present this record in full through Miasmah and close this quite extraordinary chapter. Bram is without doubt the most fascinating person I know. Like I told him in April 2020 during a trying time: “If everything fails, we´ll open a Kaboom Karavan museum” - an idea that might not be as far-fetched as it sounds.

Featuring: Cover painting by John Lurie. 16 page booklet of Musical illustration / collagés by Walter Dhoogh & Erik K Skodvin that more or less connects (or confuses) the dots between the music and stories behind. Mastered by Lupo at Loop-O

Luar Domatrix (Rudi Brito) is perhaps more recognizable as half of the artsy-duo Yong Yong that emerged in 2012. After a long season spent in Glasgow, and with editions by Naivety (Naive’s sublabel of Inês Coutinho aka Violet) , Sucata Tapes (Discrepant) and with a track inserted in a VA from 12th Isle, comes back to Lisbon (his hometown) clearly soaked by the sounds of the Scottish industrial center.

“Baía Stamina”, produced in Glasgow, is strongly inspired by the local club scene and evokes the utopia of a heavenly bay somewhere in Italy. Although always looking to bend the barriers of that “squarish” side of dance music, “Baía Stamina” is a dance record. It starts with “Bo Teias”, a track full of percussive elements and unusual sound effects that presents itself as a hymn of the “Baía Stamina” - pure boilling energy. “Take” is the least functional theme on the record. Metal percussion layers are overlapped over a string, creating a certain unrest and discomfort. A vocal incites consumption ("Take, Take, Take") to the point that a pad clears the way for liberation creating a more relaxing and dreamy ambience.

Closing the A side “Bo Teias” gets a remix from the Glasgow duo General Ludd, with whom Rudi used to live. In this version, and as the name implies, “Bo Teias (Gen Ludd Disco Problem Remix)” moves the focus away from the dance floor, ands transforms itself into a rhythmic exploration over the void, punctuated by some recognizable elements. “Outra Face” is a track made to blow up soundsystems! Anchored in distortion and in a broken beat led by the kick of the infamous TR-808 there is an almost epic vibe to it, that shows the confidence that Rudi Brito has acquired in his relaxed production style. “Heavven” closes the record in a completely British tone. The soulful vocal reminiscent of some garage tracks, echoes Bristol production and a time when dubstep producers decided to lower their bpms to something closer to the house. Without ever rushing the theme moves through different sonic landscapes and electronic glitches until a Portuguese voice announces “Acabou-se a brincadeira” (“Playtime is over”). This is peaktime; it's time to go dancing.