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Deepology presents the final EP of the ‘Four Seasons’ series. Four releases, vinyl only, each corresponding to a specific season of the year. Quality deep and underground house gems from past and present.

Mr. Fedor Velyaminov aka Cossway, a Russian producer currently based in Paris kicks things off. ‘Raw Feelings’ is an ethereal journey exploring the depths of deep and tech house whilst firmly placing its sights on the dancefloor appropriate.

Next up Andrey Djackonda & Minube, our friends from Moldova. These guys have got groove and style in abundance. ‘Softly’ is a modern minimal interpretation of deep house, ranging from more traditional house vibes to somewhat abstract deep and dreamy moods.

On the flip side, Erefaan Pearce, a legend of Cape Town house music in collaboration with Perspektif let loose ‘H O U S E’. The track originally appeared digitally back in 2010, but this is the first time it has been pressed to vinyl. True classic deeeeep-house gem.

Finally, a lovely tune by Dance Chance Romance, a contemporary dance music project by Kyoto DJ and producer Yusuke Yamamoto. Having released more than 20 vinyl albums on various labels around the world his work is not influenced by trends and is highly valued for its unique sound.

Limited Edition of 300 copies. Pressed on black vinyl with white disco bag.

Killer releasee by new comer aka Dubset. Minimal Dub, breaks as it is. For Bluetrain, Steve O'Sullivan fans.

35th Anniversary reissue of legendary
Canadian/American singer, composer and transgender
activist Beverly Glenn-Copeland’s beloved seminal
work, ‘Keyboard Fantasies’.
An ahead of its time synth exploration which somehow
combines the essence of new-age minimalism, early
Detroit techno and the warmth of traditional
songwriting.
Beverly Glenn-Copeland’s third album, ‘Keyboard
Fantasies’ was originally self-released on cassette in
1986. Initially overlooked by mainstream media, it
caught the ear of a Japanese collector who contacted
the artist in 2015 and asked for copies to sell. These
sold out instantly and led to more copies being
distributed and multiple offers from record labels.
Features stunning alternative cover artwork and liner
notes by Robyn.
This album is available on CD for the first time.
Digisleeve with spot gloss to the cover and 8-page
booklet.
This is only the second time the album has been
repressed (with the previous repress being extremely
limited). LP format is housed in a gatefold sleeve with
spot gloss to the cover, printed inner sleeve, 180g
black vinyl and digital download code.
Also available again on tape as a white cassette.

For Fans Of: The Burning Hell; Belle & Sebastian; Iron & Wine.

Following swiftly on from last year’s Tiny Men Parts EP, Quiet Marauder re-enter the sonic fray with their latest Bubblewrap Collective long-player, The Gift, on 9th April 2021. Taking a strong divergence from the bombastic pop-punk of its predecessor, The Gift sees backing vocalist Kadesha Drija step to the foreground for the majority of the album, standing afront a richly crafted, multi-instrumental acoustic-folk backdrop.

Recorded pre-pandemic, January 2020, in The Burning Hell’s (Canada) pop-up Snowbird Studios, aka an art deco villa in Riofreddo, near Rome (Italy), this release marks another chapter in the ongoing international collaboration between the bands. For this album, Quiet Marauder’s (Wales) contributions of acoustic guitar, bass, trumpet and layered lead and backing vocals are granted further textural depth from their Canadian counterparts. These include minimalist harmonic splashes of flute, piano, organ (Jake Nicoll), electric guitar, bouzouki (Darren Browne) and bass clarinet (Ariel Sharratt).

Returning to the conceptual songwriting approach of previous releases MEN and The Crack And What It Meant, The Gift charts the narrative of a troubled teenage girl (Willow) haunted by visions of a mysterious house fire. Willow’s path is traced through well-meaning foster parents, teenage love interests, time-bending superpowers, distrust of domestic appliances and, ultimately, her own memories; covering themes of self-identity and the fallibility of human recall. Though the album marks a more overtly serious tone for the band, the sensitive subject matter is delicately handled through their trademark low-key, observational and, sometimes, darkly humorous lyrics.

Self titled debut album from NOLA based indie psych rock band. Silver Synthetic is comprised of indie rock all-stars with members formerly from The Bottomfeeders and Jeff The Brotherhood. The mega talented musicians formed at a record store in New Orleans because of course they did. Summer 2020 EP from Silver Synthetic garnered playlist placements on Spotify's Indielandia and Fresh Finds Rock. Debut album Chiming, driving, relaxed rock & roll minimalism For fans of Television, T. Rex, The Velvet Underground, chooglin' 02/17 - Announce/Pre-Order w/ IG: In The Beginning + music video 03/17 - 2nd IG: Chasm Killer 04/07 - 3rd IG: Around the Bend 04/09 - STREET DATE w/ focus track: Around the Bend INDIE RETAIL PROGRAMS: Retailer Time Program Details Rough Trade US March 31 Transmission livestream Rough Trade US April 2021 US Edit Rough Trade UK April 2021 UK Edit Euclid NOLA March/April 2021 Mural PREX April 2021 banner Record Grouch Brooklyn April 2021 socials program Resident Records April 2021 web package, mail order flyers Piccadilly Records April 2021 web banner Drift Records April 2021 web package AIMS May 2021 Tier 1 Broadtime April 2021 Level 1 ads, listening stations, preorders Indie retail April 2021 Promo posters (x400)

The Black Bones story is born out of a shared obsession for crate digging, collecting, and the playing of weird and wonderful music. Their releases so far have manifested in a highly-sought series of seven psychedelic disco 12"s - picking up numerous Record of the Week plaudits on the way. This considered curation and skill for pulling together far-flung sounds fully informs their first original material. These four bold and adventurous club cuts are a thrilling mix of straight-up house sounds, new beat, industrial, dub, sleaze and all the other good shit that comes with low-lighting and a heavy sound system. Kicking off with the full throttle 120 bpm of 'ABTS' - the duo take you straight to the 'floor with one of the wildest rides we've heard in some time. 'Denied' pulls us in to darker territory - chest pummelling bass, ominous high-pitched warnings and a chuggy acid throw-down finding us once again lost in that 5am dance floor fog. Over on the flip and 'Punghi' combines a hypnotic groove, dubbed out FX, percussion and a tripped-out Eastern breakdown. One for the more adventurous DJs and dance floor! The EP is closed by 'Gabi' which sounds like minimal gone maximal with an insane industrial switch-up. Enough words! As always, Black Bones let the music do the talking and this ambitious debut can quickly find itself shelved alongside the records that have fuelled their lifelong obsession.

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from a disparate array of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own. Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contibute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their records are entrancing and beautiful affairs, while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Shadow Work is their third album and the first they have self-produced. Recorded at 80 Hertz Studios, Gondwana Records home from home in Manchester, it is the result of 18 months of intensive touring and mammoth writing sessions. The energy from their exhilarating live performances has fed into the writing process and yet there is a quiet reflective side to this album, giving it an expanded emotional range that draws the listener deep into Mammal Hand's sound world. One that builds on the sound of their previous recordings, Animalia and the beautiful Floa, but is wider than ever, with the use of prepared piano strings, more prominent effects and field recordings all adding to the band's most ambitious and accomplished album to date. The striking artwork is by Daniel Halsall and reflects the organic, natural influences underpinning the band's music alongside a darker, modern minimalism.

Following an acclaimed EP from Brussels duo The Untouchables, DNO Records stays in Belgium for the next instalment of its global bass odyssey, but offers up a wholly different kind of trip originating from Charleroi.

Leading the way are Clearlight & Owl. The pair typically operate together as Glÿph — producing glitchy, modern techstep — but the use of their independent aliases is an early indicator to expect the minimalist experimentalism found in their solo work.

Slowly but surely, the Dom Trojga saga continues, and there could hardly be a more fitting way to start off its next chapter than with jamaszka FT's untitled extended play offering. Conceived and executed entirely during lockdown rule, the record is a pointed expression of the angst and confusion that we all fell prey to - aimed at a dancefloor that was not to be, yet delivered with a gripping honesty that in itself offers consolation. Difficult to pinpoint stylistically, the music shifts from dense to sparse, with hazy un-rave anthems, hints of fourth-world minimalism and hazy, dreamscape echoes - all in keeping with the protean genius of jamaszka FT himself, who remains one of the most spontaneous, and idiosyncratic, if somewhat cryptic, artists that populate our scene. In keeping with this very aura, we had Miko?aj Moskal take care of the cover art - a distinctive stylist if there ever was one, his work constitutes a language of its own, traceable across his incredible output. Play this record to your friends and family and keep hope alive.

Banoffee Pies Records Black Label Series continues with the next Various Artist compilation - 4 low slung mood tracks for early AM riding the lines between Tech-House and 2 Step.

Monika Ross opens the selection with "Cut Strategy" on the A1, a dark winter spookyness set around 2 step glitches and delay. Tom Frankel takes over on the A2 with an ode to Green via "Terp Flavours". UKG inspired micro house - lockdown business. On the flip Mariiin drops her debut release entitled "Elif" on the B1 - a head down mover setting the tone for her future sound. The release then comes to a classy finish with deep mesmerizing rhythmic melodies on N-GYNN's "Yazdah" which fades away through another swinging vocal hook. Black Label Minimal. Much love. BP x

Mastered: Optimum Mastering

“Gyropedie,” Anne Guthrie’s third record for Students of Decay, takes us further into her hermetic practice, wherein expertly captured field recordings, French horn, and electronics are woven into potent and richly imagined electroacoustic environments. In Guthrie’s own words, “Quite literally a record of pilgrimage from East to West. Remnants of Midwest and East Coast soundmarks, instruments sold to lighten the travel load, sketched out and then buried under the new. Winter birds and crunching snow, frozen playgrounds, broken synths - I spent a year decoupaging over this, but of course it's still there. A second moon appears occasionally in the daytime, and there are frequent, murky transmissions. California has something alien about it I'm still trying to grasp. Primarily vintage, unabashed, corny, I find myself becoming an impressionist.”

Anne Guthrie is an acoustician, composer, and French horn player. She studied music composition and english at the University of Iowa and architectural acoustics at Rensselaer Polytechnic Institute, where she completed her Ph.D in 2014. Her music combines her knowledge of acoustics and contemporary composition/improvisation. Her electronic music has focused on exploiting the natural acoustic phenomena of unique architectural spaces through minimal processing of field recordings. Her composition has focused on the orchestration of non-musical sounds, speech in particular. Her French horn playing has focused on electronic processing and extended techniques used in improvisatory settings, as a soloist and with Fraufraulein and Delicate Sen, among others. Her acoustics research has focused on the use of ambisonics for stage acoustics.

Richard Youngs' e work can traverse everywhere from avant-folk or otherworldly pop to minimalist electronics or some of the most fervent 'outer sounds' one can dredge from the deepest crevices of their doubtlessly life battle-scarred imagination. On Metal River, Youngs offers four songs of deep space beamed curdled electronics not far removed from being akin to the contorted death caterwauls of a cyborg species reaching out in uttermost anguish. It's like prime Edgar Froese getting snagged on Incapacitants before tumbling headlong into a dingy cellar that then has its door slammed shut and locked before one notices the only company is accorded by body parts in dusty and mouldy demijohns. Features three songs on the first side, 'Days of Gravity Indoors', 'Metal River' and 'Rainy Days Static Caravan', plus the side long 'Dual Monody of Accumulated Detritus'. The perfect follow up to the 2dicks 7" lathe-cut also featuring Richard Youngs and released by FD in June. White vinyl, too. What more could you possibly ask for? "

First ever re-issue on vinyl. Red Shoes includes eight new recordings (dated early 1992), five unreleased tracks, a new version of When The World and more sophisticated rendition of For Madeleine and For Zinni. Vini develops his musical journey using fascinating licks for guitar, steeped in New Age, minimalism, soft electric folk and ambient music (we stressed to remind you that Vini’s style has been long informed by kosmische heroes such as Manuel Göttsching or Günter Schickert and even John Martyn). The album offers even the re-issue of the mini album Greetings Three, a very important goal for the band and the label Materiali Sonori. In fact, the four tracks included on this record - released in 1985 - have been explicitly dedicated to Italy, Tuscany and to new Italian friends. Along with Vini Reilly you will find the talent of Bruce Mitchell (drums) and John Metcalfe (violin) on display.

“The Obvious I would sound unutterably pretty even as an instrumental album. But once you factor in a voice whose purity has elicited comparisons to Robert Wyatt, Mark Hollis and Dean Wareham, the effect is something akin to hearing a ghost transmitting from a machine of its own making” - Pete Paphides ‘The Obvious I’ is the second album from Ed Dowie and is the second new master release from Needle Mythology. In 2017, Ed released his feted debut album ‘The Uncle Sold’, leading The Quietus to hail him as a “bold and starry-eyed visionary”, The Skinny to praise his “beautiful… stolen snapshots of glimpsed futures and lost pasts.” and BBC Radio 3’s Late Junction made the record one of their albums of the year. Now, four years on, Ed is to return with an album that will surely find him new followers alongside longtime fans such as Lauren Laverne, who described its predecessor as an “absolutely extraordinary” achievement. Adhering to Kraftwerk’s maxim about achieving the maximum emotional impact by the most minimal means 'The Obvious I' marks a pronounced evolution from Dowie’s earlier music. Co-produced by pioneering British experimental musician and sometime member of Polar Bear “Leafcutter John” Burton what ultimately emerged from these efforts – and what reveals itself with successive plays – is a beguiling process of alchemy. Each song from The Obvious I is the culmination of a beautiful process of distillation. A crystal extracted from chaos. Tumult distilled into lullaby. “My biggest battle,” says Ed Dowie, “was to ask myself how I can make something that reflects the turbulence of this period without adding to it.” By that metric, and several more, The Obvious I is no small triumph.

Autopsia is a cult art project dealing with music and visual production.
Its art practice began in London in the late 1970s and continued during the 1980s in the art centers of the former Yugoslavia.
Since 1990, Autopsia has acted from Prague, Czech Republic.
Above all Autopsia is not concerned with music. What is Autopsia? Art? Theory? Framing? Projection? Gaze? Autopsia is
language is image is sound. Autopsia is a tombstone on the grave of time. Autopsia is archaeology. The discourse of the
beginning and about the beginning. At the beginning is Death and the pity of Death. The music is in the pity.
The music of Autopsia oscillates from romanticism to avantgarde, from industrial rhythms and dark ambient drones to relentless
choral swells and academic minimalism.
Autopsia Archive 1982-1995
Engineered & Mastered at Mustakillah Studio Prague, 2017
Released by Other Voices Records VOX 35 LP
Marketed and distributed by Kontakt Audio

Lamaze is Geneva Jacuzzi’s 2010 debut—a full-length pressing of analog 4- track and 8-track recordings that document the development of her musical style from her first appearance in 2004 up to 2009. It is a selective introduction gleaned from a body of over 200 recorded tracks. The recordings from this period are largely synth pop songs that are typical minimalist constructions with dance floor tempos. Use of experimental recording techniques and varying arrays of equipment produce differing electronic atmospheres—soundcrafting in the spirit of Chrome, Devo, Cabaret Voltaire, and Gina-X. There is also an exploration of format in her playful use of alternating theatrical interludes and instrumental treatments. Lamaze is essentially a collection of demos, which is an atypical debut, but it is among the first lo-fi pop recordings that became the lexicon of the emerging music frontier, today’s “hypnagogic” jukebox—chillwave, bedroom pop, witch house, vaporwave, and more. The sound of the future, but the present of Lamaze is a world that has vanished. The collection is venerated as canon among her devotees and has become a coveted relic among fans and collectors of pop artifacts and rarities.

A quick, spontané voyage to the French Riviera ca. 1968, good times long before things went south, Organi’s “Parlez-vous Français?” is a woozy, tripping, soothing sojourn: DIY dream pop, hazy psychedelia, blurred-but-steady beats dripping down the golden boulevard, complete with mystical chants, a dash of half-remembered Franglais that goes down like some vintage eau-de-vie. There’s a fine massage waiting behind those venetian blinds. Pay half an hour, you’ll be relaxed and revived after 22 minutes. Très irrésistible when streamed, Organi’s haunting, hard-boiled French lesson is even better with that classique vinyl crackle in the mix.

Following the cinematic title skit with its bass loop appendix, Oakland-based producer and multi-instrumentalist Mike Walti (and his songwriting partner Maryam) aka Organi invites singer Jessica Bailiff along for the majestic entrée, an interpretation of Philamore Lincoln’s 1970 tune “The North Wind Blew South” (doesn’t it always?), adding anticon. heavyweights Jel and Odd Nosdam on synths and bass for à la mode enhancements and additional bric-à- brac.

Whereas the theme tune “Organi” comes with big drums, big organ, seductive overtones, pure hypnosis, “Whispers” is the soundtrack to some kind of psychedelic campfire tableau vivant: all brumeux, hazy, with spare guitar, Gauloises or Gitanes dangling, a glass of Bordeaux waiting on the dusty old amp, and featuring guest vocalists Yea-Ming Chen & Susy Borhan. It gets even more Parisienne after that: a French woman just knows how to look classic, even when all she’s got is some attitude, a ramshackle tambourine, a craving for old Sukia weirdness and those budget-couture “4 Dolla Jeans”...

Clearly in love with analog equipment, Organi turn The Vaselines’ “Slushy” into a slow- moving, bottomless lullaby – “... you'll never miss what you never had” –, and the femme fatale minimalism of “Stay The Night” is too magnétique and alluring: A fuckin’ sexy chanson, très léger and yet such a hard-knockin’ head-nod anthem, it’ll make you stay for sure, hungry for la petite mort.

Before the expansive denouement – a bank robbery in style: with bangs and a bucket bag (“Danger Walked In”) – the session gets super loose on “The Getaway,” head scarves and berets shimmering in the cabriolet, and featuring Jena Ezzadine on vocals & Headnodic on bass.

Mike Walti aka Organi is an Oakland-based musician and producer. A third generation Bay Area native, Walti has been running wyldwood Studios in Oakland CA for 10+ years (recording artists like Why?, Latyrx, Del, Dan The Automator, and Big Freedia, to name but a few). A longtime friend of Odd Nosdam, he loves to work with analog equipment (“We just love us some analog!” “Just listen to those relays purr...”). Recorded and mixed by Mike Walti at wyldwood, and mastered by Odd Nosdam.

Calgary songwriter Chad VanGaalen’s new album, ‘World’s Most Stressed Out
Gardener’, is a psychedelic bumper crop. A collection of tunes that does away with
obsessiveness, the anxiety of perfectionism, in favour of freshness and immediacy -
capturing the world as it was met while recording alone at home over a period of
years. “Don’t overthink it,” VanGaalen told himself again and again, despite the
push/pull love/hate of his relationship with songwriting. “I’m always trying to get
outside of the song - but then I realize I love the song.”
This is a record that gleams with VanGaalen’s musical signatures: found sound,
reverb, polychromatic folk music that is by turns cartoonish and hyperphysical - like
ultra-magnified footage of a virus or a leaf. Apparently, the album began life as a
“pretty minimal” flute record. (There’s only a vestige now, on ‘Flute Peace’, one of
three instrumentals.) Later it became an electronic record “for a while” and finally,
“right at the last second,” it “turned into a pile of garbage.” The good kind of
garbage: glinting, useful, free. Music as compost - leaves and branches ready to be
re-ingested by the earth, turned into a flower.
Throughout these 40 minutes, VanGaalen floats from mania to solace to oblivion,
searching for zen in all the wrong places. “Turn up the radio / I think we’re dead,”
he sings on ‘Nothing Is Strange’; or, on the inside-out rocker ‘Nightmare Scenario’:
“You’re stressed out when you should be feeling very well.” The singer’s mental
landscape is rotting and redemptive, beautiful in spite of itself - and his soundscapes
reflect this fertile decay.
He has been influenced by his instrumental work on TV scores (Dream Corp’s third
season began this fall) but still “nothing can really replace the human voice,” he
admits. Like Arthur Russell or Syd Barrett, it’s VanGaalen’s vocals that shine a path
through the swampland - from the cello-lashed ‘Water Brother’ to ‘Starlight’’s
krautrock pipe-dream.
These days, VanGaalen cherishes the privacy of the studio, the capacity to wander
around, get distracted, and “move at the speed of life.” Whereas once he would
obsess over mic techniques, now he puts the microphone in the same place every
time - trying to capture a song quickly, the idea at its heart. He’ll act on his
infatuations - for the flute, a squeaky clarinet, his basement’s copper plumbing
(remade into xylophones for ‘Samurai Sword’) - and then he’ll try to get out, “veering
away from responsibility,” before he overdoes his stay.
In the end, it’s like gardening. You have to live with your horrible decision-making;
the weather’s going to mess with you if it wants to; and if you plant a hundred
heads of broccoli, “now you gotta eat a hundred heads of broccoli - or watch them
go to seed.” But mostly VanGaalen just tries to be a deer: “I remember seeing some
deer come out in the Okanagan Valley once,” he says, “watching them wait for a
sunbeam to hit a perfect bunch of grapes - and then eating them right out of the
sunbeam. I’d recommend that.”
Initial LP copies pressed on clear with gold, red and blue high melt coloured vinyl.

Huñvre and his Toulouse crew land on Motoring with a
varied Minimal EP full of, tenebrous, hazy & nature lled
soundscapes.

Tape

After tapes on Steep Gloss and Cruel Nature, we are happy that Stuttgart-based collective Zebularin join the OM family with their new release “Hermetic Topography“.

The album, a product of weekly recording sessions between March and July 2020, just when the pandemic slowed a bit down, might be the closest approach to what communal experiences sounded throughout 2020. It‘s a bold design of how collective improvisation can work in the post-covid era.

The first minute of „Budenzauber“ sets the tone for the whole record. Synth waveforms get joined by a drumset, both settling into a vivid conversation between digital noise and analog free jazz, finding a shared rhythm for this journey.

Daniel Vujanic, known to some from his recordings with Höhlenmusk Ensemble, Ixtar or E Jugend and the driving force behind Zebularin, had this urge to layer electro-acoustic solo material, synths, prerecorded audio meditations, without bending the sounds into detailed harmonic structures, but to build up dense, morphing atmospheres. In came Daniel Kartmann, a combatant in many of Vujanic‘s musical endeavours, his percussions, wind instruments and some deep musical talk - from obscure black metal to brazilian psychedelica, from Scott Walker to Gustav Mahler. The duo laid down basic tracks, kept arrangements vague, creating a perfect environment for a range of other players and instruments to walk in: piano, woodwinds, electronics, ebowed guitars and a vibraphone. The resulting record is a tender, affectionate take on jazz and electroacoustic composition. One can hear the routine of the involved cast as well as the fun, deep listening and correspondence that took place; even though this album was not recorded live in big-band-style, musical ideas interlock on an intuitive level and complement each other.

Take „Peljuga“ as a perfect example, a loosened jazz improv reminding of The Notwist‘s more psychic enhanced moments, which blends into a conversation between a contact mic and heavily manipulated synths and turns into a minimalist piano composition, which melds into a climactic peak and is interrupted only to rise again. And as complex as this description sounds, as uplifting is the actual song. Or the album‘s last track, „Holmen“, which starts out as an underwater ambient piece and evolves pretty organically into cosmic power electronics.

Despite its name and the Heideggerian flair of some song titles, „Hermetic Topography“ is all but hermetic. It‘s rich in musical colours without melting into a quagmire of maximalist noise. It‘s sophisticated but never top-heavy. It might be one of your favourite tapes of 2021.