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The Post-Punk Synth Alchemists return with new album ‘Strange Loops’. With blistering rhythms and searing bass, AK/DK return with their highly anticipated fourth album, ‘Strange Loops’. It builds on the momentum of their previous release; Shared Particles, which sold out of the Dinked edition even before its release and achieved no. 7 in the Indie Record Store charts. Known for their trademark motorik energy and riotous joy, AK/DK are back, and for the first time, they’ve introduced guest vocalists into the fray. This new release sees the drum and synth duo collaborate with three exciting artists: the musician TVAM, punk poet - Thick Richard, and I Am Fya; sound artist. The angular guitars and spaced-out vocals of TVAM intertwine with the duo’s driving beats and convulsing synths, resulting in the pulsating Devo-esque powerhouse of ‘Square Route’. The two bands have been crossing paths on festival line ups for a while now and it seemed inevitable that they should join forces. I Am Fya’s usual experimental textures and sound-collage is temporarily put to one side on ‘Pull Up’. For this deep and heavy sub-rattling cut; I Am Fya and AK/DK lean heavily into sound system bass and dancehall style. Her febrile and powerful vocals interweave with tectonic sub bass and stuttering rhythms, sounding like Missy Elliot jamming with a modular synth. Manchester’s very own Thick Richard adds his lyrical, jet-black humour to the track ‘Nobody Shouts’. Their collaboration began when the band invited the punk poet up for an impromptu improvisation during their set at Beatherder festival 2020. It went down so well that they had to record it; learning the track from fan footage online. This is nothing new for AK/DK, creating powerful improvised moments for those lucky enough to be in the audience. Strange Loops presents two distinct halves of music. The A side offers sure-fire bangers that will linger in your ears and have you pounding the dance floor, while the B side delves into more experimental and ambient territories with completely live takes from the studio, reflecting the duo’s love of ‘70s German Kosmische bands. “We always had more ambient experimental tracks on our records, and wanted to give them a spotlight on this release” says the band’s Gee Sowerby. Their previous releases have earned accolades such as BBC 6 Music’s ‘Album Of The Day’ and impressed judges on Steve Lamacq’s Roundtable, solidifying their reputation as pioneers in their genre. It’s on stage where AK/DK truly come to life. Their electrifying performances, characterised by joyous live-looping of keyboards, drums, and distorted whoops, have made them a fervent fan favourite for over a decade. They’ve left an indelible mark on audiences at festivals like End Of The Road, Blue Dot, and Green Man, winning over new audiences wherever they play. With Strange Loops, AK/DK continue to push boundaries and defy expectations, reinforcing their status as one of the most dynamic and innovative acts in the scene

Portuguese producer Mardel debuts on Carpet’s Circuits series with a tight set of modular jams. Precise, at times introspective but with a driving motor pulse underneath, the three electro tracks touch on acid and bass as they launch into space. For its part, the ten-minute lead track, ‘Ducks In A Pond’, is a dreamy dubby epic, full of surprising textures and watery flourishes.

Oliver Coates' Throb, shiver, arrow of time is a portal into somatic chiaroscuro, aglow with the embers of imperfect memories and smudged with the plumes of internal echoes, which augment in vast, mercurial dimensions. For his third album on RVNG Intl., the British cellist, composer and producer offers a capsule of personal resonance and remembrance, assembled over the past six years. Throb, shiver, arrow of time traces the familiar metallic anatomy and viscous string modulations of his 2020 release skins n slime, while recentering his inner compulsions following a procession of lauded score writing projects, including the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023). While working on Aftersun, Wells asked Coates how music could signal that someone is going on a trawl through their memory_a question that has stayed with him ever since and fosters a heartbeat running through the record. Throb, shiver, arrow of time is "all about inaccurate transmissions from our memories, overlaid with emotions from other sources," says Coates. The release is imbued with the ache and glow of recollections mulched together, where the guttural dissonance of misremembering is shrouded by strange orbs of sentiment. At the record's inner core is "Shopping centre curfew," a swift yet cavernous track that emerged five years ago when two real world events, both occurring in South London during the pandemic lockdowns, became fused in a dream: the demolition of Elephant and Castle shopping center, and the discussion of a curfew as a real possibility for all men following a violent crime. A strange simultaneity occurred with this piece of music and Coates built the album out from there, a sense of temporal entropy refracting shimmers of lurking convulsions into lucid sonic topologies. The ten compositions of Throb, shiver, arrow of time find weightless melodies soaring across after-image gradients, magnified and compressed. Misted tones within "Please be normal" and "90" soften drone-soaked shudders of inner acoustics messing up. Vocal invocations appear from long-term collaborators Malibu and chrysanthemum bear, as well as drifting synth radiance from Faten Kanaan. Throb, shiver, arrow of time furthers Coates' reach in collapsing the digital into the analogue and vice versa, allowing serendipity to reorganize the material and push out against the confines of flatness. This sculptural approach to sound is deeply influenced by the intricate installations of artist Sarah Sze, whose permutations of visual matter with its own after-image form kaleidoscopic epitaphs for ephemera and emotion. Coates' thinking about Sze's work and processes flowed together with his own playing and editing techniques, superimposing the textural relief of a live take back into a composition, and allowing the sound to succumb to a dream of itself. As Coates expands, "The cello is a kind of melancholic instrument with a light ethereal spirit. When the sound is flattened into digital processes, with shifted frequencies and time stretching I'm trying to give it even more of those qualities. Sometimes I'm distancing myself from it, so it becomes a piece of discarded debris that has soul in it, a down-sampling. Or other times, it's trying to maximize the present tense in the act of playing, and collapse that vivid color into a burnished, photocopied kind of sound. So the music acts like weather, weathering the listener, or as flames licking at the sides of objects." As the record unfurls, the compositions swell in duration, until the granular glimmers of its finale "Make it happen" persist in almost violent delight. "There's a feeling of not wanting to let this album go, trying to defy the extinguishing sound at the end of the music, trying to push the colors beyond the confines of the structure, to defeat the silence." In the scramble to resist denouement, Coates suspends the arrow of time in its eternal flight, just for a moment, to reveal the solace of the dust settling in the afterglow. Oliver Coates' Throb, shiver, arrow of time will be released on vinyl, Japanese import CD, and digital editions on October 18, 2024. On behalf of Oliver and RVNG Intl., a portion of the proceeds from this release will benefit The Traditional Music and Song Association of Scotland, an organization fostering opportunities for people of all ages to participate in the traditional music and culture of Scotland.

50 frequency and amplitude modulated sine waves describing a landscape / Trigram for Earth. Trigram for Earth, by Flora Yin Wong, is inspired by traditional eight-sided Pakua mirrors and the trigrams inscribed on each of their edges. The function of the mirrors is to show the nature of reality as being composed of mutually opposing forces and modulate them. Here, energies seem to be manipulated to guide and direct our listening, lost in a maze of sound, diffracted to the point of merging with the artist's own listening, through her memories, her obsessions, the fragments she carries within her. Flora Yin Wong invites us to embark on a multi-faceted investigation of sound, a journey through the meanders of liberated sonic forces, an auscultation of her own listening and a portal, at last, ajar to a fragmented and forever mysterious inner world.In his work '50 frequency and amplitude modulated sine waves describing a landscape,' Sébastien Roux applies his approach to algorithmic composition to the observation of the natural world, bringing the sound of the sea and the song of birds into the electronic domain, transmuting them into each other through a slow process of gradual modulation. Exploring the abstract space of pure sounds between two naturalistic tableaux, Sébastien Roux offers us a fascinating meditation on the world of synthesis, revealing, with an economy of means and great formal elegance, the magic of sonic simulacrum (deepl propose simulacra, mais là je suis pas assez calé_) and the strange beauty of the artificial, in a gesture that is ultimately as poetic as it is musical.

Andrea Ferlin provides 4 beautiful cuts for new HAZE release. Modulated stabs, rumbling pads, sliding baseline make OPIA a great tool for main hours, while ORGO is perfect for after-hours due to complex percussion polyrhythms and delayed sound structures. B-side flips the mood with DORF. B2- Morning Sunshine makes you feel like classic orchestra will start an interlude in a minute. Vinyl Only.

New SEMANTICA Compilation is about to bright and reflect on already well known directions explored by Svreca’s imprint. Despite the label efforts to hide from any sonic etiquette, still existing a core which will be the SEMANTICA sound identity for a time. 'Iridescent' twist and modulate this heritage which moves gradually from ambient / electronics to techno and set the release directly to S++ category into the SEMANTICA catalogue.

Hawksmoor’s new album ‘Oneironautic’ on Soul Jazz Records follows on from last year’s critically acclaimed ‘Telepathic Heights’, as well as a re-release of his album ‘Saturnalia’ on the Library of the Occult label earlier this year.
James McKeown, AKA Hawksmoor, continues his fascination with the sounds and sensibilities of 70s/80s German electronic groups – think early CLUSTER, HARMONIA, CAN, NEU!, HANS-JOACHIM ROEDELIUS and MICHAEL ROTHER.
On this new album ‘Oneironautic’, he successfully combines these pulsating ripples of Germanic electronica with a number of decidedly English references: the soaring, hypnotic and pastoral qualities of BRIAN ENO, circa ‘Another Green World’; the long, sustained lines of ROBERT FRIPP’S FRIPPERTONICS; and the poetic feel of early DURUTTI COLUMN.
McKeown combines all of these elements while also remaining with one foot firmly in the British melodic hauntological modular synth aesthetic of hauntology – Ghost Box, Mount Vernon Arts Lab, Focus Group et al.
Once again using strictly modular synths, electronic drum rhythms, and guitars, Hawksmoor has created an electronic landscaped music world that is both new and old, immediately identifiable and yet utterly unique.

ALONZO and M PARENT join forces bringing their gutter-laced sound, through combining their analog and modular studios into a dark cohesion for Juanita Recordings. ALONZO is a Brooklyn based producer, originally from Miami and has released on W.T., ZEMENT, Cultivated Electronics, Kraftjerkz, Rotterhague (as Lithium Parasites with Vidrio), and LSE amongst others. M Parent is a Philly based producer, originally from Connecticut and has released on ZEMENT, Sons of Traders, Acid Camp, Lost Soul Enterprises, and Spectral Sound (as SEER with Maroje T) amongst others.

Eaux proudly announces a new collaborative mini-album from label boss Rrose and Polygonia. Containing six tracks and over 40 minutes of music housed in a fully printed sleeve with artwork by Jon-Paul Villegas, the record focuses squarely on the dancefloor while infusing it with the kinds of psychoactive drones, intricate polyrhythms, and relentless modulations that have come to identify both of their approaches to sound. Featured heavily are their shared interests in sonic shapes that resemble natural forms and conjure tactile feelings, in this case related to themes of skin-like surfaces and circulatory systems experienced simultaneously on a micro and macro level. While several of the tracks hover in a flexible tempo range between 125 and 130 bpm, "Stretcher" reaches up to 142, and the closing track "Vena Cava" trades the kick drums for spectrally processed percussion and endlessly diverging high-frequency pulses.

The story behind the release starts in 2022, when Rrose reached out to Polygonia after noticing that her tracks were appearing in their sets more frequently than any other artist. Never before had Rrose proposed a collaboration with someone they hadn't met before, but there was such an obvious connection in their approach to sound that it felt necessary. As it turns out, Polygonia had only become interested in techno after hearing Rrose perform at a festival in 2018. It all made sense, and they began sharing sketches and unfinished ideas with each other, trading them back and forth until they reached completion. Without any announcement of their collaboration, the two artists have since been asked to share the stage together several times. It seems there are other people out there sensing a connection...


Bios:

RROSE

Rrose is an alias of the multi-disciplinary artist Seth Horvitz, born and raised in California, and currently based in London. Active since 2011, the Rrose project explores the intersection of hypnotic techno, experimental composition and psychoacoustic phenomena with a meticulous touch. The first major breakthrough was 2012's "Waterfall" for Sandwell District which followed "Motormouth Variations," a collaborative project with composer, improviser, and activist Bob Ostertag. After the shuttering of Sandwell District, Rrose established Eaux, a home for further solo productions and collaborations. Building on his studies in electronic composition and history at Mills College, Rrose's electronic pieces blur the lines between thrillingly claustrophobic club tracks and destabilizing sound art explorations. In 2015, she released an extended version of James Tenney's postcard composition "Having Never Written a Note For Percussion" for solo gong, and in 2018 collaborated with Charlemagne Palestine on "The Goldennn Meeenn + Sheeenn" for two grand pianos. These works overlapped with the development of Rrose's singular techno: EPs like "Vanishing Pools," "The Ends of Weather" and "Arc Unknown" as well as 2019's debut LP "Hymn to Moisture" and last year's follow up "Please Touch." Rrose is also active as a touring DJ and live performer, equally comfortable commanding sweaty warehouse dancefloors and seated audiences in historic concert halls. Appearances include Unsound, Atonal, Semibreve, Dekmantel, Mutek, Sonic Acts, Nuit Sonore, Mostra, Parallel, Theatre Graslin, Nextones, and Berghain.
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POLYGONIA

Polygonia represents a multidisciplinary music and art project conceived by Lindsey Wang from Munich, Germany.

She draws inspiration from her many years of practicing various acoustic instruments and her keen interest for other cultural forms of expression, which she translates into the digital language of electronic music and art.

Her productions' soundscape exudes a mystical, organic quality, featuring intricate and compelling rhythms. Polygonia's sound palette ranges from energetic, groovy Deep Techno, Downtempo, Grey Area to textural and/or harmonic Ambient. Besides, she is not afraid to include influences from the genres House, Drum and Bass, Electro etc.. In addition inspiration from nature play a major role in many of her productions. Exemplary for her style are for instance her 'Otro Mundo' EP (2023) on Bambounou's Bambel Imprint, her 'Bloom' EP (2022) on the American record label Sure Thing, the release 'Deformed Human Nature' (2021) on her own label IO, as well as the album 'Abbilder einer vergessenen Welt' (2021) on the Korean label Huinali.

Her DJ and live sets too reflect her passion for different genres. Depending on the time of day and setting, Polygonia shows a different musical side. What unites all her dance music sets is the hypnotizing effect that invites to completely lose oneself in the world of sounds for a longer period of time. Several voices from the audience also confirm that the musician always tells a complex story within her mixes, allowing for very clear highs and lows. In the same set there can be very harmonic passages, which provide emotional moments and on the other hand extremely texture-heavy dark tracks, which establish a connection with the subconscious and put the listener in a kind of trance.

Polygonia has already visited numerous of prestigious venues. She is now a regular at Tresor or Berghain in Berlin and additionally started her residency in 2023 at Munich-based BLITZ club.

This release documents the coming together of two fallible musical instrument systems and their creator-operators. In June 2023, Graham Dunning's Mechanical Techno and Sam Underwood's Acoustic Modular System took a train journey to Galerie Paradise in Nantes, France. Following a period of exploration, points of cohesion, jeopardy and happenstance were exploited to create these nine unruly pieces that appeared initially on the ultra-limited vinyl release on the gallery’s record label. Now they celebrate a new pressing of Beaux Timbres on Accidental.

Using innovative methods, they create abstract, rhythmical and textural experimental soundscapes. Graham uses an extended turntable: a regular DJ turntable with numerous sensors, modified vinyl records and synthesizers creating irregular rhythmic patterns. Sam presents his Acoustic Modular System: a device for creating acoustic sounds with bellows, feedback and chaotic sequencers.

Limited edition 7" vinyl of "La Mujer Serpiente" on the A side and "Selam (Bass Mix)" on the B side.

La Mujer Serpiente/Cumbia Serpiente is the 1st single from Earthtones' upcoming LP on Wonderwheel. This collaboration with longtime friend & co-producer, Oliwa, features vocal delivery and heartbreakingly beautiful songwriting by Colombian Canadian artist/singer, Lido Pimienta. Behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of upliftment of womxn and femmes everywhere.

Selam is a vision of peace. This collaboration between producer/DJ Earthtones and Ethiopian musician/vocalist Etsegenet Mekonnen features haunting vocals sung in Amharic.

Analog & semi-modular synths combine with 909 drums and afrobeats percussion by Earthtones, to weave grooves for Etsegenet's depth in songwriting, voice and soul. The main version has a dancehall bassline that calls one to movement, while the dub versions evoke mystery amidst long modulated leads + filtered pads.

Selam enezra ahunim (let us sow peace).

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Veteran electronic music composer Jill Fraser"s new work takes stock of generations and lifetimes of memory, speculating on how the spirit of our songs might be interpreted after we"re gone. With her 1978 Serge Modular, Prism Modular and Ableton Push 3 in the circuit path, she recomposes a stack of American revival hymns, making new creations for the future. A fluent meditation upon mortality and rebirth amid numinous infinities of dimensional sound. The sound world of Earthly Pleasures accesses a seeming infinity of dimensional sound in which the human hand is always keenly felt, no matter how deep the space. It"s a breathtakingly transcendent album that suggests inclusion within a diversity of genres: Ambient, Electronic, New Age, Modern Classical, Gospel, Healing, Sacred... . It is the work of a veteran composer and synth master at the peak of her powers, meditating upon the detritus of memory, the passage of all consciousness, and the rebirth of meaning in a new era.

CAR CRASH SET were one of the very few electropop acts coming out of New Zealand and have released several vinyls nationally between 1983 and 1986. Basically, the CAR CRASH SET consisted of synthesists/composers David Bulog and Nigel Russell and guitarist/producer Trevor Reekie, and was formed in late 1981, then still with Nick Jenkins on synths. They created such outstanding electropop songs with a Roland TR-606/808 and such lovely sequencing, – e.g. “Fall from Grace” is definitely a song that Anna will take with her into her grave – that it is indeed a shame that they didn’t receive more attention. Anyway, their 1983 12” ‘Two Songs’ (including “Outsider” and “Fall from Grace”) and the V/A ‘We’ll do our best’ LP (including CAR CRASH SET’s “Toys”) are at least highly collectible items amongst electropop connoisseurs and many people will be happy to see these tracks being available again as well as four previously unavailable demos from both their earliest and later days and seven more songs added to this CD version. CAR CRASH SET are currently recording again together though not only with the original Roland gear (“nothing else will do” as Dave once said): TR-606, Jupiter-4, MC-4, System 100m modular and System 104 sequencer as well as Nigel’s Korg MS20, Poly-61, Polysix and way more!

LP (3rd edition) features: limited edition of 317 copies, 180 grams yellow flame vinyl, A3 poster/revised lyrics sheet, sticker, revised hand-numbered double-sided postcard.

Inside Automatic Popular Music there are two people sitting in a room, their backs to each other. One plays a piano with no particular attention to detail and tuning of the instrument, and another, sitting behind him, claps his hands on his own legs. They do not see each other, they never look at each other, they can only listen to each other, look around. The room is large enough, it is daytime, there are four windows through which enough light enters to illuminate the objects and furniture with objects on them. October, the temperature is great and outside the window there are many people and all these people are dancing to the music of another record.

Automatic Popular Music was recorded and mixed by Nicola Ratti between July and December 2023. The tracks consist almost entirely of sounds generated by automatisms programmed on modular synthesisers. These are combined with tape loops on which fragments of both acoustic and digital pianos are engraved, generating tracks that are structured on repetitiveness in both their rhythmic and harmonic components. The adjective 'popular' is in this case the result of the other adjective 'automatic' since the machine has been entrusted with the task of generating the melodic patterns and harmonic structures of the tracks on the disc.

Automatic Popular Music is the first release by LL, a curatorial and editorial platform based in Milano and formed by artists and curators.

Composed, recorded and mixed by Nicola Ratti between July and December 2023. Mastered by Giuseppe Ielasi. Cover photo by Cédrick Eymenier.

Confirmed feature article in Electronic Sound Magazine and other media. “There’s A Rhinoceros In The Mega Church” is their debut LP released on Sound Records. U.S.E. (also often expressed as Unicorn Ship Explosion, but feel free to interpret this yourself), are unfortunately two boys known to their mums as Rob & Sash. Since we last saw Rob he has been working really hard as a multi-instrumentalist. He’s almost mastered the drums (he’s even been to jazz school), and he’s near to the final chapter of piano lessons. He’s really talented. He has his own music studio where he produces & writes music for the likes of, The Staves, Holysseus Fly & other fantastic acts that are well worth a listen if you have the time. Sash (or Sasha) is a great guy. Everyone loves working with him. He’s an average musician with big ideas, which is why he uses modular synths. He has written much music for many artists you’ve probably not heard of and has collaborated with some musicians you’ve definitely heard of. He sometimes works as a sound designer for some fashion brands you can’t afford, but you wouldn’t want to wear them anyway (so don’t feel bad for not being successful enough to spend £400 on a t-shirt). Sometimes a really cool woman called, Agnieszka Szczotka, collaborates with these two loveable boys. She is a performance artist of great skill. She studied art at the Royal Academy and chose to abandon her supreme painting and sculpture skills to dedicate her life to confrontational live performance art. Big respect. Together they are Unicorn Ship Explosion (not yet known as U.S.E. as it hasn’t caught on yet). It’s a creative attempt to be in the present and not overwork music as is often the norm these days.As a result an exciting new genre is emerging from this album. The genre hasn’t a name yet, but what is certain is that A.I. can’t recreate it, and wouldn’t want to either. Let’s be human together and accept and appreciate we can’t always be great. Enjoy the good moments with the bad. And together, yes together, you the reader and us(e) your new best friends, shall show A.I. that humanity is beautiful.

Lamont Norwood returns to vinyl with four brand new tracks.

Fully analog modular experimental sonic sound structures from the heads of the Superbooth Radio in Berlin.

ARIA Award-nominated composer and electronic artist Lance Gurisik announces his forthcoming album, ‘Proffer’. Set to be released on his Sydney-based label, 33 Sides, with global distribution through Inertia / PIAS, ‘Proffer’ promises to be a groundbreaking exploration of experimental electronic, jazz and modern classical forms.
 ‘Proffer’ is a psychedelic fusion record that blends eclectic musical influences. It draws inspiration from German Krautrock hero Manuel Göttsching, French synth legends Air, minimalist composer Terry Riley, and classical composers Ralph Vaughan Williams and Alexander Scriabin. The album is a maximalist exploration of experimental electronic, jazz, and modern classical forms.
 The album features collaborations with Lamorna Nightingale from Australia’s premier Ensemble Offspring on alto and bass flute, Nick Meredith on drums and percussion, a 16-piece string section performed by Ian Cooper on violins and violas, Paul Ghica on Viola da Gamba and cellos, and Lance himself on modular synth and keyboards.
 ‘Proffer’ challenges the prevailing norms in the music industry, advocating for music as a vehicle of escapism and self-exploration through active listening. The album’s maximalist approach to composition and production pushes the boundaries of where experimental electronic, jazz, and modern classical forms meet, creating an adventurous and cinematic listening journey.
 Contemporary Album Of The Month in The Guardian.

'Good Time' is the debut album from Austin, TX noise-pop band DAIISTAR, due out September 8th via Fuzz Club. Creating a narcotic blend of noise and melody, the band takes their inspiration from the neo-psychedelic era of the 80s and 90s and pull it into the future with modulating synthesisers, heavy guitars, bouncing bass lines, and spiralling hooks. 'Good Time' was produced by The Black Angels' Alex Maas and engineered by James Petralli of White Denim. Made up of Alex Capistran (guitar/vocals), Nick Cornetti (drums), Misti Hamrick (bass) and Derek Strahan (keys), DAIISTAR formed in the spring of 2020, just weeks before the pandemic started. "To us, these songs were a glimmer of light", Capistran says: "Starting a band at the peak of the pandemic to some might seem ill-timed, but to us it was a way to escape for a moment. There was something to look forward to and we kept our heads in the future. These songs guided us through some dark times and hopefully they can do the same for you. GOOD TIME is here." Pressing info for LP: 180g neon orange vinyl, printed inner-sleeve, download card included

Sam Shepherd alias Floating Points hat heute angekündigt, dass sein neues Album, „Cascade“, am 13. September 2024 via Ninja Tune erscheint.

„Cascade“ ist eine Eruption unvollendeter Angelegenheiten. Ende 2022 fand sich Shepherd, der dafür bekannt ist, so frei zwischen den Genres zu wechseln, wie es sein Künstlername andeutet, in der kalifornischen Wüste wieder, um an etwas Neuem zu arbeiten. „Mere Mortals“, seine erste Ballettmusik, die in Zusammenarbeit mit dem San Francisco Ballet entstand, sollte eine Kollision von Klang und Tanz sein, die die antike Parabel von Pandora durch das Prisma der Technologie erforscht. Auf „Promises“, seinem Vorgängeralbum, das 2021 veröffentlicht wurde, tauschte er seine typischen modularen Synthesizer-Teppiche und komplizierten Drum-Patterns gegen luftige Traumlandschaften aus, die er mit dem legendären Saxophonisten, Pharoah Sanders, und dem London Symphony Orchestra entwickelte. Diese Zusammenarbeit war so beliebt, dass eine Mercury Prize-Nominierung und ein ausverkauftes Konzert im Hollywood Bowl im September 2023 folgten. Zwischen diesen Projekten und einem bevorstehenden Anime-Score für Adult Swim, könnte es von außen betrachtet so aussehen, als ob Shepherd die Tanzfläche für immer verlassen würde. Aber während er tagsüber an seiner Ballettmusik schrieb, sehnte er sich nachts nach der schweißtreibenden Gemeinschaft einer Tanzfläche. Nach der pulsierenden Unbekümmertheit der elektronischen Musik. Im November 2019 veröffentlichte Shepherd sein von Kritiker:innen hochgelobtes zweites Studioalbum, „Crush“. „Cascade“ wurde als Nachfolger:in von „Crush“ konzipiert, um Album (und Publikum) die Möglichkeit zu geben, Floating Points noch einmal in seiner traditionellen Form auf einer Tanzfläche zu erleben: voller Buchla-Rhythmen, glitchenden Melodien, die einen Raum voller wogender Körper verzaubern. Die neun Songs dürfen bis zu acht Minuten am Stück schwelen und funken, was eine weitreichendere Erkundung von Sounds und Grooves als zuvor ermöglicht. Fast ein Jahrzehnt nach seinem vielbeachteten Debütalbum, „Elaenia“, hat der Komponist Wege gefunden, seine Experimente außerhalb der Clubmusik nahtlos in seine für die Tanzfläche konzipierte Musik einzubinden.

a A1. Vocoder Club Mix

Ltd Edition!


Sam Shepherd alias Floating Points hat heute angekündigt, dass sein neues Album, „Cascade“, am 13. September 2024 via Ninja Tune erscheint.

„Cascade“ ist eine Eruption unvollendeter Angelegenheiten. Ende 2022 fand sich Shepherd, der dafür bekannt ist, so frei zwischen den Genres zu wechseln, wie es sein Künstlername andeutet, in der kalifornischen Wüste wieder, um an etwas Neuem zu arbeiten. „Mere Mortals“, seine erste Ballettmusik, die in Zusammenarbeit mit dem San Francisco Ballet entstand, sollte eine Kollision von Klang und Tanz sein, die die antike Parabel von Pandora durch das Prisma der Technologie erforscht. Auf „Promises“, seinem Vorgängeralbum, das 2021 veröffentlicht wurde, tauschte er seine typischen modularen Synthesizer-Teppiche und komplizierten Drum-Patterns gegen luftige Traumlandschaften aus, die er mit dem legendären Saxophonisten, Pharoah Sanders, und dem London Symphony Orchestra entwickelte. Diese Zusammenarbeit war so beliebt, dass eine Mercury Prize-Nominierung und ein ausverkauftes Konzert im Hollywood Bowl im September 2023 folgten. Zwischen diesen Projekten und einem bevorstehenden Anime-Score für Adult Swim, könnte es von außen betrachtet so aussehen, als ob Shepherd die Tanzfläche für immer verlassen würde. Aber während er tagsüber an seiner Ballettmusik schrieb, sehnte er sich nachts nach der schweißtreibenden Gemeinschaft einer Tanzfläche. Nach der pulsierenden Unbekümmertheit der elektronischen Musik. Im November 2019 veröffentlichte Shepherd sein von Kritiker:innen hochgelobtes zweites Studioalbum, „Crush“. „Cascade“ wurde als Nachfolger:in von „Crush“ konzipiert, um Album (und Publikum) die Möglichkeit zu geben, Floating Points noch einmal in seiner traditionellen Form auf einer Tanzfläche zu erleben: voller Buchla-Rhythmen, glitchenden Melodien, die einen Raum voller wogender Körper verzaubern. Die neun Songs dürfen bis zu acht Minuten am Stück schwelen und funken, was eine weitreichendere Erkundung von Sounds und Grooves als zuvor ermöglicht. Fast ein Jahrzehnt nach seinem vielbeachteten Debütalbum, „Elaenia“, hat der Komponist Wege gefunden, seine Experimente außerhalb der Clubmusik nahtlos in seine für die Tanzfläche konzipierte Musik einzubinden.

a A1. Vocoder Club Mix

a A1. Vocoder Club Mix

a A1. Vocoder Club Mix

During the early days of Deepchord Records, Detroit's transient and forgotten subculture musically inspired label founders Mike Schommer and Rod Modell in significant ways. The apex of Mike's creative fixation with the city was in 2001 when he recorded the Von Schommer album dc15. To capture the nature of the environment he found so fascinating, Schommer recorded the project at the Crown Motel in Detroit, Michigan. While overlooking the transient life displayed in the motel courtyard, Mike crafted lonely tones from his modular synthesizer and mixed them with his rudimentary DIY electronics. Still, most significantly, he allowed the music to become impregnated by the environment (much like the stains in the permanently soiled carpets of the motel room floor), creating a holistic experience that remains close to his heart almost 25 years later. Initially available as a limited edition preorder cdr to the Hypereal 313 maillist, the album has been remastered and is now available on color vinyl for the first time.

Original photography and treatments on tracks untitled 4 and untitled 10 by Rod Modell.

'Good Time' is the debut album from Austin, TX noise-pop band DAIISTAR, due out September 8th via Fuzz Club. Creating a narcotic blend of noise and melody, the band takes their inspiration from the neo-psychedelic era of the 80s and 90s and pull it into the future with modulating synthesisers, heavy guitars, bouncing bass lines, and spiralling hooks. 'Good Time' was produced by The Black Angels' Alex Maas and engineered by James Petralli of White Denim. Made up of Alex Capistran (guitar/vocals), Nick Cornetti (drums), Misti Hamrick (bass) and Derek Strahan (keys), DAIISTAR formed in the spring of 2020, just weeks before the pandemic started. "To us, these songs were a glimmer of light", Capistran says: "Starting a band at the peak of the pandemic to some might seem ill-timed, but to us it was a way to escape for a moment. There was something to look forward to and we kept our heads in the future. These songs guided us through some dark times and hopefully they can do the same for you. GOOD TIME is here." Pressing info for LP: 180g neon orange vinyl, printed inner-sleeve, download card included

arbitrary presents the second in a series of 10" vinyl remix collaboration releases by Danish musician Mads Emil Nielsen and Chromacolor.

Side A features Heartbeats, a composition Nielsen originally made for a radio soundtrack. The track is derived from loops and granulations of sine waves and pulses from Nielsen’s modular synth, which he later combined with recordings of synthesized bass and layers of organ-like tones.

On side B is a remix by German sound artist and producer Hanno Leichtmann under his Chromacolor moniker. As on the first split 10" (Constellation, 2022), Leichtmann worked with sounds from the original mix, combining it with his Hohner Guitaret, Fender Rhodes and Moog bass. Additional cello tones by Anthea Caddy and vocal contributions from Annie Garlid round out the remix.

Heartbeats written & produced by Mads Emil Nielsen in Copenhagen. Heartbeats / Chromacolor Remix written & produced by Hanno Leichtmann. with: Annie Garlid: voice, Anthea Caddy: cello.
Mastered and cut by Kassian Troyer at D&M, Berlin. Artwork by Karel Martens.

Kato Hideki's Statement: "The Walk is the first collaboration between me and my brother from another mother, Kramer. We started working together in the late summer in 2023, discussing the thematics and the sonic palette of the album. We shared strong connections with the writings by Robert Walser and Basho - both of them walked, dreamed, lived and died on the road. Ambient music was our natural plane for us to transduce the power of their literature into our music as signifiers. Neither of us imagined just to make 'another ambient record', nor a direct translation of their writings. My instinct was to use various modal colors with modulation - slow yet structured music that sounds deceivingly similar to ambient music. Kramer's genius was apparent to me: his ability to elaborate the music as a composer / musician with his keen ears; to frame the album conceptually, sonically and musically as a producer. What you hear in this album is a true collaboration between two artists who trusted each other to let the music transcend. Here you have it, enjoy YOUR walk - dream, live and die well!" Kato Hideki - Brooklyn, NY on April 3rd, 2024 Kramer's Statement: "Sometime in the latter 20th Century, I became aware of the art of The Brothers Quay, two American animators living in London and making the most beautiful works of art I'd ever experienced in cinema. I noted that some of their work was inspired by_ 'the writings of Robert Walser'. Fast forward to 2024 and I have now read every word there was to read (translated into English) by this unique Swiss-German writer. I'd waited decades to find the right 'environment' in which to create music in dedication to this great prose writer and poet, and in 2023, I found that it was not 'the right environment' that I'd been waiting for, but rather, the right collaborator. Kato Hideki and his extraordinary work as composer for film, dance and just about every other creative discipline you can imagine, was equally as inspiring to me for this project as the words and worlds of Walser and Basho. Our journey in collaborative composition began all over the global map, but arrived at the same physical endpoint, and at the very same point in time. I'm not sure that I would even be interested in music at all, unless there were other artists to partner with as I worked. Working alone means Nothing to me. This months-long act of co-creation i have shared with Kato for "THE WALK" has made me as happy to be alive as Walser and Basho were so happy to be alive while on their walks, as evidenced by their extraordinary descriptive powers, knowing that the world around them - so simple yet so very complex - made life so wondrous, and so well worth the sometimes seemingly insurmountable struggles of finding a way to survive Today, so that we might try again Tomorrow." - Kramer, April 9, 2024 (Asheville, NC)

Copenhagen’s Echocord returns this September with the ‘Invincible Nature’ EP by Altone, backed by a remix from Thomas Fehlmann and Another Channel. Atone is the guise of Tokyo’s Yuki Takasaki, one of the leading figures of the genre out of Japan with releases on the likes of Greyscale, Lempuyang, Vuo, Æ Recordings, Primary colours and many more. His distinctive twist on Dub Techno has earned him accolades worldwide within the underground and here he joins the roster of the esteemed Echocord, the Kenneth Christiansen helmed label that’s been at the forefront of Dub Techno for more than two decades now. The original mix of ‘Naturally Unnatural’ opens, showcasing Altone’s unique style via subtly nuanced chord flutters, expansive reverberations, pulsating low end tones and ever unfolding, subtly unfurling feel. The ‘Naturally Flowing Thomas Fehlmann Remix’ follows, the Swiss sonic wizard and former member of the legendary The Orb among many other projects delivers deep, throbbing subs and glitched out synth modulations intertwined with fragments of the original composition. ‘Unnaturally Balanced’ then opens the B-Side with Altone diving deeper into dub realms courtesy of ever alternating, billowing dub echoes and a raw, reduced rhythm section. The ‘Another Channel Version’ of ‘Unnaturally Balanced’ then rounds out the EP, embracing a more classic dub techno aesthetic as crunchy drums, swirling atmospherics and spaced out echoes ebb and flow amongst one another across the six and half minute duration.

Dawson’s latest offering, The Tinnitus Chorus, is an album of wide-eyed collaborations. He is joined by an inspired cast of revered friends and kindred strangers including Suso Saiz, M. Sage (Fuubutsushi), Eli Winter, K. Freund, (Trouble Books / Lemon Quartet), Dasom Baek, Lina Langendorf (Langendorf United), Vumbi Dekula, Jairus Sharif, Yutaka Hirasaka, and his bandmates in Peace Flag Ensemble. The collection is bookended by two pieces with Michael Grigoni. From birdsong and decaying tape to Western sprawl, each of Dawson’s previous solo records have moved in a singular direction but here he approaches things through a kaleidoscopic lens. While his weathered ambient sketches serve as a through line, they are woven with all manner of instrumentation from clarinet and modular synth to steel guitars and flugelhorn. Improvised Congolese guitar nuzzles next to American experimental folk. Handmade electronics give way to spiritual sax. M. Sage contributes something referred to as a “mystic music box”. The result is a strange and beautiful journey that feels lost between genres and yet wholly unified. Dawson reflects on the genesis of album with a smirk and a shrug. He has been marred by ear troubles in recent years and had been struggling to complete an album of solo material. The clicks, ringing tones, and hiss in his ears had been drowning out the ringing tones, clicks, and hiss in his studio. When he reached out to We Are Busy Bodies to provide an update on the record he was met with an unsuspecting proposal that perhaps he shift focus to an album of collaborations. The truth is he had been ruminating on the idea for years and the nudge from WABB proved to be the motivation he needed to shelve his insecurities and invite artists he admires to join him for The Tinnitus Chorus.

"The Modulations released their album It's Rough Out Here in 1975. This album featured the singles ""Rough Out Here”, “I Can’t Fight Your Love”, and the title track, along with other soulful tracks that explored similar themes of struggle and resilience. The singles received considerable airplay and managed to chart on Billboard’s R&B single Chart. While the group never achieved great mainstream commercial success, they garnered a dedicated following among soul music enthusiasts for their emotive vocals and heartfelt lyrics. The Modulations recorded extensively with MFSB, the house band of the famed record label Philadelphia International. These sessions yielded to this album It's Rough Out Here, which is considered a gem of 1970s soul music, showcasing The Modulations' talent and ability to capture the essence of everyday life through their music. The group reached the pinnacle of its career with an appearance on Don Cornelius’ popular TV show Soul Train in 1976. It’s Rough Out Here is being reissued for the first time in almost 50 years and is available as a limited edition of 500 copies on yellow coloured vinyl. "

Trance to acid to tribe to electro... A true travel !

Kompakt is proud to announce, finally, a reissue of the first, self-titled GAS album. Originally released on electronica imprint Mille Plateaux back in 1996, it’s been unavailable in its original form ever since – the version of GAS included in 2008’s Nah Und Fern box featured several different tracks. Here, however, GAS is restored in all its glory, the debut full-length from Wolfgang Voigt’s most enigmatic, quixotic project.

There had, of course, been signs of what was to come. Back in 1995, Voigt essayed the first GAS release, a slender, yet remarkable four-track EP, Modern. Its centre label featured a reduced symbol – an overhead or lamp light, switched on, its glow radiating outwards in four bold black lines – a perfect representation of the tight, stylised ambient electronic pop contained on that 12”. A few curious compilation tracks were floating around, too, for Mille Plateaux’s Modulation & Transformation and Electric Ladyland series. If you were attentive enough, you could tell something was up.

But nothing quite prepared us for the languorous, effervescing loops and regular-like-clockwork beats that Voigt folded together on GAS. Its six long tracks, all untitled, neither begin nor end but hazily fade into earshot, vibrate majestically in your cochlea for fifteen-or-so minutes – some a bit shorter, some longer – and then meander away, reading the mise-en-scène for the next example of Voigt’s drift and dream logic to unfold. The material is referential in the most distant way, and you can sense only the most evanescent of ghostly presences, haunting these six compositions.

GAS feels, also, like a more pliable hint at what’s to come, as the GAS concept really solidified on its successor, 1997’s Zauberberg, and reach its apotheosis on Königsforst and Pop. Those three albums share a very similar palette – blurred, hazy samples, often of classical music, stacked and cross-thatched across a muted 4/4 thud. GAS, then, is an outlier of sorts: it’s more expansive in its remit, lighter in its mood, perhaps more fleet of foot. This, of course, is part of its charm.

In clearing space for Voigt, by preparing the terrain, GAS sits both at the edge of the forest, and at the verge of an expansive, wide-eyed future; one where GAS would become truly eternal.

Text by Jonathan Dale

Kompakt ist stolz, endlich eine Neuauflage des ersten, selbstbetitelten GAS-Albums ankündigen zu können. Ursprünglich im Jahr 1996 auf dem Electronica-Label Mille Plateaux veröffentlicht, ist es seitdem nicht mehr in seiner ursprünglichen Form erhältlich – die gleichnamige Version von GAS, die 2008 in der Nah Und Fern Box enthalten war, enthielt verschiedene andere Titel. Nun liegt das 3er Album in seinem naturbelassenen Originalzustand wieder vor.

Bereits 1995 zeichnete sich mit der Maxi GAS - Modern auf Profan, sowie einigen Kompilation-Beiträgen auf Modulation & Transformation und Electric Ladyland auf Mille Plateaux dieser frühe, weltentrückte, rätselhafte GAS Sound ab, der sich erst in den sechs scheinbar endlosen, majestätisch-sprudelnden Tracks des Albums voll entfaltete. Die Musik ist von ätherischer Leichtigkeit, in der wie aus einer anderen Sphäre abstrakte Referenzen aus weiter Ferne nur andeutungsweise herüberzuwehen scheinen.

Dieser frühe, eher sphärisch-leichte, gleich einer sonnendurchfluteten (Wald-)Lichtung anmutende GAS Sound, stellt gewissermaßen den Ausgangspunkt der audiovisuellen „Welt“-Reise in den düster-romantischen Acid-Wald dar, in den sich GAS ab 1997 mit den Alben Zauberberg, Königsforst, Oktember und ab 2000 mit Pop an anderer Stelle wieder hinaus und in seine ganz eigene Ewigkeit begeben hat.

While Duster went into hibernation in the year 2000, Clay Parton's four-track never stopped rolling. Recorded alone at home over several years, Birds In The Ground is an album of 30-something, post-9/11 malaise. Under his Eiafuawn (Everything Is All Fucked Up And What Not) acronym, Parton hides beneath layers of fuzzy and clean guitars, his hesitant, cottony vocal disappear into noise. This deluxe pressing is packaged in a gorgeous tip on sleeve and includes the complete lyrics for this cryptic entry of the Dusterverse.

PAPILLON DE MER'('Sea Butterfly') is jazz guitarist Jean-Franois Pauvros' and electro musician/composer Alain Mahe's latest collaboration - music inspired bythe paintings of Belgian artist Vincent Fortemps, and their shared attraction to an imagined underwater world withmetaphorical guidance of the legendary trombonist and singer Rico Rodriguez, instigator of Jamaican ska with whom Pauvros was lucky enough to play and record with.

Jean-Francois Pauvros - guitar, vocals
Alain Mahe - Kobol RSF modular synthesizer, tenor sax, stones...
Rico Rodriguez - trombone ( feat. on 'Disparition' and 'Au bout des mondes'

"Artist, multi-instrumentalist and astral traveller E Ruscha V releases a hypnotic suite of flow-state synth improvisations for Fourth Sounds.

Building on Ruscha’s 2022 collection Thinking A View, also accompanying an exhibition at Cedric Bardawil, Seeing Frequencies is as intuitive and it is experimental, as Ruscha follows melodic and rhythmic modulations like desire paths across 13 spacious recordings.

Drawn in part from the CocoQuantus synth, built by a man Ruscha describes as 'too weird for Buchla', Seeing Frequencies rides high on tremolo waves and organic vibrations, rooted in ambient, Balearic and Kosmische music traditions, while simultaneously engaging in a dialogue with the synaesthetic qualities of Ruscha’ painting practice.

Allowing the music to flow through him, Ruscha describes the optimum moment of creation as one he imagines for the listener too. 'I really love when music forces you to forget,' he explains. 'There's this beautiful moment where everything coalesces, and you just don’t think about anything.'

To immerse yourself in Seeing Frequencies is to understand exactly what he means."

Edition of 300 marbled vinyl with risograph insert, liner notes by Anton Spice.

Viikatory joins Source Material for the Granite City labels 12th record. Following recent releases on Mechatronica, UTTU and Trust, this EP continues her exploration into electro, techno and beatless workouts featuring some relentless kicks and extreme bassline modulation. Limited to 200 copies.

Colombian-born, New York-raised producer and instrumentalist Felipe Quiroz aka Prince of Queens brings his unique synthesis of trans-caribbean culture with house and techno to RNT on his Merida EP.

Known for releases on Names You Can Trust and his band Combo Chimbita, this lush and varied EP invites you into a world where vintage tropical sounds and modular synthesizers live side-by-side on the dance floor. With 6 songs stretched across two sides, the record explores a wide range of tempos and electronic Latin vibes, and boasts gorgeous cover art that suits the emotion of the music perfectly.

Although he is a seasoned producer, Prince of Queens is still a relatively new name on the club scene…but with this definitive musical statement it’s a name that the heads will remember.