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Moiré's rain-streaked and masterful Circuits album dropped this past September. RA's Andrew Ryce stated the eight-track album cast the shadowy producer into "a rarefied air occupied by the only the finest and most influential of ambient techno artists."

Now, in short order, the label returns with a remix EP charting out multiple hubs of oblique dance floor innovation. If there's a sonic motif on the A-side, it's vastly reactive interpretations of the "factory floor" element that inspired techno's pioneers. Matthew Herbert, a pioneering force in his own right, mixes steam engine percussion with the dreamy atmospherics of "Circuit 15" and comes up with eight minutes of cerebral machine funk. Tolouse Low Trax, meanwhile, continues his masterclass in modern motorik on his remix of "Circuit 7," integrating a chiming piano into a fascinating, perfectly-timed 110 BPM rhythm.

The B-side, meanwhile, doubles down on the oneiric nature of the original material. Workshop head and Avenue 66 alumnus Lowtec builds allows "Circuit 04"'s synths to billow into Gas-like immersive layering, sheets of melody are anchored by a restrained beat for an ambient techno track that doesn't tip the scales too far in one direction or the other. Rather, it achieves a perfect balance. Hamburg/Dial mainstay Lawrence closes things out with his version of "Circuit 18," which also concludes the original album. While the original has a wistful, Deckard's dream quality, Lawrence's version is deeply-rooted in the late-night German style; a low-slung bassline will keep dancers deeply rooted while those wistful chords sweep in like the violet before dawn.

Clear Vinyl

Downwards’ deep bonds with NYC catalyse the debut LP by Jim Siegel’s Vivid Oblivion, a reveberating post-industrial salvo produced by adopted Brooklynite Karl O’Connor (Regis), and co-mixed by Anthony Child (Surgeon) and Simon Shreeve, who also mastered it. It’s a super deep, highly atmospheric beast somewhere between Valentina Magaletti’s most expressive percussion work, Bark Psychosis, and classic, moody 4AD, which is coincidentally referenced via the artwork, made by Chris Bigg - legendary graphic designer and longtime assistant to Vaughan Oliver.

Invoking the density, vertiginous scale, and dark grimy nooks of NYC, ‘The Graphic Cabinet’ was realised by Jim Siegel - hardcore legend and occasional/regular drummer with everyone from Raspberry Bulbs to Damo Suzuki and Boredoms, made in close collaboration with Karl O’Connor aka Regis during 2021.

Stemming from intently deep listening sessions immersed in LPs by Viennese aktionist Hermann Nitsch and the myriad eras of Killing Joke, while also absorbing the atmospheres of classic Tarkovsky flicks, the album began life as gonzo field recordings of Siegel smashing the f*ck out of his drum kit, zither, scrap metal and gongs in an array of abandoned warehouse spaces. The recordings formed the basis of Karl’s compound productions, which add depth charge bass and sonorous metallic atmospheres to the mix, along with birdsong and gibbon hoots, plus guitar textures by Nick Forté (Raspberry Bulbs, Rorschach) for a dread-lusting jag deep in the belly of the Big Apple.

With a palpable tang of rust and blood in the air and grime under the fingernails, the seven tracks evoke a resoundingly brutalist portrait of space and place. Siegel’s nervy percussive discipline is framed in alternating barometric and light settings from cut to cut, variously snaking from the poltergeist clang and haunted resonance of ‘Converging and Dissolving’ to slamming motorik thrum in ‘Oblivion’ via imaginative descent into cyberpunk simulacra of the city as jungle-at-night in ‘Remnant Corridor’, replete with animalistic atmospheres that recall Organum.

While the raw attack and devilish swerve of the rhythms are utterly fundamental to the record, Karl’s atmospheric content and the animist mixing magick of Anthony Child and Simon Shreeve most potently give flesh to its bones. Patently evident on the stepping pulse and searching zither that keens into detuned orchestration on ‘Immediate Possession’, the zoned-out klang of ‘Stand Aside’ or in the flooded warehouse chaos of ‘Test For Traps’. The attention to spatial, textural and proprioceptive detail is tightened throughout, peaking with ‘Bargemaster’, a dense slab of tension that sounds like Jon Mueller’s Silo recordings fed through The Caretaker’s fogged machinery.

It’s one of the most impressive records on Downwards for a long while, bound to gnaw and spark the nerves of experimental rock and post-industrial’s greats, anything from The New Blockaders to Faust, Flying Saucer Attack and into iconic Blackest Ever Black releases in the modern era.

The fourth release on 18437 features Nico Lahs using his NLXLB moniker...

On Dirty Vision he gives us those deep, deep stabs with a proper old-school feel, a blend between Detroit and Chicago, not too far from something Three Chairs would make.

First up we got 'Dazed Dreams', a deep and drowsy Motor City deep house jam. Next up is 'Dirty Vision', a dusty High-tech Jazz cut for the after hours and finally 'Synthetic Wars'.
Nico goes all in and delivers a gritty and intergalactic Techno track.

Label info:
18437 Records is a brand new label by focused on the outer fringes of house and techno.

Trick Or Treat is the 1986 American horror film by De Laurentiis Entertainment Group, starring Marc Price and Tony Fields. The film featured special appearances by Gene Simmons and Ozzy Osbourne. The story follows a teenager who is haunted by the ghost of his rock hero.

The score is by Fastway, a British heavy metal band formed by Motörhead guitarist “Fast” Eddie Clarke, who also co- produced the album. The score entered the Billboard 200, where it remained for eleven months. Despite the successes, Trick Or Treat was the final album of band in their original line-up, which included Dave King, who is also known as the founding member of Flogging Molly, on vocals.

Trick Or Treat is available as a limited edition of 1500
individually numbered copies on flaming coloured vinyl.

BASTARDS....Zu diesem Album ist wohl nichts mehr zusagen.
wohl eins der besten MOTÖRHEAD Alben in ihrer Geschichte,
nun auf farbiger Vinyl erhältlich.

Third Eye Blind is celebrating 25 years since the release of their debut album on April 8, 1997. The record is their highest selling and features several singles including “Semi-Charmed Life,” “Jumper,” “How’s It Gonna Be,” “Graduate” and “Losing A Whole Year.” “How’s It Gonna Be,” “Semi-Charmed Life,” and “Jumper” all reached the top 5 on the Billboard Hot 100. “Semi-Charmed Life” also reached the top 40 in the UK. The album has sold 4.8 million copies in the US and has generated 1.4 billion streams worldwide.

Fabrice Lig has melody running through his veins. On his quest to explore his deep love for the bitter-sweet yearning of Motor City techno, his tracks transcend trends. Over his three-decade spanning career he has refined his blend of soul-infused dance music to striking effect. His gift for a catchy hook is unmatched. His new studio album "The Mental Bandwidth" shows his musical range as a producer once again. On the album's twelve tracks, he effortlessly traverses, cosmic house, funkified techno and electronica, combining his trademark quirky melodies with playful songwriting and dance floor focused beats. The album format is giving Lig enough space to explore his musical ideas from different directions while staying true to the overall atmosphere. "The idea for the album was to go back to the fundamentals of the original Detroit sound and to find new ways of expressing that soul in my music - as I've been doing for years", explains Lig. With Ann Saunderson and the former Kraftwerk-member Wolfgang Flur, the album features two heavy-weight collaborations that connect the "The Mental Bandwidth" to Detroit's musical legacy, too. Slikk Tim aka Garry Grittness also has a cameo in the form of a funky bassline on "Healing", the pop-infused Ann Saunderson collaboration. The title of the album is inspired by Lig's lecture of Sendhil Mullainathan and Eldar Shafir book "Scarcity: Why Having So Little Means So Much" which explores new approaches to reduce poverty. "The authors discovered that the mental bandwidth of poor people is sometimes really low because of short term issues they are facing and are forced to solve", explains Lig. Those issues are reducing the mental bandwidth for long term thinking capacities, which in turn has consequences for the decision making process. An example: before the quality of education of poor kids is increased, the quality of life they have must be increased. This increases the capacities of the kids to learn more than solely better educational programs.

Drum Chums Vol. 5 marks the arrival of Captain Attractive, an international man of mystery, head-nod hero and edit expert whose many masterpieces inspired us to pick up the scalpel in the first place.
Last seen leaving Berlin on a world tour, this legend parked the Red Motorbike outside Talking Drums HQ and treated us to a lesson in San Fran sleaze, hippie disco and MPC bump.

The A side opens with the sticky funk of 'It's More Fun 2 Make Love', a pitched-down disco cruiser extended for the tantric dance floor and mastered on an old porno VHS. Sultry, slinky and rated X.
We're always hungry after the act and graciously Captain Attractive is on hand with a donut called 'Memories' to close out the A-side, looping some sweet soul into the kind of hypnotic hip hop as house romper which defined beatdown way back when.

The Captain takes the yacht to the Med on the B1 with the super Balearic groove of 'Dreamer', an astounding combination of dexterous bass, choral vocals and rolling piano, all set to the shimmy of hippie percussion. It could be a Laurel Canyon memory, an Xtian obscurity or something much deeper, but it's definitely twelve minutes of sunset bliss - just wait until my guy flips the script after seven minutes!
The dude drops the curtain with another bitesize portion of MPC mastery, cutting up some thick wax guitar and cool keys over a swung groove for 'Ghana Do It'.

Captain Attractive taking you where you want to go.

100% Drum Fun Guaranteed.

In the year 2909, the first naturally-born human is found with endogenous AI code built into its DNA. As we cross into the 31st century, all living humans are controlled by a decentralized master AI known as MINDFRAME: The system has access to all of human consciousness with the ability to store and manipulate the data of every interaction and thought — even operating within your subconscious mind. It becomes impossible to know when or how you’re being controlled.

During each sleep cycle, our behaviors and memories are reformatted to align with MINDFRAMES control and order programming. Some have discovered that during these cycles, there are parts of the AI’s algorithm left exposed to extraction. Through meditative states, gifted cyber-shamans are now on a mission to reverse engineer enough of the AI to escape its grip and free us all.

FRANCOIS DILLINGER (Ben Worden) glides between the two worlds of electro and techno. His journey through the genres is dark while retaining a cerebral, dancefloor-oriented quality. This stems from influences of Industrial, Detroit’s rich history of electro, minimal techno, and even Ghettotech. In the studio, he uses primarily all external hardware and modular gear, utilizing Ableton for final arrangements and editing. His Live & DJ sets lean heavily into the generation of hypnotic loops, creating long protracted mixes between elements to form an unshakeable tension.

While he grew up an hour east of the Motor City, his musical roots were firmly planted there – taking hold over decades worth of defining moments in sound. As a fan, former promoter, and DJ he’s been a part of the Detroit scene for over 20 years, having lived there multiple different times. Currently, he also works with local Detroit label Infolines to manage branding and art direction alongside his wife, Ashely.

Prior to the MINDFRAME: CYCLES LP, he had released a track on SPEC-017’s VA release, and will feature a remix on an upcoming Specimen Records project as well. Early in 2021, his second album was released on Diffuse Reality featuring remixes from Keith Tucker/K1, Detroit’s Filthiest, and Squaric. Upcoming releases from DILLINGER include a variety of collaborative projects — Machine Men EP with Lloyd Stellar on LDI Records, an LP with Cyphon and Obzerv, and a number of VA releases with artists like RXMode (via Pareidolia Recordings), CYBEREIGN (via Science Cult), ADMN (via Infolines) and others. Look for other releases coming soon on Noise To Meet You, Roulette Rekordz, and Syntek Industries.

His previous releases have landed on Blind Allies, Natural Sciences, Dionysian Mysteries, Ukonx Recordings, Fanzine Records, and ZwaarteKracht—as well as a debut album on Narrow Gauge, ‘Chasing the Red’. Support for his music has come from the likes of Richie Hawtin, Dave Clarke, Jensen Interceptor, UMWELT, and others.

The Neapolitan producer makes a comeback on Horisontal Mambo with an ideal follow-up to his previous LP “Palinuro Phonebox”
and once again teams up with label boss Prins Thomas for some mixdown touches.
Halfway between italoboogie and Balearic beats, Chalet Miseno is a nostalgic ode to some 90s “estate italiana” holidays seen through the eyes of a kid.
From the catchy beats of the title track (with its roaring motorbike intermezzo) and “Dragonara Punch”, to the dreamy soundscapes of “Luna Mirabilis”
this album is guaranteed to be the perfect soundtrack to a hot summer (and a refresher for the long winter).

Double LP documenting a realtime collaboration between Terrence Dixon (Metroplex/Tresor/Rush Hour) and Jordan GCZ (Off Minor/Minimal Detroit/Rush Hour). Finally the full results of these special sessions see the light of day (a ltd edition 12" of exclusive tracks owas released in 2020).
BIG TIP!

"In September 2019, Motor City techno legend Terrence Dixon made a rare trip to Europe. He was introduced to Jordan Czamanski AKA Jordan GCZ, a serial collaborator and electronic music improviser best known for his work as part of Juju & Jordash and, alongside David Moufang and Gal “Juju” Aner, as Magic Mountain High.

The pair hit it off immediately, so Czamanski powered up his studio and the pair began to jam. Over the following five days, the pair improvised extensively, stopping only periodically to drink coffee and discuss music, life and much more besides. While in the studio, they barely uttered a word to each other, instead responding almost psychically to the rhythms, grooves, riffs and musical motifs the other was spinning into the mix.

The results of these surprisingly magical 2019 studio sessions are showcased on Keep In Mind, I’m Out of My Mind, the pair’s first joint album and Dixon’s most significant musical collaboration since the Detroiter’s 2018 hook-up with German techno and ambient veteran Thomas Fehlmann.

In keeping with the project’s improvised roots, the six-track set is notable for its immediacy, pleasing looseness – it was mostly created using outboard equipment including synthesizers, drum machines and effects units – and sonic fluidity. It offers a neat, symmetrical blend of the two producers’ trademark styles, with Czamanski’s attractive chords, melodies and jazz-flecked motifs rising above hypnotic, cymbal-heavy rhythms that have long been the hallmark of Detroit’s sci-fi-fuelled techno sound.

This unique and appealing, dancefloor-focused sound ripples through album opener ‘Fretless’, an ultra-deep chunk of heady liquid techno, and the breathless bustle of ‘Operation Delete’, where bubbly synthesizer motifs, cascading ambient electronics and urgent bass cluster around a killer broken techno groove.

It’s there, too, throughout the surging, deliciously percussive ‘Space Chime’, an alien-sounding concoction that sounds like it was beamed down from some distant galaxy, the warming-but-intoxicating minor key swirl of ‘Axis Mundi’ – a two-part slab of techno psychedelia full of trippy electronics, dystopian jazz riffs and intergalactic intent – and the pitched-down, mind-altering oddness of closing cut ‘Above Ground’, when the pair goes all-out in pursuit of leftfield techno perfection.

Created from scratch in a few days by two of electronic music’s most accomplished improvisers, Keep In Mind, I’m Out of My Mind is an exemplary meeting of musical minds and sonic sensibilities."

Matt Annis

Comes with insert with photographs by Atelier Fantasma (Jop Verberne).

The first Austin Psych Fest was held in March 2008, and expanded to a 3 day event the following year. From there the festival quickly developed into an international destination for psychedelic rock fans, with lineups spanning the fringes of indie rock, from up-and-comers to vintage legends, and capped off with headlining performances from The Black Angels each year. The Black Angels and Levitation helped spark a movement, inspiring the creation of similar events across the globe and a burgeoning psych scene that would soon ignite. The series captures key moments in psychedelic rock history, and live music in Austin, Texas. The artists and sets showcased on Live at Levitation have been chosen from over a decade of recordings at the world-renowned event, and document key artists in the scene performing for a crowd of their peers and fans who gather at Levitation annually from all over the world.

New Orleans-based singer-songwriter Julie Odell announces her new album Autumn Eve, out September 30th via tastemaker label Frenchkiss Records (Local Natives, Passion Pit, The Drums). Lead single Cardinal Feather is a quicksilver ripper, with both a graceful, silky patience and fiery rock motor. The accompanying video finds Odell lakeside in swampy Louisiana, shot from sunrise to dusk in the lush environment under swarms of mosquitoes. “We found the beauty in the chaos, much like finding peace beyond anxiety and depression.” says Odell.

Sublime unreleased soundtrack by Ron Geesin, to one of the most important and controversial films in British cinema history.
Standard black vinyl (750 Copies) with sleeve art taken from the 1971 film poster. Cool as fuck.
Side One is the score for Sunday Bloody Sunday, the controversial 1971 drama directed by John Schlesinger. Starring Peter Finch, Glenda Jackson and Murray Head, it tells the story of an open love triangle between a gay Jewish doctor, a divorced woman and a bisexual young male artist who makes glass fountains. Daniel Day Lewis also makes his uncredited screen debut as a yobbo scratching up posh cars. The films significance at the time of release lay in the depiction of a mature gay man who was both successful, well adjusted and at peace with his sexuality.

The music on Side Two comes from two different sources: tracks one to four are from the 1985 Channel Four documentary about Viv Richards. Simply called “Viv” it was directed by Greg Lanning, with words and narration by Darcus Howe. It was (and still is) a fascinating film recounting Richards’ rise from young talented Antiguan to global cricket superstar. It also explored the long history of West Indian players through the English game. Howe later recalled how seeing Viv Richards walking out to bat at the Oval (just down the road from where Howe lived in Brixton) without a helmet on no matter how fast the bowler was - and wearing his Rasta sweatbands of gold, green and red, was inspirational. The documentary was later re-titled ‘Viv Richards - King Of Cricket’ for the video market, and let’s face it, that’s a more commercial title. I’d strongly recommend trying to track it down to spend an hour or so in the company of Viv and Darcus. As I write this it’s still up on a popular online streaming site for free.

The last six cues of Side Two are from a 1970 BBC Omnibus film ‘Shapes In A Wilderness’. Directed by Tristram Powell this was a documentary about the importance and influence of art therapy in mental hospitals, tracing its origins from a painting hut in a wartime military hospital to its successful and widespread incorporation in institutions. It featured fascinating medical insights, disturbing imagery and Ron’s finely tuned accompaniment. On its original transmission John Schlesinger saw it and was heard to say “I must have that composer for my new film!”. And he got his way.

I could spend another paragraph analysing the music and stuff like that but you can listen and work all that out for yourself. But I will say that all the music just confirms the fact that Ron Geesin is one of the most underrated, inventive and versatile composers (and musicians) we have.

To wit, if you think you know already what you’ll be getting into here heady, Television-esque multi-guitar jams played with motorik precision and a fiercely American intensity: you know, a Forsyth record well, go ahead and think that. I won’t stop you. Only . . . maybe the pulsing bass, curiously lurching drumbeat, and lunar synth squiggling of Sun Ra Arkestra maestro Marshall Allen that opens “Experimental & Professional” will set you back on your heels. But just for a moment, before Ryan Jewell’s drums and Tortoise alum Douglas McCombs’s bass twine into perfect alignment and then guitars played by Forsyth and Tom Malach (of Garcia Peoples) start chipping and hammering, twittering and sparring, the whole thing managing to evoke Remain in Light without sounding remotely like it.

Tracks : 1 Experimental & Professional 2 Heaven For A Few 3 Bad Moon Risen 4 You're Going To Need Somebody 5 Hey, Evolution 6 Long Beach Idyll 7 Robot Energy Machine

***The legendary Lebanese trio of trumpeteer Mazen Kerbaj (Karkhana, Johnny Kafta), guitarrist Sharif Sehnaoui (Calamita, Karkhana, Johnny Kafta ) and bassist Raed Yassin (Praed, Praed Orchestra) celebrates their 20th anniversary with The Binding Third on Unrock. They still create acoustic improvised drones that range from insistent, chiming resonances with emergency alarm bells to low, thrumming hums but with growing intensity. Avoiding conventional technique, A Trio manages to create sounds like motorized devices to generate rattling, metallic vibrations, building a mechanistic backdrop out of which the instruments’ true voices occasionally arise. This recording, taken at Sound Disobidience in Llubljana in 2019 reaches an exceptional electro-acoustic depth with strange sounds boiling down to a dark, heavy spiritual essence. Call it Acoustic-Industrial-Free-Jazz or call it unrock. The Binding Third is „A“Trio’s first full length album since their 2014 release „Live In Nickelsdorf“. In between they released a collaboration with Sun City Girl Alan Bishop and another with UK-electro-acoustic pioneers AMM. Recently A-Trio joined forces with agyptian composer Maurice Louca on his solo-album The Luck Hour, released on Sub Rosa. TRACKLIST: Side A : The Binding Third (part 1) Side B : The Binding Third (part 2)

Hammered is the 16th studio album by British rock band Motörhead, released on 9th April 2002. It was recorded in Hollywood and Motörhead was now a three-piece band, with Mikkey Dee on drums, Phil Campbell on guitar and Lemmy on vocals and bass.

This gold and black splatter vinyl is to celebrate the 20th Anniversary of Hammered. LIMITED TO 3500 COPIES IN THE UK.

Neuauflage der Vinyl-Edition von "Iron Fist". Motörheads fünftes Studioalbum wurde 1982 veröffentlicht und ist das letzte in ursprünglicher Besetzung, da der Gitarrist "Fast" Eddie Clarke nach der Fertigstellung von "Iron Fist" die Band verlässt. Dieser war mit dem Album nicht zufrieden obwohl - oder vielleicht gerade weil - er dieses erstmalig selber produzierte und der sonst sehr dreckige Sound der Band etwas steriler daher kommt. Dennoch stehen Songs wie "Iron Fist", "Heart of Stone" oder "Speedfreak" den Vorgängern in nichts nach. Ein ähnlich erfolgreiches Album gelang der Band erst wieder in den 90er Jahren.

Inspiriert von der gemeinsamen Vision eines unverwechselbaren Sounds reisten Julius, Mario und Marko 2016 nach Norwegen. Mit dem Auto machten sie sich auf den Weg zwischen scharfen Klippen und wilden Fjorden, mitten durch die raue Natur. Schneestürme und Hagel brachten sie unterwegs an ihre körperlichen und geistigen Grenzen. Diese ungezähmte Gewalt der norwegischen Wildnis war ein prägender Moment in der musikalischen Entwicklung der Band und zieht sich bis heute durch jeden Song der drei Jungs aus Görlitz. Die Grundidee von Mystik, Natur und Spiritualität, die die Initialzündung war, hat sich als Vision und Leitprinzip für die Band erhalten. Ihre Musik ist deutlich von Heavy-Rock-Bands wie Motörhead und High on Fire beeinflusst, zeichnet sich aber auch durch progressive Parts aus, wie sie in Kvelertak und Solstafir zu finden sind. Kommt mit einem Killer Artwork, in naturell farbiges Vinyl mit einer etched B-Seite.

Taken from Dilla's 2001 BBE Music debut solo album Welcome 2 Detroit, 'Big Booty Express' gets the remix treatment from German duo Âme, Parisian Pépé Bradock and London's Coda Deep. Alongside the OG version these new productions add up to a six track exploration of Dilla's tribute to Detroit's melding of the Motor City's Black music heritage with Kraftwerk's experimental Euroelectro. Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger first forays into music were after learning guitar as a 14 year old and playing with various Jazz-Funk bands. At this time he also started DJing with Hip-Hop bands and turning his hand to producing their tracks. As the 90s progressed he also discovered Techno and House music. His musical influences range from Jazz to Dub Reggae and he has remixed for Blaze, Cassius and Alex Gopher among others. Also providing a remix of Big Booty Express is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago House and Detroit Techno the pair started working together and producing records for Sonar Kollektiv in 2003. The final two remixes on the Big Booty Express EP and only included on the digital package come from the Londoner Coda Deep. Influenced by avant-garde Electronica, Nu Wave and African Tribal sounds, he is a DJ and producer playing deep and melodic Tech and Techno and will also be known to music fans for his 2019 BBE release 'The Running of the Bulls'. This EP of remixes sits very well alongside the catalogue of J Dilla releases on BBE Music and adds to the rich heritage of innovative beat making and music production that we can associate with Dilla and those he worked with.