Search:not to

Planet Mu are excited to announce Ital Tek's 'Bodied', the follow up to his acclaimed 2016 album 'Hollowed'. Stepping in a different direction from that album, It's as if Hollowed's detailed world has been fleshed out and filled with the spectre of human voices.

As on his last album, the sounds on 'Bodied' are highly designed, but this time barely a whisper of dance music remains. Instead it's built around acoustic elements and ghostly choral arrangements, refracted and transformed into atmospheric, alien forms which are given the time to settle and transform. Rhythm is used only as a tool to give his world a sense of dark, mechanical momentum.

Alan explains; "After completing 'Hollowed' I had over a year away from writing any of my own material. I was working, composing music for a video game and a number of different projects. I needed to find a way back in and I rediscovered the joy of music being a release as opposed to a job. I was getting up really early and sketching out lots of ideas very fast, squeezing in quick bursts of writing at the beginning or end of long studio day spent working on other musical projects."

"It was important for me to define the world that the album was going to inhabit before taking it any further, so I put a much greater focus into the sound design and palette than I had before. I wanted to make the music sound very physical, geometric, and monolithic, as if it inhabited a physical space."

"On 'Bodied' the music focuses on the interplay between the minuscule and the vast, beauty and brutalism. With this album I was much more concerned with dynamics and the discipline of holding tension; the use of space and silence to provide a counterpoint to the intensity."

"Most importantly, I was keen for there to be a human acoustic foundation, so I did a lot of live recording of cello, violin, harp and guitar - anything I could get my hands on. I was certain that I wanted there to be a greater vocal presence - nothing lyrical or at the forefront but to give it an underlying organic quality - to impart some humanity into the music."

As Ital Tek moves further from his roots, he's creating new sounds and spaces in which his music can exist. It's up to the listener to decide what kind of world 'Bodied' evokes, but it's certainly one that's beautiful and rewarding to spend time in.

Drum & bass pioneer and Hospital Record's crown jewel Danny Byrd is back! He's set 2018 ablaze with monolith anthems 'Devil's Drop', 'Salute' ft MC GQ and 'Hold Up The Crown' ft Ky Lenz, now he proudly presents his first album in five years.

A 15-track funk-fuelled compendium of rolling dancefloor-fillers that tributes to the jungle foundation moulding his early discography. Collaborations with the likes of I-Kay, Maduk, Ownglow, Times x Two and MC GQ, fuse with powerful
doses of Danny's hip-hop and R&B infused 174BPM productions. 'Atomic Funk' is undoubtedly Mr Byrd's finest work to date and includes one of the biggest future D+B anthems 'Holy Star' that's brought to life with vocal delights from MC Foxy.

'Just A Step Away' (ft. Ownglow) has become a silver bullet for the Byrd, taking a spotlight in his DJ sets as his finishing move. With its gorgeous vocals, volatile rave synths and humming sub-bass, it's not hard to see why. However, that's
far from the only weapon in this legend's locker. 'Roll The Drums' is a certified sub shaker bringing a fierce bassline and thundering percussion, plus there's raw jungle madness with 'In The Meantime' (ft. Hannah Symons). With fifteen incredible tracks from Hospital Records' longest standing signing, 'Atomic Funk'
is Danny Byrd at his best. Crafted for the dancefloor and Feel-good from start to finish, a must-have for a true Hospital fan.

The Allergies are back with another corking new single - Dance Now is a super-sweet slice of sista funk that packs the sass to shake your ass. Honey Larochelle just wants to dance now and that's what she's gonna do with The Allergies providing the jams! Throw in some killer sax licks from brass man extraordinaire, Mr Woodnote, and it's almost impossible not to get down to this stylish selection of delectable grooves.

These guys are becoming well known for their sought-after double-header 45 records which have a knack of quickly becoming collector's items, and it's easy to see why when they pack out their single releases with quality cuts like 'Fade Away (feat. Andy Cooper)'.

It's another classic fast rap attack from the Long Beach-based MC of Ugly Duckling fame, as he spits rhymes over the 60's inspired samples and fat beats. So, something here for both the dancers and the hip hop heads in one neat little package.

Le Matin, always rare and uncategorised, following the reissue of his early synthwavepop tunes on « poussière d'époque » and a track on the good Lena Wilikens' Dekmantel Selectors 005 comp, this new EP on Lost Dogs Ent. let you hear some of his last works. Expect an ultra-cold-minimal-electro riddim, a less-mental-nearly-good-for-the-dancefloor tune with depitched haunted r&b vocals, an analog and bassy arpeggio ride ... On the flip side, Oh My God ! This is the peak-time-for-weirdo-nearly-techno tune, a blast, only for craziest DJs that like broken-frustrated-uncomfortable dandefloors and to finish this well balanced 5 trackers : the « are you depressed that much It's the 10th time you're listening to this OST of a dying world, this won't get any better but at least this is good music ! » tune. Le Matin is a good kept secret that prefer to take care of his kids than to travel the world of nightclubbing with drunk teens (ok that's how it is in France, that looks better in some other countries), but sometime you can hear his music on decks of some wise people and DJs like Call Super, Lena Wilikens, House of Traps, Charles Drakeford, Jon K, Bergsonist, Body Motion...

VENT is when you say all is fine with ash in your mouth, is when the surface is all, is when the years lead nowhere, is when effort is loss, is when the rulers have defeated themselves, is when you scream with your smile, is when the surface absorbs the space and when you do not say it, is when the body contradicts the surface, is when it is said, is when the dialectics of the voice has been defeated by the synthesis. Wallis is when Tolga Baklacioglu presents two experimental cuts, and two cuts of abrasive stripped down techno.

In the summer of 2017 Australia's premiere swamp/grunge/punk/noise band The Scientists unexpectedly sprang back to life and started playing shows and making new music again. Kim Salmon is back with his Scientists - Boris Sujdovic, Tony Thewlis, and Leanne Cowie (the mid-80s line-up) -- and are delivering their first recording in 30 years. For this occasion Scientists have recorded Braindead, a reworking of song from their 1987 Human Jukebox album, and a brand new track called Survivalskills. If you love the band's original fuzz-filled swamprock you will not be disappointed. The band will be touring the US for the first time ever and plan to release a follow up to this single on In The Red later this year.

On Respective Edges Of America — Oregon And Maine — Keith Kenniff Records Quiet Music At Night. 'when Things Are Calmer,' He Says. 'my Mind Is Less Distracted When I Know That Everything Is Dark Outside.' For Over A Decade, Such Has Been The Mode — Nocturnal, Unrushed, Using The Same Mini-cassette Recorder, "a Lovely Little Imperfect Way To Treat Sounds" — For One Of The Country's Most Understated Composers. Kenniff Has Housed Dozens Of Ambient Releases Under The Name Helios Since 2004, Alongside Post-classical Output As Goldmund, Shoegaze Pop With His Wife Hollie As Mint Julep, And Commissions For lm And Television. It Is A Reliably Transportive Body Of Work That's Earned Kenniff A Cult Following, And A Genuine Modesty That's Kept Him On The Fringes, Right Where He Prefers, In The Dark.

Kenniff Mostly Lets His Music Breathe Free Of Explanation, Open To Interpretation. As Listeners, We Follow Subtle Suggestions — The ery Sky On The Cover Of 2012's Moiety, The Countryside Daydream Of 2015's Yume — Extracting Meanings From Imagery And Inscriptions. Veriditas, The Sixth Helios Full-length, Shares Its Name With Twelfth-century Philosopher Hildegard Von Bingen's Notion Of "the Greening Power Of The Divine," The Term Derived From The Union Of Two Latin Words: Green And Truth. Bingen Saw The Abundance Of The Earth As Vitality To Be Cultivated, Interconnected With The Body And Spirit. Take The Concept In Concert With Veriditas' Vistas Of Sound, Gazing Beyond The Tree-lined Wonder On Its Artwork, And We Undoubtedly Recognize The Album's Rooting. Kenniff Elaborates, "while I'm Not A Very Spiritual Person As It Relates To A Religious Belief, I Do Feel An Overwhelming Connection Between The Aesthetics I nd Pleasing In My Experience Of Nature And My Experience Of Writing Music."

From the heart of Macedonia comes Herzel with his first EP for Uncanny Valley. The four tracks point him out as an expert for creating tracks on the blurred line between Rave and darkness. If you are listening on a proper sound system, it is almost impossible not to be moved by the mighty drones of FORMS that almost feel like tectonic shifts. GLIDE runs in similar veines and brings power to the dance floor with rolling bass synths and sublime pads. A little more straightforward is GLOWWORMS with sharp drums and an acidic synth theme only to finally merge into an elegiac climax. Finally, TWO hits hard with slapping synths and a dubby bass line, a gripping yet somehow nasty track.

Rhythm Of Paradise returns on mothership Cosmic Rhythm after two years with a brilliant and lushy italo house masterpiece. To not be missed!

When looking for music to be released on Magazine, our guideline has always been energy. The key question remains the same: Does the artist have something important to say Does it have a sense of urgency Alex played us these tracks while visiting the Magazine studio in Cologne earlier this year and we were consumed by unadulterated rage. This is anything but a conceptual release, Alex has not released this kind of music before. A side of Alex manifests itself through these techno tracks, that most might not have known before. Brutal yet beautiful, furious yet fragile. A Berlin native who shaped his sense for techno by striving through his hometown and its infamous raves, Alex is now one of the prominent protagonists of that scene - not only when regularly playing at Berghain. The EP harnesses this experience perfectly, fully preserving the energy of the creation process by recording directly to tape. Most productions may have suffered from this primitive method of locking sound into position, but not these tracks from a techno master.

The keeping of pets marks humans' attempt at taking possession of a part of reality that is not at his disposal. Dressing a piece of the real that lives according to entirely non-human rules and which only in the saddest case does not resist the discipline of the human symbolic order vehemently and in a sustained matter, is a violent act of protection. Because in the non-place of the real, all that which we are helpless in the face of looms: the non-logical and the nameless, the violence and the noise, yet also the unrestrained and unfiltered desire.The innocuous figure of the pet marks a gateway to an investigation of these eerie milieus, while electronic dance music lends itself to this investigation in an outstanding way. This constellation marks the subject of Column's 'Pets II.'

Column is the name of Cologne based renaissance man Jan Philipp Janzen, who, as chief emissary of Cologne's pop internationalism, has been playing the field in various functions for Von Spar, Cologne Tapes, Urlaub in Polen, Owen Pallett, Scout Niblett or The Field, and who has also, in one way or another, been involved in most relevant records coming out of Cologne for the past number of years. After his excellent solo debut 'Pets I' (Areal, 2016), Janzen presents another extraordinary record in 'Pets II,' perfectly complemented by another ghostly oil work of Burkhard Mönnich on the cover.Sonically, 'Pets II' marks a clear development for Column. In its exploration of the thresholds of the real, it sets two points of focus, corresponding with the split in sides A and B.

Side A, on which Janzen teams up with long-time friend myr. (PNN), explores the uncanny as a fissure of the symbolic order, and the subsequent breaking in of the real. It opens with two peaktime rockets that have their wooden, nether-regional groove narrated by grim, down-pitched vocals. The ethereal remix by Leibniz (hundert) seems to be observing the situation from a hiding place, and is the side's clandestine and no less dark closer.

Side B, for which Janzen invited studiomate Marvin Horsch (Dorfjungs/Beats in Space) along, delivers two swaying synthesizer workouts, the second of which, 'Molly and Swerve,' is directed firmly at the dancefloor again. What is at stake here is the transition between a free, undirected jouissance of the real and a more ordered becoming-lust. Here, as in Map.ache's (Kann/Giegling/Altin Village) remix which closes out 'Pets II,' it becomes clear what connections dance music can foster between a free, impersonal desire and the sphere of interpersonal wanting, but also the losses that are negotiated in it. Above all, however, it becomes evident what a courageous daring project 'Pets II' is in all of its conceptual and aesthetic determination; with Von Spar's standout 'Garzweiler' 12' (Altin Village & Mine, 2017), it documents a New Cologne Realism.

Thomas Fehlmann steps away as co-member of The Orb following two acclaimed full lengths on Kompakt (COW - 2016, Moonbuilding 2703 AD - 2015) and embarks back on his solo career with a career defining album 'Los Lagos' - from Detroit to Schaffel techno he conducts a broad spectrum of electronic music into a seamless flow.

Thomas Fehlmann has been active since the late 1970's from Palais Schaumburg, the Tresor defnining trio 3MB (with Moritz von Oswald and Juan Atkins), Ocean Club (together with Gudrun Gut) and of course The Orb.

Artwork direction and design by DESIGNERS REPUBLIC.

'Los Lagos' is Thomas Fehlmann's seventh solo full-length, his 4th for Kompakt following his Berlin inspired 2010 full length 'Gute Luft'. in the musician's own words it's about "checking the juice".

Establishing a picture of his current artistic condition, as suggested by the title - los lagos / die lage / the situation (literally translating to 'the lakes' but taking the meaning of 'wassup' in the context of a relaxed discussion between friends), the album refers to Fehlmann's "musical motivation, dreams and wishes" through the language of music exclusively: a way to "allow myself to techno" he says, "to techno as a means to deconstruct and rebuild again. Set up an area of tension, loose it in the flow of the grooves. Magnifying some detail out of proportion, regroup around that and slowly knit a texture. Expand."

"It was time to take a bend and head where the sun rises or sets, wherever my heart drives me." This is pretty much the kind of decision Thomas Fehlmann has made. 61 and shining, longstanding member of The Orb, multi-talented composer and boundless experimentalist, had to make in the twilight of his collaboration with Alex Paterson, eager to taste the flavours of the unknown on his own again. "It was the moment when felxibility would have become compromise'. Far from being the demise of their joint dream, this was bound to split it in two distinct, parallel fantasies - rich of their own singularity.

As goes with that essential love of his for the free-flowing nature of electronic music, a fascination born out of its "lack of borders", capable of "inventing, changing the emphasis, experimenting with an unpredictable outcome", 'Los Lagos' "freely connects disparate extremes. Art, disco, minimalism, schmalz, jazz and funk". As he likes to say, Fehlmann's head functions as a sampler, capturing elements and re-assembling them under his own embracing perspective ; not afraid to leap from a deep, dubbed-out hypnotism ('Window', 'Morrislouis', 'Freiluft') to the playfulness of '90s-style bleepy schaffel ('Tempelhof' featuring Max Loderbauer), through out-there, muscle-flexing dancefloor cuts ('Triggerism') onto the calmness of ambient ('Geworden').

In need to keep his inner balance in check, Fehlmann committed himself to "switch off the control" and follow his intuition, which isn't so much of an easy process as he also wanted to incorporate the side disturbances experienced: "it's a complex process of search and destroy to bring out a new beauty trying to expand my vocabulary". With 'Los Lagos', Fehlmann looked at finding "the structure that's surprising, disturbing and rewarding". The artwork for the record, courtesy of contemporary artist and friend Albert Oehlen whom he shares lots of artistic ambitions with, echoes the producer's "funky use of shape and space, sludge and clarity" like a second skin. A search for light and harmony that Fehlmann sums up eloquently: "Does your inner musical voice respond", that is the question. Then "doors open up in unexpected corners, rays of light appear; you follow through and you're in - in your oasis."

Dark Entries reissue the 3rd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1987, towards the end of art school, Carolyn won another award from the New York Society of Illustrators. During the trip to New York to accept the award, she met electronic/dulcimer musician, Dan Joseph. After writing some letters they decided to make a split cassette titled 'Hypno-Seizure'. CYRNAI contributed 30 minutes of music to Side A of the cassette, 10 untitled pieces that ran into each other. She had just bought a round-the-world ticket going from China to Europe via Eurails, to Egypt, where she liked to wander. She picked up instruments from several countries and recorded the sounds of her new surroundings. Technology was changing into early sampling and she used a Commodore 64 with large floppy disks to record loops. Originally self-released in 1988, this reissue adds 3 unreleased bonus tracks recorded during the same period. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

Southern Lord Is Excited To Bring Forth The Debut Album By Los Angeles-based Rock Trio, The Primals, Founded By Current And Former Members Of Darkest Hour, The Explosion, Dead To Fall, And More.

All Love Is True Love, The Primals' Debut Album, Features Ten Infectious Tracks Produced By John Reis (rocket From The Crypt, Drive Like Jehu, Hot Snakes) And Completed With Cover Art By Laura K. Giron.

Fans Of Wand, Ty Segall, Nirvana, And The Pixies Are Especially Recommended To Tune In.

he band's first full-length, All Love Is True Love, will see release on September 7th, the label this week sharing the first single, 'Fortune & Sons.'  'Fortune & Sons' Now Streaming

About the track the band note, ''Fortune & Sons' is one of the heaviest songs on the record. Though the album offers a plentiful dose of dynamic variety, we wanted to kick you off with a ripper.'

The Primals is comprised of vocalist/guitarist John Henry (vocalist for Darkest Hour), bassist Chad Fjerstad (formerly of Dead To Fall), and drummer Andrew Black (formerly of The Explosion). The band's fuzzy execution is equal slabs ripping guitar heaviness and infectious pop sensibility. Concocted by a seasoned group of thrashers with a historical backbone in D.C. punk community. The disintegrated spirit of grunge rises from the ashes, revitalized in a new light.

Dark Entries reissue the 2nd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1986 Carolyn moved into her family's building in downtown San Francisco providing a space to develop her own art and music for the next two decades. She was the only tenant of the five story building. The top floor had 36 abandoned rooms with building materials and holes between floors, staircases that created natural reverb. It was during this isolated time that Carolyn would start working on her second release, 'Parts of The Insomnic Wheel,' 60-minutes of ten untitled pieces that ran into each other. This was also the first release on cassette due time constraints of the LP. She spent many nights at the 24-hour diner across the street chatting metaphysics, parallel universes, the 5th dimension and astro-projections. Carolyn would sleep next to paper/pencil and report dream states, experimenting with mental techniques, investigating how far her mind could go. It was a journey to unravel the 'dark night of the soul'. Utilizing her industrial surroundings, Carolyn would bang on sheet metal and record percussion on found materials. Originally released by Ladd-Frith in 1986, this reissue adds 4 unreleased bonus tracks recorded during the same period. Each copy includes a 16-page zine with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

For the dance film essay - The Body as Archive Gregor Schwellenbach chose a simple yet radical approach: he created a kind of catalog of sounds, clearly structured, presented with sobriety and boldness. The sounds are not embedded in the familiar frame of rhythm-harmony-melody, rather, they are introduced smoothly, presented one after the other, sometimes going together, then standing alone. It is a sensual approach, at the same time executed strictly systematically. Or vice versa: Schwellenbach's composition is strictly systematical, giving maximum space for sensuality and the unfolding of sounds.

Schwellenbach strives to create a system that doesn't become rigid, by treating the material gently and with sincerity.

In composing - The Body as Archive he sets clear rules: everything is played by hand, he only uses instruments he plays himself: Keyboards (Rhodes, piano, synthesizer) and double bass. Almost all material is played in the same key, the chords can be used in any combination, everything fits to everything. The ten parts of - The Body as Archive , mastered by Taylor Deupree, could be played all at the same time without sounding cacophonous.

Everything is pure presence, a gently woven stream of elegance and attentiveness. The organization of sounds - usually an action of preparation, didactic and discipline - turns into poetry.

Dark Entries present the first ever vinyl issue of Jon Krocker's debut album 'Monolog' originally released on cassette in 1983. Jon is from Winnipeg, Canada and got his start as half of the synth noise duo Dialog. In 1981-82, while studying for a BA in Film Studies, he would go to the studio and practice. No writing or patch memories, composing on the fly. His set up consisted of a Minimoog, Oberheim Two Voice, Roland RS-202, Roland Space Echo, EML 400, Roland DR 55, Roland System 100 mixer. After playing some of the songs to Impulse Records store owner Roman Panchyshsyn, he agreed release the album on cassette on Contagious Records. Primarily influenced by the German school typified by artists such as Conrad Schnitzler and Kraftwerk, Jon's music exhibits the cold machine ethic of the neumusik. The 12 instrumental tracks are stark and minimal, at times anxious but overall space orientated and flexible.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy includes an 8-page newsprint zine featuring ephemera, press clippings, photos and liner notes by Jon.

Cat.no.: DE 228
Format: LP

Tracklisting

Rhythm Is Life And Life Is Rhythm. Not Only Is It Our Mantra Here At Neighbour Recordings, It's Also Inspired The Title Of Our Debut Release From Brand-new Production Partnership And Label Owners Base Pilot (aka Quantec And Birke Tm). Featuring Four Original Tracks, The Life Is Rhythm Ep Is A Full Thirty Minutes Of Dope, Low-slung House That Perfectly Unites The Duo's Many Years Of Shared Passion For Deep Electronic Music. Identify Is The Ideal Introduction, Swirling Synths And Deceptively Hypnotic, It's A Proper Crafty Cut, Whilst Ghosts Leans Towards A More Emotive And Subtle Groove. Title Track Life Is Rhythm Is A Warm And Inviting Ten-minute Epic Of Chunky Beats, Quirky Distortion And Vocoded Vocal Snatches, Whereas Closing Number On The Early Is Seriously Heads-down And Deep. Repeat After Us, Rhythm Is Life And Life Is Rhythm.

June 2018, Amsterdam, Nl: 12 Months Ago We Concluded A Series Of Experiments With A Test Subject Named Ben Penn. A Year On, We Decided To Repeat This Experiment At His Tilburg Base. Once Again, The Results Were Starting.
.
After Being Provided With A Sizeable Dose Of An Enhanced And Notably Stronger Derivative Of 4-ho Met (codenamed St011), Penn Not Only Reported Intense Hallucinations But Also Enhanced Music Production Capabilities. With The Aid Of Electronic Instruments And Hardware, He Worked Quickly, Producing Both His Trademark higher Level Inter-dimensional Funk' And Compositions That Defied Our Previous Expectations.

During The Early Stages Of His St011 Experience, Penn Completely Ignored The Provided Rhythm Composer And Instead Crafted A Colourful, Humid, Jazzy And Beat-free Track Entitled nix', Which Boasted Loose And Fluid Synthesizer Motifs. As His Hallucinatory Experience Intensified, Penn Giddily Tapped Out Tropical Rhythms On The Provided Beat-making Device, Smothering Them In Alien Electronics And Sticky Melodies. When We Asked What This Devilishly Good Cut Was Called, He Simply Replied: not Important'.

As The Test Went On And The Most Intense Symptoms Died Down, Penn Was Much Like His Old Self. Before The St011 Wore Off Completely, He Was Able To Finish Two Examples Of His Trademark inter-dimensional Funk': The Skewed, Introspective, Bassline-driven Wooziness Of ben' And The Mazy, Kaleidoscopic Goodness Of people'. The Latter Composition Was Particularly Potent And Ear Pleasing, Suggesting That His St011 Experience Had Finished On An Intense High.

Columbus, Ohio may not be spoken of in the same glowing terms as Detroit when it comes to '90s Techno from the Mid-West. However, the Columbus-based 21/22 Corp label was responsible for some of Future Primitive's favourite techno from this era. We've tracked down the multi-genre 'president and production manager' behind 21/22 Corp, Charles Noel, for our next release. Formed of two exclusive productions, this Archetype 12" is the essence of techno at its most individual

Scion of the Urals this devotee called Gedevaan drops a notable classy non-Moscow sound. The city where music can be fake, where anyone can lie to you, where anything can be sold and re-sold for a higher price. Where constantly you suffer from major vanity and notorious capital speedy manner. Moving to that town may change you with no warning. 'Class Compliant' is more about authentic slow-burning undercurrents. Smells like 'rest of Russia' the noise is out of massive roaring cities and their pre-harsh dummy lives. Inclined to withdrawn and introspective synthesis Gedevaan offers an original dim-light feel, warm-wet, woody swamps and mossy rocks. A velvet haze makes your vision blurry. Just look! Is it a Baba Yaga's hut Track the music. To don't forget about your roots. It's pretty nice to accomplish with old stuff by Perc and a brand new one of Electric Rescue - the pure primal perception with a high impact factor.

Four electrifying edits from London & Paris based Mytron & Ofofo on the unstoppable Razor-N-Tape. 'Beach Buggy' goes full throttle from the get go with a conga fuelled, disco jam before the clock strikes twelve and 'Midnight Drive' offers up a low slung, late-night boogie cruise. On the flip side dreamy chords, soulful sweet nothings and synthesizer swells are the order of the day for 'Eli's Coming', leaving 'Capricorn' to close out the e.p. with a bass heavy, intergalactic chugger. Razor-N-Tape can do no wrong snap up on sight!

Originally from West Yorkshire, but now resident in Manchester, composer, bassist and producer Phil France is probably best known as a key collaborator alongside Jason Swinscoe in the Cinematic Orchestra, where he co-wrote, arranged and produced on classic albums including Everyday, Man With The Movie Camera, Ma Fleur and also the triple award winning soundtrack for The Crimson Wing nature documentary. In 2013 France released his debut solo album, The Swimmer (GOND016), an emotive, epic record influenced by the great second wave of film composers including John Carpenter and Vangelis, as well as minimalist composers such as Steve Reich and Philip Glass

Five years later, France presents the follow up, the enigmatically titled, Circle, which again represents a very personal journey for the artist. For France the album is an extension of work he began on The Swimmer. A process he has described as: " blocks of sound containing intricate minimal arpeggiated patterns and electronic textures that develop and shift in subtle, original and melodic ways. The trancelike quality, mood and electronic character of title track Circle led France to think of the circular patterns which eventually became a potent concept for the album. "Ideas and fashions repeat themselves in cycles. Events are said to travel 'full circle' and this is important to me because it represents my own recent personal and musical journey after 15 years touring as bassist and composer with The Cinematic Orchestra. I consider circles to be a strong symbol of unity, strength and inclusiveness and ultimately I've aspired to make something beautiful with those values at its heart".

The album opens with the title track, Circle, built on a minimal looped pattern with melodic embellishment and shifting additional harmonic textures. Bells was developed from the arpeggiator and offers a nod to the melodicism and atmosphere of French electronic music. The Jackal features an idea originally developed for The Crimson Wing score but which finally bears fruit here. Cathedrals features an improvised intro, Philip Glass inspired organ and vocal textures inspired by the work of Colin Stetson. Finally, the album ends with a reprise of Circle this time featuring layered pianos. But it isn't the conclusion of the journey, for France: "The Circle is infinite - During the process of making this record, I have been constantly reminded that nothing ever stays the same and that all is in constant flux. The challenge for me is always to respond positively, be aware of and seize the opportunity for progression constant change provides" And it is that sense of movement and flow, but also calm and beauty that permeates Circle and make it such a worthy successor to The Swimmer.

The young virtuoso producer Prins Emanuel follows up his acclaimed debut album on Music For Dreams with something quite different than what we're used to hearing from him. While Arbete & Fritid was an epic odyssey into the furthest corners of disco with an array of studio wizardry and complex rhythms, Diagonal Musik is a sparse and delicate exploration of the acoustic guitar. Steering away from his comfort zone, the Prins follows his intuition for experimentation and lands somewhere in a field of genre-defiant folk-jazz meditations; a development that fits like hand in glove for the eccentric nature of Music For Dreams. The album reads like a soundtrack to the country house Emanuel shares with his family and friends, a place on the map called Oran. From atop a hillside overlooking a lake, Oran is lodged deep in the heart of the Skåne landscape, the southern part of Sweden that once belonged to Denmark. This place encompasses the whole of the album, as the track titles all pinpoint crucial locations on the courtyard and its surroundings. 'Orön' which opens the album is named after the small half-island that sits in the centre of the lake. There's the hand-built sauna ("Bastun") at the edge of the yard, and behind that in a slope the old root cellar ("Jordkällaren"). While the nature here is anything but balearic, the overwhelming calm of the country life seems to inspire the same laid-back attitude and passion for all things organic (and not just musically, as this is where Emanuel also makes cider from local apples according to the vin naturel school). Upon listening to Diagonal Musik one might be keen to draw references to works in similar style, such as the output of late 80's new age label Windham Hill or the dreamy lullabies of long-time friend and Music For Dreams affiliate 55 Cancri e. This is all circumstantial however, surprising as it may seem.

The first release on the newly established Greyhound Days imprint comes from Christian Kroupa alias Alleged Witches, hailing from Slovenia, who proved his skills and innovation as a participant at the Red Bull Music Academy in 2014. Since then he became one of the most prominent names of Slovenia's techno and house scene, with making appearance on the mighty Fabric mix compilation, producing a remix of Alex Smoke for legendary Belgian label R&S, while also releasing a 12" entitled Serve The Spirits on R&S sub-label Meda Fury.»One Skilled In The Black Arts« EP consists of four tracks, meant for dictating the dance floor with their drum workout, as well as luring you into its deep ritualistic feel, with distant native tongues echo.For an extra wonderful hypnotic polyrhytms, a rework has been provided by Passarani, one of the Italian leading dance music producers and DJs, who continues to be an inspiration and providing his knowledge and skills to younger generations. While Bristol based Jacob Martin alias Hodge demonstrated his expertise in percussion, resulting in an slamming rework, not meant for the faint-hearted. Just shows, why Hodge is one of Bristol's most exciting new names.

RECORD Compilation (10" EP+DL) - Dark Tango, mysterious Twist and psychedelic Cha-cha-cha! Nothing you would expect from a Sixties Egyptian soundtrack. Romanticist and artistic all-rounder Abd al-Rahman al-Khamissi stands out with this absolute timeless musical production for his 1969 movie "Respectable Families'. Four abstract instrumental dances to express poetry through music!

On The Latest Release From Make Mistakes, Roy England And Friends Take Us On A Ride Into The Beautiful, Soulful Depths. From Uplifting Love Jams, To The Chunkiest House Funk, As Always, The Gang Has You Covered.
Roy England's Original Mix Soars Through The Night Skies. Pitter-patters, Emotive Pads, And A Driving Groove Bring Us The Softer Side Of Our Little Boogie Baron. Perfect For The Euphoric Abandon Of A Sweat Soaked Dance Floor.

Alexi Delano, A Man Who Needs No Introduction, Kicks Things Up A Notch, Taking The Original And Giving It A Restructured, Pumping Groove. A Dubby Line Runs Through, With Echoing Pads, A Pulsing Bass, And Fluttering Keys And Synths. A Beautiful Dance Floor Meditation, With Plenty Of Junk In The Trunk.

Fredy Grogan Takes A Hard Left, And Steps Confidently Into A Psychedelic, Tribal Funk. Teasing New Vibes Out Of The Original Material, Grogan Transforms Beauty In Rhythm Into A Classic House Groove, Before Settling Us In To A Hypnotic Groove.

Make Mistakes Keeps On Keepin' On. That's All We Know. the Tears Of The World Are A Constant Quantity. For Each One Who Begins To Weep Somewhere Else Another Stops. The Same Is True Of The Laugh. Let Us Not Then Speak Ill Of Our Generation, It Is Not Any Unhappier Than Its Predecessors.

Samuel Beckett, Waiting For Godot

The 3 release. 3 artists. 3 solid tracks.
Rex Hansson has made a solid original version. You clearly hear his skills as a past percussionist. The beats together with Skånska vocals, Low key Rhodes and some 303 knob twiddling make this track special and great.
Emil Nyman. This mix is something. It's tossing and turning from a metallic sound to the softest wood. From the deepest parts of the ocean we follow the pads and organ up in the sky.
The b side is dedicated Clark Eng. A minimal offbeat version with low toms and rattling high sticks, claps and snares. The track is moving like a Newcomen engine. The minor changes all the time makes it to a hypnotic minimal house track.

WRWTFWW Records is overjoyed to announce the release of two never-released-before soundtracks by French award-winning composer, audio experimenter, electroacoustic and musique concrète magician, and all-around sound visionary Bernard Parmegiani, sourced from the original reels, and neatly packed together in a gatefold sleeve double LP with English and French liner notes. The 2 albums are also available in an all-in-one digipack CD. Les Soleils de l'Île de Pâques (1972), by French director Pierre Kast, is a sci-fi feature which secured itself a well-deserved place in the pantheon of mysterious cult films thanks to hallucinatory (and superb) cinematography, exploration of supernatural phenomenons and occult symbolism, and one hell of a trippy atmosphere. La Brûlure de Mille Soleils (1965) also comes from Pierre Kast, but this time with the help of none other than writer, photographer, multimedia artist, homme à tout faire Chris Mar

Already played by:
Craig Richards
Seth Troxler
RPR - Soundsystem

Mennie and Julien Sandre team up under their Jarau alias for an impressive EP on One Records. Dubnova features two originals that span hypnotic synths, warm, sonic basslines and intricate spacey layers. For the remix, musical craftsmen DeWalta and Voigtmann join forces for the first time since their monumental Ground Effect EP on Jan Kruger's Hello Repeat in 2014. Here they showcase the more techno side to their production skills.

Friends and colleagues, Mennie and Julien, began the Jarau project in 2017 to experiment and push creative boundaries. 2018 saw the release of their Interstellar EP on respected vinyl imprint Pleasure Zone, which will be followed by this heavy-weight offering on One Records. Tenax resident Mennie was named by DJ Mag as one of the most prominent emerging Italian producers. Born in France and now based in Italy, Julien runs the acclaimed Blind Box vinyl only label, which he started in 2015.

Meander boss DeWalta a.k.a David Koch is one of the most admired artists in the industry, not only a talent behind the decks he delivers a remarkable live set and has released a wealth of music on key underground labels. Claus Voigtmann was originally born in Germany but bases himself in London, where he co-founded the underground and conceptual party, Toi.Toi.Musik. This year sees the release of his eagerly anticipated album and a focus on his Subsequent imprint, also playing regularly alongside Adam Shelton and Subb-an for their One Records showcases.

The tune 'Strength' was written for my partner Bozanne Evans. This EP is dedicated to her.

Side note: The tracks 'I' and 'Strength' were originally going to be released as UNITY006 on the label 'Unity Through Sound' before they folded after their fifth release.

I didn't want the release to go to waste so decided to put them out on my label taking advantage of the 12' format by including a personal favorite of mine 'Life' and Ill_Ks monstrous remix of 'I'.

This is my most personal release to date and I hope you enjoy it.

Chad Dubz

Healing from Italy, Different Ways is the new label run by Atimpuri. The first release is signed by one of the most influent duos of the Italian dance scene, TenGrams. Fractured Textures is a mini album composed of 6 tracks which are an excursion of TenGrams talent when it comes to electronic music. Once again, the Duo managed to express their art combining tracks of different styles into a unique journey. A not to be missed record for your collection!

One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bah Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom immediately said "YES!". They moved in and divided the space in half. On Tom's half he made drawings, paintings, performances, video, sculptures, installations, and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning they played under the name The Two Who Do Duets. Soon the late-night jam sessions that took place in the back of Poo-Bah moved over to the fourth floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artist's studio to look. They could make all the noise they wanted. No one else was on their floor. The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the Los Angeles Free Music Society (LAFMS) groups Le Forte Four, Doo-Doettes, and Ace & Duce. That concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder, and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S. Raymond eventually became a sort of LAFMS headquarters, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S. Raymond allowed for free expression and explorations of all sorts. Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music. Ace found the tapes for side one ("Tom's Studio") in his archive and Ju Suk Reet Meate found the tapes for side two ("50 Of Every American Are Machines") and edited them both for this release. No overdubs or remixing was emplo

Of all the releases on Italy's legendary Cramps Records, Raul Lovisoni and Francesco Messina's seminal LP from 1979 has long remained among the most beloved. Prati Bagnati Del Monte Analogo not only introduced the world to the work of two gifted composers, but also is notable for being produced by electronic pioneer Franco Battiato. A sister album to Prati Bagnati would be Giusto Pio's breathtaking Motore Immobile, likewise graced with the maestro's gentle hand around the same time.Lovisoni and Messina are both central figures within the Italian avant-garde. Part of a generation of artists who contributed to a radical rethinking of musical practices and composition, they reveal Minimalism as it's rarely known: delicate melodies, subtle harmonic interplay, incorporating diverse creative traditions and slowly giving way to an ever-expanding open space.Prati Bagnati Del Monte Analogo's meditative title track, inspired by René Daumal's surrealist novel Le Mont Analogue, features Messina on synthesizer and Michele Fedrigotti's impressionistic piano, while on Lovisoni's "Hula Om" and "Amon Ra," solo harp, crystal glasses and Juri Camisasca's radiant vocal drones further ascend into the stratosphere. Skirting the outer edges of ambient, new age and experimental music, Prati Bagnati has a transformative beauty unlike anything else.Superior Viaduct's edition reproduces the original sleeve design and is recommended for fans of Jon Hassell, Luciano Cilio and Popol Vuh.

5 catchy tracks by eighties bristol outfit Umo Vogue Umo Vogue formed in Bristol by Stig Manley, Russ Crook and Neil Deamer who were in Bath based ska rock outfit 'The AT's', along with Bristol based singer Debbie Marlow. Neil's Brother Clive joined the band bringing a fantastic new dynamic to the band on drums, percussion and heavy artillery. The band name is a deliberate misspelling of the ultra-chic Italian fashion magazine 'L'Uomo Vogue'. After winning the Bristol 'Battle of the Bands' in 1982 they were signed to Phonogram and dropped a few months later. They then signed to EMI in '83 and released their first single 'Just My Love' released in early 1984. The second single was 'Make It Real' and was never released as the band were culled from the EMI roster in late '84. For this reissue of their debut single we've added 3 bonus tracks, a demo of 'Just My Love', the unreleased follow single 'Make It Real' and a bedroom demo 'Erotica.'

Each song displays ridiculously catchy melodies and innovative electronic rhythms. The drum tracks, a combination of rhythm machines and hand percussion, were mixed down from the 4-track tape used as backing on stage, with the rich slap bass and Roland SH09 synths weaves fluid lead lines in between the harmony vocals. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in an exact replica of the original jacket and includes an 8-page booklet with photos, notes and press clippings from the band's archive. 'We're synthetic but not antiseptic. We are interested in the naivety and spontaneity of music.' - Umo Vogue

Michael Jackson / Dangerous - On Limited Picture Vinyl

Nothing more to say!

BOMB!!!!!
* The first release from the mysterious old 90's drum n bass warriors operating under a new guise alongside Technical Itch on production duties.
* 90s vibes but with modern production standards.
* If you know that era of drum n bass you will undoubtedly know who they are but their identity will remain strictly confidential.
* Wishing to remain anonymous in todays often fake and overly narcissistic scene, Brakken have chosen to remain locked in the studio, shrouded in mystery.
* DJ performances by members if the Tech Itch Recordings crew but not the producers themselves.
* Press / Promotion: Club and radio play from many DnB DJs will special support from many of the scenes founders.

Ce Ce Rogers' spine tingling, seminal hit 'Someday' gets a much-welcomed official remastered, reissue 31 years after it first took the scene by storm. Produced by Chicago's master, Marshall Jefferson, every element is unmistakable - from the dynamic bass and sweeping flutes that set the scene for that instantly recognisable piano riff, to the raw soulful beauty of Rogers' vocals. 'Someday' is a record that truly captures the euphoric, loving nature of the early house music scene - epitomising a timeless spirit and hope for future harmony within society.

Often cited as one of the greatest dance records of all time, it's influence is clear to be seen from the sheer number of covers and records that have since sampled it. An indisputable masterpiece, complete with dub mix and accainstrumental versions, this is an essential 12" for any record collector out there - house head or not.

Unreleased baroque jazz horror score to controversial lesbian sex cult witchcraft exploitation drama from 1973, composed by the man who wrote the Catweazle theme! Hell yeah!

HISTORY:
Ted Dicks is not that well known as a composer these days, but back in the mid 1960s he was composing library music as well penning some of the greatest comedy songs of the era, including 'Hole In The Ground' and 'Right Said Fred'. His work was performed by Kenneth Williams, Petula Clarke, Bernard Cribbins, Topol and more. But until now, little has been known of his brief flirtation with film music.

Virgin Witch was his first brush with film scoring - one of only two score he wrote. The film was produced by legendary wrestling commentator Ken Walton (under his Sexploitation pseudonym of 'Ralph Solomans'), with the help of Hazel Adair, a woman famed for co-creating the long running UK TV soap Crossroads. Virgin Witch was a racey film, turned down at least once for certification by the BBFC, passed uncut with an X for release just in London, then cut and passed for general release shortly afterwards.

The score itself is a unique and quite beautiful pop baroque work, utilizing the cimbalom, an instrument more than likely played here by 'Ipcress file' musician John Leach.

This is a very limited release of a most unique 1970s pop horror lesbian witch score. Get it before they are all sold and you start moaning you didn't order it in time.