Search:pro sonic

To sign off 2018, Malka Tuti are releasing a mega 4- tracker ep by Khida, in collaboration with their old time friend from back home Mihai Balabas. The 4 different tracks were written over the past few years, slowly plotted produced and perfected, each in its own 'twisted' direction. There are no dancefloor killers here, but instead 4 very unique voyages, experimental sonic excursions in time and space. It was the track Chloe that caught our attention, back in 2015. It's not a typical Khidja track, but the musicality and the composition in it reminded us of lost balearic moments. It made us reminisce on summery Sunday mornings back when life was still a bit more innocent, and naive. Out of our infatuation with that track came the idea of 'sitting on it' until the right tracks will be ready, and here we are, more than 3 years later.

We head into the final quarter of the year with a very
welcome return to First Word from London producer,
musician, engineer and DJ, Eric Lau. Following on
from his acclaimed early 2017 album, 'Examples',
we proudly present the second volume - another
delectable 28-track beats opus.
'Examples Volume Two' is Eric's fourth
instrumental album, and ably continues where he
left off with an assortment of sonics, ranging through
hip hop, jazz, funk, soul & Brazilian beats. An
elaborate sketchpad of ideas and grooves, this again
gives a taste of the genius production skills of 'The
Commissioner', Mr. Lau.
A mixdown perfectionist, his services have been
drafted into service on a number of albums over the
past few years, including Yussef Kamaal's 'Black
Focus', Mansur Brown's 'Shiroi', The Playlist's
'Chasing Goosebumps', DJ Jazzy Jeff's 'M3',
Masego's 'Lady Lady', and Kaidi Tatham's 'It's A
World Before You', released on First Word recently.
It's through these recent collaborations that we have
a few unique ingredients peppered through this
project, the track 'Jeff's Piano' is based on a sample
taken from Eric's iPhone, capturing a moment when
Kaidi was teaching Masego a few chords at Jeff's
studio. Both integral players to the Playlist Retreat,
Eric and Kaidi have also provided remix duties for
Moonchild, Omar and Leon Ware, and Kaidi Kat also
lends his key playing talents to a few tracks here.
Eric has also worked as a producer for artists like
Oddisee, Guilty Simpson, Dego, Tawiah, Rahel and
Fatima, whilst his DJ skills have seen him tour the
globe with luminaries such as Erykah Badu, Robert
Glasper and Questlove. He's received props over the
years from tastemakers across the world, including
Rich Medina, 9th Wonder, Bobbito, Dam Funk, Phonte, Gilles Peterson, James Poyser (The Roots) and Ali Shaheed
Muhammad (A Tribe Called Quest).

Following a first vinyl appearance on You And Your Hippie Friends' 'A Very Nice Combinado Volume Dos' (YAYHF 03) earlier this year, Mexican producer PAULOR aka Paulo Rodriguez gets ready for his first solo outing with Hippie Dance's sister label.

Curated by Rebolledo, the imprint has established an impressive talent pool within only three releases, including both veteran and upcoming talent such as Sebastien Bouchet, El Güero, Zombies In Miami, Beyou, Roman Flügel and more. It's a testament to the label's chiselled vision that an idiosyncratic and diverse group such as this is able to sustain individual approaches to electronic music while weaving a coherent sonic tapestry from all its ingredients, the whole quite organically being more than the sum of its parts.

Now, it's up to PAULOR to flesh out his own sound cosmos on You And Your Hippie Dance's latest 12' drop, presenting a concoction of salt-caked beats, riffing guitars and flexing bass that evokes a sense for space and untouched, psychedelic landscapes not unlike Rebolledo's very own desert funk vignettes. After 'La Race' (his contribution to 'A Very Nice Combinado Volume Dos') and the 'Discótico Desértico' remix for Rebolledo's 'Mondo Re-Alterado' (HIPPIE DANCE 10 LP) started making the rounds in tastemaker DJ sets, PAULOR caught a major moment of inspiration while performing at Monterrey's TOPAZDeluxe - which lead to the husky, hypnotic cut PAULOR'S BLUES, pièce de résistance and headstone in one, as it set the scene and also birthed enough follow-up tracks to naturally grow into a cohesive, full-blown EP.

From echo-drenched, beatless opener NEBLINA to the percussion-infused intrigue of DELIRIO EN CARRETERA, the athletic pop minimalism of AMIGOS or the slow burn of brooding mystery shuffle LUCES CALLING, PAULOR creates a unique, atmospheric sound panorama that excites minds and bodies alike. Adorned with a starry night sky, the record's cover artwork couldn't be more fitting - it's a dominant musical vista in PAULOR's work, whose vantage point is not necessarily a specific place (although all tracks were recorded in Xalapa), but a feeling of exquisite duality: the feeling of being lost between the stars, lonely and connected at the same time, a speck of dust and the center of the universe.

Utopia Cloak arrives on FILM with six track EP, Marina Gardens. Utilising both electronic & acoustic components, the British producer crafts hazy, dynamic electronica with a decidedly emotive bent. The music explores a curious production aesthetic - at once half sunk and at the same time gloriously crisp and direct. Caustic drum machine hits underpin the majority of the work, compete with polyrhythmic rolls & glitches, while softly warping synth lines occupy the majority of the remaining sonic space. Rather than working explicitly with nostalgia, Utopia Cloak makes more subtle references to the classic sounds of yore - riffing on Downtempo & IDM with gentle and considered nuance, eking out arcane hooks & rich melodies with a pleasing focus on compositional structure & songcraft. Contrast is the key here, though - and Utopia Cloak works hard to find the balance between metallic per-cussion strikes and wide-angle instrumental elements, avoiding chaos in favour of a lush, rewarding lis-tening experience. FUTURE.IS.LISTENING.MUSIC

Adam X returns to his imprint Sonic Groove with his first album in four years, a 56 minute excursion into EBM and Cyberdelic Industrial Techno titled RECON MISSION. The mission begins with beat driven hypnotic electronics that invoke paranormal illusions of Easter island mythology and Bermuda Triangle disappearances. Climbing forward the album crosses the line into harder industrial territories, conjuring visions of New York City's dystopian past and CIA shadow government experiments.

Adam's own voice adorns tracks such as "Never Ending Quest", "Modular Bodies" and the title track "Recon Mission", while manipulated dialogue samples take the stage on "Tales Of Mystery', 'Search & Retrieval' & 'Delusions Of Paranoia'. Subtle, whispered statements creep in and infect the listener's ear, guiding them deeper into mental oppression. This album is not for the faint of heart, and its meticulously detailed production stands as a testament to Adam X's enduring career in techno. Adam has survived the ups and downs of the industry while continually raising the bar for production value and sound design. RECON MISSION is a triumph, ahead of the curve of modern industrial techno. This is not a throwback, this is Future EBM.

Pleasure In Mind Records Presents It's First Vinyl Only Release. This Various Artists Includes Four Tracks By Different Producers And Aims To Showcase The Variety And Scope The Label Has Built Up Sonically. From A Housier Track By Argentinian Prodot, Going Through A More Tech And Minimalistic Groove By U Z Z V, Passing By An Experimental And Ambiental Cut By Duky To An Organic Breakbeat From Max Tolmachev & Dnlk, Pimrv001 Brings Together A Combination Of Sounds Ideal For Any Situation Or Setting.

In a time when Jazz music is entering a contemporary renaissance and exciting the ears and minds of new audiences, Zombie Zombie's Étienne Jaumet offers us his unique, idiosyncratic take on the sound with the sprawling '8 Regards Obliques', his 3rd solo album with the Versatile label.

Jazz requires a certain freedom of technique, interpretation and improvisation that already matches Jaumet's own production style and sonic aesthetic as well as his playful approach towards music. The eight pieces that make up the new LP were very quickly recorded; Jaumet let himself be carried away by the atmosphere without focusing too much on fine details or the laborious aspects of the composition process. The finished article is a spontaneous collection that stands out, a true mirror image of the creative process adopted by the artist. Not surprisingly, spontaneity is one of the characteristics already present in his music, in both his recorded output and his live happenings, where he leaves much room for freedom and improvisation.

'8 Regards Obliques' was recorded at the Versatile studio in less than 3 weeks with quite a basic set up: TR 808, selected synthesizers, vocals and of course the saxophone, which is a constant presence also in his previous albums. For the mix Etienne has again appealed to the maestro I:Cube, a central figure of the Versatile story and a prdigious engineer and artist in his own right. He immediately understood that it was necessary to keep the spontaneous side alive and to not over-produce the pieces or over-edit them, being constantly mindful to retain the power in the sound and in the frequencies. From Sun Ra with 'Nuclear war', Miles Davis in 'Shhh / Peaceful' or 'Theme from a symphony' by Ornette Coleman to 'Caravan' (already quoted by many jazzmen), Etienne enjoyed revisiting classic masterpieces and paying tribute to his inspirations. He allowed himself only one personal and original composition, 'Ma révélation mystique'.

New collaborative album from two of the world's most revered sound artists. 'At its best, William Basinski's music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.' Pitchfork // 'Awe-inspiring: strange, elemental, and profound.' AllMusic // For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that their first collaboration, Selva Oscura, was seeded. The phrase Selva Oscura draws its root from Dante's Inferno. Literally translated as 'twilight forest,' it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one's way in place and time. Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiselled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested place from which its title is drawn.

- Beautiful 1 LP Edition 140g Vinyl, Heavy 350gsm Sleeve, Sticker WRWTFWW Records is extremely excited to present the official reissue of cult album Lingua Franca-1 (originally released in 1983) by groundbreaking Kyoto band EP-4, available on vinyl housed in heavy 350gsm sleeve and digipack CD. Straight from the delirious minds of unconventional geniuses Kaoru Sato (who had previously released an album as R.N.A. Organism on legendary Osaka label Vanity Records) and Yuji 'Banana' Kawashima, Lingua Franca-1 is a seamless voyage of spellbinding mutant funk grooves, joyful post-punk explorations, synth fantasies, sexy distortions, and fluid cool-no-sweat vocals. Constantly mutating in an almost biological way (similarly to Colored Music's self-titled album), always mysterious and seductive, sometimes reminiscing of a freaky cross between PiL, Liquid Liquid, Bowie and Yello, EP-4's debut is hard to label, although 'Debonair Wave' could be a legitimate way to describe this Japan's best-kept-secret of an album. Defying the rules wasn't limited to sonic experimentations for band leader Kaoru Sato. To promote Lingua Franca-1, he and his crew plastered gigantic (illegal) billboards all over Shibuya and Harajuku, announcing performances in four different cities on odd hours of the same day (May 5th 1983). Other of his notable antics included originally sub-titling the album Death to the Emperor Showa causing a controversy (which led to censorship and a title-change), trying to release two albums on the same day without the concerned labels being aware of the plan or, in the R.N.A. Organism days, fooling Vanity Records into believing the demo he sent them came from a foreign band (it worked). Unique personality, unique music!

Hauke Freer flying solo on Pen & Paper 03 for the first time since his infamous XK XK. Well, not entirely, as austrian beatsmith Sam Irl took PART 1 on to his Studer Console, equipping the beautifully trippy composition with that exact ammount of sonic glitter and gold. On the B, Hauke drags us far out into an enchanting chord progression, as the seductive 4G demonstrates filigree elegance to an almost fragile degree - bewitching we say.

The debut release from US label Perpetual Rhythms comes in the shape of an EP of collaborations and single drops entitled Secret Elements. Firecracker boss Linkwood provides some extra Chi-Town edge to the sombre melodies and science fiction synths of Specter & Chicagodeep's "Sonic Pulse" on his opening edit, whilst Chicagodeep's "Restless Nights" generates a mix of spacey, laid back vibes. The bleepy pulses of Taelue's "Social Anxiety" sounds close to what an Aphex Twin and Jerome Sydenham & Kerri Chandler house collaboration would result in, while the single rimshots and wallowing pads of "Rough Access Point" give the track a distinctly lonesome ambience.

Shortly after releasing his highly acclaimed 'The Benoît Pioulard Listening Matter'(Kranky), Pioulard left on tour to Europe in order to promote the album. This tour took him to several distinctive places ranging from urban Brussels to rural France and the mystic capital city of Iceland, Reykjavik.

Once returned to Seattle, these new impressions and memories formed the inspiration to make 'Slow spark, soft spoke'. Not surprisingly, the album continues in the same vein as his tour cd 'Lignin Poise' - which was repressed on vinyl by Beacon Sound - and is characterized by slowly moving lo-fi ambient textures. The album reveals Pioulards most melancholic side and once again shows his capabilities to bring beautiful sonic narratives with only a few instrumental layers.

Body Music (Bosq and The Rapture's Vito Roccoforte) return with another dose of 21st century mutant-disco and nocturnal New York swagger. Following up on their lauded Just One EP (Razor 'n Tape), the new two-track 12" delivers on the epic stomp and punch of that debut with two instant classics.

A-side 'Don't Think Twice' is a tightly modern and muscular re-imagining of some long-lost Paradise Garage-era gem, replete with head-snapping claps, an expansive sonic palette and full strut groove.

While, low-slung flip-side 'Give My Love a Try' rolls on a flirtatious arpeggiated bass-line and gasps of steamy synths that make it the perfect vibe to open or close a party. Lending soulful and sultry vocals across both cuts is Christian Holiday.

Holiday darts in an off the slick synth stabs and bouncy live-drums of Don't Think Twice and reaches a yearning falsetto that draws out the romantic swoon of Give My Love a Try, helping elevate the scope and craft of both tracks.

Hooky and virulent, it's a venerated sound that fits seamlessly into sets of Arthur Russell, ESG and Liquid Liquid classics with a crisp and deep production that remains infectiously of the moment.

At parties from Brooklyn to Ibiza, this 12" will no doubt be a go-to slice of wax coaxing dancers to move a little closer all summer long.

AUDREY CHEN's long-awaited new solo album "Runt Vigor" is an adventurous sonic exploration of the voice, cello and analog electronics.

AUDREY CHEN began her relationship with sound through the cello and voice over 30 years ago and since the past 15 years, her predominant focus has been her solo work, joining together the extended and inherent vocabularies of the cello, voice and analog electronics.

More recently, she has begun to shift back towards the exploration of the voice as a primary instrument, delving even more deeply into her own version of narrative and non-linear storytelling. She derives her sound material in continuous process, championing the "in-between" and overlooked. Regardless of instrument, CHEN's mode of experimentation touches both the abstractly beautiful and the aggressively unsettling, creating a kind of curiously imagined architecture, non-prosaic song or ritual that reaches beyond gravity or language.

Recent projects, aside from performing solo, includeher long running voices duo with PHIL MINTON, duos HISS & VISCERA with modular synth player RICHARD SCOTT, BEAM SPLITTER with Norwegian trombonist HENRIK MUNKEBY NØRSTEBØ, and the "romantic noise duo" AFTERBURNER with DORON SADJA (electronics/light projection). Past projects include work with German conceptual artist JOHN BOCK, a duo with NYC abstract turntablist MARIA CHAVEZ, and a quartet with NATE WOOLEY, C. SPENCER YEH and TODD CARTER that released a LP on MONOTYPE. Hernew projects include a double duo/quartet with BEAM SPLITTER and STREIFENJUNKO's, EIVIND LØNNING and ESPEN REINERTSEN and MOPCUT with LUKAS KÖNIG and JULIEN DESPREZ.

At 83 Years Of Age, Lee Scratch Perry Is Proud To Present To The World His Next Full Length Solo Album (with Dub Versions) , Continuing His Inimitable Roots Reggae Legacy.

Lee's Brief For The Album, Was To Blend The Vintage And The Obscure, During The Sessions Lee Referred To The Sound And 'black' And Wanted Space, Light And Darkness In The Songs And Their Respective Dub Versions.

The Result Sees Lee Having Mixed Up An Analogue Concoction Of Ultra-rare Effects, Sonic Wizardry And Deep Heavy Roots Rhythms.

Over 2017 and 2018, Lee Scratch Perry re united with Producer and Mixer Daniel Boyle, to start work on their second Solo album project for Lee.

Picking up where their last efforts ''Back on the Controls'' left off. Lee wanted to continue the raw analogue sound they had cultivated together over multiple past releases, and take it to the next level with new effects devices to create another sonic signature.

They entered the studio in 2017, to begin to put together ideas for the tracks, which were then taken to RAK studios in London with their ever changing Rolling Lion All Stars session band; to lay down the rhythm versions.

Using strictly vintage analogue equipment, they employed Neuman valve and RCA Ribbon microphones, and RAK's early model vintage API desk to record, the 'sound' for the album was sculpted in these sessions. Vintage, but punchy, which was then blended with Lee's choice of super rare and custom analogue effects. Ursa Major Space Station and Stargate delays and reverbs, old choruses, Plate and spring reverbs, and tape delays were used to create a tight vintage feel but retaining the rawness of the 'Low Fi' roots sound Lee was aiming for.

With the music coming together, the vocal sessions were held in Abbey Road studio 3, again using vintage RCA ribbon mics, over driving their EMI TG console and Fairchild compressors to create a pleasantly distorted Lo Fi vocal sound.

Lee and Daniel then returned to Daniels Rolling Lion Studio, to mix and Dub the album, live, on the mixing console.

'Rolling Lion All Stars' Musicians: Vocals: Lee 'Scratch' Perry Drums: Ed West Bass & Guitar: Hughie Izachaar Keys: Robbie Lynn Additional Keys: Calvin Bennion Percussion: Daniel Boyle Kete Drum: Mathias Liengme Hurdy Gurdy: Brian McCoy Horn Section: Rory Sadler, Robert Landen Melodica: Puraman Backing Vocals :

Neneh Cherry returns with Four Tet-produced LP Broken Politics

Following the release of her first earth-quaking single in 4 years at the beginning of August, counter-culture pop icon Neneh Cherry announces her fifth solo album Broken Politics, produced in its entirety by Four Tet.

Continuing her blurring and conflation of the personal and the political, the second single Shot Gun Shack tackles the link between violence and deprivation using poetic logic. The track deals with the ever-present and always-global issue of gun violence in society. The track's name was the result of inspiration that sprung from a half-remembered conversation Cherry had at the funeral of late jazz great Ornette Coleman.

Broken Politics pointedly asks the question; how do we conduct ourselves in extraordinary times In an era where the signal-to-noise ratio is more uneven than ever, what are the measures we must take to retain and remember our own personhood It searches for answers, patiently and with great care, and with a fearlessness to acknowledge that sometimes the answers don't even exist. It's a record that's equal parts angry, thoughtful, melancholy, and emboldening, as Cherry and her collaborators continue to expand her ever-widening sonic palette to craft truly singular and potent music.

Produced by Jenn Wasner of Wye Oak. LP is on coloured coke bottle green vinyl + inclues download code and 12x12' lyric sheet/ liner note insert.

Madeline will be on tour throughout the UK and Europe this Autumn.

'Building from understated beauty to dense guitar theatrics. It reminds me of Chicago circa '93 as remembered in a dream — a little bit of Liz Phair 'Exile In Guyville' - rendered in soft-focus with the graceful confidence of a young master. ' STEREOGUM

In January of 2018, five months after the release of her debut album Night Night at the First Landing, Madeline Kenney traveled from Oakland, California to the woods outside of Durham, North Carolina to record her sophomore album with a new collaborator, Wye Oak's Jenn Wasner.

The choice was a conscious decision to explore new methodology in writing, recording, production and even genre. Perfect Shapes sees Kenney leaping headfirst into fresh and adventurous territory, largely eschewing conventional rock structures in favor of theme and melody. Its ten songs are full of surprises big and small - from vibrant synth lines to taut bass figures and subtly modulated vocals - that instead of feeling fussed over, reveal Kenney's penchant for elegant and abstract composition.

Kenney's 2017 debut, Night Night at the First Landing, was a guitar-centric rock album, produced by friend and collaborator Chaz Bear of Toro Y Moi, Perfect Shapes leans on the foundational pieces of Night Night - fuzzed-out guitar tones, coy wordplay and Kenney's notably strong voice - but with an unconventional approach that allows them to bloom, reincarnated. Perfect Shapes marks Wasner's first foray into producing another artist's work and is permeated by the pair's collaborative spirit. Both Wasner and Kenney play multiple instruments on the record, and engineered the session alongside Kenney's touring percussionist, Camille Lewis.

An eagerness to explore and experiment is apparent from start to finish, as Kenney and Wasner weave endless sonic curve balls into the arrangements. From the delightfully warped percussion on opening track 'Overhead' to the burbling synths on the R&B-tinted 'The Flavor of the Fruit Tree' and the left-field trumpet solo in 'Your Art,' these rich and inventive ideas echo Yo La Tengo's everything-but-the-kitchen-sink mentality, as well as the surging soundscapes of Tame Impala and Wye Oak at their most impressionistic. Lead single "Cut Me Off" is a surprise of its own - the most pop-forward song Kenney has written yet. 'Bad Idea,' finds her balancing fragility as foil; later, 'I Went Home' manages to evoke both frustration and affection in a single breath.

The complex and open-ended questions that lay at the core of Perfect Shapes mark Kenney's arrival into a hard-hitting reflective space: How do you love another when it hurts to do so What is the physical limit to which one can carry the emotions of others How does a modern female artist reckon with the expectations demanded of her femininity Yet for all the notes of doubt and fear that Kenney raises, she delivers each song with confidence and poise, grounded by the pointedly laid and surging soundscape.

Kenney has always had a penchant for curiosity and experimentation. Raised in the Pacific Northwest, she began studying classical piano and dance in kindergarten, and grew to believe her future lay in modern dance choreography. Not one to be tied to a singular pursuit, however, Kenney took a hard left in college, studying Interpersonal Neurobiology and supporting herself with a career in baking. Music remained a constant however, and after moving to the Bay Area in 2013, Kenney quickly found footing in the supportive arts community in Oakland. There, she met and began collaborating with Chaz Bear (Toro Y Moi), which led to the production of her Signals EP and later her debut album, Night Night at the First Landing. Both releases were received with great critical acclaim, and saw Kenney exploring the sounds within her self-proclaimed twang-haze genre, defined by cathartic fuzz breakdowns and lyrical sensitivity.

Two new tracks from this ongoing project featuring members of Coil, Wire and Tomaga. The flirtation with a head expanding motorik music as hinted at on their debut self-titled double album is given the space requiredto unfold on this new EP. Electric Blanket chugs along with perpetual percussion, blankets of feedback and state of the art electronics all embedded with a spectral melody that encircles proceedings as all sonic proceedings veer out further into more mystical ambient planes. On the flip Nice Setting places a strange short spoken narrative at the centre of a shifting sonic landscape of skittering electronic debris and a deep shifting sea of sound. A vibraphone holds proceedings together before once again we head out into the glorious cosmic ether. UUUU are an outfit unashamedly embracing the fantastic - audio as a tool for an unlimited imagination.

Terence Fixmer's path through the changing techno landscape of the past 20 years has been anything but direct. Indeed, the French born producer, musician and Planete Rouge label founder has long been influenced by the periphery of continental European dance music subgenres from electronic body music, new beat and acid, before combining them into his own pioneering hybrid of futuristic, EBM-inflected techno with classic releases such as 2001's Muscle Machine or the collaborative Between The Devil LP with Nitzer Ebb's Douglas McCarthy as Fixmer/McCarthy. While the sound in recent years has been rediscovered and recast in diverse contexts by a new generation of producers, Through The Cortex sees Fixmer gravitating toward a different kind of industrial-tinged electronics, led as much (or more) by analogue sequencers, melodies and ultra-saturated sounds of synthesizers than drums and percussion. Across eight tracks at a compact but varied 40 minutes, the LP touches on an aesthetic hinted at in recent Ostgut Ton releases (2016's Beneath The Skin EP and 2017's Force EP), revealing a sonic narrative through noisy, screaming synth/vocal riffs with a jagged, guitar- like post-punk sensibility. Through The Cortex is techno with a voice - or rather multiple voices - guiding listeners through hypnotic, space- and social-themed terrain as a kind of dark soundtrack to darker days. The result ranges from the slow John Carpenter-inspired Escape From Precinct 13 funk of 'Expedition' and the patient yet muscular stomp of 'Fury' to the mesmerizing Suicide-like pop of single 'Accelerate', where Fixmer, using his voice as an instrument, chants the track's ambiguous title in an invocation of systemic change/collapse. Elsewhere, the story is told with more abstract and wailing vocals like on 'Shout in A Black Hole', or in the warm, entrancing chords floating across the stereo image in ostensibly changing time-signatures on 'A Halo Somewhere' - the LP's uncharacteristically kosmische musik come-down. The track, and Through The Cortex as a whole, reflect what can be described as Fixmer's idiosyncratic take on both techno subgenres as well as the larger pool of electronic music in general. This broad approach translates into a sound that is not only difficult to pin down, but also one that lends itself to multiple listens.

With its lush live string and horn section, Can't Stop Loving You when originally released in 1990 was an immediate favorite in the UK, and represented famed House Producer Marshall Jefferson's movement toward utilizing live instrumentation in his productions. The track was released right around the time the Kiss FM London launched as a legal radio station, and Richard was support talent at the radio station launch party in Hyde Park London that was headlined by fellow Chicagoans Ten City.

The track also represented one of the last releases on the relaunched Sam Records imprint, before Michael Weiss ceased releasing new titles on Sam and started Nervous Records.

Krystal Klear has shown a unique ability to recognize sonic elements trends from past eras, and re-shape them to work for today's club crowds. With his two versions, he has done a masterful job remixing this early 90's dance classic.

Pyramids. Jagged Teeth Pushing Through Immaculate Skies. The Ever-changing Light. The Expansive Sense Of Freedom. The Wide Open Spaces. The Textured Landscape Seen From Above. Mountains. Watchful And Immobile For Thousands Of Years, Weathering Seasons, Transcending Change.
It's December 2016. I've Left The London Madness To Hit The Reset Button And Compose New Music In A Tiny Village In The Swiss Alps. I'm Over 10,000 Feet High, It's Minus 15 Degrees And The Snow Is Scintillating Under A Rich Blue Sky. I Turn Around And Suddenly This Gigantic Pyramid-shaped Peak Is Towering Over Me, Staring Me In The Face. Mind Blown. Senses Overwhelmed. Perspective. Lightbulb Moment. I Have My Album Concept.
I Wanted To Put Into Sound My Cathartic Experiences Of The Mountains. Every Track Title Was Chosen Before Composing. The Title Would Be A Catalyst For Visual Memories, Narrative And Overall Vibes. I Continued Developing The Tracks On Occasional Trips To Switzerland, But Mainly Back In The Gritty Habitat Of London's Hackney Wick. The Urban-nature Contrast Had An Impact On The Music Too.
I Use A Lot Of Found Sound, Stuff I Have Collected Over The Years, And A Lot Of Resampled Guitar Sounds And Textures. I Love Imperfections In Sound. Detuned Synths. Distortions And Glitches. Rhythmic Flutters And Percussive Frenzy. 'manual' Cut-ups. I Love Moving To House And Disco And Getting Lost In The More Melodic Side Of Techno. I Love Polyrhythms And Melodic Counterpoints. I Love The Energy And Rawness Of A Live Rock Band. I Channel All This To Create My Own Sonic Palette.

Artwork By Jimmy Turrell, Graphic Artist And Video Director Who Combines A Love Of Handmade Collage, Drawing, Screen Printing And Painting Alongside Digital Techniques. He Has Worked For Universal Music, Nike, Lexus, Levis, Mtv, The New Yorker, Intro, Capitol Records, The New York Times, Green Peace, Beck, The Prodigy/xl Recordings, Channel 4, The Guardian, Gq, The Times, La Times, Newsweek, Getty Images, Adidas, Sony Music, New York Magazine, Wired, Glastonbury Festival, And Vanity Fair Amongst Others.

The Debut Album 'pyramids' Comes Out Worldwide On Limited Double, Green Vinyl (including Download Code).

Editions Mego is proud to present the first outing from the legendaryEnglish musician, songwriter, composer and producer Simon FisherTurner alongside the highly acclaimed emerging Swedish sound artist KlaraLewis.
Care is a unique outing rife with delicious dichotomy. The openingtrack positions the aggressive directly against more fragile moments.On the subsequent track medieval melodies sprout from a dense rhythmichiss. Witness a Middle Eastern song appearing amongst a hauntedrattling reverb in the epic 'Tank' whilst a beautiful force of hope can befound within the sound world of the the closing track 'Mend'.
The wide scope of references and constant pull of forces make thisdebut offering a timeless patchwork of sonic spaces. Care is an albumwhich sways in such a salubrious manner one can't help but delight inits unique form of location/disorientation.

After years of working as a graphic artist, designer, and creative director, Pilar Zeta will release her debut album Moments of Reality on Ultramajic Records on October 5th, 2018.

Inspired by Japanese post-modern art from the 1980s and produced using synthesizers from the 1990s, the new age album of nine electronic pieces is ambient and cinematic with an off-world feeling.

Her sound draws on the style of bands like Art of Noise and Steve Roach that she was exposed to early in her life and evokes the work of Yasuaki Shimizu, Yello, and Laurie Anderson. Each of the nine tracks will feature a cover with different objects in absurdist settings. Much the same way Zetas visuals seem to be artifacts from a parallel universe, Zetas ethereal and melodic compositions sound like a coded language transmitting from a neighboring galaxy.

I feel privileged to be able to translate my visual world into sound, the unknown was the most fun and fascinating aspect of it

Fueled by a lifelong love of the paranormal, Zetas metaphysical iconography and music exist in futuristic, surreal, and elegant spaces. Her visual and sonic works function as a form of practical magic in a machine-centric world, connecting different mediums through a singular, transcendent vision.

Focusing on low-slung IDM, Acid and atmospheric Electro with nods to Krautrock & Ambient sounds, Steve Hyland's ATTRAKTTA project gets an extended outing on the FILM label. Across eight beautifully produced tracks, Hyland - one of the founding members of AI Records and subsequently Concrete Plastic, explores vibrant synthesis and intricate drum programming, with the music arriving at a sweet spot between home listening material & club-ready workouts for more intelligent dance floors.

Eschewing straightforward synth sequences in favour of blissed out - almost disharmonious sonics, Hyland transmits a curious psychedelia on his debut LP. Sounds pitch and warp organically, buoyed up by saturated low end and punchy drum machine percussion. There remains a decidedly accomplished precision to the work, though - with the music bearing all the hallmarks of an artist of some considerable experience - testament to the British producer & label head's 19 years working in the industry.

A colourful, exquisitely composed LP that riffs on a timeless production aesthetic with considerable style, Echo Principle is a fantastic entry into the FILM Records discography.

After a string of acclaimed EPs on Heist, Dirt Crew and Quartet Series, Amsterdam's Nachtbraker presents 'When You Find a Stranger in the Alps', his first longplayer on his own Quartet Series imprint. The good-humoured Dutchman - tongue always firmly in cheek - has always refused to stick to the 'sound du jour' and the industry's conventions, following his own path instead, continually willing to step out of his comfort zone. 'When You Find a Stranger in the Alps', a nod to his favourite Coen Brothers' movie, is testament to Nachtbraker's studio prowess and drive to explore new sonic pastures and styles. The album consists of thirteen tracks, made over the course of 2,5 years in his studio at Volkshotel Amsterdam. Constantly shifting through different settings and moods, the album feels like a deep dream, with vivid details, blurry edges and a warped sense of time. The word 'stranger' in the title references to this dream state in which you sometimes can be a stranger to yourself. Album opener 'The Dream Sequence' sets the mood with a lo-slung hip-house groove that relies heavily on field recordings, like the sound of one of the capital's trams. 'Flambo', a delectable slice of up-tempo French filtered house, is aimed straight at the dance floor. Nachtbraker dims the lights on 'NSFW', cleverly manipulating samples from adult oriented flicks, and turns in a hilarious skit with 'LOL'. Flip over for 'Randy', a quintessential Nac

All I Need Is A 15-minute Electronic Jam Produced By Dion Monti And Is Accompanied By The Vocals (lead And Loops) Of South African Artist Nonku Phiri. Created In 2015 In Their Johannesburg Studio, This Recording Depicts The Beginning Of Their Sonic Journey And A Development Of Their Joint Sound. The Track Evolves From A Very Subtle Beginning Towards An Emotional Climax Whilst Referring To Lyrics Of Radiohead's 'all I Need' And 'ideotheque'.
For This Release, They Are Joined By South African Producer Jakinda & Cologne's Christian S (cómeme). Jakinda Forms Half Of The Duo Stiff Pap And Describes His Sound As Afro-future Electronica, A Sound Containing Elements Of Gqom, Tribal-house, Ethiopian Electronica And Kasi-tech. Christian S Makes Use Of His Distinguishable Style And Creates The Most Abstracted Version Of This Track, Not Scared To Heavily Cut Up The Vocals And Apply His Pitched Drums. In Addition, The Release Is Hand-stamped With A Drawing By Nonku.

An Invitation To Disappear is the debut LP by British electronic musician Inland aka Ed Davenport - and his first release for A-TON. Based on his soundtrack for a video installation by conceptual artist Julian Charrière, Davenport has recast the material and field recordings into eight tracks of rhythmically intricate electronics and spectral, ambient techno, inspired by Charrière's visually striking, 76-minute tracking shot through a palm plantation toward a totemic soundsystem on full blast.
Both the album and original soundtrack were created in response to the 200th anniversary of the eruption of Indonesia's Tambora volcano in 1815, which plunged the world into darkness and caused a series of extreme weather conditions. At the time, the natural climate change crisis resulted in numerous global famines and is known throughout the northern hemisphere as 'The Year Without Summer', with global communities forced to adapt to sudden radical changes in temperature and weather.
An Invitation To Disappear offers a contemporary parallel, leading viewers - and listeners - down a seemingly endless direct path of gridded palms from dawn to dusk; a bio-commercial monoculture where ancient jungle once flourished. Light flickers between rows of fruit-laden trees and a distant fire burns in the undergrowth where the border between natural image and computer simulation breaks down. At the same time, formerly incoherent rumblings of sub-frequencies begin to transform into the contours of rhythm. This is reflected sonically in eight perspectives on the lush, synthetic jungle, made of myriad buzzing fauna, morphing melody and colossal bassweight. All paths lead toward an apocalyptic dancefloor, though speeds vary widely; rhythms dissolve from straight to broken, synth tempos operate by their own internal clocks (and logic). Juxtaposing industrial agriculture with rave culture, the album explores the industrialization and refinement of nature, and the new strange forms emerging from the synthetic grids of both.
As Inland, Davenport has previously contributed soundtracks to other installations by the Swiss-born Charrière, whose artistic practice focuses on bridging environmental science and cultural history, often taking place in remote geophysical locations, including ice fields, volcanos and radioactive sites.
Julian Charrière is a French-Swiss artist based in Berlin. A former student of Olafur Eliasson at the Institut für Raumexperimente, Charrière's art explores post-romantic constructions of nature, staging tensions between deep or geological timescales and those relating to mankind. His work has previously been shown across the globe, including at the main exhibition of the Venice Biennale in 2017, a solo show at Kunsthalle Mainz this past Spring and an upcoming solo show at the Berlinische Galerie opening September 26.
Inland (real name Ed Davenport) is a British producer, DJ and founder of Counterchange Records based in Berlin. Known for his detailed and explorative house and techno releases on his own label, Infrastructure, Naïf and more, Davenport has recently gravitated toward the contemporary art world, finding inspiration in the cross-pollination between Berlin's art and music scenes. Previous sound design collaborations with Charrière have been exhibited in institutions such as the Musée des Beaux-Arts de Lausanne in 2014 and Thyssen- Bornemisza Contemporary in Vienna in 2017.
The gallery version of An Invitation To Disappear premiered this past April at the Kunsthalle Mainz and will be on display at the Berlinische Galerie as part of Charrière's solo exhibition As We Used to Float, opening September 26, 2018. The LP will premier live together with the video installation during a special presentation in Berghain the same day for Berlin Art Week.

Since the late 80s, Mudhoney - the Seattle-based foursome
whose muck-crusted version of rock, shot through with caustic
wit and battened down by a ferocious low end - has been a
high-pH tonic against the ludicrous and the insipid. Thirty years
later, the world is experiencing a particularly high-water
moment for both those ideals. Just in time, vocalist Mark Arm,
guitarist Steve Turner, bassist Guy Maddison and drummer Dan
Peters are back with 'Digital Garbage', a barbed-wire-trimmed
collection of sonic brickbats.
Arm's raw yawp and his bandmates' long-honed chemistry
make 'Digital Garbage' an ideal release valve for the 2018
pressure cooker. 'My sense of humor is dark, and these are
dark times,' says Arm. 'I suppose it's only getting darker.'
'I would've really just loved to write songs about just hanging
out on the beach, and going on a nice vacation,' says Arm.
'But, you know, that probably doesn't make for great rock.'
Mudhoney, however, know what does make great rock - and
the riffs and fury of 'Digital Garbage' will stand the test of time,
even if the particulars fade away. 'I've tried to keep things
somewhat universal, so that this album doesn't just seem like
of this time - hopefully some of this stuff will go away,' Arm
laughs. 'You don't want to say in the future, 'Hey, those lyrics
are still relevant. Great!''
Mudhoney will be touring Europe in 2018.
CD in die-cut gatefold digipak with custom dust sleeve. LP in
die-cut gatefold jacket with custom dust sleeve and digital
download coupon. Cassette in four-panel J-card in clear case.
Digital download album.

Second instalment of Mecanica Records compilation focused to obscure techno/EBM/electro. A selection of new and unreleased tracks by six projects from different latitudes. The opening track is a collaboration between Dmitry Distant (Latvia) and Gestalt (Russia) with a dark electro tune that works perfect as warm-up. Deep Pill (USA) offers a versatile technoid tune and Blac Kolor (Germany) closes the A side with a hard and hypnotic piece. Viktor Kalima (Finland) opens the B side with a body music attack, followed by Santiago (USA) with four minutes of pure psychosis and dementia, and Rendered, the duo formed by Daniel Myer (Germany) and Clément Perez (France), closes this sonic trip with a strong and massive cut that will leave you attached to a never ending loop in your head.

By track two we've already blitzed Cutty Ranks samples via Dawn Of The Dead chatter through Street Fighter vamps and Pulse X resurrection subs. All you can do with Mars89's mesh of gutter sonics is pick out the landmarks you recognise: 'oh yeah that's kinda drill, mmmm gqom, oooo Night Slugs' but like the best hallucinations you just shut your eyes and ride it.End of The Deathsounds like it comes from no place in particular.

Slotting way outside of the current batch of hard-to-describe club music that we're all struggling with, End of The Deathis the Tokyo native's third release, his 2nd for Bokeh (after 2017's Lucid DreamEP) and his first official appearance on wax (after a run of 30 'Biological Tides'/'Poltergeist' dubplates). Bokeh pays full respect to Mars89's futuristic intent with a bad acid Akira sleeve airbrushed by Patrick Savile and a limited VR headset edition - accompanied by a 360° video environment by Seth de Silva.

Bokeh Edwards and Mars89 met at the Bokeh Versions x Diskotopia night in Tangram hairdressers, Tokyo (sponsored by Pioneer) in October 2016. He's a crucial member of the Tokyo's Chopstick Killahz, a self-described "Post Tribal DJ Unit" lurking on the fringes of the city's grime scene. Mars89's self released his debut EP East End Chaos in 2016 on a limited run of zines. He's also recently composed music for Amazon Fashion Week Tokyo 2017A/W and started a residency at Bristol's Noods Radio to highlight DJ and production talent elsewhere in Asia.

Cassegrain announce collaborative EP. The Berlin based duo of Alex Tsiridis & Hüseyin Evirgen will release new work recorded alongside DJ Nobu, Tensal & Lady Starlight via their own Arcing Seas imprint in September. Leaning towards the more heady, high octane end of the genre - the three track EP showcases the duo's natural affinity for collaboration, maintaining Evirgen & Tsiridis' characteristic finish and atten-tion to detail, whilst providing ample space for the guests to properly colour the work. CT01, alongside Tensal, marries caustic drones with a potent lead sequence to produce a perfect peak time roller; whilst CN01, with DJ Nobu, riffs on a more melodic, stepping approach - maintaining that same rousing energy, but with a more psychedelic bent. CLS01, the duo's collaboration with La-dy Starlight comes in at almost 11 minutes, an ambient Techno journey that warps and shifts organi-cally across it's extended run time - complete with beat-less intro and multiple segues that work to bind the piece and it's different sections into one, cohesive narrative. Effective and impeccably produced - but with a keen ear for new & exciting sonics within the genre - this first collaborative outing proves an enviable addition to the duo's already impressive discogra-phy.

Transmission incoming from Mr. Incognito's secret lab. Rat Life presents eight psycho acoustic models made by the low key East German producer. You probably never heard of him, but he is doing this thing since half an eternity. Rather than playing a lot of shows he focuses on studying the craft of electronic sound manipulation and what else can be said that: he is on top of his game! He shows us that it is still possible to create sonic structures that are beyond the usual by just using classic devices such as the TR 808 rhythm composer and a TB 303 monophonic synthesizer. Next level funk composing at various tempi!

On her debut EP, Brussels-based multi-instrumentalist Esinam gives us an entrancing insight into her eclectic world of jazztronica.

Released 21st September via Sdban Ultra, her self-titled EP carries influences from different worlds geographically, culturally and musically. Blending traditional and modern instruments with her soulful voice, the acoustic sounds of the instruments are allowed to evolve and take on new dimensions, opening up a kaleidoscopic spectrum of sound and colour.

Esinam Dogbatse is part of a new generation of musicians bringing forth a cultural blend of music. Having opened for the likes of Nakhane and Témé Tan at Les Nuits earlier this year, Belgian rapper Baloji invited her to guest on his latest critically acclaimed album '137 Avenue Kaniama'. She has also supported Alsarah & The Nubatones, Selah Sue and Melanie De Biasio on her sold-out shows at Ancienne Belgique.

For the recording of the EP, Esinam joined forces with Jules Fradet from Studio Planet (Damso, Afrikan Prötökol). Producing and playing most of the instruments herself, the EP was mastered by LA-based producer Kelly Hibbert aka Almachrome (J Dilla, Madlib, Little Dragon, Flying Lotus, Ebo Taylor, Mark de Clive-Lowe and Arca).

Lead track 'Birds Fly Under a Heavy Sky' is a mesmerising opener that smoulders effortlessly against a backdrop of subtle beats and sensual rhythms, with Esinam's soft vocals and hypnotic flute providing the groove.

On 'Do Not Go Into That Black Night', she is dark and direct. It's a magnetic take on jazz noire that doesn't distract from the sultry inflections of her voice, while 'Gavoé' recalls the spirit of her Ghanaian roots in a ballet of instruments that display a level of personal freedom and sensitivity. Through merging different genres of music, we are warmly welcomed into Esinam's musical universe.

Esinam teamed up with Senegalese DJ and producer Ibaaku on the highly charged 'Electric Lady', who provided some distinctive musical hues. A track drenched in afro-futurist colours, sonic samples and collages freely mix with electric and raw sounds, supporting the energetic playing of the flute. The structure of the song remains true to Esinam's signature sounds: surprising ruptures, poetic atmospheres and constant affirmation of groove.

When Esinam performs live, she juggles traditional instruments such as the tama, kalimba and pandeiro, which she loops and blends with the sound of her flute and voice. It sometimes triggers dance, sometimes contemplation

You May Not Have Heard The Name Jackson Almond Before, But You Will Have Likely Heard Some Of His Music. Having Released On Wotnot Back In 2013 Under The Name Real, With A Flurry Of Eps, Remixes And Bootlegs Under This Name And As Part Of Duo Boean (on Bbe, Warner, Xvi & Slowfoot Among Others), Jackson Has Been Delighting Ears For A While Now, With A Particular Knack For Balancing Hooks And Earworms With Original Ideas And Creative Production.

This Ep Began Life As A Series Of Headphone Jams Written When Jackson Was Living Outside Of The City In Self-imposed Exile, Tuning Into The Goings On In Dance Music From An External Position. It Was Then Polished Into Dancefloor Gems At The Wotnot Studio At The Total Refreshment Centre. The Music Reflects This, With The Sonic Palette Reflecting Lo-fi And Outsider House, But With A Warmth, Depth And Musicality Specific To His Own Personal Situation.

The Music Embodies The Hook Of The Title Track - Open Your Head - A Mix Of Influences And Sounds From World, Soul, Jazz, House And Techno Sources. In Oyh, A Child's Voice Floats Over Percussive Drum And Mbira Layers With African Flavours, While Soulful Guitar Stabs Widen The Palette. Ee Ye Follows A Similar Idea With Overseas Sounds Opening To Infectious House Organ Stabs. People, Places, Things In Spaces Is An Immersive Roller With Warming Wurlitzer Chords Providing An Almost Gospel-like Inflection.

The Attention To Detail Throughout The Ep Is Astonishing, The Best Example Being The Arrangement Of Our Personal Favourite Common, With The Irresistible Chord Progression Working Its Way Around Instruments, Patiently Building To Hit Its Peak Halfway Through The Track For The Ultimate Screwface Moment.

Ultimately This Rebirth Of Jackson Almond Sits Nicely With A Label Finding Their Stride Again, With Widely-praised Releases From Danvers And K15 Already This Year, Wotnot Are Staking Their Claim On People's Ears Once Again.

Early Dj Support:
Atjazz, Jimpster, Dave Harvey Futureboogie, &me, Robert Luis (tru Thoughts), Severino Panzetta (horsemeat Disco)

"The Room", Fenster's fourth album and their first release on Altin Village & Mine marks the beginning of a new chapter for the band. After releasing three albums, a feature length film, and touring extensively throughout Europe and North America since 2012, "The Room" serves as an entry point into their sonic evolution. The essential characteristic of the band is transformation - within and between genres, albums, and songs. Their sound is a window framing psychedelic, groovy, hypnogogic, playful pop.

Fenster is Elias Hock (Germany), Jonathan Jarzyna (Germany), Lucas Ufo (France) and JJ Weihl (USA). Their mission in creating this album was to compose and arrange every song together in a room. It is an experiment in collective creativity that pushed all of them to transcend their individuality and create something together which is greater than the sum of its parts.

The songs were tracked live in a house where the band ate, slept, and played together. Often the songs were recorded without implementing a click track. They were intent on finding and locking into a human groove—one open to imperfection—while still maintaining a tightness between them. They wanted to make the songs feel alive—as if the listener were present in the room with them in the moment of creation.

The album's title track "The Room" opens the record like a rollercoaster ride. There is a tension in the first bars that ties us to earth, a minimal riff that guides us to the first chorus where we feel we are slowly lifting into the air—and by the time we reach the second chorus it has exploded into a space far away from the planet's gravitational pull.

The band's use of juxtaposition is not just a way of channeling a vast library of musical genres and concepts, it is a means of expression. Combining tender pop melodies with kraut-beats, disco grooves and psychedelia frees the band from any one sound and creates a genre all its own.

This playfulness is especially vibrant in songs like "Rhythm A" and "HAHA lol" which deconstruct and fuse together disparate moments of explosive rock, tender harmonies, percussion made of splashing water, voices from a radio, and electric piano. Even "Feel Better", a sparkly pop ballad is cracked wide open by a long trippy interlude that appears unexpectedly within an otherwise classic structure.

The cover art, created by the band's own Lucas Ufo, invites us into a room in the shape of a human skull. If one looks "out" the window in the picture, one finds oneself looking in to an infinite portal of rooms within rooms. The record plays a lot with this idea of perception. In "HBW", the relationship between the bass and the drums creates the feeling of an infinity loop. The lyrics lend an enigmatic tint to the landscape of so called objective reality v. perceived reality: "I was a phase — you were going through — said I was the one but there is no one — there's only the sun — that gives shape to the moon"

The record starts with "The Room" and ends with "Two Doors". Maybe one door is an exit, and one leads to another room... who knows The song has something mysterious and expansive, like a digital ocean flooding the room, carrying everything away. The whole process of making a record is about capturing a moment in time. This is the record they made - in this point in time, all together, in a room. The last words of the record roll out with the waves: "What you leave behind for someone else to find — Two doors inside — neither one is right"

Tracklisting

Takashi Kokubo - A Dream Sails Out To Sea (get At The Wave) (lagrec003)
Recorded In 1987 As Promotion For A Luxury Air Conditioning Line, Takashi Kokubo's Balearic Gem A Dream Sails Out To Sea Gets First Ever Official Release From Lag Records, Complete With Previously Unheard Music.

Originally Only Available As A Sought-after Promo By The Name Of Get At The Wave, Takashi Kokubo's Mini-masterpiece Of Halcyon Mastery Finally Re-emerges For The First Time Since 1987 With A Remastered Vinyl Edition Courtesy Of Uk Label Lag Records.

A Dream Sails Out To Sea (get At The Wave) Comes Not Only With A New Title, But Also A Brand New B-side As Taken From Get At The Wave's Original Recording Sessions. Never-before Released, The Epic Ocean Breeze Makes The Perfect Companion For The Sonic World Kokubo Created With His Original Release, Imbued As It Is With The Same Serene Sense Of Understated Beauty.

The Original Story Of A Dream Sails Out To Sea Is As Interesting As Kokubo's Own Backstory As A Musician And Sound Artist. Originally Composed To 'soundtrack' A High-end Air Conditioning Line From Japanese Electronic Giant Sanyo, The Album Was Meant To Transport The Consumer Into A Paradise Far Away From The Heat And Hurry Of Urban Life. One Listen To Something As Splendorous As Underwater Dreaming, And It's Mission Accomplished.

Takashi Kokubo Meanwhile Is A Musician Whose Work, Without Many Knowing It, Has Perhaps Touched The Most Lives In Japan. Composer Of Environmental Music Such As Nationwide Phone Alerts To Warn Of Oncoming Earthquakes, And The Fruitful Jingle Of A Standard Contactless Payment, Kokubo's Oeuvre Also Includes Anime Soundtracks And Works In The Avant Garde Realm.

It Is With Kokubo's Blessing And Original Masters That The Lag Records Release Has Been Made Possible, With A Remastering Courtesy Of Jerome Schmitt At The Airlab. A Dream Sails Out To Sea (get At The Wave) Also Comes With New Artwork By Ella Mclean In A Standard Sleeve On Clear Blue Vinyl Lp.

SEPT 2016. The Moog Sound Lab's first trip out for a live session at Café Oto's project & café rooms. Jimi Tenor, finnish futurist, shako & Warp Records confederate, jazzed, funked, far-ra'd out. Tony Allen - original drummer to Fela Kuti - Godfather of the Afro-Beat.

These two titans of the beat strange -fed & watered through the mighty Moog Sound Lab via a prototype future sound

systems drum trigger unit built & operated by UK moog minder engineer Mr Finlay Shakespeare. New sound universes emerge, collide.

Explosions & implosions make sonic debris. Cosmic dancers prepare to be run ragged by a feral 'tronic funk that brings to mind early 'D.A.F.

GIULIO ALDINUCCI is an Italian sound artist working in the fields of experimental electroacoustic music, field recording and ambient soundscape. Born 1981 in Siena, his catalogue comprises four solo albums on labels like DRONARIVM (CHIHEI HATAKEYAMA, AIDAN BAKER),TIME RELEASED SOUND or HOME NORMAL plus EPs and collaborative albums (a.o. with PLEQ). Furthermore , he wrote music for theatre, video art, documentaries and short movies and was awarded with an honourable mention at the 18th International Electroacoustic Composition Competition Música Viva 2017 for his composition "Mute Sirens". Together with ATTILIO NOVELLINO, ALDINUCCI launched the project "Postcards From Italy" which consists of an album published by OAK EDITIONS, live events (the first one took place at Cafe OTO, London) and an installation by AIPS collective & GIANMARCO DEL RE.
"Borders And Ruins", his first album for KARLRECORDS, is a reflection on the instability of borders - borders as an extreme attempt to discriminate and rationalize that turns into a source of chaos and cultural ruins on both sides - and their impact on the relationship between people and territory. It is also a sonic diary: a constantly mutating soundscape where electronic sounds and field recordings (taken during several travels around the continent) blend into an ambient masterpiece of sublime beauty and sacral majesty.

Mastered by Alexandr Vatagin
Vinyl cut by Rashad Becker at D&M, Berlin
Artwork by Joe Gilmore