Cerca:repeat repeat

Westcoast Goddess first came to our attention at the end of 2018 following his debut release on Canadian label Heart To Heart, but his productions actually date right back to ’93 (under various different guises) when he first began making music with his trusty Roland DR550 and Kawai K1. With a fresh and distinctive sound, WG successfully fused soulful touches and late 80’s-era digital synths with raw, punchy grooves and a euphoric, ravey atmosphere. Since then, the Berlin-based producer has built a solid following amongst underground house heads with subsequent releases dropping on esteemed labels such as Omena, Slam City Jams and Let’s Play House.

Opening up the EP we have Step Inline (The Narcotic Soul), which is a piano driven, uplifting slice of house heaven. A simple repeating 2 bar chord pattern lays down the foundation for soaring strings, cascading chimes and seductive echoing vocal hook.

Next up we have The Devil In Mr Holmes (The Erotic Soul) which once again goes heavy on the piano stabs but this time developing the arrangement into something that feels more like an instrumental dub of a long lost Prelude release. Crystalline synth lines come and go, whilst electronic tom hits add pace and energy to the unrelenting house groove.

Flipping over we have the epic I Might Be Ok (The Faithful Soul) coming in at over 9 minutes and being all the better for it. A dirty Moog bassline leads the charge with beautiful synth lines layering up on top, creating a blissed-out vibe which can’t fail to lift your spirits.

Recumbent Speech, Ezra Feinberg’s second album, opens with a lament. Named for the Robert Frost poem, “Acquainted with the Night” was written during one of the many devastating spectacles of injustice under our current regime. Repeating flutes and synths beam out of a low-end darkness, reflecting a collective sense of loss and alienation. Rising slowly, thickening with guitars and strings, “Acquainted with the Night” lifts off, and so too does the album from there. The second track, “Letter to my Mind,'' features the dynamic interplay of Feinberg's guitar with the loose and playful drumming of Tortoise's John McEntire, both pushing and pulling atop a looping bass figure. "Palms Up" begins with a lockstep pulse recalling early Terry Riley before jumping into an Ashra-like jam with Afrobeat accents. Side B opens with "Ovation," a tryptic with McEntire on drums which sets a wide lens onto a sweeping landscape, with soaring flutes, wordless vocals, and a hypnotic bassline played on a humming fretless that recalls classic ECM jazz-fusion. The piece plunges into an ambient, interior space before reemerging with a guitar solo fried through an old Space Echo effects processor, conjuring lidded Pompeii-era Pink Floyd. The album's title-track finale, "Recumbent Speech," features the magical pedal steel of Chuck Johnson. Unwinding atop a Balearic analog synth pattern, Feinberg stretches textures of Fender Rhodes and acoustic guitar around Johnson’s lyrical steel, with nods to Japanese ambient legend Hiroshi Yoshimura, as well as Cluster & Eno. Recumbent Speech refers to the possibilities, pleasures, fears, and fantasies that occur the moment the noise dies down, when we are recumbent, in repose but still awake, still speaking, and still aware of ourselves as part of the maddening world. Ezra Feinberg is a guitarist, composer, and psychoanalyst living in Jackson Heights, NY. Feinberg was the founding member of the San Francisco psychedelic rock collective Citay, releasing albums on Important Records and Dead Oceans throughout the 2000s. After relocating to NYC, he issued his first solo record, Pentimento and Others, on his imprint Related States and on cassette on Stimulus Progression in 2018. The release, his first since Citay folded in 2012, earned praise from numerous music outlets including Paste Magazine, The Wire, Stereogum, Vice, and Aquarium Drunkard. In recent years, Feinberg has performed and toured near and far with Jefre Cantu-Ledesma, Steve Gunn, Alexander Turnquist, Cruel Diagonals, Daniel Carter, Jonas Reinhardt, Christopher Tignor, Kath Bloom, Robbie Lee, High Aura’d, Glasser, Ava Mendoza, Buck Curran, Real Estate, and many others, and has ongoing studio collaborations with Jefre Cantu-Ledesma and Arp, contributing both guitar and songwriting to the last Arp album Zebra.

2017 release available again soon, first time through us, last copies. After numerous productions with Xatar, Haftbefehl, Plusmacher, Schwesta Ewa and many more, it was time for the solo debut of The Breed last year. The record entitled The Beauty & The Breed brought Westcoast Vibes into the German beat scene and provided the perfect soundtrack for the summer. Now the new album Sexbox follows up on this. The Breed brings the vibe for relaxed BBQ parties and sunny rides in a convertible. The inspiration for this continues to come from G-Funk and also the classic AON sound shines through again and again, but always stays up to date. The instrumentals are even more mature than on the predecessor and Breedy spins his movie logically further without repeating himself. But instead even more R'n'B influence, even more sex. No classic sample-flip-drum-ready loops, but rather songs that are repeatedly produced out of the box, which through the prominent use of talkbox, live instruments and vocal chops become more than just pure instrumentals. The Breed mixes all these ingredients in a well-considered and dosed way for the Sexbox Cocktail.
The powerful and bass-heavy produced beats make heads nod and spread a real feelgood vibe everywhere.
Matching the artwork Sexbox is released as pink coloured vinyl including a A2 poster for your living room and a mp3 download coupon.

Eric D. Clark
"Written in approximately 1996 or shortly thereafter & born of a night out on the town naturally!
...having been to hear Ranga Tikki (Ms. Codi from New Zealand) drop knowledge in Berlin's SO36: she'd
played the "I have a dream" speech orated by Martin Luther King;
...the mind stopped at "From every Mountain Top"! I walked back through the streets shouting that to myself
until entering the flat then started immediately on the song!
Written and produced: ERiC D. ClARk
publisher: SUBCURRENT Music lTd.

Hans Nieswandt:
Between 1996 and 2000 (and in some cases beyond), Cologne project Whirlpool Productions produced a lot
of music, both as a group and as solo artists, at the legendary Can Studio in Weilerswist, a small town about
20 kilometres south of Cologne. Much of this music has been released, most notable the international
classic „From: Disco To:Disco“; but some of the music never saw the light of day. These two tracks I
produced myself at some point shortly after my first solo album „Lazer Muzik“ and I’m super glad to get a
chance to finally release them - because there is the important cause of helping to save the Paloma Bar, a
place where I played times and always loved it - an experience I dearly hope to repeat many times more.
And because I always liked those two tracks a lot, they just never found their proper platform, for whatever
reasons. As I think they are quite fitting to the sound of the Paloma, I’m more than happy to support this
unique place with this humble contribution. Written and produced by Hans Nieswandt around 20 years ago
at Can Studio, Weilerswist. Original date unknown.

Lowtec & Marvin Dash:
"Es gibt ein paar Lieblingsclubs in Deutschland, kleine Clubs wie z.B. Paloma in Berlin oder Pudel in HH -
wo es nur um die pure Liebe zur Musik geht - wo keine Kompromisse eingegangen werden müssen in
Bezug auf Trackauswahl oder zu deepen Sets, weil das Publikum einfach versteht worum es geht.
Sozusagen das verlängerte Wohnzimmer... Bei gefühlt jeder 2. Platte fragt jemand nach einer Track ID, alle
paar Minuten bringt jemand etwas zu trinken...das wollen wir unterstützen." (Lowtec & Marvin Dash)
Marvin Dash – Lost in the Woods: Written and produced by Ronald Reuter in around 2010. Previously
unreleased.
Lowtec – Museum Of Natural History Of Life: Written & produced by Jens Kuhn, 2000. Previously
unreleased.

Berlin-based Swedish saxophonist Otis Sandsjö returns with the eagerly-awaited sequel to "Y-OTIS". On "Y-OTIS 2", released by Helsinki's We Jazz Records on July 24, Sandsjö and his close associate, bassist/producer Petter Eldh (of Koma Saxo), deepen their vision of genre-bending, forward-looking "liquid jazz" of tomorrow. The core group also includes Dan Nicholls on keys and Tilo Weber on drums, and also featured on the album are Swedish jazz greats Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, cellist Lucy Railton and trumpeter Ruhi-Deniz Erdogan.

Diving deeper into "Y-OTIS 2", you'll find details and ideas galore. The album is an inviting and inspiring audio mosaic, which links back into the previous Sandsjö/Eldh collaborations, namely "Y-OTIS" and "Koma Saxo". The result is a balanced album which quenches your thirst while making you more thirsty in the process. In other words, the many micro moods and sonic levels herein invite repeated listening, while the underlying rhythmic approach is informed as much by hip hop and electronica as by jazz, making the music approachable in a very natural way.

It seems unnecessary to pull the album apart by name-checking individual tracks but just for the sake of easy introduction, the single cuts "tremendoce", "ity bity" and "abysmal" offer one idea of signposts along which to navigate. "tremendoce" brings in Swedish jazz great Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, introducing an infectious flute loop integrating into the Y-OTIS sound, making it organic to the bone. "ity bity" could be built on a new wave synth sample (but it's not) and "abysmal" brings more serene, even ambient-sounding sonic pathways onto the map. It all belongs together, and makes for a sound that is instantly recognisable and constantly fresh. This is "Mauerpark liquid jazz" for the new decade.

Berlin-based Swedish saxophonist Otis Sandsjö returns with the eagerly-awaited sequel to "Y-OTIS". On "Y-OTIS 2", released by Helsinki's We Jazz Records on July 24, Sandsjö and his close associate, bassist/producer Petter Eldh (of Koma Saxo), deepen their vision of genre-bending, forward-looking "liquid jazz" of tomorrow. The core group also includes Dan Nicholls on keys and Tilo Weber on drums, and also featured on the album are Swedish jazz greats Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, cellist Lucy Railton and trumpeter Ruhi-Deniz Erdogan.

Diving deeper into "Y-OTIS 2", you'll find details and ideas galore. The album is an inviting and inspiring audio mosaic, which links back into the previous Sandsjö/Eldh collaborations, namely "Y-OTIS" and "Koma Saxo". The result is a balanced album which quenches your thirst while making you more thirsty in the process. In other words, the many micro moods and sonic levels herein invite repeated listening, while the underlying rhythmic approach is informed as much by hip hop and electronica as by jazz, making the music approachable in a very natural way.

It seems unnecessary to pull the album apart by name-checking individual tracks but just for the sake of easy introduction, the single cuts "tremendoce", "ity bity" and "abysmal" offer one idea of signposts along which to navigate. "tremendoce" brings in Swedish jazz great Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, introducing an infectious flute loop integrating into the Y-OTIS sound, making it organic to the bone. "ity bity" could be built on a new wave synth sample (but it's not) and "abysmal" brings more serene, even ambient-sounding sonic pathways onto the map. It all belongs together, and makes for a sound that is instantly recognisable and constantly fresh. This is "Mauerpark liquid jazz" for the new decade.

The first 2000 copies of the LP will be available on transparent turquoise or pink vinyl, randomly picked. 'All The Time', Jessy Lanza's first album since 2016's 'Oh No', is the most pure set of pop songs that she and creative partner Jeremy Greenspan have recorded, reflective and finessed over time and distance. Innovative juxtapositions sound natural, like rigid 808s rubbing against delicate chords in 'Anyone Around', subtle footwork flutter giving a nervous energy to 'Face', unusual underwater rushes underpinning 'Baby Love'. The songs also sound more "live" than ever before. Jessy's voice is treated, re-pitched and edited on songs like 'Ice Creamy' and gestural sounds seem to respond to her lyrics in songs such as 'Like Fire', which reward the listener on repeated plays. More than previous albums, the lyrics on 'All The Time' became an important focus for Jessy too, channelling the negativity of anger and frustration arising from some significant changes in her personal situation into the text. These lyrics sometimes process raw feelings, which aren't obvious to begin with, but are soon felt, standing in stark contrast to the cushioned settings of the music. 'All The Time' has ended as a triumph and an abstracted diary of a sometimes difficult, but enduring friendship and creative relationship, and it's their best work yet.

L’Escalier des Aveugles, or The Stairway of the Blind, was commissioned in November 1990 by Spanish National Radio (Radio Nacional de España). Asked for a piece to premiere as part of the European Day of Music, Luc Ferrari returned with a radiophonic concept that organised his anecdotal music into montage form, sequencing short, elusive narratives in a successive way.

The completed composition is formed of thirteen chapters containing a mixture of environmental and synthesised sound, commentary, chatter, and encounters with people and places. Each focuses on a small event within this playbook, and Ferrari notes that each “in addition to being a realistic photograph, will be the subject of a ‘setting to music’: fragments of voice and atmosphere will be sampled and will produce musical matter or a ‘song’.”

The sonic language of Madrid forms the setting to which Ferrari lays out the persistent theme of the piece, that of the composer being guided throughout the city by a young woman. Using a game-like structure (liners for this edition include Ferrari’s “Regles de Jeu”, or “Rules of the Game” which act as a script or score to the piece) the motivation is posed: imagine that one day you are told “I know a place in Madrid that sounds amazing (or bizarre)”, to which you reply “Let’s go to it together.” The recordings toy with the relationships between guide and tourist, translator, director and actress, and masculine and feminine that emerge as Ferrari and the actresses follow this action, documenting the shared experience and connections they make as they visit these places.

Six actresses guide Ferrari (and the listener) through locations simultaneously ordinary and sonically rich: the metro; the El Corte Inglés department store where we hear the gossip from changing rooms set against music emanating from the PA; vagabonds declaiming their political stance in the Conde de Barajas plaza; interactions buying apples in a market; the reverberant and spacious halls of the Prado Museum where one actress gives a moving description of her favourite painting - Goya’s The 3rd of May 1808.

Ferrari replies in French to their comments in Spanish, and there are several self-referential plots, devices, and word games that flirt with the poetics and rhythm of language and sound. A recital of Lorca’s poem "La Casada Infiel" in “Hommage À Lorca” in amongst the location recordings feels striking, and the call and response of “La Nouvelle de L’Escalier”, where one of the actresses descends the staircase of the blind - a long stone stairway in Madrid proposed to Ferrari as an interesting location to visit during the trip by producer José Iges. She replies to Ferrari’s vocal enunciation of the place (and title) in French - L’Escalier des Aveugles - with the place-name in Spanish: La Escalera de los Ciegos.

Using this repeated title and image of the staircase of the blind as a symbolic place, a line is drawn to a situational landscape experienced and diffused through snapshots and allusion rather than holistically overviewed, sound conjuring pictures within the imagination. In the sensorial qualities of Ferrari’s treatment of emotion and language—fortified with electro-acoustic motifs and musical properties—the piece accelerates towards a render that is truthful, beautiful, yet also surreal; somewhere between theatre and reality, a gonzo cinema of the ear.

Black Truffle is pleased to announce a new solo album by Eiko Ishibashi, her first for the label, following on from the duo recording Ichida alongside bassist Darin Gray. Hyakki Yagyō (Night Parade of One Hundred Demons) was produced for the ‘Japan Supernatural’ exhibition at The Art Gallery of New South Wales, Sydney focusing on ghost stories and folklore from the Edo period onwards. As with The Dream My Bones Dream (Drag City, 2018), the album is a response to troubling questions about Japanese history, and the influence of the past upon the present, but finds Ishibashi shifting further away from her earlier piano-led songwriting and showing a deepening interest in electronics and audio collaging.

The two sidelong parts of Hyakki Yagyō feature layered synthesisers, acoustic instrumentation, recited verse and field recordings, at times densely mixed but always with a subtle interplay of changing elements. The influence of European and American forerunners as diverse as Alvin Curran, David Behrman and Strafe Für Rebellion can be traced, yet at the same time Ishibashi evokes the flute and string sounds associated with Japanese storytelling, and draws directly on the subversive literary tradition of Kyoka (‘mad poetry’) with a verse by the 15th-century poet Ikkyū Sōjun repeated throughout the album. Revisiting what has gone before, re-thinking what is possible musically, as a way of articulating what else might be possible in the future.

As Ishibashi’s liner notes make clear, the album reflects an attention to persistent dangers, myths and evasions in Japanese culture – as well as the lurking uncertainties that might threaten positive change. This would seem to be manifested in the emerging melodies soon met by dissonance, erratic collisions and near silence, as well as the eerie manipulation of the double-tracked vocals. Ishibashi’s underlying concerns ring true more widely of course. Hyakki Yagyō is a work of multiplicities, and mystery, a landscape where nothing is as it seems at first, and everything is vulnerable to sudden violent interruptions.

The album was produced with regular collaborators Jim O’Rourke (double bass) and Joe Talia (percussion), and features dancer and choreographer Ryuichi Fujimura performing Ikkyū’s satirical tanka. O’Rourke’s immersive mix creates a three-dimensional effect, with Ishibashi’s various sound sources enmeshing and interacting in captivating ways.

Pressed on coloured vinyl and presented in a deluxe package with an inner sleeve featuring and artist portrait and liner notes from Eiko Ishibashi. Cover and label design by Shuhei Abe.
Back cover design by Lasse Marhaug. Mixed and mastered by Jim O’Rourke.

key selling points:

- Black Truffle is pleased to announce a new solo album by Eiko Ishibashi, her first since her acclaimed 2018 Drag City release The Dream My Bones Dream.

- This album finds Ishibashi shifting further away from her earlier piano-led songwriting and showing a deepening interest in electronics and audio collaging.

- Hyakki Yagyō (Night Parade of One Hundred Demons) was produced for the ‘Japan Supernatural’ exhibition at The Art Gallery of New South Wales, Sydney focusing on ghost stories and folklore from the Edo period onwards and is a response to troubling questions about Japanese history, and the influence of the past upon the present.

- Produced with regular collaborators Jim O’Rourke (double bass) and Joe Talia (percussion), O’Rourke’s immersive mix creates a three-dimensional effect, with Ishibashi’s various sound sources enmeshing and interacting in captivating ways.

- The two sidelong parts of Hyakki Yagyō feature layered synthesisers, acoustic instrumentation, recited verse and field recordings, at times densely mixed but always with a subtle interplay of changing elements, hinting at an influence of European and American forerunners as diverse as Alvin Curran, David Behrman and Strafe Für Rebellion.

- Pressed on coloured vinyl and presented in a deluxe package with an inner sleeve featuring an artist portrait and liner notes from Eiko Ishibashi. Mixed and mastered by Jim O’Rourke.

ANNA HOMLER & ALESSIO CAPOVILLA - VASI COMUNICANTI

Vasi Comunicanti is the oneiric record born from the collaboration between L.A. performer and avant-garde artist Anna Homler and Alessio Capovilla, co-founder of Gang of Ducks.

Alessio Capovilla (1985, Turin, Italy ) is an Italian composer interested in sound modelling.
Imperfect sounds, unpunctual distortion and unsuitable atmospheres are constantly researched by Alessio.
A dialogue between ancient tools and new technologies through synthesis, computer music and field recording, crossing beats and genres towards something not easily definable.
Co-founder of the collective Gang Of Ducks, on which he's published two releases ("NO" and "Eocity") under the moniker of XIII, alter-ego through which he mainly examines the most tactile and digital part of his sound.


Anna Homler is a multy-disciplinary artist working on a blurred line between music, performance, spiritual and visual arts and giving birth to several different projects.
In 1985 she released, in collaboration with composer Steve Moshier, the seminal album "Breadwoman & Other Tales", shamanic and meditative songs brought to life with astonishing live performances.
The record was then re-released in 2016 by NYC label RVNG Intl, bridging the gap with a new generation of listeners, discovering the universal and unique world of Homler.
Capovilla, who was born in the same year of the original release, is one of them. His work focuses on imaginary landscapes and oneiric feelings. He has released two records on Gang of Ducks with his XIII moniker, dedicated to his digital and more computer-oriented sound.
The two of them met for the first time for an improvised live performance in Torino in 2017, after which they decided to spend studio time together exploring where this connection could lead.

The record flows along 5 tracks, with Capovilla taking care of synths, drums programming and audio engineering, and Homler singing in her melodic phonetic language, mixing unique voice and sound effects .

"De'la cocce" moves around on a slow quasi-dub rhythm accompanied by whistle and vocal interventions. In "Ricordo" Anna's voice is more prominent, travelling through a digital dimension made of flutes, Buchla Music Easel sequences and rainsticks.
The B side starts with "Bread Dance", where different layers of vocals and drums repeat themselves in an obsessive and haunting atmosphere.
"Be'ya Sa'di" is an ambient and cinematic piece, which quietly introduces "Mem", the most emotionally and intense song of the collection, transporting the listener into a different dimension.

The whole record creates a world with no geographical coordinates, where humans meet their primary feelings in a suspended time, escaping the present and the intelligible world.

Rival Consoles is 21-year old IDM-smith Ryan Lee West from Leicester in the Midlands of England. After having supported his city neighbours and label comrades Kyte on an extensive European tour in November 2008, West locked himself away all winter to finish his first full-length album, set to see the light of day in mid 2009. In the meantime fans of his debut 'The Decadent EP' will be pleased to hear that on February 23, 2009 Erased Tapes Records will release an exclusive 4-track 7" single / download bundle ? Rival Consoles' take on classical music entitled 'Helvetica'. Instead of X-Box versus Playstation, here West plays classical against dance music! Influenced by impressionists like Claude Debussy and modern electronic artists such as Autechre and Daft Punk, Ryan Lee West created a unique signature sound for Rival Consoles. A playful and brutal mix of electronic beats, emotive piano melodies and warm synth string arrangements. Ryan repeatedly performed at the Tate Britain Museum in London where he drew over 2000 visitors into his unpredictable, yet detailed sound drawings. He was the first to represent Erased Tapes Records at the British Music Week 2007 in Cologne, Germany. Limited to 500 copies only: with download code. Album due later in the year, and it will be one of the years hittest tips...

Vinyl Only

The duo Discult Soundsystem is very proud to present their vinyl only imprint: Lets Discult. For their debut release the Berlin based label is dropping a massive Various Artists shaped for the dancefloor. 4 tracks EP including one from the label heads themselves, Intr0beatz, Leo Woelfel and Dimi Wilson.

Four diverse acid-driven techno and house cuts from Vault Wax label boss, Beyun. With Detroit-influenced strings, gritty SH-101 pads, and emotive live acid lines, this introspective EP is ready for repeated listening and exploring altered states on 303.

Re-Release

Black Truffle is honoured to present the premier recordings of two recent works by legendary American experimental composer Alvin Lucier. A friend and contemporary of pioneers like Robert Ashley, David Behrman, Gordon Mumma, and Christian Wolff, Lucier has been crafting elegant explorations of the behavior of sound in physical space since the 1960s. Lucier is perhaps best known for I Am Sitting in a Room (1970), in which he repeatedly re-recorded his own speaking voice being played back into a room until the room's resonant frequencies entirely obscure the spoken text. Beginning in the early 1970s, he has written a remarkable catalogue of instrumental works that focus on phenomena produced by the interference between closely tuned pitches, such as audible beating, often using pure electronic tones produced by oscillators in combination with single instruments.

Demonstrating the restless creative drive of an artist now in his 80s, the two recent works presented here both feature the electric guitar, an instrument Lucier has just recently begun to explore. In Criss-Cross, Lucier's first composition for electric guitars, two guitarists using e-bows sweep slowly up and down a single semitone, beginning at opposite ends of the pitch range. The piece is a model of simplicity, exemplifying Lucier's desire not to 'compose' in the conventional sense, but rather to eliminate everything that 'distracts from the acoustical unfolding of the idea'. In this immaculately controlled performance of Criss-Cross by Oren Ambarchi and Stephen O'Malley, (for whom the piece was written in 2013), a seemingly simple idea creates a rich array of sonic effects - not simply beating patterns, which gradually slow down as the two tones reach unison and accelerate as they move further apart, but also the remarkable phenomenon of sound waves spinning in elliptical patterns through space between the two guitar amps.

In the comparatively lush Hanover, Lucier draws inspiration from the beautiful photograph that provides the LP with its cover, an image of the Dartmouth Jazz Band taken in 1918 featuring Lucier's father on violin. Using the instrumentation present in the photograph, Lucier creates an unearthly sound world of sliding tones from violin, alto and tenor saxophones, piano, vibraphone (bowed) and three electric guitars (which take the place of the banjos present in the photograph). Waves of slow glissandi create thick, complex beating patterns, gently punctuated by repeated single notes from the piano. The result is a piece that, like much of Lucier's instrumental music, is simultaneously both unperturbably calm and constantly in motion.
Stunning LP design by Stephen O'Malley including an inner sleeve with a portrait of Alvin Lucier by Kris Serafin.
Criss-Cross' recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. Hanover' recorded in Zurich and mixed by Alvin Lucier.
Mastered and cut by Rashad Becker at D&M Belin.
Criss-Cross' recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. Hanover' recorded in Zurich and mixed by Alvin Lucier.
Mastered and cut by Rashad Becker at D&M Berlin.

Classically trained experimentalist Aarp releases his compositionally expansive and pointedly political debut album via InFiné. ‘Propaganda’ is an album that rewards repeat listens and inspires research, pushing listeners to look for the truth beyond the headlines. The title ‘Propaganda’ is inspired in part by the death of a young man in Nantes who drowned following a police altercation at “Fête de la Musique” in 2019. Despite the fact that he was only dancing and there was clear evidence of negligence, the media campaign that followed cleared all involved and disinformation spread, distorting the truth and allowing French authorities to evade any consequence. This blatant and very recent example of press propaganda lead Aarp to explore a multitude of moments in history, each one informing a single track from his new record. Each song title is a direct quote taken from different examples of these moments, from George W. Bush to Margret Thatcher and French philosopher Gilles Deleuze to the infamous Oxycontin commercial by Purdue Pharma.

Introducing new sounds into the continuing MANHIGH project with Azteka Tekno, emerging Moscow producer Ober Dada finds rare power with his refined combinations of EBM and techno. Fusing concepts from Dadaist, Futurist, and Suprematist art with vocal guests from the Krasnodar Opera on ‘Tomorrow No’ and ‘Erdefalt’, the sophistication of his vision is immediately apparent in the arrangements and structures. With lyrics sourced from World War I-era apocalyptic poetry and a forthcoming opera from the artist, these two efforts show uncommon complexity in their running times, with layers of vocals and melodies trading off in sections with punishing rhythms that move between lashing breakbeats and straighter 4/4 sections. The comparably straightforward title track prominently features the producer’s own snarling vocal refrain, repeated through heavy distortion over pounding kicks and wayward electronics, while a contrasting melodic sequence enters from the breakdown for needed relief. Again featuring Ober Dada’s voice, ‘Hey’ foregrounds its wandering keyboard line for a comparatively restrained but still intense study on the styles found across the record.

White vinyl, picture sleeve, limited pressing of 500 copies, includes Peaking Lights remix

Montaine’s “Mount Nod” is a delicate, shimmering slice of DIY pop music. The lo-fi charm sits on that knife-edge between happy and sad, its repeated “I’m on the bottom line but I’m doing fine” changing meaning as the song goes on, plotting the course of Mr Montaine’s sensitivity. What starts out small gently unfolds into an understated English confidence by the end. On the B side Peaking Lights dive into the mysterious undercurrents beneath the surface of Montaine’s worldview. Like all good remixes it sets the artist in a parallel universe, this one a utopian disco slowscape, complete with bubbling clouds and dayglow fountains. We have to sincerely thank Sam Potter of 00s band Late of the Pier for coming to Be With with the story of February Montaine back in the spring of 2017. When we first heard “Mount Nod” our jaws dropped. We immediately thought of all the people that would love it. Of friends and family, far and wide. Of fans of timeless, soulful pop music everywhere. Championed by Trevor Jackson and Efficient Space, it’s perfect, addicitve pop which generously gifts the listener eternal goosebumps. Three years later, we are absolutely delighted to finally bring this out as the second release in our Be Pop series of 12″s. In Be Pop fashion it’s pressed on white vinyl and this time limited to 500 copies for the World.

Chris Korda's new album "Polymeter" is unique as entirely composed in complex polymeter sequences, a unique way to compose music with a new generation of algorithm, inside which Chris injects DNA of neo classical, ambient and jazz music.

This refreshing album will please both those who are into complex musical composition, conceptual music and who are just seeking for a beautiful, emotional and accessible, unique, musical moment.

This is a "In your hearts not the charts" album, as Irdial Discs once said.

Chris Korda is a transgender, vegan and relentless critic of consumerism, leader of The Church of Euthanasia (willing to halt the overpopulation through suicide, sodomy, abortion and cannibalism) and composer/performer of electronic dance music. She has previously released albums on Kevorkian, International Deejay Gigolo Records and Perlon.


Please read below Chris Korda's introduction to his new album "Polymeter":

Polymeter is an album of virtual solo instrumental performances. They're mostly piano pieces, along with a couple of guitar pieces. They sound uncannily similar to human performances, but they aren't. On the contrary, they are algorithmic music, pure applied mathematics.


The compositions are generated by elaborate networks of polymeter modulation. This sounds complicated and will need some explaining. But the most important point is that these are compositions I didn't write in any usual sense of the word. I created systems of rules, and the compositions emerged from those rules. The rules that generated these pieces can be conceptualized as kinetic sculptures that produce intricate non-random patterns of musical interference. The resulting patterns repeat themselves over long periods, measured in hours, days, or in some cases years.


In order to create this album, I had to write my own MIDI sequencer from scratch, because commercial MIDI sequencers lack the necessary degrees of freedom. My sequencer is also called Polymeter, and I started writing it in 1994. I used a relatively primitive version of it to create my earlier techno and electro releases, but the rapid evolution of computer technology made my original so ware hopelessly obsolete by the 21st century. Like its immediate predecessor "Akoko Ajeji" (Perlon) this album was created using a much more sophisticated version of my sequencer. It took me many years to learn the programming skills I needed to modernize my sequencer, which is one reason why such a long hiatus occurred between my older and newer releases.


Chris Korda

Future Beat Alliance presents some unreleased pearls from the past on the vinyl only series - highly recommanded!

vinyl only / hand-stamped

OGE White Series is back with this two tracker by Tommy Vicari Jnr & Dave Taylor aka Hollow Fraud.