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"We're a bunch of outsiders who refused to be kept out," says High Pulp drummer Bobby Granfelt. "We've never had an academic approach to jazz-most of us grew up playing in DIY bands-so it was the rawness and the energy and the absolute freedom of the music that called to us in the first place." Indeed, there's something defiant, something utterly liberating about High Pulp's remarkable ANTI- Records debut, Pursuit of Ends. Drawing on punk rock, shoegaze, hip-hop, and electronic music, the band's brand of experimental jazz is both vintage and futuristic all at once, hinting at times to everything from Miles Davis and Duke Ellington to Aphex Twin and My Bloody Valentine. The songs here balance meticulous composition with visceral spontaneity, and the performances are nothing short of virtuosic, fueled by raw, ecstatic horn runs ducking and weaving their way around thick bass lines and dizzying percussion. While the Seattle-based collective is centered around a crew of six core members, they also make judicious use of a broad network of collaborators on the album, wrangling special guests like sax star Jaleel Shaw (Roy Haynes, Mingus Big Band), harpist Brandee Younger (Ravi Coltrane, The Roots), GRAMMY-nominated trumpet?er Theo Coker, and keyboardist Jacob Mann (Rufus Wainwright, Louis Cole) to help stretch the boundaries of their already-expansive sonic universe. The result is a lush, cinematic collection that's as unpredictable as it is engrossing, an urgent, exhilarating instrumental album that manages to speak to the moment without uttering a single word.

REMASTERED EDITION OF PORCUPINE TREE'S 1995 RELEASE 'THE SKY MOVES SIDEWAYS - 2LP GATEFOLD SLEEVE'."A dreamy, tranquil and heavily atmospheric effort" - Record Collector 'The Sky Moves Sideways' is the third studio album by Porcupine Tree, first released in February 1995

It's the first Porcupine Tree album to be released in the US (albeit with an altered track list), & the first on which Porcupine Tree was a band rather than simply a pseudonym for Steven Wilson.

Regarded by many fans as one of Porcupine Tree's finest releases & a
cornerstone of any Porcupine Tree collection, the album was recorded partly as a Steven Wilson solo project & partly as a full band album, 'The Sky Moves Sideways' is a diverse experimental rock release spanning space rock & progressive rock styles with long guitar led, instrumental sections.

The album is now being re-printed in a gatefold sleeve & presented with Steven Wilson's sonically superb 2017 remasters first heard in the 'Delerium Years' box set. Disc 1 is the original album as conceived for vinyl. Disc 2 includes an alternative version of the title track containing music that was eventually cut from the original album version, as well as different lyrics. It also contains EP tracks
'Stars Die' & 'Moonloop' (the edit presented here is a hybrid which contains all the music from all the previous versions & runs to 22 minutes).

Porcupine Tree are currently gearing up for the release of their new album 'Closure / Continuation', marking another step forward in the incredible journey of the band that began as a solo studio project created by Steven Wilson in the late eighties to a multi grammy nominated act & one of the world's most revered live bands, selling out arenas across the globe & wowing fans with their incredible
performances. TRANSMISSION PRESENTS 'THE SKY MOVES SIDEWAYS' ON GATEFOLD DOUBLE LP

2 rare historical recordings (1983 and 1986) originally released as single sides and gathered here for the first time.

"Conductor might be my favourite composition and Life And Death Of Pboc might be my most sincere. Conductor was my first composed piece with no obvious reference points ... Life And Death Of Pboc was the second. These two compositions gave me the title Godfather of Dark Ambient."

Carl Michael von Hausswolff, born in 1956 in Linköping, Sweden, lives and works in Stockholm. Since the end of the 70s, von Hausswolff has worked as a composer using recording technology as his main instrument and as a visual artist using light projections, film/video and still photography as well as other media. He has exhibited at dOCUMENTA (Kassel), the biennials in Venice, Moscow, Liverpool, Istanbul, Sarajevo etc and in Copenhagen, Stockholm, Nicosia, Kaliningrad, Tokyo, London, New York, Philadelphia etc. His music has been played in festivals such as Sonar (Barcelona), CTM (Berlin), L'audible (Paris), el niche Aural (Mexico City), MUTEK, (Montreal) etc. and release works on LP/CD/DL by labels like Erototox (Ashevile), Sub Rosa (Brussels), Touch (London), Pomperipossa (Göteborg) and iDeal (Göteborg). He recently curated the 2nd part the sound-installation FREQ_OUT named freq_wave in co-operation with TBA21-Academy and collaborates with artist Leif Elggren, EVP re-searcher Michael Esposito, composers Hans-Joachim Roedelius, Mark Fell, Jim O'Rourke, author Leslie Winer and as Dark Morph (with Jónsi of Sigur Rós). He has also collaborated with Pan sonic, The Hafler Trio, Freddie Wadling and Erik Pauser (as PHAUSS).

Alga Marghen proudly presents "Water Angels", an LP with previously unreleased tracks by Katalin Ladik, following the monumental "Phonopoetics" from 2019. "Water Angel", the title track, is a side-long work from 1989. It began its life containing a plice of "O Fortuna" from Carl Orff's "Carmina Burana" and was first staged in an artificial fog on a lake at the 1989 Spoleto Festival in Italy. The texts include fragments of her own lyrics mixed with parts from James Joyce and Lewis Carroll in a kind of sonic-textual collage of processed sounds superimposed to environmental field recordings. one can also hear the composer Erno Király, her first husband, playing his self-built instrument called "Zitherphone", a 58-stringed huge engine of sounds assembling five zithers in a single body, with pick-ups placed on some of the strings. The first part of "Water Angel" was used as a starting point for "Three Orphans", another composition juxtaposing electronically modified voice with recordings of folk songs, this time Hungarian. It's a kind of "adaptation of a Hungarian folk ballad", utilizing recordings done in Transylvania in 1940, registered with a wax cylinder phonograph and gathered by Radio Novi Sad. Thanks to the collaboration with Boris Kovac, the sound engineer for this project, the quality of Katalin Ladik's screams, whispers, chants, laughter, giggles is now significantly improved, and in some ways the subtle nuances of her virtuoso interpretation find here their most powerful rendition. Also presented on this record are three and never before issued works created by Katalin Ladik in collaboration with the composer Svetlana Marasch at the electronic studio of Radio Belgrade in 2019, "Electric Bird", "White Bird" and "Ice Bird". combining extended vocal techniques, processing and modular synthesis, these tracks confirm the artist's radical temperaments that helped to define her work during the 60s and 70s, while pushing it further into new territories thus revealing an artist with almost no peer in the experimental landscape today.

Tortoise has spent nearly 30 years making music that defies description. While the Chicago-based instrumental quintet has nodded to dub, rock, jazz, electronica and minimalism throughout its revered and influential discography, the resulting sounds have always been distinctly, even stubbornly, their own. One of the throughlines that create that distinctive sound is what might be called a pervasive element of group play, or ensemble-mindedness, as opposed to emphasis on a virtuoso soloist or frontman. Rhythms, Resolutions and Clusters follows in this line as Tortoise turned their iconic early songs over to their friends to play with. The remixes by other legends including Bundy K. Brown, Steve Albini, Jim O'Rourke, Brad Wood (Liz Phair), Casey Rice, Mike Watt (Minute Men), and Rick Brown (75 Dollar Bill) create a sense of community, and unlimited creativity. It's been out of print since 1995. Tortoise...have spent the past 25 years and seven albums fusing dub, jazz, prog, and indie into an instantly recognizable and much-loved trademark sound. - Pitchfork As with the best of Tortoise, these tracks can be enjoyed on many levels, but when listened to carefully, they reveal seemingly infinite sonic treasures. - Pitchfork

Tortoise has spent nearly 30 years making music that defies description. While the Chicago-based instrumental quintet has nodded to dub, rock, jazz, electronica and minimalism throughout its revered and influential discography, the resulting sounds have always been distinctly, even stubbornly, their own. One of the throughlines that create that distinctive sound is what might be called a pervasive element of group play, or ensemble-mindedness, as opposed to emphasis on a virtuoso soloist or frontman. Rhythms, Resolutions and Clusters follows in this line as Tortoise turned their iconic early songs over to their friends to play with. The remixes by other legends including Bundy K. Brown, Steve Albini, Jim O'Rourke, Brad Wood (Liz Phair), Casey Rice, Mike Watt (Minute Men), and Rick Brown (75 Dollar Bill) create a sense of community, and unlimited creativity. It's been out of print since 1995. Tortoise...have spent the past 25 years and seven albums fusing dub, jazz, prog, and indie into an instantly recognizable and much-loved trademark sound. - Pitchfork As with the best of Tortoise, these tracks can be enjoyed on many levels, but when listened to carefully, they reveal seemingly infinite sonic treasures. - Pitchfork

DJ Stingray 313's highly-praised FTNWO LP returns to heed its sonic warnings and powerful messages on his own label, Micron Audio. Originally released on WeMe Records in 2012, FTNWO displays the high-tempo, ever forward production DJ Stingray 313 is known world around for. DJ Stingray 313 says "FTNWO was conceptually centered on conspiracy theory, science, prepper doomsday preparation / survivalism and social commentary," and the foreboding introduction of "Evil Agenda" sonically explains just what lies ahead for the listener. The stark warning leads into DJ Stingray 313's stomping "Dark Arts", beginning the FTNWO experience. "Room Clearance" gets straight to business with raw, gritty and true-to-the-art Detroit electro sounds, along with a heavy, quivering lead to piece the track together.

FTNWO's cyber-explorations continue with "Denial Of Service". "I NEED a computer!" shouts a destitute voice throughout the track, as a hypnotic siren lead weaves through pounding 808s. The uptempo onslaught continues with "Interest Rate" - pads that give a feeling of falling accompany samples lamenting the realities of debt in modern society. These statements in the samples permeating the aptly titled track eerily foretell many present-day situations in 2022, as well as prove testament to DJ Stingray 313's ahead-of-the-curve production techniques. "No Knock" also carries on with arpeggiated square waves and dissonant FM stabs laced intricately over thundering drums. "Outsourced" has a call and response feel, with lush, bright tiny synths talking with each other over a thundering rhythm akin to a drum & bass arrangement.

DJ Stingray 313's sound also stretches to more melodic planes, as "Reverse Engineering" displays. Brooding pads and icy percussion engage in a sonic dance. In the same on "Image Search", cold drums and riffs intertwine the warmer layering pads and leads. Both create two powerful compositions on FTNWO that move unlike any other. "Remote Viewing" only moves lower in tempo compared to the rest of FTNWO, DJ Stingray 313's keen ear to melody still burning brightly. F.T.N.W.O. remains an ageless album - an ominous piece from a near-distant past, back again as part of the Micron Audio catalog to soundtrack the new and uncertain times we live in.

Having been previously released digitally and on CD back in 2009. We decided RSD 2022 was a great opportunity to release this seminal album on Red Transparent vinyl for the first time.

‘Don’t You Remember The Future’ is the debut artist album from Jamie Jones, peering into the coming apocalypse with a body-shaking, teeth-grinding, tripped out fusion of sound on Crosstown Rebels.

There are some talents that remain inconspicuous and then there are some you can’t ignore. Jamie Jones is the latter, quickly rising to superstar status in underground dance circles over recent years. Releases on Crosstown Rebels Hot Creations, Defected, Cocoon, Get Physical and BPitch have catapulted him to become a cult figure and he is widely admired for his true originality. From his debut single ‘Amazon’, to his albums' anthem ‘Summertime’, his unique sound has won him worldwide audiences and this album has been widely anticipated as one to change the face of current house music.

With ‘Don’t You Remember The Future’ Jamie Jones delivers an album of “intergalactic techno house, where old school prince meets cybertron.” A seamlessly blended up-tempo mix filled with eerie and energetic moments. Featuring ten brand new tracks from Jamie Jones, alongside this years dance floor anthem ‘Summertime’ and the current ‘Galactic Space Bar’ - which features the vocals of Egyptian Lover - the album’s twelve tracks are stitched together in an entangled web of beats and bleeps, available digitally as separate edits.

Cosmic cuts such as ‘Mars’ and ‘Deep In The Ghetto’ create a new dimension through soaring synths and idiosyncratic samples while the sonic dance floor weapons ‘Half Human’ and ‘This Is How’ release the lethal disco master within Jamie Jones. The jacking, peak time moments of ‘Summertime’ and ‘Sand Dunes’ produce a current take on the early acid house sound and each step of this peculiar story solidifies the strange notion of being within an undiscovered time and place. ‘Don’t You Remember The Future’ features the guest vocals of a variety of musical souls, checking off some of Jones’ remote influences and revealing the greater versatility of this skillful artist. Norwegian oddball duo Ost & Kjex feature on the anthem, ‘Summertime’.

The seductively charged ‘Absolute Zero’ unmasks the talent of London based DJ, producer and vocalist Alison Mars (AKA Alison Marks), resulting in a beautifully epic and mysterious after hours track, and the toxic ‘Galactic Space Bar’ features live vocals from one of the creators of the electro scene, The Egyptian Lover, an old hero to Jamie Jones through early rap cuts like ‘Egypt, Egypt’ and ‘I Need a Freak .’ ‘Don’t You Remember The Future’ vinyl release is the album that brought the future into the present."

Combining machine-like accuracy with jazz-influenced improvisational sensibilities, Richard Spaven's

drumming has landed him gigs with vastly varied artists such as Flying Lotus, José James and

Mala, as well as recent recordings with Jordan Rakei, Alfa Mist and Sandunes. Unveiling his

forthcoming EP 'Spirit Beats', Spaven's musical talent is further demonstrated beyond his world-class

performance abilities, weaving his incredible technical skills into unique textured productions and powerful

compositions.

First single 'Hoodie Beats' begins amidst instant urgency. Atmospheric in mood, whilst relentless with its

accuracy, sub-bass locking into place with tight drums for a euphoric dance floor drop. Second single

'Nova' sees a continuation of the collaboration between Spaven and Jordan Rakei. Soul and substance

abound. Jordan delivers a delicate performance over the captivating harmony. Spaven says 'this is a

crazy beat to play. If you want to get technical - call it micro timing. If you don't - just call it hip hop'. 'Icarus

'88' brings a MC Barney Artist into the mix. Barney flows effortlessly over the micro shifted groove as

the tale unfolds. - synonymous with previous Spaven records, this ancestral drum beat of 'Spirit Beat'

soundtracks the sonic journey through this spiritual piece the harmony takes form, carrying the listener to

higher ground.

Spaven Will Release "Spirit Beats" Via Fineline Records On 25th of March 2022

PR Handled by Josh Byrne (DeepMatter, First Word, Gondwana...)

By far the most unexpected hit record of 2011 was the 29th and final studio album from an 89 year-old Doris Day. My Heart hit the charts in the U.S. and went all the way up to #9 in the U.K., triumphantly capping a legendary singing and acting career. But this record and its chart success was, if you’ll excuse the pun, no mere sentimental journey. The heart of My Heart is a series of songs recorded by Doris in the mid-‘80s as background for scenes featuring her with various animals on the Doris Day’s Best Friends television show, many of
them written by her son, Terry Melcher, whose production credits, of course, include The Byrds and Beach Boys. Melcher also lends a bravura vocal turn to “Happy Endings” and is the subject of a heartfelt preamble by Doris on “My Buddy.” And without question Terry’s influence lay behind her superb, jaunty cover of the Lovin’ Spoonful’s “Daydream.” In short, My Heart was a touching, tuneful love letter from Doris to her deceased son; and now, in honor of her centennial, we’re bringing it to LP for the first time, remastered for vinyl by Mike
MIlchner at Sonic Vision, and pressed in green vinyl complete with an insert featuring liner notes. A beautiful record from a beautiful lady.

2023 Repress

"banging piece of sound art" - The Observer

"...a fascinating piece of Brutalist techno that pivots between crisp machine-like minimalism and granulated noise." - Clash

"A piece of immediately engaging techno it reveals more of itself with each listen." - CMU Daily

Nik Colk Void is well established with her work as one half of Factory Floor, one third of Carter Tutti Void (alongside Chris Carter and Cosey Fanni Tutti) and with the late Peter Rehberg as NPVR, but perhaps surprisingly, "Bucked up Space" is her first solo album release.

Void explains, "When Peter Rehberg initially asked me to produce a record for Editions Mego, I didn't feel quite ready and asked if we could make a record together instead. Collaboration is so ingrained into what I do, I only felt ready to make this album after working through ideas live, using the audience in place of the collaborator."

Bucked Up Space combines Void's love of improvisation with the driving force of beat-driven music absorbed from performing in galleries, residencies and clubs across the UK and Europe. She goes on to say, "You find out more about yourself when you explain your ideas to others, and that's how I felt the live performance worked for me."

The process steadily teased out a language and Void employed a variety of tactics in the recording process including a methodical approach of collecting data at her home studio in a manner not dissimilar to keeping a diary. Her microscopic focus on raw instrumental noise, layered and reformulated, resulted in a sound catalogue that Void divided into groups for their tone, density and texture.

These initial pieces were taken to a studio in Margate to put them into a more cohesive compositional context. Something that pragmatically started as cold and detached was given warmth, unity and emotion in the studio. Via improvised repetition co-existing alongside organised production, Void conjures new sonic muscle with tracks such as 'Interruption Is Good' and 'FlatTime'. Initial recordings are rendered into sequences initiating the organic rhythms, triggering awkward jerks of high hats and percussion, or used to activate the margins of post effects detectable in the tracks like 'Demna', 'Big Breather' and 'Oversized'.

Void explains: "It was important to me that the simplicity in the work disguised a lot of complexity, I want this work to be absorbed instinctively."

The sleeve image, a still from We Are City by Brazilian artist Maria de Lima, was chosen to illustrate Bucked Up Space, which Void describes as "a distorted reality, the space that lives at start of an idea, then floats in public view, before returning to inform my understanding of the idea. Once the idea is out in the world, it moves and morphs into something else entirely."

Written, performed and produced by Nik Colk Void, the album was engineered by James Greenwood, mastered by Rashad Becker and tracks 1, 4, 5, 7 and 9 were mixed by Marta Salogni.

Bucked up Space is the result of the ideas and resulting sounds of free exploration morphing into a personal structured album that fearlessly moulds patience, listening and restraint. It's a sharp focussed work embracing collective action through the lens of the self. All this, and also one of the best abstract dance records you will hear in some time!

Growing up in the Californian sprawl and the vast suburbs of Phoenix, Arizona, Caleb Dailey largely dismissed the country and western music that surrounded him. Instead, he was drawn to independent rock, experimental zones, and other genre-defying forms, which led him to create skewed rock music with Bear State and establish the “minimal art label” Moone Records with his brother Micah Dailey in 2013. But in the early half of the 2010s, Dailey began to hear things differently. Drawn into the left-of-center works of artists like Gram Parsons and Blaze Foley, a more idiosyncratic take on country, folk, and roots music began to swirl in his imagination.

Wandering into the form’s cowboy chords and lonesome scenes, Dailey found himself wondering what his own country album might sound like. The result is his debut solo album, a collection of covers called Warm Evenings, Pale Mornings; Beside You Then. Produced by John Dieterich of Deerhoof, Keiko Beers, and Dailey himself, it’s a melancholy charmer, rooted in traditional ideas but free roaming in its scope. Laced with synths, pedal steel, acoustic guitars, and commanded by Dailey’s full and woozy voice, it owes as much to the busted waltzes of Lambchop and the homespun lo-fi folk of Little Wings (whose Kyle Field appears on the album via a spoken intermission) as it does to the songwriters and performers who provide its source material, which include Parsons, Foley, Elvis Presley associate Chips Moman, steel guitarist Buddy Emmons, and others.

“The subversive nature of country music isn’t as much at the surface as some other genres,” Dailey says. “But the deeper down the ‘country hole’ I went, the more I wanted to be part of it. It is truly a strange world.”

The hands of Dailey and his collaborators, which includes a wide roster of DIY experimentalists like James Fella of art punks Soft Shoulder, Jay Hufman (Gene Tripp), Lonna Kelley of Giant Sand, Japanese DIY hero’s Koji Shibuya and Tori Kudo, Nicholas Krgovich, Markus Acher of The Notwist, and more, that strangeness is accentuated. Dailey doesn't aspire to retro Nashville fetishism or sanctioned notions of “realness” so much as a genuine outsider authenticity. Take his version of Gordon Lightfoot’s “If You Could Read My Mind” for example: a highlight of the record, it pairs familiar genre signifiers like pedal steel and guitar strums with warbled synths. Then there’s his read of “Dreaming My Dreams,” originally made famous by Waylon Jennings (who also did time in the Arizona desert), which morphs from a mournful ballad into a wash of far-off sonic noise.

The attention here is on the songcraft itself, with Dailey inhabiting these songs and turning them inside out to reveal unexpected tenderness and playfulness.

Recorded at home with an acoustic guitar and 4-track, Dailey began open correspondences with his collaborators, who fleshed out ideas and added touches, often working with skeletal frames before Dieterich and Dailey shaped it into a cohesive whole. “John is the reason this album exists,” Dailey says. “He sculpted all these parts together in such an otherworldly way. He is truly a magician.” Deeply allergic to insincerity, Dailey avoids any trace of irony. He’s created a cohesive gem out of disparate parts, uniting Americana songcraft with experimental disassemblage. From this bric-à-brac, he’s made something touching and beautifully strange.

"Satriani and his touring band, who all recorded remotely in separate areas of the world during lockdown, deliver an album-length journey that never dulls. The Elephants of Mars crackles with an exciting new energy, briskly traveling through stylistic roads that feel freshly updated, viewed through new eyes.
From the gripping, sci-fi madness of “Through A Mother’s Day Darkly,” to the isolation felt in a decaying urban landscape, as depicted in “Sahara,” to the general endorphin levels that peak as the elephants finally roar in the title track, The Elephants of Mars will stampede across your mind, leaving a sonic imprint that doesn’t fade.
Thanks to the pandemic removing all time constraints, The Elephants of Mars truly represents the album that Satriani himself hoped he could deliver with his band. “We did everything. We tried the craziest ideas. And we entertained every notion we had about turning something backwards, upside down, seeing what could happen.”"

"Satriani and his touring band, who all recorded remotely in separate areas of the world during lockdown, deliver an album-length journey that never dulls. The Elephants of Mars crackles with an exciting new energy, briskly traveling through stylistic roads that feel freshly updated, viewed through new eyes.
From the gripping, sci-fi madness of “Through A Mother’s Day Darkly,” to the isolation felt in a decaying urban landscape, as depicted in “Sahara,” to the general endorphin levels that peak as the elephants finally roar in the title track, The Elephants of Mars will stampede across your mind, leaving a sonic imprint that doesn’t fade.
Thanks to the pandemic removing all time constraints, The Elephants of Mars truly represents the album that Satriani himself hoped he could deliver with his band. “We did everything. We tried the craziest ideas. And we entertained every notion we had about turning something backwards, upside down, seeing what could happen.”"

Stalactite is a collaborative recording project by renown Japanese artist and multi-instrumentalist Susumu Mukai AKA Zongamin and producer Drew Brown, whose discography ranges from his own group Off World to a variety of integral productions for artists such as Blonde Redhead and Beck. Their self-titled debut for the ESP Institute is a grand gesture, a broad stroke that illustrates both singular focus and vast complexity, which is no easy feat considering the almost oppressive immediacy and availability of tools at the disposal of contemporary artists. There’s a level of creative confidence and discipline needed to work so fundamentally, and whether or not the listener has an appetite refined enough to process the tasteful subtleties throughout this production, these same subtleties accumulate regardless and land that listener in a highly considered and developed space. The deceptively naive melodic approach consistent across these nine tracks can feel transparent, familiar to a point the listener can anticipate its path, but when listening with acute focus we find a variable range of texture, temperature, depth and negative space. As alumni of the Minimal, Cold Wave, Synth Pop era, Susumu and Drew successfully personify a motley crew of synthesizers to work in concert, reduced to their core personalities and presented as their most honest selves — austere, shy, cinematic, percolating, bulbous, glistening, cantankerous, rubberized, clumsy and animated. Each masterfully paired with complimentary counterparts, these players assemble into a sound-stage we typically find in live recordings, enveloping and inviting us to the center of an acoustic cavern to wade through sonic impressions of monolithic stalactites.

Planet Mu presents ‘ADDLE’ – Bogdan Raczynski’s first album of new music in 15 years. Marking a change from the high-octane jungle tekno braindance for which he is most commonly known, here we find the Polish American musician in a more melodic and zen-like place of peace, which is ergonomic and decluttered, whilst also bittersweet and tinged with melancholy. ‘ADDLE’ is closest in spirit to 2001’s tender ‘myloveilove’, or the light-hearted ditties of this year’s ‘BANANS’ EP, but is also a markedly new milestone. A robust and bottom-heavy rhythm section juxtaposes with sad electronic tear jerkers, at points laced with the soft cooing wail of his vocals, which are loaded with a haunting, heavy and almost wounded emotion. Bogdan comments “Calm is great. You need to take a breather in the eye of the storm now and then. But the real growth happens in turbulence, when your feelings oscillate in and out of sync. It’s not dry land you’re after. You’re trying to build a new island while on a piddly raft. Beleaguered and weary you lay the foundation with your bare hands while the rain lashes your back; a new place for you and yours to moor yourself to until the next storm hits. ‘ADDLE’ is about that storm, its adjacent periphery, and what you look like, in and out, when you set foot. As space and time push against you, that process of adapting becomes an anchor. Among that state of being addled, out of flow, seemingly untethered, there is beauty.”

Although less unhinged and riotous than some of his previous work, ‘ADDLE’ is no less impactful. Lean, punchy and purposeful, this seemingly simple combination of beats and melody belies a razor sharp skill, which bursts with verve and virtuosity. Across its eight unique and moving tracks the listener experiences tenderness, feelings somewhere between unease and comfort, and a sense of reflection, with Bogdan seemingly gazing at twinkling stars, but with his view distorted by welling-up. Sonically, spaces range from razor-sharp choppage, juddering heavyweight head-nodders, bit-crushed siren squall and something akin to Philip Glass’ ‘Candyman’ score played through a high-tech-fairy-tale music box. There’s also a warming, life-affirming moment as close to deep house as Bogdan will ever comfortably get, neck-snapping metallic percussion, Casiotone on steroids and reverberant warehouse throb. Booming drum machines are a prominent factor too – reminiscent of early hip hop instrumentals – but spirited off somewhere, lost in purgatory. Bogdan Raczynski (born 1977) is a Polish-American electronic musician. Raczynski’s work draws inspiration from the chaotic breakbeats of jungle and hardcore rave as well as traditional Polish music and other sources. He has collaborated with Bjork, remixed Autechre, CLPNG and Jonsi from Sigur Ross, and toured with Aphex Twin, who commented how “his records are so underrated.” Bogdan was also a roster mainstay of Richard James’s seminal Rephlex label, with additional releases on Warp, Ghostly, Disciples and Unknown to the Unknown. A keen proponent of tech, he created a sample pack using pollution and recently collaborated with Polyend on a custom made banana-themed tracker.

Repress

Bump 'n Grind Wax's newest relief channels a collective sigh of relief, one that promises to remind the world that joy and love can triumph through togetherness.

Bristol's sonic luminary, Rob Smith (aka RSD), has offered his support in this dynamic cover of Al Green's "Let's Stay Together." With a hint of lover's rock and a dash of neo-soul, RSD invites Denise Morgan to voice this timeless tune. On the A-side, prominent piano runs, synth stabs, and RSD's iconic drum section frame Morgan's deliciously-soulful approach to this classic. RSD brings the magic for the B-side version, "Let's Dub Together." With a blown-out bassline, Denise's tricked out vocal samples, and a thoughtful caressing of the track's timing, reverb, and echo, RSD adds his undeniable signature to the latest BnG Wax tribute.

A formidable architect behind the now-beloved "Bristol Sound," Rob has been an irreplaceable thread in the development of bass-heavy dance music since the 1980s. From raves to basements, lounges to sound system dances, Rob has pushed the limits of music technology to forge a vital link between the past and future. He is a pioneer who has explored the intersections of nearly every genre through dubbed-out breaks, drops, and quintessential remixes. BnG Wax is honored to have his fingerprints on one of our releases.

180g LP + 10" im Gatefold mit Thermographie, bedruckten Innenhüllen und Download Coupon. GY!BE kehrt mit einem weiteren Soundtrack für unsere Zeit zurück, wie ihn nur dieses unnachahmliche und ehrwürdige Ensemble schmieden kann. Das neue Album besteht aus zwei fesselnden, 20-minütigen, LP-Seiten füllenden Epen aus lärmgetränktem Breitwand-Post-Rock, während die beiden begleitenden 6-minütigen Stücke der 10" die Band aus Kanada in ihrer verheerendsten, eindringlichsten und elegischsten Form zeigen. Unerbittliches Tuckern blüht auf, während einige der hochfliegenden, brennenden Melodien der Band inmitten von Geigen- und Basskontrapunkt abprallen und zusammenlaufen. Field Recordings und aufgewühlte, halb-improvisierte Passagen umrahmen diese inbrünstigen Epen. Ergreifende Atmosphären, geräuschhafte Orchestrierung, Drone, hypnotische Swingtime-Crescendos, unaufhaltsam geschichtete Türme aus verzerrtem Klargesang: STATE'S END verkörpert jede geliebte Facette der Band. Fünfundzwanzig Jahre später ist dieses neue Album so vital, mitreißend, zeitgemäß und unerbittlich wie jedes andere in der geschichtsträchtigen Diskographie von Godspeed You! Black Emperor. So wie STATE'S END die ganze Bandbreite der klanglichen Trademarks von Godspeed vereint, so umspannt auch das Album-Artwork die gesamte visuelle Geschichte der Band: die körnige, monochromatische Fotografie der letzten Veröffentlichungen findet ihren Weg auf die Innenhüllen, während das Klappcover auf die ikonischen Grafiken früherer Klassiker wie Slow Riot For New Zero Kanada und Lift Your Skinny Fists Like Antennas To Heaven zurückgreift. STATE'S END ist mit Illustrationen von William Schmiechen versehen, wobei die Taijitu-Blumen auf der Vorderseite und die Tränengaskanister auf der Rückseite des Covers in erhabener, thermografischer, schwarzer Tinte auf dem Doppelvinyl-Albumcover abgebildet sind. Das leuchtende Kreuz von Godspeeds Debütalbum F#A#INFINITY taucht auch auf der Innenseite des Klappdeckels wieder auf, als wiederkehrende Hommage an das elektrifizierte Hügelkreuz in der Heimatstadt der Band in Montreal. STATE'S END wurde im Oktober 2020 in Montreal im Homebase-Studio der Gruppe, Thee Mighty Hotel2Tango, von Jace Lasek aufgenommen und abgemischt, dem altgedienten und preisgekrönten Indie-Produzenten (und Mitbegründer von The Besnard Lakes), der mit Godspeed bei dieser Aufnahme zum ersten Mal zusammenarbeitet. Danke fürs Zuhören. UNSERE SEITE MUSS GEWINNEN. (R.I.P. D.H.) ENG audiophile 180gLP + 10" in gatefold jacket with thermography, colour flood interior, artworked inners, DL card. GYBE returns with another soundtrack for our times, like only this inimitable and venerable ensemble can forge. As the heretical impudence of the anarcho-punk title implies, Godspeed harnesses some particularly raw power, spittle and grit across two riveting 20-minute side-length trajectories of noise-drenched widescreen post-rock: inexorable chug blossoms into blown-out twang, as some of the band's most soaring, searing melodies ricochet and converge amidst violin and bassline counterpoint. Field recordings and roiling semi-improvised passages frame these fervent epics, and two shorter self-contained 6-minute pieces find the band at its most devastatingly beautiful, haunting and elegiac. Poignant atmospherics, noisedrenched orchestration, drone, hypnotic swingtime crescendos, inexorably-layered towers of distorted clarion sound: STATE'S END encapsulates every beloved facet of the band. Twenty-five years on, this new album is as vital, stirring, timely and implacable as any in Godspeed You! Black Emperor's storied discography. Just as STATE'S END summons the gamut of Godspeed's constituent sonic trademarks, so the album artwork spans the entirety of the band's visual history: the grainy monochromatic photography of recent releases finds its way onto the inner sleeves, while the gatefold cover art harkens back to the iconic graphics of earlier classic records like Slow Riot For New Zero Kanada and Lift Your Skinny Fists Like Antennas To Heaven. STATE'S END features illustrations by William Schmiechen, with the front cover taijitu flowers and back cover tear gas canisters rendered in raised thermographic black ink on the double-vinyl album jacket. The illuminated cross from Godspeed's debut F#A#8 also makes a reappearance on the inside gatefold drawing, in recurrent homage to the electrified hilltop landmark crucifix of the band's Montreal hometown. STATE'S END was recorded and mixed in Montreal in October 2020 at the group's homebase studio Thee Mighty Hotel2Tango by Jace Lasek, the veteran awardwinning indie producer (and co-founder of The Besnard Lakes) who works with Godspeed for the first time on this recording. Thanks for listening. OUR SIDE HAS TO WIN. (R.I.P. D.H.)

Cassandra Jenkins' An Overview on Phenomenal Nature emerged from the blue earlier this year. With pandemic unknowns and political upheaval leaving most at frayed ends, the New York-born musician’s assuring voice and expansive fresh take on songwriting created a much needed reflective space for listeners worldwide. As 2021 comes to a close, Jenkins revisits those flowing textures and refrains with (An Overview On) An Overview On Phenomenal Nature, a collection of previously unreleased sonic sketches, initial run-throughs, demos, and sound recordings from the cutting room floor that provided the scaffolding for what became one of this year’s most critically acclaimed albums.

When Jenkins visited Josh Kaufman’s studio this summer, they opened up their original sessions to uncover the ideas that were shed in the creative process. The new collection, (An Overview On) An Overview On Phenomenal Nature, isn’t merely a retrospective; it acts as a clear-eyed addendum as well as a compelling origin story, coming to life as a subconscious companion to the original album.

First takes of “New Bikini” and “Hailey” are born from opposite starting points; while “New Bikini” began as an airy alto meander, “Hailey”’s origins lie in an upbeat dance track. On “Crosshairs (Interlude),” Jenkins’ pitched vocal delivers a straight monotone, recasting the format as poetry with music highlighting her words, and “Ambiguous Norway (Instrumental)” lifts the ambient nature of the mournful song into glimmering waves. The demo version of “Michelangelo” contains alternate lyrics “I’m Michelangelo, a Teenage Mutant Ninja Turtle,” a lost contrast to the later verse where Jenkins’ likens herself to the sculptor. On “Hard Drive (Security Guard),” we join Jenkins as she listens to a passionate museum guard whose promised “overview” of the exhibit on view builds into a monologue of observations on art, politics, feminism and the human condition. This candid interaction evolved into the cornerstone and title of Jenkins’ album.

Before they decided to make an album together, Jenkins brought Kaufman a song called “American Spirits.”The dusky ballad takes us to the Texas plains via a voicemail from the payphone of a county jail (“Miss Cassandra”). Cassandra sings, “Time here burns through the sunsets / Like you and a pack of American Spirits” over warm instrumentation with a vocal delivery that reinforces Jenkins’ unwavering tenderness towards her subjects.

(An Overview On) An Overview On Phenomenal Nature bookends Cassandra Jenkins' musical output this year with nuance, coloring in the corners, and giving us another window into her ever-expanding world of chance encounters, experiences, and sonic textures. They glimmer like the sun’s changing patterns on the wall as a new day gets going.

‘This Here Feels Good’ is the sound of an artist using music as
their second language. With all music self-produced / written,
Kay Young is defining an original generation of Black British
Music.

Moving between tightly rapped verses and glorious vocal
performances, often within the space of one track as well as
across the whole EP.

The release is a stunning collection of songs which expands
upon the sonic blueprint Kay has already laid out, that caught
the attention of Jay Electronica and Jay-Z, who later signed her
to Roc Nation.

She delves deeper into dance and soul while continuing to
explore themes of familial legacy and cultural relation, keeping a
perfect balance between lyrical vulnerability and musical uplift.

Live TV performance for Other Voices (Dec 2021), TV
performance for BT Sport (May 2021), Clash New Gen Artist
(autumn 2021), plus performances last year at Boiler Room
Festival, South Facing Festival, BBC Intro Live Summer By The
River, Live at Leeds Festival and more.

Supporting Jay Electronica for UK tour.

“uplifting groove” - The Fader

“pertinent, powerful lyrics” - Cool Hunting

“Young will undoubtedly keep shining” - Line of Best Fit

“Pure and bright promise.” - Beats Per Minute

“Kay Young finds a balance between smooth vocals and hardhitting lyrics” - Gigwise

“one of the UK’s most promising up and coming talents.” - Alfitude

“...an extremely exciting future ahead.” - CLASH Radio - 6 Music, BBC Radio 1, BBC Radio London, BBC 1Xtra, Amazing Radio A-List.

Turbo Recordings presents its grandest achievement yet, a reimagining of Plastikman's 1998 magnum opus "Consumed", Transformed as a new collaborative composition between original artist Richie Hawtin and musical genius Chilly Gonzales. This is an album three decades in the making, brought into the world by Executive Producer Tiga. A masterpiece of restraint, depth, and music as architectural vision, "Consumed" was profoundly influential, defining the soon-to-emerge minimal movement. Shortly after its 20th anniversary, Chilly Gonzales was inspired to compose accompanying piano pieces (counterparts) for each of the tracks and shared them with Tiga, who became the conduit between both artists and led the project to fruition on his label. Hawtin mixed the new combined work, allowing each artist their own space within the project,more of a sonic conversation between them than a conventional collaboration. Consumed in Key will be available as a deluxe triple vinyl LP. The artwork is a reinterpretation of the original album's, flipped to black and white and with the cutout size transposed to the dimensions of a piano key, the die-cut in the white outersleeve revealing a shiny black foil stamp on the black innersleeves.

Thomas Köner is one of the most influential modernist minimal composers. His music is often defined as dark ambient or drone, because of the use of low frequencies, material from gongs,shadowy resonances and boreal ambience, but at the same time its sound with constant fluctuation and vulnerability of sonic events, what makes it organic, human and almost comforting.

Köners soundscapes are no longer simply dark, the question now is that of a profound blackness. Such is the generic darkness of the abyss, the void and vacuum, the darkness of more than silence, of catastrophe and cataclysm, but also the soundscapes have utopian moments. It is a cosmological blackness, the black of nonbeing.

The more subtractive, the blacker the sound synthesis, Köner writes. Such blackness is non-music. Music will never be music until it ceases to represent and begins to sound like non-music or monochrome.

"Whoever hears the distortion of all sounds, will soon become Ultrablack. Whoever listens to this world, but has no affection for any of its sites, even to the place of Black Noise, may soon reach Ultrablack. Whoever understands the spirit of impartiality through ten thousand million partial tones, hears Ultrablack and can no longer be measured. No measures, no enclosures, no properties are the sign of ultrablack scores." Thomas Köner

Aubrite was first released 1995 on the label Barooni. Roland Speckle helped with production of the album. Aubrite is the name of a group of meteorites named for Aubres, a small achondrite meteorite that fell near Nyons in 1836.

Some sonic communities grow even in isolation, in the lonely obsessive moments in the studio as time melts away. Deep inside the Detroit Underground nests a Berlin underground, chasing those resonant shared sounds. DU Berlin draws together some of that love felt through music in the German capital. It’s not the wild city of reunification or *Berlin Calling* or tourist-style movies or the easyJet set. This is the side of the city that endlessly romances machines for the sheer joy of it, as The Allegorist titles her track, “until dawn.” And with some big names and emerging, ranging from mainstays to veteran agitators, the Berlin DU crew have telegraphed each other through productions and mutual inspiration. The results vibrate and rumble with sympathetic frequencies, but never limited to grayscale or dithered palettes.

DESIGN: Neubau Berlin.

Limited edition of 300 with stamped vinyl and risograph printed insert.

The first release of Séance Centre's "Speculative Ethnography” series is an EP of Burroughsinspired analog rhythm-scapes, conjured from the nocturnal Parisian imagination of Shelter (Alan Briand). 　

Recorded directly to cassette 4-track late at night in Briand’s apartment in Paris with a gathering of temperamental vintage gear, Le Sommeil Vertical captures a somnambulant journey into vibrant analog nether-regions. The hazy sonics harken back to ‘80s DIY cassette culture, but refracted through a prism of fourth world melodics and early IDM rhythm experiments.

The tracks are titled after Burroughs’ Cities of the Red Night, and the book acts as a talisman for the album, setting sci-fi surrealism within expansive arid psychic landscapes. The trance-inducing terrain, mapped out in warm
1/4” tape, moves through phased backstreets, AFX-arrondissements, and dub municipalities. This ismusic on the nod, an elixir for the sleepwalking flaneur. Alan Briand has been with Séance Centre from the start, as designer and European emissary — a
wunderkind of many talents, we’ve always trusted his ears as well as his eyes. We’re pleased to release this mesmerizing EP as a limited edition pressing with risograph printed insert and designed for future archives

Screen Time is a series of instrumental guitar pieces recorded during the summer of 2020 as the world confronted the pandemic shutdown and as the people of good conscious stood up against the oppression of racist police oppression and murder. How much screen time does a parent allow a child? How much screen time does a child need to realise a world which has the means to coexist as a community in shared exchange?
The cover image of Screen Time is of a youngster curled into a book, the pages vibratory with text radiating through the skin, blood and bone – an aspect entirely missing from digital media, though the actuality of transparency in our daily lives through streaming etc we can only hope leads to the awareness of fairness.
Screen Time is in reflection to dream time, a state of meditation, hypnagogia and pillow talk.

Thurston Moore born 1958, moved to NYC 1976, started Sonic Youth 1980, edited the fanzines KILLER, Sonic Death, and Ecstatic Peace Poetry Journal, started Ecstatic Peace records + tapes label, senior editor of Ecstatic Peace Library, and Flowers & Cream, edited books at Rizzoli and Abrams, on faculty at the Naropa University summer writing program since 2011, published through various imprints, worked collaboratively with Yoko Ono, Merce Cunningham, Cecil Taylor, Rhys Chatham, Lydia Lunch, John Zorn, Takehisa Kosugi and Glenn Branca, composed music for films by Olivier Assayas, Gus Van Sant, and Allison Anders, records and tours both solo, with various ensembles and with his own band, resides everywhere.
Mastered by Lasse Marhaug for Southern Lord.

Following the release of Collision and Coalescence, Slovakian label mappa commits to the duo Grykë Pyje, releasing their third LP "Squirlich Stroll". Maintaining the fabled tone of their debut on the label, Jani Hirvonen (Uton) and Johannes Schebler (Baldruin) dig deeper into the sonic vein of myth and fabric of yonder. The music in "Squirlich Stroll" unravels as a yarn brought back from a wild voyage.

On uncharted areas of medieval maps where potential dangers were thought to exist, the inscription "Here be dragons" was used to warn as much as to tempt explorers willing to cross limits. Myth awaited them as a blank page of dormant territory, yet also to be proved unlike and reinvented. In such pliable borders, wonder had the favorable conditions to blend experience and imagination, crafting creatures with an eye instead of a bellybutton, arms instead of ears and ears instead of fingers, hypnotizing spirals where a mouth should have been. These chimeras, though fictitious, allowed explorers to express their delusions along with their fears. "Here be dreams", we hear nightmares. Here be mushrooms the size of pyramids that sing lullabies for mountains. Here be talking roads that lead to volcanoes throats and spit you back to flight. Here be art of bending trees into braided bridges like in Meghalaya, and the time gap between seed and living ruins.

Let that be the compass, the astrolabe. Yet, the music in Squirlich Stroll comes with these journeys already embraced, unraveling as a story told by wanderers visiting town, nourishing fantasy. The sonic language and diction employed here are crystal clear. Sounds are sharp and pure. Growls, howls, shrieks, tingles, rattles, moans, excretions and even hymns sung by landscape and creatures alike do not run over each other. There is no chaos, but ambience, cohabitation. The duo masters dramaturgy, providing every voice with focused turns and character, guarding their parley with caution and care, convoking them mainly through soothing synth melodies that enable an analgesic, sedative mood. Clusters of sounds gathered are articulated through the album with the inherent luminosity and required stability to accomplish what peaks in, as the title of the final track reads, a new dawn.

A pulversing album that not only increases their sonic intensity tenfold, but expands their palate from a chaotic hardcore base into grindcore, noise rock and even figurative elements of death and black metal.

This is not for the faint of heart. ‘Caged In Gold’, is a 10 song excursion in dissonance, does everything it needs to in the time it takes most bands to open up. Their sophomore album is supremely dark, engagingly short, sharp, shock to the system. If further musical pointers are needed then perhaps the menace of early gaza and the turn- on- a- dime musical dexterity of breather resist often combined with grindcore would be a good place to start.

Last copies of ultra limited version on half & half black/red vinyl. Only around a 100 available!

“I learned long ago, never to wrestle with a pig” reasoned George Bernard Shaw. “You get dirty, and besides, the pig likes it.” True to form, Pigs Pigs Pigs Pigs Pigs Pigs Pigs have left the wiser of us aware that they are no band to be messed with. This is made manifest on ‘Viscerals’, their third proper, and an enormous leap forward in confidence, adventure and sheer intensity even from their 2018 breakthrough ‘King Of Cowards’.

Incisive in its riff-driven attack, infectiously catchy in its songcraft and more intrepid than ever in its experimental approach, ‘Viscerals’ is the sound of a leaner, more vicious Pigs, and one with their controls set way beyond the pulverising one-riff workouts of their early days. Yet Pigsx7 have effortlessly broadened their horizons and dealt with all these new avenues without sacrificing one iota of their trademark eccentricity, and the personality of this band has never been stronger, whether on the Sabbathian and philosophical warcry of ‘Reducer’, the debauched, Jane’s Addiction-tinged swagger of ‘Rubbernecker’, the Melvins vs Sonic Youth demoltion derby of ‘New Body’ or even the demented MBV-meets-Twisted-Sister party-banger from hell that is ‘Crazy In Blood’.

“We’re a peculiar bunch of people - a precarious balance of passion, intensity and the absurd” notes vocalist Matt Baty. Such is the unstoppable character of this unique and ever-porcine outfit; still the hungriest animals at the rock trough.

"_Acid blues punk meets freeform drone raag transcendentalism" JONNY HALIFAX is an untutored aleatoric free blues outsider. His new collection of sound is an instrumental departure into godless raag brut improvisations, layered, manipulated and sculpted into heavily immersive feral sonic collages. Invocations of an hallucinatory apocalyptic near future. Previously the creator of junkshop blues skronk one man band HONKEYFINGER, which then mutated into the gospel fuzz psych of Julian Cope endorsed JONNY HALIFAX & THE HOWLING TRUTH with their ""slitherin' electro -programmed slide guitar driven mung worship", alongside the ambient drone metal noisescapes of DEATHENTEREDINERROR, now THE JONNY HALIFAX INVOCATION channel heavy meditations on the present into an uncompromising free blues transcendentalism that burn raga-shaped holes into your chakra with searing psychedelic intensity. Inspired by Henry Flynt's avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3's contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Dave Gilmour weep. The blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. AÇID BLÜÜS RÄÄGS Volume 1 plays like a psychedelic western movie soundtrack, frenzied electric lap steel guitar suites play to melting cowboy minds. Flaming tumbleweeds blow in slow motion across wide open concrete vistas. Jodorowsky's El Topo meets Ballard's High Rise in an apocalyptic knife edge disintegrating urban landscape. Shut your eyes and conjure the best nightmares you've never had. The JONNY HALIFAX musical CV also includes studio contributions to releases by Andrew Weatherall's TWO LONE SWORDSMEN, UK metal behemoths ORANGE GOBLIN, hardcore thrash upstarts HECK (formerly BABY GODZILLA), and pan european psych noise titans MELTING HAND.

Desiderii Marginis, Troum, Martin Bladh & Karolina Urbaniak and Anemone Tube, who have gathered to pay homage to the first four novels of British writer J.G. Ballard: »The Wind from Nowhere«, »The Drowned World«, »The Drought and The Crystal World«, which are often seen as disaster novels. Each of the four projects presents a very unique take on the chosen work, using the respective text as a starting point to offer sonic representations of and (further) perspectives on these books, using drones, field recordings, words and much more to create evocative and richly layered soundscapes.

Adorned by a painting of German artist Alex Tennigkeit depicting a sphinx-like hybrid creature, a phoenix rising from the ashes of our civilization, the double album also includes an in-depth essay by Michael Göttert (African Paper) on Ballard's works in which he argues that the novels can best be understood as texts of transformation, as well as texts by the sound artists.

The double album starts with Desiderii Marginis' track “The Wind From Nowhere”, on which field recordings and intense drones suck the listener into a stormy vortex. Troum interpret The Drowned World, and their two dynamic tracks illustrate both the changes happening to the (outer) landscape and the (inner) world of the protagonists. Martin Bladh & Karolina Urbaniak make use of sound and words on “The Poisoned Well”, their interpretation of The Drought, referring to Shakespeare, the Bible and scorched earth policy amongst other points of reference. The album closes with Anemone Tube's take on The Crystal World, using field recordings made in Japan’s Mount Fuji forest. “Sea Of Trees” aims to show a devolutionary process, in which man gains access to his actual spiritual home – a primordial wisdom, which lets him discover an internal non-dual space, allowing to ultimately becoming one with the earth as body-being consciousness – the ‘perfect dream’ landscape.

GLOK is the electronic alter ego of Andy Bell; best-knownas the guitarist in venerated shoegazers Ride, alongside stints in other famous groups, with a noteworthy solo careertoo. This October his first album proper as GLOK - 'Pattern Recognition' - is released via Ransom Note Records' sisterlabel Bytes. Although usually renowned for purveying the finest quality jangle, drone and general guitar-based magic, Bell's forayinto dance music should come as less of a surprise than immediately meets the eye. There are parallels between the genres within the sonically-deep layers, hypnotic sound and trance-like headspaces, or, as he puts it more succinctly: "GLOK is all about the push and pull between electronic and psych in my music." Although not a full-blown concept album, 'Pattern Recognition' has a loose thread which takes in a week of life, from weekend to weekend, with each of the vinyl's four sides capturing different mind states across that transition. Each side has a distinct feel that's different to the last but inherently cohesive - much like the changes an individual goes through over 7 days. Across the album with loving craft Andy weaves together throbbing dubbed-out acid, steamy jack trax, levitational psychedelia, sparkling Balearic, techno, Kosmische, shoegaze, art rock and Compass Point-style post punk -with just a hint of ambient, new age and contemporary classical too.

Following the revival of the iconic 1990s dance album series, Club Culture in 2020, Stress presents Club Culture Vol. 2. Much like in volume 1, the label continue to pay homage to the UK’s rich and diverse club culture with a collection of the scene’s freshest tracks.

To celebrate the return of the series, a limited edition vinyl sampler will be available which features five of the album’s most cutting edge selections, including exclusives from Richie Blacker, and Danny Howard. Label favourites, Tommy Farrow, Ben Hemsley, and Because of Art are also included on the sampler. Each handpicked track captures the sonic essence of Stress and clubland today.

Stress brought the world many seminal house tracks in the 1990s including Bedrock’s ‘For You Dream Of’, Last Rhythm’s ‘Last Rhythm’, and Greed’s ‘Pump Up The Volume’. During the 1990’s, Stress was considered one of the world’s greatest independent record labels, where it became known for its growing influence on the progressive house scene. It gave birth to the early careers of iconic producers Sasha and John Digweed. Today it is carving out a whole new scene taking inspiration from the past but creating a whole new sound for the stable.

This is the sound of clubland and club culture.

South London-based 8-piece band Don't Problem is proud to present their their new album ' Liminality' planned for October 2021.

Their first three singles 'King Kong' 'Whale' and 'CD's Lament' gathered very strong media support with coverage from the likes of Mary Anne Hobbs, Jamz Supernova, Tom Robinson, WorldWide FM, BBC London, Jazz FM, Soho Radio, Amazing Radio, Radio Nova, Fip and more.

With their new album, the combo challenges the common perception of a "covers" brass band, exclusively writing original material and adding electronics, synths & strings, a reflection of their wide encompassing interests. They introduce us to a very personal journey; the moment in time where a brass band affirms their love for club culture and delivers an album that travels from heavy funk to psychedelic jazz and UK dance music.

"As 8 people writing music together, sometimes it can take a while for a tune to fully take shape. This tune came into itself in the studio which gave us the space to explore the production, sonic possibilities and instrumentation. The opening section leads to a beautiful first-take flugelhorn solo driven by lush strings, pulsing horns and electronics before reaching its soaring conclusion. The title ‘Whale’ is in reference to the Whale emoji which we use as a way to express a greatness or joy for which words can't be found."

Don't Problem's debut 'DP EP' combined the heavy funk and raw psychedelic sound of brass and drums with ferocious grime-inspired improvisation to deliver original and fresh music, aimed squarely at the dance floor. The band is comprised of 8 musicians who've played with everyone from Tenderlonius, Emma Jean Thackray, Alfa Mist, Tom Misch and Ruby Rushton to Riot Jazz.

RED/YELLOW MARBLED Vinyl

Internationally revered, multi-faceted artist Arnaud Rebotini arrives on Veyl with the new EP, 'New Territory'. While venturing into a wide array of musical genres and sonic realms, the release is still unmistakably Rebotini, fueled by infectious electro-body grooves and hypnotizing vocals.
From the utterly addictive, pulse pounding allure of “Special A” to the more industrial techno strains of 'A Noise Rose', Rebotini delivers a myriad of interconnected tracks which traverse fresh auditory landscapes but maintain a common circuitry. The poignant, anthemic lyrics of 'No More Love (No More Hate)' resonates loud and clear while the throbbing, Giallo flaire of 'Italian Sex Drive' sends shivers down the spine.
'The Pale Eastern Christ' injects a haunting atmospheric mood while the title track is irresistible ebmwave that falls perfectly in between the lines for an indelible sound that only the French producer can conjure. Rebotini’s work continues to shatter boundaries and fuse genres while essentially pioneering a category all of his own. 'New Territory' furthers the legend and keeps us begging for more.

We finally made it: BEWITH100LP! And what better way for a re-issue label to celebrate such a landmark catalogue number than to give it to a record of new music. We couldn’t resist when the artist is Official Be With Family Member Kenny Dickenson and when the music is his lovely, lovely score to French-Vietnamese artist Mai Hua's 2020 documentary film “Les Rivières”. If you enjoy the more minimal, intimate piano of the likes of Nils Frahm or John Carroll Kirby’s solo work, you’re certain to fall for this beautiful album.

Taking six years to make, Mai’s film explores what happened when she brought her dying grandmother to France, pulling together four generations of women from the same family. Kenny’s score accompanies all the pretty things, sad things, dirty, beautiful, happy, broken and reborn moments of these women’s experiences.

The whole score is built around delicate, sparkling piano motifs. At times they’re joined by cello and complemented with ambient chords and other flourishes. It’s a very particular palette that Kenny and Mai established early on, as Kenny explains: “We had agreed on a particular sonic aesthetic early on in the process - to use specific and relatively minimal instrumentation, reflecting the intimacy of the picture. So piano and cello were quite prominent in instructing a sense of space and immediacy. Until I had to get the junkyard percussion out… ”

When it comes to describing the end results, Kenny’s happy to wear his influences on his sleeve:

“When the director and I sat down for the creative meetings early in the process, we watched ‘Wolf Children’, a Japanese animation film by Mamoru Hosoda. The amazing soundtrack by Masakatsu Takagi was a launching point for me and thereafter I leaned into more modern classical composers - Reich, Sakamoto, Glass as well as Jon Hassell’s Fourth World output. Richard Reed Parry’s ‘Music for Heart and Breath’ was a good early touchstone for me and Mark Hollis’ sparse, considered and deliberate approach was a constant presence. Also labels like Ghostly, ASIP and the ubiquitous Erased Tapes should probably get a nod here too…”

We’d even suggest there’s the occasional Yann Tiersen moment in there too.

Out of sheer necessity the collaboration between Kenny and Mai continued beyond this initial creative direction. With Kenny speaking neither French nor Vietnamese, Mai acted as translator, a process that naturally lead to discussing the film beyond just what was being said in the footage. Mai herself explains just how successful this relationship felt to her: “Music plays a very important role in all my work, particularly in Les Rivières. I cried every time Kenny sent me a new composition. I felt understood in a way that words cannot describe. It was absolutely magical and I am so happy if this music can make your soul vibrate too.”

Kenny composed much of the music in London, at the same time that Mai was shooting and editing. As the film took shape and the music also evolved, another challenge presented itself when Kenny relocated to Los Angeles part way through, resulting in Arnulf Lindners beautiful cello taking on new shapes- multi sampled, played and manipulated by Kenny into new compositions.

What Kenny has put together for the film score release is definitely a “soundtrack LP”, with the music arranged to work as a proper album in its own right that should be listened to from start to finish. Indeed the album also includes a new piece “Pour Marthe” that Kenny composed in memory of Mai’s grandmother who died after the film was finished.

Kenny’s personal highlight is also ours: “When I listen back to the album as a whole now, I never want part II of the Trilogy (Belles Larmes) to end. I have fond memories of recording it and I love how the dynamic of the piece gradually evolves from falling on the ‘1 and the 3’ to the ‘1 and the 2’. It’s so short and sweet, I keep wanting it to last for longer. But it’s kind of perfect as it is.”

Pretty much our sentiment for the album as a whole.

Running a record label means we often get asked advice about pressing a record. In this case the music was too good not to offer to release it ourselves. To Kenny, having the Les Rivières score on vinyl also feels like the final part of the project.

“It’s a beautiful thing to have it on vinyl. It’s quite an intimate soundtrack so there’s something really perfect about being able to listen to it on that format. When I was a kid, my Uncle Pat who used to work at Woolworths would visit and bring random records from their record department over to us. I can remember listening to “Theme From Exodus” by Ernest Gold. I had no idea what it was about but the imagery it conjured up when listening to that record was just mind blowing to me at that age. Soundtracks can have their own life on vinyl I think, and removed from their original context is this unique format for reinvention. So I’m excited that people who haven’t (and have for that matter) seen the film can have that experience.”

This might not be a re-issue, but the Les Rivières film score album has still been given the full Be With treatment. The vinyl has been mastered by Simon Francis (under Kenny’s ever-watchful eye/ear, of course), cut by Pete Norman and pressed at Record Industry. The sleeve follows the film’s poster and other promotional material, including Lucile Gomez’s almost magical illustration.

We’re under no illusions that many people reading this will have seen “Les Rivières”, but that doesn’t really matter when it comes to listening to the score. Just on its own, Kenny’s music still captures the robustness and the delicacy of lives lived.

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and
salient, these themes echo throughout the fifth album from Midlake, their first since ‘Antiphon’
in 2013.
 From the cover to the title and beyond, a longing to reconnect with that which seems lost and
seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse
Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He
was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I
reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t
take that lightly.”
 A desire to commune with the past and connect with present, lived experience asserts itself
from the opening of the album. ‘Bethel Woods’ sustains and develops that reconnection,
evoking the steadfast and contemplative urgency of ‘The Trials of Van Occupanther’ to back a
lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars
and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where
arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce
themselves and reach out into fresh territory with a richly intuitive dynamism, honouring their
past as a seedbed of possibility.
 Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that
seem fragile. The ELO-esque ‘Meanwhile…’ draws inspiration from what happened when
Midlake paused after ‘Antiphon’, developing universal resonance as a song about the beautiful
growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s
soft-rock stylings for another song searching for hope, its keyboard line reaching out towards
an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the
difficulties of partings.
 On-hand was new collaborator John Congleton, who produced, engineered and mixed the
album, marking Midlake’s first record with an outside producer. “I can’t say enough just how
much his influence brought our music to another sonic place than we would have,” says Pulido.
“I don’t want to record without a producer again. Part of that is the health of the band, because
as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s
going to be this way!’ It’s hard to do that with your friends.”
 The result is a powerful, warming expression of resolve and renewal for Midlake, opening up
new futures for the band and honouring their storied history. Formed in the small town of
Denton, with roots in the University of North Texas College of Music, Midlake delivered an
auspicious debut with 2004’s ‘Bamnan and Slivercork’. For the follow-up, they looked further
afield and deeper within to deliver 2006’s wondrous ‘The Trials of Van Occupanther’, a modern
classic pitched between 1871, 1971 and somewhere out of time: between Henry David
Thoreau and Neil Young’s ‘After the Gold Rush’, between 1970s Laurel Canyon thinking and a
longing for something more mysterious.
 Confidence bolstered by a growing fanbase and a developed sense of their own far-reaching
abilities, Midlake - a band acutely attuned to seasonal shifts - then embraced change. In 2010,
they visited darker psych-folk thickets for ‘The Courage of Others’ and backed John Grant on
his lustrously spiky breakthrough album, ‘Queen of Denmark’. When singer Tim Smith departed
Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory
‘Antiphon’, teasing out singular routes through vintage electric-folk pastures.
 In reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result
is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of
intimacy at its heart: an album to break bread and commune with, honour the past and travel
onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On ‘For the Sake of Bethel
Woods’, those seeds are lovingly nurtured, taking rich and spectacular bloom.
 LP pressed on 180g vinyl in a gatefold sleeve printed on matt card and printed inner sleeve
with lyrics and digital download card.

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and
salient, these themes echo throughout the fifth album from Midlake, their first since ‘Antiphon’
in 2013.
 From the cover to the title and beyond, a longing to reconnect with that which seems lost and
seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse
Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He
was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I
reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t
take that lightly.”
 A desire to commune with the past and connect with present, lived experience asserts itself
from the opening of the album. ‘Bethel Woods’ sustains and develops that reconnection,
evoking the steadfast and contemplative urgency of ‘The Trials of Van Occupanther’ to back a
lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars
and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where
arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce
themselves and reach out into fresh territory with a richly intuitive dynamism, honouring their
past as a seedbed of possibility.
 Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that
seem fragile. The ELO-esque ‘Meanwhile…’ draws inspiration from what happened when
Midlake paused after ‘Antiphon’, developing universal resonance as a song about the beautiful
growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s
soft-rock stylings for another song searching for hope, its keyboard line reaching out towards
an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the
difficulties of partings.
 On-hand was new collaborator John Congleton, who produced, engineered and mixed the
album, marking Midlake’s first record with an outside producer. “I can’t say enough just how
much his influence brought our music to another sonic place than we would have,” says Pulido.
“I don’t want to record without a producer again. Part of that is the health of the band, because
as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s
going to be this way!’ It’s hard to do that with your friends.”
 The result is a powerful, warming expression of resolve and renewal for Midlake, opening up
new futures for the band and honouring their storied history. Formed in the small town of
Denton, with roots in the University of North Texas College of Music, Midlake delivered an
auspicious debut with 2004’s ‘Bamnan and Slivercork’. For the follow-up, they looked further
afield and deeper within to deliver 2006’s wondrous ‘The Trials of Van Occupanther’, a modern
classic pitched between 1871, 1971 and somewhere out of time: between Henry David
Thoreau and Neil Young’s ‘After the Gold Rush’, between 1970s Laurel Canyon thinking and a
longing for something more mysterious.
 Confidence bolstered by a growing fanbase and a developed sense of their own far-reaching
abilities, Midlake - a band acutely attuned to seasonal shifts - then embraced change. In 2010,
they visited darker psych-folk thickets for ‘The Courage of Others’ and backed John Grant on
his lustrously spiky breakthrough album, ‘Queen of Denmark’. When singer Tim Smith departed
Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory
‘Antiphon’, teasing out singular routes through vintage electric-folk pastures.
 In reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result
is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of
intimacy at its heart: an album to break bread and commune with, honour the past and travel
onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On ‘For the Sake of Bethel
Woods’, those seeds are lovingly nurtured, taking rich and spectacular bloom.
 LP pressed on 180g vinyl in a gatefold sleeve printed on matt card and printed inner sleeve
with lyrics and digital download card.

Mattiel, the Atlanta based group made up of Mattiel Brown and Jonah Swilley, announce
the release of their third album, ‘Georgia Gothic’, on Heavenly Recordings. ‘Georgia
Gothic’, a magic third in Mattiel’s run of full-length albums, was shaped in the quiet
seclusion of a woodland cabin in the north of the Atlanta duo’s mother-state; “Some
faraway place that just Jonah and I could go where there would be no distractions,
nothing else going on, and we could turn everything off and only focus on writing songs,”
reflects Brown.
 Where 2017’s self-titled debut and its 2019 follow-up Satis Factory were written with what
Swilley refers to as a “hands-off” approach - he arranging the music and Brown the lyrics
and vocals, the two working largely separately - the making of ‘Georgia Gothic’ was, for
the first time, a truly collaborative undertaking. “This was the first time we made a point to
just be together and work out ideas in the same room. That was the initial intention... it
was about learning what each other wanted to accomplish on a sonic level, and then just
trying different things out,” Swilley continues. “Everything happened backwards. Normally,
you’d have friends that make a band... with us, we started making music from the jump,
and then became homies.”
 Cultivated by time spent together on the road touring the first two albums, it is this
newfound sense of intimacy between Mattiel’s members that enabled the writing of
‘Georgia Gothic’ not as two separate musicians, but rather as one creative entity. The
album remained within the four walls of Brown and Swilley’s private world for much of its
evolution - with recording taking place in a simple studio set up by the pair in the
borrowed room of a dialysis centre, Swilley in the producer’s seat - until, nearing
completion, it was transferred into the trusted hands of the Grammy award-winning John
Congleton (whose extensive list of credits includes artists as diverse as Angel Olsen, Earl
Sweatshirt, Erykah Badu and Sleater Kinney) for mixing.
 Not only does the affinity between its creators translate into an electric synergy between
‘Georgia Gothic’s words and music - the brine-shock of Brown’s taut lyricism cut against
the bourbon-smoothness of Swilley’s instrumentation - but here too are the palpable
spoils of experimentation, each party trustful enough of the other to trial and error their
practices into new geometries. Swilley puts this wide palate, in part, down to the place
they call home. “I definitely feel like being from Georgia allows us to have a certain way of
approaching music.” Brown chimes in: “We haven’t really highlighted where we’re from in
the past two records, even though those were also written in Georgia. There’s so much
great art and great music that’s come from Georgia, from all different types of genres and
all over the state - but take R.E.M. and OutKast: there’s this weirdness that I can’t really
put my finger on.” Swilley concurs: “It’s the same with the B-52s, the Black Lips... it
doesn’t feel like L.A., it doesn’t feel like New York, it feels like another planet. We’re not
really in a ‘scene’ here in the same way. You have to make your own sound, create your
own identity.”
 And it is precisely the forging of Mattiel’s distinct musical identity that ‘Georgia Gothic’
signals; its members guiding each other ever-homewards not just in a geographical or
sonic sense, but spiritually, too.
 Initial LP pressing on Red Hot coloured 140g vinyl with digital download code. (Once this
format has sold out, a black 140g vinyl edition with digital download - HVNLP202 - will be
made available.)

On the tribute album Songs for Tres, Psychic Ills band members come together to commemorate the late Tres Warren who passed away just as the world turned upside down in March of 2020. Isolated, feeling helpless and lost by the death of her musical soul mate and collaborator of 18 years, bassist Elizabeth Hart found making music to be her only outlet in a time where people were unable to be physically together to mourn. So, she reached out to Adam Amram, Jon Catfish DeLorme and Brent Cordero, the main players in the Ills line up since the release of their last full length album Inner Journey Out (2016), to ask if they would embark on this cathartic journey with her. This was a different kind of production endeavor for Hart driven solely by “the aching need and urgency” to do something to honor her friend.

Hart, Amram, DeLorme and Cordero reunited for the first time five months after losing Warren at Amram’s loft – the same spot where they’d rehearsed countless times before – although this time with a different objective. In an effort to share, support and create, the old friends joined in the painful and healing experience of making this tribute album to cope with their loss. The band members wrote, arranged, and rehearsed for months and the result of their work culminated in a weekend of recording in the southern Catskill mountains at the end of 2020. This isolated and intimate environment was a perfectly serene and fitting location to finalize their story.

Throughout the album, Hart, Amram and DeLorme take turns as the vocal lead on each of the songs while Cordero showcases his finger-picking guitar skills in addition to his piano and organ playing, which he is known for. Along with the core band members, a number of other musicians played on the album, many of whom had collaborated on prior Psychic Ills releases and wanted to be a part of this last collaboration in memory of Warren. Keeping the project in the Ills family, Hart produced the album alongside Iván Diaz Mathé, the long-time Psychic Ills sound engineer.

The album consists of five original tracks and four cover songs. Initially, learning the covers was just a method for the musicians to “break the ice” and play together again for the first time without their band leader. However, those tracks became just as important to include as the originals because of their essential role in the process of coming together to make the album. The cover songs were chosen because of their unique connections to the band’s memories of Warren. Dennis Wilson’s "Rainbows" and Fleetwood Mac’s "Station Man" come from two of Warren’s favorite albums, Pacific Ocean Blue and Kiln House. The band also recorded Blaze Foley’s "Clay Pigeons" and Powell St. John’s "Right Track Now." The idea for the latter was suggested by Amram. Warren once sent him a clip of Roky Erikson singing a moving rendition of that song in the film Demon Angel and it had stuck with him ever since.

Hart wrote "I’ll Walk With You" on the day of Warrens’ passing, at the time not knowing what it meant. When she got the call with the heartbreaking news, it became clear to her what the song was about. Relying on a gently lilting string arrangement to set the tone, this duet features Mazzy Star vocalist Hope Sandoval alongside Hart. Sandoval previously collaborated with Psychic Ills accompanying Warren on "I Don’t Mind" (2016). The ideas for "Home" and "Walk Around," two other songs on the album by Hart, started simply with an acoustic guitar and lyrics, a hopeful exercise to connect with her lost friend. Brent Cordero’s instrumental "Whole Lotta Piece of Mind" is nothing short of a transcendental experience. By running his pedal steel through a Leslie speaker, Jon Catfish DeLorme crafts the unique tone showcased on Wonderful Feeling, a moving example of studio experimentation combined with old school techniques. DeLorme describes it as “an attempt to highlight the musical experience I shared with Tres both sonically and thematically. What resulted is the unguarded exaltation I feel lucky to have shared with my fellow bandmates.” Adam Amram’s “Into the Sea” was composed spontaneously the week Warren passed. The melodic tune has a hopeful lightness and Amram describes it simply as “a song to my brother”. Their connection shines through.

In fact, the entire album is one that radiates the layers of friendship, love and music that will forever exist between this family of musicians. As the band themselves state: “This album was made out of love and a commitment to honor our dear friend and bandmate.” A portion of the proceeds from the album will be donated to RAICES, a charity who aids children who have been displaced at the Texas/Mexico border.

2001’s »Anima« was the third album released by Sasu Ripatti under his Vladislav Delay moniker and marked a turning point in the stylistic development of the prolific producer. Clocking in at roughly 62 minutes, the single piece draws on dub aesthetics while working with Musique concrète-like methods through the liberal use of samples to create a dreamlike logic. Muffled voices, lush chords, subtle rhythms and indefinable sound events are not so much integrated into a composition with a predetermined outcome but rather engage with each other freely in a constant sonic flow, forming constellations in one moment before moving on to connect with other elements in the next one. »Anima« marked the first time Ripatti was using a DAW in his working process, creating a piece constantly in motion that subtly evolves over time. This vinyl reissue on the German Keplar label follows up on the 20th anniversary edition of 2000’s »Multila« and will be complemented by a ten-minute long version of the original piece, previously only available on the CD version released by the artist on his own Huume label in 2008.

After the release of his »Ele« and »Entain« albums in 1999 and 2000, respectively, Ripatti took the 1998 independent movie »Hurlyburly« as a conceptual starting point to experiment with different gear and production methods. »Until then I had worked with an old MSQ-700 MIDI sequencer and an Ensonic EPS16 sampler/sequencer that had one or two MB of sampling memory and mixed the music live on a Mackie, which was very limiting arrangement-wise,« says Ripatti. Loading a slightly shortened version of the film into his DAW however allowed him to play along to it with the DrumKAT MIDI controller, triggering and playing all the sounds that can be heard on »Anima« while also contributing synths, bass and other sounds during repeated playthroughs before mixing a total of six stereo tracks together. »This way, after I had edited out most of the few parts that had music in them, I was in the movie; almost like an extra character playing music,« explains Ripatti. »This was certainly the most organic way in which I have ever made music, and I have never again approached another record like this.«

While »Anima« sounded like an unusual Vladislav Delay record at the time of its release, it also prefigured many of the developments Ripatti would go through in the course of his long career. Combining visceral immediacy with a sense of abstraction, it is far more than a mere missing link in his discography but rather a conceptually and musically outstanding piece of work that remains as engaging as it was 21 years ago.

All tracks composed and recorded by Vladislav Delay.
Originally released on Mille Plateaux in 2001.
Remaster and cut by Kassian Troyer @ D&M.
Art direction and design by Marc Hohmann.
Text by Kristoffer Cornils.