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Stroboscopic Artefacts is proud to present the debut album of Malaysian born Bangkok based artist Wanton Witch.

Born in an isolated community of Borneo Island in 1993 Wanton Witch is a DJ and producer with a hyper-sensitive connection and approach to sound through performance. Coming of age in the relative isolation of island life, it wasn’t until relocating to Bangkok that she was able to access the different communities of musical genres that she would later travel between. With an early taste for trap and hip hop, she began working in the deconstructed club and techno scene where she found her musical voice, beginning her DJ career in 2018. Wanton is also a cofounder and original member of Queer underground creative collective ‘Non Non Non’ that has become a Bangkok nightlife staple.

Being an “outsider” musician and producer with no formal training, it was the fortuitous crossing of paths online that has sparked the creative collaboration between Wanton and label owner and creative director Lucy. Last year Stroboscopic Artefacts celebrated ten years established between experimental and dance floor spectres and this is the first record the label is releasing after one year break, marking the launch of a new chapter for the imprint. It is with releases like the eponymous debut album from Wanton Witch and the support given to emerging artists like her that the imprint continues to forge pathways within the industry.

Featuring 11 tracks, these recordings are the first body of work from the Bangkok producer, and include many different snapshots of electronic music genres from IDM and experimental to hardcore and rave, using caustic electronics to deconstruct traditional track conventions. This collection of cuts read more as a complete soundscape, like listening to a live set. The phrenetic jump from genre to genre, the mixing of diverse sound textures and landscapes reflect Wanton Witch’s own experience navigating a hostile world as a Queer trans woman in Malaysia. The intense energy with which each track is cut together reminds the listener of the nostalgia of mixtapes and a time in life when identity is being constructed.

Wanton Witch has created an album which feels like a reflection of the aggregation that already exists within musical internet sub-cultures and communities. A place where many diverse and contrasting sound palettes, textures, and structures can fit together to create a new different, Queer way of seeing the world.

Following up on Wanton’s LP, label head Lucy will also present an actual full length album named ‘Lucy Plays Wanton Witch’ featuring re-interpretations of the original material in a whole new body of work. This upcoming follow up release will not represent a mere remix edition, but a recreation from scratch and the rebirth of “one into another” so to say. Expect the quintessential Lucy treatment.

Mathieu Harlaut has always had the audacity to push his curiosity to its logical conclusion, conjuring up unique sonic spectres. Verging on strange, these apparitions aggregate a myriad of influences and approaches combining DIY, scholarly appropriation and pop arrangements. Chamberlain, his alias, embodies the project, where classical, jazz, electro and soundtracks merge to form innovative musical compositions. Chamberlain’s vision emerges as he takes these diverse territories to create completely new landscapes. Evocative postcards of journeys to come. A present where influences and inspirations offer up the ideal framework for creating new horizons.

With his characteristic attention to detail, Chamberlain is a skilled craftsman and an alchemist in turns. With him there is no apparent "timeline". No welded joints. No stiches. The overall impression of Chamberlain's music is enveloping, finding just the right points of balance and energy to evoke a particular atmosphere. But it doesn’t diffuse atmosphere, it’s more like an ambient perfume. Chamberlain's tracks are like the many notes of a fine fragrance, infusions that elicit subtle and contrasting emotions. Be it the music lover's indulgent solitude or the sensory exultation of a shared club experience.

What is experience, but a husk, made up of moments in time, formed by myths, habits and rituals, molded by the country we call home. Who are we, but spectres facing the ambiguity of the coming day, while navigating the winding roads of our past.
What is left, but to make sense of it all through the gaze of a lover, discover passion through the kindship of music, embrace life, through the ancient fibers of the land.

Demon Records presents the second part of His Dark Materials – now a major TV series.
In this BBC Radio full-cast dramatisation of The Subtle Knife Will finds an opening into the haunted world of Cittàgazze - where daemon-destroying Spectres roam – and meets Lyra for the first time. This thrilling adaptation stars Daniel Anthony as Will, Lulu Popplewell as Lyra, Emma Fielding as Mrs Coulter, Tracy-Ann Oberman as Serafina Pekkala, and Peter Marinker as Lee Scorseby, with a large supporting cast.
A lavish gatefold sleeve features Dust-inspired illustrations, spectacularly realised in metallic copper ink, plus full cast and production details and exclusive sleeve notes by Philip Pullman himself. This gripping drama is presented on three heavyweight 180g discs of Daemonic Dustburst splatter vinyl.
Philip Pullman’s bestselling trilogy of children’s books, which has sold more than 19 million copies worldwide, is now the inspiration for the major HBO/BBC TV series His Dark Materials.

In 1968 Status Quo’s first hit record “Pictures of Matchstick Men” was released and the debut album soon followed. The single reached #7 in the UK, and remains the band’s only major hit single in the US, where it reached #12. Picturesque Matchstickable Messages from the Status Quo features several covers, including “Green Tambourine” by The Lemon Pipers and “Spicks and Specks” by The Bee Gees.

South London members Alan Lancaster (bass) and Francis Rossi (guitar) were the original members and founders of Status Quo. Formerly known as The Spectres and later renamed to Traffic or Traffic Jam they settled for Status Quo as their band name in 1967. The following years they were joined by John Coghlan (drums), Roy Lynes (keyboard) and Rick Parfitt (guitar).

A ‘satire about satire’, WASTELAND is a wild Burroughsian adventure melding science-fiction, absurdism and magical realism, calling fora revolution against the reductive ‘good versus evil’ narratives of popular satirical music. Arguing that through experimenting with the form of the song lyric (our most widely disseminated form of creative writing) we can build more nuanced popular discourse around the implicit forms of bias that ail us, WASTELAND presents complex characters changing their minds–along with their bodies and places in spacetime. Set in an unearthly liminal space populated by shape-shifters, time-travellers, talking genitalia and ectoplasmic spectres, the prose text evolves as the characters do: warping into cut-ups, soliloquies and even plays.Created over two years, the album draws from LICE’s rise in ‘the punk world’ (sharing stages with IDLES, The Fall, Squid, Fat White Family, Girl Band etc.) and eventual disillusionment with the limits of its prevailing ideas.

WASTELAND is a concept album structured as an experimental short story, taking cues from Brian Catling, William Burroughs and Kurt Vonnegut Jr. Its core argument is that, through reworking the prevailing forms of satirical song lyrics, we can build more nuanced popular discourse around the implicit forms of bias that ail us–the song lyric being the most widely disseminated and commonly ‘engaged with’ form of creative writing there is. In this allegory for crises in society and art (from commodification to ideological state apparatuses), the moral, physical and temporal transformations of its characters are paired with the text’s transformation: breaking from prose into cut-ups, soliloquies and even plays. In the wild, liminal space of the Wasteland, this story

Returning home after the acclaimed Holding EP and the highly regarded Clap! Clap! Remix, Lurka continues with his journey into sonic bat country. Partials kicks off with Lurka's typical intrigue, pads swell with distant spectres of percussion build into the most saturated kick of the year slapping you in the face like wet rag, while an architecture of syncopated hats and bit crunching snares lock the angles a shower of haunting bells falls. Dancehall for witching hour. Mach steps in with an equally holo-deck soundscape. Drums swing in awkward alliance with dry wooden blocks and woozy binary language. Both tracks united in their skewed viewpoint and distinctive awkward funk.

Following a high-pressure drop on Sneaker Social Club in 2019, bass-toting instigator Low End Activist steps up with his most expansive release yet.

His sound is a perfect amalgam of elements from the hardcore continuum – at times a dark and malevolent brainstorm of grubby drums dragged through crusty samplers, future-weary textural scrapes, moody splashes of pads and of course bucketloads of crushing subs, lows and low mids all designed to rock you from the waist down. You'll hear spectres of culture past lurking in the shadows – a trip hop skit from a gaunt figure here, a riotous brawl of grime MCs there – and feel the decades of soundsystem absorption seeping off the platters. It's like the LEA reached capacity and these productions were what happened when the sponge got squeezed.

One voice cuts a more prominent figure up front though – the peerless Flowdan, lending some powerful bars to Game Theory. What needs to be said about the Pay As You Go / Roll Deep mastermind you don't already know? His flow is mightier than any sword you care to step with.

Speaking of platters, this particular release marks the first vinyl pressing for Seagrave since the BOA 12" Warp Purpose Vol. 1 back in 2015 (slated for a repress – don't sleep!). It's an occasion worth toasting, building on a powerful and varied catalogue of sub-heavy sonics operating well outside the mainstream in service to naught but the sound, all packaged in a full-colour sleeve. As an expansive double pack of seven sure shots, it's also a fitting document of a subversive operative bringing some devastating angles to the hardcore tradition.

- Oli Warwick.

Music From The Original Motion Picture Soundtrack. The music of Johnny Jewel, Glass Candy, Chromatics, Mirage, & Symmetry all articulate different visions for different moments — the pure ecstasy of a Saturday night out; unrestrained romantic devotion between vulnerable people; walks on wet streets on foggy nights; isolated twilight meditations. They make music for all moments, all feelings, all stories — in films & in life. Theirs is natural soundtrack music. Bruce Thierry Cheung brings their cinematic music to celluloid to tell the story of a family’s struggles in Don’t Come Back from the Moon, starring James Franco, Rashida Jones, & Jeffrey Wahlberg. The soundtrack mixes new & beloved work from the Italians family. Classic cuts such as Chromatics’ revered “Cherry” & “The River” (alongside the newer “Magazine”) & the disco-bliss of Mirage’s “Lady Operator” are alongside cues from Johnny’s instrumental solo album Digital Rain, all remastered to articulate the resonance of the visuals. Joining them is new music from Johnny & Symmetry. “Bicycle” finds Symmetry taking their Tangerine Dream and John Carpenter vibes into a haunting modern R&B space. Cues like “Street Lights” & “Dusk” use twinkling piano keys & glassy, minimal synthesizers to craft ambient electronic bliss. “Death Valley” is a foreboding & atmosphere track, laced with spectres of fading memories. Once you go to the moon with these songs, you’ll never want to come back.

Produced & Mixed By Johnny Jewel
Mastered By Mike Bozzi At Bernie Grundman Mastering
Cut By Bernie Grundman In Hollywood

Limited retail edition in double transparent yellow vinyl.
Explosions in Slow Motion is the new album from Brock Van Wey's transcendent bvdub project.
Van Wey's previous n5MD album Heart- less found him harnessing the turmoil around him to create something vast, emotive, and brooding, yet somehow comforting, allowing you to cradle in its weight.
Months after Heartless' release Van Wey moved from turbulent times of his native California home to the chilling winter of Warsaw Poland. A divergence. Alone against the icy cold, confined to the indoors in search of protection against the world outside, Van Wey channeled, as he always does, his surroundings as they coalesced with his self-imposed aberration. The outcome of this move, and period of near total isolation, is Explosions in Slow Motion.
Featuring four long-form songs accompanied by four 'ember' vignettes, Explosions in Slow Motion is quite possibly Van Wey's most mournfully isolated work in his massive discography to date.
Filled with swelling arcs of spectres from the past appearing then slowly drift away. Foggy memories of friends, loved ones, and even adversaries seem to achingly sweep across Explosions in Slow Motion's eighty-minute runtime.
There is a forlorn thread of shrouded nostalgia throughout the album which by album's end leads to catharsis, acceptance and the finality of progres- sion.

The following three-tracker release is one of those that are about to take you on a very clear ride. We will start with some tensioning and rising loops and will keep you up while the swiftly vibes are getting to you. With The first composition on A side, Alex won't give you a break - it's a one breath composition where you don't have any time for a second thought. When it looks like both chunky bass and kicks are going away - a very sharp-shaped and acidy synth will remain on the watch and will ensure the continuously driving thrill. Getting to the Second part of this side, what can we say, straight from the beginning a thick bass line makes it s introduction in order to lead you into some awakeness on a early morning on the dancefloor. Stepping into the game, Diferit on the remix for B side is bringing you a blend of both tracks u've heard before. Very rich in vibrations of different spectres and proveniences - from very clear and clean kicks to a bouncy bass line to the very zippy and zappy sounds of his unique style. The pleasure of having these two minds behind the second release of Aforisme is ours.