Search:the order

Comic book artist, graphic designer and free jazz improviser are only some of the many talents from Beirut born Mazen Kerbaj. After appearing as part of various ensembles on the label, Ariha Brass Quartet (CREP46) and Johnny Kafta Anti-Vegetarian Orchestra (CREP22), Kerbaj finally lands a solo outfit of his own onto the Discrepant dancefloor of insubordination.

14 years after his first (and only) solo album "Brt Vrt Zrt Krt" (Al Maslakh, 2005) Mazen returns with a series of subtle compositions of his own with not one but two(!) solo albums of prepared trumpet that further cement his international position as a serial trumpet botherer.

Whilst Vol. 2.1 showcases his (almost) (un)familiar arsenal of squawks, cackles, howls and squeals, Vol. 2.2 goes deep into the nether regions of waltzing drones and bell tweaks so deep that would make most cetaceans loose their concentration. The notion of being transported to a luring mutant underwater alien community is still present on these long(er) trips with the added meditative pieces being occasionally pierced by noise creepers, nothing is what you want or expect and that’s the way it should be.

If Vol. 2.1 is the classic follow up LP, this one is the beast from the deep, it comes surging and screeching from a deep oceanic sink hole, only to hypnotize you with perverted dance moves before diving back into the sinking, wettest and darkest cave in the world. Vol. 2.2 is a summons album; it shatters any bar there was with its intentional use of everything Vol. 2.1 was denied. It grabs you by wherever available way and it only releases you when you’re ready to listen to it again. Listen to both albums back to back, in no particular order and you’ll know that there’s nothing you can do but come back to it like a doped up seal stranded in a phantom island – appearing and disappearing as the music dictates it to.

Killer breaks from the crates, obscure vinyl drums ready for your sampling and Djing pleasure. 33rpm 7" vinyl. Pre Order. Shipping around 9th September. release version will be Dinked (big hole), jukebox style. ya might need 2 copies!

Inner atmos and next time – rain into rivers, rivers to rain.

Sequence is subjective, irrelevant – it’s where we stand. Out of order, we dissolve and reform, coming together to come undone. There is no first, no now, no next – just precision points in the wide deep sky.

Another bang, another – it’s the reading which is important. Repeating in parallel, the natural loop is healing; repair, resonance, return. We live in a fragment; soft light and clouds drift like dreams into memory, showing movement in the mirror.

“Here the performer becomes free like the playful clouds high above the world of pain, suffering, happiness, ecstasy, disappointment, greed and ambition of human life”

In this present, we are touched to have unreleased business from Memphis. In unlocking the stoic DAT tapes we open a direct channel from 1993 to this now; three tracks which are meditative, essential rhythm with direct, organic charge. It’s Dream Night Dance Music and Osram 509, with RHK, En-Trance, and Microgravity.

More poetry in remembering our first release was also Memphis. Big complex loops and inner paths. Who’s been here before? All of us, one of us, none of us.

Factory Benelux is proud to present a deluxe 5 disc vinyl box set edition of Always Now, the debut album by cult Factory Records group Section 25, produced by legendary sonic architect Martin Hannett and sleeved by Peter Saville.
All tracks are newly re-mastered from the original quarter-inch tapes. The first 1000 copies of the box set are pressed in coloured vinyl: disc 1 (black); disc 2 (clear); disc 3 (yellow); disc 4 (red); disc 5 (silver). The outer case in printed in PMS 123 with spot varnish.
The 16 page booklet features unseen images by noted photographer Philippe Carly and texts by founder members Larry and Vin Cassidy. Also included is the first ever interview with guitarist Paul Wiggin, whose sudden departure in late 1981 saw Tony Wilson try (and fail) to recruit pre-Smiths teenager Johnny Marr as replacement.
Recorded as a trio at Pink Floyd’s Britannia Row studio in London in January 1981, Always Now combined austere post-punk rhythm and noise with elements of Can, Krautrock and modern psychedelia. Key tracks include Friendly Fires, Dirty Disco and New Horizon, along with C.P. (a collaboration with Hannett) and Hit (extensively sampled by Kanye West for the track F.M.L. on his 2016 album The Life of Pablo).
Disc 2 gathers together several non-album singles from 1980 and 1981, including Charnel Ground, Je Veux Ton Amour and debut EP Girls Don’t Count – the latter produced by mentors Rob Gretton and Ian Curtis (of Joy Division).
Disc 3 offers a complete live show professionally recorded at Groningen (Netherlands) on 26 October 1980, as part of a Factory package tour.
Disc 4 is part-improvised second studio album The Key of Dreams, recorded and produced by the band themselves a few months after Always Now, and released by Factory Benelux in June 1982.
Disc 5 consists of further experimental material recorded in 1981 and self-released on a cassette called Illuminus Illumina. This final disc closes with an extended (and previously unreleased) live encore jam recorded with all four members of New Order at Reading University on 8 May 1981.
“One of the best albums Britain's second city has unleashed” (Uncut);
“In 1980 their bass-driven mantras were thoughtlessly dismissed as second-rate Joy Division, but hindsight judges them more kindly. The wind-dried skeins of their blasted guitar harmonics and skimped electronics gauntly cling to the songs’ skeletal frames. With telltale titles like Babies in the Bardo their Buddhist interests hang heavy over these early stirrings. But, combining a bass-led drone with a characteristic groaning vocal, Charnel Ground succinctly pins down Section 25's pre-disco appeal” (The Wire)

incl. Download Code

An artist who deliberately plays with labels, taking in contemporary and novel forms, boldly launching into experimentation (as demonstrated by her collaboration with percussionist Vassiléna Sérafimova), Chloé wanted to take the album’s tracks and transform them in front of an audience by feeding them with new textures and inspirations. Performed over a year at events such as Nuits Sonores, Sónar, Mutek (in Montréal and Mexico), The Peacock Society, and festivals such as Marsatac, Musilac and Colors of Ostrava, Endless Revisions’ live performance has evolved with every show. It was out of the question to let these new versions - replayed, recreated and restructured alongside the evolution of the performance’s very architecture - fade away without a trace Chloé’s prolific Lumière Noire label, in the wake of its first anniversary, had to produce a recording that bears witness to the work that these ephemeral creations represents. Slowly introduced by Dune, then propelled by the impulse of Because it’s There, the mix is articulated around the appropriatelytitled Outerspace, followed by Party Moonster and the bewitching The Dawn, heard here in “clubbier” versions and adapted to a context in which the audience (whose enjoyment of the performance was audibly captured in the recordings), must be kept in suspense, as if carried away in a narrative. The set leads up to Moonscape, an exclusive track created during the performance series, before the performance ends with a new version of Sometimes, Chloé’s relentless 2002 instant classic. At nearly 50 minutes, this recording is like a snapshot of a work’s vital momentum, remaining faithful to the spirit of Chloé’s Endless Revisions while detaching itself in order to conquer new territories. It is what music must also be: a moving creation that is activated and reacts in contact with its audience.

Called out by The Irish Times as “Ireland’s best new rock band” and named as an one of NME's “100 Essential New Artists for 2019," When I Have Fears is the debut album from Dublin, Ireland's The Murder Capital.

Produced by Flood (PJ Harvey, New Order, Foals) the album features both singles from the band so far, "Feeling Fades" and "Green & Blue", as well as the first studio recording of breakthrough track "More Is Less".



An exercise in both darkness and light, “When I Have Fears” only serves to highlight the early ambition in the band's sound. From the post-rock build and breakdowns of the two-part "Slowdance", to the tender, bruised confessional of "On Twisted Ground" and industrial pulse of closer "Love, Love, Love", there's a consistent intensity throughout that marks out The Murder Capital as a band arriving fully formed on their debut album.

Following sell-out shows on their April tour, the group have also announced a new string of UK & European headline dates for October and November 2019 - see below.

Beacon Sound and Jacktone Records are pleased to announce a limited edition joint vinyl release by Hugo RA Paris titled Threaded Habitat. The new LP from Paris follows two of Jacktone’s most popular releases: Mystique Youth (2015) and Horizons Beneath The Surface (2016), which appeared under his alias, Lavender.

The transition to the Hugo RA Paris moniker with this album marks a more personal shift in approach. Threaded Habitat combines ambient textures and techno rhythms to reflect tension between humanity and nature—particularly the cyclical nature of collapse and renewal. It also marks Jacktone's first collaborative release with the record store and label Beacon Sound, which has put out works from veteran experimental musicians like Terry Riley and Colleen. Beacon Sound is an important node in Portland, where Paris also lives and developed the flagship modular product for leading Eurorack manufacturer 4MS: the SWN.

The album's closing track was entirely composed on a SWN prototype and recorded in one take. In fact, much of his work is done in layers of single takes with minimal processing to preserve its raw emotion and embrace minor imperfections. As an MIT-trained engineer and physicist, working with hardware—from modulars to guitar pedals and tape loops—is essential to his process of not only making but exploring sound.

Threaded Habitat captures moments of claustrophobia and bliss in seven tracks and three accompanying videos directed by New Zealand artist Sam Hamilton. Visual art plays a central role in many of Paris’s projects, which include intricate audio-visual performances and scores for full-length films like The Modern Jungle (La Selva Negra) and its forthcoming follow-up.

The LP will be available to pre-order on July 1st with a limited, exclusive content sample pack. The handmade vinyl package features photography by Sam Hamilton and will be released July 19 through Jacktone and Beacon Sound’s webshops, with worldwide sales beginning August 2nd. A remix release will arrive later in the Fall.

Having broken a decade's silence with 2016's 'System', LA-based electronic musician Joseph Fraioli, a.k.a. Datach’i, returns this summer with his eighth album 'Bones'.
Released on Venetian Snares' Timesig imprint, 'Bones' features 12 tracks of mind expanding electronica, once again recorded on his custom-built Eurorack modular system. Much like its predecessor, 'Bones' manages to make the most of the possibilities modular systems offer, whilst avoiding their many pitfalls that can often turn such music into little more than a dry academic exercise. Indeed 'Bones' is a remarkably intimate album, written and recorded in the time following his father's death, and reflects this intense period of personal change in Joseph's life.

"Creating this music was a therapy of sorts," Joseph recalls. "It was almost like a close friend being there for me, and it's something that I hope others can perhaps utilize in the same way."

The connection to his father is something that is reflected not just in the emotional intensity of 'Bones', but in the actual production itself. "My father and I were very close," he explains. "Whilst he was sick with cancer I bought him a guitar as he wanted to learn how to play, just to have something to do while he was getting treated. After he passed away my mother gave me the guitar to have as a sort of memory of him. I had the idea to record some sounds and music on the guitar and load it onto granular sample players on the modular synth so I could make new music from those sounds as a sort of tribute to my dad. You can hear some of those sounds on a few of the tracks here like 'Arrivals', 'Motion in the Living Room' and 'Undimension'."

The resulting album grapples with the intensity of these emotions. But for all their weight, tracks like 'Saugerties Road', ‘Rockledge 3A’ and ‘Antumalal’ transform that heaviness into something warm and comforting whilst the aforementioned 'Arrivals' or ‘Wand’ ultimately achieve some kind of escape velocity and soar. Even though 'Bones' is about endings and finding closure, it also looks forward to new beginnings.

"It was something very much on my mind throughout recording this album," he relates, "ends being beginnings and beginnings being the end. Cycles of time and how time works, it's all reflected throughout the album right down to how the tracks are ordered."

Ranging from blissful ambience and guileless, starry eyed melodies, to intricate claustrophobic rhythms that forever sound close to collapsing in on themselves before expanding into bold new patterns, 'Bones' is the work of a producer who, twenty years on from his debut, continues to push the boundaries of electronic music.

CAIN closes out his Fine Grains triptych with a vivacious EP of signature bass shuddering, polyrhythmic drums. ‘High Call’, his first 12” on the now Amsterdam-based label, offers 6 original tracks and a remix by Japanese producer Jun Kamoda in homage to the revelatory spirit and pre-medieval origins of carnivals. Artwork by Dutch/Scottish artist Roos Dijkhuizen created through ink and water drawings.

Colours emerge from the dark, glowing torches and fire embers flicker through the night. ‘Caapi’ warmly draws you into proceedings, an alluring tease of soothing chimes and preview of the infectious shuffling drums that will follow. From ‘Apsara’, Cain sets us on the front foot. A pounding, stuttering rhythm ignites the track, as spinning chord sounds echo and a haunting, hallucinatory vocal lead us on. The carnival is fully alive in ‘Gundon Night’, a sinister and menacing broken track steered by Cosssack warrior chants. High on the mountain we reach the pinnacle of ‘High Call’, a triumphant lead track with CAIN’s recognisable warm and driving, rhythmical drum patterns. The otherworldly psychoacoustic melodies of ‘Taiyi’ and slower-paced triplet drums structures of ‘Zetwal’ make these tracks the outliers of the EP, but they also complement and help to complete the picture. Jun Kamoda’s zany turned up marching techno take on the lead track signs out ‘High Call’ in playful, multi-coloured order.

‘Autonomy’ is a fiercely independent album and serves as a testimony to the united couple’s instinctive DIY attitude; for 10 years now, everything The Golden Filter has done from, producing, mixing, releasing, to shooting videos and press shots is a sovereign endeavour. Here, the duo finds themselves at a point of fearless positivity and an unbreakable creative synchronicity. This is undoubtedly one of their most focused and ambitious releases so far.

Born out of their own self-contained studio in Peckham, free from external influence, Penelope and Stephen set about on a mission of self-searching and solipsism drawing influence from their love and unity that sternly defies the damage caused by the ever-growing daily trauma of capitalism and politics. Staunchly feminist and optimistically reflecting on the growing human disconnect from reality, ‘Autonomy’ pulls subtly from the gloomier sides of British life and culture, The Golden Filter’s home now for the last four years.

‘Autonomy’ mines dark and experimental electronic tones; simultaneously conjuring dystopian synthscapes, EBM, post-punk, motoric electro and minimal wave. ‘Coercion’ is a mournful new wave cut that places Penelope’s recent brand of “inky dream pop” underpinned by Stephen’s pulsating synths as the perfect soundtrack to the rapture.

Tracks like ‘Autonomy’ and ‘Infinity’ find The Golden Filter in more familiar territory, thrusting post-punk electronics that straddle the gap between Panorama Bar staples and wayward, thought provoking art-pop. ‘Electric Light’ is an updated homage to old-school sounds of Siouxsie and New Order that take on the duo’s message of finding light in the dark and remaining open minded to each other as humans. Album closer ‘All The Queens’ is the most front-facing example of the duo’s political inspirations; imagining a new world, reborn under the rule of divine femininity.

This record contains two stone cold classics from the rave era. If you bought any tape packs or went to any raves in 1992, these are the two staple tracks most DJs would draw upon to keep the energy levels high.


On top of that, they are written by the rave overlord – Ellis Dee. Basically, the go to guy for any promoter that wanted their rave to be up there in the top tier.
These tracks sound as fresh and as the day they were released. And that is why we have decided it needed to have another short run repress as its been 4 years since we first pressed this record. But to make them even more special we have pressed 120 units on heavyweight 180g marbled grey vinyl. And as with every Vinyl Fanatiks release it comes presented in a black paper inner sleeve within a heavyboard Vinyl Fanatiks housebag.


This is a short run so get your orders in whilst they are in stock.


Fantazia… are you ready???

A wonderful reminder of Big Boi's unparalleled prowess in the rap game. He has literally been doing this longer than some rappers have been alive.' - High Snobiety

Big Boi is one of the OGs of hip-hop and he's still reinventing himself more than two decades after entering the game.' - XXL
An all-star affair.' - Rolling Stone

Big Boi reveals June 16 as the release date for his highly-anticipated third full-length solo album and first release for RCA Records, Boomiverse.

Tonight, the seven-time GRAMMY® Award-winning, RIAA diamond-certified hip-hop luminary, producer, and member of OutKast takes the stage at NBC's The Voice for the very first time. Big Boi and Levine will team up to perform Mic Jack' live during the semifinals. In addition, he's set to debut the song's official music video in revolutionary fashion.By Shazam-ing the performance, fans can unlock the exclusive premiere of the visual. The Voice airs at 8pm ET/7pm CT on NBC.

Kill Jill' and Mic Jack' have already begun to amplify excitement for the album's arrival. Kill Jill' has racked up over 3.1 million Spotify streams to date, while Mic Jack' garnered 1.5 million Spotify streams in just a few weeks. Big Boi unveiled the songs during a high-profile Apple Music Beats 1 premiere before performing Mic Jack'' on The Tonight Show Starring Jimmy Fallon. In addition, both tracks continue to draw critical praise.

One of history's tightest and most clever rhyme mavericks, Big Boi's indelible influence courses throughout two generations of rap music. As one-half of OutKast, he achieved seven GRAMMY® Awards, sold 25 million records, and created a string of music's most influential work, including Aquemini, Stankonia, Southernplayalisticadillacmuzikand Speakerboxxx/The Love Below—which went RIAA Diamond making OutKast the first and only hip-hop artist in history to win the GRAMMY® for 'Album of the Year.' Big Boi's 2010 solo debut, Sir Lucious Left Foot: The Son of Chico Dusty, bowed at #3 on the Billboard Top 200 and received unanimous critical acclaim with Pitchfork proclaiming it one of the "100 Best Albums of the Decade 'So Far'" and topping year-end lists from Time, Paste, Vibe, and more.

His 2012 follow-up Vicious Lies and Dangerous Rumors enamored tastemakers and fans alike and boasted collaborations with A$AP Rocky, Killer Mike, Kid Cudi, and more. In 2015, Big Boi collaborated with Phantogram to create supergroup Big Grams. Their debut self-titled album was released to critical and fan delight.

Roman Poncet's 2018 debut LP stands an impressive work in its own right. Now Figure has invited a group of artists to contribute new takes on standout album cuts. Some clearly for the floor, some nestling on its verges. But all adding to the unique Gypsophila-vibe.
Antigone turns in dust shaking flurry of tribal drumming, ceaselessly pounding and rattling away for an exhilarating and at the same time grounding rhythmic experience.
Wiggling and squelching, Efdemin blends a bunch of lively elements into one wildly roaming remix, which despite all its inner momentum retains an orderly structure, testament to the artist's extraordinary production skills.
On the flipside, Margaret Dygas adventurously goes on a trip of finely tuned acoustics, patiently letting each sound grow into what becomes an enthralling piece of enchanted electronica. Evocative, emotional and of serene beauty, Echoplex closes the collection with an epic track, led by grand strings and flute-like synths, begging to be dropped at the break of dawn.

One of the UK’s finest home grown talents are back with new music on their own label since the release of ‘Late Night Party Line’

The killer lead cut ‘Big Wig’ takes us all the way to the late-night discos of NYC and right back to Europe via London and Berlin. It’s richly melodic, sizzling with promise and packed with PBR goodness, and easily their biggest record since ‘Late Night Party Line’.

The remix from Donald Dust adds some classic New Order-esque club sheen but fully updates for contemporary floors, while ‘Shooting Star’ with its nod to F G T H, is an equally incisive club burner which puts PBR right back where they belong, in the middle of the dancefloor.

LP Beatuful Ambient/LIstening ALbum by EVEN BRENDEN from Norway. Following his debut ‘Auto’, Chmmr delivers a new collection of musics to inspire half an hour of your life. The sophomore album features (in order of appearance): Prefab naiveness. Idle saturdays in early fall. Inaccurate weather reports. Lead arias for courtship. A planet. Romantic stage pianos. An ode. Post LAN party mood. All in all a fitting backdrop for any function that’s about opening yourself up, be that in solitude or in good company. This record is meant as an imperative to the listener: Try new things. You may regret it. It might backfire. Do it anyway

repressed !

SNTS presents the last part of his double trilogy, this time called SCENE III. SNTS wanted to obtain a different view of one of the tracks of this release, and, in order to achieve that, he introduced a big star of the techno scene to this story, that artist is SHIFTED. Anonymity remains the centerpiece of SNTS. To convey feelings and sensations without a face reference or a name is the key point of this mysterious artist. This time the titles of the tracks refer to dates. You may never discover what events those dates belong to, but perhaps we can decipher something through sounds and their path. 20.01.1944 It reminds us of a battle in an eerie and desolate terrain in which each sound makes you move, observing what is happening around you. 20.01.1944 The version from SHIFTED is the story told from the outside of the bipolar world where is SNTS. 07.09.1981 It is a step in the course of a life that accompanies an atmosphere that breathes, but is not noticeable by other senses. 15.04.1946 Destruction, desolation and despair is reflected in this track. It definitely meets all the conditions to describe SNTS' sound.

Played & Supported by:
Planetary Assault Systems, Paula Temple, Svreca, Takaaki Itoh, James Ruskin, Tommy Four Seven, Ryuj Takeuchi, Giorgio Gligli, Speedy J, Ancient Methods, Terence Fixmer, Cio D'or , Eomac, Milton Bradley, Samuli Kemppi, Dj Emerson, Chris Liebing, Par Grindvik, Ø Phase, Kr!z Token, Zadig, Marcel Dettmann, Answer Code Request, Slam, Norman Nodge, Dave Miller, Deepbass, Nihad Tule, Truncate, Dj Hyperactive, Angel Molina, Ben Gibson, Juho Kusti, Claudio PRC, Bas Mooy, J. Tijn, Manni Dee, Donor, Rebekah, Go Hiyama, Francois X, Adriana Lopez, Electric Indigo, Bleak, Inigo Kennedy, Pfirter, Alex.Do, Eric Cloutier.

Psychedelic deep soul of the highest order, Symphonic Four was a St Louis based band (as was the original label Zudan). Word is the record was recorded in Detroit, and the backing band was made up of some members of Parliament/Funkadelic which would make a lot of sense. A long time spin for Deep Soul head but deserving of a wider audience and that why we could not resist to pull this one from the now again Catalogue, 500 copies only.

Pre-Order. Releases June 21.

Unsurprisingly for a creator as prolific as Muslimgauze’s Bryn Jones was, when he was asked for a contribution for any sort of group project, he would tend to provide more options than necessary. In the case of longtime label Staalplaat’s 1996 compilation Sonderangebot, where Jones would find himself in the company of everyone from Charlemagne Palestine to Reptilicus, the selected track was the characteristically headspinning “Kaliskinazure”, nine minutes of insistent digital percussion bouncing the listener back and forth between samples of wailing women’s voices and a trebly, blurry little whirr that traces the percussion. It’s distinctive enough even among the vast Muslimgauze corpus, but as the continued excavation of DATs Jones submitted to his labels continues, sure enough there’s more to that track’s story, too.

An extended “Kaliskinazure” makes up the second of four tracks on Babylon Is Iraq, although it’s been lost to the mists of time whether an outside editor excised the more drifting, less needling coda that makes up the extra six minutes found here, or whether Jones simply submitted both versions of the track at different times. This more complete version of “Kaliskinazure” is surrounded by shorter tracks, with the opening “Kaliskinazure — Momada” sounding not very much like either track it references (instead being a barely-there wisp of far-away sampled wind instruments and what sounds like treated cymbal sounds) and the title track constantly coming to a full, roiling digital boil. The lengthy “Momada” closes out the album with a different, more tersely internal arrangement surrounding the same percussion pattern that will be familiar to any Sonderangebot fans, although the way the quieter atmosphere transforms the feeling of that rhythm indicates once more than Jones’ way of reconfiguring his pieces over and over was perhaps more purposive and even more effective than he’s sometimes given credit for. The result is a fascinating expansion on one of Muslimgauze’s strongest stand-alone moments.

L’Illustration Musicale, Sonimage, Técipress-In Editions (Timing), Musax, Freesound,
Montparnasse 2000 in France but also De Wolfe and Chappell in England, every of these
sound illustration labels have in common to bring out as a legendary spectre the name of Jacky
Giordano and his aliases. Widespread practice in the library music world, Joachim Sherylee,
chosen for the In Motion album, is one of his plentiful aliases (with José Pharos, Jacky
Nodaro, Gruppo Sounds, Rubba...) used by the french composer, that we regain as well for
Black Devil with Bernard Fèvre or even for the Shifters with Yan Tregger.
For his enthronement on the mythical English label De Wolfe, it's under the obscure name of
the Rubba collective that Jacky Giordano aka Joachim Sherylee sneaked in the londonian De
Wolfe studios with the companionship of British colleagues such as John Hyde (aka John
Saunders, James Harrington, Astral sounds or even Wozo) and his wife Monice Hyde (aka
Monica Beale), Alan Howe (aka John Collins), Robert Poole and Tim Broughton.
Published in 1980, the In Motion: Modern Progressive Group Sounds Played By Rubba LP
and its minimalistic and utilitarian red record cover which contains 13 tracks, mainly composed
by Joachim "Giordano" Sherylee and was never reissued since then. This record became cult
over time; it will have taken that the Hip-Hop world seizes it in order to dig out from the
disregarded and underestimated musical gems graveyard. First of all with beatmaker Madlib
and Freddie Gibbs in 2011 with the track “Thuggin'”, in which he sampled the track “Way Star”,
also used more recently by Mil and the rapper Westside Gunn on his track “Brains Flew” by
(1964 Version).
Nearly 40 years after, the Farfalla Records label, after publishing Timing Archives, presents
another aspect more progressive and psychedelic of the multi-faceted composer Jacky
Giordano by fully reissuing at last this coveted, mysterious and mesmerizing "Rubba". Very
desired by crate-diggers, In Motion appears in the want-list of plenty enthusiasts in this
enigmatic world of the library music. (Erwann Pacaud)

Nach zahlreichen Releases auf Ninja Tune, Anticon oder Planet Mu erscheint das dritte Studioalbum des britischen Electronic-Produzenten Greg Feldwick aka Slugabed auf seinem eigenen Imprint Activia Benz und trägt den rekordverdächtigen Titel: "Any Attempt To Control The Environment Or The Self By Means Which Are Either Untested Or Untestable, Such As Charms Or Spells".

“Le Lisse et le Strié is a new work by french composer François J. Bonnet, released under his project name Kassel Jaeger. Based in Paris, Bonnet is the Director of INA GRM. He is also a writer and theoretician (The Order of Sounds, a sonorous Archipelago and The Infra-World have been published in english by Urbanomic). As a musician, Bonnet has been collaborating with artists such as Stephen O’Malley, Oren Ambarchi or Jim O’Rourke and most of his recent work has been published by Editions Mego.

Le Lisse et le Strié has been conceived as an exploration of the two antagonist concepts of “smooth” and “striated”, applied to the realm of electroacoustic sounds. If the “smooth” is linked to “nomos” as an open space of organic distribution, the “striated”, on the contrary, is associated to “logos”, as an enclosed space defined by a grid.

Elaborating a dialogue between these aspects, Kassel Jaeger draws here an intermediary space where pulsations become textures and layers, and where rhythmic elements are found in the qualities and bodies of sounds instead of being functionnalised, pre-determined sound objects, abstracted and frozen onto a temporal grid. The concept of “striated” is made audible only through the sonic landscape it inhabits, like the stripes of the camouflage fur of wild animals only exist as such in the woods and long grass, disappearing into a potentially uselessness in a desert plain.”

Hand-stamped clear transparent vinyl. Limited to 200 copies.


The planet is a wasteland ruled by self-contained, country-sized megacities, each with their own culture and climate, separated by vast, barely-inhabitable spaces. Long reliant on cyberspace as their means of communication, humanity relies on cybernetics to survive in their new environment. Advanced AI competes or conspires with these enhanced beings for control of resources and economy. Within these many-layered Sprawls, ordered chaos reigns, inhabited by many, understood by factions, and controlled by the very few…

Following the release of Tolga Baklacioglu & Dee Grinski’s album “Your Secret Face”, VENT presents a remix package featuring Samuel Kerridge, Svreca, Ryo Murakami, and Isabella, who are some of the artists who have most inspired and supported the duo’s music. These exceptional artists’ interpretations refract the industrial rhythms and harrowing vocalisations of the original tracks into caleidoscopic tunnel visions with each remixer's individualistic expression.

Hard Fist comes back stronger than ever with a sixth release, this time from Pletnev with a remix from Sascha Funke.

Extra prolific Russian born Alex Pletnev has been making music under various aliases and in a number of live bands. Now settled in Vilnius he explores stellar chugging rhythms, afro and oriental vibes for labels like Media Fury and Bahnsteig23 and more atmospheric, dark and industrial EPs on Le Temps Perdu records. This new one is “the tale of an imaginary world, a babel myth of when human beings were together as one because they spoke a single language. It is an allusion of No Border movement supporting freedom of mobility and fighting human immigration control.”

This fantastic release is the most club focussed music Pletnev has ever produced with instrumental, heady opener ‘Guest from Bangkok’ really locking you in a groove. Loose percussion and churning drums make for dark disco of the highest order. Then comes ‘Peep of Dawn,’ an almost frightening, long and slow ceremony of menacing electronic music. A voice resonates while powerful bass sends shivers down your spine and the whole atmospheric and absorbing affair really casts a spell.

Excellent punchy guitar riffs and shamanic rhythms on ‘Red Shoes’ reminds you of a run to catch the setting sun. It’s another spellbinding and rock-laced disco track that oozes grit and rawness. With the closing track, BPitch Control man Sascha Funke remixes ‘My Word Against Yours' into a cosmic and jerky affair that alludes to a journey into outer space. It’s sparse and creepy and brilliantly evocative.

Once again here, the Hard Fist label—which has its own residency at Paris’s mighty Rex Club—tells its unique story with forward thinking club music full of a wide array of influences.

Once upon a time, the footjob crew moved into a new studio space in their hometown Darmstadt. This location was previously used by a religious community that found its purpose in the worship of Shiloh. Phonk D and Sascha Ciminiera have somehow absorbed the spirit and created this EP as if by magic. In order to enjoy this spiritual journey even more, they asked Johannes “the wizard” Albert for his support. He was immediatly hooked, threw a few herbs together and brewed them a tasty remix.

Ry X Has Announced The Release Of His Much-anticipated New Album, Unfurl, Available 15th February 2019 Via Infectious And Is Available To Pre-order Here. Ry Has Shared A First Track Entitled 'untold', Which Is Streaming Here, And Announced News Of An Extensive International Tour To Follow The Release, Including 4 X Uk Shows In February. Ahead Of Those Dates Ry Will Be Visiting London This Friday (12th) For A Headline Barbican Performance Backed By The London Contemporary Orchestra Which Has Been Sold Out For Months. Upcoming Tour Info Below.

180g
In order to celebrate 5 thrilling and inspiring years, we gathered well-known artists, Goldmin regulars and emerging talents. It was really important for us to express the elusive nature of the Goldmin sound, in the form of a compilation tracklisting. Over the past 5 years, we had the chance to meet most of these guys in person, follow their very own creative path, share ideas, thoughts and there’s no doubt that they all had their part to play in crafting our sound. This intimate and stimulating kind of collaboration had to be expressed and there couldn’t be a better way to capture what we’ve been busily working for, than a serie of Various Artists 12″. What it comes down to is a quintessential, hard-to-follow Goldmin selection devoid of any specific standard or norm. And this whole compilation seems to reflect that non-septate artistic direction, this little something, which has grown throughout our whole catalogue, since the label’s birth.That’s why, picking these select few tracks, that could illustrate Goldmin Music’s essential freedom was probably our toughest work yet. It was also important to pick only the most original and iconic tracks from each artist. In the end each track had to be their most Goldmin one and they all have been tried in all types of situations, in club at 1 and 5 AM, on the highway at night or even staring at the ceiling during a sleepless insomnia session. They all fullfilled their duty.

Dark Star Safari, a newly formed group featuring Samuel Rohrer, Jan Bang, Erik Honoré and Eivind Aarset, present its eponymous recording debut, an evocative song-driven album. These songs conjure shadows of memory, clouds of dreaming and silhouettes of foreboding through the album’s layered, many-textured fabrics and Jan Bang's silken delivery of Erik Honoré's acute lyrics. Dark Star Safari is the work of four kindred spirits, their open modus operandi, and a remarkably interconnected creative nerve system. Key to their collaboration is an organic freedom that enables the music “to fill itself in", to be self-actualizing via the musicians as medium. The music of the 10 songs resulted from a two-stage process: an initial phase of free flowing open improvi- sation, and a subsequent exploratory phase where hidden potenti- als were discovered and nurtured. The groundwork of the album’s music originates from a session initiated by Samuel Rohrer, who invited Jan Bang and Eivind Aarset to the renowned Candy Bomber studio in Berlin. The ses- sion was run under the imaginative craftsmanship of sound engi- neer Ingo Krauss, who worked in the famous Conny Plank stu- dio, and its recording and mixing employed sophisticated use of vintage analogue equipment alongside cutting edge digital pro- cesses. This meeting opened the door for something larger to emerge. The group did not settle for just the outcome of the initi- al open improvisation. They were driven to dig deeper, to atten- tively examine and manipulate the material, in order to discover what it had to offer. This caused a creational chain reaction, forcefully spreading across the group. During this second phase, Jan Bang, while meditating upon the possibilities and reach of the improvised material, felt a strong urge to give additional shape and colour to it by singing. Thus, he organically stepped into the role of vocalist, a role he had not pursued since the early days of his musical career. He sent the results to Erik Honoré, who immediately was inspired by its po- tential, quickly penning lyrics and providing the project with its name. Honoré composed two additional songs, Mordechai and Fault Line, and thus rounded the project out towards a fully reali- zed opus. The group continued this back and forth process, with Samuel Rohrer and Eivind Aarset bringing in fine-tuning and e nrichment to the song structures and textures.

Kareem’ first extensive release in 5 years completes the eclectic approaches of its predecessors NOCTOCROMAS (Zhark Recordings) and PORTO RONCO (The Death of Rave).
The piece (Side A and Side B) is divided into 10 motives and embracing several moods: (Sub)Genres, methods and sound sources are consistently intermingled in order to create a richer more complete music experience – in avoidance of formalism and standarization.
Limited White Vinyl.

Charlemagne Palestine's majestic 1976 work The Golden Mean, originally performed by Palestine on two pianos, is revisited here as The Goldennn Meeenn + Sheeenn, a new collaboration between Palestine and enigmatic musician Rrose.

March 2018: the Festival Variations in Nantes commissions Charlemagne Palestine to reinvent The Golden Mean for two pianists. Palestine chose Rrose to join him in this new rendition of the work. Together, they performed The Goldennn Meeenn + Sheeenn onstage at the main opera house in Nantes -- the sumptuous Théâtre Graslin – with extraordinary results.

The concept of the 'golden mean' goes back to the roots of mathematics, and ancient Greek philosophy. It is an important work in the Palestine mythos, embodying his total immersion in the power of the interval. "It's probably his most systematic work . . . a step-by-step journey through the intervals of the octave," says Rrose. "When we rehearsed it, we were noticing how each interval is like a universe of its own -- with its own history, emotions, and sonic qualities all mixed up together. Every time you move from one interval to the next, it feels like moving into another world."

"I love the interval," Palestine told me in a recent interview. "I love when it plays with itself. That's what I learned from organ musics too. You can just do an interval, and if they're just slightly out of tune with each other, then they shimmer . . . they play themselves. And it sounds like somebody's playing lots of notes. In your ear, it's like an aural phenomenon . . . that's my whole concept. I make something that then does itself somehow. It continues by itself. So I don't have to always be there. And that makes my music a little less egocentric. So there's more space. Also for the listener — the ear plays with these things, and you're not always being given orders. Your ear isn't given orders all the time of what to listen for."

Beautifully recorded, with mastering by Rashad Becker of Dubplates and Mastering, The Golden Mean + Sheeenn feels expansive, radiant and hypnotic, opening new ears to its enduring mystery.

Rrose adds this note to listeners: "Do not focus your attention on the notes being played, but on the ocean of overtones swimming, suspended, overhead, brushing against one another, kissing one another, melting into one another."

Oqko_012 Is The First Release Of Pang:
Pang™ Is The First Product Collection From Pang™. Carefully Produced And Curated To Fit All Occasions, This Collection Will Be Enjoyed Whenever And Wherever You Wish: In The Club, On The Move Or In The Comfort Of Your Own Home. Pang™ Consists Of 6 Individual Premium Sound Products, Elaborately Chosen To Meet All Sonic Desires. Pang™ Is Specifically Packaged For Your Convenience; Quick, Handy And 'on The Go', In Order To Make Your Shopping Experience As Smooth As Possible.

Mahoney's voice vacillates smoothly between ghostly and falsetto, while McNany's arrangements and instrumentation bump, click, and whirr like a lovingly tuned Rube Goldberg jukebox. Not too surprising, perhaps, considering they named the band after a song by schizophrenic outsider favorite Daniel Johnston, and they cite Harry Nilsson and Roxy Music as influences. - VIBE

Alien Transistor and Tokyo-based label Afterhours release a vinyl-version of tenniscoats' masterpiece "music exists". It consists of 4 LPs, which will be released over the year, full of intimate, wonderful, psychedelic folk-music. With the fourth LP, there will be a strictly limited box available, either for putting in your already purchased other 3 records, or as the whole glorious 4-LP-package.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s ), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the tenniscoats and their opus magnum "music exists".

The Tenniscoats are a duo that have enjoyed a long career in the music scene of their home country of Japan. They have collaborated with unique artists from different backgrounds (Tape, Pastels, Pastacas and Jad Fair), while maintaining their own laid back approach and sound. Their songs are built primarily from guitar and vocals with lyrical themes focusing on everyday life. It could be their expansion on simplicity that has captivated music lovers of all ages throughout their existence.

While the aforementioned collaborations produced bold and sensitive experiences and results, it has taken Tenniscoats five years to release an entire studio album of their own. The wait has not been in vain, as four discs will be released consecutively beginning with 'Music Exists - disc 1'. Music Exists saw a previously limited release on the Tenniscoats' own majikick label.

'We started recording around January of 2013 with just the two of us in our 10 tatami-room in Tokyo we were using as a private studio. Arrangements were produced without computers by overdubbing on an analog console with mixing assistance provided by Saya. As we sent selected songs to be mastered by Yasushi Utsunomia, we were able to see the tracks grown into a full length album.'

What turned into a huge 4 disc project began in earnest three years ago. Tenniscoats wrote and recorded themselves using an analog console, a microphone, and what few instruments they had. As the project developed, they were surprised to find that they had amassed several albums' worth of material.

'We tried throwing up the ideas we had in the beginning and not put too much of our strength into playing in order to develop the ideas of each song. Utsunomia, who did the mastering was the first person to ever hear the material for this album outside of the band. We sent songs to him carefully choosing an order that we felt would not make him bored. Thanks to his distinctive way of mastering, we were inspired to go further and further into the process.'

2016 marks the Tenniscoats' 20th anniversary together. You could consider 'Music Exists' as a sort of compilation of material stemming from these years spent together. With their unique combination of melodies, unexaggerated arrangements, and detailed mastering, Alien Transistor are extremely delighted to make this recording available to the public!

A1 is 'On You', Loyal Hardware's minimal, moody, breakbeat tune that caught the attention of EDiT
(GlitchMob); Perera Elsewhere (FoF) and Luckyme's Jacques Greene who played the single across NTS, The Lot Radio and in his BBC Radio 1 'After Party playlist' with Monki; describing that 'it touches on the DNA of club music' with 'all these moments of beauty... it's got this mix of sorta' heavy drums but it's more vibey than it is a hard hard track'.

'Dust' and 'Round Here' accompany on the B-Side of Loyal Hardware's debut EP, confirming that the
producer who has supported the likes of Lapalux, Rival Consoles, Aisha Devi, Jacques Greene and DJRUM, is one to watch.

'Loyal Hardware EP' is released 17th April via new imprint BRIEF, distributed by ABOVE BOARD. Available to pre-order now, digitally and on limited 12' vinyl.

Big Colors will be released on April 19 via a partnership between Adams' PAX-AM label and Blue Note Records. Ryan Adams, who has been hailed as "one of the most elegant singer-songwriters of his generation' by The New York Times, co-produced the album with Beatriz Artola. John Mayer, Bob Mould, Benmont Tench, Don Was and The Section Quartet are featured on Big Colors, which was recorded at Electric Lady, Capitol Studios and Adams' own PAX-AM.



Big Colors follows Adams' 2017 album, Prisoner, which debuted at No. 3 on in the UK album chart, his highest ever charting position in the UK. Professing his love for Manchester online around the album announce, Adams pays homage to the city that he claims shaped his life by naming a song after it. 'It is at the heart of all the things I love about music, from The Smiths, Joy Division, Oasis, New Order and The Stone Roses.'


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Big Colors follows Adams' 2017 album, Prisoner, which debuted at No. 3 on in the UK album chart, his highest ever charting position in the UK.

Professing his love for Manchester online around the album announce, Adams pays homage to the city that he claims shaped his life by naming a song after it.

'It is at the heart of all the things I love about music, from The Smiths, Joy Division, Oasis, New Order and The Stone Roses.'

To happiness through simplicity. Rendering a very personal tribute to well understood minimalism, the same that is based on simplicity and conceptual refinement and that is adapted to the creation and musical production -respecting that electronic maximum canonical of "less is more" - in terms of its compositional process, instrumentation, mixing, effects, etc. 'Simple Things' can be danced throughout the night. It is a collection of tracks with punch, made from the clarity and personality that characterize Nacho Marco, susceptible to being played at very different times and places. Exhale, from beginning to end, a natural love towards the dancefloor. From the simplicity of the search for this objective, its author -in his Warm Studio in Valencia- has used different rhythm boxes -programmed internally- for each track in order to, also based on a raw mix - especially in percussion and basses - to provide the tracklist with a varied air -between digital and analogue- through which to enjoy traveling through deep-house, nu-disco, acid, etc. and, therefore, in funk, soul, jazz, etc. From Chicago to Valencia, passing through N.Y. and Detroit. And all this avoiding arguments and essays of style. From a maximum freedom of creation and enjoyment. Yes, we are facing a "100% Nacho Marco" job.

The KBCS are:

Lucas Kochbeck - Drums

Nicolas Börger - Keyboards

Lars Coelln - Guitars

Daniel Stritzke - Bass

The KBCS were born in the northern hemisphere under the zodiac sign of snowman. They sound like Föhr and nicely topped pizza, tight as thinly folded pizza boxes and with drums dry as flour that would nearly make you cough. But hotter. Laughing is part of their ritual to get into the zone. Even though some of them prefer Ph without coriander, they still won't order it online because of plastic waste.

The moon shone happily while they recorded their spiced up cinematic, funky & atmospheric lowdown grooves album.And since the polar star was missing, they headed for Venus instead. Luckily, they didn't keep it four-dimensional but had old friend and funk head Mr Flo Mega himself on keys and good vibes - things got really wicked from there. Few people were present and those who were are not entirely sure how it all happened or where it began. Some people say it was Roy, others blame it on the sauna. Fact is that the session took its own course and most people were smiling during the recordings.

Nobody knew then about the flamingo on the cover or why the bird at least looks like one. Hailing from Hamburg, Germany the KBCS not only love to record but also play around Europe. Be sure to welcome them with a Ph in your city and they will surely return the favor by taking you on a ride utilizing a special horse: the (space) funk lama.

Jason Letkiewicz has always swum against the musical tides, flitting between different solo pseudonyms (including Steve Summers, Death Commando and Alan Hurst) and collaborative projects (most notably Mutant Beat Dance) in order to explore different aspects of his leftfield inspirations. With his latest release, a first full-length outing for Artificial Dance entitled Mirage Information, the Chicago-based artist is operating under an alias that celebrates this approach: Opposing Currents.

It's an alias he's used once before - for a track featured on Chronditic Sound's 2015 cassette compilation Non-Christian Referent - but Mirage Information sounds like an artistic rebirth. Densely layered, mind-altering and often intense, the album's seven tracks update the Cold War paranoia and pulsating electronics of EBM and industrial music for today's complex and chaotic political climate.

Throughout, Letkiewicz smothers off-kilter drum machine rhythms and throbbing, body-jacking synthesizer basslines in untold layers of hazy audio detail, creating a dystopian sound soup out of which alien electronic melodies, psychedelic acid lines and barely audible vocals emerge. At times, such as on angry opener 'Lying Awake', the extra-terrestrial 'Dissolve' and foreboding 'Shallow Grave', we're invited to dance in the darkness in celebration of impending doom. On other occasions, such as the poignant and melancholic closing cut 'It Awaits', Letkiewicz simply seems exasperated at the chaos that is life in the 21st century. It makes for a genuinely arresting and thought-provoking listen.

Footjob is releasing its second various artists sampler called 'Footure Classics Vol.2'. The latest edition complies 5 tracks - traditionally genre-specific between house and disco. This time fresh names are presented besides the established suspects Sascha Ciminiera and Lukas Lehmann such as legendary Hans Nieswandt (Whirlpool Productions) as well as acclaimed DJ Friction from Benztown. Both debutants lend a helping foot in order to add two wonderful tunes. As if this would not be enough, the compilation is wrapped up with a very special trove from the archives of DJ Service.

Out of the ashes of Joy Division, the remaining members decided to carry on recording under the name of New Order. The band's debut album Movement recorded between 24th April to the 4th May 1981 at Strawberry in Stockport and featuring all new material, produced by Martin Hannett was released in 11th November 1981 on Factory Records.

The Movement boxed set will include the vinyl LP with its original iconic sleeve designed by Peter Saville, original album CD in replica mini album sleeve, a bonus CD of previously unreleased tracks, DVD of live shows and TV appearances plus hard backed book all housed in a lift off lid box.

The vinyl LP of the original album is cut on 180g and features the 2015 remastered audio, presented in a replica of the original sleeve.

The second CD includes 18 completely unreleased tracks made from Demos, Sessions, Rehearsal Recordings and an Alternative 7' version of Temptation.

Accompanying the set is a 48page hard back book which features photos and an essay.