Search:the plan

Paolo Aniello FKA New Digital Fidelity returns one final time since his last appearance on Italian Synth Planetarium – Sistema 1 in 2020 and readies some serious and sexy goodness for 2023.

“Gonna Touch The Sky” marks his debut on Moods & Grooves and there is no doubt that it will literally make you touch the sky! The EP opens with the reshape from none other than deep house legend Fred P. When it come to (ultra) deep house beautiness, Fred is the real don. Melodic, dreamy and groovy. Simply what you would expect from him and what he does best.

To follow is the original mix, awash in syncopated tribal rhythms, gorgeous female vocals and a rich tapestry of ethereal pad. “Gonna Touch The Sky” is a dancefloor-pleasing Afro house cut à-la Ron Trent/Trinidadian Deep featuring Sasha Paige on lead vocal and Rhia Reneè on background vocals that bubble over a deep, tribal groove.

On the flip, “Make Up Your Mind” takes tribal rhythms to a new, more mental level. It’s an Afro-Chi-meets-Detroit affair. The percussive rhythms and energy that constantly interplays with the synth line create an uplifting basement tune that could safely run at opening, peak time, or closing time. Last but not least, “Horizon” speaks for itself. It will definitely transport you to new horizons, toward a tropical beach at sunset, closing this incredible journey.

Avoidant Records is back with its latest and most direct V/A to date - Planet Destroyed. Once again compiling unique artists from across the globe, AVD constructs a stellar line up featuring some of the best in the game alongside up and coming talent from the world of Electro.

Since its inception, Avoidant has firmly focused itself on diverse, uncompromising sonics and this newest compilation once again sets the bar high. This 4 track vinyl sampler includes tracks from Marcel Dettmann, Slam aka Autonomous, LUZ1E & SOD-90 who's contributions all embody the theme of the Planet Destroyed - Avoidant once again creates the theme to your dystopian future.

Sacramento, CA duo Blank Gloss’s third album, Cornered, is an exquisite statement of pop ambient starkness, an album that oscillates between lush beauty and spare melancholy. It follows from their 2021 debut for Kompakt, Melt, an album that saw Morgan Fox (piano, synths) and Patrick Hills (guitar) aligned, loosely, with the cosmic pastorale of the ‘ambient Americana’ movement. Cornered feels like a significant step forward, though – by peeling back the layers of their music, they’ve revealed both its restful core and its solemn gravitas. It is unendingly lovely, but with something disquieting at its centre.

Cornered was recorded quickly, over two days in December 2020. There’s nothing rushed or haphazard about the album, though; everything has its place, with each sonic element contributing profoundly to these nine miniature dioramas. It signals change, quietly but perceptibly, through the way the duo sculpts their material, building out of loose improvisations that morphed into songs. While there was no plan in mind when Blank Gloss settled into the studio, Fox recalls that “right away we realised that things were sounding and feeling a bit different than any of the sessions we had previously.”

That difference can be heard in the increased amount of space Blank Gloss gift to their sound sources. Some of the most moving moments on Cornered come when Fox and Hills strip everything back – see, for example, “Crossing”, which sets pensive piano across a shyly humming drone and quiet arcs of guitar, recalling the driftworks of Roger Eno. Curiously, the album’s distinctive shape and mood develops, at least in part, from a change in instrumentation, with Hills using a MIDI pick-up on his guitar. “This resulted in making things happen a lot quicker,” Fox says. “It also helped create what I think is a bit more sombre, dark feeling to some of the songs.”

Elsewhere, on songs like “Salt”, the piano tussles with flecks of guitar, single tones sent out to mingle with the stars, like Morricone at 16 RPM, while Cornered’s centrepiece, the eleven-minute “No Appetite”, lets long arcs of electronic texture breathe and sigh, tangling together in a cat’s cradle of bliss. Throughout, it feels as though the music is blossoming as you hear it, like watching time-lapse footage of flora in bloom. But perhaps the most seductive thing about Cornered is the sense you get, listening, that the music was something unexpected, a visitation. “It almost felt like we weren’t dictating where the music went and how it sounded,” Fox agrees. “We were just there in a room together in December and these sounds were happening, and we were lucky enough to be recording the process.”

Cornered, das dritte Album des kalifornischen Duos Blank Gloss aus Sacramento, ist ein exquisites Statement von pop ambienter Krassheit, ein Album, das zwischen üppiger Schönheit und sparsamer Melancholie oszilliert. Es folgt ihrem 2021er Debüt für Kompakt, Melt, einem Album, auf dem sich Morgan Fox (Klavier, Synthesizer) und Patrick Hills (Gitarre) locker an der kosmischen Pastorale der „Ambient Americana“-Bewegung ausrichteten. Cornered fühlt sich jedoch wie ein bedeutender Schritt nach vorne an – indem sie die Schichten ihrer Musik abschälen, haben sie sowohl ihren ruhigen Kern als auch ihre feierliche Schwere offenbart. Es ist unendlich schön, aber mit etwas Beunruhigendem in seiner Mitte.

Cornered wurde relativ schnell aufgenommen, über zwei Tage im Dezember 2020. Es klingt jedoch nichts überstürzt oder willkürlich an diesem Album; alles hat seinen Platz, wobei jedes Klangelement einen wesentlichen Beitrag zu diesen neun Miniaturdioramen leistet. Es signalisiert Veränderung, leise, aber wahrnehmbar, durch die Art und Weise, wie das Duo sein Material formt und aus losen Improvisationen aufbaut, die sich in Songs verwandeln. Als Blank Gloss sich im Studio niederließen, gab es zwar keinen Plan, aber Fox erinnert sich: „Uns war sofort klar, dass sich die Dinge etwas anders anhörten und anfühlten als bei allen vorherigen Sessions.“

Dieser Unterschied ist in der größeren Menge an Raum zu hören, die Blank Gloss ihren Klangquellen bietet. Einige der bewegendsten Momente auf Cornered kommen, wenn Fox und Hills alles zurücknehmen – siehe zum Beispiel „Crossing“, wo ein nachdenkliches Klavier über einen schüchtern summenden Drone und leise Gitarrenloops setzt und an die Driftworks von Roger Eno erinnert. Seltsamerweise entwickelt sich die unverwechselbare Form und Stimmung des Albums zumindest teilweise aus einer Änderung der Instrumentierung, bei der Hills einen MIDI-Tonabnehmer an seiner Gitarre verwendet. „Dies führte dazu, dass die Dinge viel schneller abliefen“, sagt Fox. „Es hat auch dazu beigetragen, einigen der Songs ein etwas düstereres, dunkleres Gefühl zu verleihen.“ An anderer Stelle, bei Songs wie „Salt“, spielt das Klavier mit Gitarrenfetzen, einzelne Töne werden ausgesandt, um sich mit den Sternen zu vermischen, wie Morricone bei 16 U/min, während Cornereds Herzstück, das elfminütige „No Appetite“, lange Bögen schlägt, elektronische Texturen atmet und seufzt, um sich in einem Katzenkörbchen der Glückseligkeit zu verheddern. Während des Hörens fühlt es sich an, als ob die Musik blüht, als würde man sich Zeitrafferaufnahmen von blühenden Pflanzen ansehen. Aber das Verführerischste an Cornered ist vielleicht das Gefühl, das man beim Zuhören bekommt, dass die Musik etwas Unerwartetes war, eine Heimsuchung. „Es fühlte sich fast so an, als hätten WIR nicht diktiert, wohin die Musik geht und wie sie klingt“, stimmt Fox zu. „Wir waren just im Dezember zusammen in einem Raum, als diese Geräusche passierten, und wir hatten das Glück, dass die Aufnahme mitlief.”

The Legendary album ‘From Mars to Sirius’ put GOJIRA on the path to Worldwide stardom. Almost 18 years , 72 seasons later, this classic album is still a massively Heavy Monster !. It is a concept album addressing environmental issues and the rebirth of a dead planet through a space travel storyline, with the underlying theme of a transition from war to peace. From Mars to Sirius was released in 2005 to critical acclaim. It has since been ranked amongst the Rolling Stone's 100 Greatest Metal Albums of All Time. (wikipedia) A first run of 2000 copies of this double pic disc are being made .

Die Fähigkeit des Bobo Stenson Trios, weitreichende Idiome und ein breit gefächertes Repertoire im Rahmen seines eigenständigen Ausdrucks zu umfassen, ist inzwischen so etwas wie ein Markenzeichen der Gruppe geworden und brachte The New York Times zu der Aussage, der Pianist mache ”erhabene KlaviertrioPlatten, ohne jemals zu viel zu spielen.

Es pulsiert, bewegt sich in Wellen mit langen improvisierten
Phrasen; es ist lebendig”. Das erfahrene Trio zeigt sich auf Sphere als besonders eingespielte Einheit und bewegt sich auf zugleich subtile und eigenwillige Weise durch eine Reihe von Eigenkompositionen
sowie Melodien, die von diversen skandinavischen Komponisten stammen.

Der schwedische Pianist hat in jahrzehntelanger Zusammenarbeit mit ECM und Manfred Eicher – der, wie Bobo sagt, ”die besten
Qualitäten der Musiker hervorhebt” und die Platte produziert hat – eine einzigartige Mischung aus verschiedenen musikalischen Strömungen entwickelt und verfeinert. Die Mitstreiter des Pianisten, Anders Jormin am Bass und Schlagzeuger Jon Fält, die den Bandleader seit Cantando (2008) begleiten, sind mehr als ideale musikalische Partner für Bobos sanften Anschlag und unendliches Verlangen nach Zusammenspiel. Bobo: ”Wir spielen nie ’von der Stange’. Die Dinge kristallisieren sich aus dem Moment heraus und
wir passen uns dem an. Das ist die Quintessenz.
Das macht die Freude des Zusammenspiels aus; nie das Gleiche zweimal zu machen, und mit Entschlossenheit.”

- 2023 repress -

After his successful "Iron Dreams EP" from 2020, Regent steps up for his 2nd EP on Planet Rhythm. The "Obsidion EP" features 4 tracks that will trigger some emotional responses in future warehouse situations.

Limitierter Sampler der Musikentdeckerseite Pigeons & Planes in Kooperation mit dem Label Big.Ass.Kids mit 11 aufstrebenden Künstlern an der Schnittstelle zwischen Hip-Hop & Indie-Pop. Produziert von Mike Dean (Kanye West, Kid Cudi, 2Pac, Scarface, Jay-Z, Beyoncé, Drake, Madonna, Lana Del Rey, The Weeknd). Der blauen Vinyl-LP liegen nummerierte, handsignierte Artist Cards, sortiert nach dem Zufallsprinzip, bei, wobei jeder Artist 2 Motive im Umlauf hat.

Emotion Hospice is the debut LP by New York-based sound artist and writer Chaperone on Bedouin Records. Combining layers of doom electronics, dystopian ambient, and manipulated tape loops, Emotion Hospice reflects both the artist's suffering and recovery from addiction, as well as Philadelphia's history of socio-economic decay and misanthropy.

Emotion Hospice was recorded from 2016 to 2019, when Chaperone's David Coccagna lived and worked in his hometown of Philadelphia, a city notoriously known for its poverty, redlined city divisions, and fascist policing tactics. While exploring the sound of the city and the effects of its political and social climate, Coccagna also struggled with and managed to overcome a severe addiction to alcohol, tying further the misaligned nature of the self to the maladjusted world he grew up in that is reflected in the record itself.

Sonic thrills and their destruction is present throughout the record, as Coccagna experiments with the brutal manipulation of bossa nova, varying styles of jazz, hip hop, and rap, using 4-Track tape loops, shortwave radio frequencies, various apps on his iPad, and open source audio editing software. With Emotion Hospice, Chaperone liberates the inherent darkness of the cheerful and poppy music that he samples and transforms it into an extensive, doomy sound of a future that is dystopian, maladroit, suffering, but hopeful about human beings. The album was written and recorded entirely by Coccagna aside from the track featuring New York rapper and producer Andre Altrez, whose establishment of Girard Hall in Philadelphia was a beacon of DIY ethos that became legendary in the city in its own right.

Chaperone's Emotion Hospice is his first release on Bedouin Records. His cassette release Dead Pitbulls Slung On Tired Shoulders was his first outing for Bedouin's now defunct sub-label Bastakiya Tapes in 2017. This initial tape was the catalyst to a working relationship between Coccagna and label operator Salem Rashid as collaborators and colleagues.

Less of Everything was released on April 3rd 2020 on Upset The Rhythm and sold out quickly. This limited repress on sun-yellow vinyl sees the album finally available on vinyl again, around the release of the group's new EP and upcoming tour plans.


Less of Everything. The title of Es’ first full length LP could be interpreted as a manifesto pledge, an outright demand or a purely literal sonic descriptor of the London quartet’s glacial form of punk rock music. This tension between intent and interpretation has been a fundamental element of the group’s output from their formation.

Es is Maria Cecilia Tedemalm (vocals), Katy Cotterell (bass), Tamsin M. Leach (drums) and Flora Watters (keyboards). Their 2016 debut EP, Object Relations, released on influential London punk label La Vida Es Un Mus, was described as “mutant synth-punk for our dystopian present” (Jess Skolnik, Bandcamp, Pitchfork). The band has since become a vital presence in London’s underground DIY music scene, as well as having toured the UK with the Thurston Moore Group in 2017.
After a period with members split between Glasgow and London, Es recorded Less of Everything with Lindsay Corstorphine (Sauna Youth, Primitive Parts) in Tottenham in 2019. As in Object Relations, the dynamic between Cotterell’s bass and Watters’ keyboard is at the heart of Less of Everything’s sound: intertwining sub-zero melodies, gothic anarcho-punk influences (think KUKL, MALARIA, X-MAL DEUTSCHLAND) and some kind of entirely unlocatable aquatic component. When combined with Murray Leach’s precise drumming, the outcome is original and immediately recognisable. Es are a group who know how to leave space, how to strive for minimalism without sacrificing aggression or dynamism. This dynamic provides the perfect backdrop for Tedemalm’s relentless, pointed vocal style. While comparable ‘cold’ sounding groups might affect an impersonal, safer mode of lyrical or vocal detachment, Tedemalm’s strategy is to “push the lyrics as far as I can thematically until they become absurd … overly dramatic ... while still being sincere in the feeling they’re trying to invoke. I try to apply as much emotion as I can.” The result is something intense but nuanced, confrontational but complex. Owen Williams, 2020

Creating an introverted version of restrained electronic music Berlin-based artist Constantijn Lange releases his second album 'Liquide' on Heimlich Musik. The album is based on sketches created in isolation during the second pandemic year. The compositions are characterized by self-reflection and an attempt to translate the abstract experience of listening to oneself into a concrete form. The sound of personal isolation, the necessary withdrawal from the world and the restriction of all social contacts is, therefore, less club oriented and focused on functionality than an expressive concept of ideas, rather oriented on Trip Hop, Breakbeat, Ambient and Jazz. The collective rediscovery of shared experience results in arrangements of melancholic but optimistic melodies recorded with vintage synthesizers, supported by complex drum patterns and diverse percussions that create a signature sound as a new liquid amalgam.


Constantijn Lange is an electronic music composer originally from Ostfriesland now based in Berlin. Besides several releases on Laut & Luise since the early days, his productions appear on labels like Get Physical, Traum Schallplatten, Sinnbus, Platon Records, Egoplanet
and many more.
His passion for thick layered synth melodies, jazzy and kraut – like vibes, atmosphere recordings, deep basslines and selfmade percussion designs give his music a recognizable vibe which can be heard on nearly every production he was involved in so far. He spends a lot of time in his studio in Berlin, working on new music, remixing other artists and also engineering for other sound projects in the art scene. On top of that, he performs as a liveact in clubs and on festivals all over the planet where his music can be described as very emotional and personal. Repeatedly this amazed people in countries like Germany, Russia, Poland, Switzerland, South Africa, Austria, Belgium, Mexico and
many more.
Constantijn’s ambition as an artist is to constantly evolve his productions and create music
which carries emotions and energies into the clubs, to festivals and living rooms alike.

An elusive Soul/Funk masterpiece from mid-70s Lakeland, Florida. The Riley siblings; Carrie, Horace & James laid the foundation for the two songs they would bring to Auburndale's custom recording studio, Central Sound to be released on the Nashville/Florida label, 'Music City'. Jerome McNeil, William Freeman, Bruce Bolden & Sam Graham would complete the outfit and be collectively known as 'Carrie Riley & The Soul Fascinations'

It's been 15 years since Now Again & Jazzman showcased the Deep Funk rarity 'Super Cool' on their Florida Funk compilation, however it's James Riley's group harmony B-side, 'Living In A Lonesome House With You' that has remained at large, unknown, collectively showcasing the talent encapsulated by The Fascinations.

'During the early 70’s The Riley family members who formed the Fascinations (originally the Soul Fascinations), James, Horace and Carrie along with a few friends, were destined to develop and perform musically as music flowed through our veins. Our father was a musician who played piano and sang the blues. As children we gathered around an old upright piano after dinner to hear our father play and sang. By the time I was 14 and my brothers, James and Horace were 16 and 17, we had all learned to plan an instrument. My focus was on vocals with many role models to learn from in the music industry such as; Dianna Ross, Chaka Khan, Gladys Knight and Mable Staple. My brothers loved the Commodores, Kool and the Gang, Rick James and Earth Wind and Fire. The Isleys’s were a favorite of ours also. James was the driver of our success in recording as he made sure we practiced for hours on end. Sometimes we would practice popular songs until 2 in the morning. James began to write songs and develop melodies that he would share with Horace and I. We would make suggestions for revisions such as arrangements and melodies. Before long we traveled to Miami where we recorded, Super Cool which was our title song, 'Living in A Lonesome House' and a few other tracks. 'Super Cool' is a song that is personal to me. It is a song about relationships and trust, while the Lonesome house song was about love affairs and breakups. So much great music came out of the 70’s. I am grateful that our music contributed to the industry during a time when great music was about love and relationships.

Lovingly
Carrie'

For Erika's second album "Anevite Void", she explores her live process as it permeates everything she does, including documenting the process of life in the elaborate sci fi mythology she created. Erika began performing live in Ectomorph in 1997 when she was gifted a TR-606 by BMG and asked to join the group. This grew to her building her own studio, performing solo as Erika, collaborating with people like Jay Ahern and Noncompliant, and performing as a member of Circle of Live. Her depth of thought and clarity of vision has led to her mentoring people on live performance through the In Bloom platform, where she has made a large impact on many up and coming musicians. "Anevite Void", Erika's new album, finds her organically writing songs for her live shows, allowing them to take shape through performance, and later recording them in the studio, making this the first album she has entirely written and produced on her own. Mixed by long time collaborator BMG, she finds this record as the launching point for a new process for her. Conceptually, this album was inspired by "the irregular life cycles created by three suns circling over a planetary organism that presents two major biomes: rocky crystalline desert, and deep layered forest, each of which exists above and/or below ground, depending on what phase the suns are in." From this realm the album took shape. She also chronicled this concept in drawings but found this painting by Detroit puckish punk legend Nai Sammon perfectly visually explained the concept, and chose it for the cover. She describes "each track is about an organic process that occurs: acts of survival of the biomes, or what happens between them and the multitude of other beings that they host." Erika is currently splitting her time between being based in Berlin and Detroit, is part of the triumvirate that runs Interdimensional Transmissions (BMG, Erika and Amber) that are releasing this record and produce legendary events such as No Way Back, Samhain and Return to the Source. She performs live and DJs and collaborates and oozes sonic truth in its many forms. Visit the "Anevite Void" in early 2023.

German project founded in 1984 by Peter Mergener and Michael Weisser. This release features two cheery picked exemplary moments in downtempo contemplative cosmic travels. A side sends the listener well out of orbit with a 10 min long gradient of Krauty arpeggiated showers that grows elegantly, a concerto to the astros of the mind. Flip it and it gets better as your space capsule gets sucked into some distant planet's gravitational pull, feelings of other-worldly sounds, slowed down beautifully almost eerie nuances one won't forget so easily. Sunrise on a Balearic island from another solar system. Berlin-School by trade but also heard on mixes by Jose Padilla. Heftily remastered.

The talented producer and sound designer that is Farron is an artist also known as Lachriz, Quiem and Twuan and has made notable moves on Forbidden Planet, Renascence, and his own Shaw Cuts label. The good folk at Kimochi sign up his widescreen sounds here on a gorgeous 7 track 12" that mixes up plenty of slick techno & ambient styles. There are spacious and jittery rhythms with moody ambient pads, immersive and beatless dreamscapes, dubbed out rhythms and body-popping broken beat workouts with war undercurrents of sub-bass. It's a stylish record that is captivating throughout and looks as good as it sounds with its hand-sprayed sleeve.

It is with a singular pleasure that we welcome Marc Romboy to the ever growing stable of live artists at ASW!

Marc Romboy is an artist renowned within the electronic scene for his eclectic, boundary-pushing approach and decades worth of experience working both behind the scenes and behind the decks.

In recent years he has embraced performing live as another creative outlet and, indeed, creative challenge. As an artist and performer, Marc has always pushed the boundaries of his creativity and this, Marc’s first studio album in 6 years is a true masterwork of techno from one of the masters of the genre.

Growing up in the West of Germany close to the borders of both The Netherlands and Belgium, Marc was always instinctively drawn to music. He would attend the acid house parties prevalent in the area, with an epiphany of sorts on the dancefloor of Front club in Hamburg in 1987. An avid record collector, he would listen to Krautrock, breaks, Italo disco, Chicago house and more, and experienced some of the first all house and techno clubs in Europe; the legendary Roxy club in Amsterdam and Dorian Grey in Frankfurt. Learning to DJ, and later on produce, was a natural step.

He founded the ’Le Petit Prince’ imprint in 1993 as a platform for the music of friends he was playing out, which went on to be named Label Of The Year by various German electronic music publications the following year. Its reputation led Marc into collaborating with other DJs to manage their labels too.

Meanwhile, Marc went on to notch up an impressive discography of EPs, tracks and collaborations, carving his own sound; emotive, versatile, and featuring distinctive basslines.
2004 was a landmark year for the artist, with the beginning of his own, completely self-run label Systematic. Since It's birth, the label has provided a home for productions from the likes of Robert Hood, Kenny Larkin, Omar-S, Terrence Parker, Timo Maas, kINK and many more. It also provided the platform for Marc’s first album, ‘Gemini’ in 2005, followed by four further LPs; 2008’s ‘Contrast’, 2009’s ‘6 Monde’ with Stephan Bodzin (which birthed the pair’s now-legendary track ‘Atlas’), 2013’s ‘Taiyo’ with Ken Ishii, and 2014’s three-disc retrospective compilation ‘Shades’. And his collaborative orchestral LP ‘Voyage de la Planète’, Marc’s forward-thinking last album. Pushing the boundaries between classical and electronic music, it makes for a moving , atmospheric outing for the producer - “I feel like there are still a couple of beautiful sounds to create”.

Marc’s output has been exemplary and with his inspiration rising for performing live he now brings us the wonderful “Music Made for Aliens”. A work of true electronic inspiration. Marc will be performing live at ASW events coming up soon.

Electronic Leatherette is the new label from Riga based producer Dmitry Distant. After years of making electro and wave music he decided to create a new story and run his label. With a first release label provides a series of 4 basic nature elements. As a fundament of everything this release is dedicated to element Earth and can bring you though atmosphere of esotoric electronic music within guides from Vessel in Distress, Heinrich Dressel, Franck Kartell and new comer name from same planet MSRG. Enjoy your travel and sound scape.

Dismantling the acoustic to feed the electronic, Editions Mego presents Telepath, the new album by Material Object. Born out of a single improvised recording session with a lone Violinist, Telepath is a startling album of future electronic music, resulting in an LP of unique and timeless tracks that reimagine a classic sound for an endless future.

Boldly departing from his previous canon of largely 'ambient' work, Material Object's Telepath renders itself out as something much stranger, something more spacious, more subtle and gradual. Moments of bouncing minimalism meet moirés of delayed pure tones phasing in and out of resolution, giving way to a series of strobing foreground gestures arranged and offset in disorienting landscapes which scatter themselves asymmetrically amongst crystal pools of reverb.

Revelling in the creative dismemberment of the original source material, Material Object slowly and patiently induces the violin to undergo every category of torsion, pressure and rupture. Its vivid acoustic qualities pass over and across the event horizon of the digital domain. Shattering then crystallising into points and coordinates, intersections, disjunctions, planes and reverberant figures. An uncanny geometry perceived only between the ears, at once dissolving and reconstructing itself.

Not to be missed here is the essential, but bonus only, add-on (available with all Bandcamp purchases) "Auxiliary Apparition", a hallucinatory expanse that traverses the same liminal geography as the LP proper but as some refracted, ghostly counterpoint. More nocturnal, overpowering phantasms looming out of a droning noise floor before fading away. A hypnotic and time-dilated recapitulation of what's gone before as if looking back from beyond a mirror. When it finally resolves in the closing moments and returns you home, you realise you haven't really moved at all.

Equally abstract, haunting and daring, Material Object’s Telepath is a singular work that abandons all notions of genre. Erupting with a tension of opposites that unfolds as a truly unique story, told in four dimensions and draped in deafening colour.

Landmark albums deserve to be released on Glorious Vinyl, and that's why Lovemonk is presenting the first ever vinyl edition of Martín Buscaglia's 2006 corker, El Evangelio Según Mi Jardinero.

"Brain, brain, thanks for being in my head and not in my knee, if not, I wouldn't be able to kneel down to pray or keep that promise I cannot reveal". Those are the first words (translated from Spanish) of 'Cerebro, Orgasmo, Envidia y Sofía', the song that kicks off El Evangelio Según Mi Jardinero, the fourth album by Uruguayan pop genius Martín Buscaglia and his second on Lovemonk.

El Evangelio is a wonderful collection of deliciously cheeky and brutally honest songs composed by a man who was lucky enough to grow up in a home where several of his home country's cultural greats (Eduardo Mateo, Urbano Moraes, Rubén Rada, all three of legendary candombe innovators El Kinto, and Hugo Fattoruso, of Opa) would drop by to chat, write and hang out. They, and other heroes like Marvin Gaye, Tom Waits, Stevie Wonder, and Jorge Ben, have had a lasting influence on Martín's music, and it's no different on El Evangelio. Martín wrote most of the songs and plays all kinds of instruments, conventional and not so conventional (the ravanahatha - an ancient bowed, stringed instrument used in South Asia, different toys such as the Simon device and a carousel), and there are cameos by the likes of Arnaldo Antunes, Nicolás Ibarburu and Juana Molina.

El Evangelio Según Mi Jardinero is a dazzling piece of work that will make you dance your ass of and take you to place you haven't visited since childhood. Even 12 years on, the at times complex songs actually sound deceptively simple and stunningly fresh.

“Exploration is in our nature. We began as wanderers, and we are wanderers still. We have lingered long enough on the shores of the cosmic ocean. We are ready at last to set sail for the stars.” - Carl Sagan.

Finally a vinyl edition of the first release by Valencian electronic experimental band Mecánica Clásica. Originally released on cassette in 2019. Eight tracks of early electronic experimentation, meandering rhythms, minimal modular ambient passages and bleeping synth sequences. From Cluster to Craig Leon, from K. Leimer to Marc Barreca.

A journey to the inner reaches of the sound modulation.
Recorded, mixed and produced by Mecánica Clásica.
Mastered by José Guerrero at Plataforma Continental.
Artwork by María Gea

"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

Dooley-O commands you to STICK YOURSELF! But not before stocking his new 45 please. Bankrupt Europeans (who have previously produced for RA The rugged Man, Roc Marciano, Chill Rob G, Chubb Rock, AG, Phill Most Chill, Rise and MC Juice) started a back&forth with 90s legend and Stezo cohort Dooley-O a few years ago, even recorded a couple of demos but it wasn't until 2021 that we all had a chance to do this properly! Hands down two of the hardest and snappiest Bankrupt Europeans beats to complement Dooley-O's incredible punchlines and murderous flow. Dooley-O shows that not only has he not lost a step since the days of releases on Stones Throw and Lewis Recordings, but if anything his skills have sharpened over the years!

The A-Side is Stick Yourself and sees Bankrupt Europeans bring this absolute head nodder of a beat, heavy but very funky and laced with modular synth sounds and cuts from DJ Grazzhoppa throughout. Dooley-O’s tongue-in-cheek rap style is sharper than Rambo’s knife as he proceeds to encourage you to Stick Yourself or risk being taken out by himself. There is this comedic bravado here that has Dooley-O displaying just how good his rap style is, while between the lines he saying ‘I’m that good, I shouldn’t have to take you out, that’s your job But, If I have to do it, it ain’t gonna be pretty.’ Flipping it to the B-Side for track 2 we have Death Blow that hits hard with a brooding intro before the heavy bass and eastern sounds inject more adrenaline into your veins! Dooley-O continues the lyrical assault he began in Stick Yourself. Here he delivers a cold and calculated volley of witty punchlines with ease. His plan here is plain and simple, which is to deliver a brutal Death Blow to all those suckers left walking and talking

Available in black wax in 250 hand numbered copies in a company sleeve with a sticker.

(C40 Cassette) Georgian artist Rezo Glonti's debut on Muscut is the label's first take on far Eastern Europe. "Subtropics" was made during sea voyages between subtropical ports.Delicate sound design and ambient experimentations manifest themselves as an audio excursion of the Black Sea region. Currently, Tbilisi-based Glonti has several albums and EPs under the name and the moniker "Aux Field".

2024 Backstock!

Boomstraat 1818 is a new techno label from Amsterdam. The label aims at releasing timeless Detroit techno music on vinyl and digital formats, from international artists and local talents.

Outerbase ep is inspired by the 90's Purpose Maker and M-Plant sound and delivers a club friendly 4-track various ep with esteemed artists like Stefan Vincent, Kuba Sojka and Taupe.

This record is about a plane crash occured in 2018 where family member of the artist lost life. That day, samples were recorded and music was made.

Lovesick – everyone knows it, everyone hates it. Everyone feels alone. Everyone questions the previous relationship and what has been said during it. Everyone tries to numb the pain of this all-encompassing suffering with alcohol and drugs. Everyone calls at four in the morning and leaves embarrassing love confessions on the answering machine that will be never heard. Everyone feels alone and tries to find solace in casual acquaintances in bars, only to be turned away for being pushy. Everyone lays up for weeks stalking the likely reason this relationship ended, oh! It didn’t have to end, it was all so nice and this new one can’t be good and he/she won’t be good if the plans I’ve been making here for nights come true…oh how nice would this be! Oh it can’t be, maybe I just can’t be loved… maybe I just should…

Everybody knows it.

But from now on you never have to go through all that heartbreak alone again because we Herzschmerz Versicherungen have the solution! We are a band from Stuttgart, somehow only classified as dilletantic strange in the genre. We are at your side and take care of you when your heart hurts!

Book one of our numerous insurance packages today, or just listen to our songs – that helps too!

“Denn wenn du dir nicht sicher bist und deine Liebe bald zerbricht: Komm, schöner Mensch und kauf doch eine Versicherung bei mir, Bei Herzschmerz bin ich dann immer da, bei dir!”

Iassen Markov & Jannik Haller

Acid architects joined their force to build up this second Opus.
Mental to hardfloor !
Acid to acidcore !

Planet Mu welcomes back Meemo Comma for her third album 'Loverboy'. 'Loverboy' is a shift in gear from Meemo Comma’s previous works, speeding up the tempos and rhythms, it's set in the nineties with trance, breakbeat hardcore and jungle as some of the influences. After playing a club gig in Spain as lockdown rules were loosening, Rix-Martin was reminded of the power music and people coming together creates. ‘Loverboy’ is peppered with influences from friends past and new as well as artists that have transformed the sound of Meemo Comma over the years, including Autechre, Guy Called Gerald, Orbital and Shitmat as well as others. On this journey we follow ‘Loverboy’ through the club as the night builds and different characters are met, from dropping the first pill to a euphoric ‘Cloudscape’ whilst waiting in the queue, to meeting some shady sorts in ‘Loneheath’. The album changes pace throughout with different rooms of the club being explored which add to the brevity of Rix-Martin’s production style on tracks such as 'Kyle' and 'AK47'. What started as a personal joke about Rix-Martin’s background formed a narrative for some darker, cheeky breaks that echo back on title track ‘Loverboy’, a track that Rix-Martin describes as “working class gender euphoria”.Maybe the mask has come off, and the shackles of pseudo-intellectualism have been put to rest for an honest, fun and ‘propa cheeky’ rave album instead.

Repressed again. On the West Coast, gangsta rap held sway in hip-hop as the 21st century began. The alternative and conscious rap music of the early-to-mid-90s had all but faded into the underground. The scene was set for a comeback, perhaps as a backlash to the perceived violence and misogyny of gangsta rap's content. Leading the resurgence of alternative hip-hop were groups like Jurassic 5, and recent signees to Capitol Records; a West coast trio that had been building steam underground since the early 90s called Dilated Peoples. Anticipation was high for the release of the debut album from Evidence, Rakaa, and DJ Babu. (Of the influential turntablist collective Beat Junkies.) When The Platform arrived in May of 2000 it was met with critical and underground acclaim, as well as affording Dilated Peoples their first Billboard chartings. It featured a back-to-basics sound with a heavy debt to the old-school hip-hop ethos, the kind of sound that harkened back to the early days of legends like De La Soul & A Tribe Called Quest. Hits like "No Retreat" and "The Platform" were bolstered by Evidence & Rakaa's subtle, abstract wit, and swift, adroit wordplay, while DJ Babu provided production chops and dextrous scratches. On The Platform the trio were joined by the likes of B-Real, Tha Alkoholiks, Everlast, Planet Asia, and many more providing guest vocals, while boasting guest production from The Alchemist & Kut Masta Kurt, among others. Since its 2000 release this influential record, which heralded the return of alternative hip-hop, has never seen a vinyl reissue. With that, Get On Down-always on top of giving the greatest hip-hop albums their due-is proud to present this re-release of The Platform. The rhymes are still fresh, the production is still pristine, and the album is now back on vinyl for the first time in 17 years.

Following on from his remixes of Robert James' LP Battle Of The Planets, Berlin-based Klix goes in for the kill with four examples of club-friendly grooves that are big on dancefloor dynamics but also boast a delicate sensitivity to melody that's often left behind when it comes to the minimal/tech genre. Check, for instance, the distinctly understated acid undertow to 'Just Tell Me', balanced beautifully with lush, New Order-esque pads, or the almost imperceptible trails of flute left across the landscape of 'Satisfaction'. Best of all is probably 'Squanchy Thoughts' featuring Shibafu No Baga, the vocoders and synth lines rendering it like a post-rave Kraftwerk.

Full Dose kick your door in with this prime selection of cuts from a new name on the label: Tuck Chains. Who is Tuck Chains? Who knows! But with a crew known for their futuristic and dub-inflected sound, "Tapes" manages to take the label to new heights.

Serving as a masterclass in the sacred art of sample chopping, Tuck Chains offers up a platter of instrumentals that wouldn't sound out-of-place coming from LA in the late 2000s. True to its name, FD013 feels like a mixtape in its delivery, but has a depth and refinement that's difficult to find. Instrumental hip hop of this quality may well have disappeared from the underground but Tuck Chains has successfully iterated on a style guaranteed to bring blunted energy.

"Lock Down", the opening track, quickly sets the scene with metallic and saturated drums. Interspersed with surgical sample chops, the track oscillates between lively and chill after an almost musique concrète sounding intro. This contrast between straight and faded becomes a theme of the album, with moments of intensification punctuating the mellow.

Tracks like "Chrome and Glass" balance fizzy snares, rumbling low end and stabby piano hits to take you on a slow motion coastal journey, while "Ewan Hughes-Army" has an erratic and head-nodding feel that demands your attention. Warbly, downtempo tape vibes feature throughout the release, a combination ripe for repeated, couch-bound listens. With this in mind, "Spanish" feels like the perfect closer - the type of track that oozes sun and THC. Let this be the soundtrack to your hazy holiday.

Arriving directly from the plant and mastered by the label's own Lvcchesi, this could well be the beat tape you knew you were missing! "

Remastered reissue of “We Are Urusei Yatsura” (originally released in 1996), with bonus vinyl of unreleased demos and B-sides

Celebrating the 30th Anniversary of the founding of Glasgow “Geek Rock” band Urusei Yatsura
– Double Clear-Vinyl Reissue of 1996 Album
In the days before “landfill” indie, and in rebellion against a developing Britpop orthodoxy, there were some weird but melodic bands coming of age outside London that drew inspiration from the US underground and the sparkly retro-futurism of Japan. Primitive guitar noise with art rock leanings, post punk DIY and fanzine culture. The best known of these bands was maybe Urusei Yatsura; “noisy stars”, named in honour of Rumiko Takahashi, legendary manga creator.

Back in 1996, after several increasingly well-received 7’s, the band travelled to Leamington Spa to record their debut album with John Rivers, producer of Swell Maps and Glasgow scene godparents, The Pastels. The resulting album won the group legions of new fans and gained them their first Independent #1 chart placing, alongside peers Ash and Super Furry Animals.

“These were fertile years in Glasgow, a scene with no name, no single sound, where the magic thread tying everyone together was words and works so personal, they couldn’t be mistaken for anyone else’s. ‘We Are Urusei Yatsura’ is a cascade of ‘why not?’ thinking. The way ‘Phasers on Stun’ spirals into ‘Sola Kola’; the sunburned 23-second improv at the end of ‘Pachinko’; the slack-echoing strings of the outro to ‘Road Song’ sprayed with the shrapnel of toy electronics. Pure pop magic, Ren & Stimpy on upstairs, ray-guns, Ian’s homemade walkie-talkie speaker, a beatbox, all sealed with a “Talking Tina” doll’s emphatic endorsement: “I love it”” – Nick Soulsby

The vinyl-only double LP set comprises the original 1996 album recorded by John Rivers, accompanied with an extra disk of unreleased demos, rare singles and B-sides which have not been available since the 90’s. It documents the time leading up to the release of the LP and the singles that came from it, capturing the development, lost pop moments and essential experiments from the eccentric and joyful Glasgow band. The cover has been completely remixed using archive
photos and artwork from the time, with new interviews and extensive notes. The release marks 30 years since the official birthday of the band, 9/3/93.

“When I drove the transit van that took them down to Leamington Spa to record their first proper LP, there was a sense of quiet, assured anticipation. I couldn’t wait to hear it and when I came back a couple of weeks later to pick them back up, I remember so clearly when they played it from the van’s tape deck. Fergus and Graham were hunched over, focusing intently on what they wanted to change about the mix. The reverb wasn’t right or something. Maybe they didn’t like how high the vocals were in the mix. I said to them, you’re listening to the details, but missing what is most important–this is a fantastic record! It was. It is. It is a fantastic record. They were a brilliant live band and I am so lucky to have been able to have been there to see their formation.” – Alex Kapranos.

Lawrence Hayward knew that he wanted to be a pop star as a teen, and he devised a plan to release ten albums and ten singles over ten years to make that dream come true. A particular and determined individual, he would only be known as Lawrence from that day forward. His hopes for stardom would be pinned on his newly formed band, the succinctly named Felt. Soon signed to Cherry Red Records, Lawrence’s achingly cool vocals and the group’s way with walking melodies were evident on their debut for the label, “Something Sends Me To Sleep.” This compilation collects material from Felt’s Cherry Red period of 1981 to 1985, kicking off with that confident start, assembling numerous high points, and closing with their biggest hit, “Primitive Painters.”

This phase of the band is defined by the songwriting partnership and unique interplay of Lawrence and guitarist Maurice Deebank, with Deebank’s stylish and confident playing the envy of many of their counterparts. He delivers a constant string of shimmering hooks that wrap themselves around and over top of Lawrence’s more traditional beat combo song structures, as if trying to fit four songs worth of ideas into a pre-set radio friendly cutoff time. It works wonderfully as Lawrence always counters with a solid bedrock.

In one of many brushes with the brass ring, in 1984 Felt recorded versions of “Dismantled King Is Off The Throne” and “Sunlight Bathed The Golden Glow,” for the newly formed and Warners-backed label Blanco y Negro, in hopes that the band would follow their A+R man Mike Alway to the executive suite. Despite putting forward two of their finest songs, it was not to be. While major label dreams had to remain on the shelf, fans were delighted to be able to hear these beautifully stripped down and more direct versions when this compilation was released a few years later.

By 1985 the Felt roller coaster was something Maurice Deebank was constantly getting on and off of. As Gary Ainge always kept the beat, and Lawrence never lost focus, they were joined by local teen prodigy Martin Duffy on keyboards, filling out the arrangements, and following Deebank’s racing six-string cascades in “The Day The Rain Came Down” you can even hear a tiny hint of the next phase of the band in Duffy’s organ before Maurice swoops to the finish. The newly expanded Felt would then put everything they had into making one of the defining releases of the 80s: “Primitive Painters.”

Lawrence Hayward knew that he wanted to be a pop star as a teen, and he devised a plan to release ten albums and ten singles over ten years to make that dream come true. A particular and determined individual, he would only be known as Lawrence from that day forward. His hopes for stardom would be pinned on his newly formed band, the succinctly named Felt. Soon signed to Cherry Red Records, Lawrence’s achingly cool vocals and the group’s way with walking melodies were evident on their debut for the label, “Something Sends Me To Sleep.” This compilation collects material from Felt’s Cherry Red period of 1981 to 1985, kicking off with that confident start, assembling numerous high points, and closing with their biggest hit, “Primitive Painters.”

This phase of the band is defined by the songwriting partnership and unique interplay of Lawrence and guitarist Maurice Deebank, with Deebank’s stylish and confident playing the envy of many of their counterparts. He delivers a constant string of shimmering hooks that wrap themselves around and over top of Lawrence’s more traditional beat combo song structures, as if trying to fit four songs worth of ideas into a pre-set radio friendly cutoff time. It works wonderfully as Lawrence always counters with a solid bedrock.

In one of many brushes with the brass ring, in 1984 Felt recorded versions of “Dismantled King Is Off The Throne” and “Sunlight Bathed The Golden Glow,” for the newly formed and Warners-backed label Blanco y Negro, in hopes that the band would follow their A+R man Mike Alway to the executive suite. Despite putting forward two of their finest songs, it was not to be. While major label dreams had to remain on the shelf, fans were delighted to be able to hear these beautifully stripped down and more direct versions when this compilation was released a few years later.

By 1985 the Felt roller coaster was something Maurice Deebank was constantly getting on and off of. As Gary Ainge always kept the beat, and Lawrence never lost focus, they were joined by local teen prodigy Martin Duffy on keyboards, filling out the arrangements, and following Deebank’s racing six-string cascades in “The Day The Rain Came Down” you can even hear a tiny hint of the next phase of the band in Duffy’s organ before Maurice swoops to the finish. The newly expanded Felt would then put everything they had into making one of the defining releases of the 80s: “Primitive Painters.”

Kate NV's WOW offers listeners a prismatic shift in perspective and scale, a parallel dimension in which the mundane becomes funny, unfamiliar, and altogether sensational. Turning the contents of her 2020 album Room for the Moon upside down and spilling them across a floor checkered with intrigue and surprise, Kate places sound, object, and ritual under the microscope to magnify the delight hidden in plain sight of everyday life. WOW is Kate Shilonosova's fourth full-length release as Kate NV in six years, and third for RVNG Intl. Her prolific musical output aligns with a highly attuned aesthetic and a deep commitment to visual world building. WOW is one of many of these worlds in which music is fully saturated with color, deeply tactile and textural. Shiny, sproingy, plastic. Where Room for the Moon embraced structure (abstractly speaking) and veered pop, WOW happily abandons conventional song shapes, parsing the experience of musical time into ecstatic fragments. It's difficult to imagine a more fitting album title: pure exclamation, an organic pitch of delight leaving the mouth, with no clear etymological links. On Room for the Moon, Shilonosova's voice was layered and lyrical, with sweeping and urgent melodies. WOW finds her as a peripheral purveyor of high jinks, peeking out from the corners, commenting on her surroundings in non-verbal, and arguably non-human, utterances. Instead of employing lyricism, Shilonosova steps outside of language, and rewards us with a gum ball machine of textures: soda fizz and wind-up teeth and scraps of bubble wrap become comically huge, as if heard from an insect's perspective. Words are tasty plosives, onomatopoeias, percussive chirps and one-liners, and singing serves as another form of what Shilonosova refers to as "funny tiny sounds." WOW skews and skitters, trips over its own feet and laughs about it, plays out of tune on purpose, tilts and leans like a top-heavy flower. Shilonosova is a longtime user of Found Sound Nation's Broken Orchestra sample pack, a sound catalog of over one thousand dilapidated instruments sourced from Philadelphia public schools. These perfectly imperfect instruments are tightly spliced into WOW's patchwork of synthesizer and reworked snippets of Shilonosova's friends playing clarinet, flute, and marimba. It's central to the record's internal logic: a disregard for what is, and isn't, broken, what is, and isn't, a sentence or a song. A commingling of subject and object, with a firmly new wave sensibility. Shilonosova has long had an unusual relationship with inanimate objects (citing her bicycle as her best friend), as if the joys they evoke for her are personality traits of the objects themselves. On WOW, she evinces a kind of inverted anthropomorphism: she shrinks her voice and becomes an object among multitudes, toylike in size and perspective, cohabitating with sedentary, indifferent roommates. This pursuit of childlike perspectives is a thread that runs through much of her catalog, and places her work on a plane with that of her personal hero Nobukazu Takemura, who for decades has treated his music as a portal to childlike curiosity, both in subject matter and tone. With an invitation to pursue this curiosity, WOW further confirms Kate NV's deeply inventive, fluid and technically dizzying artistry. By refusing constraints and rules, Shilonosova embodies a profound freedom, allowing objects, sounds, and processes to unfold organically; or, as she puts it, a commitment to "accepting randomness." She succeeds terrifically at a breed of auditory defamiliarization that is all her own, and the rewards for listeners are many: through her lens, the small becomes monstrous, the abstract becomes sensorial, and the old becomes new. Kate NV's WOW will be released on February 10, 2023 on vinyl and digital formats. On behalf of Kate NV and RVNG, a portion of the proceeds from this release will benefit War Child, an organization that supports children and their families impacted by conflict, and working to build sustainable peace for generations to come.

Yellow Vinyl

Kate NV's WOW offers listeners a prismatic shift in perspective and scale, a parallel dimension in which the mundane becomes funny, unfamiliar, and altogether sensational. Turning the contents of her 2020 album Room for the Moon upside down and spilling them across a floor checkered with intrigue and surprise, Kate places sound, object, and ritual under the microscope to magnify the delight hidden in plain sight of everyday life. WOW is Kate Shilonosova's fourth full-length release as Kate NV in six years, and third for RVNG Intl. Her prolific musical output aligns with a highly attuned aesthetic and a deep commitment to visual world building. WOW is one of many of these worlds in which music is fully saturated with color, deeply tactile and textural. Shiny, sproingy, plastic. Where Room for the Moon embraced structure (abstractly speaking) and veered pop, WOW happily abandons conventional song shapes, parsing the experience of musical time into ecstatic fragments. It's difficult to imagine a more fitting album title: pure exclamation, an organic pitch of delight leaving the mouth, with no clear etymological links. On Room for the Moon, Shilonosova's voice was layered and lyrical, with sweeping and urgent melodies. WOW finds her as a peripheral purveyor of high jinks, peeking out from the corners, commenting on her surroundings in non-verbal, and arguably non-human, utterances. Instead of employing lyricism, Shilonosova steps outside of language, and rewards us with a gum ball machine of textures: soda fizz and wind-up teeth and scraps of bubble wrap become comically huge, as if heard from an insect's perspective. Words are tasty plosives, onomatopoeias, percussive chirps and one-liners, and singing serves as another form of what Shilonosova refers to as "funny tiny sounds." WOW skews and skitters, trips over its own feet and laughs about it, plays out of tune on purpose, tilts and leans like a top-heavy flower. Shilonosova is a longtime user of Found Sound Nation's Broken Orchestra sample pack, a sound catalog of over one thousand dilapidated instruments sourced from Philadelphia public schools. These perfectly imperfect instruments are tightly spliced into WOW's patchwork of synthesizer and reworked snippets of Shilonosova's friends playing clarinet, flute, and marimba. It's central to the record's internal logic: a disregard for what is, and isn't, broken, what is, and isn't, a sentence or a song. A commingling of subject and object, with a firmly new wave sensibility. Shilonosova has long had an unusual relationship with inanimate objects (citing her bicycle as her best friend), as if the joys they evoke for her are personality traits of the objects themselves. On WOW, she evinces a kind of inverted anthropomorphism: she shrinks her voice and becomes an object among multitudes, toylike in size and perspective, cohabitating with sedentary, indifferent roommates. This pursuit of childlike perspectives is a thread that runs through much of her catalog, and places her work on a plane with that of her personal hero Nobukazu Takemura, who for decades has treated his music as a portal to childlike curiosity, both in subject matter and tone. With an invitation to pursue this curiosity, WOW further confirms Kate NV's deeply inventive, fluid and technically dizzying artistry. By refusing constraints and rules, Shilonosova embodies a profound freedom, allowing objects, sounds, and processes to unfold organically; or, as she puts it, a commitment to "accepting randomness." She succeeds terrifically at a breed of auditory defamiliarization that is all her own, and the rewards for listeners are many: through her lens, the small becomes monstrous, the abstract becomes sensorial, and the old becomes new. Kate NV's WOW will be released on February 10, 2023 on vinyl and digital formats. On behalf of Kate NV and RVNG, a portion of the proceeds from this release will benefit War Child, an organization that supports children and their families impacted by conflict, and working to build sustainable peace for generations to come.

Innemuseum is the debut album by Danish composer, singer and multi-instrumentalist Cisser Mæhl. The 10 fragile compositions for vocals, sparse electronics and a myriad of instrumentation illuminate a hushed charm unlike few other Sonic Pieces releases to date.

The album sparked off while Cisser was working in a mountain lodge in mid Norway during summer 2019. On her spare time she would find herself recording mountains, rivers, stones, plants and animals in the beautiful scenery. After moving to Oslo shortly after, she rented a studio to further work on her own music, songs and sound processing. Through some friends she met Norwegian artist Jenny Hval who became an inspiration as she started taking solo classes with her. Jenny then pushed to contact producer Lasse Marhaug to work together. This became the last piece of the puzzle for Innemuseum to come to fruition as Lasse ended up putting the final touches on the album. When Cisser returned to Copenhagen after 7 months in Oslo, the album was finished. The title “Innemuseum” refers to both the dark months in Oslo and the retraction towards the inner self. An inner museum - music from within, both as a person and as in physical places.

This is undeniably a very personal record that sounds like the musical embodiment of Cisser herself. She sings in Danish in a close-miked way like she's sitting right next to you, all while gentle rhythms and soft strings together create a sort of bright, minimal chamber music with hints of pop sensibility. It almost feels like a Scandinavian reflection of Colleen's work in her more quiet, vocal periods. A music box of weightless compositions for the conscious mind.

Following a run with Cherry Red Records that featured a potential major label jump, guitarist Maurice Deebank quitting and rejoining multiple times, several pop stardom carrots just out of reach, mixing battles with Robin Guthrie, and a shocking entry into the record charts, Lawrence (just “Lawrence”, like “Cher” or “Madonna” thank you very much) knew he would be making a change with his band Felt. He would be seeing out his plan of ten albums and ten singles in ten years alongside a new partner in Creation Records. This compilation beautifully captures those years.

Creation was beginning a rapid ascent at the time, with Alan McGee serving as its hyperactive mouthpiece and focal point. McGee was all in on the band. “Lawrence achieved pop perfection, a breathless rush of sensitivity and intelligence. It was too understated to be commercial, too art to go pop, too pop to go art—in other words it was a perfect combination of all the music I loved at the time.” McGee was thrilled to have what he considered a real star on the label, and Lawrence was equally thrilled to have such an enthusiastic cheerleader. He funneled that enthusiasm into some of the most focused songwriting of his career, as well as some of his wildest experiments, all of which are on display here.

Fazerdaze, aka Auckland-based singer / producer / multi
nstrumentalist Amelia Murray, is back with new music after a
very intentional five year pause.
Fazerdaze returns with ‘Break!’, an air-punch purge in musical
form, marking an important reintroduction to an essential artist
of our times.

In a society where being strong and resilient is often held up like
a badge of honour, it’s much, much harder to acknowledge
when enough is enough - to accept when it’s time to let go. It’s
a truth that Murray has spent years wrangling with, but one
whose story thankfully comes with an empowering punchline of
personal reclamation. Rewind back half a decade and,
objectively, things for Fazerdaze were hitting their stride. Then
residing in Auckland, an early determination to graft hard and
“put herself in the right places” had led to working for and then
signing with legendary New Zealand label Flying Nun. A debut
LP - 2017’s ‘Morningside’ - followed, full of gauzy melodies and
nfluenced by Frankie Cosmos, Japanese Breakfast, and the
dream-pop landscape of the time.

Finishing up touring for the record at the end of 2018, Amelia
speaks of a deep sense of burn out and, more than that, of
feeling the “wheels starting to come off” in her general life. “No
longer being stoic and strong was the best thing I ever did for
myself. Giving up on the people and things that weren’t working
in my life was this big release where I could finally put down this
weight that I was carrying, and ever since then everything has
been better in my life overall,” she continues with an audible
sense of relief. “I can hear my intuition and write songs and be
creative; I signed a record deal, I moved into my own place. It’s
like the floodgates opened for good stuff coming into my life.”
Black vinyl in a single sleeve jacket and printed inner sleeve.
Design by Joey Clough.

Press - Reviews & features in The Guardian, The FADER, Brooklyn Vegan,
Complex, Consequence, DIY, Narc Magazine, Pigeons and Planes.
Radio - BBC 6 Music A-List.
Online - Support from both fans & fellow musicians, including posts shouting
out ‘Break!’ from King Krule & Lorde.