Search:the untitled

Corroded digital shrapnel amorphous metallic groove pool with an acidic core
Degraded and corrupted club tools for the adventurous DJ
All tracks recorded in Chicago, 2014-2016
Exael is Naemi, and all references to them should use they/them pronouns

Repress from the second Squatt... originally pressed as a 45 RPM this time we did it 33 RPM ^^ krkrkr exactly the reverse engine than the TK32 / Suqatt 01 repress... ins'tn'it disturbing ? Test it 45 ?? ahahah ^^

KILLA

The now legendary turntablism festival 'National Phonographic' has been hosting some of the most prominent turntable wizards in between 2001-2005. The X-Ecutioners, Cutmaster Swift, Kid Koala, Grazzhoppa, the list goes on and on. Equally as legendary are the National Phonographic 'Turntablist Tackle' vinyl releases. They've been used during DJ battles and sampled by leading producers worldwide. Now, 16 years after the latest record, 'Tackle 3' will be released! Top notch producers Eni-Less, Mike Redman and DJ Optimus created an amazing tool for turntablists and producers alike. This volume, pressed on 7inch limited edition colored vinyl, contains exclusive sounds, phrases and beats. The record also includes a voucher with a unique download code. We're safe to say that 'Turntablist Tackle 3' is the best volume yet!

Special Record Store Day 2013 release! LP version includes free download! One explanation for the 90s-fascination with Casio, Korg and other analogue synthesizers is quickly at hand: The 1st video-game generation was coming of age and were happy to hear that their dearly loved “Space Invaders“-soundtrack was suddenly popping up in electronic music. It takes slightly longer to explain why one record from that time - “Beautronics“, the debut by UK-synth-duo ISAN first released in 1998 - kept its appeal until today. “Beautronics“ does not grab you immediately. You don’t hum these tunes after a few listens, in fact you might not even hum them after dozens of spins. It’s not about humming. It’s about soft cushions and a cosy duvet made of sounds, it’s about aural sheets floating around like warm humidity during a hot bath. Occasionally it’s even about IDM, but in a very late-night kind of way. Antony Ryan and Robin Saville, the two English lads behind ISAN, are very open about their goals. They separate the longer tracks with short, often abstract pieces they called “Tints“. So it’s as much about tonal colour, as it is about melodies. The “Tints“ form an interesting contrast between ambient sounds and the more focused tunes. But even their most bass-dominated songs such as “Skeek“ are not exactly four to the floor. There’s no more than one to the floor, while the rest is sailing somewhere above in a haze of beautiful sounds and melodies. The album’s sleeve and title are straightforward about this: it’s all about the human beauty in electronica. Just like your mom’s heartbeat that set the tone for the first nine months of your life, “Beautronics“ produces sounds that radiate a warmth and naturalness that make them feel familiar upon first listen. The 15 years since its initial release don’t change a thing about this. That’s why it’s certain, that “Beautronics“ will win a new generation of listeners with this re-issue.

With His Concept Ep grey Specters Of Dead Communication' Breaklab Aims To Explore The Atmospheres Of Computing Systems.
Focussing On The Processes Underneath The Surface Of Our Electrified And Digitalized Mechanical Age.

Another of Vakula's editions. There's no point explaining just listen and dance.

The sensitive mountain » (la montagne sensible) is the nickname Alain Bashung came up with for Arnaud Rebotini. At the height of his fame, after the success of Fantaisie Militaire in 1998, Bashung readily agreed to create an album with Rebotini. The two men didn’t know each other; their record label had introduced them. Bashung brought in “Mortel Battement” and “Nocturne,” two poems by Jean Tardieu, which he recited in a voice simultaneously warm and flat, and Arnaud produced an impressionist soundscape that ended with an apocalypse of metal. Bashung was so proud of their collaboration that he offered to give several interviews to promote the record. Today, listening back to this moving Léo Ferré influenced "talking singing" exercise, it’s hard not to hear the template for L'Imprudence, the album that Bashung went on to record with Rebotini two years later. In a similar way, the album Organique sparked a productive partnership between Rebotini and filmmaker Robin Campillo, which resulted in their being awarded a César for Best Original Music in 2018. The director, who trusted Rebotini to create the soundtracks for his films Eastern Boys and 120 Beats per Minute, never kept his love for the 2000 record a secret.

Yet it’s an understatement to say that when it was released, Organique was not in the spirit of times. That year was all about the French touch. The funky samples of Modjo’s “Lady” and Superfunk’s “Lucky Star” ruled the sweaty dancefloors. Although Rebotini was familiar with the electronic scene, he had something else in mind when he set about creating Organique. Under his own name or under the pseudonyms Aleph, Avalanche, Black Strobe, Maison Laffitte, and of course Zend Avesta, he had already released several quite bizarre and experimental techno, house, or jungle maxi singles on pioneering labels like P.O.F., Source, and Artefact, run by his friend Jérôme Mestre’s, whom he had met back when both were working as record salesmen at Rough Trade’s ephemeral Parisian store. It was at Artefact, still financed at the time by Barclay and Universal, that he naturally proposed this record project, which was a bit "different." It was his first real album.

Arnaud Rebotini has never hidden his love-hate relationship with the electronic scene. He’s a fan of rave music, Rex, and later Pulp, but he listens mostly to metal and contemporary music, mainly American minimalists such as Terry Riley, Philip Glass, Steve Reich. He wanted to mix this genre with a more French aesthetic inspired by Debussy, whose unconventionality fascinates him. From the first suspended guitar note of Organique, you can pick up another influence, possibly poppier. In the style of Mark Hollis, the erratic leader of Talk Talk, whose only solo album’s silences and dissonances left their mark two years earlier, we hear the fingers touching the keys of the clarinet on “Ondine.” The instruments have presence, character. Nothing is smooth. Everything is organic.

Although it’s sometimes labeled as electronica because of Rebotini’s career, there’s nothing digital about Organique. No "pro tools" editing or samples, only programmed drums and some synth layering. And his guest vocalists. Playing the role of electro producer, he invited Bashung, of course, to join him on the album, but also Roya Arab, who Rebotini first spotted while she was playing in Archive, and her sister Leila, Gus Gus alum Hafdis Huld, Kat Onoma’s Philippe Poirier on the “Samuel Hall” inspired track “Qu’est ce qui m’a pris,” and former KaS Product member Mona Soyoc.

The frustration of a tour where he had "little to do on stage," the desire to sing himself, and the creation of the Black Strobe project, a haunting mix of blues and rock, stopped Zend Avesta from putting out another album. Eighteen years later, the Organique we rediscover today has lost nothing of its strangeness, nor beauty. When it came out, Bashung said, "What is interesting for a musician is to feel that you have a piece of wasteland in front of you, something to clear.” That remains true today.

Some two years after dropping his debut album, "Broken Knowz", Jay Daniel delivers a follow-up. Interestingly, the fast-rising Detroit producer opted to move away from his usual club sound on "Tala", recently telling Resident Advisor that it was, "an invitation to know me outside of DJing". It's as deep, jazzy and musically rich as you'd expect, with Daniel flitting between jazz-funk/broken beat fusion, spacey ambient soundscapes, head-nodding hip-hop beats, intergalactic R&B instrumentals, super-smooth beatdown fare and the kind of hushed, glassy-eyed grooves that are best enjoyed while lying flat on your back at six in the morning.

LIMITED EDITION RUN OF 200

A gem of an EP, the "Untitled" track could easily have been mistaken for a Warp Records release or AFX. Techno to drive you nuts.
Written by my Sound Designer friend, Michael Bolton, at University in 1998.

The Driving Me Nuts track is a sample of our tutors reaction to a track I made she hated.

Voodoo Dance Malarky's intro would be worthy of a Chemical Bros track, full of little surprises and an evil break at the end.

Originally recorded to tape. Cleaned up by me years later, remastered by Subvert Central Mastering and cut at Curve Pusher. Pressing by Vinyl Presents on clear Vinyl.

A world premiere of AI-generated symphonic music!

All three audio files are compiled from two live recordings with different microphone settings. The cover image is generated by algorithms trained with the following image searches: migration, mediterranean, boat, Libyan coast, EU. Different search engines were used. »Land der Musik« celebrated its world premiere on 7 October 2018 at steirischer herbst '18 - volksfronten in Graz, Austria. Commissioned and produced by steirischer herbst in cooperation with ORF Musikprotokoll.

A1. soundalikeStrauss (an audio reverse-engineering tool is used after the initial cross-fade) A2. AIstrauss (algorithms are trained with midi-files of Johann Strauss waltzes) B1. AImahler (algorithms trained with midi-files of Gustav Mahler symphonies) B2. (untitled)

A new standard of beauty. Artificial intelligence (AI) algorithms can now group photo pixels or audio waves into meaningful categories. This is similar to how our brain operates, yet the outcome seems distinctively non-human. At the same time it appears that the sphere of our appreciation and imagination may just have expanded. The question of whether we are still able to see and hear the difference between automated and so-called autonomous artifacts should be left to historians. On the other hand, producing this analog audio record with this image on the front cover really is an antagonism. A more appropriate medium might be a tracking chip of your online and offline activities generating customized results in real time—be it images, music, or whatever.

If AI is communist (to quote the libertarian Silicon Valley entrepreneur Peter Thiel), then this statistics-based technology might actually reinforce centralized monopoly capitalism and the coming crisis of inequality, just as it might accelerate into Deleuze's notion of the Society of Control. But it might also be seen and heard as a demo, a new standard of beauty, for the redistribution of wealth and for solidarity; in short as a utopia freed from exploitation, nationalism, and racism, liberating us from our own perception of this world. »Land der musik - The Graz AI Score« demonstrates how machine learning might help us to finally create the perfect Austrian national music identity. Yet in doing so, our ultimate aim is to get rid of the construction of national identities all together.

»God created man because he dreamed him. / But man forgot God and created the machine because he dreamed it. / At the end of the twentieth century, however, the machine has forgotten man. / Who could predict who or what she dreams of« (Friedrich Kittler)

Limited 150 hand numbered copies signed by the unknown Thermit.
909 timbres and cosmic sequences make a balanced, subtle and useful resu

After seven years of label making, Dorfjungs says goodbye with a final collection. GroupWorks mixes improvised vocal jazz and tropical ambient with sweet pop music, bad-tampered hip-hop and pitched down techno tracks. Thanks to all friends, fans and collaborators. Adieu

Following a long-player 'Orbiter' on Avenue 66 and an untitled single for Office Recordings earlier last year, mysterious producer Trux follows up with a brand new EP simply titled 'Eleven'.

Throughout the record, textures of mind-bending ambient, dreamy harmonics and crushed, lo-fi experiments are manipulated across the 8-track 12" marking Office's fifteenth release.

The record sits among a discography of artists that includes Iron Curtis, Christopher Rau and of course, label-owner Baaz.

Unprofessional's Debut Featuring Four Unrelenting Tracks That Echo The Golden Years Of Italy's, Everything Goes, Rave Heyday. Her Tracks In This Release Are Characterized By Epic Synths, Jacking Hi-hats, And Lo-fi Hip-hop Style Sampling. Beyond Musical Characteristics, A Fantastical Sense Of Humor Pervades The Release With Self-conscious Samples Embedded In Many Of The Tracks And Overtly In Titles Like civilization At The Bio Store' Or grand Unified Theory.' Before This Release, She Has Been Performing Live The Darker Corners Of Europe's Electronic Music Scene. In The Last Year She Has Been Featured In The Mixes Of Alienata (killekill), Bill Kouligas (pan) Or Pure (praxis Records, Aufnahme + Wiedergabe).
Unprofessional Herself Comes From A Small Town On The East-coast Of Italy. She Began Producing In Her Early 20s In Milan Before She Moved To Berlin And Began Organizing Small Uncompromising Local Parties, Which Featured A Pretty Disparate Group Of Musicians.-
Mastered By Mike Grinser (d&m)
Artwork: Bartosz Zaskorski
Design: Teo Schifferli

This March, the New York City-based imprint Absence Seizure will see its joint founders Abe Duque and Matuss join forces once more to deliver 'Seizure No. 11', following up on their recent collaborative effort 'Seizure No. 10' with another four tracks of soulful, stripped-down techno.

The EP begins in quintessential Duque fashion, running quirky and soulful melodies over a throbbing bassline and emotionally charged synths, whilst tying in the acid sounds that have been a staple of his music since his very earliest releases all the way back in 1993 as a regular in the New York wave of acid house and underground techno. '22 October' presents us with a progressive and skilfully executed cut, toning down some of the more muscular techno he sometimes produces in favour of a more freeform and chilled out vibe that layers funky synth melodies over bouncy rhythms and drawn-out sonic ambient textures.

The baton is then passed to Matuss for the remainder of the EP, beginning the journey straight off the bat with 'Between 4AM and Basement', beginning as an altogether more threatening number than the release's opener. The minimalism of the stripped-back beats instantly builds a dark atmosphere, creating a compelling flow through the track that opens up into a shuffling house-tinged beat and dreamy background soundscapes that carry you gently along for the ride.
The muted rhythms of 'Meet You at the Back Door' morph and skip around from one beat to the next to forge a jumpy and infectious musical trip that will instantly catch you up in its driven grooves. The EP's finale 'Moon Guardian' then opts for a different tack entirely, starting out with a confident, breaky beat and adding layer upon layer until the track reaches an exhilaratingly multifaceted climax. Unsettling cosmic ambience, distorted vocal samples, crescendos of noise and the ongoing and constantly evolving beats are brought to a perfect balance in this track, bringing the EP to a mysterious and gripping conclusion.

Enigmatic Berlin label MASK return in 2019 with a vinyl only release consisting of four eccentric cuts entitled 'Hunter'. The mysterious German label maintains its reputation of providing quality, esoteric music by anonymous artists with a focus on analogue sound design and modulated oddities. 'Hunter' is the result of the first take of a live recording coming from a duo who have been playing together for over a decade. The A1 kicks off with lo-fi drum programming, emphatic leads and stabbing bass shoots before the A2 throws down sharp 303 bleeps, angelic pads and resonating kicks creating a euphoric ambience throughout. On the flip uplifting synth work, shuffling percussion and crunchy oscillations take the focus until chugged out experimentation becomes ever present in the final track as it harmoniously balances sweeping elements, growling tones and sonic obscurities.

NYC Veteran and machine wizard Charles Noel aka Archetype
reaches deep into his sonic archive to present another incredibly
special release on Bright Sounds.
Featuring exclusive previously unreleased material ranging from
abstract to sublime in the form of a new & unique alias, (CN)2.
Essential

*Highly recommended* 2019 Repress of Archetype ''CN2'' alias project.
NYC Veteran and machine wizard Charles Noel aka Archetype reaches deep into hissonic archive to present another incredibly special release on Bright Sounds.
Featuring exclusive previously unreleased material ranging from abstract to sublime in the form of a new & unique alias, (CN2). Essential

Damon Zucconi is a visual artist living and working in Philadelphia. He frequently uses custom software to create his work, and has spent the past decade working as a computer programmer, producing pieces which are typically accessible online. Some of his projects include 'Fata Morgana' a reworking of Google Maps code that hides everything except text elements; a website for the Arca site-specific performance-installation Tormenta; and recent solo exhibitions with Veda in Florence and JTT in New York of physical and digital works. This is Zucconi's debut music release.

"Master of ambient spaces and far out places, long-time Finnish producer Sasu Ripatti (aka Vladislav Delay) blesses us once again with another release, this from his 'Visa' period of unreleased tracks.


The first track out of the gate is a recognizable Vladislav Delay piece, but instead of gently flowing rivers of sound, instead we have a series of stiff, machine-like rhythms applied to his classic infinitely deep pads and ambient environmental sounds. It just continues to pile in more elements until becoming almost indistinguishable from his natural, organic flow. From there we move into somewhat more familiar territory but still unusually stripped down and mechanical for a Vladislav Delay joint. It’s fascinating to see such an intricate songwriting process laid bare in such a way, often exposing each individual, nearly bottomless sound in isolation.


Deeper into the album, things veer into decidedly more abrasive and synthetic territory, at times becoming an almost unrecognizable artist for a moment, only to be eventually subsumed under layers of shifting ambience that could only be Sasu.


This austere minimalism makes these tracks some of the most hypnotic since the early 90s excursions, but at the same time seems to have left its organic, analog roots and melded with the harsh gridlocked modern sequencer. ~Clint Anderson

A double pack with one track per side, playing 45 RPM. 4 tunes from 4 different musicians, a new generation of mental and acid crazyness.. Offering a pure pleasure for listeners and Deejays... the last tune, from DJI shall surprise some. But yeah. Life-chance deserve some (good) urprises.

SJ Tequilla continues to build on his small but well formed discography with a new EP on Bright Sounds. His three originals come backed with a remix from cult producer SW. SJ Tequilla has released on his own Shot Of T imprint and DJ Fett Burger s Freakout Cult since debuting in 2017. The Japanese born, Berlin based artist is also close to Sex Tags Mania and regularly holds it down at OHM Club as well as for busking on his live, vintage hardware jams around the streets of Kreuzberg.
The opener is a six minute house bumper with a classic lead acid line and plenty of Detroit pads. The pinging analogue drums are lively and elastic while more thoughtful keys are draped over the top. SUED man SW. steps up to remix and brings a mixture of pad laced serenity old school rave basslines to his hard hitting drums. The B1 is another rugged mix of live sounding drums, acid snuggles and rueful keys while ambient synths stretch off to infinity. Last but not least, B2 sinks into a blissed out dub house vibe, rolling deep and smooth and showing off Tequilla s ability to cook up far sighted synths that have real emotion. This is an EP well school in traditionalism but that also brings some fresh skills and ideas to the grooves.

Jerelo label is back with smooth grooves on the second release.

On her deeply moving debut album At Weddings, Sarah Beth Tomberlin writes with the clarity and wisdom of an artist well beyond her years. Immeasurable space circulates within the album's ten songs, which set Tomberlin's searching voice against lush backdrops of piano and guitar. Like Julien Baker and Sufjan Stevens, she has a knack for transforming the personal into parable. Like Grouper, she has a feel for the transcendent within the ordinary.

Born in Jacksonville, Florida, and now based in Louisville, Kentucky, Tomberlin wrote most of At Weddings while living with her family in southern Illinois during her late teens and early twenties. At 16, she finished her homeschooling curriculum and went to college at a private Christian school she describes, only half-jokingly, as a "cult." By 17, she had dropped out of school, returned home, and begun to face a period of difficult transition in her life. The daughter of a Baptist pastor, Tomberlin found herself questioning not only her faith, but her identity, her purpose, and her place in the world.

"I was working, going to school, and experiencing heavy isolation," Tomberlin says of the time when she first began writing the songs on At Weddings. "It felt monotonous, like endless nothingness. It was a means to get through to the next step of life." In songwriting, Tomberlin found relief and lucidity she had trouble articulating otherwise. When she was 19, she wrote "Tornado" on her parents' piano, and began to develop confidence in her music. A year later, she had written enough songs to fill an album.

Throughout At Weddings, Tomberlin's lyrics yearn for stability and belonging, a near-universal desire among young people learning to define themselves on their own terms for the first time. "I am a tornado with big green eyes and a heartbeat," she sings on "Tornado," her voice stretching to the top of her range. Rich, idiosyncratic imagery — a fly killed with a self-help book, brown paper bags slashed violently open, clouds that weep over a lost love — sidle up to profound realizations about learning to be alive in this world. "To be a woman is to be in pain," Tomberlin notes on "I'm Not Scared." On "A Video Game," she muses, "I wish I was a hero with something beautiful to say."

Tomberlin cites the hymns she grew up singing in church as her greatest musical influence, and while At Weddings in many ways documents the unlearning of her childhood faith, it's easy to hear the reverential quality of sacred music in her songs. "A lot of hymns talk about really crazy stuff — being saved from the depths and the mire, judgment. When you actually realize what you're singing, it becomes really overwhelming," Tomberlin says. "I grew up singing in church. I was still helping to lead worship when I started coming to terms with the realization that I didn't know if I believed. I felt nauseous and shaky reading these words I was singing and feeling their intensity. If I did believe this, how could I sing these words without being scared out of my mind That's what's influenced how I write."

At Weddings is laden with reverence for music itself, for the power it has to heal others and help people navigate their lives. It is a record about learning to love oneself and others without reservation, from a place of deep sincerity — a lifelong challenge whose tribulations Tomberlin articulates beautifully. "My number one goal with my music is for honesty and transparency that helps other people find ways to exist," she says. With At Weddings, this remarkable young songwriter offers up comfort and wonder in equal measure.

a1 | Any Other Way
a2 | Untitled 1
a3 | Tornado
a4 | You Are Here
a5 | A Video Game
b1 | I'm Not Scared
b2 | Seventeen
b3 | Self Help
b4 | Untitled 2
b5 | February

The second release of Guy Tavares' bunker offshoot Space Trac. Inga Mauer and Hellboi.

Some time around 20 years ago, the artist known as Dub Surgeon made an absorbing album of beautiful dub infused with ambiance, found sounds and horizontal rhythms. The Lost Future was recorded at the former Amsterdam Film Academy where Dub Surgeon. The recording engineer for the project was Ricardo Villalobos. Dub surgeon and Ricardo Villalobos then mastered it together, putting it through several vintage mixers and recording it to 2 inch tape. Then, tragedy struck: a storm surged and ignited a fire that ravaged the studio. The master copy was thought to have been lost forever. Dub Surgeon stopped making music and disappeared into the shadows after just two EPs on Future Dub in 2002/3. But one day 15 years later, totally out of the blue, he received a demo of The Lost Future. "Pay attention to this," it said. Attached was a demo version of the long lost album and now, finally, it has a perfect and impossibly poetic home on Dubai's Ark to Ashes, which is named in homage to the story of Lee "Scratch" Perry burning down his Black Ark studio to rid it of demons. Sounding as fresh as ever, The Lost Future is an authentic dub experience with a story as special as the music itself

The Secret Mystery School alias was created for the inaugural release on Crash Reserve Records. Four untitled dance tracks to get feet slippin' and mindz trippin'. Acid flavoured House and Techno to set the tone for a foreboding, futuristic reality. Dystopian sounds for a dystopian age.

Coming up for breath from a deep dive into the archives, Knowing Something's third offering comes courtesy of the Synapse team. The A-side features the fast-paced, widescreen, electro-techno track Night Moves, unreleased since the late 90s.


The B-side, Untitled #4, initially arrived in 1995 on BPMF's Button EP for Abe Duque's Rancho Relaxo record label. The original, full-length, unedited version takes up the entire side of the 12", allowing the recording's waves to wash over as it builds up and crashes down throughout its twelve minute runtime

The debut vinyl only release on the newly established KOD (Keep on Dancing) Records embodies the spirit of multiple day long sessions held at the revered Can Chou Chou house in Ibiza, where anything goes from Disco to Techno (in this case the former prevails) so long as it's played tastefully and at the right time. No title and no artist name appears on on this single, just the music speaking for itself.

Dark Entries reissue the 2nd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1986 Carolyn moved into her family's building in downtown San Francisco providing a space to develop her own art and music for the next two decades. She was the only tenant of the five story building. The top floor had 36 abandoned rooms with building materials and holes between floors, staircases that created natural reverb. It was during this isolated time that Carolyn would start working on her second release, 'Parts of The Insomnic Wheel,' 60-minutes of ten untitled pieces that ran into each other. This was also the first release on cassette due time constraints of the LP. She spent many nights at the 24-hour diner across the street chatting metaphysics, parallel universes, the 5th dimension and astro-projections. Carolyn would sleep next to paper/pencil and report dream states, experimenting with mental techniques, investigating how far her mind could go. It was a journey to unravel the 'dark night of the soul'. Utilizing her industrial surroundings, Carolyn would bang on sheet metal and record percussion on found materials. Originally released by Ladd-Frith in 1986, this reissue adds 4 unreleased bonus tracks recorded during the same period. Each copy includes a 16-page zine with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

Dark Entries reissue the 3rd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1987, towards the end of art school, Carolyn won another award from the New York Society of Illustrators. During the trip to New York to accept the award, she met electronic/dulcimer musician, Dan Joseph. After writing some letters they decided to make a split cassette titled 'Hypno-Seizure'. CYRNAI contributed 30 minutes of music to Side A of the cassette, 10 untitled pieces that ran into each other. She had just bought a round-the-world ticket going from China to Europe via Eurails, to Egypt, where she liked to wander. She picked up instruments from several countries and recorded the sounds of her new surroundings. Technology was changing into early sampling and she used a Commodore 64 with large floppy disks to record loops. Originally self-released in 1988, this reissue adds 3 unreleased bonus tracks recorded during the same period. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

* The second vinyl release on Mirae Arts comes courtesy of Michiru Aoyama, a Japanese ambient producer from the quiet seaside city of Kamakura, just south of Tokyo. Michiru Aoyama's music was hand-chosen by legendary composer Ryuichi Sakamoto in 2006 for a Japanese radio audition and he later flew out to Berlin in 2008 to further his studies in electronic music production. Since then, Michiru has released projects on prominent ambient labels such as Organic Industries, taâlem, and Somehow Recordings.

* Michiru Aoyama's Brilliant Days comprises of two long tracks featuring untitled songs that weave in and out of each other. Michiru's signature guitar harmonics are treated with serene electronic filters and met with youthful under-layers of electronic experimentations and glitchy backdrops. Instead of telling a story, Brilliant Days leaves the listener to their own narrative of nostalgic youth, love, and memories. Mastered by James Plotkin.

* 180g vinyl pressed at the highly reputable Gotta Groove Records, Cleveland, Ohio.

* Comes with insert and download code.

One half of the KWC 92 (who has previously delivered two top notch lps for L.I.E.S.), Swedish producer Max Stenerudh aka Maxxx Bass steps forward with a 9 track solo effort titled "Gone Fishing". Right off the bat we hear Stenerudh immersing himself in a world of chilled out and narrative FM electronic explorations that call to mind places past. The untitled tracks leave it to the listerner to create a story on their own, as voice pads, hand drums and dare we say pan flutes push and pull their way through the album creating dreamlike textures and otherwordly escapes. Ideal music to fall into a late afternoon summer siesta to. LP comes come with full color 22cmx28cm color poster and download card

In 1963, John Coltrane recorded a studio album that has Remained unknown and unheard until now. The album was recorded at Van Gelder Studios, the 'Abbey Road' of Jazz, with Coltrane's Classic Quartet and at the height of his career. The music on this album represents one of the most influential groups in music history performing in a musical style it had perfected and reaching in new, exploratory directions that would affect the trajectory of jazz from then on. In short, this is the holy grail of jazz.

In 1963, John Coltrane recorded a studio album that has remained unknown and

unheard until now. The album was recorded at Van Gelder Studios, the 'Abbey Road' of Jazz, with Coltrane's Classic Quartet and at the height of his career. The music on
this album represents one of the most influential groups in music history performing in a musical style it had perfected and reaching in new, exploratory directions that would affect the trajectory of jazz from then on. In short, this is the holy grail of jazz.

Black Lodge Ist Ein Mysteriöser Produzent Aus Manchester, Der In Den 1990ern Mit Releases Auf Mo'wax Und The Trilogy Tapes Began, Mitglied Eines Okkulten Northern Soul-kollektivs Und Der Enigmatischen Formation Gescom Ist, Ferner Dj Eines Pirantensenders, Graffiti-künstler, Badly Drawn Boy-remixer Und Autechre-artwork-designer. Auf Dem Neuen Label Disciples Veröffentlicht Er Nun Eine Kollektion Mit Aufnahmen Aus Dem Lodgewars-archiv, Aufgenommen Im Obergeschoss Des Kings Arms-pubs In Salford, Manchester. Geisterhafte Drone-sounds Und -melodien, Die Die Ränder Von Ambient, Post-punk Und Industrial Besudeln. Die Streng Limitierte Lp-auflage Erscheint Auf Schwarzem Vinyl In Schwarzer Innentasche In Schwarzer Hülle Mit Sticker.

ALLFEELINGS is releasing a 12" in dedication to his love for early dub techno coming out of Berlin. The idea behind the title 'Untitled' is to give the listeners more space to interpret the tracks themselves rather than being distracted with any track names.
As ALLFEELINGS MUSIC label is about the amalgamation of sounds and rhythms to bring about a visceral experience, this can be observed in the African inspired percussion on side A and the subtle changes and movement it has throughout its length. Side B focuses more on easy listening with sounds and dry textures meandering slowly demanding the listener's attention at all times.
The other great thing about this record is it works really well pitched down which can be used to great effect during warm ups and after hours. This release has the support from Ario and O:utlier from Astral Industries.

Number Three Of Five Eps Surrounding The Release Of Efdemins´s Latest Effort: The Hybrid Album/mix-cd naïf' On Curle (released In April 2018)
This Ep Is A Collection Of Four Contemporary Techno-tracks By Dutch Techno-veteran Jeroen Search, Tel Avi´s Pharaoh, Berlin´s Savas Pascalidis And The Mysterious Pom Pom On One Vinyl.
Mastered And Cut By Kassian Troyer, Berlin
Curated By Phillip Sollmann A.k.a Efdemin