Suche:time rift

2026 repress !

Nous'klaer Audio presents Martinou - Chiral, the follow full-length up to his 2021 album Rift. This time nine tracks across two vinyls. An album flowing 'in a way' like Rift, but it's different: More outspoken, heavier sound design and it peaks on a blissful note. ''Open up the blinds and take me there. We'll break the surface tension. We'll dive in. I'm locked in your devotion. You give an inclination to our demise. It will be our exit. To bliss, we'll be its guardian. Once there was love. Clear as glassy water. No ripples, no waves. I followed while you led. Our arrival was warm. Hot, even. Stunning to a startling degree. Hands intwined, frolicking towards the blue. Hours passed, and white heat cede to an orange hue. We cooled down. Red. We rallied. Black. It began. Into the deep darkness we ran. White sand, it has a tendency to get everywhere. Salt water will only dehydrate you more. Shriveled and dry. Scratchy and coarse. More. And then we were lost. Fingers once locked grew distant. Morning, dear. Where have you gone? We looked. A glimpse from afar. Red. We rallied. Shall we share a bottle of wine? Black, lost again. Afternoon, friend. Where were you? Red. Alone. Black. We rallied. Shall we try somewhere new? Sand and salt. Evening, sir. Reservation for one? Reservations a plenty, I say. Evening, miss. Dining alone? Aren't we all? Dining, miss, not dying. Oh, yes, alone. Black. Sand and salt. I found you. No. No. Wait, do I know you? You feel like a dream. Don't touch me. Move along, sir. Who are you? Leave. Who are you? Where did you go? Keep moving. I am, I will. Time to move on. I'm moving! Leave. Don't touch me. Leave. Why are you? Exit. Purple. Orange. Yellow. White. Blue. Morning, dear. Shall we have breakfast? I think I'll sleep some more. But it's our last day. I know. See you downstairs when you're ready. OK. I open up the blinds. A bird breaks the surface tension. Locked in. To Devotion? No. Demise. An inclination. Reverie. Take me there. Where? Exit (To Bliss) '' Text by Gregory Markus

Musuq Nuna presents its second vinyl release.

Amid electric pulses and suspended atmospheres, this record unfolds a journey where shadow meets light.

Droove traces three paths of precise, nocturnal energy, where techno breathes with a synthetic soul and time seems to bend upon itself.

On the reverse side, Alquimic, together with the ethereal voice of Brunella, opens a luminous rift, a chant that drifts between light and mystery, between reason and ecstasy.

Each groove of Light in the Darkness holds a small ceremony: the alchemy of sound transforming darkness into a gleam, rhythm into a spell.

In the wake of their widely-acclaimed album Union, JUNO-nominated duo ÈBONY rematerialize on the dancefloor with the otherworldly Shades of Meridian EP, projecting a waking futurist dream haunted by echoes of Detroit techno, Chicago house, South African melodies, and the rich mythology of Ancient Toronto.

Opener "Break My Skin explores a hidden pocket of after-hours techno space-time with an ethereal vocal by James Baley, leading into the tense, disembodied jack of "Forever." Next, "Dull Side First" rides a spectral break through a sepulchral warehouse trip, "RIFT" invokes peak-time witchcraft, and closer "My Daylight" entrances even the most self-possessed sound-and-lighting guys to spam the smoke machine until reality itself is occluded.

And to those who say that working with JUNO-nominated artists proves that Turbo is just a cog in the CanCon cabal, we would like to familiarize you with the facts: Canadian Tire refused to carry our 2023 Bryan Adams remix LP and we have rejected five separate demos from Justin Trudeau's tech-house alias "Arabian Nights." It's called integrity - try looking it up sometime.

Scott Pilgrim EX, the newest video game from the Scott Pilgrim franchise developed by Tribute Games, is out now with an all new original soundtrack from Anamanaguchi. The sprawling soundtrack, which accompanies a brand-new storyline co-written by series creator Bryan Lee O’Malley, perfectly connects the band's legendary electronic past with their fuzzed out garage rock present while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on Scott Pilgrim EX are uniquely Anamanaguchi while delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans of the band alike.

Anamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. the World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite featured hit, “Miku”), and later develop the intricately soundscaped compositions displayed across their second album, USA, but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.

After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases.  This process would eventually lead to Peter and Luke alongside the remaining two band members — Ary Warnaar and James DeVito — flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's Anyway, marking another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim.  

Now fresh off the heels of a nationwide tour in support of Anyway, Anamanaguchi have returned to the 8-bit beat em up world of Scott Pilgrim with a relentlessly high energy and genre defying original soundtrack for Scott Pilgrim EX.  A return to form that comes with a depth of knowledge and innovative skills that have allowed the band to continue to evolve and grow alongside the characters in the Scott Pilgrim universe and the multi-generational fanbase that continues to follow along with them.

The new soundtrack for the latest installment in the Scott Pilgrim franchise, Scott Pilgrim EX

Pagenty, a rising figure in the French electronic scene, makes his solo debut with Reflect and Resist, released on Cosa Vostra. DJ, producer and live performer, Pagenty has already built a reputation for crafting powerful, cinematic soundscapes that blend raw energy with strong emotions. This first EP combines heavy, gritty electro built for the dancefloor with a strong synthwave influence, where melodies bring depth, nostalgia and melancholy. Vocal samples punctuate the tracks, adding texture and contrast. The project also features a collaboration with Disset, who brings his machines-made craft, adding a raw feeling to the release. With Reflect and Resist, Pagenty sets the tone for his own path.

Multicast Dynamics returns to Astral Industries for AI-26, this time collaborating with Sid Hille, the German born, Finland based instrumentalist and composer. ‘Metamorphosis’ transmutes both artists’ unique styles into a synergistic blend of transportive storytelling, a delicate dance of light and dark.

Divided into two parts, ’Metamorphosis’ originates from a live performance recorded at Temppeliaukio church in Helsinki on March 2nd, 2019. The material was then edited, where Hille’s soothing keyboard work and haunting passages on the theremin, combine with processed textures and desolate sonic backdrops from Dijk. In this voyage beyond space and time, the subtle dialogue reveals new and perhaps unexpected dimensions in their creative arsenal, finding fresh new boundaries and enriching the palette of both performers. Encounters of sweet fleeting moments of lyricism emerge amidst the chilling outback, in which we're given some final consolation between the long lines of cavernous rifts and deep space tundra. 

**Includes double sided insert with liner notes and photos*

Al Mati was the pseudonym of eccentric Portuguese-born, Dutch-based artist Alberto Mesquita. The name translates to ‘Alberto Friend’, with ‘Al’ short for Alberto and ‘Mati’ meaning ‘friend’ in Surinamese.
Alberto’s story comes across like a mythical character from a European Kerouac novel, but instead of writing it down, he poured those adventures and characters into his record. The music and the comic-style artwork, drawn by his friend Bruno Scoriels, work as one, with Alberto himself becoming both the story and the character within it.

Raised under Salazar’s regime in Lisbon, where all men were conscripted to Africa, he refused, a pacifist. This put him at odds with his father, born in Angola and a prominent lawyer tied to the dictatorship. Unable to accept his son’s stance, the rift forced Alberto to flee Portugal as a deserter, leaving everything behind.

He sought a new life in Paris, where he met Bruno Scoriels. The pair busked to get by, and young and broke, set off on adventures across Europe. On one trip to Barcelona, they crossed the Pyrenees on foot through a five-kilometre train tunnel, not knowing if they would make it out alive. The train later featured on the cover of Some Shit, a nod to that hazardous journey and the strange turns of his life.

From there he moved to Belgium, where he met Jolanda, his future wife who also features on the album. They lived in The Netherlands, then back in Belgium where they married, before returning to Portugal under false pretences. The regime promised deserters immunity, but it proved untrue, and Alberto was forced to flee again — this time with a young family, using Bruno’s passport to escape to The Netherlands.

They settled in the Gliphoeve flats in Amsterdam’s Bijlmermeer, a vibrant immigrant community. This melting pot of cultures inspired Alberto musically. He started a studio in their flat where musicians from Suriname, Angola, the Antilles, Brazil, Mozambique and Portugal came and went, jamming, rehearsing, recording and forming bands including Albatros, Comoção and Mati Africa, performing internationally and at iconic Amsterdam venues like De Melkweg and Paradiso.

Being an immigrant was tough. Alberto was stateless for years, drifting across countries. Some songs voiced his frustration with the Portuguese regime, others were playful or simply love notes to his wife and kids. He passed away in the Netherlands in 2021, leaving Some Shit open to interpretation. But when you picture Europe in the 1970s — the politics, the upheaval, and his need to connect people across cultures — you can hear an artist shaped by contrast, who poured his experiences, feelings and love into music.

Brenda (Hudson Whitlock of Surprise Chef / Karate Boogaloo / The Pro-Teens) presents new album 'Bath Time', a suite of heartbreaking, cinematic indie-soul ballads from the hotbed of Melbourne, Australia.



Brenda encompasses the left-field soul sensibilities for which Whitlock has come to be recognised in cult instrumental groups Surprise Chef, Karate Boogaloo and The Pro-Teens, alongside heartfelt, introspective lyricism delivered in a sincere, delicate falsetto. Stylistically, lines can be drawn to the 1960s sweet soul ballads of The Delfonics, Jean-Claude Vannier's vivid arrangements for Serge Gainsbourg, and, of course, the unmistakable flavour of Melbourne's cinematic soul movement à la other Whitlock exploits Surprise Chef and Karate Boogaloo.



'Bath Time' contains ten entrancingly melancholic ballads that earnestly express Whitlock's dramatic indie-soul sensibilities; encompassing the classically introspective nature of the poetic lyricist and the idiosyncratic use of soulful instrumental arrangements. The songs encompass themes of old romantic habits dying hard, familial rifts and unrequited love.



True to his modest vagabond nature, Whitlock has 'released' six Brenda albums to date, each uploaded exclusively to bandcamp, gladly resigning the music to the underground. Whilst he created theses albums in solitude, playing each instrument himself, 'Bath Time' sees Whitlock relinquishes the isolationism of previous works in favour of including his trusted inner circle of friends and collaborators: Surprise Chef's Lachlan Stuckey and Jethro Curtin on guitar and keyboard respectively, Karate Boogaloo's Darvid Thor on bass, and production from Henry Jenkins (Surprise Chef, Karate Boogaloo, Frollen Music Library).

AVAILABLE IN BLACK ICE WITH ORANGE AND BLUE SPLATTER (COK015WW)

Brenda (Hudson Whitlock of Surprise Chef / Karate Boogaloo / The Pro-Teens) presents new album 'Bath Time', a suite of heartbreaking, cinematic indie-soul ballads from the hotbed of Melbourne, Australia.



Brenda encompasses the left-field soul sensibilities for which Whitlock has come to be recognised in cult instrumental groups Surprise Chef, Karate Boogaloo and The Pro-Teens, alongside heartfelt, introspective lyricism delivered in a sincere, delicate falsetto. Stylistically, lines can be drawn to the 1960s sweet soul ballads of The Delfonics, Jean-Claude Vannier's vivid arrangements for Serge Gainsbourg, and, of course, the unmistakable flavour of Melbourne's cinematic soul movement à la other Whitlock exploits Surprise Chef and Karate Boogaloo.



'Bath Time' contains ten entrancingly melancholic ballads that earnestly express Whitlock's dramatic indie-soul sensibilities; encompassing the classically introspective nature of the poetic lyricist and the idiosyncratic use of soulful instrumental arrangements. The songs encompass themes of old romantic habits dying hard, familial rifts and unrequited love.



True to his modest vagabond nature, Whitlock has 'released' six Brenda albums to date, each uploaded exclusively to bandcamp, gladly resigning the music to the underground. Whilst he created theses albums in solitude, playing each instrument himself, 'Bath Time' sees Whitlock relinquishes the isolationism of previous works in favour of including his trusted inner circle of friends and collaborators: Surprise Chef's Lachlan Stuckey and Jethro Curtin on guitar and keyboard respectively, Karate Boogaloo's Darvid Thor on bass, and production from Henry Jenkins (Surprise Chef, Karate Boogaloo, Frollen Music Library).

AVAILABLE IN BLACK ICE WITH ORANGE AND BLUE SPLATTER (COK015WW)

Stainless starteten offiziell im Jahre 2022 in Portland, Oregon. Aktuelle und frühere Musiker waren vorher bei lokalen Underground-Bands wie Black Breath, Long Knife, Lebenden Toten, Halt, Bellicose Minds, Nightfell, Malikili und Ripper aktiv. Das erste Lebenszeichen der Band war die in Eigenregie gepresste 7" Single "Snakebite"/"Too Hot To Steal". Nun erscheint als Nachfolger das Mini-Album "Nocturnal Racer" mit dem Titelstück sowie "Shot For Shot", "Believer" und "The Evil Lies". Die vier Songs wurden 2023/24 in den Red Lantern Studios (Portland) von Larissa Cavacece (Gesang), Mira Sonnleitner (Bass), Joe Sugar (Drums) und Jamie Byrum (Gitarre, Gesang) eingespielt. Mittlerweile ist Joe Sugar durch Terrica Catwood von der Band Time Rift ersetzt worden. "Ich würde uns als Hardrock oder Heavy Rock bezeichnen", weiß Gitarrist und Sänger Jamie Byrum. "Es gibt zwar viele Elemente des Heavy Metal in unserer Musik, aber es wäre wohl missverständlich, uns als reinrassige Hevy-Metal-Band zu bezeichnen. Die erste Single war im Gegensatz zu "Nocturnal Racer" noch viel mehr im Blues verwurzelt." Frontlady Larissa Cavacece, die von Kanada nach Portland gezogen ist, prägt mit ihrer messerscharfen Stimme irgendwo zwischen Leather Leone und Wendy O. Williams den Sound von Stainless nicht unwesentlich. Jamie Byrum: "Ihre Einflüsse gehen weiter als Chastain und Plasmatics. Allerdings weiß ich, dass sie es ehrt, in einem Atemzug mit den beiden genannt zu werden. Larissa besitzt einen Goth-Background, schwört aber auch auf Crust-Bands wie Amebix und Sacrilege. Des weiteren ist sie ein großer Bowie-Fan und liebt den Rock der Siebziger. Passenderweise hat ihre Karriere als Sängerin in einer Plasmatics-Coverband begonnen." Laut dem Gitarristen/Sänger sind "Sex, Schlangen, Motorräder, schnelle Autos, Rock 'n' Roll, Standhaftigkeit, das Böse und Heavy Metal geeignete Themen für Stainless." Davon wird es in absehbarer Zukunft wohl noch mehr zu hören geben, denn Stainless arbeiten derzeit am Material für ihr erstes vollständiges Album.

Possessing lyrics heavily focused on political and social justice, inspired heavily by West Coast gang culture and Islam, Da Lench Mob made waves throughout the hip-hop scene when they first appeared on the track "Rolling With Da Lench Mob", off Ice Cube's famed 1990 solo record AmeriKKKa's Most Wanted. Initially, the titular "Lench Mob" of the track namesake referred to Ice Cube as well as the other participating rappers, but J-Dee, Shorty, and T-Bone would adopt the name for their own in time. Their standout appearance on the Ice Cube track would earn the trio critical interest, (as well as shout-outs on Ice Cube's 1991 follow-up Death Certificate) and generate palpable anticipation for a studio album of their own. Guerillas In Tha Mist, their 1992 debut record, was recorded in the wake of the Rodney King riots, taking its name from infamous comments made during the riots. The record was uncompromising and confrontational in its depictions of urban decay and an unjust system wreaking havoc on an economically disadvantaged Black population. It was starkly realistic (bordering on abrasive) in the content of tracks like the armed revolution-advocating "Freedom Got An A.K.", the kill-your-idols style of "You And Your Heroes", and the anti-pusher anthem "All On My Nut Sac." These harsh manifestos were made all the more smooth via Ice Cube's jazzy G-funk and Bomb Squad-influenced production, which sampled heavily from classic songs by Parliament, Kool & The Gang, The Incredible Bongo Band, and even Vangelis. Cube himself would make guest appearances throughout the record, as well as an appearance by B-Real of Cypress Hill on the track "Ain't Got No Class." Guerillas In Tha Mist was a Billboard success upon its release, reaching #24 on the Billboard 200, and rendering rap radio hits out of its title track and "Freedom Got An A.K.", but Da Lench Mob would fall into obscurity over the years, eventually going their separate ways after creative differences, financial rifts, and the life conviction of rapper J-Dee for suspected murder in 1993. Despite their loss of commercial fortunes, Guerillas In Tha Mist would develop a strong reputation as an unheralded gem among hip-hop heads, and would be considered one of the great lesser-known releases of the era among critics (in 2018 Complex would declare the title track as one of the 100 Best L.A. Rap Songs). Decades after its initial release, and in tribute to the memory of Da Lench Mob member Shorty, who passed in 2019, Get On Down now presents an exclusive LP reissue of Guerillas In Tha Mist, which previously was only released officially on wax in Europe. The LP is pressed on a deluxe Green and Orange Splatter-colored vinyl, and features remastered audio and a painstakingly recreated full color jacket.

The medium is the message! Vinyl has always been our preferred medium for releasing music and without this tactile form of presentation, Samurai Music would not continue in its current form. Vinyl is the ultimate personification of what the label wishes to represent. Music always comes first, but the vinyl artefact is king for us. Hyaku is the 100th Vinyl release on the Samurai Music label. Through the many twists and turns of the industry in our almost 17 years of existence, the Samurai Music vinyl releases have maintained their aspiration for quality, unique design that stands the test of time. Praise and thanks always to our long time designer Ryan Quinlivan and the many pressing plants we have worked with over the course of our labels lifespan.
To celebrate this milestone we have assembled a gang of producers that best represent the Samurai Music sound of now to contribute tracks that they feel best encapsulates their take on our sound.
Hyaku is a mutable mix of vibrations that navigates from the searing ambient drift of Ancestral Voices all the way through to the heads down assault of Dom and Roland. Singular takes that capture the artistry of this impressive crew of creators at their glistening best.
Finally we'd like to thank everyone who has ever and continues to support our vinyl releases. We are forever grateful!

Belt of Orion by Stockholm-based Isak Edberg is the composer's second solo release on XKatedral, and his first to focus solely on instrumental music in the form of two pieces of extended duration for solo piano. Isak Edberg is a composer of electronic and acoustic music as exemplified by Ondulations from 2017 and Lamé written in 2010 and released in 2022, both on XKatedral. Edberg was also a member of Golden Offense Orchestra, active from 2012 to 2014. Edberg writes that his music is informed by an enchantment of being and a search for holiness, rapture and transcendence through stillness, contemplation, dreaming and an attempt to uphold the present. Edberg regards his music to be an adornment of time. The two works presented here were composed in the south of France and in Stockholm during a period spanning the years 2016-2018. The music was inspired by the cold winds, starry nights and desolate, palely bright landscape of the provençal autumn, as well as reflections during a time of escapism and isolation in the life of the composer. More concretely, this music grew out of hours of improvised playing on an old piano while living alone on the countryside, during which harmonic structures and gestures were slowly worked out by means of performing and listening, assessing and balancing sounds and silences. Stylistically, the music draws on a range of sources, such as Feldman's use of space and resonance as projected through both harmonic and temporal distance, the ritualistic gestural repetitions of Satie, as well as Messiaen's resonant harmony, together with some of the harmonic lushness of Scriabin's late work. Belt of Orion is a piece that explores the contrast of two musical textures, the one being fluid, airy and progressive, the other being static, steady and repetitive. The music sequences through a series of harmonic tensions in search of a place of peace, exposing a rift in the weave of time where everything momentarily stands still. In Vestiges repetitive and rhythmic materials form a major part of the musical structure, while sections of sparse, floating harmonies temporarily interrupt with reflective pauses of stillness. The music thus employs two different and contrasting kinds of musical hypnosis, with the aim of cradling the listener into a dark and perhaps unsettling sleep. The music on this recording was performed by the renowned Swedish pianist Mats Persson, who has for many decades been a legend in the art music scene of Stockholm. Through his languid yet distinct interpretations the delicacy and intimacy of these works are elegantly brought to the fore. The recordings heard here were made over the course of two evenings at Fylkingen in Stockholm. Isak Edberg's music moves slowly through the seemingly endless world that is harmonic sound. In his practice he uses heavily reduced and carefully controlled materials to create states of maximum clarity.

Weißes Vinyl, limitiert auf 350 Exemplare. TRANSIENT nennt sich das neue Album der Heavy Psychedelic Rock Band GREAT RIFT aus Wien. Die Band erzählt in sieben Songs eine Geschichte über den ewigen Aufbruch aus der eigenen Vergänglichkeit. Das Leben als turbulente Odyssey, begleitet von Gefahren, Ängsten und Sehnsüchten, sowie als Reise der Hoffnung, Mutes und Zuversicht in unserem unendlichen Universum. Dieses schwer anmutende aber auch zeitlose Thema, schafft GREAT RIFT auf TRANSIENT musikalisch in ein Klangbild zu verpacken, welches nahtlos an seinem Vorgänger UTOPIA anschließt. Die Band ist darin sogar in der Lage, ihre Weiterentwicklung auf musikalischer Ebene eindrucksvoll unter Beweis zu stellen.

Scientists from Stereo 45 headquarters have finally translated the warp code sequence, opening up a parallel-time-rift connection across the vast known universe. They've enlisted the help of Tim Reaper, Dwarde, DJ Sofa, Nectax & Sketchy Rida to venture into the portal and report back their findings in the form of club-ready atmospheric Jungle.

The second Burning Witch album. Circa 1997.

Black Vinyl. Limited and Non-Returnable.

Blurred edges of consciousness voids: time manipulation, experiments in black down -tuned drone and harrowing vocals.

Members went on to: sunn O))), Khanate, Goatsnake, ASVA.

An important artifact of the cryptic domain.

The medium is the message! Vinyl has always been our preferredmedium for releasing music and without this tactile form ofpresentation, Samurai Music would not continue in its current form.Vinyl is the ultimate personification of what the label wishes torepresent. Music always comes first, but the vinyl artefact is king forus.

Hyaku is the 100th Vinyl release on the Samurai Music label.Through the many twists and turns of the industry in our almost 17years of existence, the Samurai Music vinyl releases havemaintained their aspiration for quality, unique design that stands thetest of time. Praise and thanks always to our long time designerRyan Quinlivan and the many pressing plants we have worked withover the course of our labels lifespan.

To celebrate this milestone we have assembled a gang of producersthat best represent the Samurai Music sound of now to contributetracks that they feel best encapsulates their take on our sound. Hyaku is a mutable mix of vibrations that navigates from the searingambient drift of Ancestral Voices all the way through to the headsdown assault of Dom and Roland. Singular takes that capture theartistry of this impressive crew of creators at their glistening best.

Finally we'd like to thank everyone who has ever and continues tosupport our vinyl releases. We are forever grateful!

Wie zwei Zeitlinien, die zusammenlaufen, kommen ELEPHANT TREE und LOWRIDER zusammen, um ihr gemeinsames Album ,The Long Forever" zu präsentieren, eine der am sehnlichsten erwarteten Split-Veröffentlichungen in der Geschichte des Heavy Rock.Nach zwei bahnbrechenden Veröffentlichungen im Jahr 2020 haben Elephant Tree und Lowrider die Gelegenheit ergriffen, neu zu definieren, wer sie sind und zu erklären, wohin ihre musikalische Reise mit dem gemeinsamen Album ,The Long Forever" als nächstes gehen wird. Mit The Long Forever befinden sich beide Bands an einem kritischen Punkt: Beide haben einen weitreichenden und wachsenden Einfluss, beide werden auf der Bühne und abseits davon verehrt, und beide bringen ihre erste richtige neue Veröffentlichung seit vier Jahren heraus, die mit großer Spannung erwartet wird.Diese Bands auf eine gemeinsame Platte zu bringen, wäre unabhängig von den Begleitumständen ein Ereignis, aber die Bedeutung dieses Albums ist noch größer. Der Titel des Albums stammt von dem Spitznamen für das mehrwöchige Koma, in dem sich Elephant Tree-Sänger/Gitarrist Jack Townley aus medizinischen Gründen nach einem beinahe tödlichen Fahrradunfall Anfang 2023 befand. Er träumte, ohne aufzuwachen, und verlor jegliches Zeitgefühl, während sein Geist versuchte, mit der Tortur fertig zu werden - diese lyrische Beschreibung deutet das Ausmaß von Jacks Erfahrung nur an.In dem darauf folgenden Jahr manifestierte sich eine musikalische Freiheit in den jeweiligen Ansätzen beider Bands: Elephant Tree wählten während Jacks allmählicher Rückkehr zum Spielen einen rohen, aufbauenden Ansatz, während Lowrider komplexer und ausdrucksstärker wurden, um Songs für das 2020 erschienene Album ,Refractions" zu entwickeln, das von allen Seiten bewundert wurde.,The Long Forever" ist das Vehikel, durch das sich die Bands begegnen, das die Erwartungen an sie untergräbt und übertrifft, mit einem traumatischen Nexus als Gravitationssingularität, um die die gesamte LP kreist und jede Note, die nach außen dringt, verbiegt und formt.Beharrlichkeit, Heilung und hartnäckige Leidenschaft haben The Long Forever zu einer Realität gemacht, und Fans von Elephant Tree und Lowrider werden sich über das überragende Ergebnis freuen! Like two timelines converging, ELEPHANT TREE and LOWRIDER come together to present the collaborative album "The Long Forever," easily one of the most eagerly awaited split releases in the history of heavy rock. In the wake of two landmark 2020 releases, Elephant Tree and Lowrider have seized the opportunity to redefine who they are and declare where their musical voyages will go next with the collaborative album The Long Forever. The Long Forever finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is delivering its first proper new release in four years to tremendous anticipation. Bringing these bands onto a shared collaborative platter would be an event regardless of the surrounding circumstances, but the significance of this album is even greater. The album's title comes from the nickname for the multi-week coma that Elephant Tree singer/guitarist Jack Townley was in for medical reasons after a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to cope with the ordeal, that lyrical description only hints at the enormity of Jack's experience. The year or so that followed manifested a musical freedom in both bands' respective approaches, Elephant Tree choosing a raw, set-up-the-mics-and-go approach during Jack's gradual return to playing, while Lowrider grew more complex and expressive in building songs to follow up their massively adored 2020 album "Refractions." "The Long Forever" is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth. Perseverance, healing and stubbornness of passion made The Long Forever a reality, and fans of both Elephant Tree and Lowrider are certain to rejoice at the towering result!

Wie zwei Zeitlinien, die zusammenlaufen, kommen ELEPHANT TREE und LOWRIDER zusammen, um ihr gemeinsames Album ,The Long Forever" zu präsentieren, eine der am sehnlichsten erwarteten Split-Veröffentlichungen in der Geschichte des Heavy Rock.Nach zwei bahnbrechenden Veröffentlichungen im Jahr 2020 haben Elephant Tree und Lowrider die Gelegenheit ergriffen, neu zu definieren, wer sie sind und zu erklären, wohin ihre musikalische Reise mit dem gemeinsamen Album ,The Long Forever" als nächstes gehen wird. Mit The Long Forever befinden sich beide Bands an einem kritischen Punkt: Beide haben einen weitreichenden und wachsenden Einfluss, beide werden auf der Bühne und abseits davon verehrt, und beide bringen ihre erste richtige neue Veröffentlichung seit vier Jahren heraus, die mit großer Spannung erwartet wird.Diese Bands auf eine gemeinsame Platte zu bringen, wäre unabhängig von den Begleitumständen ein Ereignis, aber die Bedeutung dieses Albums ist noch größer. Der Titel des Albums stammt von dem Spitznamen für das mehrwöchige Koma, in dem sich Elephant Tree-Sänger/Gitarrist Jack Townley aus medizinischen Gründen nach einem beinahe tödlichen Fahrradunfall Anfang 2023 befand. Er träumte, ohne aufzuwachen, und verlor jegliches Zeitgefühl, während sein Geist versuchte, mit der Tortur fertig zu werden - diese lyrische Beschreibung deutet das Ausmaß von Jacks Erfahrung nur an.In dem darauf folgenden Jahr manifestierte sich eine musikalische Freiheit in den jeweiligen Ansätzen beider Bands: Elephant Tree wählten während Jacks allmählicher Rückkehr zum Spielen einen rohen, aufbauenden Ansatz, während Lowrider komplexer und ausdrucksstärker wurden, um Songs für das 2020 erschienene Album ,Refractions" zu entwickeln, das von allen Seiten bewundert wurde.,The Long Forever" ist das Vehikel, durch das sich die Bands begegnen, das die Erwartungen an sie untergräbt und übertrifft, mit einem traumatischen Nexus als Gravitationssingularität, um die die gesamte LP kreist und jede Note, die nach außen dringt, verbiegt und formt.Beharrlichkeit, Heilung und hartnäckige Leidenschaft haben The Long Forever zu einer Realität gemacht, und Fans von Elephant Tree und Lowrider werden sich über das überragende Ergebnis freuen! Like two timelines converging, ELEPHANT TREE and LOWRIDER come together to present the collaborative album "The Long Forever," easily one of the most eagerly awaited split releases in the history of heavy rock. In the wake of two landmark 2020 releases, Elephant Tree and Lowrider have seized the opportunity to redefine who they are and declare where their musical voyages will go next with the collaborative album The Long Forever. The Long Forever finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is delivering its first proper new release in four years to tremendous anticipation. Bringing these bands onto a shared collaborative platter would be an event regardless of the surrounding circumstances, but the significance of this album is even greater. The album's title comes from the nickname for the multi-week coma that Elephant Tree singer/guitarist Jack Townley was in for medical reasons after a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to cope with the ordeal, that lyrical description only hints at the enormity of Jack's experience. The year or so that followed manifested a musical freedom in both bands' respective approaches, Elephant Tree choosing a raw, set-up-the-mics-and-go approach during Jack's gradual return to playing, while Lowrider grew more complex and expressive in building songs to follow up their massively adored 2020 album "Refractions." "The Long Forever" is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth. Perseverance, healing and stubbornness of passion made The Long Forever a reality, and fans of both Elephant Tree and Lowrider are certain to rejoice at the towering result!

Nous'klaer Audio presents Martinou - Chiral, the follow full-length up to his 2021 album Rift. This time nine tracks across two vinyls. An album flowing 'in a way' like Rift, but it's different: More outspoken, heavier sound design and it peaks on a blissful note. ''Open up the blinds and take me there. We'll break the surface tension. We'll dive in. I'm locked in your devotion. You give an inclination to our demise. It will be our exit. To bliss, we'll be its guardian. Once there was love. Clear as glassy water. No ripples, no waves. I followed while you led. Our arrival was warm. Hot, even. Stunning to a startling degree. Hands intwined, frolicking towards the blue. Hours passed, and white heat cede to an orange hue. We cooled down. Red. We rallied. Black. It began. Into the deep darkness we ran. White sand, it has a tendency to get everywhere. Salt water will only dehydrate you more. Shriveled and dry. Scratchy and coarse. More. And then we were lost. Fingers once locked grew distant. Morning, dear. Where have you gone? We looked. A glimpse from afar. Red. We rallied. Shall we share a bottle of wine? Black, lost again. Afternoon, friend. Where were you? Red. Alone. Black. We rallied. Shall we try somewhere new? Sand and salt. Evening, sir. Reservation for one? Reservations a plenty, I say. Evening, miss. Dining alone? Aren't we all? Dining, miss, not dying. Oh, yes, alone. Black. Sand and salt. I found you. No. No. Wait, do I know you? You feel like a dream. Don't touch me. Move along, sir. Who are you? Leave. Who are you? Where did you go? Keep moving. I am, I will. Time to move on. I'm moving! Leave. Don't touch me. Leave. Why are you? Exit. Purple. Orange. Yellow. White. Blue. Morning, dear. Shall we have breakfast? I think I'll sleep some more. But it's our last day. I know. See you downstairs when you're ready. OK. I open up the blinds. A bird breaks the surface tension. Locked in. To Devotion? No. Demise. An inclination. Reverie. Take me there. Where? Exit (To Bliss) '' Text by Gregory Markus

Martinou lands on Nous'klaer Audio with his debut album RIFT. Emerging from a waking forest entranced by sun-rays reflected in the morning dew and the sound of rustling leaves in the rising wind. RIFT is a captivating road through the riddles of an imaginary landscape, full of noisy and organic textures bound by hypnotic and soothing melodies. From the calm opener of Absorption (Citywide) to the breathtaking Cirrus Apparition, and from the piercing tones of Velvet back to the closing act ...in all it's splendor. An album consisting of twelve tracks for every moment, a triple vinyl suited for warming up and tearing down a dancefloor, but best listened to from start to finish. Artwork by Romee van Oers. Including download code.

This has to be the holy grail of Weldon’s work, with his unique interstellar musical language. Back in the early 70s, Weldon Irvine was well ahead of his time both with his relatively radical, ‘modern’ jazz scores, and his overtly humanist lyrics. The almost Alice in Wonderland world of the late great Mr Weldon Johnathan Irvine, is one to get totally submerged in. Mr Irvine was such a calm and gentle person who just oozed music, baring his soul onto vinyl. It is such a great honour to be able to release some of my absolute must-haves, from his Nodlow music label on to 7” for the first time.

First recorded in 1973 and released on Nodlow records, we have taken 3 wonderful tracks from the epic “Time Capsule” LP – “Déjà vu” this quirky, yet catchy, song has been edited down, from 9 minutes to 3mins 43secs and this is the first time on 7’ for this 45 release. Weldon on Keys and vocals; back up with Emerson Cain; Lenny White on Drums; Tony Wiles, percussion; and Alex Blake on bass. Speaking to the family, I found out that Weldon had wanted to release a 7” of this back in the day, but it never happened, so this is for you, Weldon.
On the flip is “I am”, A spiritual interlude of words, and a feel that bring Weldon into the room, poetic masterpiece of earthly ideas and musical chords.
“Bananas” is a 90s Jazz Club dancer, this again shows Weldon doing his thang. Super funky drums and bass; plus it has that signature Weldon turn around rift

For Judah & the Lion, the last two years should’ve been the best of their lives as the Nashville band toured behind a powerful single and a genre-upending album, sharing stages with heroes and playing to oceans of fans. But as everything was coming together for them, singer-guitarist Judah Akers’ family was falling apart in a hail of alcoholism and affairs, death and divorce. From that tension comes Pep Talks, the trio’s third LP, and a hard left turn into deeply personal terrain. Knowing they had something new on their hands, Judah, Brian Macdonald (mandolin), and Nate Zuercher (banjo) took their time crafting a set of songs that not only shores up their one-of-a-kind sound—a heart-pounding whirl of folk, bluegrass, rock, hip-hop, and electronic production— but takes the listener on a bracingly candid, surprisingly anthemic journey from the kind of pain that tears your whole world apart to the sort of hard-won hope that can bridge the deepest of rifts.

Welcome to the jazz funk world of the late great Mr Weldon Johnathan Irvine. This great man managed to write music that both inspired and in awed 50 years ago, as it still does today. He takes you to another world, with his gentle yet almost crazy energy. He was way ahead of his time producing these monumental, instrumental masterpieces. Mr Irvine was such a calm and kind gentleman, who just oozed music. He sadly passed away in 2002. It is a great honour to be able to release some of his music from his Nodlow music label on to 7” for the first time.

In 1974 Weldon released his “In Harmony” LP. The two tracks we chose are, “Fat Mouth” which, as expected, features the signature Weldon rift. This Clavinet-heavy groove is backed up with the mighty Joe Jones on Hammond organ; and is all held steady with the pumping drums from Napoleon Revels
“Turkish Bath” is a laid-back jazz groove, with Weldon laying down a superb lead Rhodes story and melody. Backed up with Joe Jones on the piano. Weldon’s keyboard echoes throughout his music with such simplicity.

Returnal sees Daniel Lopatin fine tune his craft for creation of deep atmospheres and texture even further.
"Returnal" is the fourth album from Daniel Lopatin's Oneohtrix Point Never project, after "Betrayed In The Octagon" (Deception Island, 2007), "Zones Without People" (Arbor, 2009) and "Russian Mind" (No Fun, 2009). All 3 albums being superbly compiled on the "Rifts" double CD (No Fun, 2009). It sees Lopatin fine tune his craft for creation of deep atmospheres and texture even further. Starting off with the mind blowing triptych of "Nil Admiari / Describing Bodies / Stress Waves", which fires off into a noise / rhythm excess before entering a zone of relative calm building to the melancholy of the final part. This sets the tone perfectly for the albums title track, a stunning out of this world ballad featuring Lopatin's near desperate vocal delivery, ending what could be seen as one of his most chilling and thought provoking sides to date. The atmosphere is slightly lifted as the darkened sun comes up over the ruins on "Pelham Island Road" and "Where Does Time Go", with the album closing with edgy broken beats and fourth world possible landscapes of "Preyouandi", which fades into the distance with echoes of the "Returnal" chorus, closing the loop. What's burnt into memory here is Lopatin's love affair with the long, slow path back home... the cycle... the hypnotic sector... the ghost in the machine... and whether people are making dance music or hip hop or space head music or metal, the ouroboros is present in every sector - as it was in Bach's study, and in the elephant songs of the Ituri forests. Available on CD in digipack and LP in gatefold cover.

Bertrand Burgalat's new album, RÊVE CAPITAL, will be released on Friday June 11, 2021 by Tricatel.

How many of Burgalat's songs have accompanied difficult afternoons, happy evenings and lonely mornings? The list is long. And it gets longer with this album, each track of which widens the rift between the plates of space and time.
Jean-Pierre Montal

Burgalat makes crackle what we like most in his universe: the reality of things and their discrepancy, the intimate and the universal.
Stéphane Lerouge

Minimal Wave presents ‘Recordings 1980-1982’ (MW077), a triple 7” box set by pioneering south Florida synth-punk band Futurisk, in honor of their 40th anniversary. Founded by Jeremy Kolosine in 1978, Futurisk recorded many songs and performed live throughout the early 1980s. Though they had released two 7”s that sold out, had a legendary live show, and even some videos, by 1984 Futurisk was history. Eventually, the main core of Futurisk would be the Jeremy Kolosine, Richard Hess, and Jack Howard line-up though much happened leading up to this point.

In 1979, the teenage Jeremy Kolosine won studio time and money in a competition with his drum-machine-triggered guitar-synth act called ‘Clark Humphrey & Futurisk’. He decided to form a band around the name to record a more punk release titled The Sound of Futurism 1980 / Army Now. It was an ambivalent anti-war anthem with Jack Howard on drums, Frank Lardino on synth, and Kolosine on vocals and guitar synth. Many live shows ensued with the line-up which included Jeff Marcus on bass and Vinnie Scrimenti on drums but in 1981 a rift between the band caused them to part ways. They continued for a bit as ‘Radio Berlin’ (no relation to the Vancouver act) and Kolosine, who had gotten absorbed in a new analog synthesizer with sequencer continued as Futurisk.

He recruited synthesist and recording engineer Richard Hess who had a myriad collection of Moogs, Oberhieims, and CATs. Jack Howard returned on drums and syn-drums and the lineup for the Player Piano EP was cast. The EP, like the live show, was a strange blend of punk, minimalist, and disco-influenced electro-pop, with drum machine triggered synths and often frantic real drums all led by Kolosine’s schizophrenic Bowie / Ferry / Foxx adulations. It was recorded by Richard Hess and the band in the rooms of a friend’s house. The drum sound, recorded in a bathroom, rocks, even today. Reportedly, Futurisk may have been the first synth-punk band in the American South, and their 1981 track ‘Push Me Pull You (Pt. 2)’ was an early pre- ‘Rockit’ excursion into electro-funk.

The ‘Recordings 1980-1982’ box set includes three 7”s, an Army Now (1982) Flexi 5” x 7” postcard, and a 16-page full-color booklet featuring unpublished photographs of the band, the history of the band, and an interview with founder Jeremy Kolosine. The three 7”s are The Sound of Futurism 1980 / Army Now which includes an unreleased track from the same session, the Player Piano five-song 7” EP from 1982, and the Ocean Sound 7”, which has not been released in this format until now. All three 7”s are remastered, pressed on heavyweight 70-gram vinyl, and housed in heavy color printed matte sleeves featuring the band’s original artwork. The box is case wrapped and depicts an early illustration of the band printed in black on white with a spot gloss. Limited edition of 600 copies.

Sealed original copies of the Horace Tapscott's 'The Tapscott Sessions' solo piano series, released on Nimbus West Records ‎from 1982 to 1984. Horace Tapscott has been one of the top "unknown" jazz pianists in the Los Angeles area since the 1960s, recording far too few sessions which has led to him being continually overlooked by jazz fans from outside L.A. During 1982-84 he recorded seven solo piano albums for the tiny Nimbus label, playing unaccompanied solos, his improvisations consist of deeply emotional exploration of his music. Tapscott has always had a strikingly original sound that, despite occasional hints at other pianists, is quite distinctive, falling between advanced hard bop and the avant-garde. Totally Essential.




Jazz, with its many iterations and forms, has always been a music on the move - its own changes and evolutions mirroring a flux in the perception of what is and was. This is all too evident when addressing its avant-garde realisations, particularly those rising across the 1960s and 70s - free and spiritual - musics which were both of their moment and beyond them - of a specific people, culture, social reality, philosophy, and political position, while transcending each. These radical sounds have rarely received the wide understanding, recognition, and appreciation in their own time. Thankfully, we have have hindsight. Historical Avant-garde jazz, springing from African American communities and taking seed in every corner of the globe, is increasingly celebrated for the seminal music is was and remains, but there’s still plenty of work to be done, especially when addressing the long standing rift in the United States which favours the east coast over the west.

Red Marbled Vinyl

WEBUILDMACHINES presents “Machines of Deliverance”, a limited edition various artist LP celebrating 50 releases of evolutionary, multi-layered, experimental electronic music and contemporary techno. Offering an expansive stylistic palette from around the world, the artists presented embrace the ethos of the label’s past, present, and future with eight tracks of cinematic, industrial-themed, techno. Suited for the dance floor and repeated listening, with meticulously crafted sound design and precision programming throughout, this release is a unique and inspired addition to the WEBUILDMACHINES catalog. A Side: Headless Horseman (Berlin, DE) – Shift in Time Tunnel (Minneapolis, US) – Everything is Changing Opus Daemonii (Chicago, US) – Quantum Rift Axkan (Los Angeles, US) – Empty B Side: SKD (Riga, LV) – Hellbound in Paradise Sramaana (Lyon, FR) – Sicmundus C-KAY (Tokyo, JP) – Time to Crumble Soseol (Seoul, KR) – Volnost (DIGI ONLY) Faceless (Shanghai, CN) – Four Over Three Linbo (Shanghai, CN) – Falsity Became Our Sport Mastered by Gio at Artefacts Mastering / Berlin Artwork by R. Miller

The debut album from writer and artist Holly Childs and artist Gediminas Žygus formerly known as J.G. Biberkopf.

Initiated in 2017, Hydrangea grew out of a series of performances emphasising conspiracies and the designer realities that they generate. Navigating a tangle of digitally induced subjectivities and relationships, Hydrangea sees Childs & Žygus amidst a continuously evaporating world in which narratives dissolve, leak, fold in on themselves and loop.

Childs & Žygus ask: As individuals are siloed online, can rifts in reality ever be reconciled? Is history a form of science fiction? And are narrators ever reliable? The process of creating Hydrangea was defined by the search for a form to bind fiction, poetry, and musical experience. Its narrative is influenced by technical instructions, lectures and whispered conversations, in which slippage and floating focus can create new meanings in the listener that weren’t intended by the speaker.

Aspects of physical and informational security including passwords, codes, locks and obstacles speak to the ways in which meaning or material can be locked, unlocked or instrumentalised for a range of potential outcomes. Hydrangea reflects on the Machiavellian strategies of political ideologists such as Steve Bannon, Aleksandr Dugin and Vladislav Surkov who have made use of contemporary and postmodern artistic strategies to design narrative uncertainty—covertly braiding together questionable truths, slippery narratives and bespoke reinterpretations of history for undisclosed political ends.

"Hydrangea’s Just the Password Though, Right?"

Childs & Žygus employ a musical language that layers their cumulative practices and experiences. The compositions are cinematic and spatial, working with the illustrative qualities of Disneyesque string melodies and taking cues from Maurice Ravel’s impressionistic piano works.

The work is also influenced by both artists’ lifelong experiences of rave culture, beginning for Žygus during childhood in newly independent Lithuania, spending time juggling Disney and happy hardcore cassettes on the family stereo, and for Childs as a preteen in Australia, tagging along with her sisters to doofs and warehouse parties. Initiated while the artists were both working between Amsterdam and Rotterdam in 2017, the work also draws on Dutch gabber music.

Hydrangea’s development has been influenced by collaboration with artists and filmmakers Metahaven, who created the album art.

Holly Childs is a writer and artist. Her research involves filtering stories of computation through frames of ecology, earth, memory, poetry, and light. She is the author of two books: No Limit (Hologram) and Danklands (Arcadia Missa); and has presented her work at ICA (London), Stedelijk Museum (Amsterdam), Trust (Berlin), Elam School of Art (Auckland) and more.

Gediminas Žygus is an artist working within the fields of sound, documentary and performance. Their practice assembles a spectrum of influences deriving from architecture, ecology, ethnography, science studies, and media theory. As J.G. Biberkopf, their releases have found homes on Knives and Danse Noire. Žygus has performed at Barbican Centre (London), Berghain (Berlin), Sonic Acts (Amsterdam), and Centre Pompidou (Paris), among others. credits

Klein's offbeat singular vision continues to defy classification. Her acclaimed, self-released records – Lagata, Only and CC – along with Tommy for Hyperdub and her theatre musical Care, have allowed glimpses into Klein's uniquely spirally perspective on vocal abstraction, disarming experimentalism and pop culture wonderment. Yet these chapters have also served as masks to conceal the artist's own personal crises of self-belief, misrepresentation and belonging.

An 18-month writing process led to her new album Lifetime. It's an unexpectedly literal body of work which Klein compares to "giving someone your diary." Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Every sound in Lifetime is intentional, every influence—from 'King of Gospel Music' composer James Cleveland, to early 18th century tonalities in the b side, the work of 'race film' pioneer Spencer Williams, the residue of the religious experience is deeply personal. The 12 songs of the album are pieced together like a puzzle; seamless transitions connect each of its compositions in a reverse chronology, while every chord from every song is echoed someplace else.

What's been hinted at in Klein's live performances is now realised in full for Lifetime. Less vocal work allows her to be even more expressive, and in eschewing a tendency towards brief, truncated sketches, each song serves as its own long conversational piece, committed to realities of a lived experience. The artist who once grappled with self-doubt has set about breaking the cycle of insecurity for others like her, while mindfully chipping away at the conventions of classical music.

Like its artwork, Lifetime addresses intersecting life cycles: the inner and outer selves, hypermodernity versus history, living nightmares and dream states, while seeking the light and darkness in both. Part 1 opens with unmistakable Klein flourishes on the title track. Gusty pads, anxious, frayed-edge static arcs, and craters of deep negative space, all of which melt down to the clean slate of "Claim It," which is a tribute to embracing one's own blessings. "Listen And See As They Take" and "Silent" form their own microcosm, as the sound of crackling kindling burns backwards into imposing structures of distorted strings and disembodied marching drums, before returning to heat and ash again. "For What Worth", in collaboration with sound artist and saxophonist Matana Roberts, explores the kinship between two artists whose shared exploration of lineage leads them both toward uncharacteristically sweet clarity.

Part 2 is further steeped in black expressive styles of the past. "Enough is enough" links the Lifetime narrative to the broader diasporic black experience, inhabiting every chamber of a harmonica with ghostly notes of the present and past, as fragmented gospel chords reflect spiritual bonds between self and the divine. "We Are Almost There" begins the journey with nothing but the looped structures of multitude of voices. The drums and dischord of "Never Will I Disobey" wordlessly create the conditions for "Honour," a near 10-minute composition where crossed boundaries and crossed wires are exposed in real time, and sharp expressions of hurtfulness, accountability and corrupted expectations are rendered beautiful in representational form, via sustained synth tones which hum, jab and flit in natural disharmony. The interlude "Camelot Is Coming" draws on the choir tradition to prelude the spoken word recounts the cycles of trauma and death that form "99." Lifetime closes with the dystopian swirl of "Protect My Blood" a composition which details an excruciating rift, before blooming into serenity as it draws to a close.

Klein's Lifetime is laid bare, from the end to the beginning, and cycled over again. From her place within her family, to their place within her, to viewing the fragility of culture through the lens of memory. It's a lifetime, an embodiment of young livelihood, and an end as much it is a beginning.

Friend and supporter of the Bass Cadet team, Jenifa Mayanja steps up for the new chapter of the Orbits series. She offers three very personal tracks, carefully crafted, evolving in their own space-time, showcasing a crossbound vision of deepness and soulfulness. Partner in life, DJ Jus-Ed is also here on the remix duty. This release definitely wraps up a family affair about good vibes !

In search of the sublime, contemporary electronic musician Steve Hauschildt has designed grids and panoramas of sound across multiple releases through the rise and dissolution of his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music. Consistent with his solo work is Hauschildt's ability to coil his craft in precise, varied, and distinctly physical forms. Gently spinning arpeggios converse with post-industrial decay. Sonic bers sway like pendulums from static melancholy to motorik bliss. Dissolvi, the artist's rst full-length with Ghostly International, engages sublimation from an ontological perspective: by dissociating the self. Hauschildt steps out from the singular path, for the rst time in a traditional studio, to compose and arrange contributions from friends. As a result, his most collaborative work to date extends a vast, vibrating framework in which to consider the state of being.

The album's title — a reference to cupio dissolvi, the Latin phrase meaning "I wish to be dissolved" — needn't be taken one-dimensionally or as purely solipsistic. It does, however, serve an apt reference. Physiological phenomena are of interest to Hauschildt. These back-of-mind ruminations nd their way out. Songs are cerebral in orientation, but beyond explanation, the music is truly visceral.

Involuntary eye movement inspires the serene, sanguine-nearing-suspicious "Saccade." Hauschildt feathers soft percussion beneath the echoed refrains of Los Angeles musician Julianna Barwick, together shaping a svelte suggestion of the anxieties brought about by modern-day surveillance; if everyone is being watched constantly, there is no individual, no self, only a broadly monitored and clumsily cataloged populous. The work of Chicago poet Carl Sandburg comes to mind: 'I am the people—the mob—the crowd—the mass.' The individual dissolves into the taxonomic crowd.

Minimalist techno impulses provide a stylistic through-line for Dissolvi. Understated synth phrases and drum grooves take hold in selective moments, like synchronistic structures onto which nebulous mists, like the rapturous voice of Gabrielle Herbst aka GABI on "Syncope," cling to and cloud, producing a dazzling rift in consciousness. The 7-minute centerpiece "Alienself" reiterates this creative logic, burbling like an amorphous body of water on a low-gravity planet, on the verge of dissolving, but never fully dematerializing.

The album was constructed in Chicago (where Hauschildt now resides) and partially in New York. "Much of it was recorded in a windowless studio which removed elemental or seasonal references to time in the music," says Hauschildt. "The focus this time was on mixing the album and incorporating a broader set of instrumentation. I describe my compositional approach as being quasi-generative." Embracing new methods and philosophical curiosities, and in turn, expanding the range of his repertoire, Hauschildt proposes a fascinating and profoundly rich experience in listening, being, and deliquescing.

Forceful grooves and trippy soundscapes here business as usual for Junes, whose latest EP adds to a string of releases getting bagged by those looking to work the floor with tight and atmospheric rhythms. The Galdoors man's flair for unexpected combos is on parade in Circuit Rift, where a UK-style low end is flung into the mix with rough drums and 4am melodics. There's a funkier bassline and rolling groove at work in Awake, this time with rich layers of pads and blips. Brass Hand uses a different palette a sparkling, loopy riff and crisp drums though it's still signature Junes.

Here it is! the new installment of our vinyl series. This time signed by Texan artist Blixaboy delivering four classical electro tracks. Timeless music as we like in Fanzine.