Cerca:to

unGleich Records, the Label from Berlin proudly presents Double X on Kanzleramt D unGleich In Exile! The Double X members Torsten Litschko (one part from Sender Berlin / Tresor Records) and Alexander Kowalski (Kanzleramt) aka Dis X3 (Tresor).

+ mark broom rmx
+ the comedianz battenburg rmx

This is a pure bomb of party Breakcore, musical and efficient. Dirty and Hardcore... Electro and Drill... A perfect tool for all DJs who tries to make the crowd crazyest than ever !

Breakbeat dancefloor, strong tango shit !!

Alexander Kowalski comes along with another floor burning piece of vinyl - the pre-single of his same titled 2nd album! After his recently released debut-album "Echoes" Alexander just dropped two more bombs which we couldn't wait to release.

2023 Repress

FKY back to creation with 4 tunes from september 2013, azll anologik, without computer. All 4 tunes choosed between various versions and all 4 tunes 160 BPM exactly. Cut and mastered by Shane The Cutter... Well... A-class sound baby !

PS : ça c'est du nom de morceau ^^

A tony senghore remix

This is Worldwide suicide. An excellent Drum & bass electro italian record. Rare stuff ! Toolbox co-production.

original Screen-print sleeve

Those who expect dreamy home-listening from Family Lounge, could fall victim to conceptual conflicts of association. Family Lounge is analog Minimal-Techno, defined by Germany's electro-figurehead Anthony Rother.

groovy electrotracks !!!

Returning with another debut release, Second Circle's eighth record to date comes this time from young Viennese musician Giuseppe Leonardi. Performed on an array of synthesizers and experimenting with spoken word and vocals from various local singers, Giuseppe's 'TBC' EP take us on a dance through the catacombs and out through the jungle floor with ritualistic rhythm and haunting song... Whilst at other moments Giuseppe's horizontal ambient pieces leave us gazing out on the shores of a distant half-remembered planet.

Returning with another debut release, Second Circle's eighth record to date comes this time from young Viennese musician Giuseppe Leonardi. Performed on an array of synthesizers and experimenting with spoken word and vocals from various local singers; Giuseppe's 'TBC' EP take us on a dance through the catacombs and out through the jungle floor with ritualistic rhythm and haunting song... Whilst at other moments Giuseppe's horizontal ambient pieces leave us gazing out on the shores of a distant half-remembered planet.

Shadow Play is back with a four tracker EP by young rising talent Daïf. The french producer brings the heat on this release with 4 materials made for the club between techno, breakbeat & electro. We are happy to welcome Antonin on board.

Three releases deep now, Shadow Play transports us back to the nineties with this extra special collection of music from UK wizard Scott Edward. The Bristolian producer dropped a killer series of tracks from 1993 onwards, using a variety of aliases to explore the realms of the techno universe. It's an honour for Shadow Play to be able to rerelease one of Scott's classics, 'Access Activist', alongside three previously unreleased cuts from the same era. We hope you enjoy these classic examples of British underground techno...On the A-side it's the Scott Edward alias that handles matters, going straight in with the title track 'Access Activist', a mesmerising journey into analogue hyperspace. His flair for composition and arrangement really comes through on this opening track, and leads us nicely into 'All Is Lost', a nifty slice of paranoid techno with a jittery rhythm and a pervasive air of mystery.On the flip Scott's Ultra-Modern Art moniker is at the controls and the change in style is immediately apparent. Gone is the cosmic atmosphere and in its place is a funky, jazzy retro sound. The old equipment gives every sound its authentic identity, which filters through to the final track 'Brave New World' - a jaunty number, which uses acid licks, an optimistic b-line and sweet percussion to provide a delightful end to the project.

Farron Gets Back On Shaw Cuts With His Fourth Record, 'invincible Shaolin' - A Tale Of Double-dealing, Rivalry, Royalty And Bad Blood. Manchu General Pu's Evil Quest To Eradicate The Shaolin Tradition Unfolds, Cunningly Pitting North And South Shaolins Against Each Other. 'spring Break Ya Neck' Opens The Clash With Its Rhythmic Shifts And Whirling Synth Pads. The Northern Masters Prevail.
After Pu's Henchmen Secretly Kill The Southern Shaolin, The General Blames The Masters From The North, Unleashing Chaos. 'cosmicaph' Restores Order, Its Pounding Drums And Floating Melodies Giving New Strength To The Southern Shaolin. Revenge Must Be Taken.
To Prepare For Conquer, The Southern Master Sends Three Of His Disciples To Three Masters To Learn Their Secret Weapons. 'sir Hatch' Sets The Pace With Rolling Punches, Dirty Synths And Sharp Percussion As The Three Disciples Transform Into Lethal Fighting Machines.
Just Before The Final Encounter Between The Shaolin, Leibniz Lands On The Scene With His Fresh Interpretation Of 'spring Break Ya Neck', Revealing To Both Schools That They Have Been Deceived. Joining Forces, North And South Battle The General And His Men, Led By Leibniz's Funky Drum Patterns And Turbulent Synth Action.
And The Shaolin Spirit Lives On...

We’re extremely proud to present Leaving Time, a new EP by Christoph de Babalon. The EP has all the menace and grit that the Hamburg-born, Berlin-based producer is known for, but packs a potent, dance-ready punch that breaks new ground.

Leaving Time begins with the snarling subs ‘The Upper Hand’, and momentum builds through the panoramic breakbeats of ‘I Trusted You’ and dubwise groove of ‘Steps Into Solitude’ to reach the symphonic release of ‘Got to Let Go’.

This record encapsulates everything we love about Christoph’s music – it’s doom-laden, introspective and crafted with intent.

In short, it’s CDB on a 140 / fwd tip - fuck the chairs!

About Christoph de Babalon:

Christoph de Bablon first became known for his work on Alec Empire’s Digital Hardcore Recordings in the early 1990s and has championed a misanthropic take on drum and bass that has stood the test of time.

A punk-influenced fusion of jungle, breakbeat and dark soundscapes, his signature sound has become the stuff of legend – Thom Yorke once said Christoph’s pioneering debut album 'If You’re Into It, I’m Out Of It’ was the “most menacing record” in his collection.

After a brief hiatus composing music for theatre (we’d like to hear what that sounded like), recent releases on labels such as A Colourful Storm, V I S and AD93 have sparked renewed interest in the German producer, and with much excitement from his loyal following of die-hard supporters.

Paris player Le Loup and Pura launch their new label Shadow Play with a four-track collection of avant-garde house music delivered boxfresh from the studio. As a solo artist, and one half of Hold Youth, Le Loup has cultivated a nuanced sound that is steeped in soulful jazzy influences, with a nod to the future and plenty of soul. On this first EP we're presented with a showcase of this sound, and a hint at what's to come on the brand new label... To get things rolling we have the very first track 'The Ancient Ways', which is quite laid back and minimal in its composition. There's breathing space for the beats and bass, with an eerie atmosphere pervading throughout. 'Ygam' is next up with a wobbly bassline, cosmic death rays and sinister effects lurking in the background - it feels like the soundtrack to a deep space thriller.

On the B-side things get ravey with 'Acid Surface'. Retro breakbeats and stuttered toms support a dangerously alluring symphony of effects and pads. At the heart of the track is a deep subby bassline, transmitting an ancient, yet cosmic vibe.

Shadow Play, the brand new label owned by Parisian artist Le Loup and his partner Pura, drops its second release courtesy of the bossman himself alongside Chris Carrier. The two men got together in the studio and cooked up some tasty goodness. The first of four tracks on this release is the intergalactic opus 'Phoenix Lights', which works off serene pads that transport you out into the cosmos, along with a warm, soothing bassline and electronic chirps and bleeps. 'Research Programm (Outro)' takes us into more obscure realms, as Chris Carrier and Le Loup sample a scientific vocal and create a mesmerising bed of sounds underneath it. On the flip we kick off with 'Clouds Reflection', another track which features a sample from an old instructional video. This track has minimal composition, with dreamy astral pads, shuffling beats and a grumbling low end. In the second half Chris and Le Loup introduce more twinkling FX, to engage and hypnotise you... To bring the EP to a close we're presented with 'V-Shape', which begins with a layer of clever drum programming aimed straight at the hips. Once you're moving get ready for the juicy bassline, and a sultry top end that grips you and gripping progression. The perfect to end an utterly fresh EP...

Sunday Money welcomes 'Grusti' to the label - the collaborative effort of Argentinian musician Guti, and Russian producer Roustam. The background of the project and process of creation is described by Roustam: 'This EP was recorded in Guti's legendary loft studio in Barcelona. I was feeling down and out and just flew in for a week to raise my spirits to visit Guti for the first time. We spent a week living together making this EP, just making music non-stop, breaking for awesome tapas and wine and rolling a lot of spliffs. It features a lot of our influences from different sides of the world — Guti's a passionate fiery Argentinian and I'm more of a reserved and calculating Russian from up north but together we make some funky stuff. Also showcases our big love for breakbeat and similar deconstructed 4 x 4 material. Dedicated to the women we love!'

After the amazing release from Kwartz and Hector Oaks, we are very pleased to have on vinyl Filip Xavi, young Belgrade artist with a lot of potential, not a newcomer on Sonntag Morgen. He shows 3 mental, hypnotic and banging tracks...and to complete the ep we have the honor to have on board Dasha Rush, with an outstanding remix!

The unstoppable Spaziale Recordings set their sights on an absolute Paradise Garage classic from 1982 - the much sought after and instantly recognisable ‘Together Forever’ by Exodus. This fully licensed, remastered reissue comes housed in a full picture sleeve and contains a killer DEF Mix from Stefano Ritteri alongside the original extended vocal and dub versions.

Bursting with passion, ‘Together Forever’ is a record that was destined for greatness. A Larry Levan favourite, and for good reason. Produced by Errol Mattis and featuring one of the most sampled vocals in house music, there’s a triple threat of plucked basslines, clavinet power and joyful horns backed with the kind of percussion that ignites a rarely witnessed tribal energy within. It’s had crowds in fits of frenzies ever since its release and every collection deserves this gem nestled within it.

As well as the original extended vocal and dub versions, Stefano Ritteri steps up to add his own special touch, giving it some proto house power. He echoes and manipulates those fiery vocals, introducing each element gradually from the acid tinged topline to the layers of drum machine heat, gradually building the suspense to pure fever pitch.

Spinning Plates is back for another long overdue release, and this time it comes in the form of a split EP featuring returning artist Andy Rantzen and Laccy with two tracks each. The vinyl only release comes with very special screen-printed silkscreen artwork and is pressed on meaty 180g vinyl for an extra warm and deep sound. Andy Rantzen is a Sydney based artist who appeared on this label's superb second release. The '98%' track from it was used by Sonja Moonear in her Cocoon Mix CD shared with Carl Craig, and Andy is also well-known as part of the duo Itch-E and Scratch-E along with Paul Mac. He assumes that alias here for a remix of 'The Dial'. Laccy aka Pascal Sturmer is a young but talented artist who regularly finds himself behind the decks at cult clubs like Berlin's Club de Visionaire and the Spaced parties in London. A friend of label A&R Bruno Schmidt, he just released on Francesco del Garda's label Timeless, is a real underground head with a bottomless well of knowledge when it comes to cult sounds and scenes and is signed to the top Crisalida agency.

Pale Desert is the first release of the Australian born, Berlin based producer Ryen March. The name resonates not only the dry outback of his hometown, but it also mirrors the soundscape of the tracks - being completely raw and sweaty at the same time. The five track strong EP has it's core in the techno swamp but with the aesthetics of punk and EBM.

We're happy to have found a new friend from down under and beyond excited to be releasing March's first EP!

Breakcore attack in the aera ! Dancefloor Trauma ! This is a Toolbox Co-Production. We apologize again to the label for the big delay it tooks to issue this record.

Classic Stevie album! Featuring tracks like 'Too high', 'Living for the city', 'Higher ground and 'Don't you worry 'bout a thing' ao.

Dubbed out disco edits made with love, drenched in summer spice and slapped straight on the grill to waft out across the hazy breeze!

From the Latin infused sax power of ‘Doin’ It’, to the Italo tinged synth pop nugget, ‘Pop Lock’ and back round to the sensual boogie gem ‘Right Now’, it’s another must have set of edits from the Labor of Love crew.

Heiko's first Kanzleramt release was actually produced back in 1992, always pending for the chance to start the label.

"In 2021, we started the Mdou Moctar mixtape series. These releases compiled field recordings, cell phone voice memos, interview clips, conversations captured in the tour van, and blown-out board recordings from shows all over the world. As a continuation of those mixtapes, we present the Niger EPs, which examine the roots of the Mdou Moctar band. Early Mdou recordings were contained on cassettes, though the humble tape was soon replaced by the quick and easy facilityof cell phone technology. Long bus rides are common in West Africa. On one of these rides, you might be seated next to a stranger and ask "what are you listening to?", then a song exchange would begin over Bluetooth. This is a very real way artists found their music distributed far from home. In that vein, the Niger EP series features solely recordings taped in Mdou Moctar"s home country of Niger. Volume 1 begins the series with a mix of recordings from 2017- 2020, documenting the band at weddings, picnics, rehearsals, and even impromptu house concerts. A must have for any Mdou Moctar fan!" - Mdou Moctar bassist Mikey Coltun

"In 2021, we started the Mdou Moctar mixtape series. These releases compiled field recordings, cell phone voice memos, interview clips, conversations captured in the tour van, and blown-out board recordings from shows all over the world. As a continuation of those mixtapes, we present the Niger EPs, which examine the roots of the Mdou Moctar band. Early Mdou recordings were contained on cassettes, though the humble tape was soon replaced by the quick and easy facilityof cell phone technology. Long bus rides are common in West Africa. On one of these rides, you might be seated next to a stranger and ask "what are you listening to?", then a song exchange would begin over Bluetooth. This is a very real way artists found their music distributed far from home. In that vein, the Niger EP series features solely recordings taped in Mdou Moctar"s home country of Niger. Volume 1 begins the series with a mix of recordings from 2017- 2020, documenting the band at weddings, picnics, rehearsals, and even impromptu house concerts. A must have for any Mdou Moctar fan!" - Mdou Moctar bassist Mikey Coltun

ArsGoatia ist ein besonderes Geschöpf. Eine neue Formation mit vielen Verbindungen in verschiedene Richtungen. Es ist kein Geheimnis, dass sie sich aus dem Umfeld der "Funkenflug Society" und den Bewohnern der mystischen Neudegg Alm zusammengefunden haben. Die "Funkenfluag Society" ist ein Kollektiv von leidenschaftlichen Menschen. Sie betreiben eine kleine, aber feine Brauerei hoch oben in den Alpen, es gibt Kunst und Freiheit, Handwerk, Performance, Höhepunkt ist das Musikfestival "House Of The Holy" während der Sommersonnenwende. B.R. ist der Gründer und Mastermind des Festivals und Frontmann von ArsGoatia: "Wir alle bestehen aus Klang... Musik erleuchtet und verbindet Menschen! Unser Spirit ist es, Regeln zu brechen, Mauern zum Einsturz zu bringen und Grenzen zu überschreiten!"

"Agitators Of Hysteria" ist ArsGoatias zweites Album. Wütende Ausbrüche, die aus den Tiefen eines undurchdringlichen Abgrunds aufsteigen und luziferische Wahrheiten predigen, durchdrungen von Perversion, finsterer Bosheit, unerbittlicher Gewalt und Tod. Eine psychedelische Erfahrung wird vom ersten Song an versprochen.

Erstaunlich ist die Produktion von "Agitators Of Hysteria". Das Album wurde in den Q7 Studios/Deutschland von Michael Zech (The Ruins Of Beverast, Ascension, Hell Militia) aufgenommen und gemischt und in den Woodshed Studios/Deutschland von V. Santura (Trypticon, Dark Fortress, Celtic Frost) gemastert. T.K. erklärt: "Viele von uns schätzen einen lebendigen, feurigen Soundblast und diese Jungs liefern!

Profanität! Infamie! Fackeln hoch!

Australia-based musician Mark Gomes presents the debut full length under his own name for Soda Gong. “Alphane Moods” finds Gomes employing strategies that will be familiar to listeners of his work as Blue Chemise – elegiac, loop-based modes of composition and a predilection for concise etude forms – that manifest here with a strikingly different scope and intent, shifting from expressive abstraction into more conceptual terrain. Over the course of fourteen widescreen tracks, he navigates the gap between nostalgic and futurist sensibilities, concocting elusive, romantic, and sanguine settings that feel both plucked from the past and beamed in from a time still to come. Gomes describes his approach on the record as a “practice of ‘constructed ambience’, deploying sounds and track titles with pop-psychological associations of escape.” The result is a vivid, cinematic album that splits the difference between the worldbuilding retrofuturism of the best vaporwave music and the shadowy, homespun tape vignettes for which Gomes has become well known.

Written and produced by Mark Gomes
Master + cut by Kassian Troyer at D&M
Artwork by Alex McCullough

Soda Gong presents a razor sharp collection of rigorous and imaginative new music from Moscow-by-way-of-St.Petersburg-based musician and producer Flaty. "Generic TARGZ" places Flaty's precipitously complex drum programming and keen ear for atmosphere and space at the forefront, offering up a dynamic array of techno, ambient, generative footwork, and other tougher to pigeonhole rhythmic experiments. It is a dizzying and cohesive document in which ethereal productions, such as "Praaai" wherein a bewitching vocal pad hovers over delicate, pin-prick percussion, sit comfortably alongside tightly controlled chaos, as with the synapse-knotting "Thread" and heavy-hitting "Horn of Plenty".

Over the past few years, Flaty has released a wealth of diverse and uniformly excellent music under monikers such as AEM Rhythm Cascade, Dada Ques, and Wrong Water. He is most closely associated with the influential GOST ZVUK label, but his work has also appeared on imprints such as 12th Isle, Muscut, and his own ANWO Records. Although Flaty serves as his primary alias, "Generic TARGZ" is only the artist's second full-length under the moniker, following 2016's "New Suggestions", a high-water mark in the impeccable GOST ZVUK catalog. Mastered by Rashad Becker at D&M. Artwork and design by Alex McCullough and Niall Wynne Lewis.

Under their exael moniker, Berlin-based producer Naemi makes highly imaginative music that can be seen as a study in contrasts - precise, hyper-detailed drum programming sits atop fuzzy, organic pools of ambience, virtuosic futurism is wrung from a falling apart laptop. Following a string of excellent releases, both solo and in group settings, “Flowered Knife Shadows” features eight productions that feel like the full realization of the project, demonstrating the artist’s range and knack for vivid, pressurized productions. From the dextrous, chops-flexing “Koch Metish” to the sanguine “Reality’s Sweetheart,” Naemi’s clarity of vision and instantly recognizable aesthetic are delivered here with remarkable potency. Frost on the window, whispers in the dark.

“Trash Can Lamb” is a new solo album from Akron, OH-based multi instrumentalist Keith Freund. For the better part of twenty years, Freund has been producing intimate, shape-shifting music on his own and as part of collaborative projects such as Trouble Books, Lemon Quartet, and Aqueduct Ensemble. Here, he concocts a heady, homespun broth of analog synthesis, bit-reduced sampling, piano, standup bass, saxophone, and location recordings, arriving at a loose and evocative set of songs. Throughout the album, we hear 8-bit experimental delays mangling airy acoustic materials, denaturalizing them into primitive loop structures while retaining their golden-hued, melodic cores. The sputters, hisses, and croaks of handmade electronics nuzzle up to wistful piano and saxophone ruminations; the pure pandemonium of chaotic triangle wave patching and filtered noise settles into the serenity of a backyard dusk full of spring peepers (or maybe they’re crickets…). It’s in the space between the ragtag and rough-hewn and the romantic and yearning that Freund situates these compositions; it’s a peek inside a workshop that sits atop the trees, branches scraping on the windows, bluejays who just won’t knock it off, a table fan spinning slower and slower, its cheap blades covered in dust.

All music by Keith Freund, with contributions by Linda Lejsovka, G.S. Schray, Steve Clements, and Corey Farrow.
Mastered by Kassian Troyer at D&M.
Art/design by Alex McCullough and Felix Luke.

Kaspi & Stride is a new project from Justin Tripp, best known as one half of the Georgia equation. Leanings has its origins in rigorous yet laid back studio sessions, dual personal practice sensibilities that seem to get at Tripp’s creative ethos as well as any descriptors might. The material here was born out of collaborative studio sessions with multi-instrumentalist Jimy Seitang (Conga Square/Stygian Stride) - the “Stride” of K&S. The music from these sessions has been reworked and recontextualized by Tripp to form the eight tracks found on the record. These compositions are heady and diverse, anchored by infectious drum patterns and intricate electronics, capably occupying a somewhat hard to define space between “club ready” and “home listening.”

“Vishing” throbs with a wide-eyed intensity, infused with the type of deceptively rudimentary synth stabs and bass swells that wouldn’t be out of place on an early Hype Williams record. With contributions from Mary Lattimore and Jon Leland, “Kaptoxa” charts a more ethereal, if no less dizzying, course. Indeed, this is an album that navigates dense, tactile passages and airy, celestial planes with aplomb, making a case for Tripp’s prowess as both composer and arranger with equal priority. The most important thing is to keep moving.

Soda Gong presents “Support Surfaces,” the new record by Alexi Baris, a musician hailing from Vancouver, British Columbia. Baris’ methods are patient and deceptively rigorous, trading in sonics that are at once organized and organic. Synthetic and acoustic elements are presented in sonorous states of perpetual flux, carefully amalgamated into structures of fertile ambiguity. His is a diligent and painterly approach to sound design and arrangement, in which tiny events are magnified and brought up close, and expansive gestures are repurposed and shifted in scale. There is an abiding quality to these compositions, sounds that have been hung in the air with remarkable restraint and left to float there, defined by texture, tone, and their own entrancing spatiality.

All music by Alexi Baris.
Mastered by Kassian Troyer at D&M.
Artwork and Design by Alex McCullough.

Iggy goes West! Soda Gong welcomes back Kansas City-based musician Iggy Romeu with his latest collection as Mister Water Wet. "Cold Clay from the Middle West" is a (characteristically) sharp left turn from his last two records, with Romeu offering up a surprising and addictive melange of crackpot Americana and smoky noir beat science. “Cold Clay Suite” opens the record, a five-part ride into the sunset that features Cooder-esque guitars, cat-gut fiddle, horse-hoof percussion, stadium organs, penny whistle, and bleary-eyed polysynth ruminations, among sundry other ephemera. Multi-instrumentalist Will Yates, known to most as Memotone, shows up three times on the album, lending clarinet, keys, guitars, banjo, sarangi, and vibraphone to these kaleidoscopic productions. It’s a wild ride of a record akin to following a dotted bridleway on a crumpled old map, marvelously variegated and stitched together as only MWW knows how. Get along, now.

“A Typical Night in the Pit” is a collection of new music by Los Angeles’ Nick Malkin. It is an album that finds the artist absorbed in the density and chaos of the urban complex. It is unquestionably an “LA album”, but not the LA of hi-fi listening bars and twinkling, Instagram-ready New Age. Rather, Malkin navigates something more akin to the LA found in the films of Robert Altman or Alan Rudolph — overheated, tense, hazy, frayed — with blue-lit, nocturnal compositions that at times recall Mark Isham’s noirish scores for those subversive (anti-)Hollywood pictures. Enlisting a revolving cast of LA experimentalists, Malkin has assembled a record that is as chameleonic as it is cohesive, offering up vignettes ranging from the skewed MIDI-jazz of “Sixth Street Conversation” to the skulking menace of “Estacionamiento Privado,” before giving way to the wide-eyed, cloudy closer “View From Two Perspectives.” C’mon, let’s go in here and get outta this heat.

Mastered by Kassian Troyer at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.

Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint (Bass Clef), further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.

Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.

Over the past fifteen years, Florida-based multi-instrumentalist Eric Lanham has quietly generated a diverse and remarkable body of work both as a solo artist and in group settings. From the disorienting drone/collage ecstasies of Caboladies, his trio with Christopher Bush (Flanger Magazine) and Ben Zoeller, to wildly divergent solo flights under both his own name and as Carl Calm, Lanham’s carefully meted out recordings display the talents of a chameleonic composer who is as capable a sound designer as he is unconcerned with trend in experimental electronic music or notions of prolificness. “Objet Dirt” arrives ten years after “The Sincere Interruption,” his excellent longplayer for the now defunct Spectrum Spools imprint. Captured live, these compositions are brimming with kinetic, elastic, off-grid rhythms, an articulate and enigmatic language that restlessly darts around the stereo field. Of the collection, Lanham says "I haven't made a single piece of music that sounds like this since and it is hard to imagine doing so again.” If this is the case, the 20+ minute closer is a formidable final document. At once chaotic and tightly controlled, it is a torrent of coiling low-end, submerged and stretched rhythms, and seething high-end filigree that is as indebted to the hungry ghosts of free improvisation as it is anything resembling techno.

With Contemplative Figuration we see Broshuda pushing his amorphous, impossible-to-pin-down music in exciting new directions. Stitched together in various European cities over the last few years, it is the artist’s most dynamic and ambitious release thus far, drawing equally from musique concrete, beat research, ambient, tape collage, and spoken word. Episodic in nature, the collection functions well as a sort of impressionistic travelogue, with romantic, hazy atmospheres coaxed from borrowed equipment, serendipitous recording sessions with old friends, and even a drum sequence programmed with Mario Paint, among other curios and sleights of hand. Broshuda deftly wrings bonafide cohesion and balance from these disparate source materials, tools, and locations, as on opener “Kakigori,” which allows a snaking harmonic drone the space to evolve before exploding it into a sort of seething, dubbed out pointillism. Later, “Lied Für Hase” concocts a potent, humid atmosphere of beautifully evolving acoustic piano loops and elegant narration. Taken as a whole, Contemplative Figuration is a weightless, transportive record, one that is bursting at the seams with ideas, mischief, and a restless spirit.

Mastered by Helmut Erler at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.

Pursuing their explorations of international Funk and Disco music, Favorite Recordings and Patchworks present us Voilaaa. Following a first 2 tracks single acclaimed this summer and clearly revealing the Afro-Disco inspiration of this new experience, here comes Voilaaa's first album, titled On te l'avait dit. After his projects such as The Dynamics, Mr President, Mr Day, Patchworks Galactic Project, or Taggy Matcher, the insatiable French producer therefore returns to his first love and specialty, Disco music, staring this time at the African and Caribbean influences. The 10 tracks of the album are instantly up to expectations, chaining hit after hit tirelessly, and offering brilliant collaborations with Sir Jean, Pat Kalla, Renaud Bilombo, or label mates Hawa and Fouley Badiaga.