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Over a decade since its inception, Wave Temples continues to refine and refract the project’s visionary mythopoetic exotica. Panama Shift presents a 20-track kaleidoscopic star map inspired by “the euphoric cults, both then and now, that come and go in the vast ritual of night.” Bleached keys, devotional synth, and driftwood percussion align in minimalist vignettes shaded by tape hiss and field recordings of streams, waves, wind, and birds.
Dedicated to the late Japanese-born American anthropologist Yosihiko H. Sinoto (whose portrait graces the cover), famed for his excavations throughout the Pacific and French Polynesia, the album embodies a similarly voyaging spirit: “chasing ancient mysteries… and rekindling with the esoteric journey of the human spirit.” This is music of forgotten shores, sea air, and saltwater shrines, echoing in shells scattered across the altars of Atlantis.

Two albums that shook the world! The release of these two ground-breaking dubs sets in 1975 altered the course of modern music forever. Dub From The Roots & Roots Of Dub make up a crucial selection of King Tubby’s mind-altering dub versions.
Produced by Bunny ‘Striker’ Lee – both albums are essential!

The ace reissue of these wicked dub albums collecting together classic 70's dub versions by dub pioneer and leader of ‘roots’ music in Jamaica, King Tubby! Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard. All the tracks on here are versions of classic tracks from Cornell Campbell, Johnny Clarke, Horace Andy, Linval Thompson, Derick Morgan & Hortense Ellis dubbed out by the King of Dub King Tubby!’

Two albums that shook the world! The release of these two ground-breaking dubs sets in 1975 altered the course of modern music forever. Dub From The Roots & Roots Of Dub make up a crucial selection of King Tubby’s mind-altering dub versions.
Produced by Bunny ‘Striker’ Lee – both albums are essential!

The ace reissue of these wicked dub albums collecting together classic 70's dub versions by dub pioneer and leader of ‘roots’ music in Jamaica, King Tubby! Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard. All the tracks on here are versions of classic tracks from Cornell Campbell, Johnny Clarke, Horace Andy, Linval Thompson, Derick Morgan & Hortense Ellis dubbed out by the King of Dub King Tubby!’

For our 7th vinyl release, we welcome Berlin based artist ‘Lavan’ to +98.

Producing music for over a decade with a vast musical knowledge spanning funk, garage, house, hip hop to name a few. His sound is a unique blend of tastes for all ears.

Born out of East London and now living in Berlin, the talented Lavan delivers a variety of House & UKG Club tracks that will guarantee to move hips and feet on every occasion its played.

And finally, we have L&F stepping up on remix duties and hits the spot with a House & Garage romper stomper.

Ace Records is proud to announce the purchase of the Shrine label and Eddie Singleton’s independent productions.
To celebrate we have compiled an album of the very best dance recordings the label made in 1965 and 1966, primarily in Washington DC.

The business’s failure made this music incredibly hard to find for record collectors and Shrine is rightly known as the rarest soul label.

It is much more than that though. The music was made by some one of the original founders of Motown, Raynoma Liles Gordy and her Motown-schooled cousin Mike Ossman, New York music business luminaries Eddie Singleton and Harry Bass and the up-and-coming talents of Washington’s Keni St Lewis and Maxx Kidd. The acts included the hugely respected Ray Pollard and fellow New Yorker J.D. Bryant, talented and established Washington and Baltimore acts Eddie Daye & The 4 Bars, Bobby Reed and the Enjoyables. Importantly, they discovered and developed the local talent of the area in the shape of the Cautions, Les Chansonettes, the Prophets and Shirley Edwards.

It took decades for UK Northern Soul fans to realise the significance of the label. It finally clicked for Stafford’s Top Of The World all-nighter DJs who searched out the incredibly hard to find later releases and played them to the cult-following of the rare soul scene. The scarcity was caused by Shrine pressing up a batch of fourteen future singles but only getting a handful released before they folded. The vast majority of the later releases were destroyed in a warehouse fire or simply binned as stillborn commercial failures.

Such was the scarcity that when the first Shrine compilations were issued in 1990, the Prophets tracks from Eddie Singleton’s master tapes were assumed to be unreleased - until Shrine sleuth Andy Rix later obtained one from a group member.

Puce Moment is part of the French contemporary music scene. Their music is climatic, often inhabited by a strong emotional power. A procession of harmonic structures organized in a ritual way, sometimes close to trance. It can be written or improvised, vocal or instrumental. The electronic and electroacoustic arrangements summon new spaces and abstract landscapes, which can go from the purest sound to the most raw distortions. Vast, slower, deeper - distant echoes of half-faded things - and when we are lost, voices appear. Voices whose only reference would be the timeless SeeFeel.

Nicolas Devos and Pénélope Michel are visual and sound artists, one trained at the Beaux-Arts and the Fresnoy studio national des arts contemporains and the other a classically trained cellist, singer and multiinstrumentalist. They created Puce Moment, envisaged as a sound research laboratory open to experimentation, to multi-disciplinary encounters and to decompartmentalization. Their work is akin to a fictional ethnology expressed through protean projects and mutant visual, sound and musical creations.

»Epic Ellipses« is their 4th album.

They have composed the original soundtracks of more than a dozen dance performance, fiction or documentary films, virtual reality in variable formats (Christian Rizzo, Mylène Benoit, Vania Vaneau, Benjamin Nuel, Laurent Pernot, Carolina Gonçalves). Or in the form of film-concerts including David Lynch's cult film 'Eraserhead' with which they have toured intensively since 2012 in France and Europe, and since 2019 »Koyaanisqatsi«, the cult experimental documentary by Godfrey Reggio.

I was dancing when I was out, I was dancing when I was in. Is it strange to dance so late? Is it strange to dance so soon? Cosmic dancers always ball. Dancing with themselves, dancing space away. Right into the smallest hole a human brain can create: the inner cosmos, a psychedelic region, where time gets space and space turns to haze.

Berlin based producer TM Solver is such a kind of cosmic dancer. He has danced late. And so soon. Since 2008 he released yearly one, sometimes two albums via the German Berlin School dedicated label Syngate and its experimental subdivision Luna. Intensely meandering synthesizer journey music, that is pirouetting on inner universes, genuinely crafted in the tradition of Berlin School and Krautrock. You can catch the unearthly nuances of Can and the spaciously swinging psychedelic corners of Amon Dül, Embryo, Tangerine Dream, or Klaus Schulze. As TM Solver has been a lover of analog synthesizers for almost 30 years, all pulsates on analogue sound orbs under the zigzagging guidance of machines like Moog Prodegy, Korg MS20 and GRP A4, as well as state-of-the-art systems as ASM Hydrasynth and Korg Wavestate. When he got in touch with the Berlin club scene and all its propelling grooves in 2006, a new rhythmic universe joined his vast musical space of sound latitudes. “Tinkering around with sound structures is my thing. Leading the listener into a combination of music and sound spaces.“ he reveals on his emotive musical art. How affecting it works, is now displayed with four epic compositions for R.i.O., Berlin Wedding’s label of novel ways for caved rhythmic patterns. Grooving between 90 to 240 BPM, they offer a vast variety of emotional landscapes, slowing down, rolling up, drifting into genuinely layered tonality magic. Headspace music for vigilant wanderers. Utterly psychedelic and yet so clear. His R.i.O. debut “Subtraktiv Additiv“ comes with five additional remixes, fashioned by R.i.O. conspirator Benedikt Frey, Amsterdam based DJ and producer Mayo, “Die Orakel” magician O-Wells from Frankfurt, Siamese Twin Records co-runner Sunju Hargun, and the versatile club and beyond production duo Red Axes. They all respect TM Solver’s analogue zones and pitch them into the 115 to 130 BPM districts, while transcending his absorbing synth compositions into the world of nervous acid-laden ambient, slow-mo techno, industrial bass, post-trance, and all that hallucinogenic echo house. Nine subtle energy vibrations, epic and full of countless facets, shaped to turn on, tune in, and drop out.

NRG is one of the most important artists the rave scene ever saw, with an endless string of classic releases under his belt!

This box set contains the vast majority of his back catalogue, gloriously remastered, as well as brand new remixes from some of the most talented people in the business old skool and new: Altern 8, New Decade, Hyper On Experience, Bay B Kane, Luna-C, Paul Bradley, and Al Storm.

French techno titan Madben unveils his much anticipated ‘Troisième Sens’ LP on Maceo Plex’s Ellum Audio.

Madben started absorbing the techno of Jeff Mills, Dave Clarke and Speedy J in the 90s, growing up in Lille in northern France. He retains a passion for DIY culture and warehouse parties thanks to youthful raving at Brussels' Fuse, Gent's Kozzmozz or in abandoned factories in Courtrai. All this has shone through in his music, including a debut album on Astropolis in 2018 that featured a collaboration with Laurent Garnier and a recent EP for Garnier and Scan X’s label.

Over the last decade, he has become a European club and festival favourite playing places like Berghain and Awakenings. His studio boasts a fine array of machines utilised to full effect on this latest opus. ‘Troisième Sens’ perfectly reflects what the artist has always loved, listened to and played, keeping one eye on the dance floor but never at the expense of musical narrative. It’s a genuinely progressive, multi-genre body of work that allows listeners to fully immerse themselves in the seemingly limitless depths of the Frenchman’s sonic capabilities.

He says, “Over the years, I learned to have more fun with the gear in my studio, and this has been the result. The album took three years to finish; I started in an underground basement studio in Paris before moving to Nantes. Therefore, it may surprise listeners with such a diverse selection of moods. It's dark in places but happy in others.”

'Departure' kicks off with uplifting synth work and broken techno beats that have a celebratory feel. 'Addicted' is a lithe cut with steamy vocals and a more fulsome combo of drums and bass, while 'Circuit Breaker' cuts loose in the cosmos. Acid wobbles, smeared synths and metallic percussion all make for a bouncy cut before 'Fade In Fade Out' continues the cosmic trip with vastly oversized synth patterns that will light up a dark space with overwhelming euphoria.

The brilliant 'It's 1 am In A Rave' is a dark, heads-down banger with 'Lost Memories' then layering up melancholic synths and Plastikman-style drum loops into something full of deep thought. There is no let up with the superb acid techno gymnastics of 'No fear', and 'The March' is a turbulent mix of sheet metal synths that whip about over steel-plated drums. 'You Dance Like A Robot' is end-of-the-world electro with a menacing robot vocal, and the electro tip continues with expert drum programming and menacing leads on 'Deep In The Jungle'. 'Meta' is a flailing rhythmic workout that sounds like the machines are in meltdown, and 'I Made A Dream During This Nightmare' is a serene techno soundscape for ruminating about the future of the human race.

Intelligent yet immediate, impactful but emotional, ‘Troisième Sens’ is another standout techno record from Madben.

REPRESS

Alessandro Cortini (Nine Inch Nails/How To Destroy Angels) composed the Forse series using a Buchla Music Easel. Forse, meaning "maybe" In Italian, is a series of 3 double LP releases Cortini recorded for Imprec to release in 2013.

"All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion , filtering, wave shaping, etc) are just as expressive as a chord change or chord type, and often reinforce said chord progressions.

Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment."

Out of the many artists, both new and established, that Futurepast has welcomed to its family, Spanish producer and DJ Eduardo De La Calle is one that we can definitively call a legend. His vast discography includes many of dance music's most appreciated labels, so we're humbled to present a full EP from him.

His EP "Kardama" emerged as the winter of 2022 bled into 2023, a period where he'd actually been producing more downtempo works, so "Kardama" is his most recent take on techno; a genre he is certainly well-versed in with over 25 years experience.

As a reflective work, De La Calle processes emotions and thoughts with analog methods, reverse delays and pedals on "Kardama". The emotions that he holds close to himself show up in the detail that sits deeper within each track.

"I simply make music with the intention of feeling better" says De La Calle, "it is a therapy for my mind and for my spiritual state. Through a creative process, I feel calm and useful for the world and for myself."

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Concerto Pour Détraqués" was ranked 52nd best French rock album by Rolling Stones magazine in 2010.

Eleven tracks like so many vitriolic pictures of a sick society: rape, extreme right-wing, psychiatric confinement, security paranoia, alcoholism and all the other crap that the future seems to hold. Loran and François express more than ever their rage and their refusal of the adult world in a recital with three chords: more aggressive guitars, more incisive lyrics and voices while an armada of chorus members and a saxophone come to heckle or underline this darkness.

"Concerto Pour Détraqués" is the band's reference album, with a string of hymns to insubordination and freedom: Petit Agité, Vivre Libre ou Mourir, Les Rebelles, Porcherie, Hélène et le Sang...

The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

"Goldfish" Indie Store Exclusive Color Vinyl Brooklyn-based musician and producer Barrie Lindsay, known simply as Barrie, has a passion for creating left-of-center pop music. She spends her days writing songs and tinkering in Logic, stockpiling her creations in a vast archive of folders and hard drives. When it came time to select the songs for her sophomore LP, `Barbara,' she narrowed it down to sixteen tracks. As the record came together, it became clear that there would be two separate projects - the first being `Barbara,' an emotionally charged collection of songs dealing with the loss of a parent, the love of a new partner, and finding one's own identity. The remaining five tracks, which were more light-hearted and o the cu, were compiled into a new project titled `5K.' As an avid runner, Barrie named the EP after the common foot race. The aptly titled lead single, "Races," is a delightful synth-pop track in a unique 12/8 time, built around a bombastic drum kit and giddy key ris. "Nocturne Interlude" acts as a segue between `Barbara' and `5K,' showcasing a haunting melody amidst dark brass-like synths. Second half highlight "Ghost World" has a distorted guitar ri and classic drum pattern that evokes a forgotten 90's radio b-side. The song was recorded entirely by Barrie herself, serving as her own band on guitar, bass, keys, and drum kit. Even though most people would finish listening to the project front to back before finishing a 5k run, the short, sweet, and melodically rich EP begs to be replayed over and over. With `5K,' Barrie showcases her versatility as an artist, closing the loop between the sounds found on her debut LP `Happy To Be Here' and her follow-up `Barbara'.

"Death Age" behält die bis an die Zähne bewaffnete, wilde Militanz des früheren Materials von LA's Kommand bei - mit mehr grausamer, kriegerischer Brutalität als je zuvor in feindliches Gebiet vorgedrungen. Die koordinierte Bombardierung eines ganzen Kontinents ankündigend, ist "Death Age" eine Luftangriffssirene für eine bevorstehende Katastrophe!

Die bedrohliche Atmosphäre von "Death Age" kündigt das Ziel an: zerschlagen, zerstören und vernichten, ohne Rücksicht auf Verluste. Death Metal dieser Art beruft sich auf die primitivsten, ungezähmten Instinkte und rückt vor wie ein Panzerkonvoi durch besetztes Gebiet, rücksichtslos gegenüber allem und jedem, der sich ihm in den Weg stellt.

Vom Opener "Final Virus" bis zum abschließenden "Collapse Metropolis" beschwören Kommand die Vision einer dystopischen Höllenlandschaft mit Städten, die permanent von schweren Waffen unter Beschuss stehen, und jenen Unglücklichen, die den Ansturm überlebt haben. "Death Age" hinterlässt somit einen endgültigen Epitaph auf dem blutigen Müllhaufen der nahen Zukunft.

- Zweites Album nach dem 2020er Debüt 'Terrorscape', veröffentlicht über Maggot Stomp.
- Europatournee 2022 mit Auftritt beim Kill Town Death Fest
- Gemischt und gemastert von Arthur Rizk (Dream Unending, Gravesend, Daeva)
- FFO: Bolt Thrower, Asphyx, Acephalix, Vastum, Hail of Bullets, Stormcrow, Hellshock, Sanctum

"Death Age" behält die bis an die Zähne bewaffnete, wilde Militanz des früheren Materials von LA's Kommand bei - mit mehr grausamer, kriegerischer Brutalität als je zuvor in feindliches Gebiet vorgedrungen. Die koordinierte Bombardierung eines ganzen Kontinents ankündigend, ist "Death Age" eine Luftangriffssirene für eine bevorstehende Katastrophe!

Die bedrohliche Atmosphäre von "Death Age" kündigt das Ziel an: zerschlagen, zerstören und vernichten, ohne Rücksicht auf Verluste. Death Metal dieser Art beruft sich auf die primitivsten, ungezähmten Instinkte und rückt vor wie ein Panzerkonvoi durch besetztes Gebiet, rücksichtslos gegenüber allem und jedem, der sich ihm in den Weg stellt.

Vom Opener "Final Virus" bis zum abschließenden "Collapse Metropolis" beschwören Kommand die Vision einer dystopischen Höllenlandschaft mit Städten, die permanent von schweren Waffen unter Beschuss stehen, und jenen Unglücklichen, die den Ansturm überlebt haben. "Death Age" hinterlässt somit einen endgültigen Epitaph auf dem blutigen Müllhaufen der nahen Zukunft.

- Zweites Album nach dem 2020er Debüt 'Terrorscape', veröffentlicht über Maggot Stomp.
- Europatournee 2022 mit Auftritt beim Kill Town Death Fest
- Gemischt und gemastert von Arthur Rizk (Dream Unending, Gravesend, Daeva)
- FFO: Bolt Thrower, Asphyx, Acephalix, Vastum, Hail of Bullets, Stormcrow, Hellshock, Sanctum

‘How Many Dreams?’ is the highly anticipated fourth studio album from Australian three-piece DMA’S. Featuring the singles ‘I Don’t Need To Hide’ and ‘Everybody’s Saying Thursday’s The Weekend’, the record is another step forward for a band on a still upwards trajectory. Partly recorded in the UK with Rich Costey (Sigur Ros, Muse, Foster the People) and Stuart Price (Dua Lipa, The Killers, Madonna) before being finished with Konstantin Kersting (Mallrat, The Jungle Giants) back in their hometown of Sydney, ‘How Many Dreams?’ is designed to be ambitious, a sonically vast landscape; there are songs to rave to, and songs to cry to. There’s a definite sense of celebration and revolution was brewing within the band on this record. DMA’S exploded onto the scene in 2014 with their debut single ‘Delete’. Since then, the band have released three acclaimed records with their last album THE GLOW (released in March 2020) debuting at #4 in the UK, #1 in Scotland, #2 in Australia. DMA’S have sold out worldwide tours including selling out shows at London’s Alexandra Palace and O2 Academy Brixton, and Manchester’s Castlefield Bowl, and graced the stages on festivals like Reading & Leeds, Glastonbury, Coachella, Lollapalooza, Outside Lands, Osheaga, Gov Ball and many more. UK April tour!

. Follow up EP to 2022s ‘Barbara’, which was praised by The New York Times, NPR Music, KEXP, KCRW, Stereogum, The Line Of Best Fit, Billboard, Consequence, Under The Radar, Clash and more. Fresh o­ff support tours with Alex G in the US and Japanese Breakfast in the UK. Barrie will be showcasing as an offcial artist at SXSW 2023. New EP expands on the sound of ‘Barbara’ while taking a fresh approach to songwriting and collaboration. Brooklyn-based musician and producer Barrie Lindsay, known simply as Barrie, has a passion for creating left-of-center pop music. She spends her days writing songs and tinkering in Logic, stockpiling her creations in a vast archive of folders and hard drives. When it came time to select the songs for her sophomore LP, ‘Barbara,’ she narrowed it down to sixteen tracks. As the record came together, it became clear that there would be two separate projects - the first being ‘Barbara,’ an emotionally charged collection of songs dealing with the loss of a parent, the love of a new partner, and finding one's own identity. The remaining five tracks, which were more light-hearted and o­ the cu­, were compiled into a new project titled ‘5K.’ As an avid runner, Barrie named the EP after the common foot race. The aptly titled lead single, "Races," is a delightful synth-pop track in a unique 12/8 time, built around a bombastic drum kit and giddy key ri­s. "Nocturne Interlude" acts as a segue between ‘Barbara’ and ‘5K,’ showcasing a haunting melody amidst dark brass-like synths. Second half highlight "Ghost World" has a distorted guitar ri­ and classic drum pattern that evokes a forgotten 90's radio b-side. The song was recorded entirely by Barrie herself, serving as her own band on guitar, bass, keys, and drum kit. Even though most people would finish listening to the project front to back before finishing a 5k run, the short, sweet, and melodically rich EP begs to be replayed over and over. With ‘5K,’ Barrie showcases her versatility as an artist, closing the loop between the sounds found on her debut LP ‘Happy To Be Here’ and her follow-up ‘Barbara’

Sunergy brings together synthesists Kaitlyn Aurelia Smith and Suzanne Ciani for the thirteenth installment of FRKWYS, RVNG Intl.'s intergenerational collaboration series. For this edition, a panorama of the Pacific Coast provides the place and head space for a musical appreciation and consideration of a life-giving form vast and volatile with change. Fortuitously (as is the freaky way), Smith and Ciani were discovered to be neighbors in the small coastal community of Bolinas, California. The two had become close friends, bonding over their experience as woman musicians and, more unusually, their shared passion for the Buchla synthesizer. The music of Sunergy embraces this kinship, with Ciani and Smith respectively performing on the Buchla 200 E and the Buchla Music Easel, two modern configurations of the innovative instrument developed in the '60s by Don Buchla.
Sunergy was recorded in the Bolinas home where Ciani has lived for the last twenty-four years. Her living room overlooks the Pacific Ocean from a cliffside perch, creating an idyllic, inspired setting for music making. Setting up their synths side-by-side, Ciani and Smith took turns keeping time and freely improvising for the album sessions. As a complete piece, Sunergy is shaped by slow, pulsing forms and sinuous, melodic sequences that conjure both an oceanic world and the unlimited sound made possible by modular processing.For her part, Ciani has long been a Buchla voyager. Suzanne proselytized the potential of Don's synthesizer instruments in the '60s and '70s, performing her own compositions before introducing synthesized jingles and sound effects to household audiences. Ciani then achieved wide recognition for her debut album Seven Waves, a collection of colorful, classical song-like melodies fluidly working with harmonic textures and sounds of the ocean shore. Since its 1982 release, Seven Waves has become an important chapter of the ambient canon within which contemporary artists like Smith have developed their own synth syntax. Smith was born just a few years after the appearance of Seven Waves, growing up in Orcas Island, Washington. A place of profound natural beauty, the islands would inform Tides, her first instrumental collection from 2014. Smith composed Tides as an accompaniment for Yoga classes, ultimately freeing her from conventional songwriting into the exploratory, synth-based compositions demonstrated in ecstatic variety on 2016's Ears. Despite the serene setting where Sunergy was realized, the album does not romanticize a complete oneness with nature. Smith and Ciani use their collaborative ground to reflect on the unstable forces at play across the Bolinas horizon. Sunergy takes stock of Bolinas in the 21st century, a once-thriving artist's refuge now vulnerable to real estate pressure extending from affluent San Francisco, and more irreparably, the specter of climate change erasing its many waterfront habitats.
A diametric dynamic is present in Sunergy, a somber meditation amidst the intense cultural and solar forces transforming the landscape, and a hopeful assertion of the surviving creative culture of Bolinas. Far from rehashing the gentle grace of the artists' seminal works, Sunergy instead seeks to awaken and bear witness, employing the Buchla waveforms to mirror the infinite rhythms of the ocean and our essential relationship to it.
Kaitlyn Aurelia Smith and Suzanne Ciani's Sunergy will be released on September 16, 2016 on LP, CD, and digital formats. An accompanying documentary by Sean Hellfritsch will be offered in tandem.

World-renowned horn player Mats Gustafsson teams up with Joachim Nordwall to create THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE- an avant-garde masterpiece. Gustafsson and Nordwall push their instruments to the limit, almost mirroring the title of the record by "reaching across space and time". The duo creates a sense of vast, three-dimensional auditory expanses. "This is where acoustics and analog synths meet. It is unique music. Unheard Vibes. Perfect for special venues and good PAs..." -Gustafsson & Nordwall. We encourage listeners to take multiple journeys through the expansive spacial exploration that is THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE. Joachim Nordwall has been active in creating psychedelic electronic music since the late 80s- A cornerstone of the Swedish musical underground, exploring the extremities of guitar music with The Skull Defekts and solo recordings as The Idealist that access the spiritual and political dimensions of electronic music and dub. Nordwall also runs the esteemed and boundary pushing iDEAL Recordings, cementing his position as a major player in the contemporary scene. Mats Gustafsson is a prominent figure in the modern jazz scene, working as a composer, improviser, and saxaphone player. He has been involved in hundreds of projects, including work with Sonic Youth, Neneh Cherry, Peter Brötzmann, and Merzbow, as well as being an active member of groups such as FIRE!, The END, and Swedish Azz.

World-renowned horn player Mats Gustafsson teams up with Joachim Nordwall to create THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE- an avant-garde masterpiece. Gustafsson and Nordwall push their instruments to the limit, almost mirroring the title of the record by "reaching across space and time". The duo creates a sense of vast, three-dimensional auditory expanses. "This is where acoustics and analog synths meet. It is unique music. Unheard Vibes. Perfect for special venues and good PAs..." -Gustafsson & Nordwall. We encourage listeners to take multiple journeys through the expansive spacial exploration that is THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE. Joachim Nordwall has been active in creating psychedelic electronic music since the late 80s- A cornerstone of the Swedish musical underground, exploring the extremities of guitar music with The Skull Defekts and solo recordings as The Idealist that access the spiritual and political dimensions of electronic music and dub. Nordwall also runs the esteemed and boundary pushing iDEAL Recordings, cementing his position as a major player in the contemporary scene. Mats Gustafsson is a prominent figure in the modern jazz scene, working as a composer, improviser, and saxaphone player. He has been involved in hundreds of projects, including work with Sonic Youth, Neneh Cherry, Peter Brötzmann, and Merzbow, as well as being an active member of groups such as FIRE!, The END, and Swedish Azz.

Ground Groove, the third full-length release from the LA-based, Iranian-American producer and DJ, Maral, begins with an invocation: the sprawling, achingly heavy Feedback Jam opens the floodgates of history. Conventional (linear) spacetime collapses, crushed beneath the track’s lumbering 4/4 heartbeat and successive waves of distortion. As each wave recedes, samples trickle forward in the mix — seeking, perhaps, to fill the void. Voices and instruments rise and fall in uncanny reverse. Overlapping, implied melodies flicker into focus, then flit away. Feedback Jam is at once an initiation ritual, and a thesis statement for the record that follows.

Drawing upon a vast personal archive of Iranian folk, classical, and pop recordings (some sourced from mixtapes made by her parents in the eighties/nineties), Maral presents, on Ground Groove, a further refinement of the signature “folk club” sound she developed as a live DJ— a sound she would later codify on Mahur Club (2019) and Push (2020). By collecting, dissecting, and re/presenting sonic fragments from Iran, Maral practices a kind of dance-floor ethnomusicology. The subject of her inquiry: Iranian


culture and contexts, throughout history and in the present. But, crucially, this inquiry is instantiated within and throughout the body of the listener, whether this listener is dancing in the club, or riding the train, nodding along with headphones on.

Maral speaks of being in collaboration with her samples, treating each as a distinct bandmate, often consulting with an artist’s catalog (or even a single recording) as one would a trusted creative partner. In so-doing, Maral claims to seek to transcend the self. In this regard, her output neatly triangulates contemporary dance and heavy music with much of the traditional religious music that she samples. Broadly speaking, each of these idioms addresses a desire —shared by audience and performer alike—to transcend the self through volume, repetition, and movement.

Having, in her youth, studied the Setar under Nader Majd (the founder of Virginia’s Center for Persian Classical Music), Maral cycled through various genres (ex: punk, emo, dub) in her adolescence and early twenties, all the while expanding her knowledge of, and appreciation for, Iran’s diverse musical traditions during regular summer trips to Tehran. In college, Maral taught herself to make beats with a ripped copy of Ableton (which remains her DAW of choice), eventually transitioning to playing and hosting various club nights. Forever abiding by an autodidactic, DIY impulse to create art and foster community, Maral relocated to Los Angeles in 2013, where she quickly immersed herself in the city’s numerous overlapping music scenes.

Collaboration (beyond sampling) has proven an important component of her process, with notable spoken word contributions from the likes of Lee Scratch Perry and Penny Rimbaud, as well as a 2021 Panda Bear collab track (On Your Way), which the Animal Collective founder co-produced. Maral is equally attentive to the visual components of her records (album art, music videos, etc.), drawing upon the work of peers and friends for inspiration.

Indeed, the genesis of Ground Groove can be traced back to an audio-visual collaboration between Maral and the artist Brenna Murphy, originally commissioned for the 2021 Rewire Festival — a project that would eventually serve as the album’s foundation. Tracks eight through eleven on Ground Groove comprise Maral’s half of this installation, with tracks one through seven composed afterwards, inspired by the fruits of Maral and Murphy’s collaboration. Murphy’s visuals will be released alongside Ground Groove as a visual accompaniment. Additionally, Murphy designed the album’s art, directed the video for the lead single (the aforementioned Feedback Jam), and is featured on track six, Shy Night.

Composed largely on Ableton, Ground Groove features more frequent and more prominent live recordings from Maral (guitar, bass, and vocals) than either Push or Mahar Club. The cult favorite Roland MC-909 groovebox rears its head on Mari’s Groove. Mixed by Trayer Tryon (Hundred Waters) and mastered by Daddy Kev, the attention to sonic quality on Ground Groove constitutes another significant step in Maral’s development as a studio artist.

Ground Groove’s eleven tracks are “grooves” in the obvious sense, in that they are each driven by a persistent, propulsive rhythm, but the album’s title may just as well suggest the glacial passage of time—the scope of human history, in which individual voices, like streams, carve paths (impossibly) through earth and stone, winding their way to the vast sea of the present.

"In the closed circuit screen glow with the hand scripting the events of two people staring from a long distance for a matter of moments that seemed endless, vast, the pen takes to paper and senses apprehension in the author. Leaving things out from the self, the self knows the truth is well-guarded, security and a large key ring with one thumb-drive filled with secrets carefully placed beneath a granite prism, buried in brain cells and matter. Everything left unsaid is sacred and that sacrament is gold-leafed and stoic, crackling voicemail recording leaves out details, nearly telegrammed, a post-it's worth of vital information. We keep secrets to ourselves so tightly that we hide the secret from the self. Speak the truth, the closed circuit surveillance will manage the details."

Originally released in 2007, None Shall Pass was the fifth studio album by Aesop Rock. It features production by Blockhead, El-P (Run The Jewels), Rob Sonic (Hail Mary Mallon), and Aesop Rock himself. Guest features include El-P (Run The Jewels), Cage, Breeze Brewin (Juggaknots), Rob Sonic (Hail Mary Mallon), and John Darnielle (The Mountain Goats). Created over a two year period following the release of his Fast Cars, Danger, Fire & Knives EP, the album would prove to be Aesop's final release on the now defunct Def Jux label. The critically acclaimed album debuted at #50 on Billboard's Top 200 chart and #35 on their Hip-Hop and R&B charts, and includes the title track "None Shall Pass" which has proven to be one of Aesop's most popular songs to date. None Shall Pass documents the vast amounts of personal change Aesop had been experiencing at this time while still deftly depicting scenes and stories relative to all ages of life.

This unique and unconventional set combines a 7“ single with two yet unreleased songs by NON BAND and a photo magazine, both of which provide essential evidence of the tsunami-like tidal wave of the Japanese post punk movement.

The two featured songs VIBRATION ARMY and SILENCE-HIGH-SPEED perfectly capture the charismatic formative years of NON BAND, with their sound emerging as an entirely unique mix of driving punk veering from No Wave and Folk into raw post punk mutations.
Both songs were committed to tape in 1981 at the legendary facilities of Mod Studio, Tokyo, by engineer Yasushi Konichi when the band recorded their eponymous debut album which was issued via Tokyo‘s Telegraph Records back in 1982. Although both songs were miraculously omitted from the final album. Like all of Non Band recordings they have withstood the test of time thanks to their mix of direct, experimental yet disciplined rawness and studio magick.

The magazine features a text and a careful selection of photos from the vast archives of photographer Yuichi Jibiki, who was also the man behind the label Telegraph Records. Since 1978 Yuichi Jibiki was intimately involved with the early Japanese punk scene as their photographer, manager and organizer. He could be found very much in the midst of all NON BAND live shows between 79-82 as well as pulling the strings behind the scenes.

After the reissue edition of NON BAND‘s debut album via Stefan Schneider‘ TAL imprint in 2017 the label is excited to be able to offer another key release showcasing the creative peak of Japanese Post Punk.

Music by Non Band. Recorded by Yasushi Konishi in 1981 at Mod Studio, Tokyo.
Mastering by Detlef Funder at Paraschall, Düsseldorf 2022
Photographs by Yuchi Jibiki 1979-82

Als Sandrayati aufwuchs, zog sie von Ort zu Ort, um dem Ruf ihrer Eltern im Kampf für die Rechte der Ureinwohner zu folgen. Der ”Safe Ground”, das sichere Zuhause, wurde so durch die menschliche
Verbindung geschaffen. Als Person, die immer das Gefühl hatte, „vielen Orten zuzugehören“, fühlte sich Sandrayati nach den Lockdowns im Jahr 2020 so weit von ihrem Zuhause entfernt, dass sie nicht zurückkehren konnte.

In dieser Zeit entwickelte sie die Überzeugung, dass die sicheren Orte des Lebens manchmal bewusst geschaffen und gepflegt werden müssen – anstatt erwartet zu werden. Produziert vom GRAMMY-nominierten Komponisten Ólafur Arnalds, wurde dieser ”Safe Ground” nun musikalisch in Vinyl zusammengefasst.
Einem ultimativen sicheren Ort für Sandrayati, unabhängig von ihrer Stecknadel auf der Landkarte. Sandrayati beschrieb das Schreiben und Aufnehmen als persönliche „Landung“ und entdeckte in dieser faszinierenden neuen Landschaft eine reife Stimme.

Schließlich sucht sie viele wartende Hände einer neuen Gemeinschaft und hofft, den verlorenen Seelen, die ihre Vorstellung von Zuhause neu erfinden, einen ähnlichen Trost zu bieten.

"El Pasaje del Aumento" is a collection of syncopated rhythms for hypnotic slow dance. An accident of oppressive atmospheres with a humorous sense of rhythm and composition, which moves between downtempo, African rhythms and dub. With a certain oriental softness, it introduces you into a state of enchantment, spell... a hypnotic and mysterious restlessness, almost uncomfortable. Sentuhlà squeezes his Yamaha Rm1x on this second album, creating rhythms that you would never believe possible with a single synthesizer. He spins, twists and strangles it to the limit, til getting the last drop of frequency and oscillation.

Without too obvious references, it recalls the rhythms of Toulouse Low Trax or Wolf Müller, the experimentation of Muslimgauze, the repetition of Huerco S... But if you ask Sentuhlà himself, he will also mention Fela Kuti, Sun Ra, Can, Cabaret Voltaire, Tom Zé or Lee Scratch Perry...

Sentuhlà is one of the many aliases of musical jack of all trades José Guerrero, a long-standing figure in the already rich underground scene of Valencia. In this solo excursion, he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms, and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear-eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened African rhythms beat up no-wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated.

After several years of intense performance activity, the Italian sound artist and
vocalist SARA PERSICO releases her debut EP "Boundary", to be followed by a full album.


Born and raised in Naples, Berlin-based sound artist / vocalist SARA PERSICO cut her teeth
experimenting on the fringes of Naples' fiery underground experimental/noise scene, developing a
technique that would integrate her voice with analogue electronics, field recordings, and samples.
PERSICO holds a BA from the Conservatory of Napoli and a Master's Degree from the
Conservatory of Bologna and gained several residencies and scholarships like Temp Studio,
Lisbon (2018), Amplify Berlin (2021), Sonoscopia, Porto (2022), Sardegna Teatro - V2 Unstable,
Argentiera (2022). She presented her work in festival and events like Ballroom Blitz Beirut, CTM
Festival, Ortigia Sound System Festival/Bosco Colto, Codex Club, Documenta Fifteen, Dancity
Festival, Radical DB, Life Libertas Festival, among others.


As improviser and performer, she has collaborated with a wide spectrum of artists, joining EVELYN
SAYLOR's vocal ensemble for CATERINA BARBIERI's acclaimed "light-years" show at Rewire
Festival and London's Southbank Centre, and worked on projects alongside THE EX's ANDY
MOOR, TONY ELIEH (KARKHANA), LUDWIG WANDINGER, DIRAR KALASH, ELVIN BRANDHI,
RECORDAT, and many others.

She's also a fearless DJ who's able to straddle vastly different worlds, offering just as much
attention to abstract electronic sounds as she does bass-heavy club music, noise, and vocal
experiments. She is currently a resident on Bethlehem's Radio Alhara.

All this energy and experience radiates from her solo debut "Boundary": PERSICO's expressive
vocals play a central role, but her command of precisely sculpted electronic textures and dynamic
rhythmic structures is just as crucial to the overall experience.
Deconstructed beats, experimental voice, harmonic music, distorted rhythms craft a dense
introspective work that explores intimately the boundaries of the self. Identity rupture as a survival
technique, a voice-research climax with an unconventional approach - multi-faceted ideas melt in a
heavy-aesthetical 6 track solo EP that brings together different styles like noise and clubby sounds.

German masked pianist, composer and producer of modern classical and electronic music Lambert ventures into contemporary jazz with an electrifying and diverse jazz-electronic album. All This Time ranges from mesmerising classic jazz vibes to high-energy, beat-driven alternative jazz fusing electronics, drums, double bass & piano, referencing the sound worlds of Portico Quartet and GoGo Penguin. Released jointly on Verve Records and MercuryKX.

With her hypnotizing voice and vivid lyricism, Jackie Mendoza makes fantastical, intimate electro-pop propelled by ukulele-based dance grooves. Having grown up between her birthplace of Chula Vista, California and Tijuana, Mexico, the 29-year-old singer-songwriter and multi-instrumentalist bridges these two worlds with dynamic soundscapes that pull from Latin pop, electronic music, and indie pop. She creates a musical universe that exists beyond strict borders of genre and geography, giving her the space to traverse the vast expanse of her interiority. Mendoza first started performing in 2014 as the vocalist for Brooklyn dream pop bands Gingerlys and Lunarette. She then broke out as a solo artist with her 2016 pop hits "Islands" and "La Luz," which showcased her imagery-packed, yet deeply introspective lyrics. On LuvHz, her 2019 adventurous debut EP that was initially inspired by a painful breakup, she turned her personal experiences into songs that observe greater truths about the world around her. As a result, the project became a broader reflection on varying forms of love, in relationships with your partner, your culture, and the natural environment. Mendoza expands this approach on her debut album, Galaxia de Emociones (Galaxy of Emotions), which sees her exploring a great range of feelings, from depression, celebration, outrage, numbness, hopelessness, and thrilling love. She uses each emotion as a portal to convey the intricacies of her experience as a queer, first-generation Mexican American woman, who actively defies and criticizes machismo and the Christian culture she was surrounded by. Brought up in the suburban border town of Chula Vista, she recalls being told by her parents to not mix English with Spanish, but speaking "spanglish" quickly became inevitable. It wasn't until high school, that learning to play ukulele and singing in school musicals allowed her to authentically express herself. "This album is about finding the courage to not only face my emotions, but also sharing them by singing them out loud." Mendoza says. The project was co-written and co-produced by Mendoza and Rusty Santos (Animal Collective, Panda Bear), with a contribution from Grammy winning producer and accordionist Ulises Lozano. As Galaxia de Emociones cruises from shimmering indie pop to accordion-laced electronic norteño, Mendoza proves there is both power and tenderness in embracing the fullness of your being and not doubting your instincts that might have been discouraged by society. She says it all in the opening song, "Natural," which blooms with spacey synths and twinkling ukulele plucks. "There is no use in controlling what comes natural to you," she sings in Spanish in a spellbinding loop. With her new album, she hopes that listeners can connect with her words and look within to explore their own galaxy of emotions.

Canto Ostinato is the new volume of classical minimalism from musician and producer Erik Hall. Written for four pianos in 1979 by Dutch composer Simeon ten Holt, the piece is freshly framed as an intimate, hour-long solo performance consisting of multitracked grand pianos, electric piano, and organ. Modern yet warm, ethereal yet tangible, Hall's Canto Ostinato expertly bridges a revered piece of meditative concert repertoire with a tactile and highly personal studio setting. Chicago-born and Michigan-based, Erik Hall is known as a multi-instrumental pillar for the groups NOMO, Wild Belle, and his own songwriting moniker In Tall Buildings. He has composed music for feature films, and as a producer/engineer he has shaped records for Natalie Bergman and Western Vinyl labelmates Lean Year. In a 2020 creative pivot, he chose to reinvent composer Steve Reich's monumental contemporary classical masterpiece Music for 18 Musicians as a solo undertaking, applying the piece's score to the familiar keyboards, guitars, and synthesizers in his studio. "At the time I think I was working through my identity as a musician and an artist," Hall explains, "and on a level there was some sort of exorcism of a long held pop spirit." The album was celebrated for being "freshly thrilling" and "legible in history but assertive of the moment" (Pitchfork) and "beguiling, meditational, and magical" (Electronic Sound). It won the 2021 Libera Award for Best Classical Record, and it quickly joined the canon of the piece's quintessential recordings. "There is a pseudo-meditational benefit to working on a longform piece that's built on repetition," Hall says. "Every stage- from internalizing the music, to executing the performance, to editing and mixing the record- requires deep and sustained presence of mind. I've always been drawn to a hallucinatory combination of harmony and repetition, and I found the entire process addictive." An apt second chapter, Canto Ostinato is inherently vast, and its score gives great creative license to the performer. Comprising 106 sections, complete freedom is given to repeat each one as many or as few times as desired. Additional leeway is given with regard to dynamics, articulation, and even instrumentation. On the heels of his previous, rather maximal arrangement, Hall chose to limit this album's palette to three foundational keyboards of his studio: a 1962 Hammond M-101 organ, a 1978 Rhodes Mark I electric piano, and his family-heirloom 1910 Steinway grand piano. "This particular piece brought the added challenge of rekindling my dexterity as a pianist, something I haven't maintained in earnest since I was a teenager," he admits. The ensuing five-note rhythmic motif- the piece's primary building block- is steady and workmanlike, forgoing virtuosic flare for depth, texture, and resonance, and eventually giving way to the stunning gratification of a gorgeously lyrical left turn. As with Music for 18 Musicians, Hall employed no loops nor quantization nor any programmed or sequenced instruments of any kind. Every part was performed live in a room and captured with microphones, one at a time, each informed by, and reacting to the last. In this way the record breathes with interplay and an organic humanity, complete with flaws, noise, and the faint sound of turning pages. The recording quality is nonetheless toneful and saturated, characteristic of Hall's production style and straying from the usual transparency of classical albums by using gear with tubes, transformers, and various stages of compression in the signal path. Always there is unmistakable realism and the feeling of being present in the room, sitting among the keys, hammers, and tines. Ten Holt said: "Time, patience and discipline are the prerequisites for making a genetic code productive." His landmark composition provides Hall once again with a wondrous space in which to reverently embody this sentiment and deftly convey the elegant beauty of this music.

2023 Repress

Two years ago Credit 00 was lucky enough to find a flat with a winter garden in the midst of the city's concrete vastness. Setting up his studio there, surrounded by plants, facing the backyard oasis with its trees, bushes and birds singing all day was quite the opposite of his usual work environment. The contrast of being in nature whilst surrounded by an urban neighbourhood is explored on Credit 00's latest outing on Uncanny Valley. Two different settings represented on either side of the vinyl record. The street side of the building is Credit 00's typical habitat: rough drums, face melting acid and ghetto style track arrangement. R U READY 2 JACK pays tribute to Belgium New Beat and wants to sound like Hardcore that is coming from the heart. TRUE 2 THE GEHM is an ode to one of the true German Acid innovators, Andreas Gehm (R.I.P.), originally written in 2016 for a compilation, which raised money to help him cover expenses incurred due to his severe health issues. The backyard side reveals the influence of flora and fauna on Credit 00's work. On both THE GARDEN and DEEP IN THE JUNGLE, you can hear his synthetic interpretation of mother nature's repertoire. Birds chirping, acid frogs croaking and the wind blowing through the trees to the sound of jungle drums. Despite all the differences between the concrete and the green jungle, there are also a lot of similarities. As the artwork (hand-drawn by Credit 00 himself) illustrates, graffiti spreads all over buildings like wild vine grows on rocks: chaos reigns everywhere, whether in natural or man-made environments!

Antipodean Anomalies 2 is Left Ear Records' most ambitious project to date, a compilation that took over 4 years to license and includes 17 artists across a double LP. AA2 picks up where the first iteration left off, with co-compilers Chris Bonato and& Bridget Small continuing to dig through the music of the geographically isolating and maverick landscapes of Australia and& New Zealand.

As with the first iteration, Left Ear continues its to excavation ofe the music from these vast micro-scenes that evolved out of a number of small community-focused domains, creating their own unique reinterpretation of musical influences from near and far, spanning the years 1980 – 1992.

The compilation scopes an overlooked epoch from Adelaide, presenting acts such as the DNA Lounge, TCH & Will Kuiper. A close-knit community of like-minded mates that made distinctive electronic music together throughout the 80’s, all of which remained unreleased until now. Holbrook Buchanan capture the ambiance of Perth’s heat prodded afternoon’s perfectly with their track Hunger, a breezy 9-minute minimal-jazz jam that includes kalimba, water samples & conga. Furthermore, artists like David Watson & Colin Offord use samplers and handmade instruments to offer a more abrasive and experimental aesthetic.

To round out the compilation, artists such as Jane Stevenson, discovered a 7” at an op-shop and found the needle stuck on the word, ‘Aloha’. Using tape loops, she chose to highlight imperfections rather than hide them and in unison managed to cross boundaries of time; the 60s (album voice) and the 80s (my voice), of location; Hawaii and Australia, and of language; “Aloha and Hi”. This ethos echoes the compilation's vision, to champion artists that implement impromptu creativity, and who have a desire to create regardless of their surroundings and resources. AA2 signs off with the Back to Back Zithers, drawing inspiration from the haiku poems of Basho. To illustrate this, Kari set a Kacapi improvisation to the backdrop of the cicada chorus of summertime in outer Melbourne.

chant#11 is the first VA compilation by David August's imprint featuring KMRU, Yu Su, Kareem Lotfy, Hadj Sameer, Sara Berts and more. Including also two new projects by August himself, Aşa (with jazz-noise vocalist Cansu Tanrikulu) and Madrā (with Carnatic vocalist Sushma Soma).

Observing how the world is continuously transforming, an idea of motion comes to mind. Inspired by Plato's concept of movement ("Nothing ever is, everything is becoming"), 99CHANTS has invited artists to create an "imaginary landscape." What does tomorrow sound like?

With creativity an increasing part of our daily lives, we must consider how we navigate the changes this contemporary environment brings. This means thinking through our responsibilities as a label, but also the role of music at this particular moment in time. We believe creativity and looking within our interior worlds can set hope and action in motion. We are curious to further explore music's ability to create gateways to such inspiration. With humility and gratitude, we hope this compilation can be a small contribution to a larger picture.

Since we started 99C in 2018, the safeguarding of the environment has been paramount to our existence. Considering the possibilities of tangible impact, we thoughtfully considered the act of compensation and decided that all proceeds will go directly to the non-profit organisation ONETREEPLANTED. Founded in 2014, OTP works with partners around the globe to plant trees in areas affected by deforestation. With 10 million trees planted as of 2020, biodiversity has been stimulated, jobs have been created, and while multinational conglomerates and energy companies produce the vast majority of global CO2 emissions, areas destroyed in the name of profit can once again flourish with life.

On Origins Chris Bartels takes on the role of singer-songwriter for the first time under his Elskavon moniker, unveiling a voice that wouldn't sound out of place next to vocal-forward artists like Justin Vernon, Jónsi, or Baths, who master the balance between conventional songcraft and bold, idiosyncratic experimentation. Origins is vast yet intimate, fluttering yet cohesive, tattered yet clean, a little like rainfall during sunlight. Shedding the ambient-classical confines of his previous output, the album's opener and title track, offers a swirling mosaic of acoustic textures that recall the beloved duo The Books, laced with warped vocal utterances flitting in and out of a club-friendly beat. "Origins" is followed by the equally danceable "Coastline," which drives home the smiling melodies and intricate sound-design that form the spine of Origins, keeping Bartels' voice in a largely decorative and impressionistic role up to this point. "Blossom and the Void" dissolves the introductory tension as Bartels comes out lyrically swinging, his digitized voice chanting widely over the mutated New Wave-esque anthem. Here, Bartels shows his instinct for dynamics by rising to bombast and quickly dispelling it, making steep yet grace- ful descents into skillfully delicate sound-design. Throughout Origins, the patient glacial aesthetic of his previous work is still discernible-- there are wordless, expansive panoramas that stretch out patiently for minutes at a time and smartly resist the impulse to pack each moment with a persona made even more impactful when Bartels chooses to wield it. At other times, his spokesmanship is woven discreetly into a larger tapestry, like on "See Out Loud" (and its ambient reprise) where Bartels' voice shimmers from a distance, covering the scene in diffuse splendor. "There is so much warping, mangling, re-sampling, reversing and pitching," Bartels says of his intricate vocal manipulations. "I printed a lot of the vocal recordings onto a tape machine from the `60s, first at one speed, and then I'd halve, or double the speed going back into my comput- er," he elaborates, illustrating how this kind of analog processing freed him from his habits. "Sometimes I'd do this multiple times on one recording or layer-- it gave me such a unique and unexpected sound. At this point, I threw away any inhibition on what type of vocals to have, or not have, on the album." This newfound freedom is palpable in the peaks of soaring grandeur that dot the emotional landscape of Origins. "All These Years" cathartically reaches one such summit in its second half after laying a path of gently plodding indie-IDM in its first. The cinematic vignette "Dreymur Aftur" provides pause for reflection amid its brisk procession of string plucks and rhythmic synthesizer while marching wordlessly into album-closer "This Won't Last Forever." Here at the end, Bartels' guitar playing is laid bare in the mix, skeletally framing a single ribbon of his voice as it unfurls into the atmosphere. Though the track isn't expressly lyrical, its starkness still exemplifies the new leaf of vulnerability Bartels has turned over on Origins, an album that documents his hard-won evolution from musician, to producer, to composer_ and finally_ his confident arrival in the role of songwriter.

Sony Music Masterworks announces the vinyl format release of 'Sable (Original Video Game Soundtrack)', featuring instrumental and vocal music written by Japanese Breakfast’s Michelle Zauner for the globally acclaimed open world video game. The critically celebrated soundtrack is now being released as a stunning double coloured vinyl (purple/pink). This wasn’t Zauner’s only video game contribution of 2021: for the trailer to the new Sims 4 expansion pack 'Cottage Living', the singer/musician/director/bestselling author recorded a new version of her song 'Be Sweet' in Simlish, the fictional language featured in the Sims games. Drawing from her years of songwriting experience, Sable finds Zauner making new explorations into ambient and experimental music, the resulting soundtrack as breathtaking and otherworldly as the game itself. Sable had been hotly anticipated after being teased at E3 2018. The game is a unique and unforgettable journey accompanying guide Sable through her Gliding; a rite of passage that will take her across vast deserts and mesmerizing landscapes, capped by the remains of spaceships and ancient wonders. Of the soundtrack, Zauner says, “It was important to me that each biome in this world felt unique. I used woodwinds and vocal layering to make monumental ruins feel ancient and unknown, industrial samples and soft synths to make atomic ships feel cold and metallic, classical guitar and bright piano to make encampments feel cozy and familiar. I wanted the main themes to recall iconic works of Joe Hisaishi and Alan Menken, to fill the listener with the childlike wonder of someone on the precipice of a grand discovery."

Exclusive and limited 7” with two new recordings by Don Letts and Greg Foat & James Thorpe, recorded for the new RELATIN project (the reimagining of Latin musical roots from another time for our generations).

Don Letts, together with the producer Gaudi, applies his vast knowledge of dub and spatial sound he is known for to a song recorded by the Venezuelans Un Dos Tres... Y Fuera in the 70s. At the time an avant-garde folk sound from South America gets dubbed out in the hands of an innovator of British rock. The track included here is a edit version from the one heard on streaming platforms. Greg Foat brings an unprecedented jazzy sensibility to a song from the Colombians Cumbia Moderna de Soledad (from the late 70s), a band set out to modernize the folk music of their people.