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The hyper talneted Stellar Om Source (NOT NOT FUN, RVNG, NO 'LABEL) blowing up new styles on this one!

"If there is one thing that leaps out from Stellar OM Source’s music, it is the sense of a highly active mind at work. There is an indivisible feeling that a real person is behind this dynamic flurry of tones, waves, vibrations and modulations. On I See Through You, the first full Stellar OM Source release in over four years, the spark that first LP piqued the interest of so many listeners is glowing stronger than ever.

In the 2010's, Christelle Gualdi carved a name as one of the most essential live electronic musicians around, dazzling dancers and home listeners in kind with her bombastic, acidic hardware jams. Circumstances outside her control forced a stop for the Stellar OM Source project. It was touring, including two shows in the summer of 2019 at Dekmantel Festival and Listen! that Gualdi credits as year highlights, which proved to be the integral jump-start to the engine.

Inspiration came rushing back thanks to the human connection of performing. Seeing a younger generation connect with her put fresh charge into the circuitry of her gear. All this accrued into new material on the road, and thus I See Through You was born.

The spirit of 2013’s cult favourite Joy One Mile is alive and well on I See Through You. There is once again immediacy, urgency and lust. But Stellar OM Source stepping into a comparatively more poppy and playful mode on these four tracks could also throw some. Fundamentally she says, it comes from a similar place, and ends with an enmeshed and positive outcome. Gualdi credits both “1995 rave” and “the clarity, bass and breath” of hi-def hip-hop productions as being twin northern stars for her to follow.

The artwork comes from friend and highly respected photographer & director Pierre Debusschere, whose work similarly flits between arresting close-ups and, well, the widescreen luxe of Beyoncé videos. “I’m definitely not a purist anymore,” Gualdi laughs – and with club-ready impact meeting human warmth, this shows in abundance.

“Night Alone” wastes no time in getting the listener up to speed. Is that an LFO sample running through “Night Alone”? Is this a lost Metro Area classic? Is that Stellar OM Source taking a diversion into searching Ibiza-rousing vocal for a moment, or did we imagine that in a heat haze? Where are the kicks? Oh there they are. How many elements are buried and revived within just over five minutes?
It’s hard to tell. Before we know it, “Lost Codes” is up and away, keeping pulses racing. A pitter-patter of baby kicks feel like a pre-tremor before a welting electro-Italo lead crashes into play. With fizzing energy, rasping synths and a frisson of danger, fans of Unit Moebius and The Hacker will be doing somersaults of joy.

“White Echoes” wastes kicks off the flip side with low gurgles descending briefly like a UFO reverse parking into the spot SOS had vacated. Soon, 303s are twisting like Chinese burns while warm chords offer a salve. The mood maintains on “Wild Palms”, the only song on this record not to feature additional mixing work from Peaking Lights’ dub-wise sensei Aaron Coyes.

True to form, the B2 is all Stellar: elements switching up and out, with all the fun and frenzy of capital-L Live action. Kick drums and bassline darting back and forth like a synchronised swimming routine, all elements in concert. The momentum of a runaway mine cart that you can’t help but strap yourself to. I See Through You is one for the dancers who have given Stellar OM Source the motive to move forward once again."

DeForrest Brown Jr. is an outspoken theorist, journalist, curator, visual artist and musician. Raised in the deep South, DeForrest moved to New York a few years ago and has been shaking things up IRL and online ever since.

- He asks difficult questions that make us relook at how we think
about race, class, post-racial ideas, historical events and the social
structures in America.
- His work defies narrow bags and he’s truly a unique cultural polygot
comfortable booking an artist like Felicia Atkinson at Issue Project
Room or shaking up people on the street with his “Make Techno
Black Again” hat line.
- His project Speaker Music was inspired by Rhythmanalysis, a book
of essays by urbanist philosopher Henri Lefebvre as well as
considerations of momentum and the “chronopolitical” from British
cultural theorist Kodwo Eshun. Mobilizing freely improvised
electronic percussion and stereophonic audio recordings, Speaker
Music yearns to caress, engineer and sculpt sentiment into a multi-
textural rhythmic body, quivering moments into a collapsed
“nonpulsed time.”
- His debut for Planet Mu centers around weary sonic portraiture of
sonorous and cybernetic energy music – a music encoded with an
encrypted heat but made “with empathy and without excess.” His
“touching of frequencies” unveils a romantic abstraction of sonic
narratives that recalls previous innovations by musicians such as
Les McCann, Urban Tribe and James Stinson.

DeForrest Brown Jr. will be present at Unsound Festival in October at which he’ll be launching a new publication w/ Primary Information.
He will also present a special event at respected New York art gallery Artist Space on Friday December 13th at which he’ll be launching a book related to the album.

Additional dates will happen between October and next Spring - A Video will also be launched when the album is announced in early October (...).

Hoshina Anniversary is conquerer of the mind, creating the most beautiful sound, other than silence.
This is his first offering for the ESP Institute.

Side A’s 'Sagano' is fairly representative of the Hoshina sound — raw organic samples and instrumentation, of traditional Japanese origin, mercilessly bent and tweaked to suit the needs of his obsessively precise arrangement. Midway through the track, we’re bewildered by his demonic breakdown on the Rhodes, which daringly tags the bassline and strings into a synchronized trio of jazz-funk noodles, and he even throws in a key change before dropping us back into the main hook for the duration of the dance. It's a major flex, and indeed makes an impression.

On side B’s 'Haru Wa Akebono', Hoshina displays an alternate and equally significant side to his songwriting, merging optimistic twinkles and arpeggios with slightly detuned dry percussion for an overall uneasy vibe, not dissimilar to early video game aesthetics or circuit-bent toys. Across both sides, there lies an unhinged overtone, such that we feel one small step from spiraling deep into a demented quicksand, a freak-out where hallucinations get the better of us.

Initiating a breadth of releases planned with the ESP Institute, this single summarizes a few of Hoshina’s most compelling modes, and though there is a whole circus yet to unfold, we hold his cards close, no spoilers before the main act.

These two songs will have you drinking moon juice and dancing naked at the Mardi Gras.

RAVE026 is a double hammer of blitzkrieg gabber and seething acid trance/schranz from Service
Animal (Vereker) and Crime Unit, featuring material previously issued on impossible-to-find
tapes by the cult, DIY label; Live Adult Entertainment
The punkish reputation of Live Adult Entertainment precedes them as one of the underground’s
keenest yet elusive operations to emerge in recent years. Based in Thessaloniki, a port city in
northern Greece, they’ve released some 28 tapes, CDR’s and lathe cut vinyl of musick ranging from
psy-trance to industrial noise and concrète since 2017, and always in editions ranging from zero
to 20 tops, leading to feverish and frustrated reactions from those listeners who’ve chanced upon
their YouTube videos before they get taken down. Finally, this 12” features the first readily available
and properly mastered LAE material on a physical format.
On the A-side, Endangered Species label boss Oliver Vereker adopts his gabber alias Service
Animal for his first outing proper since appearing as Renoir on his label’s 2017 CD, ‘Death Always
Follows’. Revolving material originally available on tape in edition of 20 copies, it boots off with
the 12-hp hoof and dive-bombing drones of ‘Core Of Reality’ next to the evil Arcardipane styles of
‘F.T.W’, which are both produced with the same, powerful conviction in charred black metal, noise
and hardcore techno that made his 2015 releases as Restraint and Grace so vital, only with added
acceleration and syncopation.
The B-side follows with a pair of seething workouts from the ‘Cyber Afterbirth Vol.1’ mix by
LAE co-owner, Crime Unit. Hearkening back to a sound that was ubiquitous between Hackney
Warehouses and small-town UK/European techno clubs in the late ’90s/early ‘00s, they are
ravenous examples of the LAE aesthetic, applying scuzzy DIY principles to gnashing German
schranz and adrenalising acid trance with ruthlessly direct results that pack one of the meanest
breakdowns you’ll hear this year. Trust they will mercilessly sort the dancers from the posers.

Yes, at last! Kinky keyboard porn! Whisper porn! Vinyl Porn! And all at the same time.! And what an ASMR treat we have for you here.
Recordings of 12 incredible bespoke mechanical keyboards made and recorded by the master of this modern art, Taeha Types. Yes, this is actual typing sounds on amazing future/retro/cutting edge keyboards. Every track different. Every keyboard different. Listen and weep - Or sleep - Or something ... An INCREDIBLE & UNIQUE listening experience. The first mechanical keyboard album EVER !!!

For the last few years a small scene has been growing. The mechanical keyboard scene. It’s now quite a big scene actually.
It makes total sense as most of us use keyboards everyday, so why not have an amazing keyboard to use instead of the total crap one you have. I mean just look down. It’s shit isn’t it. So, some people worked out that things could be improved - A lot. - So they started to make incredible, kinky keyboards, using both old and new tech: and the possibilities and options in construction are endless.

There are key cap options (GMK ABS, PBT etc etc), spring options (Cherry MX, Pandas, Alps etc etc) and even backplate options (steel, aluminum, copper etc etc), and of course case options too. And all these options make a big or little difference. And once made these keyboards are carefully lubricated spring by spring to give them that little extra smoothness and “ping”.

The results are beautiful, fetishistic, futuristic in an odd retro style, and they sound AMAZING when they are typed on. This is classic ASMR / whisper porn, the gentle click and rattle of carefully lubed springy keyboards make the hairs on the back of your neck rise. Either that or they gently woo you into a peaceful, sublime state. This is a classic and groundbreaking new Trunk album for our modern stressful times.

The recordings on this album are the first ever release of mechanical keyboard sounds. They are from a selection of (enhanced) keyboards from the 80s, 90s and now. They were recorded by the master maker of the modern mechanical keyboard, Nathan from Taeha Types.
He has a large following on Instagram, YouTube (videos of his hands typing on his keyboards hit 10K in just a couple of days after upload), and he now has over half a million views on his Twitch channel where he constructs keyboards live.

Sleevenotes on the album have been put together by Jonny Trunk and Stu London (AKA Futurecrime) from the London mechanical Keyboard scene. He knows what the fuck he is talking about. And you might not understand it, but you can catch up real quick - like I did.

- Album mastered by Jon Brooks, who also really understand these
sounds. And if you don’t, don’t worry - lots of others will.

Second phantasmagorical audio outing from former Seefeel andLoops Haunt members, Mark Clifford and Scott Gordon. 'Two' expands the duo's unique take on spectral synthesis incorporating a diverse amount of approaches to experimental sound. Twoexpoundsa hybrid mix of acoustic based audio design, ambient tonality, sound effects, music, abstraction and world's hybrid video game soundtrack.

There is something of an onomatopoeia quality to the release as the six tracks take on the character of their individual title. Silt, Dapple, Overcurve, Scutter, Strain and Plates appear as extremely well executed versions of the inferred intent of their namesake. This inquisitive approach will appeal to those interested in the more exploratory end of sound production providing hope as newly formed methods and colours are exposed from the duo's contemporary audio tactics.

Seasoned veterans can lie in a bed of laurels whereas 'Two' is an exemplary release revelling in the enthusiasm that comes from the joy of unabated exploration.

The music of Chel White is celebrated in Automaton, a collection of mostly unreleased recordings from 1985 to 1991, by this innovative animator, film maker and visual artist.

Having studied music theory in grade school, White taught himself drumming and played in a new wave band until, in 1981, together with Dan Gediman, they formed the minimal wave duo Process Blue (Alternative Funk, 1985 / Dark Entries, 2018). Here their experimentation went way beyond playing drums.

His interest in industrial music, fostered in the late '70s and early '80s while working in factories as a way to put himself through college, informed his use of electronic instruments, tape manipulation, noise and unconventional percussion.

By 1985, as a now solo artist buoyed by newly affordable audio sampling technology, White tapped into his earlier teenage fascination with the art and films of both the Surrealist and Dada movements - in particular their disparate and fragmented imagery and sound - as a means to create striking new sonic palettes.

Science & Industry - a track largely influenced by Balinese monkey chanting and the consumer excess of American in the 1980's - is a clear example of "music collage". Photocopy Cha Cha, made for the short animation film Choreography for Copy Machine (Berlin International Film Festival, 1992 / Sundance Film Festival, 2001) moved his music into the realm of early multi-media.

Experimenting further, tracks like Liquid Shadows and Pensive provide minimalist moments, before the drone-like Dream #630 and Forest Song point to a future that included music video works (David Lynch/Thom Yorke).

THE WRAITH's Gloom Ballet delivers twelve infectious tracks drenched in the band's '80s UK post-punk (Death Cult, Killing Joke, Sisters Of Mercy) and SoCal deathrock (T.S.O.L., Samhain) influences.

THE WRAITH was founded by imposing frontman Davey Bales, formerly of Virginia peace-punks Lost Tribe, and Kaz Alvis shortly after they separately washed up in Los Angeles. Their irresistibly distinctive sound - skeletal basslines and tribal beats propelling Alvis' textured swathes beneath Bales' poetic, anguished bark - immediately gained a following, with homemade demo Comatic Romance racking-up thousands of YouTube views.
 
Convulsive, chaotic West Coast shows honed the songs that became THE WRAITH's lauded 2017 EP, Shadow Flag. A couple of videos and line-up changes later - the band is now completed by Belgian drummer Jef Pauly and Brit bassist Paul Rogers - their evocative songwriting and pure-punk authenticity earned the ear of Mat Mitchell, who has worked with Love And Rockets, The Flaming Lips, Meat Puppets, King Crimson, and more. Mitchell recorded the band's debut LP, Gloom Ballet, and earlier this year, the band signed to Southern Lord Recordings for the worldwide release of the album.

Recorded by Pucifer guitarist/producer Mat Mitchell, Gloom Ballet was mastered at Audiosiege by Brad Boatright (From Ashes Rise, Tragedy, Alaric) and the artwork was handled by Rebecca Sauve.

Girl is the second album from the North London band Girl Ray, released on 8th November 2019 via Moshi Moshi. Recorded at Electric Beach Studios in Margate with Ash Workman (Christine and the Queens, Metronomy), the album is a delightful, sun-kissed tribute to their love of pop and R&B.

The three-piece, comprising Poppy Hankin, Iris McConnell and Sophie Moss, today share a taster of the new record with “Show Me More”. According to the band, the song is about “crushing really hard but having to play the long game and wait it out because your boo is playing savage games. It’s your classic pop banger. Steamy dance floor. Drinks on me.” The accompanying video was directed by Crusoe Weston and features the band cycling around the city at dusk.

It was Ariana Grande’s explosion into pop culture that kickstarted a new era for Girl Ray, as well as the realisation that their most-listened-to Spotify playlists contained pure pop music. When Poppy began experimenting with writing songs on a computer using keyboards, a collection of shimmering, foot-tapping, sparkling pop bangers poured out. With this new set of songs, Girl Ray have been brave enough to completely change their sound rather than play it safe, yet still remain unmistakably themselves - it’s Girl Ray, but with added synths.

Meda Fury are buzzing to welcome Silvestre to the fold for a 6 track EP of low-slung party starters. This Lisbon native and London resident has been on several tastemakers lips for the last year now, serving up no-nonsense but seriously fun dance music, comparable to the spirit of mighty Portuguese scene labels Principe and Naive. Joao’s tracks are mind bending hybrids of breakbeat, reggaeton, R&B, rave and house. His recent artilary coming via Seceretsundaze, Diskotopia and his own Padre Himalaya, he now adds the Yeah EP to his weaponry.

The EP's title track has been the soundbed for the recent Boiler Room Festival 2019 promotional videos, sparking a huge amount of interest and ID requests, its remained secret until now. Add to this another 5 tracks of slow rave-tinted kuduro and faster baile funk blends for a truly monsterous set of club heaters!

With their debut, MME dUO send us across an impulsive sound collage omniverse of enigmatic Dada - long live imperfection! Formerly working together as Sculptress of Sound, Cologne based Patricia Koellges and Tamara Lorenz make use of a variety of instruments and devices: DIY electroacoustics, small synths, loopers, tuning forks, electric bass, percussion and voice are thrown into the game and shape a sound that’s as diverse as it is striking. The four sides of the record are the four seasons of the year. The cover artwork depicts an oddly shaped honey locust situated just outside MME dUO’s rehearsal room; homebase for a year of recordings for awholerunboom. From spring to winter the album opens up a wayward palette of experimental music. Sweet Cold Night could be a soundtrack for a movie scene of ourselves trudging through a swamp. CutCut somehow sounds as if caught in a loop early in the morning after an extensive club night. RZCK, a deliberately stumbling forward percussion piece is the longest of the 21 tracks. Several video clips go along with awholerunboom, one of which features the artists going through some kind of a ritual exercise inside of a two person costume, trying to put things straight it seems. The track itself Isn’t It Isn’t functions by way of permutations of spoken phrases and it might actually make you wonder if Gertrude Stein had gone electric. Mixed and mastered by Volker Hennes. Cover artwork by MME dUO. Edition of 300.

In a turn of events, Startree finds itself wading into the slower, more sensual side of things for its third release, courtesy of relative newcomer and super-talent Nelson Bishop. “Alice et les Aloes“ is a heart-rending, melancholic-yet-propulsive piece which impels the dancer in lovely and unforseen directions. The bass guitar holds the bottom down with a easy-yet-mighty, low-slung sleaze, and the ascending electric piano and keyboard figures joyfully take it to the stars. Soulful with modern-rock edges, this is music which endears itself to the listener on more than one level and for longer than one season.

“Still Life Noix de Coco” is rooted in a stomping Linndrum pattern, vaguely post-punk chorus-y bass and wistful, descending organ timbres. Driving and somewhat mysterious, you would do well to time the release of fog onto your dancefloor to coincide with the airing of this jam. Shoring up the other side is Darshan Jesrani’s take on “Alice et les Aloes.” In this version, Darshan takes the track around the corner, through the unmarked door, past the video arcade and straight to the ideal dancefloor, heaving and smiling, warm with bodies emoting to each instrument as it is given space, by the arrangement, to shine. Startree is proud to present this release as a continuing statement of its musical intentions and its simple desire to inspire and have a good time.

Sam went into an almost psychotic state when making music. He wasn’t himself. He was immersed in the creativity to such an extent that it was almost like a psychotic trance. Here’s an example. He found all this giant kelp down at Western Port bay and he would bathe himself in it for weeks. He would replenish the water and put salt in the bath, but leave the kelp in there. I used to ask Julie, his partner and wife, “How’s everything going?” and she’d say, “Just go and have a look at the bath.” - Tony Rogers

Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

Wetlands is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation Midday Moon (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ Antipodean Anomalies, Midday Moon has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

The “Under Frustration” project takes stock of the contemporary Arab electronic scene, and highlights its astonishing diversity, by deconstructing Western clichés that are still fantasizing about a culturally homogenous Arab world.
In a context of post-revolutionary disillusion, this ambitious trilogy sets itself as a manifesto of a new, futuristic, underground wave that aims to uplift the Arab voice, once again. With this new release, Arabstazy allows the listener to walk among Shiite, Shaabi or Stambali lands - revealing new mystical sounds, reserved for trance ceremonies and ancestral rituals; all vivid in the eyes of the collective members, musicians, producers, videographers and photographers, nowadays, scattered between the United States, Tunisia, Germany, France, Sweden, Irak, Lebanon and Poland.
Vol2 includes unreleased tracks of Dj Haram, Praed, Hello Psychaleppo, Okydoki and many more.
Curated by Arabstazy, produced by Shouka, published by InFiné.

"Nicolas Gaunin's surreal sound experiments lift you out of the everyday and transport you to an off-world Tiki lounge set high amongst the tree tops of a tropical rainforest, where you're surrounded by bizarre, colourful creatures and weird psychotropic plants. Noa Noa Noa is modern Dada, a neon soundtrack to your most outlandish fever dreams.
Nicolas Gaunin is the alter ego of Nicola Sanguin, part of the vibrant experimental music scene around Padua, Italy where he plays in outsider rock groups The Lay Llamas and Orange Car Crash. Nicolas Gaunin is his solo electronic project, a bright and playful cosmic mash-up that uses the rhythms of traditional African percussion groups and skews them slightly to create unsettling, off-kilter grooves. These drum machine experiments are laid over a teeming microscopic sound world of bird calls, insect chatter and weird jingles reminiscent of advertising earworms or video game soundtracks.
Noa Noa Noa takes its influences from music from around the world, and inspiration from high and low culture; from composer Gyorgy Ligeti to the cosmic sounds of Italian DJ Danielle Baldelli, from the experimental music of Moondog or Harry Partch to the playful sounds of Francis Bebey or the exotica of Martin Denny, from Iannis Xenakis to 8-bit video game music. Noa Noa Noa ends up sounding something like the imaginary soundtrack to the Nintendo Gameboy version of a lost William S. Burroughs novel.
Incredibly, most of the tracks on Noa Noa Noa were recorded live in one take with the express intention of creating music that is, in contrast to much of today's electronic music, bright, sunny, light-hearted and mischevious. The resulting album is both totally essential and also completely throwaway.
These tracks were originally released in 2018 by Artetetra Records (Italy) as Noa Noa (cassette & digital) and Danse de l'Oiseau (digital only). Hive Mind Records are proud to present Noa Noa Noa on vinyl for the first time."

And we used to be such a nice record label .... BKV 026 swells up from the Bristol swamp in the forms of post-human industrial duo Bad Tracking. Here they have assembled variously, one spacious black metal intro (with original screams), an industrial-pop earworm not unlike Depeche Mode imploding in a feedback tunnel, two itch-tek dancefloor riddims namecheking local venue bans and I just don't know what to call 'Wellspring' really, the end of days? Well you had it coming anyway…..


Known in town for upsetting local MPs and lisencees with their live performances as 'naked technology sex slaves' think cassette-induced self harm, total nudity, blood from ears, Bad Tracking are the most visceral thing we've seen in this new wave of Avon experimental - a breath of life into the longstanding tradition of industrial performance art (and an antidote to idle BR club culture). Lyrically touching on censorship and tech // sonically they use feedback as a punishing instrument of anguish and expression.Widower EPis truly chewed nail sonics, more human than all your noise records, genuinely more scary than your edgelord power electronics nonsense, more forward than all yer government funded experimental think-records.


You may remember Bad Tracking from their remix of 90s soundsystem legends Bush Chemists on Bokeh last year. It sounded like they played the original through 1,000 knackered tape decks and added one kick drum. It was total sacrilege and we loved it. Bad Tracking is Gordon Apps aka reputed jungle/drumfunk producer Relapse (who also moonlights as Avon Terror Corp's Olivia Mutant John, buy his shit) and poet / VHS video artist Max Kelan (who has lent his visuals to MVs from Hodge, The Pop Group, OM Unit, Young Echo to name only 4). They've released on tRewdindForward family labels like Mechanical Reproductions and champions of bad taste and good music - Fuckpunk.

Director Amanda Kramer’s prompts for composer Ben Babbitt’s soundtrack to her enigmatic film Paris Window read like magnetic fridge poetry – “warped ambient bumper muzak tension” – but the results skew closer to some hypnagogic contemporary noir: lulling, low-lit, and laced with lingering dread. Electronics, strings, and percussion swoon and seethe in heady mirages of dreams and delirium, romance and menace. The narrative it accompanies is equally opaque and out of time: two eccentric siblings psychologically unravel through divergent fixations, one obsessed with the hypnotic infomercials of a mysterious self-help institute while the other falls in love with an ambiguous doppelganger.
Babbitt’s background scoring experiential video games (Kentucky Route Zero) and collaborating with exploratory songwriters (Angel Olsen, Weyes Blood, Eartheater) is evident in his versatility and finesse, flowing fluidly between minimal and maximal modes. Like all dynamic film music, the pieces weave a story of their own. Serene synthetic swells decay into murmuring television static and eerie vocal fragments; close-mic’d drones turn acidic then claustrophobic, mirroring sleep paralysis transformed into panic. Babbitt builds a window into a surreal world, seen through shadows and smeared, street-lit glass.

Leifur James released his debut album A Louder Silence in October 2018 on Late Night Tales original artist label Night Time Stories; home to Texan trio Khruangbin and the iconic Late Night Tales series. The record attracted immediate support from Pitchfork, KEXP, XLR8R, Mixmag 8/10, Future Music UK 9/10, Electronic Sound 9/10. In April 2019 ‘Wurlitzer’ was the first piece of music he revealed from a new creative period after those sessions. The video was created by animator/director Balázs Simon, premiering on Boiler Room and was nominated for the BMVA Berlin Music Video Awards in the experimental music category, airing at the British Film Insitute BFI Southbank London.

Now in September 2019 he has prepared a remix EP 12" of the debut album A Louder Silence, featuring a slew of the finest musicians in electronic music today. Blueberry Records founder FaltyDL aka Drew Lustman comes first with a deep, skipping 2-stepping reversion of Mumma Don’t Tell. Bruce coming off the back of his hugely well received debut album for Hessle Audio has a “resymph” of Osho in typical mind-bending austere electronic style. Whities producer and Tirzah/Mica Levi collaborator Coby Sey reconstructs Suns of Gold with his sampler, and also accompanying it, is Leifur’s own remix of suns of Gold.

With the release of their first two albums and live shows supporting Snarky Puppy, Roy Ayers, Marcus Miller, Larry Mizell & the Blackbyrds, Butcher Brown, Yellowjackets and more, Resolution 88 have already established themselves as one of the UK's leading exponents of funk jazz. Their music is synonymous with the silky, buttery sound of the Fender Rhodes. They're also a bona fide band, a refreshing change in a musical world increasingly occupied by online collaborations and viral videos. They're best mates who love to hang out, play together and make their own music - that sincerity is evident in their songs and their chemistry on stage.


'Revolutions' represents a lot of firsts - the first time Resolution 88 have recorded to multi-track tape, the first time that they've included a real string and brass section, the first time they've included special guests on record and the first time they've pressed an album on vinyl. Imagine a combination of an undiscovered Herbie Hancock album from the mid' 70's, rare-groove samples from the golden era of hip hop (ATCQ, Pharcyde etc) and the new London sound of bands like Yussef Kamaal.

Every track on'Revolutions'represents an aspect of music on vinyl. On'Pitching Up'you hear the DJ pitch the record up from 33rpm to 45rpm.'Out Of Sync'simulates a clumsy attempt at beat-matching. The hypnotic, circling sax line that opens the title track'Revolutions'(echoed by the strings at the end) evokes the mesmerizing sensation of watching the record label artwork whirling as it spins on the platter.'Runout Groove'fades in and out; the drum beat mimics the distinctive, perpetual rhythm tapped out by the stylus as it reaches the runout groove. On the second side,'Sample Hunter'unexpectedly deviates from the main section into Rhodes-drenched interludes; the type of moment that producers searched high and low for back when hip hop was great.Marcus Tenney's (Butcher Brown) lyrics on 'Dig Deep'are all about the thrill of digging for records and'Matrix'is inspired by the hidden messages sometimes left in the matrix markings on record pressings. On'Tracking Force', you can hear the beat twist and morph as the stylus skates over the record. Finally,'Warped Memories'closes out the album with a wistful, melancholy melody. Sit back with a glass of Japanese whisky and a Cuban cigar (or whatever your chosen poison is), stick the album on and enjoy it from start to finish - although if you're listening to it on vinyl, you'll need to get up to turn it over to the B-side ;)

Slam City Jams is back with its sixth release and welcomes a new face to the label: the
mysterious producer, Westcoast Goddess, with his „Soul Out Of Time” EP.
After releases on Shanti Celeste’s Peach Discs (under his Videopath moniker) and Canada
based Heart To Heart Records, this guy caught our attention with his amazing analog take
on house music.
Written and produced between 2002 and 2018, this record contains everything house music
heads could wish for:
Sweet chords and strings, topped with heavy 909s, plus a cheeky little vocal shot on
„Satisfaction & Clarity”. Title track „Soul Out Of Time” sounds like a late night drive with the
top down. Meaning - shiny bells, swinging 80s drums, a funked up bass line and Balearic
breaks. The B-side kicks things off with “Open Heart”. A sample-based house tune, heavy on
the low end and super sweet on the tops, with Rhode pianos and catchy guitar licks. The EP
comes to an end with „In Search Of Darryl P”: A perfect track for the late hours, when those
trancey synths and euphoric strings go on and on... till the first rays of dawn!

South east London songwriter and visual artist Jerkcurb has today announced his hotly-anticipated debut album Air Con Eden - set for release on Friday 13 September via Handsome Dad Records. The culmination of several years of intense creative focus, Air Con Eden reflects on Jerkcurb instigator Jacob Read’s recent real life events, losses and tragedies as well as more cryptic, fictitious perspectives and surreal adopted personalities. The record’s euphoric lead single ‘Timelapse Tulip’ arrives alongside today’s news - accompanied by a stunning, intricate 3D animated video courtesy of a collaboration between Read, director Gilbert Bannerman and production designer Theo Boswell. Read will tour the U.K. in October to celebrate the album's release with a hometown headline at Chat's Palace included on the run.

Having fully emerged in 2016 with the flourishing ‘Night On Earth’ - a streaming hit with 2,700,000 spins to date - and subsequent tracks ‘Voodoo Saloon’ and ‘Little Boring Thing’, there’s been a growing sense of an artist climbing into maturity with each succeeding release, video and gig laying the foundations for Jerkcurb’s burgeoning cult status. Radio and press took to Jerkcurb instantly with BBC Radio 6 Music inviting him in for a live session on Tom Ravenscroft’s show, also making an appearance as a guest on Steve Lamacq’s Thursday Round Table, while esteemed publications like Dazed, Vice, Noisey and Wonderland have all thrown their weight behind his music and art. Indeed, Read has been heavily immersed in his art and animation all the while, exhibiting at the Tate Britain and also being commissioned by them to create a promo for their installation Aftermath: Art in the Wake of World War One and drawing praise from It’s Nice That along the way.


There’s a near impossible richness to Read’s songwriting form on Air Con Eden, with its as-yet-unheard title track offering perhaps the clearest distillation of the record’s predominant theme: time at its malleable and fraught. Inspired by Victor Gruen - the pioneering designer of shopping malls in the United States - Read unpacks the idea of being trapped in an eternity that feels like an endless present tense, the passing of the seasons reduced to a standstill in a pristine shopping mall; a symbol of both stasis and comfort; an Eden without the possibility of an ending.

Singer, lyricist and composer Nirox Romão aka Diron Animal was born and raised in Cazenga, Angola. Diron Animal's involvement in the music world began early: he was part of a traditional Angolan music band and capoeira group, followed by a hip hop project. 12 years ago he moved to Portugal to study, but music became more than just a passion when he landed in kuduro.

For over 6 years, he sang, danced and traveled the world with Afro Portuguese act Thoes + The Shine, mixing rock and kuduro, becoming an explosive ensemble. At one moment, Diron wanted to record a solo album to show a bit more of his own personality and in late 2017 his debut album ‘Alone’ appeared on Soundway Records, where he himself worked out the melodies, rhythm, vocals and even the guitar parts between classic funk to afrohouse and kuduro bass. Through that album he explored major festivals in Europe during 2018, such as at Paléo Festival Nyon, Trans Musicales Festival, Amsterdam Dance Event and others.

On ‘Pair’, his 2nd album and released on Brussels outernational label Rebel Up Records, he has worked hard to enhance his special formula. Inspired by the cruel death his nephew, it became a testament against oppression via the mixed sounds of afro boogie, disco, funk, afrohouse, coupé décalé and kuduro, with English and Portuguese lyrics.

The first single of the album, ‘You and Me’, is an English sung afro boogie disco song and produced by Diron with the support of musician and producer Moullinex, actor André Cabral and video made by director Vasco Mendes. In the video, featuring dancer and actor André Cabral, Diron Animal takes on the role of a gay man to express that a homosexual is a normal person who loves, feels desire, dreams, conquers, wants to be loved and desired, wants to live next to a being that completes him. With “You and Me”, Diron Animal above all wants to appeal to society, respect for the choice of people and non-discrimination of sexual choices. For in life we all deserve to be happy regardless of our sexual choice.

This new and grainy Sbire release sees La Chaux-de-Fonds electronic craftman Gaspard de La Montagne work as per usual with Nathan Baumann. The two of them share a long history of forward thinking music projects, including EPs, videos, movie soundtracks and so on. Things have changed on this one though as Baumann co-signs the record, instead of an usual credit mention. Both artists describe these 7 tracks as a small album which average format of tunes leans towards pop music. A thoughtful and progressive tracklist bounds all titles together as a whole journey, landmarked by Baumann's ethereal vocals and minimalistic french lyrics. This new approach makes Auras a moving and bittersweet journey that will see you wander from a crowded club to your lonely bed.

While in pursuit of a Radio and TV Broadcasting degree from Chicago State University, Cynthia C. Gibson directed the music video for the Universal Togetherness Band’s “More Than Enough.” Backed with the unreleased party anthem “Saturday Night,” “More Than Enough” is available for the first time in an attractive picture-sleeve 45.

Beacon Sound and Jacktone Records are pleased to announce a limited edition joint vinyl release by Hugo RA Paris titled Threaded Habitat. The new LP from Paris follows two of Jacktone’s most popular releases: Mystique Youth (2015) and Horizons Beneath The Surface (2016), which appeared under his alias, Lavender.

The transition to the Hugo RA Paris moniker with this album marks a more personal shift in approach. Threaded Habitat combines ambient textures and techno rhythms to reflect tension between humanity and nature—particularly the cyclical nature of collapse and renewal. It also marks Jacktone's first collaborative release with the record store and label Beacon Sound, which has put out works from veteran experimental musicians like Terry Riley and Colleen. Beacon Sound is an important node in Portland, where Paris also lives and developed the flagship modular product for leading Eurorack manufacturer 4MS: the SWN.

The album's closing track was entirely composed on a SWN prototype and recorded in one take. In fact, much of his work is done in layers of single takes with minimal processing to preserve its raw emotion and embrace minor imperfections. As an MIT-trained engineer and physicist, working with hardware—from modulars to guitar pedals and tape loops—is essential to his process of not only making but exploring sound.

Threaded Habitat captures moments of claustrophobia and bliss in seven tracks and three accompanying videos directed by New Zealand artist Sam Hamilton. Visual art plays a central role in many of Paris’s projects, which include intricate audio-visual performances and scores for full-length films like The Modern Jungle (La Selva Negra) and its forthcoming follow-up.

The LP will be available to pre-order on July 1st with a limited, exclusive content sample pack. The handmade vinyl package features photography by Sam Hamilton and will be released July 19 through Jacktone and Beacon Sound’s webshops, with worldwide sales beginning August 2nd. A remix release will arrive later in the Fall.

The 2 songs are remixed by south London-based artist Klein (Hyperdub), and Tokyo-based
experimental hiphop musician Killer Bong (Black Smoker Records)
Mastered by Bunsho Nishikawa, who is known for his works with goat and Tenniscoats,
among others.

The ominous clockwork nursery song “Kazega Fuitara Sayonara” (Goodbye When The
Wind Blows) was originally written by Koichi Yamanoha and released under the name of
Grimm Grimm via Kevin Shields (My Bloody Valentine) and Charlotte Marionneau (Le
Volume Courbe)’s Pickpocket Records / Honest Jons in 2014.
London-based Tokyo-born singer-songwriter experimentalist Koichi Yamanoha has been
operating under the guise of Grimm Grimm since 2013. The project is an outlet for his
fragile, haunted, otherworldly forays into baroque folk, futurist lyricism and electroacoustic
oddities. His debut album, “Hazy Eyes Maybe”, was released by ATP Recordings in 2015. A
track “Last Word Is Mine” from the album was used over the end credits for the Aaron
Brookner / Jim Jarmusch directed documentary film “Uncle Howard” (2016), featuring
William Burroughs. His sophomore album, “Cliffhanger” was released in June 2018.
And currently the 3rd album has been mixed and co-produced by Marta Salogni.

The virtual 3D music video for Klein remix has been directed and edited by London based
film maker Kenichi Iwasa. He filmed the footage in Tottenham using Super 8, 3rd
generation iPhone and 4K Camera, and created the zero zone virtual world with glitchy SFX
work by William Cunningham. Iwasa is also known for his legendary Krautrock Karaoke
night as well as being a sought after collaborator throughout Europe.

Archival reissue of the ethereal wonder from Italian architect / music installation & soundtrack master Piero Milesi. This lush adventure of mediative synth and melodic scores for lyricon and small chamber ensemble contains tracks from films "The Nuclear Observatory Of Mr. Nanof" (L'Osservatorio Nucleare Del Sig. Nanof, 1985), "The Oversize House" (La Casa Fuori Misura, 1985), theatre play "King's Night" (La Notte Dei Re, 1986), and video "The Presence Of The City" (La Presenza Della Citta, 1984) produced by The University For Architecture of Milan.

- For fans of library music, soundtracks, leftfield, synth, WRWTFWW Records, Vladimir Cosma, Piero Umiliani, sci-fi, experimental movies, and astronautic mineral engineers of the mental system.

‘Autonomy’ is a fiercely independent album and serves as a testimony to the united couple’s instinctive DIY attitude; for 10 years now, everything The Golden Filter has done from, producing, mixing, releasing, to shooting videos and press shots is a sovereign endeavour. Here, the duo finds themselves at a point of fearless positivity and an unbreakable creative synchronicity. This is undoubtedly one of their most focused and ambitious releases so far.

Born out of their own self-contained studio in Peckham, free from external influence, Penelope and Stephen set about on a mission of self-searching and solipsism drawing influence from their love and unity that sternly defies the damage caused by the ever-growing daily trauma of capitalism and politics. Staunchly feminist and optimistically reflecting on the growing human disconnect from reality, ‘Autonomy’ pulls subtly from the gloomier sides of British life and culture, The Golden Filter’s home now for the last four years.

‘Autonomy’ mines dark and experimental electronic tones; simultaneously conjuring dystopian synthscapes, EBM, post-punk, motoric electro and minimal wave. ‘Coercion’ is a mournful new wave cut that places Penelope’s recent brand of “inky dream pop” underpinned by Stephen’s pulsating synths as the perfect soundtrack to the rapture.

Tracks like ‘Autonomy’ and ‘Infinity’ find The Golden Filter in more familiar territory, thrusting post-punk electronics that straddle the gap between Panorama Bar staples and wayward, thought provoking art-pop. ‘Electric Light’ is an updated homage to old-school sounds of Siouxsie and New Order that take on the duo’s message of finding light in the dark and remaining open minded to each other as humans. Album closer ‘All The Queens’ is the most front-facing example of the duo’s political inspirations; imagining a new world, reborn under the rule of divine femininity.

Suzanne Doucet was born in Tuebingen, Germany where as a three year old, Doucet discovered her innate artistic gifts. Instinctively, she was always drawing, playing music, singing, and writing. By the age of 18, Suzanne was an established pop star in Germany with several #1 hits. She also made her mark as a composer, actress, TV moderator, director, engineer, and producer. At age 25. she took a sabbatical from the music business to go on a spiritual odyssey. In 1970 she released a triple album of field recordings and mind-expanding psychedelia under the name Zweistein. For the next ten years, she developed her own style of New Age music while exploring many areas of metaphysics and spiritual practices, including astrology, music therapy, tarot, yoga and the Kabbalah.

In 1979, Doucet launched a record label in West Germany named Isis, after the Egyptian goddess of feminine divinity. She formed the duo New Age with her musical partner Christian Bühner, and released the 1982 cassette album ‘Transformation’ and the follow-up ‘Transmission’, released on cassette in 1983. After this release, Bühner and Doucet moved to Los Angeles, hoping to find more kindred spirits in the burgeoning New Age scene there. Doucet met Tajalli (William Wichman). William had a small home studio and they played music together almost every day. William had a Juno 60 and Suzanne had her SD-1 keyboard. Their album ‘Brilliance’ was released in 1984 on cassette with the critically acclaimed track "Crystal Flight," which was featured in several Visionary Videos. All songs have been remastered by George Horn at Fantasy Studios and each album is housed in jackets using the original cassette artwork.

A wonderful reminder of Big Boi's unparalleled prowess in the rap game. He has literally been doing this longer than some rappers have been alive.' - High Snobiety

Big Boi is one of the OGs of hip-hop and he's still reinventing himself more than two decades after entering the game.' - XXL
An all-star affair.' - Rolling Stone

Big Boi reveals June 16 as the release date for his highly-anticipated third full-length solo album and first release for RCA Records, Boomiverse.

Tonight, the seven-time GRAMMY® Award-winning, RIAA diamond-certified hip-hop luminary, producer, and member of OutKast takes the stage at NBC's The Voice for the very first time. Big Boi and Levine will team up to perform Mic Jack' live during the semifinals. In addition, he's set to debut the song's official music video in revolutionary fashion.By Shazam-ing the performance, fans can unlock the exclusive premiere of the visual. The Voice airs at 8pm ET/7pm CT on NBC.

Kill Jill' and Mic Jack' have already begun to amplify excitement for the album's arrival. Kill Jill' has racked up over 3.1 million Spotify streams to date, while Mic Jack' garnered 1.5 million Spotify streams in just a few weeks. Big Boi unveiled the songs during a high-profile Apple Music Beats 1 premiere before performing Mic Jack'' on The Tonight Show Starring Jimmy Fallon. In addition, both tracks continue to draw critical praise.

One of history's tightest and most clever rhyme mavericks, Big Boi's indelible influence courses throughout two generations of rap music. As one-half of OutKast, he achieved seven GRAMMY® Awards, sold 25 million records, and created a string of music's most influential work, including Aquemini, Stankonia, Southernplayalisticadillacmuzikand Speakerboxxx/The Love Below—which went RIAA Diamond making OutKast the first and only hip-hop artist in history to win the GRAMMY® for 'Album of the Year.' Big Boi's 2010 solo debut, Sir Lucious Left Foot: The Son of Chico Dusty, bowed at #3 on the Billboard Top 200 and received unanimous critical acclaim with Pitchfork proclaiming it one of the "100 Best Albums of the Decade 'So Far'" and topping year-end lists from Time, Paste, Vibe, and more.

His 2012 follow-up Vicious Lies and Dangerous Rumors enamored tastemakers and fans alike and boasted collaborations with A$AP Rocky, Killer Mike, Kid Cudi, and more. In 2015, Big Boi collaborated with Phantogram to create supergroup Big Grams. Their debut self-titled album was released to critical and fan delight.

Back in stock!!


Reissue of this HEAVY Ghana disco / rap / boogie tune..., BIIG one!! Comes with a instrumental cover version by Welsh group Drymbago on the flip..

Soundway Records reissues Free Youth’s long sought-after 1985 single “We Can Move”, their only release - fully restored, remastered and available for the first time on digital and 12” vinyl. “We Can Move” is the first known iteration of Ghanaian hip hop, emerging at the dawn of ‘hip-life’ (hip hop meets highlife).

Free Youth comprised three main members: Terry “Sir Robot” Bright, Lenny “Nii Addy” Dimple, and Abednego “King Abed” Ayim Bright. In the early 80s they began performing in clubs and parties across Accra, with friends and other dancers occasionally joining them on stage – including Reggie Rockstone, who later went on to find commercial success.

In 1985, the band were approached by a producer and invited to record at a local studio. Without having written down any music, Terry, Lenny and Abed sang the parts and beatboxed the rhythms to the session musicians prior to recording. Out of this session came “We Can Move”, a blend of hip-hop and Afro-funk with a proto disco-boogie beat, punchy trumpet riffs and melodic rapping.
Included in the Soundway reissue is an exclusive instrumental cover version of “We Can Move” from Welsh ensemble Drymbago. This replaces the original B side track “Freedom Video Centre”, which was an advertising jingle for a business associated with their former producer.

Parasian fellow Stephane Laporte joins the Antinote crew with a very introspective and dreamy full length record. kraftwerk gone ambient will be the best discription..TIP

Sigma acts as the sequel to 2018’s critically acclaimed Equals release and features musical contributions from original Alarm guitarist Dave Sharp and

Billy Duffy from The Cult. The album includes the single “Brighter Than The Sun” and as Mike Peters articulates “is a lyric that tries to encapsulate how it feels when someone you

love has survived an immense ordeal and come through to the other side brighter, stronger and more capable than before”. To find strength through adversity

is a capability we all have inside of us should we choose to call upon it. The accompanying video tries to reflect this kind of stimulus and to try and

capture the kind of solar power that emanates from within, the blinding force that stimulates life and everything positive that revolves around it.

Early in 2019 Mike Peters from The Alarm was awarded with an MBE by His Royal Highness Prince Charles Prince of Wales at Buckingham Palace for his

services to charity having raised thousands for cancer care projects in the UK and abroad and dedicating his life to giving hope for families affected by cancer

The Alarm will be heading out on their Sigma LXXXV Tour this summer, taking in 30+ North American dates through July and August, with support from

Modern English and Jay Aston’s Gene Loves Jezebel. Throughout the Sigma LXXXV Tour, Love Hope Strength (co-founded by Mike Peters), will be hosting

bone marrow drives at each concert aimed at finding donors for people suffering from Blood Cancer who need a transplant for a second chance at life

Previous support for Equals from Billboard, Classic Rock, Classic Pop, Uncut, MOJO and more Classic tracks Strength and The Stand were used on the closing

tracks on two episodes of the hit Netflix series 13 Reasons Why, combining for 3M+ streams.

Aggelos Baltas is a veteran of the global electronic music scene, responsible for a handful of celebrated EBM 12”s as Dream Weapons, and a particularly heady and open-ended brand of krautrock as Fantastikoi Hxoi. His newest project, Anatolian Weapons, was conceived as a way to bring together these two seemingly mismatched concepts, with the polyrhythmic percussion and wailing tones of Greek folk music serving as their unlikely bonding agent. His output garners praise particularly around the Golden Pudel scene, such as Vladimir Ivkovic, and Phuong Dan. Lena Willikens, from the same circle, included Baltas’ track “Disillusioned” on her Dekmantel Selectors compilation in 2018.

But where much of what Baltas has released as Anatolian Weapons is instantly recognizable as dance music, To The Mother Of Gods—Baltas’ debut album for Beats In Space—is something else entirely. Created in tandem with Greek folk musician Seirios Savvaidis, it is a work of simultaneous collaboration and subtraction whose meticulous construction becomes more apparent with every listen. An album-length exploration of what happens when the principles of dance music are applied to pre-digital musical modalities. It is a record of psychedelic folk music that has more in common with Kikagaku Moyo, Minami Deutsch, and the Habibi Funk label than it does with anything else Baltas has produced under any alias. It’s difficult to imagine this music in any kind of club setting.

And yet, it’s very much the work of a DJ. Baltas initially heard Savvaidis’ music through a friend, and was absolutely amazed. “It was his very esoteric, pagan [music and] beautiful lyrics that grabbed me,” he writes. Seirios is a composer and performer of traditional Greek folk music with a growing discography of regional psych-rock gems. Baltas reached out to collaborate and the seeds of To The Mother Of Gods were sown.

Savvidis contributed stems of ten songs, which Baltas deconstructs and rearranges with appreciation of the ancestry of their lineage and of the deceptively ancient eerie, droning qualities inherent in the style. Occasionally augmenting Savvaidis’ recordings with his own, Baltas treats these elements as if raw materials for an architectural process.

To The Mother Of Gods showcases Baltas’ arrangement skills. He treats Savvaidis’ songs as landscapes, filling them with slanted, droning light and setting the singer’s vocals in dead center. His years behind the decks have given him an intuitive understanding of dynamics—drums crest and recede like tides, snippets of bassline repeat and swirl. He knows how to entrance, and when to push the music from the head to the body. Opener “Taratchi Katarratchi” (“Stormy Cataract”) is sung as a spell to ward off the fear of death, but Baltas’ orchestration demonstrates that dancing is an equally effective way of dispelling the darkness. The beat he assembles from Savvaidis’ playing recalls the late-night ecstasies of Primal Scream circa Screamadelica.

To The Mother Of Gods is a reminder that folk music and dance music are both powered by their audience as much as the musicians themselves. Savvaidis’ lyrics echo pagan Greek themes, touching on what Baltas calls “the magic of nature.” At times, as on “Kalesma” (“Invitation”), this can feel incantatory. Savvaidis chisels his vocal melodies into hard, clipped syllables, their cadence recalling Gregorian chant, and yet Baltas cloaks these details in washes of distortion. “Ston Stavraito” (“In Stavraithos”) is delivered with a lamentive tenderness that Baltas swells into a prideful stomp, immersing Savvaidis in marching drums and distant vocals that form a resilient protest-song. To The Mother Of Gods is a testament to the ongoing and innate truth that music can take us beyond ourselves. That repetition and drone can shepherd us to a liminal space beyond thought and rationality, where the wall between perception and reality does not exist. Call it spirit, if you want, and watch as it courses its way through modern-day dance music, mid-century psych, and the ancient sounds of the anatol.

Anatolian Weapons’ To The Mother Of Gods will be available from Beats In Space on June 14, 2019 in limited vinyl and unlimited digital forms.

Artist Highlights
• Aggelos Baltas is an Athenian music producer creating and Djing under the monikers of Anatolian Weapons, Fantastikoi Hxoi, and Dream Weapons.
• The Anatolian Weapons moniker is an outlet for Baltas to explore global music—from African to Anatolian and Middle Eastern, while also incorporating sounds from his home country of Greece.

LP comes pressed on 180 gram vinyl.

On 29th March, Reclaimed Records are proud to present pianist and composer Taz Modi's elegant debut solo album 'Reclaimed Goods', which brings to light his love for contemporary composition – something which may come as a surprise to fans of soulful dance music heavyweights Submotion Orchestra, and jazz trumpeter Matthew Halsall's Gondwana Orchestra - for both of whom Modi plays keys/piano. Whilst also gaining further demand as a musician, including for A-list studio and live work for funk 'n' soul legends Dennis Coffey and Fred Wesley, plus beatmaker heroes DJ Shadow and Mr. Scruff, Modi has been discreetly pursuing an additional passion during down-time for years – and his prolonged, patient crafting shows in the record's tasteful and beautiful spirit.

Calling to mind the piano music of Cage, Frahm, Hauchska, Sakamoto and Aphex Twin, 'Reclaimed Goods' is a graceful affair, in which lush strings and gently pulsing rhythmic flutters sit alongside prepared and plaintive piano, with the tunes ranging from sparse beauty to weightier moments of electronic rhythms. This allows the music to appeal equally to fans of heavier electronic acts such as Cinematic Orchestra and Bonobo, to devotees of ambient and contemporary classical music, as well as those familiar with Modi's work with both Submotion Orchestra and Matthew Halsall.



Positive review by John Lewis for the Guardian's contemporary music album of the month section: 'An even more effective exploration of solo piano territory comes from British pianist Taz Modi; best known for his work in various jazz and funk ensembles, his solo debut Reclaimed Goods features a host of introspective instrumentals that are reminiscent, variously, of Ryuichi Sakamoto (Libra), Nils Frahm (Time to Practise, Crystalline) and Hauschka (Ethical Tourist).

Featured in Music Week's Tastemaker section, 15th April 2019 with Haydon Spenceley: 'Listen to it; it'll lift you high above our care-worn world to a place of safety and grace'.

First single 'Ethical Tourist' featured as a premiere on 18 Feb 2019

Second single 'Crystalline' premiered on Boiler Room's 4:3 video channel, 12 Mar 2019

'A kaleidoscopic album that seductively pulls you in and leaves you curious about the inspiration behind the songs' - AAA Music

Positive review on Magazine Sixty

Support on Soho Radio, Dom Servini

Played on Worldwide FM, April 3, Gondwana Records show

Featured on Bleep's Spotify playlist 'For Your Ears and For Your Head', April 2019

Played by Mischa Kreiskott, NDR Radio Germany, ndr.de

Worldwide FM's Gondwana Records show on May 1 featured an interview with Taz Modi, along with multiple tracks from the album.



Musicians:

Taz Modi – piano, keyboards/electronics, arrangement and production

Natalie Purton – violin + viola

Liz Hanks – cello

Margit van der Zwan – cello

Seb Hankins and Jon Scott – drums

U Know Me Records proudly presents a special album showcasing Polish drumming scene - each track was produced by a different drummer - these are their portraits.

official video promo: https://youtu.be/qxuTYjMRUMM

In the 21st century drummers imperceptibly switched from the background to the front line, despite popular music not exactly pandering to them. In the early days of rock culture this joke made the rounds "What's the last thing a drummer says in a band?" "Perhaps we could play one of my songs…?"
In popular music the drummer became the first to compete with machines. They were the first band members that consequently began disappearing, however, as contemporary electronic music took hold, they were also the first to return. First they were incorporated into compositions but gradually - took centre stage. Thanks partly to the ubiquitous culture of Hip Hop recognising the drummer's role as key in any recording, alongside the eclecticism of new music, which demanded fluid transitions between musical forms, a drummer's adaptive skills – as a trained multi instrumentalist – became truly impressive. This new generation of drummers seen on Polish stages today are exceptional even against the backdrop of today's unusually creative and well-educated music scene which rejects narrow minded or genre-centric views.

This album exhibits portraits from the cream of today's Polish drummers. Kovalevo Tone Bank by Michał Bryndal tags the 1980's, the era which began stealing drummers' bread. Incidentally, the heavy groove laid down by the artist references a hit by Wham!, the same hit in which the group decided to cut the drummer's part because he was late and replace him with a LinnDrumm machine. Hubert Zemler in The Life and Death of Ben Bekele and Łukasz Moskal in Father Sparrow show they've found themselves perfectly in close cooperation with electronic instruments.
Multifaceted improvisors - Qba Janicki (Kabina projekcyjna) and Jan Młynarski (Roj) - transform their drums kits into multifunctional devices capable of delivering wildly diverse palettes of sound. Rafał Dutkiewicz (Displaced) showcases drums as the lead instrument on a club track. Marcin Rak (Alpaka) does the same, but with the conventions of Funk and Hip Hop, whereas Krzysztof Dziedzic (Vagabonde) gravitates towards the edges of jazz. Each of them here is a leader and… plays one of their songs.

Bartek Chaciński
(translation: Sean Palmer)

Standing tall above his peers, multi instrumentalist Guy Bartell AKA Bronnt Industries Kapital has left an impressive mark on cinematic electronica, having spent the last decade being commissioned to soundtrack everything from legendary silent film Haxan: Witchcraft Through The Ages to 1930s Soviet documentary Turksib, Bronnt has been there long before the 3rd wave of Italian Library Fetishists and long before this thing called Horror Disco even had a name. Force The Line sees a group soaked in the soundtracks of a thousand low-budget-straight-to-video action-slashers, the sound of heavily dubbed Martial Art imports where vampires jump and acid-laced revenge thrillers invented on demoscene message boards. Bronnt’s first studio album since the 2009 Get Physical LP ‘Hard For Justice’ is all that we might ever want from this underground legend, dance floor heavy, krautrock zombie epics for the past present and future. Miss this at your peril.

Meda Fury welcomes Tom Wrankmore aka Eliphino to the imprint for a stunning EP of thunderous breaks, 303’s and serious sub-bass pressure. Hailing originally from the Leeds, but with wider travels to settle down in both London and Berlin, Wrankmore’s music embraces hip-hop, rave, and UK garage. He now serves up
a pungent confection pitched between the Hessle Audio crew, Joy O and Demdike
Stare’s most recent efforts. Having released heaters for Brownswood and Hoya Hoya over the years, Eliphino now debuts as part of the Meda Fury family with the Realistic Sex EP.

Wrankmore has been locked away in his studio for the last 1.5 years, abstaining from gigging and releasing records to knuckle down and produce, emerging with a new darker edge and a much more hardcore sound. Tom explains: “The theme of the EP
is trusting your intuition in an information flooded world. I’ve collaborated with visual
artists Tom Pounder & Jon Harris who have created two videos for the release, one for Disc Rhythm and one for Realistic Sex." Meda Fury boss Nick Williams; “Tom's new music epitomises to me what modern club tracks should sound like - wild, energetic, deadly. He’s discovered his own dark new world of sound fusing breakbeat, acid, speed garage and even industrial stylings”

Temporary linearity in a lysergic world.

Imagination and reality, science and humanity: SPIME.IM weave their audiovisual tales from the ethereal textures that shape our worlds. Their album "Exaland" synthesizes reality by combining human expression with technological potentialities in an infinitely changeable virtual world. The seven tracks are defined by razor-like sounds, crystal textures and digital overload, captured in those weightless seconds on a parabolic flight. Just as SPIME.IM's live performances, this album is a temporarily linear journey through a narrative space shaped by psychedelic landscapes, synthetic colors, mutating objects and transient life-forms.

SPIME.IM was born as a word pun between the concept theorized by Bruce Sterling - the spime for the note, an object that can be traced through space and time for the duration of its existence - and the contraction of English "I am". If the Being is therefore the object of the intertwining between the real and the virtual, then it becomes possible to create new imaginaries that turn into immersive environments and narrative spaces in which artificial and natural, science and humanity, imagination and reality interpenetrate, giving life to new boundaries to be explored, to experience the own consciousness and what, while invisible to our eyes, surrounds and influences us.

Affirming digital reality, the Turin-based media art collective SPIME.IM explores the boundaries and possibilities of identity and perception in a world where virtual doppelgängers take on an all-encompassing position. SPIME.IM use technology, 3D art and electronic music to weave immersive audio-video experiences.