Cerca:white noise

EVERY TIME I DIE is a loud rock institution committed to leaving an outpouring of chaotic passion and blissful malcontent all over their records and on the stage. With boiling charisma and unrelenting energy to spare, the Buffalo, NY band manages not one but two near-impossible tasks. They've survived two decades as an underground entity cherished for coloring outside the lines, and contrary to most career arcs, continually improving with each successive album as they charge ahead. EVERY TIME I DIE makes a glorious hardcore-punk noise. Alchemized by a swampy summoning of Southern rock and coarse poetry, the music swirls beneath sardonic and clever wordplay, cementing them as leaders, not followers. The band's ninth studio album, Radical, is 16 tracks of peak-EVERY TIME I DIE, including raucous new anthems. They deliver what you have come to know and love and then diverge into new paths. To say that "All This And War" featuring guest vocals by Josh Scogins from The '68 is absolute brutal heaviness is an understatement. It's an addictive punch in the face, you'll want on repeat. The boys then run off to explore the dark haunted woods of a more somber and melodic side in the track "Thing With Feathers" featuring Andy Hull from Manchester Orchestra. Radical proves with every track that it is a distillation of the strengths of their past, injected with their unyielding revelry and signature sarcasm while cognizant - and fiercely combative - of the present state of world affairs.

Tenesha the Wordsmith, who came to the fore on On The Corner's 2018 release 'Black Noise 2084', has delivered a hard-cutting, gut-wrenching, and extremely moving spoken word album produced by Khalab that brings together different lines of black music - folkloric, jazz, and electronic dance - into an afro-futurist narrative with thunderous results.
Originally from Oakland, California, "a place where revolutionaries are born, Tenesha the Wordsmith originally began to fuse hip hop and poetry while living in Albany, New York, where she created her first collection 'Body Of Work'. Her early influences have returned with features from beatboxers and vocalists that give the album a distinctly urban hip hop vibe.

Blackpool based quartet Blanket release their 2nd full length album on October 8th via Music for Nations. 'Modern Escapism' takes the post rock blueprint of the band’s 2018 debut full length 'How To Let Go' and infuses it with reverberating waves of shoegaze eclecticism and sudden outbursts of savage metal. The record’s sonic palette takes the ethereal fluidity of Slowdive, the vicious down tuned riffs of Deftones and the epic euphoria of Mogwai and coalesced them together into something far more cohesive. A 10 track transparent orange LP.

Clear Vinyl

Superb transparent record with transparent serygraphy.
Music by praised Tzii : experimental cinematic ambient, deep distortions of oriental soundscapes.
Noises surprises !


recorded from 2010 to 2012 at Venetie studio and erasmus studio by tzii himself, this record is perfectly situated in his own discography between HUMANS (TZII 2008/ARN008) and A SHOT IN DARK (TZII 2018/TS004) passing by the first TZII on NIGHT ON EARTH in 2001 or even SAND HEART RAGE (TZII 2013/TUT031 & 2nd F52) and THE GREEDY RAVEN AND THE FOUR BRANCHES (SOLAR SKELETONS 2015/ZZR054).
the central tool of this record is an electronic tabla, an MS20, voices, a shenaï, many effects and increasing the use of various samples of voices, violon etc.
mixing in side a two hits between muslimgauze and third type tapes, buddha bar as an introduction of a piece with tendency harsh surgical ethnic-breakcore noise well severe all that in frank cuts, brutal with a good toast of noise. at the end of side a we also find an enigmatic mental ketamine hole more calm and intimist sprinkled with ultra sounds.
side b as for her, is opened by an ultra violent white noise but very quickly caught up by two long ambient tracks to intensely lose the balance, very close to the door between the conscious and the unconscious with drones of shenaï and delay.

mastering & cut by angstrom mastering in 2020 kali yuga.
visual by ssm.
published during summer 2021 kali yuga in 33rpm 12" by kali nada.
223copy.

The Men’s hugely influential album Leave Home came out during an exciting time in New York City. DIY lofts and shitty bars littered downtown Manhattan and North Brooklyn. The Acheron had just opened its doors. Kill Your Idols had broken up. Toxic State Records was just getting started with Crazy Spirit, Dawn of Humans, Hank Wood and Perdition EP’s. The city was alive with punk and noise and filth. And right at that time, The Men were the show to be at.

Every gig was dripping with sweat. Hallways and sidewalks were packed between sets. Chaos reigned in the pit. The Men hit like a bag of hard cement, a hardcore band with a familiar sound but with an aura of absolute chaos and intensity, like everything was on the brink of going off the rails at every moment of their set, a downhill freight train with no brakes. During these shows one’s focus could shoot back and forth between the intimidatingly angry-eyed, bald-headed Chris Hansell (who went on to front Warthog) and the long haired hippie punks Mark Perro, Nick Chiericozzi and Rich Samis, that made up the surrounding band.

Just one of the many juxtapositions the band embraced. If The Men were a chapter in Michael Azzerad’s Our Band Could Be Your Life, the early EP’s and cassettes would obviously be Minor Threat and Black Flag, while Leave Home would likely be… Sonic Youth. It was just before they made the full jump into each record being a smorgasbord of underground genres, from dream pop to folk;

before they had tracks called “Country Song,” for example. But it was a preview of what was to come. Leave Home was a pivot from pure hardcore punk (some might even call it mysterious guy hardcore), as the band got lost in the groove in a way one couldn’t on a straight up punk record. That groove was so strong on “If You Leave…,” “(),” and “Bataille,” while they spaced out on “Shitting With The Shaw,” and stayed as aggro as ever on “LADOCH.” But of course, Leave Home had a re-recording of their hardest track to date, “Think,” making it clear that they were still the moshers we all had come to know and love. If The Men raised their flag as an important New York punk band with Immaculada, they started waving it in the freakiest way with Leave Home.There is no doubt that Leave Home was one of the most influential records of the last decade.

You can hear their mark everywhere from Ty Segal and The Oh Sees to Milk Music and Hank Wood. Few bands have traversed as many genres as The Men and even fewer have done it so well. It is a testament to the band’s undying authenticity and adventurism that the record sounds as timeless and urgent now as it did when it blew the doors of New York punk off its hinges ten years ago, leaving a giant hole for bands of all kinds to come racing through.

Fractal City, the latest Cubenx album is a collection of terrestrial jams and arachnean ambient ballads that are particularly apt for urban listening. If its predecessors cracked the musical codes in force and shone by the versatility of their references, this new opus offers its listener an intense and symbolic sound environment.


The raw material of Fractal City was first conceived as a series of sound patches, designed to run in parallel with Canadian digital artist Maotik's installation. Broadcasted in real-time by generative patches reacting to various external and non-human data, those musical excerpts have been rendered in hundreds of nuances and extended over infinite durations. This unusual approach confers to the recording of the finished album's outstanding immersive strength.

Recorded live on a single track over a short period of a few weeks, the nine compositions of Fractal City capture the obsessions of its author for postmodern urban landscapes, and the revelation of new perspectives on the city of Paris.

The opening piece `Ssarg´ seems to hide the figure of the Mexican ambient producer Jorge Reyes. Cubenx built a cocoon of energetic layers, a new home of the mystical kind harmoniously integrated in a flourishing rainforest ecosystem.

`Transect ´refers to the urban development model of the same name, which is based on a division of the city into autonomous "fractal" zones. It also echoes the concept of "metro polarities" which considers the city as a mosaic of social groups. "By cycling in the evening with a friend, we could get away from the city centre to the suburbs of Paris. The contrasts are striking. You move from chic districts to bedroom communities, from industrial zones to improvised caravan camps. But there is a kind of energy in this heterogeneity that pushes you to always pedal further."

A few miles away, it would look like Art and urbanism have tried to level the cultural and social discrepancies of the outskirts of Paris. "Architectural sites like the Arcades of Bofill are splendid. There are completely extravagant projects, which seem to emerge from nowhere."
These buildings with ambitious aesthetics off the beaten tourist track, deteriorate over time and often remain far from the expectations of the local population. A feeling of nostalgic beauty is particularly perceptible on the slowest and most introspective ballads of the album as 'Urban Decay', 'Hagel' or 'Axe Majeur'. The producer leaves nonetheless no room for melancholic emptiness. "Every time, I have the impression that urban culture is taking its rights back and that young people appropriate the places in one way or another."

Just like `Transect', ` Quantified' and `Fractal City' present themselves as mirrors of a daily urban life in constant motion. All three are empowered by an overheated factory, which dispatches hypnotic beats and burst of analogue compressors with a clinical precision and direct them straight away to the reptilian areas of their listener's brains.

The sequencing leaves however space and time to take breath and makes way for aerial sonic excursions of spiritual and enlightened nature. On `Human Dilemma', Cubenx shows some concerns to opening the Pandora's box of transhumanist theories. While a long cosmic wave gives the listener a feeling of perfect fullness, a dizzying guitar distortion cast doubts on long term outlooks. `Smash Other' on the other way alternates gentle dissonances over an ocean of white noise and concludes the album on ethereal note.

With ´Fractal City", Cubenx eludes his irreconcilable love for shoegaze pop song and techno to concentrate exclusively on the production of mutant experimental materials. The result is an uncanny musical object, rich in image and sensation. Cubenx give us a guiding framework, enthralling enough to engage the listener to a tour of town. But he leaves it to the sole listeners to design their own projection of the city.

’Angelo lost his shit over it. Aaliyah’s 3rd favourite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it “the most exciting sound of contemporary soul music”.

In 1996, Lewis Taylor released his self-titled masterpiece. A true modern classic, it’s an album that was years ahead of its time. Forget 25 years ago, it could easily have been made in 2021. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor’s Lewis Taylor remains a holy relic for some and criminally unknown to most.

Lewis Taylor’s impeccable influences created a dazzling sonic palette: the LP as a whole suggests the visionary brilliance of Prince; the vocal stylings evoke the yearning power of Marvin Gaye; the effortless guitar playing shares the virtuosity of Jimi Hendrix; the haunting tones conjure Tricky; the innovative production and engineering invite comparisons to studio mavericks like Todd Rundgren and Brian Eno; the multi-layered, complex harmonies flash on Pet Sounds-era Brian Wilson; the dark, drama is reminiscent of both Scott Walker and Stevie Wonder; the complex arrangements create textures and moods with the feel of Shuggie Otis on Inspiration Information; the bold experimentation is akin to progressive artists like Faust and Tangerine Dream; the atmosphere is in conversation with Jeff Buckley’s Grace… and we could go on. That might all sound like marketing hyperbole, but not as far as Be With is concerned. It is a genuine wonder how an album this good could’ve passed so many people by.

But despite all the reference points, the similarities are really only skin-deep because the album sounds truly original. It occupies its own distinct, strange universe that feels dark and brooding one moment, bright and joyous the next. Ultimately, Taylor sounds like Taylor.

Although you wouldn’t know it from the credits, the album wasn’t the work of Lewis alone. Sabina Smyth gets an executive producer credit on the original sleeve, but in fact she worked with Lewis on the production and arrangements, did a lot of the backing vocals and she co-wrote Track, Song, Lucky and Damn with Lewis.

Lewis clarified all this in a Soul Jones interview with Dan Dodds in 2016. He explains how not giving Sabina the credit she was due at the time was an unfortunate consequence of where his head was at and he’s now trying to set the record straight.

Together they created an exquisite and sensually-charged record, with a freshness to the writing that makes the songs catchy, melodic-yet-deep and sometimes even funky. The music is predominantly guitar-led and a mixture of organs and synths, live drum loops and electronic percussion make for a sort of modern soul backing orchestra.

On the surface the album is gorgeously laidback, but beneath the lush, sometimes slick, production there’s a murkiness in the seriously gritty funk/hip-hop instrumentation. Lewis Taylor can be a claustrophobic listen. Even its one-word, often seemingly throw-away track titles add to the sense of unease. In its most positive moments, there’s still a sense that things aren’t quite right. The magic comes from this compelling tension.

The languid, strutting “Lucky” is a sensational opening statement. Sinuous electric guitar winds around the shaking percussion with a killer bass line rattling your bones, and Lewis’s voice is sublime. Its six-and-a-half unhurried minutes manage to distill the work of Marvin, Al Green and Bobby Womack because yes, it’s *that* good. Up next is the tough, dusty drum and jazzy, unsettling psych-guitar workout of “Bittersweet”. Aaliyah described it the “perfect song”, which says it all. By turns loping and soaring, tightly coiled and blasting free, 25 years on its discordant, swaggering majesty still sounds like future R&B.

The swinging, blue-eyed funk of “Whoever” oozes sophisticated sunshine soul for hazy days before “Track” sweeps in. The music tries to lift us up, beyond the reach of the vocals trying to drag us back down as Taylor sings “my mood is black as the darkest cloud”. The spare, dubby electro-soul of “Song” closes out the first half of the album with barely contained dread as it creeps towards the lush, synth-heavy coda.

The smouldering “Betterlove” eases us into the second half, coming on like a languorous response to the call of “Brown Sugar”, before sliding into the shuffling, softly-rocking “How”. Somehow the remarkable “Right” manages to both warm things up and smooth things out even more. Taut yet luxurious, it’s definitely not wrong.

“Damn” was to have been the album’s title track and you might also be able to hear its influence on D’Angelo’s Voodoo, maybe most obviously in the chaotic closing moments of “Untitled (How Does It Feel)”. Building to a screeching wall of noise that suddenly cuts dead, “Damn” sounds like the natural end to the album, with the celestial a cappella “Spirit” serving as a heavenly reprise.

When it came to the sleeve, art director Cally Callomon heard Taylor’s music as “sideways off-camera glances at a plethora of influences he had” and wanted to interpret that visually: “I went off into night-time London to see if I could find his song titles in off-beam low-fidelity photographs. I even found a shop called Lewis Taylor”. With a slide for each of the album’s ten tracks, nine of them are on the inner sleeve and the slide for “Damn” makes the front cover. It should’ve been the album’s title, but concerns over distribution in the US scuppered this.

One of UK soul’s most fascinating artists, Andrew Lewis Taylor is an enigmatic figure and a hugely under-appreciated talent. A prodigious multi-instrumentalist who got his start touring with heavy blues/psych outfit the Edgar Broughton Band, he released two albums of psychedelic-rock as Sheriff Jack before Island signed him on the strength of a demo alone. But Taylor was destined to be one of those artists unable (or unwilling) to be pigeonholed and despite the best efforts of Island’s publicity department the music never sold in the quantities it needed to or deserved to. Island eventually let him go in the early 2000s and in June 2006, Lewis Taylor retired from music.

Typical for the mid-90s, this CD-length album was squeezed onto a single LP for its original vinyl release. Simon Francis’s fresh vinyl mastering now spreads out the ten tracks over a double LP so nothing is compromised. And as usual, the records have been cut by Pete Norman and pressed at Record Industry. The original artwork has been restored at Be With HQ and subtly re-worked to work as a double.

This sprawling psychedelic soul opus really is a forgotten should-be-classic. We know that there are those of you who know, and as for the rest of you, we’re a bit jealous that you’re getting to hear Lewis Taylor for the first time.

»Dog Mountain« is the second release by the Zurich-based producer and composer Laurin Huber on Hallow Ground. After last year’s »Juncture« saw the Edipo Re co-founder work mostly with synthesizers and programmed rhythms, the four tracks are much more restrained, drawing on tape loops and feedback, recordings of acoustic guitar and synthesizers such as the Korg MS-10 as well as field recordings that relate to the overarching topic that informed the making of the record. While »Juncture« had previously aimed at deconstructing the binaries and dualities that shape our lives and thinking, »Dog Mountain« is dedicated to geographical divisions that result from political processes and social constructions. »›Here‹ means one nation, ›there‹ another,« writes Huber in a literary piece that accompanies the record. »Being in sound, such a separation seems odd.«

While treating the metaphor of the border as a »membrane, registering and translating the vibrations of its surroundings« and thus as something that is constantly (re-)defined, maintained and defended however, the artist also takes into consideration that »one cannot escape one’s standpoint,« as he puts it. The music on »Dog Mountain« may transcend and overcome certain borders, but it does not deny the realities that they impose on each and every one of us – whether in our political lives or in the realm of sound. This is mirrored in Huber’s engaging in the structural and sonic interplay of repetition and difference. Working with slowly evolving and modulating elements that are exposed to slight shifts, »Dog Mountain« puts a focus on the interaction between small elements that together form a bigger whole which is marked by constant evolution and change.

Opener »Raja« (»border« in Northern Sami and Finnish) starts off with a two-note melody played on an out-of-tune guitar. Different field recordings and synthesizer sounds drop in and out of the mix until the dynamic shifts and Huber starts playing more notes on his instrument, thus increasing the tension. It’s a meditation on minimalism, but also a piece that mediates between notions of what constitutes the difference between noise and music or referentiality and abstraction in sound. After »Nickel« (named after a Russian monotown near the border to Norway) dedicates itself to explore the friction between hissing white noise and melancholic tape loops, »A Town Is Not a Town« (a phrase taken from the documentary »Kiruna – Rymdvägen«) structurally mirrors the experiment of »Raja« with very different sonic means.

Closing the record, »Storskog-Borisoglebsk« (the title refers to the northernmost land border between Schengen-Europe and Russia) is the longest and most challenging piece, working with both long-form drones and musique concrète elements. It proposes a synthesis of the opposites that are explored patiently and with much attention to detail throughout this record.

Cold crushed electronics and tape noise by iDEAL faithful, Altar of Flies, returning to his native Swedish label with a 3rd album of possessed and unsettling tonal abstraction and psychoacoustic isolationism.

Known to the reaper as Mattias Gustafsson, Alter of Flies is the Mjölby-based sound artist’s most prolific alias, responsible for dozens of tapes and LPs for Chondritic Sound and White centipede Noise beside his trio of turns for iDEAL since the mid ‘00s. ‘Bortom Reven’ sticks closely to what he does best, conjuring bleakly depressive atmospheres ripe for inhabitation by the harder-to-please followers of North European ambient and industrial musicks, with an alchemic application of field recordings, tape loops, and primitive oscillators that vividly brings his thoughts into the dark light.

‘Bottom Reven’ is perhaps reflective of a certain, ascetic and isolated Swedish characteristic, enacting solitary rituals that better connect Altar of Flies with his environment, or simply entertain him during long, cold, dark nights. With hints of CMvH’s EVP and John Duncan’s searching shortwave radio textures to ‘Hur regn uppstår,’ and more ruptured reception of scrambled ether voices in ‘Terapimusik,’ alongside the title track’s worn-out nub of intrigue, and the damp basement clangour of ‘Under vår livstid’; its not one for those who get shook by the sight of their own shadow, but a real treat for listeners of a lonelier disposition who get off on the sound of the house creaking at night.

Hand-numbered vinyl edition of 500 copies is 180gramLP in window-cut artboard jacket that frames eight different images from Magid's The Barragan Archives project, printed on four 12"x12" art card inserts including an artworked inner sleeve. The original score for the acclaimed feature-length artworld documentary by multi-disciplinary artist Jill Magid: an exploration of the contested legacy of the Mexican architect Luis Barragan and an art intervention in its own right. Griffin wrote, performed and recorded The Proposal soundtrack with an understated but wide-ranging electro-acoustic sensibility that organically compliments the film's enigmatic narrative and the discreet beauty of Barragan's architectural spaces. Various acoustic instruments combine with electronics, sampling and ambient treatments for an ever-shifting suite of musical vignettes across the album's thirteen tracks. Guest musicians include Matana Roberts, Reut Regev, Jim White (Xylouris White, The Dirty Three), Jason Ajemian (Helado Negro), and Sophie Trudeau and Timothy Herzog (Godspeed You! Black Emperor) alongside Griffin's own contributions on multiple instruments, field recordings and production. Griffin weaves an iridescent musical tapestry, threading various genres with sublime thematic and atmospheric coherence, echoing Magid's contemplative, cerebral journey. The music also works enchantingly on its own as a subtly haunted, evocative and meditative album.

“May Kun Bass” is a play on the Arabic expression ما يكون باس which, affectionately, means “may you come to no harm.”

Newcomer OACEM bends homemade sounds into jagged industrial rhythms that pop, lock, jiggle and stomp. Nodding to dub, electro, minimal, glitch and techno palettes, forged into saturated, twisted chunks of super-heated noise, May Kun Bass exudes a special energy that rewards the active listener. On remix duty: Technique Nado with a downtempo modular dub interpretation (also her first work on wax) and Vertigo Inc on the B3.

limited to 100 copies, 12 inch vinyl in matte white jackets with unique hand-stamped artwork.

White Vinyl

Program-X is its 7th installment with tracks from the emblematic duo Minimum Syndicat and labelboss Deep Dimension. A not-to-miss release bringing you the shared love of no-nonsense old school rave music.

Back in print ! Spittle Records present an expanded reissue of Massacre's Killing Time, originally released in 1981. Following the breakup of Cambridge's avant-rock legends, Henry Cow, guitarist Fred Frith moved to NYC in 1979, and soon found himself deep in the heart of the city's robust post-punk and free-jazz scenes. He performed with Bill Laswell and Fred Maher, from the group Material, as a power trio of sorts under the moniker of Massacre. The group quickly garnered a reputation around town, and around the world for that matter, as a heavy and heady band that experimented greatly with rhythm, time signatures, and tone. As Frith himself put it, "the group was a direct response to New York. It was a very aggressive group, kind of my reaction to the whole New York rock club scene." Massacre released one album, Killing Time, before disbanding for nearly 20 years. Their first wave as a group crashed fast and furiously and this one album, recorded in part live in Paris, and in part at Brooklyn's OAO Studio, is a perfect encapsulation of early '80s NYC. In addition to the original album, first released on Celluloid in 1981, this deluxe three-sided double LP includes eight bonus tracks recorded live between '80 and '81 at The Stone in San Francisco, and Inroads and CBGB in NYC. Avant-jazz-post-punk-noise of the highest order from several legends and one of the most important projects Frith and Laswell were ever involved in.

Yen Tech’s second album is fully eye-popping cyber-theatrical medieval deconstructed nu-metal. Like Amnesia Scanner banging out Slipknot covers with Siri and Arvo Pärt in a distant space prison.
‘Assembler’ is a bizarre record, even for SVBKVLT. Yen Tech’s debut “Mobis” was a future-facing hi-tech part rap deconstruction, all blitzed trap and vaporwave shimmer. “Assembler” is completely different proposal, addressing the post-COVID world with growling anxiety and lavish, multidimensional digital fireworks.
Hoarse semi-human vocals are meticulously painted over hydraulic, machine-gun kicks, drunken synth drones and simulated choirs. Techpilled harpsichord chimes burp and resonate over swirling, supernatural soundscapes, while alien chatter butts heads with disembodied artificial voices. “Herd immunity,” a voice echoes on ‘Leech’, as unsettling drones build through clouds of white noise.
Yen Tech takes Amnesia Scanner’s dystopian deconstructed airlock club template and debones it to fit the actual dystopia of 2021. Jarring, fanged and packed with sneering nu-metal adjacent attitude, “Assembler” sounds as awkward and genre-allergic as an algorithmic playlist. It’s an uneasy listening experience that’s both familiar (‘Extinction Game’ is almost chart-ready future pop) and defiant all at once.

Shifted offers the latest distillation of his trademark sound.

Following on from the recent release of “The Dirt On Our Hands” – Guy Brewer’s fourth studio album and the first to arrive on his own Avian imprint, “Constant Blue Light” – another full length, explores new avenues in caustic minimalism.

Eschewing the booming effervescence of his own more plosive dance floor material – Shifted takes a no less nuanced, but decidedly more introspective angle on this new LP. At the centre of Brewer’s practice as an artist, there has always been a sense of dedication to the refinement of a singular idea. In some ways “Constant Blue Light” represents a move closer to the apex of this approach.

Opener “Slowly Counting Backwards” creates the framework for the record – reduced and meditative, owing somewhat to previous work, but still crisper and more precise. “Natural Elevation” riffs on airy patches that hiss and bend while “The Weight of It” transmits an unsettling hysteria with flanging leads and untethered rhythmic components. On the B side, the ominous dirge of “Soft Palate” brings a kind of uncanny energy to proceedings before “Into Your Ocean” utilises exquisite FM tones to create a captivating sonic montage. “Several Instances” hinges on dense low end and scattering white noise, before giving way to the machinations of “Clotting Time”. Closing piece “This I Know” offers a stunning, crystalline finish to the LP – upping the ante in its final minutes before giving way to a hiss of delay trails.

A continued exploration from a focused and diligent artist that provides yet another fully formed and beautifully articulated component to his own discography and that of the Avian label.

Tape

Tekanan is the full-length debut of Melbourne-based Indonesian-Australian drummer and sound artist, Rama Parwata. A thorough exploration of rhythmic capabilities and percussive improvisation under ever-shifting timbral and stylistic environments, Tekanan is Parwata’s examination and documentation of his vast musical influences in electro-acoustic improvisation, Indonesian gamelan music, free jazz, electronic music, R&B, and noise music, whilst still maintaining an entirely unique non-idiomatic musical voice. Tekanan sees Parwata experimenting with not only the drum kit, but additionally implementing no-input mixing boards, musique-concréte sampling techniques, junk percussion, electric guitar, and computer music production to create a relentlessly metamorphosing soundscape that abruptly, yet seamlessly oscillates between ethereal ambiances to turbulent barrages of rhythm and noise through five unique movements.



Aptly named after the Indonesian word for pressure and stress, Tekanan was composed by Parwata with the intent of it being a listening experience which would pressure the listener to have no clear indication of the direction of the music and where it will ultimately settle, leading the listener on a sinuous, yet intriguing aural journey. This title additionally applies to the pressure of the challenging nature of the music, in a performative sense, which pushed Parwata to his physical and mental limits to perform and compose.



“As cliche or banal this might sound, I tried to make a record that was purposely made to be hard to put into a box. I didn’t want to make a “drumming” record or a noise record or anything of the type, but a record that just contained "good” music (or what I constitute as being good). Many aspects of my musical life were injected into this release: gamelan music (the first music I was exposed to), noise, hip-hop, free-improvisation, Xenakis, jazz, electronic music. Ultimately this record is a homage to those musical influences.” - Rama Parwata

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An active figure in Australia’s experimental music and art scenes, Parwata has worked with the likes of Marco Fusinato, Robin Fox, and Robbie Avenaim, and choreographers Stephanie Lake, Juliet Burnett, and Melanie Lane. He is also a member of seminal long-running Melbourne Doom Metal band, Whitehorse.


As of 2019, Parwata has been a co-curator and committee member of Melbourne’s legendary concert series, Make It Up Club, which has been presenting weekly avant-garde improvised performances since 1998.

Beautiful orange & yellow sunburst vinyl - Solstice '21 sees twelve bright lights of independent electronic music mark the coming Summer Solstice. In such dark days, the age-old practice of celebrating the move from shadow to light, feels steeped in a renewed symbolic power. Solstice '21 marks this significant moment with a rich array of musical offerings. Reflective, lively, and always powerful, this collection is spun with modern twists of an ancient thread. Rotator - This is the first outing under this moniker from Justin Owen, also known under the alias Licit, as well as being a protagonist in the world of modular synthesis as the man behind the Abstract Data modules; Letters from Mouse - "Bubbling analogue synthesis from Scotland." This analogue synth maestro and inimitable broadcaster (aka The Magic Window), boasts a string of quality releases, including the recent highly acclaimed album An gàrradh, also on Subexotic; Cub/cub - "Cub/cub explores the world in-between nostalgia and nihilism, analogue and digital, real and false; creating evocative and mournful musical collages." First discovered on Boards of Canada forum Twoism, Cub/cub's two debut releases with Subexotic demonstrated his considerable talent to mix fascinating texture with beguiling melody. With an astonishing follow-up album coming soon, his rising star feels unstoppable; Orbury Common - "aural ephemera from the home of the orbs." This mysterious duo from the West of England are blessed with delightful musical cunning; their brilliant debut on Subexotic lifted the lid, and this offering reaffirms exciting times lie ahead; Onepointwo - "Minimal electronics, abstract radio signals and dystopian soundscapes are proceeded from both digital and analogue sources." A creator of intricate yet powerful collage, with finely wrought motifs that repeat and build to create a shimmering psychedelic impact. This is Onepointwo's glorious trademark. Spell-binding releases already exist on Woodford Halse, Poeta Negra, Lotus, as well as an imminent powerhouse album forthcoming on Subexotic; Giants of Discovery - "Experimental electronica with the occasional noisy guitar thrown in." Giants of Discovery's ability to get to grips with the musicality of his subject, has lead to previous exquisite sojourns into realms such as Victorian cosmic horror and Greek mythology, as well as an equally fantastical, towering follow up album on Woodford Halse; Wonderful Beasts - "A Wonderful collaboration between boycalledcrow and Xqui." Their playful interaction finds ways of crafting acoustic fragments into unexpected kaleidoscopes of sound. With beguiling debuts on cult label Wormhole World (soon to be followed up by an extraordinary new album on Subexotic), there is a kind of breathless magic about everything they do; Dogs versus Shadows - Electronic Sound Magazine says "A rare example of gamekeeper turned poacher...a welter of impressive electronica." Lee Pylon's ability to straddle a wealth of uncompromisingly inventive creations, and his broadcasting prowess as the much loved Kites & Pylons, is already the stuff of legend. A multitude of releases across many labels including Subexotic, Woodford Halse, Miracle Pond, Third Kind, Submarine Broadcasting, Sensory Leakage, provide a glittering treasure trove of work; Counter Silence - A stalwart of Subexotic, Counter Silence's sparkling and wistful musical work very much stands alone in temperament and style. 2020's Pathways EP on Subexotic remains a precious oasis, imbued with a haunting solitude that lives on in the memory; Transient Visitor - "All music unlocked by Alex Cargill (C.O.I. Central Office of Information) and Martin Jensen (The Home Current)." These two intercontinental maestros (well Sidcup & Luxembourg) boast impressive solo back catalogues across many labels (including Castles in Space, Polytechnic Youth, Woodford Halse). Their newly conceived collaborative Transient Visitor project, brought about the superb TV1 album in 2020 - we can see the sparks fly again in this welcome 2021 return; Simon Klee - "Natural, Electric, Organic Psychedelic - Sounds, noise and psychedelic beats." Klee's playful alchemy engages the mind and spirit, as witnessed in a flurry of top quality releases in recent times (e.g. Subexotic, ANR, Woodford Halse), and there is a visceral joy in his work that is perfectly placed for a midsummer celebration. Klee also produces a truly excellent mixcast and increasingly essential tape label, both under the guise of Anticipating Nowhere; Rupert Lally - "Hailing originally from England but now based in Switzerland, Guitarist, Percussionist and Electronic Musician Rupert Lally began his career as a Sound Designer and Composer for Theatre and TV, before launching his solo career in 2005. Since then his releases have blurred the boundaries between electronic and acoustic music." Lally's consistently brilliant work is always a highlight of the electronic music calendar, including recent stellar works across many labels such as Spun Out Of Control, Third Kind, Woodford Halse, and Modern Aviation.

Red Vinyl

The unmissable, head-twisting debut LP by Cairo’s 1127 returns on red vinyl pressing for those who missed its shockwaves for the first time back in summer 2019, Huge recommendation if you’re into Autechre, Arca, Croww w, Rabit...
Getting right under the skin with its hugely variegated palette of brutalist, rhythmic power electronics and evocative location recordings, ‘Tqaseem Mqamat El Haram 2016-2019’ resembles something like a soundtrack to a Neil Blomkamp flick set it Cario, Egypt, 2050 where stifling heat and pollution means everyone wears
breathing apparatus and hover cars sputter about its dusty sprawl. It’s surely one of the most shocking and transfixing sides from North Africa this side of the debut LPs by 1127’s peers, Myslma and Zuli, and should be prized by anyone with an ear for futurist rhythms and microtonal synths of a modern, Afro-futurist order.
Comprising collaged chunks from 1127’s archive arranged in a seamless, diffracted flow that recalls Autechre as well as the mutant adjuncts in Arca’s &&&& or Croww’s ‘Prosthetics MechaMix’, the results feel as though scraped from the insides of 1127’s skull, capturing and rendering the sounds of Cairo street raves ricocheting
with spasms of gristly noise, strafing into pockets of cutthroat flashcore and dropping out into smoky,
intimate scenes of Arabic dialogue, all threaded together with a distinctive taste for metallic microtonal synthlines and coruscating noise.

Divine Invasions is the sophomore release from Welsh electro post-rock duo Ritual Cloak. The album builds on the cinematic soundscape themes of their debut, with the addition of vocals scattered throughout the record.
Work on Divine Invasions began as soon as the first album had been finished back in September 2019. The first album saw sparing use of guitar, instead mainly writing around piano. When it came to writing the second, Sanders and Barnett didn’t want to fall into the same routine, choosing to embrace exploring new sounds, experiment with new effects, making guitars sound like synths and using vocals for the first time.
The title Divine Invasions is inspired by the Philip K Dick biography. Dick was plagued by nervous breakdowns and driven to near insanity by visions of God.
For Fans Of:Mogwai, Radiohead, Sigur Ros, Kiasmos

Dead-eyed post-punk from Olympia’s reigning noise-niks. Repetition rejects the major label signing spree of the mid-’90s entirely, training its hulking focus on haircut hardcore, white belt Jiujitsu, and frenzied feedback. The soundtrack to a fantasy Halloween candy heist, now on vinyl for the first time since 1996.

Dead-eyed post-punk from Olympia’s reigning noise-niks. Repetition rejects the major label signing spree of the mid-’90s entirely, training its hulking focus on haircut hardcore, white belt Jiujitsu, and frenzied feedback. The soundtrack to a fantasy Halloween candy heist, now on vinyl for the first time since 1996.

Avont is a music project by Amsterdam based artist Arjan Timmermans The music on Avont's #1 EP was mainly created with the use of a four-track tape machine, guitar, hardware synths and a eurorack modular synthesizer. Avont juxtaposes the element of chance and the glitches that are inherent in the use of tape loops, with meticulous sound design and synthesizer programming.

Genres that influenced this collection of recordings range from krautrock and noise to jazz and ambient. This resulted in combining atmospheric tape loops with the lush Rhodes piano improvisations of Onno Beukenhorst on "Camtas", while the ambient of "Even" is based on a classic jazz chord progression. Arjan Timmermans studied music at London's Middlesex University, has been a successful sound designer for creative brands such as Van Gogh Museum and Bas Kosters and gained notoriety with new wave and electro infused solo performances in European clubs in the early 00's. For the music on this EP, he was equally influenced by electronic acts like Bitchin Bajas, the krautrock of Harmonia and jazz artists such as Jakob Bro and The Necks.

Unobvious Creative Studio created the concept & design for the cover. They asked Amsterdam based collage artist Dewy Karouw to create artwork. Dewy combined fragments of black and white photo's from vintage adult magazines. By omitting the genitals of the original photos, she prevents an explicit sexual image, in favour of sensual, organic shapes. By adding geometric shapes and colour to these images, Unobvious found a way to underpin the contrast of organic and artificial sounds found in the music.

Warning: don't pull off the fluorescent sticker! Enjoy!

Lydmor's new album 'Capacity' is a musical maze full of alluring mysteries. At the same time, it is part of a process of liberation, which is about opening oneself up and discovering one's capacity. For her previous album, Lydmor travelled to Shanghai. But on her new album, Lydmor has mostly travelled deep into herself. 'Capacity' is a contrasting musical work where fiction and reality merge into a multifaceted sound universe. It is the electronic pop artist's most personal, complex and conceptual album to date. There is almost a David Lynch'ish cut about 'Capacity'. The album is like a winding maze where it is difficult to decipher what is real and what is an illusion. Like a book with countless narratives. Without conclusions. Ambiguous. Full of alluring mysteries, dreams, reflections and messages about gender, identity, love, guilt and liberation. Rich in contrasts: Black/white. Silence/noise. Weakness/strength. Fiction/reality. Labyrinth/compass.
Multiple media has compared the quirky voice to the likes of Grimes, Kate Bush or Björk but inevitably the comparisons fall short. (Kaltblut Magazine) - With brutal honesty, unbelievable vulnerability and yet dreamy, she sings the soul out in her pulsating electronic pop songs. The soft, bright voice is deceptive. Denmark's "hidden gem" is a must-listen. (Flux FM) - She is every bit as innovative as Madonna ever was when she started out. Lydmor ticks all the boxes; the girl has everything. For my money she’s the most ground-breaking, inventive artist in Europe right now, possibly in the world. (God Is In The TV, UK) - A unique artist who somehow manages to combine sophisticated and subtle balladry with strident electronic pop, I’ve declared previously that I believe she is only one step away from becoming a big name. Perhaps the feelings are supposed to be mutually inclusive, as the song swings musically from simply cold to complexly hot. It is one that does try to combine both sides of her song writing persona, the introverted balladry and the more elaborate, extrovert electro-pop. (Nordic Music Review) - Revolting pop pathos, primed with pumped up beats. (Negative White, Switzerland)

Andrew Kötting is one of the UK’s most highly regarded film makers, having worked on films such as ‘Gallivant’ (1996), ‘Swansdown’ (2012), ‘Edith Walks’ (2017) and many more. His new film, ‘The Whalebone Box’, was released in 2019. The soundtrack is composed by Andrew Kötting, Riz Maslen (Grand Theft Auto, Neotropic, Small Fish With Spine) and Oliver Cherer (Gilroy Mere, Dollboy).
For the soundtrack to ‘The Whalebone Box’, Kötting used various pieces of music by Dollboy,
The Assistant and musician Riz Maslen among others. Kötting chopped, processed and repurposed the songs for the film’s soundtrack, described as “a gentle, savage, unnerving warm bath of noise, music and references that is an integral part of the film and as much Andrew as it is the original tracks.”
The tracks were then remixed again by Cherer and Maslen for this 2LP release on Invada Records.
Pressed on ‘One Disc Green, One Disc Blue’ coloured vinyl and housed in a deluxe spinedsleeve with printed insert included.

Blackpool based noise rock and punk trio ‘Those Fucking Snowflakes’ are a vibrant clash of political punk, hardcore rock and math rock that has been getting 6music play from the likes of Tom Robinson and Gideon Coe and has a two page feature in the next issue of Vive le Rock magazine as well as props from Jason Williamson of Sleaford Mods.

The band formed as a means to scream the dread and horror faced in these confusing times of our modern society. From the current mess of the UK political system to the intolerance of, well, everything. From race and gender to such simple items as Greggs releasing a Vegan Sausage Roll, the band are shouting about it backed with a tight unique sound and occasional off kilter humour.

‘deploying 1000 volts through the civility of discourse’


The band have self released two EP’s - ‘U Ok Hun?’ and ‘Straight Wealthy White Male Suffrage’ on their own label ‘The Recording Industry Is Dead, Records’.

Limited

LOVE IS A STREAM :: 10 year anniversary edition. Remastered by Stephan Mathieu. Design by Farbod Kokabi.

Jefre Cantu on Guitar & Electronics. With Lisa McGee, John Twells, and Maxwell August Croy on vocals. Orginally released October, 2010 on TYPE records, UK.

From the original press release: As a member of San Francisco legends Tarentel and Type’s premier astral travellers The Alps, Jefre Cantu-Ledesma is hardly a new addition to the label, so it’s hard to believe that ‘Love Is A Stream’ is his first Type solo album. Previously releasing on Arbor, Spekk and his own Root Strata imprint, this latest album marks his journey into the beautifully cacophonous world of dream pop. Shoegaze music has been much maligned in recent years, probably due to its rebirth and subsequent explosion of popularity (which gave rise to hundreds of young bands aping the over twenty-year-old sound). However it was only a fragment of the genre that these bands attempted to re-create, and on ‘Love Is A Stream’ Cantu, instead of focusing on tired weeping melancholy ballads, focuses solely on expansive, almost noise-ridden hopefulness. This is the kind of noise we fell in love with when My Bloody Valentine blew our ear drums performing ‘Loveless’, or the kind of harmonic excess we heard on hundredth listen to Catherine Wheel’s ‘Ferment’, but taken into deeper, more abstract realms. ‘Love Is A Stream’ is dedicated to love itself, and the dreamy, shimmering blown-out textures might at first sound like white noise before they ultimately give way to blissful harmony and hidden melody. Underneath the grit and growl are hidden guitar parts, synthesizer drones and even vocals (provided by Lisa McGee, John Twells and Maxwell August Croy) that succeed in swelling the dense, tape-saturated songs to heady new heights and belie any influences they might have. On each listen the mind strips away another layer of dust and bones to reveal haunting and deeply moving beauty. The world might be spiralling into despair, but Jefre Cantu-Ledesma has brought us a record that isn’t afraid to share the love. All that’s left to do is drown in it.

‘Giants of All Sizes’ was recorded at Hamburg’s Clouds Hill Studio, The Dairy in Brixton, 604 Studios in Vancouver and Blueprint Studios in Salford with additional recording taking place at various band member’s home studios spread across Manchester. As with their previous four studio albums, ‘Giants’ was produced and mixed by Craig Potter. Guests across the album include Jesca Hoop, The Plumedores and South London newcomer Chilli Chilton.

Given such bleak, if ultimately redeemed, subject matter, it is also, perversely, the most relaxed record which elbow have made in some time. On ‘Giants of All Sizes’, each band member extended their usual process of working on demos alone and followed their vision to its conclusion rather than, as Craig Potter puts it, ‘taking the edges off things to find compromise’. In tandem with this, they returned to playing live in the studio, encouraged to experiment with the banks of analogue equipment at Clouds Hill in Northern Germany, giving songs a looser, more live feel. The result is the most starkly dynamic record from the band in recent times, “Sonically unabashed”, as Guy would have it. Whilst album closer ‘Weightless’ has the gossamer melodies and communal harmonies for which the band have latterly been known, this album echoes earlier elbow work at times whilst also breaking new ground.

‘White Noise White Heat’ is motorik, metal machine soul driven by a vocal that is rage incarnate, ‘Doldrums’ mixes John Carpenter with The Plastic Ono Band to brilliantly disturbing effect and ‘On Deronda Road’ hitches stark bass beats and glitches to an ad-hoc choir. ‘Empires’ delivers dark resignation via an insidious melody and ‘Seven Veils’ continues the subversion by inverting the perception of elbow as a band for lovers into a band for haters, a double-barrelled fuck-you song par excellence. ‘The Delayed 3:15’ marries mariarchi guitars to jazz dynamics, Morricone via Buddy Rich, and ‘My Trouble’ is a clockwork, analogue shuffle housing a delicate melody that builds over the course of the song into a fragile monolith to the power of love.

Lead track, ‘Dexter & Sinister’, released on 10” ahead of the album, encapsulates the whole. A seven-minute musical journey that blends deep bass grooves, sudden keyboard stabs, dislocated piano and guitar runs and soul stylings then abruptly shifts gear, parts the storm clouds and takes wing, flying towards the heat of the sun. It is the soundtrack for these ‘hope free, faith free, charity free days’, a denial of the divine and a reconciliation, two songs in one song, two emotions for one emotion, human, fragile and brilliant like the album which it opens.

BLACK vinyl with deluxe origami fold out sleeve & obi strip & DL Card. CD Wallet. The third album from Dutch punk-laced noiseniks adds new maturity and a conceptual feel that pulls the extremes of their sound together. A psyche-fuelled journey into the id punctuated with rhythmic kabuki modal mood swings, thunderstorms, digital beeps, traffic noise, and just plain old beautiful cacophonous reverb-drenched sound when needed. The 'third chapter' refers to the last five years that the Dutch band have spent creating their "difficult" third album. Each song spins a yarn; there are plagues, dreams, wind and fire, 'mythical' characters, and the search for the secret government warehouse. Lead single, Tokyo Music Experience, resonates with a conveyor belt-propelled modal guitar, reflecting the halcyon days of Japanese super-productivity; a mesmerising mantra, infected with news bulletin on-the-hour bleeps underlining its time-sensitive nature; a pristine super-commercial anthem to drive loyalty and reinforce solidarity with the party! Having been described as creating "underground noise with a bracing, warped pop appeal" (Mojo), their new album is a coming-of-age post-classic with a unique worldview - inspired by Van Dyke Parks (Song Cycle) Scott Walker (3 & 4), Moondog (Elpmas), White Noise (An Electric Storm) and Beach Boys (Smile). If their previous effort (Tape Hiss) was their very own sketch of a sketch for an incomplete concept album, a noisy reaction to their previous life, then 'Excerpts From Chapter 3..', with all its interlaced intricacies, is the realisation of their transition from punk-spiked-pop to psyche-pop protagonists. Evolving, testing, infectious...

The album 'Balance' by Frank Bretschneider & Taylor Deupree was originally released in 2002 by Mille Plateaux on CD only. The 9 tracks on 'Balance' are a perfect example for the aesthetics to arise within the Click & Cuts scene and (ambient-)glitch music movement of the late 90s and early 2000s.

The two masters of microscopic sounds and sine wave/white noise-based music constructed these seamlessly mixed pieces around rhythms and melodies, which grants the album plenty of dynamics. The wide variety of carefully chosen ambient sounds throughout the whole work endows 'Balance' warmth and intimacy.

The recordings are now available for the first time on vinyl within the KeplarRev series, presented in a new updated artwork based on the original layout with photographs by Taylor Deupree.

From the original press release in 2002:

"Balance is the first and so far only collaborative release from Frank Bretschneider (Berlin) and Taylor Deupree (Brooklyn). Both of these artists are no strangers to the ears of many; Taylor Deupree is one of New York's most vibrant electronic producers. From his early techno days as a member of Prototype 909 to his current status as one of N. America's key "microscopic" electronic composers and to add runs the prestigious 12K and LINE labels. Frank Bretschneider is a key member and founder of the prestigious Raster Music label, he has critically acclaimed releases under the names Komet and Produkt. It's easy to say that Frank Bretschneider has created some of the most influential spatial electronics of the late 90's.

Utilizing both artists keen ears for carefully crafted sounds, Balance blends the clean sine wave / white noise of Bretschneider with the defined grit of Deupree's granular synthesis. Realized entirely on Nord Modular synthesizers, Bretschneider and Deupree exchanged patch files through email and began constructing foundation loops. Bretschneider then created initial mixes of 9 songs and then sent them to Deupree who remixed and re-processed them. This digital exchange allowed for them to work using their own methods and aesthetic while combining the similarities of each others interests. The result is a looping and churning rhythmic work that is both synthetic, warm, dubby and tonally challenging. Thus Balance creates an engaging balance between the 2 artists aesthetics."

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

Marian Himburg, the artist known as Causa, believes that less is more, both in his productions and his release schedule. With a lean and heavy catalogue built from releases on labels like Crucial Recordings, Infernal Sounds, and Artikal Music UK, Causa is as focused on producing quality dubplate ammo as he is with proper releases. His second chapter for ZamZam is exactly what you’d hope: heavy 140 wares for dark dances- soon may they return!!

"Hiss" is nothing if not cinematic: a queasy melody circling in a dying orbit until it crashes into its first monstrous drop. Led by a squelching, lumbering single-note bassline that crushes like an unstoppable beast freed from its chains, no-nonsense kick-snare power and a steadily rising hum increase our fight-or-flight response until the very end.

Causa says the tune was created after “re-listening to my very first couple of beats and getting inspired by how little I cared about certain placements and how I worked drums at that time… I didn’t follow any rules - because I didn’t know any back then."

“Palms” is the perfect companion, another 140 stormer with drums seemingly built from white noise and distortion, funked-up by syncopated brush hats & an utterly swarming bassline. Add paranoid textures and a bizarre monosyllabic vocal pitched this way and that, and you have another dystopian side to fall in love with in the bunker or the ball.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

At the heart of Christian Stadsgaard's solo project Vanity Productions is a voracious emotive charge that's forever tempered by an austere and self-disciplined approach to composition. His new album for Posh Isolation, the label and project that he authors with Loke Rahbek, is the most thoroughgoing realisation of the tendencies and processes captured in the guise of Vanity Productions to date. Entitled 'But All Spiked,' the album presents a suite of five pieces that veer surely yet subtly through a complimentary range of acousmatic environments. Of his recent works its perhaps 'Only The Stars Come Out At Night' that most resembles a preliminary route in to the arena of his new album. Sometimes overtly, though often with a cryptic veneer, he modulates a central refrain across each piece that comes to engulf the stereo field with different intentions. Citing the influence of American minimalist composers, Stadsgaard has refigured some of the compositional practices towards his particular context and oeuvre. A medley of strings and electronics waver in and out of place on the opening piece, 'White Ribbons On The Ceiling,' introducing the careful preparation and treatment of sound as a means of articulating a profound though compassionate melancholy. The album is drenched in sorrow and seeks its expression with great economy. And it's around this detail that there's perhaps some slight indication of the album's turbulent personal context and the major life changes that underpin it. Stadsgaard's restraint proposes a wealth of wistful invocations. This control, once combined with the subdued presence of his penchant for glaring noise, is what organises 'But All Spiked' into the meditative and dynamic work that it is.

(Record Store Day 2020)

Mannequin Records is proud to celebrate 40th years of Nocturnal Emissions with more reissues setup for 2020.

"Tissue of Lies" is the Nocturnal Emissions first album, released on the band's own Sterile Records label as EMISS001 in 1980. "Tissue Of Lies"
shows you Nocturnal Emissions Industrial roots, from noisy collages to classic power noise, reminding the early Throbbing Gristle and Cabaret Voltaire, Faust ('Tapes' period) or Conrad Schitzler's 'Schwarz'.

The Nocturnal Emissions project, masterminded by Nigel Ayers, has been on the cutting edge of new music since the 1970s. Nigel Ayers has been described as a Guerrilla Sign Ontologist, cutting-up and pasting the contents of the human psyche. With a background in avant-garde art, his work has grown from audio visual installations through underground video works which changed the shape of British television.

In the early eighties Nocturnal Emissions hit London with a barrage of seminal funk; pioneering the use of sound samplers, multi-cultural
collage and electronic noise. They became a shape shifting chameleon lightening the darkness of post-industrial music, combining extremist performance art and video displays with apocalyptic beat music. Nocturnal Emissions have since been credited as a catalyst for a
generation or two of sound workers.

However, at the height of their success, the Emissions decided to shun the crass commercialism that had developed around them, and to develop their work as a secret alchemy. Nigel Ayers has continued to work with a strong underground of cult support, avoiding music industry fashions, and following his own creative path he concentrated on creating a strong sense of a wilderness identity through sound.

Limited edition of 600 copies, on solid white vinyl.

clocolan is Emlyn Ellis Addison, a South African artist now living in Providence, Rhode Island. Exploring themes of ontology and psychedelia, his is a music of imaginary futures—of neglected hinterlands and unconquered vastness lost in the background noise of human endeavor.

Addison’s 2017 album, Nothing Left To Abandon, examined the experience of memory while his new album, It’s Not Too Early For Each Other, examines a more pressing experience: the ecosystemic collapse. clocolan dotes once more on dusty melancholy and electronic psychedelia in his new album, pressing into darker territory and more visceral textures.

It’s Not Too Early For Each Other examines the looming inevitability of a future shaped by mankind's destruction of natural ecosystems—and its seeming inability to alter that course. This music is dedicated to the pariahs: the messengers who confront the murder of the ecosystem.

Emlyn was introduced to Colin Morrison at Castles in Space by Strictly Kev AKA DJ Food. It's proving to be an incredibly fruitful collaboration and a third clocolan long player is already delivered and undergoing mastering for future release on Castles in Space.

After the success of the 2 Late 4 Love EP, Roy Of The Ravers returns to Emotional Response with a double LP with a deeper perspective, experimenting in ambient and drone textures, lucid techno travails and acid interludes.

Recorded between 1997 and 2017, the album was pieced together over the last six months after Roy's archives were first feared lost and then found. Approached by the label to release a follow up with something more introspective and personal, it was discovered that a recent move to a new studio had led to over 20 years of music being misplaced after it was believed they were mistakenly dropped at a local charity store. However, deep in a box of what were thought to be patch cables were in fact the decades worth of hard drives and here presented, is a sample of those lost recordings.

The nature of the music is introspection, eschewing the acid beats and white noise for a personal encounter between man and machine. The orchestral opening of the title track gives way to the submarine beats, pulsing TB303 and gliding hats of Robinson College 10 to set the outlook to come. Even with the scattering A Dim And Distant Past waking lulled senses, the melodies and feel all lead to a pause and reflect rather than jump and shout.

This is continued with the haunting drives of Bounce Erec and Oriental X0X-Press; the twisted, warped jams of The Weber Traum Boat Pt.3, Ichi and Roland Corp Labs 05; and the beautiful, heartfelt odes in Sade Lost Theme, The Clock House Pt.2 and closer, Nemesis '01. The album's melodic nature hums and shines as CS (6x8) appears as much a centre piece as a alternative consideration to the acid tinged, club bangs of Roy's releases to date.
A surprise package maybe, but in the rolling, word of mouth phenomena that was Emotinium II, all this and more was sensed and so White Sunrise Music II, spreading across 12 songs of contrasting moods, is a further affirmation that there is something good and worthy of exploration.

Emotional Rescue is proud to reissue a collection of global music band, International Noise Orchestra, presented across 4 special EPs.

Founded when Berlin based musician Ulrich Hornberg mixed a newly acquired Commodore 64 with visiting Algerian drummer Jol Allouche's tablas "old culture meets new technology" the fundamentals were laid. Simple, maybe naive, with a curiosity to combine and inspire. 'The means of production must belong to the workers', investing in a studio, label and publishing house allowed INO the adventure to record what they wanted, a project via 'gastes', taking their influences and culture, in a melting pot of eastern melodies, african percussion, jazz, soul, dub, and pop an orchestra not of size, but of different playing styles and idiosyncratic interpretations.

Old meets new starts with their cover of Gimme Your Lovin, taking Winwood's classic and molding a white funk, pop, rock, dance hybrid, with enigmatic actor / singer Richard Strange's distinctive poetic delivery. Following Dr. Sarmaz, released under INO's alias - Internationales Gerauschorchester - the global dance vibrations begin.

Feel It Flow is pure 80's dance pop, with Glynnis Thomas (Savage Progress) distinctive tones leading to the jazz fusion of Atai, before closing with the guitar / synth / tabla rhythms of Culture Rescue Service.

When the world slipped into madness last month, the ESP Institute put most releases on the back-burner to await brighter days, but then we thought again; why not approach these odd circumstances the way we do most realities, positively and head-on? We’re committed to a community that builds new worlds — this is fundamental to our creative and spiritual relationship with Osaka-born, cosmos-straggling artist, Ground — and while temporarily we can’t physically congregate to uplift each other, its our responsibility as an institution to maintain a platform for prolific creative pioneers, our cherished cartographers of cognitive escape. 'Wakusei' is wonderfully confusing and disorienting music, a follow-up EP to 2018’s critically acclaimed album 'Sunizm', not created specifically for life under lockdown, but nonetheless aptly suited to help release angst, guide meditation, and assist in making this moment in history more interesting if not transcendental. Whereas 'Sunizm' relied on field recordings gathered from rainforests, percussions learned from imaginary ancient civilizations, and the somehow organic freneticism of a mission control meltdown, the aesthetic of 'Wakusei' reduces this abstract instrumentation one step further to a more base-level array of gurgling synth scraps, accelerating engine friction and static-bound phonetic mistakes, all scrubbed into dust by a Brillo pad of white noise. The cliché of “great art is born out of hard times” is not lost upon us — of course the world will look back to this turmoil and its residual contributions to culture — but we see today's art as an immediate coping mechanism, and artists like Ground helping to unlock and navigate internal utopias. We’re already indoors, let’s delve inside.

► One half of duo Lumisokea and persistent sonic explorer ANDREA TAEGGI (Opal Tapes, SM-LL, Type, Präsens Editionen) debuts on OOH-sounds with a new solo album under-the-influence of mushrooms.

► Recorded at Willem-Twee synthesis studios in Holland, Mycorrhiza is a lucid excursion into a new form of 'ritual-computer-music' — gamelan from the future.

►Master + Cut by Helmut Erler, D&M Berlin. Limited Edition of 200, 12" black vinyl housed in gold cardboard sleeve with 'ad-hoc' fluo sticker.

Of course this is not the first album born under-the-influence of mushrooms, but apparentlyTaeggi doesn't take them here as he rather observes the cognitive and intelligent behavior of mycorrhizal fungal roots—one of the great mysteries inhabiting the forest soil, and from which a network of beneficial underground relationships with plants sprouts. Known as Mycelium, this fascinating wood-wide-web very much resembles the intricacy of the human neural system—transporting carbon, water and nutrients from one tree to another. A mutualistic symbiosis that Taeggi similarly establishes with the rather rare arsenal of sound machineries he had access to at Willem-Twee synthesis studios in Holland—a center for experimentation inspired by Berio and Maderna's Studio di Fonologia RAI in 1950s Milan.

In the process of tweaking and feeding electric impulses and sound signals into instruments of the likes of the iconic ARP 2500/2600 and a number of testing/measuring units from the 50/60s—originallynot conceived as musical instruments—Taeggi engages into an exchange of nutrients and information, while abruptly sabotaging un-welcome elements, hence accelerating the sound superhighway towards spectral psychedelic tension—a process he seems to be extremely in control of. Taking a step aside from his usual minimal approach to address more complex structures and augmented mind-sets, Mycorrhiza sounds at times like gamelan from the future: a lucid excursion into a form of "ritual-computer-music" with a conspicuous penchant for detail,alluding to a continuitybetween pseudo-cerimonial and laboratory-like computer music, steering clear from any reference to a specific creed or religion—imagine Stockhausen drinking the Amazonian sacred brew Ayahuasca..

The swarming micro-movements of "Cuttleburrs" multiply in a series of crescendos marked by sudden falls, saturated drums incursions and tense sonic clusters, introducing the more explicit gamelan percussive tones and compositional forms of "Kodama" and "Icaro". Recorded on the ARP 2500, "Mycorrhiza" uses white noise generators, resonant bass and spring reverb to conjure up a magical fungal diorama, which expands into the spooky shadows of skeletons and demons of "Phantasmagoria" and the spectral mystics of "Oculus Cordis"—the Eye of the Spirit — in which Taeggi grapples with the same sine-wave generators that Stockhausen used in his seminal "Studie I" and "Studie II".

F.S.Blumm enters Andi Otto's studio with a whole palette of strings and a mission to create quirky, peaceful soundscapes. The artists intertwine acoustic and electric guitars, harps, electric bass, psaltery and cello in eleven electronica compositions ranging from neo-classical gravity ("Entangleland") to spaced-out dub jams ("Active Fault Map"). "Yukiyama" evolves in multilayered patterns braided over warm tape-noise. "Kilani" reminds of Rabih Abou Khalil's ECM recordings, with its oriental scale and a beat that counts to seven. The tunes shine most when silence takes over, when the sounds find space to unfold and decay. Far from being trivial ambient lullabies, these compositions burst with detail: Bells rattle, a kalimba resonates, and vintage synths induce their voltage into the acoustic framework. Andi Otto and F.S.Blumm have been musical collaborators in the studio as well as on stages between Berlin and Tokyo for more than a decade now, the heyday being their previous duo album "The Bird And White Noise" in 2014. On "Entangleland", Andi Otto contributes the cello, harp and synth recordings and takes care of the mixing. Compared to his recent releases on Multi Culti or Shika Shika, these tracks are less dancefloor oriented. The calm of this album is a flourishing environment for Otto to pluck the acoustic cello which we usually hear in a more processed way in his solo works. F.S.Blumm contributes guitar and bass recordings as well as saturated percussion echoes from his self-made spiral box. Blumm is famous for his acoustic solo productions since his early outings on Morr Music or Tomlab. He has also appeared on Pingipung a few times, for example with his album "Up Up And Astray" or as a Lee 'Scratch' Perry collaborator with the "Quasi Dub Development" project. He recorded three duo albums together with Nils Frahm and is a member of the mighty "Jeff Özdemir & Friends" collective in Berlin. "Entangleland" sees the two artists weave together a mass of acoustic motifs, synthetic melodies, riddims and improv jams where the magic emerges from the sum of the parts. "It's not about accompanying a cello theme with the guitar or vice versa," Andi Otto says. "Entangling sound means letting go of hierarchies, that no one is first. Our studio is not a control room, it's a place of imagination where we take things apart and make things whole."

For the first release of the new decade we are honoured to introduce LA-based Oxóssi who has conjured a captivatingly sinister sonic palette for his debut EP on the label.

Sama
A scorching 8-bar intro catapults us straight into 'Sama', the first track of the release, where abandoned-jungle-ruins atmospheres meet threatening wooden flutes and weighty wobs - Oxóssi is not messing about. The narration proceeds with a melody sung by a penetrating laser-beam-like synth, which adds a space layer to this organic banger, getting more and more detuned throughout the track while kickstarting a call-and-answer march between the flute and synth-wob melodies. Don't expect to uncover the secrets of 'Sama' at a first listen, this intricate creation will keep revealing itself listen after listen.

Saut Dans Le Vide
An alluring pad harmony and a hidden inspirational message from the artist introduce the fascinatingly titled 'Saut Dans Le Vide', a masterful arrangement of unrelenting piano chords, subtle choir stabs, dreamy flute leads and compellingly staggering drums. Elements keep artfully alternating throughout this convoluted composition which arouses a pensive, melancholy-nuanced hopefulness.

Undead
It's time to get glitchy here, as 'Undead' makes its entrance. Shimmering melodies rain down in a glittery shower of eerie purple confetti, surrounded by rattling white noise strikes and playful-yet-mighty bass hits. As the story evolves, an 8-bit synth lead briefly takes us to a post-apocalyptic landscape before we momentarily wake up from this psychedelic daydream, just in time to take a breath and dive back in for round two.

Limited gold vinyl version + insert. Three years after the release of his magnum opus 'Sciencing', Tim Vanhamel is back with new album 'APPLZ ≠ APPLZ'. Sly & the Family Stone, Marvin Gaye, Curtis Mayfield, Public Enemy, Jimi Hendrix... Consider this a tribute to those kinds of records, with a tongue in cheek nod and celebratory flavour.

Emerging this January with a duo of debut EPs, Black (Vegan Tinder Lord) and White (Hexxex) , Ϟᑢrəən ϟHAᗌ/W blends pummelling techno, industrial grit and experimental noise for a mood-spanning sound inspired by everything from Google Street View to visiting the dentist.

The Black EP gleans from the heavier end of the club music spectrum, plunging into a hardcore well of nosebleed kicks and synapse-frying synths that bang with raw dancefloor energy. The White EP pauses for reflection, transforming Screen Shadow's spiky reveries into tightly-woven technicolour dreamscapes.

Track highlights include the humour-spiced, pitch-shifted "Vegan Tinder Lord"—immortalised by its disembodied, Amnesia Scanner-esque voice—and the percussive, hardstyle-tinged assault course of "Scanna Hex".

On it's white counterpart ,"Hexxex" builds on a Drexciyan beat, while "Corridor" explores the sort of glitchy experimentalism that gets under your skin."Vaxuum" and "Time Orphans" mine deep ambient soundscapes, with the former constructed from a grainy loop and the latter built from rich orchestral tones.

Artwork and music go hand in hand, with logo designer Number III (Paul Nicholson, Aphex Twin logo designer ) cooking up the striking black and white imagery.

Emerging this January with a duo of debut EPs, Black (Vegan Tinder Lord) and White (Hexxex) , Ϟᑢrəən ϟHAᗌ/W blends pummelling techno, industrial grit and experimental noise for a mood-spanning sound inspired by everything from Google Street View to visiting the dentist.

The Black EP gleans from the heavier end of the club music spectrum, plunging into a hardcore well of nosebleed kicks and synapse-frying synths that bang with raw dancefloor energy. The White EP pauses for reflection, transforming Screen Shadow's spiky reveries into tightly-woven technicolour dreamscapes.

Track highlights include the humour-spiced, pitch-shifted "Vegan Tinder Lord"— immortalised by its disembodied, Amnesia Scanner-esque voice — and the percussive, hardstyle-tinged assault course of "Scanna Hex". Inspired by the unpleasant act of a dentist drilling a tooth cavity, "Bodies" burrows deep into your brain, while the glitchy experimentalism of "Corridor" gets under your skin.

Across the two EPs, vocals are processed and reshaped into other sounds using the sculpture-primed Nord modulars. These '90s instruments have since been discontinued, but remain a staple in the Screen Shadow studio and the upcoming live setup.

Artwork and music go hand in hand, with logo designer Number III (Paul Nicholson, Aphex Twin logo designer ) cooking up the striking black and white imagery.

Italian cult combo CALIBRO 35 release their highly anticipated 7th studio album "MOMENTUM" on January 24th 2020. "Momentum" follows "DECADE" their previous studio album released in 2018 that had marked 10 years of Calibro 35 and it stands out as a new starting point for the project. In the last 10 years Calibro 35 have dug the golden age of soundtracks and they had been to the future with "S.P.A.C.E.", "Momentum", as the band stated: "represents a look at nowadays and a reflection about making music right in the time that we're living".

Inspired by the work of artists such as Tortoise, Jagajazzist, Dj Shadow, Budos Band, Stelvio Cipriani, Ennio Morricone, Sandro Brugnolini, White Noise, Comet is Coming, JPEGMafia and DJ Signify, compared to the previous Calibro 35's full lengths on the 10 tracks that make up the new album, band's instruments and sounds have increased in number and complexity as well as reality.

The music palette is further extended by incorporating even more synths and electronic sounds, but keeping everything true and 100% real, with all the instruments played live and with no presets or programming. The two featurings on the album serve the cause as well. On the first single "Stan Lee", they collaborated with rapper, producer and songwriter Illa J a former member of super group Slum Village and younger brother of the late legendary hip hop producer and rapper J Dilla.

On "Black Moon", the combo from Milan provided the groove for London-based artist MEI. "If Decade was the sum of everything that the band had felt in the previous ten years", Calibro 35 says, "Momentum is the prequel of what you will hear in the next ten".
To mark the new beginning and come full circle, the recordings took place under the expert hands of usual suspect Tommaso Colliva, in the same studio where Calibro released their self titled debut album twelve years ago.

"The first series comprises six related movements, usually organised in pairs, electronic sounds with instrumental and more rarely, concrete sounds: Incidences/resonances brings into play controlled resonances akin to sounds of concrete origin in a process that helps to expand the variable electronic sound sources.

Here, 'incidents' are opposed to one-off 'accidents' in the second movement: Accidents/Harmoniques (Accidents/Harmonics). In the second movement, very short events of instrumental origin change the harmonic tone of the continuum they interrupt or overlap.

Moreover, the high notes are underplayed, which stimulates the attention given to other phenomena generally hidden by the melodic form applied to the instrumental play. Géologie sonore (Sound Geology) is similar to a flight over an area where different 'sound' layers come to the surface one after the other.

When seen from high above, instrumental and electronic sounds seem to fuse ... Dynamique de la resonance (Dynamics of Resonance) is a microphonic exploration of a single sound resonating through different forms of percussion. L'Etude élastique (Elastic Study) places together various sounds produced by 'touching' elastic or instrumental skins (baloons, doumbeks) or vibrating strings and a number of instrumental gestures close to this 'touch', using electronic processes to generate white noise.

Conjugaison du timbre (Conjugated Tone), the last movement in the series, uses the same substance to apply rhythmic forms onto a perpetually varying tone continuum. "The second series of movements draws its inspiration from concrete and electronic sources rather than instrumental ones. Incidences/battements (Incidences/Beatings) is a reminder of the first movement in the first series which then quickly moves into Natures éphémères (Ephemeral Natures): ephemeral play on instrumental and electronic sounds, singled out by their internal trajectory rather than by the material itself. Matières induites (Induced Matters): just as molecular effervescence triggers a changes of state, it seems that the different states of these sound materials can be generated by each other or through induction processes.

In Ondes croisées (Crossed Waves), the pizz vibrations interfere with somehow 'visible' water drops on the surface of a similar material. Pleins et déliés (Downstrokes and Upstrokes) can be listened to as the energies absorbed in the motion of bouncing bodies, while hollow 'bubbles' and points bring together some people's gravity and others' downwards movements. The work finishes with Points contre champs (Reverse Angle Points).

Here, the notion of perspective of the different sound threads weaving a kind of network, or field, traps the occasional iterative elements in the foreground and progressively absorbs them, giving more space for the angle - and the chanted sound - to grow." (B.P.).

With its latest release Matasuna Records continues to explore contemporary Afrobeat from different countries. After the last trip to the Swiss Mittelland, this time the journey goes across the English Channel to discover more new & authentic Afrobeat and serve it on a tasty vinyl single.

Heroes of Limbo is a new studio project from long-time collaborators, producer and multi-instrumentalist Glenn Fallows (The Impellers, Disposable Breaks, Andres y Xavi) and trombonist/arranger Gram 'Canyon' Treldavs.

Reimagining classic and contemporary pop as authentic 70's Afrobeat and Highlife from Nigeria and Ghana, this first release asks you to fire up your time machine in your mind and wonder what would the Happy Mondays sound like if they'd played at Fela Kuti's Afrika Shrine, rather than Manchester's legendary Hacienda Club? What if Disclosure were not a Mercury Prize-nominated electronica duo, but a Highlife Orchestra based in Accra, Ghana?

Madchester Woman takes Ebo Taylor's African Woman and uses it as a chassis for a cut 'n shut reworking of Happy Mondays' 1990 classic 'Loose Fit' - a hot and explosive mixture as you can easily hear!

White Noise, featuring vocals from Clair Fallows (The Impellers, Soul Grenades), re-works Disclosure & Aluna George's electro-house anthem into an uplifting slice of afro-disco dancefloor shuffle.

Renowned techno artist Jon Hester returns to Rekids Special Projects with a thundering fourtrack release, aptly entitled ‘Momentum’. Since his previous Rekids appearance, the Berlin-based Minneapolitan has continued delivering a steady stream of club ready cuts on labels like Transmat, LET and Deeply Rooted. Following a busy summer playing at the likes of Rex Club, Tresor and Hï Ibiza, Hester now returns to Radio Slave’s Rekids Special Projects techno imprint in fine form. ‘Accelerator’ opens with solid, overdriven kicks, deep chords, electrifying synth patterns and saturated claps followed by ‘Beatwave’ which features rhythm-led vocal sampling, upbeat Arp stabs and sparking cymbals. On the flip, ‘Zoned’ thunders with low-end frequencies, emphasised by a flying groove with snappy hats, subtle claves and white noise hits when to finalise ‘Part 4’ bounces with distant congas and tribal percussion, tight hi-hats, floating pads and a punchy kick.

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).

‘Synth Expressionism/Rhythmic Cubism’ LP from Chicago’s Jamal Moss aka Hieroglyphic Being is a collection of idioms that have no past and no future, his jarring use of polyrhythmic polyphony imbues a sense of timelessness.

The prolific catalog of Moss’ covers many musical dialects from his hometown and beyond. Never standing in one artistic sphere for too long, this adventure for On the Corner Records sees Hieroglyphic Being exploring a multitude of expressions of the American Avant-garde.

Abstractions Of The Future Past — Afro-Cubism: The Designation, conceived by an African With A Mainframe — An Etude Of Effigy — A Hieroglyphic Being.

Rhythmic Cubism: In this ‘Dissertation Of Disorientation’ Neal Andrew Emil Gustafson temporal considerations are put aside as polyrhythmic propulsion is the current flowing through the work. As prelude the fastidious ‘Rhythmic Cubism’, Moss enacts a flurry of white noise and musical coda as it phases in-and-out of synchronicity.

The disjointed dance of an alternative Black Music, ‘The Spiritual Or ‘Electromagnetic Worlds’ takes the meter down a fraction to exonerate a granular groove of visceral refracted complexity. Sonorus static sits alongside spastic shards of synthesis to reveal a melancholic medley before its conclusion.

‘Apocrypha’ collages distinct rhythmic source materials in an entrancing abstraction of ‘Hypersonic Hemiola’. An assertion of Art Blakey proportions. Perpetually pushed forward through the building of distorted percussion, Moss precludes into syncopated synapsis before and end of reductive symmetry.

Evolving into a studdered off-kilter groove, ‘The Redemption Project’ flows as a dissipating organ medley dissolves into a deluge of layered sonic textures, creating an indiscernible metric center before fading to a distant vanishing point.

Departing with a common-time ‘Timbuk2’ takes off like a classic Chicago Acid track, then makes a left turn towards the center as it drives the rhythmic motion into a dystopian dreamland, as the sax line surges forcing the track to break free from it’s charted course.

The Fragmented Fantasy of The Synth Expressionism/Rhythmic Cubism LP is a conclusive work that has no end, a conundrum of conceptual calculated improvisation. Drifting through time, this fragmented abstraction of Afro-Cubism leaves room for posterity, as each listen summons a new perspective on the suite. Something ever so common in the work of Jamal Moss. Charting new sonic directions, the very nature of its precedent makes it a truly Hieroglyphic affair.

Words By Neal Andrew Emil Gustafson

Destiny is made. Realised. Driven by the acts of vision. Hireroglyphic Being is a seer. Atomic resonance echoing from the big bang defies the conceptual reality of purity. The nuclear static of ‘white noise’ is HBs canvas. Channeling poly rhythms into the universe. Experience, repetition and eternal decay. From purity back to the absolute by way of a deluge of slurry across time. Infinite layers of distortion and refracted complexity. This is HBs canvas. Sound of eternity channelled through a bass bin, represented by its own impure reflection and fragments. Always more than it's whole but never as was before.

This album seeks to reach beyond ideas and emotions, beyond the comprehension of a human archetype. Beyond ultimate history, forwards and back. To ends and a singular beginnings. Timbuk2 is the frenetic intersection where the call and response of these ideas lock and dissipate back into the void.

DJ Richard's first release of 2019 sees him drop four invigorating electro tracks on Flexxseal titled "Eraser".

Emerging from the Providence noise scene, DJ Richard forges a path of disciplined selectiveness as a producer and DJ with his idiosyncratic style allowing him to make impressive, self-assured connections between 80s EBM, new beat and Italo disco, electro, techno and "post-minimalist" house. DJ Richard's feral approach evolved from the roots of his White Material imprint which quickly achieved cult status after early releases from himself and co-founders Galcher Lustwerk and Young Male.

As a solo artist, DJ Richard continues to push the boundaries of his talent and influences reflected in his two utterly distinctive and bewitching albums released in alliance with influential German electronic label, Dial. "Eraser" sees him join up with fellow American Christopher Joseph and his Flexxseal imprint as DJ Richard masterfully maintains his skill in propagating ephemeral and raw sounds with his aptitude for electronic body control.

"Critical Damage" kicks things off with resilient oscillations fused beautifully with angelic leads and thudding percussion reflecting a post-punk aesthetic while "Eraser" delivers tough, acidic swirls undulating beneath sharp, broken grooves and growling undertones.

On the flip, a slow, chugging drum sequence balanced with haunting modulations and machine-like vibrations that echo throughout take the focus in "His Threshing Floor" before "Casca's Theme" concludes the EP with meandering, robotic synth flutters and distorted bass resonations driven by hypnotic rhythms and world-ending atmospheres in this powerful electro cut.

VSK is honoured to start the journey of his new imprint with a selection of great artists. “Equilibrio volume 1” is a presentation of the different visions of techno the label wants to focus on. Modernity, deepness and hypnotism, sound design and complex textures will be the key elements of the label.

The first track is a collaboration between VSK himself and the Polish producer Michal Jablonski. X&Y is a combination of Epic drones, glitchy fx and a metallic fm synth line. Speed and fast modulation are the main ingredients for the development of an obsessive groove.

Malaria by the Spanish artist Kwartz, is an hypnotic dance between extreme ranges of frequency ; white noise and rising screams are wonderfully mixed together with an aggressive broken-subbeat.
The surgical touch of Ansome brings with “Operational Amplifier” a really complex sound design and fierce rhythmic programming, while a distorted roar

beats hauntingly the time.
The last cut, Shori by the italian artist Flaminia, is an obscure and elegant march. Cinematic and ethereal strings come together with an aggressive raw beat , providing an excellent techno experience.

Tenesha the Wordsmith, who came to the fore on On The Corner's 2018 release 'Black Noise 2084', has delivered a hard-cutting, gut-wrenching, and extremely moving spoken word album produced by Khalab that brings together different lines of black music - folkloric, jazz, and electronic dance - into an afro-futurist narrative with thunderous results.
Originally from Oakland, California, "a place where revolutionaries are born, Tenesha the Wordsmith originally began to fuse hip hop and poetry while living in Albany, New York, where she created her first collection 'Body Of Work'. Her early influences have returned with features from beatboxers and vocalists that give the album a distinctly urban hip hop vibe.

After a two year break, due to the birth of the sub-label Rhythm Control Barcelona, End Of Dayz returns with a new "All Stars". This time with 4 tracks in the vinyl version, plus a bonus track in the digi version.

On the A-side, the Argentinian, now based in Barcelona, Julixo brings us his song "1990 B i t c h" very much in tune with the EP he published in ARTS under his Awdha alias, hard groove techno with 90's house pads and a cool sample. Kaiser serves us a Millsian school mental bomb direct to the dance floor: "Still Life".

On the B-side we first have "The Crown" by Spaniard Pushmann, that has already been played by Dave Clarke on his White Noise Radio Show and on his set at the Awakenings Festival 2019. To finish the vinyl, the Man From Tucuman and the Barcelona's "Depressive House" king, Fede Zerdan, with his "Soc Pell".

In February 2016 5 people from the Bass Agenda family met in person for the first time at Whip It! - an Electro night hosted by Dave Clarke and held at The Melkweg, Amsterdam. w1b0, RXmode, TFHats and Slaves of Sinus have all released on Bass Agenda before, all received regular support from Dave Clarke both on and off his infamous White Noise show (w1b0 on The Barons's Fabric mix CD, Slaves of Sinus shaking up the demolition panel at ADE, RXmode dropped twice on Dave's Beatport live session and TFHats on White Noise what seems like every other week this year!)
Inspired by the meeting, the friendship, the music and the experience of the night they set out to make the 50th release on Bass Agenda Recordings - 'Transhumanism.' Dance floor focussed Electro with an edge.
As a compilation of Dutch Electro from the deep underground the vinyl is a deep orange pressing and strictly limited to 200 copies.
Supported by UMEK, Dave Clarke, Elektrodos, Darkfloor and many more.

LTD to 300 / SPLATTER VINYL. Planet Mu Recording artist, Gobstopper label boss, and Boxed club night founder Mr.Mitch provides the third PRESSURE release of 2019. This strictly limited, blue and yellow splattered vinyl platter is futurist dancehall at its most exhilaratingly demented. Random synth patterns, chaotic bleep emissions and all round oscillating madness ensures this furiously fresh track, flows freakily, like a bogle frenzied droid transmitting from Kingston, Jamaica, year 2049. Kevin Martin aka The Bug, nagged Mitch into submission, to release this Acid Ragga killer, after the PRESSURE label CEO, heard ‘Not Modular’ standing out clearly from Mitch’s gobsmacking one hour ‘Techno Dancehall Mix’ at the end of 2018. And as a tribute to South East London don dada Mitch, The Bug himself decided to slice, splice and dice ’Not Modular’ into two additional atomised remixes. The Bug’s ‘Straight’ remix, is sub aquatic bashment, pulsating deeply from the bottom of the ocean, buried in a blizzard of white noise and disembodied, hypnotic chimes, with panic sirens set to stun. Whilst the ‘Raw remix’ is no less disorientating and funky, sounding like Lenky’s classic ‘Diwali’ riddim rewritten by an 808 clap addict, with hips set to full rotation. Conclusively alien and ridiculously infectious.

What kind of band would choose a double vinyl, gatefold LP for their first release The Hare and Hoofe. Their eponymous first release consists of two discs. Disc One rounds up their 'hits' so far - 2018's smash hit White Blindness, the space gregorian
chant that is Voyager, and the pastoral tale of Appledore Fayre. The second consists of their rock opera, The Terror of Melton. Time-travelling scientists. Giant laser-eyed robots. A rock opera to end all rock operas...

Pitched somewhere between The Who, The Stooges, ELO, Sparks, Pink Floyd, Voivod, Pete Townshend, Brainiac, Bowie and Judas Priest, The Terror of Melton is a headspinning,
ambitious journey. In turns stomping, tear-jerking, full-on rocking and dreamlike, it will transport you. Prog Magazine's Dom Lawson described it as 'absurdly entertaining and deliciously weird... An unmissable trip for fans of the fuzzy and farout'.
2018 saw the band recording a BBC6Music Marc Riley session before even releasing a physical record. In addition, they've had plays on Stuart Maconie's Freak Zone. The band have also gained a monstrously good live reputation, playing an instantly
legendary set at Hastings' Beatwave festival, as well as headlining Tannerfest, Pitch Fest, playing with Focus and The Fierce and The Dead, and the John Snow Society's annual celebration of the eminent epidemiologist.
Some describe them as 'educational psych', others prefer 'polytechnic beat', still more as 'a seventies garage band'. There's certainly primeval drums, fuzz bass, lashings of guitar and synth noises from another planet.
Formed from a gang of friends from Folkestone, Hoofe members have played in groups including The Heliocentrics, The Priscillas, Ye Nuns, Jail Cell Recipes, The Frank Sidebottom Oh Blimey Big Band, Chalet and Hyperglo.

SC-164 is a new label based out of Brooklyn, NY, run by Greg Schappert aka Donor.
The Channel series is set to include a run of electro and experimental EPs under his SC-164 alias. For the second installment, he presents inventive, rough-edged future music with no signs of human life, and it's utterly thrilling.

The first track is a blizzard of frosty, serrated synths and hard drums that are designed for dance floor destruction. 002-002 continues this way, an intergalactic face-off, with laser synths firing across the face of jittery, punch drum programming. Textured and raw, it's pure and powerful machine music. Next up, 003 layers up ghoulish white noise and synth bleeps that are brilliantly bleak and dystopian. The closer is a roaming electro cut, with menacing bass and groaning synths taking you to the heart of a stone-lit frenzy.

Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.

Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.

Malfunctioning speakers, & digital dreamscapes, SQUIRRELS ON FILM's 4th release explores the outer reaches of techno with impolite, reckless abandon.
Psychedelic sound explorer Its Own infinite Flower, who was
responsible, along with head squirrels Solar & C.l.a.w.s., for San
Francisco underground punk rave/happening Hostile Ambient
Takeover, unleashes his first official release, The Plumes of Love (ARE BLACK!). After contributing a track to 2017's Spacetime Continuum/ Juju & Jordash curated Air Texture V compilation, this four track EP of abstract tech-noise brings the sounds Its Own Infinite Flower refined in the basements & warehouses of the Bay Area's underground music scene to the wider world, whether it's ready or not.
'Drone, Drugs 'n' Dissonance' creeps into life as a thunderstorm of
white noise, out of which a cold-rave pulse somehow metastasizes into something resembling techno, although this is a deformed, uncivilized, unwanted mutation, separated at birth & raised in a toxic wilderness. It builds slowly before turning up in a rage of digital distortion, a black metal dub party held at the edge of a melting glacier. 'Oh, Empire of Roses' is a Dada Phycho Jazz Electro number. Dissonant synth chords snake around each other in a playful ouroboros of manic future funk, never knowing if it's starting or stopping, coming or going. Relentless bass throbs through the track, which almost threatens to bubble into classic acid electro before fizzling out. On side two there is 'Devotion to a Peacock Angel,' an angular breakdance groove for the characters in the bar scene in Star Wars. Electro dub rhythms keep stay grounded as everything else rips apart in all directions over the course of the track. On 'Misfortunes of El Dorado' a soundsystem bangs in the next room, only the deepest bass escaping, shaking reality until it's torn apart in waves of distortion, a classic techno synth string wandering over the top of everything in a full blown Techno Jazz Odyssey.

SQUIRRELS ON FILM continues its adventure at the edges of techno
with the mind bending stylings of Its Own Infinite Flower's debut EP,
fitted with another beautiful hand-drawn, full color sleeve by New York artist Bert Bergen. The Plumes of Love (ARE BLACK!).

Eyedress Ist Das Pseudonym Des Philippinischen Künstlers Idris Vicuña, Ehemals Leadgitarrist Der Psychedelic-indie-noise-pop-band Bee Eyes Aus Manila.
Idris Veröffentlichte Seine Erste Solo-platte Mit Dem Titel "hearing Colors" Im Jahr 2013. Von Musik-blogs Gefeiert, Führte Dies Zu Seinem Ersten Plattenvertrag Beim Xl Recordings Verlag Abeano. Später Im Gleichen Jahr Veröffentlichte Eyedress Seine Ep "supernatural", Die Von Medien Wie The Guardian Und Nme Viel Lob Erhielt. 2016 Veröffentlichte Er Sein Zweites Album "shapeshifter" Auf Seinem Eigenen Label Babe Slayer.
Nun Ist Er Unter Vertrag Bei Dem Britischen Label Lex Records Und Veröffentlichte 2017 Sein Drittes Album "manila Ice", Ein Album Über Liebe Und Überleben Auf Den Philippinen.
Sein Neustes Album - sensitive G Wird Von Einer Ausführlichen Us Tour Begleitet Und Erscheint Im November.

Kingdoms welcomes Finnish composer, producer, visual artist and filmmaker Hannu Karjalainen. His recording career now spans over a decade, beginning under the pseudonym Hannu and later under his full name for 'A Handful Of Dust Is A Desert' on Karaoke Kalk. Now, this seven track mini album on Francis Harris' Kingdoms sees Karjalainen continue his explorations in new directions - touching on field recordings, soundscapes and esoteric instrumentation to build a truly meditative and moving record. 'Drift' begins with 'Sermon to the Birds', featuring beautiful plucked strings and ambient atmospheres, before 'Carnivorous Flower' casts us into enormous otherworldly dronescapes. 'Untitled #34' brings about a beat of sorts, but deeply deconstructed to a crawl, allowing acres of space between the hits and sub bass pulses. 'Sunless' is, conversely, a ray of light - bright, weightless pads provide the feeling of being completely cut adrift. Segueing into 'Nightfall', the tones become a little duskier and more intense, building throughout the track. 'That Obscure Object' is another trip into the space, as white noise and fragments of melody intersect. The album ends with 'The Nile' - a treated piano plays a haunting melodic sequence, seemingly suspended in air. It's a beautiful, emotional conclusion to an album that encourages the listener to take the time to experience its many pleasures.

Milton Bradley debuts on AVION's Crossing with three ferocious techno cuts under his Doomsday Device moniker this November.

Since its launch in 2013, Crossing has mainly acted as a platform for its founder, Index Marcel Fengler and Stress Research producer AVION, however the imprint has also hosted techno artists like Thomas Hessler, Pfirter, Doka, The Automatic Message and Stefan Rein. The label now presents a full release from Milton Bradley, appearing under his Doomsday Device guise. Founder of Do Not Resist The Beat!, the German producer has also appeared on labels like Prologue, MDR, Ann Aimee, and many more.
First up, The X-Planet' uses relentless drums, arcane vocal murmurs and bursts of white noise to

set the tone for a truly militant release. Device 4' is then a twisted journey from start to finish, with its pitter- patter sequences and oscillating sci-fi inspired atmospherics, making way for The Yesterday Machine' with its menacing aesthetic complete with ebbing synths, crashing hats and off-beat snares.

Antechamber's debut explores the ghost architecture of industrial music, etheric and oppressive in its suspension.

The newest alias from Mahk Rumbae a.k.a. Codex Empire and one half of Industrial act Konstruktivists, Antechamber sees a spacious almost dub influenced realm being explored, a dark-ambient nether in which lurching rhythmic giants consume the fragments of their composition, as though some military exercise had arrived at the collapsed edge of history and remained forever there suspended, war-games in the ether, anodic purgatory.

The LP is at times drone-scape, at times big-room stepping; white noise carved into shuddering rhythms & barrel bomb impacts; Antechamber's debut shows a producer who is able to both summon and resuscitate worlds with only the bare minimal elements, a contained violence and a violent restraint.

Since 2008 Düsseldorf based producer and live wizard Stefan Schwander deeply concentrates on his always evolving electronic venture named Harmonious Thelonious. It besprinkles the world with fractional musical structures in the spirits of American minimal music, in order to immingle them with African rhythm patterns. Exceptional hypnotic opiates, enlarged with twisted harmonies and tricky rhythm archetypes. All heavy danceable!

After five magnetic albums for labels like Emotional Response and his old home base Italic as well as a highly acclaimed string of EPs for in-demand platforms like Asafa, Diskant, Disk, Kontra-Muzik, Meakusma, The Trilogy Tapes or Versatile Records, he now produced a heavy arresting 'Petrolia' LP for Marmo Music - a label that is not new to Harmonious Thelonious. Already on the label's second release Tru West: 'The DOWC part 2' his 'Sunset Liturgy' fingerprints are audible with a moving remix. Now he delivers six epic tunes that only partly dance the familiar Harmonious Thelonious dance. There are deeply traces from Africa and Arabia. There is the polyrhythmic witchery that makes his music special. But in contrast his new tunes are more mental then his former ones. They have a menacing industrial feel but yet continue to be enlarged with the enchanting spirits of the land of the Sahara. Furthermore, there is a slight manic touch arising from nervous electronic and foremost organic melodies. The live played jittery is coming from the Berlin based experimental musician Ghazi Barakat, also known under monikers like Pharoah Chromium or Crème de Hassan for mind shredding ambient, drone, experimental, noise, industrial, free jazz and free improvisation music from beyond. For Harmonious Thelonious Barakat, who also produced together with Marmo Music artist Günther Schickert the collaboration album 'OXTLR' in 2014, tuned his wind instruments Rauschpfeife and Kangling elflock-stricken the Master Musicians of Jajouka way. And instead of giving them a prominent lead position, Schwander deeply implements his tones into his propulsive creations to evoke a modern rhythmic meltdown of Occident versus Orient spheres that exhale a deeply absorbing soul.

A record, who's psychedelic energy fits perfect into the Marmo Music cosmos - a world where the progressiveness of the 70ties continues to live in the current to disband all white bread musical norms for the energy of music without classes. Dancers of the world, unite!

Berlin-based producer SDX drops an album entitled 'Nocturnal' on Sophia Saze's Dusk & Haze featuring remixes from TXTRL founders 138 and Shipwrec producer SC-164.



Georgia-born, Brooklyn-based Sophia Saze set up Dusk & Haze to release 'genre-free' experimental music, exhibited in the label's debut release entitled 'Solace' EP featuring four versatile cuts from Sophia herself and twisted electro and techno remixes from Umwelt and Benjamin Damage. The second release comes
from the enigmatic SDX, a masked artist who's fiercely championed left-of-centre dance music for decades. Crunchy drums and a thumping bassline kick things off in 'MS 04' before Los Angeles duo 138 provide an outstanding remix incorporating a cacophony of raw breaks. Modulated flutters, warped blips and white
noise create 'MS 08', leading into the organic drums and off-kilter arpeggios of '007' until New York's SC- 164 reworks '007' delivering a pulsating sub and distorted vocal chops.

This special limited edition DAVID BOWIE 7" picture disc, is a double A-side of the radio edits of 2018 versions of ZEROES and BEAT OF YOUR DRUM. Both tracks are from NEVER LET ME DOWN (2018), a new version of the 1987 album featured in the forthcoming boxset LOVING THE ALIEN (1983-1988) which is released on 12th October. 
 
NEVER LET ME DOWN (2018), is a new production of Bowie's final 'solo' album of the '80s. Producer Mario McNulty worked on the tracks at Electric Lady Studios in New York with longtime Bowie musicians Sterling Campbell (Black Tie White Noise, Outside, 'hours...', Heathen, Reality and The Next Day) on drums, Reeves Gabrels (Tin Machine, Black Tie White Noise, Outside, Earthling and 'hours...') & David Torn (Heathen, Reality and The Next Day) on guitars and Tim Lefebvre (Blackstar) on bass. 

ZEROES, the lyrics of which reference Prince's Little Red Corvette was Bowie's salute to the '60s. He described it as 'The ultimate happy-go-lucky rock tune, based in the nonsensical period of psychedelia'. Mario McNulty commented, "Stripping this song down to its core revealed a track that could have been right at home on Hunky Dory, I kept Peter Frampton's sitar (which was originally owned by Jimi Hendrix) as it still fits against the new guitars from Reeves Gabrels'. 

Of BEAT OF YOUR DRUM Mario McNulty says, 'David Torn's ambient guitars start the song that now lead into a much darker world than its shiny predecessor. David sang all the backing vocals on this which I have kept.'



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Echocord's Echo Echo sub-label continues with its third releases this August, courtesy of German producer and Credo founder Alex Bau with his 'Zenstory' EP. Germany's Alex Bau has been a prominent name on the underground DJ circuit on his home turf, and further afield, for three decaces as well as racking up an impressive back catalogue as a recording artists for labels like Cocoon, CLR, Sleaze and of course his very own Credo label which has been a platform predominantly for his own material whilst welcoming the likes of Kyle Geiger, Takkyu Ishino and Electric Rescue onto the imprint also. Here though we see Bau joining the roster of Echocord's fledgling sub-label Echo Echo with a new four-track EP and taking the lead on the package is 'Clouds' with pulsating low-end tones, hissing analogue noise and dusty drums samples all flowing in unison with ethereal chords and sweeping pads. 'Contour' follows, tipping the focus over to bubbling delayed stab hits, fluttering sub bass and evolving white noise bursts throughout. The 'Prelude' of 'Zenstory' opens the flip side and as the name would suggest it's a cinematic build up to the title-track featuring tension-building, expansive atmospherics ahead of the original mix which features a thumping muted kick, stuttering atmospheric echoes and spoken word vocal tucked into the depths of the record.

This is the first reissue of Tim Hecker's classic 2003 album. The original recordings were remixed by Tim Hecker and mastered by Matt Colton at Alchemy Mastering.
- Reissue of classic 2001 album by renowned ambient / noise / electronic artist.
- Received acclaim upon release, including Pitchfork giving it a 8.3.
- Originally released on Alien8 and now long out-of-print.
press quotes for Radio Amor:
"Hecker at his most painterly and evocative.' Pitchfork
"Radio Amor has a simultaneous tangible/intangible quality that is both miraculous and enigmatic.' Tiny Mix Tapes
"Tim Hecker may be the finest sonic photographer around, the re-release of Radio Amor being further evidence for this claim.' Brainwashed
"Hecker's 2003 standout is a stirringly emotional narrative, without the slightest aid of a single voice.' Treble
"A slow-shifting mix of steely headrush and protracted morse code dispatches from the bottom of the ocean.' Dusted

The Caribbean House Is A New Billy Bogus Project. It's The Perfect Meld Of Creepy Atmospheres, Sunset Grooves, Analog Sensibilities And Incessant Rhythms. Bogus Leads This Collective Formed By Federico Bologna (ohmega Tribe, Technogod) And Cristiano Santini (disciplinatha, Dish-is-nein,). This Triumvirate Of 90's Underground Italian Masterminds Come From The World Of Electronica, Noise Rock And Psychedelia. Here They All Combine To Rise Again Rise And Unite To Create Something Entirely New.

And So To The Music. Their Debut Lp Opens Up With The Dark And Haunting "night Drive". Recent Single "gong Bong" Is Next. It Is One Part Slo-mo Disco, One Part Psychedelic Moondance And One Part Sci-fi Horror Movie. If The First Two Thirds Of The Track Is A Caterpillar Then The Last Third Is A Butterfly As Uplifting Riffs And Swirls Of Layered Keys Bring Things To A Crescendo. "lonely Man" Is A Quirky Detuned Monster Tour-de-force Which Leads Nicely Into "love By Proxy". Layered Keys And Intertwined Arpeggios Mingle To Create The Closest Thing To A Love Song Possible From This Trio.

Flip The Vinyl Over For A Hippy Drive With "jesus Freaks" And Its Groovy Guitar Licks And White Noise Synth Blasts. "nature Nature" Is All About The Pulsing Bass Guitar And Sample Like Guitar Stabs Before Heading Completely Off-piste For A Synth-bass Ending. "africa Addio" Presents Us With Meandering Synth Lines Before Layering On A Waft Of Sound Effects And Spooky Keys. Movie Territory. We Close Off The Lp With The "streets Like Noodles". New Wave Nyc Chic Meets Underground Italy Psych.

Following 2017's 'Path of Ruin', DJ Richard returns to Dial with his much-anticipated sophomore LP, 'Dies Iræ Xerox'. Undoubtedly one of the most distinctive and fully-formed electronic producers in recent memory, DJ Richard imprinted the sound of a bubbling US underground with his label, White Material, founded in 2012 alongside Young Male. His first solo LP for Dial, 2015's 'Grind', found DJ Richard delicately establishing a discipline between his East Coast noise heritage and a physical, emotive tradition of house music, mastered during an extended stay in Berlin. Now firmly settled once more in his hometown of Providence, 'Dies Iræ Xerox' is a personal and uncompromising journey that finds the Rhode Island native in reflective form, journeying without compromise into both his creative influences and personal psyche. In part adapting its title from the Latin hymn 'Dies irae', otherwise known as 'Day of Wrath', 'Dies Iræ Xerox' melds the physical and psychological aspects of DJ Richard's production ethos in sharper, more widescreen vision than before; the oceanic swells of ambience yet more powerful, and the rigid basslines sharper still. With the chaos of the Berlin club scene an increasingly distant memory, the album is enriched with a contemplative, even brittle tone, as informed by film soundtracks and literature as the pulse of city living. Still, this is new material from DJ Richard, a touring DJ as distinctive as any other to be found behind the decks at some of the world's finest clubs and festivals. On 'Dies Iræ Xerox', the artist finds the space to write 'the records I really want to play', and each suggests a template for genuine dancefloor transcendence, beginning with the electrifying 'Vanguard' . The sludgy yet sophisticated crawl of 'Tunnel Stalker' sets the tone for the menacing yet somehow melancholy EBM of 'In Broad Daylight', while the record draws to a breathless close with the affecting, drum machine lethargy of 'Gate of Roses'. Drawing little distinction between his more physically rousing material and searching soundscapes, 'Dies Iræ Xerox' instead finds a passage of catharsis throughout both. 'Dissolving World', the album's breathtaking centerpiece, is a choral feature hypnotically overwhelmed by walls of electronic feedback, forging a dramatic link between old ways and new. On the bold and near-beatless 'Ancestral Helm' and 'Final Mercy', DJ Richard seems to grant both music and raw emotion the ability to simply float in the air, brilliantly, poignantly unresolved. If 'Grind,' inspired by the weathered coastlines of Rhode Island, was a record concerning "the border between civilization and the ocean," then 'Dies Iræ Xerox' is an unapologetic follow-up concerning that between macabre obsessions and fear of death. Produced during a murky, transitional period, DJ Richard found himself particularly drawn to Medieval European art and mysticism, fascinated by depictions and philosophies of the antichrist and end-times. Greatly influencing the uncompromising, apocalyptic tone of the album, these investigations have created an engaging and personal vision of the 'Day of Wrath.'

Jaar's Other People is pleased to present a new solo record of guitar and live custom electronics artist Patrick Higgins, an American avant-garde composer and producer from New York City. Higgins is known for his work in experimental and contemporary classical music, playing guitar and composing in the mythical avant-noise-jazz ensemble Zs. His solo work as a composer unites European avant-garde forms with the post-minimalist howl of New York. His upcoming release on Other People, 'Dossier,' is a four-movement piece performed live without overdubs or edits. All of the samples and synthetic patches were custom built and specifically engaged to become elements of live guitar manipulation. The sound world is post-apocalyptic in spirit but builds to an intimate and reflective end. The material was developed over a two-year period and finalized at the end of 2016. Cover art is by Alfredo Jaar.

Second EP of the label Lowlife Cartel. An all star, six-track release from sixl key artists in various genres, from cutting edge techno to leftfield house, confirmes the versatility of Lowlife Cartel.
The EP begins with "Butt Dub Pregost", dubby downtempo atmospheric track, by one of most innovative and versatile artist of the last years: Buttechno (Rassvet records, Collapsing Market..)."Out For A Walk" by Fmy (Too Rough 4 Radio) is a leftfield house track, face covered and steps muffled through a deadening blizzard of tape saturation and white noisey envelops that find a balance between deepening the sense of immersion and a retained rhythm. "Unusual Mondai", hypnotic track by Sammy T Thompson, an alias of S.Olbricht (UIQ, Opal Tapes..), fits with an introspective melody and atmosphere.
"Mr Hodge Appreciation Society" is a quintessential Machine Woman (Ninja Tune, Peder Mannerfelt, Where to Now) club track, spanning sexy house and bold techno.
"Celestial Body" by PRESENTE oscillates between jungle and drone like a futuristic comet.
"Y'alll" by the rising producer Voyd, is a abstract house piece. Setting skittish drums and altered vox sample, smothered against a grey-ish canvas of blurry, washed-out pads.
Raw and indisputable quality of production.

Since his 2015 Night School debut E.P. Nouveauree, James Donadio - aka Prostitutes - has been traveling stages and rigs from Los Angeles to Berlin, from prestigious festival slots to slimy Glasgow basements, burning his own path through the modern techno and electronic scenes. On Aluminum Garage, Donadio is at his most playful, laying down unmistakably mid-tempo BPM early-electro jams indebted to early sampling before crashing the soundsystem with frantic, detourned Gabber. Unlike his previous LP for Spectrum Spools or indeed his Night School debut which rankled with austerity and minimalism, here Prostitutes is instinctive, multi-layered and unashamedly, brilliantly borrowing from myriad genres.

In past 3 years, Donadio has racked up critically praised releases on labels like Diagonal and CGI, refining his wares into a precise, bludgeoning toolkit that surprises and develops with each release. Aluminum Garage creeps into life with Born Wanderer, before a sub-heavy kick and bongo pattern blasts into a heavy break that feels like the earth moving from under your feet. With the utmost clarity, the track builds disparate layers - a white noise solo, warped sample piano chords straight from 1986 - into a Rave-o-matic climax, holding steady with the BPMs and immeasurably funky. Jah Elegant further blows apart any image we have of Prostitutes' music as austere' with a loping intro based on teased drum samples and a ghost MC. The Jungle break comes in by stealth before the heavy drop blasts the music into Drum + Bass momentum. It's both blistering fun and undeniably cheeky, a driving track that cuts up Remarc on a dimly lit table in suburban Ohio.

On Side 2, Errant Seagull takes the genre mess into techno territory though put through a heavily distorted grinder. Built around a skeleton of sampled bass guitar and thumping kick, the track layers drums upon drums, building in saturation until a searing synth strafes the criss-crossing rhythms. The effect is dizzying, insuring both a propellant, heavy forward motion and a grimey, angst-ridden climax. Before we're at the end of the track, the stereo field is so filthy with distortion and analogue muck the listener is desperate for a palette cleanser. Final track Shroud of Cellophane however, doesn't let up. With a ramped up BPM we're in a Cyberpunk Gabber club, nothing but 160 beats per minute, layers of frequency-tweaked noise and the light at the end of the tunnel racing towards us. It's sweet oblivion and we've earned it.

2x12" Reflecting on a career spanning three decades, Luke Slater is a true dance music legend. The British producer has not only been pivotal in the rise of techno but his work continues to play a vital role in driving the genre forward, particularly under his Planetary Assault Systems name. Following its launch in 2006, Slater's L.B.Dub Corp moniker has been responsible for refreshing house music on labels like Mote-Evolver and Ostgut Ton, with the latter hosting the pseudonym's debut album in 2013. 'Side Effects' is the project's first body of work since then. "I wrote the tracks over the last year between being on the road as P.A.S. and playing a few L.B.Dub Corp house sets, which naturally evolved into 'Side Effects' almost accidentally" - Luke Slater Crashing stabs and a rolling hook inaugurate the album in 'Reel One' before the meandering 'Night Time Hawk' demonstrates effervescent effects and bursts of white noise. Commanding kicks and a moody bassline make up the robust 'Edge 7' whilst 'IELBEE' exhibits a bouncy aesthetic complete with intricate melodies. 'Float When You Can' is dark and ominous from the off but an echoing note sequence adds a glimmer of light, making way for the reverberating mechanics of 'Bass Machine' before leading into the twisted sounds and ghostly air of 'Forever In A Day'. Nearing the end, 'LBEES Jam' is the most lighthearted track on the album with its twinkling lead melody until Slater rounds off the release with a soulful and vocal driven affair 'All Got To Live'.

Anklepants Introduces His Brand New Album For Detroit Undergroud, A Collection Of Ten Cuts, Made With His Very Own Arsenal Of Digital And Hardware Toys, Most Of Them Self Made And Customised For His Purposes. This Multi Faceted Artist Creates A Blend Of Twisted Ryhthms, Synthetic Melodies And Weird Textures And Noises, Yet Danceable Stuff But With Heavy Focus In Experimentation And Risk.

Pollen Opens The Release With A Weird Arabic Style Riff And Arpeggiated Clean Synths Over A Simple Beat, Until More Melodic Layers Complete The Equation.

Chowsey In Upstyled Onesy Minor Follows With Sampled And Morphed Traditional Instruments, Laying Over Destructed Beats And Rythms.

The Perfect Adult Man Relies On Atmospheric Stabs, Four Four Kick And Analogue Bubble Bassline, Dark, Grey And Melancholic.

'lé Cavé_isnt It Funny To Think Once Apon A Time People Thought The World Was Blue White Flat And Squaré' Is Made Of Twisted Samples, Asymetrical Grooves, Organic Instruments Decimated And Multiple Sound Layers.

808 Frapé Is An Homage To The Classic Drum Machine, Electro Shaped Drum Patterns, Floating Sounds And Crispy Metalic Glitches Dance With Random Sequences And Bleeps In A Robotic Exercise.

Reecard Farche The Torture Of Credo Mutwa And The Theft Of The Necklace Of Mysteries_noel Goes Again To Weird Random Bleepy Fields, Alien Grooves, Heavy Sound Processing And Glitched Details.

Industrial Kingpins Und Drachoen Is Dark, Obscure Number, Clear Rythms, Strings And Resonant Bassline Collide, The Groove Transforms To Broken Beats After The Break Bringing New Life To The Overall Feel.

Sharkblood, Sure The Sharks, Repeats This Phrase In Different Pitches Over A Solid Kick Pattern While More Vocal Layers Are Added Progressively In A Voice Madness.

Golife_refracto Relationé Again Plays With Samples In A Mad Style, Altering Every Parameter, Creating Granular Efects, Destroying The Audio Files Creating An Asymetric Tune.

Attila's Own Photos From The Shoot It's The Epilogue, In A Relaxed Mood, Sound Textures, Various String Samples Melting In Different Pitches And Crunchy Atmospheres.

Pattern Repeat ready the next release on their self-titled label with two solid cuts of techno this May.

The project which was started back in 2009 by the two Danish producers, Dennis Bøg better known as Resoe, owner of Baum Records and its off shoot Baum Limited Picture Edition, and Kenneth Christiansen owner of Echocord Records. Each of their releases move into different realms of Techno,and have gained support from the upper echelons of dance music, from the likes of Rodhad, Levon Vincent, and Dario Zenker.

A crawling filtered synth opens '009A', murky kick drums and syncopated high-hats join it, to create a long winding warehouse melody, these are then exchanged for the hazy sounds of white noise of '009B' packed with cold eerie drones, that are met by charged hums that fizz away and bring the release to a close.

"The kind of melancholia I'm talking about, by contrast, consists not in giving up on desire, but in refusing to yield. It consists, that is to say, in a refusal to adjust to what current conditions call 'reality' - even if the cost of that refusal is that you feel like an outcast in your own time." (Mark Fisher, Ghosts Of My Life, Zero Books 2014, p. 24) In Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures', the author Mark Fisher outlines - to put it in a big way - a resistant melancholy. This stands in contrast to leftist melancholy resignation', as well as something which Fisher does not talk about: its common masculine counterpart, habitual post-left cynicism - as in seen it all before'. Fisher calls this hauntological melancholy. Haunting, spooks, ghosts and apparitions are an almost constant presence on I Started Wearing Black', the second album by the Cologne-based artist Sonae (pronounced so-nah'). The term hauntology shares a fate with retro-futurism when it comes to inflationary overuse and abuse. It's a conceptual container that looks good and can hold a lot, indeed, too much. Furthermore, hauntology has its peak season behind it, a term on the threshold of its expiration date. Nevertheless, I would like to rehabilitate hauntology and use it properly to characterize I Started Wearing Black', because the term is rarely as compelling to describe music as is the case here. The most recent other example could be Asiatisch' by Fatma Al Qadiri, but with a completely different frame of reference. What are the ghosts of this music It rustles, crackles, ruffles, crunches, rattles, scrapes, sometimes a beat emerges from the constant noise, sometimes an obscure voice mumbles incomprehensibly, sometimes a melancholy piano figure is prevented by this noise from coming too much to the foreground. It definitely is eerie - to bring into play another term used by Fisher in the title of his latest book, The Weird and the Eerie'. In British pop-jargon, eerie first occurred to me more often when referring to particularly leftfield, spooky and... well... ghostly dub, a bass-heavy, echoing noise, from Augustus Pablo to Creation Rebel to Burial. Unlike the Wald & Wagner records by Wolfgang Voigt, Sonae is not a kind of neo-romantic veiling with a tendency for escapist nebula. It is more a noise of latency. The noise signals a latent - not necessarily acute - threat, a latent uneasiness about... yes... about what About a System Immanent Value Defect' That's the name of a track on I Started Wearing Black' where something that sounds like a French Horn (or a foghorn) battles for attention through or against the background noise. An email from Sonae: The piece 'System Immanent Value Defect' should actually be called 'I See Turkey'. I wrote it for my fellow student Elif - she is a pianist and Gezi Park activist from Istanbul. Through her I witnessed the inner conflict and agitation that political circumstances can create: her feelings of guilt when there was an attack, with her safe in Germany as a student, watching the events from afar. It was horrible. When her mother begged her not to come home because she feared for her safety, I felt a cold shiver run down my spine. I started with the piece from this mood, beginning with the piano, then the noise (modulated sinusoidal curves), which reminded me of waves and the then heatedly discussed Mediterranean sea: atmospheric, melancholy motifs. In contrast is the anger, the pressure, represented in corresponding sounds - hopefully audible! - During this time I started to think about world views as they can be found around the globe, in how far they held by societies and their political representation. I realized that I know of no political system that is actually about the people and what would do them good. It's always about positions, power, money. I thought that was a lot more frightening on a global scale than merely viewing Turkey in isolation. That's why the piece is called "System Immanent Value Defect", because our world suffers from precisely that. Everywhere, it's all about the wrong things.' Between the wrong things there are happy moments. In the title track, after 184 seconds of rattling and hissing, a beat is unleashed, like an arrow released from a spanned bow, a beatific relief, if there is such a thing. White Trash Rouge Noir' first meanders along spookily, then after 144 seconds it transforms itself into a distant cousin of Einstu¨rzende Neubauten's Yu¨ Gung', but there is no Big Male Ego to be fed here, and the black in the album title is a completely different type of black from that of the Neubauten. Furthermore, I Started Wearing Black' was finished long before the black dresses were worn at the Golden Globes as a sign of protest against sexual violence. Sonae writes that she herself started wearing black some time ago. Her reasons are so-called personal ones: ... resulting from an individual situation (lovesickness), I started to wear black (gaining weight and feeling ugly).' The political dimension of gaining weight, feeling ugly and therefore dressing in black in I Started Wearing Black' lurks within the noise and never becomes explicit and only rarely manifest - or a manifesto. Sonae writes about the track We Are Here': A piece for minorities... in this case, considering the current pop-feminist discourse, explicitly for women. Female artists have long been saying loud and clear that 'we are here' and 'electronic music is not a boys club!' But this pop-feminist moment should only be seen as one part of the dedication of the piece. It is for minorities, for the oppressed, who didn't belong enough.'

Klaus Walter