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Record is close to NM. Digital download included.

Coppé, the Japanese Godmother of Electronica, who made headlines for her participation in Orbital's latest work "Optical Delusion," continues to be active worldwide. Her cassette (her first!) release, which was highly praised at the 2024 Cassette Week UK, is now set for release in Japan! Her album "(Un-)tweaked.," featuring the genius pianist Jacob Koller, and "(-)tweaked.," remixed by Luke Vibert, Plaid, DJ Kensei, and others, are compiled together into this complete version on one cassette, allowing listeners to enjoy the "untweaked" and "tweaked" concepts in one package!

The first ever publication of the original soundtrack composed by Alain Pierre for the Belgian cult film Vase de noces, directed by Thierry Zeno in 1974... Limited edition of 400 copies with letterpress sleeve. In memory of Alain Pierre: 1948 - 2024. Co-produced by Sub Rosa and Mydy

Vase de noces was made with very little money. Thierry used 16mm reversal film, utilizing the ends of reels he obtained from friends who worked as TV cameramen. Similarly, I salvaged magnetic tape from my workplace, the Équipe sound studio. Film professionals looked down on him because he filmed everything on his own, without relying on technicians. The remarks became even more disparaging when they saw the quality of the result.

Thierry told me about a certain sequence from his film, and I had the feeling that this music would work wonderfully with that sequence if I slowed it down to the extreme, to the point that it would be unrecognizable. Very rudimentary special effects. I had manipulated music sung by castrati this way for O Sidarta, and he liked it. My suggestion was accepted. (Alain Pierre)

180g vinyl / white pink colored

Price tag residue on front. Writing on label stickers. Vinyl is Close to VG+. Limited edition

In April 2023, there was released the first part of the Fluxus edition called Stolen Symphony. The year has come and gone and there is the second part of the Fluxus edition called Keep Together. At the centre of both parts of this edition was a broken piano, acquired by the Opening Performance Orchestra for the purpose of making live and studio recordings. During this time other new works for this broken piano were written by diverse Fluxus and non-Fluxus composers. In the spring of 2022, the Opening Performance Orchestra and broken piano participated in an event hosted by Mieko Shiomi. This was a new version of her early work Spatial Poem, documentation of which was presented at the 2022 Aichi Triennale in Tokyo. At present, broken piano lies in the open air in Prague and is subject to gradual decay.

These both parts of this edition contain 73 new and old pieces, live and studio recordings, finished pieces and scores to be performed, solos and pieces for ensemble, using classical and special instruments from 33 Fluxus artists, which have been played by 10 soloists and 4 ensembles. There are new essays and articles from 15 writers on the theme Fluxus, original photos and other documentation in the booklets.

A 12-inch cut from the 1999 album 'Peppermint' by Coppe', the godmother of Japanese electronica, covering everything from electronica to downtempo, jazz, and contemporary piano works!

stickered white label copy promo

Octet supergroup lead by Eric Quach aka Thisquietarmy. Including 3 drummers, guitar, synth & brass players (who also play in bands such as Godspeed You! Black Emperor, Exhaust, Hanged Up, Avec Le Soleil Sortant De Sa Bouche & more); Pangea De Futura brings together the merged and emerging territories of Montreal's exploratory music scene.

War Milk is the debut studio album from the supergroup Pangea de Futura, an octet that has been exploring since 2019, the many ways of - slowly - constructing massive textural musical shapes and droning tribal post-rock ambiances. Each track simultaneously encapsulates its structure emerging from and within a flux, alongside its impending entropy, creating a suspended moment. This intense experience is crafted through the combined rhythmic contributions of Aidan Girt, Eric Craven, Samuel Bobony, the merging brass arrangements of Véronique Janosy, Reüel Ordoñez, Neboysha Rakic, the electronic textures provided by Charles Bussières, and the intense drones / soundscapes created by Eric Quach's guitar playing. Eight musicians, involved - in total - in some fifty projects from the Montreal scene (a.o. : Godspeed You! Black Emperor, Silver Mt. Zion, Fly Pan Am, Some Became Hollow Tube, Hrsta, BLD, Black Givre, Avec le Soleil Sortant de sa Bouche...)

Earth, Water, Air, Fire... the genesis of a complex and perpetually evolving life.

Excavated from a now lost cassette, ‘CRG77’ is a series of improvisations conceived of little sleep and minimal natural light. Perhaps best described as the sonic equivalent of a strong indica, contorted dance music under the influence of a forty year old echo pedal. Hidden Village is a new London based label with no agenda and no direction. Created by R.ess 048, a pseudonym for members of a well known South London crew who wish to remain nameless and were behind one of last year's most forward thinking underground releases. 'CRG77' is an after hours excursion into the deepest depths of the weed-box. Comes with ultra-Lo-Fi A4 b&w insert designed by one of the crew. Punk as fuck. Mining the same dusted plains as fellow travellers SVN, Madteo, Sex Tags, Regelbau etc etc

Sihr: sonic manifesto by a post-anything quartet feat. multi-instrumentalists from the Mediterranean inland Sea. New folklore for a devastated planet, including Frédéric D. Oberland (Oiseaux-Tempête), Grégory Dargent (H), Tony Elieh (Karkhana) & Wassim Halal (Polyphème).

After a few concerts/screenings improvised as a duo in Cairo and Beirut, as well as for the Rencontres d’Arles, the Lille photography center and the Belgian magazine Halogénure, Dargent and Oberland have teamed up with mavericks Elieh and Halal for a puzzling cross-border manifesto. The first sonic moves of this eclectic quartet, made in a bunker studio somewhere between Paris and Berlin, urgently took the form of a quest, that of a neo-folklore for troubled times, a music seeping with many kinds of atavism and experimenting in all directions. A fertile no-man’s-land where trance and contem- plation, jazz and electronica, acoustics and electricity would merge in a stimulating mystical magma.

From the possible emergence of a Babelian language to the shared desire to rediscover music as a ceremonial act, this encounter took place over three days of improvised sound bacchanalia, the phases of which were all recorded by Benoit Bel (Zombie Zombie, Thurston Moore Group, Oi- seaux-Tempête). A hallucinated and generous testimony, Sihr is a synergy of many different worlds and many different possibilities, the sonic vision of a present conjugated in a hybrid tense and exalted by too many tangos danced on the glowing ashes of our days.

Multi-instrumentalist & photographer, Frédéric D. Oberland has been leading the Oiseaux-Tempête collective for over ten years, lying somewhere between avant-rock and free jazz, repetitive music and electronics. Founding member of the bands Foudre! and Le Réveil des Tropiques, he’s also perfor- ming solo and composing soundtracks for cinema and installation art. Since 2018, Oberland co-cu- rates the Nahal Recordings imprint alongside producer Mondkopf.

Electric guitarist, oud player, composer and photographer, Grégory Dargent cultivates his musical schizophrenia and identity through improvised music, trance music, jazz, hijacked maqam, repeti- tive music, pop, electro-acoustic installations and French chanson. From L’Hijâz’Car to Babx, from Berber singer Houria Aïchi to Rachid Taha, from Trio H to Sirventés enragés, from music for images to contemporary choreography, from the most acoustic of ouds to the most nuclear of guitars, he conducts, accompanies, composes, deciphers, questions, delves, makes mistakes, bounces back, ar- ranges, orchestrates and tirelessly shares his creative passions.

Tony Elieh is one of the pioneers of experimental music in Lebanon. A founding member of the first post-rock group of post-war Lebanon, The Scrambled Eggs, he has since developed his unique elec- tric bass skills in various groups and styles of music including collaborating with in groups such as Karkhana, Calamita and Wormholes Electric. Relocated in Berlin in recent years, he has performed a solo set of heavily processed bass generated sounds.

Is Wassim Halal only a darbuka player? Maybe !? But what about his music, compositions, ideas. You can find him with Polyphème playing and co-composing popular-contemporary music with Gamelan Puspawarna, or next to the french bagpiper Erwan Keravec, with the Bey.Ler.Bey trio (w/ Laurent Clouet & Florian Demonsant) working on an improvised-balkan-already-improvised-music, with per- formers and drawers Benjamin Efrati and Diego Verastegui, with Gregory Dargent and Anil Eraslan in H, creating a new pedal generating »Random taksim«, composing his own »Poème Symphonique pour 100 youyou« or composing pieces for ensembles.

In meteorology, the word Norther refers to a cold wind that blows down from the north. For Liverpool’s Ex-Easter Island Head, it’s also an apt title for the strange and multi-faceted sound of their new album that now descends upon the world at large: ever shifting, a multiplicity of sounds both acoustic and manipulated, and yet one that still moves as part of a single mighty breeze. At times it might recall the experiments of Rhys Chatham and Glenn Branca, the widescreen beauty of The Necks, the relentless experimentation of Arnold Dreyblatt or the boundary-pushing roster of Kompakt Records, yet ultimately this is music that has no direct compare. Each of its six pieces demonstrates a different creative process. On blossoming opener ‘Weather’, whirring motors dance fairy-like atop strings and drums; on the dizzying ‘Magnetic Language’ voices are played back through phones and amplified through pickups made of magnets wrapped in copper wire; the title of ‘Golden Bridges’ refers to the brass rods the band shift beneath the strings of their guitar. All, however, tap to one degree or another into that abiding theme of the weather. Norther is Ex-Easter Island Head’s first studio album since 2016, a time spent on collaborations and one-off performances with everyone from classical musicians and fellow experimentalists to schoolchildren. “All of the projects we were involved in between 2016 and 2024 have expanded the boundaries of what we do by exposing us to a huge variety of instruments, personalities and ways of working. It's really allowed us to see the purity of making music with a four-piece group,” says the band’s Benjamin D. Duvall. That status as a quartet is a new one, with the addition of longstanding friend and collaborator Andrew PM Hunt. Having a member of the band handling recording and mixing helped them push further and further into sonic territory that until Norther remained entirely unexplored – not just by Ex-Easter Island Head, but by any other band on earth.

Vinyl is close to NM. Tiny wear.

Benjamin Hudson returns to Acroplane, following his last projects with us as Ebola (Wrong Music) and one half of Baconhead, with 'Slime'… and he's brought a load of his talented mates to collaborate with him.
Artwork by Everything Alllways
Mastering by James Forde Stewart @ Sorting Room Studios.
Brain Rays is part of queer collective, Doomscroll, and Devon art & party crew, Bizarre Rituals. He is also a co-founder of Wrong Music alongside DJ Scotch Egg and Matt Lambert (Roger Species).
Known for his hectic, high pressure output with Quiet, and film soundtrack work (as part of Unknown Horrors) collaborating with director Dean Puckett (The Severed Sun, The Sermon, Satan's Bite) and Rhys Chapman (Wonderkid). As a DJ he has performed all over the world, including Transmediale Festival (Berlin), Today's Art (Den Haag) and Boomtown Fair, as well as two live sessions at Radio 1's legendary Maida Vale Studios. As a producer he has garnered support from the likes of Mary Anne Hobbs, Etch, Huw Stephens, Drumskull, Annie Mac, and Nikki Nair.

The sweeping poem ‘Cofio’ by the great Welsh poet Waldo Williams has inspired a remarkable collaboration between Ibiza-based record label NuNorthern Soul, Welsh DJ, performer and cultural commentator Gareth Potter, composer and musician Joan Bibiloni, poet and actor Pep Tosar Vaquer, actor Rhys Ifans and musician James Baron aka JIM / Ron Basejam.

1st March is St Davids Day and Balearic Day. St David’s Day honours the death of the patron saint of Wales and the Day of the Balearic Islands the day when islands Ibiza, Mallorca and Menorca became an autonomous region of Spain.

Cofio Recorda Remembrance is made up of two powerful and haunting tracks drenched in NuNorthern Soul’s unique take on the globally popular Balearic Chillout style. Un Adéu features music by Joan remixed by James Baron with Pep reading the poem in Catalan and Spanish. Badia Onírica is a tremendously atmospheric reading of ‘Cofia’ in Welsh and English by Rhys with music again arranged by James.

It connects Wales and Ibiza but, on a more universal level, Cofio Recorda Remembrance links the fundamental aspects of human existence, of, as Waldo Williams puts it ‘earth’s innumerable generations’.

I was between the ages of 18 and 20 when I wrote the 22 songs found on To Anyone Who Ever Laughed at Someone Else. They express the thoughts and frustrations, hopes and fears of a young man coming of age in a world that was full of upheaval and transformation. I was a product of that period in America we call the sixties—those years between the assassination of President John F. Kennedy in November 1963 and the resignation of President Richard Nixon in August 1974. In fact, this record was released that same month Nixon resigned. Over the next five years, I toured the country as an acoustic artist performing at clubs, coffeehouses and colleges. During that time, I watched the idealism and social consciousness of the sixties slowly fade away. In its place emerged a cynicism and materialism that still seems to be with us so many years later. More than anything else, I think To Anyone Who Ever Laughed at Someone Else is a time capsule that speaks to us from a past era. A period when, above all other things, we asked questions. We questioned our country, we questioned our faith, we questioned the very purpose of life itself. I am very excited to bring those questions and these songs to a new generation on a new continent. Special thanks to my friends Jordi Segura of Wah Wah Records who took the initiative to release this 50th Anniversary Re-issue of To Anyone Who Ever Laughed at Someone Else and Michel Veenstra Klinkhamer, who introduced us.

A votive. An object as an offering. An intention. A spell in physical form. Music as a form of invocation. Sound as clay. Moulded, sculpted, manipulated to embody said intention. Magick. Chaos. Turning sound into clay. Clay into earthenware. Literally.

Making use of the term Votive opened a large room for interpretation for me. There is so much that I could argue with, which would be about me (atheism, queerness or feminism ) in order to prevent misinterpretation. But I don’t want to limit the interpretation of it by explaining my own personal view. – Rosa Anschütz

The debut LP from transmedia artist / vocalist / producer Rosa Anschütz is a collection of nine votives presented in sonic and ceramic form (every song has its sculptural equivalent). It’s the result of several years of daily rituals: word collages as incantations, audio sigils created by shaping electric voltages and casting sound into clay. Votive is also a highly charged space full of spirit/emotion, a religious experience distilled from the ecstasies of an agnostic.

I sang in choirs for a very long time and enjoy hearing multiple voices. I also love the reverb effect you get in a Church, I emulate this using effect pedals and plug-ins. I also use vocal loops like mantras. I can enter into self-hypnosis through singing. – Rosa Anschütz

Votive was produced by Jan Wagner. It took three years for the initial sketches to punctuate in finished songs. The basis for the music was created using Rosa’s self-built modular synthesizer, which she describes as an entity full of personality that “reacts on my mood of the day.” The lyrics were distilled from her growing collection of decontextualised phrases, loose poems – often written on the move – and diary-like entries, obsessively collected over the years. During the production, these word-formations were intuitively combined with the modular soundscapes, and sculpted till they became holistic, well-balanced micro-universes.

A synthesizer can literally absorb you. It not only has a range of sounds, but also its own personality. I’m constantly changing how I make use of it. – Rosa Anschütz

Like the material found on last year’s Rigid EP, these songs are a curious alloy crafted from a range of sonic vernaculars: experimental / noise, cold wave, techno and avant-pop. The space they evoke remains cool and dusky, both airless and cathedral vast. Spoken word pieces are woven in between spectral choral arrangements, the effect is that of hypnotic mantras. Votive is far from a neutral experience and there is a clear before and after, once you hear it.

"This record comes with a wonderful inlay, which is discovering more about the studio work and photographs from behind the scenes.
Another non plus ultra might be infinity locked in the groove.
This record means very much to me, for the reason of the disclosure of oneself and to the others, my listeners and I want thank you for listening to me.
my best"
- Rosa

Written by Rosa Anschütz Produced by Rosa Anschütz and Jan Wagner
With guest appearances of Tom Wheatley on "My Heart's In The Highlands" and
Joshua Ben Joseph on "Rain Upon God's Hill"
Mastered by Jan Wagner Released via Klangbad Records

Malka Tuti is proud to present the solo debut EP by mister Andrei Rusu,
one half of Khidja.

After a series of stellar remixes in the past year to Cosmo Vitelli (on Im a Cliché), Dadalus & Bikarus, Santaka & Nic Arizona, Rusu is finally ready to present his own original solo materials to the world.

Ahead of a full LP planned on MT for later this year, Rusu is presenting us with 2 fresh new tracks. The A-side is a 120bpm dirty and distorted super- trippy banger for the biggest floors and the darkest rooms.

On the B-side Rusu collaborates with an artist known to the followers of the label - Decha, who contributes her signature expressive vocals on this half time industrial dub track. This time however, the vocals run through the hands of Rusu who soaks them with distortion and even more punk attitude, almost echoing the energies of the late Genesis P-Orridge.

The release includes 2 remixes by a couple of master remixers who also happen to be part of our extended family.

Remixing the title track, and off the success of his 2 incredible albums released on 2023 (Music From Memory & Offen), Philipp Otterbach supplies a remix for the books, channeling the original track’s intensity through oceans of reverb, whimsical samples and addictive trippy rhythms. For the Hedesch Remix we’ve asked one of our favourite remixers out there aka Black Merlin to contribute his cut and boy he didn’t disappoint (does he ever?)

Black Merlin supplied us with a long and addictive psychedelic synthetic and very dubby journey for the b-side.

'Timoka' is an all instrumental album from Ross Goldstein featuring 11 compositions created using a Mellotron exclusively. It is a companion piece (volume 2) to 'The 8th House' and like that album it is inspired by cinema and film soundtracks

While plenty of homage has been paid to the anxiety-heavy synthy soundtracks of 70's b-movie horror flicks or the acid rock freak outs that soundtracked movies from the early days hippie subculture, The Eighth House goes in a very different direction. More than those popular entry points, the music here is subdued and slow-moving, curiously inspecting ideas as the album moves through various fantastical passages. Even when cartoonish sound effects meet with tense swells of strings or dramatic orchestral flourishes (early Chamberlin models recorded their sounds using players of the Lawrence Welk Orchestra, no less!), the result is never garish but always patient and communicative. Bells ring in the distance, memories and possibilities are implied but left open to interpretation and strange but friendly sounds linger for just a moment before melting into something else. The result is a muted and wintery paradise that envisions Smile-era Brian Wilson scoring the softer moments of a Jodorowsky film.

Some of the earliest works by American composer Phill Niblock, including three never before released pieces: "Index" (1969), "Tenor," and "Boston Iii" (both from 1972). Until now, it's been impossible to encounter Niblock's compositions from earlier than the 1960s, a reality thankfully rectified by the long overdue publication of this Boston/Tenor/Index LP on Alga Marghen.

"Tenor" (1972) represents the first evolution of Niblock's musical thought towards the aesthetics of microtones, overtones, and drones which the composer would develop in following decades. The piece was recorded by the photographer Martin Bough on tenor saxophone and gradually dubbed back and forth by the composer in his New York studio. "Boston Iii" (1972) was recorded at the Intermedia Sound studio in Boston with Rhys Chatham (flute, voice), Martin Bough (tenor saxophone), and Gregory Reeve (viola, voice); the composer himself also contributed with his voice. The LP also includes "Index" (1969), an improvised sound performance by the composer himself. Guitar (both its body and strings), fingers and fingering fuse in a vehement action around which barely listenable sounds and resonances vibrate. Considering the extended pulsation as an organic blend of impulse, rhythm, drive, strength, vitality and passion, the end of this sole solo in Niblock's complete oeuvre is not defined by the fixed duration of the piece but as the consequence of the tiredness of the performer. The music changes according to the loudness of playback. The interaction of the upper harmonics changes especially, with much richer overtone patterns being produced at louder levels.

A long standing ‘Holy Grail’ release for fans of Delia Derbyshire & BBC Radiophonic Workshop.

First Ever Official Release of Inventions For Radio!!



Original Broadcasts by Barry Bermange,

Delia Derbyshire, and the BBC Radiophonic Workshop

Full (lidded)Boxset containing 6 LPs.

20 Page Booklet



Limited TO 500 Copies Worldwide

The BBC’s Third Programme aired four radio broadcasts between January 1964 and September 1965, collectively known as Inventions for Radio.

They were ground-breaking in both form and content, conceived by playwright Barry Bermange and consisting of the voices of the general public answering questions on four themes,

one for each programme: dreams, the existence of God, life after death and ageing. At a time when it was unheard of to give a media platform to anyone perceived as being of

low socio-economic status, the broadcasts generated many complaints for the “rough” voices of its participants.



Delia Derbyshire was assigned by the Radiophonic Workshop to edit and add electronic music/ effects.

The collaborative result is dreamlike and mesmerizing, an audial window to another era.

For many years Derbyshire was not credited for her contribution, nor were the broadcasts available commercially, although they still managed to acquire something of a cult following.



This boxset includes one LP for each broadcast and two further LPs of additional material.

There is a 20-page booklet with extensive notes by Mark Ayres (Producer) and David Butler, (one of the lead researchers and

curators of the Delia Derbyshire Archive and co-founder of Delia Derbyshire Day).

The insight into Derbyshire’s archive, her music and its influences and her collaboration with Bermange is fascinating, providing context for

these extraordinary pieces which have been the most elusive of Twentieth Century classics until now.

Titled “Vernacular", the debut album by Blake Reyes is set to release on Axis Records on Friday, October 27, 2023, in vinyl and digital formats. The album is personally overseen by Jeff Mills, and is part of the "Axis Jazz" collection.

This confirms the eclecticism and versatility of both Axis and Blake Reyes, through harmony and rhythm, cultural influences, and the right touch of fusion: characteristics that have always defined jazz.

The album was recorded in three different cities (Bologna, Milan, and Rome), with Jeff Mills present during all recording and mixing sessions. Particularly in Milan, work was done at the Officine Meccaniche studios, where Duke Ellington, Quincy Jones, and many others have recorded.

?Vernacular" is an album that draws from jazz, Detroit techno and funk. It evokes operatic work due to its aspiration to create strong emotional intensity. The album features a blend of acoustic instruments such as acoustic bass, acoustic and electronic guitars, and the Steinway & Sons Grand Piano - the same Duke Ellington played in 1963 when he recorded ?The Symphonic Ellington" album - alongside electronic instruments including drum machines and Roland synths.

?I titled the album ?Vernacular' because I focused solely on production and sound quality, drawing inspiration from vernacular art, as a self-taught and artisanal approach in the noblest sense of the term", Blake Reyes explains. ?The musical references can primarily be found in Jeff Mills and his Millsart project, and more broadly in the works of composers like Bruno Nicolai, Piero Umiliani, Piero Piccioni, Brian Bennett, John Cameron, and even Raymond Scott. For the lyrics of the track ?At Night,' the visual reference that inspired the lyrics can be traced back to certain paintings by Henri Rousseau, particularly ?The Dream,' ?The Snake Charmer,' and ?Sleeping Gypsy.' All of this was done in post-production, working alongside Jeff Mills: a wonderful experience, a continuous flow and exchange of ideas."

Producer, DJ, and sound designer Blake Reyes (born Luca Vertulli) divides his time between Milan and Ibiza. His productions consistently focus on the sounds and emotions derived from tapes, samplers, drum machines, and analog synthesizers. His mixes are broadcasted on stations such as Ibiza Global Radio, Ibiza Sonica, Radio Raheem, and Olà Radio. His DJ sets are distinguished by their elegance and quality, always bringing the dancefloor to the right temperature. He boasts releases on Trax Records and Rebirth Records, and in 2019, he founded Triton Records, his own record label.

Musicians: Dario Lutrino: piano, Stefano Brandoni: guitar, Niccolò "Bolla" Bonavita: bass, Anna Bassy: singer, Blake Reyes: drum machines and synthesizers.

Music composed, produced and directed by Blake Reyes. Lyrics written by Blake Reyes. Studio Engineer: Taketo Gohara, Mastering Engineer: Giovanni Versari, Producer: Jeff Mills.

Studios: Officine Meccaniche, Milan / Fonoprint, Bologna / Forum Studios, Rome

The catalog of American composer Keith Kenniff spans over a dozen releases as Helios and nearly as many as Goldmund since 2004. Kenniff's music deals with subtlety, and the variance between these projects loosely follows a few signifiers; Goldmund favors post-classical piano, Mint Julep, a project with his partner Hollie, is shoegaze pop, while the linesaround his Helios project are intentionally hazier. Within the alias, Kenniff glides between minimal ambient electronics and more robust instrumentation, all run through his mini-cassette recorder for a distinct wobble.2018's Veriditas, his first Helios LP on Ghostly International, found Kenniff shaping verdant landscapes of harmonic sound, focusing on texture over structure. He followed it up in 2020 with Domicile, an even quieter synth-toned ode to the indoors. Now he returns to the electro-acousticmovement that marked much of his earlier output; the music of Espera is lush, livelier, and perhaps the most singular in his run. Titles are telling in Kenniff's work, and Espera, a Spanish word meaning "wait," speaks to the producer's patient and cinematic craft. The record balances engagementand contemplation with a billowing accessible lightness, and reveals Helios at a compelling intersection, composing songs as vivid and three-dimensional as they are characteristically modernist and understated."Patience is something I aspire to in my life and profession," says Kenniff, who recorded Esperaat night, his preferred mode, when life is uncluttered and unrushed. While the Helios project has fit neatly into the beatless category in recent years, Kenniff felt a natural pull to pivot for thesesessions, embracing downtempo percussion, both acoustic and electronically rendered. Arrangements also swelled with layers of guitar and piano,made familiar with his usual tape treatment giving the material a warmer, closer feel, homemade yet expansive, vibrant yet peaceful. "The texturalaesthetic of the instruments was as important as the melody, harmony, or rhy...

Kübler-Ross is a minimal synth/wave/industrial three-piece from Glasgow, Scotland, featuring Craig Clark, Katie Shannon, and veteran electronic producer and remixer producer Dave Clark, best-known for his Sparky moniker, and as one-half of the production/remix team Optimo (Espacio). First emerging in 2015 with a couple of compilation appearances, Kübler-Ross released their debut, self-titled album in 2020. Originally released as a limited-edition cassette on the Glasgow label Akashic Records, the album — now resequenced and released on vinyl via Suction Records’ minimal synth sublabel Ice Machine — is a collection of tracks recorded over a three year period in a variety of studios, rehearsal rooms, and gigs, documenting the musical variety and ferocity of their incendiary live performances. The Akashic tape, despite being low-key, under-the-radar, and released in limited quantity, managed to earn them a Long List nomination for SAY (Scottish Album of the Year) for 2020. Standout cut “Bridges”, first released in 2015, is synthpop perfection — sitting comfortably alongside classics from the first wave of UK electronic classics by Thomas Leer and Robert Rental, John Foxx, and even early Depeche Mode. It’s not the only synthpop track on the record, but the album is dominated by a more tough, raw, and punk spirit, featuring aggressive female vocals, live drums + bass guitar, and judicious use of crude analog synthesizers and tape delay fx. Think Liaisons Dangereuses meets Suicide, and you’re beginning to get close… Available digitally, and on limited vinyl LP in a reverse-board jacket. We’ve also pressed up a special edition with an additional bonus 7”, featuring covers of songs by US minimal synth oddball John Bender,and Australian industrial mavericks SeveredHeads. The special edition LP and 7” are on pink-vinyl LP + green-vinyl-7”, and strictly limited to 200 copies. Both versions include a Bandcamp download card inside.

With »Discreet Music« (1975), »Music for Airports« (1978) and »Thursday Afternoon« (1985), Brian Eno invented a new music genre, Ambient Music, which he defined as »able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting«. These versions performed and arranged by Dedalus Ensemble, according to the musicians and the critics who listened to it, goes beyond what we expect from it. A mental base that takes us far away. One of the only music without beginning or end in which we want to stay as long as possible.

In the oblivious environment surrounding his hideaway lake cabin he produced an album that is rich and diverse in its sonic palette, ranging from harshly distorted synth-peaks, cinematic soundscapes, all the way to avant-garde contemporary classical, and jazz music. It is an album that invites the listener to explore and discover not just the intimate self: it is also a very personal, intuitive observation and reflection on the world that we are living in today. Certain instruments are very prominent. An old piano that was left in Raz’ apartment by a friend that he found joy in playing. One can hear a certain curiosity in the performance of this newly found, dust layered treasure (Bardot). Sonically the album is an attempt to blend acoustic sound recordings with synthesized sounds, and to blend musical genres into one. It is an acoustic expression of the transformative times we are living in, a realm of mankind being mastered by technology. The gap of this transformational process is a glitchy moment of time. It is portrayed on the front cover image of the album, by glitch artist Azamat Akhmadbaev.

"We entered the shadowy mouth of a new space, descending into a realm that precedes the underworld, the arcane, far from our time. We met beasts that gave us lessons about their language which we started learning without grammar." -

'The animal world is a constant in the work of Milan improvisational duo Rosso Polare. If Cani Lenti was guided by the diaphanous birdsong integrated into their sparkling mix of folklore, ambiences and occasional humming, on Bocca D’ombra the themes go darker, textures are harder to pin down and the animal presence takes on new connotations.

Instead of an anonymous, patchworked outdoors we enter a cavernous space that invokes the collective unconscious with bestial and funereal undertones, as the animals take on the role of the psychopomps, ancient guides through the shadow realm.

The album is influenced by Timothy Morton’s Dark Ecology, a thinker who sees the constant exchange between the human and natural world as an ongoing dialogue, the two influencing each other, in a series of reverberating loops. This looping is also reflected in their compositions, where improvisations with traditional instruments like electric and acoustic guitars, monophonic synths, horns or flutes meet natural noise-making tools like branches, rocks or nuts that amount to lugubrious, often dissonant textures. Bocca D’ombra is built on a series of whispers, breaths, panting and rustling, creating a feeling of closeness sometimes verging on the claustrophobic, ingeniously set against sounds evoking space – fireworks crackling, crows echoing, church bells reverberating, indistinct cries from a children’s playground.

Distance and repetition are deeply ingrained in their own understanding of sound and their surroundings, becoming the building blocks of their practice. Just like Gregory Bateson in the ‘70s, the duo believes in a more romantic approach to ecology, seeking a porous border between self and environment, human and animal, internal monologue and external ambient hum.

If earlier releases were noisier and denser, Bocca D’ombra is tight and focused - every sound and melody is given room to breathe and develop on its own, enhancing the haunting, otherworldly aspect of the music. The result is heady, intoxicating mix which sublimates chaos into sparkling compositions of contemporary animism.' -

Rosso Polare is Cesare Lopopolo and Anna Vezzosi, a contemporary improv duo from Milan, Italy, drawing from their complementary environments (the Italian countryside vs the city) to create a highly personal musical language merging field recordings, folklore and audio manipulation. Having both studied visual arts, their approach is equally rooted in a deep theoretical background, as well as an intuitive élan, while focused on researching counter- narratives regarding the depiction of the animal world. They strive to normalize the levels between human-produced music and natural biophony by making the listener aware of their indigenousness to nature.

Written and performed by Cesare Lopopolo & Anna Vezzosi. Recorded between Milan and Brescia, 2021-2022. Mixed and produced by Cesare Lopopolo. Mastered by Giuseppe Ielasi. Graphic Design by Federico Spini.

Sound architect and filmmaker from Liège, Belgium Phil Maggi is known as the lead singer of heavy-rock combo Ultraphallus. He has shared the bill with Jerusalem In My Heart, Keith Rowe, Phill Niblock, Tuxedomoon, Sote, Thisquietarmy, and many others. The Encrimsoned is the second part of his diptych inspired by Henry Corbin's writings, which started with his previous album Animalwrath. Ranging from free-jazz to ambient-electronic contemporary art sound, this adventurous second and final chapter is an homage to Hardy Fox, pioneer and primary composer for The Residents.

Recorded at the height of the global pandemic, and at a time when remote communication was becoming increasingly prevalent, »Choreological Exchanges« is part of Hastings Of Malawi's continuing investigations into the medium of communication itself. Prior to telephony becoming digital, all phone calls were routed through mechanical telephone exchanges, and the majority of the sounds on side one are the sounds of these exchanges and some of the voices of the engineers who worked with them.

It's an all electronic affair, harmonically maximalist, predominantly symphonic-synthetic, requiring active listening. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works full of sound, euphonic and vivid in nature.

Digitalis's Brad E. Rose (aka The North Sea, Charlatan etc) debuts on Room40 with his most rapturous collection yet - six tracks of bewitching, blissed-out synth drones that bear up to comparison with AFX's "Selected Ambient Works II", Steve Roach's "Structures From Silence" or Brian Eno's "Apollo".

Tulsa, Oklahoma-based Brad E. Rose has been quietly churning out music for decades at this point, working under so many different monikers and in so many different outfits it's been hard to keep track. Apart from heading up the beloved but now defunct Digitalis imprint, Rose also runs The Jewel Garden, where they've been releasing mostly their own private press-style material since 2020. "Annular Silhouettes" is Rose's first non-Jewel Garden solo drop in ages, and sounds like a subtle summation of their recent loose musical threads. Written in "the depths of 2020", the material is Rose's attempt at creating a love-letter to the place where they grew up, created in the house where their grandparents lived for over two decades, only a few minutes walk from their childhood home.

Tulsa is a complicated city with often uneasy politics, but Rose's view is holistic, empathic and sensitive - their memorial is melancholy and sometimes even cold, but never lacking hope. The album is split into six separate pieces that play together as a whole, all made in the same style with the same instrumentation. It's more of a continuing thought than an assembly of different tracks; Rose acknowledges that they enjoy the feeling of not completely knowing what they're doing, and letting their subconscious thoughts guide the creative process. Certainly that gives the music a level of spiritual kinship with Aphex's seminal "Selected Ambient Works II", which was allegedly partly written in lucid dream states. Rose's compositions are nowhere near as dark, but strike a similarly ambivalent mood that feels nostalgic, but not completely rooted in the past.

"Annular Silhouettes" sounds like an elongated take on Brian Eno's "Apollo" classic 'An Ending (Ascent)', and Rose uses the soft-focus synth tones to represent the sun rising and setting across Tulsa's wide, flat plains. It's hard not to be moved.

Originally released in 2020 on cassette and digitally. Two of Texas’ most vital and vibrant sonic searchers create a suite of deeply personal aural collages. Musically, the album showcases startlingly sincere sets of serrated but sedative situational music. Outside of musical breakthroughs, the pair helped each other conquer intensely personal changes, with m and claire transitioning and coming out as non-binary and trans, respectively.

A longform piece, performed by saxophonist Pedro Alves Sousa (who also runs the label Futuro Familiar) with Alex Zhang Hungtai (also known as Dirty Beaches) Gabriel Ferrandini, Júlia Reis & David Maranha, recorded at Galeria Zé dos Bois, Lisbon, 2016, by Cristiano Nunes. Mixed by Pedro Alves Sousa, Edited and co-edited by Pedro Alves Sousa and Gabriel Ferrandini, Mastered by James Plotkin.

Kübler-Ross is a minimal synth/wave/industrial three-piece from Glasgow, Scotland, featuring Craig Clark, Katie Shannon, and veteran electronic producer and remixer Dave Clark, best-known for his Sparky moniker, and as one-half of the production/remix team Optimo (Espacio). First emerging in 2015 with a couple of compilation appearances, Kübler-Ross released their debut, self-titled album in 2020. Originally released as a limited-edition cassette on the Glasgow label Akashic Records, the album — now resequenced and released on vinyl via Suction Records’ minimal synth sublabel Ice Machine — is a collection of tracks recorded over a three year period in a variety of studios, rehearsal rooms, and gigs, documenting the musical variety and ferocity of their incendiary live performances. The Akashic tape, despite being low-key, under-the-radar, and released in limited quantity, managed to earn them a Long List nomination for SAY (Scottish Album of the Year) for 2020. Standout cut “Bridges”, first released in 2015, is synthpop perfection — sitting comfortably alongside classics from the first wave of UK electronic classics by Thomas Leer and Robert Rental, John Foxx, and even early Depeche Mode. It’s not the only synthpop track on the record, but the album is dominated by a more tough, raw, and punk spirit, featuring aggressive female vocals, live drums + bass guitar, and judicious use of crude analog synthesizers and tape delay fx. Think Liaisons Dangereuses meets Suicide, and you’re beginning to get close

Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza, & parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences. Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form.

Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all.

The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming.

Drift (originally released in 1994) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes (the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease.

"Verdant returns with an intriguing release and continues to follow its unique, meandering path through the electronic music landscape. The label's tenth record invites listeners to explore rich, enchanting, ambient textures and the sonics for which the Verdant name was first associated with decades ago. Naturally, the line up and music is overflowing with quality and its 4 artists are afforded an expansive 20 minute, untitled, single cut each. One of the UKs cherished electro producers, Reedale Rise, graces side A with a rare excursion into beatless space. Next, Out.lier casts an imaginative spell before talented live and recorded musician Jo Johnson captivates with cascading synthesis. Romanticise The World (who appeared under an alias on Verdant before) closes, assembling Detroit [Escalator] Inspired landscapes to fall into. Ambient music how it needs to be experienced on vinyl."

On »Elephantine«, Cairo-based Maurice Louca guides a 12-piece ensemble through a 38-minute work that might best be described as panoramic. Elements of free improvisation, Sun Ra's cosmic jazz, gorgeous Arabic melody, trancelike African and Yemeni music and minimalism meet in his wholly unique compositional vision. Louca also makes vital contributions on guitar and piano, and inspires stirring performances from a global lineup.

Screen Time is a series of instrumental guitar pieces recorded during the summer of 2020 as the world confronted the pandemic shutdown and as the people of good conscious stood up against the oppression of racist police oppression and murder. How much screen time does a parent allow a child? How much screen time does a child need to realise a world which has the means to coexist as a community in shared exchange? The cover image of Screen Time is of a youngster curled into a book, the pages vibratory with text radiating through the skin, blood and bone – an aspect entirely missing from digital media, though the actuality of transparency in our daily lives through streaming etc we can only hope leads to the awareness of fairness. Screen Time is in reflection to dream time, a state of meditation, hypnagogia and pillow talk.

Thurston Moore born 1958, moved to NYC 1976, started Sonic Youth 1980, edited the fanzines Killer, Sonic Death, and Ecstatic Peace Poetry Journal, started Ecstatic Peace records + tapes label, senior editor of Ecstatic Peace Library, and Flowers & Cream, edited books at Rizzoli and Abrams, on faculty at the Naropa University summer writing program since 2011, published through various imprints, worked collaboratively with Yoko Ono, Merce Cunningham, Cecil Taylor, Rhys Chatham, Lydia Lunch, John Zorn, Takehisa Kosugi and Glenn Branca, composed music for films by Olivier Assayas, Gus Van Sant, and Allison Anders, records and tours both solo, with various ensembles and with his own band, resides everywhere. Mastered by Lasse Marhaug for Southern Lord.

Reinhold Weber, born in 1927, was known as a pioneer of electronic music. In his compositions, Weber placed a focus on twelve-tone music, he became increasingly fascinated in the field of computer music since the 1970s. He produced numerous works at the Studio for Electronic Music at the University of Karlsruhe.

Reinhold Weber was born in Gießen on July 18, 1927. He studied at Robert Schumann Conservatory in Düsseldorf (including composition with Jürg Baur, piano with Max Martin Stein) and passed his exam in composition, theory, piano and ear training with distinction. He completed further masterclasses with Wolfgang Fortner, Hermann Heiss, Oliver Messiaen (composition), Kurt Thomas (choral conducting), Andor Foldes (piano) and Gerhard Nestler (electronic music). Reinhold Weber was a professor at the Baden Conservatory of Music in Karlsruhe and also worked in the Studio for Electronic Music of the University of Karlsruhe. His works have been performed in numerous concerts and were broadcasted by SDR, WDR, NDR, HR, SWF and Radio Bremen. Reinhold Weber died March 25, 2013.

Actor Kurt Müller-Graf was born in 1913. After visiting the Theater Academy of Baden in Karlsruhe, he appeared on stage at National Theaters of Karlsruhe, Kassel and Munich since 1935. During World War II he performed in about 10 feature films by Bavaria Film Munich. After 1945 he played at National Theaters in Karlsruhe, Stuttgart and at Theaters in Nuremberg, Cologne, Munich, Mannheim, Baden-Baden and Burgtheater Vienna. Furthermore he had guest performances in Zurich, Basel, Salzburg and Heidelberg. Kurt Müller-Graf was touring and had broadcasts on radio and television shows at home and abroad. Kurt Müller-Graf died August 10, 2013.

100 copies limited edition 12" black vinyl. Printed artworks on labels, black inner sleeve with holes on both sides and 3mm outer sleeve decorated by sticker + A4 paper print about the project including track listing & personnel details.

Front Line Assembly Side-Project Noise Unit Returns With A Full Album Of Sinister Ebm Tracks!Front Line Assembly's Bill Leeb And Rhys Fulber Present Deviator, The First New Noise Unit Record In Over 15 Years. The Duo Continues Their Collaboration With Toronto-Based Artoffact Records And Will Release Deviator On Double Vinyl, Cd, And Digital Formats. The New Album Features Exclusive Artwork By Dave Mckean, And One Of The Tracks Is A Collaboration With Kmfdm / Pig Vocalist Raymond Watts.

Jac Berrocal is a 1946-born musician (trumpet player), poet and sometime film actor who came of age in the ‘70s Paris improv scene, where the boundaries between music, art and theatre were porous and begging to be breached. Inspired by bebop, chanson, free jazz, beat poetry, early rock ‘n roll and myriad Eastern influences, and with an iconoclastic, anything-goes approach to instrumentation and technique that would later align him with post-punk sensibilities, Berrocal blazed an eccentric and unstoppable trail across the underground throughout the ‘70s and ‘80s, both solo and as part of the Catalogue group he co-founded. During this time his uproarious performances routinely wound up jazz and rock audiences alike, but earned the admiration of many musicians: Steven Stapleton invited him to perform on two Nurse With Wound albums, and other notable collaborators in his career include Sunny Murray, Lizzy Mercier-Descloux, Lol Coxhill, Yvette Horner and James Chance. In the 90s his protean achievements were celebrated on the Fatal Encounters compilation, but far from slowing down in the autumn of his life, Berrocal has maintained an extraordinary work-rate, keeping studio dates with Pascal Comelade, Telectu and Jaki Liebezeit, among others.

Now Berrocal has found the perfect foil in David Fenech and Vincent Epplay, two fearlessly inventive improvisers, composers and catalysts who create challenging, acutely modernist yet historically aware settings – wrought out of synthesis, guitars, computer processing, field recordings and unorthodox percussions – for Berrocal’s unmistakeable voice and breathtakingly lyrical horn sound to flourish.

Fenech cut his teeth in the mail-art scene of the early ‘90s, leading the Peu Importe collective in Grenoble. His 2000 solo debut was recently reissued by Felix Kubin’s Gagarin label, and he has also worked as a software developer at Ircam, and played with Jad Fair, Tom Cora, Rhys Chatham and James Plotkin; in 2011 he formed a trio with Berrocal and Ghedalia Tazartes for the Superdisque LP.

Epplay is a highly regarded sonic and visual artist with a particular interest in aleatory composition and autonomous pieces, concrète, and the puckish reappropriation of vintage sound and film material, with dozens of published works to his name on labels like Planam/Alga Marghen and PPT/Stembogen. Exterior Lux is the third part in the series of albums and was again mastered by the legendary Noel Summerville.

"It’s like The Bonzo Dog Band meeting Scott Walker, with Codona booked for the interval music" (Brian Morton - The Wire)

"Jazz, Dub, Musique concrete and a Gallic punk spirit, coalesce into a sound so potent it is a wonder it hasn’t been done before" (Rewind Forward)

"An eclectic mix of folk anarchy, West Coast jazz cool, African kalimba, French poetry and studio dub. All the beauty and terror of jazz at its most lawless." (Andrew Male - Mojo)

· First release of the Jagjaguwar 25th anniversary celebration happening in 2021. · Features production and composition accompaniment from Bon Iver, Mary Lattimore, Angel Bat Dawid, Gia Margaret, and Sam Gendel. · Limited edition Opaque Green vinyl. Over the last 12 years, Ross Gay's poems have given us indelible images and phrases of radical empathy and unabated gratitude; about community, collaboration, connectedness and hard work. They have crept into our hearts and made a home of all of us. And so we are launching our 25th Anniversary celebration with `Dilate Your Heart', our first spoken word album since titan Robert Creeley's self-titled release twenty years ago. "Catalog of Unabashed Gratitude" is given a gorgeous, slowly creeping bed of vines by Bon Iver, as Gay's unadorned voices speaks a lifetimes of Thank You's. On "Burial," harpist and composer Mary Lattimore's lunar landscape follows Gay's voice into space, telling of our endless energy exchange with nature. Chicago's Angel Bat Dawid dances with the frenetic, joyous scene Gay leads us through on "To the Fig Tree on 9th and Christian," in which a group of Philadelphia strangers scramble together to harvest the fruit of the titular urban fig tree. Songwriter Gia Margaret provides a mystical, amniotic environment for Gay's "Poem To My Child If Ever You Shall Be," a love letter to an imagined future child, treating Gay's voice like a message in a bottle to a far off idea made only of love and potential. Sam Gendel, a secret weapon collaborator, affects Gay's voice on "Sorrow Is Not My Name" to something glassy and almost singsongy. Throughout, Gay recites his poems with bright aliveness, his voice as warm and easy when he speaks about death as when he speaks about mercy, or love.

Mohammad Reza Mortazavi (Tombak) & Burnt Friedman (electronics, synth.) release their second EP “yek 2”.

"Equipped with one drum only and laser-pattern–electronics, Mortazavi and Friedman produce delicate, yet archaic, trance–inducing, transnational dance music with… hints of dust and grain… “. (Freq)

Mortazavi and Friedman move hands and faders according to odd cyclical rhythms with incredible accuracy. The extreme dynamic range and rhythmic congruency of drum and electronics merge both, Mortazavi`s and Friedman’s repertoire entirely.

Complete in [yek], resisting cultural notions of folklore and territory.'

Culminating in four years of recording sessions in Russia, Australia and Northern Ireland, ‘A Voyeur Makes No Mark’ is Nite Fields’ second LP. It’s the follow up to 2015’s ‘Depersonalisation’ (released on Felte, mixed by Nigel Lee-Yang from HTRK, cover art by Juan Mendez). If ‘Depersonalisation’ was an album of loss and self-destruction, ‘A Voyeur Makes No Mark’ embodies a self-possessed, buoyant, confrontational figure – though no less anguished with self and the world at large. More outward looking than the Nite Fields debut, and with a redefined aesthetic, themes of rebirth and redefinition carry throughout the album immortalised in principal songwriter and protagonist Danny Venzin’s delicate web of sound. Found within the 8-track LP are sounds rarely heard and even lesser played by the Western hemisphere. Utilising a sonic palette inspired by Venzin’s new surrounds whilst living in Moscow, a purposeful decision was made to incorporate local recording equipment and instrumentation. The results are stark yet richly atmospheric. Lead single ‘Not Your Time’ sets the scene of a living and breathing pulse within a distant, unknown city. Nightstalking, double-tracked drum rhythms and swirling, modulated drones re-treaded from Soviet synthesizers form the backdrop for Venzin’s deadpan yet sharply elegant vocal delivery. ‘Invitation’, low-slung and brooding with misanthropy recalls the growing maturity in Venzin’s songwriting, executed to perfection on a stage set elsewhere by motorik drums on ‘Take My Side’, film-noir ambience on ‘Descent’, swooning, dubby shoegaze on ‘Fiction Eyes’ and nods towards the shadowy corners of the dance-floor on ‘Chase It’. ‘A Voyeur Makes No Mark’ also exhibits Venzin’s collaborative impulse. All original members of Nite Fields’ band, as well as touring members feature on the recordings. Album credit notes include performances from members of Multiple Man (Australia), Nerve (Australia), Autumns (Northern Ireland) and Love Cult (Russia). Some album tracks were also co-written by founding member Chris Campion whose guitar sound defined many of Nite Fields’ early recordings. Mastered at the historic Mosfilm studios in Moscow by Antaoly Ryassov and mixed by Marly Luske at Alchemix in Brisbane, the album will be available as a limited release via Lost Race (200 vinyl copies) and Perfect Aesthetics (50 cassette copies) in April 2020.

Ross Alexander first came to our attention with Memorias Vol.1 - Bugandan Sacred Places, released back in 2017 on Sucata Tapes, it featured a mind altering mix of recorded sounds from a series of visited sites considered sacred within the Bugandan kingdom and session recordings with Ugandan musicians Albert Sempeke and the Nilotika Collective layered with his own original composition using the Yamaha DX7 and programmed FM synthesis. The result being an unique reconfiguration of new age vocabulary with East African traditional sensibilities. The tape quickly sold out and the new Volume of Memorias presented here arrives now on the mother label Discrepant, on Vinyl with an expanded sound palette appropriate to the format.

2015, Kenneth Werner aka AS IF has released his first vinyl release with ROHS! - MOMENTS EP. This EP is a pure retro-futuristic Acid-Downtempo vision. Initially it was released on white label 7 inch vinyl of 50 ONLY limited copies. It has been reissued in 2019 with a totally new face/design and on 250 limited copies for the world. This is a pure gold futuristic gem on wax.

Charlemagne Palestine's majestic 1976 work The Golden Mean, originally performed by Palestine on two pianos, is revisited here as The Goldennn Meeenn + Sheeenn, a new collaboration between Palestine and enigmatic musician Rrose.
March 2018: the Festival Variations in Nantes commissions Charlemagne Palestine to reinvent The Golden Mean for two pianists. Palestine chose Rrose to join him in this new rendition of the work. Together, they performed The Goldennn Meeenn + Sheeenn onstage at the main opera house in Nantes -- the sumptuous Théâtre Graslin – with extraordinary results.
The concept of the 'golden mean' goes back to the roots of mathematics, and ancient Greek philosophy. It is an important work in the Palestine mythos, embodying his total immersion in the power of the interval. "It's probably his most systematic work . . . a step-by-step journey through the intervals of the octave," says Rrose. "When we rehearsed it, we were noticing how each interval is like a universe of its own -- with its own history, emotions, and sonic qualities all mixed up together. Every time you move from one interval to the next, it feels like moving into another world.
I love the interval," Palestine told me in a recent interview. "I love when it plays with itself. That's what I learned from organ musics too. You can just do an interval, and if they're just slightly out of tune with each other, then they shimmer . . . they play themselves. And it sounds like somebody's playing lots of notes. In your ear, it's like an aural phenomenon . . . that's my whole concept. I make something that then does itself somehow. It continues by itself. So I don't have to always be there. And that makes my music a little less egocentric. So there's more space. Also for the listener — the ear plays with these things, and you're not always being given orders. Your ear isn't given orders all the time of what to listen for."
Beautifully recorded, with mastering by Rashad Becker of Dubplates and Mastering, The Golden Mean + Sheeenn feels expansive, radiant and hypnotic, opening new ears to its enduring mystery.
Rrose adds this note to listeners: "Do not focus your attention on the notes being played, but on the ocean of overtones swimming, suspended, overhead, brushing against one another, kissing one another, melting into one another.

This is the third album of Book Of Air, a series created by the granvat platform and curated by the composers and brothers Stijn and Bert Cools. This time the 3 interwoven bass lines give the deep drive and foundation of the sound, completed with a layer of acoustic instruments and sparkling chords on top. "Se (In) De Bos" is inspired by the fluctuation objectivity of our daily observations. The album is one continuous 60 minute piece. Presented as one track on the cd, and in two parts on the vinyl version.

A download code is included. Lucy and Rrose, now coming together as The Lotus Eaters, have established themselves separately as techno artists who are just as comfortable operating in the uncharted area of experimental music. Running their own labels (Stroboscopic Artefacts and Eaux, respectively), they have gained a cult following, both influencing and challenging the direction of techno.

Before Disco, and before the transcendent echoes, Arthur wanted to be a composer.

His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music.

Traversing the popular and the serious, Arthur composed “Instrumentals” in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, “I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music”.

Initially intended to be performed in one 48 hour cycle, “Instrumentals” was in fact only performed in excerpts a handful of times as a work in progress.

The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo.

Pitchfork lauded “Instrumentals” Vol. 1 as a masterpiece and one of Arthur’s “greatest achievements”. Americana touching on Copeland, Ives, and maybe even Brian Wilson. “Instrumentals” Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman.

Also included are two of Arthur’s most elusive compositions, Reach One, and Sketch For “Face Of Helen”. Recorded live in 1975 at Phill Niblock’s Experimental Intermedia Foundation, Reach One is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. Sketch For “Face Of Helen” was inspired by Arthur’s work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River.

For this remastered vinyl edition, a key part of Arthur’s musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur’s coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time.

The remastered double LP comes with a 12-page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell.

"New polyrhythmic and psychedelic incarnation. Sounding like the music of forgotten people from Venus." (IRM)

When Arthur Russell died in 1992 he left an overwhelming archive of over a 1000 tapes that reveal the sublime genius of one of the most important musicians of the last 25 years. As a cellist, songwriter, composer, and disco visionary Arthur Russell consistently blurred the lines of our expectations of what pop music could be. Originally from Iowa, Arthur travelled west in 1970 to study Indian classical composition with Ali Akbar Khan, befriended Allen Ginsberg, performed with Alice Coltrane, and then moved to New York in 1973 to study at the Manhattan School of Music. Quickly gravitating to the then burgeoning downtown scene, Arthur wrote and performed his minimal compositions (captured on Instrumentals and Tower Of Meaning. Both to be re-issued by Audika) and collaborated with a who’s who of some of New York’s most influential artists including Rhy’s Chatham, Ernie Brooks, David Byrne, Phillip Glass, Laurie Anderson, Jon Gibson, Robert Wilson, Christian Wolff, John Cage, Arnold Dreyblatt, and Phill Niblock.

It then changed by a mere accident. Simply, he went to a disco. Inspired by the sonic repetition and sense of community, Arthur wrote and recorded some of the most important records of the disco era including ‘Kiss Me Again’, ‘Is It All Over My Face’, and co-founded Sleeping Bag Records with partner Will Socolov releasing ‘Go Bang’ and the album 24-24 Music. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to issue previously unreleased and out of print material from Arthur’s vast archive. The first album Calling Out Of Context , features 12 previously unreleased tracks recorded during Arthur’s prime years 1985-90. The material is drawn from Corn, an album that was completed in 1985 but never released, and an abandoned album recorded for Rough Trade as Arthur had become ill. Many of these tracks show hidden sides of Arthur’s talent and underline the loss of his great potential. Contrary by nature, Arthur’s spontaneous reaction and altered perception to his environment produced music that remains challenging and contemporary. Arthur’s open hearted attitude to music was far ahead of it’s time, and now that time is ours.”