Search "Stevie Nicks" 102 Items

Ekoplekz is Nick Edwards from Bristol, UK. He made waves in the 2010s with his distinctive brand of lo-fi analogue electronica for labels such as Planet Mu, Mordant Music, Punch Drunk, Wncl and Perc Trax, while also playing live around Europe. In recent times, Nick has preferred to remain a low-key presence, but Selvamancer are excited to have coaxed him back with his first vinyl release in 5 years! Dirtbokz is an 8 track mini-album that showcases the Ekoplekz sound of now. Recorded as always on four track cassette using hardware analogue synths and drum machines with minimal post-production, the tracks retain a raw immediacy and the dirty, dub-infused sound that he was always known for. For the Dirtbokz LP, Ekoplekz reaches back to the early acid, electro and primitive rave of his youth, all mixed in a hazy reverb-soaked echo chamber inspired by his love of '70s Jamaican dub reggae. 'Frampton Kotteral' takes a gentle detour into more melodic, sentimental territory and the set closes with the forlorn acid comedown of 'Phader'.

Dekmantel Festival in box. 7x12” vinyl box with download code. Limited Edition.

"Dekmantel Ten is a mirror of Dekmantel Festival. The 7x12" boxset includes seven records that mirror the seven stages to be found at the 2024 event, their 10th edition since 2013. The tracklisting isn't rigid — some of the musicians gathered here have in fact played at most of the available stages — but like a Möbius strip looping round, or a cat-and-mouse game, it's not hard to discern a symbiotic relationship. Split seven ways, DKMNTL100 is a testament to the art of curation and the importance of quality control.

At artist level, Dekmantel Ten finds room for several artists — including Karenn, Jeff Mills and Marcel Dettmann — who played at the very first Dekmantel Festival in 2013, and are by now impossible to detach. The Loop's disc contains names whose stories have dovetailed alongside the festival, concluding in memorable headline moments: Young Marco, Palms Trax and Alchemical Sisters, aka Eris Drew and Octo Octa.

Widen the lens and you'll find history from across the landscape: the laboratories of professorial techno (Dasha Rush, Steve Rachmad, DJ Nobu) and gilded halls of house (Steffi, Luca Lozano, Bufiman); varied soundsystem icons (Kode9, Adrian Sherwood, DVS1) meeting limelights of contemporary Amsterdam (upsammy, Identified Patient, Zohar); as well as the modern conduits channelling decades of outernational vibrations (Nick León, BADSISTA, Animistic Beliefs, Veracco and a great many more).

All 44 artists presenting exclusive material are indispensable into the Dekmantel story to date, and no doubt make up future developments over the horizon. That goes for the areas, too: Because while the seven stages found at Dekmantel Festival are individually resonant enough that they could become splinter festivals in their own right, it's that union which lends the core festival its strength.

We are proud to announce that electronic music veterans Nick Höppner and Alex Kassian will launch their collaborative project H.A.N.K. on Second Circle, debuting with an album entitled 'The Big Melt'.

Born out of the unprecedented circumstances of the global pandemic, 'The Big Melt' represents a departure from the duo's typical club-oriented productions, instead exploring their shared passion for Krautrock, ambient, and guitar-driven music. The album showcases a more introspective and experimental side of both artists, blending elements of Fourth World, New Age, and leftfield electronic music.

Höppner and Kassian's creative partnership began in 2018 when Höppner released music from Kassian's project Opal Sunn on his label, Touch From A Distance. Their friendship quickly evolved into musical collaboration, initially focusing on dance music. However, as the pandemic unfolded, their studio sessions took an organic, freeform approach, embracing spontaneity and intuition.

'The Big Melt' features contributions from a diverse array of guest musicians, adding depth and texture to the album with instruments including guitar, clarinet, and the tar, an ancient Persian string instrument. Höppner's newly acquired drumming skills, developed during lockdown, also play a significant role in shaping the album's sound.

The creation of 'The Big Melt' spans several years, with initial jam sessions evolving into carefully crafted compositions through remote collaboration. This extended gestation period has allowed the music to mature, resulting in what Höppner describes as his proudest release to date.

'The Big Melt' stands as a testament to artistic resilience and creativity in the face of global challenges, offering listeners a rich, immersive journey into new sonic territories crafted by two of electronic music's most respected talents.

Sc021 will be released on LP as well as digitally on November 8th 2024. Sleeve art and design by Michael Willis.

Past Inside The Present proudly shares the release of The Worlds We Leave Behind, the second full-length record from the duo of Zake (aka. Zach Frizzell) and Tyresta (aka. Nick Turner). Building on both quotidian and profound contrasts, and blurring their associations - Turner’s day job as a Chicago social worker, Frizzell’s reverent interest in the sublimities of natural lansdcapes - this record continues the theme already played up by the pair’s earlier collaborative efforts, that of personal strife and experiential wisdom, which colour the impressions we derive from our environments. Being a “spiritual sequel” to the pair’s first album Drift (2023), the album educes long, heavy-set, gut-fluttering ambient montages, from aphasic, fragmentary titles, such as ‘The Worlds We Leave Behind’ and ‘You Will Become A Song’.

Steve Moore returns to the library music fold and it's a total doozy: Cursed Objects is truly sensational prog-synth-wave. Featuring epic electronic explorations with chamber music and symphonic flourishes, it's our favourite thing Steve has ever done. In keeping with the horror heat of the music contained within, this vinyl release is frighteningly limited, with just 500 pressed for the world.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. Steve’s music has found a home across hallowed labels like Future Times, Mexican Summer, LIES, Static Caravan, Kompakt, Death Waltz, Ghost Box and, of course, Be With Records.

Steve released Cursed Objects for fresh library label Fold. Run by ex-KPM head Paul Sandell, it's a library with values we can all get behind. It's the first production music platform working exclusively with independent labels, publishers and artists to create a truly authentic artist-led sound, at production music rates. Here's what Steve had to say: "I had worked with Paul before, at KPM. After he left, he mentioned that he had started a new library - Fold - and I was very interested in being a part. And I happened to be working on a bunch of music at the time that I thought could fit." So here we are!

The LP opens by letting in "The Uninvited One". Calm and relaxed arpeggiated synths build around sweeping strings and plucked harp to create a mystical and hopeful feel. The title track sees dark synths merge and swell with a piano, string and harp melody that is dark, mysterious and brooding. "Evolutionary Steps" is an electro synthwave track that builds with epic strings and beats, offering an expansive and dreamy approach with a mystical and driving rhythm. Next up, "The Icarus Feather" is daring, pulsing and cinematic synthwave that builds with arpeggiated synths to a hopeful end. "Daily Affirmations" offers calm and meditative ambient synths with plucked harp and strings for a reflective, peaceful, daydreamy feel.

“Mesmer's Bauble” ushers in side two, its dark synth backing builds with plucked harp and strings building with a sense of unknown and dread; it's introspective and heartfelt. "Quiet Springs" is all mystical synths, harps and strings, building to an epic panoramic scope with a hopeful and poignant atmosphere. "Festival Of Samhain" presents a dark and brooding piano melody which builds with synths and strings to create a slow and desolate feel. "The Icarus Feather (Revisited)" is epic building synthwave with arpeggiated synths and strings and a driving rhythm - the beat builds with the strings entering a forceful and marching mood. To close, "Shard Of Medusa" rides a serious and dark piano melody and, in concert with harp and strings, it creates a suspenseful and solemn atmosphere.

Steve recorded Cursed Objects, as always, at his home studio in Albany, NY. For synths, he mostly used his trusty Prophet 6, as well as his Moog Minitaur and lots of Korg Polysix too. But he also utilised a lot of virtual instruments - he doesn't have the budget for a full string section, or a harpist, alas.

The album’s cover was designed by Chris Stevenson. The artwork is a nod to first wave cyberpunk and in particular Neal Stephenson’s Snow Crash and the idea of mind viruses and cursed data. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at AIR Studios to be pressed in the Netherlands by Record Industry. Far from being cursed, this is another future classic library LP.

Limited Edition. Record Store Day.

Record is close to NM.

Comprehensive, full-spectrum, sonic experiments build for clubs. Uncategorisable in all the right ways. Danny Daze and Jonny From Space team up for their joint Craigie Knowes debut. The ‘Tumbadora’ EP is a masterclass in technical production whilst retaining all the rhythm and power required to destroy dancefloors. It’s one of the listeners and the clubbers. Nick León steps in with a stripped back version of ‘Sweet Spot Radio’ that’s every bit as mind-melting as the 3 original tracks. Prepare for the freefall!

Limited TO 500 Copies Worldwide.

"This record was a deeply cathartic process for me. I was in a really bad place with myself. I thought id broken something inside my chest and all I wanted to do was get as far away from everything as possible. It felt like a split stone. I found an old empty church and slept there for a week with a piano and the pigeons in the rafters. I played all day each day and recorded all of it. I didn’t have the words but my hands and that space helped me work it out. Like kneading dough. These recordings healed me and I wanted to share them in the hope some of that healing might pass on to a listener. Everything is so dense these days Its important to take some spiritual rest when you can." - Nick Murphy

When a story sees its own ending. Atoms shows the Hamburg grown friends and instrumentalists taking a steep descent into the unmarked. Crushed arpeggios, hand layered drums and the afterthought of a nightly piano allude to an early dawn still at midnight. All six tracks are ultimately cast towards loss, since Charly Schöppner, the trio's rhythmic enigma, passed before the record was finished in 2023. But they do this unwillingly, each alone, and they materialise the persistence of beauty in different shapes and thoughts left behind. All happened through an uplift of time in a simple space, as the record was made in Schöppner's garrage, being the trio's artistic refuge at that time. A friend taking you close. – Konstantin Bessonov

Cover is close to NM. Original inner sleeve. with booklet. 2016 reissue.

Vinyl is close to NM.

*** LP with CD in cardboard sleeve & 8 page CD booklet incl. liner notes by Steve Barker & DL Code ***

Ulrich Troyer has been producing music now solidly for over twenty years within a largely genre free framework, but whilst navigating forms such as avant-garde, techno, leftfield, field recording, electronica, glitch and ambient it is the aesthetics of dub that guide his creative direction. Not really recognisable in an orthodox form as remixed versions of roots reggae songs but in the way sonics are manipulated with space, the application and layering of delay, reverb and echo that fixes his output well within the scope of what might be called futurist dub.

The nearest comparisons to his new album Transit Tribe can only be established by a synthesis of some of the more adventurous explorations in modern music such as African Head Charge, Jon Hassell, Pole (Stefan Betke), Bill Laswell or even Miles Davis; featuring a diverse selection of artists and friends not only from Vienna and environs but also from around the world, sounds are not so much fused but allowed to float along the continuous flowing tide of warm waves of bass.

Rather than to allow the names of Ulrich Troyer's collaborators be merely listed in the album credits, what they bring to this joyful affair needs to be outlined, albeit briefly: Co-producer credits go to Osman Murat Ertel from Istanbul, who employed a variation on the old foolproof Nick Lowe method for checking out the impact quality of his own sound productions by playing tracks through his car sound system speakers!
Murat is a member of the electro-psych-folk group Baba Zula where he plays electric saz, oscillators and theremin and played a key part in the creative development of the album. Mamadou Diabate, the balafon master originally from Burkina Faso and now resident in Vienna, has developed his own unique technique of playing solos that replicate the sound of three instruments playing in unison; however the multi-talented Mamadou is engaged here on singing and playing the talking drum. From South Tyrol Reinhilde Gamper is a member of the experimental trio Greifer who are bringing the sound of the zither into the twenty-first century using new playing techniques and electronic gadgets. Susanna Gartmayer is an Austrian composer and bass clarinetist specialising in improv and multimedia sound research. Diggory Kenrick has been engaged with creating new dub fusions and also re-energising classic rocksteady and roots reggae classics, renowned for his interventions on flute. Didi Kern is an electronic dance musician and drummer from Vienna with a focus on free improvised music. Hamidou Koita, a singer and multi-instrumentalist, is from a traditional Griot family in Burkina Faso but now resident in Vienna and a regular musical partner of Mamadou Diabate playing drums and calabash. Austrian Lukas Lauermann is both a studio and live musician playing cello, also working on electronic sound design and writing string arrangements. He has recorded extensively and appeared on stage with both Mark Lanegan and Hans-Joachim Roedelius. Martin Mallaun is a Tyrol-born specialist in both the development of the zither in modern music and also as a researcher in the effects of climate change on the vegetation of Alpine ecosystems. After studying classical percussion Flip Philipp is now a jazz vibraphone player and member of the Vienna Symphony Orchestra. Wolfgang Pfistermüller is a member of the Vienna Trombone Quartet and the developer of the incredible bass-trombone Aurora with its uniquely warm and resonant sound. Roger Robinson is a renowned British poet, winner of many contemporary poetry prizes and member of the experimental music group King Midas Sound. Kwame Yeboah is a Ghanaian born UK based keyboard wizard who tours regularly with Yusuf / Cat Stevens, Ms. Dynamite and Pat Thomas.
So contained on the album is an astonishing mix of musicians and instruments: sounds of cowbells recorded in the South Tyrolean alps processed by modular synthesizers and heavy analogue bass synths combined with instruments such as zither, bass-zither, electro saz, flute, talking drum, trombone, cello, marimba, djembe, contra-alto clarinet, Farfisa - all bound together by organic live-drums and dub effects.
Liner notes by Steve Barker
(DJ, Radio Presenter - On the Wire, BBC 1984 – 2023, now Slack City Radio & reggae/dub columnist and contributor to The Wire)

Credits:

Mamadou Diabate: vocals (3) & talking drum (3)
Osman Murat Ertel: electric saz (6, 7) & guitar (7)
Reinhilde Gamper: zither & bass-zither (9)
Susanna Gartmayer: contra-alto clarinet (8)
Diggory Kenrick: flute (2)
Didi Kern: drums (1, 2, 5, 6, 7, 8), percussion (3, 6)
Hamidou Koita: vocals (3), djembe (3)
Lukas Lauermann: cello (1)
Martin Mallaun: zither (9)
Wolfgang Pfistermüller: trombone (1)
Flip Philipp: c-marimba (1, 9), percussion (6)
Roger Robinson: vocals (4)
Ulrich Troyer: analog synthesizers (1-9), analog drum-machines (1-9), e-bass (1, 5, 7), sampler (1-9), prepared zither (1), field recordings (3, 6, 8), dub effects (1-9)
Kwame Yeboah: rhodes (5), vox (5), farfisa (5)

Written & arranged by Ulrich Troyer except 2 written by Diggory Kenrick & Ulrich Troyer / 3 written by Mamadou Diabate, Hamidou Koita & Ulrich Troyer / 4 written by Roger Robinson & Ulrich Troyer / 5 written by Kwame Yeboah & Ulrich Troyer / 6 & 7 written by Osman Murat Ertel & Ulrich Troyer

Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow, Vienna - except: electro saz on track 6, 7 & guitar on track 7 recorded by Osman Murat Ertel at Saniki Studio, Istanbul / flute on track 2 recorded by Diggory Kenrick at Holloway Studio, London / vocals on track 4 recorded by Roger Robinson at Dog Heart City Studios / c-marimba recorded by Ulrich Troyer at Konzerthaus, Vienna / rhodes, vox & farfisa on track 5 recorded by Kwame Yeboah at Kwashibu Music Studio, Accra

Mixed by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow, Vienna
Produced by Ulrich Troyer & Osman Murat Ertel / kindly supervised by Diggory Kenrick
Cover Artwork: Ink drawings & design by Ulrich Troyer / kindly supervised by Eva Kelety
Mastering & Laquer-Cut: Kassian Troyer at Dubplates & Mastering, Berlin

Coral Morphologic and Nick Leon's Projections of a Coral City marks a series of collisions between distant worlds: the organic and the artificial, the Eocene and the Anthropocene, sea and cement--and even, perhaps, ambient music and activism. Coral Morphologic are the Miami duo of marine biologist Colin Foord and musician J.D. McKay; since 2007, they have used a variety of multimedia projects to generate environmental awareness of marine biodiversity--most notably Coral City Camera, an underwater webcam streaming live from an urban reef ecosystem in PortMiami. Their citymate Nick Leon is a linchpin of South Florida's contemporary leftfield electronic scene, with releases for Tra Tra Trax, Future Times, and Naafi, and credits on records by Rosalia, Gaika, and Iceboy Violet, among others. This collaborative project dates back to 2022, when Coral Morphologic mounted a monumental projection-mapping installation on Biscayne Boulevard. For five nights in late November and early December, macroscopic films of corals played out across the exterior of Knight Concert Hall. The installation was, on the one hand, a glimpse into a possible future, imagining how the city's skyline might appear if unchecked global warming and rising seas led coral reefs to colonize the built environment. But it also represented a look back into the deep past, a reminder that Miami is literally built from marine limestone mined from the Everglades. Its concrete foundations began life, eons ago, as a marine ecosystem--the same ecosystem that may one day reclaim them. As above, so below. As an album, Projections of a Coral City is a suite of interconnected movements spread across two sides of vinyl. The tones are watery, the mood elegiac, the colors a washed-out pastel. Forms that appear static on the surface gradually open up to reveal hidden depths teeming with microscopic movement. You might detect resonances with other aquatically minded works--Jurgen Moller's Science of the Sea, Harold Budd's liquid piano compositions, even the slow-moving melancholy of Dr. Roger Payne's Songs of the Humpback Whale. But ultimately Projections of a Coral City creates the impression of a world unto itself--a hauntingly beautiful space at the meeting point between sorrow and hope.

Hell Yeah kicks off 2024 in fine style with a new album from Australian producer Dawn Again. Every Dog's Hotel is a dreamy and breaks-driven downtempo excursion the artist has dubbed "pubwave."

Melbourne-based Nick Verwey has been crafting solo and collaborative cuts for the best part of a decade on labels like Houseworx and Enjoyment Division. He operates in a world where danceable grooves are paired with laid-back moods. His lo-fi sound is both sunlit and sunset-ready and is for grown-up crowds who like to get down on rooftops, sandy enclaves, or laidback living rooms. This new album, however, he describes as "pubwave" and was conveyed during lockdown when Nick and his friends were missing their favourite communal drinking spots.

"My friends and I were missing the pub, missing dance floors, missing being able to hang out and have fun," he says before explaining that, at the time, he was listening to a lot of 90s and 00s downtempo chill out by the likes of Heights of Abraham, Pork Recordings, Baby Mammoth and Bullitnuts. He came up with the idea of creating something similar but in his own way, initially with spoken word poetry from his friend over the top, though when it came to recording that never quite worked so it was shelved until later when Nick?tried again without the vocals. "The whole project has been more than years in the making. I'm super proud of the end result. I think it still nails the dreamy, Balearic "pubwave" vibe and comes with a gorgeous cover painting by my mate Holly Hunt. It's an old English haunt called the Old Neptune, and what nails the brief more than a pub that is literally on the beach?"

The title track is a welcome opening with leggy breaks and soft shakers encouraging you to sway while gazing up at the melodic stars before 'Foam Party' gets more zoned out with its vaporous chords and gentle drum tumbles. 'Journey Through The Schoonerverse' is a suspensory trip to the clouds with effortlessly loose breaks and painterly synth smears, 'Wonky Friends' has a more weighty but still dubbed out and slow motion house kick and 'Kneverending Knockoffs' keeps the energy rising with raw percussion and acidic twitches that journey through a heat haze on a warm afternoon. Closer 'Backyard Paradiso' is the horizontal finish that washes over you like rays of sun and gently breaking waves to leave you relaxed from head to toe and digital bonus 'Hard Earned Thirst' is an extra chance to luxuriate in Dawn Again's richly layered synths and leisurely breaks.

The superbly welcoming Every Dog's Hotel is a place to pull up, sink a drink, and soak into some lavish and escapist downtempo sounds.

Jlin’s detailed and meticulous exploration of rhythm’s inner and outer reaches has made her one of the most distinctive and recognisable voices within both the electronic and classical music worlds. Her compositions are consistently appealing and have an accessibility to them, yet often defy expectations. She exists within her own locus solus - no matter the collaborator, no matter where sounds ultimately lead her. Whatever the situation – from composing the Pulitzer Prize shortlisted ‘Perspective’ for Third Coast Percussion, to ‘Godmother’ her AI-powered collaboration with Holly Herndon, Jlin always expresses her outlook to the fullest. Her new album ‘Akoma’ sets a new benchmark in her personal road map, not only since the album features guest appearances from Björk, Philip Glass and Kronos Quartet but for her continued sonic persistence and resistance. Jlin does what Jlin does and it’s beloved across genres, across scenes and across generations. ‘Akoma’ is a new entry point into her sound and a new approach for both those who have been following diligently and those who are just now entering her world.So how did she get here? Here’s a rundown for those looking for the facts. She was both a math nerd and a steel factory worker. She got inspired by Footwork and started making tracks with mentorship assistance from RP Boo and DJ Rashad, but her music was far from typical for footwork from the get-go. In 2011, she released her first track ‘Erotic Heat’ on the Planet Mu anthology ‘Bangs & Works Vol.2.’ Fashion designer Rick Owens heard it and invited her to soundtrack his Paris Fashion Week show. Already before an EP or an album Jlin was in new cutting-edge territory. And it hasn’t stopped since. Everyday Jlin wakes up early and clocks into her home studio working hard on new music. Her discipline and craft-like approach means that those who would try to copy her sound simply can’t get to the level she is at. Since ‘Erotic Heat’ she has released two bold albums, 2015’s ‘Dark Energy’ and 2017’s ‘Black Origami.’ She has also released her soundtrack to Company Wayne McGregor’s dance piece ‘Autobiography’ (2018) and most recently (2023) the mini-album ‘Perspective.’ She’s remixed µ-Ziq, Factory Floor, Ben Frost, Max Richter, Björk, Martin Gore and others. She’s collaborated with Holly Herndon and the late Sophie. She’s worked with visual artists Kevin Beasley and Nick Cave. She composed a string quartet for Kronos Quartet and performed with them live in a tribute to Philip Glass. She also recently completed a tribute to Sun Ra with Kronos. ‘Perspective’, her very well received percussion work for Third Coast Percussion has further opened doors for her in classical music. She’s even thinking of one day writing an opera. She had a residency at MassMoca Museum earlier this year (2023). She’s performed live at Pitchfork Festival, Unsound Festival and too many others to mention. She’s also worked with Indian dancers, Company Wayne McGregor and renowned choreographer/MacArthur Fellow Kyle Abraham. There’s more but you get the picture - she’s working in contexts and in ways that few of her peers are able to. ‘Akoma’ is the next step - all these paths have led to this. We encourage you to tune in.

A new piece by minimalist / experimental composer PHILL NIBLOCK (1933 - 2024), co-
composed and performed by ANNA CLEMENTI & THOMAS STERN. Intense, menacing
layers of thick drones and alien sounds.
In summer 2022, within just a few weeks and by pure coincidence, 2 proposals regarding PHILL
NIBLOCK albums arrived: one suggesting an overdue vinyl reissue of a CD release (more on that
when the time has come for it), the other email was from ANNA CLEMENTI saying she and
THOMAS STERN were working on new pieces that PHILL NIBLOCK has written for her ...
when „Zound Delta 2“ was complete, PHILL sent photographs for the two artworks,
we met twice to discuss details, but unfortunately he died unexpectedly early january this year so
the album now is, sad as it is, a posthumous release ... an intense goodbye from one of 20
th
century most iconic composers.
Phill Niblock
Phill Niblock (1933-2024, USA) was an artist whose fifty-year career spans minimalist and
experimental music, film and photography. Since 1985, he has served as director of Experimental
Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and
curator of the foundation’s record label XI. Known for his thick, loud drones of music, Niblock’s
signature sound is filled with microtones of instrumental timbres that generate many other tones in
the performance space. In 2013, his diverse artistic career was the subject of a retrospective
realised in partnership between Circuit (Contemporary Art Centre Lausanne) and Musée de
l’Elysée. The following year Niblock was honoured with the prestigious Foundation for Contemporary Arts John Cage Award.
https://phillniblock.com/

Anna Clementi
Italian-Swedish singer Anna Clementi grew up in Rome, where she first studied the flute and
completed acting training before moving to Berlin and studying experimental vocal music and
experimental music theater with the composer Dieter Schnebel at Hochschule der Künste (now
UdK Berlin). Anna Clementi sees herself as an “actress of the voice” rather than exclusively as a
singer. In this way she also articulates the diversity of her artistic expression, with which she is
always searching for new connections between voice, gesture, language, dance and theater.
During her decades spanning career, Anna Clementi has performed at the most important festivals,
has premiered numerous works, many of which have been composed especially for her, and
worked with Fast Forward, Michael Hirsch, Rupert Huber, Christian Kesten, Alexander Kolkowski,
Olga Neuwirth, Josef Anton Riedl,
Iris ter Schiphorst, Dieter Schnebel, Laurie Schwartz, Elliott
Sharp, and many others.
A special focus of hers is the work of John Cage, whose pieces she has performed worldwide.
https://www.annaclementi.com/

Thomas Stern
Born in Bremen, Thomas Stern moved to Berlin in 1984 where he joined Mona Mur with Alex
Hacke and F. M. Einheit (both from Einstürzende Neubauten, with which Stern also worked as live
sound engineer for many years). Around 1987 he co-founded the Berlin set up of Crime And The
City Solution (Mick Harvey, Alex Hacke a.o.). Over the years, he has has collaborated with artists
like Ulrike Haage, Phew, Nick Cave, Ton Steine Scherben, Meret Becker, Nina Hagen, Jaki
Liebezeit, Ben Becker, N.U. Unruh, Gry, Iris ter Schiphorst, Automat, Swans, Hans Joacxhim Irmler
and many more, on the road or in his own Sternstaubstudio

The inspiration for winter Resort Music is derived from a childhood passion for Winter Sports. It's all about the spooky synths, mainlining radiophonic electronics, subconscious TV memories and an awe about what these athletes could do on the slopes when you were living in the suburbs.

Can anyone forget the glowing figure-skaters, dancing into the public consciousness? The perfect beauty that melted girl's and boy's hearts around the world. Sunday afternoons spent watching guys flying on long jumps into the endless white cosmos. Never really sure what was happening, but just thinking "I want to be in the chalets with these people, hitting the glühwein. An alien, unreachable world where fabulous people were doing fabulous things.

Portugal's Stellarays were also watching and have distilled these memories into a gloriously authentic reimagination of how those memories still reside within us. Winter Resort Music is such a potent memory bomb which takes what we know and enhances it in order to make it better. A prism of nostalgia that speaks to the purity of the whiteout.

This wonderfully handsome release with artwork by Castles in Space mainstay, Nick Taylor is a perfect artefact of library music, beautifully put together by Bruno, Centeio and Corinna.

It pains my heart to report that this is a posthumous release for dear Bruno, who we lost earlier this year at the ridiculously unjust age of fifty.

Safe travels, my friend. May your slopes be finely manicured as you head down the cresta runs to the great frozen lakes. Salut!

For 46 minutes Alex Zhang Hungtai punctures our perception of linearity, working like a conductor, encouraging percussive flurries to trip and fall over each other, sometimes tempered by contact mic feedback to help skewer the chronology. He’s assisted by three additional percussionists - Wet Hair’s Ryan Garbes and Shawn Reed, and Leonard King - while Signal Decay’s Nick Yeck-Stauffer plays trumpet, with each extra voice blurred into the middle distance, curling like pipe smoke into convulsive whorls. The piece is frankly astonishing in its grasp of the maelstrom. Initially tentative, searching, with higher register hits like moths butting lone lightbulbs in an abandoned apartment block, the distant, plangent peal of twin brass wafts between rooms to impart a distinctly floating, Oobe- like feel for space. The brass recedes while the drums’ low end thickens and roils like a gamelan tempest, blurring impressions of knackered buildings or the temple rituals of ancient epochs, with sounds wafting in from other rooms to mess with the stereo field like ghosts of worshippers doing their thing. Remarkably, it conjures a fever dream miasma of ricocheting, thunderous polymetric clatter and proprioceptive fuckry without ever losing its head. Hungtai’s canny use of contact mic feedback drone and cymbal saw gives the whole thing a sense of gauzy delirium that unites the grouches like mildewed grout and cobwebs, coarsely gelling the elements in a way that resonates with Pauline Oliveros and co’s Deep Listening band acousmagique as much as Basil Kirchin’s keeling ‘World Within World’ classic, the ghosts of Sun Ra’s ‘Nuclear War’, the possessed atmosphere of the cabin where Harley Gaber recorded ‘Wind Rises in the North’, and no doubt Harry Bertoia’s massive metallic sculptures, agitated at midnight. Humid, menacing, and wraithlike, the album’s’ sense of keening chronics belies a visionary hand at the tiller, here tightened by Rashad Becker’s mastering, which faithfully brings to light, and shadow, the depth of perception and wild but concentrated energies at play, sealing in place a truly staggering session for adventurous ears, cineastes and Lynchian acolytes alike.

“I like to work with a variety of instruments and set ups,” says Mark Van Hoen, sometimes known as Locust or Autocreation but here working under his own name on the excellent Plan For A Miracle, his first physical release of solo music since 2018’s Invisible Threads. ”Sometimes it’s literally in my studio, with all the hardware electronics available. Sometimes the laptop, using software instruments. Some of the tracks on this record were recorded in the desert (Joshua Tree) using a 4-track tape machine and small modular synthesiser set up. Each track was recorded in different location using different instruments, which accounts for the distinction between each piece. It’s also about my own reaction to my environment, and what’s going on in my life at the time.”

The Croydon-born Van Hoen started musical life in the early 1990s, signing for R&S records in 1993 but developing his own, myriad and distinctive style across a range of releases on Touch, Editions Mego and other labels, using a battery of instruments, including analogue synthesizers and taking a number of different approaches to recording, rather than ploughing a single sonic furrow. He has worked on a number of collaborations, including with Nick Holton and Neil Halstead of Slowdive, under the moniker of Black Hearted Brother - their Stars Are Our Home was released in 2013. “I have known Neil Halstead since 1992,” says Van Hoen. “He shared a house with me for a couple of years, and the music I was making and listening to along with clubs

I was attending had an influence particularly on Pygmalion, the final Slowdive album on Creation.”

Each track on Plan For A Miracle does indeed sound like a world unto itself, a mini-environment, a weather condition, an ecosystem created for the moment. It’s a collection of tracks recorded over the past few years, released on Bandcamp - despite his apparent absence, Van Hoen works constantly. Opener “Climates”, in its exquisite limpidity, feels like a homage to Brian Eno, one of his most formative influences in his teen years, commencing with Music For Films, which he bought in 1979. “This Is For Them”, feels like a ghostlike throwback to early drum & bass or electronica, reminiscent of his own, earliest outings. “There have been a number of requests from labels to make some more music like my very early releases on R&S,” says Van Hoen. “This is part of ‘letting go ’and realising that there’s nothing less creative about going back to those styles again.”

“Pencil Of Spheres” is something else again, a magnificent, imaginary glass structure, shimmering, refracting, without visible means of suspension, a thing of impossible beauty. “Electric Lights” evokes an abandoned fairground, its lights still pulsating, its music lingering. “The Underpass”, meanwhile, insofar as it reminds of anything at all, is faintly reminiscent of Cluster or Neu’s! West German ambience, the urban mundane rendered magical, the sodium lights, the whitewashed walls. The reverberant, faintly oriental chimes of “Insight” transport us yet again, burgeoning and intensifying.

The landscapes, the skyscapes rendered on Plan For A Miracle feel unpopulated as a rule - but when he does introduce vocal elements, Van Hoen has a history of doing so to spectacular effect - think of “Real Love” from 1998’s Playing With Time, the seductive intonation of its title recurring throughout like a series of massive holograms, echoing, stuttering, breaking up, surging. Here, there are just the faintest of vocals, barely distinct, disquieting. “There’s been a bit of a game changer in recent times,” explains Van Hoen. “AI software that enables you to extract vocals and instrument parts from virtually any recording. That means sampling individual parts from existing sources is no longer limited to the original mix exposing certain parts soloed. The vocal parts I use are from multiple sources and often pitch shifted altered rhythmically and melodically.“ There’s further vocal chatter on “I Really Do”, proceeding at a faster pace as if giving chase, or being pursued - distant, enigmatic. “The Music”, meanwhile, its beat tolling, lost in its own fog of static, features a curious intonation, like the ghost of a lost Walker Brother.

Sadly, the album’s title is in reference to a personal tragedy on Van Hoen’s part - the loss of his wife. Titles such as “I Won’t Give Up”, which faintly reminds of another Eno masterpiece, Another Green World, in its nautical hurly-bury, or the pastoral strains of “Mrs Who”, heavily clouded with sadness, seem to allude to this. “In fact the record was recorded entirely

before she passed away,” says Van Hoen, “most of it before she even became very ill. The title was given to the album when it started to look like she wasn’t going to make it beyond a few months. It was something Osho said - “plan for a miracle” - so it was a statement of hope. Unfortunately it was not to be.” Although the album is non-thematic, non-specific in its atmospheres, sound paintings, elegant structures it most certainly stands as a magnificent monument to Osho’s memory.

-David Stubbs.

Reissue of this italo disco rarity from 1987 with Flemming Dalum & Rey David Diaz remixes.

A live performance of four early works by Steve Reich: “Four Organs”, “My Name Is”, “Piano Phase” , and “Phase Patterns.” This performance marked an important moment in San Francisco Bay Area new music history with the triumphant return to the East Bay by Reich, who studied at Mills College with Luciano Berio, and who performed the 1964 world premiere of Terry Riley’s seminal work, “In C”, at the San Francisco Tape Music Center. The resonant acoustics of the University of California at Berkeley Museum’s concrete interior were especially appropriate for “Four Organs”, with its long additive sustained chords over a maraca pulse. LIMITED NUMBERED EDITION OF 500 ON TRANSPARENT 180G RED VINYL

Experimental multi-instrumentalist Dave Cudlip releases his debut full- length album as Radiolarians via brand new experimental label Klang Tone Records.

Having already garnered plaudits from one of the most authoritative voices in UK electronic music, Electronic Sound magazine, the 10-track album presents a stunning and unique combination of ethereal ambient soundscapes, undulating rhythms and jarring sound collages; the result of what Cudlip describes as a “quick and spontaneous” recording process using a limited setup of analogue synthesisers and drum machines.

The release marks an exciting new chapter for Klang Tone, which is already considered a musical institution in the vibrant town of Stroud, Gloucestershire. The record shop, founded by avant-grade sound artist and obsessive crate-digger Sean Roe has earned a reputation as one of the South West’s nuclei for contemporary jazz, electronic and experimental music.

After the instantly sold-out limited edition lathe-cut 7” of the Radiolarians single ‘Obsidian 2’, Klang Tone is now proud to launch its label arm proper with Radiolarians as its first limited run vinyl release.'

Dave Cudlip was born in North Devon. After moving to Stroud as a child and playing in bands as a teenager, he left the West Country to study archaeology at Durham University, with his subsequent work as an archaeologist taking Cudlip all over Britain. After returning to Stroud, Cudlip has continued to make music, drawing on his love for the work of artists such as Harmonia and Autechre. He created Radiolarians in response to what he calls the “tyranny of choice” when it comes to electronic instruments, streamlining his creative process and consciously limiting his options to produce a veritable distillation of extraordinary ideas.

Written, Performed,Recorded and Mixed by Radiolarians. Mastered by Ed DMX. Artwork by Detritus Plates. Notes/Story by Matthew Ingram (Woebot). Layout & Design by Nick Buckle.

Lone Bison / Nick Bonell lives by the sea in Ramsgate. Mainly a guitar player and pedal junky, Nick bought a used Korg Ms20 and fell in love with synths. As one half Stuntmen, Nick released the sample-heavy single 'You're the Beat Find' on the very groovy Tummy Touch label, which led to him scoring three Ford adverts in the U.S and a few pieces of well-used production music - which paid for more synths and pedals! An album, 'Transistor Memory' and single 'Drugs' came out via Dom Martin's Polytechnic Youth records in 2021.

Lone Bison's music is influenced by Krautrock, electronica, post-punk, soundtracks and post-rock.

Wave Construction is his first album for Castles in Space. There will be many more.

"This album features just one synthesizer - a Buchla 208c Easel Command, processed with various effects pedals. It enabled a minimalist approach, focusing purely on tone and atmosphere. Something about the raw sound of this amazing instrument led to thoughts of moons in our solar system: there's something utterly otherworldly and yet oddly familiar about the sound of the Easel - it often sounds more organic than electronic and is simultanously beautiful and mysterious, huge and delicate. Working immersively over a period of a few weeks, the place frequently arrived at, in the mind's eye, was standing on the surface of one of the moons of Jupiter, or perhaps observing a satellite of Uranus transit across its host planet...a symphony of waxing and waning, colours and patterns across the darkness of space. This soon became a focal point for the record, reflected in the track titles & overall aesthetic, which was then taken to another level with Nick's incredible artwork realisation. This album is a journey mapping strange and beautiful worlds, that whilst close to home, remain tantalisingly just out of reach, except for in photographs, illustrations and of course, our imagination. Our dreams."

"oacl" is a collaborative album by "Local Visions," which questions new pop music after Vaporwave, and Yuka Nagase, who is active in both the two-dimensional (digital) and three-dimensional (physical) fields. A limited edition vinyl record (lp) will finally be released!! Nine artists with proven ability, such as Tsudio Studio, Aotq, and upusen, who are closely associated with Local Visions label, have come together to create a new album of nostalgic and contemporary pop music, which combines a pleasant floating sound with a wistful sentiment. This is a highly anticipated collaboration between these two label / artists, who continue to radiate their one-of-a-kind worldview!!

Recorded Live in Italy in October 1985 and mastered directly from the old dusty cassette, here's a previously unheard Steve Lacy recording from a rare duo appearance with pianist Martin Joseph, a little known yet fascinating British musician who had worked with Harry Beckett, John Surman, Ian Carr, Tubby Hayes among others, and who later became a regular presence on the Rome mid 70's creative Jazz scene. This recording gives us an opportunity to listen to the soprano sax giant in a repertoire not frequently found on his other duo recordings with pianists. The set list includes some of Lacy's finest compositions like "Prospectus", "Flakes" and "Coastline", plus Thelonious Monk’s classic "Bemsha Swing" a tribute to Monk's visionary mastery where Joseph’s contrapuntal response to Lacy's angular lines leads the music towards a multidimensional space, a quality to be found throughout the whole album, This is a wonderful discovery! and a significant addition to Lacy's discography and legacy. Contains printed inner sleeve with archival photos and extensive liner notes by two Italian soprano saxophone specialists Roberto Ottaviano and Eugenio Colombo, and pianist Martin Joseph himself.

Wewantsounds is delighted to announce the release of "TOUCH," a selection of sought-after tracks produced by Yuji Ohno, one of the most revered producers and arrangers on the Nippon music scene. His blend of Jazz, Space Funk and Disco have long been highly sought-after by DJs around the world and we"ve been given unique access to the Nippon Columbia vaults and to Mr. Ohno himself to come with a versatile selection from his 70s body of work, all bearing his uniquely recognisable sound. The set includes works with singers Nanako Sato, Hatsumi Shibata and Ken Tanaka alongside tracks from his cult anime soundtracks for "Lupin Iii" and "Captain Future." Approved by Yuji Ohno himself, "Touch" was remastered in Tokyo by Nippon Columbia and features liner notes by Nick Luscombe in conversation with the maestro and artwork by Optigram"s Manuel Sepulveda.

Millia, real name Akeem Asani, was born and raised in the Midwest and is now based in the Windy City. With his dancefloor-ready solo project seeing releases on Sweat Equity, Knightwerk, and a string of self-released singles online, Millia has received support from NTS regulars Re:ni & Laksa, Bradley Zero, and Otologic, as well as club and festival plays from Nick León, Tammo Hesselink, Gramrcy, LCY, and Shanti Celeste. For his latest offering, Millia readies two rich organic and dub-influenced tracks for Roy Mills’ Local Knowledge imprint. ‘acab Break’ combines psychedelic samples with tripped out breaks, deep subs, and dense, spacey atmospheres. On the flip, ‘Trip Dub’ delves further into dubwise territory, delivering a tense percussive affair of cavernous soundscapes and weighty drums that stretch effortlessly across the B-side. Elsewhere, with Kindtree and Concave Reflection, Akeem is part of the downtempo super-group Purelink, who enjoyed acclaim with their ‘Bliss / Swivel’ 12” and followed with their debut EP on UwU Dustbath and a performance at New York festival Sustain/Release. Akeem picked up Resident Advisor’s ‘Mix Of The Day’ for his Motion Ward mix in 2022, and has featured DJ mixes with Animalia, Knekelhuis, Warning and c-.

Simultaneous double release of the percussionist / composer Steve Shehan's legendary albums!! The world's first LP reissue of his 1990 CD album "Arrows" from First on Vinyl, and his 1995 CD album "Indigo Dreams" from Silent River Runs Deep.

Simultaneous double release of the percussionist / composer Steve Shehan's legendary albums!! The world's first LP reissue of his 1990 CD album "Arrows" from First on Vinyl, and his 1995 CD album "Indigo Dreams" from Silent River Runs Deep.

Recorded and produced in the second half of 2022 by Andy Miller, the LP provides a detailed introspective of the trio during the process of rebuilding the group and engaging a new trajectory for its future. “Built from a series of panoramic song structures, the release picks up where the band left off but with a sharpened focus on finding expansive territory for their sound. ‘Higher Resolution’ is the bands full document of re-encountering their music and reprogramming their sonic identity within their DIY audio/visual universe.”
Sleeve art is just beautiful; and it marks a return collaboration for band and label to join forces once again with the majestic Nick Taylor / Spectral Studio (whose work was key to the look and feel of many early Polytechnic Youth releases, not to mention Dom’s other labels Great Pop Supplement and Deep Distance, and latterly Ubiquity Recs and Castles in Space etc).
Then the third in this trio of release collaborators are the amazing Glaswegian brewery Overtone who we’re all dead chuffed to announce, have created a unique “Higher Resolution” IPA to mark and celebrate the release.

Originally released in the mid 80's on UK cassette label Bite Back!, this nearly lost gem finds new life 30 years later on Cocktail D'Amore Music. Steve has cobbled together a superbly melancholic electronic concept album. Wistful melodies often evoke sentiments of a lost childhood and hazy English mornings. Each song within remains untitled allowing full perceptive freedom as to what they all communicate, a language for the feelings that have no name. Untitled A1 - A6 leads one along intimate soundscapes of pattering drums and tinkering piano, a sense of closeness and trust develops with the introduction of each new idea much like the beginning of a bed time story. Untitled B1 - B3 then begin to breathe more openly awash in angelic colours before abruptly turning downward on B4, a wall of booming drums and atmospheres from the furthest reaches of the galaxy before the last trio of songs settles gently back on Earth.

180 gram audiophile vinyl
Includes insert
Collected part 2 with a selection of early recordings, hits and classic soul and r&b songs of the legendary Motown Records label founded by Berry Gordy Jr.
Featuring 30 classic Motown songs from The Four Tops, Smokey Robinson, The Supremes, Stevie Wonder, The Temptations, Michael Jackson, Eddie Kendricks, The Commodores, Lionel Richie, The Dazz Band a.o.
Limited edition of 2000 individually numbered copies on white coloured vinyl

Soave Records dusts off in limited edition the psych/synth album by Doctor Steven T. Birchall recorded in 1973 in Indiana, U.S.A. with the following equipment: Vcs-3 (The Putney) by EMS, Ampex Mm-1000 16 trk, dbx noise reduction, SpectrasSonics Console, Studer A80 Recorder, Eventide Clockworks, Instant Phaser, Cooper Time Cube, EMT Reverb. The absolutely penetrating high tones of the opening track 'Music Of The Spheres' announce us that we are on board, passengers in the hands, or perhaps better to say in the mind, of Birchall who aims to go beyond those "normal" boundaries that we call reality. It is a new world of music that still amazes after half a century. A higher stage of truth projected into the cosmos.

Kero & Steph’s landmark collaboration Syndrome now sees a sumptuous release on vinyl and evocative music video, spinning data into densely layered visual treats. Steph’s coolly ethereal voice and poignant writing drift in harmonies atop the sliced-up, glitched, hard-hitting precision of Kero’s productions. The unforgettable directness of her compositional sense is here, as her long resume of scores and placements would suggest. It finds an urban-technological counterpart in Kero’s frenetic sounds. The DU label boss is in full force straight from the chilling post-pop of the opening titular cut. “Walk in the park” is a production masterwork, punchy organic percussion against grinding bass. “Who am I to complain” is at once arresting and vulnerable with vocals, but still packs an emotional gut-punch in the accompanying instrumental. “Count down from 7” is more stripped down and urgent, melodic hooks propelled by lo-fi rhythmic mechanism’s menace. For the remixes, Oberman Knocks unleashes utter digital destruction - computer memory banks dropped through a wormhole. That thoroughly deconstructs Mtch into composite textures -- and opens “Walk in the Park” to near-unrecognizable, yet somehow danceable mayhem. The new physical and motion elements find a visual language for these sonic strata of imagination and digital construction. From designer Christoph Grünberger, known for his tome The Age of Data: Embracing Algorithms in Art & Design, we get the packed outer sleeve and 2D design. These enshroud a calm-looking Steph in a Shibuya Crossing-style trip inside Defasten’s geometries, opposite a catalog of branching visualizations and glyphs. Defasten, known for his live AV work fusing virtual reality and performance, here explodes faceted 3D cubes, in the cover and further in the music video. These pulsing crystalline hyper-geometries delve into data as expressive medium, shifting and vibrating with the glowing tones and crisp percussive hits of Kero and Steph’s composition. It’s a rare music video that matches the music in intricacy and form - a world that can only exist in virtual space, but that feels as immersively dreamy as the sound score. “Sugar coated fabric … in braided covers” and “silver linings” were never so tempting.

“What could have been a mere anthology of the label's uniformly excellent 2004 output is, additionally, a meticulously assembled personal narrative. This is a label that balances its musical and commercial aspirations with an earthy, no-bullshit disposition and-- let's say it-- the world's best fucking handclaps.” - Nick Sylvester, Pitchfork, in the heady days of 2004.

Behold, Compilation #2. A compendium what are arguably the best prime-era DFA cuts, mostly all recorded and/or remixed at the old DFA Studios on W. 13th Street (with some notable exceptions), released as 12-inches and then compiled onto a 3xCD set for convenience because, at the time, people actually bought CDs more than vinyl.

Now, in the spirit of time not really being much of a linear thing anymore, and for our own selfish desire to have this version of Liquid Liquid’s “Bellhead,” produced by the DFA, finally committed to wax, we have reverse engineered this thing back onto vinyl and presented it as a four-record boxed set.

We went back and found the master tapes or files for each song - a not insignificant effort given our habit of disorganization. We then rather painstakingly resequenced and remastered it with the guy we trust with such things: Bob Weston at Chicago Mastering Service. The lacquers Bob cut were plated and pressed at what we believe to be one of the best pressing plants in the country: QRP in Salina, Kansas.

We tell you all of this to say: we took this shit pretty seriously. Because we felt like it was important and because we felt like some folks would really appreciate it. It sounds remarkable. It looks great. (Rob Carmichael re-did the original packaging, adding a new photo from DFA OG Tim Saccenti from one of the original parties at W. 13th St.) Of course, we somehow can’t stop ourselves from making labeling errors - Pixeltan’s “That’s the Way I Like It” somehow escaped the center labels on the fourth record. It’s kind of the DFA curse. Has to be!

It was a quiet period but Macadam Mambo is back to present a new LP by the greek musician Yannis Veslemes.
The confirmed artist -who has previously appeared on labels such as Byrd Out, Invisble Inc., Won Ton, Optimo Music or Into The Light, under different projects : Felizol, Steamcut,Sportex or his own name, and composed for movies OST -started to integrate Macadam Mambo on the latest compilation Danzas Electricas vol. 3, and very naturaly proposed his new album. It needs to be said what an honnor to receive such quality music. In term of composition, production and universeit’s a land of influences and uniqueness, in which you will recognise a bit of Yello, Coil, Nick Cave or Igor Wakhevitch vibes embrassing folkloric greek melodies or cosmic pop ballads. It’s brillantly dark, obscure and lightful. A tempest of sensuality and roughness. To say it short it’s EPIC! and will definitely give the recognition that Veslemes deserves as a major composer in Modern Electronic Music.

Heavyweight double gatefold vinyl with remastered audio and new and updated artwork reworked by the designer of the original sleeves

Downwards’ deep bonds with NYC catalyse the immense debut LP by Jim Siegel’s Vivid Oblivion, a reveberating post-industrial salvo produced by adopted Brooklynite Karl O’Connor (Regis), and co-mixed by Anthony Child (Surgeon) and Simon Shreeve, who also mastered it. It’s a super deep, highly atmospheric beast somewhere between Valentina Magaletti’s most expressive percussion work, Bark Psychosis, and classic, moody 4AD, which is coincidentally referenced via the artwork, made by Chris Bigg - legendary graphic designer and longtime assistant to Vaughan Oliver.

Invoking the density, vertiginous scale, and dark grimy nooks of NYC, ‘The Graphic Cabinet’ was realised by Jim Siegel - hardcore legend and occasional/regular drummer with everyone from Raspberry Bulbs to Damo Suzuki and Boredoms, made in close collaboration with Karl O’Connor aka Regis during 2021.

Stemming from intently deep listening sessions immersed in LPs by Viennese aktionist Hermann Nitsch and the myriad eras of Killing Joke, while also absorbing the atmospheres of classic Tarkovsky flicks, the album began life as gonzo field recordings of Siegel smashing the f*ck out of his drum kit, zither, scrap metal and gongs in an array of abandoned warehouse spaces. The recordings formed the basis of Karl’s compound productions, which add depth charge bass and sonorous metallic atmospheres to the mix, along with birdsong and gibbon hoots, plus guitar textures by Nick Forté (Raspberry Bulbs, Rorschach) for a dread-lusting jag deep in the belly of the Big Apple.

With a palpable tang of rust and blood in the air and grime under the fingernails, the seven tracks evoke a resoundingly brutalist portrait of space and place. Siegel’s nervy percussive discipline is framed in alternating barometric and light settings from cut to cut, variously snaking from the poltergeist clang and haunted resonance of ‘Converging and Dissolving’ to slamming motorik thrum in ‘Oblivion’ via imaginative descent into cyberpunk simulacra of the city as jungle-at-night in ‘Remnant Corridor’, replete with animalistic atmospheres that recall Organum.

While the raw attack and devilish swerve of the rhythms are utterly fundamental to the record, Karl’s atmospheric content and the animist mixing magick of Anthony Child and Simon Shreeve most potently give flesh to its bones. Patently evident on the stepping pulse and searching zither that keens into detuned orchestration on ‘Immediate Possession’, the zoned-out klang of ‘Stand Aside’ or in the flooded warehouse chaos of ‘Test For Traps’. The attention to spatial, textural and proprioceptive detail is tightened throughout, peaking with ‘Bargemaster’, a dense slab of tension that sounds like Jon Mueller’s Silo recordings fed through The Caretaker’s fogged machinery.

It’s one of the most impressive records on Downwards for a long while, bound to gnaw and spark the nerves of experimental rock and post-industrial’s greats, anything from The New Blockaders to Faust, Flying Saucer Attack and into iconic Blackest Ever Black releases in the modern era.

The tenth studio album by Bjork on cassette tape.

each album always starts with a feeling
that i try to shape into sound
the feeling was landing
( after my last album utopia which was all island in the clouds element air and no bass )
on the earth and digging my feet into the ground
it was also woven into how i experienced the "now"
this time around 7 billion of us did it together
nesting in our homes quarantining
being long enough in one place that we shot down roots
my new album "fossora" is about that
it is a word i made up
it is the feminine of fossore ( digger, delver, ditcher )
so in short it means "she who digs" ( into the ground )
so sonically it is about bass , heavy bottom-end ,
we have 6 bass clarinets and punchy sub
i would like to especially thank bergur þórisson and heba kadry
and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet
viibra and last but not least : sindri and dóa .
visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir
and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

each album always starts with a feeling
that i try to shape into sound
the feeling was landing
( after my last album utopia which was all island in the clouds element air and no bass )
on the earth and digging my feet into the ground
it was also woven into how i experienced the "now"
this time around 7 billion of us did it together
nesting in our homes quarantining
being long enough in one place that we shot down roots
my new album "fossora" is about that
it is a word i made up
it is the feminine of fossore ( digger, delver, ditcher )
so in short it means "she who digs" ( into the ground )
so sonically it is about bass , heavy bottom-end ,
we have 6 bass clarinets and punchy sub
i would like to especially thank bergur þórisson and heba kadry
and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet
viibra and last but not least : sindri and dóa .
visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir
and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

The 10th studio album by Bjork on limited lime green vinyl will be in stock again in a few months.

each album always starts with a feeling
that i try to shape into sound
the feeling was landing
( after my last album utopia which was all island in the clouds element air and no bass )
on the earth and digging my feet into the ground
it was also woven into how i experienced the "now"
this time around 7 billion of us did it together
nesting in our homes quarantining
being long enough in one place that we shot down roots
my new album "fossora" is about that
it is a word i made up
it is the feminine of fossore ( digger, delver, ditcher )
so in short it means "she who digs" ( into the ground )
so sonically it is about bass , heavy bottom-end ,
we have 6 bass clarinets and punchy sub
i would like to especially thank bergur þórisson and heba kadry
and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet
viibra and last but not least : sindri and dóa .
visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir
and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

West Mineral return with a followup to Mister Water Wet’s 2019’s subtropical ambient slow-burn debut ‘Bought the Farm’, expanding Iggy Romeu’s horizons to contrast feverish Afro-Caribbean ambient jazz with jaunty illbient and atmospheric freakouts. Low-lit heat that’s highly recommended if yr into Nick León, Carlos Niño, Kelman Duran, Gonçalo F. Cardoso. Mister Water Wet continues to excavate the tropical soundscapes that simmer the producer’s Kansas City home with his Puerto Rican roots, on a new album of extended vignettes and mood pieces that cross a late 90’s Mo Wax instrumentals vibe with present day feelings of displacement and ennui. LP opener ‘Bory’ tunes us into Water Wet’s weirdly fuzzed frequencies, where tremeloed strings and found sounds resemble what might have been a lost dean blunt x dean hurley sound design concept for Inland Empire, while ‘I Saw the Green Flash’ opens a swirl of strings and traditional rhythms caught in a reflecting pool of canned classical orchestrals and 1950s theremin wails. ‘Good Apple’, meanwhile, cranks up the mood with aged x looped piano paired with an undulating, bass-heavy shuffle that wouldn’t sound out of place on a Kelman Duran x Martin Denny mixtape. ‘When Kennybrook Burned to the Ground’ leans into heady jazz vapours, spreading crackle over pitch-fucked horn samples, but it’s the producer’s weird use of percussion that keeps us gripped: scattering his arrangements across the grid, mimicking an ensemble of players deployed in irregular formations. Romeu embraces trip-hop on ‘Any Other Time’, blending Afro-Caribbean percussion with a swung downtempo beat, while ‘Isthmus’ reminds us of the clatterbox plunder of Moonshake’s PJ Harvey hookup ‘Just a Working Girl’ - with all its asymmetric hooks. The extended closing track ‘Losing Blood’ takes a leaf out of Fennesz’s glitched rulebook, stretching and folding disintegrating loops through an 11 minute descent into the elegiac aether.

Originally released in 2017 under his pseudonym No Quantize, Bird Syndrome, the first album of the french artist NxQuantize, is now being reissued with an additional remixed version. As a symbol of a new beginning, the talented musician and producer based in Marseille changes his alias and joins the Omakase Recordings music label to give a rebirth to his trip-hop opus tainted with jazz and electronic music. For this occasion, several artists who come from a broader musical spectrum have reinterpreted the Bird Syndrome’s nine tracks through a series of hip-hop, ambient, electronica and dance music remixes. The richness of this expanded release reflects the production process of NxQuantize next album, currently in progress. Download code for album and digital remixes included.

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

Sonisk Blodbad returns with their fourth full-length album - featuring a bigger, more enhanced soundscape than ever before. If you’re a fan of dark, 80s electronica in the vein of Coil and Cabaret Voltaire, coupled together with atmospheric Krautrock (think Klaus Schulze) and early Pink Floyd, then this Bergen based electronic collective is exactly what you’ve been looking for! On this album, Sonisk Blodbad consists of: Niklas Rundquist, Nick Cash Goes Hard, Heidi Torsvik, Tord Litleskare, Haavard Tveito, Sam Fossbakk, Ulf Hussein Sufi Knudsen, Laurie Amat, Conrad Schnitzler, Wolfgang Seidel, Jan-Morten Iversen, Oliver Kersbergen, Steven Cerio & Italia Ruotolo. The album was mastered by the American producer Daniel Winter Lazarus — a man who has been involved in everything from the Donald Fagen album “The Nightfly” to the Jean Michel Jarre-penned masterpiece “Zoolook” to name a few.

Random Numbers is proud to present the latest release of fellow Italian Steve Pepe, real name Manuel Cascone. After some brilliant EPs on Hivern Disc, Macadam Mambo and inside Out Records, we are honoured to have him over for the album that has already enchanted us.

"Arabia per Delfina" opens the dance with a languid sound, which slithers in slowly but persistently. Protagonist is a solitary synth whose bright and sensual frequencies rise from the darkness, lighting up the room like the sultry moon in the summer nights. The Arabic influence is clear, supported both by the title and the sonic timbre: anything but stereotypical, is reinterpreted by Steve Pepe through his New Wave sensibility. What follows, “Sospesissimo”, softens the initial intensity slightly through its wobbly and playful groove. Here the guitar strings seem to move in slow motion, conveying a slight feeling of dizziness. Elements from jazz and downtempo music are expertly arranged into a bizarre and synaesthetic choreography of gestures. The percussions hinted in “Sospesissimo” become more insistent, almost unruly, in “El Pelusa”, which pushes us effortlessly towards a frenetic and liberating dance. This cornucopia of Latin-infused sounds marks the contours of an iconic character, Diego Armando Maradona, AKA Mano de Dios, and culminates in a carnivalesque explosion of euphoria. "Carpenter" enhances the peak reached by its predecessor with a more reserved and introspective verve, but no less fascinating. As a composition with oneiric nuances, deep volumes and chiaroscuro, "Carpenter" demonstrates the double-edged nature of this album and, consequently, the wide emotional spectrum that Steve Pepe manages to convey in his productions.

Almost sneaking up on us is “Verso”, with its classical violins and the fearless cacophony challenging the harmony of the track. Fearless is also Steve’s voice, which channels the intensity and excitement of a journey that’s about to begin, but whose destination is yet unknown. A slight hint of existentialism comes into play just before we approach the next track, "ZimaNeta", which marks the end of this sonic journey. Here it is again, that very same languidness grasped in the opening. If “Arabia for Delfina” lets us glimpse the moon, “Zimaneta” goes straight for the entire Milky Way with its multitude of glimmering dots. In this spacey exploration made of a thousand colors, all the musical elements encountered along the way are revealed once again for a final farewell.

Muwosi is the project of Cincinnati-based vocalist & song-writer Monica Windom – her Of Compassion is a now-needed contemporary R&b / Jazz / Hip-Hop / Electronic production that gracefully culminates into the good vibe. The EP is equally due to Muwosi’s musical relationship with the songs of Stevie Wonder as it is with the avant modernity of Solange, and speaks of summer-time with layered vocal harmonies over Rhodes piano that are fine-tuned with the chops of LA producer/keyboardist Lionmilk. Mixed & mastered by rising LA engineer Swarvy slides the cherry on top of this difficult-to-deny glimpse at something larger on the horizon..

"Black Truffle proudly presents The Refrain from Melbourne-based artist Francis Plagne, whose growing catalog of collaborative and solo releases range from song-based work to abstract audio collages.

Closely aligned with Plagne's Moss Trumpet LP (released by Penultimate Press in 2018), The Refrain’s two side-long tracks mix sounds of the mundane with the otherworldly; rising, receding and overlapping. The result feels like being led through a series of scenes devoid of context or direction. Furthermore, it’s hard to define the scenes as either inviting or disconcerting, as they’re often both at the same time. As the record progresses sounds reappear and are juxtaposed so as to only hint at the familiar. A hall of mirrors, perhaps?

Completed in 2020 using material recorded from 2012-2020, the record uses tapes of shelved, unfinished, and forgotten projects that featured field recordings from various locations, domestic sounds of plastic bottles, bubble wrap, creaking chairs, voice, and instrumental recordings, including an appearance from crys cole on Casio. These pieces were re-amped, processed and edited, then additional instrumental pieces featuring synths, guitars, plastic saxophone, melodica, and percussion were added, the results shaped into drifting, episodic assemblages.

Although essentially a tape piece, The Refrain presents as a crude, non-idiomatic composition that feels both timeless and transitory. It’s a million miles from the polish and rigour of GRM, perhaps more in line with Jacques Bekaert’s eponymous Igloo LP, or Costin Miereanu’s Luna Cinese. The Refrain could be read as a psychedelic Krapp’s Last Tape; one man’s response to listening through forgotten and discarded tapes, reflecting, reconciling, and forging a new path. A potent tonic for these absurd times."

-- Nick Hamilton, August 2021

Regno Maggiore is the debut album of Davide Meucci, Turin based artist, who released his first record Astroveliero on Gang of Ducks in 2019.
Esasummà is an intimate tale of the artist's life, who used the creation of this record as a tool to implement the shamanic Recapitulation technique. This technique was developed to remove the effects of the accumulation of memories related to our personal life and heritage into our physical and spiritual body, in order to allow a rebirth of life.
It has been produced with an instinctive matrix, recording with diy instruments, sounds and voices and without a fixed creative planning.
The album ended up with 13 tracks that smoothly run through one another, moulding a surreal world that's hard to place within a definite time or space, but which surely leaves you wanting to understand more.
In the words of the artist, "Esasummà is an earth rooted record taking inspiration from the cosmo, which dances with our planet and makes the stars' eyes shine".

All tracks written, produced and mixed by Davide Meucci
Mastered by Nick Foglia at Polo Studio
Godrec0030 – All rights reserved
© Gang of Ducks 2021
gangodfducks.com

Color of Time is a long distance, ambient and drone project featuring Kevin Sery (From Overseas) and Nick Turner (Tyresta). Created with guitar, synthesizers, Mellotron and effects, their music focuses on themes of impermanence, loss and the impact that humans have on each other and the planet.

Color of Time is a long distance, ambient and drone project featuring Kevin Sery (From Overseas) and Nick Turner (Tyresta). Created with guitar, synthesizers, Mellotron and effects, their music focuses on themes of impermanence, loss and the impact that humans have on each other and the planet.

Color of Time is a long distance, ambient and drone project featuring Kevin Sery (From Overseas) and Nick Turner (Tyresta). Created with guitar, synthesizers, Mellotron and effects, their music focuses on themes of impermanence, loss and the impact that humans have on each other and the planet.

"In the Understage area of the Alexandra Trianti Hall, the musical saw in the hands of Nikos Giousef, and accompanied by piano, samplers and analog synthesizers, is transformed into a voice. ‘An otherworldly child’s voice’, ‘a Siren’s voice’ or ‘a castrato voice’, as it has been described, it easily climbs to tonic heights that the human voice can only reach with great effort." The pieces chosen for the program reflect this criterion, with works such as the aria “Erbarme Dich, Mein Gott” from the oratorio of J. S. Bach's “St Matthew Passion”, “Ave Maria” from Franz Schubert's “Ellens Gesang Iii”, H. Purcell's “Music for a while” as well as choral works like “Lacrimosa” from W. A. Mozart's Requiem and the First part (Grave) from G. B. Pergolesi's “Stabat Mater”. S. Rachmaninov's “Vocalise” is also a very interesting choice for musical saw, a song without lyrics as it is. The program also includes two works by greek composers, Ioannis Planiteros's “Ina ti”, written in the 17th century and still performed nowadays by local choirs in Zakynthos, and “ The Trawler” from Nikos Skalkotas's popular ballet “The Sea”, as a tribute to the great composer on the occasion of the 70th anniversary of his death. George Katsanos, in three ambient tracks of the album, is really traveling us in the mysterious amazing music world of "Adagios from the Underground". Nikos Giousef soprano and baritone musical saw Irene Tiniakou piano George Katsanos Moog synthesizer, music box, kalimba, effects

Solo debut by multi-instrumentalist Manuel Chittka. The Love-Songs, Jungstötter and Pantha du Prince associated drummer creates two compositions of intimate beauty. Eigenmoden is both, rhythm-based, and at the same time softly swayed by modular electronics. Making this release a personal and contrasting accentuation of contemporary Minimalism, Ambient and Jazz. The music was recorded in Hamburg-Altona and Berlin-Marzahn and mastered by Italian film composer Giuseppe Ielasi.

„A layered electro-percussive music that is supposed to flow in a tangible pulse and combines moving textures with detailed events. Mostly tuned metal percussion instruments like gongs, cymbals, or metallophones ring and sizzle together and unfold both meditative and noisy.“ Manuel Chittka

British producer Patrick Tipler spent his formative years immersed in psychedelia as a bassist and guitarist in various bands and groups. The arrival of synthesizers –along with his move to Bristol– radically changed his vision of sound and impacted on his musical direction with the force of an asteroid. This shockwave subsequently saw the birth of Delay Grounds. After releasing the outstanding 'Onomatopoeia' [Pressure Dome, 2020] and 'Upcycling' [Tropopause, 2021], Delay Grounds’ output has made it clear for all to see that Tipler’s sound design skills are second to none, and with just two releases to his name he has already transformed himself into an artist to watch very closely. Today Patrick joins the Lapsus crew to present 'Genus', a five track EP that he says "is my most personal release to date, something I've always carried inside and wanted to produce, but had never managed to articulate before". On 'Genus', Delay Grounds preserves the essence of his sound but takes things a step further, with a form ofmaximalist electronica, sprouting powerful torrents of high-pitched and ruff-as-rock avant-techno, glitches and mutant sound elements, combined with sweet and delicate melodies in the purest IDM style. Polishing is provided by sound engineer Nick Earle, with whom Patrick has recorded and remarkably treated a kit of "deconstructed drums" especially for the occasion. ‘Genus’ is 30 minutes of astral travelling, an experience perhaps analogous to what we would feel if we opened a vault, containing music from a lost civilization.

Nick Dunton has been involved with music since the early 90's and helped push the sound of UK Techno to it's very limits as one half of the 65D mavericks with Richard Polson (rip). He has recorded and remixed for his own labels and many others and released music from the leading lights of the UK scene and beyond.

Exalt Records are pleased to release the first album from Nick Dunton under his Ever Vivid guise. These 12 tracks were recorded between 2003 and 2013 and reflect the most personal side of Nick's musical production, echoing around themes of movement, loss, bereavement and love. Presented in a beautiful gatefold sleeve with original artwork and design from David Watson at Grid Pattern.

Hogan’s involvement with new wave, new romanticism, post punk and all-things-avant makes her a uniquely placed character through the last four decades on the scene - her recording/performing biography intersects with everyone from Soft Cell, The The and The Human League through to Simon Fisher Turner, Barry Adamson, The Style Council and more recently with Karl O’Connor aka Regis’ Downwards universe. For ‘Without the Moon’ (a title borrowed from Cathi Unsworth’s book of the same name), Hogan pulls out some of the most satisfying collaborations from her archive, featuring a couple of tracks originally released in 1985 on Cabaret Voltaire’s Doublevision label, as well as recordings that are here issued for the very first time. It’s properly all-over-the-place brilliance, ranging from Nick Cave’s incredible 1983 piano blues slo-mo grind ‘Vixo’ all the way thru to the Paul Kendall (Nitzer Ebb/Depeche Mode) engineered ‘Come Take My Hand’ produced and featuring Barry Adamson and sounding like some vintage Les Disques du Crépuscule poolside obscurity. Opening with ideas mapped out while staying at Lydia Lunch’s gaff in summer ’83, the record lassos 30 years of Hogan’s personal highlights, harking to a time circa 1984 when she regularly caught The Birthday Party playing Leeds or London, often crossing paths with Cave, and right thru to 1989’s ‘Come Take My Hand’. While ‘Delirious Eyes’ is a gorgeous slow dervish of swaying middle eastern scales featuring Gini Ball’s elusive smoke trail vocals, it’s best heard in context of the sequencing, which soon erupts with Marc Almond’s vocals on the arsonist thrill of ‘Burning Boats’ and JG Thirlwell’s signature clangour, while ’Scattered Carelessly’ was written in 2008 and gives the sweetest canvas for Hogan’s keys complemented by a whispering Jarboe ov Swans, and ‘Black Nocturne’ stars a perfectly tempered guitar shimmer by Kid Congo Powers, a longtime accomplice, whom Hogan first heard playing guitar on The Cramps’ records that she played in DJ sets at the time. Illuminated by Hogan’s favoured solo piano, ranging from flickering candlelight to hammering theatrics, and even including a rare appearance of her vocals on the could-have-been-a-popsong closer, the six songs on ‘Without The Moon’ speak to an incredibly rich artistic life spent immured at the core of her practice. Song to song, she outlines an extraordinary oeuvre that ties together and leaps between eras, drawing on decades of experience as a performer, composer, collaborator and ardent listener to portray a full spectra of styles she’s been involved in shaping for decades. Stunning.

The feeling of social isolation during the lockdown in the winter of '20/21 led us to work collectively and collaboratively. We explored the possibilities within the limitation of the concept of NO Recording project and adapted the method of Exquisite corpse.

Featured artists: Cienfuegos, group A, Horoscope, Isabella, Joachim Nordwall, Nick Klein, Tot Onyx, Wilted Woman

The cirle is now complete. Well.. maybe because Never Say The Last One. Troniq left the Prague city life and now he's exploring ambient journeys under his real name Martin Kuška while for the dance stuff he reserved the new Goobye Mirage nick.
Two melancholic tracks were left behind unreleased and here they come as a first release on Columbo Records. Polished and glamorised for the hazy dance floors, boosted by stunning remixes of Etbonz and Imre Kiss.
Digital Bonus: Two more mixes from Imre Kiss!

“Von Till has delved into prolonged and hypnotic expressions of darkness and decay...achingly slow post-classical hues (glissandro strings, mournful horns, reverb piano) fusing intimacy to grandeur. But the most stentorian, weariest voice imaginable - graver even than Mark Lanegan - and the existential dread of his words equally chills to the bones.” 4/5 MOJO (No Wilderness Deep Enough)
Steve Von Till has made a life’s work out of seeking the elemental. With a solo discography that stretches back more than two decades, he has toiled in a shadow realm, peeling back layers of reality in a never-ending search for true meaning and raw emotion. A Deep Voiceless Wilderness strips back the veil even further. An achingly beautiful ambient work with neo-classical leanings, the album is a hallucinatory and elegant rumination on our disconnect from the natural world, each other, and ultimately ourselves.
For some listeners, the album may recall the work of modern composers like Jóhann Jóhannsson, Brian Eno or Gavin Bryars. For Von Till, it’s about surrendering to the spirit of place—and to the original intent behind his 2020 solo album, No Wilderness Deep Enough. That album marked a significant first for Von Till: It was his first solo record without a guitar in hand. Instead, Von Till intoned powerful and thought-provoking lyrics over piano, cello, mellotron and analog synthesizers. A Deep Voiceless Wilderness is that same album without Von Till’s words.
“This is how I originally heard this piece of music,” he says. “Without the voice as an anchor or earthbound narrative, these pieces have a broader wingspan. They become something else entirely and unfold in a more expansive way. The depth of the synths, juxtaposed with the strings and French horn, have space to develop and allow the listener to imagine their own story.”

Originally released in 2006, Eingya by Helios aka Keith Kenniff returns in a new 2021 edition vinyl re-release, remastered by Taylor Deupree.

Beginning the album on a high with the pastoral beauty of "Bless This Morning Year," Kenniff showcases of what he does best: heartbreaking guitar and piano melodies punctuated by crumbling beats and backed by the most atmospheric synthesizer sounds this side of Eno's Apollo. The appetizing "Halving the Compass" blends subtle field recording with the kind of piano melodies so beautiful they could be compared to Virginia Astley or Harold Budd. This is followed by the album's clear highlight, "Dragonfly Across an Ancient Sky." It's an unsurpassable folk guitar piece with a decomposing percussive background and the sort of melodies that would turn evil tyrants into weeping babies. An album that could appeal as easily to fans of Nick Drake as to fans of Boards of Canada or even early AIR, this truly has something for everyone.

Raised in rural Pennsylvania, Kenniff put out Helios's 2004 debut album, Unomia, while studying percussion at Boston's Berklee College of Music. Since then, he's released six more albums as Helios, in addition to collaborating with his wife Hollie Kenniff in the shoegaze-inspired pop duo Mint Julep and composing music for films and archival use.

"A protracted sunset of an album guaranteed to see you through the longest days of summer and into the twilight of the autumn." - The Wire "A soundtrack of molasses-sweet, midsummer sunset melancholy and pastoral mellifluence." - Tinymixtapes

When a synth master like Steve Moore joins forces with the legendary KPM, magic must materialise. And so it does with Analog Sensitivity: cinematic, enigmatic synthscapes to both haunt and heal. New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. The story of Analog Sensitivity starts with those soundtracks, or more specifically the time in between them. Rather than being commissioned by KPM, this LP comes from music Steve was recording sporadically and tinkering with for over three years during the downtime between his film projects. There were no ideas about what it was nor a plan for how it would be released, or even if it was going to be released at all. However, after Jon Tye invited him to play on the Ocean Moon project for KPM Steve realised that the hallowed library label might be the perfect home for what he had been working on. The people at KPM agreed. Finishing production in late 2019 in Albany, NY, he came up with the track sequencing and suddenly, he had an album: Analog Sensitivity.

In July 2019 RUMPELN and DANIEL DOOR (Jahmoni Music) went on a tour through the UK and the Benelux. This 12" was recorded and mixed by Seb-I and Nick McCarthy (Manuela, Lunsentrio, Franz Ferdinand) at Sausage Studios, Hackney, London during this summer of delete.
Pumping proto-rhythms disrupting a wall of distortion building up from unintelligible screams, broadcasts of gadgets on the brink of destruction, DIY instruments made of springs, shards of metal and trash, all hardly held together by a skinny, long-haired figure jumping in the flicker of glitched out AV loops – there’s a deep understanding to be found in Anton Kaun’s performances that we, as animals, will never really get along with our electronics.
With his latest setup, „wallwart scales“, Daniel Door explores the sonic depths of a bundle of wallwart power outlets. Disconnected from the machines (like smartphones, external hard drives and old Casio keyboards) they once fed with electricity, their distinctive inner wiring becomes the base of a microtonal scale made audible by an EMF microphone (the Elektrosluch made by LOM, Batrislava, Slovakia) and mangled in a constantly re-sampling arrangement by an Elektron Octatrack sampler.

Bicep have become synonymous with a particularly emotive brand of electronic dance music down the years, and on the Belfast-born, London-based duo’s new LP Isles we find that sound in good nick once more. The album’s shimmering synths and buoyant beats transport you to the last dance of the night, or perhaps to the sun setting over a festival skyline, even as you enjoy them through headphones or hi-fi speakers.

Isles finds Bicep incorporating influences which range from old-school rave tunes to the tender, R&B-indebted sounds of post-dubstep. A single like ‘Apricots’ is an expert demonstration of how Bicep’s style is in dialogue with so many important eras of dance music’s history yet also remains distinctly their own. ‘Apricots’ features shuffling broken-beat drums which push the tune forward, the gently insistent groove providing a base from which the synths and vocal loops can build. It makes for hugely stirring listening, particularly when the ever-climbing synths reach their apex at the track’s climax. Other entries here may deliver some harder timbres - there are electro and trance influences lurking towards the back-end of Isles - but Bicep still find the emotional sweet-spot time and again across the course of the album.

With the Isles LP, Bicep have delivered some of their most moving electronic dance music productions to date.

C.O.R.N! is the debut album by Nick Acorne and Patrick Wurzwallner aka. C.O.R.N! Eclectic mixture of genres and styles. C.O.R.N! is unexpected, unbelievable, unpredictable and always groovy. C.O.R.N! is “Rick and Morty” in music.