Search "maria+minerva" 192 Items

For her new album “Olvido”, although working with Robot Koch and Sneaky again, Graciela Maria kept much more control of the producing part. The result sounds even more organic and acoustic than her debut. The electronic elements are very subtly used and the arrangements sound like a minimal playing but orchestral sounding folk band.

This new album is calmer but more intense, like an intimate whisper in a church or cold water dripping in a cave. Only the song “Last Place” with its snarling bassline reminds of the earlier electronica and dubstep influences. More than the last album, ”Olvido” includes songs with Spanish lyrics, nearly half of the songs are sung in Graciela Maria’s native language, which once more increases the closeness of the songs. “Olvido” is life written in music, music that invites us to listen to the silent moments that pass unnoticed. The lyrics of this album embrace the empty spaces left by losses. It is a requiem to a past that cannot be grasped with words and that Graciela Maria holds with her voice to avoid looking into the abyss. This album is to be heard in solitude, to look inside one´s self and ask: What is it, that we see there? What do we listen to and who are we?

Graciela Maria writes free verses, not looking for exact metrics her voice is floating on piano lines, drifting through organic sounds and gliding on cello strings. She creates an atmosphere of a standstill in time, remembering what has been, listening to the hours gone by. The voice on Olvido should be followed… because it´s an echo of a lost century in which poetry was written to feel life with words and to be able to die every night.

This debut album from previous Sink Ya Teeth member Maria Uzor treads softly upon opening, before charging headfirst into a cosmic landscape of electro, avant-pop, footwork and stark techno. Nine tracks delivered as the building blocks for a world seen through Uzor’s eyes where there are no boundaries, there are no walls, just a gentle beckoning to be yourself. ‘Soft Cuts’ is a joyful and groove-led journey with unexpected twists through the darkness.

Eclectic and esoteric, the album revels in it’s own diversity. There are echos of Aphex Twin in there, of Zapp, Kate Bush and Drexciya. And yet for all it’s influences, Maria has created a body of work that’s beautifully seamless in it’s amalgamations. Play loud and lose yourself to find yourself.

This past year has seen Maria Uzor release the first single ‘Ventolin’ from the Soft Cuts album to praise and support from John Kennedy (Radio X), Amy Lame, Tom Ravenscroft, Deb Grant, and Jamz Supernova (bbc 6 Music). She has also played festivals including The Great Escape, Nox Orae (Switzerland) and Manchester Psych Fest, and collaborated with Acid Klaus, !!!, and A Certain Ratio.

Heart-wrenching ambient to cerebral techno: Inverno is Carlo Maria’s debut on Drone.

‘Winter in the northern hemisphere is often seen as the season of death, a state of life so often negatively connoted. I see winter as an incubator of change, where life takes the time to free its potential again.

This record is a memory of past winters and a reminder that new ones will come. It celebrates the state of stillness as a necessary element of movement. It is an invitation to acceptance. The music itself might not necessarily express these ideas, but it acts as a trigger of memories and feelings of the times when these recordings were conceived. I like to see music recordings as pages of a diary.

This music was recorded in a time and space span of various years and locations. Exhumed was recorded at the end of October 2016 in Berlin; the other three tracks were recorded in Milan and performed live in various locations across Italy between in winter/spring 2021/2022.’

Welcome to the parallel musical universe of Miss Maria Teresa Luciani, a landscape of sonic architecture and theoretical composition constructed by a family of engineers that reinvented the wheel before the vehicle even began the journey. Imagine, if you will, the musical equivalent of Peter Cook’s Archigram group or the soundtrack to Charles and Ray Eames’ private sketchbooks, hinting at a new municipal, utopian metropolis just hours before the blueprints are suspiciously misplaced by the courier and mainstream pop building regulations piss on our asbestos bonfire. These 1972 constructions of progressive, cyclic, proto-industrial colour music were never intended for public habitation. These are the Sounds Of The City in a galaxy far, far beneath our radar and above your expectations that was never built. Pseudo-futurist pop music? Cubic folk? Tape-op-art? Sì, grazie!

Before the needle hits the first groove, the story of Maria Teresa Luciani reads like an Alphaville caper full of foreign intrigue, low intensity identification fraud, secret codes, family bonds, mistrust and wanderlust... Naturally, you are holding a genuine
Finders Keepers article. To say this rare Italian concept album is “unbelievable” is justified on multiple levels. This multi-storey storage facility of found sounds, radiophonic samples, tape loops, early electronic music experiments, mechanical
folk, cinematic vision, sound design, educated music theory, political pop and high concept art-as-noise successfully layers more musical ideas within its unique structure than one would think possible for a solo artist within any musical genre.
This is why Sounds Of The City presents us with a brand new genre defying compositional framework, pre-dating sampling culture, cut ‘n’ paste plunderism and industrial music in the process. Pre-digital, indefinable and genuinely
unbelievable. But who is Maria Teresa Luciani? On hearing this record respected collectors and enthusiasts have suggested “the female answer to Basil Kirchin,” or “the Italian Daphne Oram”. Both with justified cause. Mystery, myth, legend,
teacher, artist, inventor, author, musician, psychologist, daughter, and (possibly most importantly) sister.

Jeff Mills, April, 2023 "The Other Maria represents the character trait each of us has inside within ourselves. The silent part of us that we try to regulate, keep restrained from others and managed just beyond reach from the rest of the World. It represents the compartmentalized potential to do, say and respond with great chaotic harm, despite all unfortunate consequences. It is a full release feeling that we sometimes quietly envy as we witness with disgust and disapproval.

The music on this album was originally the result of a commission to score the second half of the film »Nico/Nico Crying« by Andy Warhol. These recordings are essentially live-recordings performed by the composers together in the same room and recorded in a manner reminiscent of the record making process as it was in the late 1960s. The instrumentation used to make the sounds on this album consists of modular synthesis, zither, voice, contaminated field recordings and metal percussion.

Gatefold cover. Original inner sleeve.

Commissioned and curated by Flora Yin Wong for her label and publishing house Doyenne, ‘Venus Rising From The Sea’ is a collection of love-themed cover versions featuring Teresa Winter, Susu Laroche, Alex Zhang Hungtai, aya, Maria Minerva, Christina Vantzou, Spivak, Salamanda, clare rousay, Wild Terrier Orchestra, Dania and Flora Yin Wong herself covering songs by The Cure, Robert Wyatt, Mariah Carey, The Cranberries, Pentangle, The Carter Family, Spiritualized, Debussy and more.

‘Venus Rising From The Sea’ takes its cues from the classical deity Aphrodite - whose name literally means “sea foam” - for an ever necessary expression of love in the modern age. The label asked friends and collaborators to interpret “love” in whichever way they saw fit, be it obsession, self-love, unrequited, unconditional, whatever. But despite the open brief, and the vastly different modes of execution, all the artists involved somehow ended up linking hands with a shared determination to smudge the original songs into bleary-eyed, uncanny traces of the originals.

To open, Pentangle's jaunty 'No Love is Sorrow' is puffed into stormy clouds by Teresa Winter, who retains the original’s unmistakable bass twang and teases Jacqui McShee's siren song into a saturated buzz of layered, obfuscated words. Verses twist into verses, lines into echoed-out lines, capturing the song’s boundless yearning, rather than tracing its exact contours. Next, Susu Laroche yields one of the set’s highlights on a brilliantly nuanced, highly impactful version of Nina Simone’s take on folk standard ‘Black is the Colour of My True Love’s Hair’, turning the original’s multi-faceted Appalachian/Scottish routes into a heart-stopping, Nico-esque fuzz we haven’t stopped playing for weeks. Christina Vantzou (the CV ov CV & Jab) is joined by pianist Ezra Fieremans in the absorbingly filmic scenes of ‘Hot Springs’, while Maria Spivak's interpretation of Robert Wyatt's 'Just as You Are' finds her singing Brazilian vocalist Mônica Vasconcelos' words with reverence, smearing them into a hypnagogic fantasy.

The Oystercatcher is the first collaborative LP from Cucina Povera (Maria Rossi) and ELS (Edward Simpson) Recorded in London over two days, hours’ worth of improvisations have been edited down to form these six tracks. A fragile interplay is at work between Maria’s drifting vocals and the ominous churn of Edward’s modular synth. Each sonic element takes a turn at leading the way.

The opening track ‘Mantle’ is formed from sparse, monolithic electronics, woven gently with a thread of vocals. In the closing track ‘Eon’ Maria’s voice shepherds spontaneous bursts of sounds, almost Rave-like if order were imposed, through 15 minutes of turmoil and resplendent until the end. Maria’s vocals make their own trails amongst the noise, bringing to mind the the exploratory language from Ursula K. Le Guin’s album ‘Music and Poetry from the Kesh’, recalling the same understated mystery.

The overall effect of this collaboration is a completely unique creation albeit within a recognisable lineage of predecessors. The artwork reflects the vision of these two artists, collaged together. Both images are from a trip to Helsinki. Edward’s photograph of Tulips caught after dark are reviled by a flash. Maria’s seemingly abstract drawing is a graphite rubbing taken from a granite slab of a pavement somewhere in Kallio. Together the two images represent two different methods for capturing a city’s haptic landscape.

The album moves with a feeling of transience, which is no surprise given that the idea to collaborate was formed in Helsinki, realised in London and edited together in Rotterdam. The Oystercatcher tells a fragile tale, one that spins out into the unknown. A cold union of voice and machine, still tentative and probing, learning to co-exist. A kind of fundamental shift whereby shared moments have been turned to sound. The Oystercatcher is a bird that can freely travel between the earth, sea and sky. The motif is taken from a Tove Jansson short story. A dead bird washes ashore, two different versions of events are presented to how the bird came to die. The album feels like two different stories being presented on top of one another but ultimately coming to the same tragic conclusion.

»Remotely Together« introduces new works by claire rousay & Morita Vargas, Maria Chavez & Valentina Magaletti, and Kmru, all commissioned through remote residencies for Rewire’s 2021. The audiovisual results of these residencies were presented during the festival. Newly edited versions of a selection of these performances have now been compiled for this release. Featuring an enthralling mix of ambient, noise, field recording, and experimental sound art

Electronic four-piece Big Yawn invites five revered artists to reconstruct their debut album No!, originally released in March 2020 through Research Records.

The remixes convey a unique combination of darker textures and brooding sounds, clearly indebted to their source material.

The release features interpretations from Sleep D, Jay Glass Dubs, Maria Moles, Bullant and Raymond Scottwalker.

Rhythm merchants Sleep D (Butter Sessions) up the tempo and weave their signature expansive production in their fearless take on 'Reflex'.
Prolific producer Jay Glass Dubs (Bokeh Versions) flavours the 'Body Double' refix with looping clattering drums and glitchy murk, creating a compelling arrangement.
Like a drift into a warm gorge, percussionist Maria Moles (Nice Music) inserts gentle sustained synth work into 'Doodle Damage'.
Bullant (Flightless Records) pulls the listener out abruptly with a rework of 'Skinrat', a house-streaked churner.
Raymond Scottwalker (Fallopian Tunes) wraps up the record with another rework of 'Reflex', creating a mind-bending, aggressive industrial rejig.

Big Yawn's remix EP is a dynamic pairing to No!, entrusting an exceptional group of musicians to adhere to the spirit of the record, yet take it in a totally re-imagined direction

"I would never fallen in love with the spring, if I wouldn't know the autumn. I would never leave my home, if I wouldn't feel how dear it is to me. The world is full of contrasts. Every day is full of conflicting emotions and events. And all of these leaves an imprint, and leads to the world formation in my mind. World - where dreams meet reality, and where the white can't exist without the black." - Long Arm

Recorded, mixed and arranged by Long Arm | Georgy Kotunov in Orenburg, RUSSIA. Remix versions by Krts, Daisuke Tanabe, FiJi, Eugenia Peters. Vocals by Graciela Maria, Teknical Development & Tinavie.

Hannah Archimbault is a multidisciplinary French artist based in London. Hannah opens up her inner deep emotions throughout minimal sequences and loops of sustained and touching organ notes, with reminiscences of Philip Glass, Eva-Maria Houben, Harold Budd or Kali Malone and a contemporary vein that questions love in current times. "The EP came after a break up as I decided to compose in the process of going through this love grief and how you could grow from it, learn to love oneself after the break-up. Each song represents a different stage on this life chapter.". Indeed moving anger, sadness and acceptance are well represented on this sonic, brave redemption of the grief through the artform.

4-Track Guitar Music is the unassuming title of a cassette by Swedish composer Mats Erlandsson, which was originally released on Kali Maloneʼs and Maria W. Hornʼs XKatedral label in 2018. Composed using only, as the album title implies, a 4-track tape deck and an electric guitar, the music was later modified on the computer and re-amplified in the machine hall of Ställbergs Gruva, a disbanded Swedish iron mine. The music is primarily composed using melodic motifs and canonical structures in which a set of pitches are transposed in octaves and delayed, creating an ever-evolving cyclical polyphony. Contrary to the albumʼs modest title, the music is a tour-de-force of exuberance and stoic catharsis, continuously bordering on a sense of ecstatic serenity, sincere contemplation and restraint.

"orange flavored cigarettes" is a three-piece band from South Korea that creates a chill sound reminiscent of bands like Men I Trust, Crumb, and The Marias. For them, this release marks their first physical format project, having primarily focused on digital platforms until now. This collection includes key tracks from their three years of activity, ranging from their debut song released in 2021 to their latest ep "table #2".

There’s no doubt that their sense of melody is heavily inspired by American indie rock, but the influence of roots music such as R&B and soul is also strongly felt. Vocalist Dani's voice blends perfectly with the band's sound, drawing listeners instantly into the world of orange flavored cigarettes.

AVA. Records celebrates its 10th anniversary with 52 artists. “10 Yahre” is a 4LP compilation housing 22 tracks, a printed 30 pages magazine and a mixed CD. All wrapped in a custom made silkscreen sleeve, also including a textile keychain and stickers. Sonically spanning from ambient to techno, 10 Yahre carries new and exclusive material, all woven around the label’s decade focus on dance floor culture, started 2011 in Cologne, Germany. The 4LP vinyl includes music by: Am Kinem, Andy Hart, Axel Boman, Cinthie, Damiano von Erckert, Dman, Dogpatrol, форм, Jürgen Ratan, Jus-Ed, Lauer, Lowtec, Move D, Paingel, Paradise Grey, Retrogott, Robi, Ron Trent, Sinoesin, Tito Wun, U-I, Will Saul and Wolfey. The mixed version of the entire compilation is contributed by Sally C. The full color magazin and video includes works by: Alina Bader, Andy Kassier, Angel, Anna Beil, Ata Macias, Bailey Keogh, Damiano von Erckert, Dirk Jeans & Lou de Bètoly, Funkycan, Guido, Jana Marei, Jana Maria Dohmann, Joana Pratschke, Johannes Wohnseifer, Juri Bader, Kuchenbaum, Manuel Fischer, Maria Sécio, Martin Fengel & Public Possession, Mathias Schmitt, Maximilian Schweizer, Michael Satter, Naum Hirsl, Nicolas Wenz, Peter Wolff, Rein Vollenga, Rucksack Leer, Stelan Mergenthaler, Suzanne Caroline de Carrasco, Twit One and Yves Taron Harouche Compiled by Juri Bader and Damiano von Erckert, mastered by Enyang Urbiks. Design and concept by DVE 1989.

“Berlin-based collective Melantónia introduces its adventures into the spatial and natural sounds of its collaborators. Through research and experimentation; delicate, thoughtful sonic experiences have been crafted by the artists. After the debut EP of Melantónia by its co-founders Hanna Maria and Mattia Onori, with additional interpretations of Feral and Plants Army Revolver. The label reappears with the first episode of a VA series exploring unchartedsonic realms once again. Vol.I featuring Polygonia, Hrnr, Andrea Cossu, Simone Giovannetti, Natasha Giordano, Filip Sijanec and Camilla Pisani leaves the listener feeling human, vulnerable and curious to investigate the hidden depths of a new cosmos. Meditative yet powerful, elegant and fierce, Variierende Töne Vol.I represents the drama of modern expression made for the hikers of contemplative territories.”

Really strong, multi-layered new album from Olan Monk, released on the C.A.N.V.A.S. label/collective of which he is a co-founder and featuring vocals from Maria Somerville and James K, plus additional mixing by Xao. Highly recommended if yr into John Maus, The Normal, Actress, Eartheater, Suicide. In possession of its own unusual pace and styling, Love/Dead is a weird and brilliantly addictive gothic pop experiment that takes The Human League’s ‘Being Boiled’ as its starting point and builds from there in an asymmetric formation that feeds in elements from Suicide, Nine Inch Nails and John Maus, slows it all down and spits it back out covered in heaving subs, doom metal dynamics and distorted, angular electronics.

Mariano Melo, also known as Marian Sarine, is a Brazilian multi-instrumentalist based in Sao Paulo, specialising in percussion and drums. His latest album, Asas Terenas, is his first under this name and started with organ recordings made with Felipe Pato in late 2019 and was completed with additional instruments added in the years that followed. Asas Terenas features a mix of rhythmic improvisations built on modal scales, combining dynamic interplay between notes and percussion. Drawing inspiration from artists like Charanjit Singh, who merged traditional North-Indian ragas with electronic music, and African organists like Hailu Mergia, it combines old and new sounds, merging spiritual elements with energetic rhythms. As Sarine himself says, Asas Terenas is a sonic mixture that moves the feet and lifts the soul, creating an experience that is both pristine in sound and transcendental on the dancefloor.

This ancient-soaked album consists of compositions from the experimental root of electronic music. Some tracks are instrumental improvisations exploring synthesizers and acoustic instruments, including piano, accordion, Ukrainian bandura or prepared mandolin. Other compositions incorporate vocals and interwoven recitations. All in pursuit of intense forms of storytelling. The music stands out with its narrativity, multilayered sound spectrum, diverse range of emotions, and adept maneuvering between ambient, noise and drone genres. It is a debut of an-hoer – the Eastern European band from Poland.

Music: an-hoer
Mastering: Michał Kupicz
Artwork: an-hoer
Fonts: tekio.work
Produced by: an-hoer
Recorded in the an-hoer studio in Gdańsk, Poland

Collaborators:
Paweł Szamburski – drum sample (a1)
Adam Wika - accordion, slide bass (a2)
Piotr Żakowiecki - vocals (a2)
Maria Bagińska - vocals (b1)

Selten hat es in der neunjährigen Geschichte von Pingipung ein solch frenetisches Echo auf eine Ver- öffentlichung gegeben, wie auf das Album „The Ke- nya Sessions“ von Sven Kacirek (Pingipung 20). Die Kooperation des Hamburger Schlagzeugers mit ke- nianischen Musikern verbindet auf eine eigene, auf- regende Weise Electronica und afrikanische Klänge und wird deshalb in unterschiedlichsten Kontexten von der Techno- bis zur Weltmusik-Szene gefeiert. Demnächst erhält die CD den „Preis der deutschen Schallplattenkritik“ für das erste Quartal 2011 in der Kategorie „Nu and Extreme“. Auch mit dem Label befreundete Künstler zeigen sich ob der Qualität des Materials begeistert und Pingipung veröffentlicht deshalb Ende Mai die 10“ „The Kenya Reworks“ mit Neubearbei- tungen des Albums. Lawrence, melancholischer Hansestadt-Houser, Label-Mitbesitzer von Dial, Smallville und Laid sowie international hochgelobter DJ widmet sich dem Stück „Kayamba Tuc Tuc“. Für seinen auf die Essenz maximierten Edit klaut er dem Original viele Spuren und lässt dafür ein großes Herz zurück. Taprikk Sweezee ist neben Gizmog oder Fussel eine der viele Identitäten des Musikers Niko- lai von Sallwitz. Als Taprikk Sweezee bastelt er elektronische Soul-Beats schon zum Früh- stück. Für seinen Remix war ein einziges Original deshalb zu wenig. Zum dekonstruierten Funk von „Kayambriä“ würden wir ihn gerne zusammen mit den kenianischen Musiker der beiden Originale tanzen sehen. Außerdem auf der 10“: Eine Neubearbeitung von „Paperflowers“ von Sven Kacirek selbst, die zusammen mit dem Samy Deluxe Produzenten Sebastian Winkler entstanden ist. Und, weniger Bonus als heimlicher Höhepunkt der Platte: Das exklusive Sven Kacirek Stück „Takaye Village“.

Step Ball Chain’s unconventional prototype band trickpony is the 11th release on the ever evolving imprint. An assortment of sensual cyber jams collaged together by the trio over timezones, birthed in Perth, Australia by Mike Midnight and Roza Terenzi; old friends joined by Helsinki’s visionary songstress Maria Korkeila. A trinity of alchemy blossomed into an audio rendition of exquisite corpse, layers of each entity glistening through amongst a united cosmos; trip hop atmospherics and downtempo drippings. The five track EP reveals a metamorphosis of nostalgia, a foot in the ever present and daydreams of future. A subconscious deep dive into lustful pop, guided by spine tingling vocal fantasies; textural hallucination, harmonic odes to the golden era underground and a flirtation with drum and bass, tribal percussive freakouts and dream tinged lyrics of desire. Pillow talk is a timeless exhibit of esoteric treasures, a portal to a private world of modern enchantment that reveals itself in new ways each listen, music for lovers created by a supergroup of innovators to be digested, shared and cherished.

Project: Mooncircle, as the name reveals, has been on a journey to the moon since day one, exploring the frontiers of music and art, always looking for new discoveries and giving a different perspective to look at the earth. In it’s 10 year history the label has published roughly 100 releases by equally as many artists from all corners of this globe and, therefore, the selection of sounds on this compilation represents the development of the label from the past, present and going into the future.

Some of the artists featured on this compilation have been a part of the label from its very beginning, like CYNE, Manuvers and Jahbitat, whose song will be the last one he produced and published under this moniker, while others, like Robot Koch, fLako and Long Arm, are outstanding examples of its growing popularity and success. Furthermore, the box also features an exceptional selection of close musical friends and inspirational artists like Jehst, Dday One, Kwala and Ichiro_, just to name a few.

The logo and artwork represent someone who was very close to the label, especially in the early years but unfortunately passed on and whom this box is dedicated to. Featured on the compilation are artists such as Mike Slott x Diane Badié, CYNE, Sweatson Klank aka Take, Jahbitat, Robot Koch, fLako, Jehst, Beat Butcha, Long Arm, Kelpe, Pavel Dovgal, Blossom, Daisuke Tanabe, Dday One, Inner Science, Substantial, Arts The Beatdoctor, Rain Dog, Kidkanevil + Microkorg by Dorian Concept, John Robinson, Sorrow, Rumpistol, The Red Baron, Christoph El’ Truento, 40 Winks, Sina., 1000Names, DZA, Ichiro_, EAN, Tom Dicicco, Headshotboyz, Graciela Maria, Gards From KC, Sekuoia of Kilimanjaro, Sense of The Q4, Sneaky, I.V.A., Empt, John LaMonica, Mike Gao, Bambooman, Manuvers, Krts, Kwala, Soosh, Memotone, Sun Glitters, Called Understandable Souls & Szenario.
The limited box includes 4 white vinyls LP’s with 32 tracks, 13 additional digital bonus tracks, and a poster (with digital download code) all in a specially designed box that features a special light-reflecting varnish, which makes this truly a collectors and music lovers item.

Berlin-based label Project: Mooncircle and it’s two sublabels Project Squared and Finest Ego is an official label from HHV. It was founded in 2002 and is specializing in the conjunction between electronic and organic music. The label, at first envisaged as a compilation project only, soon released the first instrumental and vocal solo releases by such artists as The Q4, CYNE, Mr Cooper, Robot Koch, fLako, 40 Winks, John Robinson & MF Doom, DZA, Krts, Sina., Graciela Maria, Manuvers, Lambent, Lewis Parker, Non of Shadowhuntaz, Strand, Ta-Ku, Mika Gao, Onra, Obba Supa, Asusu, Furesshu, AnD. Kowton or Glen Porter. The work of illustrators and graphic designers such as Bioniq, Dan May, Iain McArthur, Ima One, LNY, Gordon, 44 Flavours, La Mano Fria, and The Binh create images that accompany the acoustic spaces.
Project: Mooncircle with its various producers & vocalist shall be an interesting experience for anyone looking for the extraordinary.

A&R: Laurent Fintoni, Jinna Morocha, Karolina Kaczor, Gordon Gieseking and Malte Tarnow. Mastering by Sven Friederichs. Artwork and original paintings by Gordon, LNY & Bioniq. Webdesign 2006 – 2012 by Thimo Hörster & Hendrik Stein. Animation trailer by Sebastian Muñoz.

Release date: March, 23rd.

10th Anniversary Showcase with Mike Slott, Robot Koch, fLako, Long Arm, Jehst, Arts The Beatdoctor, Sekuoia of Kilimanjaro, & Graciela Maria @ Club Gretchen in Berlin, Kreuzberg – March, 17th!

After last year's release of his debut full length album entitled “Death Star Droid” Berlin stromtrooper Robot Koch kept himself hella busy. In 2010 alone he dropped the new Jahcoozi album “Barefoot Wanderer” on BPitch, released his EP “Listen To Them Fade“ on Project:Mooncircle, did a bunch of remixes and productions for both major and indie artsits and played stunnig live shows everywhere from Low End Theory in LA to the Sonar Festival in Barcelona.

And now he's back to do some serious damage with his 2nd LP “Songs for Trees and Cyborgs”.

The album shows Robot’s versatility as a producer – it mixes and blends fresh, forward thinking electronic beats with heartfelt melodies and organic live instumentation.

On choice tracks Mr. Koch teams up with the likes of Boxcutter (Planet Mu), 1000 Names (Black Acre), Doshy (Robox Neotech), RQM (Baby Sumo) and Graciela Maria (Project Mooncircle) to present the point where dubstep, hip-hop and its myriad of influences fuse into a kaleidoscopic collage of sounds.

Artwork by 44 Flavours.

After last year's release of his debut full length album entitled “Death Star Droid” Berlin stromtrooper Robot Koch kept himself hella busy. In 2010 alone he dropped the new Jahcoozi album “Barefoot Wanderer” on BPitch, released his EP “Listen To Them Fade“ on Project:Mooncircle, did a bunch of remixes and productions for both major and indie artsits and played stunnig live shows everywhere from Low End Theory in LA to the Sonar Festival in Barcelona.

And now he's back to do some serious damage with his 2nd LP “Songs for Trees and Cyborgs”.

The album shows Robot’s versatility as a producer – it mixes and blends fresh, forward thinking electronic beats with heartfelt melodies and organic live instumentation.

On choice tracks Mr. Koch teams up with the likes of Boxcutter (Planet Mu), 1000 Names (Black Acre), Doshy (Robox Neotech), RQM (Baby Sumo) and Graciela Maria (Project Mooncircle) to present the point where dubstep, hip-hop and its myriad of influences fuse into a kaleidoscopic collage of sounds.

Artwork by 44 Flavours.

After last year's release of his debut full length album entitled “Death Star Droid” Berlin stromtrooper Robot Koch kept himself hella busy. In 2010 alone he dropped the new Jahcoozi album “Barefoot Wanderer” on BPitch, released his EP “Listen To Them Fade“ on Project:Mooncircle, did a bunch of remixes and productions for both major and indie artsits and played stunnig live shows everywhere from Low End Theory in LA to the Sonar Festival in Barcelona.

And now he's back to do some serious damage with his 2nd LP “Songs for Trees and Cyborgs”.

The album shows Robot’s versatility as a producer – it mixes and blends fresh, forward thinking electronic beats with heartfelt melodies and organic live instumentation.

On choice tracks Mr. Koch teams up with the likes of Boxcutter (Planet Mu), 1000 Names (Black Acre), Doshy (Robox Neotech), RQM (Baby Sumo) and Graciela Maria (Project Mooncircle) to present the point where dubstep, hip-hop and its myriad of influences fuse into a kaleidoscopic collage of sounds.

Artwork by 44 Flavours.

After last year's release of his debut full length album entitled “Death Star Droid” Berlin stromtrooper Robot Koch kept himself hella busy. In 2010 alone he dropped the new Jahcoozi album “Barefoot Wanderer” on BPitch, released his EP “Listen To Them Fade“ on Project:Mooncircle, did a bunch of remixes and productions for both major and indie artsits and played stunnig live shows everywhere from Low End Theory in LA to the Sonar Festival in Barcelona.

And now he's back to do some serious damage with his 2nd LP “Songs for Trees and Cyborgs”.

The album shows Robot’s versatility as a producer – it mixes and blends fresh, forward thinking electronic beats with heartfelt melodies and organic live instumentation.

On choice tracks Mr. Koch teams up with the likes of Boxcutter (Planet Mu), 1000 Names (Black Acre), Doshy (Robox Neotech), RQM (Baby Sumo) and Graciela Maria (Project Mooncircle) to present the point where dubstep, hip-hop and its myriad of influences fuse into a kaleidoscopic collage of sounds.

Artwork by 44 Flavours.

Available on super ltd edition pink vinyl with obi strip & download code. Only 300 copies pressed.

London based shoegaze three-piece Holy Springs are Neil Atkinson Jr, Maria Bellucci and Suzanne Sims. The band blend psychedelic influences with their love of lo-fi guitars and keyboards. In 2020 they self-released the cassette mini album 'Indoor Tapes'. Shortly after the incredible EP 'Camera' and, we are delighted to be releasing their debut full length E.A.T on ltd edition vinyl.

Debut albums can sometimes feel a bit disparate as bands fling all the songs they’ve been working on together with no real thought as to how they all hang together as an album. Not so with E.A.T. The effort and thought that has gone into writing a cohesive and well-structured album is evident on every note played. I particularly enjoyed the instrumental inter-ludes which play a pivotal role in neatly segueing between tracks. If this is the band just starting out imagine what their next album will sound like, and the one after that. I hope Holy Springs are ready, because this album is about to blow up.’ Static Sounds Club

Project: Mooncircle, as the name reveals, has been on a journey to the moon since day one, exploring the frontiers of music and art, always looking for new discoveries and giving a different perspective to look at the earth. In it’s 10 year history the label has published roughly 100 releases by equally as many artists from all corners of this globe and, therefore, the selection of sounds on this compilation represents the development of the label from the past, present and going into the future.

Some of the artists featured on this compilation have been a part of the label from its very beginning, like CYNE, Manuvers and Jahbitat, whose song will be the last one he produced and published under this moniker, while others, like Robot Koch, fLako and Long Arm, are outstanding examples of its growing popularity and success. Furthermore, the box also features an exceptional selection of close musical friends and inspirational artists like Jehst, Dday One, Kwala and Ichiro_, just to name a few.

The logo and artwork represent someone who was very close to the label, especially in the early years but unfortunately passed on and whom this box is dedicated to. Featured on the compilation are artists such as Mike Slott x Diane Badié, CYNE, Sweatson Klank aka Take, Jahbitat, Robot Koch, fLako, Jehst, Beat Butcha, Long Arm, Kelpe, Pavel Dovgal, Blossom, Daisuke Tanabe, Dday One, Inner Science, Substantial, Arts The Beatdoctor, Rain Dog, Kidkanevil + Microkorg by Dorian Concept, John Robinson, Sorrow, Rumpistol, The Red Baron, Christoph El’ Truento, 40 Winks, Sina., 1000Names, DZA, Ichiro_, EAN, Tom Dicicco, Headshotboyz, Graciela Maria, Gards From KC, Sekuoia of Kilimanjaro, Sense of The Q4, Sneaky, I.V.A., Empt, John LaMonica, Mike Gao, Bambooman, Manuvers, Krts, Kwala, Soosh, Memotone, Sun Glitters, Called Understandable Souls & Szenario.
The limited box includes 2 white & 2 black vinyl LP’s with 32 tracks, 13 additional digital bonus tracks, a T-shirt (only at HHV) and a poster (with digital download code) all in a specially designed box that features a special light-reflecting varnish, which makes this truly a collectors and music lovers item.

Berlin-based label Project: Mooncircle and it’s two sublabels Project Squared and Finest Ego is an official label from HHV. It was founded in 2002 and is specializing in the conjunction between electronic and organic music. The label, at first envisaged as a compilation project only, soon released the first instrumental and vocal solo releases by such artists as The Q4, CYNE, Mr Cooper, Robot Koch, fLako, 40 Winks, John Robinson & MF Doom, DZA, Krts, Sina., Graciela Maria, Manuvers, Lambent, Lewis Parker, Non of Shadowhuntaz, Strand, Ta-Ku, Mika Gao, Onra, Obba Supa, Asusu, Furesshu, AnD. Kowton or Glen Porter. The work of illustrators and graphic designers such as Bioniq, Dan May, Iain McArthur, Ima One, LNY, Gordon, 44 Flavours, La Mano Fria, and The Binh create images that accompany the acoustic spaces.
Project: Mooncircle with its various producers & vocalist shall be an interesting experience for anyone looking for the extraordinary.

A&R: Laurent Fintoni, Jinna Morocha, Karolina Kaczor, Gordon Gieseking and Malte Tarnow. Mastering by Sven Friederichs. Artwork and original paintings by Gordon, LNY & Bioniq. Webdesign 2006 – 2012 by Thimo Hörster & Hendrik Stein. Animation trailer by Sebastian Muñoz.

Release date: March, 23rd.

10th Anniversary Showcase with Mike Slott, Robot Koch, fLako, Long Arm, Jehst, Arts The Beatdoctor, Sekuoia of Kilimanjaro, & Graciela Maria @ Club Gretchen in Berlin, Kreuzberg – March, 17th!

‘The Aura‘ and the belief in it can be found in almost all cultures in one form or another. Often signifying fields of energy and spirituality, an aura is a luminous radiational halo surrounding a person or object. It is said that all objects and all living things manifest such an aura. In other respects the aura has also been described as a map of the thoughts and feelings surrounding a person.

Pieced together from sounds and samples from all over the globe, the album’s aim is to charge listeners with harmony and a feeling of connectedness to the world. Reflecting on his own attitude towards life and the importance of inner balance, Pavel attempts to share some of the spiritual experiences he made while traveling.
The lengthy process of creation included numerous reworks of each track and intensive listening sessions in order to keep the balance between the essential details and those that are redundant to the album’s atmosphere.

The album includes collaborations with old friends like Mujuice, Graciela Maria as well as some newly added artists – L.A. rapper BLU, Starving Yet Full – ex-vocalist from Azari III and Mitia Dedoni, who created the haunting album cover.

‘The Aura‘ comes out worldwide on limited grey-marbled vinyl (including download code).

“XKatedral Anthology II is the second instalment in a series of archival releases dedicated to presenting music
by composers affiliated with XKatedral working within the realm of slowly evolving harmonic and timbral
music. This double-vinyl set contains an array of pieces dating from 2018 - 2020. This collection of pieces
focuses on the use of synthetic sound and algorithmic composition languages as tools for precise work
within the realm of spectral exploration. In addition to this, the electronic instrumentation in many of the
pieces is augmented by acoustic instruments.
The first piece on side A is Kali Malone’s Music for Low Quartet. This piece is an adaptation of the
composition “Rose Wreath Crown” originally released on The Sacrificial Code in 2019. In this iteration,
the music is scored for two double basses played by Vilhelm Bromander and Zach Rowden, and sine tone
electronics performed by Malone herself. The recording of this piece was made at EMS in 2019. Closing side
A is Jessica Ekomane’s ‘First Light’. This computer music piece focuses exclusively on digital sound, layering
razor sharp synthetic textures into an otherworldly dynamic weave. The music heard here is a reworked
version of a piece originally commissioned by Semibreve in 2020. Side B contains the work ‘Hands Melt
In The Sun’ by Mats Erlandsson. This composition is built from electronically processed tuned zithers and
synthetically generated tones arranged in a series of chordal inversions over a sustained fundamental tone.
This music, written as a love-letter to the localized drone tradition of Stockholm in the years 2008-2012, was
composed and recorded in seven days while in residence at Ställbergs Gruva in Bergslagen, in the summer of
2018.
Opening the second half of the collection is Rough Draft v.7 by Theodor Kentros. Kentros’ compositional
practice usually combines acoustic and electronic source material and in this piece he molds the sound
of the Buchla 200 and a collection of recorded wind instruments into a molten mass of sound. In its
original form, this music was presented as a multichannel immersive work and even in the current stereo
configuration it retains some of that enveloping sense of depth. The second piece on side B, Inertia, is by
Wilma Hultén, who makes her debut on record here. An exclusively synthetic piece, Inertia utilizes internal
digital feedback in a sealed synthetic system to manifest a harmonic field that swells and abates throughout
the length of the piece, interspersed by small gestural element Closing Anthology II is Maria W Horn’s work
‘Dies Irae’ for female vocal quartet, pitched glass and synthesis. ‘Dies Irae’ uses a modified form of traditional
tonal harmonic language to invoke an uncanny and restless middle ground between the classical western
polyphonic vocal tradition and contemporary electronic music. The version heard here is a live recording
from Eric Ericssonhallen in Stockholm on May 30th 2020. Performing the piece here are the vocalists
Katarina Henryson, Lisa Holmgren, Vilma Ogenblad and Paula Wegmann, as well as Maria herself on glass and
electronics.”

Palaces began to take shape when Flume returned to his native Australia after struggling to write music in Los Angeles at the beginning of the pandemic. Settling in a coastal town in the Northern Rivers region of New South Wales, Flume quickly found the inspiration he needed through reconnecting with the nature around him—the rolling hills, walking around barefoot, the green colour the sky turns before a big storm, growing and eating his own vegetables, the smell of rain. He and his neighbour and long-time collaborator, the visual artist Jonathan Zawada, became fascinated by the local wildlife, in particular the birds, collecting field recordings that ultimately worked their way in to the album. As Flume continued to forge a strong connection to his surroundings, the album he wanted to make started to form, eventually adopting a title to properly highlight the luxury and magic of the natural world. Palaces is his most confident, mature and uncompromising work to date, a true testament to nurturing the relationships that make us whole and bring us peace.

The album features a host of vocalists and collaborators, its cast list spanning new and household names from around the world—breakout U.S. star Caroline Polachek, British polymath-icon Damon Albarn, Spain’s Vergen Maria, France’s Oklouand fellow Australian Kučka, who returns following her standout turn on Skin.

If you’re going to listen to one Damata album this year, why not listen to the only one? ‘What’s Damata’ is the debut album of this Guitar Trio, and is a compilation of compositions and excerpts from improvisations recorded in January 2019. The albums attitude, while handled with a lot of caution, suggests that everything is allowed in this music, which points towards the prudence of Brian Eno and Maria Kannegaard, the freedom of Supersilent and the harmonies of Aphex Twin and Olivier Messiaen. A lot of the music has a cinematic character to it, and may at times sound like a homage to Ambient Music, Drum’n’Bass and Scandinavian Jazz and Jazz-Rock, all while preserving the organic sound from the guitar trio format and the playfulness found in improvised music. This playfulness has also planted its seeds in the mixing process; a tune might suddenly accelerate or the drums might be replaced with drum machines. The titles on the album is no exception, which one can read from titles like ‘Oslo, 32. August’, ‘Her Piece’ and ‘I Say Damata, You Say Matoma’. Further, the order of the tunes is different from each format, meaning that the vinyl track order is different than the track order on streaming services. ‘What’s Damata’ is available on vinyl, CD and streaming services through the Oslo label Dugnad Rec.

Note: With THE Purchase OF THE Vinyl OR THE CD YOU Will GET THE Single MP3 Files AS Well AS A Continous MIX VIA E-mail. With the cover artwork for Pop Ambient 2022, longtime Kompakt graphic artist Veronika Unland has once again outdone herself. Following the almost baroque, blood-red and jet-black, extremely physical sculptures of Pop Ambient 2021, which emerged from a dark, floral sea like bodies erect for dancing, the front of 2022 is adorned with a pastel-white form, intertwined, folded many times and crisscrossed with delicate shading, which seems to float on a pale pink background; soft, gentle waves woven from Venetian colors that leave the viewer puzzled: Is it a flower, a coral, a mollusk?

Again, the current edition of the tradition-steeped compilation series curated by Wolfgang Voigt is about the persistent and ever-necessary definition of beauty, of reduction, of electronic music of heavy lightness and light heaviness, of ambient's eternal promise of a state of physical and acoustic weightlessness and Pop's of redemption. And about the question why a never arbitrary combination of soundscape, drones, samples and loops, put together in a certain way, can create this feeling of warmth, depth and space, - something three-dimensional, where the imagination feels at home as a fish in the water or a bird in the sky. A key aesthetic stimulus that sends all the senses into a slow glide and drift, after which your synapses feel like they've been bathed in essential oil. Next to Soul, Ambient is probably the most effective musical healing plant of mankind.

Behind the aural test tubes, the who's who of Pop Ambient is once again at work, led for the first time by the highly trafficked Californian duo Blank Gloss, whose debut album "Melt" this year was certified by The Guardian as nothing less than "heartaching beauty". Yui Onodera's "Chrome" as well as "Kari", a cooperation of Markus Guentner and Joachim Spieth, could also be imagined in the score of Denis Villeneuve's new film version of Dune - however, colleague Hans Zimmer managed that quite well without the three. After such wonderful and stylish contributions by Reich & Würden, Triola and Thomas Fehlmann, the ear then lingers a bit longer on the ghostly "Weiht" by Morgen Wurde feat. Maria Estrella, a track like a temple of sound, a deep electronic immersion in a Japanese onsen. In this sea of unnameable time you could sink forever, but with the tracks of Andrew Thomas, Thore Pfeiffer and Max Würden & Pepo Galán the journey slowly comes to an end.

Important Note: Unfortunately THE Sides ARE Reversed ON THE Vinyl, I.E. THE A-side IS THE B-side AND Vice Versa. With THE Purchase OF THE Vinyl OR THE CD YOU Will GET THE Single MP3 Files AS Well AS A Continous MIX VIA E-mail. With the cover artwork for Pop Ambient 2022, longtime Kompakt graphic artist Veronika Unland has once again outdone herself. Following the almost baroque, blood-red and jet-black, extremely physical sculptures of Pop Ambient 2021, which emerged from a dark, floral sea like bodies erect for dancing, the front of 2022 is adorned with a pastel-white form, intertwined, folded many times and crisscrossed with delicate shading, which seems to float on a pale pink background; soft, gentle waves woven from Venetian colors that leave the viewer puzzled: Is it a flower, a coral, a mollusk?

Again, the current edition of the tradition-steeped compilation series curated by Wolfgang Voigt is about the persistent and ever-necessary definition of beauty, of reduction, of electronic music of heavy lightness and light heaviness, of ambient's eternal promise of a state of physical and acoustic weightlessness and Pop's of redemption. And about the question why a never arbitrary combination of soundscape, drones, samples and loops, put together in a certain way, can create this feeling of warmth, depth and space, - something three-dimensional, where the imagination feels at home as a fish in the water or a bird in the sky. A key aesthetic stimulus that sends all the senses into a slow glide and drift, after which your synapses feel like they've been bathed in essential oil. Next to Soul, Ambient is probably the most effective musical healing plant of mankind.

Behind the aural test tubes, the who's who of Pop Ambient is once again at work, led for the first time by the highly trafficked Californian duo Blank Gloss, whose debut album "Melt" this year was certified by The Guardian as nothing less than "heartaching beauty". Yui Onodera's "Chrome" as well as "Kari", a cooperation of Markus Guentner and Joachim Spieth, could also be imagined in the score of Denis Villeneuve's new film version of Dune - however, colleague Hans Zimmer managed that quite well without the three. After such wonderful and stylish contributions by Reich & Würden, Triola and Thomas Fehlmann, the ear then lingers a bit longer on the ghostly "Weiht" by Morgen Wurde feat. Maria Estrella, a track like a temple of sound, a deep electronic immersion in a Japanese onsen. In this sea of unnameable time you could sink forever, but with the tracks of Andrew Thomas, Thore Pfeiffer and Max Würden & Pepo Galán the journey slowly comes to an end.

Enigmatic pop outsider Tony Gallardo makes music that's perpetually perched on the outskirts of Mexico's fertile electronic underground. Since 2008, he has been releasing music that inhabits its own artistic universe, a cross between Frank Zappa, Daniel Johnston, The Knife, OutKast and Rosa Pistola. He co-founded the Cocobass label, pioneered the fusion of L.A. noise and cumbia known as ruidos6n and has released music under a plethora of monikers: dark techno as Boi Patrol, ramshackle electronic pop as Maria y Jose, experimental surf rock as El Capricho and experimental dembow as La Fiebre X. "Selected Works" assembles some of Gallardo's most crucial material from a run of EPs released between 2008 and 2013. These tracks show the breadth of his output, running through sleazy, neon electro ('Bruja', 'Mi Presa'), neck-snapping tropical dance music ('Kibose', 'La Conquista'), and eerie Mexican trap ('Plata 0 Plomo', 'Ultra'). It's introspective, haunted music from one of Mexico's most original and most under-appreciated artists that paints a picture of a psychedelic musical landscape that's hard to resist. One listen to the album's closer 'Club Negro', originally released in 2013, should tell you all you need to know. This track is the perfect introduction to the world of Tony Gallardo, with screwed 'n chopped Spanish vocals, 7 doomy syncopated beatbox rhythms and wobbly houseparty electronics.

"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

Vinyl close to NM

Russian producer/musician Kedr Livanskiy returns with her expansive, timeless new record on which she pushes the boundaries of electronic songwriting. "Liminal Soul" plays like an opera as Livanskiy brings her crystalline voice to the forefront, channeling it into operatic choruses, looping falsetto, and one of her first full songs in English.

Revealed last year as a side project by UK producer Shifted, Covered In Sand now returns with a new EP: Crescent Shaped Scars will be released on the sister label of his own Avian imprint Mira, which serves as an outlet for the more experimental and duskier side of electronic music.

The release features three abrasive noise workouts. Thud of drums and ritualistic rhythms define the opener Luarica on the A-side alongside a near-melodic whine that stays present throughout the tracks. Orapa (An Interview) on the flip swallows and evokes scuffed voices of a conversation, striving into isolation, while Venetia resumes the haunting rhythm and layers of distortion.

by Lawrence, Alexander Polzin and James Din A4

A monumental debut work for Shelter Press, ‘Death Star’ is something of a definitive statement or magnum opus in the explorative oeuvre of NYC artist/composer Marina Rosenfeld - a big Riyl Iancu Dumitrescu, Lea Bertucci, Jakob Ullmann, Okkyung Lee, Maryanne Amacher. Marina first grabbed our attention with the uncannily echoic industro-dub environs of ‘P.A./Hard Love’ in 2016 (a real precursor to Jay Glass Dubs we reckon), before showing a quieter, more sensitive side in her collaboration with Ben Vida ‘Feel Anything’. Now on ‘Death Star’ she places deeply uncanny sensibilities to stunning use across an album focussed on the microphone as a listening device and instrument - a sort of mechanical ear/eye - with impressively elusive/illusive results. The original recordings come from an installation - a plexiglas orb housing seven microphones - that picked up and fed back samples of visitors to an exhibition at Portikus gallery, Frankfurt. Marina’s album reworks those recordings with fragments of piano played into the same system or orb of mics, generating utterly enchanted ethereal spaces that speak to the listener’s atavistic responses to echoic space and acoustic phenomena. In four movements Marina grows the source material from liminal, plasmic and dreamlike as she begins to feel out the work’s scope in ‘Death Star’, all quite polite but edged with a menace that gets more complex, with a chamber ensemble playing back notation of the original location recordings in more atonal and aggressive iterations re-amped thru banks of speakers to edge on KTL’s electro-acoustic doom or Iancu and Ana-Maria Avram’s spectralist music. So good this.

This is a story about a young Russian girl named Jinna Morocha who had a vision of one day flying to the Moon.
Many years ago during the hard times of life in Moscow, the young girl saw the Moon consciously for the first time and at that very moment the dream began. These vivid thoughts remained in her mind and she started to ask herself “How can I get to the Moon?“. Soon she found the label Project: Mooncircle over the internet and told them her story, at once she saw a chance to come a few steps closer to her dream. By now Jinna lived in Germany and it was possible for her and the label to meet, her key question was “Can you bring me to the Moon?“. The answer was a faltering “No, but maybe we can let you fly to the Moon in your mind. Let’s build the soundtrack to this vision, close your eyes, clear your thoughts and let us begin on your journey“.

That was the beginning of “The Moon Comes Closer“, come embark upon this voyage with us lead by the next level soundscapes of:

Robot Koch, fLako, Pavel Dovgal, I.D. 4 Windz, John Robinson, Lambent, 813, Nienvox, Juj, Mr Cooper, MyOwn, Long Arm, Daisuke Tanabe, Graciela Maria, Scienz Of Life, Andy Kayes, Abnormal, Capella, Comfort Fit, Kansano, Gards From KC, Puzzle, Sense of The Q4, Sotu The Traveller, V. Raeter, Himuro Yoshiteru, Skyence, Dexter, Portformat, 40 Winks, Dela, Brazzaville & Killing Skills.

This is a story about a young Russian girl named Jinna Morocha who had a vision of one day flying to the Moon.
Many years ago during the hard times of life in Moscow, the young girl saw the Moon consciously for the first time and at that very moment the dream began. These vivid thoughts remained in her mind and she started to ask herself “How can I get to the Moon?“. Soon she found the label Project: Mooncircle over the internet and told them her story, at once she saw a chance to come a few steps closer to her dream. By now Jinna lived in Germany and it was possible for her and the label to meet, her key question was “Can you bring me to the Moon?“. The answer was a faltering “No, but maybe we can let you fly to the Moon in your mind. Let’s build the soundtrack to this vision, close your eyes, clear your thoughts and let us begin on your journey“.

That was the beginning of “The Moon Comes Closer“, come embark upon this voyage with us lead by the next level soundscapes of:

Robot Koch, fLako, Pavel Dovgal, I.D. 4 Windz, John Robinson, Lambent, 813, Nienvox, Juj, Mr Cooper, MyOwn, Long Arm, Daisuke Tanabe, Graciela Maria, Scienz Of Life, Andy Kayes, Abnormal, Capella, Comfort Fit, Kansano, Gards From KC, Puzzle, Sense of The Q4, Sotu The Traveller, V. Raeter, Himuro Yoshiteru, Skyence, Dexter, Portformat, 40 Winks, Dela, Brazzaville & Killing Skills.

Originally released in 1974 on Shandar, Dream House 78'17" is the second full-length album by La Monte Young and Marian Zazeela. This first-time US edition reproduces the original gatefold sleeve with beautiful calligraphy by Zazeela and liner notes by Young and French musicologist Daniel Caux.

Side one was recorded at a private concert (on the date and time indicated by the title) and features Young and Zazeela's voices against a sine wave drone with Jon Hassell on trumpet and Garrett List on trombone. This work is a section of the longer composition Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (begun in 1966 as a sub-section of The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young's group The Theatre of Eternal Music). The piece evolves with the oscillator changing pitch and dictating an ornate pattern over the course of the performance.

Side two is an example of one of the sets of frequencies sustained in the Dream House, the composite sound environments conceived by Young and Zazeela. The composer suggests listening while seated – to experience how the sound interacts with the room and other perceptions of its arrangement – as well as while walking. As Young states, "The frequency ratios are monitored continuously as lissajous patterns on the oscilloscopes and, in spite of the great stability of the oscillators, the phase relationships of the sine waves gradually drift which causes their amplitudes to add and subtract algebraically. Not only does the sound become a bit louder and softer, but at very loud levels, one actually begins to have a sensation that parts of the body are somehow locked in sync with the sine waves and slowly drifting with them in space and time."

Wrestling Music is Kean Kavanagh's most intriguing work to date, illustrating his vulnerabilities and contextualising his journey from hopelessness to vindication. Speaking on the EP, Kean explains that, “In May 2022 I suffered a vocal injury which meant that for the majority of the last year, I haven’t been able to sing or record. While I’ve been working on a lot of different music and writing a lot of songs, it has been heartbreaking and depressing at times to not be able to realise their full potential and to sing them how I hear them. On the 1st of May 2023, I wrote and recorded “The Magic” at home in Portlaoise and it helped me to embrace whatever the last year was and point me in a direction to go towards. It felt important to me and I didn’t want to just sit on it, so I gathered some instrumentals I had and worked quickly to create this EP, the Wrestling Music EP, as a timestamp of this period of my life and the loops of arrogance, introversion and acceptance that I’ve been spinning.”

Co-founder, producer and A&R of Irish Label Soft Boy Records, Kean Kavanagh is a story-teller with a strong imagination who set out his stall as both a singer-songwriter and world creator in 2020, with the release of his acclaimed project Dog Person. In what turned out to be a big year for him, 2020 also saw Kean make an appearance on the Everything Is Recorded project Friday Forever, (curated by Richard Russell of XL Recordings) alongside Aitch, Flohio, Maria Somerville, Ghostface Killah and others, aligning himself with a tastemaker and a hotly tipped selection of musical peers.

The discovery and musical re-imagining of Mirabel Lomer – an artist’s unheard world which is emerging from the shadows into the light.

30 years ago, Edinburgh based musician Tom Fraser was helping with the house clearance after his grandfather’s death and found an old scratched Transco record left out on the street. He took it home where it sat on a shelf for years until one day during lockdown, he gave it a play - and a whole world opened up to him - his Great Aunt Mirry had recorded a number of piano compositions which she had kept secret from her family. Since then, Tom has been re-working and re-mixing her compositions with his brother-in- law Simon Tong (The Verve, The Good the Bad and the Queen, and The Magnetic North) and together with project curator Kirsteen McNish they hope that this secret life will now reach beyond Mirry’s own four walls.

Mirabel Lomer was born in 1906 to a military family and for the best part of her life stayed at home in Ireland looking after her elderly parents. In the early 1950s she became a paid companion to another elderly couple in Wiltshire, both of whom she nursed until they died. While most of her life was spent caring for others it also transpired that Mirry had written music (despite the fact that as a young woman, her father actively discouraged her playing music in the family home). In quiet rebellion and creative escape, she composed this piano music secretly and her nephew and confidant Geoffrey captured it on his tape recorder.

Like untold numbers of women whose creative lives didnt find an outlet, Mirry never received any accolades for her work but enjoyed the act of creating work for herself. She died in the 1980s but the story of Mirry’s music and secret life is still unfolding.

The resulting album “Mirry” by Fraser and Tong is a celebration of Mirry’s work and a call and response to her original recordings with her family members – almost as if she were still in a room with them.

Limited edition 12" vinyl LP vinyl run of 200 on translucent Iced Coffee coloured wax in full colour jackets and OBIs shrink wrapped.

An amazingly colorful album with songs that are based on solid substance rather than cheap pop structures. This is music for the bold listeners and music lovers and this awesome reissue should quickly find it’s way into the record collections of 80s synth and art pop aficionadoes. Yasuaki Shimizu did what he wanted with Mariah, pushed the borders of popular music further than anybody would have thought. Listen to a track like „Shonen“ with a repetitive rhythm pattern that hypnotizes you and somehow silky melodylines by saxophone and synth piano upon which a female voice sings in a very spiritual way. Praising pop or whatever this can be called, it is sheer magic put in music. I wonder if this would have made it into the charts back then, but you never know. It is a piece of musical art that shall be listened to. Grab your copy now!!!

Mára is the solo project of Faith Coloccia, the hermetic composer, songwriter, and vocalist who has a central figure in numerous projects including Mamiffer and her ongoing collaborations with Alex Barnett. Her arrangements for piano, organ, electronics, guitar, and voice often take the form of deconstructed plainsongs, as elegant variations of a melody that smolder and dissolve into heavy-lidded assemblages of shadow, fog, and echo. As Mára, she continues with her signature aesthetics, while laying bare the emotional core of her being.

Blue Lake's new offering 'Weft' sees its creator Jason Dungan unearth new musical terrain
with a mini-album which presents the projects evolution. Finding inspiration in the craft of weaving and embracing a collective spirit as a band leader, all while readying a new studio album expected later in 2025.

It follows the lauded album 'Sun Arcs' (2023) with Pitchfork naming it (Best New Music, 8.3), amongst numerous other accolades. Blue Lake is the ongoing musical project of American born, Copenhagen based musician Jason Dungan which serves as his artistic platform as composer and collaborator. Developed over the period of 2024 and witnessed at live performances across a swath of European cosmopolitan cities and festivals, the project stands at a new creative juncture. The earthy title track 'Weft' emerges with a sense of ease and familiarity as looping guitar riffs in open tunings bed in around a warm cello pulse that provides the essential heartbeat. These interlinking parts align to create his most explicit version yet of an American writing country music in Scandinavia. Dungan named the release 'Weft' as a reference to the weaving practice of his partner, Danish visual artist Maria Zahle, whose work "Torso" is featured on the album's cover. With her works providing a constant source of inspiration to his music and practice as an instrument-builder, Dungan found a symbiotic connection between their mediums, which is reflected in the music on 'Weft'.

'Weft' is a collection of new works that casts a net into new sound territories with distinctive timbres yet always channelled through the refined lens of Dungan's prism. Infused with an ongoing connection to nature, it furthermore expands his unique meld of off-kilter folk, jazz, country and left-field experimental ambience. 'Weft' then is an accomplishment of growth, of bolder objectives and of collaboration with like minds. The Blue Lake project takes a dynamic step forward venturing into new creative spaces while leaving some clues along the way.

La Monte Young was born in Bern, Idaho in 1935. He began his music studies in Los Angeles and later Berkeley, California before relocating to New York City in 1960, where he became a primary influence on Minimalism, the Fluxus movement and performance art through his legendary compositions of extended time durations and the development of just intonation and rational number based tuning systems. With wife and collaborator, artist Marian Zazeela, they would formulate the composite sound environments of the Dream House, which continues to this day. Seeing reissue for the first time since its initial 1969 release, Young and Zazeela's first full-length album is often referred to as "The Black Record" due to Zazeela's stunning cover design, complete with the composer's liner notes in elegant hand-lettered script. Side one was recorded in 1969 (on the date and time indicated by the title) at the gallery of Heiner Friedrich in Munich, where Young and Zazeela premiered their Dream House sound and light installation. Featuring Young and Zazeela's voices against a sine wave drone, the recording is a section of the longer composition Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (begun in 1966 as a sub-section of the even larger work The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young group The Theatre of Eternal Music). According to Young, the raga-like melodic phrases of his voice were heavily influenced by his future teacher, the Hindustani singer Pandit Pran Nath. Side two, recorded in Young and Zazeela's NYC studio in 1964, is a section of the longer composition Studies in the Bowed Disc. This composition is an extended, highly abstract noise piece for bowed gong (gifted by sculptor Robert Morris). The liner notes explain that the live performance can be heard at 33 and 1/3 RPM, but may also be played at any slower speed down to 8 and 1/3 RPM for turntables with this capacity.

Mats Erlandsson Makes His Debut On The Swiss Label Hallow Ground With "Minnesmärke," At Once A Nuanced Sonic Exploration Of The Industrial And Political History Of His Native Sweden And A Deeply Personal Album. One Of The Key Figures Of The Stockholm Drone Scene, The Prolific Composer Worked With The Kilimanjaro Darkjazz Ensemble's Hillary Jeffery, Violinist And Long-Time Friend Gaianeh Pilossian As Well As Sound Artist And Frequent Collaborator Yair Elazar Glotman For A Two-Part Composition Built Around Tuned Sustained Tones Performed By Electronic And Acoustic Instruments That Were Combined With Field Recordings In Order To Evoke A Psychedelic State Of Reflection, A Dream-Like Elegy For The Acoustic Properties Of The Former Iron Ore Mine Ställbergs Gruva Where The Music Has Been Conceived And Recorded. Following Up On Releases On Labels Such As Hallow Ground Label Mates Kali Malone And Maria W Horn's Xkatedral Imprint, 'Minnesmärke' Is Erlandsson's Most Accomplished Work Yet. Originally A Commissioned Work By The Non Existent Center For A Month-Long Artist Residency In Ställbergs Gruva Last Summer, 'Minnesmärke' Conceptually Picks Up On The Socio-Political And Economic History Of The Bergslagen Region Where The Mine Is Situated. After Mining Operations Had Been On-Going For Decades Prior, In The Industrial Age Iron Became One Of The Country's Largest Exports, Making The Mining Industry An Integral Part Of The Country's Progression Towards A Socialdemocratic Welfare State In The Years After World War Ii. With The Rise Of Neoliberalism And The Simultaneous Erosion Of The Welfare State However, The Mines Around The Region Started Closing, Which Resulted In The Surrounding Community Losing Its Relative Prosperity. Erlandsson's Interest In This Story Though Does Not Exclusively Stem From The Historical Significance Of The Mine, That Has Been Re-Opened In 2012 As A Centre For Cultural Activities And Critical Thought. In Fact, His Grandfather Was Born And Raised In The Vicinity Of It And Thus His Life - An...

Highly regarded for a pair of innovative releases with 12th Isle, Lucy Duncombe is an experimental singer and
artist who uses technology to deftly abstract songcraft in ways that uniquely pique the imagination. With
’Sunset, She Exclaims’ Lucy diversifies Modern Love’s 7” series via a trio of works that embody influences
ranging from doo wop to avant garde and pure pop forms, in a style of melismatic sound poetry weft with
Jacquardian intricacy. It’s a truly precious, beguiling and evocative record that will reward repeat plays for
eons to come, much in the manner of contemporary classics such as Kara-Lis Coverdale’s ‘Grafts’, or Laurie
Anderson’s ‘O Superman’.
The star of this short story is no doubt ‘Sunset, She Exclaims’, where Lucy reframes Jeff Alexander and
Anthony Wilson’s haunting ballad, ‘Come Wander With Me’, used as a titular device in The Twilight Zone’s
swansong episode, 1964, and which has since notably featured on Vincent Gallo’s ‘Brown Bunny’(2003). In
Duncombe’s larynx and motherboard, the song is dissected and reworked as a glossolalic froth of hiccuped
melody blooming into crepuscular harmony. Its effect is practically hormonal; affective as indole in, as
she puts it, “reducing the stench of the real”, whilst distilling the saccharine sadness of the original to a
synaesthetic, dream-nudging whiff of nostalgia.
Once you prize yourself away from that A-side, Lucy’s B-side only lures deeper into blurred hyper-pop
fantasy. The precedents of Maria Chavez’s experimental sound poetry and Niecy Blues’ raw soul hover around
‘Ghosting’ and ‘Ghosted’, teasing the parameters of avant-pop into plasmic refrains, foregrounding the usually
unwanted parts of vocal performance - glitching digital artefacts and errant detritus - in a way that makes
the mind’s eye saccade, tracing the half-heard glowworms nestled in its bush of ghosts. Fine-tuned ears will
surely recognise the sort of brilliance on show here, and will no doubt revel in its gauzy glaze, which prizes
oneiric ambiguity, ephemerality, the supernatural, over anything more corporeal.

Three years after Pergélisol/Chorémanie, their first diptych album crossing post-punk radicalism and minimalist ambition, the quartet named after Maria Spelterini (an Italian tightrope walker who crossed the Niagara Falls on a wire several times in 1876) released a second record that transcends this delicate aesthetic balance and navigates well beyond/below rock and electronics.

When Pierre-Antoine Parois, Arthur de La Grandière (members of Papier Tigre), Meriadeg Orgebin and Nicolas Joubaud (members of Chausse Trappe) are not in the ranks of La Colonie de Vacances or deep in the dictionary, looking for album titles ("pareidolia" is the phenomenon where the brain creates optical illusions of familiar faces or shapes where there is only abstraction) they imagine the most radical vanishing points to their possessed "Drum & Drone".

Alternately bewitching and heady, this new thirty-three-minute piece of post-krautrock with industrial accents and the allure of ritual music is born from the interaction of a drone and a rhythm evolving side by side, crossing, mixing and responding to each other before disappearing.
Paréidolie opens with near-silent purity, a held synthetic note posed alongside a skeletal beat. The sound spectrum gradually widens, multiplying little by little and combining electronic sources and textures until it generates dissonant sinusoidal vertigo punctuated by a turgid polyrhythm and supported by electric bursts; until the rupture, marked by a bell sound.
On the other side of the mirror, the silence is soon swept away by rustling modulations and convulsed electric feedbacks, slowly restoring a pulsating dynamic, like a negative vision of the first twenty minutes of the piece as one would hear it behind the red velvet curtain of David Lynch. The bell rings again, without stopping this time, and closes the piece with a discontinuous ringing restoring the initial purity.
A resolutely promising young project, Spelterini reconciles the rhythmic and textural rigor of the Austrian post-rockers of Radian with the regressive electric incantations of the Americans of Mosquitoes and signs a breathtaking piece evoking a strange ritual in a power plant.