Search "asics" 240 Items

The new album by She spread sorrow (Alice Kundalini) is the story of a huntress and her morbid and psychotic relationship with her prey. The protagonist is Blue, a girl whose existence is marked by obsession with another woman of the same age and by nightmares that leave her without peace. Between love and psychosis, a tragic story is consumed, which vibrates in the stomach, like the music that accompanies it - dark and hypnotic death industrial, with moments of dark ambient, power electronics and noise.

Inspired by Kundalini's nightmares and her fervent world of dreams, "Huntress" was born after 3 years of intense recordings. It pursues the need to whisper secret, forbidden tales and to stimulate the deepest shadows of the human being, exploring the boundaries between the delicate and the violent; between love and obsession; between fantasy and madness.

"Huntress" is the soundtrack of a tragic game between opposites in a reality of total solitude.

Elsa Hewitt is a London-based music producer and writer hailing from Sussex, via Yorkshire. Beginning as a young singer-songwriter producing demos on a four-track, she progressed through fronting post-punk bands and solo electronic songwriting, all the while developing a passion for album-making which would ultimately lead her to electronic production, establishing her name producing avant-garde, experimental & ambient, leftfield dance, and lo-fi, psychedelia. Since her 2017 official debut ‘Cameras From Mars’, stepping onto the scene as a Future Bubbler and Lynsey de Paul Prize winner, Hewitt has amassed a series of distinct yet interlinked philosophical worlds; each one holding its own tones of joyful beauty and abstract darkness. With a boundless approach to merging elements of dance & ambient, Hewitt’s adventurous approach remains pinned by her earthy voice, idiosyncratic songwriting style and sharply poetic lyricism.

Bristol’s Slack Alice gang celebrate their 5th year of running no-fux-given / lots-of-fun-had parties in pubs and other spots with a killer compilation by artists who have performed music & drank together here over the years –

Held together by artist & DJs Max Kelan (Bad Tracking / Salac / ATC), YOKEL (Plaque / ATC), and boss DJ’s Anina and Nadoone, Slack Alice kicked things off in the infamous Surrey Vaults pub (RIP) on weekday evenings back in the day. From Noise, to Industrial, Synth Pop, EBM, Dancehall, Grime, Jazz, Post-Punk, there were no rules and it was always that pub event where you’d go and hear a mix of stuff you might not hear at your usual pub.
But then, Surrey Vaults was no ‘usual pub’ anyway – it was more like some kind of youth centre turned loose, with a nice mix of random friends and unknowns hunched up together in those confines. Usually it’d happen downstairs by the bar with that haggard PA, under the stairwell, or on some occasions in the upstairs room. There was that time when the sub was barely able to be lifted up the fire escape doors in order to get it up there, but the window rattling that ensued made it worthwhile. There are many other drunken stories of course. Then there was the Brunswick Club, an old Working Men’s Club turned venue / artist space, literally up the road from the Surrey Vaults, and with a similar DIY spirit. Both the Surrey & The Brunswick Club had to shut down in recent time, due to the usual frictions with landlords / investors, and are sadly missed.
This scenario, and of course a certain pandemic, put Slack Alice’s events on hold for a little while. But the good news is that the new Surrey Vaults (re)incarnation Mickey Zoggs aka the Noods Radio HQ, and the much anticipated opening of new venue Strange Brew, and revamped ‘The Exchange’ are giving nights like Slack Alice the chance to continue to exist in it’s own anarchic way and continue bring people together and ‘ave some fkin fun, basically.
With that in mind – What better way to celebrate at least a small victory amongst the toughness and misery of much of the last 18months, than to showcase a selection of the extended Slack Alice family via this compilation?

Swedish multi-instrumentalist Blameful Isles returns with his next full length LP, Ereeséon. The album, written during a period of intense transition, marks an abrupt change in Blameful Isle's sound. Where his previous work was rooted in spiritual jazz, Ereeséon takes root in the sound of late 80s and early 90s IDM and the golden age of electronic music. Created fully with hardware sequencers and all analog gear, Blameful worked within the restraints of this minimal setup to push his music as far as he could. By forcing himself into a new and uncertain creative realm, the resulting music is mysterious, minimalistic and intensely emotional in its simplicity, echoing the artist's experience while preparing for fatherhood. Ereeséon explores themes of innocence, nostalgia and exploration; a monumental work sure to please listeners of all varieties.

Swedish multi-instrumentalist Blameful Isles returns with his next full length LP, Ereeséon. The album, written during a period of intense transition, marks an abrupt change in Blameful Isle's sound. Where his previous work was rooted in spiritual jazz, Ereeséon takes root in the sound of late 80s and early 90s IDM and the golden age of electronic music. Created fully with hardware sequencers and all analog gear, Blameful worked within the restraints of this minimal setup to push his music as far as he could. By forcing himself into a new and uncertain creative realm, the resulting music is mysterious, minimalistic and intensely emotional in its simplicity, echoing the artist's experience while preparing for fatherhood. Ereeséon explores themes of innocence, nostalgia and exploration; a monumental work sure to please listeners of all varieties.

For their next edit M&H put Udo Jürgens, Jam & Spoon and Daft Punk together into a fictional studio on Italy's south coast. That might sound strange, but the result is rather fantastic. Grab your copy! A side: smooth discoish house mix - B side: raw ghetto style mix.

After a vigorous start from the freshly formed Alzaya label, next up is the Chilean rising talent Paula Tape who has teamed up with Volantis for the new brand release ‘Octava Dimension’, including the remixes curated by the prince of Netherlands, Elias Mazian and the Australian icon Tornado Wallace, masters like few others. Paula Tape has developed a signature style in front of listeners eyes and ears with her drum patterns and her voice samples. After ‘Agua Congas EP’ on Sobo was welcomed warmly around the world and opened the door for club-oriented releases on Rhythm Section and Permanent Vacation. The original track channels electro and dreamy vibes carefully crafted by Volantis with Paula Tape’s hypnotic voice, all blending together for a single summer heater. Remix by Elias Mazian, that recently pleased us with a sophisticated electronic pop release, kicks things off with a beautiful, melodic, overwhelming tune. Tornado Wallace revisited the original version with his spacious sense of deep house groove and an unique, relentless drum programming.

2 big bumpy upbeat UKG tracks from Eliza Rose & Peaky Beats on side A, then Peaky takes the B side down a darker route with 2001 & 10 Rounds of Dub.

Limited to 1000 Hand stamped with love 140g vinyl No Repress

This release is represented by Luxus Varta, where his solid electro has been mixed with a flavour of experimentalism. If you are ready to stop the time, don't be scared to immerse.

The four Scottish-Irish musicians Conor Dalton, David Donaldson, Greame Reedie and Ian Maclennan are Island People. After their highly acclaimed debut from 2017, they have now finished their second album with the simple and consistent title »ii«. Compared to their debut, »ii« sounds more mature and complex. The arrangements unfold like the long tracking shots of an early Antonioni film - time seems to stand still, circling the moment. Impressionistically, one feels transported into the Scottish island landscape with its contrasting lights and harsh elements. Gloomy, darker, richer textures have conquered their space on »ii« as much as the more present acoustic components. As much as its predecessor, also this record was skilfully produced, the musicians’ entire experience is audible (Conor Dalton is a sought-after mastering engineer; David Donaldson a Grammy Award-winning producer) – but anything fashionable or sensationalist has been intentionally waived. The musical serenity, holding up a craft that neither has to show itself off every minute nor wants to respond to the latest trends impressed us the most. The cover photo was contributed by the Scottish artist Helena Ohman. She also provided the video for the track »Crash«. Furthermore, singer Alice Hill-Woods was invited to contribute the lyrics and vocals to »Stalling«. Island People »ii« will be released as gatefold double LP as well as on CD and digitally. In advance we asked Island People about the creative process behind the album and quote as follows: This album reflects on the destination we have in common before us, and celebrates the longer road while also considering paths not taken and journeys that ended too soon. It has been said that »art is how we decorate space; music is how we decorate time.« For us the writing of this album has been a great journey through both, shared with friends. While our first album acknowledged our own spaces and borders as individuals, the new album seemed to grow very quickly from our travels together as a band. Periods spent on the road playing live afforded extra time together and while we didn’t feel constrained to a concept at the start, more and more of the tracks evolved to reflect these journeys and experiences together.

Outro Tempo II: Electronic and Contemporary Music from Brazil, 1984-1996 is the second installment of Music From Memory’s Brazilian series. This volume picks up where the first Outro Tempo left off, shedding light on a new wave of experimentalism that emerged in Brazil in the late 1980s and 1990s. The twenty tracks collected uncover another area of Brazilian music that looked to the future for inspiration. This time it drifts beyond the rainforest and into the pulsating heart of Brazil’s great cities, where it meets a generation of young artists eager to radically change the face of contemporary Brazilian music. In Outro Tempo II the avant garde and pop worlds meld in a haze of percussion and electronics. It presents another uncompromising and magnetic reinterpretation of the limits of Brazilian music. Outro Tempo II is compiled again by John Gómez and features original artwork by Alice Quaresma. The CD version also includes the 2 tracks 'Bruhahá' & 'Eyes' which were released as a separate single on vinyl and were not included in the 2xLP version.

Afterhours. prepares to go one deeper, unveiling it’s fresh new sub-label Elements., stripping things back to their elemental core and letting the skeletal groove hypnotize ears and minds. And who better to answer the call than Romanian duo Alsi with their Ritmatico EP. These smooth operators are in their absolute element as they ply the murky depths across three expertly crafted cuts, sprinkling just the right amount of hazy atmospherics over their signature low slung sound.

The boutique label from Milan is back with a 6 tracker ep. Masterminds Volantis and Nicodemo present Spaziotempo EP, serving up 4 brand new tracks and asking two of most-in-demand producers out there to put their hands on, Bell Towers and Andras, the two hitmakers from Australia. This record dangerously contains “hands in the air” moments and blissful vibes.

2022 repress

Viper Diva is back on Saike with a new 3 tracker EP, including the highly anticipated anthem Alice.

Matière Mémoire presents the Mmxx Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout this year, each quarter will see the release of 5 new vinyls. Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the Mmxx logo, coming with a print of the artist artwork.

Diminutives third release assembles two different styles from Alsi and Vlad Caia in a perfectly nuanced harmony. The Scene Hero EP is the musical representation of a never-ending space battle under the command of our faithful heroes following the Code of the electronic mission.

This album follows intergenerational trauma, fugitives of Christian violence in a twilight called Puruma, returning to Mama Cocha, the sea that theorists call Nowhere.Dedicated to the life of Paul Sousa, who while incarcerated, worked years as an inmate firefighter across the Sierra Nevada of California. Also dedicated to the work of Sage LaPena and Dr. Gretel Mendizabal Nolte. (Includes misreadings of Jimenez, Saenz, Claudel, & Wright).Not one, not world, not body, not god, not salvation, not zero; only a ceaseless approaching toward, with, and as the great mystery, by Grace, Tatamama. Jallalla.ORCORARA 2010 was commissioned and released in 2018 by Centre d'Art Contemporain, Geneva, CH for the first floor at the Biennale de l'Image en Mouvement 2018 'The sound of screens imploding'.The album is mastered by Jeremy Cox.All proceeds go to the American Indian Movement West / AIM SoCal chapters.

Shnuck Lennard Poschmann returns to Oliver Hafenbauer’s Die Orakel label with a brand-new EP under his O-Wells alias. ‘Ebecs’ showcases the Robert Johnson resident’s subtle, distinct approach to Detroit-ish, IDM & ambient-influenced electronic music.

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.

"Aix" is an outstanding piece of work by Italian electro-acoustic savant Giuseppe Ielasi, originally released in 2009 on Taylor Deupree's 12k label, the follow-up to 2007’s "August" (12k) and Ielasi's first collaboration with Nicola Ratti as "Bellows", also out in 2007 (Kning Disk). Originally only released on CD (12k), the album got a very limited vinyl issue on Czech label Minority Records in 2010. Keplar presents this extraordinary and timeless collection of 9 evocative minimalist soundscapes on vinyl again after 10 years.

From the original press release in 2009:

"With Aix we see Ielasi building his layered, atmospheric music around rhythmic grids. Most of the time these are quite irregular and the pulses are not neccessarily stable or clear. Where his previous work approached sound in a linear fashion Aix imposes a strong vertical development with the aforementioned grid and a production consisting of ons and offs, employing as much improvisation as Ielasi’s previous work, but in a different way.
Despite the self-imposed grid structure, Aix relies heavily on randomization. Not in the traditional sense of sound placement but instead of the spatialization of sounds, echoes, reverbs and the stereo image. As a result, Aix has an amazing sense and clarity of space as the small fragments of sound breathe and find their own place in the mix, thanks to Ielasi’s sublime skills as a mixer and engineer.
Ielasi relied heavily on numerous short samples and combining them in ways that fell into his groove; some found from others' recordings and many more recorded during the past year. We hear fragments of percussive (acoustic) objects, drums, piano, trumpet, guitar, and, of course, synthetic textures. Although there is a distinct rhythmic pulse to Aix, Ielasi manages to mold it into something wonderfully languid and warm... and strangely inviting."

Composed and recorded by Giuseppe Ielasi in Aix-en-Provence, Autumn 2008. Remaster by Giuseppe Ielasi. Cover photograph "Construction, Barcelona" by Taylor Deupree. Layout by Dan Dudarec/Marco Ciceri.

For more than 20 years Giuseppe Ielasi has been releasing his recordings on labels like Erstwhile Records, Häpna, Kning Disk, Dekorder, 12k, Entr'acte or Editions Mego, as well as on his own label Senufo Editions.

The label Keplar has been on a long hiatus and is now back with its KeplarRev series presenting vinyl re-issues of essential electronic albums from the 90's and 00's, as well as new recordings by momentous electronic and ambient artists

Private Press Spiritual Jazz from D.C's Jeff Majors. Featuring harp, drum machines and synths. Jeff was one of Alice Coltrane's students at the ashram. He also played in Brother Ah's band. Each song on this album is an inspired vision of the personal and the devotional via the harps universal gilstening range and Linn drums. Comes with info booklet. TIP!

Dutch High Fashion Music keeps the classic disco-anthems coming! If You Could Read My Mind by Viola Wills Peaked at #2 on 11.8.1980 in the US Billboard charts, and from the original multi-track tape Portugese multitalent Massivedrum created a brand-new mix, paying sincere respect tot he 70’s’s disco-culture but with a fresh and unique sound.

Black Vinyl in gatefold sleeve with mp3 code included!

Almost five years have passed since the last album by Flying Lotus, You're Dead! and he has had many irons in the fire. Collaborating on Kendrick Lamar's To Pimp a Butterfly, playing a key role in the production of Thundercat's Drunk, writing and directing the hallucinatory horror film Kuso, all the while working on his next afro-futurist masterpiece, Flamagra.

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

“I’d been working on stuff for the past five years, but it was always all over the place. I’d always had this thematic idea in mind—a lingering concept about fire, an eternal flame sitting on a hill,” Lotus says. “Some people love it, some people hate it. Some people would go on dates there and some people would burn love letters in the fire.” - Flying Lotus.

Hold tight, Fire is Coming.

Almost five years have passed since the last album by Flying Lotus, You're Dead! and he has had many irons in the fire. Collaborating on Kendrick Lamar's To Pimp a Butterfly, playing a key role in the production of Thundercat's Drunk, writing and directing the hallucinatory horror film Kuso, all the while working on his next afro-futurist masterpiece, Flamagra.

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

“I’d been working on stuff for the past five years, but it was always all over the place. I’d always had this thematic idea in mind—a lingering concept about fire, an eternal flame sitting on a hill,” Lotus says. “Some people love it, some people hate it. Some people would go on dates there and some people would burn love letters in the fire.” - Flying Lotus.

Hold tight, Fire is Coming.

Having sold his instruments to fund a nomadic 1970s lifestyle, eccentric Irish experimentalist Michael O’Shea was forced to create his own handmade answer to the sitars and zelochords he’d become accustomed to playing on his travels around the globe.
Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerising and soulful new way that brought him to the attention of the leading improvisers of his day - Alice Coltrane, Ravi Shankar, Don Cherry and more.
A logical follow up to AllChival’s recent reissue of Stano's debut LP, Michael O’Shea’s self titled LP was originally released on Wire's Dome Imprint in 1982.
The background to the album is as interesting and inspiring as the artist who created it - born in Northern Ireland but raised in the Republic, O’Shea was keen to travel and escape the troubles of his home.
Wandering throughout Europe and the Middle East, O’Shea found himself living and working as a relief aid in Bangladesh in the mid Seventies where he learned to play sitar while recovering from a bout of hepatitis. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O’Shea’s idea of combining both instruments as a homebuilt instrument - Mo Chara [Irish for "My Friend"].
He later described the process on the back of the LP himself saying:
"Having sold my sitar in Germany and being desperate for money to travel to Turkey, I conceived of the idea of combining both sitar and zelochord. The first Mo Cara was born, taken from the middle of a door, which was rescued from a skip in Munchen"
A combination of dulcimer, zelochord and sitar, O Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of of the many Asian artists he’d encountered on his travels.
It was a pan cultural sound standing at an unusual crossroads of folk, traditional, rock, progressive, jazz, electronic and post-punk worlds without hesitation.
Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden during the heady days of the 1970s when they were full of eccentric street entertainers, jazz improvisers and musical pioneers.
His work with Rick Wakeman never saw the light of day but O’Shea’s contact with the world of post-punk London ensured his name would live on.
Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O’Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the summer of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after.
The first side features the fifteen minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound.
Lewis himself said years later of the forgotten masterpiece: “I always said it was the best job we ever did.”
After an aborted LP with The The's Matt Johnson the following year, O’Shea quietly disappeared from the formal recording world and his brief but unique contribution to the music world came to a sad end in 1991 when O’Shea was struck by a post van and died a few days later in hospital in London. This repress on All City’s AllChival imprint has been remastered and reissued with the approval of both Dome and his surviving siblings.

As 'Portrait With Firewood' is Felix’s most personal body of work to date, the product of an emotionally turbulent 2017, capturing the range of feelings and emotions he went through in vivid sonic beauty. By putting aside his previous sampladelic approach he returned to his childhood instrument of the piano as a core starting point.
Felix is classically trained in the jazz tradition and influenced by the likes of Keith Jarrett and Alice Coltrane. Previously he was shy at the prospect of fans hearing his piano playing, but determined to overcome this fear he has brought forward a new honesty to his work.
Felix collaborated with cellist Zosia Jagodzinska and vocalist Lola Empire. Jagodzinska recorded several takes of improvisations over the track 'Creature' which Felix would chop, pitch and layer into new melodic lines and seed throughout the album.

Felix's new approach expanded to experimentation with field recording, contact micing his beloved piano and purchasing his first hardware synth, all in service of enriching the personal, humane quality of the record.

Brothers Harvey and Ryan McKay return to Drumcode with their dynamic Alias project.
The title track 'NRG' is an attitude-packed tour de force; compromised of aggressive snares, warped vocals and a tension-filled break, it has been smashed by Adam Beyer for the last six months.
‘Orange Sunshine' pulls no punches as it dishes out apocalyptic acid paired with the sibling's startling drum work. ‘The Event' rounds out the EP and is an exhilarating affair propelled by uplifting synth lines and a buzzing energetic bassline.

When it comes to soulful house, Detroit native Alton Miller is about as ingrained as it gets.
Peacefrog, Planet E, Moods & Grooves, Mahogani and Sound Signature have all endorsed his talents and with an album looming later in the year, Waella's Choice sow the seeds with 'All Things Good'. Club music for the sensitive souls, with some arresting spoken word poetry and even a broken beat deviation.
'All Things Good' is the fourth release from London label Waella's Choice, following Hanna, RANGEr and the London on Key compilation.

This is Maurice Fulton at his best! The much sought-after remix of Alice Smith's "Love Endeavor" now lovingly reissued on 12", complete with the instrumental mix.
The A side sees Fulton elevate the original from summertime neo soul jam, into a chuggy dancefloor masterpiece - reimagining the killer bassline & teasing the vocal until the full force of Alice's voice is let loose in one of the best breakdowns around.
On the flip, the instrumental remix gives you the choice to let Fulton's craftsmanship shine without the vocal. TIP!

abel friend Jules Heffner is doing his debut on Terrace Trips.
"Swamp" kicks off with some jungle sounds and a deep dotted bass line. Guy From Downstairs (GFD, Robsoul) serves a smooth remix with a rolling morphing bass line and some crisp percussion hints. On the B-Side "Wharf" is with his flurry synths more like a fata morgana tearing you in some wet fantasies. A remix of this one is coming from Anatol who just uses some synths from the original and a simple 303 bass line which turns the track in a more minimalistic direction
You better use NoBite on this one.

Robert Rental was the stage name of Rober Donnachie (1952–2000), a British pioneer of post-punk, DIY, and industrial music. Originally from Port Glasgow, Scotland, he moved to the south of England with Thomas Leer in the late 1970s where he met Glenn Michael Wallis. Glenn was recording music with the group Heute and leaving to start his solo projects NKVD and Konstruktivists. Both were heavily involved with Throbbing Gristle and the Industrial Records crew. In the Summer of 1979, Robert invited Glenn to his studio in Battersea to jam. Robert on guitar and Glenn on an EDP Wasp synthesizer. For each session that summer they would play for about 40 minutes, maybe longer, stoned. Robert suggested they record it, many times erasing and over recording one session for the next. The music had no titles, as they were never intended to be released. On these recordings, Robert enjoyed playing like Robert Fripp of King Crimson, while Glenn channeled Wolfgang Flur of Kraftwerk. Influenced by Krautrock bands like Can, Neu!, Cluster/Harmonia, as well as Terry Riley and Brian Eno the duo forged a unqiue brand of Industrial music. Tape loops and synthesizer sounds played backward conjure dark ambient moods. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a jacket that features a drawing by Robert Rental from Glenn’s archives as well as a handwritten note from Robert to Glenn. Each copy includes two photo postcards featuring a transcription of Robert’s letter and liner notes from Glenn Wallis.

Alésia Cosmos was a collective of musicians led by Bruno de Chénerilles formed in the early 1980s in Strasbourg, France. The group consisted of Pascal Holtzer (guitar, synthesizer, tapes, drum machine, vocals), Pierre Clavreux (vocals, gong), Marie-Berthe Servier (vocals), Bruno (guitar, tapes, synthesizer, drum machine, vocals) and Tunisian percussionist Lotfi Ben Ayed (darbukas, bendir). In 1981 Bruno composed and wrote some sci-fi radio plays for French state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, he developed tape music studio work. By 1982 he appeared for the first time under the name Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. This experimental show lead to a music project based on Bruno and Pascal's compositions to be performed and recorded with other musicians in the beginning of 1983.


Exclusivo! was the group’s debut album recorded and self-released in 1983 on Planetarium. Pascal and Bruno would compose tunes in their personal home studios. Then they would bring the tapes, electronics, guitar lines and lyrics to experiment and rehearse with the other members of the group. Improvisations and adaptations brought more ideas and the album was recorded in a few days. The result was a musical mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians take turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese. All songs have been remastered cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica of the 1983 cover and includes a 6-page insert with photos, lyrics, reviews and liner notes by Bruno de Chénerilles.

Our man Neil aka Lord of the Isles drops another face-melter for his recently birthed label Dfsant. Don't ask us what that means by the way, we have no idea. Here on the second 12". the laird treats to a further three tracks of sublime techno / house hybrids: the opener "Synth Plus" is a kosmiche throbber with a lick of motor city melodrama, whilst "To Here" comes on like a decidedly less shit-scary Black Merlin, and to close things out we have a slo-mo acid disco cut in the form of "Heyta Hota". Real nice stuff folks.

Alvin Toffler was overwhelmed. When in the morning of October 4th, 1988–it was his 60th birthday–he was starring with a still somewhat absent look into a bowl of cornflakes, he thought that in the surface structure of the yellowish shimmering milk which was making an emulsion with the maple syrup and slowly but irreversibly corroding the crunchy crystals on the flakes, he could see through a window into a timeless dimension. Toffler, who at that time had reached the peak of his fames as a future scientist, was sustainably disturbed from his peek into this extra temporary peephole. In none of his books–“Future Shock” had just been released with yet another edition featuring a proud printed note on the book cover stating “more than 5 million copies in print”–did he ever mention this occurrence. Even after his death in June 2016, no note on this incident could ever be found in his estate. The “flake dimension” as Toffler called it in notes which were later shredded remains a secret of opaque, hard-to-grasp radiant power.

Maybe it’s too simple to describe “Pneumatics“ as a creation coming from this cornflake world? Without doubt. Are there any more precise terms or instruments to determine the multifacetedness and beyond-timeliness of the “Pneumatics” soundscape? There are still unknown. “Pneumatics” is, after releases at Innervisions, Die Orakel und his own label Sound Mirror, the debut album of Orson Wells (as long as you don’t count in “Jupiter” – Wells’s first LP which was released in 2014 with 48 copies on cassette–have fun digging for rarities and bargains!).
Perhaps Wells, known in Frankfurt under his real name Lennard Poschmann and as an employee at the record store Tactile, is only a messenger. Or a psychic. The sound manifesto that he apparently transmits from Toffler’s secret dimension tells of a city of upside down pyramids (“Tianon”), of passes into the land of the five elements (“Multipass”) and dead straight four-to-the-floor lines which appear bended within the spherical dimension (“”Geodesic”). These beats are right on the heels of the ones of Intersteller Fugitives; the strings sound like that at any moment a vocal sample edited by Moodyman could warp over through the Cornflake wormhole. Pneumatics is the science of all technological applications powered by condensed and often by quite heated air. It is a matter of mechanics, compression, jackhammer, ramblings, high pressure levels, valves for blowing of steam. On “Pneumatics” it’s all about this. And more. Orson Wells’s album gets to the point of the post-retro futuristic state of the dancefloors of the house and techno clubs of this planet. It is like a peek into another dimension, right on the golden cut of spacetime geometry.

It’s not everyday that pianist and composer, Francesco Tristano, joins forces with one of the Belleville Three - the godfathers of Detroit techno - and yet, anyone who’s followed the Luxembourg artist will know that expectation is not a currency he deals in. Set for release on Transmat, the groundbreaking label from said techno pioneer, Derrick May, Surface Tension is not just the latest album from the prolific Tristano, but perhaps the most significant in his ongoing explorations into electronic music.

Described by the man himself as his “most techno and synth-based project yet,” the eight-track effort is both a celebration of electronic instrumentation and the first record May has worked extensively on for the better part of two decades. “I had to lure him into my studio,” Tristano says of May with a smile, “he was like Alice in Wonderland when he saw the synthesizers.

Kickflip Mike (Joschka Seibt) is back with 'Three Turtles' - a collaborative EP on Tartlet Records with Berlin bass maestro, Julius Conrad.
While Julius seems like a new addition to camp Tartelet, he's been in the extended family for years. The son of Jazz bass legend Jurgen Attig and childhood homies with Max & Kickflip, he's existed in the crew's inner circle since day dot.

What you get on Kickflip Mike and Julius Conrad's new record is a medley of gritty drum distortion, frenetic bass guitar-work and (as ever) a dumptruck of a groove.
As richly diverse as most on the Tartelet roster, it's a record that dabbles variously in analogue house, beat-led instrumentals & elements of breakbeat & garage - it's all here.

First out the traps is title track 'Three Turtles', a kick-heavy club jam overwritten with Julius' warm warbling basslines and wah-wah guitar.
After snaking through 'BBQ Skit', a wonky beat-erlude in the Madlib vein, the record winds into 'Some Joint', a wandering house workout with tons of virtuosity from Conrad's axe.
The EP closes on 'Voodoo Dude': a wonderfully deep finale snapped through with choppy breaks and fuzzy samples.

Taken from top to bottom, 'Three Turtles' is a record that shrugs off the limitations of 'club music' loose and playful enough to reflect Kickflip & Conrad's colourful lives outside the club, as well as inside.

Frankfurt's finest joins Bokhari with a nod to 90's LTJ Bukem coming at you with the kinda track that would've taken the doors off your XR2 : ]

Remixes come from a Pepe Braddock-eque Dorylus, and a steroid-induced banger from the one and only Capracara.

Mastered by Matt Colton.

Artwork by Spencer Fenton, with each sleeve featuring a uniquely ordered combination of hand applied coloured stickers.