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Mastered By Frederic Alstadt at ängstrom Studio Brussels.

Superb Crazy insane sound from HK. An immersions in poetry and middle age first serial killer.

Experimental zone !

LTD 200 copies - Printed Sleeve

Das kanadische Rock/Metal-Crossover-Quartett SUMO CYCO bricht mit seinem dritten Album und Napalm Records Debüt Initiation in eine explosive neue Ära auf - und lädt die Fans in ihre schräge, dystopisch
anmutende Welt von ”Cyco City” ein! Gespickt mit mitreißenden Heavy-Metal-Grooves, poptauglichen
Hooks, elektronischen Elementen und einer Prise Punk bricht Initiation alle Regeln und liefert ein zusammenhängendes und dennoch ungezügeltes Hörabenteuer.
Wie schon die Vorgänger Lost in Cyco City (2014), Opus Mar (2017) und unzählige Singles basiert Initiation auf dem fantasievollen Schauplatz ”Cyco City” und baut auf dem Thema, den Charakteren und
den verschiedenen ”Gangs” auf. Der lyrische Inhalt ist von der Lebensrealität der Band inspiriert - mit
zeitgemäßen, persönlichen Themen wie Liebe, Aufopferung, Angst und Empowerment.
Initiation setzt seine meisterhafte Heavy-meets-Pop-Attitüde fort, bevor SUMO CYCO mit Vollgas im
zuckersüß verpackten Albumabschluss ”This Dance Is Doomed” enden (verschiedene Varianten des Albums enden mit dem unverblümt selbstbewussten ”Awakened”). Am Ende von Initiation werden sich
Hörer fragen, was genau SUMO CYCO nicht können - was sie zu einer vielversprechenden Band macht,
die sich durch ihre Originalität stets von der Masse abhebt.

Being one of the finest exports Australia has to offer, Jules ‘Inkswel’ Habib has become very well respected the world over for his excellent musical output and undying dedication to his art.

Countless Inkswel recordings, remixes, and collaborations circulate the airwaves and internet as project after project surges through with an unstoppable force. Inkswel is a prolific artist, known for his superb album trio on BBE Records, his relentless cooperative EPs & collaborations on Rush Hour, Boogie Angst, Wolf Music & Oye, and recent output with Pugz Atoms on Jazzanova’s own Sonar Kollketiv imprint. Jules reaches even further as he launches “Inner Tribe”, his own labels boasting artists such as Ahu, Planetself with his amazing wife and vocalist Charli Umami, Kid Sublime, Stan Smith & Colonel Red to name only a few. knowing himself that working with great talent makes great music.

His latest album offering Astral Love on ARCo. is an outstanding 9 song Long-player featuring a plethora of brilliant artist backing up his bouncy-rough-cuts. Naming only a few, you will find maestros such as Dwight Trible, Stan Smith & Andrew Ashong among many others who elevate this album to great heights.

Slowly but surely, the Dom Trojga saga continues, and there could hardly be a more fitting way to start off its next chapter than with jamaszka FT's untitled extended play offering. Conceived and executed entirely during lockdown rule, the record is a pointed expression of the angst and confusion that we all fell prey to - aimed at a dancefloor that was not to be, yet delivered with a gripping honesty that in itself offers consolation. Difficult to pinpoint stylistically, the music shifts from dense to sparse, with hazy un-rave anthems, hints of fourth-world minimalism and hazy, dreamscape echoes - all in keeping with the protean genius of jamaszka FT himself, who remains one of the most spontaneous, and idiosyncratic, if somewhat cryptic, artists that populate our scene. In keeping with this very aura, we had Miko?aj Moskal take care of the cover art - a distinctive stylist if there ever was one, his work constitutes a language of its own, traceable across his incredible output. Play this record to your friends and family and keep hope alive.

Adult Books is the brainchild of Los Angeles-based writer and multi-instrumentalist Nick Winfrey. With the help of childhood friends Sina Salessi (drums) and Alex Galindo (guitar/synth), Winfrey crafts lyric-driven dark pop gems that recall the hook-heavy guitar work of Johnny Marr, the just-below-the-collar angst of Mission of Burma, and the doomsday bellow of early Echo and the Bunnymen.
After a well-received string of bedroom demos and cassettes, Adult Books released their first full-length album, Running from the Blows , in 2016, trading in their previous home-recorded sounds for a cleaned-up act that allowed Winfrey’s pop savvy and understated lyrical wit to shine through. Two years of heavy touring followed, after which Winfrey found himself both burned out and uninspired by the business of music.
Following a much-needed hiatus, Adult Books is finally ready to share their sophomore LP, Grecian Urn . Recorded with Jonny Bell (Crystal Antlers) and mastered by Dave Cooley (Animal Collective, J Dilla) , Grecian Urn was crafted over the course of nearly two years; however, the seeds of the album were sown more than a decade earlier. When sitting down to write Grecian Urn , Winfrey revisited old demos, forgotten voice memos and unfinished fragments of songs to create something wholly new.
The end result is a self-assured and intensely personal album that places Winfrey’s evocative images and economic storytelling approach front and center. A loose concept album of sorts, Grecian Urn draws on classical Mediterranean imagery and mythos as a means of exploring Winfrey’s past traumas and struggles with chronic anxiety.

Das Broken Heart Syndrom ist keine erfundene Störung. Das Phänomen hat einen Namen: Tako Tsubo (oder "Krakenfalle" auf Japanisch). Es ist eine Erschütterung der Sinne, ein emotionaler Burnout... Es schwächt die Hauptpumpkammer des Herzens, ausgelöst durch intensiven emotionalen Stress: ein Erdbeben oder eine Naturkatastrophe oder etwas weniger (buchstäblich) Erderschütterndes wie der Verlust eines geliebten Menschen oder die Angst, die man empfindet, wenn man von einem Liebhaber verschmäht wird. Die moderne Wissenschaft hat noch kein Heilmittel gefunden. Tako Tsubo ist ein Trennungsalbum, und "Mataharis" romantische Ader, basierend auf der Idee einer idealisierten Heldin - ist einer mehr in der Realität verankerten Landschaft gewichen. L'Impératrice haben sicherlich ihre Vorliebe für Dance, Groove auf einem virtuosen Bass, Vintage-Synthies und glitzernde Melodien behalten. Aber sie haben sich die Freiheit gegeben, andere Länder zu erkunden, zur Seite zu treten. Was die Eleganz der Produktion angeht, so haben sich L'Impératrice wieder mit Renaud Letang (Jarvis Cocker, Liane La Havas, Feist) zusammengetan, wobei der mächtige Neal Pogue (Outkast, Stevie Wonder, Tyler the Creator) sein Können beim Mixing beisteuerte. Vielleicht am überraschendsten ist die tiefe Erkundung der Wege des Herzens, und insbesondere der linken Herzkammer. Ambivalente Liebe, Euphorie, Kummer und Wahnsinn: so viele Symptome, die zusammengenommen auf eine schlechte Dosis Tako Tsubo hindeuten. Es ist ein Syndrom, das das Herz beschädigt zurücklässt, überflutet, angeschwollen. Und lebendiger denn je.

One of the most enjoyable parts of Dirtybird is to watch a talented artist grow. Nala started out in Miami cutting her teeth on the local DJ circuit and then moved to LA where she eventually signed with VonStroke and Aundy's Motherbird Management.

Her weekly Dirtybird "TV Party" on Twitch is one of the most popular shows on the network. Each week she features her unmistakeable punk & new wave-influenced DJ style while also hosting a special underground guest, as well as her long time friend and local LA rave legend, Richie Panic.

Nala’s debut on Dirtybird, “Psychic Attack”, is a gritty A-side with her own vocals shouting about the nervous the angst of 2020. The B-side, “Sun Is Hot” showcases her gentler side with a deep groove, a smooth vocal tone, and melodic vintage synth riffs throughout.

2x12" + DL Repress

NOTE: ALL FORMATS CONTAIN THE FULL VERSION OF "RAUSCH". THE ALBUM IS MEANT TO BE HEARD FROM BEGINNING TO END AS A WHOLE. IT HAS BEEN TRACK MARKED OR SEPARATED DUE TO FORMAT RESTRICTIONS

Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there's nothing / Once upon a time there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas / A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite

Wolfgang Voigt 2018

Rausch ohne Namen / Mein schöner Schein / Du bist die Sonne / Hier will ich sein / Rausch ohne Morgen / Wir brennen hier / Die Sterne funkeln / Im Flammenmeer / Hörner und Fanfaren / Fanfaren der Freude / Fanfaren der Angst / Den Wein den man mit Augen trinkt / Gießt Nachts der Mond in Wogen nieder / Vorsicht mit der Axt Eugene / Personal Jesus / Kein Anfang Kein Ende / Achtzehnter Oktember / Die Nacht bricht an / Der König kommt / Die Jagd beginnt / Freude schöner Götterfunken / Der lange Marsch durchs Unterholz / Glaub mir da ist nichts / Es war einmal ein Räuber / Der liebte einen Prinzen / Das ist lange her / Frühling Sommer Herbst und Gas / Es fährt ein Zug nach Nirgendwo / Pauken und Trompeten / Zukunft ohne Menschen / Warmer Schnee / Alles ist gut / Die Glocken läuten / Du bist nicht allein / Das Rauschen im Wald / Das Rauschen im Kopf / Leicht wie Nebel / Schwer wie Blei / Musik ergibt sich / Strömt wie Gas / Eine Lichtung / Schweres Gepäck / Einstand im Jenseits / Der Tod hat sieben Katzen / Weltkulturerbe Rausch / Endlich Unendlich

Wolfgang Voigt 2018

With his new album, Year Of The Living Dead, Vienna-born and LA-based producer John Tejada finds a blissful extended moment of balance between the new and the familiar. Anyone who’s followed his career to date, which has included four previous albums for Kompakt, outings for storied labels like Plug Research, Playhouse and Cocoon, and numerous remixes and collaborations – most recently, his Wajatta duo with actor and musician Reggie Watts – will immediately sense the warmth and eloquence that Tejada brings to his gilded, pliant techno and electro hybrids. But there’s more here, too; an explorer’s glimmer in the producer’s eye, as he gets to grips with new ways of working and being, while offering a reflective opening for the listener, something echoed in artwork by graphic designer and ‘contemplative artist’ David Grey.

“The album was started using tools I was unfamiliar with, which became an interesting exploratory process,” Tejada says. “Staying away from the obvious and having to re-learn simple things was a fun challenge.” You can hear these new creative pulsions pushing the eight tracks on Year Of The Living Dead ever-forward; the album has an unique cast, and though there are trace elements of the genres Tejada has indulged previously, he’s never quite put them together this way before. There’s the dubwise glitter sprinkled across the moody opener “The Haunting Of Earth”, the kind caresses found amongst the deftly woven textures of “Sheltered”, and the churchy melancholy, all hymnal and golden, of “Echoes Of Life”.

Year Of The Living Dead also speaks obliquely to its moment, though Tejada works this implicitly, allowing the strange circumstances of 2020 to cast their inevitable shadow without being obvious or didactic. “The production process began right before lockdown and continued through what felt like a very serious time for all of us,” he recalls. “Not being able to see or touch our loved ones made me feel we are all like ghosts. We can observe from a distance but cannot really be there. We are isolated and alone.” And yet, Year Of The Living Dead’s tenderness offers an out for that anxiety and loneliness, its intimate immensities gifting the album a redemptive and compassionate core. Compact and glistening, Year Of The Living Dead sculpts unassuming beauty.

Mit seinem neuen Album “Year Of The Living Dead“ findet der in Wien geborene und in Los Angeles lebende Produzent John Tejada die richtige Balance zwischen Neuem und Vertrautem. Wer seine bisherige Karriere verfolgt hat, seine vier Alben für Kompakt, Beiträge für Labels wie Plug Research, Playhouse und Cocoon, zahlreiche Remixe und Kollaborationen wie zuletzt das Projekt Wajatta zusammen mit dem Schauspieler und Musiker Reggie Watts, spürt sofort wieder die Wärme und Eloquenz, die Tejada in seine geschmeidigen Techno-Elektro-Hybride einbringt. Doch es geht auch noch einen Schritt weiter. Da ist dieses Aufblitzen des Entdeckers im Auge eines Produzenten, der sich mit neuen Arbeits- und Seinsweisen auseinandersetzt und dem Zuhörer gleichzeitig etwas sehr Offenes und Nachdenkliches anbietet, etwas, das im Artwork des Grafikdesigners und "kontemplativen Künstlers" David Grey nachklingt.

"Ich hatte angefangen, das Album mit mir noch unbekannten Tools zu produzieren, was sich zu einem interessanten Forschungsprozess für mich entwickelte", sagt Tejada. "Sich vom allzu Offensichtlichen zu trennen und einfache mal Dinge neu lernen zu müssen, war eine recht spaßige Herausforderung.“ Man kann diese neuen kreativen Impulse hören, die “Year Of The Living Dead“ auf einer Länge von 8 Tracks nach vorne treiben; das Album hat einen einzigartigen Ansatz, denn obwohl es Elemente der Genres gibt, denen Tejada zuvor gefrönt hat, hatte er sie doch noch nie zuvor so zusammengefügt wie hier. Da ist dieses dubbige Glitzern im atmosphärischen Opener "The Haunting Of Earth", die freundlichen Zärtlichkeiten, die man in den Texturen von "Sheltered" findet, und schließlich die heilige Melancholie im hymnischen "Echoes Of Life".

Auch “Year Of The Living Dead“ enthält Andeutungen auf die momentane Situation und erlaubt es, den seltsamen Umständen des Jahres 2020, ihren unvermeidlichen Schatten zu werfen, ohne dabei zu offensichtlich oder gar belehrend zu sein. "Der Produktionsprozess begann kurz vor dem (ersten) Lockdown und setzte sich in einer Zeit fort, die sich für uns alle als eine sehr ernste Zeit anfühlte", erinnert er sich. "Da wir nicht in der Lage waren, unsere Lieben zu sehen oder zu berühren, hatte ich das Gefühl, dass wir alle wie Geister sind. Wir können nur distanzierte Beobachter sein, aber wir können nicht wirklich anwesend sein. Wir sind isoliert und allein." Und doch scheint die Zärtlichkeit von "Year Of The Living Dead" einen Ausweg aus dieser Angst und Einsamkeit anzubieten, die grenzenlose Intimität des Albums enthält einen erlösenden und mitfühlenden Kern. Derart konsistent und schillernd formt "Year Of The Living Dead" eine unprätentiöse Schönheit.

The Amity Affliction’s first album released on Roadrunner Records back in 2012, Chasing Ghosts delivered the band’s message of triumph over heartbreak with even more intense power.

They arrived onto the scene from Australia, bringing with them the full-on sing/scream assault of early Atreyu, the metallic adventurous bite of Poison the Well, the gang-vocal-chant inspiring stomp of Bring Me the Horizon and the skillfully melodic angst of Alexisonfire

The album was originally only released on CD and digitally in the UK, now appearing on Lemon Coloured vinyl for the first time.

10th Anniversary reissue of Cloud Nothings acclaimed and beloved debut album.
Clear w/ Opaque Light Blue Marble LP - Uncoated Jacket with Spot UV Gloss on Cover Photo, w/ download card.

It’s been 10 years since the release of Turning On, Cloud Nothings’ debut album. Singer-songwriter Dylan Baldi was just 18 years old when he began recording the album, creating each track in his parents’ basement in Cleveland, Ohio. Over one winter, Baldi produced an album of taut, lo-fi guitar-pop songs, playing each instrument himself. His music gained traction in the increasingly popular music blog circuit, allowing Baldi to book his first shows in new places, like New York City. He gathered a band together to play live, and Cloud Nothings were on their way.

The band has accomplished a great deal since Turning On, signing to Carpark Records, releasing seven albums, and headlining numerous international tours. Yet, their debut isn’t dusted over in the band’s history. Turning On still remains the stripped-back core of Cloud Nothings style: raw and grungy, filled with catchy earworms that are surprisingly pop. The album carries all the stored potential of someone ready to venture off into the world, a feeling that bursts with energy even 10 years later.

All the tracks on Turning On are eruptive and restless, its lo-fi quality embodying the desperate need to record an idea by any means necessary. Songs like “Hey Cool Kid” encapsulate Baldi’s talent for churning, hook-filled guitar. The vocals on songs like “Can’t Stay Awake” are distorted, with scattered lyrics that echo the angst of a teenage diary. As a whole, the album delivers dissonance and edge, without sacrificing the authentic romanticism of someone who is on the verge of something big and doesn’t know it yet.

Tape / Cassette
Spite Cathedral is an S+M regular but the music found on his releases speaks for an artist that is constantly challenging his own creative boundaries. With equal ease Spite Cathedral delves in micro sounds, multilayered noisescapes or more conventional yet daring musical form and structure. ‘The Human Touchʼ is not an exception of this creative modus operandi and certainly takes things further. Dan Mortazaviʼs teams up with his long term partner Karsten Svendsen on his latest album as Spite Cathedral which is a 13-track sonic shapeshifter that will take you all the way from the clinical minimalist sub-tech realms of opener ‘Wake Up Darling Iʼm Spitting Bloodʼ to the industrial- influenced and raw vocal-driven ‘In Godʼs Cornerʼ, the microscopic sound bits and muted angst of “Without a Soundʼ, to the freeform drifting ambiance of ‘Spellcasterʼ. While these pieces might be a guideline of sorts between them there definitely lies more. While it is indeed impressive that Spite Cathedral can speak to us through a plethora of electronic sub-genres itʼs more fascinating how all his different ways are not only not clashing but are always somehow working together in a hypnotizing unison.

Nach dem Erfolgsfilm "Call Me By Your Name" ist die neue Serie "We Are Who We Are" vom Erfolgsregisseur Luca Guadagnino in aller Munde und wird von der Presse hochgelobt: "Wenn Sie ein Fan von "Call Me by Your Name" sind, dann müssen Sie "We Are Who We Are" sehen" (Vogue, 05.11.2020). Den Soundtrack dazu schrieb Produzent, Multi-Instrumentalist, Komponist, Songwriter und Vokalist Devonté Hynes. Während Hynes als Solokünstler und in verschiedenen Ensembles im Genre R&B, Electronic und Indie Rock unterwegs war, arbeitete er auch unter anderem mit Künstlern wie Carly Rae Jepsen, Kylie Minogue, Mariah Carey, aber auch mit Klassik-Komponist Philip Glass. Die verschiedenen Einflüsse kommen in dem Soundtrack perfekt zum Tragen und verstärken die spannende Story um zwei amerikanische Teenager, die in einer U.S. Militärstation in der Nähe von Venedig aufwachsen. Die Geschichte erzählt die vielfarbigen Facetten von Freundschaft, der ersten Liebe, der eigenen Identität und der Angst, in einem kleinen Teil von Amerika in Italien aufzuwachsen.

Northgard is a strategy game based on Norse mythology in which you control a clan of Vikings vying for the control of a mysterious newfound continent.

This is a limited and hand-numbered edition of the game's soundtrack (music by Camille Schoell).

Nèg Ginen is a song composed by Jean Claude Dorvil on a traditional Nago rhythm (from Benin). Nèg in Haitian creole means “the dude“, “the guy“. It is about pride of being Haitians with solid African roots. As a matter of fact, when we mention Ginen, we talk about Africa. Like the majority of Chouk Bwa’s songs, this one is full of references mentioning Haitian voodoo rituals and spiritual /igures. For instance, Simbi Ganga is a lwa (voodoo spirit) from the Lakou Soukri Danach (voodoo temple) that lives in the water. Wild and brutal when he is chained up, he faithfully represents the Iwa Kongos, notorious for being real party-starters! Kebyesou is an Iwa who lives in the Lakou Souvnans (another temple). He is a royal /igure, like the Dahomey Iwas in general. The voodoo families are, so to speak, all present in this project!

Biography
After a /irst European performance in 2015 at Roskilde Festival leading to many other performances all around Europe, including WOMEX and WOMAD, Haitian traditionnal vodou band Chouk Bwa met the Brussels based duo The Ångströmers in 2016. Their new project combines a renewed dub sensitivity and Haitian rhythm science and spirituality. The ensemble has performed in Haiti and in European festivals including Trans Musicales de Rennes before releasing their /irst album Vodou Alé via Bongo Joe in 2020.
Modular synths and other vintage electronic instruments bring another dimension to Chouk Bwa’s music, although obviously it is always the band’s groove and /luent tempo that leads the energy of the ensemble: no laptops, no drum machines. There are certain freedoms that cannot be coerced. Even more, the electronic instruments are wired directly to the drums that feed them with impacts and caresses. All the Vodou families are there with their many rhythms and songs. Radical Vodou roots for urban audiences.

A mixture of electro, techno, house and nods to the soundtrack works of John Carpenter

Miami Beach Witches, which is the name of the album, has a sound that has been inspired by the goth and emo music culture from the 90's and 2000. Sonically filled with the high and lows of the teenage angst in a mixture of electro, techno, house and nods to the soundtrack works of John Carpenter. Visually wise, the world is filled with female teenage witches practicing witchcraft while having to deal with their everyday school drama. Sort of like the world depicted in the Netflix series: The Chilling Adventures of Sabrina, but in a more modern setting. It's faded, blurry and sometimes smoky like the mind of a teenager trying to deal with his life in high school.

After being unavailable for years this is a very Limited Edition repress on CLOCKWORK ORANGE vinyl of theGreater Manchester Punk Vol 2: Now We Are Heroes 1978-82 compilation.
More rare and previously unreleased punk / post punk gems from the cellars of Greater Manchester.
This compilation delves into the archives and focuses on the lesser well known bands of the time and shows the various styles of punk recorded between 1978-82.
Some were recorded in studios and some recorded on a portable four track. None of these bands reached the status of bands like The Buzzcocks,
Joy Division and The Fall but were an integral part of the Manchester music scene of this period.
“It was a great time to be in a band in Manchester and something of that joy, as well as the obligatory angst and artiness, comes through here. Relive then those heady days-days infused with the DIY ethic and the allure of limitless possibilities”. (Mark Radcliffe)

London duo Andy Clutterbuck and James Hatcher – better known as HONNE – have cultivated a huge and fiercely dedicated global fan base since the release of their critically-acclaimed debut LP, ‘Warm on a Cold Night’, in 2016. Boasting over 150 sold-out shows outside of the UK, collaborations with everyone from Tom Misch to BTS and over 1.4 billion global streams, their music is deeply emotive; from the glistening, sugar-coated highs of international hit ‘Day 1’, to the heartache and angst played out on ‘Sometimes’ – both standout cuts from 2018’s sophomore record, ‘Love Me / Love Me Not’. Laying themselves bare in their songs, HONNE are hyper-connected with fans both in the UK and all over the world – in 2018 alone, they played a sold-out Brixton Academy for the first time, embarked on an extensive, 26-date US headline tour and saw ‘Warm on a Cold Night’ officially certified as 6x Platinum in South Korea.

"AngstLust is a project of Kris Baha and Niklas Wandt merging their influences of early electronics into one hell of a sonic ride."

Ten incredible albums culled from the deepest, weirdest coop of record enthusiasts ever gathered under one banner. We’ve spared no expense packaging these, pairing the idea of the Art of Compilation with living and breathing art, creating little fortune cookies baked in a factory of forgotten dreams. Video games, pyramids, trading cards, matchbooks, mazes, lottery tickets, film canisters, yearbooks, and various other exercises in design absurdity.

The lost yearbook from Louis Wayne Moody High’s graduating class of 1967, chronicling the peaks and valleys of teenage angst, lost loves, and life after summer vacation. Fourteen moody melodies of surf kings, guitar Bettys, talent show psychers, and pre-S.D.S. soft- poppers. Walls of jangly guitars, maudlin organs, and melancholy harmonies deliver the bummer to ring in the summer.

"Don't Let The Ink Dry", produziert von Aaron Dessner von The National, ist ein Werk von extremer Sensibilität und Fantasie. Die Britin Eve Owen, die als Gastsängerin auf dem The National Album "I Am Easy To Find" zu hören und bereits mehrfach mit The National aufgetreten ist, nahm sich für ihr Solo Debütalbum ganze drei Jahre Zeit. Während dieser Periode verbrachte die 20-jährige ihre Sommerferien mit Dessner in New York, wo sie mit ihm schrieb und Songs aufnahm. Dieser kreative Prozess war für Owen eine willkommene Zuflucht von ihrem stressigen Schulalltag. Die Sängerin entdeckte ein neues Gefühl von Freiheit und Zugehörigkeit und entwickelte einen ganz eigenen Sound: wild aber doch zart, unruhig aber differenziert genug, um auch die flüchtigsten Gefühle einzufangen. Aufgenommen wurde im Long Pond Studio, einer umgebauten Scheune und ein altes Bauernhaus tief im Hudson Valley. Passend zum Ambiente gibt Owen sich stellenweise dem Folk hin, allerdings mit elektronischen Experimenten angereichert. Mit Hilfe von Musikern wie dem Multi-Instrumentalisten Rob Moose (Bon Iver, Perfume Genius) und dem Pianisten Thomas Bartlett (alias Doveman, der u.a. mit David Byrne, St. Vincent und Father John Misty gespielt hat) gelangen es ihr und Dessner, einen detailverliebten, experimentellen und eigenwilligen Sound zu entwickeln. "Don't Let The Ink Dry" behandelt intensiv Owens Kampf mit Angst, Entfremdung, Verletzlichkeit und Selbsterhaltung.

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

buffering juju, the title of dumama + kechou's debut album, relates to the process of "excavating spiritually charged content from within". The duo's textural sound, driven by cyclical song structures and chant making, not only captures the angst of the modern world but mines this state of affairs for regenerative potential.
dumama (vocalist and uhadi player) + kechou (multiinstrumentalist with a focus on indigenous African instruments and handmade instruments) met in Cape Town in 2017. There was an instinctive pulse to the initial clutch of shows they played together, blowing open vast sonic and conceptual possibilities. "I guess we were in similar places with our music processes in trying to push healing music to the edges and be more experimental with it," says dumama. The narrative of the album unravels as a piece of magical realism informed by South African folklore and reality, detailing a woman's liberation story where the characters shift shape and traverse multiple realms, deploying various iterations of their power or lack thereof. "It has an organic, natural, cyber and modern kind of energy - all rooted in African aesthetics of sound and storytelling," says kechou. All of this sits on a bed of the duo's unique musical language, one that, although applied electronically in the form of looping and soundscaping, is founded on approaches to string, vocal and percussion tones that reflect a merger between Northern and Southern African heritage.
Recorded primarily in Cape Town and Johannesburg over the first quarter of 2019, buffering juju is a conduit to a past we were not necessarily present for, and a future where threatened indigenous technologies thrive in an increasingly digitised world.

Ecke Records returns with its fourth release this November, the four-track ‘Grit’ EP coming courtesy of Xantrax with a remix from Addison Groove.

Taking the lead is ‘Tekline’, a murky, unfurling cut fuelled by off-kilter tribal drum work, bubbling bass delays and modulating synth flutters. Addison Groove steps up next on remix duties, reshaping ‘Tekline’ with choppy vocal cuts, dubbed out chord stabs and organic percussion floating atop the originals hypnotic groove.

‘Linetek’ opens the flip, as the name would suggest acting as a counterpart to the lead track, taking a 4/4 approach rhythmically while introducing a similar modulating bass line alongside chanting vocals.

‘0121’ then rounds out the package, an angsty, dynamically unfolding composition laid out over four and a half minutes with droplet synth delays, heady bass swells, spoken word vocals and crunchy broken drums.

Planning the imminent arrival of the 50th release on Touchin’ Bass, label boss Andrea Parker was digging through the warehouse during a stock take and it became apparent that there was something missing. There was a gap in the catalogue numbers. Where was TB036? Searching the archives it transpired that, for one reason or another (not least Parker’s inability to count), there actually wasn’t one.

So what better way to backfill this now documented gap than to welcome the multitalented guitarist and drummer, mathematician and multidisciplinary improviser Maria Gamboa Perez into the Touchin’ Bass fold with an updated focus for 2019.

Perez combines elements of rage, chaos, tension and anguish to form a visceral style. Her musical terrain and talent is shaped by dissonance and NO art. Under the moniker NonZero!, Perez brings Matrix Equation to the fore; a heavy 8 track EP with electro aesthetics from none other than Carl Finlow Scarletron/Silicon Scally/Voice Stealer.

Beginning her artistic career as a teenager playing as a bassist and guitarist in groups with influences from Noise, Avant Garde and the No-Wave, Perez was introduced into several areas of electronic music during the club culture years in Madrid and opted for styles such as Electro or Industrial, at which point she began to be interested in the introduction of rhythm boxes together with traditional drums.

Her passion for sound synthesis and musical exploration led Perez to introduce electronics into a solo project under the pseudonym NonZero!. Under this name she aims to make electronic music her field of sound research and for years has been continuously searching for existing relationships between sound and mathematics, focusing on the perceptual limit between music and noise.

Matrix Equation indulges in an evidential brooding angst, shifting between abstraction and the kind of elevated introspection carefully harvested over the years. With dramatic frontage in parts, blasts of boisterous energy and machine mayhem, its deployment of surprise, shifting focus and spontaneity operate in an assured statement.

Splintered beats and a foreboding sense of tension give way to a more DJ friendly logic of instinctive introductions and codas of gradual builds and breakdowns as Finlow further reworks the results to great effect.

Captivity is the next highly anticipated extended EP by Kush Arora aka Only Now, following a triptych of self-released output in 2019. Continuing the project’s ever evolving engagement with themes of time and existence, Captivity encompasses versatile synthesis, mutant kuduro, widescreen sound design, turbulent cold fronts of power ambient and melodic undertones of black metal.

The product of a two-year period in which Arora was contending with transitional shifts in his personal life, Captivity is a culmination of what the project has explored both in a prolific run of recent material and as a whole, across several years of time dilating, mind altering music.
 
Although shaped by adversity and corresponding sentiments of angst and insignificance, Captivity is pitched at total transcendence. Adopting a meticulous approach to production, a methodology which opens up almost every element to transformation and deconstruction, Arora generates forms which possess a sense of pointillist precision, as well as a keen psychedelic potency.
 
Despite consistency with his earlier output as Only Now, Captivity is nevertheless an indication of Arora’s ability to challenge internal and external assumptions. The introduction of new hardware – namely, the Nord Drum 3P synthesizer – as well as the incorporation of far-flung atmospherics – closing track ‘Clock Lust’ features field recordings from a trip to Kyoto – delivers fresh enterprise and experimentation, contributing to the expansion of a sound signature which remains as unpredictable and compelling as ever.
 
With the eponymous opener, Arora combines fathomless underworlds and riotous breakbeats. On ‘Mutants’ a hyper-kinetic onslaught of percussion, low-end and stray cut-ups of noise break out, building to a panorama of thunderous industrial firmaments. ‘Perpetual Slaughter’ maintains momentum with icy, ricocheting FX and concussive, tribal drums, and then unexpectedly shifts into a poignant outro which brings to the fore the enduring influence of black metal on the project. ‘Bound 2’ is cut with relentless sub-bass and rapid syncopation, resembling an abstracted form of juke music, something that could feasibly have been masterminded by Autechre. With the LP’s finale, ‘Clock Lust’, Arora presents a finale of transfixing 3D ritualism, the lone toll of a bell ringing out into a mesmeric emptiness.
 
Together these form a complete statement from Arora, illustrating the fertile and open-ended territories the Only Now project has arrived at after promising outings on Infinite Machine and Discrepant imprint Sucata Tapes. With Captivity Arora delivers a substantial highpoint and a profound voyage into the world of Only Now.

NO MORE don't need much of an introduction - the legendary Kiel-based (No)Wave / PostPunk band project took the worlds dancefloors by storm with the release of their seminal single "Suicide Commando" in 1981 which was later re-introduced to the Techno / Electro youth of the world, when Munich's DJ Hell famously reinterpreted the tune in 1998.

Still actively touring and releasing on a regular NO MORE are now making their debut on the freshly launched Intrauterin Recordings-offshoot EL CABALLO SEMENTAL..

The labels cat.no. 001 is a first time on vinyl release taken off NO MORE's "The Return Of The German Angst" digital mixtape and sees one of the bands hit tunes being reworked in a unique, highly captivating manner, pressed exclusively as a limited to 200 copies whitelabel edition on purple / violet vinyl.

"123456789 (baze.djunkiii + Herr Brandt Dream A Nudream Remix)" exceeds the bands natural musical realm by far and transfers the song into MoombahGoth / DubWave territories previously unheard of, not only for a classic band like NO MORE.. The rework picks up latest developments from the urban and bass music world whilst keeping the haunted vibe of the original songs chorus intact, slighty references NuBeat / PostPunk and Dub, adds lush, dreamy Cosmic guitar textures and even winks to the underground whistle and rave posse with a sweet as candy piano breakdown.

In their conjunctional remix work we see Intrauterin Recordings-founder baze.djunkiii, quality electronic music activist and prolific DJ for more than 20 years, and Herr Brandt, founding member of the classic German Wave / Indie / Alternative outfit The Convent as well as of the praised underground Synth Pop / Minimal Wave band Sonnenbrandt, effortlessly merge the best of two musical worlds to create something new and captivating, like they used to do on the decks with their former BETA-ZERFALL parties which were the main and initial reason the two of them and NO MORE came together in the first place.

a A- 123456789 BAZE.DJUNKIII + HERR BRANDT DREAM A NUDREAM REMIX

LIMITED GREEN AND RED VINYL WITH DIGITAL DOWNLOAD INCLUDED.

All-conquering Dutch heroes Kraak & Smaak have taken the electronic music scene by storm in recent years with a slew of killer collaborations with the like of Mayer Hawthorne, Romanthony (RIP), Eric Biddines (Golden Rules), Parcels, and many more. Their live show has seen them play every festival and club worth the mention from Glastonbury to Detroit Movement, Coachella to Space Ibiza.

After their debut album 'Boogie Angst' established them in the spotlight with heavy Radio 1 support from Pete Tong and Annie Nightingale, the band followed up with breakthrough albums – 'Plastic People' and 'Electric Hustle'. Launching them to another level, these albums featured the standout singles - 'Squeeze Me (feat. Ben Westbeech)', and 'Let's Go Back (feat. Romanthony)' which have both become ubiquitous through TV ads, funky dancefloors and tens of millions of streams.

Riding high they then released a seminal piece of work in the shape of their fourth studio album - 'Chrome Waves'. An album that is a joyous fusion of disco, funk, indie, electronica and pop all smooshed together with Kraaak & Smaak's unique sonic signature throughout. Teaming up with a crew of ultra-talented vocalists: Sam Duckworth (Get Cape. Wear Cape. Fly), John Turrell (Smoove & Turrell), Stee Downes, Capitol A, Joi Cardwell, Janne Schra and their very own live band singer - Berenice Van Leer , they created an album packed full of dancefloor-ready jams for all occasions…

It was received well by both fans and critics alike, picking up a coveted Mixmag tune of the month award, topping European club charts, becoming a staple on radio playlists everywhere, and of course selling out on the original vinyl pressing runs.

Well after much demand we are now reissuing this masterpiece on a 2xLP limited edition green and red vinyl and once again you can own it on wax. A present for both the fans of old who missed it the first time around, and those who have discovered Kraak & Smaak in more recent times.

Death & Leisure is proud to announce the sophomore album from the very special Autumns.
6 tracks of raw sneering electronics. Coming out in spring.
Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

– Extended Autumns biography here-

Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

Preceding releases for Clan Destine Records, iDEAL Recordings and DKA Records have seen the project engaged in a rough trade of transgressive noise, dysfunctional metal dance and DIY punk angst, yet each of these milestones has represented a different proposition. 2016’s ‘A Product of 30 Years of Violence’ saw the project moving into vast glacial spaces after propulsive post-punk discord of 2015’s ‘Das Nichts’. 2017 presented a further progression into Autumns’ journey from his post-punk beginnings to producing some of the tautest and no bullshite electronic music around with the release of his debut album ‘Suffocating Brothers’ on Clan Destine Records. Gaining radio play from selectors like Trevor Jackson, Regis, Debonair and Giant Swan.

Alongside progressive appearances on cult labels the project has developed a notorious high-intensity live show, having played and toured with artists such as Silent Servant, Veronica Vasicka and Wire, performing to audiences from Los Angeles to Beirut, and Moscow to Berlin. Autumns’ has also ventured outside the typical music world by taking up projects such as performing alongside Samuel Kerridge at the 2016 edition of Paris Fashion Week for Downwards, creating a sound installation at Void Gallery, and improvising a desolate live score to David Lynch’s ‘Twin Peaks: Fire Walk With Me’. Earning Autumns a fierce reputation not only as a live act, but as a multi-disciplinary artist.

Following contributions to labels such as Amok Tapes, Touch Sensitive, Veyl (Maenad Veyl) and Earwiggle (Sunil Sharpe), as well as remixes for Strange Therapy, Infidel Bodies, and Clan Destine Records. 2019 see’s Autumns’ experimentation in the studio go much deeper, with the release of his sophomore album ‘Shortly After Nothing’ on Oliver Ho’s (aka Broken English Club) innovative ‘Death & Leisure’ label, alongside a heavy touring schedule, a collaboration with post-punk legend Eric Random, the launch of his radio show ‘Dyslexia Tracks’ on Dublin Digital Radio and more upcoming releases to surface throughout the year.

Where To Now? Records present the debut release from Akiko Haruna. Akiko’s world is one where cacophonic distress lingers, shuffling itself over scapes of percussive damage and driven groove. Akiko presents a fresh take on the current Technoid function through her use of emotive and intentionally disruptive vocal chops and a dizzying ‘wall of sound’ approach to the dancefloor, consuming all yet somehow keeping vibes alive.

Akiko’s artistic background is primarily in Dance, and undoubtedly this performance led background has had an acute impact on her approach to melodic detail & storytelling. Akiko’s tracks rapidly shift & morph states, always restless and searching with fluidity and intent. From the ever present Micro Electronic details to sweeping swathes of Bass flutter the notion of progressive movement remains at the forefront of her sound, minute elements of detail become briefly isolated, intentionally directing the listener to their subtle presence.

‘Delusions’ Leads with ‘A Mother’s Love’ and begins a theme of resentment and dissonance. The Japanase vocal cuts throughout the track roughly translate to “you should die”, here obviously flipping assumed and supposed relationship rules and roles and exposing an inner turmoil, reflected through a continuous anxiety ridden, almost panicked siren detail which pulses over Akiko’s heads down, deep and uniform forward march.

‘Husband Established’ and the opens with the emotive vocal line “I just hate your Voice”. This is the sound of a poisonous & damaging relationship hurtling towards combustion, where Akiko’s elements gather momentum and impact as layer upon layer of detail pummel and puncture this heightened state, pausing and spiralling to evoke a standoff of aggression and imminent outburst. ‘Husband Established’ stands as a frankly stunning piece of sound design, which manages to capture a raw human emotion, and provide release for the associated junk, stress, and occasional banality of Relationship angst.

‘Hetero’ picks up where ‘Husband Established’ finished, further exploring societal character types and submissive gender tropes that are thrust into our sub consciousness from day to day. The concept of Hyperreality and its themes are continuously explored within Akiko’s practice and It would perhaps be fair to say that these themic explorations within her Music are Akiko’s own outlet for traversing human relationships within a complex, heightened, & layered reality, and it is certainly Akiko’s intention for her audience to feel some kind of relief and release within her sound world. Sonically ‘Hetero’ is a much sparser, subtler affair, where swathes of sampled voice & machine swing in and out of focus, against a weightless backdrop of affecting isolated electronics.

The EP closes with ‘Ripehus Alley’, seemingly void of any deeper meaning or message this serves more as a dreamlike parting song to what is otherwise a highly charged collection. Floating itself away from a frantic & incomprehensible world into a calmer space for final thought and reflection. ‘Delusions’ is a complex, exploratory trip, one which fans of Logos, Fis, Alva Noto, Jlin, Jesse Osborne-Lanthier etc will relish exploring.

Pelican, the instrumental quartet whose singular vision of heavy music eschews classification, have announced their first full length in six years, Nighttime Stories, is due June 7th via Southern Lord Recordings.

The eight-song set marks the band’s first release written front to back with guitarist Dallas Thomas, who took over guitar duties upon founding member Laurent Schroeder-Lebec’s departure in 2012. In the process of writing the album the quartet endured a slew of realisations, tragedies, and glimmers of optimism that guided the creative process to the most potent work of their nineteen-year career.

Though the new material veers towards the darker tone characteristic of Pelican’s early songwriting, it’s hard to imagine a previous incarnation of the band writing songs as meticulously crafted and detail-oriented as those within Nighttime Stories, where the compositions recall everything from the triumphant call-to-arms of classic Dischord, to the vicious troglodyte battery of the Melvins, to the dynamic interwoven melodies of bottom-heavy indie cult heroes Chavez.

Nighttime Stories was an album title initially proposed for Tusk, the hallucinatory art-grind band that included Pelican members Trevor Shelley de Brauw, Larry Herweg, and Schroeder-Lebec, in addition to vocalist Jody Minnoch. The writing of Nighttime Stories was instigated shortly after Minnoch’s unexpected death in 2014, and some of the dissonant viscera and dark psychedelic structures that were characteristic of Tusk’s sound began to unconsciously inform the album’s direction. In homage to their departed colleague, Pelican applied the previously discarded title and pulled many of the song titles from notes Minnoch had sent to inspire the direction of the unrealized album. As the writing of Nighttime Stories progressed Thomas also experienced a heavy loss with the passing of his father, to whom the album pays tribute on opening track “W.S.T.” (on which Dallas performed his guitar parts on his father’s Yamaha acoustic).
 
Pelican have always excelled at vacillating between the savage sounds of various niches of metal underground and the more delicate and nuanced sounds of Midwest’s cerebral indie community, proving that they can make either end of the spectrum more vibrant and compelling through the art of contrast. With Nighttime Stories, the pendulum has swung back to the angst and ire of their younger years while delivering it with the nuance and wisdom that’s come with nearly two decades of writing and performing. Pelican head out on a ten date US tour in June with more dates in the works for later in the year (see dates below).

'Producer and multi-instrumentalist FRNT BZNZZ returns with the second installment in a six-part series of 45s from the Aloha State.

Just like the rst 45, the A-side 'Separation Anxiety' takes to the same raw electro boogie feel, this time with more layers. The 4-minute ride into the artist's complex, often haunting production is up before you know it.

The B-side opens new doors in the series with vocals - angsty, yearning, a little somber. 'Always Wanted' is a slow burner for those looking to alleviate heavy doses of straight-laced modern funk. Something about Aiea High School prom circa 1990s, and a feeling of being left out.'

Any self-respecting scene can not do without a muse. Albeit a fragile one. Xen is a central figure in the (now not so) new Tel Aviv scene, having fluttered from projects to projects (with Red Axes, with Yovav Arzi or the soon to come Levantines), being herself kind of everywhere she goes, fragile yet strong, as if she was gaining gravity from both the little black hole inside of her and from the Garzen galaxy. These four tracks written and produced with Dori Sadovnik from Red Axes may be the epitaph to Xen are romantic underachiever, her chrysalis. Pere Adam has been a hit (whatever that means these days) with many luminaries such as Vladimir Ivkovic or Ivan Smagghe, pure angst in psychedelic dub. On Zel Meshugah, Xen & Dori amp the gothic, though more moon than beach, proving once more that all good songs are about heartbreaks. There is a certain sixties folk air to Ir Beton, some lofi sun shining through Xen's adolescent clouds. This new found positivity finds its expression in the flea market funk of Sugar & Wine, Xen shouting to the stars that life, even if bumpy, is now really worth living. -Words By Ivan Smagghe

Heavy-weather, beyond-good-and-evil soundsystem poetics, channelling raw and rootical techno, Isolationist abstraction, and dub at its most turbulent and raw-nerved and space-time-warping. New worlds ahead... Equal parts tuff, tail-thrashing dancehall pressure - see 'Hell Dub' - and art-of-darkness ambience and introspection, culminating in the slow-burning, third-eye-opening 23-minute dreamweapon, 'Vertigo'. Part of the Young Echo crew, Ossia embodies the best tradition of Bristol underground music in that he doesn't pay much mind to tradition, just does his own thing. Yes, Devil's Dance shares DNA with those sullen masterpieces we will always associate with the city, from blunted 90s street-soul/hip-hop to sub-loaded dubstep - but like his forebears Ossia is ultimately a mongrel breed, drawing from his own, very contemporary and idiosyncratic well of influences: grime, jazz, steppers, dub, post-punk and industrial abrasion, concrète minimalism... Devil's Dance could easily be not just a forbidding, but a suffocating proposition. But even at its most angst-ridden it feels lithe and aerodynamic, its darker impulses both intensified, and offset, by a pure soundboy's delight in detail and colour and higher dancefloor mechanics. The music pulses with energy, a fever to communicate...and Raki Singh (violin), Jasmine (vocals) and Ollie Moore (saxophone) add vivid flesh-tone to the punishing, plasmic electronics. The record was mixed at an infamous, subterranean Bristolian recording studio, using an arsenal of spring and plate reverbs, modded pedals, tape-delays and compressors: systems of black magic crucial to the album's intense presence and physicality and carefully modulated dread. In the end what we are witnessing, and experiencing vicariously, is a purging, an exorcism: find the devil, dance with the devil... and then chase, chase, chase him out of the earth

In September 2016 Chouk Bwa met the Brussels-based duo The Ångstromers. A traditional Haitian Mizik Rasin — roots music — band, Chouk Bwa, formerly Chouk Bwa Libète, realizes the source of a drum and dance style using percussion and call-and-response vocals that are infused with Haitian Vodou.

'Chouk Bwa' means 'Root' in Haitian Creole. Three percussionists and two dancers are led by composer Jean Claude 'Sambaton' Dorvil on vocals and the fer, an iron bar/bell that announces different rhythms employed to call up the spirits, assisted by Gomez 'Djopipi' Henris.

Chouk Bwa display the deep African heritage of Haiti, torn from Africa and secretly re-planted in a new land. The band members speak for Haiti, a nation that has seen the hardest of times and maintains a relentless spirit and strength through its culture.

The two tracks were selected from the first meeting with the Ångstromers at Café Central, Brussels, recorded live in September 2016. Modular synths and other vintage electronic instruments bring another dimension to Chouk Bwa's music.

Born in 1974, Aymeric de Tapol is a composer living in Brussels. He writes scores for contemporary dance projects, cinema, radio, and aims to tell stories through his audio creations and recordings. His music has been played on The Word Radio, Radio Panik, and NTS in shows including The Hot Selection, featured first on 26 July 2015. Songs played include 'La ronde des beaux yeux', 'J'ai dansé avec elle' and 'Les attractions'. He is a prolific producer of audio across styles and mediums.

The double 7-inch, BOMBINA, is Aymeric de Tapol's third release for Ångstrom Records. Each track evokes a different compositional mood, although the entire release can nicely fit into the traditions of drone & continuous music.

In just a year of existence, Chloé's Lumière Noire has brought emerging artists and promising newcomers together - and this first compilation of 13 brand new tracks expands the roster, exposing the label's eclectic vision in full daylight. When Chloé talks about her label, she puts forward the fundamental values that informed her own musical journey, her trust in her own musical taste - and, of course, the predominance of human relationships: 'I followed
my bliss and only commissioned tracks from artists that I respect and whose music I love. That to me is Lumière Noire's musical palette.' With this 13- track, unmixed compilation, Chloé makes a case for a label aesthetic that is based in open-mindedness. Familiar, elemental Lumière Noire artists are represented, as are new faces, producing a kind of group photo presaging what's next for the fledgling label. Lyon's Markus Gibb leads the track listing with Kuru with a deep chiaroscuro matching the label's ethos, followed by other mainstays Il Est Vilaine's Farenheit 451, which evokes Ray Bradbury's retro-dystopic angst with the
band's usual electro-pop elegance. Sutja Gutierrez, who released in debut EP, The Legend of Time on Lumière Noire in April, pursues his electro Shamanism with the ceremonial Allodoxaphobia, while Iñigo Vontier (whose EP Aluxes came out on the label in late 2017) brings his C O N T R A project
online with track Taurus, a further development in voodoo house. Elsewhere, Suuns lead singer Ben Shemie, who lent his fascinating art-rock croon to Recall, a single from Chloé's Endless Revisions LP, contributes A Million Kinds, a synthy, psych-pop debut that is as brilliant as it is surprising. On to the freshman class: Dutch producer Drvg Cvltvre (who gets personal kudos
from Chloé with each new 12') brings the uncompromising dark electro of his hypnotic and claustrophobic Last Rites. Jonathan Fitoussi's airy, minimalistic Cercles Polaires brings the respite of his recent Versatile Espaces Timbrés LP (a collaboration with Clemens Hourrières): 'I met him at Xavier Veilhan's
Studio Venezia at the Venice Biennale. He's a great guy, and his universe is unique,' says Chloé. Benedikt Frey's deep techno track Iaon, is on par with his smash 2017 album, Artificial, out on ESP Institute. First-timers are also part of the recruits: Bajram Bili with the ten cerebral minutes of Restart, Théo Muller with the ultra-deep Douce Transe, and Lumi, a Basque band that fuses
electronic sounds with acoustic instruments, brings the ompilation to a close with a track commissioned by Chloé. These audacious choices are anchored down with the likes of Permanent Vacation pioneer Lauer's hooky, 80s-infused Pythor ('Just like him, I was a resident of the Robert Johnson, and he was a guest of mine at one of my Lumière Noire nights at the Rex. He is one of these people whose music I highly appreciate'); Aergeworc & Franck Agrario, half of English duo Swayzak David Brown's project, weaves an ethno* mood into Grace's techno. Bringing together different generations, genres, and styles That may not necessarily be Chloé's MO. She invokes a more arbitrary, personal logic: 'I like to mix of-the-moment tracks and more timeless one, but the rule is above all 'do I love this or not'. That was my ethos when I started Lumière Noire.' In that way, the label is definitely in keeping with its time

Cosmin TRG is back on his white label operation, Sportiv. Brixtonstrasse explores an imaginary buffer zone between the urban angst of London's pirate transmissions and the warehouse logic of Berlin's post-Iron Curtain freedom and energy explosion. In line with the label's semiotics, Gloria is named after the rather unsuccessful 3rd League football club from Cosmin's home town. It's a high octane tribal workout with fuzzy chords, in the vein of 90s luminaries like Sterac, bringing back hints of the era's unbridled energy and enthusiasm.

lovely Mystical Electronics!' (richard Dorfmeister / Tosca / Kruder & Dorfmeister)

Ah! Kosmos - Das Ist Ein Beständiges Wunder, In Dem Wir Hier Mittendrin Stecken. Beim Hören Ihrer Tracks Bleibt Immer Wieder Nur Stauen. Den Soundtrack Zu Love & Awe Spielt Seit Einem Halben Jahrzehnt Basak Günak, Sound-designerin, Produzentin Und Multi- Instrumentalistin Aus Istanbul.

Auch Auf Ihrem Zweiten Album - beautiful Swamp Verbindet Sie Elastische Bis Hart Knisternde Percussions Mit Melodischen Soundlandschaften. Dabei Gehören Der Universalismus Der Musik Und Persönlicher Freiheit Untrennbar Zusammen: Tief Im Gewebe Ihrer Tracks Aus Downbeat Und Deep House, Aus Türkischen Klangtraditionen Und Exotischen Revieren Stecken Auch Ängste, Glück Und Düsternis: Günaks Musik Fängt Auf, Was Sie In Ihrem Leben Zwischen Istanbul Und Berlin Verarbeitet Und Überwindet. Den Hörenden Bleiben So Nicht Nur Soundscapes Zu Erkunden, Sondern Vielschichtige, Emotionale Kosmen, Die Mit Jeder Neuen Klangschicht Ihre Widerhaken Ins Hirn Schlagen.

Schon Mit Ihrer Ersten Lp bastards' Bewies Sich Günak Als Grenzüberschreiterin, Oszillierte Zwischen Dem Mut Zum Glückseligen Flow Und Avantgardistischem, Düsteren Post-rock. Mit Ihrem Neuen Album beautiful Swamp', Das 2017 In Berlin Und Istanbul Entstanden Ist, Be- Wegt Sich Ah! Kosmos Weiter Jenseits Aller Genre-grenzen: Günak Baut Aus Polyrhythmen Und Folktronischem Instrumentarium Eine Mystische Klangwelt, In Die Man Hineinsinken, In Die Man Sich Forttragen Lassen Kann. Für Ihre Organischen Klang-cluster Hat Sie Auf Diesem Album Ihre Eigene Stimme Als Material Entdeckt, Wird Als Person Greifbarer.

Ihre Musik Ist Körperlich, Trägt Würdevoll Spuren Von Auseinandersetzungen. Die Transzendenz Von - beautiful Swamp Ist Eine Flucht, Ja, Aber Eine Nach Vorne. Der Titelgebende Sumpf Vielleicht Auch Eine Ursuppe, Aus Der Immer Neue Klangwesen Schießen. Mit Dem Druck Gelebten Lebens Und... Es Sind Überirdisch Schöne, Allesamt.

Ah! Kosmos Arbeitet In Erster Linie Allein. Wenn Günak Sich Auf Musikalische Begegnungen Einlässt, Dann Auf Besonders Intime Und Intensive. Wie Die Mit Der Jazzsängerin Elif Çaglar, Die Im Song - beyond Dreams Zu Hören Ist, Oder Mit Dem Gitarristen Özgür Yilmaz, Zu Hören Auf Dem Track - wide . Selen Ansen, Eine Der Wichtigsten Türkischen Intellektuellen Ihrer Generation, Hat Für Günaks Neues Werk Ein Gedicht Verfasst, Mit Dem Passenden Titel in The Dark Woods'.

Ihr Wichtigster Partner Aber: Das Publikum. Ah! Kosmos, Das Ist Genauso Sehr Ein Live-projekt - Und Eines, Bei Dem Die Musik Unmittelbar Auf Die Stimmung Im Floor Reagiert. Bei Jedem Ihrer Auftritte Nehmen Ihre Klanglandschaften Eine Neue Gestalt An. Sie Performt Solo Oder Begleitet Von Einem Gitarristen, War Bereits Support Für Acts Wie Sigur Rós Und Jonny Greenwood's Junun Project (barbican Hall) Und Spielte Auf Wichtigen Festivals Jenseits Aller Schubladen, U.a. Auf Dem Sónar Festival Barcelona Und Dem Venice Electro Festival, Dem Tokyo Electronic Music Of Arts Festival, Dem, Prague Quadrennial Und Dem Arena Theater Festival Nürnberg.

Zudem Komponiert Sie Für Zeitgenössische Tanz- Und Theaterproduktionen, Kurzfilme Und Perfomances. Im Frühjahr 2018 Nahm Sie An Dem Projekt sonár Calling Gj273b' Teil Und Schickte Eine Elektronisch Verfremdete Version Ihres Songs i Don't Belong Here' Ins All. Wahrscheinlich Fühlt Man Sich Ihrem Sound Sehr Verbunden, Dort Draußen.

Fernando Sanz has been steadfastly dedicated to the craft of beats and breaks since he was a young sprout of 14 years in the sun baked southern Spanish port city of Algeciras. Under the imprint Orbe Records, Sanz has cultivated his own thriving techno community as artist and label head. Since 2014 Orbe Records has been lashing the block rocking techno of Sanz's comrades Eduardo De La Calle and Steve Stoll, but mostly of Sanz's own prolific moniker, Orbe. As DJ and producer Orbe keeps the mood surreal and dreamy while deploying understated drum machine patterns to hammer the platonic solids that keep his beloved community in tact.

His forthcoming 3-track 'Hohenheim' EP for the Barcelona label, Lone Romantic, keeps the Orbe buzz rolling. 'Hohenheim' kicks the record into motion with the resounding thuds of a multilayered big-room kick while bright synths and sharp edged sci-fi machinery climb the walls in obscure and narcotic patterns. 'Shimano's Tribute' is a study in the fundaments of techno that lull the listener with an extended 4X4 intro into a state of high mental absorption, just in time to drop the centre piece of the track, an eloquently ovular stutter sliced percussion sample. 'Edelweiss' sets the record on a outward course for somewhere between the hypnotic dance floor bliss of a pre-dawn Sunday morning and the impending angst beholden to glimpsing the dystopian sprawl of civilisation when flying out Monday morning.