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OLD SCHOOL BRUTAL HARDTEK.
something to loose your mind :)

New INDEX:Records transmission comes courtesy of Texan vibist Gi Gi. Trodding his own path of introspective, nu-age-infused ambient scapes and trip-hop-laced downtempo divagations, Gi Gi eases us in a distinctively soothing headspace. A self-driven, immersive audio bubble engineering a polychromatic mix of organic field-recording, exotic dub shades, lushly textured envelopes and smooth loungey jazz accents.

From the A1, “The Lower”, a steady-churning combo of retro-stepping UK dynamics, 90s-schooled atmospheric dub and low-slung, LA beat-style swagger, down to the verbed-out summer pop of “Sinews” featuring Hysterical Love Project, Gi Gi puts on a riveting synthesis of seemingly distant varietals.

On “Maiolica”, the mystique-imbued power of drums and shadowiness of the bass collides with the faux-organic vibrancy of singing robot birds; “Pyxis Glint” shows off an ambiguously feverish ASMR-like temper with its tightly woven web of chimey Andean melody and straight out Rephlex-fashioned escapism, whereas “Palm Slick” heads for further exhilarating heights through Hassellian brass flights a la “Blues Nile" and breaksy off-piste, all set at buckling a few knees along the way.

A full-fledged, soulful trip-hop number disguised in matching neo-vintage camo, “Lilted Song” treats us to a fulfilling blend of bleached pads and FX-laden slo-mo percussions swaying with a strong couldn’t-give-a-damn attitude. Gi Gi coming up with the mind trip.

From the viscerally punishing and nerve wrecking, to the wistfully sublime, Kevin Drumm ‘s work often yield a ferocious intensity through the timbres of minute details. Now, throughout this series of archival works dating from 2000 to 2022, his mastery is once again on full display.

On »Battering Rams«, sinister forces interlope with sanguine glimmers of respite and contemplation, while recurring drones ceaselessly crescendo to near paralysing effect, only for the albums final moments to offer a lofty reprise of boundless oscillation, dispelling all the pent up tension into a sanguine state of bliss. Once again underpinning Drums’ genius of turning apparently trivial hums into elongated microtonal worlds that stay etched deeply in your conscious, often long after the works final resonances have already subsided.

I was dancing when I was out, I was dancing when I was in. Is it strange to dance so late? Is it strange to dance so soon? Cosmic dancers always ball. Dancing with themselves, dancing space away. Right into the smallest hole a human brain can create: the inner cosmos, a psychedelic region, where time gets space and space turns to haze.

Berlin based producer TM Solver is such a kind of cosmic dancer. He has danced late. And so soon. Since 2008 he released yearly one, sometimes two albums via the German Berlin School dedicated label Syngate and its experimental subdivision Luna. Intensely meandering synthesizer journey music, that is pirouetting on inner universes, genuinely crafted in the tradition of Berlin School and Krautrock. You can catch the unearthly nuances of Can and the spaciously swinging psychedelic corners of Amon Dül, Embryo, Tangerine Dream, or Klaus Schulze. As TM Solver has been a lover of analog synthesizers for almost 30 years, all pulsates on analogue sound orbs under the zigzagging guidance of machines like Moog Prodegy, Korg MS20 and GRP A4, as well as state-of-the-art systems as ASM Hydrasynth and Korg Wavestate. When he got in touch with the Berlin club scene and all its propelling grooves in 2006, a new rhythmic universe joined his vast musical space of sound latitudes. “Tinkering around with sound structures is my thing. Leading the listener into a combination of music and sound spaces.“ he reveals on his emotive musical art. How affecting it works, is now displayed with four epic compositions for R.i.O., Berlin Wedding’s label of novel ways for caved rhythmic patterns. Grooving between 90 to 240 BPM, they offer a vast variety of emotional landscapes, slowing down, rolling up, drifting into genuinely layered tonality magic. Headspace music for vigilant wanderers. Utterly psychedelic and yet so clear. His R.i.O. debut “Subtraktiv Additiv“ comes with five additional remixes, fashioned by R.i.O. conspirator Benedikt Frey, Amsterdam based DJ and producer Mayo, “Die Orakel” magician O-Wells from Frankfurt, Siamese Twin Records co-runner Sunju Hargun, and the versatile club and beyond production duo Red Axes. They all respect TM Solver’s analogue zones and pitch them into the 115 to 130 BPM districts, while transcending his absorbing synth compositions into the world of nervous acid-laden ambient, slow-mo techno, industrial bass, post-trance, and all that hallucinogenic echo house. Nine subtle energy vibrations, epic and full of countless facets, shaped to turn on, tune in, and drop out.

Following in the footsteps of "Mind Palace" and "Lost Spirits", respectively issued in 2018 and 2021, Hidden Empire return to Stil vor Talent with their eagerly anticipated third studio full-length, "Momentum". Going the same route that came to define their sound throughout the years, Branko Novakovic and Niklas Schäfers cook a savvy mix of deep electroid flavours and prog techno magnitude which flourishes in the long-playing format. Orbiting the frontier between proper no-nonsense, floor-focussed effectiveness and a trademark exploratory take on electronics, Hidden Empire here delivers one of their most accomplished slices to date, which not only spans the largest span of their many-faceted influences, from tribal anchorage to hypermodern escapology, but breathes a truly epic wind into it.

Draped in luscious, silken envelopes and easternmost ambiences, "Dawn" gets the ball rolling on a mystique-imbued note, halfway meditation-friendly material and square-shouldered club busting wares. Moving into Afro-infused house grounds, "Modesty" finds Branko and Niklas heading for the deeper end of the spectrum, as they pull out a clinically precise blender of rattling percussions, opaque incantations, lush synth swashes and verbed-out machine talk, tailored for nightly boogie rituals in the forest. "Avalanche" opts for a more brooding, deadlier approach. Cutting its path away from prying eyes, this one finds Hidden Empire pulling the stealth weaponry to absolute hypnotic effect - perfect for serious in-between peak time business with its thick, thriller-like tension, mist-shrouded atmosphere and surgical focus. Featuring Felix Raphael on vocals, "Who We Are", is a pop-influenced chugger that perhaps best defines Hidden Empire's ambivalent style, both hi-NRG and innervated with a melancholy that infuses down to the bass and most functional elements. Geared up for big-room traction with its seesawing synths and clinical drumwork, Raphael's moving timbre does more than offer a sensible counterpoint to the track's overall sturdy backbone, it takes it to a whole other dimension completely.

"Repeat The Good" ft. Wolfson balances out a fast-ticking groove with those subtle melodic lines Hidden Empire champion to astounding vibrancy, offering a particularly satisfying glimpse into their vortical imaginarium, whereas "Last Call" has us journeying to straight out Moroder-esque territories, flush with the aptly configured palette of fuzzy space disco bass, fast-paced Italo churn and vocodized talk for good measure. All in breaks and chopped-up euphoria, "Vivid" runs the hoodoo down in muscular fashion and with impressive levels of energy throughout, all set at cranking up the heat one notch further, while "Rebel" provides us with the kind of rough-around-the-edges EBM horsepower and neon-clad synth engineering that'll get the basement in a state of alert. Encompassing all of the pair's idiosyncratic merger of styles - from pop-laced Italo to spaced-out techno wares, through jagged motorik and heavily mecched-out jacking house, "Alright" shows off Hidden Empire's wide arsenal of pyrotechnics under the most compelling of lights. A more openly jagged and quirky weapon that hatches into a full-fledged solar number around the half, "Momentum" roars up the club's highway at full throttle, proving a formidable asset when it comes to plunging dancers into a state of weird, left-of-centre euphoria.

A stroboscopic eclipse is predicted as "Dark Sun" enters the room, deploying its obscure wingspan over the ravers, not quite a bad omen as it lets more light in with every bar, its brittle piano lines and heart-wrenching vocals cutting a path into the crowd's pulsating hearts. Graceful as Hidden Empire's music can be, a moment of utter exhilarating beauty. "Savasana" wraps up the voyage with a pure slab of cyphered 4x4 seduction, as an ASMR-like voice guides us across the soul-questioning haze that blankets our pathway onto a luminous finale. A piece of elusive nature, clearly designed for the club and yet telling a tale of off-piste initiation through twelve fascinating movements, "Momentum" will undoubtedly etch on the listeners' mind as one of the German pair's most strikingly powerful emanations.

Download:
1. Hidden Empire - Dawn Interlude
2. Hidden Empire - Modesty
3. Hidden Empire - Avalanche
4. Hidden Empire & Felix Raphael - Who We Are
5. Hidden Empire & Wolfson - Repeat the Good
6. Hidden Empire - Last Call
7. Hidden Empire - Vivid
8. Hidden Empire - Rebel
9. Hidden Empire - Alright
10. Hidden Empire - Momentum
11. Hidden Empire - Dark Sun
12. Hidden Empire - Savasana
13. Hidden Empire & Felix Raphael - Who We Are (Instrumental)

Bongo Joe Records is pleased to announce the release of Yalla Miku's debut album. It is a new way of combining African, European, electronic, acoustic and electric music and cultures. The project was launched by Cyril Cyril duo, then joined by Simone Aubert and Vincent Bertholet from Hyperculte and three musicians with migrant backgrounds: the Moroccan Anouar Baouna, the Eritrean Samuel Ades and the Algerian Ali Bouchaki.

For its initiators, the idea was not to appropriate a non-European heritage and to interpret it in the company of musicians from these countries. They opted for a more radical approach: to propose a base of compositions on which the migrant musicians then worked with their instruments, which range from the derbouka to the guembri via the krar, the Eritrean lyre.

The album, nourished by these stage performances, was recorded in autumn 2021. The result is full of vibrations, unusual sounds and life experiences. Sung in Arabic, Tigrigna and French, the lyrics glide over throbbing rhythms, borrowing from gnawa, krautrock and electro trance. Their eponymous debut album sounds like a call to travel beyond the barriers of sound, a call to a horizon without a visa.

After the "curfew" (cf. album Out Past Curfew) and the "strange time" of adaptation following the health crisis (cf. EP Stranger Times), comes the relief and the open up to the world until now confined: the Salvation. Third artistic collaboration for Youthstar & Miscellaneous, the album Salvation is a 13 tracks journey with strong and optimistic subjects such as motivation, the quest for happiness, mixed with more melancholic themes such as addictions or dependency but always through incredible percussive flows and chorus with heady gimmicks that make you want to headbang! Faithful to the rap/hip-hop that forged the duo, this album also borrows the codes of electro, trap, bass music or even reggae. We find on this album a whole crew of top notch beatmakers such as Tha Trickaz, La Fine Equipe, as well as renowned artists & MCs like Biga*Ranx, Dope D.O.D, FP from ASM... Ltd. col. LP (splatter)!

Official reissue of Civilistjävel!'s first, self-titled archival LP in sky-blue embossed sleeve, 500 copies.

A minor masterpiece of high-lonesome, ultra-spacey existential electronics, recorded in the ‘90s and early 2000s, the music on this album had never been heard outside the Swedish artist’s private tape/CD-R trading networks until 2018 - when London’s Low Company presented it in a hand-assembled vinyl edition of 250 with scant context or biographical info. Some people understandably thought the project might be a ruse - was it really plausible that material this accomplished and affecting had fallen under the radar for 20-odd years? Implausible, perhaps, but true nonetheless. Five years on we know that Civilistjävel is indeed the real deal: the alter ego of a discreet but by no means reclusive solo artist based in Uppsala who has for decades been quietly honing his craft without worrying about who's listening. Since 2019 he has become more visible: performing live several times in and around Europe, and last year releasing a brand new studio album, Järnnätter, on Felt Records. Meanwhile Low Company has put out four subsequent, vinyl-only volumes of archival material. These have increasingly tended towards the more rhythmic/techno-oriented impulse in Civilistjävel, so it’s interesting to return now to Volume 1: comprised of the most introspective and isolationist of his works, tapping into deep wells of northern European melancholy. It’s a music made with no audience in mind, but simply to suit itself: cold-world kosmische, intimate minimal synth etudes, bowled percussion clusters and impossibly yearning, 30-days-of-night ambient dronescapes. Created mostly using a Juno60 and Korg MS20, and home-recorded to DAT (crackles and surface-noise preserved intact), you can hear in these seven expansive instrumentals unconscious echoes of Serge Bulot and Anna SjalveTreje’s crepuscular dream-sequences, Scandinavian black metal's mist-cloaked forest-fantasies, the austere dub-techno of Thomas Köner and Basic Channel, and the gristly, consumptive concrète of Nurse With Wound and Asmus Tietchens.

Nach dem Xul Zolar sich Ende letzten Jahres mit dem Song "Protocol" aus einem längeren Hiatus zurückmeldeten, kündigen sie nun mit ihrer neuen Single "Underwater" ihr neues Album an, das den Namen "Heidelbach" trägt und am 17.03.2023 auf Asmara Records/Rough Trade erscheinen wird. Der sphärisch-pulsierende Track wurde wie auch das gesamte Album in Zusammenarbeit mit dem Kölner Produzenten-Duo COMA, bestehend aus Marius Bubat und Georg Conrad, aufgenommen und produziert. Musikalisch setzt die Band den verspielten Synthpop ihres Debutalbums fort, wobei "Underwater" verstärkt auf elektronische Elemente setzt. Für das dazugehörige Musikvideo zum Track zeichnet sich der Berliner Medienkünstler Philipp Carbotta verantwortlich.

(ASMR) is a tingling sensation that usually begins on the scalp and moves down the back of the neck and upper spine. It signifies the subjective experience of "low-grade euphoria" characterized by "a combination of positive feelings and a distinct static-like tingling sensation on the skin." It is most commonly triggered by specific auditory or visual stimuli.

Sämtliche Songs des Nachfolgers ihres von der Kritik hochgelobten Debütalbums TAKE ME APART, das Kelelas Aufstieg in den Mainstream beschleunigte, wurden von ihr selbst geschrieben, arrangiert und zusammen mit Asmara co-produziert, während das Ambient-Duo OCA (Yo Van Lenz & Florian T. M. Zeisig) und LSDXOXO, neben Bambii, als Hauptproduzenten des Albums gelten. Auf RAVEN taucht Kelela aus den Gezeiten der ozeanischen Umlaufbahn ihres höheren Selbst auf, um Autonomie, Zugehörigkeit und Selbsterneuerung als Heilung zu erkunden. Die beiden Singles 'Washed Away' und 'Happy Ending' wurden von Pitchfork bereits als 'Schaufenster ihres schwebenden Soprans' und Beweis für ihren 'gehauchten, anmutigen Gesang' gefeiert. Mit ihren talentierten Bewegungen zwischen den Frequenzen von R&B und Dance Music konnte sich Kelela als künstlerische Interpolatorin von Musik, Kunst und Mode etablieren. Ihre Frühwerke CUT 4 ME (2013) und HALLUCINOGEN (2015) zementierten sie als führende Kraft in der alternativen Underground-R&B- und Elektronikwelt und eröffneten ihr Kollaborationen mit weiteren visionären Künstler*innen wie Solange, Gorillaz, Andrew Thomas Huang und Danny Brown. Mit ihrer durchdachten Mischung aus Eleganz, Futurismus, Göttlichkeit und Sinnlichkeit hat sich Kelela einen Weg gebahnt, der Stil sowohl als Bestandteil der Kunst als auch als Kunst an sich demonstriert.

Ltd. Clear Vinyl 2LP+DL

Sämtliche Songs des Nachfolgers ihres von der Kritik hochgelobten Debütalbums TAKE ME APART, das Kelelas Aufstieg in den Mainstream beschleunigte, wurden von ihr selbst geschrieben, arrangiert und zusammen mit Asmara co-produziert, während das Ambient-Duo OCA (Yo Van Lenz & Florian T. M. Zeisig) und LSDXOXO, neben Bambii, als Hauptproduzenten des Albums gelten. Auf RAVEN taucht Kelela aus den Gezeiten der ozeanischen Umlaufbahn ihres höheren Selbst auf, um Autonomie, Zugehörigkeit und Selbsterneuerung als Heilung zu erkunden. Die beiden Singles 'Washed Away' und 'Happy Ending' wurden von Pitchfork bereits als 'Schaufenster ihres schwebenden Soprans' und Beweis für ihren 'gehauchten, anmutigen Gesang' gefeiert. Mit ihren talentierten Bewegungen zwischen den Frequenzen von R&B und Dance Music konnte sich Kelela als künstlerische Interpolatorin von Musik, Kunst und Mode etablieren. Ihre Frühwerke CUT 4 ME (2013) und HALLUCINOGEN (2015) zementierten sie als führende Kraft in der alternativen Underground-R&B- und Elektronikwelt und eröffneten ihr Kollaborationen mit weiteren visionären Künstler*innen wie Solange, Gorillaz, Andrew Thomas Huang und Danny Brown. Mit ihrer durchdachten Mischung aus Eleganz, Futurismus, Göttlichkeit und Sinnlichkeit hat sich Kelela einen Weg gebahnt, der Stil sowohl als Bestandteil der Kunst als auch als Kunst an sich demonstriert.

Born on November 25, 1912, Asmahan, whose real name was Amal al-Atrash, was a Syrian singer and actress of the first half of the 20th century. Modern and free, she was the sister of Farid al-Atrash; and perhaps the only singer able to compete with the famous Oum Kalsoum. Her private and public life is worthy of a Hollywood movie and was particularly eventful during the Second World War, where she played spy for Germany, France and Great Britain. She died in 1944, at the age of 32, in a mysterious car accident, leaving only a few recordings. This record features her most popular titles, to be rediscovered by the music enthusiasts of today.

Re-release Gegründet 1970 von Dieter Moebius und Hans-Joachim Roedelius zählen Cluster zu den einflussreichsten Bands der experimentellen Elektronik- und Ambientmusik in Deutschland. "Cluster 71" war das Debütalbum des Duos und zählt laut dem Musikmagazin "The Wire" zu den "One Hundred Records That Set The World On Fire". "Cluster 71" ist ein Monster: Das Album enthält gerade mal drei (unbetitelte) Stücke und ist schwere Kost für unvorbereitete Ohren. Doch das Album war wegweisend wie kaum ein zweites elektronisches Musikwerk. Cluster waren vorher noch ein Trio und schrieben sich Kluster. Aufgrund musikalischer Differenzen trennten sich Moebius und Roedelius 1970 von Konrad Schnitzler und spielten 1971 im Hamburger Star Musikstudio ihr erstes Album ein. Clusters völlige Abkehr von gebräuchlicher Harmonik und Rhythmik bis hin zu totaler klanglicher Abstraktion, ihr selbstverständlicher Umgang mit Geräuschen, rigorose elektronische Live-Improvisationen und das Bewusstsein, nichts verlieren zu können - das alles kennzeichnet diesen innovativen Aufbruch. Der Begleittext stammt von Asmus Tietchens.

Igziabeher Yi mas gan (Let Jah be Praised!) - as we follow up with the next release forwarding from Ashanti Selah Music; we are proud to present a fresh combination to the label with Iqulah Rastafari who is a true ambassador and master of his faith as well as being a high-caliber artist in his own right; this release delivers the whole roots and nothing but the roots in its full entirety. Hailing from Jamaica and toured the 4 corners of the world with his band 'Giddeon Family' as well as performing many shows in Africa with the 'Azania Band' - Iqulah always brings the spiritual power and most honourable Rasta energy in connection with the music; making it a such an engaging experience when being among the vibration.

The Maxi-single offers two original vocals and two dub mixes per side with strong lyrics and heavy riddims to accompany!

BLUTHARDINO, Komponist, Arrangeur und Multiinstrumentalist von MONDO SANGUE, erhebt mit DISCO VOLANTE 80 seinen Retro-Sound in völlig neue Sphären und erweitert die filmische Epik seiner Band mit Einflüssen von Soul, Funk und spacigem 80er-Jahre House. Herausgekommen ist ein vorwiegend instrumentales Producer-Debutalbum. Der groovende Retro-Cocktail eines Sound-Wizards, der hier einmal mehr ein enormes Gespür für den Sound der 70er und 80er Jahre beweist. Gesangliche Unterstützung gibt"s von Indie-Ikone FUTURE FRANZ und - erstmals auf französisch - von Bandkollegin YVY POP.

Don't let the prestigious acting career fool you, Caleb Landry Jones is a bonafide musical maverick. And on hisforthcoming release Gadzooks Vol. 2 he places himself in a lineage of outsider artists, many with only a thin thread tethering them to this reality, who are capable of reaching into the cosmic realms of imagination and bringing back a musical masterpiece. And while most artists don't save some of the best music of their career for an album with Vol. 2 in the title, Jones is an artist for whom chronology is a slippery substance.

The album was recorded with Nic Jodoin in the famed Valentine Recording Studios simultaneous with the mixing of his debut album The Mother Stone. The team invited a slew of heavy hitting musicians to the studio to contribute to the magic. The resulting album sounds a bit like pink elephants in cowboy hats making asmr... at least for the first 20 seconds before it seamlessly changes entirely.

Don't let the prestigious acting career fool you, Caleb Landry Jones is a bonafide musical maverick. And on hisforthcoming release Gadzooks Vol. 2 he places himself in a lineage of outsider artists, many with only a thin thread tethering them to this reality, who are capable of reaching into the cosmic realms of imagination and bringing back a musical masterpiece. And while most artists don't save some of the best music of their career for an album with Vol. 2 in the title, Jones is an artist for whom chronology is a slippery substance.

The album was recorded with Nic Jodoin in the famed Valentine Recording Studios simultaneous with the mixing of his debut album The Mother Stone. The team invited a slew of heavy hitting musicians to the studio to contribute to the magic. The resulting album sounds a bit like pink elephants in cowboy hats making asmr... at least for the first 20 seconds before it seamlessly changes entirely.

Magazine is glad to announce the album Waves 3 by Curd Duca, 
 the third and last part of the trilogy Waves: Austrian electronic composer Curd Duca is widely known for his 1990es series of critically acclaimed easy listening 1-5 (Normal) and elevator 1-3 (Mille Plateaux).

After a long break from the studio, Duca has issued part 1 of the Waves series in late 2020 on Magazine. This was in fact his first album in 20 years. The Waves recordings pick up the thread of his 90s work and open up a new chapter. Again, everything is shifting constantly and all tracks are quite different (soft, rough, melodic, abstract ... ), but complement each other in a surprisingly coherent way to form an idiosyncratic universe.

While other experimental artists can sound as if they're attempting to lift lead weights over their heads, Duca is content flicking feathers into their faces. After his impressive 1990s/00s run on Normal and Mille Plateaux, Curd Duca had disappeared for 20 years before emerging from the aether last year.

The albums of the new "Waves" Trilogy represent a flawless examination of sound and texture. The Vienna-based producer still straddles high and low culture, but approaches his sonics with a more historically aware ear. So plain and resonant gong recordings are placed next to pop music loops and DSP-fractured cut-ups, and icy electronic jams nudge up against cassette warped instrumental sketches.

Waves 3 is a continuation and culmination of the series. In the final chapter, we’re drawn in with church bells on dome, but quickly transported to another era entirely with the crackly bläser and absurd zither, a tongue-in-cheek plunderphonic experiment assembled from zither samples. Duca follows this evocative run of tracks with a machine-gun blast of experimental sound, from the percussive 500 GRM to the ferric ASMR birdsong of ziegenmelker.

This is Duca at his most uncompromising, grabbing central European culture and dragging it through his array of processes. Playing the album from beginning to end opens up a weightless cut-and-paste mixtape, stitched together with expert foresight and a knowing wink to camera.

Like the best psychedelic experiences, memories are triggered and turned inside-out, and knowledge is allowed to blossom. Curd Duca has been refining his process for three decades now, and few artists have quite the same ability to challenge, provoke, and inspire.

Barbara, die Frau ohne Gedächtnis, irrt durch die malerischen Straßen Hamburgs. Eine zwielichtige Hypnosesitzung und ein nichts ahnender Liebhaber bringen ans Licht, was sich hinter ihrer unschuldigen Schönheit verbirgt. Die Erlösung scheint in greifbarer Nähe, doch der Drang, weiteres Unheil anzurichten, ist unwiderstehlich... Erst der Tag entblößt das wahre Grauen: GIALLO COME IL GIORNO, das fünfte Genre-Album von MONDO SANGUE setzt dort an, wo die vielbeachtete Giallo-LP ROSSO COME LA NOTTE (2021) endete. MONDO SANGUE und ihre Leidenschaft für die Musik und das Kino der italienischen 1960/70er ziehen Kreise. Auf GIALLO COME IL GIORNO sind die Genreliebhaber und Italien(Be)kenner Bela B, Eric Pfeil, Dirk von Lowtzow und Rocko Schamoni auf schwarzem Gold vereint. Die Vinyl 10"-EPs, von Adrian Keindorf illustriert, sind inkl. farbigem Beileger, Texte und Downloadcode auf 444 Stück limitiert und handnummeriert. Über MONDO SANGUE Das Stuttgarter Duo MONDO SANGUE (Christian Bluthardt & Yvy Pop), gegründet 2015, produziert Cinematic Pop in Anlehnung an das italienische Genrekino der 1960/70er. Nach einem Ausflug in den Dschungel (L"ISOLA DEI DANNATI - Die Insel der Verdammten; Soundtrack zu einem fiktiven Kannibalenfilm, 2016), einem Ritt durch den Spaghettiwestern (NO PLACE FOR A MAN - Il Villaggio delle Donne, 2018) und einer Reise ins All mit dem Science?Fiction-Abenteuer VEGA-5 (Avventure nel Cosmo, 2020) feiern MONDO SANGUE das legendärste Italo-Genre, den Giallo, gleich zweifach: mit ROSSO COME LA NOTTE (2021) und GIALLO COME IL GIORNO (2022).

'Wealth Of Sorrow' was recorded in an old adobe chapel, April 2019 in
theremote village of Jaroso on the border of New Mexico and Colorado
The entire album was tracked live in a day and a half by Erick Jaskowiak with
asmall mobile recording rig. Ten songs of Cahalen with his guitar, banjo, a
woodstove and the wind.

2022 Repress

Second Woman is the collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of Telefon Tel Aviv.
Josh and Turk have been friends for over 17 years, having met in New Orleans in the late '90s through mutual friend and future collaborator, Charlie Cooper. The duo have been working on music together on and o since that time.
The concept of Second Woman began with the idea of taking tropes from footwork, dub, house, and techno, and twisting these ideas into something kaleidoscopically liberated from the grid. Their work first materialized with two LP's and an EP on John Elliott and Peter Rehberg's Spectrum Spools.
Second Woman tweak the perception of time and space within the audio field into something ASMR-inducing and ultimately satisfying to listen to. Both Josh and Turk experience ASMR in response to certain rhythms and sounds, and e ort was made to incorporate these triggers into the music, hopefully for other people to experience as well.
With Apart / Instant, Second Woman present their signature sound as well as a new, more measured dimension to their work.

Copenhagens own dj legend and veteran producer KIM KEMI releases another jacking and euphoric banger- ONLY SMOKE - his stylish and subtle sound design and varied arrangement take hints of Robert Hoods minimal riffs and flesh out a full funky arrangement taking us on that classic luxurious sonic journey. Pres play and trigger the
smoke machine - or the soap bubbles.
Martinez ́s remix is a more electro affair that could blend well with classic Underground Resistance releases. Watch out for the acid topline. Martinez is a Swedish electronic music producer and DJ, currently based in Copenhagen. Martinez kick started his carrier
in 2000 with his "Laidback Grooves EP" on the notorious Chicago based Deep-House label Guidance Recordings.
Asmus Odsats remix of SMOKE KILLS is taking the track in a more broken but funky IDM territory, breaking the track down adding avantgarde dub details over the stuttering beat.
Asmus Odsat is a former resident at Culture Box and co-founder of Ritual Malmö as well as the BULK club night releases via. FALK DISKS, the club focused sub-label of FALK (Fuck Art Lets Kill) with his ‘Ecstatic Half Truth’ EP, is played by Courtesy - even in her BBC Radio 1 show mix.
An added bonus to these 3 unique remixes is Kim Kemis beautiful
Tropical Tucan, a perfect opening track fusing sensual chilly Detroit pads and jacking understated beats into a growing glowing mind-state that is worthy of a Carl Craig spin - let it ride - don't miss the climax - you will end up looping it. An essential tool. Enjoy!

2022 repress, 45 rpm
incl. download code

Second Woman is a new collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of the renowned Telefon Tel Aviv. As one would imagine, Second Woman is a nonpareil debut of futuristic electronic music fusing the coveted genetics of the duos respective previous endeavors into an alluring new enigma of ASMR-inducing kaleidoscopic dub. Second Woman is a fully realized entity; a well-crafted sound world and a refreshing shared effort which is inspiring in its purity and painstaking in its design.

The opening "100407jd7" wastes no time exhibiting mastery in both sound and structure, contorting the frequency spectrum into a psychoactive mirage with its mutating tectonics and vaporous tone clouds. Cuts like "200601je6" and "700358bc5" are bar-raising examples of veteran craftsmanship and vision, refining and reengineering the blue prints of their early works to create an original and dynamic album. The deliberation and control over every particle is obsessive, but the end results of each individual track unfold with an organic temperament unparalleled in a grid-locked world of DAW shaped musics and rat's-nest modular aleatory. Words fail where essential sonics are concerned, and this vital new creation speaks for itself.

Clear Vinyl
2022 repress, ltd. edition of 300 copies, 45 rpm
incl. download code

Second Woman is a new collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of the renowned Telefon Tel Aviv. As one would imagine, Second Woman is a nonpareil debut of futuristic electronic music fusing the coveted genetics of the duos respective previous endeavors into an alluring new enigma of ASMR-inducing kaleidoscopic dub. Second Woman is a fully realized entity; a well-crafted sound world and a refreshing shared effort which is inspiring in its purity and painstaking in its design.

The opening "100407jd7" wastes no time exhibiting mastery in both sound and structure, contorting the frequency spectrum into a psychoactive mirage with its mutating tectonics and vaporous tone clouds. Cuts like "200601je6" and "700358bc5" are bar-raising examples of veteran craftsmanship and vision, refining and reengineering the blue prints of their early works to create an original and dynamic album. The deliberation and control over every particle is obsessive, but the end results of each individual track unfold with an organic temperament unparalleled in a grid-locked world of DAW shaped musics and rat's-nest modular aleatory. Words fail where essential sonics are concerned, and this vital new creation speaks for itself.

Matmos are one of the most prominent experimental electronic artists working today, crafting work by creating new conceptual frameworks & immediately testing those frameworks absolute limits. For Regards / Uklony dla Boguslaw Schaeffer they've focused on another artist known, in large part, for doing the same. Boguslaw Schaeffer was one of the first Polish artists creating electronic music. In step with American contemporaries like John Cage and Morton Feldman, he worked across the boundaries of classical composition, electronic experimentation, and radical theater in playfully form-breaking ways. Matmos are not the first ones to recognize the power of his catalog, from Solo (a 2008 documentary that garnered numerous international awards), to the annual Shaeffer's Era Festival (most recently celebrated simultaneously in Warsaw and Los Angeles) his work continues to inspire. Regards.. however, was not just inspired by his work, Matmos were given access to the entirity of Schaeffer's recorded works to use as they saw fit, commissioned by the prestigious Instytutu Adama Mickiewicza. They re-assembled & re-combined these recorded works with modern instrumentations in a way that only Matmos could, and what emerges is a composite portrait of the utopian 1960s Polish avant-garde and the contemporary dystopian cultural moment regarding each other across a distance. To facilitate the transcultural exchange that is the album's essential premise, all song titles and liner-notes are provided in both English and Polish. The album was mastered by Rashad Becker and features illustration and design by acclaimed artist Robert Beatty (Tame Impala, Osees, Mdou Moctar). Like the anagrams of the letters of Boguslaw Schaeffer's name that were re-assembled to create some of the song titles, the album itself is a musical re-assemblage of component parts into possible but unforeseen new shapes. Adding harp from Irish harpist Una Monaghan, erhu, viola and violin from Turkish multi-instrumentalist Ulas Kurugullu, and electronic processes from Baltimore instrument builder Will Schorre, and Horse Lords wunderkind Max Eilbacher, the resulting arrangements constantly toy with scale as they move from the close-mic-ing of ASMR and the intimacy of chamber music to the immensity of processed drones and oceanic field-recordings that close the album. Offering a "life review" of production styles, Regards / Uklony dla Boguslaw Schaeffer builds temporary shelters out of the panoramic wreckage of modernist composition, sixties tape music, seventies dub, eighties industrial music, nineties postrock and dark ambient, 2000s era glitch fetishism, and contemporary post-everything collage sensibilities.

When we can no longer move forward or look outward, some reflect and seek truth in themselves – some sharing, through the language of music, what might be impossible to say through words.

Amidst the budding tempest of 2020, Jeremiah Carter, hailing originally from Tennessee, found himself embroiled in a near suffocating air of uncertainty and anxious tension, mainly brought upon by the first spikes in a soon-to-be worldwide pandemic.

Only having recently relocated to the bustling city of New York, an unprecedented series of events took shape over the following months, isolating and dismaying the citizens around the globe in the process. It was during this time that Jeremiah turned his attention to music, discharging the emotional turmoil surrounding him, into a substantial wealth of newly composed work.

Beginning with the album »Rejoice«, which was completed in the wake of 2020 and released on A Sunken Mall that same year, two more albums took shape in a quasi-self-induced creative tremor, one that soon materialized a wealth of work, forming a triptych of three unique albums, produced within the span of only 6 months.

Finally, presented here is the second stage of the final triptych; »Speak, You Also«, dedicated to Paul Celan and giving us further insight into the heart of a beloved southerner, who amidst being tangled in the mesh of crisis, passion and communication, gave rise to a momentous yet equally timeless neoclassical body of work.

wieder lieferbar Er gilt als einer der wichtigsten Vertreter deutscher Elektronikmusik-Avantgarde: der Komponist und Konzeptkünstler Conrad Schnitzler (1937-2011). Schnitzler studierte bei Joseph Beuys, war Mitglied bei Tangerine Dream und Kluster und veröffentlichte unzählige Solowerke. Das Material auf "Gold" (2003 auf dem Label Marginal Talent erstveröffentlicht) stammt aus den Jahren 1976 bis 78. Die Musik sticht in jeder Hinsicht aus den schnitzlerschen Veröffentlichungen heraus. Allein der Sound lässt kaum vermuten, dass das Material in den 70er-Jahren aufgenommen wurde. Mit seiner komplexen Mehrkanaligkeit, dem perfekten Equalizing, der transparenten Tiefenschärfe und durch die Brillanz der Signale klingt "Gold" so modern, als wäre es viele Jahre später eingespielt worden. Aber auch die Kompositionen sind erstaunlich. Auf abstrakte, atonale Abschnitte folgen handfeste rhythmisch-harmonische Sequenzen, die einerseits an Cluster erinnern, andererseits aber auch auf die elektronische Popmusik der 80er-Jahre hindeuten. Das Vinyl ist 180 Gramm schwer, die Linernotes sind von Asmus Tietchens.

First Word Records is pleased to welcome back Souleance with a brand new single for Summer 2022!

'GUILI GUILI' is a double AA side 7" single, with an additional remix by Art Of Tones on the digital version.

French slang for "tickle", 'GUILI' is an epic disco-funk piece inspired by the likes of Azymuth, Herbie Hancock and Marcos Valle, but incorporated with Souleance's trademark sounds of fuzzy bass-heavy electronica, synths and samples, giving the track a fresh contemporary twist. Meanwhile, the (digital only) Art Of Tones mix ramps up the disco elements heavily, incorporating some vocals, strings and horn stabs to create some sure fire heat for the summertime. The flipside 'TORO' is a much more tweaked-out, synth-heavy bomb, influenced by artists such as Prince, Parliament and French electronic club music. All tracks mark the evolution of the duo into a full live band, whilst remaining true to their sonic mission of producing music crafted especially for the dancefloor.

The band have been performing live at various festivals and venues across Europe, with upcoming appearances scheduled at the Pura Vida Festival, Greece in August and Jazz à Vienne in July.

This two-track vinyl 7" / three-track digi-single is released on First Word Records, worldwide on May 27th 2022. Another essential one for your record bags.

Credits:

Bass guitar, synths and programming by Fulgeance.

Scratches and programming by Soulist.

Wurlitzer, Moog grandmother, ASM Hydra synth & Roland Juno 60 by Vincent Choquet.

Mastered by DJ VAS.

Matmos are one of the most prominent experimental electronic artists working today, crafting work by creating new conceptual frameworks & immediately testing those frameworks absolute limits. For Regards / Uklony dla Boguslaw Schaeffer they've focused on another artist known, in large part, for doing the same. Boguslaw Schaeffer was one of the first Polish artists creating electronic music. In step with American contemporaries like John Cage and Morton Feldman, he worked across the boundaries of classical composition, electronic experimentation, and radical theater in playfully form-breaking ways. Matmos are not the first ones to recognize the power of his catalog, from Solo (a 2008 documentary that garnered numerous international awards), to the annual Shaeffer's Era Festival (most recently celebrated simultaneously in Warsaw and Los Angeles) his work continues to inspire. Regards.. however, was not just inspired by his work, Matmos were given access to the entirity of Schaeffer's recorded works to use as they saw fit, commissioned by the prestigious Instytutu Adama Mickiewicza. They re-assembled & re-combined these recorded works with modern instrumentations in a way that only Matmos could, and what emerges is a composite portrait of the utopian 1960s Polish avant-garde and the contemporary dystopian cultural moment regarding each other across a distance. To facilitate the transcultural exchange that is the album's essential premise, all song titles and liner-notes are provided in both English and Polish. The album was mastered by Rashad Becker and features illustration and design by acclaimed artist Robert Beatty (Tame Impala, Osees, Mdou Moctar). Like the anagrams of the letters of Boguslaw Schaeffer's name that were re-assembled to create some of the song titles, the album itself is a musical re-assemblage of component parts into possible but unforeseen new shapes. Adding harp from Irish harpist Una Monaghan, erhu, viola and violin from Turkish multi-instrumentalist Ulas Kurugullu, and electronic processes from Baltimore instrument builder Will Schorre, and Horse Lords wunderkind Max Eilbacher, the resulting arrangements constantly toy with scale as they move from the close-mic-ing of ASMR and the intimacy of chamber music to the immensity of processed drones and oceanic field-recordings that close the album. Offering a "life review" of production styles, Regards / Uklony dla Boguslaw Schaeffer builds temporary shelters out of the panoramic wreckage of modernist composition, sixties tape music, seventies dub, eighties industrial music, nineties postrock and dark ambient, 2000s era glitch fetishism, and contemporary post-everything collage sensibilities.

wieder lieferbar 1983 kam es zur dritten Zusammenarbeit von Dieter Moebius (Cluster) und der Produzentenlegende Conny Plank. Für "Zero Set" holten sie sich als rhythmische Verstärkung einen der besten deutschen Schlagzeuger: Mani Neumeier von Guru Guru. Ihn hatte Moebius bereits als Drummer bei Liveauftritten von Harmonia (Moebius, Roedelius, Rother) und bei deren Aufnahme ihres zweiten Albums ("De Luxe") kennen- und schätzengelernt. Der Produzent Conny Plank steht hier zu Recht gleichberechtigt neben den Musikern. Plank spielt nicht nur mit den Möglichkeiten der Klangbearbeitung, er sorgt für Brillanz und Plastizität. Neumeier spielt mit der Präzision und Ausdauer einer Rhythmusmaschine, nur eben viel lebendiger und erfindungsreicher. Und Moebius schließlich erzeugt auf seinen Apparaten bizarrste Klangereignisse. Auf "Zero Set" fließt die Musik ebenso leicht wie kraftvoll. Das Trio bedient sich völlig unsentimental der Technik, benutzt sie als leistungsfähiges Werkzeug zur Verwirklichung seiner musikalischen Vision. Der Begleittext stammt von Asmus Tietchens.

The Psychedelic Side Of Kosmische Musik

This album is the rarest of Soul Jazz’s Deutsche Elektronische Musik series!

Released on Karl Kronfeld's Synoptik Records, it was the label's only release, thus becoming a rare, sought after, private pressing.
Weird, intriguing atmospheres and a plethora of synthesized sounds, sequencers, cold sounding keyboards and even mellotron parts make this a darker offering than Aphorisms Insane.
Venturing into stark, spooky post-industrial territories it manages to combine the primitive cosmicism of early Tangerine Dream with the dystopic sound-scapes of Asmus Tietchens, 80's Conrad Schnitzler or the synthetic gothicisms of Peter Frohmader.
An album that should appeal not only to fans of cosmic synthetic music, but also those interested in the more experimental strains of cold wave & minimal synth (Robert Rental, Dome, a.o.)

The Wah Wah edition is the first ever reissue of this rare sought after collector's item.
100% analogue lacquer cut direct from the original master tape by Moritz illner @ Duophonic Gmbh and reproducing the original Dalí-esque sleeve artwork in a strictly limited edition of 500 copies only.

An explosive collision of garage punk and weirdo art rock from Sacramento's most exciting export since Mayyors. Clean Living Under Difficult Circumstances is a strange, haunting thrill ride driven by angular guitars, an unhinged drum attack and the dynamic, sometimes violent vocal delivery of Whittney K. Featuring long time members of the Sacramento punk scene, Drug Apts have released two E.P.s on Tyler Pope's (LCD Soundsystem, !!!) Berlin based label, Interference Pattern Records, the first produced by Death Grips' Zach Hill and Andy Morin, the second by Dub Genius and Slits producer Denis Bovell. "The band name is a reference to drug apartments, those Mid-Century Modern complexes scattered throughout Sacramento, with rows of palm trees out front and mock English names like Dorchester Court or the Royal Arms. Common features include: concrete stairs, prison-style walkways with dudes looking in your window every five minutes, moms beating their kids next door and cop car lights reflecting off the pool. An ex used to say, “I hate living in these fucking drug apartments,” and friends would say, “It’s three blocks that way, past the drug apartments.” We all spent time staying up and crashing in them, or we tried to sleep through the noise emanating from their windows. I hear they’re better these days, but who knows? So the name is rooted in places and times."

Clear Vinyl

Written and conceived by Stephan Crasneanscki, ‘LOVOTIC’ is a concept album by Soundwalk Collective, composed in collaboration with lauded actress and singer/songwriter Charlotte Gainsbourg. Featuring veteran techno stalwart AtomTM, rising singer/composer/performance artist Lyra Pramuk, celebrated actor Willem Dafoe, and writer/philosopher Paul B. Preciado, the album is released by the new Berlin-based Analogue Foundation.

Inspired by a relatively new field of research that seeks to explore and develop the possibilities of sexual and emotional relationships – and even love – between humans and robots, ‘LOVOTIC’ interrogates the impulses, ideas, and needs underlying this phenomenon. The project ventures into a future where sex, intimacy and desire are reformulated through the connection of humans, robotics, and artificial intelligence.

In an age of such hybrid entanglement with the machine, human identity requires the construction of new forms of intimacy, gender, and sexuality. At present, however, such technologies are primarily used to produce programs of limited sexual iterations that do not question the preformatted categories of gender and sexual orientation. In contrast, on ‘LOVOTIC’, Soundwalk Collective ask whether the future of sex and sexuality could instead be an exponentially expanding kaleidoscope. Where does the impulse of preference come from? What sets of words from our vocabulary can be communicated to the AI mind to generate a new identity for desire? Could the machine be another technology that brings us closer together?

Sonically ‘LOVOTIC’ is unidentifiable, artificial, and genuinely futuristic, occupying an amorphous androgynous netherworld at the borderlands between biotic and android. Traditional musical signposts are virtually non-existent, instead offering a mercurial, formless sound which mirrors the flourishing of gender fluidity it suggests could be on the horizon.

The production tangibly evokes the odd, rubbery textures of faux flesh, the slick virtual glide or glitchy mishaps of software, and the sleek shine of hardware. Gleaming sound design creates shard-like surfaces redolent of Alva Noto and Ryuichi Sakamoto’s ‘Glass’, the slippery stretched sonics Gabor Lazar, and the unsettling dark ambience of TOWERS and Hallmark ‘87.

At turns intimate and inviting, with whispering-in-your-ears ASMR vocals evoking blissful, heightened sexual states, within ‘LOVOTIC’ there’s optimism, but also unease; As well as the positive, it implies the negative ramifications of technology. At points a synthetic siren’s call appears to lure the listener to a darker place, with audio malfunctions suggesting dystopian science. Voices morph from gentle to distorted – a glitch in the system causing the mask to slip, like virtual lizards – ‘They Live’ or ‘V’ (?), for the metaverse age.

Here, Charlotte Gainsbourg invokes a being of unknown identity – an artificial eve, the oracle and the portal – speaking from an unspecified time in the future. The voices of AtomTM, Lyra Pramuk and Willem Dafoe weave in and out of Charlotte’s, often overlapping, merging into one another, expressing the entity of a being that’s ephemeral and in constant flux, oscillating between the natural and artificial. The record’s other bonafide singer, Lyra Pramuk’s delivery alternates between spoken word, operatics and partially- unintelligible language.

A multi-media project, ‘LOVOTIC’ also features the work of writer, philosopher and curator Paul B. Preciado – a leading thinker in the study of gender and body politics. Paul contributes a post-apocalyptic, quasi scientific and fictional text, which adds further fantasy, artistic and intellectual depth, augmenting the listener’s experience. Like all the best Sci Fi, his words seem prescient, describing what could become a likely reality in the future. Paul performs his written texts on the opening and closing tracks of the album; ‘The Age Of Mutation’ (in Spanish) and ‘Primate Love’ (in English).

Soundwalk Collective is an experimental sound collective helmed by Stephan Crasneanscki in collaboration with Simone Merli, which operates in a continuously rotating constellation of sound artists and musicians. The Collective’s approach to composition combines anthropology, ethnography, non-linear narrative, psycho- geography, the observation of nature, and explorations in recording and synthesis.

Kapriole is the debut album by Zurich- and Hamburg-based artist Leo Hofmann after working in music theatre, sound art, and performance contexts. Central to the album, which refers in its title to a joyous jump, is the ambition to translate an ephemeral practice into recorded matter. Fixed but never static, Kapriole is informed by intimate and detailed listening situations and sound practices like ASMR or the acoustically sheltered world of noise cancelling headphones. And while it is apparent that Hofmann has a deeply rooted understanding of technology and its abundant possibilities, Kapriole is a tender and almost analogue feeling affair. The human voice occupies a central role in the musical configuration of the album: quirky repetitions, hushed fragments and poetic statements, circling topics like communication, mobility, and immersion occupy the album’s eight tracks. The result is a sonorous sensation, which, in its scarcity, paves the way for meticulously crafted and delicate soundscapes. Kapriole as a joyous jump which is technological as much as it is emotional.

"The stakes are high; if I mess up the last bar, the whole recording is ruined." As Dutch pianist Nicolas van Poucke acknowledges, there is an electricity in the room whenever the lathe is on. Direct-to-disc recording generates tension and release unlike other methods, not least in the final moments of a 20-minute solo piano recital. Described as "the young freethinker" of his generation, van Poucke relished the challenge. Having spent day one setting up to record works by Frédéric Chopin, van Poucke changed tack on day two to perform two Beethoven piano sonatas - Sonata No. 12 Opus 26 in A flat major, and Sonata No. 23 Opus 57 in f minor, also known as the "Appassionata".



For fans of great jazz soloists like Keith Jarrett and Bill Evans asmuch as for classical aficionados, van Poucke’s recordings make thebest of the process in capturing a sense of timelessness in the music.