Search:atmos

Clash lands once again on his very own label with a powerful statement: "Nuevo Orden Mundial" (spanish for "New World Order"), a taste of the singular and trademark sound from the Madrid-based producer, but in a very particular way... A release fully oriented to the dancefloor!

Five cuts of raw techno and modular sounds with a rave touch, influences that come together to give shape to this EP. The release includes three original productions by Clash: "Overflow", "Alone" and "Pills"; along with two totally killer remixes.

The first one by the Russian duo PTU (formed by Alina Izolenta and Kamil Ea) who took “Overflow” and dismantled it and then blended it back together to leave their characteristic stamp, a strong and energetic sound, a proof of frenetic rhythms. This track has been an essential part of the shows the duo has been doing live during the last few months.


The second remix comes by the berlin-based italian techno veteran Davide Carbone, better known as D.Carbone. In his "Pills" remix, Carbone injected all of his industrial techno power and translated the track to a rave oriented atmosphere. There's no doubt his remix will definitely be considered a dancefloor anthem for this post-pandemic times to come.

Ralph Heidel is one of the young musicians that represent the spirit of Berlin’s new musical ecleticism better than others. He is part of the avantgarde circles that mix modern jazz and contemporary classical music with elements of new electronica and experimental ambient music. This is the vibe of Germany's next generation.

Heidel creates a sonic universe that is unique. He takes the listener into a deep, atmospheric travel that stimulates emotions and feelings on a different level. Heidel brings together two worlds: what he learned at Musikhochschule München, Germany’s leading academy for classical music where he studied saxophon and composition and the moods happening in Germany's new electronic circles.

On „Relief“ Heidel created six songs. Except one, all of them are instrumental music. Partly composed and often improvised these sounds take the listener into Heidel's specific sonic universe. Raw beat structures, emotive horn lines, strong harmonical tensions and dramatic build ups. Heidel’s signature sound.
In fact Heidel is a multiple influenced artist with a strong personality that absorbs whats around him, connects it with his own wide artistic knowledge and fullfills it into magical musical moments.

Relief is the next step in what could become a longtime artistic career.
After a (very composed) debut album for string quartet and rhythm section for Kryptox (Moments of Resonance 2019), it was important for Heidel, to process current feelings of daily life.
Not just his cultural learnings, but also emotions connected to the hard COVID times and a lot of personal experiences.

Relief are six abstract, distorted patterns. Long deep transitions that lead into euphoric parts of sonic greatness. Heidel's sense for sound design and the soft tone of his saxophone phrases, add a personal note that is somehow alone in the current music scenario. Sampling his saxophone (reeds, keys etc.) to create very organic beats is one of the many techniques to create that special „Heidel“ sound. Also his calm and wide harmonies over disquiet, rough drums are part of his unique ambivalent, disrupted moods.

Most of this EP has been played by Heidel alone. For a few parts he was joined by musicians from the local scene. In fact besides his albums on Kryptox Ralph Heidel is very connected in Berlin’s current cultural playground: He creates music for underground performance art happenings in Neukölln as well as for new German theater (Volksbühne, Berliner Ensemble). Also German rapper Tarek from K.I.Z heard about Heidels string debut album, so they collaborated for an album, where Heidel reworked his record for stringquartet, piano, drums and bass.

Yotogi' sees the light of day through Vessel records. The record itself contains three tracks and three sound skits that recreate the atmosphere in which it was produced - deep in the bowels of Osaka, Japan. A big arigatou to Shindo for allowing us to make it available, and to our friends in Japan for sharing their honest approach to house music culture.

Grey Vinyl

Serum is a series where we invite talented electronic music producers for a temporary creative collaboration. For the fourth edition we are glad to share three timeless pieces of deep dubbed out techno by Mohlao (aka Multicast Dynamics, VC-118A). The record is then completed by an atmospheric tribal interpretation by Dorisburg.

By uniting these newfound friends of ours, we welcome the new solar cycle and wish everyone a healthy and prosperous venture toward summer.

Cobalt Chapel release ‘Orange Synthetic’, the follow-up to their much lauded self-titled debut album and its companion piece ‘Variants’. ‘Orange Synthetic’ is an exploration of the epic county they call home, Yorkshire. Written during this tumultuous turn of the decade, it is inspired by the humanity, anecdotes and folklore of the region, and the surrounding landscape.

The album delves into stories which exist at the edge of history and myth: the drowning of a village under Lake Semerwater, the mystery of the lost geodesic domes of RAF Fylingdales, the fate of John Hotham of Hull, beheaded for treason during the English Civil War, a psychedelic folk song about an infamous Cragg Vale farmer killed in a fight over a flock of sheep, the cry of Skylarks over Erringden Moor.

The album’s name stems from a line in the title track, telling the story of the fateful Yorkshire Folk, Blues & Jazz Festival in Krumlin, fifty years ago. Hit by a violent storm, it resulted in the devastation of the site, near-deaths from exposure and the promoter being found wandering the moors, days later.

Cobalt Chapel’s atmospheric style remains distinctively their own, through Cecilia Fage’s crisp English vocals and choral arrangements, and Jarrod Gosling’s use of organs such as the Vox Continental, Philicorda, and the USSR-era Elektronika Organ. These are the foundations of their rich, experimental yet melodic sound, and this album sees them expand on it with the addition of mandolin, guitars, and drawing on Cecilia’s classical background, with clarinets and recorders.

The now legendary show that started the teuchter rock trio’s sold out UK tour at the beginning of 2020 at Glasgow’s favourite venue, The Barrowland Ballroom. Features live versions of all their favourites from their first two albums “Uptown Fank” and “Light my Byre”. Having recently won album of the year and live at of the year at the Na Trads awards and recently showcased their music on BBC2’s show “the misadventures of romesh ranganathan”.

From the band:

Peat and Diesel – Live at the Barrowlands
The year 2020 started out fine but as the year went on it has changed the way we live dramatically.

Remember when thousands of strangers would all pile into a gig, jammed in like sheep at the fank, not a care in the world, just there to feel the buzz and magic of live music. It was crazy. Are these days gone forever??

Let’s go back to January 2020, the first time Peat & Diesel arrived in Glasgow, to play the famous Barrowlands Ballroom (aka The Barras). There were an army of 2000 true P&D fans waiting to have the craziest night both the band and the crowd had ever seen and if you don’t believe it… this album will prove it!!!

“Peat & Diesel - Live at the Barrowlands 2020” is an album which was recorded to capture the
incredible sound of the crowd (not the band!) and the atmosphere they brought with them that special night. It is not in any way recorded with any fancy tools to sort any mistakes or nonsense, its 100% raw, just the way Peat & Diesel wanted it.

“The Vale” is in immersive electronic album of dark soundtrack work. It’s the first of several Everyday Dust releases scheduled for Castles in Space in 2021.

Everyday Dust is RJ McConnell. Based in Scotland, RJ ditched piano lessons when he realised I had no interest in being an instrumentalist. Instead he wanted to create his own musical works from the ground up. He goes on, “I was much happier working my way through music theory books on my own and applying my learning to my own music. We had a little home studio when I was a child. My Dad was also a musician and was involved in local amateur theatre where he prepared and operated all the sound cues on reel to reel tape. So from an early age I was messing around with tape machines, making tape loops and recording music. For years I tried to make the most interesting tones I could from a Yamaha home keyboard by passing it through my Dad’s guitar pedals, or recording to tape and playing it back at different speeds etc. My first proper synth was the Roland SH101.” He went on to study music and sound for theatre and worked for many years as a theatre composer before branching into larger events and eventually film and documentary work.

The Vale story starts in 2018. RJ again, “I was brought in as composer for an independent horror short that was being filmed in Istanbul. The film was a vampire movie, very atmospheric and beautifully shot. I was aware of being a Scottish composer on a Turkish film and therefore didn’t want to attempt in any way to make anything that sounded traditionally Turkish. I wanted to represent the idea of these ancient beings who had existed in one of the oldest cities in the world for centuries. I wondered how I could imply this “ancient” world with the instruments I had to hand. I recorded various old metal whistles, which were slowed right down to become eerie arcane horn blasts that sounded like they had come from another time. I also recorded lots of melodica, which was again slowed down to sound like wheezing old harmonium drones. I spent another day recording inside an old piano, plucking individual strings and also hammering them percussively with wooden beaters. Using synthesizers and effects as the “glue” to bring these sounds together I started to work on the cues for the film. I had scored most of the film by the time I heard it was being cancelled. The concept and story had been taken over by a streaming site who wanted to make it into a series - with a drastically different tone and style.

“Later that same year I had worked on a project that incorporated the folklore of a celtic water sprite who kept the waterfalls and streams running smoothly so they could turn the mills of the local village. In return the villagers would bring the water sprite bannocks (Scottish flatbreads) each day. I started to daydream about a darker, Lovecraftian twist on this story. Some Ancient One dwelling in the forests and controlling the water - the very life essence of the village - in return for offerings of the soul. The concept was filed away in the back of my mind for some months.

“The following year I was on a flight to visit my friend in Bodrum. He had been the producer and editor on the original disbanded Vampire film, and I found myself thinking about the project again. I wondered if the sound cue files were still on my laptop, which they were. It had been a year since I’d even heard them. Hearing the eldritch folk-tinged sounds of the whistles and plucked strings my mind instantly returned to the idea of the Lovecraftian folk horror story. I started jotting down notes and musical ideas and by the time I landed in Bodrum I already had the album title - The Vale. Having the album concept and prototype ideas to work with was a huge head start in making the album. Although all of the original cues were so dramatically developed and transformed that they really just served as the initial clay on the wheel.

“I used a Doepfer A100 modular synth to create the animalistic yelps, conches and horns that were improvised over the original cues as a response to the arcane “folk” world of the acoustic instruments. This half-acoustic half-modular landscape was the sonic scene-setter I needed to move onto the composition and musical journey of the album. I composed and developed most of the musical parts on an Oberheim Matrix 6 synthesizer. However all the percussion, rhythmic sequences and ornamental synth sounds were created from improvised modular sessions multitrack recorded. A lot of editing later, the soundtrack to the movie in my mind was finally there.

Ein einzigartiger Künstler an einem legendären Ort: Tripping with Nils Frahm dokumentiert seine transzendentalen Liveshows in der geschichtsträchtigen Kulisse des Funkhaus Berlin. Gleich vier Shows im Funkhaus Berlin gaben den Auftakt zu Nils Frahms ambitionierter All Melody Tournee Anfang 2018, die sein gleichnamiges und allseits gepriesenes Studioalbum in den nächsten zwei Jahren auf die Bühnen dieser Welt brachte. In den folgenden über 180 ausverkauften Shows war der Ausnahmekünstler unter anderem im Sydney Opera House, in der Disney Hall in Los Angeles, im Barbican in London, in der Elbphilharmonie sowie auf zahlreichen großen Festivalbühnen zu Gast. Dennoch blieben Frahm die Konzerte im ehrwürdigen und für seine großartige Akustik gerühmten Saal 1 im Funkhaus Berlin in,mm besonderer Erinnerung.

Als Frahm ein knappes Jahr später zu vier weiteren Konzerten im Funkhaus einlud, waren die Tickets binnen Stunden vergriffen. Frahms langjähriger Freund und Filmemacher Benoit Toulemonde, der unter bereits für die Film-Konzertserie La Blogothèque mit zahlreichen weltbekannten Künstler-innen und Bands zusammenarbeitete, hielt die Abende an diesem geschichtsträchtigen Ort mit einem siebenköpfigen Kamera-Team fest.

Tripping with Nils Frahm ist ein Dokument Frahms vielfach gepriesener Fähigkeiten als Komponist und passionierter Live- Musiker sowie der besonderen Stimmung und Atmosphäre seiner legendären Funkhaus-Shows. Ein außergewöhnlicher musikalischer Trip — exklusiv und intim, roh und direkt.

"It was about time to document my concerts in picture and sound, trying to freeze a moment of this period where my team and I were nomads, using any method of travel to play yet another show the next day. Maybe tonight is the night where everything works out perfectly and things fall into place? Normally things go wrong with concerts, but by combining our favorite moments of four performances, we were able to achieve what I was trying to do in

these two years of touring: getting it right! When you hear the applause on the end of the film you should know that I was smiling happily, being a tad proud and feeling blessed to share these moments with you.

Much love, Nils"

Having established himself as a core Apollo artist with three fantastic EPs since 2016, Sieren now steps up with a first full length for the label. 'Timelapse' is a majestic 13 track trip into this unique artist's very emotional fusion of post-bass bliss. Sieren aka Matthias Frick is a master of intricate electronics and bittersweet emotions, of deep atmospherics and compelling rhythms. He has been building a dedicated following for some years now, putting out his debut album on Christian Loffler's Ki Records in 2016. Inspired by a rich history of bass-driven UK sounds, he pairs that with a love of field recording and experimental soundscaping, and now shows he is an ever evolving master of his art on this stunning new record.

Fabrizio Lapiana continues to offer up deep musical escape from these troubling times with another expertly crafted techno EP, Cantamen, on his own Attic Music label. It features four of his own original cuts and builds on the success of his latest release, Collective Chaos, back in March.

For more than a decade, this Italian artist has been at the forefront of a techno scene that deals in deep and rolling drums, well sculpted synths and cavernous grooves that are rich in ambient detail. His Attic Music label has been at the centre of that thanks to careful A&R and always innovative releases, while he has also released on cult imprints such as M_Rec Ltd, ARTS, Figure Jams and Out-Er and many other collaborations.

Sleek opener 'Demons' is a mind melting and widescreen deep techno groove. Groaning synths creep across the face of the track as all manner of earthy and organic motifs drift by, as if you're racing through an underground network of caves. It's music for the mind as well as the body, and the hugely atmospheric 'Cantamen' is just the same - fizzing synth details and alien life forms fill the airwave with tension as the smooth and supple kick drums pound away down below.

The hypnotic masterclass continues on 'Kura' with rattling snares and harder hitting drums making you move your body before coarse claps and a majestic arpeggiated synth hook repeats up top and takes you to another level of rapture. Last of all is the fantastic 'Back Home', which has a skeletal electro groove run through with late night sci-fi pads. Its vast sense of cosmic infinity leaves you feeling floating adrift amongst the stars.

These are four evocative and cinematic techno tracks that take you into another dimension.

James Yorkston and The Second Hand Orchestra release ‘The Wide, Wide River’. The album came to be after the blossoming of a long-term friendship between James Yorkston and Karl-Jonas Winqvist, the Swedish music producer, leader and conductor of The Second Hand Orchestra.
That communal feeling is apparent across the entire album. Recorded and mixed in Sweden over the course of three days, with a selection of musicians Winqvist had brought together, including Peter Morén (Peter, Bjorn & John), Cecilia Österholm (one of Sweden’s best-known nyckelharpa players), Emma Nordenstam (piano & cello) and Ulrika Gyllenberg (violin).
The studio approach with The Second Hand Orchestra was entirely improvised around Yorkston’s songs and the only song they heard in advance was ‘Ella Mary Leather’; Yorkston didn’t want to direct anyone too much but instead allowed for a welcoming, instinctive, free-spirited and joyful atmosphere.
‘The Wide, Wide River’ is a soothing, warm and sublime listen whilst also highlighting Yorkston’s skills for songwriting, collaboration and as a musical conductor. The record takes in past loves, advancing age and friends now gone, whilst also containing some of the most sanguine songs Yorkston has ever made.

M.S.W. brings together key components from his work in solo projects HELL and CLOUD to come to terms with topics of intense personal struggle.
Here in his first album under his given name, we hear the familiar melodic atmosphere of Cloud coupled with intense, somber doom of Hell for a new sonic experience that is familiar but altogether its own entity of great despair.

Netflix's acclaimed series Suburra: Blood on Rome (available in over 190 countries) focuses on the deep connections between politics and organised crime in the Italian capital. The soundtrack to the third and final season was written, produced and performed by Roman rapper and songwriter PIOTTA, whose "7 Vizi Capitale" was already the theme song for seasons 1 and 2. His music beautifully complements the gripping plot and the characters' journey, capturing the atmosphere of a side of Rome unknown to many. The vinyl LP contains 10 previously unreleased tracks, including 2 instrumentals and a remix; the CD features 3 bonus tracks.

With 9 albums under his belt, Tommaso Zanello, also known as PIOTTA, is one of the pioneers of Italian hip hop. Active on the Roman rap scene since the mid-90s, he earned national fame with his award-winning single "Supercafone" (1998), which was later used by Sky Japan as a theme song for the Italian football championship. He can boast collaborations with hip hop legend Afrika Bambaataa and English musician Captain Sensible and has toured the United States with the Vans Warped Tour.

Tape / Cassette
Russian producer Requiem debuts on Sound+Matter with a four-track EP of raw and demonic electronic cuts. Hard-hitting from start to end, all tracks have been born and raised in a blood bath of influences ranging from witch house to blackened vaporwave and nasty trap. Requiem grabs you by the throat with his menacing wall of synths, thick atmospheric textures, slashing hi-hats and teeth grinding drums. Itʼs not until the closing track Exhale that you are actually allowed to breathe.

Based on a short-story by the master of horror and fantasy, author Clive Barker (Hellraiser), Rawhead Rex is set in 1980’s rural Ireland. The Demon, alive for millennia and trapped in the depths of hell, is unleashed on the sleepy local farming community. Remembered faintly through pre-Christian myth, the only one that can stop Rawhead's bloody rampage is the historian, desperately racing against the time.
This is the first ever release for the soundtrack by Colin Towns, one of Europe’s most prolific film, television and theatre composers, but also a pianist, songwriter, arranger, producer and collaborator, known for The Puppet Masters, Space Trackers, Maybe Baby, Foyle’s War, Doc Martin, Pie In The Sky.
"The first film I scored was Full Circle which starred Mia Farrow and is still in the BFI top ten for best score for horrorfilms. I felt that film was more of a dark scary mystery. Rawhead Rex on the other hand was clearly a horror film 100%. I visited the film set in Ireland during the filming to take in the atmosphere and meet the actors after which I decided to record the music at CTS in London with a sixty piece orchestra plus electronics. I have always orchestrated my own work and had a wild time with Rawhead which is what I really love doing". Colin Towns

Here in solo instrumental mode, the entire record consists of just one instrument, the pipe organ, and represents absolute liberation of the imagination.All Thoughts Fly radiates a melancholic beauty, and is distinguished by fluid transitions of contrasting elements; calmness and drama, harmony and dissonance, much like the place that inspires the music. About the album Anna explains"there's a sadness and wilderness that inspired me to write this album, also a timelessness. I believe that this park has survived not only due to its beauty but also because of the iconography, it has been liberated from predictable ideas and ideals. The people who built this park truly set their minds and imagination free. All thoughts fly is a homage to this creation, and an effort to articulate the atmosphere and the feelings that this place evokes inside of me. It's a very personal interpretation of a place that I lack the words to describe. I'd like to believe Orsini built this monumental park out of grief for his dead wife, and in my Sacro Bosco I used this story as a core for my own inspiration: love as a foundation for creation."

When Lindstrom and Prins Thomas get together, expect the unexpected. The Norwegian production duo's third album III is also their first outing together in eleven years, since II from 2009 and as ever, Lindstrom and Prins Thomas have crafted their own unique sonic world between the two of them. This is expansive, luscious electronic music rich with texture and intricacy, patiently revealing every eccentricity while constantly pulling the listener in. Getting lost never sounded so good. Since the release of II, Lindstrom and Prins Thomas have remained more than busy with their respective solo careers, but work on III was taking place behind the scenes the whole time - slow and steady by sending files back and forth. "There's a different process with every album," Thomas explains. "With the first two albums, we had a door between separate rooms in the studio, so I could open my door and play him something. We also toured together a lot after the first album, and after that experience we realized that we work better together at a distance. We're doing our best work by not worrying too much about what the other one of us is doing." Eventually, the bulk of III came together over the last year, as Lindstrom and Prins Thomas teamed up to craft a lush and lovely work that recalls the hazy atmospherics of Air, the loose-fit jazz of Lonnie Liston Smith, and the genreresistant electronic music that both artists have made their name on over the course of their impressive careers. "Our partnership is very democratic "we never turn down each other's ideas. And if it goes wrong, we blame it on the other guy," Thomas says with a laugh. "The tracks that Lindstrom sent me this time were almost like standard house tracks. I already had an idea of what I wanted to do, so I forced those tracks into new shoes and dresses." Above all else, III is a testament to the adventurousness of Lindstrom and Prins Thomas when it comes to soundcraft. Both artists have established separate careers on bodies of work that feature infinite twists and turns, thrilling their audiences with the suggestion of where they've been and where they're about to go. Together, they've crafted what might be their most beguiling and inviting work yet, a jeweled box of electronic music ornately crafted but never losing the sense of playfulness that so many have come to love from them.

LA-based electronic wizard Amon Tobin teams up again with Dutch composer and producer Thys (Noisia) for their cinematic "Ithaca" EP. The fractal five-track offering is an odyssey into the unknown, carefully constructed, intricately layered and arranged with purity of intent. "Ithaca" is an unnerving feast for the ears with a distinct curative vibe. It makes for a wholly immersive and atmospheric experience, delivered by two artists at the top of their creative game.

Art by Khomatech

restock

Following up on a strong launch with Braintalk, Human Sense Technology returns for their 2nd entry; this time from the man of many styles, Eastern Zurich's very own Dan Piu, with Modern Utopia Thought EP. Dedicated to his youth and influenced by future visions of creation, the atmosphere and arrangement on this EP permeates into the imagination with colors of suspense, harmony, and spherical textures showcasing the finer lines of deep frequency. Courageous indeed as this EP embraces the mysterious in an eccentric bliss that charms the listening experience in a way that grooves the body as much as it moves the mind. Welcome to Modern Utopia EP, where there are no constraints on creation or time.

Amazing 1976 album where jazz meets world music !

An amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community’s musical belief emerges in its simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki. A pure hippie aesthetic, like in an intimate ceremony, filters a magical encounter between Eastern and Western civiliziations, offering different suggestions of sound mysticism: natural acoustics in which individual instruments and voices are part of a wider pan-tribal consciousness. A desert Western landscape marries Asian and Latin atmospheres. Indigenous contributions with berimbau explorations find fossil sounds of rattles and clap-hands invocations. Influences of Indian mantra singing are combined with eternal African voices or with folkish-Latin guitar rhythms , while flute and drums evoke distant dances. In the Organic Music everything becomes an act of devotion and love, an ecstatic dwell in the dimension of a sacred free-rejoice.

White Vinyl

For Intervals, Arndt's chose the family piano to begin the creative process. By placing less importance on the skittering rhythms, which propelled previous Near the Parenthesis collections, Arndt was able to focus more on the instant gratification of sitting down and just playing. These ideas became the back- bone in which he then composed eight tidal tracks, mostly in the early morning hours in his East San Franciso Bay creekside home.
In these sessions, Arndt utilized various synths, and percussion to provide additional depth and atmosphere to the tracks' original skeletal structures. Arndt says of Intervals, "The title has a dual meaning as there has been a decent period of time between my previous album Helical and the release of Intervals, Four years to be exact. This concept of time and the spaces between gives the title its other connotation, which is a nod to musical intervals and the spaces between notes. I think this becomes evident in my use of arpeggiation, which I feel is a grounding motif across the album."
As with many Arndt's Near The Parenthesis works, there is a gentile hopefulness sewn through Intervals forty-minute runtime that provides much-needed solace in such unsettling times.

Italian composer Gadi Sassoon debuts on A Strangely Isolated Place with an experimental exploration of impossible physics; an intricate soundtrack based on newly created sounds and abstract atmospheres. In 2015 Gadi was invited to Edinburgh by The NESS Project to check out their groundbreaking sound synthesis work. With the help of a supercomputer, the NESS group had created new digital systems capable of creating sounds so complex, rich and realistic they were indistinguishable from acoustic instruments. Better yet, the code could be hacked to create completely imaginary sonic worlds with bizarre physical properties. Gadi fell in love with this idea and became resident composer at NESS for the following years, collaborating with the researchers to create impossible instruments: mile-long trumpets blown by dragon fire in Black Hole Fanfare, needle fingers brushing eternally vibrating strings in Pi (p), giant resonating lattices of bound masses and springs in the Moto Perpetuo suite and Collision Suite, marbles sliding on thousand-string fretboards in Young's Modulus, morphing bouncing objects in Chaos & Order, an orchestra of giant bowed basses in Life On A Tidally Locked Planet. Multiverse was designed and created by bending the laws of physics in subtle ways, effectively creating acoustic simulations from parallel universes. Gadi combined the NESS sessions with analogue synths and live instruments in his Milan studio, with the intent of creating a space for the listener to get lost in - blurring the lines between organic and synthetic, loud and quiet, the abstract and the familiar.

Diagnosis tries to express the mistrust and the unborn rebellion towards this paradoxical world where the right ones are often unheard and good people and the author struggle to maintain their self-control and sanity. In the meanwhile the system is always on the edge of collapse and the dystopia keeps evolving. Prejudices, envy and fake respectability are always a constant.
The ep is flavored with intricated rhythms,incisive sounds and odd atmospheres with an industrial oriented A-side and a more technoid B-side and it contains 2 remixes by the sound sculptors Blush Response and Sirio Gry J.

Für "No Eye Has An Equal", einer "Reflektion darüber, wie Vielfalt einen Sinn für Unendlichkeit kreieren kann", gräbt der italienische Komponist Giulio Aldinucci tief in sein umfangreiches Archiv electroakustischer Kompositionen und präsentiert vier radikale Rekonzeptualisationen seines eigenen Materials. Jede ist für sich ein Blick in tiefe, persönliche Atmosphären, die Aldinucci seit über einer Dekade mit seinen Kompositionen kreiert und perfektioniert. Empfohlen für Fans von Steve Reich, Kara Lis Coverdale, William Basinski, Tim Hecker und Deepchord.

A lucid dream meeting of synth waves, aquatic jazz spirits and drum-triggered electronics.'Linha D'Água'translates as 'water lines', fitting for an album that traces boundaries between water and air through an echo chamber of dizzying oceanic layers and free flowing ideas.

This is not a record based on genres. It's an album that navigates through atmospheres, through explorations and discoveries, through curiosity and dialogue. The eight tracks were recorded in a single day in the studio, but it is the result of more than two years of collaborations.

Mauricio Takara and Carla Boregas are two towering figures of the Brazilian underground/experimental scene, where they provide the rhythm section for demented genre-bending trio Rakta. While that band is all ritual percussion and red-blooded passion, as a duo they're a blue-water flowing counterpoint. From the drums, Takara fires melodies and, with the synthesizer, Carla sculpts the sound. The result iscaught somewhere between abstract improvisation and propulsive rhythm. Each song's an organic layering of manipulated synthesizers and acoustic sounds; teasing new rhythms from the drum kit via MIDI (and a near-telekinetic bond between Carla and Mauricio).

Sometimes'Linha D'Água'driftsclosest to ambient music, as in the title track, in 'Mãe D'Ouro' and 'Bocca Chiusa'; sometimes it runs into free jazz, as in 'Traçado Entre Duas Linhas'. There are moments when Carla and Mauricio explore a universe of tension that comes closest to the cosmic music of 70s Germany, as in 'Rosa de Areia' and 'Constante de Distância'; in others they evoke the metallic sounds of Indonesian gamelan (on 'Execution').

Carla Boregas is a founding member of the band Rakta, which started in 2011. She co-founded Auta, a DIY space dedicated to adventurous music in São Paulo hosting artists like Feminine Hi-Fi and Deafkids. She is also part of the transdisciplinary duo Fronte Violeta.

Mauricio Takara also plays drums/percussion with the bands Hurtmold and São Paulo Underground (with trumpeter Rob Mazurek from Chicago). Takara has played with a dizzying array of improv / experimental / jazz figures such as Pharoah Sanders, Damo Suzuki, Yusef Lateef, Joe Lally (Fugazi), Naná Vasconcelos, Prefuse 73, Makoto Kawabata and more.

Midnight Operators is back with its second release, which is also the first vinyl to be released on this imprint. Dominik Marz has his label debut with a solid four-tracker, delivering his signature blend of Avantgarde House and Indie Dance.

A1

Dominik Marz blends melancholic arpeggios and gloomy pads with a rock-solid groove to what is the title track of his four-track vinyl debut on Midnight Operators.


A2

A driving baseline and howling synths already are a match made in heaven, but Dominik Marz manages to take the track up a notch when he brings in distorted leads together slightly shuffled percussion.



B1

Dominik Marz opens with straightforward percussive and melodic elements immediately catch the listeners' attention, only to surprise him when he intertwines these with another harmonic layer and triplet rhythmic elements.



B2

This track comes with wonky pads and a haunty aura, slowly building up tension and eeriness. Dominik Marz manages to maintain this particularly blood-curdling atmosphere, despite the backbone of a catchy groove and steady baseline.

From Norway via Berlin, O.M.Theorem debuts with an EP rooted in 160BPM sub-heavy atmospheric soundscapes, that explores connections between different tempos and time signatures. Side A presents two percussive driven polyrhytmic explorations while side B steps into slightly more familiar dubstep / UK Garage territory.

Germany’s Jacob Groening is one of those hard to pin down artists working within the space of organic dance music. As a live performer and hybrid DJ, Jacob somehow manages to infuse everything from gypsy to jazz, blues to soul, with distinctly electronic elements. Never one to settle for anything less than unique, his gentle touch and international influences create music that is both sweet and powerful. This sound has already been felt across the likes of Bar 25, teyoyoke, Delicieuse Musique, and his own Kamai Music imprint, and now Jacob
provides the 4th instalment on Amsterdam’s The Gardens of Babylon eponymous label. Jacob’s Leslie Ep is a three-track excursion, Inspired by travels yet constructed in quarantine. It is a testament to the connective power of music through uncertain times, where some dancefloors may be empty, but hearts and minds remain full. Until we meet again, let Jacob’s playful and pulsating Ep satisfy those Communal urges with a journey through sound and culture. Starting this journey, its title track gently swells throughout with subtle chants and hypnotic percussion. Kabir then kicks things up a notch, Bouncing between its own pulsating rhythm and powerful chord progressions. Finally, Iguazu draws direct inspiration from Jacob’s travels through India during times before the world changed. With field audio and local musicians interjected throughout its explorative atmosphere, Iguazu is the perfect representation of Jacob’s distinct style: gentle, shifting, and cultural. If you know The Gardens of Babylon, you know Jacob Groening. His sets from The Dunes of Babylon and ADE’s The Seekers of Light have placed him firmly within family status. Now, with Leslie Ep Jacob Groening joins Geju with his own solo release on the label.

Icelandic contemporary composer Olafur Arnalds created and released a new song, one per day for one for one whole week during the month of October 2011. The songs were recorded and filmed live in the living room of his Reykjavik apartment and released instantly for free as streamed videos and mp3 downloads. Thousands of fans followed this exciting project online at: livingroomsongs.olafurarnalds Living Room Songs will now also be released on CD, Vinyl and as High Quality Downloads via Erased Tapes on December 5th, 2011. Following in the spirit of ?lafur Arnalds' critically acclaimed Found Songs (2009) where he wrote, recorded and released a free song every day for a week - now comes Living Room Songs. This time ?lafur takes the idea further and invites the audience into the comfort of his living room, where the songs were recorded live and the whole process filmed. The songs were instantly released in form of a free mp3 download and video stream- straight from ?lafur's Reykjavik apartment. In his own words: 'One night I was just playing my piano here in this apartment and I was writing a new song and I didn't have my phone on me which I usually use to record ideas. So I actually took out my MacBook and I didn't want to open like a proper recording program, so I just opened Photo Booth and recorded a video of myself playing the song so that I would remember the song. And I really liked the atmosphere of that video and that's when I thought I should do a series of songs in my living room...' ? ?lafur Arnalds

The sixth vinyl release of the Valencian label HC Records is signed by the legendary

brothers John & Paul Healy aka "Somatic Responses" in "Interlinked Ep". To talk about

them is to talk about real heroes of the history of the most personal, raw and abstract

electronic music born in Wales. Active since 1994, to this day they continue experimenting

with all their analogical stuff to compose with tremendous regularity.


The neural connection of wet cable with the Somatic Responses universe begins with "Satin

Armour", a stunning and beautiful electro melodic track surrounded by rough rhythms and

strange atmospheres like a rose protected by steel thorns. Raw, primitive and rough rhythms

are the presentation card of "Snake"; a track with a marked industrial influence where an

avalanche of beams and Martian LFOs, with a marked acid taste, develop along this

primitive discharge of high electric voltage. The mechanical and industrial force hits our

prefrontal cortex in "Interlinked (Cell Mix)", a sonic aggression that combines all the

violence of the Intelligent Hardcore Techno with an avalanche of mysterious and fatalistic

auras coming from a future Cyberpunk.

"Aria" inaugurates the B side of the vinyl in a demonstration of harmonic virtuosity and

synthesizer juggling, seasoned with a whirlwind of accelerated broken rhythms totally

saturated with emotion, passion and hope.


The album's farewell track is "Heading South", a strange emotional trip, with velvety

cadences and dreamy pads seen through a stereogram, a potential anthem.

Four digital bonus tracks complete the journey through the dark future designed by the


Healy brothers:

"Dolaucothiacid v2" is an advanced and sharp experiment in several layers of pressure and

distortion around the amalgam of possibilities of the stacking of corrosive sequences and

abstract structures.


"Automaton Reign" reinvents all the concepts of the most acidic and vengeful Techno

Industrial, a merciless brain-roller. Persistent Illusion infiltrates us in the middle of an epic

and decadent combat of space cruisers where nobody survives, rhythmic rage and metallic

histrionics. We don't abandon the forcefulness or the post-apocalyptic hysteria in "Cell

(Loquelic Mix)" a demolishing closure that connects us fully in the already tangible manmachine

connection.



For this special release, we have collaborated with the Valencian artist Manuel Monzonís,

who has been in charge of creating the cover illustration. A stunning work that perfectly

captures the spirit of this Interlinked EP.

WRWTFWW Records is profoundly enchanted to announce the full official reissue of Somei Satoh’s magnificent Avatamsaka Sutra inspired Mandala Trilogy with one additional never-released piece, sourced from original masters and available on double vinyl in heavy 350gsm sleeve with liner notes by passionate Japanese music connoisseur/collector/critic/dj Masaaki Hara.

Deep deep deep into the abyss…

The Mandala Trilogy blends Somei Satoh’s own slowed down Buddhist chant vocalization and early electronics to create a radiant and meditative atmosphere conveying serenity and timelessness. It includes three pieces recorded separately. "Mandala" was recorded at the NHK Studio of Electronic Music in 1982 and was included on the album Mandala/ Sumeru, released on Kojima Recordings’ ALM. "Mantra" was a NHK commissioned work, recorded at the same studio in 1986. "Tantra" was recorded at Victoria University of Wellington’s Lilburn Studios for electronic music and recording in 1990.

Included as a bonus is the 20-minute "Mai", a composition commissioned by harpist Ayako Shinoza-ki and recorded at the Kioi Hall in Tokyo on November 11th 2004. The piece was conducted by Tetsuji Honna and performed by the Kioi Sinfonietta Tokyo. Satoh says: "The harp is one of my favorite instruments. Also, by combining my affectionate percussion instrument, the chromatic gong and steel drum, with the harp’s most beautiful tone, I attempted to bring out a mystical sound." Alt-hough it is not an electronic music piece, the stunning composition elegantly complements the deep mystical world that Satoh expresses in his Mandala Trilogy.

Mandala Trilogy + 1 is reissued in conjunction with Somei Satoh’s Emerald Tablet / Echoes LP, also available on WRWTFWW Records.

THUGWIDOW (Circadian Rhythms / Tar) is an artist that creates 'modern jungle with a sense of atmosphere and space that alludes most of his peers' (Resident Advisor), Bruised Skies (Pure Life Records / Blank Editions) creates ambience that captures a hyper-real landscape. Here on 'Requiem For a Sesh', the pairs first collaborative record, these two worlds collide to bring the listener an offering of strobe-laden 4x4, disfigured break beats, low slung sqaure waves and euphoria inducing top lines.

EP opener 'Epic Questing' is arguably the most dance-floor refined offering from either artist - sliced vocal chops and hard hitting kick drums tip the hat to classic 90's house anthems before heavily chopped jungle breaks and compressed 808's splinter around your ear drums like it's 3am at Unit 18 and the lighting technician is coming up riding the lazer fader. The ecstasy-laced piano melodies of title track 'Requiem For A Sesh' sounds like the sonic fruits of children raised on Olvie's 'You're not alone' and early XL Recordings 12"s. Elsewhere, 'Void Release' is a peak time 6-minute cataclysm of heavily sliced jungle breaks and jittering basslines, whilst EP closer 'Infinite Bass' feels like the clock winding down on the end of a night that we wish could go on forever.

Bruised Skies has recently been receiving radio support from Murlo, Lee Gamble & Francis Redman. Whilst THUGWIDOW's recent releases have received support from Team Sesh, Amy Becker & Whities as well as glistening reviews on The Quietus, & Resident Advisor.

Philipp Otterbach’s psychedelic music never been a sunshine pleasure pill. But yet, the souls of his notes are deeply gentle. With “Everything Else Matters” the Berlin based DJ and producer now introduces his debut album, that follows a long introduction. Already since a while he devotes himself with endurance to music. He was an early resident at Düsseldorf’s shrine for outernational grooves Salon Des Amateurs. Since 2014 he releases music under his given name or as Grand Optimist on labels like Grokenberger Records, Knekelhuis or Themes For Great Cities and leaves marks as a remixer for artists like DJ Normal 4, Brainwaltzera, Wolf Müller and Niklas Wandt on labels like Growing Bin Records or Second Circle. His long DJ nights and already released music prefigures the spirits, that he now bunched on his first album. It’s a record, that does not want to pursue a straight categorization. It rather aims to spellbound with an atmosphere, that is made for moments in the absence of hysteria. Tribalistic, trip-hopping rhythms, menacing sounds, cold cool vocal passages, drone chants, morbid goth-ambient spheres, Indie rock indications: its many facets meld into some kind of black highway sound for thoughtful night prowlers in a dissociative state of mind. In context all particles achieve delicate sculptural effects that operate like the surprising architecture of a dream. A forward- thinking dream, that bundles something otherworldly, something unspeakable, that lives hauntingly between the sounds, rhythms and suggested melodies.

Four Flies are proud and honoured to release the first vinyl reissue of Bruno Nicolai's outstanding original score for GEMINUS, a 1969 Italian TV mini-series directed by Luciano Emmer and starring Walter Chiari, Alida Chelli, and Ira von Fürstenberg.

Originally released under Italian label Gemelli, Nicolai's soundtrack has been remastered from the original master tapes and comes in a glossy, tip-on style jacket featuring the restored original cover artwork, as well as extended liner notes by film critics Francesco Cesari and Roberto Curti.

Bruno Nicolai composed and directed an eclectic score that brings together different music genres and influences, from 60s beat, psych, and progrock to baroque and experimental music. He did not hesitate to mix classical forms and structures with new instruments andremarkable, eccentric arrangements.

In 'Giano' (Janus), the interplay between a distorted electric guitar and a hypnotic harpsichord creates a strange, somewhat troubling ambience.

The delicate, celestial voice of Edda Dell'Orso leaves its unique emotional imprint on the most lyricalpiece in the soundtrack, 'Tema Barocco' (Baroque Theme).

The main theme 'Il cielo cade' (The Sky Is Falling) features a luxurious arrangement and stunning orchestration enhanced by enchanting vocal harmonies sung by 'I Cantori Moderni di Alessandroni'.

In other pieces, such as 'Larve' (Larvas), 'Il sognatore' (The Dreamer), 'Eclisse di luna' (Moon Eclipse), 'Visioni' (Visions), 'Catacombe' (Catacombs), and 'Notti romane' (Roman Nights), expressive and experimental solo passages played by instruments such as the vibraphone, sitar, harmonica, or percussions, contribute to the sombre, mysterious atmosphere of the score as a whole.

Repress der 2014er Reissue von Brian Enos Album "The Shutov Assembly" (1992). "The Shutov Assembly" ist ein atmosphärische Ambientwerk, dass Eno dem russischen Künstler (und persönlichen Freund) Sergei Shutov widmete, der oft zu Enos Musik malte.

Constant Sound welcome a true stalwart of underground UK house and techno, the one and only 100HZ. Lee Renacre has been delivering distinctive club tracks with an ear-snagging kink since the early '90s, and he's sounding as inspired as ever on this new release. "Jive" skips and swings with urgency, but the synths soar like the loftiest Motor City anthems. "Honkey (Crazy Hats)" is a more obscure affair that uses subtle inflections of rhythm and texture to create an immersive trip anchored to a steady kick. "Ochos" is a dreamier cut that places the emphasis on melody and atmospherics rather than straight up beats, creating a beautiful slice of machine soul in the process.

studio mule is back with another amazement, opening the roster towards sophisticated spiritual sounds on the crossroads of electrified jazz, oriental fourth-world spheres and deeply composed experimental sounds. this time the label welcomes japanese artist ya-sukazu sato aka yas-kaz, a university-trained percussionist, that gained global success as a composer for the internationally known butoh dance troupe sankai juku, that tours around the world since 1975. his infrequent musical amalgamation of ancient eastern genres, airy soundscapes, and ritualistic dance percussions perfectly accompanied the modern dance movements of an avantgarde dance group that is known for slow, mesmerizing dance passages, whose repetitive body movements sometimes focusing only on the feet or fingers. besides his theatre work, yas-kaz composed scores for japanese movies, performed live along stars like us-american jazz saxophonist wayne shorter or legendary japanese new-age musical group himekami and recorded a number of collabo-rative and solo albums.

with “virgo indigo”, studio mule reissues his third solo album, originally published on the japanese label canyon in 1986. the album opens with “djidanda”, a composition whose melodic drive and percussive groove reminds on moondog’s spirit. melancholic strings, loose guitar riffs, spiritual cowbells and wild, yet mild rhythms form a repetitive maelstrom that is made for all sorts of acrobatic body movements. it gets followed by the album’s title track “virgo indigo”, a spiritual jazz leaning arrangement featuring wayne shorter on the soprano saxophone, delivering a crystal-clear performance above tribal rhythms and traces of gamelan. the story-arc of the ten-minute long composition brings also minimalistic percussive moments, oriental ambient zones and some electronic drones, all calm and lively at the same time.

a versatileness, that marks the other four arrangements on the album, too. “kara-kira ~windscape iii~” comes around as an airy spiritual illusionist, that melds joyful flute notes with gentle chime melodies. the b-side’s epic opener “wadji” starts industrial, just to break down into a manic, again moondogish atmosphere full of darkish sounds and nebulous ambient deepness. subsequent yas-kaz enters with “notarinotari” the oriental zones, seducing with a jazz-laden romantic soundtrack mood. the final tune is yet another surprise, as “jasmin” is percussive driven neon cocktail bar pop, that features a hum-ming female voice and mesmerizing synth and guitar melodies. six tracks that introduce six different locations of yas-kaz’s ramified artistic work, which combines sweetish melodies, dynamic percussions, statuesque minimalism and world music traditions in spacious compositions that stay surprising until the very last second.

IXRQ on a mission with his first full EP on Stilleben after an appearance on Stilleben VA before. Now to discover and get deeper into the electro sound that is unique for him. Wet basslines and beautiful melodies / atmosphere. After the pandemic this will sweep over the dancefloors of the world. Stilleben Records is very happy for this release and as usual... ITS MORE FUN TO COMPUTE.

'Kind of Strange' is taken from Edinburgh super group, Out of the Ordinary's debut album, 'Stranger Things Have Happened'. The original version is an eerily, atmospheric track with a classic film noir vibe, underscored with beats provided by Joseph Malik on the ones and twos, in collaboration with Check Masses members Vic Galloway, Saleem Andrew McGroarty and Philly Collins. Vocal powerhouses, Rosanne Erskine and Philly Collins will have you looking over your shoulder with their edgy, unsettling vocal delivery – was that a ghostly outline or just a curtain blowing in the breeze?

Combine all of these elements with the mighty Steven Christie's keyboard, Paulo ‘Brother’ Riddle’s anchoring percussion and Saleem Andrew McGroarty at the production controls, something rather special comes out of the speakers.

To prepare for their ‘North Street’ remixes, Jo Wallace and Darren Morris immersed themselves in continuous re-runs of iconic TV series, ‘Randall + Hopkirk Deceased’ and ‘Tales of the Unexpected’ enabling them to channel their inner John Barry. Throughout the track, Darren provides swirling, cinematic vamps and lush string arrangements echoing the Warsaw Concerto whilst Chris Greive’s haunting trombone and Vic Galloway, on his electric guitar, beautifully underpin the melody, transporting the listener back to a world of Black and White mystery and suspense.