Buscar:black out

Berlin-based Pascal Hetzel returns to Caduceus Records with a new slice of gritty industrial-tinged techno and finely tuned sound design. "Noxious Stimulus", the EP's title track, is a heavy peak-time filler with a mesmerizing bleepy modular sequence on top of rough monochrome beats. On her remix, rising talent Denise Rabe cranks up the paranoia and turns "Noxious Stimulus" into an unrelenting pitch black grinder. "Pain Tolerance Threshold" starts off as hefty with yet another dose of metallic atmospheres and crushing modular sequences, until a bright pad appears out of the dark. Proper techno goodness for the wee hours in your favorite warehouse.

Black & Orange Mixed Vinyl

Rundfunk records presents: 'Kill Gear', the debut album by The Eichler Brothers.

Inspired by European and American cinematic music, 'Kill Gear' honors the many great composers and compositions that characterise a bygone era in the history of cinema. The Eichler Brothers have re-imagined the late 60's and early 70's sound, creating an astonishing motion picture soundtrack that generates imagery which goes beyond an exploitation classic.

"The kind of melancholia I'm talking about, by contrast, consists not in giving up on desire, but in refusing to yield. It consists, that is to say, in a refusal to adjust to what current conditions call 'reality' - even if the cost of that refusal is that you feel like an outcast in your own time." (Mark Fisher, Ghosts Of My Life, Zero Books 2014, p. 24) In Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures', the author Mark Fisher outlines - to put it in a big way - a resistant melancholy. This stands in contrast to leftist melancholy resignation', as well as something which Fisher does not talk about: its common masculine counterpart, habitual post-left cynicism - as in seen it all before'. Fisher calls this hauntological melancholy. Haunting, spooks, ghosts and apparitions are an almost constant presence on I Started Wearing Black', the second album by the Cologne-based artist Sonae (pronounced so-nah'). The term hauntology shares a fate with retro-futurism when it comes to inflationary overuse and abuse. It's a conceptual container that looks good and can hold a lot, indeed, too much. Furthermore, hauntology has its peak season behind it, a term on the threshold of its expiration date. Nevertheless, I would like to rehabilitate hauntology and use it properly to characterize I Started Wearing Black', because the term is rarely as compelling to describe music as is the case here. The most recent other example could be Asiatisch' by Fatma Al Qadiri, but with a completely different frame of reference. What are the ghosts of this music It rustles, crackles, ruffles, crunches, rattles, scrapes, sometimes a beat emerges from the constant noise, sometimes an obscure voice mumbles incomprehensibly, sometimes a melancholy piano figure is prevented by this noise from coming too much to the foreground. It definitely is eerie - to bring into play another term used by Fisher in the title of his latest book, The Weird and the Eerie'. In British pop-jargon, eerie first occurred to me more often when referring to particularly leftfield, spooky and... well... ghostly dub, a bass-heavy, echoing noise, from Augustus Pablo to Creation Rebel to Burial. Unlike the Wald & Wagner records by Wolfgang Voigt, Sonae is not a kind of neo-romantic veiling with a tendency for escapist nebula. It is more a noise of latency. The noise signals a latent - not necessarily acute - threat, a latent uneasiness about... yes... about what About a System Immanent Value Defect' That's the name of a track on I Started Wearing Black' where something that sounds like a French Horn (or a foghorn) battles for attention through or against the background noise. An email from Sonae: The piece 'System Immanent Value Defect' should actually be called 'I See Turkey'. I wrote it for my fellow student Elif - she is a pianist and Gezi Park activist from Istanbul. Through her I witnessed the inner conflict and agitation that political circumstances can create: her feelings of guilt when there was an attack, with her safe in Germany as a student, watching the events from afar. It was horrible. When her mother begged her not to come home because she feared for her safety, I felt a cold shiver run down my spine. I started with the piece from this mood, beginning with the piano, then the noise (modulated sinusoidal curves), which reminded me of waves and the then heatedly discussed Mediterranean sea: atmospheric, melancholy motifs. In contrast is the anger, the pressure, represented in corresponding sounds - hopefully audible! - During this time I started to think about world views as they can be found around the globe, in how far they held by societies and their political representation. I realized that I know of no political system that is actually about the people and what would do them good. It's always about positions, power, money. I thought that was a lot more frightening on a global scale than merely viewing Turkey in isolation. That's why the piece is called "System Immanent Value Defect", because our world suffers from precisely that. Everywhere, it's all about the wrong things.' Between the wrong things there are happy moments. In the title track, after 184 seconds of rattling and hissing, a beat is unleashed, like an arrow released from a spanned bow, a beatific relief, if there is such a thing. White Trash Rouge Noir' first meanders along spookily, then after 144 seconds it transforms itself into a distant cousin of Einstu¨rzende Neubauten's Yu¨ Gung', but there is no Big Male Ego to be fed here, and the black in the album title is a completely different type of black from that of the Neubauten. Furthermore, I Started Wearing Black' was finished long before the black dresses were worn at the Golden Globes as a sign of protest against sexual violence. Sonae writes that she herself started wearing black some time ago. Her reasons are so-called personal ones: ... resulting from an individual situation (lovesickness), I started to wear black (gaining weight and feeling ugly).' The political dimension of gaining weight, feeling ugly and therefore dressing in black in I Started Wearing Black' lurks within the noise and never becomes explicit and only rarely manifest - or a manifesto. Sonae writes about the track We Are Here': A piece for minorities... in this case, considering the current pop-feminist discourse, explicitly for women. Female artists have long been saying loud and clear that 'we are here' and 'electronic music is not a boys club!' But this pop-feminist moment should only be seen as one part of the dedication of the piece. It is for minorities, for the oppressed, who didn't belong enough.'

Klaus Walter

One of the earliest MC5 singles! Packaged in new envelope style sleeves, with rare unseen band photos! The Motor City 5 pressed on black vinyl at Third Man Pressing in the Motor City! Includes brand spankin' new liners by David Fricke of Rolling Stone, who says, "In a 1966 live recording, the MC5 played 'Looking at You' like Motown raga. At United Sound, the band hit the zigzag riff at light speed and stayed there, framed by searing lead guitar and explosive drumming. 'Borderline' was a frantic jigsaw of power-chord jolts and sheet-like harmonies detonated again, at the Grande, for the live recording of the MC5's first LP, Kick Out the Jams."

Scacy and The Sound Service performed top 40 material at Byrne Manor and other cabarets around DC along with fellow go-go pioneers The Soul Searchers, The Young Senators, and Black Heat and opened for artists such as Stevie Wonder, Rufus Thomas, and War. Eager to put out a record Irving Haywood asked his bandmates if anyone had written any songs. Bennie Braxton, the band's new organist had weitten a song titled "Sunshine" which Scacy and The Sound Service recorded in1972. It was sampled by Outkast on his tune "Mighty O" in 2006. 12 years later the original finally receives a proper re-issue on 45rpm single.

French label Bright Sounds welcomes prolific Dutch artist Boris Bunnik for a new EP under his most celebrated alias, Conforce. The regular Delsin artist saves this project for his more dance floor driven work and that is the case across all four of the atmospheric tracks here.

'Virtue Signalling' is slick techno that mixes up sci-fi sounds with cavernous dub pads. It's cerebral and cinematic as well as being driven by the rubbery drums. 'Black Mesa' is darker, with a meaning synth line coming in spurts over punchy, broken drums. It's grand in architecture but still has plenty of rich sonic details. On the flipside, 'Compulsion' is more watery, with little life forms suspended in a backlit ocean above slippery drums, then 'Alka' is another underwater affair, with beams of light penetrating from above as a dubbed out groove undulates way down deep. Once again then here, Conforce marries form with function in exquisite ways.

Putting the foot to the floor French duo Haydee's "No Gouvernance" revs and rumbles like a cantankerous, clapped out engine. Rust breaks clean in huge chunks as screams and shouts punch through the thick drum fumes. Industrial legends Hunting Lodge follow in a similarly smog spitting motor, the drunken mechanical tirade that is "De Omnibus Dubitandum." Bass and beats crack and leak in this scarred proto-acid work from 1983. Newcomer Catriel drowns "nbdymksmefeellow" in a sludge of static, indecipherable words gurgle as percussion attempts to save this doomed victim. Giant Swan (Timedance) then take a piece of pipe to "Dare", pounding it with heavy blows, forcing confessions through verbal assault before leaving it more bloody pulp than track. Finally Gotshell (Blueprint) closes with a rumbling double brewed remix of "De Omnibus Dubitandum. A 12" that'll leave speakers blown and listeners in need of a tetanus shot.

Elevate Melodies are back with four toe-tapping, finger-snapping, dancefloor slaying heaters, all on wax.

Side 1 takes off with the Griffes' remix of Jay Airness' She Staying', all sumptuous keys, sun dappled strings and peak-time beats propelling the track ever forward. Venice Beach then takes on Sly Moore's seismic Muoosic', dropping the tempo and creating a super low-slung slab of electro funk, one for the 100bpm crew.

On the B side, Lord Funk takes on Black Les Grues De Nantes' from Victorius, turning it into a jazzy workout with slap-bass, chopped up vocals and dusty vinyl crackles giving it a classy 90s feel. And rounding out the selection is New York DJ and producer P-Sol who applies his midtempo skills to Law and Theory' from label boss Jay Airness, creating an atmospheric groove with some real funk and jazz flourishes.

Limited to 500 copies.

We welcome the vinyl format after a hiatus to embark into an energy-driven journey, full of potent, cross-genre tracks courtesy of Mr. Ben Cano.

Ben, which previously collaborated on this label as TenienteTuko, builds on the previous album-creating experience and he outdoes himself in multiple ways, keeping the variety of groove encompassing all together with his propelling signature techno ethos.

'Deep Snowmass' starts the EP in a harsh, mental way to induce rapidly to a dark feeling which leaves you in the void with a malleable conscience that allows your body and soul to float, with the help of an ever-building acidic bass and pulsating percussion.

'Rocky Mountain' goes to other heights, using a uplifting Rhodes chord and effective drum programming to deliver a dreamy wave of full potential.

'Between dub', 'hitch' and 'Tube 8' seal the deal with energetic, acid-infused and sometimes-housey takes from his recent live set, which he manages to reorganize in the track format we currently offer as black pressed acetate.

Over the past few years orchestral instrumental music from outside the classical establishment has become huge, and Neil Leiter and Margaret Hermant of the Belgian Echo Collective have witnessed the evolution and extraordinary rise of this movement right up close. They've worked with some of the most important players, including Stars Of The Lid, Dustin O'Halloran and Adam Wiltze's A Winged Victory For The Sullen and O'Halloran's solo projects, as well as Jóhann Jóhannsson. And though the Echo Collective members themselves very much do come from within the classical music establishment, they don't care which side of the fence they are seen to be on. It was this which grabbed the attention of German music hub !K7's new sub-label 7K! - who have signed them for a two album deal: first to release the Amnesiac reinterpretation, then for a record of Echo Collective's own compositions. Not only that but they have been signed for publishing by Mutesong, which led to a hook-up with Mute mainstays Erasure, re-arranging and re-recording their latest album World Be Gone with classical instrumentation backing Andy Bell's vocals. This ability to flow easily from black metal to Radiohead, from Erasure to Stars Of The Lid shows exactly what kind of musicians Echo Collective are. The album, which features artwork by the renowned photographer and artist Roger Ballen, will be released on 30 March on CD, 2LP and digital platforms.
- New album by belgian band Echo Collective covering Radiohead's classic Amnesiac'.
- Perfect balance between classical, neoclassical & indie.
- Past and ongoing collaborations include Erasure, A Winged Victory for the Sullen, Stars of the Lid, Johann Johannsson and Dustin O'Halloran.
- Echo Collective have produced, arranged and performed on Erasure's upcoming album due to release early March on Mute.
- Artwork by renowned photographer / artist Roger Balle.

Having grown up with and on the internet, Martin Steer (1986) has transformed its pull into a concept album that is just as immediate and intangible as the digital world. Bad Stream is guitars and machines vanishing in the spaces between Radiohead and Nine Inch Nails only to reemerge amidst Ambient, Noise, and Drone. Bad Stream, then, is his modus operandi - a hybrid soundtrack to the feelings of resignation, isolation, and cynicism within neoliberal cyberspace and to that strangely numbing comfort of bodies transmuting into zeros and ones in real time.
'I look at my phone even when I play guitar,' says Martin Steer, 'and that isn't even entirely voluntary. The 2010s really changed my perception of how digital technologies and social media affect me as a musician. Through Bad Stream I want to make sense of this particular kind of anxiety, and to use sensory overstimulation as a way to develop an independent and progressive musical language.'
The past seven years took Martin and his laptop and guitar from Berlin to Mexico and Nepal and, as a founding member of Frittenbude, into the German charts and to various festival stages. And yet, Bad Stream is a true 'Berlin album,' out of Friedrichshain, Neukölln, and Kreuzberg and will be released on Martin Steers own label ANTIME. It was recorded with real drums and programmed beats, with shoegaze guitars, acid baselines, piano, smartphone synths, violins, field recordings from the darknet and his voice, whose hopeless timbre conveys reflections on systems, the future, drugs, people, and his own place. In his ever expanding A/V live shows and in the music videos, this is supplemented by complex visuals.

- Black and Purple vinyl versions.-LP includes download.
-Son of Blue Note legend Bruce Lundvall.
-12 years since his last record to feature vocals.
Dais Records is proud to unveil the new dark pop masterpiece from artist and composer Tor Lundvall. His first vocal album since 2009's Sleeping and Hiding, and following the release of two instrumental albums and three CD box sets since that time, Tor returns with an album of beautifully intricate sadness and reflection: A Dark Place.Born in 1968 in Wyckoff, NJ, Tor Lundvall is a painter and ambient composer.
The son of Blue Note Records legend Bruce Lundvall, Tor was exposed to artwork, music, and creativity from a young age, and began his professional painting and music output in the late 80s. Widely known for his dark imagery and thoughtful, provocative soundscapes, Tor Lundvall's artwork is all-encompassing. His music, when paired with his paintings, creates a world within which one could easily disappear. An intensely private individual, Tor Lundvall eschews the gallery circuit and live performances for his private studio in Eastern Long Island, NY, preferring to show his artwork privately and focus on studio production and writing without the pressures of the audience and all it encompasses.
Dais Records is honored to provide another glimpse into his world through his recordings. We hope you find it as special and as unforgettable as we do. Artist Statement:It's been twelve years since I recorded my last vocal album, "Sleeping and Hiding" (released in 2009, but recorded in 2005). After completing those sessions, I felt that I had said just about everything I wanted to say lyrically. I wasn't sure if another vocal album would ever materialize, but slowly and surely, new lyrics came with new songs to accompany them. Finding the words to describe this album is almost as difficult as the past couple of years. There is a lot of pain, fear and sadness wrapped into these eight songs. More so than usual, I think. The loss of my father in 2015 and coping with his absence certainly hangs heavily here. I recorded this album at night while I stared out from my bedroom window into the shadows of the garden and the neighbor's house next door. The reflections of the flower lights encircling my bedroom window looked like distant, golden constellations through the glass while I worked. A nice memory. A few of the melodies were inspired by, or constructed around some of my earliest riffs and abandoned sketches, one dating all the way back to 1985. The lyrics to the final track, "The Next World", came to me while swimming alone in the bay one clear October afternoon about five years ago. I originally envisioned a lighter, more optimistic song to accompany my first draft of lyrics, but the piece evolved into a song about final reflections, lost dreams and the terrible sadness of the passing of time.

This is the 2nd various artists compilation from the esoteric Black Lodge collective out of Los Angeles, showcasing a variety of sounds one is likely to hear at their monthly gatherings. This comp contains a mixture of acidic jacking warehouse bangers from veteran producers TX Connect and Jasen Loveland alongside a more acid chicago house inspired jakbeat track from Black Lodge co-founder Kosmik and an EBM/electro dance cut from the Belligerents.

Dapayk Solo, Berlin based producer and veteran of the minimal techno scene, announces the release of his 10th studio album 'The Calling'. This latest project will be the producer's first solo album since
2015. The 8-track double 12inch LP will be available via Dapayk Solo's label Mo's Ferry Productions and comes with a free download voucher for the extended 12-track digital album.

The first track on this LP 'The Calling' shares its name with the album and starts off with a pang of energetic, chopped beats before exploding into a brassy melody, continuously gaining momentum.
'Blackout' immediately announces itself as a next generation Detroit House anthem. The rolling synths, hi hats, and vocals make this one of the most outstanding tracks on the album. 'Aurora' stays true to its name with a buildup composed of throbbing ethereal synths that give the track an otherworldly vibe. 'Flood' transports listeners to the dancefloor with its pulsating bassline combined with Komplement's quaint vocals.

The second part of the album begins with 'After All', one of the most enticing tracks on the album. It combines the groovy rhythm of four to the floor percussion with tantalizing vocals by VARS before New Release Information 'Low Tinnitus' reverts to Dapayk's signature minimalist sound. The transition into 'Wanderer' continues the momentum built up by the previous tracks. The closing 'Walk With Me' is a deep-house jam that features a rhythmic shaker layered under Mental Bend's powerful vocals.
Dapayk Solo, alias Niklas Worgt, isn't afraid to try new things. With 5 aliases under his belt, he continuously strives to experiment with different styles and production techniques to create innovative sounds. Throughout the span of two decades he went from producing drum'n'bass to house to ultimately crafting the groovy, edgy techno sound that he's now known for.

With more than ten LP releases and over 70 single releases on his record, he is one of the main protagonists in the world of underground electronic music. In 2017, he released an LP titled 'Harbour' with his wife Eva Padberg under one of his many projects, Dapayk & Padberg. While that album aimed to steer away from traditional club beats, 'The Calling' sees Dapayk reassume his deep, dark, and infectious sound. While Dapayk is often categorized as a minimal producer, the LP proves that he is capable of extending beyond the scope of a single genre. 'The Calling' is just another example of why Dapayk has managed to stay in the scene for so long: he loves electronic music and he's great at
making it, too.

In October of 1992 Madonna released her 5th studio album, the provocative Erotica. Released by her own multimedia entertainment company in conjunction with her book, Sex, this was the most bold and audacious move yet in Madonna's storied career. Following the release of the album and book in 1993 The Girlie Show World Tour commenced, culminating in 8 sold out shows in Japan, one of which was recorded live and broadcast the world over. Recorded at the Fukuoka Dome on December 8, 1993, The Girlie Show documents this historic tour with the complete show of that night! An epic 3LP box set featuring tracks from Erotica as well as a bunch of vintage classics, available on black vinyl or limited edition WHITE, RED, and GREEN vinyl.

Damian Lazarus' magical live project The Ancient Moons returns today with their new single Five Moons.

The band led by Lazarus, is comprised of Ben Chetwood on drums, Rob Gentry on keyboards, and new vocalist J Appiah. On Five Moons they are also joined by the Australian punk sensation Chela for a dubbed out, soulful excursion into the darker recesses of the dancefloor.

The Ancient Moons first debuted in 2014 with Lover's Eyes, and followed that with the acclaimed album 'Message From The Other Side', dubbed a 'a journey into techno's dreamiest recesses' by The Fader and a 'psychedelic masterpiece' by Vice. Since then The Ancient Moons have travelled the world with their highly immersive live show, supported Roisin Murphy on tour and played at Glastonbury festival and Melt! amongst others.

Last year the band resurfaced, after locking themselves away to record in the Italian countryside, with I Found You, which nabbed a BBC Essential New Tune and stunning remixes from Black Coffee and Patrice Baumel. Today Five Moons offers another glimpse into this summer's forthcoming album..

Black Truffle is pleased to make Oren Ambarchi's Grapes from The Estate available once more on vinyl. Originally released on CD on Touch in 2004 and reissued on Southern Lord as a limited double LP in 2006 during Ambarchi's tenure as a member of Sunn O))), Grapes from the Estate was a landmark release for Ambarchi, seeing him expand his sonic palette beyond the clipped, bass-heavy electric guitar tones he was known for at that point. Incorporating subtle layers of strings, keyboards, percussion over a bedrock of his signature guitar tones, in retrospect this album can be seen as the beginning of a broadening and evolution in Ambarchi's work that would lead to his acclaimed, densely layered epics for Editions Mego, Quixotism (2014) and Hubris (2016). Beginning with the shuddering pure tones of opener 'Corkscrew', which looks back to previous guitar-only releases such as Suspension (2001), the album's next two pieces show a progressive broadening of the instrumental palette and a corresponding move away from textural abstraction and sustained tones towards more traditional notions of musicality. This reached its high point on the album's third piece, the fifteen-minute long 'Remedios The Beauty', where guitars, both acoustic and electric, strings, piano, and bells build from a murmur to an interlockinging web of repeating melodic patterns over gently swinging brushed snare and cymbals. The epic closer, 'Stars Aligned, Webs Spun', returns us to a space populated only by the electric guitar, but unlike everything Ambarchi had produced up until this point in his career, the piece has a liquid, psychedelic edge that looks forward to the shimmering harmonics of his more recent work. As Brendan Walls wrote at the time of the original release, this is 'another outpouring of personal, intimate and enduring music from Oren Ambarchi'. Presented in a stunning gatefold sleeve featuring the original artwork and design by Jon Wozencroft. Redesigned by Stephen O'Malley Remastered and cut by Rashad Becker at D&M, Berlin.

After hosting Farron to perform for a showcase in Matera, South Italy, and following a solid, immediate aural connection with the crew, XCPT now invites the Bavaria-based artist and Shaw Cuts shaolin master to submerse himself in his talent of wielding harmonious synths, championing percussion and corruptive basslines for the label's third release, 'Bistro Baggio'. The release offers three original cuts plus an interpretation of one of the tracks, 'Paneth', by label honcho Nothus, exploring calculated rhythms and sounds that delve into varying atmospheres and transporting you from a blacked-out club to a quaint starlit stream in the woods.

Meditative and off-kilter, Dubkasm's new 12' is, unsurprisingly, completely unlike any other tune out there, and pays tribute to a toofrequently overlooked part of reggae tradition: dub poetry. Originating in a collaboration between Dubkasm and their long-time friend, Norway-dwelling heavyweight bass guitarist, Bajan Steppa, Enter the Gates is a discomix built on a tuff bassline, skittering drums and retro synths, and features reflective, courageous lyrics about the enduring power of Black liberation movements and consciousness, from Gloucester vocalist Rider Shafique. The B-side contains an upfront instrumental cut, followed, in true Dubkasm style, by a collaboration with a musical titan. Mad Professor's incredible dub flips the original into a propulsive soundsystem killer, retaining the tune's heart and spirit, but driving and percussive where the original is deep and soulful. (Paul Lee) Mastered on to 1/2' tape at Stardelta Studios, and pressed on 180g vinyl. Sleeve design by Studio Tape-Echo.

DsorDNE (pronounced Disordine) is a project from Torino, Italy that evolved as group out of the electronic experimental post punk project Novostj in 1987. At the core of DsorDNE is Marco Milanesio, musical engineer and co-founder of the HAX record label, joined by a revolving cast of musicians. Their spectrum ranged from experimental to structured electro-poetry and Soundtrack like instrumental electronic music. In 1987 they released their first track on a split-single with The Legendary Pink Dots. Between 1987 and 1994 they released 6 full length albums, 3 split-EPs and appeared on various cassette compilations. à Un Sole (Itâs a Sun) was the groupâs only vinyl full length originally released in 1990 on HAX. Itâs 8 tracks of electro-beat poetry and experimentation recorded between July 1989 and January 1990 by Marco Milanesio (music) and Roberta Ongaro (vocals) with guests Claudio Burdese (guitar), Danilo Beltrame (guitar) and Cristiana Bauducco (vocals). The album is broken up into two distinct halves. Side A contains four chunks of hard hitting, percussive patterns and rushing bass sequences. Dark, moody female vocals force their monologues through the machinery in their native Italian tongue. The traditional song structure is carefully avoided by giving lyrics equal opportunities be they recited, half-sung, whispered or spoken. Side B displays moodier moments, less savage attacks and subtler sensuality, veering towards the more melodic and existential. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a black and white drawing with silver metallic spot color housed in a clear PVC plastic cover with a three color screen-printed design. Each copy includes a 11x11❠double-sided lyrics sheet with English translations as well an 8x11❠sheet with original press notes from 1990 by Marco Pustianaz.

Created at the footstep of Mount Victoria, Groeni wanted to challenge themselves compositionally and sonically with Nihx. Nihx explores the characteristics of points of conflict between opposing forces. As in the past, and as with many electronic outfits, the music had been written 'in the box', so to speak. To counter this technique the three members of Groeni (Al, Mike, and James) each wrote numerous compositional sketches that were more or less complete as frameworks before entering them into the digital realm. With similar inspiration the band wanted to create unique and personalised sounds away from the computer to sample and use with most of the sonic treatment happening also away from the computer. The vast majority of the drum sounds are made from samples of Mike's ever expanding synth collection, numerous sounds are manipulated feedback from guitars or vocals among other things. The entire record was written and recorded across three home studios in Wellington, NZ and has been almost 2 years in the making.

'Nihx' comes out worldwide on limited black, white marbled vinyl (including download code) & digital.

Aroop Roy has been making waves with his unique sounds for the past few years, with a wealth of successful releases and a busy gig schedule at the helm of some of the best clubs around the world. By fusing elements of Jazz, Afro, Latin, Funk and Soul with the deeper end of House and Disco, Aroop has forged his own style with EPs on revered labels including G.A.M.M, Basic Fingers, Freestyle and Lazy Days. For his Delusions Of Grandeur debut he pulled out all the stops, delivering three original tracks which further show his diversity as an artist and ability to produce left of centre, quality underground music without losing sight of the dancefloor.

Things kick off with Save Our Love, a track that's absolutely brimming with energy thanks to punchy Wurlitzer chops, tension-building Philly strings, and a rock-solid disco groove.

Next up we have What I love which sees Aroop take an altogether more freaky approach flipping an uptempo rolling break, distorted synth line, cross-rhythm stabs and rasping vocal cuts into an edgy dance floor workout.

Closing this brilliant EP is the low-slung bump of Walk That Walk featuring original vocals from Oakland, CA based Blacktroniks who delivers his flow on top of a bass-heavy slice of deep electro boogie.

A bit of an emotional moment for us - this much needed repress of one of our very favourite slabs of vinyl that have passed through these doors over the years. Exploring the very outer limits of dancehall and techy D&B, both sides writhe and snarl at 90bpm, beating you over the head with pressure cooked kick drums, drop forged snares and, those ugly, ugly mentasms. Upon it's original release, it was a challenging and very rewarding record - one that had DJs scratching their heads, dancers demanding wheelups and, more recently - more than a few emails from people asking if there were any copies left stashed away. Both side's disregard for genres and conventions mean this plate sounds just as fresh now as it did upon it's original release date - arguably it's better stationed for tactical deployment now than it was back in 2013 - The current crop of stripped back dancehall (and halftime D&B that has been undoubtedly informed by it) are in rude health and prime for disruption with this record. That said, regardless of which styles you play - this is one of those wildcard riddims that can be used at peak time to wreak havoc on any dancefloor. Blacklabel, sticker sealed pressure, with a yellow paper insert of the original artwork. One of those records you'll pull off the shelf in years to come, no doubt about it. Edition of 300, with insert and stickered centre labels.

Returning to Giallo after the as-played-by-Helena-Hauff et al split 'Black Gloves II', Bogdan Dražic is back with 'Four Trax On Black Wax'. Three new blisteringly blown out grained to fuck voodoo bangers plus a remix from the mighty Dmitry Distant. Haunted organs, lost jungle tribes, hot cannibal nights... all documented under piles of dirt and ancient spells. Not to be missed!

'Rockin live ruff and tuff', this is the untrammelled counterpart to Dadawah, six years later in 1980, fresh from the Black Ark: free, rawly spiritual trance-music, a full-force nyabinghi freak-out.
The drummers are headlong and rollicking, thunderous and explosive. Even more so than Dadawah, the mix is ecstatically echoey, giddily dubwise without let-up. Ras Michael himself sings from the mountain-top, like he just don't care — at the top of his lungs, in voices, screeching like a bird — with the delirious abandonment otherwise owned in reggae by Lee Perry.
Amongst the uncredited performances swirled into proceedings, there are squiggles of flute straight from the Upsetters song-book, the minor-key organ stabs and abstraction of electric space-jazz, and sax-playing more attuned to the Headhunters than the Blazing Horns. (I Ya I in particular is a stunning fifteen minutes.)
This is the real thing, music without affectation. Pure reggae. Sun Ra fans should love it, anyone with ears to hear.
Prepared and manufactured at Abbey Road, D&M and Pallas, beautifully presented in rigid, old-school, tip-on sleeves, with matt-coated fronts and untreated-paper backs, 180g vinyl.
'These sounds are sounds of inspiration and love and culture to the universal benefit of mankind... So therefore meditate and stop hate.'
Very hotly recommended.

Techno Album of the month March 2018 in Mixmag UK!

Central to the Israeli club scene, Deep'a & Biri have long been defying expectations even within a community they helped construct. Serving as resident DJs, activists and bookers for Tel Aviv's legendary Barzilay Club, the pair helped build a transcendent club scene. Hugely influential artists such as Robert Hood, Derrick May, Rødhad, Ben Klock and Moritz Von Oswald passed through the club, enjoying legendary crowds and what they could surely sense was a genuine air of anarchy, rebellion and unadulterated rave pleasure.

As the duo held down dozens of parties with dozens of DJs, there was no 'eureka' moment for their emerging sound; just a steady stream of brilliant, inspiring electronic music, much of which left an indelible imprint on the pair. Now based in Berlin, for Deep'a & Biri, things are much the same, even if the landscape and the city is different. Always rooted in the fertile ground between machines and emotion, on their second full-length LP, 'Dominance', the duo demonstrate their unique grasp of the sensitive, unfolding relationship between man and machine. Steadfast in their insistence never to remain in one lane in terms of their sound, 'Dominance' flawlessly segues between forcefulness and weightlessness. From beginning to end, this is not a record afraid to show its teeth with an uncompromising, instantly recognisable techno palette that kicks the foundations of any sound system with menace, anger and determination, particularly on tracks such as the dense 'Voltage' and pulsing throughout the more industrial flourishes of 'Ecole De Nancy' and 'Seeking Solace'.

Beyond these grittier, although never mindless, moments of authority, a sense of escapism and curiosity imbues the album. 'Alpha Cephei' offers the first hint of Deep'a & Biri's more wistful concepts, producing a smoke trail of twinkling electronics out of a smudged but distinctive bassline. That understated sense of emotional catharsis carries throughout, to be found between the complex-yet-familiar bells that drive 'Flow Diverter's' rhythm to a Detroit-indebted landscape that will surely instantly elasticate any keen dancers, while 'False Memories' offers big-room techno fulfillment with none of the character or sincerity removed for cheap thrills. Saving the most remarkable moments for last, the pair sign off 'Dominance' with the poignant and purifying 'Astral Trails', fusing an ethereal, ambient landscape with the more pronounced rhythms of their hardware.

The album's distinctive artwork comes from the studio of Jewish orthodox artist Avraham Guy Barchil, who forged a powerful connection with Deep'a, both was immediately drawn to 'weird atmosphere, amazing technique and emotions involved with his work'. Perhaps one of the most interesting painters from Israel, Avraham is known for his unique perspective, taking his inspiration from the Zohar - the foundational work in the literature of Jewish mystical thought known as Kabbalah. The ambiguous figures represent mystical aspects of the Torah (the five books of Moses), as well as material on mysticism and mythical cosmogony.
Ensuring their natural, conscious touch always remains at the forefront of this unapologetically machine-driven music, Deep'a & Biri have produced an album in the lineage of their heroes and greatest influences. Cerebral yet satisfying, deep yet always engaging, 'Dominance' both reasserts and evolves Deep'a & Biri's forward facing and singular sound.

2x12"

Scandinavian duo KSMISK return to Norwegian techno imprint PLOINK to drop their debut album this
February. Real names Truls Kvam and Robin Crafoord, KSMISK made a name for themselves as Trulz & Robin with releases on Planet Noise and Cymasonic, not to mention Prins Thomas' Full Pupp and Rett I Fletta. Since launching their KSMISK project in 2015 the pair have returned to some of these labels whilst also dropping two releases on renowned Bergen-based techno label PLOINK, of which 2017's 'Magma EP' is the precursor to their inaugural album 'Mikrometeorittene'.
Opening the package is the ominous and beatless 'Lonsdaleite', setting the tone for an otherworldly aesthetic throughout. Off-kilter kicks then rain down in 'Silicate' as sinister drones ebb in and out of the mix before meandering back into a ghostly ambient cut named 'Vesta'. Crunchy percussion and tantalising atmospherics then make up 'Blitz', moving into the twisted and syncopated 'Marinate' until the raw sounding 'Spherules' exhibits a compelling groove combined with echoing effects. The dusky 'Wustite' sees the album retreat from 4/4 once again, returning for the effervescent 'Westergas' before concluding on a melancholic outro entitled 'Chondrites'. For this release 2x12' LP PLOINK will release 100 numbered and limited grey vinyl as well as the usual black vinyl.

Part of the current crop of artists spearheading the UK acid revival, Posthuman's output has evolved over the years, encompassing many genres & styles from their early electronica releases, to their later acid & slow-mo techno.

Their debut release in 2000 was a series of hand made CDs simply called "Posthuman" (though better known by the colour of the card inserts - grey, black, blue and brown). The duo then went on to host a number of parties in an abandoned underground train station in London between 2001 and 2004, and founded their own label Seed Records (2) with which they released 3 albums and several other releases of their own and other artists material. They also were the first act on Manchester based imprint Skam's SMAK sublabel.

Doherty left Seed Records to help relaunch UK techno imprint B12 Records in 2006, and started a new label Balkan Vinyl in 2010.

In 2007, Doherty founded London-based acid house retrospective clubnight "I Love Acid", where Posthuman are monthly resident DJs. In 2014 the clubnight launched a vinyl-only label of the same name. He also performs as AGT Rave Cru and as one half of Altern 8 live shows since 2015.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- ALBUM FEAT. SKRILLEX, EXCISION, DATSIK, NOISIA,
KILL THE NOISE, AND 12TH PLANET
- FIRST TIME ON VINYL
- LIMITED FIRST PRESSING OF 2.500 INDIVIDUALLY
NUMBERED COPIES ON COLOURED (SILVER AND
BLACK MIXED) VINYL

The Path of Totality is the tenth studio album by American nu metal band Korn. Originally released in 2011, the album finds Korn shifting gears and exploring new territory.

On The Path of Totality band collaborated with some of the leading dubstep and electronic producers in the world, including Skrillex, Excision, Datsik, Noisia, Kill the Noise, and 12th Planet. This resulted in something completely new, yet utterly and definitively Korn.

The title The Path of Totality refers to the fact that in order to see the sun in a full solar eclipse, you must be in the exact right place in the exact right time,' Korn frontman Jonathan Davis explained.

The album includes the singles Get Up!', Narcissistic Cannibal', Way Too Far' and Chaos Lives In Everything'.

The Path of Totality won Album of the Year at the 2012 Revolver Golden Gods Awards. This was Korn's first victory at the Golden Gods Awards, a ceremony that celebrates the best in hard rock and heavy metal music. Korn was also inducted into the Kerrang! Hall of Fame during the 2011 Kerrang! Awards.

Available on vinyl for the first time, the first 2500 individually numbered copies are pressed on coloured (silver and black mixed) vinyl! Strictly limited!

Tristan Kino releases his first vinyl EP on Short Black. 2 original deep techno weapons with a remixed dancefloor work out from Johannes Volk (Exploration Records) Having released on labels such as Tief, Dolly, Token & Suburban Avenue to name a few Johannes really step in to a full club sound. Driving and perfectly arranged for busy floor. Tristan Kino's originasl need no words. We are very happy to have them both on the label. Support local record stores, support techno!

Dino Lenny's Fine Human Records introduces the electronic talent of Black Mami with two dark and hypnotic driving cuts. Title track 'Industria Con Vista' leads the release with its enticing and cinematic retro-meets-future mood. A theme that continues on 'Tokyo Express', which plays out like the soundtrack of an imaginary meeting between Black Mami heroes, Trevor Horn & Yello. His most recurrent of dreams.

Khan presents: Jammin Unit - Remote Car Babe

Jammin' Unit is not only my brother but one of the most prolific producer of electronic music since the early days of techno. He is one half of legendary electronic super group Air Liquide and made his way into history books with tracks like 'If The Was No Gravity' and 'Revelation' lately featured on Nina Kraviz - Fabric 91 mix.

'Remore Car Babe' was originally released on clear 10' via Temple Records NYC in 1997 and is now remastered by the man himself for our 2018 ears. Re-issued on 12' black vinyl for more gain and better audio quality.

In his own words he describes the 4 track e.p. as: 'The sound was created for headphone listening during remote car racing. Enhancing the feel of speed and aggressiveness was the goal'.

To me it feels like a manga comic strip eched on vinyl. No headphone necessary to go on this speed racing trip of extacy and pounding bliss.
A re-issue I am especially proud of to hear on dance-floors around the globe.

'Don't eat before going to sleep but Do eat before going out!'

Yours sincerely,
Khan (Of Finland)

Southend quartet Ghost Music release their evocative debut album I Was Hoping You'd Pass By Here via Arlen on 19 January. They create careful, considered songs, weaving lo-fi lullabies with gliding guitars and understated arrangements. Influenced by Silver Jews, Flying Nun and K Records, they explore themes of nature, love, loss and a melancholic English romanticism embellished with beautifully spectral melodies and executed with startling subtlety.

Despite this record being their debut, the band has produced a veritable wealth of music over the past 20 years in various guises. Ghost Music revolves around the songwriting partnership of Matt Randall and Lee Hall, who had played together in the 90s with John Peel favourites Beatglider. More recently Randall has received critical acclaim as Plantman, with his three albums Closer to the Snow, Whispering Trees and To The Lighthouse receiving praise from The Guardian, Uncut and Mojo. When Randall and Hall reunited to collaborate on another album together, they brought in the talents of Roy Thirlwall on bass (Melodie Group) and Leighton Jennings on drums (Dark Globes) to complete the band.

The original idea would be that the songs would be 'ghosts' and create 'ghost music' to resurrect and dust off old songs that they had already started. Lee had found the beginnings of 'Home Dog' on a dusty old 4-track and he had recorded 'Strange Love' on his iPhone in 2014, whilst Matt had written 'My Cloud' as far back as 1997 (the night he moved out of his parents' house). As the album began to take shape, the ghostly premise took a back seat, as they began to breathe new life into the songs they found the impetus to write new ones.

Randall explains the songwriting process; 'When we were in Beatglider together and in the past we'd made a 'thing' out of writing long songs with a lot of changes. This time we pared it back a bit and stuck to the melodies more. We really wanted to make a proper guitar record. Lee's my favourite guitarist and it was lovely to see him stretch out on these songs with his diamond fingers.'

Not afraid to wear their influences on their sleeves, Ghost Music's sound is instantly familiar, echoing beloved bands from the 90s such as Pavement ('Home Dog' has a definite 'Range Life' feel), Galaxie 500 ('Blindspot'), Yo La Tengo ('Heart Shaped Holiday' is influenced by the languid YLT songs that peak after a short intro) and even old-school rock'n'roll ('Strange Love' was born out of an appreciation for the instantly engaging opening riff in 50s songs). Yet Ghost Music's work never feels derivative, being instead effortlessly emotive, melancholic and affecting, creating a world of sound that is hugely reassuring and a tonic for the modern age.

The title track "Empty Dancefloor" combines a thumping kick drum, stuttering hats and mesmeric chords, a combination that prove to be the perfect backing track to a captivating synth solo. It's extremely difficult not to find yourself lost in this enchanting track. Fracture" is a track where Skygaze really showcases his ability to combine broken beat, complex drum patterns with bewitching chords, magical marimbas and a curious bassline.
It is a track that really keeps you guessing throughout and one that can really add variety to any DJ set.
First up on remix duties is Jonna, who has put his own stamp on "Empty Dancefloor".
jonna is a DJ, Producer & one of the Label owners of City Fly Records, his sets are prominently House but take in influences from Disco, Techno, Hip-Hop, Funk, Jazz... Basically any music with Soul.
His first artist EP dropped early 2016 on 'Shadeleaf Music' & featured the incredibly talented Erik Rico on vocals with remixes by Atlanta's Kai Alce. The EP achieved great success & Sold Out in the first Month & was supported by heavyweight's Recloose, Derrick Carter, Jimpster & Osunlade to name a few.
Collab Singles (with Samwell) 'Henry Western' Featuring Lady Blacktronika followed on City Fly which was supported heavily on BBC 6 Music, that followed by 'Alright' on 'Future Society', a compilation curated by Seven Davis Jr on R2 Records and more recently the Luke Soloman Edit of 'Through The Night' again on Shadeleaf Music.
He has been busy in the studio since with a release on Secret Crunch (Austria) & 2 EP's forthcoming on Marcel Vogel's excellent Intimate Friends (NL).
The remix of "Empty Dancefloor" is one that is done in the unmistakable Jonna style, it's got groove! By chopping and changing the chords from the original, Jonna has created an entirely new melody, which when combined with rolling bongos and punchy bassline, you can't help but tap your feet.
The all too familiar synth solo from the original resonates throughout and pulls the track together, creating a guaranteed hit on any dance floor. Last, but certainly not least is Chicago based, Garrett David. The Smart Bar Resident has taken time out from his A&R / House buying duties at the famous Gramaphone Records to conjure up a bumping, yet dreamy remix of "Fracture".
He has previous releases on labels including Distant Hawaii, Residual Recordings, Night Sea Journey as well as his own imprint Stripped & Chewed and has really brought some Chicago flavours to the table with this one.

This 12' begins with Collocutor ripping into Miles Davis' 'Black Satin', from the benchmark On The Corner LP, and owning it from the off. A respectful homage is paid to the original with sensational improvised parts being added with a hip groove from the percussive wonders of Magnus Mehta (Magnus P.I.), Maurizio Ravalico and bassist Suman Joshi. The sparks fly as guitarist Marco Piccioni channels the spirits of late '60s psychedelic fires. The melodic riff of Miles' classic is stripped down by Simon 'Shwaa' Finch and Mike Lesirge who subtly encapsulate the original's atmosphere.

The A-side is completed with the label's latest signing, DJ Khalab delivering a sharp, warped assault on Collocutor's 'The Search', just in time for the LP's repress.

On the flip is a live version of 'The Search' recorded during the 'Live at the Fish Factory' Session in 2016 which, have so far resulted in two collector's edition dubplates that are as rare as hen's teeth. The invigorated far out sound has been mixed on this recording by producer Sam Jones who has entrenched himself with the On the Corner approach and brought his 'Sam Jones Construct' vision to the label. Marco Piccioni sold his soul at a highway crossroads on the way to the recording. There are spirits riding on the backs of the ensemble guiding this version of 'The Search' out into cosmic oceans.

The 12' ends with bassist Ruth Goller (Melt Yourself Down, Let Spin, Gufo and Bug Prentice) stewarding her virtuosic groove sensibilities into the twilight zone with this brooding off -kilter abstraction of 'Everywhere'. The stripped backbones of the tracks rhythm are punctuated by a dialogue and mantra summoned by Goller that moves menacingly over a synth bass augmented b-line.

As label founder Pete OntheCorner describes the release: 'This EP ushers in a string of releases that embody the label's vision. The futuristic concept first realised by Miles Davis with On The Corner and more generally during his electric period is at the heart of our collaborative, genre-less burning chalice. Analogue genius being mutated with a charge into something other, a vanishing point of ethereal musical feeling where the space for fresh narratives can be formed beyond genre and out On the Corner.

Victoria's artwork is always stunning and for this series of works she has already conquered the sublime with the sleeve for Black Satin".

The current resurgence of jazz in all its' forms has certainly been impossible to ignore in recent times - from the chart-bound, mainstream crooning of Gregory Porter, to the left field 'jazz not jazz' soundscapes of Kamasi Washington, Moses Boyd, Nubya Garcia and Snarky Puppy proves this is a worldwide phenomenon. One artist who has been been ploughing this furrow in the southern hemisphere for longer than most is Lance Ferguson. As the driving force behind The Bamboos, Cookin' On 3 Burners, Lanu, and the Black Feeling series, these are the varied and versatile projects on which he has built an enviable reputation.

Menagerie 'They Shall Inherit' saw the light of day in 2012 (Tru Thoughts Records) and established the fact that jazz of the contemporary type could reach back to it's essential roots and present itself, refreshed and vital for a contemporary audience.

Lance himself explains: "The Arrow Of Time' draws its inspiration conceptually from the themes of space exploration, human evolution and the future of humankind. It's pretty big stuff to be underpinning an album of modal Jazz tunes - but the main message is one of hope, and I hope that comes across in the music"

Late 2017 saw the 2 track album sampler 'Evolution/Arrow Of Time' create a genuine buzz of anticipation, being playlisted on Jazz FM, and also supported by Jamie Cullum (BBC Radio 2) and both Don Letts & Gilles Peterson on their BBC 6 Music shows - having as it does the spirit of deep jazz, but combining an accessible sound that reached way beyond the usual jazz hungry audience - due in one part to Evolution's immensely catchy hooks, with the voice of Fallon Williams focusing the listeners attention on the philosophical themes Lance highlighted above. Now the album, laid out in its' entirety can be experienced, attempting to encapsulate the music with the written word feels like a somewhat futile exercise, so it is best to consider Lance Fergusons' final thoughts about its inspiration, influences and ongoing appeal.

"The sound of record labels like Strata East, Tribe and Black Jazz has been a massive influence on Menagerie. To me that sound is timeless, exciting and just as vibrant as a musical format in 2018 - and the proof is that we're hearing more and more young musicians embracing it"

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from a disparate array of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own. Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contibute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their records are entrancing and beautiful affairs, while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Shadow Work is their third album and the first they have self-produced. Recorded at 80 Hertz Studios, Gondwana Records home from home in Manchester, it is the result of 18 months of intensive touring and mammoth writing sessions. The energy from their exhilarating live performances has fed into the writing process and yet there is a quiet reflective side to this album, giving it an expanded emotional range that draws the listener deep into Mammal Hand's sound world. One that builds on the sound of their previous recordings, Animalia and the beautiful Floa, but is wider than ever, with the use of prepared piano strings, more prominent effects and field recordings all adding to the band's most ambitious and accomplished album to date. The striking artwork is by Daniel Halsall and reflects the organic, natural influences underpinning the band's music alongside a darker, modern minimalism.

The fourth release on Trevor Jacksons Pre- Label is by SKULL. A visceral journey into experimental noise and no wave avant grade beatscapes
The last SKULL release 'SNAPZ' appeared on Jacksons own Output Recordings label in 1999. A seminal collection of tracks that had previously featured on the first two legendary Mo wax 'Headz' compilations (also featuring Autechre, Beastie Boys, Air, and DJ Shadow) as well as tracks that had also appeared on Kevin 'The Bug' Martins notorious Macro Dub Infection albums during the mid 90's.
Reactionary sonic statements aimed at the coffee table world of Trip Hop, fuelled by his dissatisfaction and dissillustionment with Hip Hop of the time, Trevor pushed himself into uncomfortable and far more extreme areas than he had before, areas he felt unable to explore with his Underdog productions, which were mainly being utilised for major label remixes at the time.
Influenced as much by the industrial pioneers, post punk and new wave of the past as the burgeoning post rock scene in the mid 90's, This new set of previously unreleased recordings originally produced between 1996-2000 are equally as intense and visceral as the early releases. Dusty samples, raw beats, tape loops, and primitive effects combine to sound as relevant now as when they were initially created.

Air Lows is the debut solo album by Silvia Kastel. The Italian artist has been a fixture of the underground since her precocious teens, clocking up many miles in Control Unit with Ninni Morgia ('It's like Catherine Deneuve dumped two cases of post-Repulsion psychiatric notes over Pere Ubu's Dub Housing, lit the fuse and, ahem, stood well back" - Julian Cope), including collaborations with the likes of Smegma, Factrix, Gary Smith, Aki Onda and Gate (Michael Morley of The Dead C). Both solo and in her work with others, Kastel has explored the outer limits and inner workings of no wave, industrial, dub, extreme electronics, free rock and improvisation. Air Lows is both her fullest and most refined offering to date, a work of vivid, isolationist electronics which draws deeply on her past experience but assuredly breaks new ground. Prompted by a late-flowering interest in techno and club music, Kastel sought to create something which combines a steady rhythmic pulse with the otherworldly sonorities of musique concrete, and avant-garde synth sounds inspired by Japanese minimalism and techno-pop (Haruomi Hosono's Philharmony being a particular favourite). The formal artifice of muzak / elevator music, the intros and outros of generic popular songs, the extreme light-heavy contrasts of jungle, the creative sampling of hardcore, and the very 'human' synths in the jazz of Herbie Hancock's Sextant and Sun Ra: all were touchstones for Air Lows' conception and composition, and all strains of music addressing - or complicating - the relationship between the human and the technological. By extension, visual inspirations also proved important: anime, and the avant-garde fashion of Rei Kawakubo. What does that shirt or dress sound like Though used sparingly, Kastel's voice remains her key instrument, whether subject to dissociative digital manipulations as on 'Bruell', delivering matter-of-fact spoken monologues, or providing splashes of pure tonal colour. Recorded between her expansive Italy studio and a more compact, ersatz set-up in Berlin, Air Lows gradually takes on some of the character of the German capital: you can hear the wide streets and uninhabited spaces, the seepage of never-ending nightlife, the loneliness. Air Lows is The Wizard of Oz in reverse: the glorious technicolour J-pop deconstructions of its first half leading inexorably to the icy noir of 'Spiderwebs' and 'Concrete Void'. These later tracks are reminiscent of 2015's magnificent 39 12', Kastel in the role of numbed, nihilistic chanteuse stalking dank, murky tunnels of reverb and sub-bass. But in fact there is contradiction and emotional ambiguity to Air Lows from the outset, and throughout - a sense of both infinite space and acute claustrophobia; energy and inertia; fluency and restraint.

Blue fabric-covered deluxe replica gatefold with circle cut on the front and white hot stamp, printed paper inner-sleeve and black vinyl. includes CD (inserted in a clear pvc wallet) the new album! vinyl tracklisting : Side A: Sous le sable, Lasso, Fontaine de lait, Seeds, Les loups, Je ne mâche pas mes mots Side B : Twix, Nuit debout, Piscine, Fille à papa, Langue The internationally celebrated artist, award winning singer and composer Camille releases 'OUÏ' her fifth studio album and first for Because Music on June 2nd. Recorded over a year in La Chartreuse, a 14th century monastery-turned-artist's residence in Avignon, France 'OUÏ' is a cornucopia thrumming with folk, hymns, ballads, pop, lullabies and breathtaking a cappella. 'The story of the album is like this, moving from the arcane drums' - percussion is used throughout as the bedrock - 'to the treble and harmonics and light in my voice.' An instrument of exhilarating range and phenomenal power, Camille's voice provides all the vocal parts on 'OUÏ'. 'All the voices are telling a story,' she says, 'and I am all the voices. Co-produced by Camille with two of her longtime collaborators, composer and multi-instrumentalist Clement Ducol and sound and mixing engineer Maxime Leguil, and featuring the versatile Moog analogue synthesiser, 'OUÏ' is a work with a pulse. 'It really resonates,' says Camille, 'On some songs there are no drums, just this sub-bass like a kick drum, which leads the way and gives it a beat.' While she sets out to write politically charged songs inspired by drum-driven French traditional dances, that reflect upon the country's recent, tragic events, she was equally led to something peaceful, vowel-oriented and vibrational in her exploration of sound. The latter explains the album's title, 'Oui' - ooo...eee - a playfulness with sounds and language, a breaking free from its oft imposed restrictions.