Suche:cassette

New 4-track Ep From Austin, Texas Analogue Hardware Enthusiast Bill Converse. Immersed In The Early Days Of The 90s Midwest Rave Scene, Bill Began Djing At A Young Age In Lansing, Michigan. Luminaries Such As Claude Young, Traxx, And Derrick May Were Key Early Influences. Techno, Noise, Ambient And Tape Processing Are All Part Of His Uncanny Sound Palette. His Debut Album 'meditations/industry' Was Released On Cassette In 2013 And Edited For A Vinyl Release On Dark Entries In 2016 Followed By Two 12' Singles 'warehouse Invocation' And '7 Of 9' The Same Year. In 2017 Converse Released His Second Album 'the Shape Of Things To Come' Followed By The Double Ep 'salt Of Mars'.

'hulled' Is A 25 Minute Journey Spread Across 4 Tracks Of Glacial Abandon. All Tracks Were Recorded Directly To Tape With No Overdubs, Made At Converse's Home Studio. Bill Says These Tracks Represent 'ocean Waves In Stormy Conditions, Dark Grey Blue Water, Or More Generally Speaking Something Ominous And Beautiful.' The Songs On This Album Reveal A Sublime Influence From Detroit Techno, Idm, And Acid. Built Around Vintage Synthesizer Lines And Gritty Drum Machine Percussion, The Tracks Ebb And Flow Like The Effect Of Sun Shimmering On Water, Woozy, Gauzy And Ephemeral. All Songs Were Mastered For Vinyl By George Horn At Fantasy Studios In Berkeley.

Each Ep Is Housed In A Die-cute Jacket Designed By Eloise Leigh With Peachy Pink Patterns Landing On An Alien Water Planet And Seeing Mysterious Playing Forms Under The Turquoise Water. Each Copy Includes A Postcard Featuring Photo Of Bill With Notes.

Cat.no.: De 222
Format: Ep

Tracklisting

Exhumed Tapes II is the second in a multi-artist series of cassette releases on the Modern Cathedrals label. With label art featuring small details of 'important graves,' the series will dig into eery, broken beat techno with gritty textures.

The second tape features four tracks by Detroit-based artist Uun, whose work on the EP builds from careful and subdued atmospheres to aggressive percussion-driven tracks. In keeping with the themes of the series, the label art once again features the grave of an author chosen by the artist.

It will be limited to 50 hand-numbered physical copies.

Technology Has The Whole World Paranoid... But With Good Reason.

Tokyo Residents J M S Khosah And Jr Chaparro Joined Forces For This 60min Split Tape, Exploring The World Of 'who's Watching Who'...

A Professionally Dubbed 60-minute Chrome Plus Cassette Tape, Available Mid July 2018

Peter Kadergard has been active in the Helsingborg (Sweden) electronic music scene since the early 1990's. He was involved in various collaborations during the 90's and appeared on a few cassette releases under the names Grodans Fodelsedag, Marchentraum and Mannix System. Peter released his first Rittowski record on the Borft sub label Djuring Phonogram in 2004. Apart from this electro project Peter is a member of the bands Goz Mongo Alliance and Inyurmania, who has made a few releases on the Ufo Mongo, Pripuzzi and Skiboy record labels. This is new Electro!

Loosewomen are core members of the Grade10 Record label, with vinyl releases, cassettes and remixes under their belts they have now arrived with a new two tracker.

This record has been described by piers as a updated early 90's UK house sound but they like to think of it as more just the music that comes out of the MPC when they sit down at it. Saying that the echoy vocals, loose breaks in the back ground and big kick can stick you in a northern wood out side on a summer evening pretty quickly, Unstable At The Stables also has a loopy synth line running through it and Jupiter's Revenge is a bit bleepy so maybe their right.

Phil Gerus is a natural musical talent who oozes sound from every pore. Fusing together cassette pop, disco, soul, r&b and funk, his sounds are effortless but hugely emotive and have come out on labels like Sonar Kolkektiv, ManMakeMusic (George Fitzgerald's label), Futureboogie and True Romance. Growing up in Moscow, Phil studied classical piano and was heavily influenced by his parents' music tastes, including jazz records of Oscar Peterson, Bill Evans, and Keith Jarrett, it is these classy vibes that permeate his own creations. Phil has played around the world at leading clubs like Japan's Dommune, Studio 80 (Amsterdam), Mojo Club (Hamburg) and various hotspots in Europe and Russia. Phil is also a regular guest on radio shows around the planet and is considered as an artist on the rise.

Little Boots' latest all female powered EP 'Burn' was released on 6 April 2018 and reached Number 1 in the UK, US and Canada in the iTunes Electronic charts within its first few days of release. Just in time for warmer weather, Little Boots has teamed up with a variety of artists to remix her 'Burn' EP, with Metronomy's Anna Prior's remix of 'Eros' the lead single from the remix EP. Anna takes Little Boots' new wave of electro pop and disco rhythms and punts them in a more house direction, with beautiful string underlay. Eros (Anna Prior Remix) is released on a bright orange cassette, and limited to only 300 copies. Period.

Moscow Is Mythologized For Its Grandeur And Gravity But Its Parable Pleasures Offer Splendor And Even Absurdity. Over The Ten, Symmetrical Pieces Of For, Kate Nv Scores Her Native Urban Environment With Just Enough Whimsy To Gurgle Through The City Cracks And Grow Psychotropic Foliage. Each Sound Assumes Its Own Personality, Moving Through The Album Metropolis Like Miniature, Mutating Molecules Viewed From Nv's Apartment Window.

Alternately A Guitar-wielding, Post-punker And One Within The Multitude Of Moscow Scratch Orchestra's Avant-garde, Nv Is A Versatile Artist That Maneuvers Instinctively In Whatever Musical Environs She Finds Herself. Nv's Second Solo Album Is An Even More Abstract Endeavor Than The Hybrid Pop Of 2016's Binasu. Inspired By Casual Moments Of Ephemeral Sound From Within And Beyond Her Apartment Walls, The Record Has A Clarity Arrived Altogether And From Right Under Her Nose. Recorded At Home, Nv Says It Was As If The Music Was Not Written By Herself, But Her Chair.

For Inhabits A Stage That Piero Milesi & Daniel Bacalov, Ann Southam, Or Hiroshi Yoshimura May Have Written Music For And Dresses It With Viktor Pivovarov's Psychedelic Depictions Of Moscow - Contorting Bodies, Flying Pencils, And Multi-dimensional Faces Dance With Subtle Arpeggiations, Conversational Voice Synthesis, And Anthropomorphic Midi. Animating Objects Is Essential To The Album. Like A Surreal Still Life, Each Piece Is An Alien Arrangement Of Common Elements That Extend The Everyday Ritual Into An Eternal Landscape Of Unconscious Activity. Somewhere Along That Landscape, Kate Awaits And Greets With Apples For Hands And Fish For Feet.

Like The Album Title, Each Composition Contained Within Is Represented As A Three Letter Word, In Russian And English. The First Half Of For Was Written In The Spring. Starting With yxo Ear,' Previously Released On The Peaceful Protest Compilation Cassette In 2017, Melodies Meander And Lollygag. a Two' Incorporates Human Breath Played Like Notes On A Pump Organ. Oak' Offers A Warm Tune To Tango. How' Loops Curious Notes That Bump Into Each Other With A Chirpy Acknowledgement. You,' The Only Track On For With Lyrics, Sets A Wassily Kadinsky Poem To Song.

The Second Half Of The Album Was Written In The Autumn. The Feathery Edges Of One' Extend Like Watercolors Bleeding Off A Rubber Scroll. See' Is A Subdued, Shadowy Variation Of How', As If The Same Song Were Played In Different Weather, Dimmer Light, Or By Kate's Devious Doppelganger. The Electronics Unravel And Unwind On Dog' Until The Final Track, Who,' Ends With Vague Solemnity And Rattled Metals.

A Short Online Film Series By Shura Kulak Will Accompany The Release Of For. The Films Follow A Solitary Figure Performing Ordinary Tasks Through A Slow, Warped Lens — Each Song Enacting A Daily Habit: Waking, Dressing, Reading, And So On. In Her Live Performances Around The Album, Kate Nv Will Play Each Song From Memory, Allowing For Variation From The Recorded Tracks, And Scenes From The Films Will Be Re-created And Improvised In The Moment.

Very nice compilation on this artists work - on the ever excellent Born Bad imprint!
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For many decades until quite recently, little was known about music from Burkina Faso (which was formerly known as the Upper Volta). It is still one of the lesser known forms of popular music from West Africa. A few years before the country changed its name to Burkina Faso, thanks to Thomas Sankara's dream of a new society, Voltaic music emerged as some kind of true cultural revolution in the wake of the country's independence in 1960. Remote, poor and isolated, Upper Volta musicians coveted the orchestras and artists from abroad while creating a music of their own, based on rich cultural traditions

Popular music that sprung up from Burkina Faso owed much to the music from neighboring countries like Mali, Ghana, Ivory Coast or Benin, and to the longing for cultural authenticity' conveyed through Guinean music. In capital city Ouagadougou, as well as in Bobo-Dioulasso (Burkina's cultural capital until the 1980s), the first two decades of independence saw the upcoming of such orchestras and artists as Amadou Balaké, Georges Ouedraogo, Volta Jazz, l'Harmonie Voltaïque, Les Imbattables Léopards, Abdoulaye Cissé, Tidiane Coulibaly or Pierre Sandwidi.

Nicknamed the troubadour from the bush', Pierre Sandwidi stands as one of the finest Voltaic artists from the 1970s. He belonged to an unsung elite of Francophone artists such as Francis Bebey, G.G. Vickey, Amédée Pierre, André-Marie Tala, Pierre Tchana or Mamo Lagbema. His entire released output consists of less than ten 7 inches, two LPs and a bunch of cassettes. A man from the provinces, he always favored social engagement and carefully crafted lyrics over instant fame. His words and music challenged General Lamizana's dreary presidency, which ruled the country from 1966 to 1980.

The first time the album has been released on vinyl
- Includes bonus tracks and remixes by Tiga, Jason Nevins and Almighty
- The release will be announced by a trailer through Dannii Minogue's Facebook page which has 409K followers
- Dannii will promote the release via Instagram stories and posts to her 276K Instagram followers
- Dannii Minogue is available for promo and interviews throughout pre-order period
- "It's one thing to create an excellent three-and-a-half-minute dance-pop song, but another to sustain the appeal over an entire album. Kylie managed it with Fever, Madonna followed suit on Confessions on a Dance Floor. Dannii's contribution to the genre on Neon Nights is every bit as good as those classics." - IDOLATOR
- A veritable pick and mix of the European dance scene at the time, Neon Nights spawned four Top 10 hit singles in the UK 'Who Do You Love Now' (No.3), 'Put The Needle On It' (No.7), 'I Begin To Wonder' (No.2) and 'Don't Wanna Lose This Feeling' (No.5).
- The album reached No.8 on the UK Official Albums Chart and was certified Gold. In Australia it was nominated for "Best Pop Release" at the 2003 ARIA Music Awards.
- Dannii says: "When I embarked on a solo recording career and released my first album in 1990, music was only released on 7' and 12' vinyl. Fast forward through my album releases and throw in a bunch of technology changes, cassingles, cassette albums, CDs, Mini CDs and we are finally back to vinyl! Neon Nights never had a vinyl release - it was the 90's, and the industry was entering the digital age, and no-one was looking back at this experience of music listening. Thankfully Gen Y has embraced the nostalgia of the record player, so you finally get to Put The Needle On It with these tracks (please turn the volume up loud enough to annoy your neighbours!)."

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A ludicrously rare outing from Jah Rej and the Jah Works crew appearing on vinyl for the
first time.
.*Dating from 1989, `Carrion Bird' has only previously surfaced on the cassette-only various artists set `One Foundation' released on the Jah Works label.
*A deep meditative instrumental (apart from a hint of Donette Forte's voice drifting into the mix) dropping on a moody head-nodding mid-paced rhythm.
*Backed with `John Crow' a retrained dub mix by Rej from Channel One UK studio.

Bulkhead present their debut album - Aft Pressure - due June 1st on 2MR Records. In 2015, during the coldest Toronto winter on record, two old friends - Pop District and Patrik Benjamin - locked themselves away in the studio to experiment with a medley of hardware. Both solo artists in their own right, they had overseen their own projects prior, but had never considered how a collaboration might sound. Exploring the polarity of extreme cold and immersive warmth with a distinctly analogue feel, the duo carved themselves an aesthetic. And so Bulkhead was born. Using a raw, organic palette they repudiate formal structure and polish, opting instead for a freeform blend of unhindered mechanical techno and fuzzy ambience - slambient, if you will. Debuting in 2016, their 'Worker's Kampf' cassette album on LA imprint Far Away Tapes sold out quickly, warranting another release on 2MR featuring highlights of the cassette on 12' and digital. Continuing with the purveyance of abstract arrangements and machine wizardry, their forthcoming album - Aft Pressure - is a striking exploration of the intersection between frenzied techno and harmonic warmth.Fragments of techno and EBM mutate without strict guidance, rebuilding themselves into new forms with stunning physical qualities. Whilst many of the tracks might file under dance music, the DIY spirit of the album transcends a nightclub, occupying a peculiar space between the uncensored grit of the post-punk scene and some melancholic form of ambient minimalism. Angular percussion slices its way through dizzying synth leads whilst serene harmonies wander on their own accord. Darting melodies are made all the more powerful by their harsh timbre as drum-less excursions provide a cinematic backdrop. Aft Pressure is a statement of intent, blurring the parameters of dance music culture with equal doses of insanity and serenity. At the same time, it's also a hell of a lot of fun...

Ryan Parks is a mixed media artist, music producer/performer,
and CEO/founder of critically robust cassette tape label, HARSH
RIDDIMS. He was born in College Park, GA and grew up skating
all around Atlanta, soaking up the dense kaleidoscopic cultural
ooze found both in and outside the perimeter of Atlanta. Aside
from his visual practice, which usually takes shape as mixed
media (Jacob Lawrence/Matisse inspired in my opinion!) collage,
he has been releasing music as FIT OF BODY for seven years. Fit
of Body crafts soulful house ballads that draw on freestyle, Bell
Hooks, old school Detroit techno, jazz, and southern rap passed
through a No Wave paradigm. Fit of Body has previously released
work on CGI, DKA, Ransom Note, and his own label,
Harsh Riddims.

Colin Potter Is A Sound Engineer And Musician Currently Based In London. He Has Worked Within The Fields Of Electronic And Experimental Music For Over 35 Years, Collaborating With The Likes Of Current 93, The Hafler Trio, Organum, Andrew Chalk, And Most Notably As A Key Part Of Nurse With Wound Alongside Steven Stapleton. He Started The Esteemed Icr (integrated Circuit Recordings) Label In 1981 Releasing A Clutch Of Wonderful Home Recordings Of His Own, Over Half A Dozen Small Run Cassette Only Releases.'the Where House' Was Recorded In 1981 At Ic Studio, A Converted Wash House In Sutton On The Forest In North Yorkshire. The Album Was Self-released On Cassette That Same Year Via Icr. This Expanded Double Lp Edition Features All 13 Tracks From The Original Tape On Vinyl For The First Time Plus 4 Bonus Tracks. 'the Where House' Is A Prime Example Of Early Uk Post-punk/industrial Electronic Music. combining Dub, Electro, And Krautrock Rhythms With Psychedelic, Kosmische Noise In Multiple Mutations Ranging From Almost Pop-wise Songcraft To Horizon-scanning Motorik Flights,' Says Boomkat. Most Of The Damage Was Done By Colin Using Guitars, Synths, Sequencers, Drum Machines, Percussion, And Modified Toy Keyboards With Fairly Primitive 4-track Recording Equipment. He Was Assisted On Some Of The Tracks By Stephan Jadd-parry (guitar, Percussions), Jon Caffery (guitar, Bass, E-bow, Percussion) And Nick Jackson (synth). All Songs Have Been Remastered For Vinyl By George Horn At Fantasy Studios In Berkeley. The Record Is Sleeved In A Replica Of The Original Cassette Artwork By Jonathan Coleclough. Every Copy Includes A Double Sided Postcard Insert With Notes From Colin.

Music and Poetry of the Kesh is the documentation of an invented Pacific Coast peoples from a far distant time, and the soundtrack of famed science fiction author, Ursula K. Le Guin's Always Coming Home In the novel, the story of Stone Telling, a young woman of the Kesh, is woven within a larger anthropological folklore and fantasy. The ways of the Kesh were originally presented in 1985 as a five hundred plus page book accompanied with illustrations of instruments and tools, maps, a glossary of terms, recipes, poems, an alphabet (Le Guin's conlang, so she could write non-English lyrics), and with early editions, a cassette of field recordings' and indigenous song. Le Guin wanted to hear the people she'd imagined, she embarked on an elaborate process with her friend Todd Barton to invoke their spirit and tradition.

For Music and Poetry of the Kesh, the words and lyrics are attributed to Le Guin as composed by Barton, an Oregon-based musician, composer and Buchla synthesist (the two worked together previously on public radio projects). But the cassette notes credit the sounds and voices to the world of the Kesh, making origins ambiguous. For instance, The River Song' description reads, The prominent rhythm instrument is the doubure binga, a set of nine brass bowls struck with cloth-covered wooden mallets, here played by Ready.' According to writer and long-time friend of LeGuin, Moe Bowstern (who pens the liners for the Freedom To Spend edition of Kesh), Barton built and then taught himself to play several instruments of Le Guin's design, among them the seven-foot horn known to the Kesh as the Houmbúta and the Wéosai Medoud Teyahi bone flute.' Barton's crafting of original instruments lends an other-worldly texture to the recordings of the Kesh, not unlike fellow builders Bobby Brown and Lonnie Holley. Bowstern notes, Other musician / makers have crafted their own Kesh instruments after encountering the earlier cassette recordings that accompanied some editions of the book.' Both Barton and Le Guin are sensitive to the sovereignty of indigenous Californians and were careful not to trample the traditions of the Tolowa people who lived in the valley long before the Kesh. You research deeply, and then you bring your own voice to the table,' said Barton. Within the Kesh culture, the numbers four and five shape the lives, society and rituals. Barton composed loosely around these numbers, patiently listening to the land of Napa Valley for signs and audio signals from the natural elements. Todd incorporated ambient sounds of the creek by Le Guin's house and a campfire they built together. The songs of Kesh are joyful, soothing and meditative, while the instrumental works drift far past the imaginary lands. Heron Dance' is an uplifting first track, featuring a Wéosai Medoud Teyahi (made from a deer or lamb thigh bone with a cattail reed) and the great Houmbúta (used for theatre and ceremony). A Music of the Eighth House' sends gossamer waves of the faintest sounds to float on the wind.' Like the languages invented in the vocal work of Anna Homler, Meredith Monk, and Elizabeth Fraser, the Kesh songs and poems play with the shape of voice.

The Music and Poetry of the Kesh cassette was meant to accompany and enhance the experience of reading Always Coming Home. Presented in this edition as a long-playing album, where only traces of the book linger (the jacket offers some of Le Guin's illustration, and a letterpressed bookmark featuring the the narrative modes of western civilization and the Kesh valley is included), the music alone breaking the silence of what might be. It can transport—offering a landscape for imagining a future homecoming. One in which we are balanced, peaceful, and tend to the earth and its creatures. A line from the Sun Dance poem reminds us, We are nothing much without one another.' Freedom To Spend gives new life to the recordings of the Kesh people in the first ever vinyl edition of Music and Poetry of the Kesh, out on LP, and digital formats on March 23, 2018. The LP will include a deluxe spot printed jacket with illustrations from Always Coming Home, a facsimile of the original lyric sheet, liner notes by Moe Bowstern, multi-format digital download code and a limited edition bookmark letter pressed by Stumptown Printers in Portland, OR.

This past Monday, January 22, Ursula passed from this realm to another leaving a life spent building and exploring other worlds while challenging social concepts of the real word she inhabited.

Freedom To Spend had been working under Ursula's enthusiastic endorsement and with Todd Barton, her musical collaborator on Kesh, to give the music that accompanied her 1985 epoch a new life. With the Le Guin family's encouragement to move forward with our planned release, we are humbled to play this small role in sharing Ursula's work.

As Pete Swanson, one third of Freedom To Spend, stated, Ursula's legacy is her work which transformed the world, and this is another piece of the universe that her imagination birthed becoming real.' Listen to A Teaching Poem / Heron Dance' below.

Enigmatic producer Waxwood has a genuinely global outlook. Born in Russia, resident in Brooklyn and a regular visitor to Los Angeles, he can often be found jetting off to far-fung parts of the World in order to make feld recordings and immerse himself in different musical cultures.
You can hear these disparate global infuences and inspirations in
Waxwood's frst single for Claremont 56, which comes on the back of a near legendary 2015 cassette for NYC's Styles
Upon Styles, Sahasraha, which magically fused tropical hand
percussion and densely layered feld recordings with lilting ambient chords, hypnotic electronic rhythms and all manner of intoxicating
aural fourishes. 'Kama' is a slightly different beast from its' predecessor, with a sunny disposition and laidback breeziness throughout. Although underpinned
by a sturdy kick-drum pattern, its chiming melodies and metallic
percussion fourishes - reminiscent of indigenous music from far-
fung nations such as Malaysia and Indonesia - combine with gentle acoustic guitar motifs and waves of acid-esque electronics to create a beguiling and life-affrming mood. It offers more proof that Waxwood is a producer with a unique musical vision. The track's inherent gentle breeziness is explored in greater detail on the accompanying remix, which has been provided by Phantom Island regulars Fuga Ronto (AKA Swiss musicians/producers Ron Shiller and Tobi Schweizer). Riffng on Waxwood's original, they've added superb new vocals and instrumentation - think dreamy harmonies, tumbling synthesizer melodies and mesmerizing guitar parts - to create a sunset-friendly Balearic revision that's both stunningly beautiful and dazzlingly sun-kissed.

Having debuted with a fine EP by Job Sifre, Artificial Dance has returned to the source for release number two. The 12' pays tribute to one of the most influential figures of original DIY electronic music scene of Holland, Hanjo Erkamp.
During the first half of the 1980s, Erkamp had a hand in some of the most experimental and forward-thinking releases on the now legendary cassette label, Trumpett. Famously, he was a member of two of the label's key bands - industrial outfit Doxa Sinistra and new wave combo Ende Shneafliet - but during the period he also recorded a swathe of solo tracks as C. Stein, most of which only saw the light of day decades later.

La Bombe Plastique', a thrillingly spacey and futurist cut rich in proto-techno rhythms, intergalactic electronic motifs and drowsy choral vocals. For this timely reissue, the superb original version comes accompanied by a fresh re-edit created primarily for DJ use.

Presenting 'Envelope'. Album written, produced & mixed by Milan W. and pressed on 180g vinyl, by Ekster. Coming out on the 6th of June 2018, with foil-stamped cover-drawing by Gerard Herman. Mastered & cut by Helmut Erler at Dubplates & Mastering.
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Milan W (AKA Milan Warmoeskerken) is an Antwerp-based musician. In 2015 he released the Slo Mo cassette, on local label JJ Funhouse. The Intact LP a year later. Compositions constructed from gentle, yet persistent, rhythms. Intricately textured downtempo echoes. Brain-dancing, rather than four-to-the-floor raving. 2017`s split with Ekolalis, for The Hague`s BAKK, made clear the direction Milan`s headed in. His contribution being a seventeen minute float. The kick largely removed. The textures cut-up, expanded and magnified. Envelope, for Ekster, builds on this work.

The harlequin turns the handle. The contraption sucks in air, and breathes. Blows out tone poems. Wordless ballads that soundtrack enchanted scenarios. Issues forth magic. A sorcerer`s apprentice casting its spell. Animating the inanimate. To everything a life. Sets the frozen fluttering. Pirouetting in red shoes. Illuminates what was dark. Astma sings a Gamelan lullaby. Summons comforting angels to a post-Industrial landscape. Glaasjes has Jazz ghosts inhabit an empty bar room. Spirits stealing excuse-me`s under its deserted spot. In Limbo amplifies their whispers. Lead soldiers court jewellery-box ballerinas behind shuttered shop fronts. On Heraldic Snippets, a tin infantry marches. Ten thousand men up to the top, and back down again. Keys make-believing that they are massed brass and fife.

The bellows pump, and the pipes all the while wheezing. An automaton philharmonic at the bidding of a steam-punk master. Analogue and digital. Clockwork and glitch. Malady finds sounds isolated, extrapolated, mutated. Orchestral`s organ-grinder moves with urgency, and alchemy. Spinning straw into gold. Snare rolls become bubbling mercury. Metallic, yet fluid. Racing at the speed of flight and escape. Slope is the music of water chasing through crystal caves. Slow Runner, a funeral crawl. Shoved into motion by a drama of strings remembered.
Like the charismatic Rat-Catcher of Hamelin, the harlequin turns the handle, and we bang the cup.

The Land of Look Behind soundtrack returns to vinyl in a remastered and expanded edition that includes a download of three previously unheard and unreleased tracks from the original sessions. Alan Greenberg, who wrote and directed this film documenting the funeral of Bob Marley, provided K. Leimer with location tapes which were used to originate many of the rhythmic patterns for Land of Look Behind. Loops of the monologues and phrases that exhibited more distinctive cadences and pacing, the words, glottal stops, clicks and coughs of witnesses were used as cues for the percussion instruments. In effect, speech became the organizing principle of the musical score. By eliminating the accuracy of click tracks, musicians were prompted to rove through the inconsistent intervals of the voice-derived patterns. Also included is a four-page insert featuring an essay by Paul Dickow.

K. Leimer founded Palace of Lights in 1979. Leimer's early work has recently been reissued by Autumn and RVNG, and his early cassette work is in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s — his current catalog includes seventeen albums plus two collaborative albums with Marc Barreca.

Leimer's work is included in the collection of The British Library.

Tune after tune, Coops consistently delivers truly original and unique music, his newest single 'Jetpack' taken from
the recently announced 'No Brainer' project is no exception. Twist up a paper plane and take ight with Coops as he transports us out of the mundane into completely uncharted territory with this perfectly executed audio/visual experience. At High Focus Records, we are rm believers in artistic freedom, so when an artist as versatile as Coops delivered this 14 track project, it was a 'No Brainer' to share these highly innovative creations with the
world. 'Jetpack', alongside previous singles 'That Jazz', 'Bob Dylan' & 'What You Want' can all be found on Coops'
forthcoming 'No Brainer' project which is now available to pre order on limited edition splatter vinyl, CD, cassette tape and on all digital platforms. This forthcoming record showcases Coops' versatility and creative approach to his craft displaying a broad palette of sounds and moods. The cosmic cover art shows the two sides of the brain, representing the different approaches Coops has taken when crafting this project, ranging from experimental modern soundscapes to that classic Hip Hop sound. 'No Brainer' isn't really a album but more an experiment... I made most of these tracks alongside music I'd been making for an album... People have always tried to categorise me as a "Boom-Bap artist" but that I have never been. I am constantly making music of different styles and never work on one project at a time. Sadly some of these tracks never see the light of day, even though they are still of high quality and sick, so this time it was a 'No Brainer' that I put some of these tracks out.' - Coops
Coops - 'No Brainer' is offcially released on the 27th of April 2018 on High Focus Records.

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Melbourne/Geelong quartet School Damage began as a bedroom recording project for Carolyn Hawkins (Chook Race, Parsnip) and Jake Robertson (Ausmuteants, Frowning Clouds etc). They released a cassette for Moontown Records in 2013, then were joined by Jeff Raty on drums and Dani 'Damage' Hakim on bass.
Taking cues from pop outfits such as The Vaselines, The Particles and Young Marble Giants, School Damage's sound is defined by wobbly keyboards, weaving bass lines, and lyrical content focused on the vagaries of modern life.
Following on from last year's excellent debut album through Chapter, School Damage return with a new EP for Upset The Rhythm titled 'Sings... Four Songs About One Cat'. As titles go this one hits it on the head, School Damage tell the tale of a very independently-minded feline that they share their life with called Lumpy (also known as Scump). As Jake from the band explains, 'Lumpy is incredibly naughty, she's not very cuddly and she definitely plays by her own rules.  The songs here are a mix about us having anxiety as pet owners - whether she'll run away, or if we're suffocating her by our constant need of attention... and also about how much she enriches our lives.'
For a cat who spends much of her time scratching up record spines, it seems fitting that Lumpy will now grace the cover and sentiment of her very own 7'. Maybe she's just been making room all this time for as many copies as possible of her hit record.

Exhumed Tapes I is the first in a multi-artist series of cassette releases on the Modern Cathedrals label. With label art featuring small details of 'important graves,' the series will dig into eery, broken beat techno with gritty textures. The first cassette begins in a natural place: with Altstadt Echo crafting four works presented with an image depicting the grave-side rubble of his often-referenced inspiration Albert Camus. It will be limited to 50 hand-numbered physical copies.

Osaka based producer 7FO. Having previously released a cassette on RVNG International, and a 7'' single on Bokeh Versions in 2017, this is the Japanese producer's debut full length vinyl release. The tracks, recorded between 2012 and 2017, have been tweaked, remastered and recorded to vinyl for the first time.
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The mysterious figure recorded the tracks at home, processing guitar sounds, using a sampler, synthesizer and junk equipment. Following in the footsteps of the ambient giants of his native lands, 7FO's music continues this illustrious heritage whilst offering something fresh, modern and beautifully rendered. He describes his own sound as 'gorgeous sustained tones and dreamlike oscillations that drift through the inorganic/electronic world reverberating through our subconscious creating sonic fables in our minds'.

The 12'' comes with artwork designed by label head & visual artist Jack Hardwicke. To accompany the release Greek filmmaker George Kountouras, who also collaborated on the artwork, has directed a gorgeous video for the title track 'Moment'.

2018 repress of the debut full length LP from Spencer Doran and Ryan Carlile's Visible Cloaks project. Initially recorded in 2013 and issued on cassette by Sun Ark in 2014 (as Cloaks), this first offering uses conceptual processes to weave many of the same threads as their later work; synthetic FM tones, tuned mallet percussion, and electronically modulated voice, all arranged in a gossamer web, spun with neon electronics. On this release the duo set off on the sonic journey they are still on today, refracting their influences through East West feedback loops, augmenting traditions with technology. Remastered 45rpm DMM version with additional surprises!

After the success of Gti008 8ball is back with another jungle excursion, although this time they have gone for the more smoother side of the genre. On the flip side is a complete reworking from the house legend that is MR G. After pumping the parts through his MPC, MR G has put a hard breaky house dub together, which should hit the mark with a lot of people.

8Ball's sound has been picking up momentum over the last year with a sell out cassette, vinyl EP and plenty of plays on soundcloud and other digital outlets.

"Emotional Rescue begins the first in a series of reissues looking at the music of guitarist Carl Weingarten and his Multiphase Records label, starting at his highly sought after collaborate album with Walter Whitney, Dreaming In Colors. With an early interest in photography and Super 8 film leading to a degree in cinema production, Weingarten's other, self-taught, love was the slide guitar. Taking its blues roots and merging them with his visual arts background created a unique "painting in sound" style of playing. While looking to break into the film industry he began writing and recording his own film scores and other music for modern dance companies. From this, he founded Multiphase Records in St Louis in 1980. By the time of Dreaming In Colors, the label had released a series of cassettes and vinyl albums offering abstract, experimental, jazz-fusion, new wave and increasingly, new age compositions. Throughout this period the work of engineer, keyboardist and programmer, Walter Whitney was often present and by the 1985 release of Dreaming In Colors the duo had collaborated for a number of years and released several projects together, most notably as members of the Delay Tactics band. Recorded during off days from the Delay Tactics sessions, the album came together at Whitney's Subterranean Sound studio with a focus away from the bands guitar driven instrumentals to explore a multilayered approach to synthesis, blending textures with Whitney's original samples and sound design, while Weingarten's guitar moved from shining solo moments to complimenting the overall oeuvre, all with heavy washes of delay. This ecumenical approach led to the creation of this compelling album. A masterful conceptual whole that is linked by rich melodies and a concise playing style, heavy on substance while never forgoing the uplifting vibrations. "

The optimum effect of Music of the Five Elements will be achieved if each side of this recording is played through, from beginning to end without interruption. Music of the Five Elements, when used as a meditational or body work tool, rather than entertainment, will increase in effect over time. Overplaying or improper use, however, may eventually diminish its designed effect'
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Music is the healing force of the universe. It's an ancient idea bandied about by Pythagoras and Plato. In the last century, music as medication has been explored by musicians as diverse as Albert Ayler, Spacemen 3 and Pauline Oliveros. Nowhere did this concept gain more traction than in the so-called realm of New Age Music, an entire movement of synth droners and echoey flautists recording home-baked healing mantras on 4-track. In recent years, thanks to cassette collecting devotees and open-minded music journalists, New Age has shed its flowing robes and is being mined for the truly incredible music that swells under its pastel surface. Musician/acupressurist Sam McClellan's 1982 Music of the Five Elements is one of those revelatory discoveries, an unrivalled work of intense research and focus, simultaneously a near perfect work of art and a scientifically sound elixir for body and mind.

After studying electronic composition at Hampshire College with Randall McClellan (no relation), Sam McClellan became intrigued with the possibilities of healing through music. He explored this idea by applying the ancient Chinese philosophy of medicine to the principles of musical composition. Using the pentatonic scale (the traditional scale of Chinese music), McClellan related each of the notes to one of the five elements (Wood, Fire, Earth, Metal Water), and created five variations for each. He experimented with tempo, beat, pitch, duration, and sound quality, studying the effect on people's energy levels. Using the results of his tests he developed a comprehensive theory of sonic healing and spent the next year composing an album designed to help people achieve inner balance, reducing anxiety and energy depletion.

Music of the Five Elements is not only the acoustic massage' that McClellan set out to make, but is a fully realized and peerless piece of music. Taking cues from Minimalism, American Primitive guitar (Fahey & Basho) and even psychedelia, the album is a continuous sound voyage for voice, synthesizer, guitar, bowed bass, piano, effects and ciao (Chinese flute) all played by McClellan himself. Although divided into sections, the journey is best undertaken as a whole, without distraction.

Tape / Cassette
This is Essential Tremor's second and final album of all time. The band broke up after the recording of this record but still managed to play one final show before fully breaking up. The show was one of the most brutal things Nashville, TN has ever witnessed and lead singer Cole K was banished from Nashville forever following the performance. Essential Tremor's work never quite fit in with the rest of what was occurring in Nashville around the time these tracks were recorded, but we're sure that this tape will fit right in with the rest of your collection.

Kingswood Drive and Accidental Return were an early teaser of this new set, due in April. Displaying their signature analogue sounds and arpeggios, alongside broken beats and soul, you wouldn't be alone in hearing the influences of Dam Funk, Herbie Hancock or Bugz In The Attic coming through on these two.
Elsewhere more jittery, playful rhythms underpin Croydon Rooftop Café Culture. As well as in the calming and ethereal Prints On The Heath, a subtle tribute to mutual hero Prince, who passed away on the unusually prolific day this and two other, currently unreleased, tracks were written and recorded.Throughout the EP the duo nod at their London home from the "Heath" to Kingswood Drive and more obviously Croydon itself. The sound of South London is threaded throughout this record with pride.
Even down to the mechanical sunset sound of EP finale Thorns, capturing some of the essence of the studio view over London from their high point on the hill in Thornton Heath.
The first EP from Albert's Favourites co-founders and synth-production duo Modified Man focused on throwing out heavy editing, recording music with as few processes as possible and grabbing performances as single takes. Blending warped cassette recordings that touched upon early jazz-funk/brit-funk influences with the energy of broken beat and experimental electronica, won them support from Patrick Forge, Osunlade, Thris Tian, Yam Who and Titeknots to name a few.
Since that release they premiered new track Thorns live on Boiler Room, going on to deliver a full, three-hour live performance and DJ set for the infamous global community.They also provided remixes for Dele Sosimi, Amp Fiddler, Makadem & Behr and Hector Plimmer, meanwhile, busily preparing a series of four, six-track vinyl EPs which will be released over the next 18 months.

Back in August 2017, Jerome Derradji received a call by one of Chicago's most renowned record dealer.
It went like this: 'Hey Jerome, I've got all these reel to reel tapes of Chicago House stuff. You want to take a look'
Less than 24 hours later, more than 160 reels were purchased and safely hauled back to the Still Music office and Jerome got to work.
In fact, these reels - that were lost for more than 20 years - contain some incredible stuff that we'll be releasing in the years to come but right now it's time to Jack!

Around 50 of these tapes are Dj Mixes that were broadcasted on WGCI and WBMX in the mid to late eighties mostly with the Hot Mix 5.

So Jerome decided to start a series of cassettes titled JACK to share the absolute greatness of these mixes (and to raise enough funds to finance the transfer and licensing of the more crazy stuff that's in the stack of reels)

Here is our first series with mixes from Frankie Knuckles, Steve 'Silk' Hurley, Chicago mystery - Devastating Daryl and a few 'unknown' mixes that were too essential to skip.

These mixes were played on the radio only once and were lost until today. This series is an absolute window back to the heydays of Chicago House music.

All the mixes were professionally transferred and remastered to the best of our abilities.

Back in August 2017, Jerome Derradji received a call by one of Chicago's most renowned record dealer.
It went like this: 'Hey Jerome, I've got all these reel to reel tapes of Chicago House stuff. You want to take a look'
Less than 24 hours later, more than 160 reels were purchased and safely hauled back to the Still Music office and Jerome got to work.
In fact, these reels - that were lost for more than 20 years - contain some incredible stuff that we'll be releasing in the years to come but right now it's time to Jack!

Around 50 of these tapes are Dj Mixes that were broadcasted on WGCI and WBMX in the mid to late eighties mostly with the Hot Mix 5.

So Jerome decided to start a series of cassettes titled JACK to share the absolute greatness of these mixes (and to raise enough funds to finance the transfer and licensing of the more crazy stuff that's in the stack of reels)

Here is our first series with mixes from Frankie Knuckles, Steve 'Silk' Hurley, Chicago mystery - Devastating Daryl and a few 'unknown' mixes that were too essential to skip.

These mixes were played on the radio only once and were lost until today. This series is an absolute window back to the heydays of Chicago House music.

All the mixes were professionally transferred and remastered to the best of our abilities.

Back in August 2017, Jerome Derradji received a call by one of Chicago's most renowned record dealer.
It went like this: 'Hey Jerome, I've got all these reel to reel tapes of Chicago House stuff. You want to take a look'
Less than 24 hours later, more than 160 reels were purchased and safely hauled back to the Still Music office and Jerome got to work.
In fact, these reels - that were lost for more than 20 years - contain some incredible stuff that we'll be releasing in the years to come but right now it's time to Jack!

Around 50 of these tapes are Dj Mixes that were broadcasted on WGCI and WBMX in the mid to late eighties mostly with the Hot Mix 5.

So Jerome decided to start a series of cassettes titled JACK to share the absolute greatness of these mixes (and to raise enough funds to finance the transfer and licensing of the more crazy stuff that's in the stack of reels)

Here is our first series with mixes from Frankie Knuckles, Steve 'Silk' Hurley, Chicago mystery - Devastating Daryl and a few 'unknown' mixes that were too essential to skip.

These mixes were played on the radio only once and were lost until today. This series is an absolute window back to the heydays of Chicago House music.

All the mixes were professionally transferred and remastered to the best of our abilities.

Here Appear is an invocation, a salutation, and a celebration — of past and perfect lives, forgotten and remembered, exchanged and borrowed. Eve Essex's solo debut is a multi-instrumental fea(s)t combining synthesizer, drum machine, alto saxophone, piccolo, electric organ/harpsichord, harmonica, slide whistle, bells, guitar pedals, and voice— composed, arranged, and performed by Essex herself. What began as an improv set at Berlin's Harlekin bar, developed over the past two years into a complete body of work evoking multiple time periods, genres, characters, and sonic landscapes. The seven tracks that make up Here Appear harness elements of classical, drone, avant-jazz, and distorted pop, coupled with an ambitious vocal delivery that draws on the phrasing and articulations of Essex's own woodwind playing, to create a quasi-narrative me´lange retaining the vulnerability of live performance. On the opening track Grind Away,' otherworldly harmonica strains set the stage for lyrics citing Chinese sci-fi novel The Third Body Problem as source material. Saxophone and piccolo interludes Immediate Communicator' and Colorless Stone' move between medieval-tinged melodic inventions and textural noise, recalling a Pharoah Sanders-influenced fever dream, while the linguistic abstractions of Russian conceptual poet Lev Rubinstein guide the looped, layered, and textured vocals of title track Here Appear.' The album closes with a languid take on Jacqueline Humbert & David Rosenboom's 1978 composition Clear Light' from My New Music, recently reissued by Unseen Worlds. Here Appear owes its minimal production to the conditions of its genesis, evidencing the restrained process of the solo artist, instrumentation is confined to what can be played simultaneously. True to the album's avant-garde roots, each song involves an element of improvisation, often taking the form of prompts or variations on a melody rather than explicit compositions. Even its most structured pieces make use of live-sampled loops, which inject a spirited unpredictability into the songwriting process and subsequent performance. Classically trained in bassoon at New England Conservatory before receiving a BFA in sculpture from RISD, Eve Essex has performed as a solo artist at Artists Space, Commend, Safe Gallery, Signal, Trans Pecos, and U.S. Blues, in New York, Harlekin/Mathew Gallery and StudioAcht in Berlin, and the PUFFERSS Festival in Providence, RI. In addition to her solo practice, Essex regularly performs as one half of Das Audit (with Craig Kalpakjian), as well as in trios Hesper (with James K and Via App) and HEVM (with MV Carbon and Hunter Hunt-Hendrix), and has collaborated extensively with Juan Antonio Olivares as installation/performance-art duo Essex Olivares. Prior to the LP release on Sky Walking (April, 20), Here Appear arrives via New York City-based label Soap Library on March 9, 2018 in both cassette and digital format, mastered by Helmut Erler at Dubplates & Mastering, Berlin and recorded by Al Carlson at Gary's Electric, Brooklyn.

Tommy Mandel's Mello Magic' on Invisible City Editions is a compilation of personal synth-laden pop songs created between 1980-87 in NYC. BIG BIG TIP!
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His professional work as a keyboardist and vocalist found him on stage and in the studio with many of the 80s greats from the Clash, Todd Rundgren, B-52s, Violent Femmes, The Ramones, Tina Turner, Mark Ronson, Dire Straits and Bryan Adams. While offstage and out of the major studio sessions, Tommy wrote in little books, made animation films and hooked up a massive amount of synthesizers, sequencers,microphones and recorded songs like diary entries. He self released almost 20 CDs, cassettes and one Self Titled 12' Ep. Each song selected here is stunningly simple, lush, desperate, playful, and harmonic, touching on disparate trangents like Brian Wilson, Egyptian Lover, Michael Shrieve,Holger Czukay, Ariel Pink, YMO, AOR FM West Coast Rock, Arthur Russell, Martin Denny, Peter Gordon, Drexciya, Prince and Private Issued New Age Boogie. Tommy recently jokingly coined his music corporate ambient' and and it all shouldn't work, but somehow he manages to effortlessly make each song a Tommy Mandel song - DIY, homespun,personal, stunning, and not too serious. This is perfect pop, charming, sincere, infectious and the work of a humble, good hearted, romantic savant. Tommy Mandel's Mello Magic' will be out on limited LP Vinyl release and available Spring 2018. Be sure to check his ambient new age LP from his cassette Music For Insomniacs'also out soon on ICE/Intelligent Instruments. Designed by Marko Vuleta-Djukanov. - Sesto F

Limited Edition Gold Glitter Cassette

Running Back welcomes Andreas Grosser for the start of it's non-dancefloor series 'Running Back Incantations'. Think Tornado Wallace's 'Lonely Planet' or Suzanne Kraft's 'Missum' who both would have been good and early contenders for a series like that, and you are half way there. Andres Grosser though, was 'there' and that way before. Probably best-known for his 1987 collaboration 'Babel' with Klaus Schulze, Grosser is a bit of a dark horse in the universe whose big bang was krautrock and that went on to be called cosmic, space music or simply new age.

A native East-Berliner, Grosser crossed the Wall in 1981 and next to studying piano, his day job was to advise, sell, maintain and invent electronic music instruments. Naturally, Grosser had a good connection to and support from local Berlin musicians and groups, while working at night in his own studio and in those of others. Fast forward 37 years and Andreas is now one the worlds leading microphone technicians specialising in German and Austrian vintage types.

'Venite Visum' is an anthology of recordings made between 1976 and1980. Released in 1981 on UK's York House Recordings as a cassette tape only, it features some of the most out there, hypnotic and still state-of-the art space music ever to be known to man. For the first time transferred onto vinyl, compact disc and available as a digital download, it was perhaps best described by one reviewer at the time as; "powerfully relentless, repetitive themes which are constantly embellished and subjected to variations in tone colour and instrumentations. The music surges, coming in waves that approach and recede, but with each surge the waves seem to be higher up the shore.'

Now carefully transferred from an archived tape, remastered and compiled on a double album for the first time, it features the previously unreleased and not less mesmerizing 'The Quantum Leap'. Come and visit the hidden and almost forgotten

Gitkin sold guitars. To be precise, he re-branded, sold and traded knock-off Gibsons. A lone, travelling salesman, he toted his counterfeit wares to guitar stores and music emporiums. His trade took him to most corners of the USA, passing through big, smoggy cities and nowheresville small towns. His nights were spent at not-so-salubrious motels. It was at those nocturnal stop-offs that he'd often cross paths with newcomers to the States. His fellow travellers were mostly immigrants, newly-arrived, from places like Ethiopia, Mexico, Indonesia.

Or at least, that's the story as Brian J Gitkin has been able to piece it together. This album, '5 Star Motel', is by a different Gitkin, an ode to the one described above. Or to put it another way, this is the younger Gitkin's homage to his elder relative: the elusive, guitar salesman uncle he never met. A steady drip of anecdotes have construed an image of his relation's itinerant, huckster lifestyle. Finding a cassette of his recordings, it spoke of the effect of those encounters: lo-fi and scratchy, the music leaped seamlessly, in difficult to discern ways, between different far-flung styles.

On '5 Star Motel', that younger Gitkin (henceforth referred to simply as Gitkin) has sought to expand the philosophy he encountered on that tape. The guitar is common thread, the raft to navigate a sun-dappled stream of ideas. It's an embrace of cultures where folkloric stringed instruments still rule, or where they've led to a more recent embrace of the electric guitar. He traces the loose, meandering paths which join them together.

It's about America, the world outside its borders, and the inscrutable, inevitable dialogue that exists between them. Take 'Cancion Del Rey', where the sound of Peruvian chicha - steady-moving, alluring, and lyrical - winds its way through Gitkin's fuzz-filtered licks, and the rhythm underpinning it. Or 'Yama', where Middle Eastern influences echo out of grooving, cyclical riffs. Touching on the distinctive tones of Tuareg music and the Sahara, too, 'Grand Street Feast' charts a sand-dusted, melodic misadventure.

Soren Jahan launches a new limited series from the Ygrok camp, (ssto). Variations on an Oud melody combine with his signature complex rhythm programming. Taksim Part 1 and 2 are two different recording sessions live sequenced directly to cassette. Mastering by Anscorm.

It was chance that brought about the release of One/Three, Dabrye's debut album. Early demos were tucked on the B side of a cassette Tadd Mullinix passed to Sam Valenti in 2000 while working at the Dubplate Pressure record shop in Ann Arbor. Mullinix had spent the late '90s producing jungle, techno, house, hip-hop and more using the All Sound Tracker software as a primary instrument. Each style pulled from a similar sound palette as Mullinix used limitations to define the contours of di-erent musical personalities. Dabrye was his hip-hop wildstyle, a captivating collage of sparse instrumentals inspired by the laid back vibes of midwestern hip-hop and east coast boom bap, the futuristic funk of Umma-era Jay Dee, and the calculated subtlety of Detroit dance music. Released in 2001 as the first in an intended trilogy, One/Three announced Dabrye's arrival with an unavoidable contribution to Detroit hip-hop. Ghostly International is reissuing the album in 2017 for the first time, including a long overdue vinyl edition.

On its release One/Three was the rare album that appealed to both fans of Slum Village's smooth yet rugged hip-hop and enthusiasts of the distinct American IDM released by labels like Schematic. Over the following decade, the inadvertent demo submission turned into a body of work that placed Dabrye alongside innovators such as Prefuse 73 amid the cannon of a new generation of producers. Today, One/Three remains a concise and intriguing study in instrumental hip-hop that helps join the dots between J Dilla and Flying Lotus.

One/Three is a record that says much with little. There are no obvious hip-hop tropes. Instead Mullinix captures the ingenious minimalism of '90s hip-hop instrumentals to build tracks both supple and hard, joyous and melancholy, full of sharply angled rhythms and warm rubbery basslines: 'The Lish' throws a sickly sweet saxophone against digitally fragmented melodies, 'How Many Times (with this)' draws you in with an irresistible, clipped guitar groove, the rhythmic stutter of 'Smoking The Edge' makes your head spin with pleasure. Playing with his inspirations, Mullinix injects omitted downbeats for imagined rhymes and repurposes the intricacy of ragga jungle for breakdowns.

But what really defines One/Three is the rhythmic sensibility and metric modulation of Detroit's school of hip-hop production, which Mullinix was a fervent student of. The beats feel like they're constantly escaping a rigid tempo grid even though they are, in fact, pretty tight. A lot of it is nuance,' Mullinix explains. I've been known to say that I'm not impressed by spectacle. I think that nuance is what really captivates people.'

If you like your beats with a dash of class, do not miss this. An essential purchase of the highest order.' -BBC

- First time all tracks from the original 2001 release appear on vinyl.
- Remastered by Daddy Kev
- Standard weight black vinyl is inserted in to 3.5mm matte finish vinyl jacket.
- Download card includes free download of the Payback EP

Emotional Rescue delves deep in to the past with the release of the first ever recordings by UK post-industrial, ambient pioneers O Yuki Conjugate (OYC). Recorded in Nottingham in 1983, the EP's four tracks showcase OYC's early sound: a beat-driven, lo-fi that places them alongside the early British electronic pioneers.
OYC, celebrating their 35th anniversary this year, are known for their "dirty ambient" sound - but it wasn't always thus. In their earliest incarnation OYC explored a more industrial approach characterised by tortured analogue drum machines, one-finger synth lines, played bass, tape loops and even flute. This naive sound template lasted until their debut album 'Scene in Mirage' (1984) before being jettisoned in favour of more ambient explorations.The story behind these recordings is one of brotherly love between bands. OYC swapped time in their rehearsal space for a day's use of a four-track cassette portastudio owned by their associates, Metamorphosis. Three of the tracks included were recorded on May 1st 1983 at The End Room (literally a studio at the back of one of OYC's parents houses) with the remaining track (live favourite "The Clattering Song") being produced a couple of months later.
To date OYC have remained largely unknown in the UK due to their wilfully obscure approach. They have released a series of very well regarded studio albums and innumerable spin-off and side projects that has recently seen a revival of interest in their early years, including appearances on Cherry Red's compilation of formative UK electronic scene 'Close to the Noise Floor' and Optimo's compilation of Fourth World-style music 'Miracle Steps'.
Accepting their fate as musical outsiders, OYC continue to make music with little reference to the wider world. This EP makes a fine addition to that body of work.