quête:claus

mex is a non-profit-organization for intermedia and experimental music projects, located in Dortmund, Germany. Since 1992 more than 650 musicians and media artists from around the world presented their subtle, noisy, improvised or conceptual works. mex’s traditional venue for those projects of concerts in combination with performance, video and intermedia, is the mexKeller at the Künstlerhaus with it’s special acoustic and atmosphere. Jens Brand began inviting artists and later Maija Julius went on until Achim Zepezauer took over in 2015. mex is a member of Medienwerk NRW. Kindly supported by: Department of cultural affairs of the City of Dortmund, Pro Jazz e.V. and Künstlerhaus Dortmund.

The artists featured on this sampler were guests within the curation of Achim Zepezauer and performed live for the mex audience between 2013 & 2019. Due to global pandemic conditions mex was unable to host any concerts in 2020 and therefore decided to release this special compilation in cooperation with the label Ana Ott.

The Begotten is the brainchild of Jürgen De Blonde (Köhn/de portables) and Brecht Ameel (Razen), who initially performed a number of shows and released a CS under the moniker 'Kohier' - gleefully referencing the absurdity of Belgian tax systems and institutions.

On their debut LP "Temidden Laaghangende Wolken" they are joined by percussionist and improv-veteran Dirk Wachtelaer (Pablo's Eye/Vanishing Pictures), who locked with De Blonde and Ameel's post-reality continuum during a recording session at Les Ateliers Claus in Brussels. In this new trio format, The Begotten weaves a stripped-down set of after-hours, trancey observations on keys, baritone guitar and drums. Neon-lit bars are named Le Kheops or 60 Moons, streets are soaked in sheets of rain, people are staring at tax sheets and comets pass by unnoticed. Dub with tears; "Temidden Laaghangende Wolken" is the perfect backdrop of a strongly medicated game of Manillen during a 'Derrick' rerun.

Casper Clausen, frontman of Efterklang and adjacent project Liima, has today announced details of his first ever solo record. ‘Better Way’ will be released on January 9th via City Slang and today he shares a first taste with the juddering, krautrock-tinged, 9-minute opening jam “Used To Think”.

“Used to Think” was one of the first songs I wrote for “Better Way” a couple of years ago” Clausen comments. “I had a run of some small shows around Portugal testing the new songs I was working on at the time, and this one became one of my favourites, I really like the energy of it. It was also the song that made me reach out to the producer Sonic Boom. He ended up mixing / co-producing the entire album. There is some inspiration from his band Spacemen 3 luring around in there and he lives in Sintra, very close to Lisbon where I’ve been the past couple of years, so it all made sense.”

In March of 2020 bassist Dezron Douglas & harpist Brandee Younger were nestled in their apartment in Harlem, New York, not long after every live concert in the world was cancelled and most folks in the United States were forced to shelter in place for the covid lockdown. With all their gigs cancelled and their incomes strapped.. the two came up with an idea. They would host a live-stream performance from their living room, where they would perform classic tunes for friends and family to watch online, and folks could send them donations. They called it “Force Majeure: Brunch in the Crib with Brandee & Dezron,” the first part in homage to the ubiquitous contract clause that never seems to have any use (except all of sudden, c/o a covid-induced live music industry collapse). The immense popularity of their first performance roped them into doing it again, and again, until it eventually became a weekly ritual for Douglas, Younger, and their many friends and family who tuned in every Friday morning (ourselves included). Knowing the beautiful, natural sound they made in their living room would be as enjoyable (or more) as a record as it was through a social media stream… we mailed them a microphone to record themselves. What’s heard on this album, Force Majeure, is a collection of highlights from Douglas & Younger’s legendary lockdown livestream brunch sessions. It includes gorgeous interpretations of songs by Alice & John Coltrane, The Stylistics, The Jackson 5, Pharoah Sanders, Kate Bush, Sting, and The Carpenters… plus some solid gold nuggets of their banter between tunes. It’s an uplifting suite of real, soulful comfort music – a spiritual salve, emanating warmth from the hearth of a Harlem sanctuary.

Dezron Douglas & Brandee Younger are long time companions in life and in music. The two East Coast natives met early in life and have accompanied each other, personally and professionally, through their equally prolific careers. Douglas, a bassist who has established himself as a musician’s musician, is known to many for his work with Pharoah Sanders, Ravi Coltrane, David Murray, and Keyon Harold. Younger, a harpist who has distinguished herself as one of the premiere voices in her field, is known for her work with Jack DeJohnette, Charlie Haden, Stevie Wonder, The Roots, Lauryn Hill, and Moses Sumney. To the day Douglas and Younger often accompany each other in many of the ensembles they lead, respectively. The two played together in sessions for Makaya McCraven’s 2018 release Universal Beings, on which they are both featured artists. Of Force Majeure, McCraven says: “It’s a testament to the power of music to uplift us through the most challenging times.

FILM Recordings will release the debut LP from Denial of Service.

The album follows up EP's Sensou (2015), and more recently Contour & Shape (2017) - but marks the producer's most expansive release on the label thus far by some margin. Clocking in at 15 tracks, the lengthy opus draws from the same palette found on previous work - drum machine driven, heavily mutated Electro and IDM sit alongside low slung Techno cuts and arpeggiated EBM references. As ever, the production is stunning - crisp and plosive, as much a record for the club as it is a tempered headphone experience; whilst the mood channels that same dank, claustrophobic energy found on previous missives.

As a body of work, the LP displays the distinctive touch of a production veteran. The transformative shifts in structure on opener A Fine, New Mother Now belie a kind of boldness found less often across the contemporary electronic music landscape; and the drum programming on IDM-leaning explorations Autoimmune & Supercell bear the hallmarks of a perfectionist with time on his hands and in full control of his art. Space and the placement of sonic components plays a huge role in the artist's work and the 3 Stigmata of Palmer Eldritch displays this canny knack for generating both textural, wide angle soundscapes whilst maintaining that wrought-iron edge to drums and percussive elements - even more fervent, noisy compositions like Dr Manahattan manage to keep hold of this remarkable balance. It's impressive stuff, a fine and well worked meeting point between artistic vision and engineering prowess.

An elongated discussion, no doubt - but worth hearing every word. Each twist and bend, however sharp, remains carefully placed and beautifully recorded. Dryer works Slither & Junkie Foxtrot towards the LP finish offer a less introspective, more hard hitting angle to the work, and by the time the listener arrives at dual closer the Daisy Chain - Adults - they're ready for its heady catharsis.

The debut album from Denial of Service is a trip, and the line between club space and home listening environment is decidedly blurred - an emotive exploration of true psychedelic Electronica, delivered direct from the source.

From the mind of VernoN comes the first release of Eupasia, a label that tells the story of a mythic world built under the ground by some undead worms that have gained human characteristics. This first EP evokes gloomy and misty ambiences, followed by electro rhythms and rough basses, creating tension and resembling claustrophobia feelings.

For PM002, Antechamber ’s tectonic plate shifting grooves are carved into slabs of deep-dyed ochre vinyl. Four new tracks bring uncompromising sounds for the mature palette. Antechamber’s sound
blends opposing feelings of claustrophobia with a bold transporting musicality that reveals 25 years of perfecting a craft.


The opener, Archaic Idol, is a rude awaking in a foreign land - and alludes to the iconoclasm evident in the shattered panes of the cover artwork by Alcarcia. Track two, Ossolstone lays down the foundations for the new reality. Sparse, rich reverb, allowing the blocks to fall into place as the listener discovers and becomes acclimatized to the new sonic reality. Opening with an exquisitely dense and profound synth we are plunged into a landscape where Antechamber has free reign to show off skills.

Bordering on regimented syncopation, yet with enough space to allow the track to breathe. Susurrus pulses in an organic sense, tapping into a primordial vision. Remix duties are handled by Lemna (Japan) and Lakker (Ireland). Lemna’s take on Archaic Idol opens up the sound. The emotional heart of the original is maintained but with an unexpected direction that rewards the listener with lavish full range
mesmerizing intention.

Concluding the release, Lakker stamp their unmistakable mark on Ossolstone. A haunting circular bass competes with high-end percussion.

One of the most important labels in the history of dance music, Easy Street reflected New York club-land through its most

exciting years. From the Garage to The Sound Factory the clubs of the Big Apple echoed to the anthems released on Easy Street and then onto the world.

This compilation gathers up 12 of the most vital and important tracks. From 1984s Go Deh Yaka by Monyaka, through Da Lacy's house anthem 'Hideaway' via Adeva's anthemic 'In & Out My Life' all the bases are covered, whilst seminal producers Blaze, Paul Simpson and Todd Terry are amongst those who were behind the desks on these recordings.

The release is a loud cut double LP, that comes housed in a stunning sleeve and printed inner sleeves that highlight the label's
distinctive label art.

Having re-launched the Secretsundaze label last summer with their 'Stand Up' EP, the Secretsundaze production team make a marked return with the aptly titled 'Devious' EP. This follows on from a bunch of releases on the label from Silvestre, Carista, Eliphino and Joe Claussell.Secretsundaze also recently started a new re-edit series 'Secretsundaze Edits' with a contribution from themselves and Ge-ology topping Juno's Bestsellers charts (no.1 All Genres) for a good stint of February, gaining love from the likes of Gilles Petterson, Mary Anne Hobbs & Antal along the way. The pair have also recently released on esteemed labels such as Live at Robert Johnson, Phonica and Mule Musiq.

ALTER presents a remastered edition of Cremation Lily’s second album, on vinyl for the first time. Recorded whilst living in Hastings and originally released as a double cassette on his Strange Rules label in 2017, The Processes… forms a trilogy of albums in the CL canon that were influenced by the life and atmospheres within British coastal towns. Composed using a rudimentary set-up of synth, drum machine and two modified walkmans, CL draws upon a broad range of influences from the underground electronic music spectrum. Noise, tape music and ambient techno are all referenced and align to form a cohesive collection of tracks, flowing fluidly in sequence. Melancholic synth pads and deep kick drums intersect with crude field recordings and occasional bursts of feedback, evoking a claustrophobic uncertainty that feels more like being pulled under than carried above.

Features additional piano and violin by Theodore Cale Schafer.
Remastered by John Hannon.

2x12" Pressed & Designed On Gold-Opaque Coloured Vinyl - Double Gatefold - LTD PRESSING OF 2000 WORLDWIDE - Featuring All The Classic Hits & Hard To Find Rarities ...

Apollo are delighted to welcome Steve Legget & Mark Hand to the fold with their lush new single ‘If You Cannot Try’ featuring the dulcet vocals of Greg Blackman. Originally released as an uplifting bumping house track on Ramrock Records Blackman sent the stems of the release to longtime collaborator Steve Legget for a rework. Legget tore the original to pieces, deconstructing it into a much more ambiguous form. ”I’ve never been a fan of a chorus in a song,” Legget muses. "I like songs that are not direct that leave room for your imagination - Mark and I ended up building a new song around the texture of the original.”

Hand and Legget met in the early 90s at the Northern College of Art in Middlesbrough, and have collaborated at various times in the intervening years, through a shared love of Detroit techno, experimental electronic music, jazz and funk. Their creative process involves sending audio files back and forth - “The release was written in collaboration over the internet Greg in Colchester, Mark in Hartlepool, and me in St Albans."

Hand added spaced out textures and riffs from his collection of vintage Fender Rhodes and classic synths - taking the track into sunny space funk realms that comes on like a lost release from joe Claussell’s Spiritual Life label or Basic Channel jamming with Herbie Hancock.

Using their new version as the seed - Hand decided to try his own ’Teesside Techno’ version - "I wanted to give the track more of a 'machine funk' vibe with my rework” he explains. “I generally like to work by jamming with hardware - the bass line is generated by triggering the arp on my Juno 6..using triggers from a TR606 kick drum and hats replaced by a TR909.. the result being more of a jackin' electronic funk mutation!"

This continuing game of musical pass the parcel has indeed born some juicy fruit -

Standards & Practices returns after an extended hiatus with its first release for 2020 and the label's first-ever compilation. Showcasing six exclusive tracks from a variety of musically like-minded allies both new and established, "Out Of Practice Vol. 1" finds some of the most talented artists currently working in electronic music refining their sound and pushing their craft in exciting new directions.

Stave and Grebenstein's "Rack 4", their first collaboration since 2018's acclaimed "Live From Frankfurter Strasse", kicks off the proceedings with a view into a bleak, dystopian sonic landscape, while Italian producer VSK, known for his excellent EPs on Mord and 47 (among others) delivers "Pendulum", one of his best tracks to date - a visceral, unrelenting, broken-beat behemoth. Closing side A is Chicago native Todd Mattei 's contribution, "Lake Charles", a beautifully textured Frippian soundscape.

Kristian Jabs, better known to most as Pessimist, opens side B with "Rut", a sleek, stripped-down, techno track that positively drips with moody atmospherics and tension. Overlook and Karim Maas's contribution, the dense and claustrophobic "Chalk", is an ultra-heavy breaks track with hoovers and enough sub-bass to shatter blocks of granite. "7th Recording 29", an ambient piece which represents Jonathan Krohn's first recorded collaboration with long-time friend and associate Benjamin Mjolsness since their work together in the group Male - closes the compilation.

404 is a young collective based in Paris of 4 very different guys making music together. Last year they released a debut mini LP on Dusseldorf label Candomble and started performing live at Concrete and other prominent venues. This is their second release ever. Dark, improvised, smokey, claustrophobic techno of the highest psychedelic grade, bringing together elements of the « slow techno » sound, industrial textures and dub.

Greek artist June makes his debut on Mannequin Records with the 'Silver Demon' LP. The album explores a futuristic dystopian world where transcendence and oppression coexist, where claustrophobia and infinite openness coincide. A world of contrasts that is the product of the artist‘s active imagination and conscious effort to confront the subconscious.

The album was recorded using original techniques from the golden era of electronic music (late 70s to mid 80s) with an arsenal of vintage analog synthesizers, drum machines and effect processors (originating) from the same time period. While the aesthetics of the classic precursors emerge through the minimal, deep, dark architecture of June's music, Silver Demon prevails with the artist's characteristic originality.

Mastered by Rude 66.
Graphic design by Lee Douglas.

ehind Dosage there is Sayoko, a Japanese woman living in Paris, who works with a rich, organic, yet destabilized musical style, but with a pulsating life that makes her pieces fascinating.

His songs - since they are songs here - on the edge of pop music, are made for re-listening; each passage revealing new secrets hidden in the complex mechanics of his compositions. Evidence is never at the rendezvous, and yet the pleasure of listening, the joy of being carried away by texts that border the surreal without ever complacent, grooves that always seem on the verge of "collapse without ever poking the nose, this pleasure and this joy, unique, do not leave us from one end to the other of this theory of the pink, UFO album, for those who seek this, and to surprise the others too.

Sayoko: voice, piano, bass, electronics;
Buz: battery; Franca Mai: poems;
Dirty_Pink: guitar;
Gaspar Claus: cello;
Vincent Epplay: electronics;
Nicolas Laffererie: guitar;
BN Würtz: electronics, bass, composition;
Simon Takahashi: electronics, composition

Director Amanda Kramer’s prompts for composer Ben Babbitt’s soundtrack to her enigmatic film Paris Window read like magnetic fridge poetry – “warped ambient bumper muzak tension” – but the results skew closer to some hypnagogic contemporary noir: lulling, low-lit, and laced with lingering dread. Electronics, strings, and percussion swoon and seethe in heady mirages of dreams and delirium, romance and menace. The narrative it accompanies is equally opaque and out of time: two eccentric siblings psychologically unravel through divergent fixations, one obsessed with the hypnotic infomercials of a mysterious self-help institute while the other falls in love with an ambiguous doppelganger.
Babbitt’s background scoring experiential video games (Kentucky Route Zero) and collaborating with exploratory songwriters (Angel Olsen, Weyes Blood, Eartheater) is evident in his versatility and finesse, flowing fluidly between minimal and maximal modes. Like all dynamic film music, the pieces weave a story of their own. Serene synthetic swells decay into murmuring television static and eerie vocal fragments; close-mic’d drones turn acidic then claustrophobic, mirroring sleep paralysis transformed into panic. Babbitt builds a window into a surreal world, seen through shadows and smeared, street-lit glass.

Secretsundaze return with a second volume of their new mixtape series. After the success of the Joe Claussell tape they turn to Carista for another introspective mix aimed at a relaxed home-listening session.

In May 2018, Carista performed one of her first international gigs at Secretsundaze in London and went on to play 2 other shows for them that year. A year later, she has become a mainstay on the European club & festival circuit, playing to an ever growing, passionate and loyal fanbase week in week out, already playing shows that most DJs would only dream of, including closing a stage at Lowlands festival to an audience of 10000. No wonder a recent Mixmag article crowned her as "A DJ star in the making".

Her residencies on NTS and Red Light Radio showcase her love of house, boogie, broken beat, disco, funk and beyond. Her DJ gigs can also see her explore further into house and techno but this mixtape showcases a different, softer side of Carista blending ambient soundscapes, jazz, dub and soul as well as some poignant words from Nina Simone.

Swedish composer and multimedia artist Marcus Fjellström's debut Miasmah release follows two critically acclaimed full length albums on Lampse (2006's 'Gebrauchsmusik' and 2005's 'Exercises In Estrangement'). In addition Marcus has had several commissioned works requested, leading to him working with, among others, the Swedish Royal Ballet, the Scottish Chamber Orchestra, numerous ensembles, soloists and filmmakers including 'Salad Fingers' creator David Firth. Currently based in Berlin, Fjellström's compositions often combine aspects of modern classical composition and arrangement and more avant forms of music, be that acoustic or electronic.

'Schattenspieler' (which translates as 'Shadowplayer') takes the form of eleven compositions which explore ambience and melody, texture and silence. Haunting synth and orchestral instrument-based audio constructions, flowing from one moment to the next - the fleeting ghosts of Fjellström's melodies rise, only to be buried under a claustrophobic clutter of percussion and creaking background noise. These pieces do indeed feel like you're listening to something more implied than obviously stated, as if Fjellström wants only to expose us to the shadow of the music - the implication being perhaps a more terrifying experience than to be confronted outright…listen to 'Schattenspieler' and you may find your mind starts to play tricks on you…

The undeniably Angelo Badalamenti-esque descending synth strings of opening track 'The Disjointed', lay the foundations for Fjellström's 'Schattenspieler' album; music resting somewhere between the unsettling horror soundtracks of Jerry Goldsmith, the elevating melodies of Cliff Martinez, and the subtle audio constructions of Miasmah label mates Kreng and Jacaszek. Marcus' wide ranging abilities in composition and his willingness to let go of accepted form and function makes 'Schattenspieler' a perfect choice of release for the Miasmah label. The suspense laden 'Antichrist Architechture Management', with its harrowing and tense undertones, weaving synth lines and a wash of static hiss and flicker, is a particular standout track. Despite it's a strangely oppressive sound, shafts of light grace 'Schattenspieler'; pieces such as 'Untitled 090616' find gorgeous melodies are boxed in by unsettling arrangements and sparse background ambience. There is a coldness to many of these compositions - not without emotion, but somehow remorseless. 'Schattenspieler' is, for the main part, a defiantly bleak journey.

Vinyl edition ltd. to 300 copies, purple vinyl, incl. 8-page 12" booklet with drawings by Marcus Fjellström.

Beacon Sound and Jacktone Records are pleased to announce a limited edition joint vinyl release by Hugo RA Paris titled Threaded Habitat. The new LP from Paris follows two of Jacktone’s most popular releases: Mystique Youth (2015) and Horizons Beneath The Surface (2016), which appeared under his alias, Lavender.

The transition to the Hugo RA Paris moniker with this album marks a more personal shift in approach. Threaded Habitat combines ambient textures and techno rhythms to reflect tension between humanity and nature—particularly the cyclical nature of collapse and renewal. It also marks Jacktone's first collaborative release with the record store and label Beacon Sound, which has put out works from veteran experimental musicians like Terry Riley and Colleen. Beacon Sound is an important node in Portland, where Paris also lives and developed the flagship modular product for leading Eurorack manufacturer 4MS: the SWN.

The album's closing track was entirely composed on a SWN prototype and recorded in one take. In fact, much of his work is done in layers of single takes with minimal processing to preserve its raw emotion and embrace minor imperfections. As an MIT-trained engineer and physicist, working with hardware—from modulars to guitar pedals and tape loops—is essential to his process of not only making but exploring sound.

Threaded Habitat captures moments of claustrophobia and bliss in seven tracks and three accompanying videos directed by New Zealand artist Sam Hamilton. Visual art plays a central role in many of Paris’s projects, which include intricate audio-visual performances and scores for full-length films like The Modern Jungle (La Selva Negra) and its forthcoming follow-up.

The LP will be available to pre-order on July 1st with a limited, exclusive content sample pack. The handmade vinyl package features photography by Sam Hamilton and will be released July 19 through Jacktone and Beacon Sound’s webshops, with worldwide sales beginning August 2nd. A remix release will arrive later in the Fall.

Having broken a decade's silence with 2016's 'System', LA-based electronic musician Joseph Fraioli, a.k.a. Datach’i, returns this summer with his eighth album 'Bones'.
Released on Venetian Snares' Timesig imprint, 'Bones' features 12 tracks of mind expanding electronica, once again recorded on his custom-built Eurorack modular system. Much like its predecessor, 'Bones' manages to make the most of the possibilities modular systems offer, whilst avoiding their many pitfalls that can often turn such music into little more than a dry academic exercise. Indeed 'Bones' is a remarkably intimate album, written and recorded in the time following his father's death, and reflects this intense period of personal change in Joseph's life.

"Creating this music was a therapy of sorts," Joseph recalls. "It was almost like a close friend being there for me, and it's something that I hope others can perhaps utilize in the same way."

The connection to his father is something that is reflected not just in the emotional intensity of 'Bones', but in the actual production itself. "My father and I were very close," he explains. "Whilst he was sick with cancer I bought him a guitar as he wanted to learn how to play, just to have something to do while he was getting treated. After he passed away my mother gave me the guitar to have as a sort of memory of him. I had the idea to record some sounds and music on the guitar and load it onto granular sample players on the modular synth so I could make new music from those sounds as a sort of tribute to my dad. You can hear some of those sounds on a few of the tracks here like 'Arrivals', 'Motion in the Living Room' and 'Undimension'."

The resulting album grapples with the intensity of these emotions. But for all their weight, tracks like 'Saugerties Road', ‘Rockledge 3A’ and ‘Antumalal’ transform that heaviness into something warm and comforting whilst the aforementioned 'Arrivals' or ‘Wand’ ultimately achieve some kind of escape velocity and soar. Even though 'Bones' is about endings and finding closure, it also looks forward to new beginnings.

"It was something very much on my mind throughout recording this album," he relates, "ends being beginnings and beginnings being the end. Cycles of time and how time works, it's all reflected throughout the album right down to how the tracks are ordered."

Ranging from blissful ambience and guileless, starry eyed melodies, to intricate claustrophobic rhythms that forever sound close to collapsing in on themselves before expanding into bold new patterns, 'Bones' is the work of a producer who, twenty years on from his debut, continues to push the boundaries of electronic music.

The tail end of 2018 saw the release of Oberman Knocks’ third album on aperture records, Trilate Shift, which was included in The Moderns Vol.2  written by Kevin Press (a book dedicated to the world’s great, currently active, avant-garde artists).

2019 sees the release of Remhex Coyles EP – neither companion piece, nor follow-up to Trilate Shift, but a standalone set of tracks with a different collective energy to them. Knocks steps out from the experimental room and heads towards a different kind of space, one that's less claustrophobic and subterranean – a place that’s more structured and in places more melodic than his usual output, but one where he still brings his own distinctive sound.

Before heading into the sound production for a new film, his first theatre piece and next album, this five track EP shows an electronic musician in total control of every last detail. The surprising shift of focus in these tracks displays an alternative approach to his output whilst retaining the usual attention to sampling and manipulating sounds, combining them with a more regimented logic and groove than is usually apparent.
These undeniably enjoyable tracks show a desire to have a more playful immediacy, with a different sound palette and a drive to forge Oberman Knocks’ sounds into something that would be as likely to be played out as listened to at home.

ZamZam 72 comes from one of our favorite producers for the last few years, the elusive Andy Mac. Known in particular for his “Diving Bird” series, a buy-on-sight trilogy of 12”s on Bristol’s Idle Hands, the idiosyncratic producer also has releases on No Corner (in collaboration with Ossia), and the seminal Punch Drunk label. His unique style of chopped, techy, warm, pastoralist dubwise had us from the first, and the tunes he sent us flew through our A&R gauntlet with ease. His are records we return to again and again, revealing more subtlety with each listen, free from genre or tempo constraints.

“Dawner,” the first of two transmissions from Lands End, Cornwall, is a perfect encapsulation of the Andy Mac sound: melancholy yet uplifting, rooted in techno-steppers yet rough-hewn and organic, breezy yet piercingly introspective. Led by a staccato kick and insistent metallic snare, featuring a bubbling Hammond organ lead by Richard Blackbarrow of cult UK Rough Trade band “Bob,” this one shimmers with summer warmth, lens-flare refracting saturated side-light, made for dusk sessions and sunrise sets, preferably out of doors, far from any city.

Layered with field recordings of streams and sea, “Tawny Grammar” is an altogether deeper affair, a dark, hallucinatory journey into the power of repetition in a 140-ish style. Shaker, kick, and hi hat lay the foundation for a looping and loping Binghi drum and guitar chop that begin their journey hacking through a dense undergrowth of sound, only to find themselves ensnared in a web of backwards delays and psychotropic effects that suspend the unwary in a strange tension between minimal and claustrophobic… the dance’s dark beating heart.

Lifted From Hubbard's Lauded 1979 Lp 'the Love Connection', This Sublime Piece Of Melodic, Deep, Soul/Jazz Will Have Ears And Minds Open With It's Instantly Recognisable Opening String Sequence.

Used To Devastating Effect On Pepe Bradock's All-time 1999 Deep-house Classic 'deep Burnt', Those Sweeping Strings Capture Us And Lead Us Into A Epic Journey With The Wondrous Vocal Stylings Of The Legendary Singer Al Jarreau.

This Is Prime Early Morning Music, Pushing All The Right Buttons & Spreading Light Wherever It Is Played, A Beautiful Beautiful Record Indeed! What Is Essentially An Extended And Rearranged Version Of Hubbard's 1967 Original, The '79 Version Of 'little Sunflower' Boasts A Sumptuous Arrangement & Production From The Mighty Claus Ogerman (Ben E King, Mel Torme, Bill Evans, Antonio Carlos Jobim & More).

A Truly Wondrous Piece Of Music, Reissued On A Single Side In It's Full 12" Length Of 9+ Minutes From The Source Archive Audio. Fully Legit, Licensed And Reissued With Love By Above Board Distribution And Columbia Records/Sony Bmg For Record Store Day, 2019.

The sound of sheet metal, ripping slowly, suspended in low gravity. Screaming in slow motion, claustrophobic and encapsulated. This is the result of Nino Pedone's reworking of Mumdance & Logos' dancefloor deep heaters 'Chaos Engine' and 'Cold', taken from the 2015 LP 'Proto', also released on Tectonic.

No beats, pure drama. Each of Shapednoise's versions pull the original tracks deep into a chasm of crushing reverbs and grinding atmospherics, stretching the originals to their limit - and well beyond. Prepare yourself for a journey that will take you deeper into the darkside.

One year on from the passing of label co-founder and artist Alex Smith, Flash as a Rat returns with its 6th instalment.


Digby, co-founder and brother to Alex, continues the siblings' form for emotionally intelligent and sound focussed minimal.


'Briefmacken' bumps through waves of kicks and glitches to arrive at moments of peaceful clarity, whilst 'Constantly' swings with off kilter hisses and pops around a metallic organ sequence, making it's claustrophobic way towards a beautifully layered string section at the crescendo.


The typically pared back artwork this time inverts the colour scheme from the brothers' first ever release on their own label, marking the record simultaneously the ending of one chapter and the beginning of the next.

Love for the music should be the driving force of any producer and Lee Gomez aka Wipe The Needle clearly shows this with his latest release for Local Talk.

'Enchanted' features Alex Lattimore's soulful vocals together with stunning instrumentation and takes you on journey that goes beyond the house genre, it is hypnotic as much as it is bumping.
Flip it to the B-side for a North London dub courtesy of Wipe The Needle.
It's the kinda track Joe Claussell would drop at Body & Soul and keeps you dancing until closing time.

Taken for the widely played and adored Lenny Williams Spark of Love Album, which was released during the Disco Era of 1976 and featured disco hits like, 'You got me Running', I still Reach and 'Midnight Girl' comes 'Changes.'

Edits and Overdubs Produced and Performed by Joaquin Joe Clausell; Changes is the tune that was mostly ignored from the extensive Lenny Williams music catalogue.
Similar to his past works where he chooses songs that are mostly un popular to the outside world but classics amongst himself and his siblings at home, Joaquin Joe Claussell takes this Jam that he used to groove to at home as a young teenager, lifts it out from obscurity and turns it into something that will sure be played by most DJ's who are into the Lenny Williams Sound, soulful disco and beyond.

Listed at a time length of (5:03) Joe cleverly up lifts this soulful disco composition and extends it to a time of (9:01). He achieves this, as usual, with respecting the original composition and with never anyself-masturbation. In the end, the results are a New Disco Classic that drives with relentless energy and enough soul for anyone who's seeking more soul that hailed mostly from the urban side of American disco music.
So, listen, dance and spin.

Lenny Williams - Changes Edits & Overdubs by Joaquin Joe Claussell will be the first single to come out from the forth coming Joaquin Joe Claussell Presents Edits & Overdubs PT 2 2XCD and Special Limited 7Inch.

Domestic Exile are proud to present the devastatingly deplorable and malevolent recordings (that are sure to corrode yet electrify your ears) by Glasgow's very own KLEFT.

KLEFT aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement here in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi- membered hard core stars that were DIVORCE and the sacrificial, druid drone glitch of MOURN. Alongside these projects they have uncompromisingly disrupted, motivated and facilitated collective endeavors to take down the capital power structure of the dominant system of patriarchal club venues and abhorrent fuckers in this town.

For this record 'H+ Sexualis', KLEFT explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. KLEFT's expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society Are we all destined to be skinless yet digitally connected Will the body become superfluous Toward "the utopian dream of the hope for a monstrous world without gender," as stated on Donna Haraway's essay ''A Cyborg Manifesto.'

From the opening track 'Ossein' the listener grasps a foreboding lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle shattering rhythms which echo DMZ / Skull Disco dubstep alongside the more frozen, glacial ominous explorations of grime are often felt proving KLEFT is an artist whose inspirations run deep and wide and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

Moving through to 'CMBR', KLEFT's dissonant, degrading soundscape ferociously ascends. The resilient kick drum is propulsive and pulverizing akin to 'ardcore tekno - or intense gabba if you have the guts to adjust the tempo up to +8 - aesthetics that overwhelm and agitate finally revealing it's grotesque biological / amorphous bio structure. Elevating the repetitive 4/4 kick to a destructive, distorted banger of a track as layers of converging atonal noise and sound design simultaneously further enhances the sense of imminent radioactive contamination.

Next is 'Writhe, Squirm, Broken' continuing the convulsive, nauseating permutations of the prior track but reconfigured like a mangled, gruesome Cronenberg-esque parasite that has infiltrated an open wound, excruciatingly feeding off of the inner anatomy of it's hosts body from within. Repulsively reformulating the shape and dimension. The intro is akin to a panic stricken bouncy ball contracting and expanding, the spring reverb building momentum and traveling further away in distance and speed.

'Hackfleisch Deluxe' is a muuurrderous stomper and is one of the more grime / bass orientated tracks that deconstructs and disrupts the tempo familiar to sub-low producers on Black Ops / Jon E Cash / DJ Dread D. The crawling, plummeting frequency of the synth is a nauseating rush of coagulating blood to the heed; a deep throbbing sensory depravation in sharp, paradoxical contrast with the driving harmony layered on top which proves to be infectiously addictive. Furthermore are splintering programmed vocal samples that gives a sense of artificial disorientation, mind over matter, a possible hint at our evolving sentient cognition within a nightmarish simulated, augmented reality

Second to last we have 'Keratin' which is filled with the near fatal dissolving thud of Djax-Up acid that gives the impression that you're a biologist peering through a microscope into a petrie dish and witnessing the rapid and furious genetic cellular replication of bacterial and viral organisms.

Culminating in 'Bruised and Bleeding Hands' where the squashed density of a deflated and depressurized helium filled balloon and elastic umbilical cords, barbed wire and copper wires grind n' coil around the lens of a zooming camera. Taking no prisoners, this is a punishing grime weapon. A phat, surgical kick drum bulldozes its way thru causing carnage, syncopated punching snares after every rave stab and dizzying third beat. It won't be long until ye hear this on Silver Drizzle's youtube channel in the near future.

This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!''.

A worldwide priority artist for Columbia Records. Debut album from Spanish urban/pop singer. An 11 track album available on vinyl and CD formats, fusing Latino with pop, with obvious Christine & The Queens/Jain influences. Video support across Vevo and MTV. Specialist radio support. Press ads, features & reviews. Online/social media activity. Poster campaign and database mailout.

Marco Faraone returns to Drumcode with some of his most inspired work ever, comprising of four tracks crossing the Techno spectrum.Growing up Marco was surrounded by 90s Italo house and techno, which have all had a part in the current sound he produces today. Never one to stick to any individual style, he can often surprise his fans with a set pumping out peak time beats to down tempo house cuts with catchy vocals.
'With this release, I took some inspiration from listening back to some old Vitalic sounds and giving some extra power to the use of synths in each track. It's got a festival vibe to it, which is something I wanted to achieve' - Marco His last Drumcode EP was back in 2016, so this October he makes a welcome return showing his multiskilled productions at their full potential on this mega 4 tracker, opening with the gargantuan 'Never Forget'.Mutating rhythmic synths hark back to the good ol' days of BXR and the limitless talent of the Italian Techno scene in the late 90s. Boiling over in the main break this is crowd-pleasing dance music at its finest.
'Cruiser' is a bumpy upbeat ride with a strong melodic hook that will have the hands raised and the feet stomping.Title track 'Lunar Eclipse' is a dense, at times claustrophobic roller. Menacing to begin with, the addition of the main melodic motifs lifts the mood midway. 'Take This Trip' rounds out an incendiary EP. Lighter and more musical that the previous three, it offers a joyful, softer message. 'This is a special release for me, I wanted this to have explosive power yet the perfect balance of melodies and sounds to create a different and unique atmosphere for each track'
- Marco Faraone

* For our eleventh release we are excited to be working with five artists who are all new to the label.

* Rendered open proceedings on side A with a nod to COIL in their psychedelically propulsive workout Analstairface.
End Train follows, steering his machines with tactile precision between acerbic acid lines and cavernous synths, crashing through a brutal onslaught of splintered beats that finally open into space.

* Side B starts with the claustrophobic tension of WarinD's Still Left In There, featuring Huren's disembodied snarl, tearing at the relentless machine funk. This is followed by the insistent, martial urgency of Distant's Hydrargyra, scaling vast heights of immaculate sonic architecture to an emotional pinnacle that is finally resolved in the EBM drenched romanticism of Lapse of Reason's Go Away.

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

Limited Edition. Triple Transparent Vinyl 180g Incl. Poster & Download Code. Box Will Be Opened For Shipping To Avoid Seam-split. Hinweis: Box Ist Verschweißt, Wird Aber Für Den Versand Geöffnet

On October 19th Kompakt presents a new LP and audiovisual venture by Danish producer Kasper Bjørke and close cohorts. Epic and in length but always captivating, 'The Fifty Eleven Project' is an entirely ambient concept album, that interprets and evokes the emotional rollercoaster Kasper experienced, from his cancer diagnosis and throughout the five years of regular check-ups. The week of album release marks his second anniversary of getting the all-clear.

The base of the album was composed on vintage analogue synthesizers, reverbs, echo and sequencers - using the computer solely as a recording device - by Kasper and synth wizard Claus Norreen, in the latter's Copenhagen studio.

The violins, violas and cellos are composed and played by the Italian composer Davide Rossi, who has also worked with Ennio Morricone, Jon Hopkins, Ro¨yksopp, The Verve and Goldfrapp.

The piano parts are composed and played by Danish musician Jakob Littauer (of Kompakt labelmates Jatoma) on an old upright piano in a studio, and on a Steinway Grand Piano in the concert hall at the Royal Danish Music Conservatorium. From Max Richter's 'SLEEP', Hannah Peel's 'Mary Casio: Journey To Cassiopeia', to much of Brian Eno's 'Music For Installations', 'The Fifty Eleven Project' continues in a rich vein of work by contemporary composers which explores a situation/condition, and is made with functionality and healing in mind.

The visual side of 'The Fifty Eleven Project' is made in collaboration with the culture laboratory Prxjects and acclaimed LA based artist/filmmaker/photographer Justin Tyler Close, who has created art films for each of the album's 11 tracks - plus one music video, including clips from all 11 films. The 11 films will be assimilated into a video exhibition at Klub in Copenhagen from 12th - 21st October. The ambition is that the installation will tour Europe and the US in 2019. Furnished in an exquisite fabric box, this 180 gram 3LP clear vinyl box is presented by cover art created by world-renowned artist Landon Metz, further cementing the release's multidisciplinary links to the art world.

Am 19. Oktober präsentiert Kompakt das neue Album und audiovisuelle Abenteuer von Kasper Bjørke und Freunden. - The Fifty Eleven Project' ist ein komplett ambientes Konzeptalbum, das die emotionale Achterbahn, die Kasper nach seiner Krebsdiagnose und während fünf Jahre regelmäßiger Untersuchungen erlebt hat, interpretiert und offenlegt. Die Woche der Veröffentlichung des Albums markiert den zweiten Jahrestag seit der Entwarnung.

Die Basis des Albums wurde von Kasper und synth wizard Claus Norreen in seinem Kopenhagener Studio auf analogen Vintage-Synthesizern, Reverbs, Echos und Sequencern komponiert - der Computer wurde ausschließlich als Aufnahmegerät gebraucht.

Die Geigen, Bratschen und Celli wurden vom italienischen Komponisten Davide Rossi komponiert und eingespielt, der auch mit Ennio Morricone, Jon Hopkins, Röyksopp, The Verve und Goldfrapp zusammengearbeitet hat.

Die Klavierparts wurden von dem dänischen Musiker Jakob Littauer (bekannt vom Kompakt-Projekt Jatoma) auf einem alten Klavier im Studio und auf einem Steinway-Flügel im Konzertsaal des Royal Danish Music Conservatorium komponiert und eingespielt.

Von Max Richters - SLEEP', Hannah Peels - Mary Casio: Journey To Cassiopeia' bis hin zu Brian Enos - Music For Installations' - - The Fifty Eleven Project' setzt die Arbeit zeitgenössischer Komponisten fort, die sich mit einer Situation/einem Zustand auseinandersetzten und die auf Funktionalität und Heilung ausgerichtet ist.

Die visuelle Seite von - The Fifty Eleven Project' entstand in Zusammenarbeit mit dem Kulturlabor Prxjects und dem renommierten Künstler/Filmemacher/Fotografen Justin Tyler Close aus LA, der für jeden der elf Tracks des Albums Kunstfilme erstellt hat - plus ein Musikvideo mit Clips von allen elf Filmen. Die elf Filme werden vom 12. bis 21. Oktober in einer Video-Ausstellung im Klub in Kopenhagen gezeigt. Ziel ist es, dass die Installation 2019 durch Europa und die USA tourt.

Verpackt in einer exquisiten Stoffbox, die vom weltberühmten Künstler Landon Metz entworfen ist, zementiert diese 180-Gramm schwere 3xLP-Klarsicht-Vinylbox seine multidisziplinäre Verbindung zur Kunstwelt.

Boredom, anxiety, pain killers and frustration make a heady mix for both reflection and action. For three weeks I stared out of the window of the tower block onto the tall brick towers of the old asylum chimneys. The past was a strange land suddenly out of reach, the present confusing and claustrophobic, the future something I could only visualise and idolise.

From the balmy Autumn day of my release a light was switched on, buzzing urgently like a neon street light on my path. Life took on new vigour and meaning. Pleasures starkly illuminated, annoyances inconsequential. Old work was re-examined and appreciated. Machines were treasured and connected. My basement filled with ever greater warmth and excitement.

The toy towns of our inner minds are constructed of a million tiny building blocks of experience. But there's a freedom that comes from realising what might have been. Peace in reflection, untethered from the everyday distraction and I take pleasure in the hum drum. Unhampered by trends, untethered to a scene, stripped back to essential carnal influences and desires. Who are we but the sum of our experience.

'Everything Is Quite Now' meanders through a reimagined landscape of personal history, releasing musical fragments to dri* amongst soaring treetops, hollowed lakes and labyrinthine concrete structures, liberated from genre and form - alive at last. In these great expanses, light and dark are presented not as polar opposites, but as a limitless, unified whole.

References to EBM and industrial techno manifest within the sporadic percussive framework whilst gauzy ambient backdrops form an entire world of their own, constructed from the gentle hiss of a looping tape, the booming caverns of a muffled kick, the vivid distortions of a crystalline synth. In the depths of a misty forest, warmth permeates, absorbing inside it all of the darkness, pain, romance and beauty from before.

Prequel Tapes is a work of deep synthesis. Fragments of melody and memory orchestrated into densely layered tapestries; a deeply emotional study on a life characterised by a shi*ing relationship to electronics. The pieces serve as a chronology of desire and reflection, reconciling a nascent passion for industrial music with a history in the club. Oscillating between utopian to claustrophobic, the evolving synth work, deep techno atmosphere and traces of clangorous energy of early European ambient and industrial tell a distinctly German tale, forged between the forest and the autobahn.

Everything is quite now. What else can it be.

Donor, the Brooklyn-based artist, known for his releases on Stroboscopic Artefacts, Semantica and Prosthetic Pressings, steps up on Sublunar with a brand new EP. The record consists of three original cuts plus a remix from the key figure in the legendary 'No Way Back' parties and 'The Bunker NY' resident Patrick Russell.

'Identity Revealed' is the first track of the EP, a half-stepping creature clanking and booming like steelworks surrounded by a claustrophobic noise that increases in intensity during its development.

Patrick Russell, with his interpretation of 'Identity Revealed', raises the temperature level pushing even further the noisy elements of the track and its thick atmosphere while the bassline takes an unpredictable route becoming something sparse and syncopated.

On the B-side 'Lesser Forms' merges booming kick drums with finely sculpted industrial drones, everything is perfectly lined up until the last microscopic sonic detail.

'Forgotten' closes the EP, a tortuous path carved into glitches and twists where every broken beat hits with brute force and moves onward with a curious poly-rhythmic gait.

The first release on Standards & Practices since the widely acclaimed remixes of Talker's 'Battle Standards' EP (by Surgeon / Regis / Broken English Club) from late last year, 'Live From Frankfurter Strasse' represents the first recorded collaborative effort from Jonathan Krohn (Stave, also 1/2 of Talker) and Jan Grebenstein (Downwards, Horo).

Culled from recording sessions following several successful improvised live performances in San Francisco, Los Angeles, & Berlin, 'Live From Frankfurter Strasse' is 3 tracks of seismically powerful, industrial dub music that represents a new direction for the pair and is unquestionably some of their strongest material to date.

The twitchy, pared-to-the-bone opener 'Alfa' is at once vast and frighteningly claustrophobic, recalling the brutal, clinical precision of Mika Vainio & Ilpo Vaisanen's output, with a brilliantly tricky arrangement that continually pulls the rug out from under the listener - it's vertigo-inducing twists and turns are simultaneously disorienting and endlessly hypnotic. On the flip, the brooding, scorched-earth 'Stirn' & 'Verstarkerstufe' work at a much slower tempo, uncurling like a plume of smoke with a spacious, cerebral quality that occasionally brings to mind early Gescom.

The first release on Standards & Practices since the widely acclaimed remixes of Talker's 'Battle Standards' EP (by Surgeon / Regis / Broken English Club) from late last year, 'Live From Frankfurter Strasse' represents the first recorded collaborative effort from Jonathan Krohn (Stave, also 1/2 of Talker) and Jan Grebenstein (Downwards, Horo).

Culled from recording sessions following several successful improvised live performances in San Francisco, Los Angeles, & Berlin, 'Live From Frankfurter Strasse' is 3 tracks of seismically powerful, industrial dub music that represents a new direction for the pair and is unquestionably some of their strongest material to date.

The twitchy, pared-to-the-bone opener 'Alfa' is at once vast and frighteningly claustrophobic, recalling the brutal, clinical precision of Mika Vainio & Ilpo Vaisanen's output, with a brilliantly tricky arrangement that continually pulls the rug out from under the listener - it's vertigo-inducing twists and turns are simultaneously disorienting and endlessly hypnotic. On the flip, the brooding, scorched-earth 'Stirn' & 'Verstarkerstufe' work at a much slower tempo, uncurling like a plume of smoke with a spacious, cerebral quality that occasionally brings to mind early Gescom.

"With a subject matter of an unsettled consciousness and the schizophrenic tendencies of the Artificial-Intelligence-Era, 'Chris Weeks', aka Kingbastard, has crafted a unique terrain for himself on his new EP, 'Standalone'; a beguiling workout of mind-bending, hardware-based electronic sounds. Weeks fuses Techno sensibilities with an array of Experimental-Electronic techniques, producing an EP which echoes the genius of Aphex Twin & Autechre; making the UK-based Producer one of the most adventurous heirs of the Warp label. The tracks found on 'Standalone' perfectly embody their titles, with glitch infused Techno, IDM innervation and fidgeting-synth flourishes, evoking the electronic-claustrophobia felt from living in our all-encompassing post-Snowden surveillance dystopia.
Championed by the likes of Bleep, Tom Ravenscroft (BBC 6 Music), Rob da Bank (BBC Radio1 & 6Music), CLASH Magazine, Igloo Magazine, IRM (Indie Rock Mag), Future Music Magazine."