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Legendary artist Mick Harris (Napalm Death, Painkiller, Scorn…) kicks off his 2019 with this EP of tar-black, bass heavy sonic violence. This EP features 4 reworks of “Salford Priors”, one of the heaviest tracks from his return-to-form album “Over Depth”, the first by Mick Harris himself, and 3 more by his longtime collaborators in the production guises of Fausten, Stormfield, and Monster X. The EP begins with an apocalyptic, dubbed out violent rework by the man himself, creeping in with a cold, calm eerie drone that quickly goes from zero to 100%, blasting into a full force attack of artillery percussion and strafing, shrapnel textures atop the landmine subs and characteristic Harris snarling mono-bass.

Julien Caraz has caused much distress over the years with the sheer rage and precision sonic assaults of his Monster X project. Here he eschews his usual frenetic tempos for a solid 130BPM, a sleek techno destroyer built for giant spaces and huge soundsystems in mind. The Combat Recordings boss has worked audiovisually with Mick since the Scorn AV at Bangface Weekend in 2011, touring with Fret AV in 2018. Here he switches back into audio mode to rework Salford Priors into a hard electro assault for the Stormfield remix.

Fausten is the shadowy, twisted collaboration between Monster X and Stormfield.
Having released a staggeringly twisted album on the legendary Ad Noiseam, Fausten
went into hibernation as the pair pursued their own projects, with only a few sporadic tracks surfacing over the years. The pair have been putting together an album’s worth of new material for 2019, beginning with a powerful remix of Salford Priors. Taking Fret back into it’s aquatic, fathoms-deep sonic territory, this remix is a behemoth work that moves at quarter-step tempo, allowing for more physicality and dynamics, the profound pulse of each profoundly deep bassdrum like an underwater volcanic explosion, with skittering percussion the resonates in the stillness.

The second Keep on Wankin EP continues Hell Yeah label boss Marco's on going quest for the perfect remixes. This time out he serves up the most Balearic Gabba influenced material yet and takes you on a trip to the clouds with Bjorn Torske and Fango both stepping up.

First up is Bjorn Torske's take on everybody's favourite Luminodisco tune 'Oh Mary.' It's an impossibly adventurous 11 minute epic with buoyant chords dancing over trilling guitars. Lush, multi-layered and brimming with musicality, this is the sort of dubbed out yet percussively lively masterpiece that will mark the high point of any set as it washes over you time and time again.

Then it's to Fango's chunky and spaced out take on Somerville & Wilson's 'Yantar.' It's been the final track of all recent Fango sets around the world for a while now and that won't change any time on thanks to the slow build to a colourful dub disco peak. It takes you ever higher on wandering lead synths as the fat drums pump away below. Essential stuff.

Press:
Resident Advisor New Tracks Review

"This unhurried, euphoric bit of cosmic disco will bowl over a daytime festival crowd in just about any country"

DJ Support:
Andrew Weatherall (A Love From Outer Space), Kolsch, DJ Tennis, Tim Sweeney (Beats In Space), Benjamin Frolich, Front De Caseaux, Gerd Janson...

Explorer Series Vol.4, Original ethnic music of the peoples of the world
Berlin 2019

In welthistorischer Einmaligkeit erscheint auf dem Berliner Label Nonplace die erste ethnologische Edition der musikalischen Traditionen Zentraleuropas, am Beispiel Berlins der Gegenwart, zusammengefasst von Burnt Friedman. Nachdem House und Techno, oder Clubmusik, zum Kulturphänomen geworden war, und seit 30 Jahren bei festlichen Anlässen und fortwährend in allen Kulturstätten erklingt, wurde es Zeit für eine Aufarbeitung, für diese musikethnologische Bestandsaufnahme des kreativen Spektrum Berlins im Licht Zentraleuropas.

Bisher konnte der geneigte Hörer im Fach "Weltmusik" die entsprechenden Tondokumente finden, die einen direkten akustischen Einblick in Kultur und Tradition der seltensten Volksgruppen und entlegensten Landstriche geben konnten. Doch die Traditionen und Bräuche weisser Zentraleuropäer blieben bei diesen Bestandsaufnahmen nicht selten aussen vor. Dieser klaffenden Lücke in den Musikarchiven wird mit dieser Neuerscheinung endlich gerecht. Im Zuge der Musealisierung von bedrohtem Kulturerbe, können der Gemeinschaft aller, die besonderen Beispiele westlicher Prägung im Bereich Musikerzeugung, Techno, Jazz, Dub, usw., nicht mehr vorenthalten werden.

Berlin-based Mechatronica founder Daribone presents a potent blend of EBM, new beat and electro on "Body Realism", the fourth record in the label's limited edition White series of hand stamped vinyl-only releases.

A wild ride into the Chilean producer's vivid take on reality, spirituality and fantasy, the EP moves from slow-burning mantras and religious mania on "Shamanic Tendencies" and "Yolavi Bahar" through the hazardous alien landscapes of "Upper Norfair" and a final encounter with the Mechanoid beings, gatekeepers between our consciousness and the universe.

Numero's "Planisphere", für diejenigen innerhalb der 30-40 Grad Zone, wird Ihnen ein ziemlich erkennbares Diagramm liefern, um sowohl Deep-Sky-Objekte als auch tellurische emotionale Impulse zu entdecken. Statisch gefüllte Signale, die tief aus dem Inneren der Wände des Laurel Canyon kommen und von Clustern der beginnenden Technologie des späten Jahrhunderts abprallen, werden durch die verdrehten Kaninchenohren eines Chevy Astro Van gezogen. Der zweideutige Klang von Hippies frisch aus dem Hinterland schaukelt Trommelmaschinen durch herzzerreißende Aspirationen, als ob die Musikabteilung des Whole Earth Catalog zum Leben erwachte. Diese 9 Nomaden, die aus dem Astronomieunterricht mit einem Arm voller Brain and Sky Label-Releases hervorgehen, kritzeln Plein Air Narrationen über eine Landschaft, die der Sonne den Rücken kehrt. Genießen Sie den Nachhall unseres himmlischen Heims.

> Individuelle gestanzte 2-farbiges Cover im Spanplatten Look
> Klar bedruckte Hülle mit radialem Kalenderzifferblatt
> Picture Disc LP mit Sternenkarte der Sterne, die am Nachthimmel in der 30¢ª-40¢ª Zone sichtbar sind

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

The latest ensemble outing comes courtesy of Fader, who runs his own Borneo imprint and has recently released on the newly established Bar Rotterdam label. The Dutchman delivers four different shades of powerful house music, all of them crafted within the walls of his Tenth Floor Studio somewhere between 2014 and 2018 !

The package kicks off with “Rubato Alle Tribù Del Sud”, a tribute (as well as a nudge) to the hedonistic Italian nineties but injected with a dose of edgy NY tribal house - an emotional yet uplifting ride that will get any dancefloor hooked. Up next comes “Dirty Detox”, a timeless affair consisting of a rolling Vermona Mono Lancet bass line, TR-909 drums, a touch of 303 and a mangled Casio CZ having a party while everyone’s asleep. “Echt Hè” is the classy deephouse track of the bunch. Its moody bass line and magical melodies are the result of a Boss DR 660 drum machine’s pairing with a few singing eurorack modules. The grittiest workout is aptly kept for the B2: “Suzan Caught On Tape” was the first piece of music production Fader ever finished in the city of Rotterdam. After running it through his old Mackie desk, throwing cheap reverb and delay effects on top, he bounced the whole thing straight to cassette tape. Finito, as they say.

Eno Williams, frontwoman of Ibibio Sound Machine, uses both English and the Nigerian language from which her band's name is derived for the dazzling new album Doko Mien. Long lauded for jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy on Doko Mien, the followup to their Merge debut Uyai.
In a glowing piece in the New York Times, those songs were praised for following 'in the tradition of much African music, [making] themselves the conscience of a community.' By pulsing the mystic shapes of Williams' lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future. That propensity for duality and paradox seems common in people whose lives span continents.

Williams was born in the UK, but grew up in Nigeria, always steeped in her family heritage. She obsessed over West African electronic music, highlife, and the like, but was equally empowered by Western genres such as post-punk, disco, and funk. The London octet have enveloped themselves in that maximalist quilt proudly since their 2013 formation. Though it can often bring with it news of stress and uncertainty, the modern world further brings all these disparate traditions into connection.
'Everyone has everything now,' says multi-instrumentalist Max Grunhard. 'Everyone has immediate access to every genre, picking things up from everywhere—like magpies.' And while they haven't suddenly left their African roots behind, Doko Mien does find increased representation of English lyrics in the ratio. By sharing more directly with more universal lyrics, the record feels more anthemic, reaching for grander heights.
'We wanted to give people a reason to sing along, to find their soundtrack every day,' Williams says. 'We wanted everyone to feel as if they're part of the music as well.'

Late album highlight 'Guess We Found a Way' addresses the change with a coy smile. 'Guess we found a way to speak to you/ Guess we found a way to say what's true/ To say what's real,' Williams coos over glistening chains of reverberant synth and diamond dust percussion, before returning to Ibibio in the chorus. Perhaps the best example of the group's ability to convey meaning across language and tradition, to blend past and future into a singular present comes on 'She Work Very Hard'. The traditional Ibibio folk tale bobs over the waves of tuned percussion, chunky synth, and pinprick highlife-esque guitar, while Jose Joyette's drums and Derrick McIntyre's bass funk groove bring everyone to the dance floor. 'These stories won't be forgotten. Feel the music: it speaks to everybody,' Williams says. 'We can travel back in time together, while convening on a futuristic, present tense. We hope that we can give people that reason to wake up, that one song to sing and dance and be happy.'

Doko Mien: Tell me everything. On their new album, Ibibio Sound Machine provide the perfect companion, ready to digest as much as possible and then further unfurl beauty and hope. They remember and honor the past and charge forward toward the future, all while intensely expanding the present.

A BRUTALIST BLOW. A DARK EXERCISE IN PROGRESSION. A PUZZLE THAT OUTLIVES THE EXECUTION OF HARMONY.

Vanta is a construction for the savage. It reaches the profane along with the cryptical. The EP includes 5 tracks in which Zomby redetermines his access to techno by developing a language that is archaic. A language that is his own.

Winner of the 2018 BASCA British Composer Award for Solo or Duo

"Bloody hell that was good" Tim McKinney, BBC Radio 3

Dominic Murcott – The Harmonic Canon

A music project featuring a specifically design half-tonne double bell, an array of rare percussion and two highly virtuosic percussionists.

Dominic Murcott is a composer, percussionist, curator and educator based in London. Much of his work combines acoustic instruments with computers, film and other media. He has a continuing interest in work that is personalised for specific performers and has created acoustic/electronic pieces for trumpeter Noel Langley, percussionist Joby Burgess, clarinetist Joan Enric Lluna, harpist Sioned Williams and the Elysian String Quartet among many others. He has taken an unusual path to his current position, starting out as a self taught musician, his early career included playing drums with no-wave pioneers 'Blurt' and composing for the highly successful V-Tol Dance Company throughout their ten-year history. Changing from drums to vibraphone he became a member of art-pop band The High Llamas and has played on records by many influential artists including Stereolab and Pavement.

Created in collaboration with sculptor Marcus Vergette, The Harmonic Canon is both the name of the piece and the double bell that was custom-made for it. Comprising of two bells tuned a semitone apart, the bell was created using Finite Element Analysis, a type of structural analysis that determines the vibration patterns of the bell, manipulating its harmonic series to create a complex series of frequencies that make up a note. Part One is made up of rapid, high energy, virtuosic passages, articulated with the ominous striking of the bell while the second part contrasts with a single resonant tone that evolves and shifts over time. This is part of nonclassical's 21 Minutes series, a new project commissioning 21-minute pieces.

The piece won the BASCA British Composer Award for Solo or Duo. Premiered in 2018, the piece has had radio play on BBC Radio 3, broadcast from Huddersfield Contemporary Music Festival.

Temporary linearity in a lysergic world.

Imagination and reality, science and humanity: SPIME.IM weave their audiovisual tales from the ethereal textures that shape our worlds. Their album "Exaland" synthesizes reality by combining human expression with technological potentialities in an infinitely changeable virtual world. The seven tracks are defined by razor-like sounds, crystal textures and digital overload, captured in those weightless seconds on a parabolic flight. Just as SPIME.IM's live performances, this album is a temporarily linear journey through a narrative space shaped by psychedelic landscapes, synthetic colors, mutating objects and transient life-forms.

SPIME.IM was born as a word pun between the concept theorized by Bruce Sterling - the spime for the note, an object that can be traced through space and time for the duration of its existence - and the contraction of English "I am". If the Being is therefore the object of the intertwining between the real and the virtual, then it becomes possible to create new imaginaries that turn into immersive environments and narrative spaces in which artificial and natural, science and humanity, imagination and reality interpenetrate, giving life to new boundaries to be explored, to experience the own consciousness and what, while invisible to our eyes, surrounds and influences us.

Affirming digital reality, the Turin-based media art collective SPIME.IM explores the boundaries and possibilities of identity and perception in a world where virtual doppelgängers take on an all-encompassing position. SPIME.IM use technology, 3D art and electronic music to weave immersive audio-video experiences.

Two years ago, Ferdi Schuster was a young multi-instrumentalist and producer
daydreaming of releasing his music on Claremont 56, one of his favourite labels.
Now he’s set to release his stunning debut album, “All One”, on Paul Murphy’s
long-running imprint.
It’s been a long time between drinks for the German producer, who last graced
C56 with his superb double A-side single, “Little River/Befreit”, in the autumn of
2017. Fittingly, it’s “Little River” – a babbling brook of audio bliss rich in samba
influenced drums, soothing acoustic guitars and spacey synthesizer licks – that
kicks off “All One”, a seductive set in which every drumbeat, piano note, guitar
riff, synthesizer flourish and freside-warm bassline was played by the man
himself.
Throughout, it’s easy to see why Murphy decided to snap up Schuster and
push the producer to record a debut album. Check, for example, the dubbed
out shuffle of “Thinking of You”, where ghostly chords, soft-focus guitar solos
and ethereal vocals drift across the soundscape, and the slowly unfurling bliss
of “The Good Fight”, an effortlessly Balearic workout rich in sun-kissed guitars,
bubbly synth lines and chords so snugly they could probably be used as a
comfort blanket.
Schuster’s greatest strength is undoubtedly the evocative and enveloping nature
of his instrumental music, which draws on a variety of complimentary influences
but never sounds anything less than original and fresh. Some listeners may be
enchanted by the loose and languid pulse of “Fading Away” or the lo-f reggae
jazz of dusty closing cut “Night Talk”, though others may prefer the stoned funk
shuffle of “Interaction” or the spacey vibrations of “Pulsa”, where intergalactic
synthesizer lines wind their way around heady bass guitar and sparse, off-kilter
deep electro drums.
“All One” is that kind of set; an atmospheric and musically accomplished
collection of cuts capable of muting the mundane and distracting from the stress
of 21st century life. As debut albums go, it’s something of a stunner

“Le Lisse et le Strié is a new work by french composer François J. Bonnet, released under his project name Kassel Jaeger. Based in Paris, Bonnet is the Director of INA GRM. He is also a writer and theoretician (The Order of Sounds, a sonorous Archipelago and The Infra-World have been published in english by Urbanomic). As a musician, Bonnet has been collaborating with artists such as Stephen O’Malley, Oren Ambarchi or Jim O’Rourke and most of his recent work has been published by Editions Mego.

Le Lisse et le Strié has been conceived as an exploration of the two antagonist concepts of “smooth” and “striated”, applied to the realm of electroacoustic sounds. If the “smooth” is linked to “nomos” as an open space of organic distribution, the “striated”, on the contrary, is associated to “logos”, as an enclosed space defined by a grid.

Elaborating a dialogue between these aspects, Kassel Jaeger draws here an intermediary space where pulsations become textures and layers, and where rhythmic elements are found in the qualities and bodies of sounds instead of being functionnalised, pre-determined sound objects, abstracted and frozen onto a temporal grid. The concept of “striated” is made audible only through the sonic landscape it inhabits, like the stripes of the camouflage fur of wild animals only exist as such in the woods and long grass, disappearing into a potentially uselessness in a desert plain.”

LA’s Cromie joins Detroit imprint Clave House to release four mesmerizing cuts entitled ‘Root Bulb’.

A familiar face in the Los Angeles house scene, Nikola Hlady aka Cromie has established himself through his talents and graft in the studio showcasing his distinctive deep house rhythms, clever chord progressions and focus on charismatic sound design. His previous releases on Material Image, Amadeus Records and These Things Take Time join hypnotically driven atmospheres with captivating rhythms creating forward- thinking yet classically-minded sonics. His ‘Root Bulb’ EP sees the LA producer join the Clave House family accompanying artists such as Ali Berger, Pascäal, 外神 deepspace, Appian, Gerald Norton, Segv and Berndt.

Cromie's ‘Root Bulb’ EP picks up where his 2018 releases left off, taking inspiration from the Southern California landscape that surrounds him, with its juxtaposition of endless expanses of concrete amidst its staggeringly diverse flora and famous sunshine.
‘Root Bulb’ kicks things off with absorbing pads layered over rough and raw percussion with angelic textures in the distance before ‘Lilac’ delivers breaks-tinged drums, a catchy, buried sample, infectious synth notes and warming melodies inviting the listener’s focus.

‘Aristocrat Motel’ maintains the enrapturing ambience by fusing pulsating bass shoots, alleviating tones and charming, earworm keys offering a club-focussed yet introspective track until ‘Root Bulb (Grove Mix)’ rounds off proceedings with downtempo broken-beat grooves, tantalising vibrations and undulating, cosmic elements.

The title of this new album by Vanessa Wagner refers to John Cage's Imaginary Landscape (1939), one of the first works to use electronic devices. After all, when Cage wrote his manifesto The Future of Music in the late 1930s, he already knew that the merging of written and electronic music would bear exquisite fruits. The album is the lone protuberance from 2016 album Statea, on which Wagner, alongside producer Murcof (she on the piano, him manning the machines), reinterpreted pieces from the fathers of minimalism: Arvo Pärt, Philip Glass, Morton Feldman, Erik Satie, or John Cage. The same secret conversation between the artist, the piano, and contemporary music is now continuing on Inland. Making more with less, the album turns long harmonies into multicolored prisms, miniature detailed embroidery, sighs and breaths, syncopated or restrained chants. In this brave new world, sounds exist for themselves, and silence comes to life. While the repertoire remains in the minimalistic vein, it gives priority to living composers, of which almost all are still active.

"Amyl and the Sniffers" sind die langersehnte, unbekümmert-energiegeladene Wiederbelebungsmaßnahme, die dem Punk noch einmal neuen Atem eingehaucht hat. In allerbester trotzig-rotziger Punk-Manier wirft das australische Quartett um Frontfrau Amyl Taylor "Amyl and the Sniffers" AC/DC, Cosmic Psychos, Dolly Parton und Die Antwoord in einen Topf und rühren einmal kräftig um. Als Resultat spucken sie das nach sich selbst benannte Album "Amyl and the Sniffers" aus, um den Punk und uns noch einmal ordentlich wach zu rütteln. Dass man dabei bloß nicht zu perfektionistisch zu Werke gehen darf, bewies die Band schon mit ihrem Debüt-Album, das von der Bandfindung (die schnell von statten ging, Dreiviertel der Gruppe bewohnten gemeinsam eine WG) über das Schreiben der Songs und deren Aufnahme bis hin zur Veröffentlichung nur 12 Stunden brauchte. Inzwischen sind sie die Melbourner die Speerspitze einer neuen Garagenrock- und Punk-Szene und eine Band, die, ausgestattet mit reichlich Energie, rockendem Spirit und Vokuhila, einen Pub Punk vorlegt, der sich selber nicht zu ernst nimmt, mitreißt und noch einige Überraschungen für uns bereithalten wird.

Kito Jempere. Don Pietroburgo. Capo Del Branco. Fka Lany. La Russia Dall'inno D'amore. Drakon. Nuova Meraviglia Dell'onda. Vogliamo L'amore Tutto Intorno !!

'Buntús Rince' translates from Irish as 'basic rhythms', and this new compilation explores how Irish musicians were influenced by strands of different genres of music from around the world, merging them to create their own unique sounds. The compilation features some of the most innovative and talented figures in the history of Irish music and includes rare Irish jazz, fusion and folk outliers from the 1970s and early 1980s from musicians relatively unknown outside of Ireland.

Often regarded as a musical backwater, the 1970s finally saw Ireland begin to make its mark on international music. The nature of this feat is all the more commendable, considering how isolated and conservative the country still was in the middle of the last century. The emergence of acts like Skid Row, Thin Lizzy and Van Morrison instilled in budding young Irish musicians the belief to dream big.

Unlike many other European countries, Ireland had not benefited from the cultural impact of immigration. Pioneering Irish musicians did not have access to the type of vibrant music scenes ubiquitous to most European cities at that time. With no talented players or even in some cases recordings of the music, they had to cultivate and invent their own small scenes.

A jazz scene had begun to blossom in Dublin in the late 1950s. Self-taught players like Noel Kelehan and Louis Stewart emerged as the Irish standard-bearers. Their level of musicianship saw them play with some of the world's most renowned artists. The 1960s would see the emergence of the 'beat' scene in Ireland, with groups like Granny's Intentions, Taste and Eire Apparent finally challenging the hegemony of Irish Showbands. Change was in the air.
The late 1960s also saw many Irish emigrants returning home, bringing with them inspiration from the new styles and sounds of London and further afield. The arrival in the late 1960s of pirate radio stations like Radio Caroline, new music magazines and the availability of music on vinyl meant that different genres were now becoming more accessible. The musical landscape of the country began to transform and evolve, influencing a new generation of musicians in the process.
The 1970s saw advancements in studio technology. 8-track studios began appearing in Dublin, offering more opportunities for groups to record singles and albums. Synthesizers and other instruments were also becoming easier to acquire as the younger generation turned to electric jazz and fusion music.
While the level of musicianship was high, the levels of opportunities in Ireland were still very limited. Many groups and solo musicians had to emigrate to try and succeed.
Thankfully for those who remained, this new emerging scene didn't go totally unnoticed and local labels began to take a chance on more obscure Irish groups. Labels like Mulligan and also producers like John D'Ardis and Terri Hooley championed and documented music from the Irish underground of the 1970s.

Their valuable work is a common thread which connects many of the tracks on this compilation. From the soaring flute playing of Brian Dunning, to the swinging piano of Noel Kelehan and the sonic force of Jolyon Jackson's synthesizers; 'Buntús Rince' lifts the lid on a vastly underappreciated period of Irish music history.
One for the collectors.

Independent record label YGAM presents "Les Bergers du Galetas", Magnétisme Animal's debut EP, in which they share their intimate view of society. 

Formed by brg and Catartsis, the French duo invites the listeners to dive into a journey through the density of the modern metropolis. In a time of materialistic fetishism, where superficial occurrences and capitalism rule, the 4-track EP acts in opposition to these current matters. However, rather than trying to create a contrasting sonic landscape, Magnétisme Animal use sounds recorded in their environment to elaborate pieces that bear the heavy and frenetic industrial atmosphere of our urban sceneries. All sorts of clanging metal, steam discharge, electromagnetic static noise, train rails frictions, sirens and distant traffic, are combined with breathing, footsteps and vocal humming to create an oddly industrial as much as organic soundscape. The EP starts with a noise track that recalls some of the compositional processes of musique concrète, to then slowly drifts towards rhythmically oriented pieces. "Être c’est être coincé", with its ponderous bass and distortion work, appears as a peculiar blending of noise and techno, while "L’Enthousiasme des statues" displays a more traditional and dance floor approach to rhythm and drums, but still leaves space for an uncanny sound decor to unfold. The project ends with "La Toute-Toute", a repetitive ambient track filled with subtle sounds, where one can wander as spoken words underline a sense of melancholy. "Les Bergers du Galetas" is an unsettling industrial tapestry, a strange study of noises, that depicts the contemporary frenzy of the artists’ environments they referred to as the urban jungle. A landscape where one is a witness of the disparity of human conditions, where mind and body coexist with difficulty, where one is subject to conformism, where one is lost in the smog while carried by the masses through the cemented maze.

Reissue of the Birds Of Passage collaboration record with Leonardo Rosado from 2011. A minimalistic, cinematic, experimental dark pop trip.

After the highly respected debut full length Without the World' and her first european tour in 2011 BIRDS OF PASSAGE ( the new rising star of experimental minimalistic dark pop') from New Zealand has released her second act in fall 2011 - a cinematic concept album she has recorded together with LEONARDO ROSADO from Portugal.

DEAR AND UNFAMILIAR is a technicolor soundtrack that traces a vivid path through darkened desolate dunes. Stories of forgotten tragedies and unrequited love liberate the journeyman from reveries of misery and guide the wanderer through contrasting landscapes of dysphoria and ecstasy.'

Mastered by NILS FRAHM the album equally should please fans of Cocteau Twins, Portishead or Zola Jesus.

The meditative New Age album Sojourn reshaped including unearthed tracks from the archives produced in that time frame now for a long time overdue worldwide release ! Young, the percussionist and marimba player in the seminal New York art-wave group, recorded a series of cassette-only releases in the '80s after Liquid Liquid disbanded. A couple of these were picked up at the time for Korean release, which is where Daehan Electronics, a South Korea-based label dedicated to tracing the history of electronic music in the land of the morning calm, comes in. Sojourn was one of these albums, part of a biorithmically-aligned New Age serie, each one meant to be heard on specific days of the week. DE has worked with Young to restore and remaster the original masters for this new release, bringing out the full warmth of the analog synthesizers used to create it. It is the second in a series of collaborations with Young, which will delve deeply into both the scarce cassette issues and other, unreleased material newly discovered on tapes. Liner notes outline the history of the record and include Young's own pathway

Until now Tape only New Age Dance masterpiece Visions reshaped including unearthed tracks from the archives produced in that time frame now for a long time overdue Vinyl release ! Young, the percussionist and marimba player in the seminal New York art-wave group, recorded a series of cassette-only releases in the '80s after Liquid Liquid disbanded. A couple of these were picked up at the time for Korean release, which is where Daehan Electronics, a South Korea-based label dedicated to tracing the history of electronic music in the land of the morning calm, comes in. After the market fail of the biorithmically-aligned New Age serie planned by the label Visions could never see life on Vinyl and felt forgotten due to the limited tape run released at first. DE has worked with Young to restore and remaster the original masters for this new release, bringing out the full warmth of the analog synthesizers used to create it. It is the third in a series of collaborations with Young, which will delve deeply into both the scarce cassette issues and other, unreleased material newly discovered on tapes. Liner notes outline the history of the record and include Young's own pathway

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1
Breach One
9' 36''
2
Interlude One
3' 26''
3
Breach Two
7' 05''
4
Breach Three
9' 32''
5
Interlude Two
2' 29''
6
Breach Four
7' 34''
Breach dives into chaotic systems and reflects on the recent events of protests and riots in the world, exploring the build up and release of tension and energy in a new form of pitch black metal electronics and polyrhythmic structures.

Zeno van den Broek is a Dutch-born, Copenhagen-based composer and artist. Van den Broek works in a multi-sensory way to research and express physical, social and acoustic notions. He utilises audiovisual means to create site and concept specific works. This trans-disciplinary method has a strong conceptual foundation, originating from a background in architecture, which enables Zeno to comprehend and reveal the richness and complexity of spatial, visceral and physical perception. He works with a characteristic artistic language based on minimalist and fundamental elements such as sine waves, lines, noise and grids.

New Fly-Lo.. First outing since 5 years!

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

Sein letztes Werk "You're Dead" (2014) bescherte ihm eine Grammy-Nominierung, sein Brainfeeder-Label ist zu einem der innovativsten Klanglabors der Welt avanciert, er co-produzierte Kendrick Lamars mit fünf Grammies ausgezeichnetes Meisterwerk "To Pimp A Butterfly" (2015). Nun veröffentlicht Flying Lotus sein neues Album für Warp: "Flamagra" greift alle kreativen Quantensprünge und innovativen Elemente aus 12 Jahren FlyLo-Karriere auf und denkt sie weiter, größer, epischer und universeller: Hip-Hop, Funk, Soul, Jazz, Electro, IDM, die Ansätze der befreundeten Beatmaker aus L.A., Tribal-Elemente, Polyrhythmen. Aber selbst diese Liste reicht nicht aus, um "Flamagra" auch nur ansatzweise zu verorten, weil es immer wieder ausbricht aus diesem Koordinatensystem. Die Gästeliste liest sich wie ein Traum: Anderson .Paak, George Clinton, Little Dragon, Solange, Tierra Whack, Denzel Curry, Ishmael Butler (Shabazz Palaces), Toro Y Moi, sein musikalischer Stammesbruder Thundercat, ja selbst David Lynch ist zu hören. Der legendäre Regisseur steuert ein paar schaurige Worte bei, eine düstere Erzählpassage, mit der er uns eindringlich warnt: "Fire is coming". "Flamagra" ist die Essenz des letzten Jahrhunderts im Bereich der afroamerikanischen Musik, vollkommen neu und weitergedacht, kollektiv gefiltert und feingeschliffen. Auch wenn Flying Lotus ein Nachkomme seiner ehrwürdigen Großtante Alice Coltrane ist, die mit John verheiratet war (wobei auch Miles und Madlib, Dilla und DOOM als seine Vorfahren gelten dürfen), hat er inzwischen seinen eigenen Kult geschaffen: Eine Gefolgschaft, die alles Geniale aus der Vergangenheit absorbiert und in Bereiche überführt, die sich die genannten Vorfahren nicht mal im Traum hätten ausmalen können. Flying Lotus ist zurück. Fire is coming.

From the artist:

"pootek" - Paul (Solpara) and I laid down the majority of this track one November night in Berlin. We lived in the same dorm in university nearly 10 years ago and bonded over weird electronic music. We hadn't seen each other in a while and had never made music together. We got so rowdy making this my neighbour who I had never seen before came up to complain we were being too loud.

"whendialupbecomeform" - I was thinking a lot about dial-up modems, especially after I heard a Lana Del Rey song that featured that sort of sound in the background, whether intentionally or not. I woke up in the middle of the night and laid down the main arrangement in a couple of hours. I later added some vocals, random sounds from freesound.org, and what might be described as "dreamy pads."

"dosheepdreamofandroidelectrics" - I don't think the song has much to do with Philip K. Dick. I wanted to make something that someone could introspectively zone out to, maybe under the influence of a plant, either at home or at the club.

When John Selway brought his dancing hands to the keyboard to begin work on his first full EP on Serotonin Records since ‘Zoids Vol 2’ in 1998, he channelled cosmic soul to create the next generation of intergalactic funk. His EP ‘Light Language’ surfs the solar winds to the space between breaks and electro where his musical adventures are free to explore the frontiers of dance. ‘Light Language’ permeates with the angelic voices of our true selves. The voice is the primary and complete musical instrument. When John was not yet born his mother sang to him in utero. A musical soul so innate it resonates celestial tonalities. All captured here on this twelve inch disk delivered by the galaxian voyager and pressed for human kind by Serotonin Records.



John Selway became an indispensable element of the history of the New York sound by virtue of building an extensive catalog of high quality releases spanning almost three decades and multiple genres of electronic music. From his first success in the techno world as part of the seminal New York duo Disintegrator to the most successful of his collaborations, Smith & Selway, and his deep and minimal techno label CSM; from the intelligent electro-funk of Synapse and Serotonin Records to his darker explorations as Semblance Factor, Selway has created one of the richest bodies of work in the world of electronic music.

Hard Fist comes back stronger than ever with a sixth release, this time from Pletnev with a remix from Sascha Funke.

Extra prolific Russian born Alex Pletnev has been making music under various aliases and in a number of live bands. Now settled in Vilnius he explores stellar chugging rhythms, afro and oriental vibes for labels like Media Fury and Bahnsteig23 and more atmospheric, dark and industrial EPs on Le Temps Perdu records. This new one is “the tale of an imaginary world, a babel myth of when human beings were together as one because they spoke a single language. It is an allusion of No Border movement supporting freedom of mobility and fighting human immigration control.”

This fantastic release is the most club focussed music Pletnev has ever produced with instrumental, heady opener ‘Guest from Bangkok’ really locking you in a groove. Loose percussion and churning drums make for dark disco of the highest order. Then comes ‘Peep of Dawn,’ an almost frightening, long and slow ceremony of menacing electronic music. A voice resonates while powerful bass sends shivers down your spine and the whole atmospheric and absorbing affair really casts a spell.

Excellent punchy guitar riffs and shamanic rhythms on ‘Red Shoes’ reminds you of a run to catch the setting sun. It’s another spellbinding and rock-laced disco track that oozes grit and rawness. With the closing track, BPitch Control man Sascha Funke remixes ‘My Word Against Yours' into a cosmic and jerky affair that alludes to a journey into outer space. It’s sparse and creepy and brilliantly evocative.

Once again here, the Hard Fist label—which has its own residency at Paris’s mighty Rex Club—tells its unique story with forward thinking club music full of a wide array of influences.

Back in 2007 Names You Can Trust was launched with an EP from Greenwood Rhythm Coalition. For NYCT's landmark 50th single release, the group returns, drawing on the same long-simmering stew of African, Caribbean and American funk and dancefloor vibes that flavored that first release, but with a sound more deeply infused and farseeing than anything they've done before. The spacey, arcing cut is woven through with guitar that blurs the lines between western twang and soukous popcorn and anchored by cabinet-rattling low end. Spread over two sides of a seven-inch single or available in unedited form digitally, "Jewels" is hypnotic and quite uncategorizable, except to say that sitting still will not be an option when it spins. Adventurous DJs, headphone journeyers, underground dancers, postmodern tropicalistas, and all those whose musical tastes dwell somewhere in the magical twilight of imaginary cities, take note.

The name Zootropio (or zoetrope) was composed from the Greek root words "zoe", "life" and "tropos", "turning" as a transliteration of Wheel Of Life.






C

For the second release on the Galaxiid imprint, a label of electronic music archeology and quality, we are transported to the strange sonic world of an elusive 90s pioneer. Solar X's 1997 album X-Rated will be released for the first time on vinyl, as well as reissued digitally, with new artwork by the Japanese artist Keiichi Tanaami. Two worlds connecting sonically, visually and culturally.

Solar X enjoyed a burgeoning career in post-Perestroika Moscow making playful, low-tech electronica from Soviet analogue instruments, which he masterfully configured to forge animated compositions and dancefloor rarities. Fascinated by chaos and complexity, his music explores the ways in which our minds can be manipulated by structure - an endeavour quite plausibly linked to his other career as a lecturer and researcher of AI, information theory and cognitive science, his interest in which was in turn triggered by his young experiments in computer music.

Solar X gained international attention at a time when Russia was (quite unfairly) seen as a vacuum for electronic music, but was exploding in the period of piracy, poverty and freedom following the collapse of the USSR. Young Russians had benefited from the soviet education system and there was a strong DIY computer programming and music scene, fuelled by hackers, gear freaks and party animals. Viewed from today, the album is reborn at a time of further political and social strife, which many see as fuelling the huge creativity and radical thinking of modern Russia's young creatives.

X-Rated treats tempo and form as fluid concepts, administering sudden changes to its sonic landscape with disorienting effect, underlain with a subtle dose of humour and experimentation. Downtempo trip-hop sits alongside frenetic IDM and blistering electro, all bound together by peculiar melodic inflections and lively distortions. Warm, trippy harmonies and robotic synths are offset with angular drums, shifting erratically through moods and genres with cunning intent. Much like his contemporaries from the era, it's his ability to breathe life into a humble production setup that makes his music so compelling some twenty one years later.

The track titles are from a book of call girl cards in London phone booths, that reached the artist in Moscow in 1995. "I liked the titles from these cards, which were self-promoting and offering pleasure (e.g. "Mistress awaits you"). So, I thought since my tracks also offered some kind of pleasure, they might as well advertise this through their titles.'

Label head Nina Kraviz was introduced to the work of the 83 year old sensei Keiichi Tanaami by Ukawa Naoshiro, founder of Dommune in Tokyo, one of the brightest figureheads for the arts in Japan, responsible for the graphic design of the cover. In September 2017 Nina played for the opening of Tanaami-san's first exhibition in Moscow at Gary Tatintsian Gallery. Nina performed a live sound palette, to accompany the looping 7 minute animation, of experimental music from the Soviet Union, Russian pioneers of electronic music like Species Of Fishes and SolarX, Soviet-time pioneer Lev Termen, Kuryochin, avant-guard rock mixed with some Stockhausen and just pure abstract sounds, as well as treasured artists like Biogen.

Tanaami's illustrative work has strong sexual elements, so out of the five art pieces Nina selected and commissioned for Galaxiid, the first fits perfectly for 'X-rated'. The vertical line of text on the left is the traditional form for Japanese covers of foreign releases. The cover, together with the accompanying poster and sticker, are printed in Japan to ensure the highest print quality and purity of the colours.

Anadol is a psychedelic synth folk project by Gözen Atila, a Turkish sound artist and photographer based in Berlin. Her third album Uzun Havalar is based on collective improvisations of middle eastern folk songs called „uzun hava“. They turn out as rich, atmospheric synth ballads. A diverse roster of improvising musicians creates their fascinating complexity. Anadol recorded them during extensive sessions in Istanbul. You can hear drummers laughing and playing guitars, composers howling, announcements in French and screams in no language, record collectors playing oscillators, and trumpets through spacious echoes. Anadol represents Gözen Atila’s liberation from a rather academic approach to electronic composition which she pursued during her music technology studies in Istanbul. She calls her education the „darkness of serious music“ where she first tried to belong, then to break free with the help of lo-fi synth pop. As a producer of radio plays and an expert field recording artist she has developed a distinct sense of timing, editing and sound design. Her Anadol project walks in the footsteps of lone synth experimentalists like Bruce Haack and The Space Lady with their childlike curiosity for electronic sounds, pushing the boundaries of minimal equipment. On Uzun Havalar she translates her experimental background into these floating folk ballads. The album was originally released on tape via Kinship in 2018.

Saint Petersburg, Russia based producer Gradient has been steadily making his mark on the modern dub techno scene over the past decade and here we see him returning to grad_u’s Greyscale with more classy, dub-infused and atmospheric material. A study in landscapes exploring the pathways between the concrete jungles of the cities we reside in and the natural landscapes we visit to reconnect and find inner peace.
‘Landscape Two’ leads, employing choppy chord stabs, fluttering low-end pulses and dusty drums in an unfaltering, subtly modulating and evolving fashion before Fluxion offers a master class in restrained atmospherics, slowly teasing elements of the original into the depths of an ethereal, murky groove.
‘Landscape One’ leads the flip-side, taking a more upfront feel this time via robust drums and am amalgamation of spiraling dub chords ahead of grad_u’s ‘Landscape Two’ remix which lays focus on off-kilter, bumpy drums, fluttering subs and intricately modulating cuts from the original chords.

Released on 12’’ white 180gram vinyl, mastered and cut @ dubplates & mastering, Berlin.

Special Remarks: 1 colored green LP in single sleeve with 3mm spine. Printed inner-sleeve. Collectors edition CD album included.

Vinyl (Limited Colored Edition)

Bananarama"s third album "True Confessions" features the smash hit "Venus" which hit the top spot in the US on Billboard Hot 100. The track was a huge dance floor hit across Europe, South American and Asia.
The album includes the singles: "A Trick Of The Night", "Venus", "Do Not Disturb", "More Than Physical".
Bananarama are often cited as the UK"s most successful ever girl group with 5 UK singles and 10 top 10's.
They were the girl group that defined the eighties with their run of pop hits which soundtracked the lives of fans around the world. The news of Bananarama"s reunion, after nearly 30 years, was met with universal approval and saw the band celebrated all over again. In 2017 the trio reassembled for a UK & USA Tour in a pop reunion only dreamt of in the wildest imaginations by many quarters. The band reunited in their original line up for the first time in years. For many Siobhan stepping back into her natural habitat once again is pop"s very own version of Morrissey and Marr re-uniting. The band play their final dates as a trio this summer in a run of gigs including Edinburgh Castle, British Summer Time and Smukfest.

Pangia was composed of Barry Gun (vocals), Jim Daniel (Drums), Tony Cimorosi (Bass), Cliff Korman (Keys), Roberto Santos (percussion) and Marlon Graves (Guitar).
Influenced by Funk, Jazz and R&B and with some world music mixed into the musical gumbo, Tony started writing songs for the band with Barry Gun writing most of the lyrics.

Rosemary Santos met Tony at a recording session he was working on with latin singer Juan Lan Franko and liked Tony’s arrangements. She approached Tony with the idea of creating a record company to feature him as an artist and producer. Rosemary then created Man-Rose Records with Manny Montero and financed Pangia’s first release. “Tell Me” and “Dancin And Singin” were recorded by Bob Blank at Blank recording studio NYC
n 1984. It was the only release on Man-Rose Records.

We are pleased and honored to finally introduce you our ninth release:
Carnera – Colpo Di Mano Nella Zona Grigia
The EP comes out with 4 original tracks and two stunning remixes from Esplendor Geometrico and Ancient Methods.

Carnera was founded in 2014 as a multimedia project by Giovanni Leonardi (Siegfried, Div. Sehnsucht, SNNC) and by visual artist Simone Poletti (Dinamo Innesco Revolution). In 2016 the sound designer Yvan Battaglia and Monica Gasparotto (Les Champs Magnétiques) joined the militant collective.
They have released two albums “Strategia della Tensione” (2015) and “La Notte della Repubblica” (2017), both released for the historic Old Europa Cafè, and several collaborations, remixes and singles.

A creature in continuous mutation, Carnera moves between dark ambient and soundtrack music, Martial and Techno Industrial, evolved EBM and Kosmische Musik, boldly combining new sounds and Old School attitude.

“Colpo Di Mano Nella Zona Grigia” is made by a robust and genuine dose of old-fashioned industrialism and postmodern manipulation, underpinned by a fascination with Futurism.

The EP ends up with two remixes. The first is a martial remix from Esplendor Geometrico recalling the old intelligence behind the industrial music, the epic and the aesthetics of Power, “the geometric splendor and numerical sensitivity” of Marinetti. The second is from Ancient Methods with his rare and own imprint transporting you in middle age landscapes full of metal and agony.

“The history of our country has taught us that terrorist eversion can not change things, in fact, it has often been used by power to address the fate of the community at will. It is not an exaltation of our armed struggle, we would miss it. But I do not see how it would be possible to reconstruct a civilization now in full decadence in a painless and non-gory way. It will not be the flags of peace, the barefoot marches, the fake humanitarian operations to restore dignity to our lineage. Nor are the old ideological contrasts of seventy years and the daughters of a civil war that has never really been overcome.”
credits

Having previously collaborated with the likes of Shafiq Husayn, Chester Watson and Foreign Beggars, electronic space funk outfit Paper Tiger return from an explorative journey to the dark edges of the cosmos with their long-awaited third album ‘Rogue Planet’.

The Leeds and London-based outfit (whose collective playing credits include Yellow Days, Werkha, Nubiyan Twist, Cinematic Orchestra & more) once again seamlessly combine elements of live recording and improvisation, their emphasis on blending organic sounds with electronic production techniques. The result is music which is interesting and technically proficient, but remains vibrant, colourful and funky -captivating both in headphones and on the dancefloor.

Just like the journey from debut long-player ‘Laptop Suntan’ to sophomore album ‘Blast Off’, and in-keeping with the band’s space travel fascination, ‘Rogue Planet’ is a cosmic leap from its predecessor. Band leader Greg Surmacz explains: ‘There is still humour and a sense of playfulness hopefully -largely provided by our MC Raphael Attar -but the overall sound is much more lush, jazzy and soulful. We wanted to make something that fits into our universe but hits a deeper emotional nerve’.

With diverse guests ranging from the legendary Steve Spacek on lead single ‘The Cycle’ to Olivia Bhattacharjee (the vocalist of Gondwana Records-signed Noya Rao) on the shuffling, leftfield beats of ‘Bioluminescent’ and Chicago-born but LA-based MC Lando Chill’s quick-fire delivery on the ironically titled ‘Slow Motion’ the album is a rich and varied listen. It’s a record drenched in futuristic soul, brimming with textured samples and intriguing progressions demonstrating the enviable musicianship on show here. G-Funk-esque melodies run throughout, joined by reverberating celestial horns and scattered drum patterns.

Don't DJ
Laniakea

Presided by Tom Kerridge, Girls of the Internet is one of a few new projects Kerridge dug into having spent over a decade running labels such as RAMP, Fourth Wave and Brainmath. Providing a break from label life, Girls is a new creative outlet - a full band with Kerridge as producer and band leader, spawning music that pays tribute to a lifetime of collecting Disco and Techno records. Their debut 12" came out on West Norwood Cassette Library, and recent follow up 'When U Go' landed on Derrick Carter & Luke Solomon's label Classic Music Company to sweeping acclaim.

Girls of the Internet's latest single 'Love Delicious' features legendary Chicago vocalist Peven Everett. This single is Pev's first venture into the studio since his standout feature on last years Gorillaz album, 'Humanz'.

On remix duties are Sully, who drops a storming, retro UK Garage version that has been tearing up dancefloors across the country for months, and Saine, who delivers a lush analogue House version.