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"The Beast Within" is the new album by Brazilian artist, Diego Garcia; exploring gender identities within contemporary electronic music. The artist uses two of their distinguished artistic identities: The Princess of Death, her feminine identity - where there is an exploration of a more introspective and corrosive textures commonly associated with patriarchal values; and Projekt Gestalten, his masculine identity - where melodic and hypnotic sounds, often associated with matriarchy, are emphasized.

In this project, Diego's aim is to dichotomize their gender identities inspired by a point-and-click adventure game from the 90's called "Gabriel Knight 2 - The Beast Within". The story was written by American game designer, Jane Jensen with original music composed by her husband, Robert Holmes. The protagonist is on the trail of a strange wolf, murderer of a little girl. Gabriel was asked to take care of this evil and suspects that this case is paranormal in nature. Together with his assistant, Grace Nakimura, he discovers the dark truth behind the history of Bavaria. The gameplay alternates between Gabriel and Grace and its storyline is only explored indirectly by Diego - as it is deeply connected with their childhood and formative years and still remains as one of their all-time favorite games.

Just like in the gameplay, Diego alternates between both of their feminine and masculine identities in order to create original pieces of music. As Projekt Gestalten, an array of dance tracks are functionally presented; ranging from melodic and trippy to club-ready driving techno; dissecting a more rational aspect of the game's storyline. In contrast, The Princess of Death goes into an ambient and experimental approach; exploring liturgical themes that includes a dark and dystopian cover of the traditional gospel song "When The Saints Go Marching In", a song that is featured throughout the whole franchise of the game in many different versions. In the end, the gender polarizing concept is extrapolated and both aliases are finally merged into one another; leading to the Gestalt principle, alluded to in Diego's main alias, being fully applied as a whole.

The project's ultimate goal is to challenge preconceived notions of how a specific gender should sound/behave and to explore light/dark, sacred/secular, good/evil, male/female using, as the blueprint, a gender-neutral game where the player is forced to assume a feminine and a masculine role in order to navigate through the story. All of these ideas are perfectly aligned with Diego's own trajectory as an artist and their distinct artistic identities featuring distorted gender values - which comes full circle in this project.

heat-seeking cuts, rattled with adrenaline and gnawing feedback, set Nikki Nair's "Singular Vectors" on course for pure obliterated electro. Incubated in a time similar to the lab sessions of Singular Values (TP009.5), "Vectors" continues on that raw-live energy, topped off with a thermal rave remix by Jensen Interceptor.

Dropsonde was originally released by Touch (UK) in 2006. This is a reissue with seven previously unreleased recordings.

Widely regarded as one of Norwegian electronic music's most important artists, Biosphere's Geir Jenssen career spans nearly two decades, several albums, lots of remixes, various sound installations, commissions, soundtracks and even the odd Himalayan summit.

You may recognise his work without knowing it, so frequently does it crop up on TV trailers and idents. In the early 1990s he was a pioneer of so-called 'Ambient Techno', but since then, he has refined his sound into something more magnetic and enduring.

Dropsonde' isn't a soundtrack like the interwoven 'Substrata' nor an episodic journey in the way that 'Autour de la Lune' is. Here Geir Jenssen is pushing new directions towards the jazz colours of Miles Davis and Jon Hassell, whilst re-invigorating the pulse and projection of his signature sound: a hypnotic combination of pleasure and dread.

The spatial aspects some have dubbed "Arctic sound" but it summons strong feelings, or as Exclaim from Canada put it, "in order to climb higher, you must first go deeper". Jon Savage adds: "As with all of the Biosphere albums, the music draws you in and makes you want to listen and feel. Jenssen's work acts on a very emotional level, one that encourages you to drift away into a haze of images and scenes brought to you by the music, where spectacular beauty hides unseen danger. Intense and moving, but comforting and soothing at the same time."

A 'dropsonde' is a weather reconnaissance device designed to be dropped from an airplane or similar craft at altitude to take telemetry as it falls to the ground. It typically relays information to a computer in the dropping airplane by radio. The fall may be slowed by a parachute. Information collected by a typical dropsonde may include wind speed, temperature, humidity, and atmospheric pressure.

2x12" Repress


January 1981 found Gudrun Gut and Bettina Koster in Christopher Franke’s Berlin-Spandau Studio recording their first Malaria! EP (Zensor Records). Christine Hahn of The Static with Glenn Branca and Barbara Ess, joined in from New York, and Manon P. Duursma fresh from Nina Hagen’s O.U.T. project and Susanne Kuhnke completed the Line-Up.

Malaria! started touring intensively soon after the release of their 12”, commencing with a concert with New Order at Brussel’s Ancienne Belgique, and going on from there to concerts with Siouxsie and the Banshees, Birthday Party, The Slits, The AuPairs, Raincoats, Nina Hagen, John Cale, Einstuerzende Neubauten. They played venues as diverse as the Mudd Club, Peppermint Lounge and Studio 54 in New York, the Documenta in Kassel, the Bat Cave in London, Les Bains Douche in Paris, Milky Way and Paradiso in Amsterdam, ICA in London, the Piazza Santa Maria Novella in Florence and Markthalle in Hamburg and naturally, again and again, at the SO36 in Berlin.

While touring, Malaria! used their time off to record in Studios in New York, London, Brussels, New Orleans, and in Berlin (How Do You Like My New Dog? 7”, Weisses Wasser 12”, New York Passage 12”, Revisited MC, Emotion Album). At the BBC studios in London Maida Vale Malaria recorded an Kit Jensen and a John Peel Session.

Malaria! took a break in 1984 - Bettina and Christine re-located to New York, and Gudrun and Manon stayed in Berlin to form, with Beate Bartel, Matador, but not before they recorded their Mini-Album, Beat the Distance. 1992 Gudrun, Bettina, Christine, and Manon met up in New Orleans with Jim Thirlwell (Foetus) to record Elation 12”. Elation was followed by Cheerio, Album, which again was recorded in Berlin.

Chicks on Speed did their own version of Malaria’s song, Kaltes Klares Wasser in 2001, and the Remix went into the German Top 10.

Malaria has been an instrumental part of Berlin Music History, as recently presented at the „Zurück zum Beton“ at Düsseldorf’s Kunstakademie, Kunsthalle Wien „Punk!“, „Geniale Dilletanten“ Goethe Institut, and in B-Movie.

BIBA KOPF 2019
The theme song for that great German road movie yet to be made, Malaria!’s 1981 single “How Do You Like My New Dog?” etched the E into the motion music of their soon-come debut album Emotion with its trail-out line “Immer vorwärts, nie zurück...”. Always forward, never back: from West Berlin to London, Paris, New York and Tokyo... from here, there and everywhere to eternity, the Autobahn goes on forever, with Malaria! at the wheel, spinning new moves from timelines crossed in records and songs right on the money evoking Zarah Leander, fighting the power, staring down Death, and a whole lot more. In all, one merry hell of a ride, and on the evidence of Compiled 2.0, it’s not over yet.

MARK REEDER 2019
"Even today, their originality in everything from sound to style, has proven just how relevant Malaria! are. In my opinion, their music has stood the test of time. To me, Emotion sounds as good today as it did when it was first released and it was a pleasure to revisit it. They might not have had any zillion selling albums, and their image might have been copied, while their sound could never be. They remain exclusively unique and their influence and legacy will reach far into the future. This band is both an inspiration and a statement and they prove what five very creative girls can achieve, if given the right support to allow them to evolve, and it is exactly that, which has made Malaria! Germany’s most successful and renowned, all-girl band...“

DIEDRICH DIEDERICHSEN 1991
"...Malaria! put across so many clear, manifest, attractive, certain, muscular, and harsh symbols, just as they refused - defying the customs intrinsic to these symbols and the worlds in which they circulate - to weave all these things into a readable, reproducible and manageable, generic text..."

Belgium-based Composer Christina Vantzou's Fourth Full-length For Kranky Ventures Further Into The Uniquely Elusive And Evocative Mode Of Ambient Classical Minimalism Which Has Become Her Signature: A Fragile Synthesis Of Contemplative Drift, Heady Silences, And Muted Dissonance. In Regards To The New Album She Speaks Of Focusing Particular Attention On The Effects Of The Recordings On The Body, And Of 'directing Sound Perception Into An Inner Space.'
No. 4 Took Shape Across Roughly Two Years, Incorporating A Diverse Array Of Musical And Conceptual Collaborators, Including Fellow Kranky Artists Steve Hauschildt And John Also Bennett (of Forma) As Well As Angel Deradoorian (ex-dirty Projectors), Clarice Jensen, Beatrijs De Klerck, And Members Of Belgium's Echo Collective. During The Creation Process Vantzou Wanted To 'blur Lines Of Hierarchy,' And Thus Allowed All Ensemble Members And Technical Assistants To Add Or Delete Elements. Despite Such A Spectrum Of Input The Eleven Tracks Feel Distinctly Cohesive, Weaving Elegant Textures And Resonant Open Spaces Within A Twilit Landscape Of Eclectic Instrumentation: Piano, Harp, Vibraphone, Voice, Strings, Marimba, Synthesizers, Gong, And Bells.
Vantzou Describes The Recording Process As One Of Prepared Spontaneity: That Is, 'having Plenty Of Ideas Ready To Explore Going Into The Session, But With Enough Time To Depart From Those Ideas And See What Happens.' This Mindset Of Premeditated Exploration Informs The Album's Emotive Textural Intuition, With Hushed Drones And Delicate Gestures Eliding In The Periphery Of The Mix. She Cites Sleep And 'the Loosening Of Time' As Two Formative Practices In Her Private And Professional Life, Which Manifests In The Quietly Hallucinatory Properties Of Vantzou's Music. No. 4 Feels Both Endless And Ephemeral, Immersive And Immaterial. It's A Music Of Horizon Lines And Half-light, Mapped With Feeling And Foresight.
Recorded In New York City And Brussels. Mixed In Berlin.
A Portion Of This Work Was Funded By A Generous Grant From The Flemish Community In Belgium.