Beats News

The second release on the galaxy inspired Tour Messier label is the debut by Rotterdam based musician-dancer-choreographer-filmmaker Davide Bellotta. He's a familiair face for anyone who attented one of the performances of the Conny Janssen Danst modern dance company, also based in Rotterdam. In his music Davide Bellotta explores the inner realm with softly repetitive synthscapes, organic guitar stabs and star sprinkled musicbox notes. Davide Bellotta creates rich and layered textures with handplayed and sequenced instruments, all delicately woven together to create an intimate and personal musical fabric, expanding beyond the mere here and now, touching on something timeless.

Stefan Smith has channeled an elevated reverence for process, texture and synth-extrapolation with the forthcoming release of his self-titled LP on the Sapiens imprint. A relative new-comer to the land of rapid fire releases and dance floor formulae, Smith is deeply steeped in the art of music creation, performance and theory.
As a graduate of Mills College's revered music department, Smith's prosaic understanding of music partially explains his migration to Sapiens, a label headquartered in Paris, France, which, under the direction of techno luminary, Agoria, has been expanding the realm of possibility for what a techno label can become. Collaborating with musicians, visual artists, film directors, shamans and sound designers, the young Sapiens platform releases may include political speeches, radio hits, dance floor tunes, sensorial or cognitive music or a gentle computer
virus'. Smith's LP contribution will definitely fall on the more delicious end of this spectrum, having woven a synth-lovers dream tapestry.

The nine tracks composing the album, Stefan Smith', draw the listener in on a river of oscillators, which push just past the banks of perceptible sound with with flawless production and loving sound treatment. The idea behind the album is very raw and organic. Stefan Smith focuses on atmosphere, mood, tones, and frequencies, rather than melodies. His productions are a response to the subliminal, and about feeling.
This album came together from a natural flow of working with computers and synthesisers, and also from the musical connection fostered Sebastien Devaud (Agoria). His approach to the album's production was to edit as little as possible, keeping the original feeling of chance and temporality intact. We can sense here Smith's intuition as sound designer, a role which has enabled him to work with artist Nicolas Becker and through this association further contribute work to the Philippe Parreno 'Anywhen' exhibition in Tate Modern Turbine Hall. The feedback
generated by studio experimentation gives birth to new ideas for aural shapes and textures. If one were only to lie back and identify the various wave forms, like butterflies and birds flittering through dappled sunlight, in each track's canopy of bountiful synth elements the mind's eye would dance with the steady intervals of Smith's real-time probe of his machinery, however, deep tracts of emotion and effortless grooves won't allow for a purely sensory listen. In the spirit of exploration, enjoy the ride.

Following on from his percussion driven 'Rhythm Trainx Vol 2' EP on the renowned Running Back Ketiov returns with something special for the fourth outing on his own self-titled label. The 'King Of Hypocrisy' LP is a journey of personal development and musical discovery built around soundscapes, field recordings and new monotone arrangements. From the start the Ketiov alias has been about free expression and musical direction and in stark contrast to the Running Back EP this record shows the broad spectrum of the artist's influences and inspirations. Each track holds a special meaning and background story, written in private and kept private until totally finished. From the spooky vocals of 'the Wait' to the blissed-out guitars of 'Today' and the analogue arpeggiators of 'Dual Morality' the ten short tracks come together as an exceptional personal listening experience, which leave us wondering... what else does Ketiov have in store for the future

Nexx grime mutant Logos checks the electric blue pulse of UK Hardcore Musicks on ‘Imperial
Flood’, the stunning follow-up to his pivotal underground grime/electronica classic, ‘Cold Mission’
[2013]
Setting a new high-water mark for UK dance-related albums, ‘Imperial Flood’ stakes a claim for
Logos as a key dramaturgist of all things darkside, techy and skooled in the hardcore ‘nuum.
Where his debut album highlighted links between ‘90s Metalheadz D&B, Wiley’s Devil mixes, and
contemporary sci-fi cinema on its deliciously noirish soundstage, with ‘Imperial Flood’ he expands
that aesthetic in widescreen plasma HD. Pulling in broader influence from acid and dub techno,
experimental computer music, D&B minimalism and the speculative literature of Jeff VanderMeer,
Christopher Priest, Lando and JG Ballard, the results vividly speak to the idea of a UK sound as a
product of its brutalist, paranoid environment.
Arriving 10 years since his debut 12”, and five after his seminal debut album, ‘Imperial Flood comes
after a significant period of creativity for Logos. Over the latter half of this decade he’s been
instrumental in new grime movements, co-running London’s acclaimed club night, Boxed, whilst
also diversifying his bonds with Mumdance and Shapednoise as part of improvising noise trio,
The Sprawl, and most importantly with Different Circles; a label/clubnight catalyst responsible for
boundary-pushing dances and a number of cult releases from Airhead, Rabit, Szare and Raime, not
to mention his own, standout EPs with Mumdance such as ‘2015’s ‘Proto’.
It’s not difficult to hear how this activity has fed deep forward in ‘Imperial Flood’. From the bullet-
time Matrix-style into of ‘Arrival (T2 Mix)’ thru the hair-kissing weightless rave sensation of
‘Weather System Over Plaistow’, he sucks listeners into an utterly convincing soundworld made
all the more visceral, “real” thru his exacting production, morphing from the sentinel-bot growls
of ‘Marsh Lantern’ to lush viscous/arid acid ambience in ‘Flash Forward (Ambi Mix)’, and Dynamo-
style dub on ‘Lighthouse Dub’, before tagging in Mumdance on the Stingray-meets-Autechre styles
of ‘Zoned In’, and freezing the dance with commanding force on ‘Stentorian’.
Ultimately there’s no shortage of imitators for this style, but Logos’ combination of dedication to
his craft, a classically forward stylistic nous, and unique grasp of narrative places ‘Imperial Flood’
in a rare echelon of UK music really shared only by the likes of Burial and Raime.

Lexachast is an ongoing collaborative work by Amnesia Scanner, Bill Kouligas & Harm
van den Dorpel. Initially birthed as a joint, improvised performance between Amnesia
Scanner and Kouligas at the ICA, London in 2015, it was later recreated and extended
with visual artist van den Dorpel into a 15-minute online-only audiovisual work – known
simply as Lexachast.
Since then, it has expanded into a live show that has been performed at Transmediale,
CTM Festival, Unsound Krakow & Adelaide, Next and LEV Festival and during Paris Fashion
Week in collaboration with the brand Ottolinger. Now to be released on PAN, is a new
document of Lexachast in its current, full-grown form.
Whilst broadly inspired by the experience derived from and exposure to algorithmic
patterns as generated by visual artist Harm van den Dorpel’s specially-devised program,
the work is a sonic reference to the fallouts of avant-EDM and cyberdrone. This in turn is
simultaneously mirrored by the perturbing visuals, created by a unique algorithm that
sources and blends various filtered imagery from DeviantArt and Flickr in real time –
with a bias towards the NSFW, extreme banality, and ornamental melancholia. The results
were a perfect fit for the deliberate intention of non-intent, an anti-video of sorts, which
ended up as a defining element for the project.

John Beltran, Mark Archer, Future Beat Alliance and max 404 line up on this third 10 years anniversary 12" for De:tuned. Both John and Mark deliver a timeless, Detroit tradition indebted techno vibe, resulting in 2 dancefloor-friendly tracks. While FBA and max 404 activated their DAT recorder, culminating in unheard crisp yet sensitive cuts.
Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering, pressed on 180 gr vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

2x12"

The Caretaker slips beyond recognition in the first 'post awareness' stage of Everywhere
At The End of Time. The ability to recall singular memories gives way to confusions and horror. It's the beginning of an eventual process where all memories begin to become more fluid through entanglements, repetition and rupture.Though the metaphoric device of worn-down ballroom 78s and Jack Nicholson's descent
into madness in The Shining, The Caretaker connotes the transitory cognitive breakdown of moderate into severe late stage dementia. Memories of the good times are recollected in glitching picnoleptic flashes as the music struggles to follow consistent lines of thought, instead fluctuating between a fractured mosaic of ideas and elusive emotive gestures, but still occasionally able to gather coherent thoughts.
In aesthetic, the sieve-like mindstate of stage 4 vacillates a serene sort of psychedelia with utterly paranoid and petrifying mental subsidence. Smudged traces of sublimated musical hall memories give way to shocking tracts of atonality and discord with runaway rhythmic logic, perpetually tumbling farther into states of mind perhaps best compared with K-Hole-like dimensions or the babble of after-hours psychonautic journeys.
The concision of previous stages is here replaced with wandering, side-long tracts.
Three of those are titled Post Awareness Confusions and correspondingly explore and reflect agitated, irritable mindsets as they navigate an ephemeral, confusing complexity of structures. The other piece is called Temporary Bliss State and starkly contrasts the other parts in a coherently lush traverse of ambient crackle and glittering melody...

Velvet Desert Music Vol. 1 introduces a new compilation series on Kompakt, curated by one of Cologne's leading figures in electronic music, Jörg Burger (aka The Modernist, The Bionaut, Burger/Ink and many more). Velvet Desert Music Vol. 1 combines elements of rock, folk, country, surf, krautrock and psychedelic in contemporary electronic music.

Velvet Desert Music Vol. 1 features unreleased music and mixes from Matias Aguayo/Terrapin, Fantastic Twins, Paulor, Rebolledo, Sascha Funke & Cosmo Vitelli, Superpitcher, The Modernist and more.

The concept shares some similarities to Kompakt's Pop Ambient series as unlike a conventional compilation of tracks from different artists, Velvet Desert Music Vol.1 is a collection of music that creates a distinct vibe and atmosphere.

Jörg Burger is responsible for the concept and selection. The styles of music presented on Velvet Desert Music Vol. 1 play a crucial role and influence in his work for many years. Now he has created a platform for these styles. Beside showcasing his own music, Jörg Burger kept to inviting a close circle of friends and colleagues that share similar influences in their work. All of their contributions were specially composed or remixed for this collection.

Velvet Desert Music Vol. 1 features the first new Burger/Ink track since the release of their iconic full length 'Las Vegas' on Harvest and Matador Records in 1996.

'Just think...from Sergio Leone to David Lynch, from Elvis in his deepest moments to Johnny Cash somewhere between amphetamine backlash and American Recordings, from Hollywood Babylon to Hotel California, from Mulholland Drive to Paris, Texas. Served with a pinch of Tago Mago and Pink Floyd at Pompeii. Then you know exactly what Velvet Desert Music is about...' - JÖRG BURGER

Each track of Oberst & Buchner's debut album "Sfumato" is rich with anticipation and residue - it feels like being taken on a very controlled journey through space and time by another life form. The two friends and musicians from Vienna and Berlin shift themes and melodies gradually into one another, producing billowing pieces of music with soft and foggy outlines. Just like you can get lost in the perfection of a single brush stroke in a renaissance painting from up close, if you step away you can't help but admire the planning, skill and instinct coming together in this album and every single track. The two producers almost seem to make use of the sounds that are not there, triggering our expectations and creating premonitions in our minds.

The complex sound patterns are frequently juxtaposed by simple, almost naive melodies that make everything feel innately known but alien at the same time. On "Eye Liquor" the feature guest Tobias Koett brings just the right amount of fragility and humanity to offset the moodily awakening fantastic sonic beast beneath. With analogue sounds the two celebrate the past and the future, creating murmuring, breathing streams of consciousness. We couldn't be more excited to see where the travels lead.

- Limited vinyl only release - Including postcard with download code for another new album from Jacek Sienkiewicz.

IMOW, or 'In My Own Wave' - Atmospheric, cinematic, stirring and utterly engaging, this is surely Sienkiewicz's most personal work to date and very possibly his best!

IMOW, or 'In My Own Wave' is a moody record. Although overtly experimental in form, it's quite different to Sienkiewicz's abstract, improvisational albums recorded with Max Loderbauer or AtomTM. Clocking in only 35 minutes and comprising of eight tracks, 'IMOW' is several years of work distilled into a dense, concise whole. Atmospheric, cinematic, stirring and utterly engaging, this is surely Sienkiewicz's most personal work to date and very possibly his best: his constant struggle to find a perfect balance of flesh and machine, or to translate human emotions to sound by means of a modern studio is manifested here in its purest, most consistent and, surprisingly, very accessible form. From subtle drones, through chants and rhythms echoing in mountainous chambers, to innumerable insect-like sounds and tiny details, it's an encephalogram recorded to tape (or disk). With all its complexity, it's not overwhelming: the meticulously constructed compositions leave both space for the sounds to breathe, and for the listener to fully experience it, without being bored, tired, wishing for less or being hungry for more. And there's beauty in this record, and hope - in the world of overpowering darkness and constant noise 'IMOW' feels like a peaceful trip into the untouched nature with all its wonders - offering in equal parts rest, strength and inspiration.

'Following last year's release on NAFF, ANF hit the West Coast with four tracks of lush, trance-inducing digital bubblebaths on Pacific Rhythm. You might know this Montreal duo already: After lingering around under a different name, Dust-e-1 burst onto the scene last year with two 12-inches of blazing junglist workouts, while Priori has established himself as a keen collaborator, partnering with the likes of Project Pablo, RAMZi and Ex-Terrestrial. Their work together as ANF is some of their most distinctive, and on Mauna Kea the two producers explore the outer reaches of their sound, going on an expedition through pulsating acid lines, blood-rushing breakbeats and cosmic synths, with melodies that linger long after they're gone.

The title track is a sleek and slippery acid-flecked cut charged with hints of progressive house, while "State Function" looks back to the Sputnik missions of early '90s Biosphere, with floating breakbeats and space shuttle chatter. The other two cuts are primed for the chill-out room, the after-hours kickback or any place where there's a lava lamp and a beanbag chair, from the hand percussion-driven groove and celestial pads of "Mary Lynne" to the leisurely breakbeats of "Chi-Motion." All four tracks offer rich, space-age techno to take your dance floor somewhere in the past that feels like the future.'

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.

After seven years of label making, Dorfjungs says goodbye with a final collection. GroupWorks mixes improvised vocal jazz and tropical ambient with sweet pop music, bad-tampered hip-hop and pitched down techno tracks. Thanks to all friends, fans and collaborators. Adieu

Recent Arts is a duo conformed by visual artist Valentina Berthelon and musician Tobias Freund. Together they build live performances using video projections and experimental sound -charged with symbols, stories and poetry- thus generating sound environments that invite to enjoy the music while deeply connecting with our perceptions of the world and our sense of realities within it. Access audiovisual material at: recentarts Written and produced by Tobias Freund at Non Standard Studios, Berlin 2018 Vocals by Barbie Williams, Video by Valentina Berthelon

Amir Abbey aka Secret Pyramid has become one of the most relevant names of the contemporary ambient music. This artist, established in Vancouver, has found in the night solitude his natural place to compose his electronic poems.
Students Of Decay label reissued his first two masterpieces in vinyl, The Silent March and Movements Of Night, which where issued originally in casette. Now, Gailur Records has the honour of reissuing Distant Works I & II.
Distant Works I was recorded in the same sessions as The Silent March in 2011, and Distant Works II in 2016. This lapse of time between these works perfectly shows the musical evolution of Secret Pyramid. While in the first part we find two long tracks of ambient/drone full of warm landscapes, the second one shows a global concept closer to an album, with shorter pieces, more minimalistic and with more of an intimistic character.

t's been a year since the last album of the French duo Zombie Zombie « Livity » came out on their historic label Versatile Records, since they explored other territories by producing two movie soundtracks : one for « Loubia Hamra » by Narimane Mari and « Irreprochable » by Sébastien Marnier as well as the music of a contemporary circus show « Slow Futur » by Martin Palisse and Elsa Guérin.

It was during their last tour that they composed and produced the new soundtrack for Sébastien Marnier's new feature film « L'heure de la Sortie ».

This is a second collaboration between the group and this director. This electronica soundtrack will delight Zombie Zombie fans with his oppressive yet surrealistic atmosphere, and without revealing so much the shadow of Patti Smith is not far this time and will surprise more than one.

Celer is the alias of Will Long, an american musician settled in Tokyo. Under this pseudonym he has released lots of albums for over 10 years, mostly self-edited or published by his own Two Arcons label, being one of the most prolific musicians of the ambient/drone scene. Fan of the analogic sound, his music levitates between overlaped melancholic layers of delays, tapes, reverbs,... creating a sonic monotony in constant movement.

Shima was created along with Jima (I, Absentee. 2015), but it wasn't recorded until 2016. Like most of his work, the album comes from an emotion that repeats itself infinitely until it takes our conscience to an hypnotic state of mind. The different layers of filtered sound mix out and evolve inwardly, like the experiences of our existence, contributing to amazing landscapes where we can lose ourselves completely.

Corey Fuller Is One Half Of The Duo Illuha On 12k And Break Is His Frst Solo Recording For 12k. A Crashing Wave, The Breaking Dawn, An Impact, The Crushing Of Emotional Spirit... The Breaking Of A Storm. These Are All Relevant Ideas Behind His Choice Of A Title For This Highly Emotional Abum. Fuller Has Addressed The Universality Of Human Struggle Without Going Into Specifcs Of His Own Personal Waves. The Ideas That We As Humans All Share Many Of The Same Diffculties Is Both A Launching Point And A Message He Wishes To Share With Break — The Catharsis.
While Illuha's Music Is Known For Its Attention To Small Sounds And Light Textures, Break, While Equally As Fragile, Sees Fuller Working With Much Heavier Elements. Still Highly Melodic, The Work Pulls And Churns Between Harmony And Tension, Weight And Air, The Crash Of A Wave, The Pull Of The Undertoe. The Album Is Focused Intensely On Melody And Harmony, Progressions More Carefully Composed Than The Serendipitous Found Sound Of His Work With Illuha.
The Piano Is Often At The Center Of These Songs, An Instrument (his Own) That Has Become Much An Extension Of His Own Body. His Own Voice Plays An Important Role As Well, Sometimes Lyrically Ethereal And Sometimes Just A Breath Signifying The Ever-fragile Thread Of Life. Beautifully Recorded
In His Tokyo Studio, The Sounds Are Captured With All Of Their Inherent Physical Faws. As Fuller Himself States About The Piano Being recorded In A Way That You Can Hear The Bones, Like An Open Ribcage, Moving Contorting...' Everything On Break Is There For A Reason, Not Just The Sound And Soul Of The Piano But The Electronic Elements As Well, Rattling Bass Tones And Dramatic, Emotional Waves Of Synthesizer Rising And Dissolving.
If A Single Word Can Be Used To Describe Break It Is Physical. From The Instruments And Techniques Used To Produce The Album To The Concepts Of Vulnerability Of The Human Body. Break Is An Emotional Riptide Where Violence And Rest Struggle To Be The Last Voice.


i) Adrift
ii) Asunder
iii) Aground

Both Stephen Vitiello and Taylor Deupree are seasoned collaborators. Each new collaboration is a new context, a new conversation and a unique opportunity to learn. Vitiello has worked with musicians such as Scanner, Steve Roden, Ryuichi Sakamoto and Machinefabriek. As an artist often
represented in galleries and large scale sound installations he has also had the frequent opportunity to work with visual artists from the likes of Tony Oursler to Julie Mehretu and Joan Jonas. Deupree has a long history of collaboration including early works with Christopher Willits and Richard Chartier as well as Marcus Fischer, Ryuichi Sakamoto, and Bon Iver's S. Carey. Fridman Variations is Vitiello and Deupree's third release
together and continues their tradition of exploring their unique form of experimental improvisation.
Stemming from a live performance at NYC's Fridman Gallery, Fridman Variations was co-produced by the gallery and will remain as part of the gallery's publications. Fridman Gallery is a visual exhibition space that also boasts a unique dedication to experimental music through their annual New Ear Festival, at which Vitiello and Deupree performed and recorded the main piece for this album.
Side A of Fridman Variations is the live recording, edited for vinyl while side B contains two pieces made with some of the same source material as the live performance and intended to be related, but entirely new, works. Guitar, modular synthesizer and a small tape synthesizer are at the heart of these songs. The improved layers draw on buried melodies and hint of feld recordings and found textures. Not overly melodic, not
overly noisy, Vitiello and Deupree like to fnd the edge between the pretty and the obscure, often suggesting more than laying their intentions bare. This type of sound is one that the duo often explores as an opportunity for Deupree to adventure beyond his melodic comfort zone and for Vitiello to work and experiment with new instruments and how they interact with his signature guitar.
One of the biggest inspirations to the artists for this work was the hushed and dreamy state of the audience during the performance. The late-night ambience added to the immersive quality of the surround speakers and helped to channel creativity and a sense of sharing
Both artists feel that recording live performances is an opportunity to capture a unique moment that simply won't happen again. Despite a performance's faws or imperfections the energy and interaction is a special moment in time for the performers and audience. The opportunity to not only document it for the listeners who were present but also to be able to share the moment with those who weren't there is a positive one.
To further be able to expand on the ideas in the controlled studio environment serves to enrich the experience and further the communication.

Dutch label Field Records is back with another special album project, this time from Japanese producer ENA aka Yu Asaeda. Bridge is an introspective soundtrack for a documentary also called Bridge - out this Spring - which is about the Dejima bridge, a reconstructed symbol of the Dutch-Japanese trading history in Nagasaki, Japan. The album finds the producer stepping outside of his usual remit of dark ambient and experimental music, and instead comprises ten shorter tracks that touch on abstract and rhythmic sounds that define the essence of Japanese culture. Although he has worked with the director before, this is ENA's first Original Sound Track and finds him freely inspired by the movie and heading in exciting and unknown directions. Hugely atmospheric throughout, there is hypnotic repetition of sounds, strange audio design and a mixture of melancholic moods with more dreamy synths. Sometimes gloopy rhythms gently ripple beneath soothing harmonies and at others times a micro-rhythm appears through the constantly shifting and evolving found sound loops. It's a compelling and unusual album that seamlessly mixes human emotions with a mechanical sense of industry.

Dj feedback:

Mano le Tough (Permanent Vacation): "Amazing sound"

Inverted Audio: "Subconsciously affecting, emotionally invigorating work here. Loving this."

DJ Mag LA: "This album shows that the of ENA sounds are an overflowing line that perfectly combines human emotions. Feel is the perfect word to define the entire album."

Samuli Kemppi (Deep Space Helsinki): "Really really good album. Thank you."

Eric Cloutier (The Bunker NY): "absolutely brilliant."


Philip Sherburne (Pitchfork): "Really interesting stuff here, looking forward to delving into it."

Amandra (Semantica): "Love it ! Thx"

Nihad Tule (Sloboda): "perfect cinematic scapes, thanks!"

Breach (Aus Music): "super enjoyable on a lot of levels and so warm. "

Jonas Kopp (Tresor): "love it ! thanks."

Mosca (Not So Much): "First two tracks are enough for me to know I'm into this"

Fugal (BleeD): "<3"

natural/electronic.system. (Tikita): "This is a great release. Thanks!!"

Roger Gerressen (Yoyaku / Sushitech): "lovely"

Maarten Mittendorff (Indigo Aera): "Amazing all over!!! <3 ENA... really out of the box organic evolving music. Big up Field for releasing this beautifull music!"

Albert van Abbe (VANABBE / No Comment): "This is just great! Suburb travel music, thanks!"

Simo Cell (Livity Sound): "Yes this is brilliant ! "

Efdemin (Dial): "Great textures and sounds. Really interesting work!"

Clouds (Electric Deluxe): "wow this is dope!"

Zadig (Construct Re-Form): "Need to check quietly but i know i already love it. Beautiful ... Thanks !! "

Voiski (Super95): "really beautiful bridge music "

In a dream hook-up for Diagonal, Jim O'Rourke reimagines material from the vaults of Alessio Natalizia AKA Not Waving and turns in a magisterial kosmiche synth-scape, backed with a
sprawling slab of mazy rhythmic brilliance. O'Rourke has been a long-time admirer of Not Waving, and what started out as more of straight remix project quickly turned into a collaboration-at-
a-distance, with Natalizia sending extra material and pushing O'Rourke to stray as far from the original material as possible.
In both parts, he does him proud. 'Side A' renders an original chromatic synth knot into a spiralling, heavenly superstructure worthy of comparison with Popol Vuh, before the flip envelopes listeners in a hyper-baroque rave hall of mirrors — all iridescent arps and irregular, automated pulses that refract palatial imaginary spaces.
O'Rourke is, of course, a huge hero to Natalizia and the label, for his work with Sonic Youth, his countless collaborations with everyone from Keiji Haino to Tony Conrad, and the breath-taking
breadth of his solo material. It's something of a coup/blessing/honour, therefore, for Diagonal to
present this release with art/packaging from Guy Featherstone that does justice to this meeting of minds.

Limited retail edition in double transparent yellow vinyl.
Explosions in Slow Motion is the new album from Brock Van Wey's transcendent bvdub project.
Van Wey's previous n5MD album Heart- less found him harnessing the turmoil around him to create something vast, emotive, and brooding, yet somehow comforting, allowing you to cradle in its weight.
Months after Heartless' release Van Wey moved from turbulent times of his native California home to the chilling winter of Warsaw Poland. A divergence. Alone against the icy cold, confined to the indoors in search of protection against the world outside, Van Wey channeled, as he always does, his surroundings as they coalesced with his self-imposed aberration. The outcome of this move, and period of near total isolation, is Explosions in Slow Motion.
Featuring four long-form songs accompanied by four 'ember' vignettes, Explosions in Slow Motion is quite possibly Van Wey's most mournfully isolated work in his massive discography to date.
Filled with swelling arcs of spectres from the past appearing then slowly drift away. Foggy memories of friends, loved ones, and even adversaries seem to achingly sweep across Explosions in Slow Motion's eighty-minute runtime.
There is a forlorn thread of shrouded nostalgia throughout the album which by album's end leads to catharsis, acceptance and the finality of progres- sion.

POP AMBIENT 2012 begins in an unusually new but nevertheless somehow familiar fashion. MOHN with MANIFESTO is the opening act. A manifest of slowness. A slowness that Jörg Burger and Wolfgang Voigt have taken up as new mission. MOHN is their new ambient-grunge-down-beat project, scheduled to depart on its official musical journey to Middle Earth early 2012.

'Shays Vacation House' is a work that feels suspended in time - both ancient and modern -- a microcosm that ceases to exist in any particular time or space...exceptional acousmatic sound design animates amorphous creatures and entities, whose movements echo on dripping walls, yet the eerie, mysterious environment remains entirely ambiguous. hovering above the post-apocalyptic landscape of a scorched planet regenerating. Emra Grid's second Opal Tape is a profoundly beautiful work, loaded with emotional weight

Ambient from a long going figure of the Shanghai scene. LP + poster + insert in spot-varnished sleeve..

'Futuro' is Not Waving's sublime synth/ambient soundtrack to one of the world's most intense art/theatre experiences: Sean Rogg's radical immersive artwork 'The Waldorf Project' - fusing choreography, spatial design, music and performance into a cohesive experience.
Drawn from more than 20 hours of material made for the project between 2013-2018, 'Futuro' finds Alessio Natalizia exploring a style of tonal and spatial minimalism that works as a fine palette cleanser from much of what you've heard from him in the past. While not a new solo album, per se, the long form, Eno-like results of 'Futuro' demonstrate the full wingspan of Not Waving's obsessive knowledge and emotive feel for electronic composition, making it in some senses one of the more substantial and unusual releases in his catalogue to date.
Natalizia's site-specific work ranges from highly emotive synth meditations thru to bittersweet Kosmische intuitions, and milky, Eno-esque beauties. But if any part sums up the widescreen scope of Not Waving's music in 'Futuro', it's the final side's 17 minutes of awning, gently curdled synth pads - originally used in a performance to 4000 people in Thailand laid in pitch black, with bodies formed in triangles while dancers caressed their faces. It ends the album with such memorable effect as to make it something of a modern day environmental/ambient classic - and perhaps our favourite Not Waving release in an already enviably deep catalogue.

QUADRANTES Three may be a mystical number and seven a holy one, but two and four and sixteen and so-forth are the numbers of science and rationality. When deprived of instruments, only with logic at hand, it is but natural to split our subjects in two, to split them again and again, until the desired number or amount is reached or can be added up from the newly created parts. So we divide a circle, first in half, then again, into four equal parts - into quadrants. On a compass, each represents the space between cardinal points, from North to East or from South to West. On the face of a clock it represents a quarter of an hour. On the weather charts of yore, they represent gradations of cloudiness. The precision of the quadrants is attractive so we experiment. We have precise instruments now, so we divide our cycles into equal parts based not only on two but on three or other prime numbers. Some cycles are longer than others but they all revolve at the same speed and thus exciting, infectuous polyrhythms are created. Like numerous clocks ticking away in a hotel lobby, only the minutes are sometimes made up of 60 seconds, sometimes 40, sometimes 17. This is how we tick away: different people in the same park on a beautiful day, minding our own business but inhabiting the same world. A cacophony of emotions and feelings. Hundreds of hearts, sometimes beating in time, sometimes singing in harmony; all spread across the horizon, each happy or sad in his or her quadrant.

In the afterglow of rave's white heat, the mid-90s were a period of going as far out in all directions as possible - and Luke Slater's The 7th Plain tracks were certainly about exploration of the deep space of the imagination. Cosmic, analogue, orchestrated, they still represent some of the most emotionally intense music ever to come out of the techno realm. Whether built on percussive frameworks or sweeping nebulas of dissipated sound, Slater's synthesizers still sing space-travelers' tales compellingly and beautifully.

For this reason, Ostgut Ton sublabel A-TON launched back in 2016 with The 7th Plain's Chronicles I, establishing itself as a platform for archive, ambient and art-related releases. This first eight-track compilation was split between classics from the albums My Yellow Wise Rug and The 4 Cornered Room on the one hand and previously unreleased tracks on the other, with the goal of providing a different, remastered framework for Slater's futuristic visions from the past.

Now, with the release of Chronicles II and Chronicles III, as well as a special edition vinyl boxset, the journey continues further into outer and inner space. Like its predecessor, Chronicles II is divided between previously released material from the aforementioned albums, as well as four unreleased future classics: 'Silver Shinhook', 'Wand Star', 'I Think I Think Too Much' and 'JDC'.

In contrast, Chronicles III is made up solely of music from the General Production Recordings label catalogue and stylistically skews less toward percussive techno-funk and more toward free-form broken rhythms - though tracks such as 'Lost', 'Time Melts' or 'Millentum' stand strong as hybrid pillars of both.

Luke Slater pioneered the UK's electronic landscape as Translucent, 4 Slots For Bill, Planetary Assault Systems, The 7th Plain, Clementine, and later as L.B. Dub Corp, by partly focussing on, partly bypassing the traditional, puristic values of techno. Together with Dave Sumner (Function) and Steve Bicknell he also operates as LSD.

Chronicles is a three-part series of Luke Slater's The 7th Plain project, including both previously released and unreleased material. All music is available for the first time digitally and on CD. All three Chronicles are also available as a special edition 6xLP boxset, including an essay by Joe Muggs, download codes and stickers.

Ultimately, when listening to all three parts of Chronicles, it's apparent that 7th Plain music is cut from the same emotional cloth, one related strongly to the backroom, the chillout, the after-party, the solo headphone voyage. These weren't and never should be considered separate zones from the dancefloor.

In other words, as Luke Slater puts it, in the mid-90s, they were 'part of the night, part of the experience... where ideas could be shared.' And like Global Communication, Mira Calix, The Future Sound of London, the Artificial Intelligence generation, Slater's 7th Plain was a response to those hallucinatory, spiritual, but still social spaces at the heart of underground communities - and the magic is still strong in it.

Aside from the special vinyl boxset (6x12' LP), which includes Chronicles I - III, limited edition stickers, an essay by Joe Muggs and a complete download code, all releases are available individually on CD, 2xLP and for the first time in digital formats.

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For those who shine darkly......

During the transitional period in which Coil's primary leadership, Peter 'Sleazy' Christopherson and John Balance, reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown.Employing the subtle handiwork of Coil's'real life'members, as well as the cleverlyguised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District,setting the precedent of Coil's future exploration of other worldy influence.

Recorded during the Winter of 1995/96, Black Light District reflects more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory 'Unprepared Piano', the tone is prepared in exactly the same way... unpredictable. Conceptually abstract, Black Light District shows Coil's old guard disregarding the pop rhythms found on previous albums, such as Love Secret Domain,and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.

Dais Records announces the official reissue of "Coil presents Black Light District -A Thousand Lights in a Darkened Room". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the double LP vinyl release is packaged in a beautiful matte 24pt stock gatefold jacket Also available on digipack CD with booklet and digital.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

BNJMN presents Body Reflections Pt.2 - the second step in his new, subdued and intricate sonic direction.
The highly textured ambient dance music that characterized the first chapter released earlier this year seamlessly continues onto this new reference.
Each track on the EP introduces symmetry and rhythm in the form of organic percussion. Whether lethargic and ethereal, blanketed with discordant melodies and arcing synth lines, or, more dance-oriented - with sophisticated interplays of percussive elements looping over soft harmonies.
Body Reflections Pt.2 is deeply illustrative of BNJMN's affinity for creating nuanced and delicately balanced layers, and a culmination of his vast experience.

Merzbow, Nyantora and Duenn's 3 Rensa trio churn up Grade A+ improvisations for Entr'acte with the first vinyl edition of their 'Redrum' recordings.

Leading on from Nyantora & Duenn's collaboration on the '086-087 Area' CD for Entr'acte in 2017, on 'Redrum' introduces Merzbow as a vital, variable catalyst in their next venture for Antwerp's finest. Recorded at Red BullStudios in Tokyo on 3rd August 2017 over the course of three hours, the results are edited for length in six parts to reveal a deeply uncanny intuition and amorphous nature to the trio's music.

It's maybe not what you might come to expect from a record involving Merzbow. Tempered by his collaborators' leanings towards sound art and electronics, they triangulate a steady but swirling mid ground where free jazz notions collapse into noise and industrial musicks. We're not entirely sure why each track bears one of their names after the title, i.e. 'Redrum Session 1.1 Merzbow' or 'Redrum Session 2.1 Duenn', as we were under the impression each track is a collaboration. But never mind, as the results each smudge space-time in fascinating new ways, from the oxidised electro-acoustic fulminations of the first, thru the spheric ceramic roil of the 2nd, to arcing space rock-outs in the 3rd and 4th, thru to abyssal black hole sonics in the 5th, and an exhilarating transition from pummelling percussion and noise squall to vaporised conclusions of the 6th.

The following electronic soundscape features music from Eduardo De La Calle, Brendon Moeller, Tobias. and Mike Dehnert. All profits generated from this record will be donated to the Oceanic Preservation Society.

A Mesmerizing Trip From Krautland Through Electronic Fields To Hypnotonia.exploring The Textures Of Haunting Melodies, Lucious Dreamscapes And Tribal, Dancefloor-ready Beats. After Their Highly Acclaimed Debut Album gim Klanggartenh (on Bigamo . Label Of Frank Wiedemann / Ame), This Is Fred Und Lunafs Next Fascinating Step In Their gelektrokraut/krautelektroh Series.

Who Are Fred Und Luna
"fred Und Luna" Are Two Mannequins Living In A Fashion Boutique In Karlsruhe, Germany. They Serve As Muse For Musician, Lector, Poet And Photo/video Maker Rainer Buchmüller.

Inspired By His Doll Friends And His Love For German Electronic Music Of The Past Decades, Rainer Buchmüller Under The Alias fred Und Luna' Produces His Self-created Genres Elektrokraut And Krautelektro: Both A Modern Combination Of Repetitive Rhythms, Beautiful Melodies, Electronic Soundscapes And Elements From The Krautrock Era.

Under The Name Of ariston Baton' Rainer Buchmüller Also Writes And Performs Sound Poems And Concrete Poetry. On Live Events And Especially On Exhibitions Ariston Baton Is Joining fred Und Luna' And Rainer Buchmüller's Third Identity vizudaru Nono', Who Is Contributing Video And Photo Projections. Together They Form The So Called equipe Nadaphysique'. The Next Exhibition Featuring All Three Named Personalities Will Take Place End Of October 2018 At Rockomotives Festival, Vendôme/france.

A Brief History Of Fred Und Luna
Having Previously Released The Ep glück Auf' On The Scottish Label Optimo Music And Being Remixed By Prins Thomas For The Berlin Label Innervisions, The Year 2017 Saw Fred Und Luna Feature Their Debut Album im Klanggarten' On Frank Wiedemann's (âme, Howling) Newly-founded Label Bigamo Musik.

After The First Editions Of Both The Ep And Lp Being Sold Out Quickly, Live Shows In Germany, France And England Followed As Well As Remixes For Peter Pardeike (connaisseur Recordings) And A Common Release With Trikk On Innervisions, Among Others. A Team-up With Achim Treu (ufo Hawaii) Resulted In Several Remixes For International Musicians.

On Tour With Fred Und Luna (the Luna Principle)
On Live Shows, Fred Und Luna Are Represented By Rainer Buchmüller As Fred And A Luna Spontaneously Chosen From Local Musicians, Friends Or Someone From The Audience, Making Every Show A Surprise And A Unique Performance.

Previous Lunas Include Keyboard Players, Drummers, Djs, Guitarists, Rappers, Poets, Saxophonists, Trumpeters, Violinists, Complete Bands, A Musical Saw Player, An Opera Singer And Many More. Watch Out: The Next Luna Could Be You!

Fred Und Luna News
In January 2019 Fred Und Luna Will Release Their New Album im Tiefenrausch', Mixed By Achim Treu, Followed By The 4 Track Ep im Tanzrausch' Mixed By Jan Krause (beanfield), Both On Compost

Our Favourite Bothy Botherers Mac-talla Nan Creag (comprised Of Hoch Ma Toch, Other Lands And Lord Of The Isles) Return To Firecracker Recordings, Channeling Ancient Rites, The Mysteries Of The Scottish Landscape And Its Elements Through Technologies Both Old And New For Your Listening Pleasure.

This Time Round The Archaeological Work Of Forestry Commission Scotland At Dun Deardail In Glen Nevis, And The Links Between That Site And The Ancient Celtic Myth 'the Sorrow Of Derdriu' Provided Fertile Ground For New Exploration And Response. Accompanying The Music Once Again Will Be A Lush Booklet Containing Some Of The Stunning Imagery That Results From The Work Fcs Have Done There, All Packaged And Silk-screened With The Usual Finesse We've Come To Expect From Firecracker Recordings And Their Chief Visionary House Of Traps, In Conjunction With 12th Isle's Al White.

Captured In Part In A High Vaulted Medieval Church, Then In Home Studios, Bouncing Ideas Back And Forth Over The Internet, Mtnc Have Once Again Drawn On Field Recordings, Traditional Instrumentation, Analogue Electronics And The Simple Power Of The Human Voice To Create A Shimmering And Expansive Song Cycle.

Whereas The First Album Was Borne Out Of An Intense Period Of Field Trips And Whisky Fuelled Jam Sessions In Brochs And Had A Loose Approach Overall, The Second Is Perhaps More Focussed In Its Themes Relating To The Ancient Tale - Love, War, Beauty And Tragedy All Intertwined - And They Arguably Go Deeper This Time, Conjuring Up Something Of The Fourth World Feel, By Way Of The Firth Of Forth.

With Additional Contributions From Professor John Kenny - Whose Primal Zummoesque Playing On A Range Of Horns Including A Giant Conch Shell And A Replica Of The Ancient Deskford Carynx Underpins Several Tracks On The Album - And Eva Sutherland (daughter Of Other Lands) Who Provides A Reading From The Myth At The Very Beginning, This Is An Album That Not Only Carries The Heaviness Of History But Also Looks To The Light Of The Future.'

KOWTOW is the brand new label created by the composer and producer Vincent Leibovitz, member of La Fine Equipe and cofounder of Nowadays Records (La Fine Equipe, Fakear, Clément Bazin, etc.). Through this ironic courbette, Vincent Leibovitz proposes an ingenious way of developing projects inherited from music library liberties. Each artist creates a specific object akin to electronic film music, sound design and ambient, rather than a collection of traditional-album-formatted tracks. An opportunity for artists to experiment their bond with contemporary images. As such, projects on the KowTow roster are supported by productive and promotional assets boosted by Vincent Leibovitz's vision and his experience with the epic Nowadays adventure, as well as in the sphere of production music (in particular through his work with the benchmark agency Cezame).

For its first overt compilation, KTW001, KowTow proposes its courbette for 10 artists with visionary synaesthesia.
6 of them will release their album during the year (Malvina Meinier, Penelope Antena, Monolithe Noir, Airsouth, Billy Dentelle, 52hzWhale) - the other 4 seized the opportunity to deliver their own ideas by taking advantage of this venture to lay down highly-edgy, atypical tracks: Jumo (Nowadays), Haring (City Tracks), J.Kid (Unno) and Sébastien Forrester (Nowadays) and, among those who will soon be creating a buzz:
PUBERTY by Malvina Meinier is probably the most pop and most digital track on the record. Puberty, from the upcoming Corpus/Anima album, embodies the explosive, sensual struggle between body and spirit, between Malvina's adolescent self-tuned impetus and her synthesizer.

Meanwhile, Airsouth drew his inspiration from the fantasy and contemplative aesthetics of the filmANNIHILATION (Alex Garland). Written with minimal resources during a flash of spontaneous inspiration, this track exemplifies the latest mutations of Airsouth's work. Synthetic instruments complement the field recording, giving birth to an artificial decor, an extraterrestrial intrusion into a forest stroll.

In contrast, BY TWOS lends more so to song-type listening, partly because it is the fruit of the partnership between Monolithe Noir and the folk singer Peter Broderick (Erased Tapes). The track was created using a real modular synthesizer, the artist's preferred instrument which shrouds this folk song with a cold and disquieting register, coexisting complex-free with the spectres of early electro.

In the same lyrical vein, GRANTED was composed using voice-changing software, for which Penelope Antena is now the undisputed maestro and which is one of the distinctive features of her work. A voice affected by a romantic break-up is the root of her writing. Electronic, solitary soul.

And, last but not least, 52HzWhale - Vincent Leibovitz himself - brings this compilation to a close with LADDER TO THE STARS, a track inspired by a work from Chinese artist Cai Guoqiang, discovered on Youtube: an ephemeral scale of fireworks. The progressive build-up of this celestial object embodies an ascent from Earth to the Heavens, from the world of the living to that of the deceased, embracing a transient combustion of synthetic and acoustic layers. Through this contemporary-sourced leaning gifted to traditions, Vincent Leibovitz illustrates his kinship, his respect and his mastery of image through sound: the quintessence of KowTow.

Another side of Pom Pom.

Michigan artist John Beltran's 13th studio album and 3rd on Delsin is his most complete and personal work yet. Written largely on modular synthesizers for the first time, it melts 90s intelligent techno with post rock and ambient with leftfield downtempo. The seventeen tracks draw on his expert knack for sound design; for melody and atmosphere and make for yet another hugely absorbing affair.