Beats Novedades

To be released on World Mental Health Day, part of the album's proceeds will be donated to a UK-based mental health charity. 'I often wonder how sadness moves through people,' Emika says, 'through time, through stories and history, and if it's something that becomes us rather than coming from us.'
% of album sales will be donated to charity Help Musicians UK
emikarecords. com Invites fans to anonymously share their experiences of depression and create a waterfall of comments inspired by the song Wash It All Away
Studio video promoting the album via Soundcloud, Autumn
Live / DJ video, promoting the album with Beatport, Autumn
Live streaming of the album from Emika's studio via FB, Insta, YT, September.
Bookings by Christopher at Melt Bookings. Team chose to give fans time to listen to the album first, shows starting early 2019, special album show with live band and dome visuals planned in the Berlin Planetarium Feb 2019. A few promo shows summer / fall 2018.
Boiler Room live show as part of Open Dance Floor series tbc
* Given its years of manifestation behind the scenes of other projects, Falling In Love With Sadness reflects a renewed understanding of Emika's own genealogy, kindred lineage and its connection to modernity. Marking a drastic departure from the menacing, stripped-down qualities of albums past, Dva and Drei, Emika has surfaced with a new upwelling of sound gracing the bittersweet, melancholic and sanguine.

* With the interplay of myriad genres both rhythmically and melodically intertwining between spacey, dub tinged Promises, lush synth pop hooks on Escape and the title track's soulful electro, a full spectrum of musicology remains primary to the ever-evolving chroma of Emika's umbrous sound.

* Further characterised by the breathy sibilance and sultry tones of Emika's noirish, vocal aesthetic, the album navigates through the morose and trappings of misanthropy by illuminating a narrative of emotional resilience and recovery.

* Co-produced with Robert Witschakowski of The Exaltics, and continuing her collaboration with guitarist Chris Lockington (as heard on Drei and Dva), Falling In Love With Sadness provides a fifth solo album for Emika, but moreover, defines itself as an overture for her future works.

The yearly festival record of Nachtdigital with great tracks by Kann, Johanna Knuttson, Vai, Manuel Stallbaumer & Stefan Schmidt-Dichte. 4 Collage like pieces of 18-24min each!

After gracing Holger with one of his signature remixes about two years ago (Holger 6: The Moonland Remixes), Barnt now returns with two of his own works, the

rst ones since his widely acclaimed debut LP of 2014.
Side A features an etheral composition in

ve parts - accurately titled »A-Seite 1-5« - while Side B displays Barnt's idosyn- cratic version of techno at its best: »If She Says She Is A Healer, She Is A Healer«. Unmistakably the man from Magazine, yet in surprising new garments - and another perfect match for Holger.

'what The Night Is For' Is Teresa Winter's Engrossing 2nd Album For The Death Of Rave. Unfolding Around Recollections Of A Bad Dream About Being Murdered By Her Boyfriend And Hidden Under A Hotel Bed, Teresa's New Side Expands Upon The Morbid, Psycho-sexual And Occult Fascinations Of Her Cultishly Acclaimed 'untitled Death' Lp In A Singular And Unpredictable Style Of Composition Where Avant-classical, Acid-house And Ambient Dream-pop Collapse In A Confounding And Traumatic Account Of Her Hauntological Reality.recorded In Northern England Amid The Socio-political Tumult Of 2018, 'what The Night Is For' Is Concerned With Notions Of Liberation And Repression, Both Sexual, Psychic And Political, Which Feel
Ever More Impending In The Nocturnal, Criminal State Of Mind Conjured By Capitalism's End Times.
Teresa's Music Reflects This Sensation Of Heightened Alertness And Near-psychedelic Intensity With An Abstract Dramatic Narrative Implicitly Referencing On The One Hand, The Convention-challenging Feminism Of Jean Rollin's Cinema Fantastique And Its Soundtracks, And The Charged Atmospheres Of Coil, As Well As The Sexually Liberated Writings Of Amanda Carter And The Marquis De Sade.in Its Unfairly Weighted Formation, The Lp Vertiginously Drops Into Freefall With 7 Minute Of 'marishly Captivating Dissonance In 'canticles Of Ecstasy', Landing In 9 Minutes Of Disquietingly Lush Ambient Electronics And Teresa Intoning Bestial, Brutal' On 'heathen's Gate', Which Marking Her Descent Into Night, Proper.
The Other Side Is An Entirely Different Affair. From The Wigged-out Pipes And Cinematic Intrigue Of 'vulgaire', Teresa Plays Out Stark Contrasts Between The Stellar Acid-pop Detournement Of 'for Murder', The Palpably Eerie Electro-acoustic Aura Of 'apostrophising The Cunt', And A Gut-
Wrenching One-two Of Proustian Fantasy In 'mother Of Death', And The Piloerect Tristesse Of 'from So High That I Might Die'.
Like Cosey Fanni Tutti's Seminal Early Artwork, Created In The '70s Against A Backdrop Of Yorkshire-based Serial Killers And The Adult Industry, Teresa's Music Can Be Taken As A Form Of Psychic Self-surgery, As A Way Of Parsing Her Own Ideas From The Inherent Violence Of Heteronormativity And The Lingering, Insipid Pall Of Roman Catholicism And All Its Connotations Of Sexual Repression. And Like Cosey, Teresa Obliquely Acknowledges The Female Perspective Defined In The Tarot Card, Eight Of Swords' - She's Damned If She Does, But Also Damned If She Doesn't. So F*ck It, Here It Is. Deal With It.

An Invitation To Disappear is the debut LP by British electronic musician Inland aka Ed Davenport - and his first release for A-TON. Based on his soundtrack for a video installation by conceptual artist Julian Charrière, Davenport has recast the material and field recordings into eight tracks of rhythmically intricate electronics and spectral, ambient techno, inspired by Charrière's visually striking, 76-minute tracking shot through a palm plantation toward a totemic soundsystem on full blast.
Both the album and original soundtrack were created in response to the 200th anniversary of the eruption of Indonesia's Tambora volcano in 1815, which plunged the world into darkness and caused a series of extreme weather conditions. At the time, the natural climate change crisis resulted in numerous global famines and is known throughout the northern hemisphere as 'The Year Without Summer', with global communities forced to adapt to sudden radical changes in temperature and weather.
An Invitation To Disappear offers a contemporary parallel, leading viewers - and listeners - down a seemingly endless direct path of gridded palms from dawn to dusk; a bio-commercial monoculture where ancient jungle once flourished. Light flickers between rows of fruit-laden trees and a distant fire burns in the undergrowth where the border between natural image and computer simulation breaks down. At the same time, formerly incoherent rumblings of sub-frequencies begin to transform into the contours of rhythm. This is reflected sonically in eight perspectives on the lush, synthetic jungle, made of myriad buzzing fauna, morphing melody and colossal bassweight. All paths lead toward an apocalyptic dancefloor, though speeds vary widely; rhythms dissolve from straight to broken, synth tempos operate by their own internal clocks (and logic). Juxtaposing industrial agriculture with rave culture, the album explores the industrialization and refinement of nature, and the new strange forms emerging from the synthetic grids of both.
As Inland, Davenport has previously contributed soundtracks to other installations by the Swiss-born Charrière, whose artistic practice focuses on bridging environmental science and cultural history, often taking place in remote geophysical locations, including ice fields, volcanos and radioactive sites.
Julian Charrière is a French-Swiss artist based in Berlin. A former student of Olafur Eliasson at the Institut für Raumexperimente, Charrière's art explores post-romantic constructions of nature, staging tensions between deep or geological timescales and those relating to mankind. His work has previously been shown across the globe, including at the main exhibition of the Venice Biennale in 2017, a solo show at Kunsthalle Mainz this past Spring and an upcoming solo show at the Berlinische Galerie opening September 26.
Inland (real name Ed Davenport) is a British producer, DJ and founder of Counterchange Records based in Berlin. Known for his detailed and explorative house and techno releases on his own label, Infrastructure, Naïf and more, Davenport has recently gravitated toward the contemporary art world, finding inspiration in the cross-pollination between Berlin's art and music scenes. Previous sound design collaborations with Charrière have been exhibited in institutions such as the Musée des Beaux-Arts de Lausanne in 2014 and Thyssen- Bornemisza Contemporary in Vienna in 2017.
The gallery version of An Invitation To Disappear premiered this past April at the Kunsthalle Mainz and will be on display at the Berlinische Galerie as part of Charrière's solo exhibition As We Used to Float, opening September 26, 2018. The LP will premier live together with the video installation during a special presentation in Berghain the same day for Berlin Art Week.

After the great success of his new-classsical album 'Voyage de la planète' last year Marc Romboy releases a special 7' single according to the album. And once again as he experiments with his sound - pushing the boundaries between classical and electronic music to create both an emotional and atmospheric experience.

The title track - Voyage de la planete' was especially taped at the Robert-Schumann-Saal in Düsseldorf to create a highgrade recording of each classical instrument. The difference between a studio roon and a concert hall is remarkable.

Another highly acclaimed track, - La lune et l´etoile' comes along with an outstanding piano only version which improves once again that less can be so much more.

Culminating as the purgative 'finale' to her improvisational live performances, Pan Daijing's debut album also offers an insight to her future works.
The process was intuitive and raw, born out of her previous explorations. Over the past 2 years, she has composed, recorded and edited different concerts and field recordings across Europe, China, and Canada, forming the basis of the record. Arriving as her first full-length album, 'Lack ' was crafted from this long, painstaking mental and physical practice.
Daijing's pieces are created around a very intense and intimate mental catharsis, often expressed through a close physical interaction with strangers in her live sets which seek to engage them in a highly personal way. When I was finalising this album, they didn't feel like tracks to me anymore, but more like a psychoanalytical process,' she says. I saw myself being this absurd, mad person 'acting' out the sounds... It's rather physical, and became like a mindgame. All things came out naturally as part of me.'
The narrative of the album presents a perspective of the world as 'the theatre of our minds' - where Daijing sees the record as an 'opera piece' in its storytelling and drama.

Dancing With Fireflies From Sanderson's Second Long Player Urban Mosaic Gets The Treatment Courtesy Louis Haiman, Minimal States And Off Land. Louis Once Again Shows His Flare For Soulful Detroit Influenced Tech, Putting A Fwdthought Spin On Sanderson's Original Arrangement. Minimal States Leaves An Equally Strong Mark With His Rich Idm Techno Flavoured Rendition. Stasis Recordings Stalwart, Off Land, Reworks Just Beyond Into A Gorgeous Piece Of Chill Out Bliss.

Inner River delivers a self-titled debut 2LP which is a 10-track journey of beautiful ambient, downtempo rhythms and otherworldly atmospheres. This mysterious dreamworld sounds complex, emotive, mystic and elegant. It's a personal story that remains interesting until the very end.

Inner is the 5th full-length from Bordeaux composer Franck Zaragoza's Ocoeur. Inner evolves from 2016's Reversed by arching away from the piano-centric works and focusing a bit more on ambient synth motifs. The piano (Mother, Unseen), strings (Inner, Shelter), and sound design (Passage, Echo) are still ever present, but Zaragoza elongates his sounds out by allowing the synths to swoon, drift, and decay. Each note having its proper and due time to ascend. While there is a transition in the overall feel of Inner from Zaragoza's previous output, it feels like the natural progression in the Ocoeur catalog.

Ostgut Ton's Panorama Bar Serie kehrt mit Volume 6 zurück und beinhaltet zehn neue Exklusiv-Tracks auf zwei EPs. Allesamt ausgekoppelt aus der - Panorama Bar 06' Mix Compilation von Panorama Bar und Berghain Resident Ryan Elliott. Auf Part I haben The Oliverwho Factory, Deadbeat, Nick Höppner, Makam und Marcel Dettmann neue Tracks beigesteuert.
Veröffentlicht wird die EP zeitgleich mit Part II (o-ton 82) als 12' & Download. Ryan Elliott's - Panorama Bar 06' Mix, der auf Ostgut Ton's neuem Mix-Compilation-Format erscheint, wird erstmalig auf der Webseite des Labels als Stream und kostenloser Download erhältlich sein. Part II enthält fünf weitere Tracks von The Oliverwho Factory, Deadbeat, Nick Höppner, Makam und Marcel Dettmann.

Dutch producer and live act Conforce is back with 'Autonomous', a fifth artist album and the latest in his long relationship with Delsin Records. Conforce is Boris Bunnik, a producer who explores the deepest realms of dub, house, techno and electro under many different names. His Conforce alias is where his most club orientated material comes from and this new nine track album finds the Transcendent label boss producing dark syntheses inspired by his hometown and harbour city, Rotterdam, and its automated industries. A masterfully conceptual album that really paints a vivid picture of a harbour as heard from deep down in the depths.

Recorded in Haiku-Pauwela, Maui between 21st January and 8th February 2015

Photographs by Lucy Richardson.

Melting our minds for over two decades with his beat-based productions, this time renowned techno-producer Anthony Child aka Surgeon is putting the fundamental components of electronic sound production to the fore. Focussing on the development of timbre and texture, Child creates exquisite drones, that give an insight in his improvisatory sensibility and dig deep into the potentials of modular synthesis, As the title already indicates, it's a very special setting that he has chosen for this endeavour: The jungle of Maui seems to have acted as a stimulus for this exercise in concentration and trance. The intertwining of the electronic instrument that meets the sublime sounds of nature, opens up an intimate resonant chamber. Birds, insects and raindrops are allowed to break through, while you can sense the thick, humid air and deep colours of the surrounding resonating in the pastose synth lines. Some tracks offer beautifully built overtone-drones, others are structured by playful arpeggios that create a shining bright texture and seduce us into a state of disintegration. At the same time Child gives priority to the graininess of the instrument to emphasise the haptic quality and inner tension of the sounds themselves. In the end these minimalist procedures have been compiled to an unpretentious collection of sonic and atmospheric micro-jewels, inviting us to give ourselves over entirely and exclusively to listening.

An Island In The Moon is the perfectly conceived minimal ambient project from Italian composers Pier Luigi Andreoni (Doubling Riders, ATROX) and Silvio Linardi. Andreolina being a mix of the names of the two musicians who were both deeply involved with the label Auf Dem Nil on which the album was originally released in 1990.

The duo stick to a disciplined and simple palette using only two synthesizers and a Roland S50 sampler. They are joined by fellow electronic journeyman Riccardo Sinigaglia who contributes piano and samples on two tracks. Taking influences from Italian minimalism while adding some jazz hints Andreolina sprawls, weightless instrumentals that never stay soporific for too long on this singular rare album.

Auf Dem Nil or ADN was one of the most adventurous Italian record labels of the 80's and early 90's with releases by De Fabriek, Riccardo Sinigaglia and Pierre Bastien. Leaving their mark on the experimental music scene back than and influencing musicians worldwide up until today.

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.

For the dance film essay - The Body as Archive Gregor Schwellenbach chose a simple yet radical approach: he created a kind of catalog of sounds, clearly structured, presented with sobriety and boldness. The sounds are not embedded in the familiar frame of rhythm-harmony-melody, rather, they are introduced smoothly, presented one after the other, sometimes going together, then standing alone. It is a sensual approach, at the same time executed strictly systematically. Or vice versa: Schwellenbach's composition is strictly systematical, giving maximum space for sensuality and the unfolding of sounds.

Schwellenbach strives to create a system that doesn't become rigid, by treating the material gently and with sincerity.

In composing - The Body as Archive he sets clear rules: everything is played by hand, he only uses instruments he plays himself: Keyboards (Rhodes, piano, synthesizer) and double bass. Almost all material is played in the same key, the chords can be used in any combination, everything fits to everything. The ten parts of - The Body as Archive , mastered by Taylor Deupree, could be played all at the same time without sounding cacophonous.

Everything is pure presence, a gently woven stream of elegance and attentiveness. The organization of sounds - usually an action of preparation, didactic and discipline - turns into poetry.

The full-length debut by Julie Carpenter's Joshua Tree, California ambient orchestral project Less Bells emerged from the drama and desolation of its high desert origins.
She cites certain compositions as being 'specifically inspired by August monsoons rolling in over the mountains, others by clear, starry nights.' Utilizing an array of electronic and acoustic instruments, including cello, Optigan, violin, voice, and modular synth, Solifuge conflates not only the solitude and refuge of its title but also intimacy and grandeur, fragility and force, 'building from austerity to wild overgrowth.'
She speaks of a creative process involving cut-ups and rearranging, mapping a melody for strings only to transpose it to synth, or refashioning a rigid classical piece as stream of consciousness soundscape. Carpenter's versatility and embrace of flux fills these songs with a living, breathing quality, restrained but responsive, adapting to shifting conditions and emotions beneath the surface.

Elegant Universe' a full-length album by Matthew Hayes and Joel Trigg is a must listen for fans of the celestial jazz sound of ECM. Their soft, seductive duets are incredibly inviting, in a way that seems to encompass and enliven the space around you. Unsurprisingly, it'd be sure to add warmth to cold winter commutes, and dull the edge of even the fiercest hangovers.

The wintry Downtime is a tour de force of the duo's sense of restraint and the importance placed on individual sounds that swell together and drift apart with organic ease. On Light Through Edinburgh Leaves, the sounds themselves seem so three-dimensional, ringing out like ripples on a lake. It's hard not to be captivated by such beautifully formed music."

Killer selection of adventurous electronic dance music. Craigie Knowes are back with the second instalment of their Annual Fundraiser series for War Child. Music spanning from instrumental to experimental, and from electro to techno... all killer, no filler!!!! They welcome back Neville Watson and The Burrell Connection to the series along with a wealth of new friends like Legowelt, Andy Hart, Aroy Dee, Chaos In The CBD and more. Recommended!

elected Early Keyboard Works is the first in a series of planned archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It comes hot on the heels of Traverse´e Du Fantasme at the Stedelijk in Amsterdam, Hennix's first solo museum exhibition in over 40 years, and coincides with both Blank Forms' publication of Poe¨sy Matters and Other Matters, a two-vol- ume collection of her writing, and the closing of Thresholds of Perception, a retrospective archival show of Hennix's visual work at The Empty Gallery in Hong Kong. The record also marks the first time Hennix's own music has been given a full-length vinyl issue.

In 1976 Catherine Christer Hennix's just intonation live-electronic ensemble The Deontic Miracle performed Hennix's orig- inal compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer's Lattice at the Moderna Museet in Stockholm. Culled from rehearsal tapes recorded during the 10-day Dream Music Festival, Selected Early Keyboard Works features three pieces of minimal music, performed by Hennix on tunable electric keyboards. 'Mode nouvelle des modalite´s,' for well-tuned just intonation Fender Rhodes and sine wave drone, is a consummate expression of Hennix's formative years, a probing meditation giving the mercurial quality of early electronic music an instrumental life replete with the dexterity of Cecil Taylor and shades of Paul Bley's synthesized reveries. 'Equal Temperament Fender Mix,' performed on the same Rhodes but in twelve-tone equal temperament tuning, employs a tape delay system not unlike that used famously by Terry Riley, here towards more sombre, hallucinatory means. Hennix is joined by Hans Isgren for the collection's centerpiece, 'The Well-Tuned Marimba,' for well-tuned Yamaha, sheng, sine wave, and live electronics. Using the same approach and just intonation keyboard featured on Hennix's The Electric Harpsichord, but with marimba in place of harpsichord stops, the piece is an undulating marvel of lysergic drone, equally deserving of its companion's status as 'THE obscure masterpiece of the days of the early American minimalism'. Now accessible for the first time, these recordings only begin to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Tape transfer and mastercut by Andreas [LUPO] Lubich. Audio restoration and mastering by Stephan Mathieu.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm's pioneering Elektronmusikstu- dion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the bur- geoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky's invita- tion) at MIT's Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer. A two-volume collection of her writing is forthcoming from Blank Forms.

In The Third Of The 'phobiza Trilogy' We Are Invited Through The Ethereal Haze That Separates Our World From Ramzi's Flourishing Kindom. Guided Always By The Deity's Music, We Are Given Passage Through The Arcane Archipelago That Ramzi Calls Home, A Place Where Animals, Children And Wild Spirits Share Territories And Cooperate In Harmony In Their Plight To Protect These Ancient Islands From The Ceaseless Threat Of The Great Grey Invasion.

With The Night Closely Following Us, We Are Welcomed To These Lands In Dusk's Light, With The Warm Tones Of 'bibwel' (featuring Asaël Robitaille On Synth) Carrying Us Across 11 Different Islets, All With Unique Climates, Flora And Fauna. After Travelling For Many A Sunrise And Sunset We Take Pause At Mid Day On 'det Calash' Isle (with Some Beats Provided By Regular Fantasy). We Ending Our Journey With A Final Sunset, This Time On The Foggy Island Of 'warhasu' (recorded On Vancouver Island With Hashman Deejay).

Amor Fati (meaning love Of Fate' Or love Of One's Fate' In Latin) Comes As The Inaugural Release On Phoebé's Own Fati Records And Is The New Nesting Place For Ramzi And Its' Extended Family. The Record Ends The 'phobiza' Story, Following 'phobiza Dia' On Total Stasis And 'phobiza Noite' On Moodhut.

Following up on his exceptional 12 debut Numb (Figure 73) earlier this year, Seatoc Mass delivers another EP of finely tuned and highly diversified techno deep space explorations. Starting on an atmospheric note, Cipher's intricate melody winchingly twists its way under your skin while airy breakbeats faintly hint at the producer's UK roots. In contrasting fashion the bleep- driven Lost Lakes sticks to its metronomic stomp, making for a simple yet utterly effective tool. Choral howls and detuned synths merge on Transform for a gentle yet trance-inducing introduction to the flipside. Emotive highlight Rain then sees the Manchester producer sonically recreate a thundering storm, complete with flashing strokes of lightning and a downpour of celestial scale. The breakbeat returns on closer Flying Buttress, albeit now at much faster tempo, exploring the common ground between futuristic grime and techno. Blending all these different styles and their distinctive tropes in a coherent statement is a feat not easily accomplished. Yet here Seatoc Mass pulls it off again, developing further the confines of both his personal and the label's sound.

A Wonderful Piece Of Music.

Alucidnation is the audio project of Bruce Bickerton.

He's been writing and producing music since he started building up his studio equipment in the heady days of the early 1990s.

Bruce's first 'proper' job was as a studio tape op, engineer and producer, and this experience has subsequently laid a solid foundation for his future music career.

The music of alucidnation played a key role in the Big Chill, the UK's first 'boutique' music festival. Bruce performed and DJ'd at pretty much every Big Chill event between 2000 and 2010, gigging in countries such as Greece, India, Japan, Korea etc. These were all significant events because they planted seeds which have since flourished worldwide. In hindsight, The Big Chill festivals represent an inspiring highpoint for music, DIY culture and live electronica-based audio performances. Bruce released two critically acclaimed albums on Big Chill Recordings; 'Induction' and 'Get Lost'. The label also released two alucidnation EPs, simply titled 'ep:01' and 'ep:02'. Bruce also undertook mixing and blending duties on The Big Chill's award-winning 'Glisten' compilation, released back in 2001.

Bruce signed his third long-player to Interchill, releasing 'Aural Architecture' in late 2013, along with a third EP, called 'ep:03', which contained remixes by scene stalwarts The Irresistible Force, Greg Hunter and Another Fine Day.

Bruce has continued to compose classic chill out and electronica, where the melodies are central and prevailing themes are calming, centred and mellow. Once he's managed to capture the sound and elements he's after (usually after the immediacy of a first take), he flattens the board - which prevents any temptation to revisit or recycle later on. It's a punk methodology which seems to work.

The new release 'Paracosmic' is imbued with the same principles and production values that have informed his large back catalogue. It's primarily an analogue affair, utilizing live takes & favouring his arsenal of old Roland synthesizers, outboard effects and 'proper' instrumentation. Bruce tends to shy away from computer plugins and fancy gimmickry - consequently this new album is whoozy with timeless electronica.

'Trumping The Body's lumpen collaboration with The Haxan Cloak and Dylan Carlson's slightly underwhelming sides with The Bug by a country mile. '
THE QUIETUS on 'Mirrors For Psychic Warfare'...

"Kelly and Parker deal in a form of debased, defeated industrial future-folk, a zoned-out space cluttered with crunching metallic debris. Some of the quieter moments skirt the dreaded dark ambient category - but that subgenre always seems to suggest hokey cyberdelic techno-sabbats or the Hellraiser sequel in which chief Cenobite Pinhead sashays around on a spaceship. By contrast Mirrors For Psychic Warfare seed concerns about depleted stocks of tinned food and the likelihood of typhoid.' - WIRE

Claustrophobic sudor that evokes all you held dear from Skinny Puppy, Foetus, Godflesh, Swans..It's been three rough years since Mirrors for Psychic Warfare sprang into existence with their startling self titled debut, but don't think for a second that the time was spent idle.

This unit (comprised of Neurosis' Scott Kelly and Producer Sanford Parker) constructed an even more unnerving and destructive record with 'I See What I Became,' I know, hard to believe.

Over the course of these eight bile-rich pieces a sonic abattoir is erected, exploited, and razed. Turbulence rises and churns giving way to rhythmic machinations, lights flicker, a grand mal/guignol seizure besets a frog-headed snitch, blood collects in a stainless steel gutter.

There's nothing fun here, nothing but the cold of an autopsy followed by the heat of a crematorium. A sliver of galvanized bone flies from a circular saw into the toothless maw of a streetwalking Kali Yuga. Good or bad, I'm not sure what we did to deserve this. Aesop Dekker July 9, 2018

'Trumping The Body's lumpen collaboration with The Haxan Cloak and Dylan Carlson's slightly underwhelming sides with The Bug by a country mile. '
THE QUIETUS on 'Mirrors For Psychic Warfare'...

"Kelly and Parker deal in a form of debased, defeated industrial future-folk, a zoned-out space cluttered with crunching metallic debris. Some of the quieter moments skirt the dreaded dark ambient category - but that subgenre always seems to suggest hokey cyberdelic techno-sabbats or the Hellraiser sequel in which chief Cenobite Pinhead sashays around on a spaceship. By contrast Mirrors For Psychic Warfare seed concerns about depleted stocks of tinned food and the likelihood of typhoid.' - WIRE

Claustrophobic sudor that evokes all you held dear from Skinny Puppy, Foetus, Godflesh, Swans..It's been three rough years since Mirrors for Psychic Warfare sprang into existence with their startling self titled debut, but don't think for a second that the time was spent idle.

This unit (comprised of Neurosis' Scott Kelly and Producer Sanford Parker) constructed an even more unnerving and destructive record with 'I See What I Became,' I know, hard to believe.

Over the course of these eight bile-rich pieces a sonic abattoir is erected, exploited, and razed. Turbulence rises and churns giving way to rhythmic machinations, lights flicker, a grand mal/guignol seizure besets a frog-headed snitch, blood collects in a stainless steel gutter.

There's nothing fun here, nothing but the cold of an autopsy followed by the heat of a crematorium. A sliver of galvanized bone flies from a circular saw into the toothless maw of a streetwalking Kali Yuga. Good or bad, I'm not sure what we did to deserve this. Aesop Dekker July 9, 2018

Dais Records Is Proud To Announce The Official Reissue Of "elph Vs Coil - Worship The Glitch". Remastered By Engineer Josh Bonati And Supervised By Coil's Drew Mcdowall, The Vinyl Release Is Pressed Onto Double 12" Lp Vinyl (from The Original 10" Release), And Is Packaged In A Gorgeous 24pt Stock Matte Gatefold Lp With Sticker And Vellum Track Listing Insert. . Also Available On Digipack Cd And Digital.

"unexplainable" May Well Be The Best Explanation For The Members Of The Uk Based Electronic Outfit Coil. Making A Radical Shift From Intentional Accessibility, By Means Of Traditional Pop Songwriting, To Abstract Happenstance, Coil Had Entered Into A New Phase In Their Career...uncharted Waters Utilizing What Was Then The Newest Computer Technology, Digital And Analog Synthesis And The Newly Formed Ideas That Something Outside Of Themselves Was Steering The Ship.

During The Studio Sessions That Developed Into What Would Become 'worship The Glitch'. Coil Became Aware Of Random Compositions Emitting From Their Gear, And Were At Odds With Constant 'accidents' That Were Perpetually Plaguing The Recordings. The Band Called These Unintentional Emissions "elph": A Conceptual Being That Is One Part Physical Equipment, One Part Celestial Being...constantly Playing The Role Of Trickster, Throwing A Wrench Into Coil's Methodology. Eventually, These Accidents And Mistakes Were Embraced By The Band, And The Process Of Misusing Audio Software To Create Intentional "errors" Was Adopted As A Musical Technique. The Acceptance Of The "mistake", And The Use Of Discovered Mistakes As Intentional Elements Slowly Became The Drive And Concept Behind The Album, Thus Birthing The Title 'worship The Glitch'.

Originally Released In 1995 On Coil's In-house Imprint Eskaton, Worship The Glitch Was Coil's First Proper Album-length Attempt At Conceptual Ambient Composition, With A Radical Focus On Chance. Seamless Vignettes Of Shattered Electronics (though Ebbing Softly And In Delicate Balance With Each Other) Provide An Underlying Uncertainty And Discomfort To The Listener.

'One side of me is very much against the explanation and intellectualisation of my work. This side of me says the work is just
another world and we won't get anywhere by talking about it. That it's a distraction from feeling it. The other side of me loves to intellectualise and interpret. But of course, it's always just a temporary snap shot of what I project in the moment. I call these two sides the child and adult in me. They're constantly in conversation as I work and after. The child is a lot more present in the process of working, and the adult has a bit more presence afterwards. For the last EP I wrote brief snapshots of what each track meant to me. Some of it still feels true now, and some of it has changed. For this EP I'll just leave it with no explanation. I've done a lot of new visual work that will come out alongside this and they can also be interpreted and paired in any way. If this EP is your first encounter with my work and you want more context, you can check my website and Instagram. It's all the same world.'

There is a purpose behind ambient music: it is utility music. Brian Eno made that clear. If we go by Eno's definition, the music on T.RAUMSCHMIERE's new album is not ambient. Although - or in fact, because - each individual track on this album immediately and effortlessly generates atmospheres, it is impossible not to be drawn in. T.RAUMSCHMIERE sucks the listener into the perceptible endlessness of his pulsating sounds, even though the music does not actually expect anything from the listener. It is not demanding, it does not sound lofty or ethereal. It is in constant movement and evolution while sounding grounded at the same time. The tracks are not weightless; they have body.

Nozomu Matsumoto Is An Artist And Curator Behind Ebm(t), okyo - Representing Work By Robin Mackay, Tcf, Sam Kidel, Etc. 'climatotherapy' Is His First Physical Release Following A Number Of Self-Published Digital Works And Mixes For Online Publications.'climatotherapy' Is Nozomu's Soundtrack For A Health Forecast Given By Amazon's Text-to-speech Interface Polly, And Is Perhaps The Most Disturbing , As Well As The Most Evocative Release On The Death Of Rave Label To Date; Creating A Widescreen, Hi-definition World Where You're Never Quite Sure What's Real.'climatotherapy' Features Polly Narrating A Non-linear Text Intersecting Issues Of Morality In Artificial Intelligence With The Artist's Experience Of Meteoropathic Sickness, And Its Symptoms Related To Barometric Fluctuations And Psychic-atmospheric Disturbance.
Nozomu Imagines That Polly Curates Our Mental And Moral Energy Into Health By High-definition Midi Orchestration. Polly's Prognostications Come Framed By A Hyperreal Tapestry Of Idyllic
Ambient, Cinematic Strings And R&b Folk Tropes, Conveying Nozomu's Ideas With Clinically Emotive Clarity.
The Effect Is Uncannily Calculated, Using Additional Human Vocals And Music To Limn In Hd Detail An Up-to-the Minute And Personal Perspective On Themes Of Ai And Morality Which Could Be Called Key To Japan's Hauntology.
A Strikingly Singular Work, The 15 Minute 'climathotherapy' Effectively Resonates With The Novel Musical Sci-fi Of James Ferraro, Elysia Crampton And T C F, As Well As The Death Of Rave's Own Editions Such As Mark Leckey's 'greenscreenrefrigerator' And Sam Kidel's 'disruptive Muzak'. It's A Properly Unique Record Of Its Times.

Enduring ambient and soundtrack specialist John Beltran has finished another full length album for Delsin Records. Entitled Espais, it lands in summer 2015 and features 17 beautiful tracks that range from dreamy and heavenly to more meaning and moving. Emotional from start to finish, it once again finds Beltran using moderns tools and techniques with classical musical values. Part synthetic and machine made, part organic and natural, it is another fine opus from the Michigan man. Barcode: 8718754951111.

Monstrance documents Mika Vainio & Joachim Nordwall reshaping guitars, drums and incendiary electronics at Einstürzende Neubauten's Berlin studio back in 2010. The results were originally issued by Touch in 2013, with this new 2LP edition arriving on Nordwall's iDEAL label five years later as a posthumous tribute and reminder of his erstwhile collaborator. In our opinion, it's one of Vainio's most crucial and absorbing collaborations; moving away from ice-cold electronic precision and into a more visceral re-rendering of Metal.In a sort of fantasy regression imbued with the spirit of their shared heroes - Einstürzende Neubauten - Mika returns to the instruments he cut his teeth on way back in the '80s, manning electric guitar, drums and effects, while Nordwall takes control of electronics, electric bass,
Hammond organ and vibraphone, with both arriving at a mutually primal conclusion of distortion and fiercely charged electro-acoustic air.
The first side's 'Alloy Ceremony' comes on like an Earth deathmarch (especially if played at 33rpm!), before the furnace blast of 'Live at The Chrome Cathedral' settles to the sepulchral croaks of 'Midas In Reverse'. In the 2nd part, the duo communicate in reverberant, hollow knocks and guttural bass waves on 'Irkutsk', leading to a moment of raw, staggering poignancy with the shimmering primitivism of 'Praseodymium', leading each other in acres of negative space, with needled strings creating a fine tension that dissolves into the funereal, floating tones of 'In The Sheltering Sanctus of Minerals' in a sort of blue, etheric and almost ecclesiastic resolution.
All the track titles allude to metal (in the material sense), which gives you a firm sense of the hard, grey tonal palette the duo worked with. But Nordwall and Vainio generate such an impressive array of music out of this ascetic approach that we can't really think of much in either of their extensive
repertoires that sounds much like the hour of music they created here. It's one of Vainio's most impressive and unique collaborations outside of Pan Sonic, an essential exploration of silence and noise.

The third solo record by Skymn further articulates the width of his artistry by taking us on a melancholic night ride across retro-futuristic skylines and dimly lit neon roads.

The record has received early support from artists such as Claudio PRC, Deepbass, Ness, Svreca, Artefakt, Etapp Kyle, I/Y, Iori, Jonas Kopp, Kwartz, Rasmus Hedlund, Samuli Kemppi, Takaaki Itoh, Eric Cloutier, Conrad van Orton and S100 to name a few.

Dais Records is proud to announce the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. . Also available on digipack CD and Digital.

"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.

During the studio sessions that developed into what would become 'Worship the Glitch'. Coil became aware of random compositions emitting from their gear, and were at odds with constant 'accidents' that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil's methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title 'Worship the Glitch'.

Originally released in 1995 on Coil's in-house imprint Eskaton, Worship the Glitch was Coil's first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

here is an intricate sorrow to Isorinne's new album, 'Speechless Malison.' Though broadly melodic, it feels exhausted rather than restrained; though rippling with a pulse, the rhythmic passages are sparse, their measured source a great distance away. Building on last year's cassette, 'Echoic Memoir,' 'Speechless Malison' takes greater and emotive strides, however brittle the path.

Repressed on transparent sea-foam green vinyl, it includes a booklet that tells the story of Smalls Lighthouse, a download of the LP and the bonus mini album 'Flotsam' - that was included with the initial CD release on Second Language.

"A murky neo-classical album, Music For Smalls Lighthouse plays like a salt-soaked requiem, perfectly capturing the inevitable breakdown when you're alone with a body 20 miles off Wales."
[Drowned in Sound]

With the five year anniversary of its first release on Clay Pipe approaching and the original fetching high prices on discogs, it seemed like the right time to make more copies of Plinth's Music For Smalls Lighthouse available.

Plinth's, Michael Tanner is a musician from Lewes in Sussex who has recorded under a myriad collection of names and guises these include Cloisters, Taskerlands, Thalassing, part of the duo The A Lords - on Mark Fry's 'I Lived in Trees', and with Irish improvisers the United Bible Studies.

"Music For Smalls Lighthouse fosters a subliminal mixture of arcane atmospherics and mournful chamber music....Tanner seals six exquisitely evocative pieces together into one bleakly alluring whole..."
[DOA]

Smalls Lighthouse, is located approximately 20 miles west of St Davids Peninsula in Pembrokeshire Wales. Engineered by a violin- maker and standing on flat rocks battered by the sea, the original lighthouse resembled a squat hut on giant stilts. In the year 1800 two men Thomas Howell and Thomas Griffin, well known locally for their drunken spats and quarrels, boarded a fishing-vessel to spend six months together as lighthouse keepers on Smalls Rock. During this time Griffith was killed in an accident and Howell was left alone to fend for himself struggling to stay sane in the isolation of the lighthouse. The music on this record soundtracks the events that took place with beautiful and often gruesome clarity.

Next up, MAT8. "Passive Aggressive", the first collaborative album release from Jonny Nash & Suzanne Kraft.

"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.

During the studio sessions that developed into what would become 'Worship the Glitch'. Coil became aware of random compositions emitting from their gear, and were at odds with constant 'accidents' that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil's methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title 'Worship the Glitch'.

Originally released in 1995 on Coil's in-house imprint Eskaton, Worship the Glitch was Coil's first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

Dais Records presents the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. Comes on black vinyl and a limited edition on translucent yellow vinyl.

Housed in a full colour jacket with original artwork by Kutiman.
Extremely limited edition coloured mini album + black vinyl (only 500 pressed)
Fourth release on Kutiman's own record label Siyal Music following the sold out 'Space Cassava EP', 'White Monkey' 45 and '6am' album.
In the era of the brand, KUTIMAN is an anomaly. A musician who's a video artist who's a producer who's an animator who's also the unwilling star of one of Israel's most successful recent documentaries, his every record contrasts with whatever it was that came before. But that's fundamental to his appeal: no one, not even him, really knows what to expect next. Unsurprisingly, therefore, DON'T HOLD ON TO THE CLOUDS is no different, which means it's like nothing he's ever done. Most artists would acknowledge this by working under pseudonyms, but KUTIMAN is - yes, you've guessed it - different again.
Kutiman's upcoming LP DON'T HOLD ON TO THE CLOUDS is comprised of just four tracks -- the shortest of which, 'Lucid dream', still clocks in at almost eight minutes - it orbits within reach of, among other styles, Ambient, Electronica, Minimal and New Age, but refuses to settle on merely one. The A-Side features the airy 'Behind the noise' and 'Unknown', reeling the listener into a deep and meditation. Flip it over to the B-Side and you'll find 'Mineral' and 'Lucid dream' inducing an ethereal state. This new record is unusual to Kutiman's typical style, revealing his love for the sounds of Terry Reilly, Moondog, Alice Coltrane and William Basinski.
Recorded live by KUTIMAN over the course of the last year, the album also draws upon his growing love for Indian music, and, alongside extensive use of a Juno 6, features his first, unorthodox use of a tabla he received from his mother. DON'T HOLD ON TO THE CLOUDS is meditative and enigmatic, like nothing he's done before. 'I hope it will offer peace,' he smiles, adding hurriedly, 'not in a big global way, but just as a break from reality. If anyone feels like head banging, I'll be happy as well, but it actually helps me fall asleep. I can't say that about any other record I've made.'