Beats News

"Eux sont de ceux qui trament en accordant desseins sur dessins." MinimalRome is back with the second volume of Trame compilation. A full lenght 2xLP release gathering Legowelt (as Phalangius), Heinrich Dressel, Alessandro Adriani, Ian Martin, Teslasonic, Polysick, C-34, Iron Blue and David Kristian among others. Traveling through these eighteen ambient cosmic tracks from true heirs of library music, you'll expand the surrounding space. Limited to 300 copies

Repress

The Colundi Sequence continues... Aleksi Perala delves deeper in the Colundi scales for Dub Recordings.

Coloured Vinyl
Iona Fortune is a composer and producer from Glasgow and presents the 'Tao of I' album as her debut release.
Inspired by Eastern Philosophy and slated to be the first in an 8 album series exploring all the symbols of the I Ching, her music is influenced by oriental sounds and features a palette of instruments that includes the Guzheng, Gamelan and Synthi AKS.
The overall effect is a singular and beguiling sound that loosely fits in with the Fourth World concept imagined by Jon Hassell, and indeed Iona Fortune has also contributed a track to Optimo Music's new Fourth World compilation 'Miracle Steps'.
The initial vinyl edition will come on a translucide pressing with inside sleeve and original artwork by Iona Fortune.

First Terrace return with the second instalment of their split series, an ongoing project which sees the work of two artists illuminated in each other's light. Built on the acknowledgement that context alters perception, the light shone by the opposing track alters the shadow cast, the effect of the other. In answer to the forked road presented by FTS001, we chose the quiet path*. As such FTS002 is a journey softly travelled. These pieces will not leave a scar on the sonic landscape, rather glide above the tips of the reaching leaves, high on a different mission. Vida composed her pieces to be absorbed in complete darkness. They were exhibited as part of the project In the Dark in Berlin, 2016. The lack of visual stimulus enhances the listening experience, sharpens the ears. At the same time, the audience is made vulnerable, they cling to the sound as it is their only guide through this passage of time. More information on In the Dark can be found here. Chihei presents a new long form piece conjured with guitars and effected into abstraction. It is parallel in form to the ebb and flow of water over the margins of a beach, ever the same yet constantly renewed. *(this time)

Having tamed last year's havoc and disparity into the damaged rapture of 'Layers of Reality,' Anthony Linell is opening a new calendar with the sheared isolation of his latest album, 'A Sense of Order.' Linell has put his toolkit for summoning euphoria aside here, instead sculpting a glowing, diaphanous fog that swells into pensive melodies and arpeggiated whispers. Graceful for the way in which it makes the bleak hospitable, the charm of coldness invites us toward the empty and the beautiful, and away from the miserable.

Marking his first appearance on Northern Electronics, Copenhagen's Rune Bagge delivers a debut album of capricious rhythms set against the thrilling glare of an icy daybreak. There are some remarkably magnetic moments to be found in the ambient pieces on 'Pink Dreams,' though the friction burns from 'Five Elements' and the rest of the club numbers will demand urgent attention.

Travel agents for inner journeys Seahawks take us on a voyage ever deeper into the new age vortex. Their last album 'Escape Hatch' described by Vice as a 'modern masterpiece' only hinted at the transcendent power of Seahawks music. Eternal Beams goes 'further' to create a whole new harmonial experience. Side one: the listener immersed in a soft storm of tape saturated raindrops and distant thunder...numinous waves of sound cascade to create whirlpools of womb-like warmth with gentle pulsations. Side two: enter Laraaji... flocculent flows of golden zither, rich vocal vibrations, dolphin tones in phantasy phase - all coalesce generously, bringing feelings of rebirth and light. To conclude: a wondrous journey of resonant oscillations, inner exploration, a portal to other dimensions.

Shunter, the new album by the Berlin-based duo Driftmachine, is their most ambitious work to date. Although instantly recognizable, featuring their trademark Kosmische and Avant-garde sounds, it also presents a new journey into abstract and hallucinatory worlds. Filled with eerie textures, their electronic visions are darker and more vaporous than ever.

Driftmachine's fourth album (also the fourth one for Umor Rex) offers a new perspective on their ample sound spectrum and systemic narratives. Shunter overlaps and mutates their post-industrial-dub motives. It was conceived and produced in search of a very different kind of imagery, with sections of noise and field recordings intersecting with analogue sounds, a mixture of contrasted fragments, where the usual creative process of modular-synthesis leads Gerth and Zimmer to the discovery of a dark, hazy and diffused experience. There is a protean quality to the rhythmic elements, with tempos constantly contracting and expanding, a departure from the mono-beat-rhythms of "Nocturnes" and "Colliding Contours". The first half of Shunter is made of four pieces named "Shift", although individually separated, they are conceptually linked and can be understood as a sort of score. Imagine a late stage of the industrial revolution, with the interaction between heavy machinery and human beings. The second half of the album is not completely separated, but it has three other substantial melodic moments. Somewhere between the hauntological and the realms of archive-music, a huge range of subterranean beats and distinct patterns dotting the landscape of early electronic and post dub music.

All songs written & produced by Driftmachine (Andreas Gerth & Florian Zimmer), Berlin.
Mastered by Rafael Anton Irisarri. Design by Daniel Castrejón.

Steen Thottrup Considered One Of The Pioneers Of The Genre. He Is One Of The Most Featured Artist On The Famous Cafe Del Mar Compilation Albums And Also Featured Several Times On The Buddha Bar Albums, Amongst Many Other Downtempo, Lounge, Chill Out Compilations From Around The World. After His 2 Very Successful Albums 'sunset People' And 'filmatica', Steen Have Just Released His 3rd Artist Album 'balearic Bliss'. So Far The Album 'balearic Bliss' Alone Have Reached 4 Official #1's On Itunes And Several Top 20's In Various Countries.
Enjoy!

* Following Their Debut Release With Danse Noire, Réelle Releases Their Second Album Entitled Ghamccccxc Vrr, Expanding Upon The Painterly Melodies And Ornamental Sound Design Of Kissing Myself. Rather Than Focusing Upon Deep Psychological Aspects Of Schizophrenia, Ghamccccxc Vrr Explores Key Moments Before And
During Réelle's First Schizophrenic Psychosis As Well As The Lateral State Of Mind Caused By This Condition.
schizophrenia Is Said To Limit A Person's Abilities Overall. My Discovery Was That It Opened A Gate To Limbic Realms Not Accessible Under Normal Circumstances - At Least Not To Me.'

* The Cuban-german Artist's Approach To Schizophrenia As Xenopraxis Leads Them To Explore Avant Garde Methods To Composition, Such As Focusing On A Key Technique Within Their Work Of Painting Melodies Via Image Synthesis, Rather Than Inputting Binary Values Or Manipulating Sound Through Skeuomorphic Methods Such As Knobs And Sliders. The Painted Melodies Also Featured In The Gorgeous floating' And all I Have Left' Evoke Alien Soliloquies Through Damaged Soundscapes.

* most Of These Sounds, As Well As The Album Title, Were Created During Psychosis Without Me Consciously Knowing What I'm Doing. Therefore I Also Can't Remember When Or Why I Wrote Down Ghamccccxc Vrr On A Piece Of Paper.'
Ghamccccxc Vrr Questions How One Navigates With Authorship Within And Beyond One's Control. Gargling Textures And Vocal Artefacts Oscillate Between The Erotic And The Eerie ( hybris,' fluid Metals'). Between Kissing Myself And Ghamccccxc Vrr, Réelle Dissolves The Real And Illusion, Reassembling Their Relationship
Between Body And Mind.

The Ivytree, As Some May Know, Is The Project Of San Franciscan Musician Glenn Donaldson. In The Early 2000s Glenn Was A Founder Of The Jewelled Antler Collective, Forming Such Projects As The Blithe Sons, Thuja, And The Skygreen Leopards, Among Many Others. I Admire The Range Of Projects He Is Associated With, They All Beautifully Web Together. Between 2001 And 2005 Donaldson Published A Handful Of Discs Under The Names The Ivytree And The Birdtree. These Boiled Down And Tanned The Patient, Outdoor Ambiences Of The Long-form Instrumental Recordings. These Were Slow And Pastoral And Pensive Songs, Carried By Glenn's Haunting Voice: My Favorite Of His Work. Glenn Recorded Outside With Field-recorders And Mini-discs: In Forests, Headlands, And Tunnels Of The Bay Area.

I Grew Up Listening To His Recordings - Throughout High School And College In Goleta, Ca. They Spark Many Memories: Driving Around Beach Parking Lots, Dragging Boomboxes Into Creeks, Camping In The Mountain Valleys Etc. I Remember Once Driving 5 Hours Up To San Francisco With A Group Of Friends To Try And Get Into A Giant Skyflower Band Concert (another Donaldson Project). It Was At A Bar And We Were Under 21 - So We Couldn't Get In, Even After Trying To Bribe The Doorman. As You Can Tell, Very Special Places In My Mind And Memory. My Fondness For The Ivytree Never Dissipated, And I Always Dreamed Of Hearing More Material From That Time, As I Know How Prolific The Jewelled Antler Association Can Be.

On A Whim In 2017 I Reached Out To Glenn And Asked Him If He Wanted To Publish A best-of' The Ivytree As A Limited Lp. This Idea Blossomed And Provoked Glenn To Dig Through His Vast Mini-disc Archive, Where He Unearthed Some Forgotten Jewels. The Recordings Were Trickling In To My Email - One By One, Each Better Than The Last... Ranging From The Robert Wyatt-esque Piano Ballad evil Is Circular' To The Gentle Melancholy Of all The White Plumes' That Could Belong On Richard Youngs' Sapphie. Unburdened Light Carries On The Warm Breeze And Innocence Of The Early 2000s Cdr Culture.

So Our Project Then Turned Into Publishing A New Album Of Unreleased Ivytree Recordings. A Full Circle Youthful Wish Now Ripens In My Adulthood. I Am Honored To Have Stirred Up The Bees-nest To Deliver You These Tragically Honeyed Songs.

Vain marks the prodigal return of Venezuelan artist Carlos Giffoni to the avant-electronic music scene he was instrumental in shaping with the seminal, hybridising No Fun Fest and No Fun Productions label, which was home to debut releases by Oneohtrix Point Never and Noveller, and classics from Haswell and Prurient during the late '00s to early part of this decade.
Carlos' first new release in 6 years, Vain was drawn from hundreds of hours of improvisations made at Carlos' Malibu studio, the final LP describes a tumultuous narrative in affective abstract swells and pulsating rhythms that trigger curious sensations and emotions ever familiar to his variegated, extreme, yet essentially organic output.
Despite not releasing anything for the past 6 years, Carlos still sounds like he lives and breathes electronic music. Where those 'noise' artists who originally played at No Fun Fest and released on his label have arguably carved out major career paths from myriad mutated genres, Carlos' music still feels captivatingly ancient yet advanced and uncannily hypnotic.
In a cascade of minimalist arps and cloud dynamic harmonies, the album's story starts in the vortex of Vain's Face and sweeps thru the granular flux of The Desert to a staggering piece of noise techno dissonance in Erase The World, which calves away into the curled plunge of Hands and the anxious needling of We Pay The Price. At the mid-way point it turns lusher with the pulsing and coruscating kosmische tang of Stop Breathing, leading to the metric complexities woven into Faith and Pain and the heightened high-register sensitivities of I Can Change, whose shatterproof hyaline steeples ultimately deliquesce into the shimmering beauty of Sun Rain.
With hazy resolution and ambiguity of effect, the record works its magick in memorable style. Like the best abstract sonics of Peter Rehberg or Keith Fullerton Whitman, an intuitively applied formula of geometry, rhythm, tone and timbre add up to inexorable effect, rendering the closest possible connection between the machines and the artist's pathos. For syntesthetes and attuned listeners, the effect is likely to conceive new colours on the mind's eye and move them to finer states of emotive response. In others words: it's a seriously good listen.

It's A Funny Old World, And Yet Again, The Black Dog Have Provided The Soundtrack. Our Fast-approaching Dystopia Has Been Envisioned And Documented By The Band For Decades. Now, The Black Dog's Two New Albums, Post -truth And Black Daisy Wheel, Translate Their Growing Horror Into Some Of Their Most Accessible And Impactful Music, Translating Our Manufactured Reality Into High Energy Dancefloor Constructions On Post -truth, And Reflective Ambient Excursions On Black Daisy Wheel. Long Familiar With The Tropes And Pitfalls Of Esoteric Undergrounds, In Both The Pre- And Post Internet Eras, The Black Dog Have Ventured Deep Into Contemporary Conspiratorial Cultures With A Trenchantly Critical Eye. In The 80s, Conspiracy Theories Were A Tonic For A Sceptical Mind, A Stimulant To Agile Thinking. Today, They Have Become The Stock In Trade Of Mainstream Political Influence. The Scene Has Morphed Into A Rabbit Hole Where Nothing Is 'really' Real, Everything Is A Hoax, And Everyone Is Out To Get You. The Mindset Is Beyond Paranoid, The Discourse So Far Post-fact That Only Opinion And Assumed Identity Matter. Arguing Against Proven Science Is A Part Of The Entry Criteria, And Wilful Pedantry Its Standard Currency. The Impact On Mental Health Is Corrosive: Fear, Uncertainty And Doubt Multiply And Replicate Until The Most Ridiculous Theories Are Invented To Explain The Most Basic Things: Tarmac, Banana Skins, Duvets. Auto-suggestion Is Rife, Where Willing Victims Drink Bleach (mms) At The Behest Of Youtube Videos, Flat-earthers Are Taken Seriously, And The Manufactured Fearful Believe They Are Being Gang-stalked For Finding Monsters On Pixelated Screens. The Distinction Between The Real World And The World Of An Auto-hoaxer Is So Blurred That Reality Melts Away; You're Only Ever One Personal Detail Away From Being Doxxed, At Which Point Reality Bites Back, Hard. You Couldn't Make It Up, Even Though That Is Exactly What The Conspiratorial Fringe (now One Sharp Corner From The Mainstream) Always Do. The Fact That There Are Real People Involved In This Scene Creates A Real Sense Of Pathos And Anger Which Is Deeply Embedded In The Music On These Two Albums. As Soon As You Start Engaging With People In The So-called 'truth Movement', One Minute It's Painful, But The Next Can Be Genuinely Funny; These Are People Who Are Both On Edge And Upon The Edge Of A Larger Social And Political Reality That, For Worse And For (even) Worse, Defines Our Times. Hence These Two Very Different Albums. Black Daisy Wheel Is Reflective, Often Intense, Frequently Compassionate; While Post -truth Was Written While The Black Dog Was Fully Engaged With People Whose Paranoia Was In Full Swing. Welcome To Our Disinformation.

Limited To 500 Copies - 180g

The Land of Look Behind soundtrack returns to vinyl in a remastered and expanded edition that includes a download of three previously unheard and unreleased tracks from the original sessions. Alan Greenberg, who wrote and directed this film documenting the funeral of Bob Marley, provided K. Leimer with location tapes which were used to originate many of the rhythmic patterns for Land of Look Behind. Loops of the monologues and phrases that exhibited more distinctive cadences and pacing, the words, glottal stops, clicks and coughs of witnesses were used as cues for the percussion instruments. In effect, speech became the organizing principle of the musical score. By eliminating the accuracy of click tracks, musicians were prompted to rove through the inconsistent intervals of the voice-derived patterns. Also included is a four-page insert featuring an essay by Paul Dickow.

K. Leimer founded Palace of Lights in 1979. Leimer's early work has recently been reissued by Autumn and RVNG, and his early cassette work is in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s — his current catalog includes seventeen albums plus two collaborative albums with Marc Barreca.

Leimer's work is included in the collection of The British Library.

"Constantin Xenakis work possesses exactly what I really love about intelligent electronic music. It's stylishly repetitive, coded, mechanical but, at the same time, very organic and playful." This is how Argyris Theofilis, also known as Zodiac Free Arts Club, explains his fascination with European artist Constantin Xenakis. Born in Cairo, Xenakis work often includes written script, in particular symbols andcodes of everyday life, traffic signs, alchemy, the zodiac, mathematical and chemical symbols, Egyptian hieroglyphics as well as letters from the Greek, Phoenician, Hebrew and Arabic alphabets.A balance between human and inhuman that makes his art "somehow mystical". After becoming fixated by Xenakis, the greek music producer searched and eventually met him for the first time in 2012. After several meetings in Paris and Athens, they both decided to present 'Structures + Codes', a concept album conceived as an homage to the painter's vision. Each one of the eight songs in the album corresponds to a painting by Xenakis, translating it's intricate shapes and patterns into spirit-lifting compositions filled with elliptic arpeggios, repetitive drum machines and esoteric melodies in proper kosmische manner. But this is not a mere exercise in style. As Xenakis paintings, it's music that transcends its own codes to become an esoteric experience. This record should be heard comfortably.

In a post apocalyptic world, a squad of heroes fights to save what remains of humanity. A dystopian future among landscapes, desolate alien enemies and mysterious architectures; the survival of our species becomes an unexpected return to life. Music by Giorgio Gigli with remixes from Acronym and Rafael Anton Irisarri.

May 2018 marks the release of two new N records on Denovali records. A new solo record by N(44) 'Vreden' and a collaboration by N(52) + Dirk Serries 'SC00'

First in line is the new solo record N(44) 'Vreden', featuring the live set N played on the very last Denovali festival at Weststadthalle, Essen, using a bigger rig with two halfstacks for a very monolithic sound, perfectly recorded by Andreas Brinke of ( B O L T ). In contrast to the more symphonic sounding records like N(43) 'Anklam', the three new tracks N wrote especially for this evening seem to be more stripped at the first glance, focussing on the vibrating connection between his guitar and the two-amp setup, with the multiple layers of sound hanging like wires in the air between the two amps, even in the moments of highest density. Especially when 'Vreden 2' opens up to a vast field of a dark and misty landscape, the guitar and the reverb of the seemingly endless room around blend into each other, like a perfect symbiosis where you can't tell anymore what the player does and what is just the answer of the room... The overall feeling of a deep melancholia peaks with the closing track 'Vreden NACHT', slowly evolving from the last trails of reverb of the track before, with the long super slow and lonely melody of the last requiem coming out of some sparse bass rumble...

After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934-2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 - until 1991 mostly together with Johan Goedhart -, each installation made specifically for the site where it was displayed.

Unlike other artists working with long strings around the same time, e.g. Ellen Fullman and Terry Fox, Panhuysen's strings were instruments or performative material only secondarily. Rather, his installations can be considered sculptural and sounding events in space, operating in between two lines of tradition, constructivism and situationism, that are evident also in many other parts of his oeuvre.

"Over 250 long string installations were made since 1982 and have produced a better understanding of what is happening in these works. The first information about what happens around us always depends on the perception and detection of our senses and is afterwards transformed, analyzed and interpreted by the brain. It has been a happy coincidence which has drawn my attention to this opportunity to integrate image and sound in the art of long string installations. (...) In daily life we try to understand what is happening primarily by visual and auditory perception. In art these two senses are mostly kept apart. In the long string installations, eyes and ears are equally important. This improves the understanding of reality and daily life."
from Panhuysen's preface to the book "Long Strings 1982-2011

The first recordings of Panhuysen's long string installations were published in the 1980s, most famously on a 3-LP box set edited on Apollo Records in 1986.

This new 3-LP set includes solely unreleased recordings made between 1982 and 2012, with one recording added posthumously in 2017. It is presented in a triple gate-fold sleeve with printed inner sleeves containing liner notes by Rolf Sachsse and Stephan Wunderlich as well as various high-resolution photos.

Mit zwei Jahrzehnten Erfahrung im Nachtleben, auf Festivals, Afterhours und Beachparties gibt es keinen Zweifel daran, dass Superpitcher weiss, wie man eine verdammt gute Party schmeisst. - Brother ist der personifizierte Party Track und eine Ode an die Nacht. Ultra-schicker Disco Groove treffen auf träumerische Vocals.
- Sleepy Head dagegen ist ein hypnotisches künstlerisches Statement - eine skurrile Einlage, die gerade rechtzeitig vor dem großen - The Golden Ravedays Finale kommt.

2x12" 180g

Continuing the label's fast-paced release schedule, Raíz cooperate with social observer Permanent Hearbreak on the label's 4th vinyl release. The collaboration delves deep into human emotion over three movements, developing around the concept of personal absence. Side A1, With Out You, stretches a somber beat over 6 minutes with graceful overtones and powerful rhythm. Permanent Heartbreak speaks the message of With Out You over wet/dry percussion and heartsick chords. The energy and attitude turn up considerably on the flip side. With Me is a quick jaunt through semi-distorted clap and kick combinations of the jacking variety. Evolving analog style synth work builds the song until its climactic end. Wont Change Me takes cues from the darker Detroit / Kalamazoo sounds with Permanent Heartbreak's cold premonitions laid out over a driving sequence.

Longtime Raíz collaborator Subversive makes his debut on Droid sister label VRV with Chainbreaker. Subversive has appeared previously on Historia y Violencia and Contruct Re-form (under the name Deception Plan w/ Voiski). This release for VRV is a collection of 3 tracks that reflect his focused, methodical programming. The title track stretches a deep, driving narrative over the course of 7 minutes, perfect for adding hypnotic breathing room to any set. The other side contains Intergalactic, a subtle and harmonic passage that sets the stage for A2, Telemore. Telomere begins with intense, brooding synth design that inevitably builds into heavy rhythm structures, providing the set's most driving dance sounds.

Time for the second round in Jouem's epic Episodes project, so what can we expect from this talented musician after convincing with every piece of music ever released by him for Just Another Beat and Mojuba ... well, nothing but pure musical bliss! Jouem takes you on three new journeys into his very own mesmerizing sound universe! As usual all tracks are mastered by our man Redshape!

The Works of John B. McLemore, the star of one of last years biggest podcasts, S-Town, which is coming out on Dais. The story behind this release is truly fascinating.. the music itself is ambient remixes of Tor Lundvall's best works, but with John's idiosyncratic slant on them, with some having been woven together using the horde of clocks he use to keep in his basement. This story is really worth a read if you get a chance."In September 2012, I received an e-mail from someone named John B. who said he had assembled a lengthy remix of my music, which also incorporated some of his own material. John asked if I'd mind if he posted this recording on YouTube, to which I agreed. He also mentioned that there was a second part to his mix that was "roughed out", but never completed. I was curious to hear both parts, so shortly afterwards, John mailed me two CDrs which I enjoyed very much. The recordings were hypnotic and haunting, evoking images of vast fields at twilight. I was especially fond of the second disc which had a darker atmosphere and featured more of John's original material, beginning with ghostly clock chimes and ending with a mysterious piece using dried seed pods and other cryptic sounds that slowly built-up into an intense, almost claustrophobic environment.

My correspondence with John lasted about two months. In one of his final e-mails, John said "I have to observe that your paintings seem to have a great deal of loneliness involved in them... even multiple characters seem to be together alone, so to speak... I really appreciate looking at your paintings as well as your music, I think I have connected with the spirit of them both as much as anyone can." He went on to discuss his struggles with depression, caring for his aging mom and his concerns about the future. I tried to encourage his music as a possible outlet, perhaps as a means to help transform his feelings of loneliness into a more content solitude. Always easy to say, but as I well know, not always easy to do.

In his last e-mail in late October 2012, John sent me a beautiful slideshow of his Fall flower beds and his dogs. I was touched and I told him how much watching his video had brightened my day. That was the last time I heard from him.

Last year, I visited John's YouTube channel to see if Part One of his mix was still posted, which it was, and still remains. I was shocked and saddened to read in the comments section that he had passed away. The comments also suggested that John had received some sort of national attention recently. This quickly led me to the S-Town podcast. Although I had mixed reactions after listening, I was thankful that S-Town shed more light on John and his remarkable life... but somehow, I just couldn't place the person in the podcast with the person I had corresponded with. Had I not listened to S-Town, I would have remembered John as a very private, somewhat dark and lonely person. He may have been these things, but there was obviously far more to him than that.

After finishing the final episode, I decided to play the second, unreleased CDr of John's recordings for the first time in years. Listening to his clock chimes ringing in the dark was an eerie and chilling moment. I was reminded of a line from my song "29" which says "I live with dreams and a lonely mind, my clock is set to a different time". I wondered what those lyrics might have meant to him.

John had mentioned that he wasn't satisfied with his final mix, but I felt his work was too special not to be heard. I hope that these recordings offer another glimpse into the creative mind of a unique, complex and gifted individual who tragically left this world all too early."

Tor Lundvall
January 17th, 2018

JOHN B.'s NOTES:

This is what was intended to be the second part of my Tor Lundvall Remix series. Unfortunately I am dissatisfied with it due to a few defects, and it is highly unlikely that I will ever be able to complete it. Still it serves as a testament to my interest in the work of Tor Lundvall that I made it this far. Defects are as follows: The first movement is too 'fussy', and the first section of the fifth movement seems a bit long and may bore the listener, but since it consisted of so many slow moving textures, I don't know how I could redo it and still achieve what I was wanting to accomplish. Additionally, this recording was done just days before my Father died, and there are many feelings of guilt associated with the time spent on it. If you are receiving this recording, either you are one of my better friends, or you are a great admirer of Tor Lundvall, and requested that I send it to you.

1st Part: Basically a track of me fiddling around with old clock bells, and air turbulence mixed with Tor Lundvall and Field Recordings of rain, birds, cicadas, frogs and such.

2nd Part: My interpretation of Lundvall's Dark Spring. This track was inspired by the music of Carl Michael von Hausswolff.

3rd Part: Very ambient Field Recordings inspired by the work of Francisco Lopez.

4th Part: A Very Quiet passage consisting of delicate Field Recordings.

5th Part: Music performed entirely by me inspired by the Darker paintings of Tor Lundvall. Most of the instruments on this piece consisted of dried seed pods from the plant; Showy Rattlebox (Crotolaria Spectabilis), that I had collected and dried the previous Fall. There are other sounds from my own environment as well.

This mix was assembled in the Late Fall of 2003. There are some very Quiet passages in this piece, so it requires a nearly Isolated listening environment... It should be heard After Midnight, in the Late Fall of the year, and, not surprisingly, a Very Long Attention span is a Prerequisite.

John B. McLemore
September 10, 2012

Fresh on Francis Harris' Kingdoms imprint comes Adamo Golán's seven track LP, 'Exile And The New'. Golán is the alter ego of British-German artist Laurens A. Schmidt, who has been pursuing a more club-focused techno project, while developing an ever deeper fascination with experimental music, ambient and film scores. Drawing influence from his adopted homes Berlin and currently London, the 26-year-old has been uncompromisingly trying to develop his own musical voice.

'Exile And The New' expresses this ongoing pursuit and, being the first full-length and first ever release by Adamo Golán, marks the start of his most personal project to-date. Stretching over seven tracks, it touches upon a diverse set of sceneries, moods, and emotions whilst a distinctive sound design gives the work a subtle framework and guiding thread.

'Fis' starts the proceedings, introducing drones and field recordings and enveloping the listener in Golán's distinct sound world. 'Just Friends' merges distant snapshots of disembodied vocals with granular sound design and a sense of both space and creeping claustrophobia simultaneously. It's an approach the young producer has mastered - 'Replica' maintains an ambience of the deeply personal and a wider, hazy focus, realised via exquisite melodic fragments against a backdrop of pads and chiming electronics. Title track 'Exile And The New' unfolds around another cinematic world scored via a single stringed instrument, static interference and oceans of space. 'Lie to Me' brings a piano refrain to the fore, wrapped in luscious ambience and more fragments of a conversation heard through the rain. 'Then Rely On Me' slowly develops out of a haunting atmosphere and finds an uneasy but strangely beautiful flow, before 'The Hungry Years' closes out the album as it started - floating in space.

The 26-year-old artist sees the album as a journey that should captivate but never impose itself on the listener. It´s a gracious and neighborly invitation to dive in, get lost and explore its facets and peculiarities

The vinyl version of album was released in 300 copies only (it contains album CD and mp3/wave download code). Vinyl record is a transparent-yellow splatter.

FFRANCIS is a musical project between the successful songstress Misia Furtak and well-established electronic producer Hatti Vatti.

"FFRANCIS is like a completely autonomous person. Like a child of yours on one hand, like a close friend on the other." says Misia Furtak, who with Piotr Kalinski (aka Hatti Vatti) recorded "Off The Grid". An album with 13 premiere songs, where distorted guitars collide with drum machines. "The album is a collection of strange songs." - Piotr describes their collective work. "It's really hard to assign it to a specific genre which is probably its unique advantage - you won't get bored, because the next song will surely surprise you with a twist you didn't expect."

"It's a chronicle of our collective work fluctuating from cool to lava eruptions. It's neither my record, nor Misia's separately - I hear the four of our hands in it, so to say, I hear the spirit of this band. On top of everything else the work was also demanding, because we did almost everything on
our own. We recorded big parts of the album at our homes and where we lived changed multiple times during the process. We recorded at our friend's apartment in the old town in Warsaw, which we turned into a recording studio. I recorded some ancient analog bit machines at a repair workshop of Maciek Polak of Analogia.pl and Pin Park, and a 200 years old organ at a rehearsal space in Reykjavík. My Icelandic friend's grandfather used to play them at their church, which brings us to Iceland and nicely closes the topic of volcanoes." - Piotr Kalinski describes the recording process.

The 43 minutes spent with FFRANCIS bring something new each time you listen to the album. There are surprises hidden within the tracks in example the already mentioned 200-year-old organ from Reykjavík and a Casio toy keyboard recorded though a mobile phone, just to name a few.
These surprising details make "Off The Grid" even more special. A debiut record, which comes more than 2 years after the first joint recording of Misia and Piotr - a 7' single released worldwide on U Know Me Records (Got Me Started / Would You Like Me To Continue (UKM 039)).

"Looking at FFRANCIS you see the band moments, you see yourself and the passing of time and you also realize, that regardless of whatever plan you had this exceptionally autonomous individual without asking a single question created a very own presence. It is a part of you in one way and it's next to you and you recognize the connection and the resemblance but you also notice so many distinctively peculiar characteristics that you can't help to wonder there they came from. It's a very curious experience." - Misia Furtak sums up.

"Off The Grid" comes out on vinyl (with a CD enclosed), a very limited compact disc (a 100 numbered digipack copies with a special booklet) and via the digital streaming and download platforms. Michal Kupicz is responsible for the final sound (mix and mastering), and the graphic designers (and photographers!) behind the artwork are the befriended COALS, themselves.

Beautiful collection of location and field recordings incorporating music made by Stephen O'Malley and others for a sublime, highly evocative collage-based audio journal designed for deep
mmersion...
Pali Meursault engrossingly plays with conventions in this abstracted collage of location recordings making great use of the Échos festival's unique alpine environment and acoustics as
well as performances captured from varying vantage points around and outside the valley site. It forms a collaged survey of music made by Stephen O'Malley, Clara De Asís & Laura Vasquez, and Bear Bones, Lay Low, among many others, seamlessly incorporating traces of natural sound sphere knit with and around the artists' gestures.
Despite being impressionistic in nature, the recordings create a duet with the landscape and its uniquely reverberant dimensions of mountain sides and steep valleys, where sounds leave the
players only to return mutated, taking on a life of their own.
The result is at times a gentle, at others steeply psychedelic journey; a sonic topographical reading where wildlife bleeds into the same soundfield as the artists, adding into a variegated space of reception and perception in flux between earthly and unearthly delights, conjuring an illlusive metaphysical matrix that's a total pleasure to wander and become enmeshed in and enchanted by.

Collapsing Market host this captivating set of quixotic ambient scenes realised by Ssaliva, a Belgian electronic musician with sterling form for Leaving Records, Ekster, Vlek and Purple Tape
Pedigree, among others. Pulling together blink-and-miss material from his Bandcamp along with previously unheard works, WYIN coherently highlights a broader period of work than any of Ssaliva's other releases, framing a probing and adventurous spirit at work in its element; modern digital ambient composition.
Coming off the back of Collapsing Market's reissue of Tschashm-e-Del, an archival radio play
of Persian Classical music conducted by the label's grandfather, Morteza Hannaneh, their first Ssaliva entry keeps the label outlook as mutable as ever with a natural focus on atmosphere and feelings connoting existential angst and solitary psychedelia. It's a product of its contemporary environment, which, more than ever, is bleakly electronic and at the mercy of rabid socio-
economics, as symbolised in sleeve's illustration of a financial trader's open palm, contrasting with the front cover's zoomed in image of blood-spattered textures.
In six parts he just about keeps his head above the waves and acres of negative space, firstly buoyed by choral voices in Danger Came Smiling, then against the discordant fulgurite of Hell/
Home, which both make the sublime timbral relief of a that much more effective, in the same way that the hyperreal, acrid sensation of For All I Care, the crystalline dimensions of 2drown and the spiralling, elusive complexity of b reflect and express the modern world with an intangible accuracy perhaps best compared to Arca.

LP+DL

To those familiar with the output of Cologne-based imprint Firm from back in the early '00s, the name of Geiger, alias Nass, shall undoubtedly ring a bell. Herald of an hedonistic melange of funk- soaked electro pop and guitar-riddled synth music, sitting somewhere close to acts like Ween and Junior Boys, Alexander Geiger is about to break a eight-year hiatus with the drop of his debut album under the newly-founded moniker of Fahrland. A release that both encompasses a healthy dose of the discoid tropes from the Firm era but also aspires to split with a segment of it, geared towards exploring further undisclosed fringes of his shape-shifting sound universe, 'Mixtape Vol.1' is the fruit of a decisive move from the sleepless Berlin to the peaceful countryside landscapes of Fahrland - a lushly forested area near Potsdam which you'll have understood played an essential role in Geiger's longed-for return. Versatile and inclusive, the album sweeps a polyamorous gamut of styles and tempos like an answer to the virtual prisons that inhibit us on a daily basis, straying away from normative standards and classic full-length calibration as a result. Instead weaving a singular narrative course, clear from all type of shackles and chains, Geiger navigates on sight, reflecting on notions as wide and universal as freedom, friendship and love across a multiversal patchwork of sounds and feels. From the languid sexy vibe of 'Beggin', 'Plastic People' and 'Yesterday' - all three featuring the sensual whispers of multi-talented vocalist and artist MZ Sunday Luv, through the heavily vocodized, chip- implemented groove of I AM ROBOT - reminiscent of Telex and Space Art, balearic jazz & rap shine of 'Sky So High', smokey lounge ambience of 'L AND H' onto broader ambient-friendly spans such as 'Suspension', 'Windshield Gently Wipers' and the smooth, sun-basking closer 'Get Down', each track holds a fragile cocooned world at its heart.

Bei denjenigen, die mit dem Output vom Kölner Label Firm aus den frühen Nullerjahren vertraut sind, sollte der Name Geiger alias Nass zweifellos die Glocken klingeln lassen. Als der Herold einer hedonistischen Melange aus Funk durchdrungenem Elektro-Pop und Gitarren durchzogener Synthie-Musik irgendwo zwischen Ween und den Junior Boys, bricht Alexander Geiger seine achtjährige Schaffenspause mit der Veröffentlichung seines Debüt-Albums unter neuen Pseudonym: Fahrland.

Ein Release, das sowohl die diskoiden Tropen der Firm-Ära affirmiert, als auch danach strebt ein bestimmtes Segment davon zu spalten. Aufgenommen um ungeahnte Interferenzen seines gestaltverändernden Sounduniversums zu entdecken, ist 'Mixtape Vol.1' das Resultat eines bewussten Umzugs aus dem schlaflosen Berlin in die friedliche Landschaft von Fahrland - einem üppigen Waldgebiet in der Nähe von Potsdam, das eine entscheidende Rolle in Geigers ersehnter Rückkehr zur Musik gespielt hat.

Vielfältig und offen erforscht das Album polyamorös eine Skala von Stilen und Tempi als Antwort auf die virtuellen Ketten, die uns tagtäglich hemmen. Bewusst vergessen werden dabei normative Standards und klassische Langspieler-Kategorien. Geiger webt stattdessen ein einzigartiges Narrativ, frei von jeglichen Fesseln und Ketten und führt uns auf seinem multiversalen Flickenteppich aus Sounds und Gefühle mit Sichtkontakt an so allgemeingültige und universelle Begriffe wie Freiheit, Freundschaft und Liebe.

Vom nochalanten Vibe von 'Beggin', 'Plastic People' und'Yesterday' (alle drei mit der sinnlich wispernden und vielseitigen Sängerin MZ Sunday Luv), bis zu dem durch den Vocoder gejagten und computergenerierten Groove von I AM ROBOT; Reminiszenzen an Telex und Space Art, balearischen Jazz und Rap erklingen in 'Sky So High', rauchiges Loungeambiente auf 'L AND H' bis zu völliger Ambient-Anschlussfähigkeit in 'Suspension', 'Windshield Gently Wipers' und dem sanften, Sonne anbetenden Schlusslied 'Get Down' - jeder Track hält eine Welt für sich in seinem Herzen.

- Black and Purple vinyl versions.-LP includes download.
-Son of Blue Note legend Bruce Lundvall.
-12 years since his last record to feature vocals.
Dais Records is proud to unveil the new dark pop masterpiece from artist and composer Tor Lundvall. His first vocal album since 2009's Sleeping and Hiding, and following the release of two instrumental albums and three CD box sets since that time, Tor returns with an album of beautifully intricate sadness and reflection: A Dark Place.Born in 1968 in Wyckoff, NJ, Tor Lundvall is a painter and ambient composer.
The son of Blue Note Records legend Bruce Lundvall, Tor was exposed to artwork, music, and creativity from a young age, and began his professional painting and music output in the late 80s. Widely known for his dark imagery and thoughtful, provocative soundscapes, Tor Lundvall's artwork is all-encompassing. His music, when paired with his paintings, creates a world within which one could easily disappear. An intensely private individual, Tor Lundvall eschews the gallery circuit and live performances for his private studio in Eastern Long Island, NY, preferring to show his artwork privately and focus on studio production and writing without the pressures of the audience and all it encompasses.
Dais Records is honored to provide another glimpse into his world through his recordings. We hope you find it as special and as unforgettable as we do. Artist Statement:It's been twelve years since I recorded my last vocal album, "Sleeping and Hiding" (released in 2009, but recorded in 2005). After completing those sessions, I felt that I had said just about everything I wanted to say lyrically. I wasn't sure if another vocal album would ever materialize, but slowly and surely, new lyrics came with new songs to accompany them. Finding the words to describe this album is almost as difficult as the past couple of years. There is a lot of pain, fear and sadness wrapped into these eight songs. More so than usual, I think. The loss of my father in 2015 and coping with his absence certainly hangs heavily here. I recorded this album at night while I stared out from my bedroom window into the shadows of the garden and the neighbor's house next door. The reflections of the flower lights encircling my bedroom window looked like distant, golden constellations through the glass while I worked. A nice memory. A few of the melodies were inspired by, or constructed around some of my earliest riffs and abandoned sketches, one dating all the way back to 1985. The lyrics to the final track, "The Next World", came to me while swimming alone in the bay one clear October afternoon about five years ago. I originally envisioned a lighter, more optimistic song to accompany my first draft of lyrics, but the piece evolved into a song about final reflections, lost dreams and the terrible sadness of the passing of time.

Running Back welcomes Andreas Grosser for the start of it's non-dancefloor series 'Running Back Incantations'. Think Tornado Wallace's 'Lonely Planet' or Suzanne Kraft's 'Missum' who both would have been good and early contenders for a series like that, and you are half way there. Andres Grosser though, was 'there' and that way before. Probably best-known for his 1987 collaboration 'Babel' with Klaus Schulze, Grosser is a bit of a dark horse in the universe whose big bang was krautrock and that went on to be called cosmic, space music or simply new age.

A native East-Berliner, Grosser crossed the Wall in 1981 and next to studying piano, his day job was to advise, sell, maintain and invent electronic music instruments. Naturally, Grosser had a good connection to and support from local Berlin musicians and groups, while working at night in his own studio and in those of others. Fast forward 37 years and Andreas is now one the worlds leading microphone technicians specialising in German and Austrian vintage types.

'Venite Visum' is an anthology of recordings made between 1976 and1980. Released in 1981 on UK's York House Recordings as a cassette tape only, it features some of the most out there, hypnotic and still state-of-the art space music ever to be known to man. For the first time transferred onto vinyl, compact disc and available as a digital download, it was perhaps best described by one reviewer at the time as; "powerfully relentless, repetitive themes which are constantly embellished and subjected to variations in tone colour and instrumentations. The music surges, coming in waves that approach and recede, but with each surge the waves seem to be higher up the shore.'

Now carefully transferred from an archived tape, remastered and compiled on a double album for the first time, it features the previously unreleased and not less mesmerizing 'The Quantum Leap'. Come and visit the hidden and almost forgotten

LP+DL+MC Limited

To those familiar with the output of Cologne-based imprint Firm from back in the early '00s, the name of Geiger, alias Nass, shall undoubtedly ring a bell. Herald of an hedonistic melange of funk- soaked electro pop and guitar-riddled synth music, sitting somewhere close to acts like Ween and Junior Boys, Alexander Geiger is about to break a eight-year hiatus with the drop of his debut album under the newly-founded moniker of Fahrland. A release that both encompasses a healthy dose of the discoid tropes from the Firm era but also aspires to split with a segment of it, geared towards exploring further undisclosed fringes of his shape-shifting sound universe, 'Mixtape Vol.1' is the fruit of a decisive move from the sleepless Berlin to the peaceful countryside landscapes of Fahrland - a lushly forested area near Potsdam which you'll have understood played an essential role in Geiger's longed-for return. Versatile and inclusive, the album sweeps a polyamorous gamut of styles and tempos like an answer to the virtual prisons that inhibit us on a daily basis, straying away from normative standards and classic full-length calibration as a result. Instead weaving a singular narrative course, clear from all type of shackles and chains, Geiger navigates on sight, reflecting on notions as wide and universal as freedom, friendship and love across a multiversal patchwork of sounds and feels. From the languid sexy vibe of 'Beggin', 'Plastic People' and 'Yesterday' - all three featuring the sensual whispers of multi-talented vocalist and artist MZ Sunday Luv, through the heavily vocodized, chip- implemented groove of I AM ROBOT - reminiscent of Telex and Space Art, balearic jazz & rap shine of 'Sky So High', smokey lounge ambience of 'L AND H' onto broader ambient-friendly spans such as 'Suspension', 'Windshield Gently Wipers' and the smooth, sun-basking closer 'Get Down', each track holds a fragile cocooned world at its heart.

Bei denjenigen, die mit dem Output vom Kölner Label Firm aus den frühen Nullerjahren vertraut sind, sollte der Name Geiger alias Nass zweifellos die Glocken klingeln lassen. Als der Herold einer hedonistischen Melange aus Funk durchdrungenem Elektro-Pop und Gitarren durchzogener Synthie-Musik irgendwo zwischen Ween und den Junior Boys, bricht Alexander Geiger seine achtjährige Schaffenspause mit der Veröffentlichung seines Debüt-Albums unter neuen Pseudonym: Fahrland.

Ein Release, das sowohl die diskoiden Tropen der Firm-Ära affirmiert, als auch danach strebt ein bestimmtes Segment davon zu spalten. Aufgenommen um ungeahnte Interferenzen seines gestaltverändernden Sounduniversums zu entdecken, ist 'Mixtape Vol.1' das Resultat eines bewussten Umzugs aus dem schlaflosen Berlin in die friedliche Landschaft von Fahrland - einem üppigen Waldgebiet in der Nähe von Potsdam, das eine entscheidende Rolle in Geigers ersehnter Rückkehr zur Musik gespielt hat.

Vielfältig und offen erforscht das Album polyamorös eine Skala von Stilen und Tempi als Antwort auf die virtuellen Ketten, die uns tagtäglich hemmen. Bewusst vergessen werden dabei normative Standards und klassische Langspieler-Kategorien. Geiger webt stattdessen ein einzigartiges Narrativ, frei von jeglichen Fesseln und Ketten und führt uns auf seinem multiversalen Flickenteppich aus Sounds und Gefühle mit Sichtkontakt an so allgemeingültige und universelle Begriffe wie Freiheit, Freundschaft und Liebe.

Vom nochalanten Vibe von 'Beggin', 'Plastic People' und'Yesterday' (alle drei mit der sinnlich wispernden und vielseitigen Sängerin MZ Sunday Luv), bis zu dem durch den Vocoder gejagten und computergenerierten Groove von I AM ROBOT; Reminiszenzen an Telex und Space Art, balearischen Jazz und Rap erklingen in 'Sky So High', rauchiges Loungeambiente auf 'L AND H' bis zu völliger Ambient-Anschlussfähigkeit in 'Suspension', 'Windshield Gently Wipers' und dem sanften, Sonne anbetenden Schlusslied 'Get Down' - jeder Track hält eine Welt für sich in seinem Herzen.

Repress

here comes the long-awaited third album of Desolate. like a fine wine, after five long years in the Studio it is ripe to be heard. Vinyl tastes better...

Dark, hypnotic cuts from the mysterious Lyubocha on the obscure LXLLL imprint.

In a scenario of overwhelming number of instruments, musicians often do not take the time to deepen and explore the creative possibilities of each gear they possess. One Instrument aims at counter-acting this tendency by challenging and limiting each artist in producing a composition by using only one instrument of their choice.

The LP opens with a composition by In Bloom, the new project of Martino Bertola, who drives us directly into a melodic ambience. To follow it is the dense, polyrhythmic experiment by Fabian Kempe's project 'Korridor'. Serena Butler's piece is built around spacey sounds and breezy rhythms.

Yhdessa, the newly born Dutch-Italian duo formed by Grand River (Aimee Portioli) and Enrica Falqui, leans towards ambient atmospherics and ominous sonorities with a refined Northern European touch. Yair Elazar Glotman ventures us across his contrabass player skills giving an acoustic touch to the record.

Swedish producer, Fjader (Ida Matsdotter), handles the flip with a moody techno cut filled with evasive analog acutes.

Claudio PRC delivers an electroacoustic soundscape created with a tiny, graceful drone machine.

The Dutch duo, Wanderwelle, closes the LP with a dreamy and delicate excursion evoking the mysterious sides of nature.

lvin Toffler was overwhelmed. When in the morning of October 4th, 1988-it was his 60th birthday-he was starring with a still somewhat absent look into a bowl of cornflakes, he thought that in the surface structure of the yellowish shimmering milk which was making an emulsion with the maple syrup and slowly but irreversibly corroding the crunchy crystals on the flakes, he could see through a window into a timeless dimension. Toffler, who at that time had reached the peak of his fames as a future scientist, was sustainably disturbed from his peek into this extra temporary peephole. In none of his books-'Future Shock' had just been released with yet another edition featuring a proud printed note on the book cover stating 'more than 5 million copies in print'-did he ever mention this occurrence. Even after his death in June 2016, no note on this incident could ever be found in his estate. The 'flake dimension' as Toffler called it in notes which were later shredded remains a secret of opaque, hard-to-grasp radiant power.

Maybe it's too simple to describe 'Pneumatics' as a creation coming from this cornflake world Without doubt. Are there any more precise terms or instruments to determine the multifacetedness and beyond-timeliness of the 'Pneumatics' soundscape There are still unknown. 'Pneumatics' is, after releases at Innervisions, Die Orakel und his own label Sound Mirror, the debut album of Orson Wells (as long as you don't count in 'Jupiter' - Wells's first LP which was released in 2014 with 48 copies on cassette-have fun digging for rarities and bargains!).
Perhaps Wells, known in Frankfurt under his real name Lennard Poschmann and as an employee at the record store Tactile, is only a messenger. Or a psychic. The sound manifesto that he apparently transmits from Toffler's secret dimension tells of a city of upside down pyramids ('Tianon'), of passes into the land of the five elements ('Multipass') and dead straight four-to-the-floor lines which appear bended within the spherical dimension (''Geodesic'). These beats are right on the heels of the ones of Intersteller Fugitives; the strings sound like that at any moment a vocal sample edited by Moodyman could warp over through the Cornflake wormhole. Pneumatics is the science of all technological applications powered by condensed and often by quite heated air. It is a matter of mechanics, compression, jackhammer, ramblings, high pressure levels, valves for blowing of steam. On 'Pneumatics' it's all about this. And more. Orson Wells's album gets to the point of the post-retro futuristic state of the dancefloors of the house and techno clubs of this planet. It is like a peek into another dimension, right on the golden cut of spacetime geometry.

- Astonishing solo debut by acclaimed cellist and composer Lucy - A daring, non-conformist and deviant approach to composition and instrumentation - One side of filigree, multi-layered autobiographical collage-work, the other of raw and phased cello glissandi - RIYL: Mark Leckey, Alvin Lucier, Beatrice Dillon, Nate Young, Valerio Tricoli, Popol Vuh

Lucy Railton is a prolific performer who has appeared on countless recordings and collaborations with many important figures in contemporary music over the last few years. Paradise 94 is, remarkably, her solo debut - featuring archival, location and studio recordings which serve as a time capsule of all the myriad disciplines and influences that have brought her to this point in time. It both plays up to and shatters expectations of her music, which harnesses a duality of energies - acoustic/electronic, real/imagined, iconic/iconoclastic, pissed-off/romantic; out of place and androgynous - resulting in a visceral emotional insight and rare narrative grasp. Variegated, asymmetric, and located somewhere between her usual fields of exploration, Paradise 94 gives free reign to aspects of her creativity that have previously been subsumed into collaborative processes and interpretations of other composers' work. Here, she's free to probe, sculpt and layer her sounds through a much broader range of techniques and strategies, placing particular focus on non-linear structural arrangements and exploring the way her cello becomes perceptibly synthetic through collaging, rather than FX. At every turn Paradise 94 is bewilderingly unique. The A-side unfolds an oneiric, inception-like sequence traversing temporalities, timbres and tones from what sounds like a spectral ensemble playing on a traffic island in Pinnevik, to bursts of rabbit-in-headlights trance arps emerging from meticulously dissected musique concre`te in The Critical Rush, and a collision of masked vocals, string eruptions and a deeply moving, light-headed Bach rendition in For J.R. On the other hand, Fortified Up on side B tests out a far rawer approach, sampling herself playing the same glissandi over and again, which she layers into a sort of perpetual, sickly motion, the Shepard Tone riffing on the listener's psychoacoustic perceptions before calving off into a cathartic dissonant folk coda in its final throes. In the most classic sense, you can only properly begin to f*ck with something from the inside once you truly know it. Railton's dedicated years of service have more than equipped her with the nous and skill to do just that, gifting us with what will no doubt be looked back on as a raw, exposed and important solo debut in years to come.

Oscar Mulero presents: 'Perfect Peace'. Don't expect dancefloor burners here, this time the spanish techno master goes deep and low, exploring sonic textures, low BPM grooves and the intelligent side of electronic music. Melodies, pads, drones and grooves collide in this soulful collection, conceived to be listened as a soundtrack. Oscar is not new to this sounds, in his Grey Fades To Green or Muscle and Mind albums he showcased his abilities in this field as well as with his Av projects Biolive and Monochrome. A new step in Oscar Mulero's ever growing career, showing his studio skills and music taste, far beyond his role as a fundamental techno dj.