Beats News

Lies of omission and appropriations. The story of a magnetic tape that contained a trade secret.

Four decades after its release (on Orh, 1975), Inventions for Electric Guitar, the solo debut by Ash Ra Temple guitarist Manuel Göttsching, is now a classic, an undisputed worldwide reference. This album was made using only an electric guitar and a simple 4-track tape recorder. So was the challenge, and so was its impact. Göttsching recorded it in July-August 1974 in Berlin, after a sudden technical revelation. The original LP sleeve had the following printed on its back: Manuel Göttsching (guitars only). Manuel played his guitar and used a 4 track TEAC A3340, Revox A77 for echoes, WahWah pedal, volume pedal, Sola Sound Fuzz, Schaller Rotosound and Hawaiian steel bar. The reaction was unanimous: this was a significant innovation, in terms of both technique and creativity.

However, there are little-known facts to this case. In early 1974, Göttsching's label received a tape sent by M.A.L. - same design, same configuration, almost the same tracks. This is known by only a handful of experimental musicians from the Charleroi area. M.A.L. aka Daniel Malempré is the actual inventor of this technique, which Göttsching reproduced a few months later. Given the above, I suggest that we listen to both albums. As doubts are removed, the truth sets in, forty years later. Here's hoping that this will ease the deep disgust that made M.A.L. leave his guitar untouched for so long.

- 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.

About this release *First 10 tracks only come with the limited edition Nijmegen's ESHU welcomes co-founder Ivano Tetelepta for his first solo release on the label. It is also the imprint's first full length, but Tetelepta's second album after the hypnotic drum workout that was True Colours, his debut on Fear of Flying in 2012. It comes as a double vinyl release with the first disc being limited, and finds the producer casting himself free from the dance floor and serving up a beautifully atmospheric soundtrack that would be a perfect companion for a nature documentary. When making EPs and 12"s, Tetelepta's smooth and infectious drums are always front and centre in his work, whether solo or as producing with label mates under the ESHU alias. He's also worked with labels like Siena and KERING, but here he shows another side that focusses on short pieces, melody and blissful sound design. To give this album its perfectly warm analogue sound, the whole thing was recorded via cassette and revox tape. The first ten tracks are short, immersive musical worlds with poignant chords and glistening melodies. Some twinkle and shimmer, some sound like an underwater eco system coming to life, and others seem to come from deepest space where solar winds and sonar pulses pass you by. It's cinematic and evocative stuff that takes you away from the here and now and into a different realm. The four tracks on disc two then start with Senang, a suspensory and multi-layered piece of music that has keys, modulations and samples wrapping all around you before Whistle Of Patience has a supple minimal drum line that slowly gets under your skin. Ede 2 Nijmegen is then a turbulent dub track which builds a darker mood before closer De Test sinks back into supple, rubbery and warm drums laced up with hypnotic pads that circle all around. This is an ambitious album of meditative music that offers a beautiful place to lose your mind.

Butterfred is back with two sick jams!
Night Jam,clocking around the 100bpm tempo,is a Detroit affine creamy late night post UKG piece of butter,while Rugged Jam,also around the 100bpm pulse,dwells in an industrial raw mid 90s Breakbeat riddim cypher for the hoods out there!

On October, 20, 2017, ambient shoegaze duo Aris Kindt launch the new Kingdoms imprint with their second album, Swann and Odette. Picking up where their first record (2015's Floods) leaves off, Swann and Odette is an evolutionary leap forward for the duo. The sonic palette is deeper, the grooves more sparse and the melodies are given more room to seep deep within a mix so expansive it feels almost tactile. This is heady, opulent stuff. The album is immaculately produced and cunningly arranged to sidestep easy classification while not sacrificing accessibility and authentic feeling. Aris Kindt is the collaborative project of Gabe Hedrick and Francis Harris (Scissor and Thread). Harris has previously released the albums Leland (2012) and Minutes of Sleep (2014), both of which have been lauded for (their) extensive use of live instruments, a contrasting feature to his work done before' (last.fm, 2016). Building on this approach, Hedrick adds his own sonic signature in effects-laden layers of electric guitar and modular synthesizer. Collectively, the album swells and reverberates to create a seamless interplay of synths and instrumentation cast loose from their origins and awash in oceanic delay.

Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

The Hilvarenbeek Recordings are based on field recordings from the Dutch farm Biologische boerderij 't Schop in Hilvarenbeek. The work was commissioned by Incubate Festival in Tilburg.

** Limited Edition 180gm Gold w/ Black haze LP w/DL.
* Kaziwa is the second collaboration between Iranian ambient experimental composer Porya Hatami and superlative sound designer Uwe Zahn's Arovane project.
* The album was originally released on limited compact disc via the Time Released Sound boutique label in July 2016 and now sees rerelease on n5MD. Each of Hatami and Zahn's collaborations has been vastly different from one another focusing on a feeling or technique. With Kaziwa the duo focused their attention toward nostalgic layered piano vignettes. The album's closer 'feer' was the first track they worked on and used it as their jumping off point. What began as a simple loop of piano morphed into something contemplatively fascinating. While that specific track features Hatami supplying most of the piano and Zahn creating the 'another time and place' atmospheres the two effortlessly switched off on piano duties all while transparently deviating from the current affectation of Frahm / Sakamoto style ambient piano clarity.

* This new version of Kaziwa will come on limited vinyl as well as on digital platforms for the first time.

Music For Visual Disorders collects together various compositions by Tomaga that have been used by different artists or curators within the context of works of visual art, dance or exhibitions.

3xLP+CD Artbook
(en) - Nearly two decades after the last official GAS album release, Wolfgang Voigt returns to his iconic Ambient project with a brandnew full-length.
- NARKOPOP continues the classic GAS aesthetic of symphonic scope and subtle variation, taking the listener on an otherworldly journey to the depths of rapture and reverie.
- Available as luxurious hardcover CD incl. 24 pages booklet.

In the body of work of Cologne artist Wolfgang Voigt - who, like few others, has informed, shaped and influenced the world of electronic music with countless different projects since the early 1990s -, GAS stands out in particular as a saturnine sound cosmos based on heavily condensed classic sequences. Even after nearly 20 years, the sound of GAS doesn't seem to have lost any of its luster, as shown by the commanding success of Kompakt's fall 2016 re-release of the essential back catalogue as a 10xLP/4xCD box set.

The overwhelming feedback from a loyal international fan community and worldwide media outlets attests once again to the sheer timelessness of GAS. Which is why it will feel like hardly a day has passed since the release of the last official album 'Pop' nearly two decades ago, when Wolfgang Voigt resumes this specific creative path with the upcoming new full-length NARKOPOP.

Even in the here and now, the unmistakable vibe of GAS immediately hits home, taking the listener on an otherworldly journey with the very first sounds, drawing him or her into an impervious sonic thicket, down to the depths of rapture and reverie. From wafts of dense symphonic mist emerges a floating and whirling feeling of weightlessness, before the listener steps into an eerily beautiful forest of fantasy, pulled in by the allure of a narcotic bass drum.

While earlier GAS tracks were often based on the hypnotic effects of looping techniques, the 10 new pieces on NARKOPOP unfold their magic in a more entwined manner, sometimes with the sonic might of an entire philharmonic orchestra, sometimes as subtle and fragile as the most delicate branch of a tree with many. A main characteristic of Voigt's oeuvre, the coalescence of seemingly contradictory stylistic aspects such as harmonious and atonal, concrete and abstract, light and heavy, near and far is also a decisive feature of NARKOPOP.

In accordance with the transgressive spirit of his collective work, Voigt carries the aesthetic conceptions of his music over to the realm of the visual. Based on his abstract forest pictures, the GAS artwork addresses Voigt's artistic affinity to romanticism and the forest as a place of yearning. For the first time, a closer look at the cover of NARKOPOP reveals signs of architectural fragments which hint at another, maybe parallel world behind Voigt's forest. Truth is the prettiest illusion.
(de) - Fast zwei Jahrzehnte nach dem letzten offiziellen GAS-Albumrelease kehrt Wolfgang Voigt mit einem brandneuen Langspieler zu seinem legendären Ambientprojekt zurück.
- NARKOPOP setzt die klassische GAS-Ästhetik zwischen symphonischer Grösse und subtiler Variation fort, eine Reise zu den Untiefen von Rausch und Entrücktheit.
- Erhältlich als luxuriöse Hardcover CD- Erhältlich als luxuriöse Hardcover CD inkl. 24-seitigem Booklet.


Aus dem Gesamtwerk des Kölner Künstlers Wolfgang Voigt, der mit seinen unzähligen unterschiedlichen musikalischen Projekten seit den frühen 1990er Jahren wie kaum ein Zweiter die elektronische Musikwelt geprägt, gestaltet und beinflusst hat, ragt sein Projekt GAS, ein auf stark verdichteten Klassiksequenzen basierendes, düsteres Klangkunstwerk, in ganz besonderem Maße heraus. Dass der Sound von GAS auch nach fast 20 Jahren scheinbar nichts von seinem Zauber und seiner Kraft verloren hat, zeigte eindrucksvoll der große Erfolg des im Herbst 2016 als 10xVinyl/4xCD Box auf Kompakt wieder veröffentlichten Backkatalogs.
Die überwältigende Resonanz, sowohl seitens der treuen internationalen Fangemeinde als auch der weltweiten Presse, bezeugte einmal mehr die schiere Zeitlosigkeit von GAS. Daher fühlt es sich auch an, als sei kaum ein Tag vergangen, wenn Wolfgang Voigt nun mit NARKOPOP genau da den künstlerischen Faden wieder aufnimmt, wo das letzte offizielle Album »Pop« ihn vor fast zwei Jahrzehnten hat fallen lassen.


Auch hier und heute verfängt der unverwechselbare Geist von GAS unmittelbar und nimmt den Hörer bereits mit den ersten Tönen mit in eine andere Welt, zieht ihn hinein in ein undurchdringliches Dickicht aus Klang, hinunter in die Untiefen von Rausch und Entrücktheit.
Aus dichten sinfonischen Nebelschwaden entsteht ein Schweben und Taumeln, ein Gefühl der Schwerelosigkeit, bevor der Zuhörer von der Anziehungskraft einer narkotischen Bassdrum wieder hinunter in den schaurig-schönen Fantasie-Wald gelockt wird.

Während frühere GAS Tracks oft auf der hypnotischen Wirkung des Loops basierten, entfalten die 10 neuen Stücke auf NARKOPOP ihre Magie auf verschlungeneren Pfaden, mal mit der klanglichen Wucht eines ganzen Philharmonieorchesters, dann wieder so zart und zerbrechlich wie der feinste Ast eines weit verzweigten Baumes. Das für Voigts Arbeiten so typische Ineinanderfließen scheinbar widersprüchlicher stilistischer Aspekte wie harmonisch und atonal, konkret und abstrakt, leicht und schwer, nah und fern ist auch auf NARKOPOP essenziell.

Im Sinne seines grenzüberschreitenden Schaffens, überträgt Voigt die ästhetischen Konzeptionen seiner Musik auch auf die Ebene des Visuellen. Das auf seinen abstrakten Waldbildern basierende GAS Artwork thematisiert Voigts künstlerischen Nähe zur Romantik und dem Wald als Sehnsuchtsort. Wer einen genaueren Blick auf das Cover von NARKOPOP wirft, der wird erstmalig Andeutungen architektonischer Fragmente entdecken, die eine andere, vielleicht parallele Welt hinter dem voigt'schen Wald erahnen lassen. Wahrheit ist der schönste Schein.

OVERVIEW: Sublime unreleased score to weird cult / brutalist Bracknell thriller. Music by Kirchin and his killer cohorts. Unmissable.

HISTORY:
Released for the first time here is this charming, odd and affecting score by Basil Kirchin, made 'in association' with his regular cohorts, Jack Nathan and John A. Coleman.

The film, released in 1970, was directed by the multi-talented and quite radical David Greene. Greene was also an actor, a successful producer and had already employed the services of Kirchin for his 1967 horror The Shuttered Room and quirky crime thriller The Strange Affair.

I Start Counting notably starred a young Jenny Agutter. who at the age of 14 was playing the role of an inquisitive 16 year old schoolgirl. The film is set in brutalist Bracknell, with Agutter's character living in Royal Point, a classic 'threepenny bit' of a 1960s tower block. When she ventures away from the safety of this concrete castle on an obsessive, erotically charged journey, her world is turned upside down.

As macabre, coming of age thriller, the score for I Start Counting allowed Kirchin to explore more dark edges of film music and composition: as a score it bubbles along with lots of classic Kirchin hallmarks, but here we are also treated to a beguiling opening song that is lyrically and musically developed and then slowly pulled apart over sequential cues. We also have a unusual Eastern tinge to some of the percussion and Kirchin's distinctive pastoral oddness is here too. His sonic jumps between low drama and high tension are extraordinary, and his use of free jazz to bring about unease is both perfectly simple and effective. I remember talking to Basil about the opening song many years ago and he explained that his original idea was to have it sung by Cilla Black or Jenny Agutter but in the end Lindsay Moore, the daughter of jazz chum Barbara Moore stepped in.

The score mighty fine but a little short, so here we have included more unreleased soundtrack material from the Kirchin archive - a tape labeled 'Third World Documentary'. This dates from the early 1980s and was produced for either TV or a festival and musically complements the first score well, even though they are two decades apart.

The names of the musicians working here died with Basil. But I reckon for I Start Counting the drummer may well have been Clem Cattini, Evan Parker was more than likely involved with the session and possibly Derek Bailey too - the improvised passaged have a whiff of their presence. As for the later recording, I have no idea, but there is a distinctive modern 'Fairview' sound to the cues and production.

Together the two different recordings show Kirchin constantly progressing with his sound, embracing new ideas and modern studio techniques too, but always somehow maintaining his distin

* A wholly unique blend of virtuoso shredding, spiritual flow and cascading fx textures recorded entirely on-the-fly with no overdubs by unsung Canadian guitar hero Colin Fisher. Hitting somewhere between Fennesz, Daniel Lanois, and electric Miles but still mapping an entirely new territory of contemporary guitar music

* V Le Pape is Colin Fisher's debut album for Geej Recordings. Fisher, a mainstay of the Toronto experimental music scene, has spent the last fifteen years quietly blowing minds as a multi-instrumentalist improvisational performer. Perhaps best known as one half of the esteemed duo Not the Wind, Not the Flag, he has forged a unique position somewhere between avant jazz virtuoso and a psychedelic shaman of ecstatic performance.
Fisher is a constant fixture at everything in Toronto worth going to. He is also constant collaborator, attractive to popular musicians who need something more than just a great player, and he has recorded with Caribou, The Constantines, Many Arms and Jennifer Castle. But now he is on his own, and Geej is thrilled to share his spectacular talent to the world.

* V Le Pape was made entirely using guitar and an array of looping and effect pedals. At first listen one might think that Fisher is part of a growing new wave of Ambient/New Age producers, but that would be to fundamentally skip over what makes Fisher so singular. The album was completely improvised and recorded live off the floor there are no overdubs, no multi-tracks, no second takes., and while the music nods to some other heroes of treated guitar; David Torn, Fred Frith, Alan Holdsworth and Fennesz, Fisher is able to construct something unique. V Le Pape lives somewhere between ambient texture and freeform modal exploration.

* But all of it is immediate, spontaneous and free. Guitar playing as improvisational divination comes naturally to Fisher who has spent the last decade studying Tarot., which he uses as an interpretive guide. He's used the image of The Pape (The Pope) for this record as it symbolizes what Fisher calls 'a spiritual respiration, a sense of a living bridge' The Pape is a communicator, perhaps between himself and a new audience, perhaps between the universe and his instrument. For Fisher improvisation is composition, there is no distinction between what is written and what is performed as he says that 'the framework of Improvisation is biological, if we are incongruent from our senses, we are not acting in relationship with dynamic stimulus and we are therefore detached from the world.... improvising is acting in the world'

* Fisher's interest in the connection between elemental music and organic well being has led him to study with jazz legend Milford Graves. Graves, whose pioneering work on rhythm and biology, has had a deep impact on how Fisher sees symbiotic harmony between music and the organism. Fisher is also a certified teacher of Alexander Technique, a strategy popular with artists which stresses psycho-physical unity. Colin Fisher is the real deal, he lives everyday, all day as a musician, tirelessly practicing and honing. It is a rare gift, but it is also a second nature, as Fisher puts it 'music is an expression of your biological self'. V Le Pape is a record documenting a musician at being.

Experimental Spanish composer and multi-instrumentalist Pepo Gala´n makes his vinyl debut with an exquisite record of carefully orchestrated ambient pieces.
Conceived as a fierce response to the gradual decay of our society, "Human Values Disappear" takes us on a trip to the darkest corners of a dysfunctional world, painting a broken landscape with deeply arresting and meditative drones.
Composed initially on a vintage Casiotone, the album was further enriched with lush and spacious arrangements, giving the songs a newfound intensity. In this effort, Pepo Gala´n surrounded himself with talented artists Lee Yi and David Cordero, each of whom bring their unique approach to composition into play. The result is an eclectic, yet deeply cohesive palette of sounds that flow seamlessly into each other, creating a moody ambiance that permeates everything.
Despite the bleak tones and subject matter, Pepo Gala´n is able to strike a balance between darkness and hope, allowing glimpses of light ("Half Moon", "Old Testament") to filter through the sheer sonic intensity of the fiercest tracks ("We Are All Welcome Here", "Almost Alone in this Life"). This transition is better exemplified on the album's centerpiece "Sacred Autumn", a collaboration with David Cordero that starts off with an elegant string section, gradually building into a guitar feedback climax that slowly fades off, paving the way for an epic closing number.
By the time we hear the last sounds of "Few Dollar More", the emotional impact of the record is undeniable. "Human Values Disappear" is indeed one of the most sincere, enigmatic and life- affirming records that Pepo Gala´n has ever produced.

* Over the last seven years, Noel Brass Jr. has been one of Seattle's most soulful and adventurous keyboardists, tirelessly exploring subtle variations on the music of the spheres, forever striving to express the sound of a love supreme. Both in the psychedelic soul-jazz unit Afrocop and as a solo performer, Brass reveals the improvisational mastery of a musician attuned to a profound celestial wavelength. You can hear this rarefied skill all over his debut album, Broken Cloud Orchestra.

* When the opening track Cortex Overflow' glows into life, you instantly feel your blood pressure lower. It's a gentle keyboard meditation seemingly composed of crystallized stardust, like Lonnie Liston Smith gone New Age. Day In Day Out' is as dainty as a music box motif, but imbued with subdued gospelized soulfulness and synth quasars reminiscent of obscure '70s Motown maverick Mandré. It's definitive inner-space music, ideal for ogling the constellations in a wistful mood. Tilted North' is slightly darker-hued and more abrasive than anything else on Broken Cloud Orchestra, but it's still contemplative and beautifully mellow.

* Eight Moons' offers a sanctified soulfulness that's almost unbearably light and nuanced. This is jazz that's ascended into an angelic state of grace. It is healing music that twinkles, whorls, and wafts in the same exalted airspace as the most cosmic New Age, sometimes approaching the gravitas of German mystics Popol Vuh. As for Prism Jousting,' imagine if Miles Davis' In A Silent Way were dissolved into its molecular ingredients—Chick Corea, Herbie Hancock, and Joe Zawinul's luminous tones distilled into a lavender vapor.

* It takes a special breed of human to generate the sort of preternaturally beneficent and tranquil sounds heard on Broken Cloud Orchestra. Brass strives for a sort of sacred stillness in his compositions, achieving an ambient penumbra that's as translucent as it is transcendent. Creating music that both soothes and stimulates your higher mind is surpassingly difficult. But Broken Cloud Orchestra's 11 tracks—which all smoothly segue into one another—form velvet links in a chain that binds the record in a cohesive, sensuous sphere.

* All the expressiveness and feel is all I can give,' Brass says with regard to his creative impulses. It would be nice to see some goalposts moved in a weird age of soullessness.' Broken Cloud Orchestra subliminally does just that, from Brass' nimble hands to your ears.

Boris Bunnik is no stranger in the worl d of electronic music. He released several albums and ep's under a variety of monikers since 2007 on labels like Delsin, Shipwrec, Frustrated Funk and his own Transcendent imprint. Fauxpas Musik welcomes him for a new project called Severnaya. Originally hailing from the Island of Terschelling, the most Northern and remote part of the Netherlands he now made a piece of music dedicated to this special place. Severnaya means north in Russian and refers to the bright frozen landscapes of the northern archipels. Boris often plays with the influences and elements of ambient in his music. If we have to believe the man himself, Polar Skies is his most personal sound trajectory to come from his mind. Drum programming is scarce and what remains is a lush and profound listening experience floating on scapes and melodies. We clearly hear his roots and intentions represented in the airy, tranquil sound design of this new album project. Things sound spacious, and life is at ease in these melancholic compositions. Crispy crackling percussions and icey pads place you in the midst of a resonant arctic landscape. You can hear influences drawn from producers like Biosphere, Pub, Brian Eno but we also hear more contemporary influences from modern day film composition but most of all we here Boris his own signature. The tracks were composed over a couple of years (2015-2017) in a more contemplative mindset. At some point this selection formed a consistent piece of music and as a result you hear his most personal and fragile works to date. Fauxpas Musik is proud to release this new project in 2018. written and produced by Boris Bunnik aka Conforce at the PasadenaOceanlab Studios Special thanks to family, friends and Fauxpas

Exceptional recordings by this New age maestro. Only recently re-discovered by his friend JD emmanuel & the band Sun Araw. Originally released on cassette in 1983 and now for the first time available on 180gr. Vinyl. For fans of joanna brouk, JD Emmanuel and Iasos

Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance.

These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City's Alternative Museum in October, 1983.

The Music of Rana' Enviromental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning Sunbreath', has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music's original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition.

This album is the second volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall's book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. EQ settings of treble and bass levels determine the music's effect upon you. Please explore until the most comfortable settings are found.

Bandhagens Musikforening is the new project from Michel Isorinne and Martin Sander. Their debut record for Northern Electronics tangles mournful, surreal profiles with euphoric, sunset electro. Particular tracks map either end of the spectrum that is to be found, but it's the viscous mesh of emotive motion that is the most striking and perhaps singular feature of their first record.

This is a vinyl release of the debut album from 2007 (Ubiquity Records) celebrating a 10 year anniversary
I'm kinda like a blond (less good looking) Vincent Gallo, but with self-irony.

All tracks written & produced by Solune in a sonic hut nestled
underneath the intense flow of a grey western european city.

Necessary first vinyl edition of Hollywood Medieval, the debut album of psychogeographic dramaturgy by Manchester-born soundtrack composer, Maxwell Sterling. It was initially issued
as a digital release on LA-based Memory No.36 Recordings in 2016 to a round of acclaim from Fact Magazine and The Wire and has now been re-mastered by Matt Colton for this vinyl edition.
It sounds as plasticky sensuous as it should, and arguably looks worthy of a wall or pedestal in a Bel-Air or Moss Side pad thanks to its striking bespoke cover art collage by radical feminist and
Manchester punk legend, Linder (Sterling), aka Maxwell's mum.
Hollywood Medieval is an album about the glaring disparities and elaborate, underlying convolutions the composer observed and felt while working as a nanny for wealthy parents during his film composition studies at UCLA in the early part of the 2010s. Using an augmented palette of classic DX7 and Juno 60 synths along with a severely warped bank of library samples and iPhone recordings, it spells out a queasily evocative simulacra of the city in flux, animating a sort of Ballardian tableaux that's hyper-descriptive in its rendering of the hazy, dosed-up, and often
delirious transitions between Hollywood's glamour and grime, using LA's gurning facades and ostentatious wealth as prompts for a richly visual side of sawn-off emotive signposts and jazz-
taut turns of phrase that vividly etch on the memory in neon freehand.
From the dizzying sugar rush of the opening sequence, Hollywood Medieval I, to its spiralling counterpoint in Hollywood Medieval II, the album is an inception-like concerto, with Maxwell smartly subverting the film score composer's role by placing the music centre stage and allowing the narration to be carried by virtuosic flourishes owing to the artist's classical and jazz music
schooling,
In a sense, Hollywood Medieval resonates with the way Sam Kidel subverted the nature of ambient music on Disruptive Muzak (RAVE014), and offers an alternative, lucid view of the hazy LA offered by Delroy Edwards' Teenage Tapes (RAVE005), and likewise, works like a present diagnosis of the dystopian future worlds dreamed up in The Sprawl's dystopian, widescreen visions on EP1
(RAVE013), effectively broadening and illuminating The Death of Rave's own sonic hauntology.

Initially the music by The Knob, The Finger & The It was conceived as some sort of ritual background ambient during extensive electroacoustic picnics by the river or in the fields. In the course of these sessions, The Knob, The Finger & The It make use of battery powered miniature electronics, DIY synths and acoustic bricolage, which mingle with the sounds of the open space: some wind, a crackling campfire, a train passing by over a bridge nearby...
However, local weather conditions as well as annually recurring festivities made The Knob, The Finger & The It escape to their inside homes now and again, where they started to explore the miraculous possibilities of modern studio technique.
Two tracks on this album - F. F. Erde and Grasebene 3, were taped live outside, and no posterior changes were made. All other pieces were recorded in the studio.
Astro Camping is based on recordings from 2012-2016. The first 50 copies come with an interstellar gimmick. The Knob, The Finger & The It are: Tobias Grewenig, Andreas Oskar Hirsch, Volker Hennes.
Cover photographs by Andreas Oskar Hirsch.

PARALLAX 06 by PRZ.

Advance 12" of the upcoming Oscar Mulero album 'Perfect Peace', SEMANTICA 70 with some deep electronix!

Currently undertaking a residency at the prestigious EMS Stockholm, Egyptian producer Ahmed El Ghazoly makes a stunning 2nd mark on Lee Gamble's UIQ label with Numbers, a ruggedly chopped but spatially hypersensitive suite of encrypted electronic rhythms and entrancing, mirage-like geometries.
Boldly committed to his own niche between the folds of grime, techno and electro-acoustic dimensions, Zuli's follow-up to the Bionic Ahmed EP pushes it's loping designs into stranger, spaces within the sound field, finding an idiosyncratic ecology of frequency that finds room for dense, physical subbass, smeared vocals and iridescent motifs amid its morphing dimensions.
The six tracks exemplify Zuli's playfully paradoxical approach to club music, experimenting with tessellating dry and fluid textures in the dusty, humid London-via-Cairo swerve of Bow which cranks opens the EP, to the metastable techno momentum in the buckling rolige of CommProto, while She's Hearing Voices feels like a smoking area between rooms, heard in a queasy but spangled state.
That all feels like preparation for the second wind of the B-side, which convulses into action with the chromatic trance warp of What You Do and its grubbing Autechrian inversion, Tongue Chomper, only to slide off the page in Foam Home's future primordial glob of melted dancehall.
The hooks may be less explicit or tangible here than on his debut EP, but Numbers is proof, if it were needed, of a restless mind which is only just coming into its own.

(pressed in Archer, Detroit) The Kill Zone EP by Jeff Mills. Taken from the recent Free Fall Galaxy album. The 12" contains two previously unreleased tracks.

About this release *First 10 tracks only come with the limited edition. Nijmegen's ESHU welcomes co-founder Ivano Tetelepta for his first solo release on the label. It is also the imprint's first full length, but Tetelepta's second album after the hypnotic drum workout that was True Colours, his debut on Fear of Flying in 2012. It comes as a double vinyl release with the first disc being limited, and finds the producer casting himself free from the dance floor and serving up a beautifully atmospheric soundtrack that would be a perfect companion for a nature documentary. When making EPs and 12''s, Tetelepta's smooth and infectious drums are always front and centre in his work, whether solo or as producing with label mates under the ESHU alias. He's also worked with labels like Siena and KERING, but here he shows another side that focusses on short pieces, melody and blissful sound design. To give this album its perfectly warm analogue sound, the whole thing was recorded via cassette and revox tape. The first ten tracks are short, immersive musical worlds with poignant chords and glistening melodies. Some twinkle and shimmer, some sound like an underwater eco system coming to life, and others seem to come from deepest space where solar winds and sonar pulses pass you by. It's cinematic and evocative stuff that takes you away from the here and now and into a different realm. The four tracks on disc two then start with Senang, a suspensory and multi-layered piece of music that has keys, modulations and samples wrapping all around you before Whistle Of Patience has a supple minimal drum line that slowly gets under your skin. Ede 2 Nijmegen is then a turbulent dub track which builds a darker mood before closer De Test sinks back into supple, rubbery and warm drums laced up with hypnotic pads that circle all around. This is an ambitious album of meditative music that offers a beautiful place to lose your mind.

From the circles of Hamburg's Golden Pudel Club the duo Schluss presents their debut album '28' on Sky Walking. Éric Falconnier and Joachim Schütz join another adventure into Spontaneous Music- free and intense, demanding and magical.

A life dedicated to Noise, Experimental Music and Free Jazz, Éric Falconnier played in several formations such as Gebrochene Beine who appeared with the most notable piece on the previous Sky Walking compilation. Joachim Schütz is known for his collaborations with Ellen Fullman, Konrad Sprenger, Arnold Dreyblatt and Samara Lubelsky to only name a few. Schütz is also part of the Metabolismus collective.

With their dynamic, fragile and highly surprising Live sets and recordings, Schluss are on the path to decline expectations and burst conventions.
6, 7, 2, 1, 3, 5, 4!

The visionary Turkish percussionist and the great South African bassist were introduced by Don Cherry in 1969, when Dyani moved to Sweden after the break-up of The Blue Notes. They worked together regularly over the next decade, starting out with Cherry in the Eternal Ethnic Music trio.'Another world,' recalls Temiz. 'At that time I was trying to learn as a big band jazz drummer, and when I met Don Cherry, I said, forget it. We played another kind of music. Indian music, Turkish music, Bulgarian, Chinese, you know... All kinds of music.' 'Every musician,' Dyani said later, 'should realize and acknowledge that folk music is the backbone of every music.'Recorded in Istanbul in 1976; originally released in an edition of one thousand copies only, on the Turkish label Yonca. The first side features Turkish material arranged by Temiz; the second, SA-oriented music put together by Dyani, opening with a stunning interpretation of Cherry's Marimba (Goddess Of Music).In a handsome gatefold sleeve, with excellent notes and previously unpublished photos.

On its return to the Kerridge's Contort label, Emanuele Porcinai's WSR project renders a dense, gut-wrenching session combining self-built string instruments and field recordings in a sort of shoegazing noise-techno stress test.
Chambers was written over the course of the last three years between Manchester, Florence and Berlin, and pursues the themes of structural decay and melancholic ambience from his Stainless debut into a more coruscating, haunting zone of hypnagogic sound design and textural expression.
Porcinai's self-built string instruments, guitar and field recordings are processed and layered with additional cello and double bass by Thomas Griffiths in a seamless movement of eight parts cleft
over two sides, giving ample room for the sometime techno artist to thoroughly, systematically draw out and exasperate his instrument's character in a way that recalls Colin Stetson beasting his sax as much as some sore as f*ck JK Flesh recording or his label mates, SØS Gunver Ryberg or Sam Kerridge, for that matter.
It feels like music purpose built for the transition of seasons and darker, longer nights where there's nowt to do but get your head stuck right in the jaws of a slab like this.

From the depths of the dark net come Telkhin, the latest addition to the Shipwrec roster. Following Earth Being Recycled on Detroit Underground, the Argentine project are debuting on vinyl with five tracks of off-world electronics. The chilling atmospherics of "Body Container" meet the needle before an electro iciness takes hold. Spiking snares and echoed radiowaves orbit the moody "Walk In", that same frosted futurism central to "Level Above Human". Telkhin melts man and machine, giving the computer age a humanoid form. Processors whirr in the bassy bleeps and residues of "Brithomber" before the final statement. Leaving the human world behind "Flight 19" is a fast and future funk driven piece of 2050 music. Forget the past, embrace the next step. Limited run of 150 coloured copies.

Boomkat Editions is humbled to offer the first ever vinyl edition of Spellwauerynsherde, a masterpiece from LA-based artist Akira Rabelais. It comprises a suite of seven medieval choral pieces which have been sublimated and recomposed via Rabelais' self-built Argeïphontes Lyre software. The results arguably stand as one of the 21st century's greatest musical enigmas and could be said to presage contemporary obsessions with
processed vocals in a deeply uncanny manner, enduring to resonate with up-to-the-moment music as much as the record's distant roots in the seminal works of 12th century German mystic and composer Hildegard von Bingen, and the writings of John Milton, among others.
Spellwauerynsherde has always been crying out for a vinyl issue and Rabelais has done the piece proud with this sensitive new version allowing its seven parts to gently flow in sequence over both sides, with the added shroud of vinyl infidelity lending a beautifully subtle patina of detachment which perhaps only serves to heighten the paradoxical - both temporal, spatial and timbral - nature of the record's ethereal vestibules and elusive,
illusory sonic spectres.
In remodelling these ancient works of art, Rabelais performs a sort of hypermodern animism on ostensibly dead musical material - dead as in hardly anyone knows or plays them in the modern age - imbuing them with a contemporary relevance through the
process of his bespoke software (which is freely available to download) which serves to faithfully render, open-up new dimensions and plasmic aspects from work which is now
nearly a millennia old - so old you can't even call it classical music!
For us at the least, Spellwauerynsherde has pretty much set a benchmark for experiments with ancient composition and computer music - each immersion in this vinyl is akin to floating thru the mists of time and sends shivers down our spine just even thinking or writing about it, never mind listening.
We practically guarantee that Spellwauerynsherde is one of the most magickal, perplexing and strangely life-giving records that you'll ever hear.

Boomkat Product Review:

Entr'acte play host to the return of Michael Anacker's semi-mythical industrial unit Kallabris with this collection of pop' songs riffing on the decadent 19th century poetry of Swinburne, but adapted to avant electronic backdrops and beats.

Comparable in Entr'acte aesthetic to Dale Cornish's warped vocal processing and kerned rhythms, or the fusion of spoken word with jagged electronics in Transistor's The Horde, the results found on Plays and Sings For Money plumb most curious niches of expression, finding a place for Swinburne's transgressive themes in the modern day.

It ultimately sounds like Jhonn Balance and Sleazy in a proper, slippery afterhours Coil session.

Mhysa is in possession of a totally compelling voice and production style, both feeding into a sound that's prone to intuitively explore and reassert the limits of what we know as R&B, electronica or modern soul in 2017.
She makes a big impression with fantasii, her first album proper following dispatches with NON and a lauded mixtape alongside chukwumaa as SCRAAATCH. Think Klein's freeform R&B structures riddled with Rabit-like production tics, and you're in grasping distance of the fractious but idiosyncratically coherent styes inhabited by this highly intriguing addition to the vanguard of new music from the fertile margins of American music.
Against a refreshing general lack of broken glass or gunshot samples, the self-described 'Black queer femme cultural producer, sound designer, womanist + Diva' animates swirling, impossibly balanced structures with a tearaway imagination, keening from vaulted, pitch-shifting gospel in Special Needs Intro to a multi-dimensional, abstract grime cover of Prince in the course of 11 songs.
The Klein comparisons are apt, the pair share a unique perception of R&B and church musics as a gateway to other, dreamlike dimensions. From the way Mhysa appropriates the ecclesiastic psychedelia of physical church spaces in the reverbstorm of Glory be Black to the rugged ambient inversion of R&B's usual warmth in the 6minute highlight Bb, or undermining the conventions of club music in the A-grade anti-bangers Strobe and You Not About That Lyfe, she offers a particular example of the contemporary, young, Black and queer experience.
No doubt, fantasii is a vital addition to the canon of boundary pushing and resetting music and politics also espoused by Elysia Crampton, Rabit, ANGEL-HO or Chino Amobi - we urge you to check this one out if you wanna grasp one of 2017's most rewarding albums.

Southern Italian sociologist, DJ and electronic music producer Simone Gatto is about to release his second album, 'Heaven Inside Your Frequencies', in November 2017.

Gatto's second album represents a complete excursus of his personal and professional paths, into which he combines music, words, studies, researches and experiments. Along with the album, split in two parts and to be released on both his labels Out-ER and Pregnant Void, the artist is also releasing his first essay, named as the album; the latter offers a theoretical and practical analysis on the use of sounds and frequencies in diverse areas of interest, dedicating space to music therapy and primordial techniques as well as their application in the current digital and virtual era.

Both the album and the essay result from Gatto's personal experiences as well as his ten-year's artistic career: the love of his motherland and his parents, the first approach to clubs, the studies about the potentiality of frequencies, the electroacoustic experimentation and last but not least, the aesthetic sonorous research.

The the first part of the album showcases Gatto's experimental inclination for electronic and electroacoustic music; as such, the upcoming on his label Pregnant Void, has been created to enhance the sounds of the environment and personal panoramas by agglomerating artists, projects and publications. The second part definitely focusses on Gatto's dance personality and club vision, even so, it stays strongly connected to its first part as complementary for the artist's objective.

Ranging in between his favourite club niches, and collaborating with producers with whom he has shared embryonic projects, DJ booths or vinyl releases, Gatto prepares the audience for a complete journey into his idea of club music and grooves, featuring wide aesthetics and emotional resonance. It goes from the gentle tidiness of ambient and deep techno - 'No Te Olvides De Acordarte', 'Today Will Be Tomorrow ft. Kaelan', 'When I Was With You' and 'Limbo' to the intrinsic vitality of break beat, dub and funk tracks 'Caronte' and 'Holographic Drama' continuing with the dynamism of a typical Detroit techno brand of sound reinterpreted in a modern context, like in 'Forbidden Area' and 'Amazonia ft. Aubrey', and finishing with the joyful wildness of distorted sounds, in 'Jamming On The Couch ft. The Analogue Cops, OL047' in collaboration with long-time friends OL047 and The Analogue Cops; the last track, 'Il Canto Dell'Anima', is a partial excursion into the electroacoustic sound, articulated by ethereal soundscapes and piano arpeggios. The whole work is enriched by samples, field recordings and filtered vocals, sound elements which have been deeply explored in the first part of the album, confirming Gatto's aesthetical aptitude as for the club's universe as for the aesthetic sonorous research dimension.

'Heaven Inside Your Frequencies', recorded and produced between his motherland and other significant spaces and cities - the Ionian coast and natural parks of Lecce, his second home Berlin, the Whitney Museum in New York City and other significant places - 'Heaven Inside Your Frequencies' combines Gatto's theoretical background with personal and artistic maturity, achieved in the last decade. Simone Gatto's life, culture and emotions translate into a sonorous and written project, among sounds, frequencies and attempts to achieve empathetic communication with people. Specifically, the second part of the album in meant to increase the sensibility about potential interaction between performer and audience as for club contexts. The album listening and the essay reading are therefore complementary and equally functional to the achievement of the artist's goal: the empathetic communication through sounds.

Southern Italian sociologist, DJ and electronic music producer Simone Gatto is about to release his second album, 'Heaven Inside Your Frequencies', in December 2017. Recorded and produced between his motherland and other significant spaces and cities the Ionian coast and natural parks of Lecce, his second home Berlin, the Whitney Museum in New York City and other significant places 'Heaven Inside Your Frequencies' represents a complete excursus of his personal and professional paths combining Gatto's theoretical background with personal and artistic maturity, achieved in the last decade.

winter, or a time which represents that season, in a metropole that appears to be moscow. the visitor is taking metro no. 6 at leninsky prospect as he is on his way to the ballroom close to gorky park. the air is icy, the sky is grey. a cat, previously hidden among the dirty snow, is crossing his way. the closer he gets to his destination, the clearer he can hear music, music that reminds him of future days.
the dimly lit room is only sparsely filled. on stage a graceful singer, capturing the room with her presence. captive voices merge with chords played on yet unknown instruments - machine rhythms cycle in 3/4 time. the vigorous peasant dancers, following an instinctive knowledge of the weight of fall, utilize their surplus energy to press all their strength into the proper beat of the measure, thus intensifying their personal enjoyment in dancing. here, in the transhuman ballroom, time stands still and values are being dissolved by numeric progressions. spiritually allied, the visitor, the singer and the peasant dancers short-circuit the present moment while the last falling snow slowly turns into rain.
with »walzerzyklus«, atomTM returns to raster to complete his series that has once begun with »liedgut« and continued with »winterreise«. the 7 tracks, created in collaboration with russian singer lisokot, are subdivided into 3 pieces of 2 minutes each and 4 pieces of 3 minutes each, intentionally reflecting the 3/4 time of a classic waltz.
throughout the release, lisokot's delicate vocals are put into different relations to atomTM's rather cool machine music, either complementing or contrasting each other. in the same line, the 3 shorter 'leitmotifs' provide the main theme that is taken up repeatedly in the course of the release.
»walzerzyklus« will be released on CD and as special, laser-engraved vinyl edition limited to 300 copies.

Completing the reissue cycle of Rainforest Spiritual Enslavement's ambient invocations, Papua New Guinea (2012) is rendered in this new remaster by Paul Corley (0PN, Tim Hecker, Ben Frost) and sacrificed to vinyl for the first and last time on Hospital Productions. Slotting alongside 5 previous vinyl reissues of the original tape editions released over the last 12 months, Papua New Guinea loops back to the start of the saga, affording a clearer and more immersive way into one of Dominick Fernow's most (oc)cultish projects.
The eight track dosage of Papua New Guinea generated a wave of speculation as to its shadowy provenance back in 2012. It sounded little like anything else in circulation and left heads genuinely floundering for answers to its riddling track titles and extreme aesthetics; a steeply evocative combination of near-infrasonic sub-bass tones and cold but humid environmental sounds laced with slow, looping, tribal rhythms.
It took at least another year before the project was revealed as an outlet for Hospital Productions capo Dominick Fernow, who had been quietly taking the opportunity to explore a sound putatively unfamiliar to his better known projects. Yet, with hindsight, it's now easier to hear RSE as an inverse, endothermic alternative to the raging energies of his Prurient output or the searing, propulsive combustions of Vatican Shadow, for example.
In stark contrast to proceeding instalments' increasing track lengths, Papua New Guinea is comprised of eight relatively concise parts, with each side of vinyl relating to one of the original tapes. The A-side seeps into consciousness in frightening style with Paul Corley's remaster now bringing the long, slippery sub-bass descent of There Are Many Powerful Spirits Living In The Hills And Stones And It Is Not A Good Idea To Disturb Them to life with uncanny psychoacoustic subtlety, before hypnotic rhythms take possession for the duration and the listener is eventually deposited at the bombed-out ambient ecology of The Spirit Was Angry And Froze The Bulldozer
So It Could Not Move. The Bulldozer Is Still There Today. What occurs between those points defies description in the manner of the strongest psychedelics, and likewise, requires deep immersion for full comprehension.








Strong Spirit Dwells

Baltimore's PJ Dorsey has traversed a lifelong journey delving into psychoactive music which can alter one's cognitive and conscious state. He harnesses his experiences to create music as Tarotplane. Using guitar, effects and processing he produces time suspending soundscapes - immersive music for merging the mind and body.
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358 Oblique is the follow up to First which was released on Aguirre Records in 2015. Find yourself adrift in the lapping waters of a slow unraveling sea of sound, a spectral vortex of shimmering tones and discrete samples guide the listener into an aural abyss, while plangent six-string melodies offer glimpses into a sanctifying
sensory space. The two exploration provide an evocative journey through a psychedelic continuum and beyond.