Beats News

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

the debut release of uk dj duo 'secretsundaze' on mule musiq. james priestley&giles smith delivered two modern deep house versions and one melodic ambient version. it's all-round for house music lover.

After a one year sabbatical on the label imprint Amond enters a new path to the peak of Mind Everest and delivers an outstanding five track EP called Fluent State. The release is another debut of one of the crews members and filled with playful synthesizer melodies, emotive arpeggio loops and stumbling, tape distorted low fidelity tunes. Each release comes in a black screenprinted sleeve with an embossed photographic fine art print by Katrin Koenning.

Limited to 200 copies, this release is the first of the 5 12" from the Thomas Brinkmann Retrospektiv 5xlp box set. The 5 individual 12" will be released through 2018. Thomas Brinkmann is one of the great producers of Techno music and modern dance music. He initially gained notoriety in the experimental electronic music and Techno community for his full-length 'variations' of material by Wolfgang Voigt under his Mike Ink moniker, and Richie Hawtin. The variations were made by playback of the original artist records on a turntable of Brinkmann's design, which has two tone arms with separate outputs for left and right channels. The turntables were then pitched down from 33rpm to 27rpm and the results recorded and mixed. Both Voigt and Hawtin were sufficiently impressed they released the results on their own labels. Since then Thomas Brinkmann has produced some all-time classic dance tracks, many of which are collected here in what is a personal selection by Thomas Brinkmann himself. There are unreleased tracks, different versions, and tracks that have never been released on vinyl.

Sascha Borchardt (a.k.a Monoloc) will start a label, Unterland, with a new EP.

The label will serve as a vehicle through which the German producer takes a step away from the club environment by presenting new sonic interpretations, including experimental, minimalist, and atmospheric. Material will come from Monoloc himself and friends, and the focus will be on 'dramatic' sounds with drone and noise influences. Think movie soundtracks and film music, albeit with both feet planted in the electronic genre. Each release will aim to 'tell a story' through 8 to 10 productions.

Unterland will launch in end of march 2018 with a collaborative EP by Monoloc and Beauty of Inconsequenz, a unsearchable and unidentified project with no previous recording history. The eight tracks are all based heavily on field recordings; the sound is dark and deeply atmospheric with dubstep influences. While distanced somewhat from the 4/4 format, the tracks are cerebral and hypnotic.

From there on, there will be 3-4 releases per year, each of which will be accompanied by high quality artwork as curated by Borchardt, who will work closely with selected photographers and artists to provide imagery that aesthetically compliments the music.

Montreal / Paris record label Cosmic Tones is back for its sophomore release. CT002 is a Various Artists EP showcasing the work of six talented producers from the Canadian underground.
URA-DUST – Dream
CT002 opens with this downtempo collaboration by URA from Vancouver and Dust-e-1 from Montreal. Hazy and ethereal, the tune is driven by a broken beat, ecstatic melodies, angelic choir stabs, and lush pads. There are elegant cosmic vibes on this dreamy cut, somewhere between IDM, celestial dub and forward-thinking Balearic.
M Salaciak – Degra’s Vision
The cosmic voyage carries on with this catchy and starry-eyed tune by M Salaciak of Montreal. Here, the interplay between 303 and 808 creates a vibe both heavenly and sensual, full of understated lysergic euphoria and with the compelling syncopation of a bona fide electro beat, reminiscent of Mid West electro’s trippier excursions.
Priori – Glide
With a shuffling 909, a 808 cowbell, miscellaneous percussion, oceanic sounds, deep pads, brilliant use of space and gliding melodies, this cut by Montreal-based artist Priori is a nod to the golden age of IDM and those compilations on Warp. But there’s a twist that comes through the track’s warmth and its broken beat: this isn’t techno, nor is it purely electro, but something wonderfully unique.
Bunzinelli – Hyperloop
A bouncy beat sets things in motion on this mid-tempo tune from London-born and Montreal-based artist Bunzinelli. Analog synths, airy pads, hard-hitting drums and what can only be described as a space didgeridoo coalesce gloriously. It’s an ecstatic tune with both aural fractals for your mind and your feet.
Dust-e-1 – Live By The Leaf
Behind this name is a Montreal fixture behind the Little Tape project (a mix series, a web radio show and occasional events). With a focus on generous breakbeats and innocent melodies, there is an undeniable sun-drenched atmosphere, perhaps of a Balearic persuasion, on this tune. In any case, it’s the sort of track that instantly puts a smile on any dancefloor.
R Weng – Sound Of The Breeze
Closing the EP is this plodding downtempo tune that sounds like a lost bedroom recording from the UK’s ambient house era, where a synthetic rhythm section and precious melodies are blended with dreamy guitar licks. The result is a soothing tune that gently caresses its listener like a summer’s breeze.

« Hôtel Costes presents... » is a collection of exclusive music recorded at Studio HC, the hotel studio, and composed by Masomenos and guests.
The first opus, 12 days a week, sounds like a modern tribute album to the chill out vibes of the Hôtel Costes legacy music collection.

Masomenos, composed of Joan Costes and Adrien de Maublanc, has a long collaboration with the french hotel music history. In fact, they have been in charge of the Costes presents serie, a minimal electronic oriented serie of albums by glacial, seuil and themselves, that hosted their first music project called “Costes presents BON VOYAGE”.

Since two years now, they have located their studio in the Hôtel Costes extension that have been on works, and named the place Studio HC. The music they produce there has shifted from a clubby energetic vibes to a textured and organic down-tempo mood.

This first album @ studio HC definitively marks a new era in Masomenos sound.

On the side of Hôtel Costes as well.

Since the last opus of the Hôtel Costes famous collection, after more than 15 volumes carefully selected and mixed by stephane Pompougnac, there still was a true and huge demand from the audience to deliver new volume. Avoiding the trap of intenting to re-create an artificial make-up release with a Pompougnac copycat, the hotel has developed a strong presence on the streaming platform such as Apple music on which they release monthly playlist and digital selection (Radio Costes). They also have a Spotify platform that allows the audience to rediscover all the legacy collection while being connected with what is played live at the Hotel, curated by Studio HC in collaboration with WYM, the agency who tailors the music selection at the hotel.

Now the hotel, which is to expand in 2019, is enriched with a music production studio / room and will therefore presents his own sound on vinyl while keeping the listeners fed with a unique curation through Apple Music and Spotify.

We were always living in nonlinear times, but a significant cycle is coming to an end so we are noticing a growing number of severe changes and happenings caused by the nonlinear nature of things. For human beings it's difficult to imagine exponential growth despite it surrounding us in almost every aspects of life.

In music one can find such nonlinear increases or logarithmical declines in the core of sound creation itself, namely in envelopes controlling levels, texture and frequencies. But also in real life in the rise and fall of popularity, in viral news or in the development of music technology.
Utilising his sound pallet comprised of modular synthesis and electronic instrumentation, Florian Meindl highlights these resonances of thought and exploration with a sonic statement of his current vision around electronic music in the form of his 4th artist album.

Repress

Building from a reputation of arresting live performances and critically acclaimed releases
Puce Mary breaks new ground with The Drought, evolving from the tropes of industrial and
power electronics to forge a complex story of adapting to new realities. Remnants of noise still
exist, sustaining the penetrative viscerality offered on previous records, however The Drought
demonstrates an intention to expand on the vocabulary of confrontational music and into a
grander narrative defined by technical and emotional growth.
Bringing together introspective examination with literary frameworks by writers such as Charles
Baudelaire and Jean Genet, Puce Mary’s compositions manifest an ongoing power struggle within
the self towards preservation. The traumatised body serves as a dry landscape of which obscured
memories and escape mechanisms fold reality into fiction, making sense of desire, loss and
control. The Drought presents both danger and opportunity; through rebuilding a creative practice
centred on first person narrative and a deliberate collage of field recordings and sound sources
Puce Mary injects an acute urgency across the album seeking resilience.
“To Possess Is To Be In Control” makes use of lyrical repetition as an ambiguity of two selves, or
a divided self, attempting to consume one another, while “Red Desert,” named after Michelangelo
Antonioni’s 1964 film, portrays the individual subsumed by surrounding environmental forces.
The seven-minute epic “The Size of Our Desires” acts as the emotional tipping point of the record;
amongst the ominous drone and dense feedback flutters almost-beatific melodies, while the lyrics
reveal a romantic call to be swept up in the midst of an increasingly uninhabitable world.
Rather than escape, The Drought dramatises a metamorphosis in which vulnerability is confronted
through regeneration. Noise and aggression no longer act as an affront to react against but part
of a ‘corporeal architecture’ where space, harmony and lyricism surface from the harsh tropes of
industrial music. The Drought chronologises the artist’s transformation through a psychological
famine, new ways of coping akin to plant survival in a desert – to live without drying out.

9x7" Box Set...now for super offer !! be fast !!

World Wide limited number of 300 sets. 9 x 7" vinyl picture discs in a box

The history of Planets...

It has been 100 years since the British composer Gustav Holst introduced his most famous score «The Planets». An elegant musical tour to each one of our Planets in the Solar System, Holst brought forth imaginary visions of space that would survive many generations and decades after. As an important piece to the classical universe, 'The Planets' is regularly played throughout the World every year as it had been the most vivid translation of our cosmic neighborhood until now.

The Electronic Music artist and producer Jeff Mills, pays tribute to this century of incredible musical production. He embarks to compose a sonic journey to re-discover our neighboring planets in a 18 piece suite that explores the nine planets, including the portions of space in between the Planets, the nine regions Mills calls Loop Transits.

Deeply inhabited by science-fiction, Jeff Mills adopts its ideas, concepts, stories and esthetics from the outset. For him, Space is an obsession and his music almost becomes a musical science-fiction. Conquering space, his music embodies the future while both respecting the past and remaining well into the present. Mills takes the rotating principle of the solar system as aesthetics, concept and model for creativity. From the beginning, his first releases explore futuristic and science fiction topics and continue to do so to this day. For Jeff Mills, the future is a powerful creative drive which explains the artist's ceaseless activity.

Since its creation and like the intention of Holst, each track is musically imagined to invoke the psychological affect, emotions and ideas of each planet. But unlike in the year 1918, when the score was first publicly heard on the last week of World War I, 100 years later, we now have a more accurate knowledge about what each Planet is made of and what they look like. The piece should bring the audience closer to confronting each planet in ways that audiences in 1918 could only dream of.

With the French composer Sylvain Griotto, the arranger of Planets and Mills' previous work on the album and classical score about the NASA astronaut and doctor Mamoru Morhi's space journey in 1992 and 2000 from the album 'Where Light Ends', Mills has created an electronic music album that have been translated for symphonic and philharmonic orchestras and will accompany them in their live debut and all performances. Starting to conceptualize and produce music for it dating back to 2005, Mills constantly worked on the project over the years to bring it to fruition.

In July 2016 Jeff Mills has completed the last production stages of the Planets album at the world famous Abbey Road Studios in London. Recorded and will be released in 5.1 surround on the Blue Ray digital format, the soundtrack needed a particular high level of expertise that could only be attended to at hands of the renowned senior studio engineer Jonathan Allen. The expertise and quality associated with the legendary Abbey Road Studios is recognized globally and undeniably the most famous studio in the World. It is with acclaim from the Beatles, Pink Floyd, or more recently Radiohead before him, that Jeff Mills will bring Planets at this legendary music institution.

The mastering sessions occurred on August 2016 with the acclaimed Mastering engineer Darcy Proper in Holland.

* Last year it was estimated, that every minute 400 hours' worth of content was uploaded to YouTube, 2,430,555 posts were liked on Instagram, and 6,944,444 videos were watched on Snapchat. And these figures won't stay static. The amount of data we upload, and in turn the amount we consume every year, is growing exponentially. As this expanding data pool grows, making sense of it becomes concurrently more difficult; the distinctions between dream and reality, fact and fiction, truth and lie fade to obscurity.

* 'Information City', the sophomore album from Copenhagen's Tobias Hjørnet Pedersen aka Beastie Respond, attempts to reflect this world in a very direct sense. 'Information City' is the simulacrum in which we live and exist, where our cultural identities exist primarily as representations of a real without origin, he explains.

* Writing the album Pedersen set no limits on his sample sources, instead taking fragments from a vast array of media, reflecting on the themes outlined above. This resulted in 'Information City' being completely stylistically unchained, giving reference to everything from UK bass genres to electro, footwork and synthwave. 'Downloaded 4 R. D4wkins' for example pits Moving Shadow reminiscent rave stabs against juke-like percussive workouts, while opener 'Real Without Origin' recontextualises cliche´ trap-style drops with hollowed-out, swaggering low-end, calling to mind recent hybrids of UK Grime and American hip-hop.

* At other points, Pedersen eschews the dancefloor entirely. Tracks like 'Lullabies for the Lost and Forgotten' or 'He Used His Bench Lathe to Form His Wooden Sculpture' provide respite from the thunderous barrages of percussion with slurred melodies and dream-like anime soundscapes.

* Comprising the fourth release from Foul-Up, 'Information City' is a brave proposition for a second album. Pedersen tackles it with vibrance and audacity, inviting us into a fast-paced world of bright lights and unbridled imagination.

Launch event on September 5th in Image Movement, Berlin with Beastie Respond and Eva Papamargariti

You're alone and you close your eyes. Don't imagine figures of light, make the darkness conscious. It becomes deeper, not eyelids anymore, and then something is around you, but you can't open your eyes, you're deep inside them. Merge into oneness, not bright above not dark below. Something with has no echo. Waves and motion, not space and time. If a tree falls in a forest where no one is listening, does it make a sound There are no signs in the snow. Why this dream of something cold The world is blue at its edges, the colour of that which can never be possessed. Blue flames, deep ice, twilight. How do you observe yourself without knowing that you're looking The other side of your face. Why don't you let the gap be a gap I was afraid there was too much space. When you stop focusing the image appears. Everything seen at once. Turn yourself into a point to get behind the surface. A messenger between two worlds. The hidden meaning behind alchemy: to be born again. You're not born into this world but out of it. Travel by heat, words are too slow. Sound knows how to get around edges, wiser than light.

Shovel Knight began as a modest, yet highly promising Kickstarter project in March 2013. Billed as 'a groundbreaking love letter to 8 bits!' by Indie developer Yacht Club Games, this 2D side-scrolling platform game released in June 2014 to universal praise and accolades. Fans and industry professionals praised Shovel Knight for its charming retro-2D visuals, humorous story, fun characters and strong gameplay design, which all came together to offer a game that is nostalgic yet very modern. The efforts of Yacht Club Games paid off when Shovel Knight was won the prestigious 'Best Independent Game' award at The Game Awards 2014. The game's chiptune soundtrack, composed by Jake Kaufman and Manami Matsumae, is integral to the game's modern-retro identity and has been similarly praised for its outstanding arrangements, memorable melodies and strong technical composition. This definitive soundtrack contains all music from the original Shovel Knight game released in June 2014, with a vinyl tracklist crafted by Jake Kaufman himself. The package cover and inner-gatefold have been designed exclusively for the soundtrack by Hitoshi Ariga; an interview with co-composer Manami Matsumae; and character artwork from the game.

Limited 2019 Repress - be fast to secure your copies

By now regarded an absolute classic of haunted ambient music, 'An Empty Bliss Beyond The World' returns our doddering protagonist to the deserted ballroom, wandering its waxed floor and dilapidated grandeur in an attempt to capture an era which has long since disappeared but still haunts the atmosphere.

James Leyland Kirby conjures a quieter, more introspective spirit, lost in his own mind amidst a low-lit labyrinth of ever-decaying and antediluvian shellac phrases. Sourced from his mysterious collection of 78s, these vague snippets of archaic sonics reflect the ability of Alzheimers patients to recall the songs of their past, and with them recollections of places, people, moods and sensations.

The effect is subtly amplified by the chronic mastering at D&M, allowing each memory to segue seamlessly and unpredictably into the next for an otherworldly and disorienting experience. Coupled with another deeply enigmatic artwork commission from Ivan Seal, 'An Empty Bliss Beyond The World', is a highly potent transmission from one of the most singular characters operating in music today.

PAN inaugurate Entopia, their highly promising, soundtrack-focussed sister label, with the
tremulous beauty and dreamy ambient detachment of Tujiko Noriko’s ‘Kuro (OST)’
Realised alongside musicians Sam Britton and Will Worsely, experimental J-popstar and composer
Tujio Noriko conceived the ‘Kuro’ soundtrack for the eponymous 2017 film which she wrote and
directed with Joji Koyama, and in which she also plays the lead role. The film follows the tale
of Romi, a Japanese woman living in the suburbs of Paris with her paraplegic lover Milou. Told
through personal anecdotes and myths, the story soon turns ominous, reflected as the narrated
story and the visual story diverge to reveal an ambiguous space which is subtly coloured
and accentuated by the soundtrack’s suggestive daubs of ambient electronics and burnished
instrumental tones.
The music was composed during the editing of the film, mostly by Tujiko, but with integral
assistance from both Sam Britton and Will Worsely, and her co-director Joji Koyama. Perhaps
glibly known as “the Japanese Björk” for her spellbinding, etheric touch, Tujiko brings a wealth of
experience to helm in the soundtrack, steering fathoms wide of her pop-related output to work
with filigree, layered electronics, organs that are occasionally and imperceptibly meshed with
diegetic, rustling sounds from the film. The resulting atmosphere is intoxicatingly gentle yet
elusive, evoking themes of claustrophobia and haunting beauty that also lie behind the imagery.
‘Kuro (OST)’ is an ideal first release for Entopia, the soundtrack-focussed offshoot of PAN. Taking
its meaning in context of Ekistics - the idea of world-building - and in respect of creative
communities both visual and music-oriented, Entopia proposes a promising new space - neither
utopian nor dystopic - where the boundaries between installation works, theatre, dance and
fashion will fall, just as they have with PAN the parent label.

Vinyl limited edition, includes lyrics booklet, white vinyl, silver layer printed on cover art, % donated to charity.

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

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

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

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

Sebastian Mullaert and Kontra-Musik have been involved in a love affair for quite some time - an affair that even resulted in an offspring called The Dance that came out on Kontra-Musik last year. Sebastian Mullaert is of course first of all known as half of Minilogue, a duo so influential in the hypnotic field of Techno that Korg recently named a synthesizer after them. Lately, Sebastian has focused on his solo path under the Wa Wu We moniker, releasing stripped back and personal music on his own Wa Wu We label, the cryptic S.E.L.F label and now on Kontra-Musik. On the title track Travellers, Sebastian Mullaert uses a straight up techno formula that may surprise listeners who haven't followed his move into Wa Wu We territory. You almost get the impression Sebastian buried a recording destined for a rigid techno label in a deep forest back in the 90's and has now decided to uncover it again, finding that the track has matured under the black soil. The sharp edges are now covered in smooth moss and the soundscape is immensely deep and moist. But it's still a vibrant and very much effective track. Above all, it has loads of free space to let the listeners make up their own journeys as travellers into the world of sound created by Mullaert. We float, on the flip side, is a beautiful and meditative ambient piece. It's also the fastest way for the urban dweller to find him or herself floating in a serene lake surrounded by strong, green trees instead of floating in a sea of stress and anxiety. A set of headphones and this new release from Kontra-Musik and you're there.

Kami Is The Fourth Opus Of Foudre! - A Telluric Drone Quartet Composed Of Frédéric D. Oberland (oiseaux-tempête, Le Réveil Des Tropiques, The Rustle Of The Stars, Farewell Poetry), Romain Barbot (saåad), Grégory Buffier (saåad, Autrenoir) And Paul Régimbeau (mondkopf, Autrenoir, Extreme Precautions) Who Meet Punctually For Sessions Of Ritual Improvisation Where They Invoke Noise And Drone And The Deities Of Chaos. Improvised And Recorded Live At Le Rex De Toulouse Supporting The 10th Anniversary Of French Doom Metal Band Monarch!, Kami Extends The Cosmogony And The Sound Of The Band By Taking Excursions Into The Invisible And Ambiguous Side Of Nature. In This Orgiastic And Surprising Mix Of Sonic Textures And Rhythms, You May Hear Strange Phenomena, Summoning Of Animistic Spirits, Shamanic Calls, Siren Yellings And Growls. The Original Chemigram Artwork Was Created By French Artist Fanny Béguély By Painting With Chemicals On Light-sensitive Paper. Following The Sold-out Earth Soundtrack (gzh71, 2015), Kami Delivers An Immersive Soundscape For Abstract Clubbers, Where Kosmiche Electronic, Power Ambient And Industrial Punk Music Are Freely Invited To Commune. This Pagan Ceremonial Is An Ode To The Ever-changing Vortex Of Life - A Sonic Dream Machine For The Occurring Now.

300 Beer-coloured Vinyl With Black Inner, Poly-lined Paper Sleeve.

KÖNIGSFORST – following the 1997 release of ZAUBERBERG (KOMPAKT 370.1), Wolfgang Voigt’s GAS project returned with KÖNIGSFORST, a full length that has stood the test of time as a template for introducing fundamentals of 90’s techno into the principles of contemporary electronic music.

Originally released in 1998 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS “BOX”, ZAUBERBERG is now released on his own label KOMPAKT on 180 gram 3LP vinyl in its original artwork.

KÖNIGSFORST brings glimmers of light into Voigt’s dark, magnificent forest. Melodic strings and brass are added to his signature layers of ominous intensity. The forest path is laid out by muffled kick drums as classical music loops incessantly swirl with no direction.

KÖNIGSFORST – following the 1997 release of ZAUBERBERG (KOMPAKT 370.1), Wolfgang Voigt’s GAS project returned with KÖNIGSFORST, a full length that has stood the test of time as a template for introducing fundamentals of 90’s techno into the principles of contemporary electronic music.

Originally released in 1998 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS “BOX”, ZAUBERBERG is now released on his own label KOMPAKT on 180 gram 3LP vinyl in its original artwork.

KÖNIGSFORST brings glimmers of light into Voigt’s dark, magnificent forest. Melodic strings and brass are added to his signature layers of ominous intensity. The forest path is laid out by muffled kick drums as classical music loops incessantly swirl with no direction.

"30+ minutes of life affirming ambient and drone coming from Zen Zsigo, otherwise known for his work under the Cremation Lily alias and as one of the spearheads of the current UK tape scene, where he has been mixing things up for 7 years via his Strange Rules label.

Winter Orbit was inspired by science fiction and it's relation to modern life, recorded in 2015 using a mix of both modern and archaic equipment it was later released on Belgian tape label Audio. Visuals. Atmosphere. on an initial run of 33 tapes.

Winter Orbit is now newly presented via an expanded re-issue, chronicling the original material, re-issued on one side (Fragments in Hologram Snow) while showcasing new material (For Artifice Rose) which was created in response to the initial release by Zsigo in 2017.

As usual, remastered and cut @ Dubplates and Mastering, Berlin and pressed at Record Industry, Holland to ensure optimum listening quality."

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

Ecstatic offer a deeply arresting and definitive collection of Works by erstwhile Serbian factory worker-turned-synthesist Abul Mogard; containing selections from two cassettes released in
2012 and 2013 on Steve Moore and Anthony Paterra's VCO Recordings, as well as a cassette only release last year on Ecstatic, never before available on vinyl. Abul Mogard's relatively unusual path to releasing music is well documented, but bears repeating here. Upon taking retirement from a job at a factory which he held for decades, Mogard craved the mechanical noise and complex harmonics of the industrial workplace, and found that the best way to fulfil that need was through electronic music - using a limited set-up of Farfisa organs, voices, samplers and a self-built modular system to realise a peaceful yet haunting, sweetly coruscating sound that resonates uncommonly with music from Leyland Kirby to Alessandro Cortini, or Fennesz and Tim Hecker. The nine tracks on Works are soused in an emotional richness that's hard to forget once experienced. Broad daubs of distorted bass and naturally glorious harmonic progressions paint
panoramas of wide open, grey-scaled skies whilst equally conveying the intimate feel of a person with their nose to the machine, toiling for a sound or feeling that really means something to them, and by turns, us.
The fact that Mogard hails from an area hardly well-known for its synth music, and that he's of an age where most people take up gardening or lawn bowls, rather than synth music, only helps to aid the enigma and magick surrounding this remarkable artist and his addictively emotional music.

Above All Dreams is Abul Mogard's beautifully absorbing new album for Ecstatic - his first since the Circular Forms and his popular Works compilation.
Counting six original pieces in its 66 minute wingspan, there's no mistaking that Above All Dreams is the most expansive solo release by Mogard to date. Taking into account its intangible divinity and cinematic quality - the result of no less than three years diligent work - it is arguably levated to the level of his master opus, presenting a modular distillation of Mogard's most intoxicating strain of hauntology.
Consistent with Mogard's music since the sought-after VCO tapes c. 2012-2013, the allure to Above
All Dreams lies in his ability to evoke and render feelings which are perhaps purposefully avoided in more academic echelons of drone music. Rather than a purist expression of physics thru maths and geometry, Mogard voices his soul, improvising on modular synth for hours, days, months and years in the same way a more conventional band' develops group intuition.
While hands-on, the intuitive evolution of process locates a newfound freedom in his music that implies a recognition of the metaphysical or post-physical, while Mogard explicitly points to influence from the Brazilian music of Tom Zé, Antonio Carlos Jobim and Chico Buarque, whose approach to shape and density, or perceptions of light and delicacy, also go some way to explaining the ephemeral intangibility of Above All Dreams.
The results are best considered as the ephemera of non-verbal communications. From the gaseous bloom of Quiet Dreams to the opiated depth of Where Not Even to the starlit awn of Upon
The Smallish Circulation, and through the B-side's keeling, 16 minute+ panoramas of Above All Dreams and The Roof Falls, the power of Abul Mogard's dreams above all transcends sound, feeling and physics in a truly remarkable way that evades words or concrete notation. .

Boum Boum Boum! 25 years of KOMPAKT. When a record label still thrives after a quarter of a century thanks to a focus of what was expected to be a short lived music phenomenon called TECHNO, then it stands to prove two things; that it techno has taken its place amongst serious, multilayered musical genres like rock'n'roll, pop and folk music. And that KOMPAKT has never been only for techno, but KOMPAKT stands as a broad-minded, genre-defying entity that has set out to cross-pollinate all kinds of musical inventions within the realm of electronic music. Through its course, KOMPAKT has sent 'Around The World', all kinds of sub-genres, concept series and crossover adventures based on the non- negotiable 4/4 beat. And back again.

Without a doubt, the 100% kickdrum-free POP AMBIENT series is the most endearing and enduring concept that I have had the pleasure to curate. From the start, I felt there was a strong need to add a certain pop- elegance - ensouled by discourse as much as hedonism - to a sound that was recognized as 'Chill Out' music that could be heard in seedy techno club back rooms and forgotten festival areas. Over the years, I like to imagine that POP AMBIENT has crystallized into a highly recognizable trademark sound and a multi-facetted musical universe of its own.

So once again, I had the pleasure to put together this year's edition by plowing through an ocean of sonic jewelry that had been submitted from all over the world by new and old friends. The task was clear: for this special edition, I must create a homogenous listening experience that would both appeal to our trusting followers, to continue our tradition while integrating new micro facets , variations and influences from neighboring musical universes as possible. Obligatory while being innovative. Conspirative while being cosmopolitan. Albeit the headline 'Ambient' might sound a little too humble for a compilation that encompasses aspects of neo classic, atonal music and the most beautiful aural kitsch imaginable, it still helps as a necessary means of orientation in the best possible sense. Same goes for another dear tradition: Veronika Unland's abstract-floral cover design that keeps on pleasing our sore eyes year after year.

Although each and every POP AMBIENT edition doesn't shy away from diving into the relevant question of 'What is contemporary discourse music' - in the end it all boils down to that elevated moment where all theory dissolves into ambient air, into a higher state of cosmic bliss. POP AMBIENT is sacral music for non-believers.

Wolfgang Voigt Cologne, October 2018

Bum Bum Bum. 25 Jahre KOMPAKT. Wenn ein Musiklabel, das seine inhaltliche Ausrichtung im Wesentlichen auf den anfangs als schnelllebig und vor allem kurzlebig apostrophierten - hype' Techno setzt, nach 25 Jahren in jeder Beziehung immer noch voll im Saft steht, dann zeigt das zwei Dinge: Das erstens mittlerweile jeder bemerkt haben du¨rfte, dass Techno eben kein kurzftristiger hype ist, sondern vielmehr ein vielschichtiges, ernstzunehmendes Genre, das sich ebenso wie Rock'n'Roll oder Schlager fest in der Musikgeschichte etabliert hat.

Und zweitens, dass KOMPAKT nie nur ein reines Technolabel war und ist, sondern ein nach vielen Seiten aufgeschlossenes Experimentierfeld, das sich von Anfang an der Grenzu¨berschreitung und dem musikalischen Erfindungsreichtum verschrieben hat. U¨ber die Jahre wurden unter dem KOMPAKT-Signet etliche Subgenres, Konzeptreihen und Crossoverwagnisse auf Basis der unverhandelbaren geraden Bassdrum - around the world' und wieder zuru¨ck geschickt.

Eine der wohl scho¨nsten und nachhaltigsten Konzeptreihen du¨rfte wohl die bassdrumfreie POP AMBIENT-Serie sein, die ich als KOMPAKT-- Altvorderer' nach wie vor die ja¨hrliche Freude habe, zu kompilieren. Dabei hat sich u¨ber die Jahre aus dem anfa¨nglichen Bedu¨rfnis der seit den fru¨hen 90er Jahren in den sogenannten - Chilloutrooms ' grossra¨umiger Technoclubs, - Lounges' und - Muzakkneipen' entstandenen - Entspannungsmusik' etwas entgegenzusetzen, eine eher von Pop-Eleganz, Diskurs und Hedonismus beseelte, eigene Spielart ambienter Musik, eine vielschichtige programmatische Musik mit hohem Widererkennungswert entwickelt.

So hatte ich auch im Jubila¨umsjahr einmal mehr die Qual der Wahl, aus den aus aller Welt kommenden, grossartigen Klangpreziosen guter alter sowie neuer Freunde die subjektiv besten zu einem homogenen Ho¨rerlebnis zusammenzufu¨hren. Dabei ist mir immer sehr wichtig, einerseits den Erwartungen der treuen Ho¨rerschaft im Bezug auf Traditionsverpflichtung gerecht zu werden und andererseits auch immer mo¨glichst viele Mikrofacetten, Varianten und Einflu¨sse angrenzender Stile und Universen aufzugreifen. Innovativ und verbindlich. Konspirativ und weltoffen. Auch wenn der U¨berbegriff Ambient, fu¨r eine Kompilation die sowohl Aspekte von Neuer Klassik, Atonalita¨t und Kunstmusik mit den allerscho¨nsten Seelenkitschklangwelten zu vereinen sucht, zu eng gefasst ist, so hilft er doch bei der notwendigen Orientierung im besten Sinne. Ebenso wie die Tradition gewordenen, wunderscho¨n abstrakt-floralen Kunstblumenwelten der von Veronika Unland gestalteten Cover, die ein ums andere Jahr auch die Augen in Verzu¨ckung versetzten.

Auch wenn jede Kompilation sich aufs Neue an den relevanten Fragen zeitgema¨sser Diskursmusik abarbeitet, so ist der erhabene Moment am Ende doch der, in dem sich alles zu Gunsten eines - ho¨heren, kosmischen' Ho¨rerlebnisses, im wahrsten Sinne des Wortes in ambiente Luft auflo¨st.

POP AMBIENT ist die sakrale Musik der Ungla¨ubigen.

Wolfgang Voigt / September 2018

Field Records is to release John Elliott’s previously cassette-only album titled ‘’Gold Fiction Loop Garden’’ from 2016 on vinyl.

Aside from curating the Spectrum Spools imprint and taking part in the bands Emeralds, Organic Dial and Outer Space, Elliott has put out two absorbing solo albums over the last ten years. His solo works as Imaginary Softwoods fit in the tradition of kosmische greats without ever delving into pastiche. This third album from Elliott features a collection of short loops, recorded live to two-track digital using analog synthesizers, Mellotron M400 and multiple arrays of configured FX processes in Cleveland, Ohio.

The nine tracks are widescreen meditations on pastoral ambience. Gently rising and falling chords, mellifluous pads that slow fall from the sky and ever evolving patterns of melodic beauty range from innocent and youthful to more sombre and reflective. It is a beautifully absorbing listen that is perfect audio therapy for the mind.

Marshstepper are the most radical incarnation of Ascetic House, the collective and publishing house based in the desert city of Tempe, Arizona.
Marshstepper's dark electronic ritualism is performative, violent, unusual, shocking, unpredictable and raw.
During their Berlin Atonal show in 2016, they were joined by Drew McDowall, Jonas Ro¨hnberg and Juan Mendez.

Cuthead got known to the wider public via his releases on Uncanny Valley but his roots reach way back before the label's start. There was a time when Cuthead and his brothers from another mother threw wild parties at abandoned industrial locations or in the woods around Dresden. The crew, which was known as Kunst:stoff Breakz, also established a label where Cuthead released two albums and one EP as free downloads between 2006 and 2010. Over the years the calls for vinyl versions of those early joints were getting louder and so Uncanny Valley decided to give the best tracks from that era a new life on physical sound carriers and start the ''Total Sellout''. Through refinement and rearrangement 51 tracks were boiled down to a selection of 18 and ended up as an album full of catchy bass lines, heavy beats and sampling excesses. Among the tracks are party starters like the strings-infiltrated ''Scissorhands'', ''The Poncho'' or the ever devastating ''Iron Lung'' which still kicks like Dubstep has never faded. Since Cuthead has always been heavily influenced by Rap music, there are of course lots of great Hip Hop beats on ''Total Sellout''. Either in the form of funky sample studies like ''Painquilizer'' and ''VibraSkit'' or in true fashion with Raps by crew member Alibi on ''Hidden Track''. Also included on the album are ''Rock My Soul'' and ''All Night Long'', some early examples of Cuthead's knack for well tempered and super catchy House tracks, while the double-bass driven ''Rythmus '78'' shows another jazzy side of him. Once again, the artwork was conceived and designed by Till Hohmann who already did a brilliant job on last year's ''Everlasting Sunday''.

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

* Haunter Records co-founder and former member of Cage Suburbia Daniele Guerrini delivers a new release as Heith, after a period of intense collaborations with artists such as Jesse Osborne-Lanthier, Weightausend, Ruben Patino and more. Moving the projects into new territories influenced by traveling and fierce introspection, elaborated by organic textures and evolving sonic objects in a digital ecosystem. Heith hands in three tracks of meditative beauty, each one conceived as a build-up of layers and variations around a different theme. The track 'Maria', also features longtime collaborator Matthias Girardi AKA Weightausend, adding facets and nuances to the tune's design.

* Laguna is a polychrome electronic dreamscape, in which the ritualistic character that undergoes all of Heith's production assumes new forms, revealing a somewhat fractal harmonic and emotional structure. Lacerating the texture of consciousness into a different realm, held together by idiosyncratic laws of physics.

(12"+ Poster)

What is Infoline Infoline indicates new content components via an intuitive union of several media forms. We see the medium record/cover as a placeholder that does not contain enough information or limits itself only to the audio (music). The goal is to break open that standard by collaborating with designers, artists and musicians to find the improbable (formula) within the limit (format). The label Infoline is built on that collaboration because via that connection the network of possibilities grows and the intensification becomes more complex. POSTER & BLOTTER ART BY MARC JAUSLIN A SIDE PROVIDED BY LUCA DIGILIO AS AUDIOGUIDE AND B SIDE BY FLAVIO AUDINO & WALID EL BARBIR AS MEMBERS OF INFOLINE

Vinyl version 2x12 LP (Special Edition) After having been released in CD and Single EP format on Prologue Music (October 2012), Outis Music is proud to announce a new special edition of SHAMAN'S PATHS - the complete album in a double-vinyl compilation (2x12''LP) coming out as a part of Outis Opera Series. Vital Sales Points: - Global Promo. - Artwork by Suloni Robertson.

* With ‘CHORDS’, the Stockholm-based musician and composer Ellen Arkbro returns to Subtext, following her acclaimed debut album ‘For Organ and Brass’.

* This new longplayer sees Arkbro adopt a more minimalist approach, focusing on the immediate qualities of sound and elegantly expanding the tonal capacities of acoustic instruments using precise, subtle synthesis.

* Composed of a carefully selected combination of tones, ‘CHORDS’ stretches, extends and obscures the timbral character of the instruments it is performed on.

* Across both tracks, Arkbro examines the sonic materiality and harmonic quality of chords. She considers how the compositions occupy space rather than time – transposing theoretical possibilities into the phenomenal realm.

* As a part of Arkbro’s systematic investigation of harmonic sound, ‘CHORDS’ proffers a divergence from conventional ways of listening. This work allows for a form of listening which goes beyond the mere reception of outer stimuli in letting the listener experience their role as active, and as embodying the sound itself. Space rather than time becomes the primary locus of listening as subtle movement of head and body reveals the inner complexities of ‘CHORDS’.

* ‘CHORDS for organ’ was first envisaged in Stockholm’s brutalist Västerort Church. With an interest in tuned intervals and chords, Arkbro sought out particular harmonicities before synthetically supplying additional harmonic content and texture. To pure fifths and octaves she adds synthesised natural sevenths and thirds, creating a heightened sense of harmonic stability.

* While this incarnation of ‘CHORDS for organ’ was recorded in Malmö’s St. John’s Church, this work is site-specific, requiring Arkbro to seek out appropriate chordal orchestrations in registers and tunings on each respective instrument, when performing live.

* ‘CHORDS for organ’ has been adapted and performed in Martin Luther Kirche in Dresden, Civico Tempio Di San Sebastiano in Milan, First Unitarian Church in Brooklyn, Lutherse Kerk in Den Haag and Sint-Jan de Doperkerk in Leuven.

* In the corresponding ‘CHORDS for guitar’ Arkbro applies her process to a more widely accessible instrument. Employing a fine-tuned Karplus-Strong synthesis, she supplements additional tones to create a harmonically controlled blend of the acoustic and the synthetic.

* ‘CHORDS for guitar’ places the listener at the center of a cyclically repeating complex of harmonic strings in wave-like motion. Attention is synchronously fixed with the sound as this chordal harmony rises, vibrates, and purrs away, before rising again.
* As she transposes these ideas across organ and guitar, Arkbro teases out their affinities and dissimilarities, and, in doing so, effectively highlights the harmonic character of the work as a whole.

* In Arkbro’s words: “I listen to these chords with an interest in them as complete events in themselves and without any particular attention to their sequential occurrence. To me, chords with a high degree of harmonic clarity display diamond-like qualities. There is sense of geometric complexity to the experience – both in very concrete terms, with regards to the ways in which these chords merge with acoustic space, but also on a more subtle level, on which harmony almost feels like space, and where the manifold ways of hearing these sounds spontaneously translates into modes of spatial awareness.”

* About the artist

* Ellen Arkbro is a composer and sound artist working with intervallic harmony in a context of high degree precision tuning. Her work includes long duration compositions for traditional acoustic instruments as well as for algorithmic sound synthesis.

* Arkbro’s music is heavily informed by her studies in intonation with La Monte Young and Marian Zazeela in New York, and with Marc Sabat in Berlin. She studied composition at the Royal College of Music in Stockholm and at Universität Der Künste in Berlin.

* ‘For Organ and Brass’ presented recordings of her compositions for renaissance organ, horn, trombone and microtonal tuba. It was praised by The Wire, Tiny Mix Tapes, Stray Landings and XLR8R.

* Since the release of ‘For Organ and Brass’, Arkbro has been developing new work for harmonic wave-field synthesis at New York’s world-renowned Experimental Media and Performing Arts Centre.

* She has also performed her work for acoustic instruments and synthetic tones at prestigious venues, institutions and festivals internationally, realizing site-specific adaptations in Milan, Paris, New York, San Fransisco, Dresden, Copenhagen, Budapest, The Hague and Leuven.

* Arkbro and Sarah Davachi performed their adaptation of a piece by the 17th century composer William Lawes for two organ players at the Third Edition festival in Stockholm.

* Most recently, legendary pianists Mats Persson and Kristine Scholz commissioned a work from Arkbro for precision-tuned clavichord and hammarklaver, which debuted at their studio in Stockholm.

Stimming x Lambert have done an album together: EXODUS!
This duo debut will be released on the new Berlin based Kryptox label on 9th march 2018.
Kryptox is the new label for Neo -Jazz/Kraut/Classical music my by Gomma and Toy Tonics founder Mathias Munk Modica.

Stimming is one of the main names in German advanced Techno. He first appeared to the public with cooperations with David August and Solomun on Diynamic records. Later he did orchestral Techno works and is by now one of the leading names in his genre..

Lambert is one of the rising starts of german neo-classical music. The - pianoman with the mask'.
After 3 albums (some recorded with little help by Niels Frahm) he is selling out venues all over Europe.
Together Stimming x Lambert created a new approach on postmodern, romantic, krauty Electronica mixed with classical piano elements.

“Last night I turned into a cat. Just like that.” A Colourful Storm presents an album by Brunnen aka Freek Kinkelaar, one of the everlasting beacons of the Dutch underground. One half of fabled group Beequeen (1988-2015) with Frans de Waard and collaborator with the likes of Nurse With Wound, Paul Panhuysen, The Residents, Merzbow and Edward Ka-Spel, Kinkelaar presents The Garden of Perpetual Dreams as a newly visioned recording of a cassette from 1989. Produced with Raymond Steeg of The Legendary Pink Dots and mastered by Steeg and Peter Van Vliet (Mekanik Kommando, De Fabriek, The Use Of Ashes).

Luke Younger returns to PAN with an eight-track album of his most direct work to date.
Composed alone at NO studio in the Essex countryside, to start an album with a piece called
‘Capital Crisis (New City Loop)’ seems an intentional misnomer. Long, sustained periods in the
rural studio setting see Younger working with an array of fragmented, disassociated sound
sourcesto build upon 2015’s ‘Olympic Mess’. It shares a similarly inclined vision of the urban
environment, but here ‘Chemical Flowers’ makes reference to paradoxical notions of authenticity
and creative practice by way of questioning the structures around us.
Collages are assembled and dismantled, temporal and spatial boundaries fluctuate and movement
is an overarching theme. Surrealist drowned world atmospheres sculpted far enough away from
the source of inspiration leave plenty of room for ambiguity. The nocturnal nature of the recording
process is self-evident, and pieces like ‘Leave Them All Behind’ tap into a deep psychedelic
undercurrent. Confused narratives, emotions and aleatory hallucinations ebb and flow throughout.
‘I Knew You Would Respond’ evokes murky soundtrack terrain with eerie repetitive strings and
ambient respite, disrupted periodically by brief bursts of granular noise. It’s one of the records
most unnerving moments, possibly as it’s one of the most recognisably human.
The album navigates dense passages with recurring signifiers. Hollow percussion, modulating
delay and curious field recordings come and go, maintaining a perpetual state of flux where
nnothing stays the same for long. The drowned world theatricals return on the swamp-like
‘Lizard in Fear’ whilst string rhythms creep in on the penultimate track to incite momentary
electroacoustic harmony. Floating synthesis slowly washes over and the title track unfolds - five
minutes of reverb-laced portamento, visions of decay and Editions EG influenced world-building.
‘Movement is key’..

Not Glass is the debut collaboration between Alessio Natalizia (Not Waving) and his longtime
correspondent Dimitris Papadatos (Jay Glass Dubs), paying tribute to Latin and Greek authors Ovid
and Heraclitus in a suite of dramatic electronics and cryptic rhythms comparable to a theatrical
soundtrack.
Knowingly, ironically pretentious, yet serious with it, ‘Forma’ is the result of years of daily
Facebook chats between the London and Athens-based artists where they cemented the album’s
concept around key quotes by the legendary poet/philosophers, who hail from their respective
homelands of Italy and Greece. The results are in effect a spellbinding attempt to transmute those
notions within the collaborative, contemporary framework of their music, using patented palettes
of hardware, vocals, and FX to render and reflect core classical mythological and philosophical
ideas about drama, love, metaphysics, cosmology and the “unity of opposites”.
On this timeless plane, Natalizia and Papadatos both step outside of themselves to find “what
opposes unites”, spaciously consolidating their typical, yet contrasting, rhythm-driven approaches
in a reverberant, often beatless sphere of exploration. Removed from their usual handrails, the
artists operate at their most open-ended and subtly suggestive, amorphously shapeshifting from
gloaming shadowplays of synth and keys to investigate arcane percussive impulses and iridescent
ambient whorls.
The result is a perfect, finely shaded marriage of their mutually esoteric, outsider Southern
European energies, which intuitively acknowledges and inhabits the paradoxes of their respective
styles. The illusively static yet mercurial ebb and flow of the atmospheric intro ‘Fallite fallentes’
sets the scene, where ‘Dum loquor, hora fugit’ invokes a viscous but brittle tangle of wide bass
and pointillist rhythms beside a stately cello vignette ‘Ludicrum’ that recalls aspects of Scott
Walker’s mystic charm ’Soused’. The rapid arps and slow moving, glassy pads of ‘Pauper ubique
iacet’ conjure a sublime tension that becomes diffused into the cavernous, hollow dub dread of
‘Ut ameris, amabilis esto’, possessed with its throaty, processed vocal, and the lonely strings and
plasmic electronics of ‘Forma bonum fragile est’ connotes a psychedelic coming-to-terms with
their artistic/philosophic duality.

n 2014, the Resono project was set up to study a number of highly reverberant locations around Scotland, with the aim of exploring and experimenting with the sonic qualities and possibilities offered by each.

Research for the project took place in spaces including a water reservoir, giant sea caves, oil storage facilities, an abandoned munitions factory, an early 19th century ice house and a cathedral. Among them was a 200 feet tall disused concrete silo, built in 1964 by the British Sugar Corporation to store sugar beet, but abandoned just eight years later. With the exception of a brief revival in the early 2000s for grain storage, the structure has remained empty.

The extreme acoustics exhibited by Cupar Grain Silo are an accidental artefact of it's ambitious industrial architecture, with a reverberation time approximating 36.5 seconds. Using impulse responses made within the structure, bespoke music was produced, sympathetic to these acoustics. These compositions were then reamplified back into the space in front of a live audience on Saturday 21 May 2016.

Resono was supported by New New Media Scotland's Alt-w Fund with investment from Creative Scotland.