Beats News

“Owl Parade” is the result of solo work of Przemysław Adach, having 15 years of experience in sound production, which resulted in a wide range of projects and singles in cooperation with many vocalists, rappers and musicians in the country and outside. This album combines everything at once – ambient, trip-hop, chillout with a large admixture of electronics, while mixing flavors with a cello, electric guitar or dynamic drums

Cutie Qnete is back with four sublime works of house music
tinged with a drop of acid and a gentle touch of electro giving
you pieces of his mind, body and soul.

LP with Gatefold Sleeve and silver hotfoil spine. Short info: Nearing its first birthday, Other People is celebrating the only way it knows how: Work. The label has put out new material every Sunday since it launched with last year's Trust compilation, and the culminating Work comp doesn't break that streak-consisting almost entirely of new material from Other People's artist roster, and a few remixes from some special guests. Work is not, however, an uncooked mash of music. It's sequencing is deliberate and its selection purposefully not encompassing. In fact, Work is more an album than anything else. Kicking off the affair is Soul Keita, whose roots run back to the days of Nicolas Jaar's first label, Clown & Sunset. Dave Harrington follows with a cover of the Nick Drake song 'Things Behind The Sun' with the singer Tamara. His amorphous chords flow right into the tight groove of VISUALS' 'A Pixel', produced by Nico and featuring some guitar by Dave. Darkside also pay their dues with two unreleased tracks from their Psychic sessions-'What They Say' and 'Gone Too Soon'. Putting a nail in the coffin, German pyro-techno duo Ancient Astronaut do battle with a troupe of remixers. The first comes in snarling at the hands of Powell. The second builds gently with the subtle touch of Jenilek. And last comes a deadly dub mix by Francis Harris and Gabriel Hedrick. Work paid off.

Back in the game, Fantastic Man returns to Kitjen with a powerful EP of mind-bending, acid workouts. Solar
Surfing is a concise example of the Australian artist’s panache for psychedelically inspired house music with two
dance-floor heavy cuts preceding a contemplative, baseline driven slow jam. The hypnotic and fast paced title
track locks in and moves ever forward, whilst Native Power features the classic sound of Fantastic Man’s 303,
coupled cleverly with the sound of an extraterrestrial bird-song. A drop in tempo rounds off the release with
Avocado Conception, an expertly delivered exploration in slow, chugging nostalgia.'

Straight from the Mediterranean Sea, the Greek Duo Bonnie and Klein have landed at MM Discos to present “ROOF GARDEN”, an EP where the balearic beats and downtempo takes over the control and where the “2 Balearica devotes” invite us to enjoy an amazing trip from the Ionian coast thru the Aegean beaches until Myrtle Sea.
Bonnie & Klein are no longer unknown after being working the last 4 years for well renown labels as “Leng”, “Music for Dreams” and “Is It Balearic?” among others. Following their previous releases, B&K stay loyal to their own personal vision of “Chillout”.

Highly influenced by the architecture and culture from Greece, George & Thanasis build beat after beat an amazing work where their “Laid Back Style” will be the main character on this story, a long with haunting keys, wicked percussions, and sounds and melodies that will remind to “Far East”.

A retrospective of the Defective Records catalog, from 1994-1998. This release marks the reemergence of this acclaimed label from the "golden age" of techno, and which was the original home for several featured artists who went on to garner significant accolades (e.g. Mike Parker, Solar X, Glitch, DJ Who, etc…). All tracks, now long out of print, have been remastered by Schnittstelle, and beautifully released in double vinyl gatefold package.

Tape / Cassette

The GTT series is a platform that hosts experimental projects & artists in sound art. It is dedicated to support sound as a genre of its own - beyond the boundaries of music theory and free of any expectation. Just art.

WOLFFRIEND is a collaboration project between Mischa Wolff (Von Abseits) and Daniel Harrison (Imaginary Friend). The two met each other in Berlin and discovered their mutual interest in beats, rap and sound art. When they moved in with each other last February they spent their first two weeks together in the studio. It resulted in an adventurous sound story called 'Computers' that brings listeners into a dimension of their own.

Must have new Label from Detroit. You may know Meftah from remixing Amp Fiddler on Mahogani Music alongside Jahn Cloud, but this is him self on hoiw own new label. “Music That Excites Me” gives word on what is happening here. Addictive, seductive trips through deepest jazz-inflected house, dusty keys, live bass and loose, expressive percussion intertwine in a mellow, bluesy haze it´s all there reminding among many other on Theo Parrish & Kdj but with a very own , very unique notaton. Needless to say we have only a very limited initial ampount at hand

Label head Moopie and digger extraordinaire Bayu shine light on a set of gems excavated from a curious period of IDM-electronica. The sentimental sequel to their stunning I Won't Have To Think About You compilation, the ten tracks float in melancholic space yet sound beautifully human. Neo Ouija alumni Bauri and Plod meet deFocus' own Lackluster, while Abfahrt Hinwil, the legendary duo of Toytronic boss Chris Cunningham and Martin Haidinger exchange a letter of melody with Multiplex. Includes a previously minidisc-only (!) track by Proem and a superb cut by Merck Records' own MD, aka Jaakko Manninen. Full-colour, reverse-card sleeve with printed insert.

LA’s Cromie joins Detroit imprint Clave House to release four mesmerizing cuts entitled ‘Root Bulb’.

A familiar face in the Los Angeles house scene, Nikola Hlady aka Cromie has established himself through his talents and graft in the studio showcasing his distinctive deep house rhythms, clever chord progressions and focus on charismatic sound design. His previous releases on Material Image, Amadeus Records and These Things Take Time join hypnotically driven atmospheres with captivating rhythms creating forward- thinking yet classically-minded sonics. His ‘Root Bulb’ EP sees the LA producer join the Clave House family accompanying artists such as Ali Berger, Pascäal, 外神 deepspace, Appian, Gerald Norton, Segv and Berndt.

Cromie's ‘Root Bulb’ EP picks up where his 2018 releases left off, taking inspiration from the Southern California landscape that surrounds him, with its juxtaposition of endless expanses of concrete amidst its staggeringly diverse flora and famous sunshine.
‘Root Bulb’ kicks things off with absorbing pads layered over rough and raw percussion with angelic textures in the distance before ‘Lilac’ delivers breaks-tinged drums, a catchy, buried sample, infectious synth notes and warming melodies inviting the listener’s focus.

‘Aristocrat Motel’ maintains the enrapturing ambience by fusing pulsating bass shoots, alleviating tones and charming, earworm keys offering a club-focussed yet introspective track until ‘Root Bulb (Grove Mix)’ rounds off proceedings with downtempo broken-beat grooves, tantalising vibrations and undulating, cosmic elements.

Depth & Weight out of Ireland deliver with 4 fresh across the board tracks fitting house, electro, experimental and leftfield guises. With support across the board among the underground key players in 2018, DW001 is a various artist release representing the sound that started the journey of Depth & Weight. Lovingly mastered by Sven Weisemann, Berlin.
Not previously available in stores.

Jon Tye and Pete Fowler have been making music as Seahawks for a decade now. Given the sounds they’ve been exploring over those ten years it was a cosmic inevitability that they would be asked to contribute to the catalogue of the legendary library label KPM.

They replied with Island Visions, an exploration of sound for vision where they construct “audio micro-worlds to explore and inhabit”. A way to transport the listener away from the everyday without the bother of getting on an aeroplane. Mind travel is space travel after all, and much better for the environment.

Mostly recorded at The Centre Of Sound in Cornwall, with additional recording at Studio 34 in London, Jon and Pete’s travelling companions on this particular trip were boogie wunderkind Sven Atterton on fretless bass and keys, Nick Mackrory on percussion and the Seahawks live team of Dan Hillman and Alik Peters-Deacon.

From the grooves of Brian Bennett to the moog vibrations of Mike Vickers, the lush textures of Les Baxter to the experimental sounds of Delia Deryshire and David Vorhaus, this new music channels sounds and moods from across the KPM universe.

The spacious “Hot Sand Shuffle” opens the record with some of Seahawks’ familiar “deck-shoegaze”. The slinky digi-dub of “Sky Blue Sky” follows, gently encouraging us to lay back and relax. “Mystic Beach” is a refreshing ocean spray of a synthetic groove that clears the head, priming a pathway to receive “Crystal Forest”, a new age house groove of birds and flutes.

Dense, deep and dreamlike, “Distant Shore” is ambient rainforest house with a 90s vibe, its dense foliage clearing to let us bask in the shimmer and shine of “River Run”. Hang drum, electric gamelan, flute and loon close side A.

Side B bounces into being with “Catch A Wave”, an upbeat beach groover of synthetic guitar, effervescent synth and snappy drums. Equatorial bubbler “Paradise Bird Bath” soon glides in with marimba, crisp beats and fat synth bass. Fender rhodes, space echo and fretless bass make “Smooth Runnings” a laid-back poolside groove.

“Spirits Have Flown” conjures a hazy vibe with marimba, sax, synth funk bass and chilled beats before “Rolling Deep” serves up a light cocktail of sultry rhythms, refreshing textures, cooling sax and fretless bass. Almost-title track “Island Blues” brings the horizontal poolside feels with melodic chimes, oboe and more fretless bass for maximum vibrations. The marina drone of modular electronics, celestial trumpet and jungle ambience pay the album’s final respects to the cosmos on “Sun Salute”.

Like many KPM suites, this is a record of two distinct sides. The sunrise of side A brings a deep meditation, a journey within to renew the jaded self. Side B refreshes with cocktails by the pool and a chance to groove away the evening at some sunset beach party before dancing under the stars in the house of dreams.

Pete’s front cover for the LP is part map, part postcard: “the record has five different sections and I wanted to reference those in the worlds they created, musically and physically. From beach campfire, to poolside hanging and nighttime dancing. A kind of portal to those places and the pictures they inspired in my mind. All places we’d like to be in this turbulent year”. The track descriptions on the back help guide the way.

2020 marks 10 years since Ocean Trippin’, the first Seahawks release, and Island Visions is the perfect distillation of the sounds, sights, textures and moods that Jon and Pete have been exploring over the last decade. Sunrise to sunset condensed to two sides of an LP. The normal rules of space and time don’t apply here.

This is the first time Be With has worked with Seahawks, but individually Jon and Pete have been members of the extended Be With family since forever (Pete did those posters for our Ned Doheny tour and we worked with Jon on the vinyl version of Hatchback’s Colors Of The Sun). Of course we were going to put this out on vinyl.

Mastered by balearic engineer of choice (and Be With’s regular audio co-pilot) Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, the sonic frequencies of these Island Visions have been precision tuned and encoded for optimum travelling conditions. Take the trip.

The debut release of The Thing With Five Eyes on Svart Lava.
Jason Kohnen's new darkjazz adventure. A 4 track killer release now on 180gr vinyl. Full color sleeve designed by Kris Czieslik.

Pop subversives Beth Roberts and Andrew Hargreaves (The Boats, Tape Loop Orchestra) pose their 2nd album as The Mistys with 'Pregnant Mannequin', following some five years on from their debut album 'Redemption Forest'. It basically sounds like an incredible, saccharine shoegaze/dreampop album recorded to a salvaged D90 tape that's about to disintegrate, warbling in and out of time.Referencing a wealth of pop archetypes via their uniquely claggy, recombinant filter to render a new vision for subversive pop music, Beth Roberts' sugary vocals are smudged and buried deeper in the mix, processed with fizzing textures that only add an extra poignancy and a sense of struggle to the classic pathos of her voice. In key, Andrew Hargreaves lends some of his most sharpened, devastating hooks, bringing their project closer to a polysemous conception of ambient-EBM-pop.
The formative experience and naivety of 2013's 'Redemption Forest' album has given way to a newfound complexity over the five year interim. It's there in the sense of gauzy ambiguity that
oozes through the record's synth, drum machine and vocal construction, with results that speak to a mix of uncertainty and determination, asking and answering ideas of imposter syndrome that can sometime undermine the urge to self-expression.
The diaphanous scale of 'Bite Marks' welcomes us into their distant, yet familiar world, where the tape worn cadence of Beth's vocals leave indelible marks on the mind in 'Womb', and 'Velvet Water' leads us down a pinched ginnel of darkwave pop, to arrive in the stately air of 'Heat Death'. At their most forceful, they're still a pair of tender souls, though, as in the push and pull of tempered rage and romance in 'Cut by Degrees', while 'Celluloid Skin' sees them offer a warm, fuzzy embrace of
shoegaze-pop akin to The Cocteau Twins heard underwater, and the dark blue swells of 'Blades and Boardwalks' and 'Metabolisms' reveals their natural affinity to what was once called Witch House, and can now be heard as a modern form of cold wave or gothic synth-pop - styles that take their pleasure from a feeling of negative ecstasy, an effective inversion of 'poptimism'.

The sound sources in Klein's work are rooted in personal relationships. Klein worked for a New York church's audio ministry; she mixed the choir, recorded the sermons and services, and later, knowing who was shouting, put parts of them in her MPC. Klein interviewed intellectuals in person to extract deep house messages from the conversations. Klein brought a close friend's hypnotizing Detroit deep house beat to the patio of a Senegalese Sabar ensemble to ask if they wanted to respond to it. Having learned the piano and jazz theory in her youth, Klein composes all the keys on her records. If a sound feels right, let's go with it, is her position. Excellence of technique isn't crucial for selecting sounds. Klein was tempted to study jazz though she ended up studying art. Her sound is a reaction to living in a world in which words are said to be powerful when they are far from adequate to describe many relations. She was shaped by spiritual jazz, mostly from the 70s, polyrhythmic environments, and the Detroit sound at the turn of the millennium. On a scholarship in Detroit in 2005, she was welcomed by Aaron-Carl (R.I.P.) in his studio and witnessed studio setups used as tools for survival. Back in Germany, Klein missed hearing those forms of house on dance floors, so she started spinning as a kind of transatlantic communicator. Community centers were turned into one night clubs quite a lot under the Bring Your Ass name of Klein's celebration series, which brought the ambassadors of Detroit house in person. That's how she gives thanks for the hospitality she has received in Detroit since 2005. One guest told her all Saturdays should be like that. Klein is an unofficial pupil of David Mancuso's craft. We'll take care of the details - come as you are. Coming from Frankfurt, an early influence on her sound was her fellow student Frank Metzger, the former vocalist of Oval. After moving to Cologne in 1998, she was part of the record distribution Groove Attack for a couple of years. Stecken night club was the place for her regular DJ appearances. A-Musik is her adopted music family in her hometown Cologne. When Klein is spinning records, she is used to going from Don Cherry to Detroit's experimental house to Tama Walo to ESG to Jaco Pastorius to Wendy & Lisa to Aby Ngana Diop to a Salsoul Acappella layered on a rough bassline to Jaki Liebezeit to Justus Khncke to Hypnotic Brass Ensemble to Yusef Lateef to whatever she wants to say - she is definitely not holding back. Celebrating the openness of sound is what the new record and collaboration with Florent Kandety and Georgia Anne Muldrow does for sure. Like standing in a sound corridor between two or more clubs. Kandety gave a Senegalese sound expressing astonishment as well as his falsetto to Klein's Zoom recorder and a personal chant through a long-distance internet phone call. The US American Muldrow tests the range of our perception with her interpretation of empathy. Klein composes keys, plays and arranges organ, bass and drums to cherish the vocals sung for her.

Orange Vinyl

Jude Greenaway is an audio/visual artist with a style deeply rooted in the various strands of Hip Hop culture. He has been releasing records since the turn of the 21st century but has been on the scene for much longer, honing his crafts from his base in East London. Not constrained to releasing one style of music, Jude has released interesting and engaging Electro, Techno, Ambient, Dubstep, Jungle and Breakbeat music across several key imprints including his own Yellow Machines and Modified Magic.

When Exalt Records approached Jude for a release in Spring 2019, it was always going to be a continuation of our exploration of the 7” format. Jude has delivered two killer Jungle / Breakbeat bombs, sounding total fresh and retro in equal measures. 7” Orange vinyl with art postcard insert by Dave Hanal.

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil. 

FOR FANS OF : MARK LANEGAN/MICHAEL GIRA/NICK CAVE.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho.  Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio.  After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

The second offering by Julie Carpenter’s textural orchestral entity Less Bells takes its title from a storied strain of decorative objects worn in remembrance of lost loved ones: Mourning Jewelry.
The album shares a similar mood of devotional pageantry, stirring ornamental laments born from a need to “create beauty out of grief.” Utilising an amalgam of strings, synthesisers, and choirs, the pieces ascend and descend in grand, glimmering arcs, ebbing from passages of “baroque complexity” to expanses of haunting emptiness. Certain songs also skew more overtly western than ever before, deeply reverbed plucks of banjo refracted against glowing horizons of sunrise drone: Americana gone ambient.

Furthering the music’s mystic intentionality, the track titles comprise “the major arcana of a tarot deck from an alternate universe,” lorded over by the “Queen Of Crickets,” ruler of “The Gates,” “The Fault,” and “The Fang.” Even so, the record requires no psychic divination to glean its fragile majesty, its muted tumult of mirage and melody. The beauty it possesses is too blatant, and bountiful.

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho. Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio. After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

It is with great pleasure that Public Possession and Cascine present to you the debut album of Bell Towers. Elev-en singles deep into his catalogue, his first LP is finally ready, an „Ode to escaping into (and out of) the emo-tional pits of dance floors – about finding a place in one night’s fantasy¹”. Musically it’s all we’ve ever wanted from a Bell Towers production: ear worm melodies, sharp baselines, wild cross-references in between genres and at last sees him explore his abilities as a singer/songwriter to full extent. Junior Mix is the sort of pop music that one is always looking for, but rarely finds - bright, charming and a little bit mad.

We sincerely hope you enjoy.
PP, Nov. 2019

¹Hayley Morgan, Oyster Magazine 117

»Sonic Healing« is the third full-length release by Martin Steer’s Bad Stream project. While the concept was started by one person in response to a singular situation, it fully came to life as a product of collective imagination. For the album, Steer sent a single guitar loop to twelve musicians from the extended network of his ANTIME label who improvised with the recording, which was later collaged by Steer into a single, 39 minute long track that stylistically ranges from feverish jazz to brooding ambient and abstract electronica. Together with the Iranian artist Arash Akbari’s vivid animations based on generative algorithms and real-time processing, »Sonic Healing« does not ask how one person can deal with turmoil in their life alone, but how we can create new forms of being together with art as a mediator.

After the successful debut album by Roland Sebastian Faber 'RSF' on Closing the Circle records RSF is returning with a new EP. We are not Friends! Double A side vinyl release with remixes by Benedikt Frey, Kinky Roland and Keen K. Including download code.

... Finding your soulmate is a rare and precious gift.
Even if one leaves this world-since souls don`t vanish-they remain in oneness …

First double on Sleepers Record from Manchester electronic music pioneer Eric Random.

The Bit is the second recorded collaboration between Aidan Baker (Nadja / Hypnodrone Ensemble), Simon Goff (Jóhann Johannsson / Hildur Gudnadottir) and Thor Harris (Swans, Shearwater, Thor & Friends).

Following on from 2017’s Noplace album, The Bit treads a similar path in terms of the recording process as the trio spent a day improvising at Voxton Studios in Berlin whilst on a European tour. The result was then edited and moulded into six hypnotic tracks that ebb and flow with beauty and ease.

The Bit finds the trio painting with a lighter touch than on its predecessor. Thor Harris’ motorik beats still underpin the music but the atmospherics take a more prominent role and there is a pure and cohesive path to be found throughout the record. Much like on Noplace, Baker’s guitar and Goff’s violin weave together beautifully, forming a deep bed of melody, ambience and reverb.

Given the trios credentials it’s not surprising they have created another immersive and stunning record.

2020 Re-issue of Keith Kenniff's debut album under his Helios moniker. Originally only released on CD in 2004 via Miami based Merck Records, this album of hazy ambient electronica is now presented as a vinyl edition for the first time.

AllMusic Review by Joshua Glazer:

"Those who mistake ambient music for an endless tapestry of unwavering atmosphere, pleasant yet indistinguishable, should be handed as an argument to the contrary this album by a recent signee to Merck's rapidly expanding roster. Through 13 tracks of inarguably pretty music, Keith Kenniff displays the musical equivalent of a genius screen actor, able to send a million moods and messages with the most subtle of facial gestures. The opening pair of songs, "Velius" and "Cullin Hill," point to a blissful treat which sits on just the right side of new age symmetry (particularly given the former's live glistening piano treatment). But only eight beats into "Nine Black Alps," the sensation is irreversibly altered by a single, mournful bass note which rumbles like Hades against the bucolic tone that lead up to it. Unshackled, Kenniff continues to roam, drifting into circular beats on "Two Mark" before wandering off into weightless asphyxiation on "Samsara." He even allows for the organic sound of faint acoustic guitar and piano to join his endless travels, giving a moment of real world clarity at the eye of this hallucinogenic work. Few could get away with a singular ghostly voice transmission without implying a stretch for ideas, but by the time he reaches the song, "Suns That Circling Go," Kenniff is so recognized as an explorer that you cannot be surprised by where he may arrive next."

The man in the crowd is a wonderer with relaxed habits. In him the course of things and movement of the city is reproduced. The Düsseldorfer Detlef Weinrich is such a man in the crows. Some one who is constantly listening to future winds through rushes of the past. He loves the night for its free will. And his music tells stories about it. You might know him as a member of the band Kreidler. As a solo artist he goes under the name Tolouse Low Trax. And he's already got three Eps and two albums under his belt. His first solo album „Mask Talk“ thrives on a feathery beat frequency and cool new-wave-strength. His recently released piece „Corridor Plateau“, which appeared as a limited edition to accompany the exhibition „Corridor Plateau“ contains percussive electronics and Industrial sounding like its from the second industrial revolution. His third album „Jeidem Fall“, is also not from here. It sounds like music brought down to earth from the heavens. But its a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, „Jeidem Fall“ attacks the subconscious and clouds the mind. The drums have more movement that on „Mask Talk“. Along with the constant tapping of drumsticks goes melodical arpeggios dancing dark and dirty. At times longing vocals drift abstractly through the room, as on „Sa Seline“ or „Geo Scan“, without telling any obvious story.

To sound like stylistic cross references from the present and past is all just speculation for nothing on „Jeidem Fall“ really sounds like anything that has gone before. You could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon's first reductive album „Nommos“. There is also a hint of the minimallist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filter and filters all his personal preferences through his MPC and his small synth setup to make them come alive here and now in a new way. Again Tolouse Low Trax has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Only a little light should illuminate the whole thing and the bodies that move above them should have no fear from threatening percussion which are displaced into a misty trance. A dark swaying shadowy mass, ideal for a journey at the end of the night and all those non-places where longing sleeps and the last romantics dance while getting drunk.

Vestals is the avatar of Los Angeles based artist Lisa McGee, who’s debut album Forever Falling Toward the Sky was released by Root Strata in 2012. She has also discreetly operated in U.S. underground music for the last decade as a member of the dream-drone duo Higuma with Evan Caminiti, while making vocal contributions to acclaimed albums by Jefre Cantu Ledesma and Sarah Davachi.

McGee is the sole producer and performer on her sophomore effort, Holy Origin. Since her last offering she has evolved her sound and process, placing a new emphasis on electronic processing, carving out negative space where slow burning rhythms and spectral melodies ebb and flow. Her songcraft is built on the foundations of atmosphere and experimentation that have defined her collaborative outings, but here she has meticulously built up her arrangements into a fully fleshed out vision of luminous dub informed avant-dream-pop.

Sinuous vocals and desolate guitars are rendered in crisp 3D, swallowed by viscera rattling bass and sizzling clouds of synthesizers. Hypnotic melodies and shimmering harmonies nestle within disorienting digital manipulations, conjuring a boundless, smoky twilight. Passages hover and undulate, sustained in trance states before crashing down into lush chorales that comfortably dwell in the space between euphoria and heartache.

Fusing memoir with contemplative inquiry, McGee traces the blurred boundaries between the self, the other and the world, capturing various states of desire-ambivalence and surrender. Each track is a meditation on the tension between opposing forces: the ideal and the real, the essential and the cultivated, the erotic and the ascetic. Through the exploration of these dialectics, Holy Origin unfolds as a darkly sublime reverie.

Principe’s sibling label Holuzam returns with a provocative exploration of western exoticism and all its romanticised and questionable aspects. It’s the work of Venezuelan native Alexander Molero, here playing on sounds familiar from the works of Martin Denny, Jürgen Müller, Andrew Pekler and Mike Cooper, as well as Venezuela’s own electronic pioneer Alfredo del Mónaco’s pastoral wonderings.
Now living in Barcelona, Molero has experienced first hand how his own cultural heritage has been romanticised by people he’s met in Europe. Taking inspiration from “the tropical lowlands to eternal snow”, a book written by German naturalist, painter and graphic artist Anton Goering (who spent several years in Venezuela in the late 19th century and who is perhaps best known for his drawings of Venezuela’s native birds), the music on ‘Ficciones Del Trópico’ is a sort of meta work of sonic fiction, an artist from the outside looking in to his own culture.
Using a Yamaha CS-60 Synthesizer, a space echo and a world of midi flutes, pipes and nature sounds, Molero imagines a utopian voyage inspired by the tropical and exotic desire of European traveller’s first contact with foreign and unexplored lands, creating soundscapes evocative of travellers that faced the vast unknownof the Amazon forest in the 19th century. Of course, all of that has a world of connotations; colonialism, appropriation, slavery - making this not only an absorbing and highly evocative listen, but also a multifaceted and thought provoking one.
Highly recommended.

Do we see what is really there? On the EP titled “Kelly”, the artist Eden Burns touches the topic of perception. How do we perceive and how do we channel our out-of-body experiences? The 4 tracks on this EP are the result of the artist’s extensive exchange with 4 objects. One track = One Object. The objects will not reveal themselves to the listener when experiencing the music. Not showing the objects alongside the music is a choice made deliberately. The meditative music is shifting, layers of sounds invite to form entirely new objects in one's head. Do we hear what is really there?

The "Duets" double cassette by Kristoffer Eikrem & Bendik Baksaas was awarded the Oslo-prize for "album of the year 2018" by Natt & Dag, Norway's biggest culture magazine. Due to many requests from our listeners we decided to pick the duo's 40 most precious minutes of music from the project and press a limited run of 300 copies on vinyl.

We are happy to welcome UK-based producer Native Cruise on Slam City Jams. The guy was on our radar since his releases on No Bad Days and Fruit Merchant that easily combined house music with new-age synths, a wave/EBM touch and balearic sounds.
His „Human Nature“ EP is no exception with five outstanding tracks that differ in tempo and vibe.
The opener „Crew Talk“ is a percussion heavy tune with lots of cowbells, a funky DX7 bass line, deep pads and dramatic chords that build up and up towards the end.
„Elsewhere" is the most housey track on this record, with four-to-the-floor 808s and bittersweet strings that burst out into euphoria. Closing down the A-side is „Fooled Again“, a balearic cut that feels like a day in the sun with it's little synth blips and arps.
On the flip we find the title track „Human Nature“ that might be the hidden jam on this EP. Hard hitting Linn Drums, digital synth bells and those haunting vocals we can’t get out of our heads. Finally we have „Not Long Now“ a perfectly atmospheric deep tune, that sits somewhere between ambient and reggaeton and will make fans of DJ Python more than happy.

Fresh from the release of their third album ‘Autonomy’ earlier this summer, comes Autonomy Variations: four brand new perspectives from four exciting, innovative kindred spirits of the avant-pop duo.

South London’s Medlar breaks the seal. Following a series of incredible live collaborations with Dele Sosimi (Fela Kuti), he’s has turned ‘Autonomy’ into a minimal, percolating house track. Swapping the acid spikes for analog bleeps, Medlar’s signature can be felt every step through this vivid energetic stomper.

Fabric resident Anna Wall follows with another beautiful subversion as ‘New Politik’ is given a smouldering take. Moody, intimate, downtempo; there’s some serious late night HTRK-esque vibes to Anna’s twist.

Further into the remix trip we glide to find Dischi Autunno, Ombra International affiliate Curses pulling ‘Electric Light’ into the fringes. Taking the upbeat, crystalline pop of Penelope and Stephen’s original and flipping it into a stark postpunk Bauhaus-inspired take, Curses’ live bass and driving new wave beat shine a whole new light on the original and write it a whole new chapter.

Finally, brand new act, Isolating have the honour of closing the EP with industrial modular apocalyptic take on ‘Infinity’. A vast playground of contrasts, at points it’s dirty and pounding. At others it’s quiet and menacing. File under ‘Dystopian Techno.’

Four extensions on one of the most interesting electronic albums released this year, if you haven’t treated yourself to ‘Autonomy’ yet, you’d be wise to. DJ Mag stated it’s The Golden Filter’s best work yet while Clash called a it a bruising return. These remixes follow with complete forward-thinking consistency. Enjoy…

The cult album from Tonton David originally released in 1991 is being reissued for the 1st time and with a 180g heavyweight vinyl.
Tracklist includes the hits ‘Peuples du monde’ and ‘Le blues des racailles’.

Clear Vinyl

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil. 

FOR FANS OF : MARK LANEGAN/MICHAEL GIRA/NICK CAVE.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho.  Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio.  After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

Fresh from their release on John Digweed's Bedrock Records under their more covert Techno guise 'Cypherpunx' the Brighton based duo Flip Fantazia unleash their debut album ‘The Trip’.
Touching on influences from Air to Bonobo, The xx to DJ Shadow, ‘The Trip’ guides you down a road less travelled meandering through Downtempo, Electronica & Trip Hop with a few Jazzy twists & turns.
Essentially Flip Fantazia is a meeting of two minds,
four hands, several synths, quite a few guitars, some very clever computer software with a variety of drum machines. The prolific duo spend most of their time writing, recording, producing, mixing & mastering original music down in an old bank vault in Brighton... well, Hove actually! Their real names… Douglas Horner & Tim Belcher.
Born from a project focussed mainly on music for Sync, writing for Ninja Tune PM, Cavendish Music, Delimusic, BMG PM & Deep East + more this is their first artist album to be commercially released.
Their first brief for Ninja Tune’s Production Music company was to create an authentic 60s sounding Samba song and a Boogaloo / Salsa, both of which appear on the Ninja Tune Latin Excursions album.
Along with a contemporary breaks / glitch remix of the classical masterpiece Flight Of The Bumblebee and a piece of funk with a foodie flavour for two other Ninja Tune production music albums. Another brief came in for some Australian influenced Beach House from delimusic to be used on the BBC Commonwealth Games Gold Coast 2018 coverage, so out came the Didgeridoo and five new tracks were born. Writing to brief is a delight & an adventure for Flip Fantazia covering many genres from authentic Samba to electro disco new-wave post modern cosmic soul funk afro-boogie punk alt+indie dance crossover and everything in between! So it was tough to narrow The Trip down to 10 original tracks which best illustrate the authentic Flip Fantazia sound.

Modest techno for mindful people. Venezuelan born, Swiss raised and Berlin living artist Arutani developed his own signature sound from early on. Very reduced, but sonically rich, reviving the golden era of minimal in his own in- terpretation. Subtle and detailed, dark at times, but always uplifting. Luise is proud to give home to his rst album. Hello Arutani.

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Visiting an antique shop is a journey into an uncertain past in which one finds objects that are dormant but still loaded with aesthetic, historical and sentimental value, waiting to be rescued in order to perpetuate their identity and, perhaps, to allow them to live a second life.

In "Anticuario", Alex Alarcón aka Sustainer uses digital restoration and sound processing tools to exhume forgotten musical genres, giving them new form and structure. The objects in his "Anticuario" are old recordings of popular music that have fallen into oblivion but have not completely faded. Now, after a long and meticulous process of editing akin to sound archaeology, he presents these forgotten objects to us, preserving their identity while creating a very different appearance.