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PICTUREDISC

Finnish band Jesse makes unsentimental and innovative music. What you hear on 'Fluids', released as a 12inch picture disc album on Hoga Nord Rekords, is the sounds of four creative brains' journey into the music universe of the future. Their music is influenced by earth and space - Jesse's astral and cosmic disco is prospective, totally boundless, and vibrant of life and blood. The production sounds luxurious and helps the psychedelic qualities to shine through the sound.

Jesse, who with their first releases some ten years ago played fast and arrogant synth based music, now picks up influences from afro beat, funk and ambient but they've kept the electronic core of their sound - simple chord structures rest upon cool synthesized waves of sound, like a glider carried upwards on the thermals between the summits of the Andes. Soft, pliable and mighty!

Jesses music is dreamy but not unworldly and one thing that makes them special is their ability to place the listener on the edge of their safety zone. There, in the frontier, they explore the possibilities of cross over music.

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

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

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

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

Mannequin Records presents a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, "Nortoncomputerforpeace" (1983), "Personal Computer" (1984, originally released by Durium Records), "Artificial Intellingence" (1985).Apple's first music "endorsement" and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music. Norton is the wife of Antonio Bartoccetti, progressive rock guitarist, and mother of the musician and techno producer Rexanthony. As a teenager, she was drawn to medieval, Renaissance and Baroque music, not to mention quantum physics, differential equations, organic chemistry, the experimentalism of John Cage and animated movie soundtracks. Her love for modules and circuits found expression through the waves of an old harmonium, the frequencies of a Minimoog, a Roland System 100M, a Roland System 700 and the ARP 2500/2600.

In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera "Under Ground". Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), PC (1984) - whose album cover prominently features Apple's colored logo - and Artificial Intelligence (1985).

While the beat-oriented style of Norton's music aligns her with such global fellow-travelers as Yellow Magic Orchestra and Kraftwerk, her championing of the personal computer as a tool for self-sufficient musical creativity also connects her to more artsy musicians such as Pietro Grossi, Laurie Spiegel, and the League of Automatic Music Composers. Norton's predilection for the bright, glossy timbres of early digital instruments also recalls Hubert Bognermayr and Harald Zuschrader's bizarre 1982 one-off Erdenklang.

Later, her talent and expertise attracted the attention of IBM, who in 1986 named her as an official consultant. Already the reigning queen of the Italian electronic scene, she recorded two CDs for IBM: Automatic Feeling and The Double Side Of The Science. Influenced by her son, the musician and producer Rexanthony, Norton brought her fascination with the early days of techno into the 1990s, when she released three volumes of Techno Shock on Italian trance/hardcore label Sound Of The Bomb.

While her music remains largely out of print and inaccessible, Norton's early records have recently begun to receive the inevitable rediscovery treatment.

"In the late sixties I had already conceived computers as personal.' I have always trusted in the benefits of solitude, (being) alone means freedom... What's better than a personal' computer for materializing ideas, by oneself" (Doris Norton)

Wave Stu might just be the Platonic ideal of icy, emotionally fraught synth-pop. On his debut release for Origin Peoples, Stockholm-based musician Michel Isorinne puts paragons of this style like Orchestral Manoeuvres In e Dark in his slipstream. Laced with spoken-word passages from films and television shows, Wave Stu weaves a loose tale about the nature of time, physics, and mortality that can be summarized by the key phrase, uttered by a woman scientist somewhere throughout the album, 'magic is in the molecules...'

Isorinne essentially creates introverted minimalist symphonies in which sprightly synth leads peacefully coexist with melancholy, drone-y undercurrents. Throughout the record, Isorinne's melodies bear a fruitful contrast between the morose and the jubilant. He repeatedly places exceptionally delicate and beautiful tunes amid subliminal waves of pensiveness. It truly is a masterly balancing act. e zenith of this approach is Side A's closing track, in which gorgeous countermelodies intertwine like lovers on a tropical beach while a pistoning rhythm pumps up the libido. It's instant paradisiacal bliss.

Side B contains Wave Stu 's most cheerful, uptempo track yet it never bursts into full-on euphoria. Elsewhere, Isorinne reverts back to more somber moods: an eerie, methodical chiller full of quiet wonderment and subdued sparkle reminiscent of Casino Versus Japan, Plone, and others of their gnomic ilk; a low-key anthem in which '70s Vangelis grandiosi meets the workmanlike bass-synth chug of Ulrich Schnauss; an elegiac piece that conjures an intimate majes ; a bass-heavy dirge festooned with forlorn wisps of melodiousness.

The complex, paradoxical happy/sad pendulum at the heart of Isorinne's music lends Wave Stu a tingly resonance that will reward repeat listens. Please welcome an extravagantly rich synth-pop classic.

'Challenge Me Foolish' is an almost lost album of µ-Ziq material circa 1998-99, an era that saw Mike Paradinas release 'Royal Astronomy' on the now defunct Virgin subsidiary Hut records, and also tour with Björk.

It's an era of his music that's definitely worth re-exploring, in which Mike went against the grain by producing music that was baroque, melodic and whimsical, while the IDM movement he was lumped with made instrumental music that was often neurotic and complicated. His taste for melody and dreamy beauty above roughness and intricacy confused people who were hanging on too tightly to the rules. He even brought in Japanese vocalist Kazumi, adding an extra human touch.

'Challenge Me Foolish' is something of a companion to the Royal Astronomy record, arguably even better given the fresh ears selecting the material. It's imbued with a confident sense of pastoral colour, and a gentle optimism, utilising bells, studied orchestral arrangements and airy synthesisers that sit the album somewhere between, Jean Jacques Perrey (the French electronic composer whose whimsy was always balanced with serious innovation and chops) and the colourful, optimistic soundtracks of Joe Hisaishi. There's a strange sense of the old and new throughout, the sentimental and utopia, with nary a hint of darkness. Even when the album dips into the hyperkinetic rhythms of jungle, the melodies and mood still retain a sense of gentle warmth. Dive into peak time Paradinas.

WORLD BUILDING is the blissful and introspective debut full length from Swedish producer Mattias Östling operating under his Rolando Simmons Alias.

It's a mission into melancholy that wanders over terrain both familiar and unknown. Bright and sparse melodies shimmer over icy landscapes, hewn with a careful composition and attention to the most minute detail. Ghostly voices swell into symphonic chorus while an analogue rhythm section keeps an almost human-like groove. Arguably his most complete work to date, 'World Building' is a satisfying listening experience with a strong narrative - an auditory tale of an epic journey with warmth and depth from one of Europe's most exciting producers.

Now available on lovely 3 colour marbled 2xLP in gatefold sleeve.

12" with HQ Printed Sleeve RECORDED IN GHENT

Delicate Electronic music excursion combining Classical Minimalism & vintage 'Krautrock'.

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

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

We have been waiting for Pele to crop up on a release from the footy mad Rothmans and what a time to play that hand card. Teaming up once more with his Aussie team mate Dawn Again and a first apperance from Leeds legends Clandestino. The first track from the EP 'Cobblejam' is nothing short of first class, a worthy italo, chuggy ,powerhouse that leaves absolutely nothing to the imagination. The b-side finds us with the slightly strangely named 'Woman For A Day' theres nothing strange about the track itself though . A deep and dark track that slowly drives forward into the abyss. Finishing off the record is an excellent remix from the lads over at Clandestino. Their Dessert Trance vibe brings the record together as sweetly as Pele brought together that 1970 World Cup Winning team.

From Riga via New York to Berlin on a one way ticket! There is no return now!

Joe is back! DJ support from Joy Orbison, Benji B, Floating Points & more..

Aymaran genre-bending producer Elysia Crampton returns with a much anticipated second album, Elysia Crampton. Exploring themes around the experience of pushing boundaries between cultures and identities, it draws

motifs from the ephemeral presences which create a sense of comfort and belonging in displaced peoples. Taking place against a backdrop inspired equally by science fiction and

discourses of radical queernees, the music on Elysia Crampton is a melting pot of fringe musical histories that tie together past and future. House music begets trap which begets musique concrete which begets New Age, which turns

into a DJ-tagged rap mixtape from 2006. Crampton's widely celebrated debut album from last year, Elysia Crampton Presents Demon City, was met with rave reviews and feature coverage from Pitchfork, SPIN, NPR, The Financial Times,

The Guardian, The 405, Crack Magazine, Tiny Mixtapes, and Vogue.

The new Alec Empire Album, now out on vinyl with Cargo ! An excellent product (sound is wide open large and strong) the new aspect of Alec Empire is his Lou reed/Iggy Popy & New Order way of singing. The result is a perfect fusion... Welcome to the Breakcore Croonerz !

Dark Rock'n'roll Breakcore remixes.... Featuring 2 remixes from C. de Babalone and Nic Endo. Space !

Limited edition of 300 copies. Comes with printed sleeve and black innersleeve.

Stepart presents "The Curve": a dark and intense EP which blends influences of UK Bass Music with the assertive sounds of Techno. The Parisian producer demonstrates his skill and versatility, as this EP takes a sharp turn away from his previous style of music production. Featuring his signature combination of lugubrious bass and unpredictable drums, Stepart reveals a late night sound palette which places his music at the heart of the club.

As one-third of Yellow Magic Orchestra and an Academy Award-winning composer for his work on the soundtrack for The Last Emperor, synth pop innovator Ryuichi Sakamoto is among the most groundbreaking artists to have emerged since the late 70s. A musician's musician, Ryuichi Sakamoto
has created intriguing musical unions with artists such as David Sylvian, Iggy Pop, Tony Williams, Bootsy Collins, Jacques Morelenbaum and many others.

What kind of sounds/music' do I want to listen to'

async is the answer to this question Ryuichi has asked himself for the past several years. This is the album he is the most proud of which synthesizes all of his musical and sound interests. This is a journey through analog synth, the sounds of things and of places, an imaginary soundtrack to an
Andrei Tarkovsky film and many others musical surprises.

Latency's tenth release is a journey through Nonplace mastermind Burnt Friedman's elusive repertoire, recorded between 1993 and 2011. Brilliant and pioneering, this is percussive, dubbed-out, minimal, electro-acoustic music. With guest appearances by Hayden Chisholm and Takeshi Nishimoto.

Emotional Rescue delves deep in to the past with the release of the first ever recordings by UK post-industrial, ambient pioneers O Yuki Conjugate (OYC). Recorded in Nottingham in 1983, the EP's four tracks showcase OYC's early sound: a beat-driven, lo-fi that places them alongside the early British electronic pioneers.
OYC, celebrating their 35th anniversary this year, are known for their "dirty ambient" sound - but it wasn't always thus. In their earliest incarnation OYC explored a more industrial approach characterised by tortured analogue drum machines, one-finger synth lines, played bass, tape loops and even flute. This naive sound template lasted until their debut album 'Scene in Mirage' (1984) before being jettisoned in favour of more ambient explorations.The story behind these recordings is one of brotherly love between bands. OYC swapped time in their rehearsal space for a day's use of a four-track cassette portastudio owned by their associates, Metamorphosis. Three of the tracks included were recorded on May 1st 1983 at The End Room (literally a studio at the back of one of OYC's parents houses) with the remaining track (live favourite "The Clattering Song") being produced a couple of months later.
To date OYC have remained largely unknown in the UK due to their wilfully obscure approach. They have released a series of very well regarded studio albums and innumerable spin-off and side projects that has recently seen a revival of interest in their early years, including appearances on Cherry Red's compilation of formative UK electronic scene 'Close to the Noise Floor' and Optimo's compilation of Fourth World-style music 'Miracle Steps'.
Accepting their fate as musical outsiders, OYC continue to make music with little reference to the wider world. This EP makes a fine addition to that body of work.

Ltd. to 120 numbered copies inside recycled stock cardboard box, incl. mp3

Byron Westbrook is an artist and musician based in Brooklyn, NY. His work focuses on dynamics of perception using sound, lighting and video to interact with architecture and landscape, often pursuing routes that involve social engagement. Confluence Patterns is an eclectic collection of recordings, containing both the sharpest and most pastoral material Westbrook has released. The pieces range from the textured drones of "Vanishing Action" to the Tony-Conrad-plays-Black-Sabbath riffing of "Perception Depth" to the Maggie Payne-influenced "Fractal Shift II'. Westbrook is interested in how sharp contrast can shape the perception of a sound. Working with texture and frequency in relation to listening duration, he considers sonic analogies as to how an afterimage affects the experience of sight. For example, the pillowy "Drifting Well" has a particular softness after experiencing the fatiguing frequencies and activity of "A Continuous Slip", and the density and detail of "Glorious Mess" plays in a particular way after the static textures of "Vanishing Action". Westbrook considers these sequential contrasts as integral elements of the work and has performed this sequence as a live set numerous times in recent years. Confluence Patterns is his third music release - after previous works for Root Strata and Hands In The Dark - and his first one for Umor Rex.

Recorded and mixed 2014-2017 in Brooklyn, NY + Los Angeles, CA, by Byron Westbrook (electronics, tape and software manipulation). Mastered by Felix-Florian Tödtloff at Ætherweight in Berlin. Design & photo by Daniel Castrejón.

Ltd. to 120 numbered copies inside recycled stock cardboard box, incl. mp3

Leslie García and Paloma López (Mexico City) have been working for several years around the intersection of music, art-installation and science, with sound being the primary objective of their analysis, acting their roles as composers/creators and observers of the physical phenomenon. Their work ranges from experiments with bioelectrical sounds created by living organisms like bacteria and plants, to the use of custom-made sets of hardware they call ontological machines. They usually operate within their own platform Interspecifics, and FRGL is their second release under the moniker: LogarDecay. The sounds contained in FRGL might be their more musical work to date. It is not far from sound art, yet the bright accidents coming out of their improvisations seem to exist in the limits between harmony, rhythm and pure noise as a construction. Its tension sometimes soothes, sometimes mutates into a state between drone, ambient and abstract techno. FRGL is an exercise in transparency that does not seek to hide their errors but to maximize them and turn them into an aesthetic statement.

Recorded and produced during 2017 and early 2018 between Santiago de Chile, Madrid and Mexico City. Using processes ranging from analog synthesis with DIY synthesizers, programming of rhythms with Supercollider, programming of digital drones in PureData and other virtual tools. Composition instruments and mix by LogarDecay. Mastered by Dino Spiluttini in Vienna. Design & photo by Daniel Castrejón.

Dutch artist Mokona returns to Templar Sound for his third release on the label with 'Love in Restricted Areas', described as being set in a private laboratory complex deep inside a forest, recorded during the summer after long nights of medical research.

* 'Love in Restricted Areas' continues the lush and serene soundscapes explored on 2015's 'Breathless' EP, while mixing more club friendly tracks like 'Perfumed Steel' and 'A.N.G.E.L. Guard System' with the meditative as found in 'Heart Sync' and 'Natalie's Aquarium Lab'. With a strong cinematic feel permeating throughout, and having taken his name from a character of the manga xxxHOLiC, which explores Japanese mythology and culture, it makes perfect sense that a track like 'Cupid's Bow' feels like it could have been lifted from a Studio Ghibli soundtrack.

* Though hard to pin down to a single genre, Mokona has produced a beautifully layered record that is just as fitting for head phone listening as the chill out room.

Clear Vinyl

The new record of TERRITOIRE presents the story of the slave Alix from his birth as a submissive being until the encounter with his first owners. Produced with techno veteran Oscar Mulero, it spits out 7 tracks made of flesh, heat and metal, that press and shake the limits between a sensorial electronica and industrial techno.

Project from the french producer and composer Olivier Arson, TERRITOIRE has published three different records with each other: Mandorle (2012), for which they played at Sónar Barcelona, Mandorle - Versions (2014), with remixes from artists like Aidan Baker and Father Murphy, and Confess (2016), an experiment from a sound installation based on the confession ritual.

In constant motion and without a stable form, TERRITOIRE opens news tensions between electronic processes, experimental instrumentation and narrative fragments. It sculpts an experimental techno that expands across oppressive and cathartic rhythms, folds into physical drones, and explodes with mutant screams. An existential drift towards a broken horizon that hides his beauty and discovers, at last, on this latent limit, a disturbing and unknown light.

Following up 'Drawn With Shadow Pens' on Spectrum Spools, Belgian sound artist Yves De Mey returns with 'Bleak Comfort', his third solo full-length. Geared towards serving up an intense musical experience, the album deconstructs regular club music to highlight some of its key elements in a transformative way.

An album about absence, malfunction and disorientation, 'Bleak Comfort' is equally packed with floor-functional material and left-of-centre electronics. By turn sizzling and spherical, convulsive and atmospheric, Yves De Mey ushers his listener in a hypnotic kaleidoscope of sounds, providing a fascinating picture of his ever dynamic grammar at variable scales and tempos.

Alien Ensemble's trombone man Mathias Goetz caused quite a splash when he released his eponymous debut LP under his Le Millipede moniker back in 2015: The multi-instrumentalist's initial offering was clearly something else, impossible to grasp, a musical vessel beyond genre, beyond style or era, seemingly beyond space and time even, a vessel that carried an almost cosmic kind of song-craft - music with no fixed stamp of origin, though it did somehow feel like an Alien Transistor release. Followed by remix album Mirror Mirror, which comprised reworks by 1115, Protein, LeRoy, Olaf Opal, and Saroos, to name a few, it's now time for album #2: The Sun Has No Money.Let's face it: There's nothing as majestic as the sun. At least not in our world. If it runs out of juice one day, it's game over: The End. Light's out. For everyone. At that point, it wouldn't even matter if you're rich or poor. We're all equal under the sun. Same level. And yeah, this might not be major news, but then again... we're talking about the sun. The sun! Guess it's about time to acknowledge its power and superiority, right In fact, you can feel it on your bicycle: pedaling at night, when it's on duty in other hemispheres, and you're working hard at the dynamo, sweating, you can actually feel how powerful it is. In the end you get off the bike all recharged, a tune on your lips - and somehow feeling like a miniature version of the sun yourself. And whenever you feel like that, that's exactly the right moment to grab a melodica and get to work.Following an initial warm-up round sans electricity, this new album soon begins to glow: Mathias Goetz aka Le Millipede doesn't need pedals, he boosts circulation by single-handedly* playing tons and tons of different instruments - it actually feels like thousands, easily. And thus begins a show that has countless levels to it: There are various sonic illusions... and yet Le Millipede doesn't hide anything: He's also willing to show the inner workings, the actual recording process and everything else. In short: he goes meta. Makes songs about making songs. That's right: why not use all these beautiful means to address the issue of money It's not the sun that casts shadows, all it does is recharge, fuel: growth & thriving, that's the sun's area of responsibility. And yet there came a man whose plan was simple: steal the fruit from your garden, only to sell it right back to you, for money. We can hear the sea gulls crying in the distance, as somebody is throwing breadcrumbs up into the wind that carries their voices...It's not the sun that casts shadows - all it does is radiate light. And yet there came a time when someone blocked those rays of light. Now if you're some kind of Diogenes, you'll simply say, Move at least a little out of the sun.' But if you're a teacher, you'll maybe light up your pipe and use that to lighten up. What matters is that the percussion parts, in this case, resemble some serious musique concréte. The sun doesn't know shadows - all it knows, is itself. And yet somebody entered the picture and built an entire city. A city full of streets, so that houses can cast shadows into these avenues. Plus, there's music in the streets, music originally written inside the walls of said houses.One of those streets is known as the Tin Pan Alley: a place that got its name from a music writer who compared the sound of so many pianos to the banging of tin pans. That sound: that's one side of the road that is this album. Some of these melodies appear to be shadows of earlier tunes, dating back to, say, 1898 or even before that, melodies that were first registered in the Tin Pan Alley publishers' offices back in 1912 or 1917. We actually get to see this Alley at that point in time. We see the ropes, the workings. How things come together, the actual act of creation. Suddenly, we can hear the shadows!
Okay, so one side of this street is America. The US of A. The opposite side: Russia. And smack dab in the middle: Europe. A pothole in the center. All the back-and-forth that occurs between these two poles ultimately depends on the movement of the sun. Night and day, taking turns, commuting in and out of sight. We get to meet Prokofiew's and Scriabin's ghost, among other spirits, reframed and published by Le Millipede's own imaginary label imprint on the historic Tin Pan Alley. Indeed there are moments on this album when Le Millipede seems to be playing Scriabin's clavier a` lumie`res (tastiera per luce), when his performance seems to be based on synesthesia, a wild cross-pollination of colors and sounds. In case you didn't know this: In the States, Prokofiew goes by the name Brian Wilson, and Scriabin's also known as Sun Ra - yet another guy who's usually broke, but gets to spend a lot of time out in the sun. Together, these assorted protagonists ask the people of the Antilles for Mutabor dance-tokens and send postcards to Moondog in Germany, right back into the darkness. On the postcards you can see people dancing the Biguine...Firing foreign fossil fuels from all pipes (Brennelementsteuer!), Le Millipede controls the very center of this hustle and bustle: going as far as to employ some southern Chopped & Screwed styles, he's 100% current and zeitgeisty! Houston, we've got a problem: there's some kind of myriapod, centi- or millipede on the loose! Well, give me another sip of lean, sizzurp, dirty Sprite, and on goes the journey in the Pullman coach. Let's follow the sun! Keep on moving, keep things motorik! Here comes the Trans-Eureka-Express. Cherish the backpacking days! A piercing rhapsody of sound (bohrende Rhapsodie), we'll remember them fondly! And thus things move on, the sun, the days, the earth: rise, set, action, round and round... onwards eternally. The sun: the biggest loop known to mankind. As if it was some kind of sonic Rube Goldberg contraption, time seems to be stretching out while listening to that hmmm. After all: time is a lot (a lot!) more than just money. And yeah, the sun is the real big shot on (or rather: above) Planet Earth. Le Millipede's live line-up also includes Markus & Micha Acher (The Notwist etc.), Nico Sierig (Joasihno), and Manuela Rzytki (G. Rag & die Landlergschwister, Kamerakino etc.).
*sole exception: Evi Keglmaier (Zwirbeldirn, Hochzeitskapelle) plays the viola. Words/sun worship: Pico Be

Boothroyd releases debut album on Fnord Communications the London / LA based label recently responsible for unearthing post-punk band Shame. Cutting his teeth in 2014 with debut EP Idle Hours on revered NY electronic imprint Triangle Records, and more recently contributing to critically acclaimed Grime LP's on 1-800-DINOSAUR (Trim) and Rinse (Maxta), Boothroyd reappears in 2018 with 'Pure Country' a typically idiosyncratic and forward thinking debut album.

Hugo Manuel is better known by his musical alias Chad Valley. A product of Oxford's prolific
creative community, Chad Valley has amassed a catalogue that spans four studio releases,
numerous collaborations and dozens of remixes. His 2010 debut — a self-titled exploration
in swirling synths and sunburnt melodies — laid the groundwork for 2011's Equatorial
Ultravox, which gave his downtempo productions a decidedly more pop-leaning twist. It
was with Equatorial Ultravox, and his 2013 album Young Hunger, that Chad Valley's profile
sprung forward, strengthened by a string of key touring slots supporting the likes of
Erasure, CHVRCHES, Active Child and Passion Pit, and by his collaborations with El Perro Del
Mar, Glasser, Totally Enormous Extinct Dinosaurs and Twin Shadow. After releasing 2015's
sparkling Entirely New Blue and continued touring extensively, as he now prepares to
release his third full-length album in 2018. Imaginary Music includes the previously released
singles Up Again' and LA in August,' both of which bolster one of the strongest batches of
material Chad Valley has yet delivered.
Press coverage via Pitchfork, The FADER, SPIN, Gorilla vs. Bear, The Line of Best Fit
Tours supporting CHVRCHES, Erasure, Active Child, Passion Pit, Twin Shadow
Collaborations with El Perro Del Mar, Glasser, Totally Enormous Extinct Dinosaurs, Twin
Shadow

- Limited editions LP are pressed on 'sunset' color vinyl

"Third release Mosaique Records MSQ003 ""DMT/JASSS - MICK WILLS EDIT + CUT"" that's an another dark electronic music experience, which includes new edit and ut by german musician and producer Mick Wills, known by his releases on such labels as Nation, MinimalRome, Rush Hour etc. Side A- super rare, almost unknown track by a russian industrial project DMT (Dmitry Tolmatsky/1970-2009), grabbed by Mosaique label owner Alexander Moralez from DIY audio-cassette. Thereafter it had some edits on Mick Wills studio. Side B- Mick's cut on never released track ""Flexion"" by Jasss (releases on Mannequin Anunnaki Cartel).Limited edition, vinyl only, A&B Sides - 45RPM."

For a number of years Lapsus Records has closely followed the career of producer Gacha Bakradze and has kept in touch with an artist who previously participated on the "DEU" compilation (Lapsus Records, 2014) with the track "Blackout", under his more ambient moniker, Winter Flags. It was therefore simply a matter of time before a record collaboration materialized in the form of "Word Color", a nine-song mini-LP in which Gacha gives free rein to his most introspective electronica. This imaginative producer from Tbilisi (Georgia) has deservedly earned plaudits throughout the European scene, becoming a mainstay of the Belgian label Apollo -a sub label of R&S Records, a fundamental label in the development of underground electronic music over the last three decades-, for whom he has released half a dozen releases to date, receiving reviews from prestigious publications including Pitchfork and Resident Advisor. Furthermore, since 2015 Gacha has combined his facet as producer with the running of his own label Transfigured Time. "Word Color" is a cinematic arrangement of captivating melodies, rhythmic experimentation, textured landscapes and micro-vocal samples. Gacha has once again reinvented his musical ideology, bestowing it with mood defining authenticity and excitement, through superbly and

dextrously programmed rhythms and harmonies. Songs like "Leaf", "Oneself" and "Stray" travel into ethereal wastelands and are ambient soundscape pieces replete with nuances and unexpected twists. "Word Color" also makes room for beats, with the low pulse of jungle rhythms in "The Prayer", IDM and electro fusion in "Word Color", and even the sound of hi-tech breaks in "Sarphi Rocks".

Akumandra is the Mexican imprint of Sainte Vie. The label promotes the exceptional artists riding the sub current of multicultural electronic music and, after 3 years of sharing its music for free, it's about to release on vinyl for the first time. Sainte Vie's music is a prime summary of what it means to hear in a post-genre universe. As trends are quickly rendered obsolete, the accumulation of culture debris is becoming more significant in relation to the producer - the ability to create a nostalgic blur through a composition of artifacts and interpretations. Paying homage to this, Estacion Inmortal (Sainte Vie's first EP) produces the afterglow associated with an auditory epiphany. The combination of mellow interludes, earthy chord progressions and acoustic-synthetic equilibrium have the capacity to conquer both communal space and solitude.

Limited to 100 hand-stamped / stuffed / numbered copies in picture sleeve.

The B-side features two cuts from his debut album, Maximal Electronics, on Moontown Records. 50 cassettes disappeared in the blink of an eye and this is the first time any of it has been pressed to vinyl.

The A-side (featuring the vocals of P. P. Rebel.) is, well, inexplicable...but with a gun to our heads we'd say it feels a little like Heavy Metal colliding with a shroomed-out Radiophonic Workshop on the bleary downward dip of a trip that wasn't BAD but wasn't exactly GOOD either. Par for the course in TIS' stomping ground of Geelong, really.

Following hot on the heels of the fabulously well received, and instant selling out of the great recent Jonas Reinhardt LP, comes the next instalment of Deep Distance's ongoing love for- and toe dipping into the magical world of Dirk Jan Muller's incredible COSMIC GROUND.

Both artist and label are often asked about the chances of releasing the revered, self-titled debut LP from 2014, on vinyl. Sadly, due to track lengths it has proved nigh on impossible but mercifully, DD offer up perhaps the next best thing. 2 killer cuts from that CD and digital only release on wax for the first time ever, the magnificent LEGACY' (Dirk's first ever piece using the Cosmic Ground moniker) and a rawer, earlier mix (previously unreleased) of The Plague'. Both remastered by Dirk for this release in 2018.

Two incredible side long pieces, epic in ambition and breadth, which again showcase Dirk's mastery of the revered Berlin School groove, heavy on leanings to Schulze, Froese and Co. yet instantly and incessantly of it's time now. Incredible soundscapes which for our money, is bettered by nobody out there just now. Magical, sequencer heavy, electronic psych- hike up the volume to the max and off you go... But don't hang around as like all the CG catalogue, it all sells out in a heartbeat so get on it!

A pressing of 300 only, and preceding LPs up shortly from ZOFFF and (Wire guitarist) Matthew Simms' SLOWS project.

Peruvian duo Dengue Dengue Dengue's return to Enchufada with new EP, 'Son De Los Diablos' — a record named after the traditional dance of the same name, Spanish for 'Sound of the Devils'. Brought over the duo's native Peru by Spanish conquistadors, it originally took the form of a procession of dancers and musicians that would take to Lima's streets wearing devil masks, absorbing the cultural and musical traditions of the local Afroperuvian slave population of the time. A core influence in modern Peruvian music and culture today, Afroperuvian styles also continue to inform the music of Dengue Dengue Dengue, as seen in RBMA's recent 'Afro-Peruvian Beats' documentary. This inspiration is especially prominent on the title track 'Son De Los Diablos', which incorporates traditional instruments such as the cajita, but also on 'Buscando', where the duo recorded with members of the Ballumbrosio family — the prominent lineage of musicians and dancers widely regarded as leading ambassadors of Afroperuvian music, dance and culture. As the band explains, the song was 'a big step forward', as it was the first time the duo recorded every rhythmic element with live musicians, giving the track 'the flow and cadence only live musicians can achieve', as well as a vocal sample from one of Peru's biggest stars, Lucha Reyes. The EP continues with final tracks 'Flootz' and 'Cobre', through which Dengue Dengue Dengue further explore their own unique blend of entrancing South American and African rhythms and melodies.

"If music-making is 'escapism', Jason has found his refuge (within) the depth of sound and delicate unfoldings of melody" - LiveMag SA

Deep Heads are very proud to present Escapism Refuge's album 'Hold', The Deluxe Vinyl Edition. It contains the Full 13 tracks originally released at the end of 2017 with an added 5 tracks previously unreleased. 2 of the tracks are EXCLUSIVE to the Vinyl Purchase that will only be available on Download Card that is foud inside each Vinyl. There are 2 remixes in total to the Deluxe edition, the first coming from none other than R&S / Apollo Records very own Synkro. He put's a beautiful twist on the track 'Fly Away' Featuring Chari Brix and takes the record to new dimensions. The other remix of 'Mistakes' comes from Nottingham's finest, Congi. It's a 140BPM roller that packs a serious punch. The subs are blazing and beats are full & beefy. Bravo Congi, bravo! 1 of the previously unreleased tracsk is 'Dream Fly' by the man himself. A little more experimental than his 'usual stuff', but is pretty incredible all the same. Then the last 2 are secret for now, you'll have to grab yourself a copy and find out from the Download Card ,)

Here's some info on the Album and Escapism Refuge.

Hailing from South Africa Jason Beukes has earned himself a mass following through his crafting of ambient, electronic soundscapes. Jason's affinity with rhythm was revealed when he began playing
the drums at 13. A passion for textured beats was ignited which saw the young musician delve into production - simultaneously studying 'Contemporary Music' and putting out a string of critically acclaimed EPs under his moniker. Absorbing himself in sophisticated patterns and bringing his beats to life, the young virtuoso fuses elements of trip hop, down tempo and 2 step, at times reminiscent of Radiohead, Bonobo and A Tribe Called Quest.

The tracks on 'Hold' provide the perfect balance of ambient soundscapes and stimulating dance mixes, with Beukes' signature textured rhythms and tight production present throughout. Kicking off the project 'Me Myself And I' marries filtered vocal samples with eerie synth melodies and electrically charged trip hop percussion. 'Self Fishing' demonstrates the artist's mastery of ambience, creating a luscious, all-encompassing stereo field. Enveloping the senses for a truly immersive aural experience, 'Sore' and 'Courage' go on to showcases Jason's unrivaled ability to bring his beats to life.Best described in his own words, the upcoming producer clarifies: "I generally try to absorb as much as I can from my surroundings and paint a picture of what I take in, through the sound I create."

Championed by the likes of LiveMag SA, XLR8R, Kaltblut Magazine, Dummy Mag and Between 10 and 5, it is no surprise that the aspiring musician has seen commendation from Giles Peterson (BBC Radio), Joe Kay (Soulection) and Lefto (Brownwood Recordings). This summer also saw the rising talent make his UK debut DJ set at the legendary Birthdays which was featured by Resident Advisor. With trippy, artistic visuals to accompany his single 'Courage', soon to be released, Jason is showing no signs of slowing down. Escapism Refuge has cultivated an inimitable signature sound and sparked the interest of the dance community globally. With his debut album set to make waves and inbound collaborations with Synkro, Compa and Ash Walker, 2017 is truly shaping up to be a pivotal year for Jason Beukes.

Following a trio of instantly sold out 45s on Polytechnic Youth, between 2015 and 2017, The Home Current finally channels a full length album through this bounteous and blossoming UK imprint for select experimental and DIY electronic music.

Another Way of Falling Apart' aims to build a wider audience for singular music adorer, Martin Jensen, a cosmopolitan Copenhagen-born artist whose music follows an emotional route that meanders back ultimately to analogue and electronica inspirations of myriad treasurable kinds. This incursion into LP territory follows a decade or more of Jensen's passionate engagement with music as the creative force behind singles on Static Caravan, and as the co-founder of the label Second Language (until 2014), for which he was the wings behind the celebrated Music and Migration' series in support of 'BirdLife International'. He has also remixed Colleen, Dollboy, and Ellis Island Sound.

Jensen's journeys into sound and harmonious living, which have recently taken him from London to a Brexit-rejecting Luxembourg home setting, are fuelled by his happy addiction to record acquiring (an almost pathological corollary of his now 25+ years of deejaying), his net thrown weekly into the waters of disco, electro, jazz, soundtrack, and global beats and textures from any city, desert oasis, or tribal trail, a knowledge that decants through his processing into the flavours of these ten instrumental pieces as likely to take you into dystopian industrial darkness as a field full of cyber fireflies...and both simultaneously.

This is home territory for a committed and expert birder who joyfully connects as much with the planet in bijou record stores or when trying to sight great grey owls or azure-winged magpies in remote country locations!

Hence, an almost subliminal, feminine aura to this debut work, and an existential stance that aims not to trouble but to thrill and stir, to convey the beauty that happens when Jensen exposes the adrenalinic tide rocking his angst and calms it with balsamic polyphony and poignant melody.

Across ten tracks that begin with A Gathering Silence and end, appropriately a little closer to heaven, with Rooftop Nights, mercurial soundscapes feature subtle references to past musical trends defined by sound and rhythmic energy, his past, our past. Through a sophisticated shuffling of plains, he creates space for dark and light tone colour, brooding synth couches, faraway themes, and euphoric builds, a full scope of arthouse cinema ambiences and new-wave and pre-techno tensions.

It seems appropriate that the launch of an album into a marketplace experiencing such huge levels of eclecticism should carry the hopes and signature of someone who turns the curation of an unlimited palette of sonic proposals into such a labour of love. Enjoy!

From the murky depths of the distant past comes a hot plate of stank whipped up by your chef du jour and man of a million aliases, Can Oral. This time around its four cuts of SP-1200 electro under his much-lauded 4E alias. Originally released on Freddy Fresh's Sockett imprint in 1996, we are dusting of this unheralded classic in the hopes of bringing some much needed dirt to the dancefloors of 2018.

Sync-Boy is our beloved electronica-kraut-punk live act from Leipzig Germany. A beautiful dark shimmering and playful project, recorded at Zurichs infamous squat. No borders - no nations - just music. Eclectic Lustpoderosa for all! Vinyl Only - Limited Edition - No Repress - 180g

Techno meets progressive atmospherics on this haunting, enchanting voyage into the deep. An adventurous solo project from an already accomplished musician, this record explores texture and rhythm in an aqueous, introspective atmosphere. There's a directness, casualness, and vulnerability to the music that sets apart a distinctive voice. It fits easily into the Kimochi catalog.