Beats Новости

90s material from the man also responsible for the Rex Illusivii material we've been adoring here. Stunning again. Download Code Included. Artwork by Emilija Radojicic. TIP!
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'Otherworldly, poetic, imaginative and full of exploratory spirit: the music of Mitar Subotic aka Rex Illusivii aka Suba is somewhere out there. Pure spheres of sound, ruled by absolute expression and a sounding language beyond our notion of a language.

Now Offen Music reveals another unknown chapter of his large archive. This time it's a Suba record, an alias Subotic started to use already in the late 1980s in Yugoslavia. It became prominent after his relocation in São Paulo in the late 1990s, where he became one of Brazil's most demanded producers of the time. Wayang' was conducted in 1995, just shortly after Suba produced an album together with his old Yugoslavian friend Milan Mladenovic under the project name Angel's Breath. Their record unites ambient, world grooves, polyrhythms, haunting synth lines, post-punk, funk, reggae, dub, Asian melodies and vocal experiments all turned into a demanding, yet slightly pop story arc for open minded searchers. Somehow the Angel's Breath is discreet mirrored in Wayang', that was recorded in Suba's Wah Wah Studio in São Paulo, Brazil. The album features eleven tunes of whom each single one dances in its very own pipe dream. You hear particles of classic, tripping trip hop, minimal music madness, drone psychology, African percussions, the sound of a jungle, all-consuming Wagnerism, tragically moving psychedelic, tribal neo wave, Balearic desire, ethnic pureness, industrial rudeness, traces of Alan Lomax and the Smithsonian Folkways world as well as syncopated polyrhythmic adventures, religious chants, sample experiments, mumbling synthesizers and even techno. It's all there and as if time hasn't moved on, its sounds fresher than fresh. Music that has been produced with no specific audience in mind, only guided by sound and the dimensions it is able to create. Consequentially it seeks for a listener that is willing to surrender, to feel the many particles of Suba's divine musical imagination beyond the common grounds. You don't love someone for their looks, or their clothes, or for their fancy car, but because they sing a song only you can hear.' Oscar Wilde once said. Suba is singing these songs without using his own voice. He chants with sounds, found voices and unheard rhythms. If Wayang' would have been released during the times of its origin, Mo Wax music would have sounded frumpy and Warp would have loved to drop it for its fierce musical attitude.

If someone now says, it is easy to judge backwards, we recommend to listen and jump irrevocably forwards. It will be a sublime, sparkling, spiritual, impressive, thrilling journey that elevates its listeners to a place of inspiration and enlightenment.' Michael Leuffen, November 2017

barking /ba:kin/ adjective BRITISH informal completely mad or demented. "we are all a bit barking" barking /ba:kin/ Noun BRITISH suburban town in the London Borough of Barking and Dagenham. bark /ba:k/ verb 2. utter (a command or question) abruptly or aggressively.

A vital figure in Iran's underground music scene, Mahdyar's dauntless electronic architecture fuses restless fractal beat structures with warped Persian motifs and instrumentation. The Tehran-born producer's longanticipated debut 'Seized' comes more than a decade since Mahdyar made his initial mark as a teenager producing the majority of the newly emerged Persian Hip Hop movement at the age of 16.

Retaining the grit and urgency of his hip-hop roots, Mahdyar sonically aims further off-the grid building crushing, feral soundscapes in constant flux. Dark and provocative, 'Seized's frenetic energy reveals itself slowly and purposefully.

Mahdyar's ambitious first full-length offering 'Seized' rhythmically structures itself along the contours of middle eastern traditional music and hip-hop, weaving mournful complex sound collages that blur the line between its acoustic and digital sources. Frenetic compositions continually build, reshuffle, and take a new divergent path with each reset.

New project and new label from the creators of the fantastic 808 Box, Fundamental Records.There are many details that make this project something really unique. These records will become classics if they are not already!. The music of every record is very special, also the artwork and the technic use to print each sleeve, but the concept behind this project something you need to understand, as you can read in the website everything is based in two factors:First, to provide the artist with complete anonymity in order to create in absolute freedom.Second, to offer the listener the work of the artist without any external distortions.The use of words to describe or define music is a senseless task. Most of the time the intention of descriptive text is not to shed light on the work of the artist, but rather to serve as a promotional tool to drive sales and increase recognition. This often has the unfortunate result of limiting the creator and his work. Music is all we need, any other additives are completely dispensable.This project is an experiment.Only six artists are part of this project.The identity of the artists involved in the project will remain private but they are free to reveal their identity after some time, even if we would prefer they didn't (that is the reason we provide a special code in the back of each record) The artists involved in the project are not aware of the identity of the other artists.During the following 12 months we will periodically release 12 records: 11 x 12 and the last one, a special 7 Each record is a full album, a trip into the mind of the artist. There is no need for 'perfected' tracks as this is not a collection of hits compiled on a 12' for massive sales. We asked each artist to work without any limitations or expectations that their previous 'sound' might impose. In this way the artist may expose ones true self in the music or choose to demonstrate another side of their creative self.

Apollo proudly presents the debut from Haramia Tapes, a new mysterious side project from renowned Hungarian electronic music producer Laurine Frost.
More usually known for his refined techno sensibilities, Frost has packed 'Pfunk' with deftly programmed rhythmic structures and infused it with low slung bass and jazzy textures that make for a sumptuous, enveloping listening experience, ideal for fans of Nonkeen, Jazzanova or Leftfield.
'Pfunk' contains seven unique beat sessions - smooth funk, crossed with unique broken rhythms, live drums, bass and found sounds - shot through with cinematic melancholy.
From the elegiac piano of opener 'I Am You' to the twisted drunken breaks of 'Pfunk' to the cooled out percussion and spaced atmospheres of 'Hail', or the moody spy-movie atmospherics of Farewell Four - this is an album that traverses a variety of moods and textures, effortlessly fusing traditional instrumentation with modern electronics and a perfect addition to Apollo's beguiling canon of mellowed out grooves.

Following a stunning recent Boiler Room performance, Nanook of the North take a deep sonic and conceptual trip northbound on their enchanting, eponymous debut album, via Denovali Records.
Nanook of the North are Stefan Wesolowski and Piotr Kalinski (also known as Hatti Vatti) - two acclaimed Polish musicians whose simpatico merging of compositional roles are blended as seamlessly as their use of acoustic and electronic sounds. Recording sessions broadly found Stefan playing violin and piano parts with additional synth touches and Piotr taking care of electronics, more synths and the final mix. Upon being invited by the Sopot Film Festival next to their hometown of Gdansk to perform an improvised score to a film screening, the duo chose Robert J. Flaherty's classic 1922 silent movie of the same name - 'Nanook of the North'. Keen to maintain and nurture the initial ambient essence of the film, the duo travelled to Iceland where they recorded the album in Reykjavík and later mixed it in Greenland.

Despite the icy expansive isolation captured from the movie, the album is also transferrable in scenario and evocation, equally omitting the dangerous allure of dystopian cityscapes, or even the 80s sci-fi horror menace of Maurice Jarre, Howare Shore and Jay Chattaway.

'Nanook of the North' runs the gamut of images, scenarios and atmosphere akin to scenes in a film. Opening with a window into the unknown, the mood carries from the darkly foreboding, 'Siulleq' into the dank, dread-filled kosmische of 'Tulleq' over the slow nocturnal drive through a techno metropolis of 'Afternat' to the gargantuan foreboding awe of 'Qulingat', which seems to suggest the story is far from over.

Stefan Wesolowski is a violinist and composer best known for work with Jacaszek, his score to the BAFTA-nominated, Oscar-shortlisted Marlon Brando docu-film 'Listen To Me Marlon' and for his rapturous, critically acclaimed album 'Rite of the End'.

Piotr Kalinski (also known as Hatti Vatti) - is one of the Polish underground's most vital figures. Renowned for for his analogue-focused sounds, this experimenter/explorer has been on a decade long excursion through vast and heterogeneous modern electronic realms.

Previous praise for Stefan Wesolowski:

Haunted, cavernous and horribly satisfying' (Uncut)

Awe-inspiring music that soars through dread, sorrow, joy and every emotion in between. A stunning and poignant inward journey' (XLR8R)

Instrumental evocations of loss and Decay, and monumental progressions through cavernous spaces. Wilting melodies are hemmed in by resonant menace, dissipated through drifting clouds of bowed tones or punctuated by ominous percussive thuds' (The Wire)

This is spiritual music, we hear this in the deliberate pacing, the yearning of the violins, the harmonic highs - but also in the droning lows, the earthly electronics, the tactile immediacy of the interface between heaven and earth' (A Closer Listen)

Previous praise for Hatti Vatti:

"The record sees the producer combining a vast array of samples with his set-up of hardware and other tools, creating a record that covers numerous sounds, operating at times between ambient and bass-heavy genres such as footwork and juke' (The Quietus)

Hatti Vatti is an underground hero amongst an intricate scene. A musician with fine tact and attention to detail, pared back to its barest essentials. Well-crafted and listenable" (The Ransom Note)

Karl Lukas Pettersson has searched through his vaults of DAT tapes to create a personal album of lost projects, ideas and forgotten gems. The album includes a remastered version of Professor Laphroaigh originally included on his Dr Lindh - Sounds Interesting EP for SCSI-AV
Limited to 300 copies

Dark, dread-infused and ready to test even the toughest of sound
systems, here Compa delivers three twisted, distorted and deadly
electronic experiments.

Removing all but the most crucial elements, Compa combines crushing sub-bass with skeletal percussion and chilling atmospheres to show yet again through his signature sound how less is always more.

Compa has received DJ support from the likes of Mala, Toddla T, Chase & Status, Mary-Anne Hobbs, Youngsta, MistaJam, David Rodigan, Shades (Alix Perez and Eprom) Hatcha, Om Unit and Plastician among others.

The music of Hawthonn is dense and atmospheric, but not inaccessible. Experimental electronic techniques fuse with doom-laden organ riffs, crystalline piano, elemental drones and haunting vocals. Largely guided by their own unconscious muse, the band's chief inspirations lie outside of music, in Romantic poetry, dreams and reveries, esoteric symbolism, the history of magic and witchcraft, folklore and the English landscape. Hawthonn is Leeds-based duo Layla Legard and Phil Legard. Having previously collaborated in music, as well as text and photography, they officially formed in 2014 to deepen their uniquely imaginative approach to musicmaking. Often developing from obsessive explorations of a particular theme, their work precipitates dreams and imaginative journeys, which inform the direction of their music. Their earliest music explored the afterlife mythos of Coil's Jhonn Balance through the image of the Hawthorn tree and Cumbrian landscape where his ashes were scattered. Their approach draws lyricism from the psychoacoustic phenomena of phantom words'—sonic textures translated from geographical space into droning sound spectra, and verbalized dream imagery. The prime symbol of Red Goddess (Of This Men Shall Know Nothing), is mugwort. An herb associated with dreaming, travel and menstruation, mugwort particularly favors edgelands: those abandoned, untended places, part man-made, part rural, where nature begins to reclaim what humanity has left behind. The music here unfolds a mandala of symbolism from these liminal spaces, drawn from a web of fascinations which unfolded during the recording process.

Repress

Rat Life is back with more unheard material from the hidden bedroom studios of East Germany. One Day In Metropia - is a project that was active around the year 2008 - operating out of the concrete suburbs of Dresden. Its main focus were live appearances in the citie's underground electronic music circle. Just a few signals of its enormous creative output were published on various sound carriers to this day. So it was time to release some more of this large bulk of data that has been lurking on storage devices for years. Rat Life's operator Credit 00 is proud to be allowed to contribute a remix version to this sonic document. Have a nice day in Metropia!

Das Mercury Award-prämierte schottische trio Young Fathers ist zurück, mit neuem Album - Cocoa Sugar' auf Ninja Tune!

Im November 2017 gaben Young Fathers, das Trio - bestehend aus Alloysious Massaquoi, Graham 'G' Hastings and Kayus Bankole - bereits bekannt, dass sie die Arbeit an einem neuen Album abgeschlossen haben. Das 12-Track-Album mit dem Titel 'Cocoa Sugar' erscheint am 9. März 2018 via Ninja Tune. "Cocoa Sugar" wurde im Laufe des Jahres 2017 geschrieben und im Hauptquartier der Band aufgenommen - ihrem Kellerstudio. Das Album zeigt Young Fathers in neuer Klarheit und ist ohne Zweifel ihr bisher sicherstes, selbstbewusstestes und vollständigstes Statement. Es folgt dem 2015 veröffentlichten, aufsehenerregenden Werk 'White Men Are Black Men Too'. Bereits 2014 erschien das Mercury-Prize-prämierte Debüt 'Dead'. 'Cocoa Sugar' hat wie alle Young Fathers Releases eine starke, eigenständige visuelle Ästhetik (Cover-Fotografie von Julia Noni, Kreativ-Regie von Tom Hingston) und wird auf CD, LP und digital Erhältlich sein.
- LPX: Limitierte blaue 180g Heavyweight Vinyl inklusive Downloadcode

Helios - Killing Sound 2015 Redux
Stand - LTO Redux
Siren - DB1 Redux
In The Sun - Silo Redux

Mastered at Photon Mastering by Dim.

All reductions recorded in 2015.

Original material lifted from the album Aeonflower, available via Night School & Finders Keepers.

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The Sky Looks Different Here

Direct from the heads and hearts manning La Cheetah club, the well-established Glaswegian cellar-dwellers kick the doors open to 'Outer Zone' with an EP from Copenhagen adoptee and Apeiron Crew stalwart, Solid Blake. Perfectly suited to the sonic sensibilities of Scotland's 'cultural capital' (and far, far beyond), the 4 track grey-matter-rattler delves through a darker, leftfield electro vim, with serious remix duties from dancefloor deity Dj Stingray.

Primed to shake the foundations of any venue, be it basement or above.

Air Lows is the debut solo album by Silvia Kastel. The Italian artist has been a fixture of the underground since her precocious teens, clocking up many miles in Control Unit with Ninni Morgia ('It's like Catherine Deneuve dumped two cases of post-Repulsion psychiatric notes over Pere Ubu's Dub Housing, lit the fuse and, ahem, stood well back" - Julian Cope), including collaborations with the likes of Smegma, Factrix, Gary Smith, Aki Onda and Gate (Michael Morley of The Dead C). Both solo and in her work with others, Kastel has explored the outer limits and inner workings of no wave, industrial, dub, extreme electronics, free rock and improvisation. Air Lows is both her fullest and most refined offering to date, a work of vivid, isolationist electronics which draws deeply on her past experience but assuredly breaks new ground. Prompted by a late-flowering interest in techno and club music, Kastel sought to create something which combines a steady rhythmic pulse with the otherworldly sonorities of musique concrete, and avant-garde synth sounds inspired by Japanese minimalism and techno-pop (Haruomi Hosono's Philharmony being a particular favourite). The formal artifice of muzak / elevator music, the intros and outros of generic popular songs, the extreme light-heavy contrasts of jungle, the creative sampling of hardcore, and the very 'human' synths in the jazz of Herbie Hancock's Sextant and Sun Ra: all were touchstones for Air Lows' conception and composition, and all strains of music addressing - or complicating - the relationship between the human and the technological. By extension, visual inspirations also proved important: anime, and the avant-garde fashion of Rei Kawakubo. What does that shirt or dress sound like Though used sparingly, Kastel's voice remains her key instrument, whether subject to dissociative digital manipulations as on 'Bruell', delivering matter-of-fact spoken monologues, or providing splashes of pure tonal colour. Recorded between her expansive Italy studio and a more compact, ersatz set-up in Berlin, Air Lows gradually takes on some of the character of the German capital: you can hear the wide streets and uninhabited spaces, the seepage of never-ending nightlife, the loneliness. Air Lows is The Wizard of Oz in reverse: the glorious technicolour J-pop deconstructions of its first half leading inexorably to the icy noir of 'Spiderwebs' and 'Concrete Void'. These later tracks are reminiscent of 2015's magnificent 39 12', Kastel in the role of numbed, nihilistic chanteuse stalking dank, murky tunnels of reverb and sub-bass. But in fact there is contradiction and emotional ambiguity to Air Lows from the outset, and throughout - a sense of both infinite space and acute claustrophobia; energy and inertia; fluency and restraint.

After releasing Nils Frahm's two-track solo synthesiser EP 'Juno' in a highly sought after 7' edition, Erased Tapes now re-release ...

* Fully embracing its penchant for explorative music, DAC Records invites Alex Augier.
* His work offers a cross-cutting musical perspective, allowing hybrid aesthetics that includes sound and visual components. These components interact within the stage area, taking the form of singular audiovisual performances.
* This time, Germination, his first solo EP, is purely musical work composed of organic, visceral, living sounds, both fragile and mighty. The electronic music is free of constraints imposed by the dedicated instruments. Embodied by large dynamic ranges and a constantly moving temporality, Germination tells an evolving process, in full bloom, with its share of mutations and strange directions.
* Germination is composed of four tracks, including one remix by Roly Porter. In the same vein as Alex Augier, the co-founder of Subtext Recordings explores the experimental music boundaries, both electronically and instrumentally

Aus großen Melodien und strapazierfähigen elektronischen Teppichen gestrickt, ist "Love What Survives" gewissermaßen die Essenz ihres bisherigen Schaffens, indem verschiedene Gesangsgäste und Musikerpersönlichkeiten (James Blake, Micachu, King Krule) hinzukommen, um gemeinsam zu experimentieren, Formen neu zu denken, Dinge auszuradieren, mit Pop-Überlieferungen zu spielen, alles zusammen wachsen zu lassen. Die neuen Tracks enstanden größtenteils auf zwei Vintage-Synthesizern (Korg MS-20, Korg Delta), die beide, so die Band, diese "punkige, schloddrige Qualität hätten, die an Robert Wyatt erinnert", die mit ihrem Industrial-Einschlag und dem unverkennbar direkten Sound Mount Kimbie zu ihrem neuesten Sound-Update bewegen sollten. Der pulsierende Motorik-Beat der Single "Blue Train Lines" zum Beispiel schickt King Krule direkt auf die Überholspur, von wo aus er seine zerklüfteten Vokalsalven abgeben kann. Die offene, ausladende Aura der Platte ist ferner der Tatsache geschuldet, dass sie zwischen London und Los Angeles entstanden ist, zwei Standorten, zwischen denen das Duo pendelte, um gemeinsame Sessions zu veranstalten und Ideen zu verfeinern.

The crew behind A Strangely Isolated Place firmly believes that this collection is Christian Kleine's strongest album since 2001 set Beyond Repair, and we tend to agree. It's made up of material recorded in the same period - between 1998 and 2001, to be exact - and showcases a range of impressive electronica tracks that pit the crunchy, computer controlled bottom-end of Skam-style IDM with warm chords, rich basslines, subtle jazz influences and some life-affirming electronic melodies. The German producer has always excelled at finding the right balance between forthright experimentalism and atmospheric musicality, and Electronic Music From The Lost World is a particularly fine example.

MAGNETIK NORTH is 'live drum electronics'. Drum performances are fed through processors, samplers and sequencers to produce layers of rhythmic patterns that interact with each other. Other instruments are melted into different textures so that only the harmonic content remains. This is a new project from Ian Tregoning, engineer and producer for artists as diverse as Yello and Fela Kuti.Now working with Jaki Liebezeit, the legendary drummer from CAN, to add his endless evolving rhythms. Jaki's in a world of his own as he balances technical brilliance with subtle restraint. Recording started in the Summer 2006 in an old jazz studio in the south of Ko¨ln. Jaki arrived with a minimal drum kit including customised cymbals, a snare and a huge Gretsch floor-tom from the CAN days. All of Jaki's performances are 'complete takes' with no drop-ins, loops or edits.The backing tracks for 'evolver' were recorded without using key changes. Each song features one key which is held continuously while other instruments and effects are blended with the key. Drums (also tuned to the same key) were added last which is another unusual technique. As Jaki says 'they're often overlooked as tuned instruments in their own right'. The finished results are a minimal blend of industrial and classical. Like listening to a 'raga in an earthquake'.Guest musicians include :
KUMO shaker ^ ARP 2600
LEE HARRIS (fromTALKTALK) djembe ^c hinesepercussion
ANDY BAXTER bass
MICHAEL POLLITT wash guitar
TIM HUTTON trumpet
JOE HOLLICK guitar

It feels like a long time since the last Contort Yourself, addiction will make time drag. Fear not, the peddlers of filth are back with a quintet of past profanity and new nastiness. Unknown Precept's Eindkrak serves up a grease dripping, ball bearing filled dish of Shawarma. After the entre comes a 90s treat. Kirlian Camera's Angelo Bergamini's side project with Celestino Pes under the name Andromeda Complex. Here the partnership offer the drums flailing beast that is The Servant (Extract), tongue lolling, eyes bulging techno brutalism from 1994. 4 sees GDL collide claps and low level bass line abuse as a thick haze gathers. On the flip. L.I.E.S. and Secret Studio scavengers, Circling Vultures are savagely Feasting on the Caucus of the Fallen Divine King before Bunker back row bully Klankman twists his knife into The Servant. Your latest dose of mean musical medicine has been served.

Robert Rental was the stage name of Robert Donnachie (1952-2000), a British pioneer of post-punk, DIY, and industrial music. Originally from Port Glasgow, Scotland, he moved to the south of England with Thomas Leer in the late 1970s where he met Glenn Michael Wallis. Glenn was recording music with the group Heute and leaving to start his solo projects NKVD and Konstruktivists. Both were heavily involved with Throbbing Gristle and the Industrial Records crew.In the Summer of 1979, Robert invited Glenn to his studio in Battersea to jam. Robert on guitar and Glenn on an EDP Wasp synthesizer. For each session that summer they would play for about 40 minutes, maybe longer, stoned. Robert suggested they record it, many times erasing and over recording one session for the next. The music had no titles, as they were never intended to be released. On these recordings, Robert enjoyed playing like Robert Fripp of King Crimson, while Glenn channeled Wolfgang Flur of Kraftwerk. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia, as well as Terry Riley and Brian Eno the duo forged a unqiue brand of Industrial music. Tape loops and synthesizer sounds played backward conjure dark ambient moods. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a jacket that features a drawing by Robert Rental from Glenn's archives as well as a handwritten note from Robert to Glenn. Each copy includes 2 photo postcards featuring a transcription of Robert's letter and liner notes from Glenn Wallis.

A generation younger than the founders of the Teklife crew, DJ Rashad and DJ Spinn, DJ Taye was originally a rapper and beat maker before hooking up with the collective and jumping into the world of footwork production and DJing.
However, it was Rashad's untimely passing in 2014 that was the unlikely catalyst for developing the sounds and ideas for this album. He says, "When Rashad passed away I felt inspired to continue evolving the music that I loved so much coming up in this world. So, I had to do something...make something brand new."

100% committed to pushing further the potential of the footwork template, Still Trippin' is ambitious in its range and scope. Taking two years to formulate, the record broadens the possibilities of the sound, forcing it to adapt to songwriting, and also revives Taye's talent for MCing and producing beats to which he can rap and sing. Furthermore Taye definitely ups the ante with his complex and precise drum programming, never losing sight of footwork's ability to confound. The album features a range of guests that span contemporary music, the eccentric, instructive rapping of Chuck Inglish of Detroit duo the Cool Kids is featured on 'Get It Jukin', Odile Myrtil, a young vocalist from Montreal, lends her smokey soul to 'Same Sound', Fabi Reyna, the editor of the celebrated women's guitar magazine She Shreds, sings and plays bass and rhythm guitar on 'I Don't Know' and Jersey club queen UNIIQU3 offers production and rapping on 'Gimme Some Mo'.Also, Teklife members DJ PayPal and DJ Manny assist on production, and DJ Lucky is a guest MC on 'Smokeout'. Taye is ambitious in his hopes for the album, "I took this as an opportunity to not have boundaries with footwork. Different approaches to our 'underground' sound to make it broader. It's only underground until it crosses that visible threshold.' This album brings all of this to the forefront.

Inspired by an evening spent in a restaurant next to a car demolition site, Eindkrak's long player debut echoes the distant sound of steel being crushed and cars pressed into cubes. All this noise, in combination with the taste of good Italian food, lead to the eleven tracks making up for the aptly titled Brullend Staal — loosely translated to weeping steel. A leisurely stroll on crumpled metal sheets, the acidic hints of oxidized metal and the smell of gasoline. Inaudible and distorted vocals as if smothered by the clatter and smokestacks of steel factories. Eindkrak's first full-length is all about this disquietude made of melted and straightened metal. A resounding and tumultuous din. Try to eat some nice gnocchi while listening to this album, and you'll see what it is all about

Remastered reissue of Whitney's recording originally released on tape cassette in 1983.

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Produced and engineered by Walter Whitney from April 1982 to August 1983 at Subterranean Sound Studios, accompanied by Carl Weingarten and David Udell's guitar magic sounds.

Japonaiserie was the term the Dutch post-impressionist painter Vincent van Gogh used to express the influence of Japanese art. Artists including Manet, Degas and Monet, followed by Van Gogh, began to collect the cheap colour wood-block prints called ukiyo-e prints" A mini LP by Benoit B, the boss of Banlieue Records , on which he creates a futuristic environment influenced by the Japanese electronics of the '80s. A musical "Japanaiserie" that can melt your cold cold heart.

Idiology was originally released in 2001 and is now finally back on vinyl. This re-issue is pressed on white color vinyl and presented in a die cut jacket with artworked inner sleeve and free download card. From their beginnings in 1992, Cologne native Jan St. Werner and Dusseldorfer Andi Toma have consistently challenged electronic music"s paradigm in often surprising and always intriguing ways. Idiology is the duo"s seventh album and is no exception to this rule, as Mouse on Mars surround themselves with strings, woodwinds, brass and the band"s own heavily modified fleet of machines in the St. Martin"s Tonstudio. Fans should once again brace themselves for the inevitable shock of the new as Germany"s most irreverent audio renegades have created the perfect soundtrack for a highly sinister dance party. Kicking off with "Actionist Respoke", the album"s first single, Mouse on Mars officially declare their independence from glitchtronica"s shoegazing legions. Longtime collaborator Dodo Nkishi lends a uniquely warped vocal sensibility to the track which already features Mouse on Mars"s darkest grooves to date. The rest of the album continues to thicken the group"s sonic stew. Tracks such as "Presence" and "Catching Butterflies With Hands" have their populist intentions undermined by Werner and Toma"s meddling hands, while the duo reprise their flirtation with the orchestral as heard on the opening tracks from 2000"s Niun Niggung. At the other end of the spectrum, "Introduce" is a truly evil slice of twisted lympho-zoid hip-hop. Idiology takes no prisoners in its dual-pronged assault on the conventions of modern music. Only with the loungy closing number, "Fantastic Analysis" (a term Werner and Toma invented to describe their working process), do Mouse on Mars let the arrangements breathe a long sigh of relief, the calm after the storm. To enable these stylistic achievements Mouse on Mars enlist the help of partners in crime such as: Nkishi, the multi-talented Harald "Sack" Ziegler, house icon Matthew Herbert on piano, violinist Matty Arouse, in addition to fellow programming wizards Adam "Vert" Butler and F.X. Randomiz. The latter two toured with Mouse on Mars in 2000 as they successfully triumphed over audiences around the globe.

Actual extended play (a mini Lp of sorts)... Get into the mind of the cgn wizard. BIG TIP!

Atomnation celebrates its 50th release with a Various Artists compilation featuring new work of about all the artists it worked with in the past. Launched in 2012 as a Bandcamp-only imprint, the label quickly made a name in the underground scene by introducing stunning titles from its front men Applescal and newly born acts such as Weval, Gidge, David Douglas and Sau Poler. Over the years the artist roster slowly grew - Polynation, Olaf Stuut, Portable Sunsets and Koett joined the club. Latest signings Tunnelvisions & Axefield appear on the compilation as well.
Atomnation released all kinds of records, mostly by bringing new talent to the front - not afraid to release unknown, different music. With its titles crossing the ambient, electronica and house genres, they found support by tastemakers such as Gilles Peterson, XLR8R, Laurent Garnier, Dixon, Lauren Laverne and P4k just to mention a few. This Various Artist album is no different to what the label did in the past: it's a milestone that simply represents everything it has built from day one.

Following the Adelaide electro sounds of Furious Frank's 'Magic Mountain EP', Ken Oath returns with an eye-opening survey of modern ambient music along Australia's coast. "Breathing Space" is the intermingling of organic and synthetic textures - lyrical birdsong and field recordings that evoke the immense natural beauty of Australia alongside blissful pads and synthesizers that echo the calming waves from lazy days spent by the beach. With contributions from Ken Oath alumni Donald's House and Angophora's Max Santilli alongside 9 other hand-picked Australian artists, these meditations on antipodean flora and fauna are essential listening for anyone interested in a contemporary relaxation experience.

H.Takahashi, Tokyo based Architect and sound designer follows up his revered collection 'Where To Be' on Where To Now records with 'Raum', a full length LP suite of meditative Pulse Minimalism.

'Raum' draws it's cues from a melting pot of closely connected yet wholly individual strands of Minimalism - from the Japanese Minimalist works from the likes of Hiroshi Yoshimura and Satoshi Ashikawa, to masters such as Erik Satie and John Cage, and Ambient leaders Brian Eno and Roedelius, Takahashi soaks this historical influence and rings it out it through a modern filter to create a record of stillness, ethereal beauty, and transcendent energy.

Takahashi composes all of his music on his iPhone, and this is no gimmick, rather a conscious decision which allows Takahashi to constantly create 'on the go' without the constraints of space, and for Takahashi 'Raum' serves as a mediation on the relationship between sound and it's environment.

For Takahashi this creative process 'feels something like an invisible phenomenon taking over & mutating these constantly changing spaces into abstract sound, creating a brief pseudo space which expresses and highlights the features of the environment for a moment in time.' Although perhaps quite an abstract statement of intent, when deeply immersed into Takahashi's pieces this idea of slowly gliding through different architectural spaces is naturally conjured through the gentle repetitive pulse which runs through his work and the playful unstructured tonality of objects which weave around this forward (or upward) motion.

'Raum' was created across the city of Tokyo, be it a Café / Park / Office / Road / Platform / Subway these pieces explore the power sound holds to emotionally enhance and mutate the listeners environment.

the power of the music presented is in that which is barely there, embracing space, silence, and cyclical repetition. The music is to help us function - it's music to work to, to sleep to, to help us find a sense of space and oneness within a world that is increasingly wild and untameable.

A stone scorcher of an EP to put alongside his classic Aquaplanos with Donato Dozzy, from nearly ten years ago. Four contrasting, deeply atmospheric stages in longing — swingeing and propulsive to blissed-out and bittersweet. Terse but charged; hypnotic, never bludgeoning; soulful and warmly crafted, never mechanical. Says Nuel — 'Unveiled consists of live recordings made on the same great day: 03/10/2015. The inspiration comes from a woman, the record is my reaction to something she unveiled. The record is about really strong feelings, relationships and mental projections... a sexy record for me. After that recording session I found these tracks so appealing that I decided to keep them in that form, a document of that day.'In hand-made, silk-screened sleeves — tastily inky and rough — featuring a bust from the gardens of the Villa Medici in Rome... stern, erect, gaze averted. Another killer from the redoubtable Latency. Very warmly recommended.

After a session together in a Bergen studio 20 years ago which sadly only resulted in a distorted tape, Bjørn Torske and Prins Thomas finally get back together to make music.

Bjørn Torske is a figurehead and grand old man of the electronic music scene in Norway, inspiring and laying the foundation for producers like Prins Thomas, Lindstrom and Todd Terje.

Bjørn and Thomas' relationship goes back to the mid 90's when they first bonded over a shared passion for oddball disco, dub and detroit techno. This album is in many ways full circle with Bjorn and Thomas making music together for the first time.

Square One is a collection of loose, abstract and freeform avant-disco jams, parallel world-disco maybe Whatever you call it, this album is a labour of love. A sound they both have traveled towards for all these years. And here they finally are, at square one.

The album was recorded live in Taakeheimen Studio, Oslo, in the spring of 2015 with both guys manning an instrument each in each overdub, piling the layers of sounds on top of each other. A year later they took the now edited tracks and mixed them down in live takes with all hands on the desk in Malabar, another Oslo studio. After a couple of rounds with some very blunt scissors the tracks became what are now included on this album.

Square One is a meeting of two minds. Probably as close to their musical soul as you can get.

Sue Zuki's inaugural recorded document the ''WE ARE ALL VERY ANXIOUS'' tape is in our opinion one of the most innovative audio expeditions that has resonated with us. Boldly defying and deconstructing conventional genre tropes we aren't being bias by saying that either. This is a genuinely sincere perspective. The key to Sue Zuki's music is her vocals where she misanthropically preaches the records themes of psychological alienation and despair, trapped within an augmented virtual reality. Whilst trapped and unable to properly function inside this distorted simulation there are the bewildering sounds of a thousand voices and 'every conversation' unhealthily looping inside you're mind, through the echo chamber. Manifesting into a bleak neurotic obsession and feelings of inadequacy, a desperate plea, blinded and fatigued by the unnerving glare of the computer screen, processing too much information and not knowing if the human 'interactions' you're experiencing are genuine or artificial.
The trauma of this hollow existence is further emphasised with the combination of fragmented and jarring rhythmic grime percussive kick drums that is boosted by the metallic coiling density of detached, propulsive industrial structures. Synthetic frequencies writhe, becoming more lysergic as they progress. DnB tempos accelerate and shift in pitch as if in an erratic state of panic, dissonant foreboding drones absorb you as if drowning under the hypothermic pressure of the deepest, coldest and darkest frozen oceans. Throbbing sub bass fuelled with dread and agonising noise grips you into a suffocating claustrophobia, compressing further and further.
Rather than suppressing these feelings of insecurity and affliction there is a degree of exaggerated, self-deprecating sardonic humour that gradually unravels helping to confront the despondent nature of the record. Accompanied also by subdued, fragile and sunken RnB / Rhythm and Gloom vocals with desolate acoustic guitar fusions which overall provides an empathetic tone. Sue Zuki's music is a profound and startling glimpse into the growing cultural discomfort and paranoia of the conscious state of the human condition in the 21st Century.
Pro dubbed c60 cassette with digitally printed artwork. Lucky dip transparent blue & red glitter cassettes.

Tunnelvisions (Raynor de Groot and Emiel van den Dungen) originated from a shared vision of contemporary club music. They believe that the club scene - that is often focusing on a colder, abstract high-tempo sound - needs to go back to a more organic approach. It's one of the goals of their newly created Tunnelvisions project: We aim to bring back the fun to the dance floor again'.This vision brought the two musicians together - through hypnotic, exotic and grooving productions they tend to offer something new. In the studio, Tunnelvisions combines elements from South American, Caribbean and African sounds. With a background in house, techno and pop, they created a nine track LP that takes you to different places in the world. Each track title is based on a river or desert. 'Guava', for example, is a Jamaican river: This song is a sort of naive interpretation of reggae, pop and club music'. Tunnelvisions already performed at the legendary Melt Festival, Georgie's Wundergarten and various festivals in the southern parts of The Netherlands, the place where Emiel and Raynor are currently based. November sees the release of their debut LP 'Midnight Voyage' through Atomnation, an album that already found support by Aera, &Me, John Digweed and Anthony Fantao.

Following the intense sonic exploration of his work with Christopher Jarman as Dot Product,
Adam Winchester steps out on his own with a bold new body of work, his first under his own name, that further expands on his ideas about non-conformist sound generation.

Winchester had previously been immersed in the early days of the Bristol dubstep scene as Wedge, but in more recent times has applied his knowledge of sound processing and technology to more scientific means, using an array of tools to harness resonant frequencies and interference generated in the space around him.

The image that adorns the cover of this release was taken by Winchester and used in
Daniela de Pauli's Optiks installation, which is based around the work of a globally connected group of amateur astronomers who collaborated to beam images into space and bounce them off the moon. Only a small fraction of the radio signals carrying the images are reflected back onto Earth, where they are picked up by radio telescopes before being converted back into the original image.

The interference picked up in the process is the result of the vast distances the information travels, and the poor reflective qualities of the moon's surface.

In the grainy textures, crunching rhythms and steely tones that inhabit this EP, Winchester captures the same spirit of invisible interference by eschewing traditional production methods, drawing his sounds solely from a range of noise, feedback and resonance found in objects and physical spaces.