Beats News

The solo project of the enigmatic Deb Demure: Drab Majesty has made an undeniable impact on the underground since his crushing album debut 'Careless' on Dais Records in 2015. Following a CD compilation, a relentless tour schedule, three singles and the followup LP 'The Demonstration' early this year, DRAB MAJESTY returns with the announcement of a fall tour and the somber 7' single 'OAK WOOD' b/w the beautiful ambient reflection 'EGRESS'.

IN DEB DEMURE'S OWN WORDS:
'Oak Wood" was song received a couple weeks following the Ghostship tragedy in Oakland. The DAIS family lost one of it's most beloved members, Cash Askew, and its song title is a literal translation of her last name; In Old Norse being Eiki (oak) Skogr (wood) thus making Oak Wood. I found the name to be symbolically poignant in light of the events and wanted this to be a tribute piece. The lyrics grapple with the existence of a god in a time of such utter sadness, hopelessness, and confusion.
'Egress" is meant to serve as a faint departure or daydream; spaces I often find myself drifting to as a means of escape when disturbing thoughts cyclically plague my brain. Side A confronts the issue and Side B acts as a mental respite. Making instrumental guitar pieces has always been an act of meditation and I hope if only for a brief moment, the listener can wander and lose themselves within the sonic imagery offered in this piece.

Holotype Editions was founded as a means of bringing out music by some of the most unique and peculiar artists of the last decades. What could be more fitting for the imprint's seventh release, than the duo of cult artist Ghédalia Tazartès and multi-instrumentalist, composer and singer Maya Dunietz.

Recorded live at Cafe Oto, in December 2013, Schulevy Maker documents the duo's first live appearance. An amalgam of bizarre samples, concrete sounds, live piano and bells, juxtaposed with the otherworldly voices of Dunietz and Tazartès. At times light and humorous, at others dark and ritualistic, Schulevy Maker can hardly be labeled or tagged. The album title refers to Shoemaker-Levy 9, a disrupted comet that collided with Jupiter in July 1994. Tazarte`s and Dunietz freely reassembled the syllables of the comet's name, coming up with this obscure title.

A truly life-affirming record, by two artists defying categorization, Schulevy Maker comes in a limited edition of 300 copies, pressed on black vinyl with a beautiful cover designed by We Are Still Bold and Beautiful.

Group Rhoda is the solo electronic music project of Mara Barenbaum, based out of Oakland, California. The project started around 2009 with a debut album 'Out of Time, Out of Touch' in 2012 on Night School Records and '12th House' in 2013 on Not Not Fun. She is also one half of Max and Mara who released the album 'Less Ness' in 2013 on Dark Entries Records. She is committed to live performance, situated within the analog synthesizer and drum machine medium.

'Wilderless' is Group Rhoda's third full length and first for Dark Entries Records. Each of the these 7 songs draw forth tones of tropical darkwave and soft industrial, while negating the sound of conformity and control. The album explore themes of societal and spiritual displacement, contemporary serfdom, the depths of empathy, regeneration through destruction, and the tyranny of claiming recognition and power. Lyrics are poetically expressed through allegory and explore archetypes rooted more in abstract observation rather than hard line experience. Through transgression and imagination, Group Rhoda explores the arc of songwriting interwoven into stark electronic environments, and creates a bridge between the corporeal and the dream worlds.

Each song was mixed by Mark Pistel at Room 5 in San Francisco and mastered by George Horn at Fantasy Studios in Berkeley. Each LP is packaged in a jacket featuring a colorful custom made collage by Hugo Barros and includes a full color sticker and digital download card.

* Coming together over three years since his critically acclaimed last album, Hyetal completes his transformation from off-kilter dance music producer to futurist pop visionary on Youth & Power. 'Previously my approach to writing music was very rooted in escapism,' says David Corney aka Hyetal. 'I began experiencing a sense of detachment in my life which led me to question how healthy this approach was. I wanted music to help me feel connected again.' Wrenching his music free from the 'confines of computer grids' and pushing melody to the forefront, Youth & Power's texturally rich, psychedelic palette is littered with live played synths, electric guitars, drum machines, processed noise and 'some under-loved 70s home keyboards' recorded at Hyetal's South London home studio.
* 'I'd describe it as experimental pop music,' says Hyetal. 'the sound is in part a return to music I was listening to as a kid, more song- and instrument-based.' Youth & Power is Hyetal's debut as a vocalist, also scrapping samples in favour of live instrumentation and hook-laden songwriting laced with myriad influences. 'I took some time out to teach myself how to sing using an app on my phone. At first I found my vocals worked best for me when there was some distance from the natural sound of my voice so everything was abstracted through a few different processes.' he explains, 'As I became more comfortable singing I decided I wanted to contrast this approach and use some natural sounding vocals that embraced the imperfections'. The album strikes a balance between robotic Kraftwerkian simplicity and soulful organic pop, contrasting the various pitch-shifting and abstracting vocal effects with sharply concise lyrics. Semblances of Hyetal's origins in Bristol's early dubstep movement are still present too, deep inside the album's meticulous rhythm beds. Elsewhere chiming retro keyboard notes and drum machine beats at times recall the likes of Yellow Magic Orchestra contrasting against waves of guitars and noise which bring to mind the influence of Bauhaus and other post punk experimentalists.
* Written as a form of catharsis for Hyetal in his search to return his music from detachment, Youth & Power seeps a sense of hope. 'I found from a distance the most immediate workings of humanity can appear extremely brutal', says Hyetal, 'but when looking through this lens you miss the beauty that happens in the moment.'

Directed by York Theatre Royal's Associate director Juliet Forster, Neil Duffield's adaptation of E.M. Forster's chilling short story The Machine Stops explores our increasingly intricate and complex relationship with technology. The acclaimed production, which opened in 2016 and toured again in 2017, features a specially composed soundtrack by John Foxx and The Maths - John Foxx and Benge. This forms much of the music on The Machine although there are new mixes and some extended material as the pair developed stage music into a fully fledged album. Described as 'eerie', 'evocative' and 'a triumphant score of chest-crushing anxiety' by The Independent and The Guardian in their stage reviews, the music (created entirely on analogue synthesizers and drum machines) is some of the finest the pair have created yet, following a string of excellent vocal albums - Interplay (2011), The Shape Of Things (2012) and Evidence (2013). The Machine's rich atmospheres move from the sinister breathing effects that start on 'The Ghost in The Machine' through moments of beauty on 'The Other Mother' and ARP Odyssey-soloing 'Transworld Travelogue' into an ancient, mythic song on 'Memory Oxide' where Foxx further investigates a style that he first explored on his own Cathedral Oceans.

Elizabeth Bernholz (Gazelle Twin) provides the high, lilting vocals on 'Genetic Hymnal' and the album ends - as does the stage production - with the elegiac theme of 'Orphan Waltz'. The Machine will be released on LP, CD and digital download with superb artwork by Jonathan Barnbrook, who designs all of John Foxx And The Maths' albums and whose credits include the design for David Bowie's The Next Day and Blackstar.

Le Cabanon presents a new artist, Othello Aubern, for the 4th installment of their Couleurs record series.

Born in 1987 from an Italian mother and a Swiss father, Othello Aubern is now living in Omsk. He begins to shape his own radio transmitter at the age of 12. During his teenage years, Othello became interested in the exchange of Earth-Moon-Earth signals and in sound synthesis.

His work led him to record his experiments and, later, to sequence them. Othello's first EP is the result of this work of collecting, assembling and creating musical figures.

BKV013 is 7 inches of infectious, Osaka-matured, aquatic dub from 7FO. 7FO-san has been in touch with Bokeh for over a year and kindly showed them round Kyoto on the BKV Japan world tour (we ate a baby squid that had a boiled egg where the brain used to be - crazy).


This is 7FO's first proper wax outing after homegrown albums made local waves with his fusion of Japanese new age and dub miniatures. Previous albums also had mastering credits by Bokeh alumni and Osaka mixing desk alchemistKabamix.


2016 saw 7FO reach wider audiences withWater Falls Into A Blank,a cassette and multi-media project viaRVNG Intl's Commend See series. Bandcamp userStandard Greysummed it up best:


"IfJoe Meeklived on to collaborate withHarry HosonoandInoyama Landand make idiosyncratic dubbed out Japanese Minyo and off-world colony exotica... "


'Water Vapour' features the enigmaticSea Urchin- the duo of Francesco Cavaliere (on FX) and Leila Hasan (on otherworldly vocals). They've released an LP for Belgian imprintKraakand Francesco notched a 2016 highlight with his solo LPs onHundebiss.

These is the 4th Bokeh release to come out of Japan.....

We're proud to present the first set of recordings from Martin Glass. Exiled in Taiwan working on a deal that never gets done, an American businessman falls under the hypnotic spell of the Pacific. His is an Asiatisch fever dream - seaside lovers, translucent virtual vocalists, glass-y '80s synthesisers and multinational muzak. It's an ode to Pacific bubble decadence, beamed from a lilo or a roof garden (or both)... all fizzing arpeggios, melancholy marimba symphonies and sunken yacht karaoke.

In terms of sonic references: forgotten '70s nippon pop, Sakomoto + Glass sweeping neo-classicism, Haruomi Hosono driftwood, Susumu Yokota floral pretty-ness... it's all there somewhere...

After collaborations with Merzbow and Daniel Avery, Alessandro Cortini (Modwheelmood, Nine Inch Nails) moves to The Point Of Departure for his third solo full length album. Alessandro Cortini today announces his third solo LP, AVANTI, due for release on 6 October via The Point of Departure Recording Co. Speaking about 'Perdonare', the first single to be taken from AVANTI, Cortini says: Perdonare embodies the often strenuous search for strength to forgive someone for their behaviour, when it becomes apparent that such behaviour is not conscious nor wanted, but merely a by-product of one's upbringing.There are few more potent examples of the power that music holds over our memories than hearing a song and being instantly transported back to a specific time or place. But what if we could change the soundtrack retrospectively If the scenes from our life played out on a big screen, how would we choose to score them It's an idea that Italian multi-instrumentalist Alessandro Cortini found himself preoccupied with on his latest album AVANTI.
Prior to making the record, Cortini rediscovered an archive of home videos made by his grandfather, who passed away a few years previously. Among the cache were several Super 8 films of family gatherings as well as hours of dinner-time conversations recorded on cassette for posterity. It was as if Cortini had unearthed a perfect fossil of his childhood. The films, however, were missing one crucial element - the sound. So Cortini decided he would restore the miss-ing audio in his own way, by composing a musical accompaniment to the footage.
As it turned out, Cortini had a few blanks to fill in himself. The films exposed some inconsistencies in his memories, moments that he romanticised or misremembered. But what surprised him the most was that the recordings appeared to be almost as fallible as his recollections - both showed signs of degradation. I really like that about memory and music, both from an instrumentation and playback point of view, I like imperfection,' he says.
AVANTI is rich in anomalies and irregularities - much like our memories - which Cortini let creep into his compositions by recording live on a single synthesiser, the EMS Synthi AKS, without overdubs. Just like the films, there are errors and mistakes in the music, some of which became the theme and some which are peculiar things that happen once or twice,' he says.

Originally released in 1982, including tracks written for Crosstalk (a science fiction thriller film made in Australia) and other electronic themes, it was written, performed and recorded by Chris Neal in his home studio, using Roland System 700 and Roland MC8. In 1982 there were only a few System 700s ever produced and Roland was more interested in promoting their more commercial System 100M (that's why it was credited on the 1982 original cover to give them a plug). The System 700 was developed by Taro Kakahashi and his team in Japan as a direct challenger to the Moog modular system.
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The Orbeatize remastered reissue also includes a special bonus track remixed and produced in 2017 by Jolly Mare.

Top tip for Boards Of Canada fans! Gorgeous isolation wrapped in electric memories. 8-track electronica for homesick time travelers. 'Nothing Left To Abandon' is a slow rendering of brooding introspections and imaginary spaces. Memories, visions, eroded philosophies, tragedies in a few words. A childhood of livid skies, barren escarpments, homeless wastes. An absorbing contemplation of unlikely beauty and dusty melancholy that intersects with the creative territories of Vangelis, Boards Of Canada, Klaus Schulze, and Ulrich Schnauss, and the musings of Joe Frank and Robert Ashley. Clocolan is South African-born composer Emlyn Ellis Addison. A long formal training in music, his work centers on original writings and the found sounds of abandoned ideologies--generations of radicals and skeptics searching for meaning. From his childhood in South Africa--a landscape of neglected hinterlands, eroded topology, unconquered vastness--emerged clocolan's homesick, lo-fidelity electronica, expansive themes lost in the background noise of human affairs.

This is a selection of previously unreleased tracks created at home by Enrico Serotti, without any purpose other than the fun of playing with new musical devices. The tracks date from 1983 to 1999. A pretty long time span, coinciding with the transition from analog to digital technology. Cover Art by Alessandro Pessoli.

Double LP: first one includes tracks remastered from "Kondens" original master tapes (originally released in 1982), second one includes unreleased tracks taken and remastered from 1983-1984 original master tapes (produced and composed for Scandinavian "theatre" performances)

Sonder: The realization that each random passerby is living a life as vivid and complex as your own. -- Introducing the new ambient tape series from Banoffee Pies Records You don't remember how you got home and now you're waking up again. The alarm won't stop ringing, and the person on the radio won't stop talking, you're opening your phone while your brain is busy, and it's burning right into you, stinging all over the parts of your mind that you cannot reach. So you arrive here, because your thoughts are piling up, and falling over, and crashing round your head and you want to take the swirling mess and hold it outside of you. Repeat Machine.

The second EP in Luke Abbott's Earlham Mystics series. Comprised of four techno-electronica turns including the lead track 'Waters'

Soulwax protégées Hong Kong Dong return with their second album. Synths, synth and more synths, Bolis Pupul, Sarah Yu & Geoffrey Burton bring you strage sound that will seduce you

About Hong Kong Dong:
Hong Kong Dong is a quizzical synth-electronic band from Ghent formed by three distinct minds. Together they evoke a very peculiar and twisted sound. One of the gang members is Bolis Pupul, who has released two EP's on Soulwax' DeeWee label. He is the band's synth guru and singer with a unique and delicate voice that flows like a horny tai chi master. He's also involved with other bands like The Germans, Charlotte Adigéry and wwater. Sister Sarah Yu is the furious female singer and illustrator artist who brings with her the playful vibe of a child tossing around a Play-Doh microphone. The man behind the tweaked beats and guitars is Geoffrey Burton, the maestro guitar player/producer who prefers to make his guitar sound like a synth or a cracking bird. He's been around for some time now, earning his place in bands as Arno, Daan, Alain Bashung, Sophie Hunger and Misia.

Mana is producer and composer Daniele Mana from Torino in Italy. His debut EP for Hyperdub, 'Creature', is also the first under his own surname. It's one of his most vivid, personal and confident releases to date. Since 2010, he has been releasing under the moniker Vaghe Stelle, with EPs and two full length albums on labels such as Gang of Ducks, Aisha Devi's Danse Noire, Astro:Dynamics and most recently, Nicolas Jaar's Other People records. He is also a member of One Circle with Lorenzo Senni and soundtracks composer Francesco Fantini. On 'Creature', over eight tracks, he ingests Shostakovitch, Drexciya, Darkthrone, Frank Ocean and Paul Lansky, and refashions them into an almost operatic record - a rich, melodrama of dark tension and excitable in-your-face synth melodies. In using his own name for the first time, he says he is confronting the unfiltered, brutal truth' of his self, compressing tension and anxiety' into a claustrophobic sense of emotional vacuum.' From the skulking clockwork of 'Crystaline,' the rich drifting ambience of 'Sei Nove', to the panicky, rushy rave stabs meets horror theme of 'Running Man', it's lucid, dynamic synth music which uses drums sparingly, but occasionally swirls into little sublime vortices of arpeggiated hyperrhythm. The melodies are bright and pitch bent, swollen by euphoric voltage surges and stuttering, soaring strings in 'Rabbia', plucking wide-screen, heart strings on 'Uno e Solo' and lulling down into the delicate, shimmering prisms of 'Wetlife' and 'Consolations'. While in its own lane, 'Creature' feels totally at home on Hyperdub.

Tanzania's Msafri Zawose has been one of the biggest slept-on musical forces from the region. That's about to change with the imminent arrival of a new album that will redefne the boundaries of gogo music. The Wagogo people are Msafri's traditonally nomadic tribe from the center of the Tanzania, known for their musicality and made famous by Hukwe Zawose - Msafri's father, who toured the world as a part of Peter Gabriel's Real World roster in the 80s and 90s.
The album has been produced in collaboraton with Sam Jones from SoundThread, whose recent works with Orlando Julius and remixes for Mugwisa Internatonal and Sarabi have been rapturously received. The tracks remain profoundly 'gogo' with traditonal instruments and singing, but are infused with an organic electronic aesthetc. This is an afro-futurist journey that takes in dub, balearic, ambient and electronic vibratons alongside Zawose's hypnotc playing and emotve, plaintve vocals.

Since releasing his last album on Hypercolour in February 2016 ('You Exist'), DMX Krew has not for one moment rested on laurels, releasing two further LPs on the Ekster and Abstract Form labels, as well as EPs and singles for Central Processing Unit, Shipwrec, Revoke and more. Continuing to remain faithful to the roots of electro, IDM and the deeper shades of techno, and without compromise, DMX Krew cranks out emotive and brain scrambling electronica at a mighty rate, and never disappoints. 'Strange Directions' is album number 21 from DMX Krew, and lands once more on Hypercolour, the British label that continues to make heady waves in the music scene with genre shifting releases from the like of Matthew Herbert, Luke Vibert, Gary Gritness, The Cyclist, Outboxx and A Sagittariun in the last 12 months alone. You'll know what kind of ride you are in for from the first few bars of album opener 'Snowy Blue'; hypnotizing bass and spatial keys float over dusty micro breaks, produced with an infectious aesthetic that continues over the long player's fifty-five minute tenure. Experimental and expansive joints such as 'Odd Chill' and 'Strange Directions' sit comfortably alongside funkier techno jams such as 'Thin Hype' and 'Zero Sum', whilst the melancholic synth sensibilities of tracks like 'Hip Hopeless' and 'Axial Mode Beat' catches DMX Krew on fine form.

Nach der "Komfortzone" kommt was "Plaste", und damit die nächste EP der drei ambitionierten Jazzmusiker, die sich Komfortrauschen nennen, elektroakustische Tanzmusik spielen und manchmal eher wie ein DJ als eine Band klingen. Das heißt: Hier wird mit der klassischen Rock-Besetzung aus Gitarre, Bass und Schlagzeug verspielter, eingängiger und tiefenentspannter Techno mit Open-Air-Spirit zu Gehör gebracht. Folgerichtig passen - wie auch bereits beim Vorgänger - die fünf neuen Tracks gleichwohl in dunkle Kellerclubs sowie auf sonnenbeschienene Festivalbühnen: "Plaste" bietet Mensch-Maschinen-Musik, die sowohl zum einfachen Zuhören als auch ausgelassenen Tanzen anregt.

Dieter Moebius (1944-2015), Teil des legendären Duos Cluster und Pate des Elektro-Krautrocks, war ein Avantgardist der deutschen elektronischen Musik. Tim Story und Jon Leidecker sind zwei amerikanische Elektronikmusiker, die unterschiedlicher kaum sein könnten: Story ist bekannt für seine warmen Soundscapes, Leidecker hat sich unter dem Pseudonym Wobbly vor allem mit experimentellen Klangforschungen einen Namen gemacht. Außerdem ist er Mitglied des Musik- und Kunstkollektivs Negativland. Im September 2012 quartierten sich die Drei in den Bergen Montanas in Brett Allens fantastischem Aufnahmestudio Snowghost ein, das hoch über dem Whitefish Lake inmitten der Rocky Mountains thront. Dort verschmolzen die Tage ineinander und hatten weder Anfang noch Ende. Aus Improvisationen entstand Musik, die erst im Moment des Klangs zu dem wurde, was sie war. Nach sieben Tagen hatten die Musiker eine Festplatte voll mit Material gefüllt, aus dem später die Alben "Snowghost Pieces" - das 2014 bei Bureau B veröffentlicht wurde - und "Familiar" entstehen sollten. Auf "Familiar" scheinen explizite Anspielungen auf die Schönheit der umgebenden Natur nur schwer zu finden zu sein - das Album enthält etliche der ruhelosesten und abstraktesten musikalischen Arbeiten des ganzen Aufenthalts.

Moscow-based hereditary shamans Vasiliy Stepanov (p-sh) and Vladislav Dobrovolski (fitz ellarald) are back to the Udacha camp as a joint project S A D. Music from another dimension is here again. 14th release on the label will help you to open all secret doors, solve all the puzzles, see the sounds and hear the colours. Be ready! 18+

Power Cuts 3: Siaubas - Vilinus. Kris Baha - Melbourne/ Berlin. Disrute - Melbourne. Dane//Close - London/ Berlin.

'Trax Test' is the first ever survey of Italy's pioneering, visionary and influential label and mail art collective Trax, which ran from 1981 - 1987 as a network for the creation of collaborative projects. The collective included a pre-NWW Colin Potter and some of the earliest work from Masami Akita aka Merzbow, but also had deep connections with the art world; a few trax members went on to become famous designers and artists - Ettore Sottsass of hugely influential Memphis Group even guests on vocals on the last track of the compilation. The whole selection here is rare as heck and sorely in-demand by collectors, much of it now making its vinyl premiere some 30 odd years after the fact.
With credit due to compilers Vittore Baroni of Trax and Ecstatic's avowed wave fiend, Alessio Natalizia (Not Waving) - who was also behind the 'Mutazione (Italian Electronic & New Wave Underground 1980-1988)' compilation - 'Trax Test' is a portal to the international scene which laid the grassroots for a proliferation of electronic music over the proceeding decades - a pioneering part of the infrastructure for independent music distribution which could be said to pre-echo the myriad social networks and platforms which exist for sharing music today.
As Frans De Waard astutely points out in the 16-page booklet, there were no 'templates' for this thing back then - as opposed to the forms of Soundcloud, Spotify or YouTube nowadays - meaning artists did everything DIY: from cutting, pasting and xeroxing their artwork to xperimenting with recording techniques and disseminating their work; all resulting a wonderfully daring and freeform mosaic of ideas which valued the virtues of ostensibly 'unfinished' or open-ended work, when compared with more expensive, 'proper' studio output.
Traces of disco, cosmic krautrock, jazz, electro-pop and industrial noise are all tessellated across the compilation's 25 tracks, with a number of artists and the same equipment - cheap drum machines, synths, FX and tape - cropping up in various, mutant formations.
In terms of obscurity, quality and variation, this set is right up there with the best compilations from Vinyl-on-Demand (an early supporter of this project), Light Sounds Dark (although Ecstatic guys did it legit, lol), or Minimal Wave, and likewise probably saves you the few months wages it would take to track down all the originals. Fucking bravo, we say!









REDNIGHT (EXCERPT)

Hungarian composer and musicologist László Hortobágyi, took his first expedition to North India in the late 1960's to record music, study philosophy and learn traditional instruments such as the rudra-vina, sitar, surbahar and tabla. These ongoing trips heavily influenced his musical style and much of his recorded work. LFI is happy to announce the reincarnation of one of his most illustrious works, Transreplica Meccano originally released by Hungaropop in 1988.
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As a child László fantasised about interacting with otherworldly muses and imploring them for the hope and guidance he yearned to escape the intellectual bareness of his surroundings. His early feelings of alienation combined with the almost sensual pleasure he remembers from these interactions, influenced and helped shape his life long musical journey. In 1980 he established the musical society called Gáyan Uttejak Mandal. It was named after the Hindu-Moslem musician's society founded by Navraojí Kabrají in 1870 (it was the school of the great musicologist, V.N Bhátkhánde).
The society expanded throughout the 1980's with an archive of oriental music, to be considered unique and unrivalled in Eastern Europe, which has operated parallel to the Gáyan Uttejak Studio and the Gáyan Uttejak Orchestra. The members have made it their duty to practice and study the world heritage of traditional cultures.

The remastered and revised edition of Transreplica Meccano is reborn after 31 years. László weaves a tapestry of sample based magic, transcribed from travels across the orient, transporting the listener to a fascinating world of archaic musicality. His sound palette is rebuilt and restructured using PCM morphology and FFT spectrum analysis as well as virtual overtone processing synthesis software he developed in 1988. The new live program's repertoire is also based on the classical Indian instrumental technique of the Gáyaki-Ang and the Tablá-tárang polyrhythmic structure, and is mixed with his developed sound morphology of the granular systhesis technique according to his original 'computed memesis of music' concept. The result is an incredible amalgamation of musical worlds, allow yourself to be immersed in a truly unique dialect.

Following up on their intricate and thought-provoking cassette from Berlin's Circula, and a string of highly appreciated Bandcamp compilations, Loose Lips turn the tables to present this debut album from Japanese producer, Masaki Uchida.

The mysterious composer presents his inaugural venture into album territory with a full length LP soaked in atmosphere, intimidating noise and razor sharp attention to detail. Uchida's uncanny approach leaves the listener dazzled, moving from perturbed ambience and experimental sound design through to baffling broken rhythms.

Xenolinguistics' thoughtfulness comes from anger, prayer and sorrow. Despite sounding alternative in its construction, Masaki's desire is to to share these expressions with popular culture.

The album is rounded off by 2 remixes from Loose Lips crew members, Rico Casazza and T-Scale. Following Casazza's masterful album of moody electro on Archipelearlier this year, the inspired Italian here covers 'Logos' in sophisticated breakbeats & moving instrumentation. Then T-Scale's remix transforms the already overwhelming 'Black Puzzle' into a lengthy industrial labyrinth.

Mastered at Dadub Studios.

A record produced in cooperation with Unknown Pleasures Records under the 'Black Alliance' project. Michel Amato and Pedro Peñas Robles signed back in 2006 this EBM dacefloor missile that finally will be released in vinyl after 10 years. The techno revelation Alek Drive signs a perfect remix for a sure classical release. All tracks have been analogically remastered specially for this vinyl version by Eric Van Wonterghem. Including Növö Diskö (2006 Original Mix) and Növö Diskö (Alek Drive Remix).

Official re-issue of Danish electronic music from 1974! Vinyl LP comes with booklet and limited to 500 copies - no repress.
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Frederiksberg Records announces the first re-issue of 'Stoned' which is exclusively licensed from the artist and has been carefully restored from the original master tapes. It comes
with a booklet of liner notes by Thomas Knak.

'Stoned' by Gunner Møller Pedersen is a pioneering partly-electronic composition from Denmark. Gunner believes that it's musically out of category'. It was created for a slide show
with focus on sculptures by the late american photographer Stuart Fox. Gunner self-released the record in minuscule numbers in 1974.

The music on STONED has an original and meditative quality which transcends time and should appeal to today's music lovers with a taste for something different.

This new soundtrack album features 13 original compositions by the acclaimed experimental composer Ben Frost, creator of the critically-lauded studio albums by The Throat (2009) and Aurora (204), as well as music for the film Sleeping Beauty and 2015 British television series Fortitude. For this release the artist creates vivid minimalist textures that capture the drama of the compelling new film Super Dark Times. When Kevin Phillips approached me to write music for his film it resonated immediately. As a composer, the thing that perhaps excited me the most is that Super Dark Times, is in many ways of a period drama, and that within that idea there was a largely untapped world of sound to explore. Whilst the sound of the '80s has long since moved into the realm of retro, 1995 still feels uncomfortably close. CD Walkmans, digital delays, Boss Metal Zone distortion pedals, Intel Pentium chips, and Peavey practice amps inadvertently defined the music of the period (and my teenage years), and it was from that world of technology and my own memories of the confusion, the anxiety, the black hair dye the music for Super Dark Times was born.' - Ben Frost

Photay's debut full-length Onism inherits the same historical tension in an age of climate change and social media addiction. It is also a reflection of personal conditions, a meditation on place, community, and its creator's own embodied history. The word 'onism,' invented by John Koenig, means the frustration of being stuck in just one body that inhabits only one place at a time. Shornstein contrasts spacious near-silence with bombastic saturated peaks. Fangled robotic tones ('Screens') meet with forest floor ambience ('Storm'), evoking visual designs for the built and natural worlds, while the overwhelm of metropolis ('Balsam Massacre') and the digital age ('The Everyday Push') is eased by the liberatory forests of Woodstock ('Outré Lux' feat. Madison Mcferrin) and assumptions into imagined realities ('Bombogenesis'). The demonic swing of 'Balsam Massacre' imagines the sounds of a tree's innards as it is felled with a chainsaw, while 'Storm' thunders distantly in triumphant reverie. On 'Aura,' Shornstein sings for the second time in his career ( Take the time to hear yourself'). The message hints at a common denominator to his meditations, resonating also as a warning to the world, an everyday push to the role of electronic music in storytelling the future of the global environmentalist movement. 'Onism' is pressed on 12' 140 gram clear transparent vinyl and includes a double-sided full-color 12' insert along with a digital download card.

Zomby, one of the UK's most enigmatic electronic producers, underscores his already illustrious succession of releases with his forthcoming EP 'Gasp!', released on Big Dada. Zomby's ability to effortlessly shift aesthetics across his career has firmly stationed him as a producer that can't be boxed.
'Gasp!' sees him altering his often jungle-driven sound yet again, furthering him as a sonic chameleon among an ever-increasing landscape of musical similitude. Utilising analogue equipment that was recorded live to a digital surface, he says, 'I was tired of too much digitisation and over-saturation; this is a work that represents a shift forward for me.'
The compact, three track EP is a relentless, hardware-driven behemoth of beats and breaks that fit somewhere between a chugging steel factory and a darkened dancefloor.
Mastered by Matt Colton at Alchemy Mastering. Black heavyweight 12" vinyl housed in printed sleeves. Download code included.

Foom presents the new Peter Gordon & Love of Life Orchestra EP, Condo."Condo" (the title song) is a little-known gem from Peter Gordon's catalog, pairing David Van Tieghem's motorik drum programming and found percussion with the transparent and vibrato-free vocals of Rebecca Armstrong (Armstrong was also a member of Steve Reich's ensemble, and contributed vocals to the definitive ECM recordings of Steve Reich's Music For 18 Musicians, and Tehillim). Prior to them working together, Nik Colk Void (of Factory Floor) wrote to Gordon that: "(Condo) completely catches my personality and when I feel disillusioned or need comfort, I always put it on, and it makes me feel good and strong." Their correspondence culminated in the Peter Gordon & Factory Floor collaboration, Beachcombing. The EP is comprised of a remastered version of the title track, "Condo" (which originally appeared on 1981's Casino EP), along with 3 previously unreleased tracks from the same 1981 sessions. "Neighbors" uses Condo' as its foundation, with Peter Gordon's solo on top, Candy Store' sees the full band iteration of the Love of Life Of Orchestra, including Rebecca Armstrong on vocals, Fred Maher on guitar and Bill Laswell on bass, "East Village" relies only on synthesizers and electronic percussion, with a chorale layered upon a deep groove. The EP closer, "Condominium," is a nod to those DJs who would play the title track at a slower tempo. The EP's titles are a comment on the gentrification of NYC's East Village, which began in the early 1980's and continues to this day, driving out low-income residents, including artists, writers and musicians, such as Gordon, Van Tieghem and Armstrong.

Repress!

For those who know, Bambooman is one of the most sought-after, probing, and distinctive voices in UK electronic music right now.

The Yorkshire-born producer's catalogue builds into an aural mosaic, comprising everything from scrunched up hip-hop to techno deviance, all delivered with an impish sense of individuality.
'Whispers' certainly resonates. It's a lengthy, bucolic work, an album of great breadth but also one of sustained mood – think those hazy summer evenings when shadows stretch out across the road, and autumn lingers around the corner.

This new album has a dusty, organic, and decidedly personal feel, much more at home with Jon Hassel's 'fourth world' aesthetic than the club.

The results are also imbued with an incredible sense of mystery, with Bambooman's productions frequently being shot through with a hallucinatory sense of the uncanny. Entirely self-composed, 'Whispers' utilises "lots of field recordings that I've collected over the last few years, while within the tracks you can find lots of the instruments, percussion, bells and whistles that have been gathered throughout my life."

In certain ways 'Whispers' is entirely autobiographical: Bambooman reaches back to his varied alter egos, to the ambient releases, art commissions, and soundtrack projects that litter his discography. The cover art was even pieced together by Oliver Pitt – of Glasgow group Golden Teacher – who was an early ally in the producer's sonic quest.

Stylistically 'Whispers' veers from avant hip-hop of Flying Lotus to the theoried composition of Terry Riley, from the future-forward percussive energy of Battles to the ever-evolving electronics of Mark Pritchard. It's a record marks by a fiercely independent spirit, but also by a close-knit cast of collaborators.

King Kashmere takes a starring turn, following the pair's collision on the recent 'SUPERGOD' EP.

Each vocal is recorded, chopped up and then spliced across the album, with Elsa Hewitt also making a number of appearances and re-appearances.
credits

Kicking off the post-Summer release flurry on Polytechnic Youth is the magnificent second full length from Brooklyn-based FATEN KANAAN Pleiade Hex 6'.
Since releasing her debut last year, (the fabulously received and super quick-selling The Botanist & The Archaeologist'), Faten's star has shone brightly and earlier this year she collaborated on the killer The Darkest Wave' 45 w/ Pye Corner Audio (which sold through three pressings and is mooted as one of 2017's best singles).
The new album builds on this momentum, and comprises, in Faten's own words: Several -mostly instrumental- 'suites' that are narrative in nature. Cyclical patterns are central to the compositions: exploring harmony and counterpoint as they ebb & are reincarnated, and the perpetual return to the heart/core.
Through the circling patterns, the album honours the return to the youthful spirit: of embracing naive romanticism, gut feelings, and strength of vision. Loosely inspired by medieval canons/rounds and Baroque structures, the album hovers between ambient electronic experimentations and semi-classical traditions.

Relying mostly on a single analogue synthesizer, each section either sets a scene or plays a character - whether it's dancing across a stage, running through a forest, emerging from underwater, or languidly drifting through portals'.

A wonderful record, sure to sell out real quick. It is released this September on vinyl only by Polytechnic Youth.

Composed, produced, and mixed by Faten Kanaan.

Mastered by Heba Kadry

The second of September's wonderful brace of new Polytechnic Youth LPs, sees the debut for Morgane Lhote's first solo outing (since her Stereolab days), with her ace new project HOLOGRAM TEEN.

11 killer -often whacked out- tracks inspired by a multitude of key figures from varying genres, the soundtracks of Goblin and John Carpenter, 1970s French Disco and psychedelic Brazilian rock, Congolese Soukous, and the string arrangements of François de Roubaix and Jean-Claude Vannier.

As Morgane herself says with this first LP, I wanted to create the soundtrack to the trippiest horror movie ever, and combine the scary and the absurd, through a very tongue in cheek aesthetic both musically and visually. For this project, I decided to experiment with adding live instruments, such as bass, drums, and strings, instead of or in conjunction with electronic instruments on some tracks. It was especially interesting to merge both musical feels and textures into one cohesive narrative.

I also had a strong sense of what the music should look like' as shown on the LP's cover design: Disco Démon was always going to be the main protagonist in a mish-mash of Jean-Claude Forest's comics meets neon loudness meets the movie poster to 'The Warriors' and 'Le frisson des vampires''.

A very filmic, hugely adventurous full length- perhaps a slight departure from previous output on PY, but all the better for it we feel at PY HQ, and with titles like Roller Lover Doppelganger', Tracksuit Minotaur' and Lesbian Death Drums' what's not to like!

A very limited vinyl pressing expected to sell out super quick, get on it!

Ende September 2017 veröffentlicht Iglooghost sein Debütalbum 'Neo Wax Bloom', zwei Jahre nach seinem Einstand als Teenager, der - Chinese Nü Year' EP, auf Flying Lotus' Brainfeeder Label. Darauf dokumentierten vier Tracks die abenteuerlichen Zeitreisen eines wurmartigen Wesens aus Gelatine namens - Xianhjiao'. Diese Geschichte wird nun auf 'Neo Wax Bloom' weitererzählt: zwei gigantische Augäpfel prallen unerwartet auf die mysteriöse Welt Mamu. Über die elf Tracks baut Iglooghost einen typisch intensiven, hysterischen und vollkommen durchgeknallten Soundtrack auf, bei dem er neue Charaktere in seine fantastische Welt einführt und außerdem seine alten Freunde Mr. Yote und Cuushe zurückholt.

Debüt-EP des neuen Warp-Signings aus Italien: Lorenzo Lenni offenbart aus der Perspektive des Ex-Straight-Edge-Hardcore-Punkers eine frische Sicht auf den 1990'er Hardtrance und seine Auswirkungen auf EDM und Dancehall. Allerdings sind seine Emotions- und Sensationsstrukturen verfeinert und eindringlicher, was seine EP in eine Reihe mit den Arbeiten von SOPHIE, Plastikman, Ennio Morricone oder Squarepusher stellt, die das schnelle Auf- und Ableben in den Zyklen der modernen Musik überdauern.

Das Grammy-nominierte Produzentenduo ODESZA (Harrison Mills und Clayton Knight) gelten zurecht als eine der populärsten Gruppen im Bereich der elektronischen Musik und haben den Ruf, ihre Fans auf ihren regelmäßig ausverkauften Live-Konzerten besonders glücklich zu machen. Anfang September 2017 veröffentlichen sie ihr neues, 16 Stücke langes Album "A Moment Apart" welches über das Ninja Tune-Sublabel Counter Records erscheint. Anschließend präsentieren sie ihrem Publikum das neue Material auf einer ausgedehnten Welttournee.

"A Moment Apart" präsentiert sich gereift, ein Sound, der insbesondere auf Atmosphäre setzt, auf funkelnde Synth-Lines - und auf Gefühle wie Nostalgie, Zuversicht und Hoffnung. Die namhaften Gäste auf dem Album sind u.a. Leon Bridges, Regina Sektor und Ry X.