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Explanatory Denial is the 7th record by Chicago-based electronic producer Jim Magas under his longtime MAGAS monicker. In the '90s, he fronted unconventional 'no wave'-ish bands Couch and Lake Of Dracula. In the early 2000s, he recorded for material for Ersatz Audio and did a few remixes. In the Twenty-teens, he focused on instrumental productions for his own Midwich imprint and composing music for director Asia Argento's 2014 film, Misunderstood. In early 2017, Magas premiered new material during a U.S. tour in support of band Joan of Arc. The limited-to-200 4-track spring 2017 12" EP Explanatory Denial opens with 'Shipping Container', a rough, minimal stomper, offering plenty of bounce, but no padding or instructions.'New Dawn' opens the door to a brightly-lit and concrete alternate reality. 'Sky Castles' keeps bodies moving while synthesized strings whisper false reassurances of easy days and high pay. 'Indelible Mark' is an atmospheric lo-fi Casio lounge-funk spy groover that smells of Holiday Inn wood-paneling, dripping with Benson & Hedges Ultra-lite 100s. Deploying a variety of primitive electronic techniques, Explanatory Denial is a testament to the power of diligent synth-hunting and decades of basement refinement.

Maxwell Allison records improvised loop-based electronic music under the name Mukqs. 11,666,666,666,666,666,666, his first LP with Chicago imprint Midwich Productions, documents a session of intertwined synth melodies and technoid beat arrangements recorded live and presented without overdubs. Previous tape releases compiling live takes of textured noise and deranged sample manipulation using cassette tapes as sound sources appeared on labels like Phinery, Apothecary Compositions, and Hausu Mountain (co-run by Allison himself and Doug Kaplan). Allison and Kaplan perform with Natalie Chami in Chicago free music trio Good Willsmith, whose abstracted electronic rock jams and space drone ritual performances aim for a state of overloaded chaos. On 11,666,666,666,666,666, Allison sheds the randomized and abrasive aspects of past free-for-all jams and latches into an elastic pulse of syncopated basslines and complex percussion patterns pumped from a minimal hardware rig of drum machine and sampler. The LP evokes the subaquatic atmospheres and evolving analog arrangements of Drexciya, the recursive melodic ecstasy of Terry Riley, and the cyborg tonal juxtapositions of Oneohtrix Point Never. Mukqs's arrangements pit the insistence of a rigid grid against a system of arrhythmic synth samples that intersect with a loose logic all their own. Brittle vocal and flute preset tones clash with chordal clouds of sustain and swelling drones, as a network of hi-hat and snare patterns click a path through the center of the mix. Allison's thick bass bursts dominate the stereo spread, animating grooves and harmonizing in distortion with a web of crisp triangle wave arpeggios. His session stretches from the loping electro thump and siren synth walls of "The Tulpoid Serpent" into the zen bongos and syrupy pads of "Neo-Venezia." "Frog Work" hits a stride of major-key bliss when xylophone cascades blend with sitar tones over a 4/4 stomp, as if soundtracking a Studio Ghibli-core movie of Allison's own invention. "Hashimoto-Appelbaum Syndrome" closes the LP with a palette of juxtaposed textures painted in kinetic rhythms: compounded organ lines mingle with vocaloid chirps and a lattice of pitch-shifted cymbals, as a chopped and screwed flute melody holds down the low end with faux-upright bass. If Mukqs's strict adherence to a live take / no overdubs recording regimen betrays a mentality closer to the noise underground, 11,666,666,666,666,666,666 elevates his stubborn practice to new heights of analog synth arrangement and cosmic density.

The fallen angel. The rebellious soul expelled from the pearly gates and forced to live in hell among mere mortals for eternity. Here they endeavour to condition and corrupt everything around them, a bold middle finger aimed in the direction of its former home in the promised land. Now imagine a soundtrack to this tragic tale. FunkinEven—also known as Steven Julien— has made just that with his debut album Fallen.

Split into two contrasting chapters, Fallen follows the trail of our main character. The first six songs introduce us to utopia, a collection which is matched by the light and airy tones of this initial set. The twist comes right down the middle, where we descend into the project's darker, hellish bogs. Both episodes intertwine seamlessly, and all composed, written and produced by Steven himself.

Julien plays the majority of the instruments you hear on the record, using session musicians — including three appearances from Hercules on bass — sparingly to plug any gaps. All the above choices combine to emit a contagious warmth that blankets the whole record. Within the dozen tracks, he jumps between everything from jazz fusion to techno. It's easily his best work to date.

Steven Julien first surfaced in 2009 with a refreshing sound unlike many of his contemporaries. While his peers flirted with R&B, abstract grime and whatever else, Julien forged his own path, one which partnered an organic, analogue sensibility with the sounds of electro, '80s funk, and acid. Initially affiliated with the Eglo camp, he eventually formed his own label, Apron Records, which has become a reliable outlet in its own right, not only for his own workings, but also as a home base for talents like Seven Davis Jr and Greg Beato. He's also proven to be an avid collaborator over the years, having worked with Fatima, Delroy Edwards, and, most notably, Kyle Hall, with whom he creates the unapologetically raw sounds of FunkinEvil.

Al'Tarba and firends, including Bonnie Li ! A fat newstyle coming now to your door !

Radical noisedub from Ghengis (the bugs soundguy Goh)
Melodic sweetness from Goner

7th annual split 7" from Moss Norway's Kambo Super Sound & Don Papa. Top class A-side stepper with excellent percussion programming and a jungle flute teaser. Don Papa's B cut swings a slender but tuff way, with heavy snares, piano-horn skanks and an organ melody truly belonging to the big ocean of melancholy dance.

Outer space housing experiments from the Sex Tags camp by Adam Just, Lupo, XI and E-gee...

An Iceberg is a large mass of ice detached from a glacier or from a floating platform of glaciers that drifst in the sea. It is in constant motion and most of its mass remains submerged under surface of the water. The goal of this new Iceberg series of releases on Glacial Movements is to describe through techno / dub music this huge mass of ice."Himuro" is the debut album of ambient duo Eraldo Bernocchi/Netherworld. Composed and produced in two years of exchanging material and sound inputs coming both from electronic treated guitars and organic sources. The album lies its foundation on ambient, dub, space and distance."Himuro" was an "ice cellar", a "'cold room" during the Edo period in Japan. The Kanazawa castle had one and after, during the Meiji period, these rooms were part of palaces. Often used for storing snow and keeping it during summer they had medical, food or ceremonial importance. During summer snow or ice kept in the himuro were sometimes sent from one castle to the other travelling as far as 500 km, relocating the "coldness".For months Netherworld supplied Bernocchi with a vast array of soundscapes and textures, an endless stream of feelings and emotions that the latter used to create the foundations of the album tracks on which constructed guitar scapes (often not recognisable), bass lines, harmonies and grooves. After month of collecting and creating sound inputs, Bernocchi started to carefully assemble what we now can listen on Himuro. A velvety sound creation constantly balancing between a rhythm approach and pure drifting scapes. Perhaps the best description of this works lays in the words of philosopher Emil Cioran from his 1936 The Book Of Delusions:
"To detach yourself elegantly from the world, to give contour and grace to sadness, a solitude in style, a walk that gives cadence to memories, stepping towards the intangible, with the breath in the trembling margins of things, the past reborn in the overflow of fragrances, the smell, through which we conquer time, the contour of the invisible things, the forms of the immaterial, to deepen yourself in the intangible, to touch the world airborne by smell, aerial dialogue and gliding dissolution, to bathe in your own reflecting fragmentation..."Eraldo Bernocchi is an Italian composer, arranger, producer and guitarist with a solid reputation as an all round sonic sculptor. Starting his career in the late 70's as a guitarist in independent punk bands, in the mid'80's Eraldo co-founded the conceptual audio project Sigillum-S, which grew into a highly acclaimed international cult act.In the 90's, together with his wife Petulia Mattioli, Eraldo established Verba Corrige Productions, which became the base for a raft of notable audio visual projects and co-operations. A relentless sound explorer, Eraldo Bernocchi has collaborated with numerous artists including Mick Harris (SIMM, Black Engine), Bill Laswell (Somma, Charged, Ashes and numerous others), Nils Petter Molvaer, Harold Budd , Russell Mills, Toshinori Kondo (Charged), Raiz, Almamegretta, Spectre, Sensational, DJ Disk, Professor Shebab, Thomas Fehlmann, Zu (as Black Engine), DJ Olive, Markus Stockhausen, Giovanni Lindo Ferretti (as producer and author), Robin Guthrie, Colin Edwin and Balazs Pandi among many others. " Himuro " is Bernocchi's 100th album.In addition to regular work scoring music for adverts and other multimedia projects, Eraldo has composed film music for Academy Award winner Gabriele Salvatores and produced numerous art installations with Petulia Mattioli, as well as other artists including Russell Mills and Harold Budd.Uniquely, Eraldo is also known for being invited to play and organize several special events for H.H. The Dalai Lama in Italy and be the founder of the record labels RareNoise Records with music addict Giacomo Bruzzo and Transmutation Ltd, his new media company. Netherworld is the moniker of Alessandro Tedeschi, the creator and owner of Glacial Movements Records in Italy. Over the last few years, the label has received much appreciation and critical acclaim from both the national and international music press. Coming originally from Rome, Netherworld published several works on various labels such as Fario, Angle Rec, Umbra, The Wire Tapper. He then decided to focus on his visions for his own record label - Glacial Movements with releases like "Morketid" (2007), "Over the Summit" (2011), " Alchemy of Ice" (2013), "Zastrugi" (2015). These were again critically acclaimed gems of ambient music. Netherworld performed at electronic music festivals such as Störung, Up to Date, Flussi and many more. " It's a beautiful and hallowed sound that Tedeschi generates, shifting from the grim black of the Isolationist to a chroma of snowblind blues, pinks and whites" THE WIRE

Editions Mego presents the first release of a brand new project from JG Thirlwell. Recorded at Self Immolation studios, Brooklyn. This is Xordox.

Xordox orbits a universe inhabited by darkness, wit, mystery adventure and experimentation. The cinematic quality that exudes from Thirlwell's bent being presents itself in Neospection, unlike Thirlwell's other works this is predominantly a synthesizer record, including recording sessions from his residency at the legendary EMS studios in Stockholm. Sarah Lipstate (aka Noveller) plays her super-processed soundscape guitar on three of the tracks on the album, and additional mixing took place at Lazer Sound studios with Al Carlson (who works extensively with Oneohtrix Point Never).

Xordox.

Diamond circulating swells
Sequenced stealth sci-fi
Malleable membrane matters
Wild fabric electronic
Heart eaten beat
Fruits of fear and exhilaration.
Neospection is neon noir.
Neospection is ere 4 yor. Xordox arrives as unexpected and remote as any alien encounter but security lies in the cosmic drama and dark shadows that seep throughout Thirlwell's soul. In this, 2017 we once again enter the mind and world of one man who refuses to play along with anyone's game but the idiosyncratic one of his own devising.

350g premium quality paper sleeve. Limited reissue edition of 400 copies

Olim in latin can be used to indicate a time in the past or in the future. It can mean 'once upon a time' and 'someday in the future'. A name and a project to try to move away from trends and genres, by taking inspiration from the past but at the same time leaving it, moving forward to shape a different and more narrative sound. The first attempt to do so is Recursively: an 8 track album, opening with a sentence from Bunny Marrett sampled from an old documentary about St Paul's and the Jamaican immigration in Bristol during the 80's. Inspired by those intro words, Recursively is a journey born from many years moving around, packing and unpacking suitcases, leaving villages, finding cities,leaving friends and finding more, emigrating, integrating. It's a story about an entire generation trying to find the peace somewhere, somehow, sometimes by repeating the same steps in a loop of actions which seem to be the same but ultimately never are. It's a soundtrack of those feelings and at the same time a message of hope to continue the journey through the faith that the meaning is the infinite journey itself. An infinite loop masterfully represented in Carol Rollo's illustration. A story to be continued.

De-Bons-en-Pierre is a project from Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. He's released on many labels including; Diagonal, L.I.E.S, Cititrax, Nation, Rush Hour, and Light Sounds Dark. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. Florent is strictly devoted to a DIY mentality around music production and his sound revives the electro-industrial aesthetic of the late 70s and early 80s. He's released notable productions on labels such as Unknown Precept, PRR! PRR!, Knekelhuis and Mannequin Records.

While Beau was visiting Brussels he stopped by Maoupa's house to jam for a bit. All songs were recorded on April 4, 2016 between 11:00am and 11:00pm, as single live takes.'Crepes' is a 6-track EP, titled so because they ate crepes the majority of the session. Beau says, "There was a bit of a language barrier. We'd mostly just laugh and nod when something sounded cool to us." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Over 23 minutes of garbles, sludgy synths and leviathan rhythms. Surfing the slippery slope between industrial and electro, but never quite falling in, just a dip of your pinky toe to to test the temperature.

All songs are mastered by George Horn at Fantasy Studios in Berkeley. Housed in a sewage green/blue jacket featuring a crepe-masked duo reminiscent of pulpy VHS covers. Designed by Eloise Leigh and Florent Mazzocchetti. Each copy includes a 2-sided postcard with a photo taken during the recording session.

The new Private Records LP "Find Out What I'm Dreaming" is a journey into the world of female cosmic energy. A feminine concept music production thought up by Li Garattoni. Beautiful downtempo synth pop with a lot of krautish psychedelic ingredients - originally released on the small German label "Software Music" in 1982. The outstanding song Dornroschen (Sleeping beauty) is definitely a top notch highlight for all collectors and DJ's of deep high quality electronic music. Secure your 35 anniversary DMM (Direct Metal Mastering) audiophile pressing now - original 1982 vinyl records became unbelievable rare and selling for hundreds of euros on the collector market at the moment.

Ida is a straight line. No distractions. Three big bull inna one direction. Bass and Drums making space for the melodica and the whispers to fill in the space. On the flip, an entirely different beast. Volta is all about the enthusiasm of playing music. Breathing through a harmonica, some bass, some momentum and an odd barking voice. And then, there is Calor, the heat melting the machines.Note about Calor: this song is meant to be listened to at very low volume, so it will blend in with the sounds of your own room.

Edition of 500 numbered copies. LP presented in a heavy weight kraft die-cut jacket. Hand stamped sleeve and insert (30cm x 30 cm). Includes dossier with pictures and detailed information regarding all the bands featured on the album.

In fact, the city was late, as usual, for the musical revolution of 1976, but no one seemed to notice or care. Labels, bands, venues and trends were even more ephemeral than today, and the most dedicated collectors missed a great deal of product. Those were the times, and this is a cross-section of the underground scene of these days and it is also a sample, a recognition and a selection of pioneering artists, musicians who showed the path to many that followed. These projects enjoyed very little, if any, visibility. Most of them never got their work released, although their musical output was large and some acts did perform with remarkable success in the area of Barcelona. Others did not take the chance to get signed by a major, remaining stubbornly faithful to their musical ethos. Even others were self-produced and self-promoted affairs, with the means available at the time, merely aiming at spreading their work in a notably hostile scene, with some producing their music at home, for themselves, without much conscience of what they were doing.
More than thirty years on, our perception of what this revolution in the Barcelona music scene meant has mutated and evolved. We firmly believe it our responsibility to shed some light on this litttle-known and enigmatic instant.

Almost one year after his debut LP Feed The Tape, Orson Hentschel enters new musical terrain wearing old shoes. His second LP Electric Stutter, which is almost 55 minutes long, is only loosely connected to his debut. Whereas Feed The Tape was strongly shaped by Classical Minimal Music, Hentschel now incorporates influences of Trip-Hop and Electronic Pop Music. Since his childhood, he considers artists like Massive Attack, Portishead and Björk as some of his most important sources of inspiration. The influence of this kind of popular music is clearly audible. Hentschel's new tracks are shorter, more shaped and reduced in the density of their sound material. Pattern-oriented repetitions, which where in the focus of Feed The Tape, now fulfil the function of sophisticated sub-components of the overall composition and are subordinate to the melodic forms or merge with them. Also the amount of sample-based material has decreased in order to create space for synthetically produced sounds with melodic character. Electric Stutter is more complex and more detailed than Feed The Tape. At the same time the reduced density of sound material and the higher amount of melodies form a kind of music that is more easily accessible.

Whereas the Düsseldorf-based composer started off with classical piano, he by now concentrates on electronic and experimental music and film compositions. Even though Hentschel has experienced a classical education, his composition techniques are anything but traditional. His creative starting point is rarely rooted in musical ideas, but consists of finding appropriate sound material. His sources are diverse: sounds and samples like soundtracks, film sounds, music albums or internet findings encounter polyphonic vocal-music from the 14th century and composition techniques of Minimal Music such as Steve Reich. In his compositions Hentschel draws a cross-section through the history of music and its genres in order to form his own musical expression. Considering his studies of music science in Düsseldorf and previously in Vienna and Dresden, his musical time-jumps appear less surprising.

Describing Orson Hentschel only as a composer of contemporary music does not do him justice. In his self-conception as an audio-visual artist he creates his own live show, combining lights, visuals and fog to a stunning atmosphere, which cannot be eluded. Supported by live-drummer Lukas Baumgart, Hentschel delivers a sound, whose energy is physically palpable and electrifies the audience. A live-show generating an intense experience, going to the limit and erasing any sense of time. Orson Hentschel moves perceptions not merely through sheer volume, but with driving repetitions and extensive tension.

Since the release of his debut 'Sundanza' EP in 2010 and 2013's 'Dual' EP, Sampha has quietly but assuredly become one of the UK's most enigmatic and respected artists. Still just twenty seven years old, he has lent his vocal, production and songwriting talents to a range of stand out releases, from UK contemporaries such as FKA twigs, Jessie Ware and SBTRKT to world-renowned superstars like Drake, Kanye West and, most recently this year, on Frank Ocean's Endless and Solange's A Seat At The Table albums. Now it's time for Sampha to tell his own story and Process, produced by Sampha himself and Rodaidh McDonald, is set to be his defining musical statement

Im Hag is the debut Ghost Box album from Berlin based Sebastian Counts' ToiToiToi.

Following on from his single for the label's Other Voices series in 2015, it's very detailed and lovingly produced music, crafted from electronic, synth, sampled and acoustic sources.

Its a wunderkammer of an album crammed with original ideas. All at once managing to be witty, spooky, melodic and abstract.

The music and design explores the polarities of folklore vs modernity, and wilderness vs civilisation.

It's an album about German culture but it pre-empts a nostalgia for the vanishing concept of internationalism, once exemplified by town twinning. It's also a warm-hearted record, hopefully a tiny morale booster against Europe's resurgent spectres.

As always the beautiful CD and LP packaging is designed by Julian House. The 180gm LP includes a free download card.

'Skin Companion II EP' includes 'Hyperreal' featuring Australian rising star Kucka. Flume is 25-year-old Australian producer Harley Streten. Since his 2012 breakout with the release of his self-titled debut, Flume continues to receive feverish support from fans and critics alike, becoming one of the first artists to top 200 million Soundcloud. The New York Times praised Flume's 'darkly textured electronic songs with a soulful edge.'
'Skin' is out now on Transgressive Records and features collaborations with artists including Beck, Little Dragon, Tove Lo, Vince Staples, Vic Mensa and AlunaGeorge.

* On the EP f 109 Basel-based duo P.Noir celebrates the final fusion of dub and electroacoustic. Besides various feedback-loops and amps the musical elements are reduced to the max—what's left is a 30-minutes-trip into drums, drones and dread.
After an unterwelt-y 12" by dane//close and a chaos-tape straight outta Lucerne f 109 marks the third audio release of 2016 on Präsens Editionen, also home to the zweikommasieben Magazin.

* Press / Promotion: Präsens Editionen was founded in 2011 to give home to zweikommasieben Magazin. Ever since a bunch of magazines, books, zines, records, tapes and oddities have been published.
zweikommasieben is a Swiss magazine that has been devoted to the documentation of contemporary club culture since the summer of 2011. The magazine features artist interviews, essays and columns as well as photography, illustration and graphics. In addition, zweikommasieben organizes concerts, parties, club nights, matinees, raves and other fun events in various cities.

Culture Glitch Records is run by a collective of musicians, visual artists,programmers and graphic designers from Derry, Ireland. The labels' purpose is to provide a platform for artists have their works heard and seen. This release encapulates many different styles of electronica from artists such as Ryan Vail,
Best Boy Grip, Shammen Delly, Shocko & The Crimson Underground. BBC 6 Music, Radio 1 and BBC Radio Ulster recently showcased many of these artists.

Limited 7 London Grammar have unveiled another new single from their long-awaited new album, 'Truth Is A Beautiful Thing'

Formed from plastics and particulars by Richard Chartier, 2015 - "I am lonely, yet I feel wonderful..."
Pinkcourtesyphone is a continuing project by Los Angeles-based sound artist Richard Chartier. He is considered one of the key figures in the current of reductionist sound art which has been termed both microsound and Neo-Modernist. Chartier's minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself.
Pinkcourtesyphone is a more emotional, dare one say musical side of his work. Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Pinkcourtesyphone is amorphous, changing, and slipping in and out of consciousness. Pinkcourtesyphone operates like a syrup-y dream and strives to be both elegant and detached.

Pinkcourtesyphone has collaborated with the likes of Cosey Fanni Tutti, Kid Congo Powers, harpist Gwyneth Wentink, AGF, William Basinski, and Evelina Domnitch. Pinkcourtesyphone's work has been released internationally on labels including: Editions MEGO (Austria), Room40 (Australia), LINE (US), Important Records (US), Dragon's Eye Recordings (US), Farmacia901 (IT), Champion Version (UK), Boomkat (UK), and IO Sound (Canada).
Chartier's sound works/installations have been presented in galleries and museums internationally and he has performed his work live across Europe, Japan, Australia, and North America at digital art/electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism.

Norwegian sound artists Alexander Rishaug and Lasse Marhaug have worked together as a duo for almost 20 years. In this time they have produced one album, 2004's "Feel Free At Home".
Now, the pair are ready with their follow-up: "Corneal Clouds". The music was recorded in 2012, then put through an extensive and meticulous fermentation process of five years until now - at last - it is ready for the public. Rishaug Marhaug promotes positive thinking through their unique brand of electronic music.

Vinyl Only Ltd.
'Iajov' is the alter ego of the Bucharest based producer Am.Light. 'Kalpa' immerses you into a spiral of voodoo sounds that allows you to move towards a shamanic state of consciousness. The ritual explores a hypnotic and atmospheric concept, marked by the identity of Annulled Music.

Little Mary strays from the pack, floating from one rock to another, in the midst of the narrow cascading river stream. Feeling the respirating leaves ebb and flow, she caught a glimpse of a pagan rain dance, a drum circle within a pocket of sunshine - where all mantras come to life.

This captivating split EP (titled 'Acosta'), sees Kilchhofer's second 12', after his 'Dersu' EP on 'Marionette'. The flip side features Hainbach who gets his work pressed on vinyl for the very first time - after a few tape releases, his latest being on Ted Butler & Cortini's 'Limited Interest' label. This is truly something wonderful from two very gifted and unique artists.

At the beginning of the 1930s, the press magnate Dominique Willem Berretty still held power over the Dutch East Indies. From the very lowest rung, this teacher's son, born 1890, raised a media empire upon a single principle, 'Activity, Activity, Speed'. As a clarion call from the future, it heralded the construction of a new world, one where information was faster than light, where modernity would be celebrated by an ever firmer grip upon the accelerator pedal. But control of his press agency (baptised Aneta, for always number one in spite of everything), driven at full bore, would begin to slip away: politicians no less than his competitors, began to tire of his monopoly. In October 1932, as his empire was fading, he commissioned architect Wolff Schoenmaker to construct the palace of his dreams: the Villa Isola, north of Bandung. D.W. Berretty would have but several months to enjoy his art-deco pearl. On December 20 1934, bankrupt, he would fly to Europe aboard a DC-2 Uiver in order to sell Aneta to the highest bidder. But he was never to complete the voyage: the first flying machine equipped with automatic piloting would crash down upon the town of Ar Rutba in Iraq.

By tracing back through time and his memories (particularly those of a trip to Vietnam), Pilooski - who we've seen in duo as Discodeine and solo, in the Dirty Edits series - would end up pushing open he door to the Villa Isola: a vestibule leading to a double spiral staircase framing a marble pediment engraved with the words M'ISOLO E VIVO (I isolate myself, and live). On the first floor lay a grand semi-circular reception room opening onto French gardens. Before the windows, leather easy chairs arranged with maniac regularity about a round table. On the lid of a grand piano, a virgin in polished glass, and on the walls, oil renditions of Dutch canals jostled with jungle watercolours. One floor up in the constructivist bar, Berretty had installed a film projector. What would he have watched, cocktail in hand, alongside his guests Herbier's The Inhuman Woman, Murnau's Tabu, or Chaplin's City Lights. Who could tell

As a tribute to this projection room, Pilooski has imagined four original soundtracks owing as much to radio broadcasts for insomniacs as they do to recorded recitals for children. With Eden Ahbez's Eden's Island album in mind, he has called upon the following contributors:

Jarvis Cocker (Pulp) has chosen an extract from Carl Gustav Jung's The Red Book; Judah Warsky has written an homage to the sun and the moon ; Narumi Hérisson (Tristesse Contemporaine) reads a passage from Ango Sakaguchi's Sakura No Mori No Makaï No Shita; and writer Simon Liberati (Anthology of Apparitions, Jayne Mansfield 1967, Eva) a fragment from one his 113 Studies of Romantic Literature.

For four exotic and minimalist pieces of spoken word, over which Clément Froissart plays flute, Axel Lecourt, percussion and Julien Vichnievsky the guitar. Together, the pieces make up Isola, the new Pilooski EP.

Artwork : Laurent Fétis & Sarah Martinon

Since the millennium 2raumwohnung unites electronic sounds and pop melodies in a variety of ways. The early singles 'Wir trafen uns in einem Garten' (2000) or '2 von Millionen Sternen' (2001) playfully communicated the life-style of a new Berlin. The duo, consisting of Inga Humpe and Tommi Eckart, started as a studio project and continued to develop via eight album productions. At the same time, an important impulse included developments in techno or house music. Their most successful album '36 Grad' stayed in the German album-charts for 33 weeks; 2raumwohnung continued to expand their stage range as well.

Next up on Craig Richard's Tuppence imprint following Convextion's superb 'New Road' 7', comes the two slices of heavy dub pressure: 'Babylon Correction Dub' from esteemed Canadian producer Deadbeat.Please note these are limited 7' only releases. Watch out for other forthcoming releases on Tuppence from Howie B and Shaun Ryder.

präsentiert das Bristoler Trio Elder Island elektronischen Leftfield-Pop mit Neo-Soul-Elementen, eklektischen Bässen und einem leichten Funk-Twist.

Relay For Death are the twin sisters Rachal and Roxann Spikula, whose noise mantras transcribe the harsh realities of urban blight that complicate and threaten their own survival. It was in the context of two month medical study that the Spikulas composed their debut album in 2009, grotesquely amplifying the emptiness of hospital rooms into a ghastly pall worthy of the classic works by Maurizio Bianchi. Natural Incapacity sprouts from a similar research and development, manifesting from the sonic pollution that proliferates in their current residence of Richmond, California. Clocking in at well over two hours, Natural Incapacity was composed as a seamless, glacial accretion of locomotive grind, subharmonic environmental rumble, nocturnal street sweeping, and the quavering hum of toxic chemicals perpetually leached into the water table. By design, Natural Incapacity's oil-stained drone is completely relentless, implying neither beginning nor end to this cycle of contamination. Relay For Death's industrial meditation recognizes abjection, horror, and defeat as the prevalent conditions to existence. Even as a declared rejection to those conditions, Natural Incapacity is engulfed in a bleak nihilism constantly churning back upon itself. Grizzled antecedents can be found in the apocalyptic works of Maurizio Bianchi, Kevin Drumm's Imperial Distortion, and Organum's Vacant Lights.

While intended to be a seamless document, Natural Incapacity is split over two CDs and does feature a download of the composition in unedited form. The physical edition features hand-rusted metal covers by the noted corrosion artist Jim Haynes and is strictly limited to 150 copies.

"Overview Effect" heißt das Debütalbum des Londoner Komponisten und Multiinstrumentalisten Roger Goula. Das ambiente und experimentelle Album erscheint auf Cognitive Shift Recordings, dem neu gegründeten Label für zeitgenössische Klassische Musik, in Zusammenarbeit mit One Little Indian und wurde durch Erfahrung von Astronauten und Kosmonauten inspiriert, die vom Orbit aus unsere Erde betrachten. Goula vereinigt darauf sowohl Einflüsse von Barock-, Renaissance-Musik (Monteverdi, Bach, Vivaldi) mit Minimalismus (Reich, Glass, Part) als auch mit Texturen und Sounds der Electronica (Aphex Twin, Autechre).

Roman Flügel "I think the first 5 tracks of the album are simply fantastic"

marvin horsch debuts on Berlin's FILM with an EP of exquisitely produced, cinematic electronica. the cologne based producer develops the colourful house found on previous work for the dorfjungs la-bel, with three playful compositions that draw as much on jazz and krautrock as more contemporary strains of alternative electronic music. opener 'omnisession#1' marries a beautifully shifting organ with live drum work before segueing into the glorious softness of 'sun after rain,' a rich synth solo drenched in tape hiss. closer 'negobebo#2' wraps up the EP - an energetic, looping recording replete with staccato drum-machine strikes and warm, wet verbs carrying a spirited lead across it's six minute duration. An honest record, open and expertly executed - fukushisha is an admirable addition to the FILM cata-logue.

R&S welcomes ALSO to the family, AKA the pairing of Appleblim (Laurie Osbourne ) and Second Storey (Alec Storey) for their killer EP01. Ever since they first met and bonded over a shared love of Detroit machine rhythms and sleek electronic grooves, the pair have been hard at work on pushing their creative boundaries to the limit, never content to take the easy route - as Laurie explains "if that means broken rhythms, and untraditional melodies then so be it.. There's so many people making sonically 'correct' or refined 4x4 music, we just wanted to explore everything other than that, whilst still keeping the dance floor moving." These heavy studio / live loose jams sessions have borne truly verdant musical fruit in the form of this debut release - opener 'Sid's Conudrum' sets the pulse racing with it's uptempo cyborg funk - juddering bass and bleeping synth squiggles, while 'Ashford Swaithes ' close things out with a heavyweight bass led rhythm - sizzling emotive pads and tripped out hi-freq arpeggios. 'Dive Prophets' close things out with a heavyweight bass led rhythm - sizzling emotive pads and tripped out hi-freq arpeggios. ALSO is pan genre, pan generational, emotive electronic music at its best... truly something special and a fine addition to R&S rich heritage of forward thinking dancefloor sonic artistry.

This is a collection of works from British musician GP Hall, recorded between 1994 and 1999.
For over four decades, guitar in hand Hall encountered many styles; jazz, blues, flamenco, rock, folk, and classical improvisation. All contributed to the creation of his unique style. Emerging from the British blues boom of the 1960's, he then followed a long and winding path through various scenes and cultures. In Spain, he was Influenced by flamenco master Manitas Del Plata before touring Europe with Liverpool band Casey Jones & the Governors. He was commissioned three times (twice by The Arts Council of Great Britain) for original music and was immersed in the avant-garde scene of the 1970's as an improviser, a pioneer of electric flamenco and a composer of large-scale ensemble pieces. During the 1980's Hall turned his focus to soundtrack music before reinventing himself as the solo performer he is today. With this strong foundation he branched into a tactile expression of his craft, discovering a new style which he called industrial sound sculptures. These sonic compositions are performed on electric and acoustic guitars as well as the six-string bass and are played with various techniques and implements including slides, battery fans, the psaltery bow, razors, toys, Velcro and crocodile clips which are fed through sound processors to create a rich sonic environment.

Tokyo's Sapphire Slows makes her debut for the always impeccable Nous imprint and their new series mundus, with four exquisitely delicate, abstract studies in synthetic science.
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Opener 'The Role of Purity' is a mesmirising 11 plus minutes that drifts around in its own somnolent, stuporific terrain, gently fusing ambient devices into a seamless soundtrack.

The B side sees a brace of slightly bolshier offerings in the form of 'Speculation' and 'Mallets & Marbles' in which Sapphire Slows allows her machines to feel more mutinous, all the while savouring the sophistication of their euphony. The EP comes to a close with 'Silent Escape' translucently stalking the eerie cosmos of electronica, outwardly tender, inwardly ferocious.

Amazing debut album by Copenhagen based Delayscape.