Duet Emmo are a supergroup of sorts who consist of Mute label boss/The Normal’s Daniel Miller, Bruce Gilbert
and Graham Lewis of Wire and Dome, John Fryer of This Mortal Coil and producer Eric Radcliffe. ‘Or So It
Seems’ was their only album, originally released in 1983 combining minimal and experimental electronics
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expected to be published on 15.08.2025
Since the release of her debut album Metalepsis in 2015, Alexandra Drewchin’s Eartheater project has evolved into new performance styles
and cycled through a diverse menu of genres, while she has introduced her music to scenes and new contexts all over the world over years of
international touring. With Hausu Mountain’s reissue of Metalepsis, appearing on vinyl for the first
time with updated artwork, we travel back five years to a period of her work where you would more likely find Drewchin’s three-octave voice swooping
through gorgeous cascading melodies as she fingerpicks through ornate chord progressions on her acoustic guitar, rather than pouring out lacerating noise
texture and technoid beat structures from a pair of CDJs. The idea that these two (of many) sides of her project are at odds with each
other, however, is a total fallacy, as Eartheater’s holistic practice remains in a state of constant recombination and willful juxtaposition. Her recent sets have
come to balance her heavier post-club material with a reincorporation of long passages of stripped down voice-and-guitar performance. With this in mind, a
reconsideration of Metalepsis could not come at a better time. Tracks like the majestic ‘Homonyms’ and the stripped-down finale ‘Infinity’
float the closest to legible structures in keeping with folk artists like Vashti Bunyan or Linda Perhacs. Drewchin’s songs latch into temporary cycles for a few
stanzas before jetting off into one-off flights of harmony that stand behind her soaring vocal lines. On ‘Homonyms,’ she winds her way through a labyrinth of
tumbling melodic figures that range from tongue-twisting, almost rapped midrange cadences to bursts of color in the highest of falsettos. Drewchin tries
on hard-effected belting closer to 90s alternative rock (‘Youniverse’), layered wordless coos and chirping vocalizations (‘Macro EV’), and pensive spokenword
whispers (‘The Internet is Handmade’). Her lyrics toy with themes of humanity’s increasing integration with technology, with our tiny role and self-perception
in a vast universe, and with the boundaries between the imagined dreamworld and the (u)(dys)topia expanding before us. For all of her mastery of voice
and traditional instrumentation, Eartheater’s omnivorous, collage-like approach to production pushes Metalepsis beyond the limits of singer-songwriting
and out into the deep end of modern electronic experimentation. Shorter sketches like ‘View Point Strata’ and ‘Youniverse’ stand as miniature
flights through contrasting sound sources and broken anti-structures. The chirps of Drewchin’s pet birds join with peals of atonal violin, while a jovial
verse by an anonymous Russian rapper arises out of a sea of garbled, heavily processed vocal fragments. Even the tracks that skirt closer to more conventional
forms play host to detailed electronic backdrops of percolating percussion patterns, sliced and looped synth formants, and swathes of pure synth texture.
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Following 16 sold-out shows of their explorative opera 'Leaves - The Colour of Falling' back in the summer of 2015, Efterklang are back with the opera's official release; a genre-breaking collection of tracks composed in collaboration with the award winning composer Karsten Fundal, released November 4th on Tambourhinoceros. 'Leaves The Colour of Falling' is Efterklang's first release since they declared they were taking a break to reflect on their artistic practice and redefine their expression back in 2014. Efterklang have carved a path as one of the most successful and progressive Danish bands, constantly trying to evolve through every record and seeking new grounds with their music. They have played in the Sydney Opera House, made films with Vincent Moon, created a sound installation in the famous restaurant Noma and performed the opera 'Leaves - The Colour of Falling' as part of the Copenhagen Opera Festival. 'Leaves - The Colour of Falling' features appearances from the legendary danish opera star Lisbeth Balslev, the countertenor Morten Grove Frandsen (one of Denmark's most promising opera talents), Nicolai Elsberg (known for his formidable bass), and Katinka Fogh Vindelev (who has been touring with Efterklang for many years).
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The Egyptian Lover is an American musician, vocalist, producer and DJ, and has been an important part of the Los Angeles dance music and rap scene since 1982 with Uncle Jams Army. The Egyptian Lover has been in the music game for over thirty years, and has never stopped touring. This 12" release of the single "Beyond the Galaxy" is from Egypt's instant classic album "1985". It features San Francisco turntablist DJ Qbert of Rock Steady Crew.
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You, Only is a beguiling insight into the world of Turkish musician Ekin Üzeltüzenci and her debut release on Vaknar.
The album features a series of musical tapestries which prominently include live instrumentation in tandem with Ekin’s own voice, all of which has been fed through a series of tape delays, giving the final outcome a brittle and reflective tone.
After a stint of initial tape only albums which included the aforementioned 'Heavy', Ekin Fil went on the produce 4 albums for the Helen Scarsdale Agency.
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Originally released in 2009, Eliot Lipp’s album “Peace Love Weed 3D” covers a lot of ground in ten songs. The record’s style explores instrumental electro-funk, acid, fusion and even italo-disco sounds.
The album began as a collection of loose sketches made on various drum machines and synthesizers recorded to tape. This source tape was then cut apart, resampled, and enhanced with the addition of more samples and live instrumentation. Lipp chose to work for the first time with a studio guitarist. He met Guitar Ron in the subway station close to his studio in NYC. Throughout this album his efforts blend perfectly with Lipp’s exquisite taste in sound as the synth and guitar leads weave effortlessly in between thick chords and complex drums.
Peace Love Weed 3D was originally released on Eliot’s own label Old Tacoma Records January 27th, 2009 and now receives it’s long overdue, first ever vinyl pressing through frequent collaborators YHS Records.
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Very limited LP and CD Digipack. Uniting two of the Ireland’s most forward-thinking musical propositions — Eoin O’Callaghan AKA Elma Orkestra and Ryan Vail — Borders is a singular collaborative project. Spanning symphonic ambience to widescreen electronica, it’s a genre-warping meeting of the minds from two of the country's most innovative artists. Having both been releasing music independently of one another since 2012, the album is a project that has almost felt destined to happen. As two artists residing on either sides of the border in Derry/Londonderry, their paths have entwined several times in the past. Now, mirroring the spirit of the times — of grasping for unity and togetherness in an unpredictable, ultimately borderless world — Borders is a release that sees those creative paths meet head-on. Across eight tracks, from opener ‘Droves’ to the beat-laden outro ‘Arlene’, O’Callaghan and Vail masterfully blur the contours between contemporary electronic and classical realms. This breaking of new ground — of pushing boundaries and thwarting expectations via attention to detail and a joint penchant for analogue equipment — is what underpins Borders. They create a new continent of sound, a world where Borders don’t exist. Though it was titled before the looming spectre of Brexit, Borders, as an album, encompasses much bigger universal themes about belonging in a world where division is more rife than ever. And yet, there’s a uniquely personal aspect that runs throughout the release. “The album was written with the mindset that we were scoring the border between the North and South of Ireland,” reveals Vail. “While performing the album live, the audience will see a visual journey across various parts of the border.” Underlining the collaborative nature of the release is the presence of Dublin spoken word poet, Stephen James Smith (‘My Island’) and Moya Brennan, who sings in both Gaelic and English on ‘Colours’). Combined with O’Callaghan and Vail’s meticulous, inspired compositions, these tracks only serve to highlight the album’s staggering feat of collaborative spirit. The ‘Borders’ album will be toured as either a two-piece solely with Elma Orkestra and Ryan Vail or alternatively as a four-piece or six-piece which includes a string section. Dates are: 14th June Sebright Arms, London, 27th Workman’s Club, Dublin, 28th The MAC, Belfast…
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Love in the Time of Science is the fourth album by the Icelandic singer/songwriter Emilíana Torrini. It was her first album to be released internationally (her earlier albums being released only in her native Iceland).
The album was recorded and released in 1999 and was produced by Roland Orzabal and Alan Griffiths of Tears For Fears, who also wrote two tracks for the album. It was recorded and mixed at Orzabal's own studio, Neptune's Kitchen, with additional recording done in Spain and Iceland. Orzabal also played and performed backing vocals on the album.
Other collaborators included Eg White, Siggi Baldursson and Mark Abis.
The title of the album is a variation of the 1985 Gabriel García Márquez novel Love in the Time of Cholera.
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expected to be published on 17.06.2022
Emily A. Sprague’s Water Memory and Mount Vision albums are presented in new and complete detail. Emily’s work concerns the connectedness of all things, giving living, core form to the mysterious forces that guide earthly activity and human contact with them. Memory and vision, ocean and mountains, question and answer, emotions and infinity. Sunshine, lizard, sea salt.
Through sound and poetry, Emily focuses on fleeting moments of crystalline clarity and meditates on expanded lifetimes of intricate meaning-making. This vision is unfalteringly beautiful, gently profound. But, as Ursula K. Le Guin intuits in her translation of the Tao Te Ching, “In poetry, beauty is no ornament; it is the meaning. It is the truth.”
A collection of reflections are visible in the mirrored structures of Water Memory and Mount Vision, two chapters - two halves - each complemented by a written verse. As much about the presence in youthful experimentation as the permanence of transition and maturation, Water Memory is the first long-form instrumental music Emily ever channeled, generated over a year of self and sonic exploration between Massachusetts and New York.
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Sword-wielding Ocarina master Link on a conquest with Legowelt, meeting a gold-armoured middle-age incarnation of Ryuichi Sakamoto... aka the sound of EMPLOYEE for the inaugural tape from PLAQUE, the consistently underground, consistently quality promotion who now present their first dispatch-able transmission in the form of a 20 track cassette.
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The best musicians are masters of reinvention. Bob Dylan’s electric revolution at Newport Folk Festival. Radiohead’s bold rebirth with Kid A. Robert Plant’s fearless escape from the shadow of Led Zeppelin. To that list of trailblazers and rulebreakers, add Erja Lyytinen. For seventeen years, we’ve known her as the award-winning slide goddess whose heart-and-guts songs have shaken the blues-rock scene. But as the Finnish bandleader confirms with latest album Another World, we’ve only scratched the surface. “The album title is the idea of stepping into a new territory, musically and spiritually,” she explains. “Walking towards a new land of musical ideas, not being afraid to express myself. This album is open-minded, curious and empowering.”
In a cynical world where manufactured bands stick to the formula, Lyytinen has always broken through the boundaries of genre. This is an artist capable of flowing from the primal blues of international debut Pilgrimage (2005), to the orchestration of Voracious Love (2010) and the soulful Elmore James tributes of The Sky Is Crying (2014). But following the shattering breakup that fuelled Stolen Hearts (2017), Lyytinen found herself tearing out the page and writing a new chapter. “While Stolen Hearts was made during tough times,” she reflects, “Another World is like spring, bringing in new fresh life and hope. The whole album is rockier and funkier, with elements of blues, pop, hard-rock, prog-rock – one song even has an Irish vibe.”
Written, recorded, mixed and mastered across the planet by the greatest sonic architects on the modern scene, Another World feels like an album in motion. The songs passed through iconic locations including Gavin Lurssen’s Grammy-winning Lurssen Mastering in LA, while the thrilling mix was crafted by Austin, Texas legend Chris Bell, who recognised Lyytinen as a talent to match up to A-list clients like The Eagles, Erykah Badu and Eric Johnson. But Lyytinen’s soaring vocals and fire-in-fingers slide work mean these songs always feel like one vision, even with the tracklisting running the gamut of genres and moods. Snake In The Grass lays biting riffs on a stop-start groove, Lyytinen cutting heads with Michael Jackson’s favourite shredder, Jennifer Batten, on a harmony solo that “becomes a guitar battle”.
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Former 4AD labelmates Ian Masters (Pale Saints)
and Warren Defever (His Name Is Alive) use a
classic song by the 13th Floor Elevators as a
starting point and over the course of a record see it
disintegrate as they beam into the heart of the sun.
For fans of Flying Saucer Attack, Texas psych,
Matsuo Ono, A.R. Kane, Toru Takemitsu,
Hawkwind, Taj Mahal Travellers.
Originally released as a very limited lathe cut in
Japan and now being made more widely available
as part of Disciples’ R.A.T.S. series.
Clear vinyl LP includes two-sided full colour
newsprint poster designed by Alexander Tucker
(Thrill Jockey) plus digital download card.
Presented in a silver foil-embossed die cut sleeve.
Each side plays continuously with no banding
between tracks. Digital format, via the download
card, is four separate tracks.
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Trapezoid: 4 sided geometrical figure, none of which is parallel to any other one.
This is the exoteric definition. But there is also an esoteric one which carries all the meaning of the symbol.
We are psychologically programmed to look for symmetry, to recognize harmonious forms in our environment. Mandalas comfort us. They give us a sense of wholeness. Even our own design as human beings is symmetrical. On the other hand, the deliberate search for non-symmetrical forms is the quest for heterodoxy, for the separation from the natural order to walk owns path, the way of the dissident. It means to inhabit a subjective universe whose laws do not emanate from an external command, natural or divine. It is, truly, the Will to be the Other.
In this sense this is a trapezoidal record. A deliberate act of magic. The music follows its own rules. There is a lot of crosslinked percussion, ethnic elements amputated from the tradition they were created for, synths which are not synths, trumpets that are really guitars, apparent confusion. Nothing is casual, everything has a purpose. Each track of every song is a necessary element of the ritual. And, as any ritual which expect to be effective, it's a subjective act that has to transform the practitioner first. And then, permeate the psyche of the listener and expand through the cosmos.
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Following the first ever vinyl reissues of Aurore and Royaume, Aimant + Aimant – Penultimate Press is finally proud to make available the final part of this extraordinary trilogy. Bleu is the final gesture and culmination of this period of creation where poésie and la nature form a magical alliance that resonates as an alchemical wedding. Having the conviction that Bleu was the ultimate arc based on the purity of natural sound and poetry, leaning towards a mystical spiritual search towards their own souls the band moved into commadere and collaboration with friends and ideals such as Lydia Lunch and Alan Vega.
expected to be published on 24.01.2022
“I want to give you a killer sound, before the time will waste it all”, Eugene sings on the first verse. “Radiowave” is not a love song, neither an ode to retro-technology: it’s the search for a safe and inspirational place to be and for a method to evade oblivion. The song features two important artists coming from the avant-garde pop music scene: the acknowledged father of italian new-wave Garbo along with Andy (co-founder of the MTV Award winning outfit Bluvertigo, besides being an acclaimed painter and visual artist), the first singing the Italian verse of the song with his haunting and unique voice, the latter performing a dreamy and abstract saxophone solo. Radiowave is a pure electronic-pop anthem, a cool clash of energy and elegance. Music video has been made with American video-art foundational artist and friend Gary Hill, who processed a live footage of Eugene singing the track through an early-70s analog video-synthesizer, generating hundreds of dancing green arabesques, deconstructing and re-composing Eugene’s face and surprisingly creating a futuristic vision without using computer-graphics at all. Besides the main track, this vinyl release also contains a special alternate mix (MHZ Version), the song “Insistence is Futile” feat. experimental artist Kudu and a fab industrial/EBM remix by Plaster. Each copy of the record comes with a download card (and there are seven types of cards, each one of them personalized by hand) to download full release and three extra tracks: two blasting remixes by Strobo (prog house), and UnicornTV vs Sixthclone (vaporwave), plus previously unreleased instrumental “Intermission”. Calling all good music and high-quality production lovers, something really exciting is coming to you.
[b] 2. Radiowave (feat. Garbo, Andy) [Mhz Version]
[d] 4. Radiowave (feat. Garbo, Andy) [Plaster Remix]
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Seven new cues from Black Water as written, performed and produced by Everyday Dust.
Additional cues salvaged from an incorrectly labelled transcription disc.
Seven tracks on a gold/white 45rpm 7” with picture sleeve and inner poly bag.
expected to be published on 15.10.2021
Originally released in 2006 as a mini-CDr in a limited edition of 300
signed and numbered copies, this immersive selection of solo recordings
by Savage Republic, Scenic and Independent Project Records founder
Bruce Licher finally gets the expanded reissue treatment
Newly packaged in oversized die cut pocket folders complete with various inserts
to give a more complete artistic presence to the unique and special music that is
being shared. CD packaging is designed by world-renowned graphic design artist
Bruce Licher.
The three original tracks "recorded in the summer of '97 on a cassette 4-track" are
now accompanied by a fourth instrumental that ventures into atmospheric
electronic territory. The bonus track was composed on an old Roland SH-2000
synthesizer Licher found while living in Arizona; it is, rather fittingly, named
"Number 09" "an homage to the Beatles' most adventurous piece of
experimentation. 'Exploratorium' reclaims equal fondness for the natural and the
industrial. This inquisitive approach is made clearer "and intriguing" by the
unexpected pairing of the original three tracks with "Number 09". Whereas "Peak",
"Going Home" and "The Penstemon Field" eagerly play with stretching the role of
guitars and bass, "Number 09" takes its cue from the hypnotic synths of the
Human League's 12" from 1979 'The Dignity of Labour' and sets off for an
unconstrained sonic trip that goes from the jarring to the meditative. It's a
mesmerizing blend of ambient and post- rock, noisy shoegaze and pastoral
melodic structures, droning avant-garde and soundtracks at their most.
expected to be published on 18.11.2022
Vibe, Extended Organ’s first full-length studio LP since 2000’s XOXO was recorded in April 2016 by members Joe Potts, Fredrik Nilsen, Paul McCarthy, Tom Recchion, and Alex Stevens. The album consists of two side-long tracks, Hate and Vibe, recorded live at LACM Studio in Pasadena, California by acclaimed engineer André Knecht.
On Vibe, the band employs prepared piano, junk percussion, Joe Potts’ Chopped Optigan, electric guitar, voice, Rheem organ, various electronics, and homemade instruments. Each track is improvised, then assembled and edited without overdubbing in studio. The music moves with velocity and direction revealing surprises at every turn. The resulting sound is ominous, humorous, harmonious, chaotic and at times quietly erotic. This is abstractly powerful music.
The highly provocative cover image, created collaboratively by Joe Potts, Fredrik Nilsen, and Tom Recchion, is shrouded inside a unique laser-cut outer sleeve. Like the music contained within, the cover reveal is a beguiling experience in and of itself. This intriguing package was art directed and designed by Tom Recchion.
Formed in 1994, Extended Organ produces a dynamic otherworldly ambience which can be simultaneously hilarious and frightening. Joe Potts lays down a carpet of sound using and his self-engineered drone instrument, the “Chopped Optigan,” over which Paul McCarthy performs vocal and guitar improvisations channeled and processed by Alex Stevens. Alex also adds his own keyboard triggered synthesized sounds. Tom Recchion, renowned as an inventor of homemade instruments, a free improviser, and an accomplished composer of acoustic, electronic and tape music, performs an array of sounds folding lush beauty and horror sensibility into the matrix. Fredrik Nilsen plays an antique Rheem Mark 7 organ along with electronic sound and recordings created by Mike Kelley. Kelley was a member of the group from 2000 until his death in 2012 and continues to be a contributing member by virtue of sound recordings he provided before his death; “In case I can’t make a gig, I can still play.”
The LAFMS formed in the early 1970s around a loosely knit group of like-minded musical improvising sound experimenters in eastern Los Angeles who discovered their mutual interest and banded together to design modes of self production and distribution of recordings and publications, helping to develop and propel the DIY movement. In the ensuing 45 years the LAFMS has gone on to create dozens of records and groups (including Doo-Dooettes, AIRWAY, Le Forte Four, Smegma, John Duncan and Extended Organ), hundreds of concerts, festivals in both US and Europe, a full-scale gallery retrospective and volumes of artwork, sculptures, homemade instruments, videos, recordings, and other ephemera.
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I've known Fabio Orsi for almost fifteen years now, artistically and humanly. Since the days of "Osci" his first album released by SmallVoices, my label at that time, up to some essential records published by A Silent Place, another label that I managed, in a period that seems almost unrepeatable. Each of his work, whether in music or photography, is always a certainty for me, but lately also a surprise; in fact Fabio Orsi has learned to surprise himself and surprise us: this new creature is different from his previous releases, but is always touched by that talent and crystalline class that distinguishes him; after all these years, I can affirm it without fear of appearing too enthusiastic or even partisan. The new work "Sterminato Piano" settles among the best things of Fabio Orsi, but also in some ways, among the most unexpected and original. After eight years in Berlin, his return to Puglia (south of Italy) is restoring new life and new creativity and new energy. In fact, the new album is full of energy and warmth, with patterns, sequences and dancefloor beats of our dreams. Amazing cover artwork wizardly made by Italian illustrator Mastereaster. Edition of 200 copies on orange vinyl.
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I've known Fabio Orsi for almost fifteen years now, artistically and humanly. Since the days of "Osci" his first album released by SmallVoices, my label at that time, up to some essential records published by A Silent Place, another label that I managed, in a period that seems almost unrepeatable. Each of his work, whether in music or photography, is always a certainty for me, but lately also a surprise; in fact Fabio Orsi has learned to surprise himself and surprise us: this new creature is different from his previous releases, but is always touched by that talent and crystalline class that distinguishes him; after all these years, I can affirm it without fear of appearing too enthusiastic or even partisan. The new work "Sterminato Piano" settles among the best things of Fabio Orsi, but also in some ways, among the most unexpected and original. After eight years in Berlin, his return to Puglia (south of Italy) is restoring new life and new creativity and new energy. In fact, the new album is full of energy and warmth, with patterns, sequences and dancefloor beats of our dreams. Amazing cover artwork wizardly made by Italian illustrator Mastereaster. Edition of 200 copies on orange vinyl.
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Soul Jazz Records are releasing this stunning new collection, The World of Keith Haring, featuring
music influential to the artist Keith Haring.
The art of Keith Haring is today one of the most recognisable of any visual artists of his generation,
defining 1980s New York during an intense period when downtown artists and musicians collaborated
like never before. Haring’s musical inspiration took in the punk/dance downtown sounds of clubs like
The Mudd Club, underground disco at Larry Levan’s Paradise Garage, as well the early days of hip-hop
and electro.
The album is released to coincide with the opening of the first major exhibition in the UK of Keith
Haring’s work at Tate Liverpool and which runs for the next six months.
Haring’s many friends included Jean-Michel Basquiat, Andy Warhol, Madonna, Fab Five Freddy,
William Burroughs, Jenny Holzer, Yoko Ono, Grace Jones, Larry Levan, Futura 2000.
If you were looking for a person to guide you through the wide variety of nightclub scenes of
downtown New York in the 1980s, then Keith Haring would have been your man.
This album comes in deluxe artwork and three formats – Double CD + 48-page book, a deluxe 3xLP +
bonus 7” + download code vinyl version, and a standard 3xLP + download standard vinyl version. All
formats of the album feature stunning photography, extensive sleevenotes and interviews.
The music here includes the work of a number of Haring’s close friends, including Jean-Michel
Basquiat, Yoko Ono, Larry Levan, John Sex and George Condo (The Girls), as well as healthy dose of
rare disco, early electro and New York punk/dance tracks.
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Pequeñas Melodias is the result of a dialog between the photographers Albarrán Cabrera (Angel Albarrán & Anna Cabrera) and the composer / musician Federico Durand initiated by IIKKI between December 2017 and August 2018. The complete project works in two separate physical imprints: a book and a disc (vinyl or cd).
Albarrán Cabrera are the photographers Anna Cabrera (b. 1969, Sevilla) and Angel Albarrán (b. 1969, Barcelona) who work together as a collaborative duo based in Barcelona. The work of Albarrán Cabrera has been shown in galleries and photo fairs in Spain, Japan, Switzerland, The Netherlands, France, Germany, Lebanon, Italy and the United States. Anna and Angel have both studied under photographers such as Humberto Rivas and Toni Catany, among others.Some of their prints have become part of private collectors and institutions such as Hermes, Goetz Collection, Banco de Santander, Fundación de Ferrocarriles Españoles among others. They have also produced printing work for several institutions like Fundació La Pedrera in Barcelona, Fundació Toni Catany in Mallorca, Reina Sofia Museum in Madrid or Barcelona Photographic Archive.
"There is a gap between reality and what we understand as real. And photography lies in the frontier between the real and unreal, the true and the false. So it helps us to “see” what is hidden from us. (…) We use a wide range of processes and materials. Some of these processes are the result of the combination of several old photographic processes or they can be a mixture of new and old ones. Thus we use, platinum, palladium, cyanotype or gelatine silver processes. But we have also invented and developed new processes, as it is the case of the one we use for our colour prints: pigments, Japanese paper and gold leaf. All this serves just one single purpose: we want to have far more parameters to play with the viewer than just the image. The texture, colour, finishing, tones; even the border of a print can give extra information to the viewer. And you can have a better control over this information just using the correct process and materials for a specific image..." (Albarrán Cabrera)
Federico Durand is an Argentinian musician and composer who has recorded since 2010 twelves solo albums through some labels among others as Spekk, Home Normal, White Paddy Mountain, 12k. Federico Durand’s music is a weave of sound searching introspection and delight through simple melodies, made in the heart of Argentina. He likes music, gardens, John Keats' poetry, collecting stamps and Earl Grey tea. He has also a musical project with Tomoyoshi Date (Opitope, Illuha) called Melodía.
Fine Art Book, Ltd. to 500 copies: Hardcover book printed on Munken Print White main 1.8 115g/m2 // 96 pages, 24cm x 22cm, 54 photos // Logo, slot and circle embossed // Matt laminate soft touch finish + selective varnish // Hand-numbered, hand-stamped
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James 'Perturbator' Kent and Cult of Luna are the masters of their respective worlds. Over the last decade, the French maestro has become the most expectation-breaking name in synthwave, transcending its '80s video game aesthetic with metal and post-punk.
Meanwhile, the Swedish sextet have affirmed themselves as post-metal's biggest stars. Seismic riffs, earth-quaking growls and brave collaborations with everyone from Julie Christmas to Colin Stetson have ensured they're as blistering as they are forward-thinking.
Eclecticism and violence are married in Final Light: Perturbator's team-up with Cult of Luna singer/guitarist Johannes Persson. The pair's self-titled debut album is the perfect conglomerate between seemingly incompatible sounds.
On its opening track, the insidious "Nothing Will Bear Your Name", synths bubble to construct an arresting opening half. Then, release. Johannes' roar strikes and guitar chords boom as computerised beats anchor the chaos.
"It Came with the Water" echoes Cult of Luna's 2013 titan Vertikal, invoking images of an urban dystopia as its deep guitar melody grinds beneath sci-fi electronica. The title track's distorted EDM beats, on the other hand, are all James 'Perturbator' Kent, capable of invigorating the seediest of underground nightclubs. Both parties are clearly playing to their strengths - but for them to do so in such perfect harmony is, in itself, a genre-demolishing feat.
Lyrically, Final Light seethes with anger. "There was so much that I was so fucking pissed about," Johannes explains. "Some of my friends were dealing with a poisonous person: a narcissistic, crazy person. I was walking around full of anger and hate, so I think that came out in those lyrics."
The tandem's story began in 2019. Walter Hoeijmakers, the artistic director of the Netherlands' lauded Roadburn festival, approached James 'Perturbator' Kent with the opportunity of doing a commissioned piece with any musician of his choosing. As soon as the pair began work on their boundary-decimating songs, they knew that they had to be immortalised as an album.
"It was immediate," states Perturbator. "It's a project that I really want to share; it's not only the fruit of a collaboration between me and one of my favourite musicians, but also very unique and once-in-a-lifetime."
They wrote and recorded together in Paris before the start of the pandemic. Covid, which postponed the Roadburn festival at which the band would have debuted, gave them time to perfect what they'd crafted.
Johannes recorded additional vocals at Cult of Luna's resident studio in Umeå, Sweden, fully capturing the rage of his apocalyptically harsh voice.
Borders were built to be shattered. This is the sound of their destruction. Single-handedly, Final Light have birthed a new, bleak breed of experimental metal.
expected to be published on 24.06.2022
James 'Perturbator' Kent and Cult of Luna are the masters of their respective worlds. Over the last decade, the French maestro has become the most expectation-breaking name in synthwave, transcending its '80s video game aesthetic with metal and post-punk.
Meanwhile, the Swedish sextet have affirmed themselves as post-metal's biggest stars. Seismic riffs, earth-quaking growls and brave collaborations with everyone from Julie Christmas to Colin Stetson have ensured they're as blistering as they are forward-thinking.
Eclecticism and violence are married in Final Light: Perturbator's team-up with Cult of Luna singer/guitarist Johannes Persson. The pair's self-titled debut album is the perfect conglomerate between seemingly incompatible sounds.
On its opening track, the insidious "Nothing Will Bear Your Name", synths bubble to construct an arresting opening half. Then, release. Johannes' roar strikes and guitar chords boom as computerised beats anchor the chaos.
"It Came with the Water" echoes Cult of Luna's 2013 titan Vertikal, invoking images of an urban dystopia as its deep guitar melody grinds beneath sci-fi electronica. The title track's distorted EDM beats, on the other hand, are all James 'Perturbator' Kent, capable of invigorating the seediest of underground nightclubs. Both parties are clearly playing to their strengths - but for them to do so in such perfect harmony is, in itself, a genre-demolishing feat.
Lyrically, Final Light seethes with anger. "There was so much that I was so fucking pissed about," Johannes explains. "Some of my friends were dealing with a poisonous person: a narcissistic, crazy person. I was walking around full of anger and hate, so I think that came out in those lyrics."
The tandem's story began in 2019. Walter Hoeijmakers, the artistic director of the Netherlands' lauded Roadburn festival, approached James 'Perturbator' Kent with the opportunity of doing a commissioned piece with any musician of his choosing. As soon as the pair began work on their boundary-decimating songs, they knew that they had to be immortalised as an album.
"It was immediate," states Perturbator. "It's a project that I really want to share; it's not only the fruit of a collaboration between me and one of my favourite musicians, but also very unique and once-in-a-lifetime."
They wrote and recorded together in Paris before the start of the pandemic. Covid, which postponed the Roadburn festival at which the band would have debuted, gave them time to perfect what they'd crafted.
Johannes recorded additional vocals at Cult of Luna's resident studio in Umeå, Sweden, fully capturing the rage of his apocalyptically harsh voice.
Borders were built to be shattered. This is the sound of their destruction. Single-handedly, Final Light have birthed a new, bleak breed of experimental metal.
expected to be published on 24.06.2022
International psych explorers Flamingods are back with brand new album ‘Levitation’ coming out on via Moshi Moshi Records.
Inspired largely by the disco, funk and psychedelic sounds coming out of the Middle East and South Asia in the 70s, the album channels these influences through a vision soaked in mysticism, positivity and sun-drenched imagery.
During the process of writing and recording ‘Levitation’, Flamingods for the first time in four years found themselves living in the same continent, it’s this new unified feel that defines the confident and eclectic sound of the album.
‘Levitation’ is the follow-up to Flamingods’ breakthrough 2016 album ‘Majesty’ and follows their ‘Kewali’ EP release for Moshi Moshi in 2017 and a one-off release with Dan Carey for his Speedy Wunderground singles club. During this time they’ve performed live sessions at 6Music (with Gilles Peterson & Lauren Laverne), KEXP, Boiler Room and have been travelling the globe spreading their
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International psych explorers Flamingods are back with brand new album ‘Levitation’ coming out on via Moshi Moshi Records.
Inspired largely by the disco, funk and psychedelic sounds coming out of the Middle East and South Asia in the 70s, the album channels these influences through a vision soaked in mysticism, positivity and sun-drenched imagery.
During the process of writing and recording ‘Levitation’, Flamingods for the first time in four years found themselves living in the same continent, it’s this new unified feel that defines the confident and eclectic sound of the album.
‘Levitation’ is the follow-up to Flamingods’ breakthrough 2016 album ‘Majesty’ and follows their ‘Kewali’ EP release for Moshi Moshi in 2017 and a one-off release with Dan Carey for his Speedy Wunderground singles club. During this time they’ve performed live sessions at 6Music (with Gilles Peterson & Lauren Laverne), KEXP, Boiler Room and have been travelling the globe spreading their
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Sam Shepherd aka Floating Points announces new
single, ‘Someone Close’, released on vinyl alongside
three other new tracks he’s shared this year.
‘Grammar’, ‘Vocoder’ and ‘Problems’ were met with
widespread praise, including a Best New Track from
Pitchfork and a glowing review from Resident Advisor,
describing Shepherd as “one of electronic music’s
undisputed MVPs.”
‘Someone Close’ changes track completely, something
Shepherd has done effortlessly across his career,
capping off a run of releases that have showcased the
many strings to his bow yet still hold together
seamlessly.
Over 2022, Floating Points has played festivals across
the globe, including Coachella (US), Portola (US),
Field Day (UK), Sonar (PT), Le Bon Air (FR) and Pitch
Music & Arts (AU).
For fans of Aphex Twin, DJ Koze, Four Tet, Caribou,
Jamie xx.
12” black 140g vinyl in a black paper inner sleeve
housed in a black 3mm spined outer sleeve. Artwork
by Hamill Industries.
Press - Reviews & features in The Guardian, Pitchfork,
NME, Billboard, The FADER, Clash.
Radio - 6 Music B-List, Craig Charles, Mary Anne Hobbs,
Lauren Laverne, Chris Hawkins, Nemone, The Huey
Show, Tom Ravenscroft, Radio 1 Benji B.
Club Promotion - DJ support from Peggy Gou, Four Tet,
Bicep, Disclosure, Ben UFO, Bonobo, Overmono, Chloe
Robinson, Call Super, TEED, Joe Goddard.
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Floating Spectrum is the moniker for Taiwan-born, Berlin-based composer and audio technologist, Mei-Fang Liau. Her debut album as Floating Spectrum, A Point Between - crafted from a combination of synthesizers, everyday household objects, and unique software synthesizers made by Liau herself - is truly asound and vision unlike any other. To complete the album, Liau relied heavily on a self-made, fractal-inspired software synthesizer called Polyphylla, which simulates the way in which nature creates very complex and organic forms just by repeating slight variations of a simple form. It allowed Liau to create slowly evolving textures and sounds with complex dynamics, and thus the driving influence for the whole of A Point Between. The lone outlier is "Eruption," for which Liau built a generative sound system that turns visual data into sound. In this hybrid system, sensitively fluctuating analog signals, fine-tuned data analysis, and human intuition perform together as one coherent living being. The technological marvels of Floating Spectrum are, of course, uniquely impressive. But the more astonishing and intangible triumph of A Point Between is its singular ability to collect and shape such abstract sonic organisms into richly textured, immersive works of art. It's that profound resonance that makes A Point Between such an uncanny work of emotional and structural depth.
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Selected Classics presents a crucially curated cross section of Colorado producer Andrew Dahabrah, aka FOANS’ finest work, sourced from a nearly six-hour self-released vault of tracks posted to his Bandcamp in 2018. Simply called Classics, the sprawling 100-song digital collection was intended as the project’s final offering- a comprehensive culling of the hard drive, after which there’d be “no looking back”.
Fortunately, minds have changed, and FOANS remains extant, but an air of finality and desperation still haunts these tracks, born of bruised emotions and the burnout of working seven days a week “in the middle of nowhere” as an electrician in isolated oil fields. It’s music of hidden hours and private survival, slipstreaming through sleek cybernetic house, gauzy matrix ambience, low-slung dusty jack, and woozy fractal techno. Placeless and weightless, heady and kinetic, Selected Classics distills Dahabrah’s sidewinding inner vision to its swooning fiber optic essence.
expected to be published on 07.07.2023
The long-awaited fourth full-length by Föllakzoid isn’t merely a recalibration for the band. It is a multidimensional reconsideration of what the process of songwriting, performance, and creating a work of recorded music can be.
Föllakzoid grows via depuration, aiming with each record to fill longer spaces of time with fewer and fewer elements. The creative perspective of the band has always been about unlearning the narrative and musical knowledge that shape the physical and digital formats and conceptions available, both visually and musically in order to make a time-space metric structure that dissolves both the author and the narrative paradigms. “We found our sonic and metric identity even more in these songs than in our previous attempts,” guitarist/singer Domingæ GarciaHuidobro explains.
Unlike past Föllakzoid records, that were done in single takes with the full band, this record took three months to construct out of more than 60 separate stems – guitars, bass, drums, synthesizers, and vocals, all recorded in isolation. Producer Atom TM, who was not present for recording, was then asked to re-organize the four sequences of stems without any length, structural restrictions or guidelines. Those sequences ultimately became the four long tracks that appear on I.
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The long-awaited fourth full-length by Föllakzoid isn’t merely a recalibration for the band. It is a multidimensional reconsideration of what the process of songwriting, performance, and creating a work of recorded music can be.
Föllakzoid grows via depuration, aiming with each record to fill longer spaces of time with fewer and fewer elements. The creative perspective of the band has always been about unlearning the narrative and musical knowledge that shape the physical and digital formats and conceptions available, both visually and musically in order to make a time-space metric structure that dissolves both the author and the narrative paradigms. “We found our sonic and metric identity even more in these songs than in our previous attempts,” guitarist/singer Domingæ GarciaHuidobro explains.
Unlike past Föllakzoid records, that were done in single takes with the full band, this record took three months to construct out of more than 60 separate stems – guitars, bass, drums, synthesizers, and vocals, all recorded in isolation. Producer Atom TM, who was not present for recording, was then asked to re-organize the four sequences of stems without any length, structural restrictions or guidelines. Those sequences ultimately became the four long tracks that appear on I.
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France set out for a wild mesmerizing revelry of sound. The result is one of their best recordings to date (live at Ottfest 2014). Imagine Tony Conrad & Faust reincarnated as a french trio in 2014, using only a minimal drum kit, bass and hurdy-gurdy to drone you into another dimension. The music of France is built around the idea that a circular rhythm section combined with the trance-inducing riffs of the hurdy-gurdy can generate an endless series of (micro)tonals variations, bringing the sound to always new unpredictable directions, also according to the site where the music is performed.
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What is possible in the field of electronic music? What can you get out of
a cutting-edge ecello, that he helped to develop, from the instrument
itself? What possibilities do loop machines, samplers and many other
technical innovations offer? The classically trained cellist, who embraces
experiment, moves without gravity into the pulsating core of a musical
universe, that has expanded exponentially in recent years, on his solo (in
the true sense of the word) album
expected to be published on 30.06.2022
FRQNCY LDN, the new project from Alex Lavery and James Ford (producer du jour and one half of Simian Mobile Disco), are releasing their debut album ‘The White Edition’ on 5 September via PRAH Recordings. Alongside the news of their debut album, the duo are sharing the first taste in ‘Matthias’ Wajd’, which they describe as “a rousing, instrumental piece from the middle of the set where the whole ensemble became balanced providing moments where Raven played violin with haunting yet uplifting melodies within the cavernous reverb of the church. Interestingly, at this moment, most of the audience who had been laying down rose to watch the performance like a gig, like an awakening.”
Initially conceived as a live project with earlier performances at churches in London and at Glastonbury, FRQNCY LDN’s music is a mix of strings, gongs, oscillators, FX, and spoken word, and the result is a musical experience unlike any other. Now that immersive magic has been captured on their debut release through Prah Recordings.
The music that FRQNCY LDN are releasing as their debut album is from an extraordinary live take from a performance at St Matthias Church in Stoke Newington last year, and thanks in no small part to the serendipitous bunch of musicians they assembled: composer and violinist Raven Bush, clarinettist Arun Ghosh, cellist Satin Beige Chousmer, and harpist Chloe Chousmer-Kerr. Alongside Lavery and Ford and assisted by engineer Animesh Ravel, they were able to capture the music to a world class level.
FRQNCY LDN has its roots in a supermoon that occurred three summers ago, after the hottest day of the year. Two of Lavery’s friends gave a sound bath that evening. “I’m not overly into astronomy or anything but the experience was nuts,” he says. “I had to find out what had just happened. What felt like forty minutes was actually two and a half hours. We were all out. It was so profound that I was hooked.”
He immediately signed up for a sound therapy course where he learned about what he calls a “brain hack” to meditation. “The thing about sound therapy is there’s a lot that’s meditation-based, and I find meditation really difficult. I’ve got a very busy brain. What was alluring about this process of sound immersion, a sound bath, whatever you want to call it, is it’s basically a hack to making your brain get into a meditative state.”
FRQNCY LDN’s early shows crystallised their ideas into a project, and Lavery brought poet Nikita Gill on board as a vocalist. “One of the first poems she gave to me, ‘Unwitches’ was in response to me explaining that I’d love this project to be perceived as something anyone could access. It’s not just for the sound meditation or the yoga, or the mushroom crowd. No one should be turned off by connotations from where the music comes from, I love music but I’d never be into that because it’s too woo-woo. Nikita said she’d had this poem for a long time but she’d never found the right home for it.”
And in an increasingly busy and fraught world, the need to tune out for an hour or so, and maybe tune in to something more profound, is only going to get bigger.
expected to be published on 20.02.2026
After the deeply ambitious three EP trilogy Impossible Objects of Desire in 2017, Fujiya & Miyagi are to release their 7th full length album. This record
started life as our funk record, says Fujiya & Miyagis David Best. Yet once we got into the production stage our embryonic funk songs moved closer
to electro in feel. Although this is our funkiest album to date and the funk is deliberate.
Its not surprising that a sense of evolution and stylistic shift would take place within the process of putting together a single record, given Fujiya & Miyagis
near two decade career of genre-hopping across Krautrock, Electronica, Disco, Pop, Funk and anything else they feel like throwing into their smart yet
deeply accessible take on electronic music. Whilst this album might be rooted in nostalgia, with everything the pair do theres still a feeling of momentum and
something fresh. A tired re-hash of familiar sounds this is not. Instead it finds a group re-connecting with the potent music of their youth and connecting it with their
well-learned musical chops as adults. The pairs recent listening habits of African music can even be heard faintly amongst the dance floor-destined
blasts of electro. Its creeping in here but will be even more apparent on the next record, Best says. The album is ultimately one about escape and abandon.
About embracing and reliving lost moments on the dance floor charged by the surge and power of youthful remembrance. Or, as Lewis says, Flashback is a
flashback to less complicated times with no responsibilities. Its also about the odd fragments of memories that stay with you.
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Nach fast 30 Jahren veröffentlichen Funker Vogt ihr 1996
erschienenes Debut Album „Thanks for Nothing“ erstmals,
streng limitiert, auf farbigem Doppel-Vinyl. Für die VinylProduktion wurde in einem speziellen Verfahren buntes,
recyceltes Vinyl verwendet, welches jede Platte zu einem
besonderen Unikat macht.
Alle Tracks wurden auf Basis der Originalaufnahmen aus dem
Jahr 1996 von Mastermind Gerrit Thomas für die VinylProduktion neu gemastered. Das Album erscheint dadurch in
einer noch nie dagewesen Klangqualität und zeigt nochmals
deutlich welchen Meilenstein die Band damals erschaffen hat:
Club-Hits wie „Black Hole“, „Funker Vogt“ oder „Thanks for
Nothing“ haben die EBM-Szene nachhaltig geprägt.
Als Bonus zu den original Album-Tracks sind der „Body
Rapture Remix“ von „Thanks for Nothing“ und der „In
Between Mix“ von „A New Beginning“ enthalten.
expected to be published on 19.09.2024
expected to be published on 26.03.2026
expected to be published on 26.03.2026
