Beats News

Koehler… he has all that stuff… like the cover: He drew the dragon on the back some years ago. Those sounds… somewhat brutal, even dirty, with mean resonances cutting… The rhythms, unfolded with unflinching relentlessness, bashing the same spot over and over and over, that shrouding shimmer of fantastic otherworldliness… it has strange effects, it becomes so tactile…

Edition of 275, with poster insert in polybag & hand-stamped centre labels. "Sombre hits from Young Echo's O$VMV$M" Mastered and cut by Lewis at Stardelta. Artwork by O$VMV$M.

Two one-man band projects meet together on the very first Global Warming various record : The cold-blooded Scottish sound-ingeneer Sordid Sound System and mysterious Spanish hedonist Sutja Gutierrez. Deeply rock-rooted and drug-infused, this futuristic western soundtrack opens with ‘The Void’, a arid dub jam, heavily hallucinogenic and ‘Meanwhile, When Times Turn Bad’, schizophrenic punk jam both recorded from Sordid Sound System’s redwood forests new studio on Northern California. On the other side, the lone ranger Sutja Gutierrez takes us to a dystopian horse ride into shady woods and grey plains, with ‘Everything Leads To An End’ and 'Beheaded Angels', two sensible journey, blending goofy drums, creepy synths layers, heady weird vocals and binary guitars for a unique and mighty melancholic mood.

It was the mid 80s. A musical revolution was already steamrolling throughout the French West Indies when the band Kassav' produced what was to become the sound of the decade. With a now wider use of synthetic and digital tones, the "zouk" wave literally swept away to sea the biguine and cadence from the West Indian musical landscape. While this took place, some musicians chose to make an alternative use of the new techniques brought on by the advent of synthesizers. Musicians like Serge Fabriano.

It was back in 1980 that Serge, a talented young musician from Guadeloupe, while studying for a degree in 'Arts & Informatique' (Computers & Arts Cycle) at the Université De Vincennes near Paris, discovered early computer-generated digital music (MAO in French) thanks to his roommates, who both taught computer-generated graphic arts. In 1982 Fabriano and his Fabriano Unité Zion project recorded, with the help of Alain-Jean Marie, Mario Canonge and Pierre Labor, Cosmik Syndika*, which to this day remains a masterpiece of made-in-Guadeloupe Caribbean jazz.

The following years saw him tour the US and Canada as well as several other countries. By 1986 he was back in Guadeloupe, teaching music in the secondary schools of Point-à -Pître and Sainte-Rose. While doing this, his ongoing passion for the budding MAO led him to kit himself out: the Yamaha CX5M (MSX Music Computer), the Macintosh Plus, the legendary synthesizers DX7 and DX11 and several other early rhythm machines became his new toys.

Him and his partner at the time, Marie-Reine Lamoureux, who was also both a teacher and a musician, as well as a member of the Fabriano Fuzion project, decided to involve their pupils in his electronic musical experimentations. They recorded an album, composed of five tracks deliberately titled Demain, under the name 'Digital Caresse' (the idea behind this was that instead of hitting the percussions to make music, one stroked the computer keyboard to coax a sound). The combination of the children's choir, enchanting wonky flutes, saturated electronic beat and cosmic atmosphere perfectly outline the purity of this rough diamond.

Voltage Festival is releasing a compilation of 4 EP's to celebrate five years of existence. The EP's are dedicated to four sub-genres of techno and represent the versatility in techno of Voltage Festival's line-up.

The series starts off with a classic techno EP called ‘Zener Diode’, followed by a deep techno one called ‘Wiring Harness’, an industrial release with the name ‘Circuit Breaker’ and closing with acid techno called ‘Resistor’. The artists featured on the releases already made their appearance at Voltage Festival, or are playing on this year’s edition.

Via a trio of critically releases for the CPU label (two EPs and an album), Sheffield born Evan Majumdar- Swift, AKA 96 Back, delivers an eclectic EP for Hypercolour.

Leaning on, but by no means restricting himself, to the bleep roots of the Steel City, the ‘TBQFH’ EP assembles four highly accomplished tracks of head scrambling and fearless electronics. From the beat science of ‘Fe Symbolic’ to the widescreen sound palette at play in ‘Party Animal’, 96 Back flaunts a distinctive and bold dexterity.

We are not where we live, but the valley we built'
Enjoyment through suffering. Beauty in chaos. African Ghost Valley apply these principles to create their heavy doomsday electronics pulled in from the Black Bunker; a D.I.Y space under a multi-story car-park.Separated from any scene on the surface, the record was put together by European / Canadian duo Childle Grangier and Gabriel Ghebrezghi;a partnership formed in the heat of heavily improvised recording sessions, where the pair would thrash out their versions of power electronics, industrial waste drops and rhythmic dub rumble to the cities homeless.
Keeping these raw fnal cuts away from any studio trickery, the microphone would be left on to archive feld recordings and wayward audio drops, capturing the hum and lifeblood of the 'Bunker and the wheezing lungs of the dense concrete that surrounded them. Titling this work 'Colony', the album is a open-ended and multi-edged tool for AGV to explore, allowing the listener to interpret the work as they see ft, bringing to mind images of corroded space settlements and the darkest recess of human history. You decide.

Andrzej Nowak is a polish early computer music composer who never found proper place in official contemporary music world. Tracks produced between 1987 and 1994 as a score for never screened animation movies (the producer didn't like them). Lines of simple sounds, interrupted by primitive electronic trumpet and other fake instruments. Are you sure it's a film score What was the thing that producer didn't like Weird harmonies or too much rhythm

Already crafting an exceptional body of musical works, over a trio of albums and numerous EPs, Bergsonist tees up a release for Hypercolour that melds meditative ambience and cosmic electro over four cuts.

Hot on the heels of her last album, ‘Middle Quest’, on the Optimo Music label, Bergsonist opens the release with a collaboration with Missouri based singer/songwriter, Tonina. Three other tracks cover a palette of unhurried and atmospheric head music.

DJ Support
Julianna (Move, Medellin) ​- Womankind's Beauty, loved it!
Honey Soundsystem​ - Thank you for sending this one, big Berg fan
Doc Sleep ​- another fantastic release from bergsonist!
Anthony ‘Shake’ Shakir ​- nice and moody trax
Chris Duckenfield​ - Loving the mogadon slur of Take It Slo & Global Warming
youANDme​ - nice atmospheres!
Auntie Flo​ - love this,will play on my WWFM show
Omega III ​- Some steppers on here
Nathalie​ - Womankiind's Beauty is great!
Cristina Plett ​- Especially like womankiinds beauty and killed by aids (very moody!)
Vincent Floyd ​- Great music and intriguing titles
Mashinski​ - Killed by aids is great
EMA​ - dubby-delights
Jaye Ward​ - real life militant behaviour! loving how dark the tracks are but with loads of bendy bits too..
Ciel​ - Selwa always shows and proves. great work :)
DJ Guy​ - Great EP, really nice!
Katrien Schuermans ​- Her output is so versatile. Nice!
DJ Three​ - Womenkinds and Killed for me... thank you.
Brad Stabler​ - Really enjoying all of Bergsonist's output as of late. This EP is an excellent follow-up to her last record.
Anja Schneider​ - Love it
Eluize​ - Stunning!!!!!!

Steve Spacek aka Blackpocket is a relentless creative. It's truly woven into the fabric of his soul, create by any means necessary.

The debut Blackpocket project was also the Debut release on Exit Records, a truly family affair as Steve is the older brother of dBridge. The album acted as a signal of what was to come for the groundbreaking label & artist. Any expectation of tempos and sound pallets were treated with a respectful disregard in order to reach another place of design.

Blackpocket now gives us his second offering- ALAYLY, seven tracks that remind us who is the king of electronic soul music, comfortably existing in a space that is hard to deny or indeed replicate.

A child of punk and noise, Pierre G. Desenfant, under the Blackthread monicker, pursues the multiple incantations of an immersive and inner quest, carved from the limbo of his own dreams, cinematographic miniatures where the intimacy of words and spoken word meets the chiseled luxury of analog machines.

In his songs of a new century, Blackthread experiments with the precision of the scalpel, an outstanding storyteller floating on vaporous synthetic mist. Sumptuous magnetic clouds in which balances an emaciated bass, choirs on the horizon, a soul keyboard or a minimal, almost hypnotic beat. We slide between scenes in sequences, carried by the echo of this voice dancing between the murmuring and the sung, hints of Gil-Scott Heron flirt with Pansonic, Coil and Eno-esque ambience.

Written and constructed over three years, his third album The Way You Haunt My Dreams was recorded with urgency in only a few days, with the contribution of sounds from friends Béatrice Morel, Frédéric D. Oberland, Stéphane Pigneul deOiseaux-Tempête, Rémi Dulaurier and the complicity of Johannes Buff (Zombie Zombie, Lee Ranaldo and The Dust, Enablers) in the mix. Contemporary photographer Gaël Bonnefon illustrates the album with his striking silver-toned clichés.
Sparkling with a sensitive bark and piercing directly the heart, Blackthread delivers with The Way You Haunt My Dreams a black and red diamond, addictive hollywood wandering, already blending into the night to haunt dreams in technicolour.

Blackthread is a story of development. Removing the traditional guitars and drums of noise rock in which he made his more conventional apprenticeship, Desenfant has reached a minimalistic formula in finding a new path. Constructed with minimal tools (a bass, analog synthesizers and his voice), his music, after these few years, expresses a plethora of sounds and feelings. Spoken words, whispers and explosions, this disciple of Brian Eno, Silver Apples and Alva Noto writes a beatless techno, rock devoid of guitar, an ambient enhanced with texts of icy beauty.

With The Way You Haunt My Dreams, Blackthread grapples with the tension of a certain genre of dark rock and literary post punk, superimposed in ambient music. Continuing with this sense of mood, Desenfant succeeds with this new album in developing a rare songwriting in experimental synth music. Blackthread is also a story of the voice. Never suffocated by acoustic research, the words of the vocalist give this disc its depth of personality, somewhere between neuroleptic reverie and confrontation with the musician's catharsis.

Electro-Chanteuse und ex-Model Carmen Villain überzeugte 2013 auf ihrem Debütalbum "Sleeper" mit einer Melange aus Royal Trux und frühen Sonic Youth. Auf dem Nachfolger "Infinite Avenue" präsentiert sie interessante Kollaborationen mit House-Produzent Matt Karmil (mehrere Tracks), Noise-Improvisator Helge Sten aka Deathprod ("Quietly") und der norwegischen Ausnahmesängerin Jenny Hval ("Borders"). Das Cover zeigt Hollywood-Ikone und John Cassavetes-Partnerin Gena Rowlands.

New Norwegian label Oblivion Dip outs two dense 15 min long tracks, both mixing field recording and sonic processing as if it would be captured live by an objective microphone from an underworld. A clattering & seemless soundscape of fridges, motors, birds from the Philipines and soft hissing atmospheres all the way through.

Pressed to 180g heavyweight vinyl. First 100 copies come on transparent vinyl. Artwork by Jazz Syu-Ying Chen, original drawing commissioned for the album. 'Compelling stuff' - FACT Magazine
Eomac is back in 2018 with a brand new album. After an intentionally quiet release schedule in 2017 to focus on developing a new label and presenting a monthly show on Radar Radio, he returns to the album format with the 11-track 'Reconnect'.

Im Klanggarten is the very first release on Frank Wiedemann's newly established Bigamo label by the musician, video artist, author and DJ Rainer Buchmüller aka "Fred und Luna" from Karlsruhe/Germany.
It began as an homage to German electronic music of the 70s and 80s known as 'Kraut'.
However, Rainer gives his style its own name: "Elektrokraut" or "Krautelektro", in which he blends Kraut elements, such as repetitive rhythms, with beautiful melodies and modern electronic sounds. This LP comes as a double vinyl in a gatefold cover!

Ask Will Wiesenfeld to contrast his project Baths with the music made under his Geotic alias, and you'll get a simple response: Baths is active listening, Geotic is passive listening. But behind this straightforward duality exists two projects that are equally poignant yet starkly distinct, reflective of the emotional complexities of its creator.

Don't mistake passive listening for anything remotely resembling apathy. Over the course of nine self-released albums plus a handful of singles & EPs (all released on Bandcamp), Wiesenfeld has certainly proved the contrary. With Abysma, his first release for Ghostly, Wiesenfeld solidified this notion as Geotic makes his label debut in tandem with the projects first ever physical o ering. In 2018, Wiesenfeld presents his second full-length for Ghostly: Traversa.

Part of Wiesenfeld's inspiration comes from his own domestic situation. A native of the San Fernando Valley of Los Angeles, the classically trained musician has settled on the Westside, inhabiting an apartment a short ride from the ocean. "It's a relaxing and slightly displaced vibe that informs the project. It's full of art everywhere, all my comics, an amazing media set up," Wiesenfeld says. "It's all the stu that I've saved for and wanted to have in my life but didn't feel comfortable until I moved in here. We nested the shit out of this place."

Rough, tough, tumping, bumping soundboy breakbeat from the Caribbean coast of Colombia.
Forty brand new buckaroos, tooled and primed by Jeanpi Perreo, Edwin Producciones and DJ Ander — all from local sound-systems — careering guarapo-style out of punches of vintage Nigerian highlife, waka and co, by legends like Steven Amechi, Sagbeni Aragbada and Cardinal Rex Jim Lawson.
Edited and mastered by CGB at D&M for maximum oomph and worries, and presented in a gatefold sleeve with cool and deadly varnishing. Plus a full-size booklet detailing the fascinating history of this music, seamed into the strange, tentacular byways of hand-to-hand vinyl distribution, record collecting and musical connoisseurship, and the soundclash traditions of the region, suffused with the politics and culture of the Black Atlantic, stretching back to the 1950s.

Spanish artist How to levitate presents his first ambient release entitled ‘’Oceans’’. Greatly influenced by drone, ambient, field recording and synthesizer music scenes, How To Levitate utilises aspects of all such styles to paint a day by the ocean in which the listener can follow the development of such day via movements and intermixtures of recorded nature flowing into synthesizer universe and through to the slowly bubbling rhythms of techno as to reflect the nature of ocean’s own defiant movement and changes throughout a day.

Les Graciés is a collaboration in the truest sense between Paris-based sound artist Gaël Segalen and Deepblak co-founder Afrikan Sciences. Segalen's experiments in electroacoustic sound met the wider world this year via a debut LP for Erratum, an arresting work that showcases her ability to merge hypnotic murk ala Angus MacLise with the hard concréte of Parmegiani & Reibel. Segalen's IHearU imprint / organisation is a platform for her various doings, including psychogeographical audio works and multi-media collaborations, as well as servicing as a reference point for other contemporary female artists working across various mediums. Eric Douglas Porter aka African Sciences has been deconstructing and re-building forms of contemporary Black music since the mid-2000's, through releases on Deepblak (the label he co-runs with Aybee) and PAN. His musical universe is one of warping cadences and celestial melody, referencing the bold work of percussionists like Milford Graves & Art Jenkins, the dissonant chords of Motor City Techno and stripped back essence of early Chicago House matched with broken Hard Bop sentiments: all tied together with an aesthetic that sits somewhere between Sun Ra's omniverse, Jean Giraud Mœbius and Dogon cosmology. Together as Le Graciés, Segalen and Porter make a wholly unclassifiable strain of music that, while containing recognisable elements of each individual's work, also creates a third entity in the process, which can be heard to stunning effect on their forthcoming debut LP 'Low Doses' for Firecracker Recordings.

'Serendipity' - defined as making discoveries or happy accidents - is the debut EP by Liam van Ryn. It's a fitting description for the richly textured and cinematic four track collection that was the result of intensive and prolonged sessions 'goofing around' on analogue gear. Strictly limited 12' pressing - this is a hell of a debut - one to watch for the future! 'The title track is the most immediately wonderful cut here, with choked arpeggios, clouds of caustic static and found scrapes as percussion.'
DJ Mag (8/10 EP Review)
Early support from:
Nathan Fake - 'Interesting lush sounds'
Lanark Artefax - 'Sounds great and is really coherent for a debut EP'
Tessela - 'This is wicked man, really like that Pitch1!'

Based in Hull, van Ryn makes richly textured and layered, cinematic music that is both experimental and (mostly) electronic.

'I was interested in the way I could make the music sound slightly unnatural, or like it couldn't be played by a real musician, even though that was often the starting point,' he explains.
An alumnus of Gilles Peterson's Future Bubblers project (a grassroots talent discovery and development programme), he was commissioned in 2017 by Hull City of Culture to write and perform a tribute to the pioneering work of local hero Basil Kirchin - an outsider musician, free-thinker and pioneer of sound manipulation.

Glasgow-based musician and producer Lo Kindre is at the heart of his local electronic music scene. He has previously released on Optimo Music and is a serial collaborator with MR TC, most recently launching the Phase Group label together. He’s played on Red Light Radio, LYL Radio, supported the legendary Adrian Sherwood, and put out records with the widely lauded Austrian label Neubau as well as Glasgow's 12th Isle.

Private Worlds is Lo Kindre’s most thoughtful and introspective release yet, seeing him reach once again for the spaced out dubby recesses of electronic music, adding-in a ladleful of drone and some choice samples to create something that sounds fresh and new.

Meatbingo returns after a lengthy gap following his 2013 Skam album 'Trendy Robots' with a brand-new LP of his trademark precise micro-edited cutup-funk on Fonolith. 'The Error of My WAVs' contains eight fresh tracks of tightly-wound, laser-focused disco chaos. Like a dizzying hit of a future dancefloor drug administered digitally into your avatar's holographic brain. Augmenting his intensive sample-mashing approach with bass guitar playing and scrambled up elements of his own back catalogue, 'WAVs' sees producer Neil Scrivin further evolving and expanding the limits of the Meatbingo sound.

With the Shibboleth EP, Osaka based artist Metome delivers a fierce sonic collage: experimental to its core, it presents a vibrant embroidery of sound where the spaces in between are as important as the stitches themselves. Arrangements composed of fluoro synth leads, Rhodes chords, tumbling bass, chopped vocals, pitch modulation salvos, and nuances that evade definition fester and rub up against one another. These intensely tactile and flexible elements are rendered through an intricate filter shaped by pop music, grime as well as nu-jazz into punctured grooves that aim to knock the listener askew. Although they brook no dissent and no compromise, they evidence that polish and power are not mutually exclusive. As striking as all the fragments are in isolation, at the heart a solid sense of harmony remains. The sections that make up the tracks are compressed into terse blasts, lined up one after another, lending the record a distilled character. Transitory nodes supply balance as much as they suggest the imminence of acceleration or collapse. The EP was envisioned as the soundtrack to a fantastic aerial dance: an interplay between movement and reticence, levity and weight, and attraction and rejection is indeed overall. With an ambient iteration as curtain call, a moment of composure does eventually arrive. Although a sensation of peril never quite leaves, it provides space for exhalation.The Shibboleth EP is the first release on supərpawərz, a Brussels based contemporary electronic music platform. Mastering by Jeremy Cox. Art and design by Oliver van der Lugt.

RYSUNKU is proud to present it's newest signing, esteemed producer Noble Drew Ali aka Morell Maison. The artist will be launching the new signing with his debut EP 'Natasha'.
Though the artists own music production has hardly yet revealed itself, his presence within the industry has been far from unnoticeable. NTS Radio monthly resident and renowned as a substantial contributor to the artistic development of contemporary electronic music.With his debut EP, 'Natasha' , audiences will finally be able to experience the more personal outcomes of Noble's musical approach so far. Here we hear Noble Drew Ali exploring a sonic architecture of sweeping yet poignant baselines and fragmented percussion. The first listening experience to have evolved from Noble's cultivating musical journey. Lovingly pressed on an extremely limited run of 300. Five stunning tracks on 180g black vinyl featuring artwork by Gareth Horner. Rysunku is truly honoured to be releasing this music.

“Berceuse Heroique is very proud to announce that one of our biggest heroes is going to be our next release for this year. Pinch, one of the seminal members of the Bristol scene, is kickstarting a trilogy of 12"s that we call "an ode to sound system culture", trying to invoke the long lost spirits of pure, heavyweight, hardcore hedonism that stems from a lot of sub genres of British dance music culture. Border Control fuses the industrial aesthetics of Birmingham techno and the jungle techno pressure of the early 90's and in the end it sounds like a fight anthem against Brexit. Fortune Teller will test any soundsystem with that Dillinja-esque bassline and Loose Cables could easily be the younger brother of one of Pinch's most underrated tunes, The Attack Of The Killer Robot Spiders. Pinch runs the voodoo down one more time and he sounds pissed off and more fresh than ever.”

British producer Portrait next on Aura LTD! The label head returns to Aura Dinamica for Environments One. The project pairs paintings produced by the artist, with music inspired by the creative overlap between the two processes. Working back and forth between the two mediums, the artist builds up a conversation that looks at depth, texture and dynamism in both spaces.

"Rendezvous is an EP comprised of tracks that are a departure from what I normally do," says Postepski. "The tracks didn't quite work on the album (Progress) but I felt they shared a weird Krauty EDM vibe. The artwork was done by Faye and Gina in Paris. I love the concept they tied in with the single, Rendezvous: a meeting with someone that is arranged for a particular time and place and that is often secret."

Hello Moon is a unique collaboration between Professor Tim O Brien from Jodrell Bank and Stargazing Live and music producers Jim Spencer and Dave Tolan who have worked with New Order, The Charlatans and Echo & The Bunnymen. The idea was simple - to make the sound archive of Jodrell Bank into a hit single/dancefloor smash using sounds from the big band to the present day, from sounds sent to earth from all over the universe.

The results have been made into a moon shaped picture disc with Professor Tim running through the origin of all the sounds on the B-side. Billions of years in the making

ptwiggs brings the surrealist violence for brand spanking Sydney imprint Deep Seeded. Taking an erratic hairpin turn after DSR001's off-piste techno, PURGE comes off like a tragicomic thriller, swerving between saccharine sensitivity and brutal ultra-violence in the blink of an eye.

Shit is rough in ptwiggs towers, dishing out relentless Tyson jabs to the head on 'Day Of Wrath' with Holly Herndon's inverted poltergeist drifting about between the blows, while 'Lara Dies' seems to execute your favourite video game character a trillion times per second just for laffs. But it's not all blood and guts rendered in vivid HD. Coil-axis twinning of demonic and angelic energies course through 'YYYY' and drift below the surface of the more berserk pieces. Not for the faint of heart but life's probs beaten the feeling out of you at this point anyway.

For the second installation of the limited catalogue GODCUTS, we are happy to present 5 original Quicksails' tracks with 3 remixes by Brett Naucke, Khaki Blazer and Austin favourite Shit&Shine.

Ben Billington aka Quicksails is a polyedric musician very active in the Chicago scene, with a stringful of releases on different labels, among them the mighty "Mayville Dream" on Spectrum Spools.

On side A he explores the world existing between electronic and acoustic, with very unique and interesting results, not actually comparable to other stuff we've already heard. Check the clips to listen to what we're talking about.

On side B his Spectrum Spools colleague Brett Naucke transforms "My Moon" in a cybernetic dream, while Khaki Blazer goes on a different direction, moving toward a 4-legs transgenic footwork.

Closing the ep is the remix version of Craig Clouse, who puts the original version in his special washing machine for a heavy laundry that gives you back everything way more dirty.

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Available in a non-specified number of copies, these releases are hand-cut on vinyl by the label itself.

Vinyls are all transparent, without the paper center label but with a white silk screen design + hand stamped cat. number.

They will also come with a brand new series of cover artworks designed by Airbag studio, realised with white silk-screen print on black paperboard.

On the inside, an internal sleeve with another artwork + all the info about the release.

Due to this, the final price will be higher than the standard GOD catalogue and every shop is asked to take no more than 5 copies, in order to let everyone have them.

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Excavated from a now lost cassette, 'CRG77' is a series of improvisations conceived of little sleep and minimal natural light. Perhaps best described as the sonic equivalent of a strong indica, contorted dance music under the influence of a forty year old echo pedal. Hidden Village is a new London based label with no agenda and no direction. Created by R.ess 048, a pseudonym for members of a well known South London crew who wish to remain nameless and were behind one of last year's most forward thinking underground releases. 'CRG77' is an after hours excursion into the deepest depths of the weed-box. Comes with ultra-Lo-Fi A4 b&w insert designed by one of the crew. Punk as fuck. Mining the same dusted plains as fellow travellers SVN, Madteo, Sex Tags, Regelbau etc etc

RITES OF PASSAGE is an obscure artist from Moscow delivering the first release on new imprint BORE HOLE with some very personal lo-fi recordings showcasing his raw minimalistic style with trippy tribal sound excursions!

Another brilliant set of pop-meets-pop rodgerings by De Murcia of no mercy, this time riding East for inspiration, following his notable Wasted House EP from last year. Five sharp and discombobulating detournements: funny, flatulent, sexual, knockabout, unpretentious and danceable. Ace.

A composition of treatments for adapted piano harp and electric guitar.

In 2016, I managed to salvage a piano that belonged to my brother and had spent four years sitting in a garage. Getting it home nearly killed my van. The first objective was to strip the harp and mount surface transducers to it with the hope of being able to excite the strings and ultimately explore a tuneable sympathetic reverb. After a lot of trial and error, workable results were produced which became the foundations for Relief Tours.

The album was recorded over six months or so with tracks typically centering around one or two objects - some kind of treatment for the piano and improvisations on electric guitar. Experimenting with the objects is never something I've been particularly scientific about by any means, nothing more than the basic sequence of continuing to develop the best results that had emerged from the previous experiment. Concepts were typically very simple e.g. getting percussive overtones from the piano strings. My usual approach is to sketch some possible methods then just begin, so in this case it was tugging winds of horse hair and then settling on an angle of about 30°. This produced the deep bell like sound that can be heard on Benthic Salvage.

Certain sounds would often dictate the course of things. For example, the juddering of a rubber ball being dragged down a smooth surface would, in turn, result in trying to recreate the same percussive movement on the piano harp with a car spring and some big magnets, which then went on to provoke something else and so on. The results would influence the next decision and eventually a track would begin to take shape. Each track hosts a small group of related ideas like this with the tonal work often being the last stage - improvised reactions to the textural parts.

The physicality and movement of the sounds, and the instrument-like properties that came from experimenting with objects, both sonically and tangibly, were really the driving force behind the record.

Queen Sound' is an album inspired by a visual world governed by whetted femininity, populated by impish silhouettes, twisted bucolic landscapes and wide-windowed interiors.

Sunatirene is the solo project of New York via Baltimore musician and sound artist, Sydney Spann. She uses archival samples, strings, field recordings, chance operations, and lyric poetry to fashion melodies within soundscapes. Spann's live performances often incorporate a rotating theatrical iconography to match sonic motifs. She released her debut full-length ‘Trepanning’ via Ehse Records in 2015. ‘Queen Sound’ is her second full-length, and her first release on She Rocks!

Dark Fields stands out from the barrage or recent Spanish experimental-industrial underground
re-issues as one of the most obscure and surrounded by mysticism.

One massive track with no cuts, recorded in 1979 under the motto "a silence that makes dogs bark" and released by Klamm in 1983 in a tiny edition of 300, the trio disbanded shortly after finishing the recording and never looked back.

Darker than tar atmospheres with Resident's like vocals, this is the brainchild of Caballero T's obsessions with Brian Eno's work, who found the perfect partners in Tres' psychotic vocals and the studio wizardry of Señor Nada. Reissued by Madrid's Equilibrio, who already gave us Randomize's ¿Como se divertirán los insectos? Not for the faint of heart. Get yours while they last