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Geins't Naït returns to Offen, this time he enlists Scanner (living experimental electronics legend , Robin Rimbaud) to join him in his land of loop. These two veterans have clocked up many combined decades of experimentation between them, and this their first jointly composed material, has the feel of wisdom at work. It's a huge pleasure for Offen Music to release this special record.

To be released in LP and CD on 02/04/21 by Les Disques du Festival Permanent, Pagans, Murailles Music.

Artwork and illustration by Camille Lavaud

Constructed like an invented tarot deck, De Mòrt Viva explores the idea of a contemporary paganism in ten jubilant, humorous and spiritual odes.

The Auvergne Occitan imposes itself at the spittoon, deploying its metaphorical and polysemic network, with the particular candor of a newly acquired language.

The melody is born from the word, the poem gives birth to the song, in a form that could recall from afar and without erudition, the trobar, the art of the troubadours.

In this game-album each piece describes a possible situation, with its typical emotions and stakes, its often reversible systems of forces whose meaning escapes Manichean thinking.

Drawing from the ageless figures of the Carnival, these ten arcane songs will perhaps bring to our consciences what to think differently about contemporary concerns.

Always hybrid and exploratory, Sourdure's music reveals itself here under a new face. Exoskeleton or chemical revelator, the electronics are camouflaged in the roughness of the song as if to disturb its contours. Carried away by an armada of percussions and wind instruments, the voice naturally takes its strong place, whispering, savoring the langue d'oc like a macerated wine.

Old, but still functioning computers are simply scrapped, made redundant and without remorse left to corrosion and an existence without a task and no perspective. That this doesn’t need to be so, and that even computers with limited storage capacity can still take on a function in society, is illustrated by Alexei Shulgin’s outdated 386, now serving as a musician. Performing Classic Rock's Biggest Smash Hits! The Clash! The Doors! The Sex Pistols! Hendrix! and more... gone digital, gone to 8-bit computerized chip-music with a singing computer, with all the charme available to a text-to- speech- programm.

Created by Russian artist Alexei Shulgin, 386 DX was “the world’s first cyberpunk band.” Known for its live performances on city streets and in nightclubs, the performer is a dingy, singing PC that runs Windows 3.1, equipped with a vintage sound card and loaded with MIDI files of drums, guitar, and synth and accompanying lyrics.

The ironic comment delivered by Shulgin and his singing computer is well within the context of the performances by the 386 DX rockband, with which he “toured” Europe in 1998 and performed on nearly 60 occasions. This one- man-one-computer-show was based on a similar idea as his current installation: Shulgin presented himself as a performer carrying a keyboard, and by simply hitting a key elicited the text-to-speech singing, accompanied by very simple music and a few Seventies-style visual effects.Alexei Shulgin simply is the King of Cyberpop.

Tape / Cassette

Dust Editions presents Evan Caminiti’s original score for the short film Autoscopy from London based director Claes Nordwall. The film premiered at the Nevada City Film Festival in August 2020 and is featured in the 2021 edition of the Slamdance Film Festival.

Autoscopy follows a young man who escapes to the Swedish wilderness for a period of creativity and introspection. The tranquility and isolation he finds there morphs into something more sinister when he discovers an abandoned flotation tank in the forest, leading him on a hallucinatory voyage deep into the heart of nature and his own psyche.

Caminiti’s score channels the beauty, desolation, and dread Nordwall captures in the film’s disorienting arc. Boundaries are dissolved between the organic and the unnatural, the imagined and the experienced; electric guitar dissolves into spectral whispers, blurring into rippling synthesizers and heaving drones. Caminiti explores dissonance and space, veering into realms of extreme digital deconstruction before plunging into amplifier sizzling abandon.

This OST release features three additional pieces not heard in the film.

Serge Synthesizer Recorded at EMS Stockholm, September 2017
Electric guitar, vocals, additional synthesizers recorded at Spider House, Los Angeles 2020.
Arranged and produced at Spider House, Los Angeles, 2020

Mastered by Stephan Mathieu at Schwebung Mastering

After two compilation tapes released on Dec. 2019 & July 2020, Bamboo Shows label is working on its next release, due for Dec. 2020. New format to celebrate the label’s first anniversary, with a solo LP on Vinyl.

With “Darkos LP”, Lyon-talent Jonquera (also known as The Pilotwings, his collaborative project alongside Eiger Drums Propaganda & Lastrack) offers us an incredible 45-minute 14-track album thanks to its captivating atmosphere and an impeccable technique.

Produced in one week only, the project between medieval dark-ambient, HD sound-design and esoteric illbient takes inspiration from Noise Music and Doom to introduce alternately a gloomy, epic or spiritual atmosphere.

A surprising album narrating a feudal struggle between a heretic woman and a priest in the small town of Charlieu, France. A metaphoric way to highlight the duality of the project, always oscillating between medieval darkness and contemporary techniques of electronic music production. An occult thematic that we also find in the album artworks, painted by Toulouse-based Artist Alison Flora with her own blood.

Through this third release, Erevan DJ’s keeps striving for Lyon-scene promotion and development. An objective started back in 2018 with the creation of Bamboo Shows project (label, podcast series, events). He also recently joined LYL Radio‘s management in July 2020, where he’s about to inaugurate the second season of his “Herbe À Chat” bimestrial residency.

“Darkos LP” is another contribution to promote the bamboo spirit: 90s reminiscences, psychedelic atmospheres and tribal breaks. An extension of the two “Bamboo Shows Tapes” compilations, featuring renowned international artists such as RAMZi, Niklas Wandt, Spencer Clark, Vector Trancer, Komodo Kolektif or Bear Bones, Lay Low, but also local producers like Christian Coiffure, Eiger Drums Propaganda, Vague Imaginaires, HLM38, Jacques Satre or Lastrack.

Transparent red vinyl, marbled with black.
Includes A4 insert + A6 download card
All artworks are painted with blood by Alison Flora

This new album (the tenth in their discography) was born from two ambitions: to pay tribute to Soft Machine's Third on form (4 sides / 4 titles) and to philosopher Gilles Deleuze (Difference and Repetition is the title of his thesis) on the contents. The 4 long pieces of this double concept album were developed over 2 years and each has a different style and climate. Bold and kaleidoscopic, Difference and Repetition perfectly synthesizes the musical and literary obsessions of Palo Alto.

Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with 10 albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox) and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy FoxŠ). Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll or J. G. Ballard have been invoked many times. In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon... From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted. Their new album is no exception to this ruleŠ

As the Great Conjunction of Thra’s Three Suns draws ever closer, schuttle casts his sonic offerings out into this dying World in an attempt to restore balance and offer us all a chance to ascend to a higher level of existence.

The record begins by conjuring up the 'Ritual Master'. Stuttering vocals dance over ceremonial strings; the great Unifying kick drum clears the undergrowth for a bassline so life affirming that it could raise UrSu himself.

The quest continues with ‘Heretic’. After consuming a hero’s dose of Urdrupe berries, a righteous vision of a writhing, divine dancefloor comes into focus. The soundtrack to the collectively imagined communal space.

The B side begins with 'Ekt'. Angular, fractured percussion marches on, shrouded in cold, dew soaked pads, climaxing with a chord as deep as it is wide. Then, just as the three suns begin to align, ‘Weaver’ makes its gentle presence known. Finishing the journey with crystalline clarity and warmth. Luxurious chords disperse over elegant synthesis, whilst a powerful kick caresses our hearts. Perhaps it isn’t too late to restore our Vital Essence?

The 2nd release on Phase Group comes from the mind of young Belgrade-based producer, Andria.

With o o o o o Andria presents four tracks of otherworldly sounds. Music made on mutant technology for apocalyptic rave rituals, showcasing a deep talent in sound design and rhythmic manipulation.

‘Osion’ opens the EP in epic fashion, melancholic and driving dark IDM that introduces us to Andria's sonic world. '6h of Sna' builds up the intensity with some ominous space-age dancehall. Title-track 'o o o o o' is a heady club tool for serious dance floors, inspired no-doubt by countless nights at Belgrade techno-haven Drugstore, where Andria holds a residency. Finally, 'Komina' brings everything back down to a subterranean crawl, the swirling and whispering sounds of unfamiliar technology echoing to you from all sides.

Unique material, like Coil soundtracking Halo for the club.

Working backwards from the expanded 2020 edition of ‘Grafts’ and the first vinyl appearance for 2015’s ‘Aftertouches’, Kara-Lis Coverdale finally presents a first time vinyl pressing of her 2014 debut album ‘A 480’, giving a breath of new life to five sublime virtual choral synth studies rendered in the digital sphere.
Entirely made up of “virtual choirs” - synthetic versions of actual recorded singers that were disembodied, disfigured, and displaced over forty times before finally reappearing through a convoluted process of digital reincarnation - ‘A 480’ essentially catalogues the birth of one of the most distinctive artistic voices of our time. Using fine editing, layering, and convolution of the original material to reshape meaning via minute shifts of repetitive arrangements, the pieces here function effortlessly as a sort of environmental music, but really come into their own on closer inspection, where the slightest alterations ripple with something like a butterfly effect to create
cosmically scaled harmonic changes and unique expressions of compressed melodic counterpoint.
The five works oscillate between succinctly pop-tart and stately pieces, and into more expansive, panoramic and meditative parts that offer a glimpse of developments to come later in Coverdale’s oeuvre. Those shorter numbers take in precision-tooled loops recalling Carl Stone’s pop chop-ups in ‘A 480’ and ‘A 476,’ and opiated airborne pulses reminiscent of Stephan Mathieu via Wolfgang Voigt in the darker allure of ‘A 478,’ and act as moments of preparation, punctuation and reflection around the album’s two peaks; the banking noctilucent choral clouds of ‘A 479,’ and the gently thizzing delirium of ‘A 477.’
This deluxe vinyl edition comes with a printed booklet including graphic scores that contain the sources and structuring of the A 480 audio text-files, transformation procedures used to arrange and compose them into their present form, and keyword routes of re-creation. The cover art is by Daniele De Batté, and inside the sleeve you’ll find a blue-cell sticker that can be placed on the grid to recreate the original 2014 version of the cover. to recreate the original 2014 version of the cover.

La grande vallée (1993/95), 20'41

Musical composition, design and sound production carried out at the INA grm Studios (Paris) in 1993/95

Original audio recordings in the Drôme and the Mont Ventoux areas

Voice: Hélène Bettencourt

Vocal occurrences: Frédéric Malenfer, Bruno Roche, Lionel Marchetti

Bass clarinet (for processing): Jean Andréo

Micro-climat (1989/90), 21'33

Micro-climat is the first movement of the Sirrus cycle (Micro-climat, Passerelle, Sirrus) composed in 1989/90

Musical composition, sound design and production, audio recordings in 1989/90 at the CFMI studios in Lyon (Lumière University, Lyon 2)

"I wonder if my fascination for clouds (without being an obsession) may have risen at the end of the 80s as, whilst composing Micro-climat, I would regularly wander between the Vercors mountains and the high plateaus of the Monts du Forez discovering, through my eyes, body, breath, active observation and walk, that natural forms when constantly changing and yet swollen with a unity of matter (in this instance, water) open one up to a deep, fundamental breath and a clear field for the mind. The sky and its forces: our ally.

A model for a natural music which, although fixed, as in musique concrète (a rule of the genre), moreover on a recording tape, will remain charged with such a poetic quality that (isn't it its role or rather its reality?) it will ensure a perpetual renewal for our senses, so as to reach another idea of the world, far more open and richer than what we could have imagined."

Lionel Marchetti, 2011

Lionel Marchetti is a major figure of the "third generation" of concrète musicians, a term he values. Listening to these works, imbued with poetry and traversed by micro-narratives, one can indeed retrieve the original concrète spirit, the one that draws from the sonic world, with ears wide open, so as to extract a fertile, rich and multiple substance then shaped and conveyed towards a formal and musical abstraction. Lionel Marchetti has mastered this process, but his real distinctive feature is a truly unique talent for setting climates (as one sets traps) and keeping us on constant alert. The two pieces in this record perfectly illustrate the entrancing dimension of Lionel Marchetti's music, whose charm leads us, through each successive listening, to become voluntary captives so as to better liberate ourselves.

François Bonnet, Paris, 2020

For over four decades, Reiko Omura and Tori Kudo have endlessly woven themselves throughout the avant-garde and underground scene of Japan. While internationally appreciated in countless incarnations and contexts (Maher Shalal Hash Baz, Guys & Dolls), if one were to seek out an early moment in which the two artists created something truly awe inspiring, 1980’s Tenno (天皇) would be it.

As Noise, the duo experimented with the juxtaposition of Kudo’s extended organ based dirges (be they eerie and/or harmonious) and fragile, meditative harmonies found in Omura’s voice and more abstract moments of minimal trumpet, sparse drum and atonal guitar. Simultaneously tense and beautiful, echoes of Tenno can be found resonating in the work of their contemporaries and countless others spanning the past 40 years and an infinite amount more to come.

The LP was originally released by ALM and subsequently reissued in 1997 on CD (Pataphysique) and LP (Org), and on CD again in 2005 (Alchemy). Just past it’s 40 year anniversary, Moone Records is elated to announce the first edition of Tenno released outside of Japan as a LP in a limited run of 500 copies – bringing the monumental release back into print on vinyl for the first time in 23 years.

A master in letting shapes find their form, Dixon allows the listener to wallow in recurring scenes. Lost Communication Procedure, Found In Space and Remarkable Wanderer etch a sound world of choral vibrations and cinematic dirge. Where gaseous clouds scrape the natural sonic pastures of such environments, the hypnotized listener staggers a drunken step, moving sideways by 0 or 1 or -1 into new scenes. Not least an expert in industrial abstraction, a human silhouette permeates Dixon’s sound. His ethereal storytelling portrays the heart-rending romance of Unconditional Love and unearths in I’m Away In Detroit monologuing moodscapes recalling our GPS voice assistants.
Out of Darkness initial recalls Kraftwerk’s Geiger counter, as from pure signal data and feedback spells an unceasing locomotive wormhole. Hazy, dense grooves drive across bleak city scenes in We Can Rebuild Him, into the raw vibe of Framework and the rude stabs of Spectrum of Light. The varying presence of Dixon's work is one of his textural signatures, at arm's length, brushing right within, and far out. The bumping mood of Earth Station is one such moment, close enough to isolate the diving bass somewhere within, simultaneously from afar it becomes positively gravitational.
The first two records of the series are rightfully considered among the finest embodiments of contemporary minimalism, symbolic documents of afro-futurism. This new work revives the classic series, continuing the relationship between Tresor and the undisputed master of Detroit techno into the present day.

‘Push’ is Maral’s debut full-length album due on Leaving Records. The album’s sonic palette includes a collage of Iranian classical and folk
samples and explores the genres of experimental electronic production, touching upon noise, punk / post-punk and dub.

Maral is an active and acclaimed musician in the electronic underground. Her debut mixtape was widely praised and she has contributed to several compilations and Richard Russell’s Crass remix project.

‘Push’ features dub legend Lee “Scratch” Perry and Penny Rimbaud of Crass.

‘Push’ is a confident step forward from Maral’s club and mixtape work into a powerful collection of original songs. The album bursts with an urgent psychedelic energy but its songs also grapple with a sombre undercurrent.

Maral says her album is intended to reflect tense US-Iranian relations: “The history of Iranian music has a lot of melancholy in it. So much of Iranian history is sad. Since ancient times, Iranians were always fighting off invasions.”

NOTON signs Italian-born, Bern-based sound-artist and producer Saele Valese.
In ‘IVIC’, his debut LP, Saele Valese, distills hauntological noise, droning tonal experiments and minimalist rhythms into a series of electro-acoustic-wave ventures written over five years in Berlin, Saas-Fee and Thun.
Drawing influences from the psychoacoustic properties of the live album format, IVIC’s 11 tracks were mixed and recorded live on DAT cassettes and through DAW experimentation, without the possibility to revise the final recordings. Valese adopted this approach to conceptually propose reconciliations between the irreversibility of the
past, and acceptance of its residuals in the present. The track titles themselves follow this pathos, citing the works of the American photographer Francesca Woodman and the poet Sylvia Plath. The inclusion of passages incorporating live sonics and throes of industrialismnso,ton.info contributes to the images of gravity, intimacy and spatiality that the music presented here invokes.
In keeping with this imagery, the music possesses a dilated, shuffling rhythmic base, much like the firm traversal of a tanker against a storm of jangling components, and still moments of gloomy sonics
alternating with more ravenous upheavals of power electronics.
If the track divisions do not pass by unheeded, they are consistently assembled to sonically accompaign the emotional charges and momentum of an imaginary cinematic experience; the beats caves in
for instants of relief, only to recoil in a cognated tempo but rearranged structurally. In another gesture of cogitated stride, the portentous waves of the record progressively rage into a turmoil in its third quarter during 'Horse The Color Of Rust'. The album reaches its closure fluctuating through microtonal oscillations to slowly eclipse into silence.
´In Your Rosary ì and Yì ou Cannot See Me From Where I Look At Myself ì were previously released on vinyl via Saele Valese’s own imprint, JSMË.
The track ‘You Cannot See Me From Where I Look At Myself’ 4 - is dedicated to the memory of Marco Bacher.
Artwork designed by Carsten Nicolai. Mastering by Matt Colton (Metropolis Studios, London).

Brainwaltzera returns to FILM. The shrouded producer continues to demonstrate a breadth of skill as both a musician and engineer, with another collection of deep and textured recordings for the FILM label, intended as an Epi-Log' to the artist's debut album Poly-Ana. Continuing the exploration of crystalline IDM, proto-Electro, Ambient and other curious strains of left-field music, Brainwaltzera looks out across a colourful and varied sonic landscape, drawing on a wealth of classic influences all the while maintaining that unique and instantly recognisable finish. Low slung 4/4 opener Triangulate Dither (fairytall Version) hinges on fathoms deep synth work, moving about a playful hook that operates in stark contrast to the track's heavy, tape distorted finish. Laif Of Smit touches on new territory - a nod to contemporary Beats production, complete with pitch shifted vocal and heady, warping bassline - before beatless recording (take 2) brings the listener back into a more familiar space: a beautiful ambient segue reminiscent of the producer's earlier productions on the label. Countdempops showcases Brainwaltzera's simple yet effective drum work - a perfectly executed, emotive cut centred around a dusty break. Bad Endgar focuses more on the high frequencies - a crisp, clean Electro production, featuring those signature sliding synths now a characteristic of the producer's music. Uptempo closer Dropp on Gminor rounds off the EP with a kind of Folk meets Footwork piece that lifts the record's final notes into a tentatively more euphoric state. Heavy on atmosphere, rich in inherent musicality and beautifully executed - the Brainwaltzera journey continues with another solid offering on the FILM label.

On his third album as Trickfinger, John Frusciante makes the jump from Acid Test to its leftfield sub-label, Avenue 66, to unleash the full scope of his vision. On She Smiles Because She Presses The Button, the legendary, LA-based cult figure, presents his most diverse yet cohesive album to date.



Frusciante has the melodic and programming chops to jump from style to style while sounding only like himself. "Amb" is the welcome middle-ground between Balearic and IDM while "Brise” with its quick syncopations and rhythmic groove provide a contrasting fabric. Elsewhere, JF caroms through electro and pastoral, "intelligent" ambient. The common thread through this quixotic journey are his trademark, timeless melodies.



For years now, Frusciante has immersed himself in machines, learning tracker programs, synths and drum machines inside and out, applying the same, tireless approach he's exhibited throughout his career. On She Smiles Because She Presses The Button, this period of intense study leads intense creative liberation.

*Repress*

In the year 2000, I moved to Chalmers on the eastside of Detroit. With an Ensoniq EPS, and a Roland VS 1880, I started a studio in my mother’s basement just a block from the Detroit River. The first order of business was engineering a compilation my boy Murf was producing. One day he had a session with Idol. The song was taking longer than usual for Idol to lay. We attributed this to the fact that his attention was divided between the song and the woman he brought along with him. He also brought along his little brother and his friend who were both about 17, 18 years old. As the beat was playing, Murf heard his brother’s friend rapping under his breath and asked to hear what he was saying. Murf turns to Idol for the green light, one take and 5 minutes later, Boldy had his first song. From this point, Boldy was in my basement recording or in the streets.

For the next 5 years or so, he would come and record to beats he brought while I was working on the Resurget Cineribus album. When I finished Resurget, with all of its wild composition, I was interested in just making some “beats” again. By 2007, I had some in the stash and Boldy asked to rap to them. We recorded the first song Die Young and thought lets keep going. Him and I both were people that did not create music to be in the industry, or for an audience. We created for ourselves solely, and still do. We are not careerists with music, but culturalists documenting the Detroit experiences that we have absorbed from it’s deepest of trenches, sometimes converting personal trauma into collective catharsis. This catharsis is what we shared with loved ones with similar symptoms, and we were good with that.

Early in the process of making what I could now see was going to become an album, my cousin came over. He sat and listened to the first few songs. He goes, “I can listen to this and not get high that day.” That gave me focus. At that time I kept asking Boldy to be more personal. The more he did that the more this became about healing, not making a “good” album. That was my little brother by now and he was going through a lot. Ironically, I saw a lot of my father in him, whom Resurget was about. He was the user closest to me, Boldy was the dealer closest to me. I saw that we are all in search of a feeling. Everyone has been a dealer and user at some point. We have all dealt a feeling to someone to enhance the condition of our lives, or were in search of a feeling to escape that condition, by becoming a user of what someone has dealt to us.

From 2007 to 2010 Boldy recorded vocals for this album. We couldn’t have been further from the industry, we were in our own world. During this time Boldy’s cousin Chuck Inglish began gaining steam with The Cool Kids. By ‘09, Boldy started going to Chicago to record with Chuck which led him to recording Gettin Flicked for their Tacklebox Mixtape, the song that kicked off his career. Those lyrics were originally for the song we recorded which is now Got Flicked(the rebirth) on this album.

By 2010, Boldy was off and running, and I had an album’s worth of songs with him that I had no clue what to do with. When he rapped to my tracks they were pretty much chopped samples and drums, my version of boom bap. As Boldy was ascending, musicians kept appearing in my life. Mother Cyborg became an early sonic thread with her cello. Jugal, an actual monk, was staying in the temple blocks from my house. I met him walking in the middle of the hood playing a mridanga, robe and all! He ended up contributing the mridanga and harmonium to the mix, as well as singing in Sanskrit. My cousin Keir Worthy brought Bubz Fiddler through. Bubz, who played with George Clinton and RJ’s Latest Arrival, was a legendary Detroit bassist who, along with his brother Amp Fiddler, anchored Detroit’s music community. It was their home that was the space that incubated Dilla and Slum’s musical journey in its infancy, just as Boldy in mine. Inspired by them, my home was open to neighborhood kids as well. My next door neighbor Tone eventually led the neighborhood kids to my house. Tone was hanging with a girl at his high school that he would bring over to record with them. Working on Welcome to 76 I needed somebody that sounded like a bad ass little kid to do the chorus and Deja’s voice was perfect.

Within a year or two, routine flooding was uprooting the basement studio while the kids that once used it were engaged in an all out war on our block. Boldy could see where they were headed, as we would watch them rush to the bushes for stockpiled guns every time a car came down the street. Boldy would do his best to hip them to the perils of the streets. As the smoke was clearing, my mother was preparing to leave the state after my grandmother passed. Many of those kids got locked up or killed. I didn’t see any of them again, though a few years later the unmistakable voice that I asked to do that chorus would be all over the radio with a national hit, helping to give birth to a new wave of Detroit Music, as Dej Loaf.

As one wave was washing out for me, I began meeting a new wave of Jazz musicians returning to the city from college and other places. One musician in particular was Rafael leafaR, a protege of legendary Jazz bassist Reggie Workman who played alongside John Coltrane and Art Blakey. Raf would become my right hand and personal woodwind section. Everyone would come to my place and play wherever they wanted to on the album. With my records constantly being shuffled in plastic bins to clean up every time it rained, there wasn’t much new music being made. The album was all I had for them to play on. As the water broke the flow of my production, the engineer in me was emerging. Twenty plus musicians later, I had a whole new project on my hands with a ton of editing, composing, arranging, and mixing to do. Boldy’s words became the soil from which I could grow the sound into a womb-like world that held his experience, an experience all of us share in one form or another. It went from having a physical space where Boldy’s voice could grow, to using Boldy’s voice as the spiritual space to grow the sound inside of, as I was losing this physical space where all of this started. This became apparent after recording Mommy Dearest. The things we create can become the womb that we needed to return us to who we were, before our circumstances made us what we are.

Summer 2018, I gave Boldy what I thought was the finished version of the album which now included a Ghettotech-inspired vamp out at the end of Birth of Bold and Requiem. Both pieces didn’t have any vocals. Requiem was a tribute to Bubz Fiddler, who passed 2 years earlier. Boldy tells me, “I love it but, I want to rap on those 2 open beats.” Little did I know that giving space to acknowledge the passing of Bubz would lead to new life for this record. So 8 years afterBoldy and I last recorded, on the day after his birthday, he returned to record new lyrics to those tracks to finish the album, bringing this process full circle.

As I was sitting with Kesswa listening to the final mixes we arrived at Got Flicked(the rebirth), which she sang on. At this moment, she was listening to Boldy’s vocals for the first time, as I’d had them muted in my session with her. Sitting there, it dawned on her that she recorded vocals to the original version of one of the songs, from that Tacklebox mixtape, that inspired her to pursue music years earlier. This 12 year process affirmed to me that if you take the time to get back to your beginning, you will arrive at your infinity.

Sterling Toles

The Cinematic Orchestra kündigen eine limitierte Vinyl-Reissue ihres erstmal 2003 veröffentlichten Klassikers 'Man With A Movie Camera’ an. Im Rahmen der Filmfestspiele zur Europäischen Kulturstadt Porto im Jahr 2001 wurde Jason Swinscoe vom Cinematic Orchestra beauftragt, einen Soundtrack zu einem Stummfilm zu komponieren, der einmalig aufgeführt werden sollte. Bei dem Film handelte es sich um Dziga Vertovs Experimentalwerk „Der Mann mit der Kamera“, einen frühen Dokumentarfilm aus der Ukraine von 1929, den viele, darunter das British Film Institute, fast 100 Jahre nach seiner Entstehung als einen der besten Filme aller Zeiten bezeichnen. Die Aufführung fand im historischen Coliseu do Porto statt und endete mit stehenden Ovationen von 3.500 Menschen. The Cinematic Orchestra hat die Show im Laufe der Jahre auf internationalen Tourneen aufgeführt, unter anderem im Barbican in London, im Winter Garden des World Trade Centers in New York und im Sydney Opera House.

Jupiter, the gas giant in our Solar System, with thunderstorms a thousand times more powerful than on Earth, rainfalls of diamonds in the atmosphere, temperatures below -100°C, plenty of hydrogen, 79 moons and a South pole that looks like an abstract painting, has just the kind of environment this music seems to emanate from.

Jupiter and Beyond, the second collaborative effort of composer/performer Rafael Toral and percussionist João Pais Filipe as a duo (after Saturn in 2016), is definitely not quite a record of Earth music. On the contrary, Jupiter and Beyond, is indeed gas music, unfolding over two long movements without solid body or any tangible outline, between ambient and noise. A music of sheer volume and beauty, icy, massive, in which the elements of Toral's signature, in particular his use of jazz-inspired electronics and feedback, dissolve to become a labile, nebulous, expansive material, occasionally struck by abyssal depressions and masterful densities, magnified by the return, after 17 years of silence, of the electric guitar in Rafael Toral's instrumentarium.

Towards the end of Beyond, the second piece on the record, lurking behind the volutes of feedback, a bell and a bass drum, one can detect from the distance... a barking dog, as a surreptitious and prosaic reminder of where we are here and now, a calling back to Earth. Between sadness and joy, anger and peace, movement and stillness, Jupiter and Beyond is indeed a mirror held out to us, music reflecting our times and that emotionally speaks first of all about us.

"While João Pais Filipe was drummer in the Space Quartet, we played a live duo set. During soundcheck we were jamming for a while on bowed gongs and feedback and lost track of time, it just flowed so well. I joked "we could make a whole record with this!". But later we took the idea seriously and set to record an improvised session at his cymbalsmith workshop (he made the gong on the cover and it was used in the recording). When we listened to the first take the mass of sound was amazing. At some point it reminded me of the complex clusters of sound in Ligeti's music as it appears on Kubrick's 2001 scene "Jupiter and Beyond the Infinite". In the end the title felt like an apt choice for Saturn's successor. Back at my studio I felt the need for some more layers of density in some sections. I thought of using trombones, but ended up picking up the electric guitar, which I hadn't used since 2003.” Rafael Toral

Touched Revolutions call on Keiss for their next release, incredible rich soundscapes, warm crunchy beats, stretched acid, and plenty of attention to detail.
Boards Of Canada fans CHECK THIS!

Beyond The Yellow Haze is the debut release by Nigerian sound and installation artist Emeka Ogboh on Ostgut Ton sublabel A-TON. Combining subtle layers of ambient electronics, dance music and field recordings from the city of Lagos, Ogboh’s compositions reflect both the Nigerian city’s soundscapes as well as the artist’s increasing immersion in electronic music since moving to Berlin six years ago. Like his sound installation Ayilara for Berghain’s main floor in the current STUDIO BERLIN exhibition, Beyond The Yellow Haze contains a veritable atonal orchestra of honking, motors, sound systems, sidewalk sales pitches and various sonic artifacts of Lagos’s Danfo bus stations and beyond. These serve as both punctuation and swirling atmosphere within a kaleidoscope of bass and polyrhythms. The unpredictable result is at once place-specific and geographically indefinable. A city in situ – and processed in memory and rhythm very far away. The recordings were originally included as part of Ogboh’s 2018 exhibition No Condition Is Permanent at Galerie Imane Farès and self-released as a stamped and signed artist edition. Beyond The Yellow Haze will be released on A-TON as a 2x12'' LP on black vinyl and in digital formats.

Beyond The Yellow Haze ist die Debüt-Veröffentlichung des nigerianischen Sound- und Installationskünstlers Emeka Ogboh auf Ostgut Tons Sublabel A-TON. Ogboh überlagert in dem Album subtile Elemente aus elektronischer Ambient- und Dance-Musik mit Field Recordings der Stadt Lagos – ein Ergebnis seiner zunehmenden Auseinandersetzung mit elektronischer Musik seit seinem Umzug nach Berlin vor sechs Jahren. Ein Wechsel zwischen musikalischer Akzentuierung und atmosphärischem Wirbel, ein synthetisches Kaleidoskop aus Bässen und Polyrhythmen: Ogboh kreiert in Beyond The Yellow Haze ein atonales Orchester aus Hupen, Motorgeräuschen, Soundsystemen, Verkaufsgesprächen auf Bürgersteigen und diversen Klangartefakten der Danfo-Busbahnhöfe in Lagos. Das unberechenbare Resultat ist einerseits unverortbar, andererseits ortsgebunden. Es lässt sich als rhythmische Aufarbeitung einer weit entfernten Erinnerung der nigerianischen Metropole beschreiben – ein Prinzip, das er auch in Bezug auf seine Sound-Installation Ayilara für den Berghain-Dancefloor im Rahmen der Ausstellung STUDIO BERLIN anwendet. Die Musik von Beyond The Yellow Haze war ursprünglich Teil seiner Einzelausstellung No Condition Is Permanent, die 2018 in der Galerie Imane Farès gezeigt wurde, welche Ogboh als gestempelte und signierte Künstlerausgabe selbst herausbrachte. Beyond The Yellow Haze wird auf A-TON als 2x12'' LP auf schwarzem Vinyl und digital veröffentlicht.
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Having built up his self titled label alongside his sterling work as part of Oscillat, Lazare Hoche and Will & Ink, the one and only Malin Genie delivers his debut solo album. Moving beyond the pure club focus of his singles and EPs, the Genie has seized this opportunity to present a widescreen panorama of his sound, leading in with the subliminal ambience of "You" as a springboard to explore breaks, electro, techno, and especially IDM. There are so many ideas swirling round Anthropomorphic Sympathy, it's hard to know where to begin describing it. A true headphone commute for the deep listener to burrow into.

Krijn Moons aka Alchi emerges as a new voice in instrumental electronic music with his debut 'Full of It' released with Mylja.
Inspired by artists such as Nicolás Jaar, Boards of Canada, Sigur Rós and James Holden, Alchi produces and performs music that is rooted in experiment rather than a single genre, flowing between and weaving through alternative dance, instrumental electronic postrock and neoclassical influences. Playing with imperfections and disarray, Alchi’s work honours emotional ambiguity, cultivating a sound that can be equally euphoric as it can be melancholic, a feeling that words cannot - and do not have to - articulate.
This is also the approach to composition and production for ‘Full of It’, Alchi explains. “More than the sum of its parts, the sound of a song creates a space that it starts to exist in, an intangible context shaped by the details that come from zoomed-in sound design and
production or even working with old or broken instruments. At a certain point, in this space that feels somewhat unknown and familiar at the same time, everything comes to life.”
Within this ambiguity, Alchi finds a place to liberate himself from instrumental boundaries, creating landscapes that value coincidence, playful sound choices and a little bit of chaos.
'Full of It' portrays an uncommon kind of music that, in its abstraction, layers and linear structures, will balance both the familiar and the surreal.

Somatic Suspension is the new album from Stockholm based Spanish composer and pianist Hara Alonso. Emerging from a classical contemporary background, her current work fuses electronic and instrumental music along with interactive works.

Composed at the EMS studios is Stockholm, Somatic Suspension arises from a meditative process of introspection and inward listening. This work attempts to translate various somatic experiences into the sonic plane through the exploration of gestural repetition in a biofeedback continuum.

The piano used, an electroacoustic Yamaha CP-70, is a rare instrument with a piezo pick-up system, outputs, a built-in equalizer and a tremolo effect. It’s unique sound quality invoked the overall atmosphere of the album, sustained like a winter forest covered by scattered golden leaves.

The digital processes that accompany the piano dissolve its pure sound into a mesmerizing superposition of layers and glitches. Intimate melodies, minimal electronic beats and teared textures merge together echoing the memory of an uncertain future.

File next to: Klara Lis Coverdale, Ryuchi Sakamoto, Alva Noto, Kelly Moran

Released on March 5th on white cassette & digital

-LTD. MAGENTA VINYL-

What is the utility of pain? Can it do anything but fester? In Ferneaux explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment. An encounter with a prophetic figure on the streets of San Francisco presented the question of "how to handle the misery on the way to the blessing." This is the quandary of the impasse we now all find ourselves in, trapped in our little caves, grappling with the unease of the self at rest - without movement, without the consumerist agenda of "new experiences." The possibility of growth, always defined by our connections with others, held in limbo. Sartre said that "Hell is other people," but perhaps this is the Inferno of the present: the space of sitting with the self. A blessing is often thought of as a future reward, above and beyond the material plane. With In Ferneaux, Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.

Experimental sounds to DJ Tool or to listen... Mr Law is an avid Jamaican music collector, responsible of the technical production of old-school dancehall weaponry such as NJD Dub Siren and Lickshot machine, that you can fully experience on this sound-effect/library 7″ blending noise, ragga and 8 Bit.

Superb Gatefold delux editioon of a magic ambient to ambient-core sound... Ritch and conceptual music... Out from the fields and upper than any montaign... this is This tale is written inside the gatefold : The Bandiagara Escarpement unravels for more than 400.000 hectares, multitude of sandstone cliffs and plateaus, ravines and caverns. A West African area of unique and exceptional beauty also known as the Land of Dogon.
Summer night is fading away when the Hogon Kalapodis stands up abruptly after days completely motionless staring at the stars through the openings of the Kukulu Kommo Cave. Time has come. The heliacal rising of Sirius is getting nearer. Aware of the power of the word to bring everything into existence by naming, the Hogon reaches with a resolute pace the Polio Kommo Plain where his ancestors wrote in stone the past and future of mankind. There he finds the Awa fully deployed in two lines, the oldest standing and the others sitting before them. Dressed with braids of dyed fibers and embroidered with cowry shells, figures of mythological beings, humans, animals hold the painted wooden masks tightly between their teeth. Behind them, the whole tribe stood around the rock ark in the kanaga position : legs well planted in the sandstone, arms waving to the lightening sky.
Just a nod and Nogod, the most skilled percussionist, starts a solo on his Gom Boy. First he keeps on repeating over and over the same obsessive pattern and then, squeezing the leather chords of the talking drum with arm and body, he modulates the frequency produced with the beats originating from the rest of the tribe. The last Dama has just begun. The end of the mourning ritual is now looming over the cliff. Hundreds of Boy Na and Boy Tolo and Gom Boys jam together with bells and bullroarers and all the singers. The masked crews jump and dance quickly in sonic belligerence and the faster they cross one another, the more the rhythm accelerates.
Drumming gets supersonic. No longer possible to detect a percussive sound, only a single powerful Black Drone.
Super fast music becomes super slow.
In the light of dawn, looking at the horizon, Sigui Sirius A Tolo is now rising. Also its dark companion Po Sirius B Tolo is over there and far away a new New form is taking shape. Nogod standing right at the middle of the vibing tribe, whispers sweetly something but somehow in all that rumble everybody hears clearly the name : S………I………R………I………U………S………C

AIRCHINA is a weightless instrumental machine music, sometimes ghostly anthropomorphized with a hushed voice or a synthetic choir. AIRCHINA is playful-melodious electronic music of and for today, which also takes its cue from global ambient and pop music from the end of the 1970's to the end of the 1980's. AIRCHINA is a solo project by Nikolai Szymanski. 'LP 2' is his second release, his debut album 'LP 1' was released in summer 2018 on ITALIC.

Nikolai Szymanski (*1986, Düsseldorf) is an artist living and working in Cologne and Düsseldorf, Germany. He uses a wide variety of media with a focus on film/video, performance and music - whereby all areas give each other impulses. In a narrower artistic framework (exhibition, gallery) he stages his works site-specifically and installatively. Performative interventions (for example at BER - Berlin Brandenburg Airport, Summer 2019) from the soft transition to his musical work.

Together with Lucas Croon and Martin Sonnensberger Nikolai Szymanski is a founding member as well as singer of the band Stabil Elite. After concerts in China, Szymanski created the video work AIRCHINA, the title he uses as a name for his current solo project; in his musical work Nikolai Szymanski is responsible for composition, lyrics, production, singing and performance, paying attention to a stringent appearance from cover design to stage appearance.

Soundscape Versions pres. the fourth installment on its sublabel Mystic Versions with live recording experiments produced and performed using all analogue hardware gear. Seven cuts between ambient electronica to experimental jazz and dubbed out excursions.

Shcaa shows off his artistry once more on stunning new album, 'No Moon At All, What a Night', which lands on Apollo on October 9th following two lead singles in September. Paris based Shcaa makes abstract and emotional electronic music. The producer, composer and guitarist is meticulous in his use of space and time, arranging harmonies, rhythm and texture with a rare sensibility. He combines the synthetic and the organic and transcendent ways and has done so on the likes of Sharingtones, Archival and Grow before now landing on Apollo. This new album emerged from recording sessions first started in NYC in autumn 2017 and is one heavily influenced by nocturnal urban moods.

Ludwig A.F. returns to his own Exo Recordings International this spring with a fresh four-track EP in the shape of 'Blissful Lie'. The fourth instalment on the imprint sees the artist introduce his name change, shortening it to simply Ludwig A.F. The whole release, but particularly the A1 ,,Blissful Lie" is very inspired by classical music. It further explores the trademark feeling of Ludwig's sound: celebratory and happy but melancholic and introverted at the same time. It works with contradictions, hand crafted sound design elements intertwined with bombastic emotional atmospheres. Title-cut 'Blissful Lie' leads on the package, fusing ethereal pad textures and bumpy breaks with choppy bass plucks and cinematic arpeggios and strings to create a contemporary spin on classic IDM tropes. 'Weightless' follows next - a tripped out, high octane electronica workout employing elongated bass drones, syncopated rhythms and dynamically evolving acid-tinged synth licks. 'Psychiflux' opens the flip side, laying focus on glitched out percussion, vocal stutters, eerie atmospherics and weighty low-end hits before 'Cloud Walker' rounds out the release on a deeper tip, dropping the tempo and fusing soft pad swells and resonant tones with metallic synth chimes and stripped-back drums.

In a year of global shift and continuous changes, Figure takes a leap of faith and extends its catalog by introducing a completely new compilation series to the label. The Open Space series will feature forward-thinking Electronica and Ambient from a well-curated list of seasoned producers. Compositions that invite to let the mind wander, weaving stories, and conjuring up emotions.
While these softer genres have already played a respected role in former Figure releases, for the first time in the label’s history they are now being given the center stage. Volume 1 sets the mark by providing producers whom we’ve come to love for their dancefloor-centric output with an open space to showcase another side of their skillset. Open Space remains open to various strains of Electronica and Ambient, ranging from the introspective synth-monologues (Sebastian Muellaert / Kirilik), drony dub-experimentalism (Moritz Von Oswald), alive and breathing takes on the genre (JakoJako), to singular compositions which slowly build their own lasting narrative and thus develop a genuine, emotive quality (John Beltran / Tin Man ). Len Faki himself proves the artistic breadth of Open Space, sharing a powerful and conscious message through a rare and delicate moment of him exploring the form of spoken words. Other contributions include Jesper Dahlbäck as The Persuader, Luke Slater as 7th Plain, or Ralf Hildenbeutel - a former production partner of Sven Väth and now a successful composer of film soundtracks. Unfairly reduced to background music, it is not the kind of Ambient featured on the Open Space series. It is an engaging body of music, bonded by its contemplative, enveloping nature. Open Space bands together an array of fascinatingly skilled producers, finally given the opportunity to present some of their most creative and emotional material yet to date.

Varuna returns to their homebase with a heavy double pack of sci-fi techno jams. Over the course of five tracks they explore a lively space in between murky slo-mo techno and tripped out ambient mutations.

World Standard is a stylish pop unit that incorporates a wide range of music from rock, techno to ambient.Their memorable first album, which debuted in 1985 on the Teichiku Non-Standard label produced by Haruomi Hosono, will be remastered and reissued under the supervision of Soichiro Suzuki! This is the second analogue release by Warsta, whose LP "Asagao" (released in September 2020 by conatala record), a collection of world standard demos, has been well received and is now attracting attention from around the world.

Blue Vinyl

babycasey is the debut album from composer, producer, artist Casey MQ. Across 13 songs, the record is an examination of identity formation through the prism of pop. Punctuated by original songs Casey recorded as a child, the album examines pop archetypes while reveling in the pure catharsis of the medium. babycasey is a radiant, deft statement from a crucial new talent - a gorgeous reckoning, and an honest reconciliation of ambition, queerness and artistry. A fall limited-vinyl release follows a successful summer rollout of the album.

Crazy 12 Track Library Music Style Album On This Ace Italian Label. All Based Around Bumping Live Rhythms Triggering An Obscure Japanese Drum Synth Module..recorded In 2017.
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It Was November 2017 When I Received A Call From An Old Friend, "hi Fabrizio, I Found A Rare Japanese Drum Machine, You Should Come And See It Before I Put This On Ebay." I Went To Check It Out And Immediately Realized It Had More Potential Than Just Drum Sounds Generation, It Was Able To Produce Quirky And Creepy Sounds If Triggered By Any Sound Source. So I Bought It And Brought In The Studio, Where Me And Alex Were Laying Down New Beats And Ideas. It Took Just Three Days Of Jams To Get The Skeleton Of This Record Done: I Programmed The Module To Receive Alex's Drum Hits And The Device Started Creating Synth Lines, Almost As It Was Speaking Its Own Language.i've Found A Soul In This Machine, And I Wanted To Bring It To Life In These Tracks, A Mix Of Arranged Compositions And Improvised Jams. No Root Keys, No Grids, No Clicks, Everything Came Out In An Instinctive And Natural Way

As Far As We Know It's The First Time This Synthesizer/drum Machine Is Been Used In This "improper" And New Way.