Beats News

Synth ambiences, acoustic landscapes, deep songwriting and subtle candombe percussions combine in most of the musical output released in Uruguay during the 80s. A very unique sound was developed within the narrow boundaries of Montevideo by just a small group of very talented artists. These sounds reverberated in singer-songwriting, jazz fusion approximations, experimental music and the work of musicians at the intersections of these worlds.

In “América Invertida”, ethereal vocal arrangements and acoustic guitars cohabit with synthesizers and drum machines; Candombe and Latin American music form a fellowship with new wave and dream pop.

"América Invertida" is presented with obi strip, deluxe artwork finishing and insert including extensive liner notes and previously unseen photos. Most of the tracks are reissued here for the first time.

This compilation is the fruitful output of a collaboration with Montevideo based label Little Butterfly, the first of many to come

The first release on EN.KI.DU.NU (a new project from the mysterious Light Sounds Dark crew), entitled 'Copernicus was my Grandad, Kepler was my Uncle' is a mystical journey to the outer reaches of space and back again, who knows what we'll find during our first mission, but you can be sure there shall be some curiosities along the way.

Yoshinori Hayashi debuted his musical career with 'The End Of The Edge EP' on Going Good Records (UK) in 2015. This release was received with critical acclaim and ended up at #6 in Juno's top 50 Singles of the year. He then dropped two other killer 12s the following year ("Asylum' on Lovers Rock & 'The Forgetting Curve' on JINN Records, the latter included a great remix by DJ Sotofett) Born & based in Tokyo, Yoshinori Hayashi debuts on Disco Halal (Moscoman's already cult imprint) with an out of this world 4 tracker, blending his unique take on house with psychedelic & jazz influences. Disco Halal counts in its catalogue amazing releases by Red Axes, Autarkic, Simple Symmetry, Chaim and many more. Deluxe packaging includes white vinyl & printed innersleeve.

Mannequin Records is elated to present a double-LP compilation of the Dutch industrial-experimental heroes Doxa Sinistra.

Preciously selected by the expert ears of Frank Brinkhuis, head of Trumpett, "Universo" is spanning from 1982 to 1988 through their entire discography.

Doxa Sinistra was formed in Amsterdam, The Netherlands, early 1982. On the strength of live performances at Paradiso and Ultra venue Oktopus, the two piece band was invited by Trumpett to record an album in the Freakowitz & Einstein Studio in Den Burg on Texel. Armed with their Korg MS-10 and Korg MS-20 synths they took the ferry to the West Frisian island, and spent a week recording in the legendary Trumpett HQ. The result, the debut cassette Via Del Latte, was released in June 1982. Just months later band member R. K. kidnapped the band name, formed a new duo and played one live date. After that the project fizzled out.

Until early 1984, when Trumpett and Doxa Sinistra received an invitation from Italian cassette label ADN to record a new album. The invitation was accepted and Doxa Sinistra Mark II was born. Conveyer Belt, recorded between June 1984 and February 1985, appeared as an ADN/Trumpett co-release in August 1985.

After the move of the Trumpett Studios to Amsterdam late 1986, Doxa Sinistra started demoing a new album in the Summer of 1987. California based Undergroud cassette label Ladd-Frith were keen to release the ultimate results. Recorded early 1988, Newsflashes, the group's third and final album, was released as a Ladd-Frith/Trumpett co-release in the Summer of 1988.
Limited edition of 300 copies.

Susanne Dundler a.k.a. Kirsche von Bubach is a contemporary artist whose artistic expression includes video, multimedia installations and sound. She is an active member of the sound collective Dynamische Akustische Forschung (DAF). „Change The Parameters A Little Bit“ is her first release.

Recorded as one take, „Change The Parameters...“ is a rough piece of sound art, evoking reminiscence to the sounds channeled at GRM as well as the general vibe of 80’s tape underground weirdness or bringing to mind contemporaries like Pauwel de Buck (in terms of experimentation) or Jasmine Guffond (in terms of minimalism).

For an example, as much as rhythm and sequencing make up an integral part of Dundler’s playing, she doesn’t aim for a cheap shot and uses it not as a means to organize sound, but more as a specific timbre - creating a certain vibrancy, where intervals of silence are as much of importance as the more audible oscillations in between. Of course, repetition plays a vital role on this journey, but again: you won’t hear pathetic build-ups on this release. It is not about construction, but all about creation. Recorded on a microkorg with minimal setup, this music is completely unsentimental, yet deeply personal and human. It’s like with every new track, she is cartographing new ways to walk, breathe, see. The Kirsche von Bubach is defining a territory of sound while walking through it - carefully, playfully, with open ears and a distinctive sense for phenomena.

Distilled from an hour-long improvisation and sparsely edited and produced, its rough, grainy lo-fi sound aesthetic is what holds these tracks together, as much as they work perfectly as single tracks, which is also owed to Dundler’s narrative titeling. For real - „Dead Silky“ or „Easy Escalator“ would make total sense as essays. Or take „Waking Up Late“: it takes you where it goes, harsh, yet super quirky, fucking with your perception in a super safe and open way - like this is what japanese harsh noise might sound like when you’d blow away all that toxic masculinity.

Also, as the album title suggests, you can read this one as a reflection of right now, a comment on how drastic the turning of a knob slightly into one direction or the other can change a whole system.

Clear Vinyl

Parisian lynchpin Krikor Kouchian summons spooked-out radiophonic sounds in his superb, as-yet-unreleased soundtrack for the 2014 redux of Jean Epstein’s pioneering, silent 1920’s avantgarde cinema classic. A must check for fans of Elodie, Kevin Drumm, Mika Vainio, Eliane Radigue.
The 1927 film ’Six Et Demi Onze’ tells the tragic romantic tale of two brothers who, unbeknownst to eachother, fall in love with the same woman. A timeless psychological narrative involving suicide and lies ensues across the film’s grand locations, but on his soundtrack Krikor prefers to home in on the internal thoughts of the film’s central protagonists, outlining a claustrophobic atmosphere in some of his subtlest and most affective soundtrack work, which follows from a panoply of scores for everything from an Arnold Schwarzenegger documentary, to films on Franco-Saudi geopolitics and fantasy sci-fi. It’s arguably Krikor’s finest endeavour in this arena.
Recording for the score was made on portable recorders and laptop, which serve to heighten and intensify a “huis-clos” (“behind closed doors”) effect. Limned in sferic and plasmic tones, the 12 pieces suggest scenes and sensations of intrigue, loss, and paranoia, using specific palettes and particular techniques to connote the internal thoughts for the trio of characters: modified soundfield recordings represent the older brother, while old school radiophonic processing
mirrors the younger sibling’s feelings, and what he terms “advanced time expansion” for the female love interest. The results were pre-planned and mapped to the film’s edits, but ultimately Krikor
improvised the parts, adopting a more classical, non-linear approach with cranky old upright piano for the other scenes, capturing a mix of subliminal instinct and more measured articulation.
The results weigh up as Krikor’s most elusive and haunting solo missive, mirroring a wealth of classic French film music and avant-garde minimalism, and serving to slot neatly on Boomkat Editions’ vinyl series beside soundtrack (and related) works by HTRK, Ø, and Akira Rabelais.

Lost PHILIP GLASS Recordings from 1975 - ORTF
The newly discovered and unreleased concert from 1975 recorded by the Philip Glass
Sextet at La Maison de la Radio, Paris.
The sextet is composed of Philip Glass, Jon Gibson, Dickie Landry, Michael Riesman, Joan
La Barbara and Richard Peck.
Music in Twelve Parts is a set of twelve pieces written between 1971 and 1974. This
performance in France includes part 1, 2, 3, 11 and 12 on a double LP.
Also included a very rare Philip Glass interview from 1974 in his NYC loft during the
rehearsals of this piece, produced for the French radio by Daniel Caux - musicologist and
co-founder of Shandar Records.
A never before released -Philip GLASS (1975) live recordings, released in partnership with
the National Audiovisual Institute - INA.
"A new sound and a new chord suddenly break in, with an effect as if one wall of a room
has suddenly disappeared, to reveal a completely new view." - A. Porter

Black/white riso printed Jcard, black tapes screen printed w/ white ink

Listening to Linja’s debut LP makes one think of Polish director Yuri Norstein’s gloomy melancholic (yet playful) movies, or perhaps just of a rainy day, or Chopin.

Velvet Noise is a collection of 7 experimental pieces made by Linja sometime around 2016-2017, using drum ma- chines and a lot of modular synthesisers. The album is woven with Simple melodies that crack through the squeaks and the bleeps, eery pads that fill the voids all sorts of FX. The atmosphere becomes filled with tension when it is playing in the room, as if something is clearly about to happen. Linja’s album is not so easy to describe, and yet due to its coherence and storytelling it has a certain feel and per- sonality of a good book rather than just a record. “It transcends its existence as a record”.

Estonian violinist & singer Maarja Nuut & LA's psyche-experimentator Sun Araw hand in gentle, unpolished improvisations on their collaborative album “Fantasias for Violin & Guitar”, recorded live on location by Jackson Bailey aka Tapes.

Brought together by Tallinn’s IDA Radio under the umbrella of a 10-day sound residency in magnificent Narva Art Residency on the border of Estonia & Russia, Maarja Nuut & Sun Araw set up their gear to jump head first into unknown territory of live-improvisation.

Don’t let the title fool you though, as the intro “White Comb” unveils, there’s more here than the old violin & guitar: Buchla magic, entertaining tries to MIDI a violin, gentle glockenspiel fills & ringing bells, occasional bursts of electronica zooming in from unknown sources & Cameron Stallone’s guitar swings all over the place glued together by Maarja’s stellar voice.

Bradley Zero celebrates five years of his Rhythm Section International imprint with 12” compilation SHOUTS Vol. 1 & 2. Vol. 1 represents the more club ready side of the label whilst Vol. 2 explores more mellow territories. Famed by Mixmag as one of the Top Ten DJs of 2019, celebrated as a “figurehead for the exploding south London scene”, and “responsible for spreading the gospel of the city’s new Jazz sound”, it’s clear to see why Bradley Zero is quickly becoming the taste-maker of his generation and Rhythm Section INTL as one of the most respected outlets for authentic global cuts. A go-to label for the
connoisseurs Rhythm Section INTL is a UK staple. The raison d’être has always been to unearth and nurture new talent, not just via the catalogue but through the now established network of radio shows,
concerts and club nights Rhythm Section has become known for. The SHOUTS compilation and accompanying celebratory tour is a continuation of this mission. SHOUTS is a nod to the online radio culture that birthed the movement. SHOUTS is the label using its
voice to amplify its peers. SHOUTS is Five years of Rhythm Section International.

Come join Spaniard Juan Alberto Arteche Guel and his musical co-adventurers on their good ship Finis Africae on an imagined musical journey along the Amazon. This is a CD and vinyl LP reissue of their 1990 album, a rare and highly sought-after Balearic classic, Guel's masterpiece. Finis Africae was part of the musical flourishing that emerged at the end of the Franco regime, and this album, guided by the visionary Guel, captures the mature results of that era of new-found openness and freedom. Capturing Guel's production skills at their peak, "Amazonia" is informed by Jon Hassell and Brian Eno and their idea of a "fourth world" music. Arrangements which are spacious and fittingly aquatic feature electronic and acoustic instruments in thematic pieces which at times free-flowing and at others ripplingly percussive. Vividly imagined and beautifully recorded, this is a pleasant and memorable journey.

Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.

Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.

A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).

In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.

In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.

"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."

John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.

Compilation of slow industrial punk EBM edits by Russian duo Olta Karawane. This is their second appearance on Maturre after their previous release on I'm a Cliché last year.

Untold’ is an experimental electronic LP from multi-disciplinary artist and author Sophia Loizou. Depicting a series of speculative sonic landscapes; animals, ocean waves and weather systems are abstracted into eco-centric cyber-dreams creating powerful ambient compositions that invite us to see the Earth through the eyes of others.

‘Untold’ is not about the natural or the technological but the relationships between the two; sonic textures, breaks and melodies are shaped by the dynamics of a lion’s roar or the rhythm of a dolphin’s echolocation emissions. “I didn’t want to make it human-centric,” explains Sophia. “I wanted to remove my compositional and structural domination, to find ways to make it about the symbiosis of systems I see in the world.”

‘Untold’ is part of a much bigger multi-disciplinary project that also includes a collection of poems with accompanying audio, artworks, an AV show and a lecture performance.

Mastered and cut by Matt Colton @ Metropolis.

For its third release Marginal Returns welcomes veteran DJ and producer Controlled Weirdness (London's Neil Keating) to the label. 'Tenth Floor’ showcases Keating's elegant, slanted take on classic techno and electro.

‘Flow State’ is signature Controlled Weirdness - sharp yet perfectly balanced acid-electro, ‘Halfpenny Hatch’ is a sparse but weighty peak-time tool, and the playful UK skip and belltones of ‘Italian Summer’ provides a lighter moment. Detroit meets Deptford on ‘The Art of Blagging’, which concludes the EP masterfully, techno music of the spheres.

MW007, 'Furi', is a collection of tracks from two Berlin-based friends / artists Exael and Arad Acid. The material highlights the commonalities between their individual and collaborative works, moving from boundless and chaotic energy to soft kinetic radiance over the course of seven tracks.

GES: Anthology of American Pop Music

Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original.
GES (Gesellschaft zur Emanzipation des Samples)
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Active members: Helmut Schmidt, Jan Jelinek
Founded: 2009
Headquarters: Federal Court of Justice, Karlsruhe, Germany
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GES Glossary

Acoustic Surveillance Series

A 7-inch vinyl record series curated by GES focussing on historical methods of acoustic surveillance. Each record introduces a surveillance system from the past. Starting with Uguisubari in 2017, the series will continue with the release of Orecchio di Dionisio in 2021. GES is open to further suggestions on this subject.

Bundesgerichtshof (German Federal Court of Justice), Karlsruhe

“The use of audio samples as artistic practice may justify the infringement of copyright and intellectual property rights.” (ruling of the German Federal Court of Justice pertaining to Metall auf Metall II, 2016). The court is also the official headquarters of GES.
Circulations

What happens to copyright claims when music from a passing car is captured in a street recording? Is it legal to use this recording freely or is it necessary to obtain licensing rights? Circulations re-enacts this recording situation: audio players are placed in public spaces, where they reproduce the desired sample material. The acoustically choreographed space is then recorded, creating a field recording in which everyday noises circulate together with seemingly incidental music.

Emancipation of Sampling

Fuelled by its criminalization, the act of sampling existing recordings forfeited some of its artistic prestige (see Sampling). GES wishes to rehabilitate and re-emancipate the practice of sampling as a form of art in its own right. Strategy: 1. Name samples and sources explicitly. 2. Choose samples that are as popular and as recognizable as possible (Beatles, Carpenters, etc.). 3. The editing and manipulation of the sample must not compromise its recognizability (negotiable). 4. Use as many samples as possible. 5. Always name more sample sources than were actually used in the composition.

Field Recording

A compositional practice widely used in sound art and ethnomusicology that involves the recording of natural acoustical phenomena. Two additional requirements are usually imposed: The recording process should take place outside a studio environment, i.e. outdoors. And the person recording does not generate any of the acoustic material him/herself. GES expands this definition by introducing the concept of choreographed public space (see Circulations).

Gambling

An acoustic event favoured by GES, already used in numerous sound collages (must take place in public). The most popular option is thimblerig, a cup and ball gambling game commonly played in the street. Compositional instruction by GES: Place an audio playback device in the proximity of a thimblerigger. Play works for orchestra (by Debussy or Mahler). Move slowly towards the gamblers with a microphone.

Helmut Schmidt

Multiple identity and fictional character devised by GES. Figures variously within the semiotic system of GES as member, guest artist or public representative. Following the historical example of Subcommandante Marcos (EZLN).

Kraftwerk

The German band founded by electropop musicians Florian Schneider-Esleben and Ralf Hütter (a.k.a. Die Prozessoren) is the natural enemy of GES. Protected by computer-generated avatars, Kraftwerk operates a quote-hostile cultural hegemony. Their strategy: Install a special brand in the collective consciousness by means of a sophisticated system of quotations and references that may in turn not be quoted by anyone else. Other bands with such delusions of omnipotence: U2, Metallica.

Marcel Duchamp

As the inventor of the readymade, Duchamp may be viewed as a precursor to the art of sampling. However, the artist is appreciated above all for his sonorous qualities, as his vocal silence has often been sampled and processed. It was the inspiration for Jelinek's radio play Zwischen.

Orecchio di Dionisio

This 65-meter-deep limestone cave in the Sicilian town of Syracuse, carved out of a hillside in ancient times, has exceptional acoustics: A person standing at the cave entrance can hear every word whispered deep down inside it. The painter Michelangelo da Caravaggio gave it its name (The Ear of Dionysius) in 1608. The cave indeed resembles an ear and – according to Caravaggio – had a specific function: The tyrant Dionysius I imprisoned his political prisoners in the cave in order to spy on them. Orecchio di Dionisio will be featured in the Acoustic Surveillance Series in the near future.

Sampling

Compositional practice whereby recorded music is fragmented, turned into sound collages and transferred into different contexts of meaning. Since the advent of affordable sampling technology in the 1990s, the music industry has been trying to criminalize and/or promote the practice. Both strategies are driven by the same principle: Profit.

Uguisubari

Sound-making floorboards in Japanese temple and castle complexes, featured in the Acoustic Surveillance Series in 2017. In the Edo period, the “nightingale floor” (literal translation of uguisubari) was a popular acoustic warning system. The principle was straightforward: When someone stepped onto the boards, nails would rub against metal clamps beneath the floor, creating a tell-tale squeaky sound that was said to resemble the chirping of the Japanese nightingale.

Wind

A generator of acoustic events and an amplifier/transmitter of existing sounds. A meteorological form of energy appreciated by the GES on account of its unpredictability. A series about wind as an acoustic phenomenon is planned. Working title: Hotel Corridors.

Zwischen (Between)

Radio play by GES member Jan Jelinek based on recordings of various public interview situations. From the speech of the interviewees (all of them eloquent personalities) the pauses between coherent utterances were extracted and assembled. What we hear is an archaic body language: modes of breathing, word particles and onomatopoeic turmoil. A key question for GES: Which comes first, personal rights or artistic freedom? For Zwischen, Jelinek used only recordings by public figures that were already available to the public.

Aber mich macht’s traurig ("But It Makes Me Sad") is Kai Althoff’s first regular release after several records as Fanal and before with his band Workshop. The music for the double album was recorded by Kai Althoff between 2016 and 2019 with numerous instruments - including synthesizers and various flutes, guitars and African drums, rattles, cymbals, ratchets and Japanese string instruments.

"Nobody had to bear this music, neither was it thought out by anyone, played by none, nor dedicated to someone. Also, one no longer is, and therefore this utterance generates itself and is music to nobody’s ears.

Organizing the entombed power structures, paving alongside the most beautiful nettle-seamed trickle of remembered civilization on one’s own authority, which eventually gives in to its assumption; its mouth pasted (over) with the dried-up vomit of its intentions, never to open again. It carries this desparate melancholy, always ready to ridicule all of its (own) forms, to get to the bottom of all matter. Poking in the flesh of doggedly pursued gnosis with fingers, with weary despisement, deflating to crinkly tissue after life’s bloating :Oh, seriously! How could I be sad, the way they carry themselves and sing as they do that Alas, those whose fingers these are, just take those flutes and instruments! —- in liberation without the Idol, to no longer play something."
A.M.

Loraine James follows up 2019's acclaimed 'For You And I' album with a new four track EP, `Nothing'. Her chosen collaborators empathetically extend the feeling in her music with their own unique energies; Uruguayan singer and producer Lila Tirdo a Violeta, Farsi language rapper Tardast, and HTRK front-woman Jonnine Standish. The arc of the EP starts with Lila Tirdo's numb, repeated vocal on the title track. On `Marg', meaning "death" in Farsi, the tense drama of Tardast's despairing poetry describes the hopelessness of refugee experience, cold chords rolling sympathetically around his words. Jonnine shifts the mood with `Don't You See It?', recounting a moment of clarity which allowed her to leave a destructive relationship, Final track `The Starting Point` finds Loraine solo, with punched in bass and chaotic drums pushed through fxs that settle into a plaintive piano melody, the first and only instrument she says she's able to play "properly".

Killer Compilation That Sheds Light On Oddball Tunes Made In Australia And New Zealand During The 70's And 80's.. Tipp
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For Musicians Inhabiting The Antipodean Countries Of Australia And New Zealand During The 70's And 80's, It Was A Geographically And Culturally Isolating Environment. Boutique Shops, Community Radio And Mail Order Exchanges Championed Independent And Contemporary Music From Across The Globe. It Was, However, This Isolation That Caused A Number Of Small Community-focused Scenes To Evolve, Creating Their Own Unique Interpretation And Reappropriation Of Outside Influences. Through Both These Scenes And Government Initiatives, A Vast Amount Of Music Emerged On Self-released And Independent Labels.

Yet, Even Among Small Scenes That Were Creating Unique Sounds, A Number Of Artists Seemed To Be Making Music That Was Neither Here Nor There, Often Meshing Together Numerous Genres And Influences To Create Anomalous Sounds. Artists Like Olev Muska Along With Ingrid Slamer Meshed Traditional Folk Songs Of Their Estonian Heritage With Cutting Edge Computer Technology. Ngahiwi Apanui Used His Native Language Of Te Reo And A cheap Drum Machine' To Create A Pulsating Tale That Highlights The Creation Of Aotearoa (the Maori Name For New Zealand), While The Free Radicals Would Sing Through Pvc Pipes To Construct Their Vision Of Post-apocalyptic Tribal Music. Sydney's Nic Lyon Used His Classical Training To Craft A Distinctive Gem Which Matched Eastern And African Influenced Instruments With Synchopated Drum Machines, While Artists Like Delaney Venn And Toy Division Managed To Challenge Their Post-punk Sensibilities By Blending Both Dub And Atmospheric Sounds Respectively.

Compiled By: Chris Bonato And Umut Turkeri

Various Artists: Introduction to Dungeon Rap ushers in a new movement in underground hip-hop. With a sound pulled from war time machinery, rituals and ancient runes, this 7" sampler pulls together cuts from the long sold-out tape release, with tracks coming from DJ Armok, Pillbox and DJ Bishop.

Tangerine Dreams Livekonzerte waren in ihrer 1970er Hochphase improvisierte Klangerlebnisse, die mit geringem oder gar keinem Bezug auf ihre ebenfalls esoterischen Hitalben Abend für Abend anders klangen. In den 1980ern konkretisierte sich ihr Sound zu erkennbaren Strukturen, wodurch die Band Soundtrack-Erfolge für einige der grössten Filmproduktionen des Jahrzehnts (Risky Business, Firestarter, Near Dark, Thief, Sorcerer) erzielen konnte. Heutzutage kehren die bestehenden Mitglieder Thorsten Quaeschning, Ulrich Schnauss, Paul Frick (Brandt Brauer Frick) und Hoshiko Yamane zur Improvisationsmethode der frühen Tage zurück und spielen Livesessions als Konzert oder per Stream, von denen die besten Aufnahmen in der "Sessions" Albenserie erscheinen, die im Herbst 2020 mit Vol. II und III fortgesetzt wird. Beide neuen Veröffentlichungen wurden vom prämierten Vinyl-Toningenieur Miles Showell (The Beatles, Queen, ABBA, Amy Winehouse, The Rolling Stones, The Who, Lana Del Rey, Dido, Underworld) in den Londoner Abbey Road Studios gemastered.

The music of Black To Comm is as powerfully intoxicating as it is subtly unnerving. The solo project of shapeshifting German producer and sound artist Marc Richter, his mastery of sonic manipulation is matched only by his astounding clarity of vision.

Following the acclaimed ‘Seven Horses For Seven Kings’ released just a year ago, ‘Oocyte Oil & Stolen Androgens’ applies Richter’s wild imagination to an exploration of the human voice, standing as some of his most immediate and affecting music to date.

Each of his phantasmagoric works is meticulously constructed from an omnivorous array of smudged samples and other sonic detritus, painstakingly collected by Richter from across the history of recorded music or his immediate environment and altered into beguiling new shapes. Sound sources seem tantalizingly familiar and yet often just out of reach, flickering at the edges of the subconscious.

Available on CD, translucent green vinyl and black vinyl. All vinyl packaged with digital download card.

Emotional Response is delighted to present a special project, a collection of music from Bartosz Kruczynski, recorded for "Selected Media" and presented here as a time-piece of his continuing works.

Initially known as one half of sample based project Ptaki (The Very Polish Cut Outs / Transatlantyk), Kruczynski first appeared for Emotional Response as The Phantom for the first series of SchleiBen in 2015. Featuring two works of deep 'fourth world' sounds, they highlighted a shift to more mellow, synthetic and hazy compositions.

His break out came, however, when he explored this sound further on his eponymous album Baltic Beat, for the acclaimed Growing Bin Records. This has been augmented with the recent club based music as one half of the wonderful Earth Trax (Rhythm Section International / Phonica Records) project.

Here though, Kruczynski returns to the ambient and ethereal - plus a touch of dub techno - to showcase his expansive collaborative work with Polish studio, TVP Culture. Given free artistic license, the 15 'short form' recordings included here were for programming, in the main, on modern Polish Art including the likes of Magdalena Abakanowicz, Miroslaw Balka and Tadeusz Kantor, as well as some international aspects for Enrico Prampolini, Ai Weiwei and Monica Bonvicini.

Taken from over 70 episodes the material included recollects imagery, video and memory to present a series of short vignettes that together create one whole. Minimal and hazy ambience (V, VII, VIII, XI, XII) envisages classic melodies and chords and is accompanied by further 'fourth world' pieces (I, II, III, VII, X) that present an oeuvre that is recognisably the music of Kruczynski, while remaining fresh and perfectly meditative.

A counter can be found in the atmospheric dub works (IV, IX, XIV) that hint at echo chamber environs to get infinitely lost in. As an album then, "Selected Media" can be heard as a snapshot to Kruczynski's music journey, a meeting of art and music that is oft overlooked but very much essential.

As so many great schemes do, it started with a conversation in a pub. After several sporadic releases on Diffrent Music, including his renowned 2013 debut "Tongues", label boss Dexta wanted more music from Fearful. One thing led to another, and suddenly an album was in the works.

The result is "Interference"; a body of work that is reflective not only of the personal idiosyncrasies and aspirations of its London-based producer, but of an artist who has truly been set free of expectations.

Harnessing his own inbuilt need to defy convention, and looking to influences such as classical game soundtracks, experimental mastermind Amon Tobin, and the brooding tones of Akkord and Lorn, Fearful has crafted an album that's unpredictable yet cohesive, and definitive of his aim as an artist.

From the menacing ambient opener "Rocinante", through the glitchy techno of "The Traveler", skewed drum & bass of "Pulse 0" and "Through The Mist", to the roaring drone and pounding metal-inspired drumwork of closer "Gold To Dust", it's an album that demands full attention and repeat listening.

Nowhere is this free-roaming but pull-no-punches attitude summed up better than the title track. Building through eerie, twisted atmospherics - samples of electromagnetic interference, which can be found throughout the album - it clatters into a domineering breakbeat, before collapsing into a guttural, tribalist techno roller.

Where much of dance music draws on repetition, the concept of "Interference" is simple: progression. Whether that be changing motifs within tracks, switching genres within the album, or developing upon Fearful's own artistic strengths, it's an idea never more at home than on Diffrent Music, and we are very proud to present it.

ORANGE VINYL

The music of Emil Amos is at once intimate and expansive. Under the name Holy Sons, as well as with bands Om, Grails and Lilacs and Champagne, Amos harnesses boundless sonic textures to
embellish delicately crafted songs, he plays the bulk of the instruments and sings the majority of the vocals throughout the album and is joined on a few pieces by drummer Steve Shelley (Sonic
Youth).

His music balances cues from classic and indie rock traditions with tenderness and sense of foreboding through unparalleled artistry. Holy Sons’ ‘Raw and Disfigured’ showcases Amos’ mastery of songcraft through a seemingly impossible combination of subtle yet potent gestures, bold arrangements and resolute vulnerability.

Recorded at Sonic Youth’s studio Echo Canyon West, ‘Raw and Disfigured’ stands as Amos’ most ambitious and comprehensive album yet, a panoramic gallery of songs as beautiful as they are
crushing.

“Delicately impressive” - Under The Radar

Available on CD and as a double LP with colour insert in either translucent orange or standard black vinyl. All vinyl packaged with a digital download card.

'Orchestral Studies Collectanea' consists of seven previously unreleased orchestral movements (Tracks 1-7) in addition to remastered variations of arrangements that originally appeared on, 'Orchestral Tape Studies' and 'Orchestral Tape Studies Tyresta Reworks'. Orchestral Studies Collectanea is a compilation arranged and produced by zake with additional production by close friend Tyresta. OSC is a group of richly layered movements of fragmented orchestral loops, paying homage to minimalist symphonic composers and orchestras. zake and Tyresta incorporate field recordings and faint drone billows to accompany these selected samples of orchestral loops. With an emphasis on tone and recurrent murmurs, these arrangements offer approximately 48 minutes of delicate repetition, reticent sound treatments, and subtle manipulations. OSC is intended for low-volume listening.

Everybody knows the sound of church bells — the familiar midday clang. Strongly associating this sound with religion, we hardly ever think of it as a long musical tradition. In Philipp Gorbachev’s search for new heights, it turned out that the East European Orthodox tradition of bell ringing goes far beyond religious dogma. It’s ancient, it’s sacred, and it’s unchained. It’s about liberation, unity of body and soul, and free artistic expression.

Church bell ringing has become the core musical practice for the electronic producer and performer in the last few years after a period of excessive club touring around the world. Searching for new ways to challenge and alter his physical and spiritual self, Philipp found his calling ringing bells in Moscow at St. Nicholas Church and Berlin at the Christ Resurrection Cathedral. An experienced raver and drummer himself, Gorbachev couldn’t help but build the connection between electronic synthesizers, entrancing techno loops, and the unique sonority and resonance of heavy-weight bronze bells.

The result of Philipp’s new passion is KOLOKOL. It was first released as an LP on his PG TUNE imprint in 2019 and later evolved into live stage performances, an experimental film, and a full-length documentary exploring the bell ringing tradition in godforsaken monasteries and churches across Russia. With KOLOKOL, Gorbachev proves that this practice is bound to notions of temple, solitude, spirituality, healing, and awakening which are much stronger than the church itself. ‘Hope’ and ‘salvation’ are the main words for Philipp to describe his path with bell ringing. These are also the words many ravers use when speaking of their life-changing experiences on the dance floor in the temples of powerful sound, hypnotic body movement, and endless purifying vibration. Together with his fellow bell ringers in Russia, Gorbachev took the powerful instrument outside the church to introduce this mind-altering experience in a club and concert setting.

The series of remixes by Gorbachev’s fellow musicians is another extension of the KOLOKOL mindset toward the club environment; a call for his friends from the techno world to accept and interpret Philipp’s journey of affirmation, focus, and fulfillment. When the time is right again, the remixes of main tracks from Gorbachev’s most recent album will fill the sweaty vibrating dance floors where everybody is searching for their own temple, hoping for a purifying catharsis of body and soul.

TVII SON's self-titled album is a glorious concoction of local and global, and combines rich immersion in music history and in-the-moment immediacy with uncanny ease. The trio of Florian, Mika Shkurat and vocalist / writer Lucy Zoria make, essentially, a kind of stripped-to-the-bone industrial dub, fizzing with white noise and quivering with soundsystem bass – but given a glorious pop infectiousness, thanks to the earworm phrases and phrasing of Lucy's vocals.

The name was chosen purely for how cool the letters look on the page but conceals intriguing lyricism (it means "your dream" in Ukrainian), and likewise their sound's simplicity hides deep intellect and emotion. Their roots are deep in both Kyiv and Berlin, with a sprinkling of extra cosmopolitanism from Lucy's part-American upbringing. Beneath the surface simplicity lies an intellectual and musical richness that belies all three members' backgrounds in punk / alternative scenes, and their immersion in everything from 90s WARP records to anime soundtracks. And there's both a vivid expression of Berlin's deep rooted electronic music culture and a proud sense of increasingly confident Ukrainian identity, still carrying the energy of the 2014 revolution even as its optimism has mutated into something darker and perhaps more determined.

The trio's history is tangled – seeds were sown when Mika worked on some visuals for Florian's modular synth band Driftmachine and a lasting friendship was forged. Mika and Lucy didn't meet till much later, despite having many friends in common – but when they did formed the trio Nisantashi Primary School. Florian fell for Lucy's unique style and when Nisantashi played Berlin in 2018, a new collaboration was forged.

Over 18 months, they built their frameworks of abstract sounds made into immediate rhythms, with Lucy's style adapting to the grooves until the total sound you hear now had coalesced. You might detect hints of King Midas Sound in the dub spaces, a little Pan Sonic in the crackle and hiss, some classic electroclash in the sass of the songs, even a bit of cheeky dancehall and grime in the sprung rhythms of “Simple Ends” and “Kilang” – but most of all you'll naturally focus on the totality of those songs. It only takes one listen for Lucy's memorable phrases like “clinging to what we love as it slips out of vogue”, and “give me your chastest kiss” to fix in your mind, and a second listen for the songs to become old favourites. The roots of this record might be tangled but its effect is brilliantly, beautifully direct.

Schwarze Schweiz is a compilation, split in two records, which gathers together Swiss active musicians working in those obscure territories that have been Lux Rec playground for so long. Trostlosigkeit, Elend und Isolation. Ärger, Schwermut und Dunkelheit. Their statement to this country. Part 1 includes a text insert by Bjørn Schaeffner (Bern).

America Lament is a panoramic musical survey of legendary experimental composer/event-maker Charlie Morrow’s eclectic works. At just over 40-minutes, America Lament is mysterious, beguiling, and jubilant, comprised of pieces employing everything from hand-made electronics to Irish lap pipes, ecstatic jazz to Schubert recompositions, ambient flutes, and a string quartet. Charlie Morrow and Recital’s Sean McCann excavated 50 years of Morrow’s bottomless archive, from 1970 to 2020, to present this follow-up to 2018’s Recital release Toot! Too.

Charlie Morrow (b. 1942 in Newark, NJ) is a composer, sound artist, performer, and innovator. With concert performances and ad jingles (including Hefty trash bags – “Hefty, Hefty, Hefty! Wimpy, wimpy, wimpy!”), city-wide events and film soundtracks, museum sound installations and hospital sound environments, Morrow’s work has been experienced by a wider audience than most creative artists can claim.

Charlie’s music has a melody and depth to it that I feel is absent from a lot of avant-garde music. His keen interest in all musical styles seem to inform this harmony. Charlie’s drive to interconnect people and ideas is contagious and affirming, and working with him has been one of the pleasures of my life. We have forthcoming releases in 2021 by Alison Knowles, Jerome Rothenberg, and a box set of the 1980 International Sound Poetry Festival.

-Sean McCann, Sept. 2020

Die in Los Angeles lebende Harfenistin Mary Lattimore kehrt mit ihrem neuen Album ,Silver Ladders" zurück. Seit ihrem letzten Longplayer ,Hundreds Of Days" aus dem Jahr 2018 ist Lattimore international getourt und hat gemeinsame Alben mit KünstlerInnen wie Meg Baird und Mac Mccaughan veröffentlicht. Außerdem erschien 2019 ein Remix-Album von ,Hundreds Of Days" an dem sich unter anderem Jónsi und Julianna Barwick beteiligten. Bei einem ihrer Festival-Auftritte traf Lattimore Neil Halstead von Slowdive: ,A friend introduced us because she knew how big of a fan I was and Neil and I had a little chat... The next day, I just thought maybe he'd be into producing my next record." Das tat er schlussendlich auch. Lattimore nimmt ihre Alben traditionell allein auf, daher hinterlässt Halstead als Produzent und Mitarbeiter eine ganz eigene Note. Der Aufnahmeprozess in Halsteads Studio, das auf einem alten Flugplatz stationiert ist, dauerte über neun Tage. Lattimores unverkennbarer Stil ist auch auf ,Silver Ladders" elegant - im Vordergrund stehen sich ausbreitende Harfen-Schichten, welche mit aufblühenden Low-End-Synthesizern und Halsteads Gitarre angereichert werden. Die Musik kann sich teils bedrohlich anfühlen wie der Klang des Ozeans, der sich mit den Gezeiten verändert. Inspiriert von den Erzählungen aus Cornwall, die Halstead mit Lattimore teilte, sowie von diversen Gesprächen, Ideen und ihren eigenen Reisen, haben die Songs deutlich etwas märchenhaftes - und doch ist ,Silver Ladders" offen für eigene Interpretationen. LATTIMOREs Erinnerungen - ,the Cornish landscape, the hotel from the movie The Witches, the cream tea, winning the pub quiz, the Sunday Roast, the ghosts of all of the surfers who had died in the wild waves, the night walks to the top of the hill to see the moon shining on the water." - scheinen durch diese Werke hindurch, ohne sie zu definieren. In gewisser Weise gehören sie, ähnlich wie das Meer oder der Himmel, allen. Das ist die Schönheit ihres Handwerks!

Craig Tattersall made quite a name for himself by offering a series of consistent releases on his own imprints Cotton Goods and Other Ideas. After more than 5 years of silence, our favourite bee is finally back with 2 new full length albums: Daymark and Nightmark. Both albums are made around the same time and can be seen as complementary odes to these different and opposite parts of the day.

In the same vein as his previous releases, each album consists of 2 long form pieces in which melancholic piano tape loops are mixed with subtle electronic arrangements. The combination of both results in the typical lo-fi textured Humble Bee sound for which he is known and praised for. Without providing any additional information on the music, the listener is left with 80 minutes of music which gladly take you on a new and most welcome sonic adventure.

Craig Tattersall made quite a name for himself by offering a series of consistent releases on his own imprints Cotton Goods and Other Ideas. After more than 5 years of silence, our favourite bee is finally back with 2 new full length albums: Daymark and Nightmark. Both albums are made around the same time and can be seen as complementary odes to these different and opposite parts of the day.

In the same vein as his previous releases, each album consists of 2 long form pieces in which melancholic piano tape loops are mixed with subtle electronic arrangements. The combination of both results in the typical lo-fi textured Humble Bee sound for which he is known and praised for. Without providing any additional information on the music, the listener is left with 80 minutes of music which gladly take you on a new and most welcome sonic adventure.

Tape / Cassette

The GTT series is a platform that hosts experimental projects & artists in sound art. It is dedicated to support sound as a genre of its own - beyond the boundaries of music theory and free of any expectation. Just art.

WOLFFRIEND is a collaboration project between Mischa Wolff (Von Abseits) and Daniel Harrison (Imaginary Friend). The two met each other in Berlin and discovered their mutual interest in beats, rap and sound art. When they moved in with each other last February they spent their first two weeks together in the studio. It resulted in an adventurous sound story called 'Computers' that brings listeners into a dimension of their own.