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Ltd. edition of 500 numbered copies on clear vinyl New Zealand-born sound artist and composer Annea Lockwood received formal training at various institutions before exploring the sonorous potential of glass in a series of performances in the late 1960s. With plates of wired glass, glass discs, chunks of green cullet glass, glass tubing, sheets of micro-glass, glass jars and other incarnations of the material, Lockwood elicited a staggering array of sounds, some subtly uncanny and others as outlandish and alien as anything emitted from the era's early synthesizers. Lockwood's glass concerts yielded a text-score published in Northern California new-music journal Source: Music of the Avant-Garde and attracted the attention of South African producer Michael Steyn, who encouraged her to record the glass pieces for his label Tangent. They worked for two years in a small, resonant church in London to document a veritable catalogue of the materials' tone and timbre; Lockwood wished to present each sound as if it were a piece of music in and of itself. Glass World originally appeared on Tangent in 1970.

"I wanted to entice people into really listening intensively," Lockwood once reflected. "Into really listening. I wanted a deep immersion in the sounds of themselves, for the audience."

First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.

LP reissue of the cassette edition "Solar Music Tent" documenting an installation and performance in Hagen, Germany, originally released by Joe Jones in 1982 in an edition of 10 copies.From the early 1980s onwards, Joe Jones released a handful of self-recorded music machine performances on tape under his own record label "Tone-Deaf Music". Most tapes came in a standard xeroxed sleeve with a handwritten title and instrument listing. A few, including "Solar Music Tent", were released in combination with a book: The cassette was included in a red ring binder that held a handwritten photo documentation of the performance of the same name at Karl-Ernst-Osthaus-Museum in Hagen on April 1, 1982, a handwritten music notebook, and an invitation card. The recording itself was titled "Solar Music #5" and was made on March 16, 1982, with the instrument ensemble of the Solar Music Tent at Jones' apartment in Düsseldorf.Like the previous Jones releases on Edition Telemark, this reissue is limited to 200 copies and comes in a gate-fold PVC sleeve: The right-hand side holds the LP, the left-hand side holds A4-sized facsimiles of all artwork that was included in the original edition.

'gulden onversneden' is the out-of-the-blue debut of klein volk, a cozy quatre-mains that used to brighten up birthdays and bedroom parties before it all got out of hand. The ten tracks of 'gulden onversneden' capture klein volk's cherished naïveté during the drawling heatwave days of June 2018, when the world cup frenzy ravaged the streets, squares and minds of tiny Belgium - a brief window in time that diffracted everything unwaveringly into black, yellow and red.

On the back of V- Necks re issue Auto and the Lost 1990s Recordings one half of the band V Neck Mark Churcher takes time out from from his Chicago Bee project to deliver his first full length album on Emote.

He teams up with the cult Brighton based experimental artist Alasdair Willis (The Vitamin B 12) who plays saxophone on 3 of the 11 tracks on the album.

The album has all the hallmarks of an Emote record and more. Likely to be listed as down tempo / abstract ambient and blending many different styles together.

If you are in tune with free jazz and abstract electronic tribal music you should find this good home spooky listening .

Supported by Chloe Alice Frieda of Alien Jams and Damo B of the Outer Limits Radio Show

Der unbestrittene König der japanischen Noise-Electronica Masami Akita aka MERZBOW kehrt zurück, denn sein bahnbrechendes Album "Venereology" feiert 25 Jahre Tinnitus-induzierende Jahre mit seiner ersten Vinylpressung! Das Meisterwerk wurde von James Plotkin (ISIS, ELECTRIC WIZARD, FULL OF HELL u.a.) remastered und es bietet auch ein überarbeitetes Artwork an. "Venereology" bleibt eines der härtesten und extremsten Aufnahmen in der elektronischen Industrial-Noise-Szene und die 2LP beinahaltet auch mehr als 20 Minuten von bisher unveröffentlichtem Bonusmaterial!

Noor1 is a duo consisting of Zevla and ANFS, which made its debut appearance on the first Vanila compilation from 2019, "ear". Their return here is in the form of an album, hosted by the LP series of Athens' Modal Analysis (MALP02). A.Psi.Mi includes 4 long recordings of Zevla's and ANFS impressions of industrial/noise soundscapes meeting the aesthetics of ambient/experimental.

Only six months after his sophomore album, Hentschel returns with a two-piece EP showcasing yet another aspect of his musical spectrum. While the first two albums featured only instrumental tracks, "Facades" are the first two pieces in which Orson Hentschel works with text as a main musical element for his composition, although he approaches vocals from a rather particular perspective. For Hentschel, the spoken word is always music and thus not di erent than any other instrumental input or sound layer. Consequently, he is only interested in the sound of the spoken words on Facades, but not in any content they convey

"Both profound and profoundly jaw dropping, the esoteric moves of this massively rare and insanely obscure 300 copy Japanese marvel have until now remained the sole preserve of a handful of heavyweight collectors. It's time to let the cat out of the bag on this one. The dankly cavernous and unsettling acid maneuvers of Dome circa their first three LP's (though absent vocals) are the nearest antecedent I can summon for the principal thrust of the sound here. So too, there's a ritualistic dimension to this stuff thats also a bit suggestive of something like Vasilisk or The Hybryds, though the arcane initiatory atmosphere here is far more penetrating that anything I've heard either of those two muster. Combine that with a Johan Hedran-like overlay of wafting, heat-warped systemic electronics and your at least in the general neighborhood, but these are only indicators pointing toward the occult sonic universe that The Mask Of The Imperial Family are enacting..." Mutant Sounds

Limited edition of 200 copies. This replica LP comes housed in a screen printed jacket. All copies are pressed on turquoise vinyl to match the sleeve.

2024 Repress

KMRU is the moniker of Joseph Kamaru, a sound artist, and producer based in Nairobi. One of the leading exponents of the burgeoning experimental music scene in Nairobi and beyond he was listed by Resident Advisor as one of '15 East African Artists You Need To Hear' in 2018 and is a regular performer at the fabled Nyegenyege Festival having also presented live performances at CTM festival and Gamma Festival. Peel is KMRU's first release for Editions Mego. exquisite mix of field recordings and electronics unravelling at a repetitive and leisurely pace to expose a rich tapestry of sound that has been revered for it's ability to cross bordear with the sheer undertow of emotional content. The subtle calming atmosphere within Peel belies the compositional prowess as layers of delicate sounds wrap around each other creating a hybrid new form ambient musics both captivating through it's textural depth and kaleidoscopic patterns. The track titles lend themselves to the themes and mood set within: Why are you here, Well, Solace, Klang, Insubstantial and the title track. This is a deep heartfelt journey with a new strong voice being expressed through the means of organically presented electronic ambient sounds, one which reveals further layers on repeat listens.

Italian electro-acoustic composers Giuseppe Ielasi and Nicola Ratti reconvene their unique Bellows collaborative project for a new album on Shelter Press.

Continuously drawing an hypnotic maze with albums on Boomkat Editions, Entr'acte, and Ielasi's cult Senufo label, Bellows offers their rst album on Shelter Press with Strand.

Clocking right under 40 minutes, Strand is direct and desorienting. With eight tactile but distant untitled tracks, the album convokes a complex sound palette between acousmatic sound and fractal beats.

Recorded in Milano at their very own Standard recording studio, Strand marks a shift in Bellows previous recording process, bringing more music gear on the table: tapes, modular synthesizers, effects and samples. Captured live over the course of a four days improvised session, the album oats between ghostly melodies, musique concre`te, and analog electronics.

Echoing with the artwork by Amsterdam- based artist Louis Reith, whose collages made of found black and white images are disrupted by bold geometric constructions, the album is disorienting and fascinating, seating right in between the challenging world of electro-acoustic and a more welcoming beat-oriented territory.

Strand is a fascinating body of work, growing over time and revealing more of its complexity at every listen.

Mastered by Giuseppe Ielasi and cut at D+M, with artwork by Louis Reith.

Adoration is the restrained yet ravishing début album by Mélissa Gagné a.k.a. CECILIA, a Rome-based Montreal artist who previously lit up two songs on Rabit's Les Fleurs Du Mal album, released an EP for Yves Tumor's label and now makes a commanding and significant impression with one of 2018's most haunting LPs, a filigree dramaturgy of trip hop, ersatz film score music and ambient collage.
CECILIA wrote and produced Adoration, singing in English, French and Italian with accompaniment by mutual spirits such as her friend Jasmine Pisapia and the poet activist Griséldis Réal, who help to render a stark yet subtly gilded cross-section of her psyche, which places the listener as dark interpreter to a series of tumultuous inner dialogues. 'One is summoned to whisper truth, beauty, tragedy to demon ears.'
Incubated for 18 months between Montreal, Toronto and New York, Adoration reads like intimately diaristic pages recalling an amorphous lucid dream. In that phantasmagoric headspace she meditates on loss and romanticism, using a shifting backdrop of highly visual stimuli to frame her thoughts and bring them to life with an uncannily immersive effect perhaps not felt so strongly since Félicia Atkinson's Hand In Hand album last year.
Electronic bass and percussion are shadowed with traces of synth and guitar improvisations, but the one consistent element is the female voice. Sometime detached, glossolalic, and at others uncannily familiar, plaintive, that vocal presence is integral to the LP's quietly absorbing atmosphere, and even if the listener can't understand their direct meaning, they connote so much
more through abstracted inference and ambiguity.
Following her early forays made with the Charity Whore EP for Yves Tumor's Grooming label, and previous work as DJ/producer Babi Audi, along with her hybrid stage works, CECILIA ties all those strands into an illusive yet highly distinguished work set to resonate with listeners from myriad backgrounds and disciplines.

Two years in the works, ‘Baroque’ follows from the D&B-styled flux of Ena’s early 2019 collaboration with Felix K (F&E #1) to sound out more unorthodox areas of inquiry of abtruse, Chain Reaction-like sound design and algorithmic decomposition. In terms of the music’s boneless construction and roiling spectral nature, it surely ranks among Different Circles’ headiest and most psychedelic releases following the dread kinematics of Logos’ ‘Imperial Flood’ album and the cult acclaim given to their killer Raime and Szare 12”s in the past year.
Variously recalling the sound of stressed-out machinery or the sferic mystery of The Conet Project, ‘Baroque’ sees Ena transition further from recognisable styles into a richly enigmatic tonal and texturhythmic language. Over the album’s six tracks he uses this futurist-primitive mode to express a detached, meditative state-of-mind that speaks to paradoxical ideals of club music and domestic listening: of being simultaneously in it, yet out of it; of finding yourself lost in the crowd of noise.
It’s a sound that resonates with the short-circuiting AI convulsions of Logos, Mumdance and Shapednoise’s EP for The Death of Rave as much as the hypnagogic mulch of Thought Broadcast or the most abstruse Chain Reaction releases - think a rusted and sunken Dynamo or Porter Ricks in radioactive waters - and comes primed in artwork by Raime that perfectly highlights the music’s strange, semi-organic nature and austere yet psychoactive allure.

"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."

Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

June 2018, Amsterdam, Nl: 12 Months Ago We Concluded A Series Of Experiments With A Test Subject Named Ben Penn. A Year On, We Decided To Repeat This Experiment At His Tilburg Base. Once Again, The Results Were Starting.
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After Being Provided With A Sizeable Dose Of An Enhanced And Notably Stronger Derivative Of 4-ho Met (codenamed St011), Penn Not Only Reported Intense Hallucinations But Also Enhanced Music Production Capabilities. With The Aid Of Electronic Instruments And Hardware, He Worked Quickly, Producing Both His Trademark higher Level Inter-dimensional Funk' And Compositions That Defied Our Previous Expectations.

During The Early Stages Of His St011 Experience, Penn Completely Ignored The Provided Rhythm Composer And Instead Crafted A Colourful, Humid, Jazzy And Beat-free Track Entitled nix', Which Boasted Loose And Fluid Synthesizer Motifs. As His Hallucinatory Experience Intensified, Penn Giddily Tapped Out Tropical Rhythms On The Provided Beat-making Device, Smothering Them In Alien Electronics And Sticky Melodies. When We Asked What This Devilishly Good Cut Was Called, He Simply Replied: not Important'.

As The Test Went On And The Most Intense Symptoms Died Down, Penn Was Much Like His Old Self. Before The St011 Wore Off Completely, He Was Able To Finish Two Examples Of His Trademark inter-dimensional Funk': The Skewed, Introspective, Bassline-driven Wooziness Of ben' And The Mazy, Kaleidoscopic Goodness Of people'. The Latter Composition Was Particularly Potent And Ear Pleasing, Suggesting That His St011 Experience Had Finished On An Intense High.

Príncipe’s reign of fire continues with the shockingly heavy return of the Blacksea Não Maya trio after the label’s banner year of shellings from Nídia, DJ Nigga Fox, and DJ Firmeza.
In step with the more polished production advances of their label mates, Lisbon’s DJ Kolt, DJ Noronha, and DJ Perigoso - aka Blacksea Não Maya - arrive 5 years on from their previous showing with a remarkably darker, muscular take on mutated Angolan dance music. Fiercely technoid and blessed with a newfound sense of late night drama, the sound of ‘Máquina de Vénus’ is exactly how we imagine this sound in 2020; reflecting the march of the machines and cosmic events beyond anyone’s control in their slickly mechanised rhythms and infectiously brooding atmospheres.
Like the leaps and bounds in production values and intricate arrangements found on the DJ Nigga Fox and Nídia albums over the past year, Blacksea Não Maya keep pace in their own way,
working to ruggedly squashed variations of Tarraxho and Batida styles that come to recall the developments of the UK’s hardcore continuum during the ‘90s into the late ‘00s. But where that scene arguably ran out of energy a long time ago, Blacksea Não Maya boldly charge it into an uncertain future.
Kicking off with the beastly detonations and hulking slow techno of ‘Terror’, they swing hard off-the-bone in ‘Obscure’, and weave in hard trap and reggaeton nods on ’Tchiling District’ to set the tone on the A-side, before the lustrous cyber-noir licks and choral pads of ‘Horizonte’ open the B-side to the slow, dive-bombing synths and the industrial-tarraxho swag of ‘Bubadagash’, a bubbling technoid stepper named ‘Africanalidade’, and for terrific measure, the positive rave upswing of ‘Estranhos e Loucos’ with its speed garage-style vocal chops and head high jackers pressure.
Breathtaking, thrilling, outrageously strong gear for body music fiends and dance connoisseurs

With His Concept Ep grey Specters Of Dead Communication' Breaklab Aims To Explore The Atmospheres Of Computing Systems.
Focussing On The Processes Underneath The Surface Of Our Electrified And Digitalized Mechanical Age.

Gnashing hardcore spirit meets razor-sharp sound design in a keen collab between Svbkvlt MVP Gooooose and chiptune survivor DJ Scotch Egg, with searing remixes by Slikback and Seven Orbits & TSVI
The debut collaboration between the Japanese and Chinese mentalists, ‘JAC’ was forged in the wake of Nyege Nyege Tapes’ 2019 festival, where Shigeru Ishihara aka Scotch Egg’s playful sense of drama proved an ideal match for Gooooose’s precision-tuned, bespoke software in the studio.
As mainstay of ‘00s electronica, with recent credits in Seefeel and WaqWaq Kingdom, Ishihara appears to lend a sort of cryptic sci-fi story-telling to the exacting, super-crisp contours and pointillist percussion of Gooooose across six surprisingly emotive works that provide a rocket fuel for the remixers, spurring Slikback to run riot while hard drum guys TSVI & Seven Orbits double down on their already excellent work for Svbkvlt.
Bringing Gooooose’s work arguably closer to the devilishness of peer 33EMYBW, title tune ‘JAC’ tweaks a fine line of breakcore, juke and neo-Far Eastern hyperstep that admirably updates what we know of Scotch Egg, while ‘Dengrouse’ cuts a super minimal figure recalling Untold’s vacuumpacked Eski tekkers, and ‘Rolex’ forms a wickedly chewy, turbulent tribute to Uganda’s favourite
street food alongside a lush, choral footwork pinnacle of their efforts in ‘Altered Destiny’.
Cemented with Swordman Kitala’s hoarse holler on the dancehall trample of ‘Goose Egg Dub’, plus the face-pulling G-force of Slikback’s rabid take on ‘JAC’ and Seven Orbits & TSVI’s glorious ambient hard drum remix of ‘Altered Destiny’, it’s all a proper doozy for the dancefloor dreamers and anyone looking beyond the usual rave hotspots for real, upfront thrills.

The weighty and heavily brooding debut album from Simon Shreeve’s Mønic project finally lands on Downwards following releases for Osiris and Tresor and those killer remixes from Burial and Regis. Grey, expansive and low-lit industrial landscapes are the order of the day here, a huge recommendation if you’re into anything from Joy Division to Pan Sonic, Tropic of Cancer to GAS or the rain-soaked zones stalked by Burial and The Bug’s Flame duo, Logos and Karim Maas.
Arriving at a time when we’ve long reached saturation point with user-friendly environmental/lifestyle Ambient, ‘In a Certain Light’ offers an anxious counterpoint for late night immersion carefully framed with a cinematic attention to detail in lighting, texture and space worthy of The Cure’s ‘Faith’, the defining aesthetic of the Blackest Ever Black label and Karl O’Connor’s own industrial frameworks.
The almost impossibly depressed opening vignette ‘From Sun to Sun’ ushers us into a morose, brutalist landscape that descends into the slow motion thud of “Where Can I Find You Now?” sounding like a lost Tropic of Cancer instrumental, while ‘Field Work’ recalls Vainio / Väisänen / Vega’s incredible ‘Endless’ collaboration and ‘Solar Enemy’ deploys tense strings and clipped subs to sharp and deadly effect, like Alva Noto taped on old, worn-out VHS.
It’s the more nuanced cuts that stand out most though; ‘Reversed Language’ could almost be an Elodie recording made in the middle of nowhere, outside, in the thick of night, while the title track unfurls from a dense GAS-like thicket into an unsettling Lynchian nightscape on a moonless night, with faint neon lights flickering somewhere far in the distance.

Black Truffle is pleased to announce Ashioto, the first international solo release from Japanese drummer-percussionist-composer Tatsuhisa Yamamoto. Active for over a decade, Yamamoto has performed and recorded extensively with artists such as Jim O’Rourke, Eiko Ishibashi and Akira Sakata, as well as participating in innumerable improvised and ad hoc groups.

Ashioto presents two wide-ranging pieces that combine Yamamoto’s percussion work with piano, field recordings, electronics, and contributions from guest musicians Daisuke Fujiwara and Eiko Ishibashi.

Beginning with a passage of chiming metal percussion, the first side slowly builds into a rolling, open groove reminiscent of Yamamoto’s work on Eiko Ishibashi’s acclaimed Drag City LP The Dreams My Bones Dream. Spacious piano and synth notes, along with Ishibashi’s spare melodic figures on processed flute, hover above this propulsive rhythmic foundation, the whole effect adding up to a more abstract take on the area explored on Rainer Brüninghaus’s ECM classic Freigeweht. The LP’s second side opens up a cavernous space filled with ominous electronics and shimmering metallic percussion, which organically transitions into a passage of rumbling piano chords and mysterious concrète sound. Later in the piece, Daisuke Fujiawara’s saxophone enters, playing melancholic melodic fragments that are looped and layered, creating a seasick swaying effect familiar to listeners of James Tenney’s works with tape delay systems. Beginning as delicate bass drum pulses, Yamamoto’s accompanying percussion eventually builds the piece into a raging torrent of free-improv splatter, processed sax and fizzing electronics.

Though grounded in instrumental performance, Ashioto is very much a studio construction, making inventive use of electro-acoustic principles in its editing and mixing. Together with its sister Ashiato – a different take on the same ‘script’ released simultaneously on Japanese label Newhere – Ashioto demonstrates to an international audience for the first time the true breadth and ambition of Yamamoto’s work.

Mastered by Jim O’Rourke. Cover photos by Kuniyoshi Taikou. Design by Lasse Marhaug.

The whelming noise swells of Yellow Swans’ final side, or swansong if u allow, resurface on the legendary band’s archive, marking 10 years since the seminal Type release with a timely reminding all of its oceanic might and eternal burn.
As anyone who survived the fecund ‘00s noise scene will attest, Gabriel Saloman and Pete Swanson’s Yellow Swans were among the most vital orchestrators of new horizons for noise.
Using obsolete electronics/guitars/FX pedals and playing countless shows, they epitomised DIY organisation and means, adapting timeless communal folk energy to collapse whole worlds of industrial, free improv, dub, psych, US hXc punk and good aul noise proper into a red-lining, Urgoop of emotional anguish, ecstasy and every feel between during the early to late part of this
century’s first decade.
After dozens upon dozens of underground tapes and records, ’Going Places’ was Yellow Swans final and perhaps for many, definitive release. Between the slowly ravishing blizzard of ‘Foiled’ that greets from the entrance, to possibly the greatest farewell this side of Pan Sonic’s ‘Finale’ in the Himalayan noise range of ‘Going Places’, they take in torrential psych-noise on the 13 minute classic ‘Opt Out’, alongside some of ‘00s noise’s finest moments in the staggering ‘Sovereign’, and the charred amp hymn ‘New Life’, adding up to a viciously beautiful album that still holds the capacity to induce feelings of transcendent familiarity, even if its the first time of listening.
Perversely and brilliantly, Yellow Swans disbanded right at the point when they were tipping into wider recognition, just as the rest of the world was catching up with the noise scene which shattered into myriad strains of kosmische noise, Neo-industrial and power noise and would give us everyone from James Ferraro to 0PN, Wolf Eyes and Prurient. But a decade later Yellow Swans’ ‘Going Places’ remains from this era like a scrawled note left by a lover who has fucked off to somewhere more exciting, and leaves behind a ragged palimpsest of memories, forgotten or suppressed emotions and maybe even an encrypted map of where to find them in the future.

After he featured on Various #2, the Russian artist Yssue is back on KUMP with three, slightly incantational, Industrial/Tribalistic tracks.

In this EP, Dmitry Nekrotkov explores Nature and expresses his vision of the bonds which Mankind shares with It. What's more? Two remixes. Ayaz, an artist from Azerbaidjan and founder of the Yalanci label, delivered a Dub-Techno remix which will turn your brain upside down before chopping it in tiny bits.

The second remix was made by the Duo DJ PG, from Lauzanne (Switzerland). The two pals, both members of the group "La Sacree Deter" revisited the track "Lust" adding a Psyche-dubik touch to it. Perfect for a matinee on your sofa.

"My music is often a reflection of the state in which I am at a certain period of my life, since I grew up from a musical punk scene, this often involves a certain set of means of expression. In essence, I am in an endless struggle to express some quite lively and human emotions through the cold and artificial world of electronic sounds. That is why there is a lot of melody and sometimes even drama in my music, and this is why I'm often got bored with a static music. This EP is called "Naturalist", a terms that defines a person who has devoted his life to the study of nature and its kingdoms. This directly relates to my strong belief that the further society advances, the more people are losing touch with nature, something that is real and to which they all belong."

- Dmitry Nekrotkov.

Damon Zucconi is a visual artist living and working in Philadelphia. He frequently uses custom software to create his work, and has spent the past decade working as a computer programmer, producing pieces which are typically accessible online. Some of his projects include 'Fata Morgana' a reworking of Google Maps code that hides everything except text elements; a website for the Arca site-specific performance-installation Tormenta; and recent solo exhibitions with Veda in Florence and JTT in New York of physical and digital works. This is Zucconi's debut music release.

Jasmine Guffond is an original creator of conceptual sound. This first output under her own name is its own study, and if you've heard her former projects Jasmina Maschina or Minit, you should not be surprised at the different driving force and fresh structure of sound behind this new venture. However, if you’re anticipating veins of clean, melodious folk or purely experimental electronic, you should shift your expectations.

Yellow Bell presents a broad spectrum of musicality, floating within hazy electronics, lost vocals, and ambient dimensions. The balance of digital synthesizer, loops, processed voice, and guitar creates a meticulous soundscape that both intrigues and calms. With its delicacy and immediacy, Yellow Bell distorts the perception of time and creates an environment for engagement and understanding.

While creating its own memorable dynamic, Yellow Bell resonates with the delayed endlessness of Grouper or lovesliescrushing and touches on the early electronic sounds of Musique concrete.

We all know anything released on Mystic Quantum is worth buying for the cover art alone, and this mightily impressive return of Legowelt is certainly no different. Beautiful on the inside and out, it's packed with the kind of delicately detailed soundscapes we've come to expect from the revered producer, who proves every bit of the musicality we associate him with across seven very good tracks.

'Squirrel' is perhaps the exception to the rule, its frustrated and distorted rumbling breakbeat and chain-gang high-hats cry out for some monster or other to be fed through the arrangement. On the whole, though, this is far from club stuff, opening on the lush bleeped harmonies of 'Once At The In & Out Burger Academy', closing out on 'Vesper Sprites'' mysterious, breathy refrains and metallic percussive accents, by way of the cinema-worthy piano piece, 'Meekian Lovedance'. Enough to keep you going until next month's album.

Anomi’ is Sonja Tofik’s first full-length LP, and a continuation of her debut ‘Neuros’. Anomi is the Swedish word for the sociological term anomie, first coined by french sociologist Émile Durkheim in 1893. Described as ‘the condition in which society provides little moral guidance to individuals’, he suggested that for societies to function and their individuals to prosper, they need to be driven by strong and distinct norms, both social and moral. If absent, individuals are exposed to anomie, and start to inhibit self-destructive behavior. Anomie is a state of suffering, an absence of affinity, both to the individual and to society - which creates dissonance in the human experience. It denies us the presence of death and disconnects humanity from its nature and inherent mysticism.

This model of explanation sparked interest in Sonja as being an interpretation of a spiritual presence in our monotonous present. In her work on ‘Anomi’, she uses music to delve into the notion of anomie, and what happens to us as citizens within a society restrained by rigid codes. She deliberately cultivates cliché symbolisms to examine the fracturing of emotions in this alienation of self, and how it affects our relationship to death. She also incorporates old folk songs in both Finnish and English and builds upon them - for instance ‘Sky Trumpets’, written in Finnish, is about the end of times and how only then can the hands of the working masses be set free. Using superimposed textures of synthesis, organ, concrete sounds and voice, she counters monotonous drones against more harmonic timbres to effectively summon these states of mind, through raw emotion, often with few elements and unobscured of any excess statements. ‘Anomi’ is her plea to resurrect mysticism into being alive and the wait it entails.

Electroacoustic musician and composer Sonja Tofik was up until recently a part of the studio collective Drömfakulteten, which was home to some of Stockholm’s most creative artists, including names such as Sissel Wincent, Maria w Horn and KABLAM. Now scattered to the wind after losing their studio space, its former members are still more active than ever with a persistent output of avant-garde music.

Sonja is one of those who was a member until the very end. Since her debut ’Neuros’ was released via Moloton in 2017, she has continually put out new music, including a collaborative LP with Mar-llena, ‘Vilar i dina spår’, an interpretation of Jaakko Pallasvuo’s dystopian text ‘Darkness of Winter’ released through Country Music, and a remix of KABLAM’s ‘Remembrance’ as a part of ‘Confusía Remixes’ earlier in 2020.

Her work focuses on superimposed repetitive structures of analog and digital synthesis, organ drones, sampled textures and voice, often presented with few simultaneous elements, which she uses in concoction with outbursts of raw emotion during performances. She is also pursuing a degree in social work, from which she draws inspiration through sociological models of human nature and concepts of spirituality, mysticism and death in modern civilizations. She has performed her music live in a multitude of contexts, including festivals such as Intonal in Malmö (alongside William Basinski and Holly Herndon), Transformations at Under Bron (alongside Robert Aiki Aubrey Lowe and Dungeon Acid) and Akusmata in Helsinki.

‘’In this 24-minute composition, released here in its original name for the first time, Yassin encapsulates and condenses the aural and sonic landscapes experienced by those who bore witness to the war. In the 1980s, while the Lebanese Civil War, which ravaged the country between 1975 and 1990, was raging, television but particularly transistor radios were the only means through which people heard the news during interminable periods of power cuts or waiting in basement shelters.

The audio material was collected by Yassin on his regular trips to the dispersed and neglected archives of militias and political parties, radio and TV stations, and record shops across Lebanon. Built from over 300 hours of material, Yassin has woven together a composition using political speeches; radio and television commercials; news flashes and jingles; local 80s pop music; dubbed Japanese anime songs; propaganda, resistance, and revolutionary party songs; snippets from Ziad Rahbani plays and many more.

The recordings in CW Tapes are the sonic equivalents of Proust’s madeleines to any individual who was old enough to remember the war and its immediate aftermath; they effortlessly conjure the collective memory of children, teenagers and adults alike. Commercials, songs and speeches collide and intertwine as if Yassin had plugged a radio tuner into his mind, sounding out a deeply personal sonic terrain that echoes the hidden sonic memories of his contemporaries in which sounds ebb and flow as if they were heard in a dream (or nightmare).

Beside the diversity of its sounds, what is most striking in this record is the minute attention to the musicality of the different recordings Yassin uses, whether they are propaganda pieces, vocal patterns or news jingles. What you hear in the beginning of the CW Tapes, for example, is Raed Yassin’s fascination for the different political and musical figures that populated the Lebanese media landscape across the 1980s.
In this bewildering introduction, he highlights the absurdity of the war by lacing together a political speech given by Bachir Gemayel (a senior member of the right-wing Christian Phalange party and the founder and commander of the Lebanese Forces militia during the early years of the Lebanese Civil War who was killed in 1982 when he was elected president) with a frivolous and upbeat pop song by Lebanese pop singer Sammy Clark whose tunes are heard at different moments in the piece. The composition unfurls an array of overlapping tonalities and textures as well as a glossolalia made of processed voices that inhabited the archaic technologies of the time.

Words become increasingly indecipherable as the piece progresses, with a beautiful passage in which Yassin isolates sighs and breaths — as if to mark moments of respite during the war— until another commercial or pop song is blasted at full volume again. We can also hear what has become a staple in Yassin’s other musical projects, which is the sporadic inclusion of him singing or whistling over songs. In his continuous efforts to mine and work through the sonic archives of Lebanon’s recent past, the CW Tapes is possibly Yassin’s most personal output to date.‘’

Rayya Badran, Beirut, January 2019

For The Record The Artist Presents A Sonic Curation Of Her Work Ë.ctu_isbtmí.
Operating In A Space Between Sculpture, Code And Electronics, The System Scans 3dimensional Objects Via A Live Video Feed And
Programmatically Encodes The Artistís Glass Sculptures Within A Language Of Pitches And Rhythms Using Samples As A Transla- Tive Matrix.
Following Samples Are Used :
0 Basketball, 1 Tennis, 2 Swim, 3 Scubadive, 4 Helicopter, 5 Race, 6 Golf, Index

Side A: Codes Sounds Were Produced From Rotating Black Glass Objects Whose Shapes Determine
The Parameters Of A 2d Synthesis Space.
Side B: The Resulting Sounds Are Live Coded Into Musical Pattern.
Along With Byrke Louís Sound Piece The Physical Record Features Words By Agf.

Following on from co-­-compiling one of 2012's best received compilations 'Into The Light: A Journey into Greek Electronic Music', new Amsterdam based record label 'Music From Memory' sets sail with a compilation of lo-­-fi beach funk and lazy synth jams from the Rhode Island keyboardist and ocean loving Leon Lowman.
As well as a devoted painter and surfer of the East Coast, the synthesizer loving Lowman privately released two albums 'Syntheseas' (1980) and it's follow up cassette only 'Sound Horizon' (1982). Something of a homage to his love of the local seashore and the women he was trying to woo there, the albums also express Leon's pure love of the synthesizer sound and reflect his unique melodic wanderings.

With Leon's albums meeting little commercial success at the time of there release, both albums have in recent years become highly sought after. Along with previously unreleased material from the time, 'Liquid Diamonds' highlights Leon Lowman's unique blend of low fi synth funk and surf ambience.

Following up 12”s for AD 93 (formerly known as Whities), Timedance, International black, and Yume, Neinzer lands with Where To Now? for a suite of leftfield slow steppers and deep melancholic psychedelia. Having been quietly turning heads for the last few years Neinzer cuts an interesting figure in today’s electronic landscape as someone whose creations walk the lines of heavy, otherworldly, hypnotic Techno, explored by the likes of Avalon Emerson, Metrist, the Hessle Audio crew etc, whilst maintaining a gauzy, acid washed dreamy quality which recalls the work of more restrained, melodic electronica stalwarts such as Floating Points, Four Tet, Clark, etc. Neinzer’s work stands apart from all of these touch points however by utilising an often tense & unstable approach to sound design, but always injecting his worlds with huge flashes of melody, joy, and power.

We dive in with heads down intent on the opener ‘Traum’a’. Deep pads and quick paced percussive flurries shuffle below detuned piano keys, bringing an almost jazzwise leaning to the dance. Next, we lean back with ‘Nabi’, where Neinzer flexes his electroacoustic influences and explores tone & tension by melding a natural pallet of human sound with synthesized pressure to create a unique and destabilising piece.

‘Rassalin’ brings the Machine Funk and slows things right down with dizzying effect, deeply swinging its way with gritty intent through a trembling landscape on the brink of collapse. From here on out, Neinzer shifts his previous beat led focus towards something more psychedelic and exploratory – on ‘Hebdamu’ we find flourishing swathes of freeform melodic beauty build and build, snaking around the precise percussive hallmarks of Neinzer’s sound world, and ‘Shifting Values’ ends with the gloriously dubbed out experimentation of ‘Cause Pan Tact Insoluble’ – coming off like Adrian Sherwood jamming with Popol Vuh.

Master synthesists Colin Potter (NWW), Alessio Natalizia (Not Waving), and Guido Zen reprise their supergroup for Ecstatic with a seductively serpentine follow-up to their superb debut from a
couple of years ago.
PNZ’s pulsing, twanging, expansive ‘Magari’ was recorded between 2018-2020 in the slipstream of ’Shut Your Eyes On The Way Out’, which is surely one of the strongest new kosmiche-related albums of recent years. Where that album refreshed classic styles of European synth music for modern ears, ‘Magari’ - meaning “I Wish” in Italian - adapts their style to the unique Afro-Latin lilt of Brazilian music with central use of the Berimbau; a single-stringed percussion instrument
commonly associated with the elegant martial art/dance of Capoeira, which the band’s Guido Zen brought home from his travels in South America. Combined with their juicy, almost fleshly arps and Guitar pedal-generated computer voice, the results are wonderfully wide-eyed, embracing bouts of motorik rhythm beside vertiginous noise wormholes and mystic tone poems that speak to a cumulative experience spanning decades spent hunting for life between the wires.
Like their first LP, much of the recording took place remotely or in pairs, and rarely with all three present, before the parts were mixed down at Colin’s studio in Leytonstone. In its journey between the intricate meters and perpendicular vectors of ‘Too Much Traffic’, and their mesh of curdled tones with their phone recordings of a manic preacher in Camberwell on ‘Saved’, they variously recall Craig Leon’s alien invocations of Dogon folk tales as much as the heady dissonance of Alessandro Cortini; producing outstanding pieces of tangibly haptic substance in ‘Sergio’ and infectiously tip-of-tongue Berimbau twang on ‘Gennaio’, and for good measure, something like
Phil Collins gently losing the plot after healthy dose of Ayahuasca in ‘Fill’, while ‘Ancora’ sounds like Basic Channel scoring Herzog’s Aguirre.

"Vertigo KO" enthält unveröffentlichtes Material der 2017er "Light Sleep" und "Voice Hardcore" Sessions der japanischen Avantgardistin Phew, samt eines The Raincoats-Covers ("The Void"). Die 2CD (ltd. Japan-Import) enthält zudem den Sampler "Vertical Jamming" mit langen Drone-Werken von Phew, der zuvor als limitiertes Tape und digital erschien. Beiden Tonträgern liegt ferner ein 20-seitiges Fanzine mit Linernotes von Künstlerin und Label sowie Fotos von Masayuki Shioda bei. Die Kultmusikerin Phew begann ihre Karriere 1978 mit der japanischen Punkband Aunt Sally. 1981 erschien ihr legendäres Kollaboalbum "Phew" mit Holger Czukay, Jaki Liebezeit und Conny Plank. In den 1980ern arbeitete sie mit Ryuichi Sakamoto, Alexander Hacke (Einstürzende Neubauten) und Chrislo Kaas (DAF) und jüngst mit Ana Da Silva (The Raincoats), Jim O'Rourke und Yoshimi (OOIOO, Boredoms) zusammen.

Mountains Are Mountains is a solo album that presents the sound of many moments scattered all over a period of Berke Can Özcan's (Ex-Konstrukt, Big Beats Big Times) personal time on this planet. He is a drummer, composer, writer, producer who keeps experimenting with all that is available to his one ear. Gongs, aquadrums, a vibraphone, a steel drum, a prepared piano, a vintage harmonium which smells exactly like a vintage harmonium, log drums, kalimbas, as well as his self-made instruments made of old keys, soda caps, flower pots, bamboos, the most lousy-looking pedestal fan in the world, bicycle bells, straw brooms, old toys, garden hoses and Buddhist-prayer playing machines are all played by himself.

All sounds were constructed by – or at least decorated with – sadness, passion, agony, curiosity, excitement, loneliness, bliss, nostalgia, bitterness, joy, whatever you and I and he knew that could be experienced. "Mountains Are Mountains" is yours to taste.

A bit more about this record:

Sometimes it's all about a journey. No, actually it's always about a journey.

The journey, which is expected to be endless, or always full of motion has a different nature than we think it does. It is also about stopping. Stopping is an action. So one needs to be aware of time, for time is interestingly aligned with a secret combination that is the key to creation. And one has to put in his pockets many experiences, to become his friends, his tools, limbs to move and dough to shape.

Why are we talking about this? Our protagonist is going through a tough patch. He's been working as a drummer for many years now, he writes music, records albums with his bands, collaborates with many acclaimed musicians, performs in this and that big festival , tours , but, how can one say... It's a bit like everything is in a "loop", and the loop is becoming deadlier everyday. He feels that he's becoming an old version of himself, outdated maybe. It's like you are getting old, and the old you becomes less appealing to the you who is still young, so it's time to align the two.

So he quits his bands, quits his destructive friendships, leaves behind whatever is not genuine in his life. He travels, collects sounds from oceans, forests, cities, trains, water tanks, birds, winds, corridors, swamps, street musicians, kids, church bells, temples, alleyways and so many more. He uses samplers from eighties, old machines that are not even produced anymore, weird recording machines to obtain what he is searching for. The unplanned hissings, hums and rumbles that comes with any gear are more than welcome.

One day, he comes back home. He constructs a small universe by bringing all his instruments together. Gongs, aquadrums, a vibraphone, a steel drum, a prepared piano, a vintage harmonium which smells exactly like a vintage harmonium, log drums, kalimbas, as well as his self-made instruments made of old keys, soda caps, flower pots, bamboos, the most lousy-looking pedestal fan in the world, bicycle bells, straw brooms, old toys, garden hoses and Buddhist-prayer playing machines. He sits inside of his universe for hours and days and studies the sounds -to meet, to get acquainted with them.

Our protagonist explores "loops". In time he develops the need to be alone and stay in a circular universe. There he concentrates on sounds and experiments to create a musical form where he can combine these collected sounds with performed ones - to attain a personal kind of harmony. It is also a search for ways to add character, colours, make sounds richer not by adding more elements, but expanding what's already there. He makes many tracks, some of them fading through time, and others glittering. Eventually he has ten tracks in his hands to build mountains.

Berke Can Özcan, our beloved protagonist, presents the sound of "many moments scattered all over a period of his time" on the planet. He's still here, and hopefully there are many more moments to be experienced, so the sound is on and ever-changing.

It would be a blast if one could jump from one mountain peak to another. Still, maybe one can, if one closes his eyes and stays still. For long enough. Maybe then the mountains come to him, and they offer their summits just for him to accept.

A.) new Philip Corner LP on Recital
B.) voice recordings from a small performance in Italy, early in 2020 – Homages to/from George Maciunas 1931-1978
C.) Corner’s piano meditative playthroughs of Couperin’s The Mysterious Barricades 1717, from 1989 and 1992
D.) These two elements (voice and piano) superimposed by Sean McCann, edited during the first month of the pandemic
E.) Manic exaltation, distorted harmony things
F.) Album cover is a few PC scores soaked in olive oil and held in-front of the sun through my kitchen window
G.) Booklet features passionate writings on the Couperin piece and its meaning by Corner
H.) Philip wrote a new reflection for this LP edition, “The Mesure of the Mystery” this August
I.) This album is built from fine ingredients: beautiful piano with stomach-clenching voice stretches

Etrusca 3D is a new band that merges two current Audio and visual artists from the 21st Century, Francesco Cavaliere and Spencer Clark.

The album is the first to be released by Spencer Clark's label Pacific City Discs, as a subsidiary and in collaboration with Discrepant. 

‘’One cannot underestimate the result of stating the names of certain gods at high voices. Something that sinuous and quiet enters into this disc for you to listen. What if the Etruscan Civilization instead of transforming or amalgamating into the roman one, was instead passed on to other worlds? Were the tombs, their spiral idols and funeral decorations a meticulous method for transmuting to something else?

Etrusca 3D is the juxtaposition of two imagineers friendship, as Francesco says, 'because I am Etruscan and you (Spencer) are 3D."  There is a piece of the future of Etruscan civilization contained within this disc. It is with Spencer's remote viewing of a past and future creative culture and Francesco's birthright that we find a true insinuation of civilizations world body. 

We decided to invoke various Etruscan deities or spirits by sampling Francesco's voice uttering their name. We put them inside the Emax 2 3D machine and we began to play these deities and thus incorporate a fresh and ancient music language to present the 21st Century Etruscan experience.  In the meantime, these musical stories turned into Francesco's imaginary storytelling style to further present a narrated record of the intuited activities of Etruscan Gods...’’ - Francesco Cavaliere & Spencer Clark

All songs by Spencer Clark & Francesco Cavaliere

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil. 

FOR FANS OF : MARK LANEGAN/MICHAEL GIRA/NICK CAVE.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho.  Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio.  After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

“After a banner year that witnessed Lafawndah release her first album Ancestor Boy, the debut of her soundsystem Fara Fara, and further incursions into film, contemporary art and fashion, the ceaseless artist returns with another plot twist: The Fifth Season.

Inspired by her encounter with author NK Jemisin’s Broken Earth trilogy, Lafawndah both pays homage to and extends further the elemental, emotionally charged myths of Jemisin’s books. These are stories where a broken heart can tear apart a continent. In contrast to the precision- tuned industrial productions of Ancestor Boy, The Fifth Season breathes a different kind of volatility. Inviting a new degree of spontaneity and freedom into her process, Lafawndah’s collaborators - Theon Cross (tuba), Nathaniel Cross (trombone), Valentina Magaletti (percussions), and Nick Weiss (keyboards) - encircle her confrontational character studies with iridescent, cinematic chamber-bass moves.

These are torch songs for when it rains ash, creation ballads for when the earth turns inside out. Ghosts of Art Ensemble of Chicago and Rahsaan Roland Kirk color the air, yet Lafawndah’s mastery of pop songcraft, vocal production and razor-honed clarity of purpose cut through. In addition to the Lafawndah originals, The Fifth Season features interpretations of hybrid-folk godfather Beverly Glenn Copeland’s “Don’t Despair” and acid-impressionist prodigy Lili Boulanger’s “Old Buddhist Prayer.” Album highlight “You, at the End” deploys a poem by poet-performer Kae Tempest to aching, rift-tearing ends, and french dream-trap wraith Lala &ce features on “Le Malentendu”.

The Fifth Season anchors Lafawndah as a descendent of forebearers Brigitte Fontaine and Scott Walker - a born theatric whose acid humor warps the sub-continental undertow of her emotive storytelling. Lafawndah’s elementalism on The Fifth Season finds her imagination more agile than ever, and recent live shows have evinced a drive to push these compositions further out, deeper, and more aflame.”

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho. Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio. After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

Senthulà is one of the many aliases of musical jack of all trades José Guerrero, a long standing figure in the already rich underground scene of Valencia. In this solo excursion he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened african rhythms beat up no wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated.

This closed door nightclub music will appeal to fans of the new developments in dance music that put Cabaret Voltaire, impLOG or Orchestre Poly-Rythmo de Cotonou into XXI Century basements. The record comes also with a killer remix by Tolouse Low Trax, probably our favourite producer in modern rhythmic music.