Beats News

Remastered Vinyl-erstveröffentlichung Der Debüt-ep Der Frankophonen, Kanadischen Künstlerin Marie Davidson Aus Montreal, Die 2012 Nur Digital Und Als Limitiertes Tape Im Eigenvertrieb Erschien Und Zu Einem Synth-pop-kultrelease Avancierte. Marie Davidson, Eine Hälfte Des Dfa-duos Essaie Pas, Ist Bekannt Für Eine Kalte Und Düstere Synth-ästhetik Mit Sinnlichem Sprechgesang. Die Ep Erscheint Auf Dem Electronic-indielabel Holodeck Aus Austin, Texas, Das Ausschliesslich Auf Vinyl, Tape Und Digital Veröffentlicht. Pinkfarbenes Vinyl.

Tape / Cassette

Comforting Katharina, the solo debut of Swiss musician Remo Helfenstein, finds a tender melancholy in the small gestures in the search for atonement. Helfenstein’s music does not pursue a sublime but rather dwells in immanence and intimacy. Even in its most rapturous moments, as in his take on the gospel hymn “What a Friend”, Comforting Katharina unfolds as a question and not as a creed. The five songs might be understood as a form of devotional music; but in the sense that it subjects itself primarily to the whims of an outdated media technology.
Helfenstein recorded the majority of the material on Comforting Katharina on cassette using a four-track recorder. He then replayed those recordings, let them overlap, and manipulated them with effects while singing live, recording this process once more in one take. Resisting the regime of precision and control of digital music production, Comforting Katharina thus obtains a momentous, precarious and contingent quality.  
Comforting Katharina combines atmospheric pop, gospel, and Americana with harsh electroacoustic and dark ambient touches.

Amsterdam-based duo Wanderwelle presents their fourth full-length album titled A State Of Decrepitude. Inspired by the many aspects of impermanence and facets of decay, the duo composed their most intrinsic and detailed production yet.

After two successful albums on Silent Season and a recent collaboration album with Bandhagens Musikforening on Semantica, Phil van Dulm & Alexander Bartels have applied their talents to create a mysterious soundtrack focussed on the countless faces of deterioration. Recorded in 2018, Wanderwelle's first electroacoustic album is an anthological approach to a theme that is inseparable from our current global crises.

2x12"

Finn’s 2 B Real bootyque drop his killer 82 min vinyl edit of Tom Boogizm’s prized live introduction to mysterious G, Michael J Blood, originally broadcast on NTS, issued on sold-out tape, and now newly cut on 2LP with track markers for DJ navigation and primed for smoky lockdown bopping - think Manny’s answer to Moodyman, Urban Tribe or Theo Parrish!
Meticulously distilled by Finn from the original cult NTS show and its sought-after tape edition, it’s as much a showcase for Michael J. Blood’s rudely soulful production and his circle as the deadly DJ tekkers of Tom Boogizm and Finn’s edit chops. Since the origi9nal 2017 broadcast the mix has been coveted for its bounty of unreleased cuts - a mixture of rude ghettotech and smoky soul-sampling jams - and the way it was stitched together, on-the-fly by Wigan’s funkiest son Boogizm - whose recent Shotta Tapes editions have sold out in minutes.
Now prepped by Demdike’s Miles Whittaker and cut to vinyl at D&M, the project enters a rare sub-subgenre of mixtapes on vinyl, packing 20 mins per side, with track marks highlighting Blood’s most in demand numbers, and all juggled in a classic Chicago and Detroit-via-Manchester style ideal for settee slomping or lockdown house-party function.
Trimmed to 80 mins of lean, it toggles the vibe back ’n forth between red-eyed studio abstraction, slompy Dilla-esque beats, synth-funk vamps and mutant ghetto-tech/Jit/juke with a charming, CDJazz loucheness, and keeps the gauge ticking up with a ruder feminine pressure recalling Finn’s own productions, and crucially includes some proper nifty, hands-on the 2000s chops by the Boogizm that sound like RP Boo, Slackk or DJ Rashad’s footwork flips of classic funk or even Actress’ classic Thriller edits, crisply framed and hewn for DJ use.
Trust it’s the lick. Do not sleep on this!

Samuel Rohrer CONTINUAL DECENTERING
With his Arjunamusic label and a growing catalog of categorydefying releases, Samuel Rohrer continues to quietly, yet confidently, make a name for himself as a genuinely unique Gigure within the European electronic music realm. In the current era, talk of blurring boundaries between musical genres and attitudes is more the rule than the exception, but not always something done with any degree of success. Rohrer is one of those rare alchemical explorers to have truly created a hybrid which is all his own, one that does not just exist to melt distinctions for its own sake, but is a natural result of years of experimentation with both the determination of electronic music and the ludic spirit of ‘free improvisation.’ On his newest offering, Continual Decentering, this vision is applied to a set of mostly in real time (live) performed explorations. 
In keeping with his many years’ worth of fruitful collaborations, the tonal palette on this new record is one that is expectedly rich for those familiar with his work, yet still surprising in terms of how exactly the differing tonal colors come together. Representative tracks like Spondee and The Fringe are brimming with dub pulses, noir shivers and blooming timbral variations that are in many places carefully isolated / focused and in other places blended together in vivid fusions. In terms of the emotional atmosphere created here, the pensive and questioning tone hearkens back to the ‘wide open’ state of electronic music in the mid-late 1990s, yet with a greater clarity and maturity of vision that makes this music feel like a possible answer to aesthetic questions being raised at that time. As with Rohrer’s most recent solo work, like the Range of Regularity LP, Continual Decentering showcases the artist’s skill in turning the drum kit into a lead instrument. While the term “lead instrument” denotes a kind of exuberant “Glash,” or a clear separation from the rest of the voices in an ensemble, we can take the term to mean something different throughout this listening program of 13 short vignettes: that is to say, everything else within the audible environment exists to complement the character of the percussive playing rather than to stand apart from it. It helps that Rohrer has, in fact, developed a unique and complex hybrid system in which drum hits trigger modular synthesizer processes, the use of which makes for an incredibly fluid response time between distinct sonic events. In contrast to the previous Range... LP, this new offering is propelled less by interlacing threads of intensity and more by a shared sense of deep listening. As displayed on pieces like All Too Human, there is a profound sense of attention to silences or thoughtful pauses that maybe hints at another crucial aspect of Rohrer’s style: over the course of this program, we tend to hear the player not only playing but listening, an activity which makes perfect sense given the sense of instrumental dialogue already mentioned. All of the above come together to give Continual Decentering a “live”-ness that will easily translate from recorded document to dynamic performance.

Independent labels have always been risky ventures, marred by uncertainty; you never know how long they'll last for.

Yet, for more than 15 years, Cosmo Vitelli has kept I'm a Cliché going. During this time, his label, its releases, and the artists behind them have found their place in the musical landscape, standing proudly and defiantly in the margins, a place where music is always more interesting and fluid than right in the middle of the spotlight.

After countless EPs, several albums and a compilation, a new chapter in I’m a Cliché’s story begins, one with a greatly reduced release schedule. To mark this turning point, the label releases Bongo Beats & Bankruptcy, its second compilation ever.

Aesthetically coherent and simultaneously diverse in its expressions, Bongo Beats & Bankruptcy is a celebration of the label (and the label manager’s) quirks and eccentricities and a tongue-in-cheek snapshot that brilliantly captures the label’s DNA, featuring friends and allies along with newer faces on 13 exclusive tracks scattered over 3 LPs.

Whether they are downtempo, uptempo or ambient like Orestt's contribution, each tune on this compilation distills in its own idiosyncratic way I’m a Cliché’s essence: electronic music influenced by club culture but in no way constrained to the dancefloor. Ivan Smagghe & Marc Collin’s analog synth track by their acclaimed Volga Select project, June’s dreamy tune at the crossroads between wave and kraut influences, Coy’s mutant synth arpeggios, and an old-school wave cut by Oliver Decrow mixed by Dunkeltier are all tracks boldly standing on the dancefloor's margins.

For those looking for club-ready tracks that with I’m a Cliché’s one-of-a-kind atmosphere will surely find what they are after in an downtempo edit of Awkward Corners, a bouncy and melodic IDM not IDM number by Rouge Mécanique, a bleeps & pan-pipes affair by Benoît B, an esoteric dance-rock number with stated Lynch influences by Fantastic Twins, a freaky electro cut by Linja, a melancholic 707 driven banger by Krikor and finally an anxious and forward-thinking half-stepper by label head Cosmo Vitelli.

En Transito is a document of the evolution of the Ambien Baby collaboration between D Tiffany and NAP. An ode to friendship and creative symbiosis. The tracks on this record showcase the project from its beginnings in 2015 to present day.

Mostly piano, vocals, efx and unconscious arrangements make up Laila Sakini’s “Vivienne” on Total Stasis. It asks, what if things were different? Tender symbols – flowers, butterflies, potion – portray an idealised life. But within a scene of ennui, waiting, in-between feelings are held, release comes with a sigh.

In this ever-shifting landscape, these sentiments are imbued within Laila’s oneiric compositions to form a fittingly hypnotising embrace.
Unfettered and reflective, Laila etches this fantasy with a reality more interested in the delicate and impromptu specifics of time than compositional rigour.

On Miniatures, Swiss composer and producer Samuel Reinhard looks to indeterminate techniques of mid-century experimental composers to produce a sonic path forward that’s as refined as it is evocative. While Miniatures is built from recordings of short piano gestures decaying towards silence, amid the four movements that comprise the suite, something else grows. Notes cycle, collide, and wash away within boundaries the artist has set, but in their wake new processual textures develop. A hiss blankets the harmonic material, and clicks that once marked sharp cuts between repetitions become a percussive undercurrent.

Working with digital tools, Reinhard conjures the interior of an animate environment and extends an invitation to notice the small stuff that swells when we settle in with duration.

Simian Mobile Disco’s Jas Shaw and new talent Bas Grossfeldt present ‘Klavier’ – an album of haunted elegance, graceful poise and cerebral depth, which is centred around the Yamaha Disklavier.

Combining the prepared piano minimalism of Hauschka with Basic Channel style dub techno, the pairing is mirrored in the duo, where Shaw’s formidable dance music experience synergises with Grossfeldt’s arts-based appreciation of contemporary composition.

Nach einer fünfjährigen Auszeit, in der er sich ganz unterschiedlichen Musikprojekten widmete, kündigt Squarepusher sein nächstes Studioalbum "Be Up A Hello" an. Für das neue Album setzte Tom Jenkinson nach vielen Jahren erstmals wieder auf dieselbe digitale und analoge Hardware, mit der er in den frühen 1990ern seinen Trademark-Sound definierte. Die Verwendung der Vintage-Synthesizer und -Effekte (inkl. eines Commodore Vic-20) markiert eine radikale Kehrtwende für den Briten, der auf dem Vorgänger "Damogen Furies" noch komplett auf moderne Tools und die neueste Software setzte, von ihm selbst im Laufe von 15 Jahren programmiert und optimiert. Das Ergebnis klingt vor allem ausgelassen, wenn Tom astreine Breakbeat-Tunes wie "Nervelevers" und "Terminal Slam" – klassisches Dancefloor-Material – vom Stapel lässt. Düstere Tracks wie "Vortrack" und "Mekrev Bass" belegen derweil, dass er nach wie vor ein Faible für perfekt ausbalancierten Psycho-Overload hat. Insgesamt verweist "Be Up A Hello" auf die Ära der DIY-Raves in Essex, deren Ekstase, Ausgelassenheit und Hemmungslosigkeit die ganze Herangehensweise von Tom nachhaltig prägen sollten.

Der in Berlin lebende Komponist und Produzent Ben Lukas Boysen meldet sich mit seinem bislang progressivsten Album zurück: Mirage ist ein wahrer Formwandler. Zuvor unter dem Alias Hecq bekannt, handelt es sich bei Mirage um den mit Spannung erwarteten dritten Longplayer, den Boysen unter seinem eigenen Namen veröffentlicht, und Nachfolger zu den Alben Gravity (2013) und Spells (2016). Letzteres bescherte ihm nicht nur sehr viel Kritikerlob, sondern begeisterte auch die Fans und viele seiner Kollegen: Es gab u.a. Remixe von Max Cooper und Tim Hecker, während Jon Hopkins einen Titel von Spells zum Eröffnungstrack seiner Late Night Tales-Compilation machte. Wie schon auf seinen Alben Gravity und Spells, wird Ben im Verlauf von Mirage von mehreren Gästen unterstützt: Mit dabei sind unter anderem die Cellistin und Komponistin Anne Müller sowie der australische Saxofonist/Komponist Daniel Thorne. Beide sind auf dem ersten Vorboten "Medela" zu hören, der die Zuhörer*innen auf eine Reise durch kaleidoskopische Klangräume führt, in denen verschiedene Genres ganz spielerisch ineinander übergehen. Das geht so weit, dass man hinterher kaum noch sagen kann, was man da eigentlich gerade gehört hat: "Ich wollte experimentieren und versuchen, diese Aufnahmen mit 100% künstlichen Elementen zu verbinden. Dabei ging ich oftmals so weit, dass ein Instrument zu einer Abstraktion seiner selbst wurde, dass sich der Beitrag eines Musikers an einem Song eher wie ein zentraler DNA-Strang des Stücks anfühlt, aber nicht mehr wie eine deutlich erkennbare Spur." Insgesamt fühlt sich Mirage, wie im Titel bereits angedeutet, wie eine klangliche Illusion, eine vertonte Luftspiegelung an: Jedes Stück vereint Klänge und Techniken, die dermaßen bearbeitet und verändert wurden, dass sie wie überbelichtet wirken. Das allzu filzig wirkende Klavier von "Clarion" etwa, Daniel Thornes Saxofon auf "Medela", die einzelne Gesangsnote von Lisa Morgenstern, die sich im Verlauf von "Empyrean" in unterschiedliche Akkorde aufspaltet. Man kann diese Elemente durchaus erfassen, kann sie aber auch ohne weiteres übersehen - wie auch die beiden Klaviere von "Kenotaph", die man für ein einziges Instrument halten könnte. Genau genommen sind es zwei Instrumente, die sich in unterschiedlichen Räumen, ja sogar in unterschiedlichen Ländern befanden. Eins ist digital, das andere akustisch.

Nathan rouses his Cambria Instruments label for his first album since 2017s ‘Providence’. ‘Blizzards’ is a returns to a clubbier sound, whilst keeping the melodic depth and rewarding narratives that have entranced his fans worldwide since his early records on Border Community and his seminal track ‘The Sky Was Pink’. Using a similar setup to his slamming live show, the album’s track were mostly recorded in one take with a deliberately limited hardware selection.

This record on Kvitnu presents live recordings be PAN SONIC played in Kyiv, Ukraine on June 6th, 2009.
Oksastus – is a Finnish word for process of grafting or cultivating of plants.

"Pan Sonic, the Finnish noise duo who split in 2010, recorded this meticulous live effort in 2009 in Kyiv in the Ukraine. It's impossible to frame it without thinking about the impending meltdown of both band and country, cloaking Oksastus in an apocalyptic backdrop." Pitchfork, 2014 (7.1 rating)

Inspired by nature and emotion.

Recorded and mixed by Austin Cairns, march 2016 - august 2016 in san jose, CA.

Gear used - Korg Electribe 2, Audiothingies P6, Eurorack Modular (Mutable Instruments, Intellijel, Make Noise, Moog, Alright Devices, Doepfer, Qu-Bit, Vermona, Laurentide Synthworks, Mannequins, 4MS, Bastl, Manhattan Analog, Ladik, Pittsburgh Modular), Teenage Engineering OP-1, Bastl Microgranny, Ciat-Lonbarde Cocoquantus, Apple iPad, Tascam Portastudio

Initially released on tape and digital through the artist on September 15, 2016.

Forest drives, coastal cliffs, lost loves, aged memories like light gleaming through the trees.

Modular synthesizer, Novation Peak, and cassette tape loops recorded and mixed late 2017 at home in San Jose, CA. Additional field recordings from Big Sur, CA.

Initially released on tape and digital through Dauw on February 2, 2018.

A recurring dream. The frozen landscapes of isolation and loneliness. Fragmented memories lost at sea. Cold, sharp light. Glowing rays of hope in the morning. It was just a dream.

Modular synthesizer and guitar by Austin Cairns. Recorded and mixed Summer 2018 in Northern California.
Dedicated to Brian Young

Initially released on tape and digital through the artist on October 5, 2018.

"Content" is the 9th album of the US based producer Ricardo Donoso.

Terry Waite was taken hostage in Beirut in the late 1980s, before ISIS, before smartphones, before the Internet as we know it. He endured a mock execution during the first year of his five-year captivity, which was spent mostly in solitary confinement. Years later, during a Q&A session, he was asked to identify the main thing he had learned from his ordeal. The answer, came as a shock—it was not the excruciatingly hard-won appreciation for life and loved ones that one expects to hear. “Contemporary humanity,” declared Waite, “has lost the ability to engage in productive solitude.”

'Schmeichel' is back on Defrostatica with new tales from the 160 bpm footwork continent. Again he demostrates a deep understanding of the unity of body, mind and soul.

He's a beatsmith and electronic music producer from 'Leipzig' - his puzzling artist pseudonym (to schmooze someone) is nothing but purposely deceptive. In the last six years he was busy making and releasing music which never sounded quite like the same as before.
His diverse musical flex in abstract hip hop, drum and bass, broken beats, techno, acid and ragga too shows his ability to sweep away genre-expectations.
He is committed to fuse every style into an immediate but ever-exciting minimal music experience. As a dj he switches virtuosic between jazzy improvisation, stokey UK-rap, dark and spiritual dance redemption. Nothing really much beside his work is known about Schmeichel since he is not playing the social media game that much which forces attendes of his performance to listen and enjoy without any distraction.

... When he turns on the amp in his basement studio underneath one of Leipzig's record stores he leaves mundane matters behind. 'Schmeichel' loves being in the zone when he is exploring new sound territories - like a sculptor he carves out a vision of soul with a minimalistic blues vibe that is looking for an essence rather a presence.

While the title of his five track EP "Mana, Focus & NoBreakfast" sounds like a work spec it deflects humbly from the musical richness of his second release on Defrostatica. Once again, the whole is more than the sum of its parts: he is telling different stories in each track that belong to one carefully composed saga.

"Feel" in its intensity resembles the soundtrack of a remake of Scenes from a Marriage. "Sting" could be the melancholic story of a hip hop writer about his most epic stunt. Another hip hop reference and artist wisdom drops in "Judge Mee" almost prayerlike.
The b-side of the record opens with "G i o i", a powerful mantra of an unknown procession. "Yin Yang" marks the outerworldly coda to this EP as a soothing salvation.

Hope, you enjoy.

Limited to 200 copies in innocent white Vinyl ! Fantastic Burial Style, just listen - no more words necessary

James Clements (ASC) debuts his first full-length album under his Comit alias, titled Remote Viewing.

Born out of his love for music that was often classed as 'IDM' during the mid-to-late 90's, and labels such as Morr Music, City Centre Offices, Merck and Hobby Industries, Comit is a new avenue for James that builds upon his background in drum & bass, his ambient projects for the likes of Silent Season and his admiration for a more nostalgic electronic sound.

It was this appreciation for early IDM that became the impetus for James' infamous Deep Space mix series in the early 2000's and resulted in a brief output of inspired productions as both ASC and Intex Systems. But this sound never fully evolved until it became a devoted project. The first outing for the Comit alias came as a limited 7" on the Short Trips label in 2016 and is now finally presented in its realized form within Remote Viewing.

Broken, glitchy breakbeats weave amongst emotive and often melodic chord progressions, all stemming from James' expansive collection of analog synthesizers. It's a sound that feels distinct and very separate to James' music as ASC, whilst adding a new evolution to the genre we may have previously described as IDM.

Industrial. Bitter. Techno. Raw. Profane. All words connected with the ravaged sound of Contort Yourself. And you'll be happy to know the latest offering continues down that twisted path. Bulldozing into being, Novacom arrives into this world with the bellowing bass and distorted dirge of 'Outsiders'. Downwards Records derelict JK Flesh (a.k.a. Justin Broadrick of Napalm Death/Godflesh/Techno Animal) keeps the beats boiling, drums and synths dipped in detritus and distortion. The flip is dedicated to French brutalist act Le Syndicat. The grunting, shunting 'Maximalist' from 1993 roars static and synthesizer strychnine scratch and burn before the bent and buckled 80s 'Prothesis Pack Xtra 08'. Ekman (Panzerkreuz/Berceuse Heroique) is on hand to close. 303 jumper cables are applied to 'Maximalist', pound and squawk pouring salt into speaker wounds.

Flowers is a genre-blending introspective story written by Toon Janssens. This versatile Antwerp born virtuoso delivers a sophisticated intimate album that balances on the edge of electronic and acoustic music. Soft focus is a multi-instrumentalist approach to music without any boundaries or stressrelated situations. It represents an improvisational state of mind, best described as spontaneous gentle music for your ears where listening is key.
In 2020 Soft Focus was looking for a new creative challenge and continued working on new music which he loved most. Soft Focus gives the freedom of presenting new music in a different form and
character, which wasn’t possible under Title.

Debut release by SPR for The Weevil Neighbourhood.

"Tesselation Districts" is an extended player of four tracks that oscillate between comprehensible rhythmic patterns and their somewhat uncanny dissolution bridging aesthetics of Steven Porter's as well as Repetition/Distract's compositions for the label.

Black vinyl, limited edition, screenprinted outer sleeve with artwork by Lee Noble (No Kings Records/ Bathetic), mastering by LXC (Watta Sound/ Alphacut).

The Naturals' debut album is more than just an rediscovery of one of the great lost albums of the last decade, but of how things were always intended. When Eddie Ruscha (Secret Circuit) and Thomas Bullock (Rub'n'Tug/STD) appeared as The Laughing Light of Plenty, their journey offered untold troves. Now at last the pulse is set for outer orbit and all are welcome to join.

After a mind-melting debut EP sold again and again, an album expanding their unique psychebalearicfolk imaginings was prepared and even pressed before being lost somewhere between a lock up in New York and limited quantities reaching Asian shores and dealers
trading at dizzying Yen.

Lost, but never forgotten, years passed until a nagging memory that an earlier, rawer mix had always been superior. A return to the original band name seemed The Natural(s) choice and so a project idea started to be (re)born.

A sunny Spring afternoon in a grand English garden, pots of tea, talk of life's travails, deep yogani, love affairs, kids growing up, the power of now and music, always music led to two labels coming together to dust down the desk and not just resurrect, but seek and offer the original intentions.
Here at last is the double album as intended. Of two great friends jamming their deepest vibes and flowing with love to offer tales of higher consciousness. Travel inward, beyond meer chakras. Aim for the stars. The devil is in the details so see the trails and follow to some avail.

Begin your own journey.

Touched Music and Furthur Electronix two forward thinking labels have merged together to put out exclusive compilations. Putting some of the best music in the electronic genre in one place.

Clear Smoked Vinyl

180 gram clear with smoke vinyl w/download card.
In sharp contrast to McCagh's commercial work for Huawei, Acura, and Volkswa-gen, "Altered States" is a detailed opening statement of experi-mental aural vignettes by an artist that has clearly spent the time to master his craft. Digitally manipulated acoustic instruments form the backbone for McCagh's wall-of-sound aesthetic painting pictures of bleak futures where the tracks dance, or more aptly, shiver their way to sharp collapse.

In short, McCagh makes ambient music with teeth. A form of experimental music with soul, or faded formation of industrialized machine music shrouded by layers of aural gauze, each piece emotively twist-ing and turning in and out of focus. "Altered States" is a brilliant inaugural proclamation from artist to watch.

"Aix" is an outstanding piece of work by Italian electro-acoustic savant Giuseppe Ielasi, originally released in 2009 on Taylor Deupree's 12k label, the follow-up to 2007’s "August" (12k) and Ielasi's first collaboration with Nicola Ratti as "Bellows", also out in 2007 (Kning Disk). Originally only released on CD (12k), the album got a very limited vinyl issue on Czech label Minority Records in 2010. Keplar presents this extraordinary and timeless collection of 9 evocative minimalist soundscapes on vinyl again after 10 years.

From the original press release in 2009:

"With Aix we see Ielasi building his layered, atmospheric music around rhythmic grids. Most of the time these are quite irregular and the pulses are not neccessarily stable or clear. Where his previous work approached sound in a linear fashion Aix imposes a strong vertical development with the aforementioned grid and a production consisting of ons and offs, employing as much improvisation as Ielasi’s previous work, but in a different way.
Despite the self-imposed grid structure, Aix relies heavily on randomization. Not in the traditional sense of sound placement but instead of the spatialization of sounds, echoes, reverbs and the stereo image. As a result, Aix has an amazing sense and clarity of space as the small fragments of sound breathe and find their own place in the mix, thanks to Ielasi’s sublime skills as a mixer and engineer.
Ielasi relied heavily on numerous short samples and combining them in ways that fell into his groove; some found from others' recordings and many more recorded during the past year. We hear fragments of percussive (acoustic) objects, drums, piano, trumpet, guitar, and, of course, synthetic textures. Although there is a distinct rhythmic pulse to Aix, Ielasi manages to mold it into something wonderfully languid and warm... and strangely inviting."

Composed and recorded by Giuseppe Ielasi in Aix-en-Provence, Autumn 2008. Remaster by Giuseppe Ielasi. Cover photograph "Construction, Barcelona" by Taylor Deupree. Layout by Dan Dudarec/Marco Ciceri.

For more than 20 years Giuseppe Ielasi has been releasing his recordings on labels like Erstwhile Records, Häpna, Kning Disk, Dekorder, 12k, Entr'acte or Editions Mego, as well as on his own label Senufo Editions.

The label Keplar has been on a long hiatus and is now back with its KeplarRev series presenting vinyl re-issues of essential electronic albums from the 90's and 00's, as well as new recordings by momentous electronic and ambient artists.

LSW is the product of musical collaborations between Leonard Horres, Sebastian Welicki and Gregor Darman. Also featuring contributions from various members Düsseldorf's candomblé tribe, the LP is an ensemble of eclectic rhythms and self-loathing nihilism. Recorded in Düsseldorf 2018.

People Places & Things is the single project of Manchester born & London based Mike Checuti. Mike grew listening to a heavy mixture of horror & film soundtracks an equal dose of the early electro via the legendary Spin Inn records & then the hedonistic sounds of The Hacienda & the more underground Thunderdome nightclub.

Mike was encouraged to press ahead with the project after a visit to Los Angeles & spending time in the studio with Atticus Ross (Gone Girl & The Social Network soundtrack composer).

Treating Patient A is the first in a trilogy of releases by People Places & Things each pulling from the above mentioned influences but each EP having it's own variation whilst keeping the references points clearly audible along with People Places & Things own take of these sounds at the forefront.

People Places & Things along with Gabe Guernsey of Factory Floor have recently just composed the soundtrack for the latest film for the forthcoming Adidas Spezial range which commemorates 30 years of Acid house.

Artwork for each 12" is designed by Andrew Jackson & each sleeve is individually hand printed thus having its own unique imprint and limited to only 200 copies.

The press & publicity for the release and project as while will be handled by 'The Rest is Noise'

Tilman Robinson’s third album, CULTURECIDE, is an investigation of the anthropocene; a seven part lamentation for our chaotic world.

Tilman Robinson is an Australian composer and sound designer creating electro-acoustic music across a range of genres including classical minimalism, improvised, experimental, electronic and ambient. Tilman’s diverse output focuses on the psychological impact of dense sound employing acousmatic and psychoacoustic principles. His third album CULTURECIDE will be released on Iceland’s Bedroom Community label in April 2020.

CULTURECIDE: “...processes that have usually been purposely introduced that result in the decline or demise of a culture, without necessarily resulting in the physical destruction of its bearers.” D Stein

CULTURECIDE is a rich sonic collage, harvesting sounds from a range sources including field recordings, medical machines that monitor the human body, traditional instruments and synthesisers, often melted electronically. The result is an unsettling paradox with sounds constantly on the edge of recognition. Each piece references a specific socio- political issue ranging from colonialism to neo-liberalism to climate change and the impending singularity of humans and machines. Far from an answer to these questions, CULTURECIDE invites us to meditate on their place in our life and approach personal understanding.

Recorded and produced almost completely in Australia, a land at the forefront of the devastation of climate change, CULTURECIDE was an attempt at catharsis for its author frequently appalled at his country’s incredible apathy and inaction. Mixed by Bedroom Community regular Daniel Rejmer and mastered by Lawrence English, works from the ambitious and unsettling record saw Tilman nominated for the 2019 Melbourne Prize for Music.

Dominique Grimaud makes you listen to the The Beatles, The Rolling Stones, Pink Floyd, and many more artists from the 1960s, like you never hear before.

The title says it all: “19 Feedbacks”. French multi-instrumentalist and sound-experimentalist Dominique Grimaud dives into his adolescence and the 1960s, when he discovered music that he could identify with and that would stay with him for his whole life. But “19 Feedbacks” it’s not just about memories or music, it’s about feedback. The beginning of the use of feedback on pop and rock songs throughout that decade and beyond.

It helps – of course it helps – that Dominique feels and knows what he’s talking about. He lived those years. He knows the energy and the momentum and the historical breakthroughs that were made every time a rock band pushed the boundaries of commercial approval. He uses samples of feedbacks from that era and builds beautifully enigmatic sound-pieces around them.

Some of those samples/feedbacks will be very recognizable. It’s not worth telling because it will spoil the experience of listening and dive into “19 Feedbacks”. It’s better if the listener isn’t expecting them and enjoy the ways Dominique explores them and reintegrate them into modern experimental music.

Although it carries that experimental side, “19 Feedbacks” normally feels as a freeform library music. Tracks like “Out Of The Sand” and “Green And Blue” carry a beautiful ambiguity of handcrafted electronic sounds thought for an electronic library of sound, to be or not to be used for a movie, radio or television. While others, like “Soft Voice” or “18 Tides” dwell along the ambient spectrum.

Some tracks carry a more electronic momentum. Dominique adapts the “19 Feedbacks” to fit different styles and he wasn’t trapped in the gimmick side of working around such specific samples. It’s a brave new world of sound escapades and sonic ventures. You never thought you would hear the Beatles, Stones, Captain Beefheart or Pink Floyd sound like this.

All songs by Dominique Grimaud
Artwork by Evan Crankshaw
Vinyl cut at Dubplates & Mastering Berlin

Twelve years have passed since eedl released their masterpiece “Everse” spa.RK, 2007 and in that time the duo -formed by Miguel Ángel Martínez and Joan Duat- have shied away from the spotlight and stage. Despite this apparent lethargy, their previous two works - "Parallemped EP" spa.RK, 2003 and the aforementioned "Everse"- provided them with cult national scene status, while raising more than a few eyebrows among European “headz”. Both works continue to sound overwhelmingly modern and
undated, an obvious signal that eedl is a special breed of cutting edge electronic music.

Although creatively silent for a number of years they have remained musically active. As well as his career as a product designer, Miguel Ángel has applied his musical experience to the technology sector, and since 2016 has fully immersed himself in “modular”–Winter Modular, Plankton Electronics and Patching Panda–; Meanwhile, Joan, office programmer and classically trained pianist, has found his equilibrium with work and building a family life.

"Unstored" is their long awaited return to the fray and their second studio album. It is comprised of eight songs, some of which have been have been slow cooked since 2002, with others gestating more recently. Maybe such a long hiatus seems excessive, but the meticulousness nature and obsessive love for detail found in "Unstored" more than justifies the wait, which at times felt like a long goodbye.

This collection of songs navigates between perfectionist electronica, new generation electro, noisy harmonies, glitch and deconstructed rhythms; a sonic memoire with strong roots in British experimental electronic music -reminiscent of Autechre or Plaid-, another reason in understanding the longing produced by their extended absence.

It is therefore with great honour that in early January 2020, Lapsus will release the new album from the elusive eedl project in a luxury edition format.

Matthewdavid is a co-founder of the Los Angeles label Leaving Records, and a collaborator of Flying Lotus, Sun Araw, Julia Holter, Laraaji, Odd Nosdam, among others. Experimental Bliss is his first album on Umor Rex, two long pieces devoted to the bliss of experimental music creation. This is unconventional music, aiming to assist the listener in attaining a state of bliss or relaxation. It incorporates obvious artifacts of compressed noise and texture with harmonic tonal elements. The creative process is always evolving and changing, often relying on digital music software and hardware technology to process and re-sample collected 'organic' sounds from analog or environmental sources. Side A, Lo-fi bliss music, was recorded and performed live at the Leaving Records modern new age night event, using dynamic compression experiments with a processed & looped Critter & Guitari pocket piano, and ocean sounds samples from a cassette. Dynamic rhythmicals was recorded live at home, using digital marimba samples.

Stuttgart, Germany based multimedia artist and producer MinaeMinae delivers his debut release of cosmic polyrhythmic explorations with Variante. Whether beamed in from the future or uncovered from the past, Variante calls to mind a place and time far from here and now. Synthetic mallets and anti-guitars comprise the record’s gritty foundation, while interlocking melodics and where’s-the-one rhythms tessellate a kaleidoscopic patchwork.

‘’Ruff drum computer- and bubbling ambient excursions from Bonn, Germany, making their first appearance on vinyl for the new decennium’’.

Newly established label Raakvlak plucks a lush synth gem from the depths of 80’s D.I.Y.- cassette culture for their inaugural release. Heil Eris / Enjoy sees the first-time reissue of the work of German synth-wizards Overflow. The group, conceived as the session band of cult tape label Brainstorm-Studio, merely released two cassettes within the timespan of one year, of which Raakvlak now has culled some of the finest moments.

Out of a matrix of drum computers, synths, voices, tape FX and a flute come these five live-takes (no overdubbing used!), dedicated to the trio’s mascot Apumé, which was present at all sessions.

Ranging from the aquatic ambient excursion on ‘’Pressure Wave’’ and the existential cold-wave pop of ‘’Take A Chance’’ to the blissed-out downer ‘’Voiceless’’, Overflow shies away from musical expectations and thereby sounds as up to date as ever.
Restored, remastered and available on wax for the first time! Comes with download card plus three digital bonus tracks.