Beats Novedades

NON Worldwide co-founder Nkisi rolls out an instant modern classic with '7 Directions' for UIQ. A masterful debut album informed by African Cosmology and Congolese rhythms, it's aesthetically comparable with music ranging from Æ's 'Incunabula' to The Connection Machine's 'Painless', Lee
Gamble hyperprisms and William Bennett's Cut Hands, but ultimately it's peerless in the (hyper)modern field...
Specifically referencing the writings of Kongo scholar Dr Kimbwandende Kia Bunseki Fu-Kiau and the African Cosmology of the Bantu-Kongo, '7 Directions' is offered as a gateway to hallucinatory mindstates via aerobic mysticism. Ultimately it is focussed on the idea that rhythm has the capacity to modulate and experiment with conditions of perception, and to disrupt predetermined expectations, and does so in the belief that new movements of energy can determine collective behaviour and generate new possibilities for knowledge production and dissemination - perhaps even supposing rhythm's potential for premonitory pattern recognition.
We fully concur with Nkisi's notions about dance music's potential for transferring and conveying energy, both negative/ecstatic, abstract/intuitive, so it's a rare pleasure to hear her limn those ideas so beautifully, effectively and open-endedly thru '7 Directions'. In each part she inimitably unlocks and retunes the body's rhythmic anticipation with breathless batteries of incredible polyrhythms that arguably make the majority of Western dance styles sound like rote line dance music for folk with little imagination in their bones.
In each direction Nkisi's drums writhe and rattle in a simultaneously ancient/futuristic style - ancient because they explicitly reference percussive traditions way older than Western
civilization, and futuristic because they've never been presented in this way before, alloyed with cosmic synth pads that draw lines from Detroit to the Lowlands and back to source, way out in the
cosmos. But rather than closed systems for study and analysis, Nkisi's trax feel like living, bristling organisms or virulent systems that only become activated with user participation, where those
ideas can begin to take root, grow and mutate via kinesis.
Even if you don't dance in public and save '7 Directions' for your living room/bedroom/holosphere, listeners will get the best out of this album by putting something in themselves, by shutting their
eyes and dancing with it.

Emotional Response is delighted to present elsewhere LVI. The 4th of soFa's compilation series, this double LP takes us to the darker side of the elsewhere ouvre, via another 12 artist / 12 track travelogue.

With certain future-retro feelings, this is club music for the open minded. An album that roams from dreamy ambient territories to rhythmic patterns - internationalism for the adventurous DJ.

Rusty slow-mo bangers and post-industrial synth-wave kidnap the listener to a dystopic and shady wasteland. Elements of ethnic folk, vintage vocoders and Gamelan samples all united on one homogeneous selection.

With artists now known to welcoming new brethren, this is an audio trip to leave reality behind. Exotic, hypnotic, tactile, trance-inducing meditations, washed down with a spoonful of magick.

* 180g Vinyl cut at D&M including CD and DOWNLOAD CODE! *

** played by Steve Barker, BBC Radio Lancashire, ON THE WIRE, 1.12.2018 **

*** interview and exclusive mix etc radio, WNUR FM, Chicago, 4.1.2019 ***

** interview & airplay of the whole album @ OE1, ORF - Zeitton Extended 3rd of february 2019 **

In his latest composition, DOLOMITE DUB, the Vienna-based South Tyrolean sound artist Ulrich Troyer presents his perceptions of a several-day high alpine hike across the Dolomites transformed into a soundscape.

The more than 40 minute track DOLOMITE DUB leads the listeners through this landscape of heights transgressing different moods - in which autobiographical memories flash up as well.

Subsequently to the experimental dub trilogySongs for Williamand the EPDeadlock Versions, a cooperation with Vin Gordon and Didi Kern, DOLOMITE DUB features besides Didi Kern on drums & percussion, Susanna Gartmayer on contra-alto clarinet and Juergen Berlakovich on bass, both long-time ensemble members of the joint project "The Vegetable Orchestra".

Vaal announces the release of debut album 'Nosferatu' via new label Pale Blue Dot.

A dark, cinematic triumph, title track 'Nosferatu' was the first song to be released from the record, following a huge few years of touring and underground releases, including one of 2016's most ubiquitous tracks 'Wander To Hell' and 'Monument' on Afterlife.

Vaal has established a sterling reputation as one of the key members of the Afterlife family. Steadily cultivating a strong identity and sound, merging a crossover of techno and breaks, traces of 'Bachian' melodies and UK rave culture.

Mannequin Records is proud to present a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, "Norton Computer For Peace" (1983), "Personal Computer" (1984), "Artificial Intellingence" (1985).

Apple's first music "endorsement" (later IBM consultant) and early Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music.

While the beat-oriented style of Norton's music aligns her with such global fellow-travelers as Yellow Magic Orchestra and Kraftwerk, her championing of the personal computer as a tool for self-sufficient musical creativity also connects her to more artsy musicians such as Pietro Grossi, Laurie Spiegel, and the League of Automatic Music Composers. Norton's predilection for the bright, glossy timbres of early digital instruments also recalls Hubert Bognermayr and Harald Zuschrader's bizarre 1982 one-off Erdenklang.

1 year after "Personal Computer", Doris Norton released 'Artificial Intelligence' (previous title: From Art-Physiol to Artificial Intelligence, changed before publishing) in 1985, setting a step up in her deep electronic music research and innovation.

High quality weirdo political pop from MB Jones (Jee Jee Band, EM Records) - sparse, quirky and strange with English and Korean vocals. TIP!
.
Recorded in Busan, Republic of Korea by former US special agent MB Jones, ROK Spy documents both his stay in a country on the verge of a nuclear conflict and his mission there (for obvious confidential reasons, the purpose of this mission is only to be referred to in an elusive way). While most of his personal belongings have disappeared - or, more likely, been destroyed - we are very thankful for the safe receipt of a USB stick containing 7 songs recorded in Autumn 2017, alongside a drawing and a few handwritten notes. We are proud to now be able to share these with you.

In order to do so, we hastily came up with a label. The circumstances under which it was born lead us into calling it Drama'. This release is DRAMA1.

The content of this LP is a seemingly disparate set of pop-not-pop tunes, flirting with dance music on songs like the apocalyptical disco Nuclear War or the bizarre and mind puzzling boogie Pusan Perimeter. Though it is quite hard to put words on MB Jones's productions (one may accurately call it an oddball' of a record), his musical testimony may sit somewhere in-between Holger Czukay's most narrative pieces and Arthur Russel's most cheerful moments, sharing with these two brilliant musicians a genuine feeling of intimacy emanating from each second of his songs. The only thing that may be said without a doubt is that these 7 songs are the product of someone whose ear has been attentive and receptive to all sorts of contemporary musical genres (from trap to experimental electronic music and EDM).

It's still not clear whether the cryptic lyrics evoke situations which already occurred, whether they are oracles, some insider's warnings or whether they are the product of a mind in a hallucinatory state. On Poison Pill - the closing song - he is particularly ambiguous : the CIA bought me a trip / I put the tab under my lip / They want to build a shopping mall / On the DMZ wall'. We'll leave the interpretation to you'

PAM & Zaltan

Estimated shipping date: 18.01.2019

In 2012 Important Records released a historic 12 CD box set compiling much of Pauline Oliveros' early and unreleased electronic work. Reverberations 1 is the first release in an ongoing series dedicated to releasing the entire 12 CD box set on vinyl.

Organized chronologically by studio (here: Pauline Oliveros Home Electronic Music Studio, 1961 & San Francisco Tape Music Center, 1964-1966), the complete Reverberations not only documents Pauline's earliest electronic music but it also functions as an early history of electronic music itself.

Pauline Oliveros, composer, performer and humanitarian was an important pioneer in American Music. Acclaimed internationally, for four decades she explored found, forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it and it eludes many who try to write about it.

In partnership with the Pauline Oliveros Trust, Imprec will be releasing essential titles from Pauline Oliveros' catalog on vinyl including the complete Reverberations box set, Tara's Room, Sounding/Way (with Guy Klucevsek) and many more.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage

Although Itta (Vocals, Harmonium) and Marqido (Analog Synthesizers) have been regular fixtures in Seoul's experimental music community for years, the vinyl release of Spiritual reflects the growing international recognition of their singular sound, described by The Wire as 'meditative synthesized vistas.' Spiritual certainly embodies the meditative element of their music, layering hypnotic modular synth with Indian harmonium drone and Itta's transcendental vocals. This is more than functional music for the metaphysically curious, however. Perhaps more than any of their previous releases, Spiritual offers an open accessibility, owing at least partly to the channeling of krautrock-influenced rhythms. Tracks like 'Luft' and 'Morgen Tempel' wouldn't sound out of place in any DJ set with kraut or psychedelic leanings, while 'Barabonda' and 'Dodeuri' dig deep into a more meditative place, serving as perfect expressions of the album's title and intent. Fans of Neu!, Kraftwerk, Laraaji or Klaus Schulze might find themselves in a comfortable yet unexplored place.

Spiritual was originally released in 2017 as a limited-edition cassette of 250 copies, produced in collaboration with Seendosi, an arts enterprise in Seoul Euljiro district, the city's heart of printing, packaging and electronics manufacturing. The cassette sold out within a year of its production, prompting Extra Noir, who had previously released Tengger's 'Breathe In, Breathe Out' on their Extra Noir Vol. 1 compilation, to propose reissuing Spiritual on vinyl. Working with Seendosi once again, the result is a beautifully produced piece of work. Closely attentive to the band's vision, the gatefold sleeve features rich landscape motifs that evoke Tengger's commitment to earthly travel and the less accessible places beyond. Pressed onto clear vinyl, the design of Spiritual has been carefully constructed to reflect the entirely unique music within: heavy ephemerality, dense transcendence and grounded wanderlust.

LIONSPRINTCOMPLETEINTENTHOUSANDPRACTICESTHUSCOMEONE 'A mysterious box arrived at the office labelled 'Tsho-Drong Zimpo'. Inside were incense sticks, a bubble wrapped DAT tape with a telephone number on it. We lit the sticks, ran the DAT and a call was made immediately.'

Cube is the prolific and chimeric nom de plume of one Adam Keith, formidable tape experimentalist and artist / abraser currently operating in Oakland, California's vibrant subterranea. After countless cassette releases, 2016's well-received My Cube LP and a tenure in no-wave faction Mansion, Keith reaffirms Cube's pledge with Decoy Street - his second album and the most developed work he has made under any guise to date.

Opener "In This House" serves as the ideal introduction to Cube: cellular interference, colliding circuitry, metal-on-metal grind and simplistic guitar distortion meet a towering and damaged beat. While "Habit" merges downtempo and industrial touchstones via layers of heavily treated vocals, "Sanctuary" tilts further towards propulsion - a dark treatise on discomfort, yet contagious enough to charm DIY and post-punk devotees.

Released on W.25TH, Superior Viaduct's sub-label for contemporary bands, Decoy Street is recommended for fans of Prurient, Puce Mary and Alan Vega.

Produced By Tim Green (the Former Guitarist Of Punk Iconoclasts
Nation Of Ulysses, Who Has Worked With Sleater-kinney, Bikini Kill,
Joanna Newsom And Jawbreaker, Among Others), 'post Earth' Is A
Call To Arms, Interspersed With Frustration And Hope.
'it Wasn't Intentional To Write A Politically Charged Record,' Says
Bassist Amy Allen, Who Constitutes Feels With Laena Geronimo
(guitar/vocals), Shannon Lay (guitar/vocals) And Michael Perry
Rudes (drums). 'but The Way The World Is Functioning Right Now
Made It Impossible To Write About Anything Else. We All Need To
Figure It Out; We're Running Out Of Time. The Golden Age Is Over.'
Maybe Feels Did Not Start Their Second Album With A Conceptual
Agenda But They Definitely Intended To Speak Out: 'if You Have Any
Kind Of Platform, You Should Use It For Good,' Lay States. Geronimo
Continues, 'if Our Wildest Dreams Came True, The Album Would
Sound Exciting To People While Also Inspiring Awareness And Action
Against Hate, Prejudice, Greed, The Destruction Of Our
Environment... Apathy's Not Cool And Toppling Oppression Could Be
Fun If We Do It Together!'
With A Steadfast Proportion Of Heavy And Light, Post Earth Never
Completely Wallows In Despair: Disillusionment Is Met With A Heady
Helping Of Defiance; Hard Work Battles Against Apathy; And There
Are Even References To The Simpsons, Courtesy Of Superfan Lay.
Feels Also Strike A Perfect Balance Musically Between Noise And
Energy, Breath And Space With A Mix Of Angular, Interweaving
Guitars, Lush Vocal Harmonies, Heavy Bass And Pummeling Drums -
At Times Hearty And Loud And At Others Stunningly Harmonic And
Calm. These Newly Emphasized Dynamics Highlight The Subtler,
Weirder, And Sonically Interesting Elements Of 'post Earth' And
Allowed The Four Friends (who Have Played Intermittently In Bands
Together Since High School) Room For Experimentation.
Lp Includes Digital Download Code.

Hailing from Nuneaton, England, Kevin Harrison recorded both solo and collaboratively throughout the late '70s and early '80s. While his early recordings would come out in hyper-limited editions or go unreleased for decades, Inscrutably Obvious remains his sole LP - a lost gem of Britian's '80s cassette culture and DIY bedroom aesthetics.

Originally released in 1981, Inscrutably Obvious covers a lot of ground on its seventeen inscrutable tracks - from analog synth workouts to mutated disco and shimmering guitar improvisations. The album maintains a late-night vibe, filtered through a post-punk lens.

Harrison clearly wears his influences on his sleeve - major debts are paid to Brian Eno, Robert Fripp and Manuel Gottsching - yet finds his own unique voice, combining quirky instrumentals and surrealist sensibilities.

This first-time reissue is recommended for fans of Chris & Cosey, Cupol and The Normal. Inscrutably Obvious sounds as fresh today as it must have nearly 40 years ago.

Japanese producer The Future Eve - known for his minimalist, synthesised pieces under the moniker Tomo Akikawabaya such as The Castle (1984), reissued alongside other works on New York's Minimal Wave Records as The Invitation of The Dead in 2015 - has announced a landmark collaboration spanning continents and planes of existence. Going under the new name of The Future Eve, he has worked together with the legendary Robert Wyatt to create an electronic journey of sound.

'02.03' is a prototype of 'Tom Hay's Fox' on Robert Wyatt's 2003 album Cuckooland.
the album mastered by Taylor Dupree (12K).
the limited double vinyl edition has printed artwork on insert and innersleeve,
outer sleeve with gloss UV varnish include download code.
also including '02.02' for vinyl only track.

Words and Music is a rare and sought-after album by artist Tom Phillips (b. 1937). Fueled by painting, opera, and concrete poetry, this LP was originally published by the king, Hansjörg Mayer, in 1975 (this LP has never been repressed).

Most are familiar with Tom Phillips' "After Raphael" painting used on the cover of Brian Eno's Another Green World LP, along with the television series he made with director Peter Greenaway, A TV Dante (1990). However, Tom's crowning achievement is his art-book A Humument: A Treated Victorian Novel. A reworked version of the obscure book, A Human Document, by W.H. Mallock, each page laboriously painted and collaged over. Spools of text are re-discovered from the original book, stitching together a new story surrounding the protagonist, Toge. Six editions have been published from between 1970 and 2017, each with different texts and paintings imagined. Phillips' work has the air of forlorn fantasy to it ... a designed romance.

The first side of Words and Music contains four chamber works grown from impressionistic and graphic scores. A lovely flavor of British experimental composition à la Cornelius Cardew (with whom Phillips collaborated in the Scratch Orchestra). Tom's music incorporates touchstones of visual art: in his Irma opera, a band of voice colors wash over slides of chamber melodies; in "Ornamentik," (commissioned by Stuart Dempster) acoustic and electronic instruments are played as extended shapes along a piece of paper. The piano piece "Lesbia Waltz" augments sheet music, cut-up measure by measure, placed and replaced.

The second side of the LP holds readings from his famed book, A Humument. Recited by Tom, whose chestnut voice perfectly carries the stanzas of bizarre, romantic poetry. Dancing between discoveries and meanings with gentle blood and ink soaking on each word.

ASC & Sam KDC's seminal ambient masterpiece from 2012 finally gets the wax treatment. There has been high demand for a vinyl reissue of Decayed Society, so without further delay, the time is now.

Following a run of sought-after releases on cassette from artists including Anthony Naples, Xvarr and E Ruscha V, Good Morning Tapes switch to vinyl for their latest (and first with HJ).

By Mahbunzi Nahgo Pihndi ("All the Healing Green Leaves of the Forest') aka Brian Close, one half of New York avant-garde duo Georgia:

'This record is an extension of a foray into trance ritual music. It is structured as a companion for film, meditation, vision seeking & sound rest.

It is by nature a nature worship record, combining acoustic percussive improvisation, sensory foley, vocalized staccatos, and a specific brew of physical / metaphysical sound relations... mind hush / thought flush / spirit rush / sun rise.

Inspired by an initiation ceremony of the Bwiti / Fang people of Gabon. This collection relays a fragmented branch of timings of this ceremony and proposes other paths for the sacred (Mougongo) instrument.

Recoded + Restructured + Reflected as a time capsule, with fullest respect / blessings to breeze the Bwiti understandings through the current climate.

Proceeds of this record will be donated to Tata-Yo (Nganga), Ebando.'

Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released on CD by Unit Records in 1995. Born in 1948 and residing in the medieval Swiss town of Lenzburg, and virtually unknown outside of the German-speaking world, Häusermann is a multi-instrumentalist and enormously prolific composer who works primarily in the medium of absurdist music-theatre. A virtuoso wind player and free improviser who also composes for traditional classical instrumentation, his work is characterised by subtly surreal humour and the unlikely combination of extended technique and simple, at times almost child-like, melodic ideas. Named after his rehearsal room in Lenzburg, Galerie Randolph uses an enormous array of instruments to craft a work of singular compositional vision. Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones played on a home-made contraption stretching two guitar strings between the top of Häusermann's alto saxophone and an amplified cup, and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements (whose pitch gradually raises throughout the record) are complemented by entirely different material, all of it played by Häusermann. Ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time. Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison. Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

Presented in a deluxe gatefold sleeve with gorgeous archival images by the composer. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Key selling points: - Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released in 1995, the album utilises an enormous array of instruments to craft a work of singular compositional vision.

- Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison.

- Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements are complemented by entirely different material, ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time.

- Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

- Galerie Randolph is presented in a deluxe gatefold sleeve with gorgeous archival images by the composer with design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

All proceeds go London based charity, Focus E15 which demands social housing, not social cleansing!

Optimo Music is thrilled to present 'Weaponise Your Sound', which has been curated, conceived and designed by Kristina McCormick (Diet Clinic). Diet Clinic is an NTS radio show showcasing female DJs/artists.

It is the first vinyl release on Diet Clinic's newly-formed sub label of Optimo Music marking International Women's Day 2019 and featuring brand new tracks from artists C.A.R, Cucina Povera, Fantastic Twins, Human Jones, Maral, Marika Underspreche, Odete, Penelope Trappes, Slime, Sue Zuki and Zoe McPherson.

They may be scattered across the globe but their love, strength and support for their art and counterparts continue to inspire on a daily basis.

All proceeds go London based charity, Focus E15 which demands social housing, not social cleansing!

It's been 6 years since ALTZ.P released their debut single 'Dodop' in 2012 from a label 'Crue-l', which Kenji Takimi presides over. They've produced the black fat tight band sound, which is exotic and toxic but sharmanic and heavenly. Pulseman, the singular genius, has a perfect command of vibration frequency originating the groove. His minimalism and the Middle East disco beats by the drummer, Mau (ex-NEWEST MODEL), and the bass player, Shake Yoshimura, are intersecting organically. The one and only sound view of ALTZ, the star that shines on the scene, is spiritually colored by the shrine maiden chorus girls, Maririns, whose names are all Mari. Their psychedelic power of language in the soulful chorus is interesting. Also, 21CH (ex-DAMAGE) is performing the synthesizer as a guest player.

Double vinyl LP in Tri-Fold sleeve, with A2 Poster and 4 glossed behind the scenes prints.

where's the drop Recorded with the 73 piece CMG Music Recording Orchestra in Hollywood's famous East West studios, deadmau5 and musical composer Gregory Reveret are happy to bring you the full 15 track album on a Limited Edition double vinyl package.

Based around Joel's "7" EP and including classic deadmau5 records such as "Strobe" & "HR 8938 Cephei", "where's the drop" was performed live at The Wiltern and is now a must-have for any vinyl fan.

Only 500 copies available

* For their third iteration, Berlin-based Foul-Up continue their exploration of mind-expanding electronics and off-standards sonic borderlands with Glaswegian producer Mark Kastner aka Galaxian at the controls. His new EP, 'Blowback', makes for a blood-and-thunder wayfaring into deeply anxiogenic terrains and confined audio spaces, bridging an earthly post-industrial and ambient murk - 'Truth Seizure', 'Parasitic Seduction' - with mythical visions of everlasting human struggles as seen through a broken kaleidoscope of ruffneck electro and mind-altering drone flexions - 'Ouroboros', 'Coercion'. From this point Kastner fast-forwards from the unsettling inertia of a grey-lacquered suburbia up to a smouldering bedlam rife with acidic geysers, primitive drum motifs and untamed machines gargling in agony as interstellar winds blow loud and heavy. Galaxian sure feels at his best when the pressure is high and the comfort zone exceeded, moving against the cultural zeitgeist and its affiliated schools of thought to fight arbitrary paradigms and noxious ideologies with his own arms.

* If you haven't come across his work yet, just make sure you fasten your seat belt first and, well, hold on tight to it. Blasting out fast-breaking electro grooves over jagged tech-y pulsations and dystopian atmospherics, he increases the strain by lashing forcible breaks and laser-sharp synth lines turned onto the highest pitch and torn in flaming vibratos, growing nervier with every bar as a seemingly helter-skelter vortex of loud, burning bass surfs builds up on the epic 'Blowback'. 'Forget About It' finds him deftly manoeuvring off the grid for a trippy hybrid of gravity-defying garage/jungle - leaning towards further elevated heights with its finely arranged flight of blissed-out, textured pads and altered vox questioning human responsibility and its natural appetite for destruction, putting in perspective the subsequent blindness regarding the consequences of our actions as a voice drones an unequivocal speech: 'And we just want to try and not think about it, forget about it - stay away from it, as far as possible (...) Who are we'. Human compassion and profound artistic authenticity as echoed in the age of disinformation and masks multiplication are at the core of Galaxian's musical ethos. Preaching the assumption of nonstandard pluralness in a world dominated by greed and dependence, 'Blowback' resounds like a compelling act of faith.

The second release from producer EOMAC's new Dublin-based label EOTRAX comes from nomadic Irish producer LAIR. This is an exciting step for the label, moving away from the dancefloor into more diverse, eclectic territory.

LAIR is a producer far from the norm, especially for those releasing on an electronic music label. She classifies herself as a composer, producer, vocalist, artist, sound-healer and yoga teacher. With a diverse background that includes singing classical and traditional material she's expanded her artistic approach into a diverse web-like multi-disciplinarian approach in keeping with her nomadic life. Currently she creates electronic music, contemporary classical music and healing music under a variety of alias' including Laura Kilty and LuminouSounds (for healing music). She is also in the duo noeverything with Eomac.

In her words my LAIR music is how I see the world - this one and others channeled - expressed through layers of my vocals which I shape electronically. The music has elements of mysticism, sacred geometry, energy, sound with intention and just sounds I love formed to make music I love. I see music as I create it. I work with lots of layers - for me it's like creating an aural representation of the image I see.'

These layers of sound can be found in her debut self-titled EP - in the deep, ritualistic drones of 'Invoke' and 'Meld' on the A-side, and the more concise rhythmical patterns of 'Searching in Circles' on the flip.

Eotrax has also enlisted the talents of respected techno producer Rrose who features with two remixes of 'Meld' - one for the vinyl and a second 'distillation' as a digital bonus exclusive.

Debut 12" by l.a. artist fmvee called 'lotus freaks'. switches from vicious party tunes/tools to more pensive ideas
mastered by brandon hocura.
screenprinted sleeve. hand stamped.

New year - new series. 6 tracks from Paris-based S. Channel.

After more than a decade of deep, expansive productions on labels such as Detroit Underground and CPU, Annie Hall arrives on MUSAR for a record typically rich in texture and understated grooves.

Opening track 'Linium' immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly twisting and turning its way around Hall's analogue world. Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of 'Lavandula'. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline. The EP continues to hit a more urgent note with the tense machinations of 'Silene', where dense layers of stuttering, frenetic drums interweave with Hall's trademark, melancholy keys. The record concludes on a weightless, transcendent note with 'Santolina', taking each visceral element featured thus far and slowing each down, with affecting results.

Indebted to vintage electro and IDM, Hall's music is no throwback, always looking forward and moving dancefloors in the most unexpected ways.



DJ FEEDBACK

Early support from



Michael Mayer (Kompakt) : Nice vibes from Mattheis... will play for sure!

James Zabiela (Born Electric) : Linium is a nice one, thanks.

Arnaud Le Texier (Cocoon / Chronicle) : Nice music. Thx!

Marcel Dettmann (Ostgut Ton/MDR) : Thx!

Carl Craig (Planet E) : Thx!

Gonno (Beats In Space Records / Endless Flight) : I like Mattheis' :)

Thomas Hessler (Index Marcel Fengler) : Nice one! Thank you!

Slam (Soma) : Thanx

Âme (Innervisions) : Thanks

Blasha & Allatt (Meat Free / Manchester) : Amazing!

EREZ / John Byrun : A superb EP

Tom Lye (Melodic Distraction - Liverpool) : Big fan of the whole EP. Strong, building electro with different moods. Essential!

Afrodeutsche (NTS / LuckyMe / Skam) : Glitchy melodica... Right up my Strasse...

DJ Shiva / Noncompliant (Valence / Detroit Underground) : Stellar music here. Moving beyond "DJ music", this is just really fantastic to listen to in headphones. Gorgeous stuff.

Lonya (Asymmetric Recordings) : Great stuff here!

Nori (Posivision) : Cool work.

Cinnaman (Rush Hour / Naked Naked) : Lavandula and Santolina are my favorites! thanks

Dj Windows XP (E-Beamz) : Dope E.P. Will play Lavandula.

Ambivalent/LA-4A (Delft/Cocoon/Ovum) I'm a huge fan of Annie Hall and Mattheis!!! This is a FANTASTIC release!! One of my favorites of recent months just on first listen!!

Benoit C (Tsugi) : Linium for me

Ian Blevins (ESP Institute / Sulk Magic) : Linium and another bit of top work from Mattheis. Santolina is pushing my buttons too. Aphexy vibes.

Joe Europe (Ransom Note) : Very nice!

Azterisco (www.azterisco.com) : Very interesting record. Nice remix!

Oded Peled : What a fantastic release! Was hard to choose a favourite between Linium and the Mattheis Remix of Lavandula. Both will come in handy in my sets. ....Thanx a lot and keep em coming.

Naduve (Cocktail d'Amore / Disco Halal) : Both A1 and A2 are great!..Thanks.

Anastasia Kristensen (Nous) : I dig this a lot, it's a crazy well produced record.

Demia E.Clash (Darknet) : Such a good ep-.i love them all,quality production yess.

Pedro Martins (Karakter Records) : Nice EP overall. Linium, Silene, and Santolina are my favorites. Thank you so much!

Xinobi (Discotexas) : Great record. I'm specially enchanted by the original version o Lavandula. Congratulations.

Scan Mode (DJ Mag Spain) : Lavandula in both mixes for me

John Osborn (TANSTAAFL) : Can't pick a fav. it is all Devine. thank you.

Madloch (Sound Avenue) : Nice EP, Linium & Lavandula original are my favs, thanks.

DVS NME (Transient Force) : The standout track is Lavandula.

Radical, Immersive, Alternately Fierce And Delicate Harp & Sax Improvisations By Highly Attuned Duo John Butcher & Rhodri Davies, The Latest Collaboration In A Long-running Relationship
Demonstrating A Highly Developed Sense Of Intuition And Vast Knowledge Of The Sonic Microcosmos Latent In Their Respective Instruments.
The Album Breaks Down To Three Extended Pieces, Including A Remarkable 22 Minute B-side That Reaches Into The Furthest Corners Of The Duo's Imaginative Practice.
'radio Guts' Opens The Set With A Guttural Exploration Of Low End Rumble And The Smeared Buzz Of Brass Harmonics, With Butcher's Feedback Oscillating Their Sound Between Threatening Drone Tension And Sudden Squeaks Before Collapsing Into A Windswept Fray. 'lithophanie' Follows With
The Febrile, Oneiric Logic Of The Lp's Title, With Outbursts And Recursive Shudders Transforming Into Post-midnight Jazz Pangs And Tantalising String Flurries.
However, It All Appears To Be In Preparation For Their Stunning 'chaos Is The Spectre' On The B-side, Where They Spend 22 Minutes Freely Feeling Out A Spectrum Of Viscous Subharmonics And A Curdling Midrange Punctuated With Shredding Sax With An Elusive, Detached Yet Immersive Quality, Like A Dream Recalled After The Fact..

The video installation Fiorucci Made Me Hardcore (1999) is one of the best known and loved works by Turner Prize-winning artist and Northern English emigre, Mark Leckey. It's a hugely influential piece, and the soundtrack itself has been sampled endlessly, most notably by Jamie XX on All Under One Roof Raving'. It was the first release on The Death of Rave label back in 2012 and has recently started fetching crazy money on discogs etc, so a new pressing was in order.
A phantasmic and transcendent collage of meticulously sourced and rearranged footage and sound samples spanning three decades of British subculture - from Northern Soul thru '80s Casuals and pre-CJB Rave - it may be considered an uncanny premonition of the Hauntological zeitgeist which has manifested in virulent sections of UK electronic dance and pop culture since the early '00s.
This record severs the sonic aspect from the moving image, offering a new perspective on what rave culture maven and esteemed author Simon Reynolds calls a remarkable piece of sound art in its own right.' Detached from its visual indicators, Leckey's amorphous, acephalic cues are reframed as an ethereal, Burroughsian mesh of VHS idents, terrace chants, fragmented field recordings and atrophied samples cut with his own half-heard drunken mumbles.
At once recalling and predating the eldritch esthetics of Burial or The Caretaker, it's an elegiac lament for an almost forgotten spirit, an abstracted obituary to the rituals, passions and utopian ideals of pre-internet, working class nightlife fantasias, now freeze-framed forever, suspended in vinyl.

ELSEWHERE CDXLIV is the third in soFa's carefully compiled series and the second release on the promising Brussels based Crevette Records. An exciting double LP containing 8 tracks which take the listener to a versatile journey from digital reggae over tropical balearic vibes to boogie and wave. Music which moves between styles, cultures and timezones, this time with a warmer overall flavor. A mind bending trip where 80's drum patterns bring you to exotic tribal workouts and where silky smooth synth lines lead to funky bass grooves. A spaced out affair for lovers of slow grooving music from elsewhere.

For over twenty years, Mkl Anderson has curated a vast archive of recorded material for his cinematic ritual ambient industrial project, Drekka. He works with memory not only as a subject but also as a healing process, continually delving into this personal world of sound; examining, revisiting, and repurposing recordings in an attempt to recall a past which sings from the darkness surrounding the tenuous provinces of memory and dreams - the real ghosts of time and sound.

"No Tracks in the Snow" is a collection of tracks from the early days of Drekka's history; the third offering for Dais Records and an appendix between the second and third parts of the 'Tarwestraat' trilogy of LPs for the label.

Recorded between 1996 and 2002, the album showcases Drekka's early exploratory development across a variety of styles. And yet it is also Drekka in the present moment; culled, curated, and assembled with care. Not unlike Borges' "A Personal Anthology" - or indeed any of Drekka's own recent work - this recording can be understood as a cohesive narrative more than as a simple compilation.

As Drekka moved from its Bristol UK influenced space folk beginnings, backwards towards Anderson's earlier UK industrial tape culture foundation, his predilection for reworking pieces over time was emerging; recontextualizing narratives to bring out new truths from one's own history. This process would become a cornerstone of Anderson's work for the decades to follow.

The album begins with 'Strika' (1998), originally recorded for the lovesliescrushing side project, Vir (a "secret audio army" in which individual performers were not even aware of who the other participants were). The track features one of Anderson's earliest collaborations with Mark Trecka (of Pillars And Tongues / Dark Dark Dark), who would go on to be one of his longest standing co-conspirators.

"Christmas 1973 or 1974" (1999) is a lament for a childhood which is almost entirely forgotten and a yearning for some tangible, physical proof that this childhood existed at all. The accompanying video for the track utilizes actual home movie footage of Anderson as a very young boy, fulfilling this longing and adding heart rending weight to the song and its lyrics.

"We Who Are Not Lonely" (2000) has become one of the most beloved works in Anderson's early canon. A gauzy musing on the catharsis of upheaval, the piece was written and recorded initially in the months leading up to Anderson's relocation from Chicago to Bloomington, Indiana. It is a brooding work which shows Anderson at his most self-possessed as a songwriter and is a confluence of the earliest playing-and-singing take on Drekka and the cinematic world building soundscapes to come.

The album closes with 'Tracking shot (wide)' (2000), a brief stream-of-consciousness sound piece dedicated to Andrei Tarkovsky. The track most certainly points in the direction that Drekka would explore extensively over the two decades; the direction which has led Anderson to where he is now firmly positioned.

"No Tracks in the Snow" is an exploration of the threads of continuity which bind the various modes of Anderson's oeuvre. As he nears completion of the third album in his trilogy of LPs for Dais Records, "No Tracks in the Snow" is an introspective pause and a celebration of a life spent listening to the world around us and its sleeping potential.

Emotional exploration through sound can become so indulgent that it overshadows the journey. JH1.FS3 eschews mining the human condition as mediation, opting for nuanced analysis rather than vanity. Using the seeds of improvisation as their root construct, the duo work without code, vocabulary or genre. Instead, they systematically work as individuals in tandem, using disparate and varied sounds and sources to create gauzy collages of ideas, sound and visceral sense reaction.

Comprised of Frederikke Hoffmeier (Puce Mary) and Jesse Sanes (Hoax, Liebestod), JH1.FS3 delineates a more subtle 'cinema of the ear', and acold approach to reflecting on experience without leveraging tropes or familiarity.

'We try to reconcile these emotionally massive things in a way that is sincere and measured, but without being sappily diaristic or confessional,' they explain. 'A cinematic quality develops really quickly and our attempts to traffic in generalizations, unbiased observers of 'relationships' gets turned on its head. We find these sets of unique errors that feel more like Super-8 (film) home footage.

'This transference allows cracks and fissured to be filled in new ways, where error is championed—highlighted as intention rather than happenstance. Throughout Trials and Tribulations, their debut LP for Dais records, the reconnection of idea and experience conducted with surgical diligence becomes a mode to deconstruct familiarity through shade and accident.

With each exposition on Trials and Tribulations, the duo ornately exploresthe relationship between space and time by reconfiguring the tendrils and fissures that bind them. Percussive oscillations, descant vocals, and deconstructed patterns create fields that vibrate, plunge, and drone. Sequentially, each track contributes a lucid vignette to the larger account, engaging the listener to query where, when, and how they're being driven. The contrast of the lead single 'Aleppo In Headlines,' with its thrusting syncopation to the cautious beauty of 'At the Bottom of the Night' compounds and depth and disquisition of the duo's process.

Emotional exploration through sound can become so indulgent that it overshadows the journey. JH1.FS3 eschews mining the human condition as mediation, opting for nuanced analysis rather than vanity. Using the seeds of improvisation as their root construct, the duo work without code, vocabulary or genre. Instead, they systematically work as individuals in tandem, using disparate and varied sounds and sources to create gauzy collages of ideas, sound and visceral sense reaction.

Comprised of Frederikke Hoffmeier (Puce Mary) and Jesse Sanes (Hoax, Liebestod), JH1.FS3 delineates a more subtle 'cinema of the ear', and acold approach to reflecting on experience without leveraging tropes or familiarity.

'We try to reconcile these emotionally massive things in a way that is sincere and measured, but without being sappily diaristic or confessional,' they explain. 'A cinematic quality develops really quickly and our attempts to traffic in generalizations, unbiased observers of 'relationships' gets turned on its head. We find these sets of unique errors that feel more like Super-8 (film) home footage.

'This transference allows cracks and fissured to be filled in new ways, where error is championed—highlighted as intention rather than happenstance. Throughout Trials and Tribulations, their debut LP for Dais records, the reconnection of idea and experience conducted with surgical diligence becomes a mode to deconstruct familiarity through shade and accident.

With each exposition on Trials and Tribulations, the duo ornately exploresthe relationship between space and time by reconfiguring the tendrils and fissures that bind them. Percussive oscillations, descant vocals, and deconstructed patterns create fields that vibrate, plunge, and drone. Sequentially, each track contributes a lucid vignette to the larger account, engaging the listener to query where, when, and how they're being driven. The contrast of the lead single 'Aleppo In Headlines,' with its thrusting syncopation to the cautious beauty of 'At the Bottom of the Night' compounds and depth and disquisition of the duo's process.

Second Editions presents "In The Forest" by Karl Fousek.

Serving as a score for David Hartt's film of the same name about the Habitat Puerto Rico project by Moshe Safdie, In The Forest finds Fousek at his most focussed and controlled. These five pieces/chapters move with precision and intent. With subtlety and curiosity. Shrouded in ambiguity. And while Fousek works much more restrained here than on previous releases, by paying attention to every detail, he creates an intruiging work of sonic storytelling.

Soundings, his debut studio album for Touch (he previously released the live album 'Floodlines' in 2016 and re-issued 'Below Sea Level' in 2017), finds Simon Scott, the composer and sound ecologist, using field recordings from various cities around the globe; modular synthesizer treatments; live strings and laptop electronics to create an album of transition and shifting time zones. The recordings were edited and composed in hotels rooms across the world as Scott was constantly on tour as the drummer for Slowdive, who successfully reformed in 2014.

Hodos, the album opener, begins with 85 mph Storm Barney recordings, ending with the fading sounds of bellbirds and cicadas recorded in Brisbane 2018. 'I took a home recording I made of Storm Barney in Cambridge, listening to it on repeat when I was flying from continent to continent. I wanted this to be the starting point of the process of musically documenting how much travelling I was doing'. This album was created from the US to Asia, South America to Europe and the Arctic Circle back to the UK via California. 'Working in hotel rooms and on flights, listening to and editing the recordings I'd made from all of these distant cities formed the basis of the album. It's the soundtrack to four years of my life in flux with constant change, jet lag, excitement and the seeming perpetual motion of travelling'.

Obscure Kraut record inspired by the black forest, cold lakes and the south-west wind. Recorded in two days in the countryside of Valley by Daniel Meuzard aka Feater and Franco Spenzini.
Downsized production for maximum spiritual release.