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In December of 2016, Denver, CO industrial act Echo Beds suddenly found themselves locked out of their rehearsal space. Their gear was being held hostage as city officials all over the country cracked down on unsanctioned artist collectives and the various DIY structures where many outsider creators lived and worked. This weighed heavily on the duo, who spent the next eight months experimenting and writing the material what would become Buried Language in their living rooms. Deprived of their usual tools, they was forced to improvise using unfamiliar electronics and various cobbled together devices in order to flesh out the embryonic ideas. With the plight of their colleagues fresh in their minds, these new working conditions served to shape the industrial landscape of this release, their second full-length album and first for The Flenser

Ekin Fil continues her quietly complex dream-pop oeuvre on Maps. For many years now, this Istanbul musician has been writing mysterious and haunting songs, rich in heavy-reverb effects and an introspective torpor. With each successive album, her songwriting has blossomed through broader instrumentation and more intricate melodic phrasing, though the somber atmospherics and ghostly manifestations remain a judicious constant. Minor-key, tear-stained notes of piano, organ, and guitar veer along elliptical orbits as a soft-whisper lilt of Ekin's voice narrates more by emotive decree than by literary couplet.

Maps addresses the distance and dislocation of the self from the bustling center of Istanbul, where Ekin FIl (neé Ekin Üzeltüzenci) had once called her home. Having spent her first winter on a relatively quiet island in the Sea of Marmara (while still in the greater metropolitan umbrella of Istanbul), Maps is lonely, different, kind of isolated,' according to Ekin, who also noted that the island had 'too much silence around. There is no other choice but to concentrate, I guess.' Her poetics of silence on her previous recordings had been noted as an antidote or a dream capsule of sound in response to Istanbul's cauldron of politics, culture, and philosophy that has been boiling almost since the beginning of civilization. Maps bends that maritime silence into wind-swept smudges that complement her already spacious compositions.

The saddest songs of The Durutti Column excised of rhythm and those few plunges into sorrow by Harold Budd make for apt comparisons to Maps, in addition to the drone-on classics of Grouper, Slowdive, and Sarah Davachi.

Sub Rosa present a collection of Pauline Oliveros' early material, aptly titled Early Electronic Works 1959-66, released as a part of the label's Early Electronic series. Released in 2008 in CD, now finally on vinyl!

Oliveros was an important American composer, born in Houston, Texas on May 30, 1932; the music she produced in the latter part of her life is akin to the breath of life, notably, through her pieces for accordion (particularly those which she herself performed). In addition to her performances, she also made an impact in the world of contemporary composition through the creation of the Deep Listening Center, her approach to improvisation, and her numerous and varied collaborations including those with John Cage, Morton Subotnick, Terry Riley, Sonic Youth, Erold, and Andrew Deutsch. The music presented here is her early and definitive contribution to the tape and electronic music of the late 1950s and 1960s through her systematic exploration of electronic sounds, which was fundamental during this period.

"My work with electronic music began in 1959. My first tape piece was an ambitious four channel work called Time Perspectives (1959). The piece was made by recording small sounds from objects resonated on a wooden wall and changing the tape speed. I used cardboard tubes as filters by inserting the microphone into the tube and recording sources through the tubes. I used my bath tub as a reverberation chamber." - Pauline Oliveros

When a band calls itself Rhein it is a brave move. The superstructure is weighty and demands a dedication to art. Although the musicians Jürgen Krause, Johannes Rix and Peter Michael Witt claim to have chosen the name because of their residential locations in Cologne and Düsseldorf. This may be so simple, but it is perhaps only the obvious part of the story. Are not the kilometers of current between the cathedral city of Cologne and the Rhine metropolis Düsseldorf the Mississippi delta of electronic music That culturally fertile section of the river that first gave birth to Krautrock and then to the very music that was shaped into today's Techno and House in Detroit and Chicago Rhine is the primordial soup of electronic music.

The German name Rhein - the pun is permitted to the author of these lines - always resonates with the word "rein" (which means pure or clear). Audibly, the band Rhein cultivates the original, the primordial state. Their two "takes" are snapshots of music in statu nascendi: pure sound. There is no evoking of Schnitzler, nor Rother, nor Hütter/ Schneider. No melodies or rhythms that would give hints for an interpretation. When the layers, the pulsation of the synths in search of synergic elements and harmonies meet on guitar fragments, Rhein is in the flow: This trilogy oscillates from a flat rivulet to a profound, unbridled torrent. Like its name giver, Rhein is unpredictable. Rhein rises from the bed of digital listening behavior, giving sound the space it deserves, and astonishes the astute listener with a psychedelic experience of music. Rhein is beauty.

American experimental musican Shane English continues in a long tradition of outsider electronics as he's been humbly prolific in his output though the years involving himself in numerous recording projects.Collaborating with Jonah Lange in their group Corporate Park as well as an ongoing collab with Beau Wanzer (seeing a release last year under the CP/BW name), English now commits his second full length solo offering to vinyl in the form of the General Dimensions lp.Sparse machine driven electronics dominate the recording providing a back drop for the occasional pulsating rhythm, metallic clank or floating obscured vocal. While it is a dark and sparse affair there is a quiet downtrodden beauty throughout giving the recording a sense of uncertain serenity in an almost shoegazey way. Highly recommended for those into early electronics.

'The first release from Berceuse Heroique arrived at the Honest Jon's basement the 21st of April, we didn't sell it until the next day, though, 'cause we don't like all that RSD bullshit. This April we wanted to celebrate 5 years since that day, with our 50th release, but manufacturing records is becoming a very weird place where time and deadlines don't exist. So, today we are releasing 3 new tunes by our dear friend Florian aka Don't DJ and a remix from one of our favourite artists ever, Mr. Newworldaquarium. It's properly cut on two 12"s (180g vinyl as always) and properly mastered by our favourite mastering engineer, CGB of the D & M crew.'

Etch Presents the second release on his new imprint Altered Roads. Again looking down different avenues in terms of sonic diversity, tempo and functionality with disregard for preconception. Opening with the spacious and weightless drum choppage of 'Lost Orbit VIP' looking back to BBC Radiophonic era synth work and all the cosmological imagery that conjures up. The second track 'Phenomena' is a different beast altogether, stripped back to the bare minimum of a claustrophobic sub bass, off-kilter Loefah-meets-J Dilla beat and the monotonous groan of an unknown entity, built off the back of an admiration for psychological survival horror video games such as Silent Hill and Forbidden Siren. The first track of side b 'Beggars Belief' is a distant cousin of Etch's 2015 release on Wisdom Teeth 'Toxin', with grimey basslines clashing with swung beats, broken glass and gushes of warm synth chords. The final track 'Paging Dr.Octagon' Etch directly inputs his admiration for Kool Keith's alien surgeon. Chopping up old school breaks in the hardest way possible over looped synths and samples from the Mo Wax classic.

Repressed on transparent sea-foam green vinyl, it includes a booklet that tells the story of Smalls Lighthouse, a download of the LP and the bonus mini album 'Flotsam' - that was included with the initial CD release on Second Language.

"A murky neo-classical album, Music For Smalls Lighthouse plays like a salt-soaked requiem, perfectly capturing the inevitable breakdown when you're alone with a body 20 miles off Wales."
[Drowned in Sound]

With the five year anniversary of its first release on Clay Pipe approaching and the original fetching high prices on discogs, it seemed like the right time to make more copies of Plinth's Music For Smalls Lighthouse available.

Plinth's, Michael Tanner is a musician from Lewes in Sussex who has recorded under a myriad collection of names and guises these include Cloisters, Taskerlands, Thalassing, part of the duo The A Lords - on Mark Fry's 'I Lived in Trees', and with Irish improvisers the United Bible Studies.

"Music For Smalls Lighthouse fosters a subliminal mixture of arcane atmospherics and mournful chamber music....Tanner seals six exquisitely evocative pieces together into one bleakly alluring whole..."
[DOA]

Smalls Lighthouse, is located approximately 20 miles west of St Davids Peninsula in Pembrokeshire Wales. Engineered by a violin- maker and standing on flat rocks battered by the sea, the original lighthouse resembled a squat hut on giant stilts. In the year 1800 two men Thomas Howell and Thomas Griffin, well known locally for their drunken spats and quarrels, boarded a fishing-vessel to spend six months together as lighthouse keepers on Smalls Rock. During this time Griffith was killed in an accident and Howell was left alone to fend for himself struggling to stay sane in the isolation of the lighthouse. The music on this record soundtracks the events that took place with beautiful and often gruesome clarity.

- Reissue of 2003 debut album of renowned ambient / noise / electronic artist .
- Most recent album is on 4AD and garnered a 8.2 rating from Pitchfork .
- Originally issued on the Alien8 label and now long out-of-print.
This is the first reissue of Tim Hecker's classic 2001 debut full-length. The original recordings were remixed by Tim Hecker and mastered by Matt Colton at Alchemy Mastering.
press quotes for Haunt Me, Haunt Me Do It Again:
"Haunt Me is alien, amorphous and occasionally noisy, but always welcoming.' Pitchfork
"Haunt Me Haunt Me, Do It Again is a brilliant album of subtle, evocative mood music.' AllMusic
"Hecker was already on a different wavelength with Haunt Me, clearly seeking something that would trigger ASMR-induced enlightenment, and he ran with it.' Stereogum

Two Words is the debut release from the duo of Canadian sound artist crys cole and Australian songwriter Francis Plagne. Building on a series of experimental live performances in which the pair toyed with possible common languages for their seemingly unrelated approaches to music, the LP's two sides present a single piece that brings together abstract texture and slow-motion song in a sonic space where genre cedes to the logic of dreams.

The piece begins with a long, nearly static sequence built primarily from rubbed surfaces, using movement in the stereo field and changing mic placements to create a unified but unstable sonic environment that mimics wind, water, and breath, opening an impossible space between nature and artifice. This artificial outdoors ultimately makes room for Plagne's electric organ, which sounds a series of melancholic chords to accompany a wandering Wyatt-esque keyboard line as cole's intimate contact mic textures sizzle and pop in the foreground.

From here the piece makes a surprise detour into song, as the majority of the second side finds Plagne intoning a series of obtuse two word phrases (from a text by Berlin-based poet Marty Hiatt) to an austere organ accompaniment. Working closely with engineer and producer Joe Talia, cole and Plagne extend the studio-as-an-instrument tradition of Teo Macero and This Heat, introducing subtle yet unexpected production shifts that lead the listener from the initial austerity of the organ and voice to an oneiric space of asynchronised vocal doubles, creaking textures, and distant whistling, ultimately arriving at something like an imagined meeting of Organum and Arthur Russell.

Packaged in a suitably mysterious sleeve featuring a lush work by Australian painter Anne Wallace on the front and text by Hiatt on the back, Two Words is both comforting and strange, a disorienting blend of seemingly discrepant elements.

Freshly based in London, Cabasa mixes up his own UK influences with what his dad has been listening to at home since he's a kid (electronica, jungle, acid-house...). What comes up is a subtle fusion between ambient soundscapes and percussive sounds, from 90 to 180 BPM. He seeks for boundaries between beatless and rhythmic compositions.

Naschkatze duo was founded in late 2015 by two visual artists and musicians Farhad Farzali and Ali Hasanov. Naschkatze goes beyond strict genre and style definitions and boundaries; the producers/composers duo constantly works on expanding and developing their sound resources through research of the musical heritage of different cultures of the world, with a special source of inspiration definitely coming from the Caucasus.

'Dilber' is sourced from the samples of two songs - "Dilber" from the "Lak Songs" (*The Laks is an ethnic group native to an inland region in Dagestan, North Caucasus in Russian Federation) for baritone and chamber orchestra by Shirvani Chalaev with voice solo performed by the author, as well as the song "Beautiful leaves fall" by Thomas Korganov, performed by the Children's Big Choir of the All-Union Radio and Central Television of the USSR.

Several notable names of the contemporary electronic music scene - Ulrich Schnauss (UK), Johan Troch (BE), Nico Niquo (AU), Katya Yonder (RU), Dmitry Evgrafov (RU) - were invited to support the EP with series of remixes on its key track.

In 2007, the Australian trio Drunk Elk recorded a singular self-titled cassette for Sean Bailey's Inverted Crux label. Despite limited release, the album circulated through the freakier channels of the international underground via bootlegs, private downloads, and whispered praise. While Drunk Elk has since spawned a string of equally powerful releases, this first album remains exceptional. It is a snapshot of the band in embryo, exuding the kind of vulnerability only achieved when nobody else is listening.

Drunk Elk was recorded in Battery Point, a coastal suburb of Hobart, Tasmania, where deep harbors and heavy skies set the appropriate backdrop for the band's peculiar strain of moody, romantic repetition. With keyboard, bass, and singer Dave Elk's devotional verse as the only instrumentation, the songs are by nature skeletal, but they somehow ooze a luminous melancholy. Sam Acres wrings delicate melodies from the cheapest keyboard presets. Simon Kraus's bass lilts in and out of time with a blunt, buzzing tone. Dave Elk's sings with an exalted pathos.

Drunk Elk is elegant even in their clumsiness. They hit all the wrong notes at the right moments. Homespun shambles are rendered with strange finesse and a dark, poetic extravagance. When Dave sings Play that strange tune again / That off-key melody, I believe he is singing as his listener--confounded by the music's strangeness, but captivated by its curious charms.

By now, the story of how Jlin went from working in a steel factory in Gary, Indiana to being one of the most widely appreciated electronic musicians is well known. 'Black Origami' was one of the most reviewed and lauded albums last year. Seriously prolific and seriously hard-working, she has toured constantly since its May 2017 release and despite being involved in a wide range of projects, still manages to find a balance and 'do some personal healing and growing.'

Here we are over a year later with 'Autobiography,' the score for her collaboration with renowned British choreographer Wayne McGregor arranged by Unsound. This isn't technically her third album (that's due to arrive in 2019 or 2020), but the soundtrack stands up on its own with all the emotional peaks and troughs of a well-sequenced longplayer.

For Jlin, making music for dance is the fulfillment of one of her lifelong dreams - and remarkably, Company Wayne McGregor's performance was the first show she'd ever seen. She describes the process of working with Wayne: 'We first met face to face in October 2016 in a downtown Chicago hotel, talking for about a solid two hours. Immediately, I saw Wayne was very friendly and energetic. He's brilliant, witty, and knows exactly what he wants; an absolute gem to work with. Before I even started composing for Autobiography, Wayne told me so gently that he trusts me completely with my direction of creating the score. That was the best feeling in the world. I would wake up at two in the morning and work until six in the evening until I completed all the pieces. We were both very happy with the outcome. Creating the score for an impeccable piece of work such as Autobiography changed my life as an artist.'

'Autobiography' is a highlight in an evolving and growing career. During the last year, Jlin has also become an in-demand remixer, securing her place among a roster of music heavyweights. Unsurprisingly, given her positive and outgoing nature, she also developed friendships with the artists she has remixed such as Björk, Max Richter and Ben Frost.

Jlin will be touring with Company Wayne McGregor performing 'Autobiography' this year in addition to completing a commission for the Kronos Quartet titled 'Little Black Book.' She still approaches every performance 'with the same attitude of doing my best to execute a good show, no more, no less. Doing my best is what's most important to me.' She also still lives in Gary, Indiana, which keeps her grounded. She notes with her typical humility, 'The local community is a little more knowledgeable of me now. But I don't mind my community taking its time.'

LNS' self-released six tracker mixes excellent electro impulses with sturdy leftfield. Imagine a PCB board soldered with a crafted hand, finely shaped metallic, solidly sequenced connections where every single element has a saying for its entirety. Compositions are tight, filled with two types of rhythms - snappy & booming as well as deeply induced. Comes with an E-GZR remix & mixdown.

After a nervy début with 'The Future of Discipline' (2016), the Leichtmann / Tricoli duo gel in more sensuous curves and oneiric space on their 2nd collaboration for Entr'acte
Pulled along by viscous grooves in la Casa delle Chimere, it feels like the duo found a new route out of their previous tangle of tape loops, percussion and FX, only to periodically lose the thread and
dissolve the rug woven by their noumenal looms.
Recorded live to two-track at Plivka, Kiev, in 2017, the results resemble the environmental sound of an alchemical lab or some experimental machinery workshop that comes to life afterhours
when nobody is listening - seemingly documenting inanimate objects in etheric dialogue, drills seducing vices and soldering irons spunking flux on live circuit boards, perpetually short-
circuiting half-built systems.
In the best way, we hear both artists' well established processes and approaches subsumed into a greater, indivisible whole with plenty of ephemeral remainders that will keep you coming back the plate.

Fresh from wowing us with that crazy limited promo 45, Krikor Kouchian delivers 11 tracks of expertly executed, shimmering boogie funk. BIG TIP!
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Think of the neon lights of the boulevard or a late nite drive through the lonely hills, Krikor Kouchian's "Pacific Alley" propels you to a world of sleaze and excitement, where passion, money, and illicit substances take precedent and the sun beats down in a relentless unforgiving fashion.

Spending time as a youth in Southern Cailifornia, the French-born Kouchian developed an obsession with this Americana and the magic of everything California. The music on the radio, from pop, to funk, to hip hop fueled his impressionable mind, later on taking influence in his own music.

Pacific Alley is a snapshot of this lost period, full of juicy low slung basslines, slow bpm cruisers, Linn drum crashes, and ride or die melodies. The elements all meld together through this 11 track lp, it's equal parts uplifting and melancholic, downtrodden, yet not without rays of light; the soundtrack for days hanging in front of the corner stores and nights on the strip, both a naive love affair and backstabbing doublecross.

This is boogie funk for the grift, a dollar here buys a bottle there so step into the shade, pop the tape in the deck and enter into the concrete dreamworld.

Pure DDR-groove! The Exorcist is a gothenburg-based trio consisting of Osynlige Mann, Pontus and Petrus - members from bands as Uran, Tentakel and ultra Satan.

Hoga Nord invites you to their soundscape with their full length debut album The Exorcist GBG: Everyone could be an informant. The cold war is alive. Dark Cabaret. Spy-theme-mode. David Lynch-electro. Italian horror. Easily put - This is kinky organic acid-funk for all of you looking for a gateway - but know you have to stay.

The thrid an final installment of archive material, selected by Antinote. A killer suite if you ask us. TIP!
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You can trail away with it. It is easy to enter, but hard to drop out. Tolouse Low Trax just needs an MPC, a small Synthesizer set up and some effects to create subliminal hypnotic music trips, driven by dark synthlines and drunken shuffled patterns. The primitiveness in my music is linked to something simple, and that don't have to be obligatory minimal. For me it is enough to dance rough around the core. Music you don't shape till the end contains of a moment of beauty. A veil of secrecy. I work very simply. I rather reduce my possibilities in ompass. Limitations offer lots of liberties.' He reveals about his work ethic. Even if his music sounds darker then any ever experienced night, he mostly produces it in the morning in his highly inspirational studio home. During the dark times of the day Tolouse Low Trax mostly performs live around the globe. Or hangs out in his second home: the Salon Des Amateurs club bar in Dusseldorf, which he once founded and where he held until today two weekly DJ residencies. The moments and atmospheres he inhales during these lightless moments are mirrored in his shadowy music, about which he also confesses: My art is more a cinematic, literally idea of a large to explore Megacity. This is one of the pictures I would link to my music.' On ' part one he now offers five sounding visions about that Megacity'. They listen to mysterious names like Hidden Flat' or Studies in Drama'. They are nervous. They have ephemeral pieces of dub, Industrial, wave or Italian library music. And at times strangealienated voice samples dance within his highly addictive arrangements. Words can't express their magic. But one thing is fore sure: his hypnotic dance-not-dance tracks do not only illuminate so-called freaks!

"Eux sont de ceux qui trament en accordant desseins sur dessins." MinimalRome is back with the second volume of Trame compilation. A full lenght 2xLP release gathering Legowelt (as Phalangius), Heinrich Dressel, Alessandro Adriani, Ian Martin, Teslasonic, Polysick, C-34, Iron Blue and David Kristian among others. Traveling through these eighteen ambient cosmic tracks from true heirs of library music, you'll expand the surrounding space. Limited to 300 copies

Picking up from where she left off with last years successful Tools of My Purpose, E- Saggila has returned to BANK employing a more sublime and immersive electronic document. Previously leaning toward noisier and distorted rhythms, she has incorporated more sophisticated elements into writing and production. Dedicated to Sublimity is a product of growth and progression but still reflects the raw elements we've heard in her early recordings. Lush and atmospheric elements coincide with the brutality of her live sets and play off one another as a cohesive representation of the E-Saggila project.

Das vierte Studioalbum von Florence + The Machine, - High As Hope', führt Florence Welch musikalisch auf neues Gebiet, aber ebenso zu den Wurzeln zurück. Sie schrieb das Album in ihrer Heimatstadt London, wo sie ihr neustes Werk auch aufnahm. Sie nahm die Songs mit nach Los Angeles zu ihrem Freund Emile Haynie, mit dem Florence das Album erstmals co-produzierte. Danach mischte sie das Album in New York ab, wo die Aussicht auf die legendäre Skyline - oft im Kontrast zum Chaos in der Welt zum Albumtitel - High As Hope' inspirierte. Das Ergebnis ist der Sound einer Künstlerin, die sich ihrer sicherer und bewusster erscheint als je zuvor

Bergsonist is the moniker of Moroccon born and NYC based Selwa Abd. 'Solyaris' follows the self-released '' and a prolific slew of releases for labels such as Styles upon Styles, Borft, and Angoisse amongst others. For Selwa her uncompromising & otherworldly, hypno technoid creations aim to capture a given moment in time, contextualising her often direct, hugely affective, & unpolished approach to production.

Selwa describes 'Solyaris' as 'an ode to the present broken education system that allowed me to sustain my dreams in NewYork', explaining, 'As an immigrant from Morrocco, I felt always fearful of the future, pressured to succeed at school. The only way I was able to channel all that anxiety was through music'.

There's a undeniable physicality to Bergsonist's work, and the idea of expunging anxiousness into her music is felt from the oft as 'Solyaris' strides into vision with it's quickening roaring pulse and scrambled explorative electronic probes. This sense of anxiety eases as layers of rhythm build - heads begin to turn down and lush minimalist swathes eventually envelope bodies in calm unity, Anxiety diverted.

'Conflict in Yeman' opens with a gambit of off-kilter percussive experiments & electronics, conveying a sense of determined urgency. Things grow more & more intricate & immediate as we progress - layers of disruption weave around a reoccurring 140BPM shuffle, anchoring Selwa's constant explorative concrete diversions.

'Former Alien who has been naturalized by a U.S Citizen' brings things down a notch - skittering drums linger below a truly haunting whispered melody, occasionally broken down by collapsed rewinds and thunderously raw in the red beat grit - to dizzying effect. Whereas previously 'Solyaris' had taken its cues from Drexciyan Detroit Electro 'Former Alien...' stands closer to a Fantastic Damage era EL-P instrumental rather than anything aimed at the floor.

The EP rolls out with 'Fidel Gastro', a structured & focused piece of Machine Funk & end of days drop cues, conjuring an effective mix of both euphoria & imminent dread.

Bergsonist cuts a unique figure for electronic music in 2018 as someone explicitly exploring the relationship between head & body music. Although undeniably more than oft aimed at the dancefloor, Selwa's work also holds an equal respect and understanding of the head & heart. From her politically loaded Track titles, to her ideologically aligned guise of 'Bergsonist', to most significantly - her music's ability to elicit a spectrum of finely tuned emotional responses within the confines of each track

'Konata Kanata' is the Tokyo-based trio Hontatedori's second release, following their self-titled debut LP from 2013 on the Japanese Compare Notes label. Taku Unami, Moé Kamura and Tetuzi Akiyama are better known as solo performers and in their numerous collaborations than they are in this unique, lovely trio - at least until now.
Hontatedori places Kamura's wonderfully delicate voice amidst the mercurial two-guitar landscape of Unami and Akiyama in crystalline settings of aphoristic song. The group describes their pieces as originating in monophonic compositions by Unami that gesture eccentrically toward medieval plainchant: 'Originally their music sounded like covert and whispering folk music, however, they've come to the sound of quiet funkiness and cold psychedelia.' Some listeners might liken them to a dialled-back, considerably more reserved version of various Dagmar Krause-led groups such as Slapp Happy and the Art Bears given their erasure of separation between art and pop song.

The eighteen exquisite minutes of 'Konata Kanata' ('Here There', in a slightly antiquated Japanese word choice) hearken back to the golden age of unclassifiable post punk 12' EPs, in which at a certain point all that you might know of a particular group consists of rigorously vetted representative pieces but also to miniatures -
tantalizing scraps of song - that are one of the legacies of musical
modernism.

Taku Unami's work is influenced by science fiction, supernatural
horror and weird fiction. He's the composer of film scores for
directors including Isao Okishima and Takeshi Furusawa and has
collaborated with, among others, Annette Krebs, Radu Malfatti, JeanLuc Guionnet, Jarrod Fowler and Graham Lambkin.

Moé Kamura began her career performing in plays and films and
singing her own songs at live music venues. After a career break she has collaborated with numerous musicians; she is also a member of Taku Sugimoto and Moé Kamura and Hotorapikara.

Tetuzi Akiyama is a widely revered guitarist whose many recordings include solo works and improvisations with Jozef van Wissem, Toshimaru Nakamura, Taku Sugimoto, Alan Licht, Günter Müller and Donald McPherson, among many others.

* 180 gram audiophile vinyl
* Includes Insert
* First Time On Vinyl
* The front Covers Of Volume 1 To Volume 4 form one image together

Klaus Schulze And Pete Namlook Created Their The Dark Side Of The Moog Series By Combining Different Techniques And Synth Driven Sounds To One . The Third Instalment In The Series Is Based On The Pink Floyd Album "atom Heart Mother". This Album Got A Dark Themed Kind Of Feeling, But Also Got Some Upbeat Melodic Parts. The Spooky Drone Sounds Make Up Part I, Before Entering The Ambient On Part Ii. Part Iv Is The Most Interesting Track With Some Deep Beats From The Moog.

The Pioneering German Music Composer Klaus Schulze Created Over 60 Albums During His Career Which Started Back In 1969. Pete Namlook Is Another German Composer Which Played A Big Part In The Way Electronic Music Became Popular.

After introducing Griffit Vigo 'the Gqom legend' on the Originators EP on Gqom Oh! Records back in February with the percussive anthem Ree's Vibe and the historical track featured on MTV Base Gqom Nation documentary "Gqom 5 - Gqom Oh! is finally ready to release Griffit Vigo's first solo single 'DJ' on a 7" vinyl, with on the b-side another Gqom viral Durban track coming from the numeric series "Gqom 6. Griffit Vigo, a real innovator in the Gqom genre who grew up in Clermont and started to produce music around 2007, has attained a legendary status amongst his peers as he was one of the originators of gqom, inventing sounds as Umshanelo (meaning broom in Zulu) and chopping vocals that everybody then started to sample. Many of his beats were appropriated or sampled, so now the time has finally come for him to show his talent and unique style and inspire the listeners in the same way he inspired everyone in Durban. This single introduces his forthcoming album on Gqom Oh!, to be released in September/October 2018 entitled 'Gqom is Alive'. As the Gqom sound has massively changed in the past year, taking over South Africa and the world, also by evolving into a more commercial-focused and melodic branch which derives from Sgubhu, Griffit Vigo's intention is to keep the original Gqom sound as pure and authentic as it was when it was first birthed whilst still pushing the sound forward in the future.

Imagine the beauty of a peak time Sade production in the days when pop could be massive and inventive, with some Sly & Robbie voodoo magic from their 80's pop production. Imagine if the brilliance of an Andrew Weatherall remix in the 90's could meet with the melancholy of Roedelius. Summer is officially here. Deal with it and get loose with this one.

RAVEDIT presents dance/pop music in the style of Rian Treanor. Across four radical edits, familiar and obscure ohrwurms are dissected and flipped in thrilling new ways, rendering razor sharp
and playfully nutty updates of Pakistani film music, Eurodance set-pieces and seminal synth-pop classics.
Rian extracts and accentuates their hooks in series of jabbing, asymmetric reductions for the 'floor with results intended to rewire muscle memories and inject the club with a healthy dose of
advanced daftness. In each part Rian exerts a singular spin on timeless evergreens, demonstrating his roots in hip hop and UK dance music's sampling cultures, while exemplifying an inexorable, personalised push for new patterns of dancefloor possibility.
All material has been thoroughly disruptive in a variety of situations, from midsummer rites at IMMA to Radio 1Xtra to freak raves in Salford and, most recently, as part of Rian's Boiler Room
performance in Helsinki, the latter of which drew opposing criticism from its YouTube viewers; prompting Wayne Cloete to remark 'what do you call this cos it aint music its like a production
that went wrong or still trying to figure out the beat', whereas Viktor Štech claimed Rian to be a 'genius with rhythm.' To be fair they're both right, but only one of them knows it.
Basically the A-side is mental party fuel - especially if you like alcopops, Lollywood soundtracks or Ferris Bueller's Day Off - while the B-side turns 3 mins of '80s pop brilliance into a 14 minute+ monster cannily riffing on the idea of deferred gratification.

Monrella aka Mick Harris, the man that invented the blast beat and one of the most crucial members of the seminal band Napalm Death. He experimented with a lot of styles of music afterwards (notably, Scorn, Lull and Fret) but back 1996 he took the template of Detroit techno, added some Birmingham grit and Monrella was born. Proper Birmingham motor funk straight from the House Of God (seminal Birmingham club night) school of debauchery. Remastered and ready to continue its journey, slaying dancefloors.

Initially released as an interactive app in which the viewer directed the narrative - Mosaic is a six-part HBO series conceived and directed by Steven Soderbergh and starring Sharon Stone. Mosaic is a twisting tale of passion, intrigue and deception focusing on the disappearance of a high-profile resident of picturesque Summit, Utah and the four-year effort by law- enforcement and civilians to discover the truth behind the crime.

With that in mind, Mosaic's original soundtrack weaves as intriguing a tale. Recorded between Belfast and Los Angeles by Holmes, the album features a modern-day Wrecking Crew of musicians. Echoes of Maestro Morricone abound alongside the influence of avant-garde pioneers and Holmes' current soundtrack contemporaries in a selection of deep listening tracks.

To quote Mark Kermode, 'Mosaic' outlines Holmes' expertise at 'ratcheting up the tension' with strings, horns and synthesizers swelling throughout. As this tension peaks there is inevitable release - in rhythmic and harmonic tracks such as 'What I Want Is The Red Room' and Badalamenti-esque lounge eeriness in the likes of 'Four Years Later' - guiding the 20 cues presented on this release into a cohesive, full and nuanced album that reveals subtle and rewarding intricacies on each repeated listen. 'Mosaic' once again outlines Holmes as a modern master of the original soundtrack.

Following the release of lo-fi electronic masterpiece I Don't Remember Now / I Don't Want To Talk About It and his brilliant follow-up Plaster Falling, Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982.


While all of Bender's work draws from intimate home recordings - featuring the artist alone with various keyboards, analogue sequencers and tape delays - Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the "pop" concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.


Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia's classic '70s style.


"I pressed a single run of 500 copies," Bender recounts. "The only review I remember railed at the poor production quality. The DIY era had clearly come to an end."


This first-time standalone reissue is recommended for fans of Suicide, TG's 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.

12 Vinyle in jweils bedruckten Innentaschen (weiß mit schwarzer Heißfolienprägung) im zweiteiligen Hardcover-Schuber (weiß mit schwarzer Heißfolienprägung), inkl. Download-Code.

3 Vinyle In Bedruckten Innentaschen In Extra Breitem Cover-sleeve, Inkl. Dowbload-code.

A repress and repackaging of the modern classic psych-rock/American gospel fusion opus.

With special guest collaborator guitarist Bill Frisell. Featuring the exclusive vinyl only bonus track : 'Junkyard Priest' (with Milky Burgess on slide!).

The audio was specifically mastered for vinyl and lacquers were cut by Bob Weston.

Drew McDowall and Hiro Kone's collaborative record "The Ghost of Georges Bataille" induces a state of suspense via sonic seance. Conjuring the sentiment of death as productive force, the artists join their analog paradigms to open a door elsewhere, or perhaps, inside - sublimating personal struggles into ritualistic offerings. Churning, cinematic, and pulsating with an organic sentience - The Ghost of Georges Bataille invites an undeniable presence into the consciousness and lulls both collectors and the newly inducted alike into catharsis - with the hairs on their arms standing up. Not for the casual listener.

'A glistening field of sport / Mylar turf sucking up to the feet of the future athlete / No noise from the crowd / Hypoextinct brain waves peak at nominal levels / Mouths hang as they watch the rehearsed games unfold. 'Across megalopolis / Handshakes between men and machine / Ply for future rations /Every man for himself
that isn't under the spell of the government's mind whip /
Signals wash out over haphazardly stacked neighborhoods
as they sleep / Investing, convincing, planting memories /
Fabrication of emotion.
'And even farther still / Past the snicker-snack of the
city's air intake fans /A humming drone passes over the
green grey canopy of the last forest / The no man's land /
Scanning for heat traces and human sound / Looking for the
resistance with its red pin-prick eye.
'In the moments between search and seizure / The rebels
eat from the forest floor /They climb trees, they commune
with the animals / They live life, they stare out to the ocean,
past the shanty skyscrapers/ The last frontier.
'Sean Smith soundtracks all these thoughts in my mind's
eye / His synth and guitar layered music is the signal / It is
the force field, refracting light / It is the chemtrail drifting
down like slow motion party glitter / From the heavens
settling like moon flakes on the roofs of the cards / On the
debris / On the upturned faces of the rabble.
'It is beautiful imagination at its best.' —John Dwyer

Intra is Mark Fell's fascinating study in computer generated rhythm, performed by Drumming Grupo De Percussão on the Sixxen metallophone system: a set of six microtonally tuned instruments originally conceived by Iannis Xenakis for use on
Pléäides (1976).
Commissioned by Porto's Fundação de Serralves, the eight-part Intra develops from Fell's Focal Music series and his projects with Indian Carnatic musicians. It probes the perceptive difference between ideas of simplicity and complexity by instructing acoustic
instrumentalists via electronic triggers relayed through eadphones. an idea previously explored on the Time and Space Shapes for Gamelan (Sheffield, 2017) installation Fell made in collaboration with Laurie Spiegel, as well as earlier collaborations between Fell
and noted virtuoso improvisors Okkyung Lee, Laura Cannell, Sandro Mussida and Aby Vulliamy.
It is important to acknowledge Fell's ongoing interests in the systems of Carnatic Music, the Southern form of Indian Classical music whose mathematical sound rules are practically inseparable from musical expression in a way that's difficult to comprehend
from a Western perspective. In terms of rhythm, Carnatic musicians perform within a set of rules, or Tala, whose seven structures each have five variations, resulting in 35 possible
combinations - many more than the usual Western structures of minor and major scales.
Heard in context of Carnatic systems, Intra becomes a crafty and even wittily playful piece of sound art, one which undermines deeply entrenched conventions and perceptions of music, both composed and improvised, generated and performed, in a way that's entirely pleasurable, even strangely soothing in its stilted trickle of off kilter tones.