Beats News

er releasing Sizike-U Zemlji Cuda With Lost DATA Tracks LP where we issued six previously unreleased tracks of group DATA, we thought that we have done everything we could in order to bring you some great unknown music of this group. Hope that we will find more material one day was still present, but we could hardly believe it will ever happen. What a misapprehension! It turned out that old, mysterious 80's Belgrade with amazing people and their wondrous destinies has a lot more to say. We will never forget one afternoon meeting with these artists which was a starting point and a clue for the further investigation. As it happens in a fairy tales and quests for the lost treasure, after lot of wondering, finally the luck came on our side. We met Nikolaj Bezek, an important contributor for the whole 80's Belgrade scene in whose home studio Max&Intro, Sizike, DATA, Master Scratch Band made their first recordings. Nikolaj's passion for music and love and respect for his two friends - artists Zoran Jevtic and Zoran Vracevic didn't allow him to destroy their old recordings, made more than 30 years ago. It seems like he believed in them more than they believed in themselves. Digging, exploring, restoration and mastering these old recordings that came right after were pretty challenging too, but incredibly exciting. Nikolaj was with us, as he had been with Jevtic and Vracevic 30 years ago. Finally, as an outcome, the new release is born: DATA-Could You Find Your Analog Mind ,LP compilation with 12 previously unreleased tracks of group DATA made between 1981 and 1984. The record represents an important and comprehensive musical testimony of early Belgrade's electronic scene made by two pioneers Zoran Jevtic and Zoran Vracevic. It shows both Jevtic and Vracevic as pioneers of remixing and editing as well as composers of early Yugoslavian synth pop made under influence of Japanese scene!

The whole album is divided into two sides as two entities, but with distinct connection. A side reveals quite interesting set of songs and remixes made in the time when editing and remixing implied cutting and gluing magnetic tapes with no digital processing of sound and mixing. This was the time of analog sequencers, synths, rhythm machines, vocoders- quiet robust machines which were very hard to use and which generated a pretty much noise in signal processing. Programming of these gears was really complicated and if you wished to make your own sound, you had to be more into technology and science than into music. In addition, the lack of storage capacity in these early models of synths required special approach in composing and playing: you had to be extremely creative in order to make some interesting sounds! Actually, all the beauty consisted in that approach: you had to make everything from the scratch, all was yours, nobody else had exactly the same tone and whenever you wished to call it you had to be inspired! Through all six songs on A side we can find such inspiration, plenty of unique tunes, lines, melodies, patches, samples, FXs, made in moments of creative madness. Accordingly, we cannot find anything strange in the fact that all songs on A side sound as a whole, special session disengaged from usual patterns in song structuring. The whole approach in sound creating was transposed in approach to song structuring. The result is awesome: a bunch of experimential electronic with lot of amazing sounds and patches in brilliantly funny atmosphere. Creativity at its best!

B side is equally thrilling, but completely different in concept and atmosphere. Here we can find more obscure, dark and mysterious synth pop. Like many British synth pop bands in late 70s and early 80s, DATA was influenced by Japanese pioneers: Yellow Magic Orchestra and Logic System. In bringing synth pop, wave, experimental electronic genres to their own country, Vracevic and Jevtic knew that they must find their inspiration from the source, where everything began. That's the reason why their music sounds so authentic, they absorbed only influences which were undisputable- as the sounds made by brilliant minds of Roland and Korg's engineers, or in magical synth atmosphere by Takahashi, Sakamoto , Hosono, Matsutake and others. From opening track "Japon" till the last track on the B side "Secanje Na Ljubav", DATA is convincing: strong authorship with healthy influence and very intimate and poetic expression all the way through. Two Eastern Europeans dream about distant land of synth masters. Unique!

Ultimately, this record reveals the totally new ranges of early Belgrade and Yugoslavian synth pop scene. With outstanding analog remixes and yugo synth made under the influence of Japanese pioneers, it stands side by side with the most interesting archival releases of the year. Record's final touch, from transparent blue vinyl, 80s cover design technique, list of equipment, to its concept described in a title, is designed to make your journey through the world of analog electronic unforgettable.

Shunter, the new album by the Berlin-based duo Driftmachine, is their most ambitious work to date. Although instantly recognizable, featuring their trademark Kosmische and Avant-garde sounds, it also presents a new journey into abstract and hallucinatory worlds. Filled with eerie textures, their electronic visions are darker and more vaporous than ever.

Driftmachine's fourth album (also the fourth one for Umor Rex) offers a new perspective on their ample sound spectrum and systemic narratives. Shunter overlaps and mutates their post-industrial-dub motives. It was conceived and produced in search of a very different kind of imagery, with sections of noise and field recordings intersecting with analogue sounds, a mixture of contrasted fragments, where the usual creative process of modular-synthesis leads Gerth and Zimmer to the discovery of a dark, hazy and diffused experience. There is a protean quality to the rhythmic elements, with tempos constantly contracting and expanding, a departure from the mono-beat-rhythms of "Nocturnes" and "Colliding Contours". The first half of Shunter is made of four pieces named "Shift", although individually separated, they are conceptually linked and can be understood as a sort of score. Imagine a late stage of the industrial revolution, with the interaction between heavy machinery and human beings. The second half of the album is not completely separated, but it has three other substantial melodic moments. Somewhere between the hauntological and the realms of archive-music, a huge range of subterranean beats and distinct patterns dotting the landscape of early electronic and post dub music.

All songs written & produced by Driftmachine (Andreas Gerth & Florian Zimmer), Berlin.
Mastered by Rafael Anton Irisarri. Design by Daniel Castrejón.

Geins't Naït Is Considered Legendary At Offen Music. Releasing Music Since 1986, Their Last 3 Albums Have Featured Laurent Petitgand (2011, 2014 & 2015). Now We Present A Collection Of New Unreleased Tracks That We Hope Will Plunge You Deep Into The Special World Of Gn & Lp.

Dark Entries re-issue one of the greatest and most overlooked albums of the 1970s. "Time Actor" was the result of a collaboration between legendary Crazy World & Kingdom Come visionary Arthur Brown and German synthesizer and ambient genius Klaus Schulze, recording under the pseudonym of his alter-ego Richard Wahnfried. "Richard" is the name of Klaus' son born in 1979, and the first name of the German composer Wagner. "Wahnfried" is the name of Richard Wagner's house, from the German "wähnen Frieden fand" (that his search and hopes will find peace). The album was a unique fusion of Brown's eccentric musical vision and Schulze's mastery of synthesis. The album was originally released in 1979 on the German Innovative Communication label. Time Actor stands out amongst Schulze's massive catalog as a masterwork of avant garde new age. Schulze helms the project on electronics, and guests include Michael Shrieve on percussion, Vincent Crane on keyboards, and vocalist Arthur Brown, who sings - or should we say, speaks - on top of it all. Schulze describes the Wahnfried project in the liner notes as the collective pseudonym of an idea: Time-Electronic, an experiment between avantgarde and muzak: Utility-music for sound-covered environment, in which a new generation grows up: Richard Wahnfried is this generation: Music between genius and nonsense: New ideas transported by an old medium to your ear.'

This newly re-mastered reissue expands the original 60 minutes of music across a double LP to help with playback and distortion experienced on original pressings. We've added a bonus track in the form of a Cosmic 12-minute extended remix by Italian producer and DJ Maurizio Delvecchio from 1983. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a gatefold jacket with original album artwork featuring a surreal painting by German artist Peter Nagel plus lyrics and notes. I wish you plenty of TIME' - Klaus Schulze

It's safe to say that Steven Legget has been somewhat measured in his approach to releasing music. The Newcastle native was behind the Four Hands moniker, with releases alongside iconic industrial figures Zoviet France on Signals From The North and the classic 'Hizou' on Claremont 56 back at the turn of the decade. Now, this Firecracker Recordings release highlights a fully realised body of work, only hinted at by the aforementioned projects. Starting life as a performance in Turkish Baths located in Newcastle upon Tyne's City Pool, one of the last remaining civil saunas in the country, Legget has created a textured, melodic and immersive eulogy to the woozy, slow motion, drug free endorphin rush of the bath house. Pieces from this performance, alongside field recordings collected on the islands of Paxos and Loutro, South Crete are reimagined as a luscious ambient music. Accompanied by cello and electronics with real attention paid to musicality, vast and gaseous cinematic compositions are submerged beneath waves and drenched in steam and condensation.

Hailing 'Experimental Dub Music from the Far East' as their concept, a Japanese label New Dub Hall established in 2017 welcomes their first release in a 7" vinyl by UNDEFINED, a dub unit consisting of drums and keyboards.This is the first release launched from a dub unit UNDEFINED formed by Sahara (keyboards and programming /ex THE HEAVYMANNERS) and Ohkuma (drums/SOUL DIMENSION). Feel the mirage of piano echoing throughout the reverberant sounds and noises created by analog instruments on side-A, coupled with a deepened minimal dub of mystic melody overlapped with repeating drum fill tight and cut down to its extreme on side-B.

This Records Is Composed By Vahan Soghomonian, Tomi Yard, La Houle, Seabuckthorn, Mtua, Vincent Gallo, Tucuxi, Fabrik, Guillaume Fournier, Ben Merlin, Jonas Bernath...

At Residence Silo In 2017, In Cannes Et Clairan - France.

""Brilliant new duo from South London" Gilles Peterson BBC Radio 6 Music. South London electronic duo VTR release their alluring debut EP Soul to Skin on Brixton's Dream Diary Records. The five track EP veers from the melodic to the abstract as sensual lyricism occupies a distinct space amidst spectral sound design, striking a balance between haunting depth and inviting warmth. Soul to Skin was co-produced by recent R&S Records signee Afriqua, whose SLAP EP and Chronic Cool 12" out on Dream Diary brought considerable attention to the label.
The final offering on the EP is a Soul to Skin REMIX by INXEC (Crosstown Rebels, Get Physical, Cocoon and Leftroom and Culprit) Clash music were quick to premiere Soul to Skin describing VTR's sound as an "entrancing mixture- reminincent of those early James Blake EPs, or even the hushed intensity of Portishead." "

Jaar's Other People is pleased to present a new solo record of guitar and live custom electronics artist Patrick Higgins, an American avant-garde composer and producer from New York City. Higgins is known for his work in experimental and contemporary classical music, playing guitar and composing in the mythical avant-noise-jazz ensemble Zs. His solo work as a composer unites European avant-garde forms with the post-minimalist howl of New York. His upcoming release on Other People, 'Dossier,' is a four-movement piece performed live without overdubs or edits. All of the samples and synthetic patches were custom built and specifically engaged to become elements of live guitar manipulation. The sound world is post-apocalyptic in spirit but builds to an intimate and reflective end. The material was developed over a two-year period and finalized at the end of 2016. Cover art is by Alfredo Jaar.

The remarkable thing about BELP's new album is its two-dimensional function. It works both on a loud and a quiet volume. Some tracks would go down well as a club track, like opener 'Travelling Thru Galaxies'. This track brings back memories of the best work released on the Hyperdub label, with it's fine combination of synths and irresistible, dubby beats. Elsewhere, 'Off Ending' might start off as 'dancehall-but-not-quite dancehall' track but when half way the synths kick in they change the feeling of the track to a more cerebral level.

BELP is the artist name of Sebastian Schnitzenbaumer. Born in Munich, he partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, form the basis for his musical development. Currently he has close ties to the (dub) Sausage Studio in Hackney, London. In his hometown Munich, the Bavarian capital, BELP took a central role in a series of discussions and events aiming to improve the image and possibilities of Munich, which to his regret is a predominantly posh and hedonistic city where optimistic and uplifting music take central role.

In different guises Schnitzenbaumer works as a much needed antidote. Since 2013 he runs the Schamoni label, focusing on supporting local artists like Leroy and Protein. Its sublabel Jahmoni is responsible for recent works by international artists like Aaron Spectre and DJ Marcelle/Another Nice Mess.

BELP's music is dark, serious and layered. His love for dub and dancehall shines through in his broken beats. At the same time the synth layered tracks give the album an atmospheric feeling.

This also is what makes this album essential: it's refusal to be pigeonholed. The last track on side A, 'By Beauteous Softness', is an a cappella rendition of a 17th century Henry Purcell piece, beautifully sung by Alexander Schneider. This track is preceded by 'Transmission', which is a brilliant abstract work, sounding like wind closing on you from all sides. And you can sip a cocktail whilst listening to the jazzy 'Time And Again' (BELP once worked as a jazz pianist).

It's clear to hear BELP took a long time recording this album. Every note, synth, drum beat, is carefully placed. But what the album might lack on spontaneity it more than compensates this with its sheer musical beauty. This also reflects on the abstract sleeve, like 'Elephants' designed by BELP himself.

Enjoy this album on big speakers, as background music or simply on headphones. There will always be new sounds and layers to be discovered!

Alyssa Barrera Vocals
Todd Sines Bass, Guitar, Clarinet, Programming
Charles Noel Percussion, * Bass, † Backing Vocals
Amanda Berkowitz Bass °

Mixed And Engineered By Artefactos De Dolor At Helic.al In Brooklyn, Ny.

Artefactos De Dolor Is Alyssa Barrera's (ldy Osc, The Bunker) Means Of Expressing The Grit And Glory She Has Discovered Being A Native Of Mexico, And Having Grown Up On The Us-mx Border. A Primal, Ritualistic Chanting Of The Ancestral Calling Within Her To Find The Place Where She Calls Home— The Mother Matrix In 237. The Connection To The Harmonic Structures From The Machines And The Invocations Called Upon Are Buried In The Electrical Charge Of The Tape. Produced By Interval's Todd Sines (peacefrog, Planet E, Residual) And Charles Noel (21/22, Ongaku, Black Nation) Their Background Of Experimental Music And Love Of Hardware Has Made These Three Collaborate And Present Artefactos De Dolor.

The esoteric noise duo known as HEXA is the sonic union of Xiu Xiu's focal point Jamie Stewart and sonic provocateur Lawrence English. Forged out of a mutual interest in exotic birds and the decaying charms of the post-industrial age, their collaboration explores the physicality of sound and its abilities to infiltrate and occupy the body. Their collaborative work has been described as being possessed by cascading low frequency pulses and tectonic plates of sound, suspended in cavernous cathedral-like spaces.

Legendary noise artist Merzbow needs no introduction, given his prolific output and notorious experiments within the realm of human endurance and audible extremes. While Merzbow has remained a solemn figure within the canon of noise, and he is no stranger to the members of HEXA. Jamie Stewart and Merzbow worked together as a duet on a collaborative Merzxiu LP in 2015. On the other side of the spectrum, Lawrence English has curated numerous concerts for Merzbow across his native Australia.

A partnership of these three artists was born out of the collective goal of framing their work against particular sonic and visual architectures. HEXA's initial utilization of this idea, Factory Photographs, was a commissioned piece to soundtrack the photography of film maker David Lynch. HEXA approached Merzbow with the idea of a collaboration that sought to collide their particular approach to physical sonics against Merzbow's resoundingly ontological noise practice.

The result of this collision turned into a full length album, aptly titled Achromatic. Focus laid on the severe reverberation of relative noises, brandishing extreme frequencies familiar only to Merzbow and coupled by HEXA's brutalist pulsation. Each side of the album is produced and mixed by the other, making their audio interpretation of Achromatic a sort of reverse exquisite corpse. A true snapshot afterthought from the decay of the modern age.

Dais Records is proud to announce the official release of Merzbow + HEXA Achromatic" on July 27, 2018. Mastered by Lawrence English and cut by engineer Josh Bonati, the vinyl release is pressed onto LP vinyl and is packaged in a minimalist styled 24pt stock reverse matte LP jacket designed by Joe Stewart. Comes on black vinyl as well as limited editions on clear and smoke vinyl variants. As well as worldwide digital release.

Austin Based Experimental Collective Thousand Foot Whale Claw Is Back With The New Cosmic Full Length black Hole Party, Out June 29, 2018. Featuring Members Of S U R V I V E, Troller, Single Lash And Future Museums, This Is The Supergroup's Second Lp And Their Most Accomplished Work To Date. Inspired By Progressive 70's German Kraut-rock, Thousand Foot Whale Claw Maintains A Classic Style While Establishing An Original Voice. With Album Art By Renowned Contemporary Sci-fi/fantasy Illustrator Kilian Ang, black Hole Party's Aesthetic Is Cohesively Curated Throughout Its Dense, Multi-layered Track List, Ranging From Serene Sound Baths To Driving Dance Beats.

Tfwc Was Founded In San Marcos, Tx By A Core Group Of College Friends Who Bonded Over Loose Collaborative Jams Of Effects Driven Improvisations. Eventually These Unstructured Practices Evolved Into Refined Studio Sessions And Intense Live Performances, Leading To A Rich Discography And Enthusiastic Fanbase. Balancing Repetition With The Unexpected, Tfwc's Sustained Motifs Slowly Reveal The Band's Signature Free-form Experimentation. Known For Heavy Walls Of Guitar And Electronic Drones, Tfwc Spirals Into Circular Rhythms And Looping Riffs Stacked With Shredding Guitar Solos And Ambient Soundscapes. Explorations Spurring From A Central Theme Is The Basis For The Band's Compositional Approach, Always Seeking New Instruments, Sound Sources And Production Techniques For Each Piece. Recorded And Engineered At Stassney Studios In Austin, Tx With Producer/artist Dylan Cameron, black Hole Party Has Become The Band's Most Defining Body Of Work Thus Far.  

On black Hole Party, The Polished Structure And Acute Development Of All Six Tracks Is Distinct And Tangible, Making This Record More Composed Than Any Of Their Previous Releases.  Propulsive Songs Such As deridium Rail' And The Album's Title Track Are Driven By Four-on-the-floor Dance Beats And Arpeggiated Synthesizers, Contrasting Songs Like genesis Effect' That Predominantly Features The Natural Tones Of 12-string Acoustic Guitar And Harmonium. The Wide Variety Of Sonic Flavors Is Reflective Of Tfwc's Vast Musical Tastes, Refusing To Settle On One Approach And Allowing The Band's Idiosyncrasies To Shine Regardless Of Genre. To Classify Tfwc As An Instrumental Psych Band Is Only Partially Accurate, However There Are A Lack Of Proper Terms To Fully Encapsulate The Band's Broad Scope. Black Hole Party Is The Latest And Brightest Collection Of Songs From Thousand Foot Whale Claw, Meant To Be Enjoyed In A Multitude Of Environments For All Fans Of Expansive Listening. 

Hot Chip Frontman Alexis Originally Presented These Recordings On Treader In 2008- His Debut Solo Recording.

Finally Available On Lp, This Set Of Intimately Recorded, Bespoke Songs And Instrumentals Is Dedicated To His Partner, Keri Darn.

Charming And Disarming.

Raw Silk Blends Classical Sitar, Electric Cello, Indian Vocals And Experimental Electronics Into A Long-form Head Massage. Hailing From Baltimore, Maryland, Alexa Richardson (cello) And Ami Dang (sitar, Voice, Electronics)

Started Making Music Together As Part Of Living Room Jam Sessions And Eventually Realized That Their Sonic Interests Couldn't Be Better Matched: They Both Push The Envelope Of Their Classically-trained Upbringings

Through String Instruments (that Surprisingly Complement One Another) And East-meets-west Structured Improvisations. Cello And Sitar Discuss, Get Heated, Grab Wrists, And Twirl Wildly Over An Electronic Landscape Of Textures. Ami Dang's Exquisite Vocals Interweave

Throughout--pining, Cerebral And Commanding. Raw Silk Has Shared Bills With Future Islands, Flock Of Dimes (aka Jenn Wasner From Wye Oak), The Sun Ra Arkestra, Prince Rama, And Dan Deacon.

'human Resources' Marks The First Official Album By Two Friends Playing Together Since The Age Of Twelve, Separated By Oceans And Time, Attempting To Reconnect With The Same Collaborative, Exploratory And Enthusiastic Spirit That They Felt Fifteen Years Prior.

Under The Alias Rdtk, The Roots Of The Collaboration Were Planted Fifteen Years Ago In A Small One-bedroom Apartment In Rio De Janeiro As An Outlet For Two Seventeen Year Olds To Learn And Abuse The Intricacies Of Electronic Production, Composition And Home Recording. Its Initial Roots Remain Intact: Combining A Hybrid Of Traditional Rock Instrumentation And Arrangements With Electronic Programming, Sound Design And An Intricate And Sophisticated Production Style.

Ricardo's Musical Vocabulary Draws As Much From Contemporary Composition, Drone, To Techno And Noise. Songs Like Album Opener 'affective Forecasting' Contain A Mind Blowing Intensity Which Is Often Felt Throughout 'human Resources'. Cinematic Textures And Progressive Rhythms Are The Very Essence Of The Record As We Are Invited In To The Immersive Sound World Of Rdtk.

'there Is Still Time' Conjures Up Images Of Barren Landscapes And Dreamlike Imagery, With A Spine Chilling Tension That Is A Far-cry From The Sounds Of Samba And Bossa Nova, While The Piercing Strength Of 'surface And Together' Set Against A Back-drop Of Melancholy Keys And Krautrock Electro Beats Offers A Depth And Urgency That Is Strikingly Emotive.

Having Studied Composition At Berklee College Of Music And The New England Conservatory, Donoso Has Participated In A Slew Of Projects Over The Years, From New Music/avant-metal Visionaries Ehnahre To Scoring For Recent Documentary Features Such As Greg Barker's 'homegrown: The Counter Terror Dilemma' (hbo Pictures 2016) And The Grand Prize Short Film Winner In Brazilian Cinema 'casimiro Effect'. Thiago Kochenborger Has Been Playing And Touring In Major Label Signed Rock Bands Throughout Latin America Both As A Bassist And Singer.

On Working With Kochenborger, Donoso Added, the Urge I Had To Work With Him On This Record Was A Direct Longing For Those Earlier Days When We Didn't Know What We Were Doing And Purely Experimenting, Nostalgia For Making Music In A Very Pure Way, Engaged In Collaboration And The Spirit Of Learning As You Go (i've Never Made A 'pop' Record Before). It Brought Back Excitement Into Something That Was Getting Stale For Me And Also For Thiago Who Had To Play Pop Songs For Years To Keep Surviving, Where I Imagine His Creativity Was Not Really Being Nourished.'

As A Solo Recording Artist, Donoso Has Released Music On Esteemed Labels Such As Denovali, Digitalis, Further Records And Hospital Productions, And Continues To Tour Throughout Europe, Asia And Latin America. Outside Rdtk, He Continues To Collaborate With Film Makers And Video Artists On Commissions Worldwide Creating Immersive Environments And Performances. Music & Lyrics By Ricardo Donoso - Vocals & Guitar By Thiago Kochenborger.

Philly-based musician Rosali (Long Hots, Wandering Shade) wrote the songs for her second album, Trouble Anyway, seeking empowerment by sharing openly on love, power, aging, suffering, confusion, self-doubt, and anger. The result is a full-bodied record that is at once sweeping and intimate — a vulnerable and powerful exploration of emotional narratives. With a band including Rosali's close friends Charlie Hall (War On Drugs), Paul Sukeena (Angel Olsen), Mary Lattimore, Mike Polizze (Purling Hiss), Nathan Bowles (Steve Gunn, Black Twig Pickers) and Dan Provenzano (Purling Hiss, Writhing Squares), this album is a cohesive collection of lush, intimate rock songs, featuring Rosali's warm, natural vocals and powerful riffing and rhythm guitar.

Members of The War on Drugs and Purling Hiss, as well as Mary Lattimore and Nathan Bowles, join (Rosali) Middleman on Trouble Anyway, which expands Rosali's sound with a band attuned to her shuffling guitar rhythms and introspective shifts of emotion. It's the kind of record best heard in the winding narrative of night, as casual conversations and cheap bottles of wine gradually turn deeper, darker notes.' - NPR

"These sounds are accidents. There was intent only in so far as a simple idea, which is really around bringing together factions and forces in Iranian, Islamic culture, under one roof, to have them play nice together, to co-exist, float as one and to complete each other, in order to tell a story called Ta Tash, which is Farsi for To The End.

There's definitely elements of devotional sounds that we weave into the tracks. Stories of the past. But whether this is devotional music, at large, I don't know about that. Like, you're not going to be hearing Vivid Persian Dreams blasting in a mosque anytime soon. But maybe devotional in a more personal sense.

It captures the essence of a sentiment during the brutal 8-year war between Iran-Iraq. It is also defensive, and perhaps in response to existing in the US over the past 7 years. But also because of it. Therein lies the beauty of this country. Today, let's talk about this. Glass half full. This country. This beautiful, incredible, fucked up country.

The artwork is part of an edited collection of images pulled together from the years of the Iran-Iraq war. A collection of 15 works of art titled Postcards from the Outer Boroughs. Some of these images belonged to our family, others we found by forming a dialogue with the actual men who fought in battle with our family members. Men who remember those last, precious moments of the lives of our loved ones. We were curious to somehow learn more about that moment from those who served.

These Postcards are the culmination of the hard work and imagination of Ghalamdar, a wonderful Iranian visual artist based in the UK. In them, we explored how we could modify these quintessentially Iranian motifs to lift the weight of emotion, the weight of innocence, of loss, of blind faith, to the end How do we connect an Iran of the past, Iran of the books, to the Iran of today After all, we are of the same blood. As a by-product of mixing media, mixing contexts, we attempt to playfully bridge this gap, if ever so slightly." - Saint Abdullah

Terry Fox (1943 Seattle / 2008 Cologne) was one of the leading pioneers of American Body Art and Conceptual Art. He became famous in the Seventies with performances and installations, which took their point of origin in the transformative processes of materials, and in which he used his own body as a medium for exploring often extreme psychological and physical experiences. With his lifelong exploration of sound and space, Terry Fox was also one of the pioneers of contemporary Sound Art. Terry Fox belongs to those artists of the 60's and 70's who radically rejected traditional art forms and sought new forms of artistic expressions. In numerous installations, performances and street events he directed attention to everyday phenomena and aspects of social existence. He researched unknown or little regarded aspects of energy in substances and materials, most especially sound and vibration. Since the 80's Terry Fox composed objects, language, acoustic and process-oriented events into multilayered images in space and time. In his later years quiet sounds at the limit of audibility became more and more prominent.

This collection of Terry Fox AudioWorks was published in 1983, during the time he lived in Florence, by Maurizio Nannucci in the Recorthings series of audiocassette. Recorthings is a record label linked to the activities of Zona Non Profit Art Space (1974/1985) and to the broadcasting program Zonaradio (1981/1983).

Antonin Artaud Was A French Poet, Dramatist, And Director And One Of The Most Important Figures In 20th Century European Theater, And Especially The Avant-garde. His Piece 'pour En Finir Avec Le Jugement De Dieu' Was Recorded In 1947 To Be Aired On French Radio. But The Project Was Shelved Not Only For Its Scatological, Anti-american, Anti-religious Content, But Also For Its Avant-garde Sound, With Screams, Cries, Grunts, Glossolalia, And General Cacophony, All Of Which The Radio Thought Would Be Too Shocking For The Listeners Of Post-wwii France. Now Regarded As One Of His Most Brilliant Works, The Piece Is Finally Available Again On Vinyl Courtesy Of Fantôme Phonographique.

Kevin Murning is a musician, producer and DJ from Cape Town, South Africa. He describes his music as fake jazz, probably because he dropped out of jazz school. At 23 years old, Kevin's music is youthful yet precise and his debut EP offers an intriguing cross-section into his varied musical experience to date. The release comes out via Cape Town based imprint, Quit Safari, home to some of SA's most exciting producers.

Kevin's debut comes in the form of a 5-track EP called Mode's Arp. Comprised of 3 originals and 2 remixes, the release serves as a dual functional one with tracks for home and club use. Taking 2 years to fully complete, Mode's Arp is a wonderfully considered body of work and speaks volumes about Kevin's talent and his ability to create music that is beautiful and banging. Both Kevin and Quit Safari label head, Zanasi Wifi, are on remix duty for the EP, taking the originals and recontextualising them into high octane percussive workouts.

DJ support already includes The Maghreban, Turbojazz, Severino, Laurent Garnier, Mystic Bill, Edmondson and more.

Graphical Recordings presents Distorted Tourist, a major new work by Mark Templeton. Distorted Tourist is the visual, auditory, and textual travelogue of journeys through five manufactured and reclaimed landscapes. The book contains five one-sided flexi disc records with compositions corresponding to five apocryphal places.

Stemming from routine drives across industrial-commercial areas near the artist's neighborhood, each photograph captures, mid-fall, the familiar and uncanny spaces of dislocated urban decay — monuments to the failures of modernity. Rather than attractions, the tourist here bears witness to the inevitability of moths and rust.

Each location is captured sonically in augmented field recordings, a soundtrack haunted by deceased materials and dying matter. Templeton's signature compositional characteristics — faraway melodies, recurrent phrases, ruined echoes — evoke a cyclical trajectory toward Distorted Tourist's center, the concentric spiral of a record, a voyage on misremembered roads into the middle.

Accompanying journal entries written by the author Ryan Diduck summon the hallucinatory diary of a Herzogian quest against reverse rotation. Photos and text appear to form and deform on the page. Together, the manuscript, sounds, and photographs represent an impossible portrayal, an audio-optical illusion, the roadmap to an eerie expedition that is at once unreal and urgent.

With audio mastered by Giuseppe Ielasi and graphic design by Dmytro Nikolaienko, Distorted Tourist is an outstanding volume that gathers up Templeton's adroit sound production, original eye, and curatorial cunning into a beautiful object to be puzzled over.

Seven Chapters Of Anachronistic, Lovecraftian Horror & Burning Cold Alien Limerence Brought Forth Through The Advanced Cauldron Skills Of N1l.

Vast, Devastated Terrain Is Covered Here, Burned Down In Psycho Action-movie Montages Of Tuned Percussion And Pacing, Predating Bass Music. Viperous Snatches Of Melody, Of Disembodied Voice And The Promise Of Calm Rise Through In Tracks Like fernweh I,ii,iii' While Dread-nought Dub Treads On For ijsv.0gel'.

N1l Dials Up The Ina-grm Gone Hammer Horror In The Remarkable Compositions Of The Closing 8 Minutes. A Maelstrom Of Pure, Refined Sound Recalling Dhomont And Bayle At Their Most Negative. Utterly Enthralling And Resolutely Unflinching.

Stay Alert While Sleepwalking.

Ectoplasm Girls' Nadine Byrne Lures Listeners Into Woozy Mental States On Dreaming Remembering, Her Soundtrack To A Short Film Of The Same Name, Providing A Solo Follow-up To A Different Gesture: Collected Soundtracks 2011-2012, And Her First Outing Since Ectoplasm Girls' New Feeling Come (2016), Which Were Both Issued By Joachim Nordwall's Ever-adventurous Ideal Recordings.
One Of Three Stockholm-based Byrne Sisters Along With Tanya, Her Partner In Ectoplasm Girls, And Ambra, Who Has Recently Provided Eg's Live Visuals, Nadine Byrne Operates At The Intersection Of Intuitive Sonic And Visual Arts. Where Ectoplasm Girls Tend To A Bewitched Sort Of Industrial Experimentation, Nadine's Personal Work Is Defined In Terms Of Its Relative, Mutable Electronic Sleight Of Hand, With Vocals Handled By The Mysterious Sarah Kim.
As The Title Connotes, Dreaming Remembering Is About Intimate Reflection And The Space Between Awareness And Uncertainty Of Recollection. In That Noumenal Gooch, Nadine Works An Incredible Freeform, Uncluttered Sound Best Resembling The Illusive Nature Of Dreams And Their Elusive Memory. In Her Mind And Out Of Her Machines, They Feel Out A Spectrum Ranging From Mirage-Like Vignettes Like Atlas Thru To Curdled Proto-techno Buzzes And Grubby Drone Intonations With
Wickedly Possessed Vocals.Extracted From The Visuals, They Patently Work Well As A Dissociated Body Of Work In Their Own
Right, With A Cumulative Effect That Mesmerises And Unsettles Throughout The Album, Bringing Us Out At The Other End In A Way That Feels Like We've Just Walked Out Of A Darkened Cinema Into Dusk, With The Strange Effect Of The Preceding Visuals And A Story You Can't Untangle Still Lingering Like A
Pleasurably Strange Mental Fug That's Hard To Shake Or Decipher.

Following a self-titled EP last year, Dario Rojo Guerra aka Natureboy Flako is set to release his second album 'Theme For A Dream' on Five Easy Pieces on 20th July 2018. Exploring the boundaries of music, science and spirituality through a prism of colourfully synthesised-sound, heart-pounding rhythm and cinematic soundtracks; the core essense of 'Theme For A Dream' is the exploration of the human inne space, the balance of musical energies and music's healing capabilities. 'Theme For A Dream' is a more electronic sounding record than his debut. Guerra makes extensive use of old and new analogue equipment such as the Juno 106, Korg's MS-20, ARP Odyssey or Roland's SH-2000 synthesisers, alongside recordings of vocals, guitars and other instruments. This serves to create a dynamic and eclectic sound spectrum, all unique to his musical handwriting. 'Theme For A Dream' will be accompanied by an experimental and interactive website that allows users to preview music while being an immersive, unique multi-sensual 4D xperience of its own. Snippets of the music from 'Theme For A Dream' become audio visual poetry and an immersive exploration of state of the art technology and oneself. 'I don't think technology necessarily means not being natural. Technology can be very much in balance with nature, since it is mostly just trying to imitate or trying to understand something from within nature. Around recording 'Theme For A Dream', Guerra also co-produced/co-wrote and engineered Kutmah's recent debut and Jitwam's forthcoming album, as well as produced almost half of Fatima's follow up album to 'Yellow Memories'. He is currently working on a film project with a London based production company and is already working on a new album, which is expected to bring back his vocal talent, previously released under the moniker Dirg Gerner.

Many years in the works, Ogon Batto finally unleashes his album Hedoro'. A journey into Japanese soundtracks and 90's adventure-gaming.

Ogon Batto is Bent Von Bent from Antwerp, Belgium. Besides working as a visual artist around archiving systems and collections, he is also the co-runner of the Hare Akedod label, together with David Edren aka DSR Lines. Following his debut release, Ogon Batto secretly started working on a second album Hedoro, meaning slime' or chemical ooze'.

Bent is immensly fascinated by Japanese traditional and contemporary culture ever since he first visited the country. Mixing his European background with these Japanese influences, he shifts easily between abstract electronic tracks and pieces with a more classical Japanese tool kit. Think Oneohtrix Point Never or Mica Levi composing a soundtrack to a fantasy game.

With an amazing sense for detail Hedoro's musical story - entirely composed with synthesizers - is reduced to a collection of situations and drama, with space for suggestion and imagination. Every track, how short it may be, is essential to the whole, maximizing the general dramatic effect.

The album was mixed in Sapporo, Japan with the typical sounds of cicadas on the background ( not on the album though ) and some glasses of sake. The ceramic sculpture on the front cover is a reinterpretation of Rolls Royce's "Spirit of Ecstasy'and is created by Benny Van den Meulengracht-Vrancx.

In a handful of improvised albums circumnavigating the troubled waters of the contemporary Mediterranean - Greece, with the eponymous Oiseaux-Tempête (2013), Turkey and Sicily for ÜTOPIYA (2015), Lebanon with AL-'AN! (2017) - the collective OISEAUX-TEMPÊTE has stretched its electric arc over musical genres and borders, imposing itself in a river of tours and releases like a wild UFO within the hexagonal indie scene. Navigating instinct, as attracted by disorder, the music of OISEAUX TEMPÊTE has always increased tenfold in live performance. It is little surprise that following the remixes album (Re-Works, 2014) and collection of BSides
(Unworks & Rarities, 2016), OISEAUX TEMPÊTE unveils, by way of a new opus, an album entirely recorded in concert.

TARAB (in literary arabic - euphoria, secular exaltation, ecstasy) is the result of live recordings captured during the AL-'AN! tour which led the group, after a preliminary residency at l'Autre Canal in Nancy, to cross Europe and into Canada, performing at the prestigious festival Le Guess Who in Utrecht, opening for Suuns & Jerusalem In My Heart in Montreal and Toronto, following the same Jerusalem In My Heart through France then from Brussels to Berlin, and finally closing the loop at the Irtijal festival in Beirut. A record, rooted in the soil,
hypnotic in pulsation, TARAB is a meeting of the Parisian founding members Frédéric D. Oberland and Stéphane Pigneul, electronic sound wizard Mondkopf, G.W.Sok from The Ex, Sylvain Joasson
of Mendelson, videographers As Human Pattern and the Lebanese musicians Charbel Haber, Abed Kobeissy and Ali El Hout (aka Two Or The Dragon). The studio pieces are here stretched, deconstructed
and rearranged while new works from the road , poems 'Grasse Matinée' by Jacques Prévert and "Tuesday And The Weather Is Clear "by Mahmoud Darwish, find unique musical settings, weaved, twisted and reimagined.

It is in symbiosis, in the fever and visceral experimentation of the concert, that the musicians of OISEAUX-TEMPÊTE seek rapture. Arranged in a semicircle, they invoke the elements and attempt the catharsis, inviting the spectator to spiral with them, entwined in the sonic explosions, finding beauty and peace in the spaces of improvisation and elaboration. Marrying free-rock, organic electronics, traditional instruments and unbridled electricity, TARAB, far beyond the vibrant testimony, is a generous invitation to experience, to meditate and to share.

* Following Their Debut Release With Danse Noire, Réelle Releases Their Second Album Entitled Ghamccccxc Vrr, Expanding Upon The Painterly Melodies And Ornamental Sound Design Of Kissing Myself. Rather Than Focusing Upon Deep Psychological Aspects Of Schizophrenia, Ghamccccxc Vrr Explores Key Moments Before And
During Réelle's First Schizophrenic Psychosis As Well As The Lateral State Of Mind Caused By This Condition.
schizophrenia Is Said To Limit A Person's Abilities Overall. My Discovery Was That It Opened A Gate To Limbic Realms Not Accessible Under Normal Circumstances - At Least Not To Me.'

* The Cuban-german Artist's Approach To Schizophrenia As Xenopraxis Leads Them To Explore Avant Garde Methods To Composition, Such As Focusing On A Key Technique Within Their Work Of Painting Melodies Via Image Synthesis, Rather Than Inputting Binary Values Or Manipulating Sound Through Skeuomorphic Methods Such As Knobs And Sliders. The Painted Melodies Also Featured In The Gorgeous floating' And all I Have Left' Evoke Alien Soliloquies Through Damaged Soundscapes.

* most Of These Sounds, As Well As The Album Title, Were Created During Psychosis Without Me Consciously Knowing What I'm Doing. Therefore I Also Can't Remember When Or Why I Wrote Down Ghamccccxc Vrr On A Piece Of Paper.'
Ghamccccxc Vrr Questions How One Navigates With Authorship Within And Beyond One's Control. Gargling Textures And Vocal Artefacts Oscillate Between The Erotic And The Eerie ( hybris,' fluid Metals'). Between Kissing Myself And Ghamccccxc Vrr, Réelle Dissolves The Real And Illusion, Reassembling Their Relationship
Between Body And Mind.

perhaps The Best Knowledge Of Antidotes Lies Not In Any Enchanted Balm Or Chemist's Receipt, But In The Balanced And Proper Devotion To Fear' Daniel A. Schulke.

Following On From The Collective Garden Of Earthly Delights Cultivated On The Folklore Of Plants Vol.i, Its Time To Wind Down The Path With Sam Mcloughlin, Into A Lesser Spotted, Shadier But No Less Verdant Herbarium Of Poisonous Wort.

Unlike The Relatively Safe Visionary Plants Popular Today These Venefic Plants Lie On The Border Of Hallucinogenic Drug And Fatal Poison. During The Medieval Period Their Uses Were Numerous: As Medicines, As Recreational Drugs, As Weapons Of Physical And Psychological Harm And Most Inter- Estingly - As Potent Agents Of Magic And Divine Knowledge. Their Use Is Known To Have Formed The Basis Of Many Marginal Folk Practices, Practices That At Their Most Profound Involved Out Of Body Travel, Spirit Contact And Ritual Possession.
With This Record The Plants And Ideas Involved In Veneficium Have Been Gathered, Distilled And Given Voice. Recorded Mainly Using An Array Of Homemade Acoustic Instruments, The Music Is A Fitting Depiction Of The Deep Nocturnal Delirium And Various States Of Necromantic Trance Brought About By These Plant Poisons. It Also Goes Someway To Portray The Genuine Fear, Respect And Emo- Tional Gravity They Still Hold Deep In Our Cultural Memory. The Music Is Also Inspired By The Living Presence Of The Plants Themselves, As Their Scents And Character Are Known To The Author Through Private Cultivation. The Venefic Garden Is Offered As A Soundtrack To The Hidden History Of This Fascinating Area Of Western Folk-magic, An Outer Limit Of Occult Herbalism That Imparts Visceral Knowledge Of The Borderlands Between Life And Death.

Twin Tribes is a dark synth duo based in Brownsville, Texas. Formed by Luis Navarro (vocals, guitar, synths, drum machines) and Joel Niño, Jr. (bass, synths, vocals) in 2017. They gather their influences from the dark side of the 80s. Darkwave, post-punk and cold wave are only some of the genres that the band summons using analogue synthesizers and drum machines, bass and guitar. Dark melodic sounds, lyrics of the undead, the occult and parallel universes are what conjure Twin Tribes.
SHADOWS is Twin Tribes' debut album. Dreamy synth waves and vocals, guitars drowned in vintage analogue chorus, astral-like instrumentals are some of the sounds you will find in its 9 tracks. Clearly inspired and influenced by the dark side of the 80s and very specially by the 1982 movie 'The Dark Crystal', but SHADOWS is an entity of its own. Vampires, witches and other dimensions are only specks of darkness you will meet while listening to its haunting sound. For our vinyl release we have made a specific master from the original mixes and created an all-new artwork and band logo.We are proud to present SHADOWS in a limited, hand numbered edition, housed in a matt finish b&w/silver pantone sleeve including a double sided insert and download code.

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.

Auf seiner Mix-CD für die Balance-Serie belegt der britische DJ/Produzent Max Cooper sein fabelhaftes Gespür für Dancefloor-Sounds aus deepem Techno und Electro-Pop, gepaart mit experimenteller Electronica, IDM und Ambient, was er auch mit Releases auf Traum oder Herzblut regelmässig eindrucksvoll unter Beweis stellt.
Zu den Highlights seines Balance-Doppelsets gehören Exclusives von ihm, Rob Clouth, Deapmash, Patrice Bäumel, sowie sein Remix für Nils Frahm "For", der hier erstmals das Licht der Welt erblickt.

Diese doppel-LP bringt 12 ausgesuchte Highlights auf Vinyl, der beiliegende Downloadcode enthält das gesamte CD-Mixset.

Mgun, Or Manuel Gonzales To His Friends, Has Long Been A Fixture Artist For Dba. Since Making His Uk Debut On The Label In 2012, Having Already Featured On Detroit's Celebrated Wild Oats Imprint, He Has Smoothly Yet Slowly Progressed Through The Presses Of Fellow Dance Music Tastemakers Third Ear Recordings And Kiev's Wicked Bass. Following 2016's Warmly Received 'gentium', 'axiom' Finds Manuel Gonzales Back On Dba With An Index Of Offbeat Jams That Couldn't Have Emerged From The Mind Or Studio Of Any Other Producer.

Once More Envisioned And Engineered In His Native City Of Detroit, The Record Finds Mgun In More Auspicious And Domestic Circumstances. Now Firmly A Father And A Homeowner, 'axiom' Allows Gonzales To Flex His Party Muscle, While Further Pushing The Elastic Boundaries Of His Notoriously Unpredictable And Brilliantly Raw Production Style. Across Twelve Tracks, Listeners Are Offered An Unpredictable Trip Into The Restlessly Experimental Snatches Of Studio Time Gonzales Is Afforded Away From His Day Job At The Legendary People's Records Store. It's Here That Gonzales Absorbs Endless Releases And Rediscoveries Passing Through The Stock, Trading The Occasional Tip With Some Of Detroit's Best Known Producers.

Beginning With The Off-kilter Funk Of 'you Inside Me', 'axiom' Expertly Toes The Line Between Full-bodied, Soulful Club Weapons ('you're Never Home', 'nichrome'), And The Sort Of Lo-fi Tinged Jams That Enable Gonzales's Unusual Weirder Hooks And Rhythms To Extend Into Something Altogether More Hypnotic And Psychedelic ('kartwheel', 'sil').

There Are New Sounds And Approaches Throughout. Centrepiece Track 'see It For Myself' Finds Gonzales On Vocal Duties For The First Time, And The Dystopian Tinted 'vap' Finds His Sound Expanding Into Weightless, Dreamlike Electro. And While Certain Tracks Date Back Years, Having Slowly Matured To Full Funk, Others, Such As The Gloriously Unhinged '359' Were Rapidly Produced To Capture The Inspiring Energy Of A Late-night Glaswegian Rave.

Simply Put, 'axiom' Does The Work Of Representing Mgun At His Musical Best, An Analogue Celebration Of Pure Party Potential.

The new release features 6 tracks and follows Julien's critically acclaimed debut album, Fallen. Released in 2016, the autobiographical LP was a bold new direction for Julien, and the first release under his birth name. Over the years, the Apron Records boss' bold, experimental electronics, jagged club cuts and outside-the-box collaborations have seen him carve out a lane all of his own making. His debut LP was divided into two musically contrasting sides, and told the tale of a fallen angel though jazz-fusion, chiming soundscapes and dark acid-tinged techno.

Since his album release, Julien has continued his creative streak by playing across the globe, from Tokyo, Seoul and Shanghai to Montreal and Melbourne, and further developing his label, which released a string of underground 12's in 2017 from the likes of Max Graef, Hanna, Molinaro and more.

On 'Bloodline', Steven continues the soundtrack style mood of 'Fallen' - channeling ominous analog techno, drifting synth-house masterpieces, warm soul and hints of new age. Both the title and artwork is a nod to the influence of Julien's family on his rich musical world and distinct nonconformist style, explaining how: 'the influence my family has given me growing up and my ancestors from Africa to native Indians from the Caribbean, has all played a big part in the music I create.'

Recorded in Apron Studios based in East London, each track on 'Bloodline' also features a tr808 or a piece of a 808, as a dedication to the iconic Japanese engineer Ikutaro Kakehashi, who passed away April 2017. The much-loved Roland founder and TR-808 creator revolutionised electronic music in the 1980s and 90s.

The next title in Delights catalogue marks the return of the Jerusalem/Tel Aviv duo Group Modular. On this new double-sider, Markey Funk and Mule Driver (Confused Machines) continue exploring the synth-centric library music sound, taking it in much heavier and edgier direction. The mid-tempo "Black Ray", inspired by science fiction warfare, is backed with an upbeat bikesploitation chase theme "Acid Wheels" on the flip.

Recommended for fans of Mr Chop, Drumetrics and the 70's horror soundtracks.

Musically and emotionally, Superpitcher's
third full-length studio album, The Golden Ravedays
is a one sound autobiography that exhibits the skill,
feeling and style that the artist has honed over a
period of twenty years, musically, and forty-plus-
years, emotionally. And full-length it is: The Golden
Ravedays is an epic album of 24 longer than usual
tracks that was released in January 2017 and is
stretching over 12 respective chapter albums during
a one-year period.

The 12th
and final edition of The Golden
Ravedays album will be released on record label Hippie
Dance in December 2017.

Side A is the ballad of Late Night Skanking. True
to the soul of skanking this track is weaving its delicate
elements between the rise and fall of a monumental wave
that teasingly never breaks. The main melody so
seduces and hypnotizes that before you know it you're a
wide-eyed cobra waving away in a basket.

Standing ovation! Hands in the air! He made it!
The very last track of Superpitcher's epic Golden
Ravedays odyssey is a jovial spree, a hullabaloo of
merrymaking, the perfect celebration of the beginning to
end of this heroic album. Punky Reggae Party is a
fantastic collision of festive sounds, beats and voices that
bring us undecipherable messages and everything else
that is far beyond nice, nice, nice. Encore! Encore!

Vain marks the prodigal return of Venezuelan artist Carlos Giffoni to the avant-electronic music scene he was instrumental in shaping with the seminal, hybridising No Fun Fest and No Fun Productions label, which was home to debut releases by Oneohtrix Point Never and Noveller, and classics from Haswell and Prurient during the late '00s to early part of this decade.
Carlos' first new release in 6 years, Vain was drawn from hundreds of hours of improvisations made at Carlos' Malibu studio, the final LP describes a tumultuous narrative in affective abstract swells and pulsating rhythms that trigger curious sensations and emotions ever familiar to his variegated, extreme, yet essentially organic output.
Despite not releasing anything for the past 6 years, Carlos still sounds like he lives and breathes electronic music. Where those 'noise' artists who originally played at No Fun Fest and released on his label have arguably carved out major career paths from myriad mutated genres, Carlos' music still feels captivatingly ancient yet advanced and uncannily hypnotic.
In a cascade of minimalist arps and cloud dynamic harmonies, the album's story starts in the vortex of Vain's Face and sweeps thru the granular flux of The Desert to a staggering piece of noise techno dissonance in Erase The World, which calves away into the curled plunge of Hands and the anxious needling of We Pay The Price. At the mid-way point it turns lusher with the pulsing and coruscating kosmische tang of Stop Breathing, leading to the metric complexities woven into Faith and Pain and the heightened high-register sensitivities of I Can Change, whose shatterproof hyaline steeples ultimately deliquesce into the shimmering beauty of Sun Rain.
With hazy resolution and ambiguity of effect, the record works its magick in memorable style. Like the best abstract sonics of Peter Rehberg or Keith Fullerton Whitman, an intuitively applied formula of geometry, rhythm, tone and timbre add up to inexorable effect, rendering the closest possible connection between the machines and the artist's pathos. For syntesthetes and attuned listeners, the effect is likely to conceive new colours on the mind's eye and move them to finer states of emotive response. In others words: it's a seriously good listen.