Beats News

Colin Potter Is A Sound Engineer And Musician Currently Based In London. He Has Worked Within The Fields Of Electronic And Experimental Music For Over 35 Years, Collaborating With The Likes Of Current 93, The Hafler Trio, Organum, Andrew Chalk, And Most Notably As A Key Part Of Nurse With Wound Alongside Steven Stapleton. He Started The Esteemed Icr (integrated Circuit Recordings) Label In 1981 Releasing A Clutch Of Wonderful Home Recordings Of His Own, Over Half A Dozen Small Run Cassette Only Releases.'the Where House' Was Recorded In 1981 At Ic Studio, A Converted Wash House In Sutton On The Forest In North Yorkshire. The Album Was Self-released On Cassette That Same Year Via Icr. This Expanded Double Lp Edition Features All 13 Tracks From The Original Tape On Vinyl For The First Time Plus 4 Bonus Tracks. 'the Where House' Is A Prime Example Of Early Uk Post-punk/industrial Electronic Music. combining Dub, Electro, And Krautrock Rhythms With Psychedelic, Kosmische Noise In Multiple Mutations Ranging From Almost Pop-wise Songcraft To Horizon-scanning Motorik Flights,' Says Boomkat. Most Of The Damage Was Done By Colin Using Guitars, Synths, Sequencers, Drum Machines, Percussion, And Modified Toy Keyboards With Fairly Primitive 4-track Recording Equipment. He Was Assisted On Some Of The Tracks By Stephan Jadd-parry (guitar, Percussions), Jon Caffery (guitar, Bass, E-bow, Percussion) And Nick Jackson (synth). All Songs Have Been Remastered For Vinyl By George Horn At Fantasy Studios In Berkeley. The Record Is Sleeved In A Replica Of The Original Cassette Artwork By Jonathan Coleclough. Every Copy Includes A Double Sided Postcard Insert With Notes From Colin.

Hieroglyphic Being / Jamal Moss visted the Moog Sound Lab in the end days of 2016. Testing the lab through his prismatic rhythmic cubism meets synth expressionism methodolgy. 21st Century Afro-Futurism to the max. Both parties expressed their satisfaction with the encounter. I believe Bob Moog was (in the late 20th century) creating his modular system 55 synthesiser for artists yet to come....artists like Jamal Moss' (Eldon Tyrell)

The long tail of krautrock in all its droney, repetitive permutations continues to be felt in modern music, some forty plus years after artists like Faust, Kraftwerk, and Can arrived in the world. It's what one does with these influences that matters, and no one is doing more with the raw materials of this sound than Møtrik. This quartet from Portland, Oregon—bassist/vocalist Erik Goltz, drummer Lee Ritter, guitarist Cord Amato and synth wizard Dave Fulton—connect up with the sounds of the past like an M.C. Escher mural: it follows the same patterns but takes them in much different directions with much more colorful and mind-altering results. Through seven extended jams, on the band's longawaited second album Safety Copy, the band nod to their German forebears while applying their expertise in postrock, garage punk, prog, and more to those well-loved templates. Everything sounds clear and precise, thanks to being recorded DIY style by Jason Powers (Grails, Blue Cranes) in a remote coastal enclave. The album is massive in scale, filling the stereo field with a cinematic grandeur.

We've been closely watching the rise of A Sagittariun ever since he first popped up with his consistently excellent Elastic Dreams label back in 2011. What started out as an anonymous project has since been revealed as the handiwork of Nick Harris, a long time champion of the Bristol house and techno scene since before most of us were even hitting the dance. His music has been flying out with a no nonsense approach - self-released, minimal promo, just cracking club-ready 12"s that tap into the fierce-but-fun spirit of Detroit techno and albums loaded with smokers delights to appease his West Country roots.

"Pseudo Science" wastes no time in imparting a message of bristling kinetic energy for peak time situations. This is maximal techno of the highest order, firing off a body-popping beat, a dazzlingly bright set of chords and a delirious lead that cuts through like the house lights being thrown on in a darkened basement four hours before closing time. There's a confidence that bursts out of this track that could only come from someone who has earned his stripes in the cut and thrust of what can at times be a fickle dance music scene.

"Heavy Manners" plays a foil to this boisterous A-side without dipping the energy levels. Sagi still has his pedal to the metal, but this time he winds through mystical, filter sweeping pads that hark back to synth rich early 90s trance séances of the highest caliber. The bubbling 303 only further fuels this sense of psychoactive flashback, and the hypnotic film sample provides the perfect icing on the cake. Leave your functional subtleties at the door, this is loud and proud body and mind music transmitting from the part of a soul still stomping in a field somewhere near the M25 orbital.

Re-issue of this ultra-rare Oriental psych monster from the organ king of Casablanca, combining traditional rhythms with spaced out modern sounds. First part of Abdou El Omari's Nuits-trilogy. Part 2 and 3 will be re-leased in the next few months.

6th opus of the label. A super eclectic record, exploring diverses styles of electronic music spectrum such as IDM, Downtempo, Ambient, Synth Pop ... Cosmic release limited to 250 copies.

This record includes works from artists discovered around the globe. Old & unknown latvian project & y e a eke, Andy Rantzen & David Sudmalis from Australia, Isak Anderssen from Norway. But also Art Teachers, Oberst Gregor ... A reissue of cosmic lost sound from California, an electric guitars orgy from Science Patrol (M. Bracewell) + an all new french act Pascal De Nuit.

Björk has released three remixes of the track 'Arisen my senses', one by Kelly Lee Owens, another by Jlin and a final by Lanark Artefax, each taking the original track to a new place with their trademark production sounds.

Available digitally and on a limited 12' EP. The vinyl colour is no other than that of 'slug genitalia'.

This recording documents the progression of Brian Chase and Angus Tarnawsky's ongoing duet, showcasing their vision of an electrified-drumkit. In a physical sense, they use a drumkit wired with receivers and microphones, feeding the raw sound through external effects processors and devices such as samplers, all parts of which are capable of being controlled and manipulated in real-time.

For Brian and Angus, electrifying the drumkit allows a transition from simply improvising with rhythm, to composing entirely new sonic worlds and subsequently inhabiting them within a performance. Once the audio from Brian's kit goes into the electronics of Angus' set-up, the sound is transformed, becoming an entirely new entity. This in turn influences Brian's playing, and the process continues as new music is produced through this method of continual unfolding. Beats layer on top of beats, textures atop textures, tones on tones. Constructed entirely from the multi-channel recording of an improvised live set, the two tracks for this release were edited and shape-shifted by the duo in post-production, further blurring the line between stage and studio.

A strictly limited edition release, each of the of 25 copies has been hand cut at 33 1/3 rpm on transparent polycarbonate plastic using a Presto 6N lathe from the 1940s and is accompanied with a printed transparent insert, housed in a custom PVC sleeve.

Brian Chase is a drummer and composer based in Brooklyn. Widely known as a member of the rock band Yeah Yeah Yeahs, his diverse creative output encompasses multiple projects in the New York music scene, including Drums & Drones, an electro-acoustic project focusing on the application of just intonation to drums and percussion.

Angus Tarnawsky is a sound-artist and experimental musician living in Toronto. Interested in altering perceptions and perspectives of environment through sound, his work frequently explores interactions between acoustic and electronic sources, utilizing analog feedback systems and modular synthesis.

BRUNO PRONSATO returns with his new album, A FACE WASTED ON THE THEATRE, written & produced in collaboration with the Israeli musician, YONATAN LEVI. PRONSATO and LEVI have been collaborating intermittently since 2014, with LEVI adding bass guitar to tracks on both PRONSATO's US Drag LP from last year and 2016's NDF EP, Cruel Is The Color, as well as contrabass on a track on PRONSATO's Archangel LP from 2014. Written in the afternoons and between two different studios in Berlin's Prenzlauer Berg, the album spans eight tracks, with YONATAN LEVI playing on bass guitar on six of them. It also features guest appearances by downtown composer/producer PETER GORDON and Israeli saxophonist YONATAN YUDKOWITZ on Bring Me A Kill.'

BRUNO PRONSATO (aka Steven Ford) has been subverting expectations within techno and house's upper echelons since 2003. A former speed-metal drummer with a serious appreciation for 12-tone composers, he moved to Berlin to focus on music full-time in 2005, and captured the attention of the electronic music world with his redefining Why Can't We Be Like Us LP from 2008, receiving a 5/5 review from RESIDENT ADVISOR along the way. This was followed up with Lovers Do in 2011, dubbed a massive and striking statement' by PITCHFORK in their 8.1/10 review. After a six year-hiatus, he released the rejuvenated US Drag LP in June 2017, with RESIDENT ADVISOR commenting that the album was a fresh perspective on Bruno Pronsato that keeps intact the best aspects of his music, proving that Ford's singular project still has a lot left to give.' Pronsato is also a member of HALF HAWAII with PANORAMA BAR resident and ex-PANTYTEC member, SAMMY DEE-they release mainly on PERLON. His 2010 collaboration with SERGIO GIORGINI (of BENOIT & SERGIO) as NDF (on DFA) was hailed as one of the 'tracks of the decade so far' by PITCHFORK in 2015. PRONSATO was also a member of the electronic supergroup, NAROD NIKI alongside RICARDO VILLALOBOS, RICHIE HAWTIN, DANIEL BELL, AKUFEN, LUCIANO, DIMBIMAN etc, and he also co-produced ELLEN ALLIEN's 2013 LP, LiSm.

YONATAN LEVI aka L.A Teen is a 31-year-old musician born in Tel-Aviv, Israel. Displaying musical tendencies since infancy, he studied at a school of arts between ages 6-16, growing within the music department. He began classical guitar training at the age of 7 and finished his studies as a music major. At age 13 he was awarded a scholarship for classical stand up bass studies from the Israeli Conservatory of Music in Tel Aviv. By age 16, he was honored a full scholarship to the prestigious Berkley College of Music. In 2006 he moved to New York City and immersed himself in the New York Jazz world, playing alongside numerous celebrated musicians including FRANK WESS, BEN DIXON, EDDIE HENDERSON, HARRY WHITAKER and "Killer" RAY APPLETON and DONALD HARRISON.

He has recorded a quartet album alongside WILLIE JONES III, AARON GOLDBERG and OFER GANOR and is featured in OFER GANOR's album "Miles Away", starring the legendary drummer JIMMY COBB. COBB chose Levi to accompany him in his Japan tour as a part of the world renowned JIMMY COBB QUARTET. Yonatan Levi is currently based in Berlin, Germany, but is constantly on the road between Europe, the US and Israel.

One of Treader's most requested recordings sees the great UK free saxophonist Evan Parker on soprano and tenor saxophones, duetting with European birdsong.

A fitting tribute to his friend, the celebrated soprano saxophone player Steve Lacy, who died in the year of its initial release.

Written, performed and produced by Kumo in SE23.

"From a starting point of two field recordings taken from the balcony of my flat in South East London, one was taken during the day the other at night, the rest of the music was built up in response: synths and theremin played as karaoke to the sounds of the estate. Accompanying, mimicking, occupying the spaces between the deliveries, planes, dogs, birds and the kids next door writing grime tunes. 'Day' was written, performed, recorded and mixed in the flat during daytime with only natural light, 'Night' under cover of darkness." - Jono Podmore, London, 16.xii.2017


Biography:

Kumo aka Jono Podmore - Professor of the Practice of Popular music at the prestigious Hochschule für Musik in Cologne, Germany - is best known latterly for his tireless work curating and managing the archives of Krautrock pioneers Can. In this respect, his masterstroke to date has been assembling the essential "The Lost Tapes" boxset.

Work under his Kumo alias across multiple releases, performances, DJ sets and installations has included collaborations with the likes of Irmin Schmidt, B.J. Cole, Jaki Liebezeit, Mr. C and Jose Padilla. His ongoing Horrorshow multimedia venture brings together live soundtracks and short films, and his established group Metamono finds new life in vintage analogue and hand made electronics, releasing two albums, and Secrets of Nature - Sounds Unseen: live electronic music for silent British film.

His label Psychomat was brought back to life in 2017 with two new single releases and more are planned. Jono is currently working on the score for feature film The Giaour, a book about Jaki Liebezeit's life and theories, and teaches Tai Chi in London.

"Emotional Rescue is honoured to reissue the benchmark in new age ambient music, Michael Stearns epic Planetary Unfolding album. Out of press on vinyl for over 30 years, here is Stearns masterful electronic symphony in 6 movements, recorded using his Serge modular synthesizer at the Continuum Studio in 1981.
The culmination of years of exploration in "space" music, Stearns journey, to the album's release, was one of learning and application. Involved in music since his teens, he graduated from guitar bands in the late 60s to an increasing interest in the principles of electronic music synthesis and the physics of musical instruments. He moved from Tucson, Arizona to Los Angeles in 1975 where he performed live during movement meditation classes at the Continuum Studio. He released his first cassette album in 1977 before going on to record 7 albums during this formative period. With Planetary Unfolding, the musical ideas that Michael performed on the Serge developed into this 52-minute masterpiece of music, six movements, three on each side of the LP. Based on the idea that the universe is made of sound held together through resonance, where atoms, cells, oceans, plants, animals and humans, all are part of a complex orchestration - the Earth as a being of sound. Having first approached Michael in 2013, his uncertain response that the album could be rereleased in a way that the music would be given justice via vinyl, the idea was never forgotten. Gaining discovery, appraisal and prominence when "As The Earth Kissed The Moon" appeared in edited form on the "I Am The Centre" box set from Light In The Attic, this excellent window into the world of Private issue new age music, superbly compiled by Douglas McGowan, further increased the interest in Michael's and others, such as Laraaji, music. With the likes of Matthewdavid's Leaving Records and Jonny Nash's Melody As Truth pushing the ambient curve beyond a post club, chill out fad, classic albums can rightly sit alongside this 'new age of the new age', so that ambient music again has a gravity and place of it's own. This specially re-mastered version by Bob Ohllson features the original artwork by Leilani Bost, liner notes by long-term friend and fellow musician, Gary David, as well as the photography of Ron Peterson, together bringing this wonderful album to life once again. e

Separated from both its reputation and its sleeve art, the music of Muslimgauze explores the relationship of visual sensations - space, colour, depth, illusion - to the listening experience. The music on 'Maroon' is dub-like inspired techno music, laid back with voices appearing randomly in the mix. The thick drums and rich found sounds that densely populate the soundscapes on "Maroon" give materiality to the warm presence of the synth washes. The music is so layered and textured that it ceases to be aural and exists almost solely in the realm of sight and touch. Devoid of reference to any external reality, Muslimgauze's Ambience gets remoulded by subjective experience and moved around in the memory. By shifting the quality of perception with the producer's sleight of hand, Bryn Jones (the Mancunian behind Muslimgauze) makes explicit the interiority of the senses. Thus, the fact that our inner life determines our relationship to the world outside becomes the music's unspoken subject. Divorcing Muslimgauze's music from its image is like listening to Take That without seeing Robbie's pelvis or Mark's pouting. This is precisely why the music is so effective. Relocating music's power within the listener instead of as an external force acting upon the listener forces reappraisal and reinterpretation. The muezzin's wailing call to prayer and the shrieks of women mourning the dead conjure up images of a fierce 'death-to-the-infidels' fervour in the Western imagination, and are recast as holy prayers for the ultimate, womb-like peace that most Ambient music aims to express. The usually easy exoticism of sampled tablas and ouds instead hint at the dread on the road to the water coloured bliss of run-of-the-mill Ambient and force the listener to internalise difference and confront the received images of Islam that Muslimgauze detour by such strong powers of suggestion.

Joachim Nordwall and Henrik Rylander created Saturn and the Sun to further their mutual passion in mindchanging sound experiments. Since 2005, they have created music together in ritual rock band The Skull Defekts, but since the death of the Skulls in April 2018 their common focus now is Saturn and the Sun. Deep, often monotonous and harsh electronic music inspired by 60s minimalism, early techno and tribal music. This is what you get when the two comes together.

Rylander is working as a forensic photographer and makes extreme sound art. Nordwall runs the iDEAL Recordings label and records experimental music on his own and with artists like Mats Gustafsson, Mika Vainio (RIP), Ryan Martin and Leif Elggren. They both share the legendary studio space Gothenburg Sound Experiment.

"Be careful with frequent listening."

Electronic duo Spring Heel Jack return with a collaboration with the legendary American trumpeter and Pulitzer Prize nominee Wadada Leo Smith.Wadada was born in the Mississippi Delta and became immersed in the music of the great blues masters as a young musician. He then moved to Chicago and became an early member of the AACM alongside the likes of Muhal Richard Abrams, Anthony Braxton, Malachi Favors and Roscoe Mitchell. Recorded last year in London, this LP sees Smith's authoritative trumpet joined by Steve Noble's drums and Pat Thomas' piano, to make a stunning piece of aural theatre in six acts.

Cannibal Mécanique is an electronic soundtrack by NY based audio-visual artist, Victoria Keddie. Originally composed as part of an immersive live experience incorporating analog video feedback and choreography, for ICM013, the audio component of Cannibal Mécanique has been revised and revisited for a limited edition lathe-cut 7" record.

Each of the 50 copies is individually hand cut at 33 1/3 rpm on transparent polycarbonate plastic using a Presto 6N lathe from the 1940s and is accompanied with a printed transparent insert, housed in a custom PVC sleeve.

Victoria Keddie is an artist working in sound, video, and transmission. Her focus involves analog signal generation and manipulation, the performing body, and relationships of space. For five years, she has been Co-Director of E.S.P. TV, a nomadic TV studio that hybridizes technologies to realize synthetic environments and deconstruct the televisual for live performance. In early 2016, Keddie launched UNIT 11, a mobile transmission based residency operated within and involving an ENG news van. Site specific field work involves concentrated energy fields, fluctuating electronic activity, geographical discontinuity, and time sensitivity.

She has performed and exhibited internationally at venues and festivals such as The Swiss Institute, The Kitchen, Museum of Moving Image, Queens Museum of Art, and Anthology Film Archives (NYC), Human Resources (Los Angeles), Lightcone, (Paris), Studio XX (Montreal), LOOP Festival (Barcelona), Pallas Projects (Dublin), Reykjavik Arts Festival (Reykjavik), General Public (Berlin), Axis Art Centre (Crew), The Independent Film Festival (Naples), Liste Art Fair (Basel), Seeing Sound Festival (Bath), and Daimon (Gatineau). With her project, E.S.P. TV, she has been artist-in-residence at Pioneer Works, Storefront for Art and Architecture, and the Museum of Arts and Design.

- Double tape retrospective from Gwilly Edmondez, the dad from Yeah You
- 90 minutes of music
- RIYL: Richard Youngs, Jandek, Cosmic Dennis Greenidge, Mark Wynn,
Sensational, Yeah You
- 100 copies

Gwilly Edmondez Is The Dad From Yeah You, One Of The Maddest, Most Vital Duos In Underground Uk Music Right Now. Slip's Trouble Number Retrospective Extends A Hard-to-resist Invitation To Peruse Four Decades Of Gwilly's Work At The Outer Limits Of Pop Music, Pairing The Gnarlage Of Self C30 Tape With A C60 Mixtape ...made Questionably And Unquestioningly By Himself, To Present A Cherry-picked And Unflinching 90 Minute Portrait Of A Properly Prophetic, Pop-wizened Soul In His Element.
Prone To Magpie Whatever Snags His Ear And Turn It To His Own Ends, Gwilly Ransacks Hip-hop, Black Metal, Folk, Power Balladry And Much More, Adapting Inventive Extended Vocal Techniques To Consolidate A Syncretic Blatz Of Bewildering Musical Logic And Unrhymed Reasoning. To The Casual Observer It Could Appear To Be A Study In Mental Health Or A Dadaist Play, But Pay Some Respect To Listen And Gwilly Will Reward Closer Attention With Flashes Of Genuine Pop Genius Mixed With Baffling Non-sequiturs And Hallucinatory Levels Of Captivating Oddness.
The Gnarlage Of Self Tape Was Made On Newcastle's Hottest Day Of 2017, In An Upstairs Room In Heaton, And Documents Finely Graded States Of Mind Between The Skittish Tangle Of 10 Banks Of Nein And The Reeling Soul Cadence Of Make Your Own World, Which Could Arguably Be Considered A Definitive Edmondez Anthem. On The C60 Tape Gwilly Edmondez: A Retrospective Mixtape Made Questionably & Unquestioningly By Himself, The Handrails Are Further Erased, Resulting In A Tumbling Sequence Of Slapstick Songcraft And Spare, Improvised Electronics Mulched Into Mixtape Form. It's Here Where The In/sanity And Truth Really Comes Out, Oozing And Ranting In A Disarray Of Bluesy Declamations, Gender-bent Torch Songs And Psychotomimetic Scramble Drawn From
Auld Tapes Dating To The Mid '80s, The Dankest Niches Of Ubuweb Archives, And Up-to-the-minute Snatches Of Recent Live Shows. For Anyone Who Is Intrigued By Or Appreciates The Work Of Richard Youngs, Jandek, Cosmic Dennis Greenidge, Mark Wynn, Sensational Or Fenriz, Consider This Crucial Listening.

The Land of Look Behind soundtrack returns to vinyl in a remastered and expanded edition that includes a download of three previously unheard and unreleased tracks from the original sessions. Alan Greenberg, who wrote and directed this film documenting the funeral of Bob Marley, provided K. Leimer with location tapes which were used to originate many of the rhythmic patterns for Land of Look Behind. Loops of the monologues and phrases that exhibited more distinctive cadences and pacing, the words, glottal stops, clicks and coughs of witnesses were used as cues for the percussion instruments. In effect, speech became the organizing principle of the musical score. By eliminating the accuracy of click tracks, musicians were prompted to rove through the inconsistent intervals of the voice-derived patterns. Also included is a four-page insert featuring an essay by Paul Dickow.

K. Leimer founded Palace of Lights in 1979. Leimer's early work has recently been reissued by Autumn and RVNG, and his early cassette work is in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s — his current catalog includes seventeen albums plus two collaborative albums with Marc Barreca.

Leimer's work is included in the collection of The British Library.

LYBES DIMEM is a project by visual artist and musician Lukas Rehm. With a focus on digital sound-de- sign, elaborate beat structures and the use of error, the music plays with cognitive phenomena and abstraction while maintaining an emotional refuge. LYBES DIMEM is presented in formats ranging from spatial sound experiences to sy- nesthetic shows complementing the auditive layers with visualiza- tions of real-time data, computer graphics and moving image. Lukas Rehms installative art, and compo- sitions have been internationally presented and awarded with multi- ple emerging arts prices.

SYNCLEFT CHRONEM is the first album released by LYBES DIMEM in both digital and vinyl format and accompanied by a moving image artwork. The title reflects the pro- jects interest in the potential of difference, cognitive frictions and exertion: sync = variability in the processing of auditive and visual signals, syncleft = the synaptic cleft, which is a crucial empty spa- ce in biological neural networks, chronem = the chroneme as a the- oretical unit to measure the time of

an articulated sound. Mathemati- cally clean sounds juxtapose pat- terns and transitions familiar from the realm of organic acoustics. Multi-layered noise textures ex- plore the simulated space. A tem- porary continuity is provided by percussive and melodic elements, right until the next escalation, eventually awaiting a concluding resolution.

The visual language explores dif- ferent phenomena and techniques of cognition inspired by the rhe- torics of big science (computer graphics, discontinuity of materi- al, pop cultural references). Both the moving image artwork and the graphic design of the release pay tribute to the multi-layered appro- ach of the music. The design of the vinyl cover by studio BNAG.cc uses subtractive colour synthesis to interchange between abstract for- mality and representationalism.

SYNCLEFT CHRONEM is the first release by LYBES DIMEM on SVS Records following a first encounter at the SVS residency at the 4D Spa- tial Sound Institute in Budapest.

The sprawling ambience we hear throughout "Paz & Amor" unveils the present stage of the fascinating aesthetic progression that Lilocox has been sharing with the world ever since this Eurochild of Cape Verdean descent started to produce his original music. Lilocox comes out in open field, with a lot more space, building the groove around complex rhythm grids now unfolding peacefully. He scored a bouncier underground hit with "La Party" back in 2015, coming from a background of intricate batida drum patterns but his sights reached further and further away into deeper territory."Ritmos E Melodias" seems to split into two parallel tracks at some point with the house beat balanced by a background rattle more commonly associated with the slower tarraxo vibes. "Samba" is fully-formed from the very beginning but the kick only comes in around the 2-minute mark, joining a bleepy substitute for a bassline. In fact, you will find this music practically does away with the need for a bassline because the rhythm inventions keep the feet moving effortlessly. It might seem strange that a genre seemingly rooted in classic house can stay focused on the dancefloor without a bassline, but the skeleton of these tracks is naturally strong and provides all the necessary ground for ambience and melody to shine.

And they do shine universally on "Fronteiras", an intensely emotional and catchy tune WITH a bassline, though very discrete and minimal. It follows the beat more or less independently, but its presence helps to consolidate the human bond we should all feel when exposed to these celestial harmonies. "Fronteiras" seems to contradict its very title.

Turmalinturm Remixes is a scrupulous compilation of tracks inspired by the second Fogh Depot album released in October 2016 via Denovali Records. The idea was to compile pieces both from artists of the Denovali roster and of the booming Russian electronic scene.

The Tourmaline tower is crashed. A new town is being raised at its place, eclectic in architecture, but of a monolithic mood. Get ready for a dense atmospheric mix of magnetic darkness and genuine delicacy. This is an example of seductive and at the same time disturbing tunes at the confluence of drone, ambient, IDM and live electronica. The collection absorbes works of the most skillful producers of this noble genre demanding extreme precision.

Half of the London-based duo «Piano Interrupted» and also successful solo musician Franz Kirmann provides a shard of pure roman from Albion's shore, while the experienced Moscow artist Dima Ustinov delicately and gently dissects the modal harmony of the track «Meduse». The prolific Sardinian producer Saffronkeira adds a detached, ephemeral and otherworldly piece and master of techno hymns. Moa Pillar contributes a horror-drone remix of «Quicksilver Spoon». For those who want to dance there is Monokle - an eclectic musician from Saint Petersburg - decomposing «Meduse» into a bassy club track. The Siberian dark lord of modular synthesizers Hmot totally deconstructs «Oscar» and literally distills all the piercing dramatic effect from the track, while an emotional and powerful piece by John Lemke, gloomy, affective and catchy, closes the remix album.

Günter Schickert, four decades of multi-instrumental cosmic explorations, under Berlin's sky, above genres, and compromises.

It was memorable the time when I firstly listened to his debut LP of 1974, the monumental Samtvogel. It overwhelmed me with layers of echoing guitars roaring into space, causing a powerful release of dopamine spreading through my skin, in the way an Interstellar Overdrive', or a Richard D James Album would do. It was a proof of the divine to discover Günter Schickert, it is a profound honour today to present on Marmo his seventh album to date, Labyrinth, the first to be released on vinyl format since 1983`s Kinder In Der Wildnis.

Schickert's Samtvogel, self-published first, then licensed to Brain, equaled the imaginative leap and sonic power of the early Pink Floyd, Manuel Gottsching's Inventions For Electric Guitar or A.R. & Machines's Die Grüne Reise. What followed, from his second LP Überfällig on Sky Records to his collaborations with Klaus Schulze, Jochen Arbeit and Schneider TM, even if little acclaimed, spans a large spectrum of music styles, always through a distinctive and personal aesthetic, that is deeply linked to the one he firstly crafted back in '74, when Schickert pioneered the use of echo effects applied to guitar playing.

And now Labyrinth, a record that stands for versatility, where genres do not matter, soundscapes or life situations take over, song-writing emotions pop out, handing out a spectrum of surprises to the listener. You may find yourself flying low along steep cliffs and with a blink of eye you are thrown into a Middle Eastern scenery.

The album is divided into two parts, two different production bulks and periods of Günther Schickert's life. Side A features a selection of tracks recorded in 1996, appearing on the 2012 album HaHeHiHo, released via Pittsburgh based VCO Recordings, on a limited press of 100 units, tape format only. I felt that the visionary and emotional richness of these pieces deserved the vinyl format and a chance to reach to a wider audience.

The Raga-inspired Morning' opens Labyrinth with exotic charm and bitter-sweet nostalgia. Sieben' kicks off with the same guitar scales of the previous theme, before the motorised progressions of a Korg MS-20 synth surprisingly storm in, carrying along an intersecting multitude of filters and sharp guitar effects, flowing into an epic, paradisiac ending. Ninja Schwert' remains on astral dimensions, it is a struggle of cosmic forces, where the steady ride of a pounding beat gets embraced by different guitar layers and analogue electronic filtering. The side closes up with HaHeHiHo', a slow ballad featuring Mr. Schickert on vocals, guitar, bass guitar and drum machine - an example of simple, stripped down yet gifted songwriting that is capable to reach the heart of the listener.

Side B contains material produced between 2007 and today. The intricate, bewildering Tsunami' shows the multi-instrumental and recording abilities of Günter Schickert: a field-recorded storm with mesmerising powers, a peculiar progressive approach to guitar playing. Mysterious sinister spirits and sounds are emerging and the feeling of being lost in a pleasant trance arises. In contrast, Oase' muffles the intensity and jumps into a completely different soundscape, where in liaison with the sounds of a rolling drum tom and a desert-like trumpet, the microphone carefully captures the found sound tones of everyday-life objects and actions. Like HaHeHiHo on side A, Checking' represents the vocal gem of the B side, in a raw and direct way of songwriting like if Syd Barrett was his invisible helper. Palaver' (which means unnecessarily talk' in German) assembles different vocal recordings of Schickert into a bizarre free-style conversation through a mysterious language, where he attempts to emulate illiterate children conversating. The final track, Morning (Slide)', reprises the opening theme, this time solely performed through the caressing dilated sounds of Günter's slide guitar.

After being in the reggae band the Heavymanners (parted in 2009) led by Takeshi Heavy' Akimoto, and participating as a supporting member of DRY&HEAVY after which the band reunited with the original rhythm section, Sahara (keyboard/programming) and Ohkuma, who worked as the drummer of Soul Dimension, started the dub unit Undefined. It is no exaggeration to say they have pushed the variously formatted term of dub' to the far shore experimentally and furthermore, liberated the definition of dub to undefined.' Their debut 7inch vinyl released in March last year from their own label Newdubhall is being well received even overseas and in the spring of 2018, this 10inch vinyl New Culture Days' will be out, which will be their second release.

New Culture Days' was co-composed with Kazufumi Kodama. It goes without saying that he is the one who has been continuing to pursue dub, through Mute Beat, the originator band of this country and also under his own name.While citing sound texture like techno-infused minimal dub, Undefined' s track dashes on a trackless road. And there is the trumpet of Kodama, who has also been giving sympathy to minimal dub since the late 90s. A trumpet that draws a vivid line on monochromatic aspect, flickering sounds of drum and bass, and the third lead that represents this work awaits at the far end of the echo. It is mu,' in another words, nothingness.

Just as the stars are floating in the urban night sky, the sound is lonesome yet bold and bright and the jet-black darkness lingers. An aggressive bass and effective sounds: this track expresses the cream of dub music with its excessiveness and nothingness facing one another. This track did not come to reality without the deep understanding of these two dub seekers. Moreover, excluding covers, this is the first original track by Kodama in a long time.

Over the past several years, an electronic and experimental dub, which is diverse from so-called bass music and new roots, is being recognized again as one of the streams. It could be said that New Culture Days too, welcomes this sort of essence.

On All Perfect Days, Michael Vallera's Second Lp For Denovali, He Continues To Distill His Singular, Cinematic Approach To Sound. Acting As Both Performer And Producer, Vallera Constructs A Lush, Deeply Emotional Album That Jettisons The Overt Rhythms And Explicit Drum Programming That Characterized Much Of His Earlier Work. Instead, In Its Tightly Focused Reliance On Little More Than Guitar And Amplifier Feedback, Supplemented By Piano And Synthesizer, The Album Explores A Sparse But Rich Palette That Evokes The Ambient Works Of Harold Budd—although Filtered Through Vallera's Own Sharp-edged Sensibility. Recorded With Greg Norman At Electrical Audio And Mastered By Daniel Rejmer, All Perfect Days Adds To The Mounting Evidence That Michael Vallera Is Among The Most Assured And Compelling Artists To Emerge From Chicago In Recent Years.

Michael Vallera Is A Musician And Photographer Who Lives And Works In Chicago. Prolific As Both A Solo Artist And Collaborator, He Has Released Albums Under His Own Name And As Coin (opal Tapes), With Percussionist Steven Hess As Cleared (immune Recordings), And With Joseph Clayton Mills As Maar (umor Rex, Entr'acte). He Sings And Plays Guitar In The Experimental Rock Group Luggage (don Giovanni Records). An Mfa Graduate Of School Of The Art Institute Of Chicago, His Work Has Been Exhibited In Chicago, New York, Los Angeles, And Elsewhere.

For Stridulations, Meursault Confronts Recorded And Performed Sounds, Composition And Improvisation: Field- Recordings Of Animal Communication (insects, Birds And Bats Recorded In France, Japan And South America Over Almost Ten Years) Mix And Dialog With The 'sonification' Of Fluorescents Tubes.

Both The Environmental Sound Matter Composition And The Electromagnetic Instrument Have Evolved With Performances Between 2014 And 2017. Little By Little, New Recordings Were Collected And New Electrical And Electronic Supplies Were Added To The Setup. The Record Is Altogether The Outcome Of That Process And A Different Take On The Project, Leaving The Synesthetics Of The Flickering Lights But Embracing The Deepness Of 'blind' Listening.

Pali Meursault Is A Sound Artist, Composer And Sound Designer. His Electroacoustic And Sound Art Research Takes Different Shapes: Compositions For Records, Radio Works, Installations Or Performances. Environmental Sound Recording Is Central In His Work, Which Takes From Musique Concre`te And The Sonic Exploration Of Soundscapes.

Mellow Toes comes as the second excerpt from my Schnarcharchiv (snoring-collection). This growing collection contains audio-recordings of sleeping humans, friends, and animals in all places and states of rest, sleep and nap, captured during night- and daytime since 2009.

It all started during my daily afternoon-naps when I observed my own body getting hyper-sound-sensitive on its way to sleep. In these situations my chest, my arms, my toes turned out to become my biggest ears. It made me search for ways to share and reproduce these hallucinatory and enjoyable states of awake fatigue and airy interspace. Now, the two compositions on Mellow Toes are an attempt to do so. They contain parts of the snoring material that I collected during the last eight years, aswell as some sounds of my prepared objects instruments. The instruments noise may appear as the cheeping bird outdoors that pokes your sleepy mellow toe. All the snoring and sleeping rhythms here, they may help this bird to have a much stronger voice then commonly known.

- Peter Strickmann

The duo Sankt Otten from Osnabrueck (Germany), founded in 1999 and consisting of Stephan Otten and Oliver Klemm releases music on Denovali since 2009. After "Männerfreundschaften & Methaphysik" (2016), a collaboration record with experimental guitarist - N , Sankt Otten finally release their first new album since "Engtanz Depression" (2015).

Their new record starts with "Das Endgültige Scheitern der Melancholie" (en.: the final failure of melancholy), which seems to be unfamiliar due to its euphoric mood, but also shows that Sankt Otten consequently develop their music in a sovereign way. The title track "Zwischen Demut und Disco" (en.: between humility and disco) then particularly brings to the fore the duo's admiration of analog synthesizers - timeless instrumental music without nostalgic flashbacks to the past. Warm electronica, human being and machine hand in hand, infused by an almost danceable beat who induces head-nodding.

On their LP "Messias Maschine" (2013) Sankt Otten already released three tracks with drum-legend JAKI LIEBEZEIT (CAN) who meanwhile passed away. While sifting old recordings an unreleased drum-recording by Liebezeit emerged. Based on that hypnotic rhythm the melancholic but driving track "Wir sind die Guten" (en.: we are the good ones) came into existence. Shedding some tears is surely appropriate and allowed. Sad music can make you happy.

But also friends of the more pad-oriented compositions of Sankt Otten get their money's worth. Die "Ballade vom salonfähigen Zynismus" (en.: the ballad on the presentable cynicism) and "Ein bisschen Mitschuld bringt dich nicht gleich um" (en.: a bit of complicity won't kill you) both are sugar-sweet and snuggling, but at the same time almost threatening. The album closes with the more than 14-minute long "Der Abend ist gelaufen" (en.: the evening is all over), where the particularly powerful but always minimal-repetitive drumplay by Stephan Otten stands out, while Oliver Klemm's typical ebow-guitar-drones bring the track to float.

The lovingly chosen track-titles are again located in aphorism, sarcasm and pun, while the musical quality of the tracks is also absolutely homogen. It's not easy to highlight particular tracks but one could fall in love with each of them. Altogether a jewel for admirers of the 80's sounds and German electronic music. "Zwischen Demut und Disco" (en.: between humility and disco) is the holy trinity of krautrock, ambient and contemporary electronics, but always stylistically confident and unmistakeably Sankt Otten.

Nothing is ever as it seems with Young Guv, but it always feels good. At first glance cloaked in a bold, ready-made distance, 2 Sad 2 Funk reveals itself over time to be an emotional, perfectly crafted, detourned pop record. Young Guv is the creation of Toronto-based auteur Ben Cook, an artist with over a decade playing guitar and singing in hardcore punk groups and a long discography of Young Governing. On 2 Sad 2 Funk, Guv pushes the power pop motif to its natural, 21st post-structuralist conclusion.

"Constantin Xenakis work possesses exactly what I really love about intelligent electronic music. It's stylishly repetitive, coded, mechanical but, at the same time, very organic and playful." This is how Argyris Theofilis, also known as Zodiac Free Arts Club, explains his fascination with European artist Constantin Xenakis. Born in Cairo, Xenakis work often includes written script, in particular symbols andcodes of everyday life, traffic signs, alchemy, the zodiac, mathematical and chemical symbols, Egyptian hieroglyphics as well as letters from the Greek, Phoenician, Hebrew and Arabic alphabets.A balance between human and inhuman that makes his art "somehow mystical". After becoming fixated by Xenakis, the greek music producer searched and eventually met him for the first time in 2012. After several meetings in Paris and Athens, they both decided to present 'Structures + Codes', a concept album conceived as an homage to the painter's vision. Each one of the eight songs in the album corresponds to a painting by Xenakis, translating it's intricate shapes and patterns into spirit-lifting compositions filled with elliptic arpeggios, repetitive drum machines and esoteric melodies in proper kosmische manner. But this is not a mere exercise in style. As Xenakis paintings, it's music that transcends its own codes to become an esoteric experience. This record should be heard comfortably.

Oddball space disco/fnk tracks, composed between 1970 and 1985. Big tip!
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A master of the mixing board, from the late 60s until the 90s Bernard Estardy was the wizard of French musical recordings. As head of CBE studios, he shaped everything from Gérard Manset's concept albums to Claude François' hit singles, Françoise Hardy's delicate tear-jerkers and Michel Sardou's soul-stirrers. This giant' had his hand in the whole range of mainstream French music by making his studio a veritable playground for experimentation. His legendary album La Formule du Baron,' released in 1969, and the eight LPs of production music he made between 1974 and 1978 for Tele Music are vivid proof. In the CBE studio, which she runs today, his daughter Julie Estardy discussed his singular career.

On his fourth album, Clic, Franco Battiato moves further out - into realms of pure and elemental approaches to sound - to create a seminal work that flows naturally from one musical form to the next. Every second ripples with orbital chords, kosmische textures and schizophrenic string quartets, yet somehow manages the same dramatic pacing and variety as his avant-rock albums Fetus and Pollution.Originally released in 1974 on Bla Bla, Clic features Battiato on VCS3 synthesizer and piano, along with trusted collaborators Gianni Mocchetti on guitar and Gianfranco D'Adda on percussion. While only "No U Turn" bears the maestro's voice, these seven tracks contain some of his boldest melodies, an underlying thread that runs through the choral arrangements and meditative compositions.Clic's dedication to Karlheinz Stockhausen comes into focus on the final piece, "Ethika Fon Ethica" - a rapidfire journey into Italian shortwave radio, interrupted by fleeting fragments of folk music from around the world (sampled from Henry Cowell's celebrated Folkways compilations from the 1950s). It's the perfect ending to Battiato's beautiful and expansive tour of the cosmos, signaling the uncompromising experimentalism that would dominate much of the composer's mid-1970s oeuvre.

Superior Viaduct presents the re-release of Clic. Reproducing the original gatefold jacket and booklet, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.

Joanne Forman's Cave Vaults of the Moon created in 1987 for an exhibit of sculptures in Taos, New Mexico is a mesmerizing score for voice, Ensoniq Mirage, Juno 106, flute, guitar and effects. The playful extra-terrestrial recording wafted through the exhibit every day for its duration and then lay dormant for nearly 30 years. Unearthed now, Cave Vaults of the Moon sounds prescient and timeless, as if Pep Llopis and Iasos scored a Wicker Man remake set on Mars. Restored, remastered and cut using DMM.
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We humans, the nascent beings that we are, still haven't quite figured out the full potential of music. Dancing, meditating, emoting, protesting, these are all pretty basic. But what if we communicated more complex ideas with music What if we codified all of our activities with music This idea came to composer Joanne Forman
when commissioned in 1987 to create the soundscape for an environmental exhibition of sculpture called Artifacts from an Alien Civilization in Taos, New Mexico. The sculptures, elaborate ruins that had been found on the moon, begged the question: who created them and for what purpose

Joanne Forman imagined that Earth's moon was a vacation spot for advanced beings from another galaxy. In her mind, the sculptures in the exhibit were the remnants of a deserted playground. Cave Vaults of the Moon became a collection of sonic texts describing the recreational activities that went on there, earth-viewing, collecting information, building and playing.

After last year's first record with Serenus Zeitblom Oktett, Berlin's Hyperdelia comes back with a second release - a lucid underwater music composed and arranged by Swedish composer Kajsa Lindgren.

»WOMB« is a musical narration for abstracted ears and bodies - engulfing a listener simultaneously in subaquatic sonic environments, distant dreams, memories and voices from the unknown: where time and space fold into each other.

The initial material of field-recordings, interviews and compositions has been re-recorded and re-amped underwater in a swimming pool - and has been re-arranged now for stereo home listening. It's like we've travelled from the outer space fantasies into the alien underworlds to surface in your homely headspace.

»WOMB« at times resembles Gustav Mahler's distant rememberings, dramatised by Björk, in other moments the sounds become tiny and intimate, when »WOMB« makes one think of Felicia Atkinson's music, while the environmental ambiences reminisce the static music of Kevin Drumm. The delicate layerings of field recordings, re-recordings and environments makes »WOMB« a fascinating phonopoetic fiction, that conjures its own surreal virtual ecology: of distant strings, filtered through hydrophones (on cocoon), deep sea creatures singing to a de-tuned toy piano (the garden), of folk songs sung through telephone hiss (on all the other children), of waves crashing at the sea shores of Narnia (the inanimate world pt. 2).

Kajsa Lindgren is a composer educated in both western contemporary music and electroacoustic composition, based in Stockholm.

Kajsa explores different sonic relationships within specific environments in both sound art and electroacoustics, her work focuses on field recording with which she sonically investigates ecologies and eco systems. These works become musical research studies of underwater worlds or of public spaces in the city. Kajsa has studied electroacoustic composition at the Royal College of Music in Stockholm.

»WOMB« is Kajsa's first full length record. There will be an underwater release concert in Stockholm, at Storkyrkobadet on 2 June, a virtual reality installation online, followed by a digital EP of remixes of the original material.

Following the U.S. Army's liberation of Munich in May 1945, the world's first Amerikahaus was inaugurated there with a library, a magazine reading room, a children's library, a record and lm department, and lecture and seminar rooms, together with a concert hall and exhibition space. Up to 80,000 people a month utilized the offerings of Amerikahaus during its early years. Beginning in 1953, the United States Information Agency (USIA), an institution founded as an instrument of the Cold War, began to finance Amerikahaus. In addition to representing the U.S., its principal task in West Germany was to democratize and denazify the postwar population. After the beginning of the Cold War, many of these re-educative measures also served as propaganda in a programmatic linking of democratic and economic principles meant to strengthen transatlantic relations against the Communist Bloc. In 1997, the U.S. government concluded its work at Amerikahaus in Munich and shipped almost all its items back to the States. However, 1,630 long-playing vinyl records from the library were left behind in cardboard boxes in the basement. When Michaela Melián looked through this forgotten collection, one of the first things she came across was Don Gillis' 1940 tone poem »Portrait of a Frontier Town«, whose second movement is entitled »Where the West Begins«. Don Gillis, a composer and radio producer, used the musical styles and genres of that decade to create an explicitly American program music. Michaela Melián's »Music from a Frontier Town« is fueled by the diverse sonic material of this extensive record collection once considered as an instrument of cultural education. This record has been produced in addition to Melián's twenty-four hour performative music installation »Music from a Frontier Town« in the garage of what is now the Bavarian Center for Transatlantic Relations at Karolinenplatz, Munich (4-5 May 2018).

May 2018 marks the release of two new N records on Denovali records. A new solo record by N(44) 'Vreden' and a collaboration by N(52) + Dirk Serries 'SC00'

First in line is the new solo record N(44) 'Vreden', featuring the live set N played on the very last Denovali festival at Weststadthalle, Essen, using a bigger rig with two halfstacks for a very monolithic sound, perfectly recorded by Andreas Brinke of ( B O L T ). In contrast to the more symphonic sounding records like N(43) 'Anklam', the three new tracks N wrote especially for this evening seem to be more stripped at the first glance, focussing on the vibrating connection between his guitar and the two-amp setup, with the multiple layers of sound hanging like wires in the air between the two amps, even in the moments of highest density. Especially when 'Vreden 2' opens up to a vast field of a dark and misty landscape, the guitar and the reverb of the seemingly endless room around blend into each other, like a perfect symbiosis where you can't tell anymore what the player does and what is just the answer of the room... The overall feeling of a deep melancholia peaks with the closing track 'Vreden NACHT', slowly evolving from the last trails of reverb of the track before, with the long super slow and lonely melody of the last requiem coming out of some sparse bass rumble...

'Adorable Ruin' is the second release from Siri Jennefelt under her Nev Lilit moniker, and the first one to be released on vinyl. It consists of two longer compositions, one of them in three parts on the first side and the other on the B-side. Each part of the release starts with a drone that seem to be of a similar design, but brings us into vastly differing worlds. Jennefelt's blend of large, primal drums and meticulously crafted synthesis that move about independent of each other makes a fitting canvas for her extensive arsenal of haunting, dystopian sound design. There is both an immediacy to this release that feels like a direct reflection of the confrontational nature and despair of the present-day world, but it is also obscured by a great calm, that bares with it an eerie, bleak foreboding of the desolation following a potential societal collapse.
'Adorable Ruin' is Nev Lilit's second full-length release, and will be available on vinyl, limited to 200 copies, and as a digital album. It will be released on May 24th as a part of Moloton's first vinyl batch together with Sonja Tofik & Mar-llena's 'Vilar i dina spa°r'.

After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934-2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 - until 1991 mostly together with Johan Goedhart -, each installation made specifically for the site where it was displayed.

Unlike other artists working with long strings around the same time, e.g. Ellen Fullman and Terry Fox, Panhuysen's strings were instruments or performative material only secondarily. Rather, his installations can be considered sculptural and sounding events in space, operating in between two lines of tradition, constructivism and situationism, that are evident also in many other parts of his oeuvre.

"Over 250 long string installations were made since 1982 and have produced a better understanding of what is happening in these works. The first information about what happens around us always depends on the perception and detection of our senses and is afterwards transformed, analyzed and interpreted by the brain. It has been a happy coincidence which has drawn my attention to this opportunity to integrate image and sound in the art of long string installations. (...) In daily life we try to understand what is happening primarily by visual and auditory perception. In art these two senses are mostly kept apart. In the long string installations, eyes and ears are equally important. This improves the understanding of reality and daily life."
from Panhuysen's preface to the book "Long Strings 1982-2011

The first recordings of Panhuysen's long string installations were published in the 1980s, most famously on a 3-LP box set edited on Apollo Records in 1986.

This new 3-LP set includes solely unreleased recordings made between 1982 and 2012, with one recording added posthumously in 2017. It is presented in a triple gate-fold sleeve with printed inner sleeves containing liner notes by Rolf Sachsse and Stephan Wunderlich as well as various high-resolution photos.

In This Release, Sonja Tofik And Marlena Lampinen Provide Us With Both Collaborative Tracks And Own Creations, Ranging From Taped Melancholy Synth Melodies To Gnawing Pieces Of Malaise. 'vilar I Dina Spa°r' Was Originally Released As A Very Limited Cassette-only Release In The Summer Of 2017. The Release Went Out Of Stock Quickly And Has Been Asked For Since. Looking Back, It Is A Beautiful, Very Well Put Together Release And Moloton Has Decided To Remaster And Re-release It On Vinyl And Digital.