Beats Novedades

Music For Visual Disorders collects together various compositions by Tomaga that have been used by different artists or curators within the context of works of visual art, dance or exhibitions.

Repress

Ideal throw a total curveball with Vanligt Folk's doomdub body music mutations on Palle Bondo, where the Oslo/Gothenburg trio drop their punk leanings in favour of a stark sound lodged somewhere between Mika Vainio, CS + Kreme, Fever Ray, Toresch, and even Autechre. The origins of the record are a bit cryptic and personal, which perhaps prompted the abrupt switch from their earlier styles to this, a more grown-up and pointed set of songs that vent their worries in a coolly gripping and cryptic style - not least because we can't translate their Swedish lyrics

* First release from the Berlin based Jazz-O-Tech Records.

* Since its early days Jazz music has always been experimentatal, trying to contaminate, and integrate different cultures, styles and musical philosophies. Along the years, jazz movement expanded and diversified in many different genres and styles. Electronic music has also always been exprimental and the avant-garde of electronic musicians explored new technologies and new styles of music. Today the two musical frontieers meet and the contamination between jazz and electronic music will enrich both musical languages, changing the grooves but keeping the same depth and spirit of the two genres.
* Jazz-o-Tech is born in order to merge tradition with modernity, improvisation and experimentation, and to create a new style: Techno-Jazz. Finally the elegant arrangements and intricated solos of jazz can develop along the modern structures of Techno and Electronica, taking the listeners on an emotional, hypnotic and intense journey, making us think that future is not that far away.* For its debut release the new label, based between Berlin and Milan, is presenting the new representatives of Techno-Jazz. In this 12' vinyl all the artists represent the new concept that Jazz-o-Tech wants to promote. The argentinian sound designer and experimental musician Paine' is presenting a strong but elegant track full of jazz quotes and pulsing with swing. The DN3 trio (DJ and producer Guido Nemola, trumpet player Cesare Dell'Anna and pianist Mauro Tre) in their track "Lee Theme" mixes elegantly original jazz improvisation and a house inspired rythmic section. Berlin based duo Flat Maze (producer Stefano Mori and pianist Uri Gincel) play with techno grooves and with experimental raw and meditative sounds, but they still leave enough room for silence and emotions. Gamapawa are our final act, probably the most Jazz of all, definitely very much focused on experimenting new forms of contamination of Jazz and Electronica. In "Nobossa" DJ and electronic producer Paine Cuadrelli, trumpet player Mario Mariotti, japanese synth player Gak Sato and bass player Walter Prati (with guest appearance by saxophonist Gianni Mimmo) are providing the finest example of a cross over electronic experimental act which leaves the listeners with plenty of musical references and inspiring moments.

BRAUBLFF is an archival piece with EXCLUSIVE WORK BY THE LEGENDARY Gerhard Rühm, Arf Arf, Alessandro Bosetti and Tomomi Adachi.

BRAUBLFF (Materie und Laut) is a series of live events organised by DE PLAYER (Rotterdam) and KRAAK (Ghent) and brings together contemporary vocal poets, text-sound composers and language based artists with the pioneering work of the avantgarde.

It deals with the question: Where and how does language transform into music'

A possible answer: At the point where language loses its meaning and becomes pure matter through de/ re-construction and mutation, which is made possible by (new) technologies, inventive manipulation and/or particular unconventional use of sound and text within artistic contexts'.

The idea for this series of events originated from a shared obsession for the work of vocal poets such as Henri Chopin, Maurice Lemaitre, Sten Hanson, Lars-Gunnar Bodin, Bob Cobbing, amongst others, and Lazlo Maholy Nagy's notion of New Plasticism, which is based on the idea of stimulating acts of abuse and malfunction in order to produce a result, which is, in principle, embedded in the specific character of human nature.

250 copies
icw DE PLAYER
artwork & design: Koos Siep
#vocal poetry
#archival release

Wer sind eigentlich diese vier jungen Männer, die vor acht Jahren wie eine Erleuchtung aus der schönsten
oberbayerischen Landschaft erschienen Aus Oberammergau kommend, brachten sie ihre Musik, die
irgendwo zwischen Alpenlandschaften und kritisch-weltläufiger Querköpfigkeit pendelt, in die Städte. So hatte
man das noch nicht gehört - mit dem Instrumentarium einer halben Blaskapelle, ergänzt durch Orgel, Zither,
Schlagzeug und einen Sprachsog aus Dialekt und Hochdeutsch. Mit unverstellten Blicken in die
ungesehensten Alltagswinkel haben sie es geschafft, ihren ganz eigenen Kosmos in die Welt hinauszutragen.
Nun haben Kofelgschroa mit "Baaz" eine neue Umlaufbahn erreicht. "Baaz", das titelgebende Herzstück der
neuen Platte, entführt mit psychedelisch angehauchten Elektrosounds in einen längst vergessen geglaubten
Krautrocksommer - fast neun Minuten pulsiert, treibt, wabert und flirrt es. Dann "Pauline" - ein instrumentaler
Bilderbogen, zu dem sich im Kopf eine seltsame, fast schwerelose Weite einstellt, sehnsuchtsvoll und auch
wehmütig. In "Ballon" steigen wir mit Kofelgschroa hoch in den Himmel und schauen mit ihnen auf all das
Kleine und scheinbar Banale: "Jeden Tag wird's Abend und bis jetzt ist es immer wieder Morgen geworden.
Die Jahre gehen in Schleife, bin i hinten fertig, fang i an von vorn, ohne Ende ohne Anfang, konstant schnell
oder langsam." Auch wenn wir uns mit Kofelgschroa immer mal wieder umschauen, das Klanguniversum der
Vier bleibt doch im Jetzt und macht den Blick weit für das, was grade im Moment durch die Welt tobt. Auch,
aber eben nicht längst nur in Oberammergau

Crying Bamboos is a translation of the pidgin description of the sound of sacred flutes: "Mambu i cry, i cry, i cry".

Sacred flutes are blown to make the cries of spirits by adult men in the Madang region of Papua New Guinea. Pairs of long bamboo male and female flutes are played for ceremonies in the coastal villages near the Ramu River. There are seven male initiation flute cries from Bosmun, four flute cries from Bak: Borai with occasional single garamut percussion and two flute cries from Kaean, one with vocals and hand drums. The flute players were of the last generation to have learned this skill during a complete cycle of male initiation. These previouslyunreleased recordings were made in 1979.

Recorded by Ragnar Johnson

Notes by Ragnar Johnson and Jessica Mayer

Photographs by Ragnar Johnson

Tape to digital transfer and mastering by Dave Hunt at

Dave Hunt Audio, London

Cut by Rashad Becker at Dubplates and Mastering, Berlin

Tape / Cassette * The Hyperlucid Gaze hides in waking dreams where the foundations of perception are laid. This corrupted society has fed the eye with tantalizing, soulless imagery and the mind has absorbed it all, seeping into the corroding, disheartened body.

* If the eyes would instead turn skywards, to gaze upon the cascade of lights, those sparks of memories where the spirit resides, then a freshly drawn reminiscence of previously perceived dimensions would be revealed.

* Francesco G. Gagliardi aka ~raw is a Milan-based creative coder and sound explorer. The tracks in this suite were recorded with a self-built cello-like spring instrument. Subsists A Presence of Midnight sample an unreleased track from Left Side of Lower Jaw.

Mica Levi presents her latest, stunning soundtrack, this time to the Phil Collins-directed anime short Delete Beach, on Demdike Stare's DDS label.
Following on from the maverick pop auteur and film composer's European Film Award-winning score to Under The Skin, and her Jackie soundtrack, this is Mica's first musical accompaniment for animation, by revered designer Marisuke Eguchi, animated by STUDIO4ºC.
Delete Beach is a sci-fi anime set in a near future where carbon-based energy is outlawed.
The film supposes a paradoxical scenario, one where fossil fuels - the ostensible accelerator of humanity's progress and decline - become energy for the toil against state oppression and enforced inequality. In doing so, it resonates with anime's strong tradition of exploring ecofeminist themes and power dynamics, both socio-political and technological.
Using a signature palette of dissonant strings and combustible electronics laced with skeletal percussive treatments, Levi paints a series of sweeping backdrops to the short's blend of classically-schooled anime and up-to-the-second CGI designs. The central Delete Beach theme, a diaphanous section of airborne synth-string contours and charred guitar distortion carved in pirouetting turns-of-phrase, appears in Japanese and English-narrated versions and an Instrumental mix. They are divided by the beat-driven Interlude 1 and interlude 2 parts, recalling a mix of string slashes mixed with opiated chopped 'n screwed rhythms comparable to Micachu & The Shapes deconstructions of London Sinfonietta.
After her work underlying and exploring complex characters in Jackie, a biopic of Jacqueline Kennedy Onassis, and the alien-woman metaphors of Jonathan Glazer's Under The Skin, her Delete Beach soundtrack follows suit with an impendingly tense, viscerally affective sound that reflects and conveys a sense of independence in the face of uncertainty, of a struggle against imposed forces or control systems. It's another beguiling testament to Levi's role as one of the most original and eminent composers of her generation.

Electronic Leatherette is the new label from Riga based producer Dmitry Distant. After years of making electro and wave music he decided to create a new story and run his label. With a first release label provides a series of 4 basic nature elements. As a fundament of everything this release is dedicated to element Earth and can bring you though atmosphere of esotoric electronic music within guides from Vessel in Distress, Heinrich Dressel, Franck Kartell and new comer name from same planet MSRG. Enjoy your travel and sound scape.

Closer To Stranger is the new solo album by Pakistani-born dream-folk musician Ilyas Ahmed. Drawing on a wide range of influences, his songs incorporate classic singer-songwriter gestures alongside more experimental leanings. Recorded to tape in the studio by Justin Higgins in the fall of 2016 and finished in the spring of 2017, Ahmed's instrumental palette includes: acoustic and electric 6 and 12-string guitars, Fender Rhodes, multiple keyboards, tanpura, and percussion. Closer To Stranger stands as a meditation on uneasy identity politics during times of unreason, seeking peace amidst chaos.Jonathan Sielaff (of Thrill Jockey ambient duo Golden Retriever) cameos with guest saxophone on Zero For Below' but otherwise the album is a solo affair, alternately feverish, tense, hazed, hypnotic, and narcotic. A slowly unfolding inward journey of late night lullabies and contemplative electric drift.

At the beginning of the 70s, in Italy, the revolutionary surge of 1968 was beginning to turn into something grimmer (and definitely not linked to left-wing ideology) but the concept of factory' still had a key role in the economic and social life of the country. It was not just an alienating workplace, where you often spent your whole life, but also - and overall - the place where demands were made and political struggles took place. Therefore, a feasible imaginary soundtrack for the factory was the daily noise of machines, tools, hammers: an idea that, years later, would be embraced by dozens of industrial bands all over the world. But, in 1972, that reality was documented by Gerardo Iacoucci: We went into factories and workshops and recorded the noise of the machines, then we put on it special musical effects and did an accurate mix', he tells in the liner notes. Industria N.1, divided in Fabbrica on the A side and Impianti meccanici on the other side, is an amazing work mixing field recordings and experimental music, proving how you can combine political commitment, art, avant-garde and pioneering noise music in a brave record.

Experimental German Rock And Electronic Music - Part A

Soul Jazz Records new 2018 edition of their long out of print classic first 'Deutsche Elektronische Musik - Experimental German Rock and Electronic Music 1972-83' is 'a near-definitive guide to some of the world's most extraordinary music' (The Guardian).
The album comes as two separate double-vinyl (+ download code) editions and a large double CD pack (+36-page booklet), featuring a stunning line-up of groups including Cluster, Can, Faust, Popol Vuh, Neu!, Amon Düül, Harmonia, La Düsseldorf and Tangerine Dream as well as a host of lesser known groups such as Kollectiv, Ibliss, Between and many more. This new edition is fully re-mastered and features all the original artwork and tracks.
The first seeds of German rock and experimental electronic music were planted in 1968, as students and workers in Paris, Prague, Mexico and throughout the world demonstrated against mainstream society, the war in Vietnam, imperialism and bourgeois values. The birth of a counter-culture, drug experimentation and social change expanded musical worlds. Germany experienced its own cultural revolution fuelled by these worldwide student and worker revolts and by a generation's desire to rid itself of the guilt of war.
German rock and experimental electronic music grew out of this worldwide counter-cultural revolution of 1968. The objectives were to create new music, 'free' from the past, many German youth turning their back on mainstream society. From the opening of the first collective/cooperative, Kommune 1, in Berlin, to the formation of the Baader-Meinhof terrorist group and the bombings, kidnappings and killings of the Revolutionary Armed Forces (RAF), young Germans sought out new values and a lifestyle outside of 'the system'.
These cooperative and communal experiences led to a number of new collective German bands forming such as Amon Düül, Faust, Can (all featured here) and others and these ideals drove this new movement. A music that gave seed out of the cultural 'nothingness' that young Germans felt as a consequence of Germany's role in the Second World War. A generation who grew up stifled by the recent history of Nazi atrocities, the guilt of their parents' generation and their disillusionment at the reintegration of old Nazis into mainstream society.
Influenced equally by the electronic experimentalism of Stockhausen, the progressive rock of Pink Floyd and the black American jazz and soul music played at the occupying armed forces bases, young German artists seamlessly created out of this a new unique music with its own unique identity.
Double CD pack with large 36-page outsize booklet encased in slipcase. The vinyl edition is made up of TWO separate volume heavyweight loud gatefold double albums (+ free download codes) featuring all sleevenotes and text.

Ltd edition hand stamped 12" vinyl incl sticker and hand screen printed insert inside a polybag.

Seven songs by Rully Shabara and Wukir Suryadi, rootsily mystical and vividly al fresco, spiralling from peripheral sites beside rubbish dumps and rice fields, into a busy market at the heart of Yogyakarta, from dawn till dusk.

Immersive listening music from Vakula, created in the hidden depths of the Ukraine.

On August 8th 2016, These Hidden Hands will release 'Vicarious Memories', their second LP and follow up to their 2013 debut album which saw the successful collaboration of Alain Paul and Tommy Four Seven and the launch of their creative platform, Hidden Hundred.
After the experimental duo re-surfaced earlier this year with 'These Moments Dismantled', a single featuring Lucrecia Dalt, These Hidden Hands is now set to release the album's single, 'SZ31X71' which marks an exciting new chapter in the groups musical direction and will include a remix by revered Tri Angle artist, Roly Porter.
SZ31X71 will be released via Hidden Hundred, available as limited edition 180g red vinyl with hand screen printed covers and digital download.

An EP from Carla dal Forno containing four new, obliquely confessional dispatches from the edge zones of feeling. It marks both a refinement of the dub-damaged, inward-looking bedsit pop essayed on her 2016 debut album You Know What It's Like, and an evolutionary leap. While there is warmth and intimacy to come, The Garden opens with a cold hard stare: 'We Shouldn't Have To Wait', an unexpectedly confrontational companion piece, or response, to her own 'Fast Moving Cars'. This is not a dazed reverie, but forceful, fatalistic, void-chasing drone-rock led by a stalking, venus-in-furs bassline that levels everything in its path. No longer gazing from afar at fast moving cars, but behind the wheel of one, driving pretty recklessly. No particular destination in mind, but impatient to get there. 'Clusters', then, is the sound of (unexpected) arrival in something close to paradise, and slowing down the better to take it in: a bright, imagistic, electronic pop fantasy in the tradition of Stereolab, Broadcast or Saint Etienne, with lyrics plucked and rearranged from the pages of a National Geographic article. dal Forno's voice, newly prominent and minimally accompanied, sounds close to contented, but also worldly-wise and not a little suspicious of her surroundings...the only problem with paradise is the people in it. 'Make Up Talk', written last summer in Melbourne, is a tense, awkward unpicking of a dysfunctional relationship (aren't they all), its murky sound design, thrift-store percussion and lyrical starkness pegging it as the closest relation to You Know What It's Like, and perhaps also the closing of that particular chapter. The EP's title track - and its clear climax - pays tribute to Einsturzende Neubauten's song of the same name, but shifts the action to nighttime, and brings an acutely female perspective to bear on it: here the garden is a place of beauty and refuge, sure, but also one of hidden menace and threat...things that lurk. dal Forno has never sounded so emotionally eloquent, and at the same time 'The Garden' is without doubt her most subtly psychedelic production to date. Her glissando bassline and understated synth-work powerfully evoke the moonlight, the dew and the dark boughs, while her cut-glass vocals - still romantically inclined but freighted with adult self-knowledge, adult fear - summon the Tracey Thorn of Eden and Massive Attack's Protection, but have their own character, occupy their own space in the aether. What makes The Garden so satisfying is how decisively it moves away from the post-punk/lo-fi sensibilities of You Know What Its Like, without vacating them entirely. You could still call this a DIY record - dal Forno wrote, played, arranged and recorded every note herself. And you could still call it a bedroom record - that's where it all happened. But in calling it either, you'd be doing a disservice to the musical and technical accomplishments of dal Forno's flawless, fully-realised dream-pop. The Garden is a compact masterpiece from a remarkable artist who - frighteningly, excitingly - has only just begun to hit her stride.

Liam Blackburn's Ancestral Voices project has been consistently hard to pin down to any genre as he progresses through his new musical experiment. Taking hunks of his formative style developed as Indigo and stretching it into uncharted forms, most of his new work is underpinned by a skill at sound design that has endeared him to the sync community and recently saw his music soundtracking a trailer for Paramount Pictures 2018 thriller 'A Quiet Place' .

To launch his own label 'The Fifth Kingdom', Liam has stripped away the rhythms and percussion entirely for a full 6 track ambient release that soars and glides on a bed of cloud like haze.

A soundtrack for flotation, Mycelia opens an exciting new outlet for conscious music from one of electronica's more daring creators.

Liam Blackburn's Ancestral Voices project has been consistently hard to pin down to any genre as he progresses through his new musical experiment. Taking hunks of his formative style developed as Indigo and stretching it into uncharted forms, most of his new work is underpinned by a skill at sound design that has endeared him to the sync community and recently saw his music soundtracking a trailer for Paramount Pictures 2018 thriller 'A Quiet Place' -

To launch his own label 'The Fifth Kingdom', Liam has stripped away the rhythms and percussion entirely for a full 6 track ambient release that soars and glides on a bed of cloud like haze.

A soundtrack for flotation, Mycelia opens an exciting new outlet for conscious music from one of electronica's more daring creators.

Originally released in 1970, Electronic Meditation' is the first album by Tangerine Dream, and the only one
to feature the line-up of Edgar Froese, Conrad Schnitzler and Klaus Schulz.
The album fuses together different styles from jazz to experimental rock and employs amongst the more tra
ditional instruments like guitars and organs, drum and cello, electronics conceived by Edgar Froese himself.
The album was recorded entirely inside an abandoned factory in Berlin in October 1969.

Being a relentless sound explorer, Laurent Perrier had no other choice to cross paths one day with the world of modular synthesis and to prefer, over the scalpel precision of the laptop that presides over many of his earlier productions under several identities (as Heal, but also as Zonk't, Pylône, Cape Fear and under his own name), the unpredictability of modular systems. That being said, Espace d'Incertitude, the new Heal album isn't improvised at all but was on the contrary mostly composed as soundtracks for choreographic creations. Dedicated to two historic' visions of the modular synthesis, Espace d'Incertitude offers two different sonic universes across its two sides.

The Buchla side, written with this mythical synthesizer takes advantage of its bareness to offer five repetitive and shifting tracks that seems literally born in real time, evolve according to the rules of a language as mysterious as it is accessible.

Conversely, the Mutable side is built from the modules of this French brand, leader of a renewed approach of modular synthesis, and adept of inventive sounds. The result is more ambient tracks, perhaps more typical of the past work of Laurent Perrier, which gradually merge into fragile constructions and play a game of faked mirrors with our perceptions.

Heal certainly did not wait to switch to modular synthesizers to challenge our expectations and plunge us into a delightful uncertainty. Almost all albums recorded by Laurent Perrier under this identity or another are welcome surprises that systematically refuse repetition and conformism. With Espace d'Incertitude, he offers us new organic and sensory worlds to explore and tame ... while waiting for future surprises.

Back to the year 2000 with this one-off album produced by the electronic project Timestretch Paradise released via the former Cologne-based label Hotel Lotte.

Recorded on the island of Crete Timestretch Paradise is the collaborational effort of Dr. Walker of Air Liquide- / Djungle Fever- / Liquid Sky Berlin-fame, LL Nino, Wulfmanson and legendary guitar guru Craig Anderton of Gibson Guitars which explores the fine art of Nuskool TripHop, BigBeats, twisted ElectroPhonk and Advanced Breakbeats for all lovers of psychedelic, fkkd up music.

When we're young, the lines we draw are rough. They represent big emotions we can't quite explain. Later in life, we mourn feelings lost to time. But you can fill in the parts you can't remember - patching together sentiments floating in the ether, reminiscing on things you haven't lived. In the process, new flowers bloom. Wildflower is all original work, written and performed by Pax from his base in the Bay Area. With big dusty walls of sound and a free-spirited melodic bend, it tells a story of growing pains in dreamy strokes, aimed straight for your gut with a crisp, autumnal charm that practically begged to be pressed to wax.
Wildflower encompass the dexterous range of Pax, the clear-eyed precociousness and smiling audacity with which he swallows everything saccharine, chews up the parts and spits out something exquisite and joyful - at times spectral, and bitterly sad, too.

QUAD SAX is the cut-down version of URBAN SAX, composed by Gilbert Artman (LARD FREE, URBI-FLAT KOMINTERN, CATALOGUE).
An exploration of minimalism and repetitive music ( evocating Steve Reich pieces) by a brass quatuor designing a spacey odyssey through unknown territories.

LIVE 2002 captures an inspired performance at BALTIC Centre for Contemporary Art in Newcastle by three revered, influential and like-minded pioneers, Ryoji Ikeda, Alva Noto, and the late, great Mika Vainio.

This recording marks the only ever concert by the trio and its release serves as a tribute to the much-loved Vainio. Mika was not only a friend and collaborator, but also an inspiration for my work as an artist. This is a celebration of his contribution to our work', says Carsten Nicolai, AKA Alva Noto.

Minimal but highly effective, the performance builds throughout with deep sub bass, sleek, spacious sound design and high voltage, inorganic ambience. The inherent noise floor in studio equipment is pushed-up to take center stage. This is sound of electricity, the hum of the engine room and of technology operating almost independently, only gently coerced with artistic finesse by expert human hands. At points static is used decoratively with an ornate, delicate intricacy. At points it becomes rhythmic, like the innate repetition found in machinery. The sonic spectrum later opens up, evoking a rush with laser-like beams of audio light and a barrage of colossal, synthesized waves.

CARTSEN NICOLAI was born in Karl-Marx Stadt, Saxony in former East Germany and studied architecture and landscape design before pursuing art and music, when his interest in David Toop's ideas on the structural and spatial qualities of sound inspired his own endeavours. In 2000, Nicolai adopted the pseudonym Alva Noto for his growing experiments in sound and music, to distinguish them from his visual art, for which he uses his own name. His extensive catalogue and diverse musical projects include collaborations with Ryuichi Sakamoto, Ryoji Ikeda, Mika Vainio, Scanner, Björk, Iggy Pop, Tarwater, Michael Nyman and Blixa Bargeld from Einstürzende Neubauten.

He has contributed to compilations in tribute to Andrei Tarkovsky and Iannis Xenakis and remixed Björk, Hauschka, John Cale, Kangding Ray, Ludovico Einaudi, Pantha Du Prince, and Ryuichi Sakamoto. Most prominently - and alongside Sakamoto - Nicolai scored the music for Alejandro González Iñárritu's hit film, 'The Revenant' which won multiple Oscars, Golden Globes, BAFTAs and Critics' Choice Awards.

Nicolai started the independent label NOTON between 1994 and 1996. A collaboration with RasterMusic began the same year, and by 1999 the two labels had merged into Raster-Noton, which operated until May 2017. Now Nicolai runs NOTON separately, although all parties will continue with special collaborative projects and activities under the name Raster-Noton.

RYOJI IKEDA is one of Japan's leading electronic composers and audiovisual artists. He was born in Gifu, Japan and lives/works in Paris, France and Kyoto, Japan. Ikeda elaborately orchestrates sound, visuals, light, and physical phenomena into immersive live performances and installations, utilizing mathematical precision and aesthetics. He focuses on the essential characteristics of sound itself and his razor sharp music primarily examines sound in a variety of 'raw' states, such as sine tones and noise, often using frequencies at the edges of the range of human hearing. In addition to working as a solo artist, he has also collaborated with Carsten Nicolai (as cyclo.) and the art collective Dumb Type.

MIKA VAINIO was a Finnish musician renowned for experimental electronic music made under his own name, his solo project Ø, plus various other aliases and collaborations. Much of his output was released on Sähkö Recordings - the label ran by Tommi Grönlund. Most famously he was part of Pan Sonic with Ilpo Väisänen and initially Sami Salo. The group were known for recording everything live using home-made, modified synthesizers and effect units, samplers and an MPC2000 sequencer, straight to DAT. In addition to performances and sound installations in various high profile galleries and in museums worldwide, Pan Sonic played a gig in London's East End from an armoured car using a 5000 watt sound system - similar to those used by the police to disorient rioters.

Mika Vainio died on April 13, 2017 at the age of 53. Tributes to his envelope-pushing genius came from far and wide, including Holly Herndon, Animal Collective, NHK yx Koyxen and Nicholas Jaar. A posthumous MV album called 'Reat' and a reissue of the Ø album 'Konstellaatio' have been released this year. Noton will also be making two other collaborations between Vainio and Nicolai digitally available in early 2018, 'MIKRO MAKRO' by Ø + NOTO and 'wohltemperiert' by Ø + noto.

Swiss artist and veteran producer Ripperton contacted the ESP Institute out of the blue mid-2017 to share a gorgeous mix of self-produced material, a collection of pieces made without any agenda outside of representing the self, not geared toward the dancefloor or a specific environment but simply a bi-product of introspective exploration. We were floored, the mix was on constant repeat in our world for weeks, then was subsequently pulled apart into separate titles to form this beautiful double LP, Ripperton's debut with the label. The title Sight Seeing speaks of someone stepping outside their current reality to look in the mirror, as if to ground themselves and keep sight of who they are in a world of extreme highs and lows. Inspired greatly by expansive landscapes and views from airplane windows (imagine your commute flying over the Alps every weekend), Ripperton describes this collection as postcards to himself, messages from his subconscious recorded on tape (both conceptually and literally), melancholy soundtracks to the Mondays that follow weekend journeys. While musical genres tend to cycle through bandwagon moments, the ESP Institute strives to operate independently of these, and while Sight Seeing is undoubtably an Ambient album, we're simply proud to revel in the chance moment where an esteemed artist such as Ripperton spreads his wings in a beautifully unexpected mode of expression.

Amon Düül's 1969 debut-LP 'Psychedelic Underground', here reissued on vinyl, is music at its most experimental and relentlessly uncommercial, using late '60s influences as a launching ground for what would become known as Krautrock. Taken from a jam session from the previous year, but treated with many studio effects that enhance the strangeness of the collection, 'Psychedelic Underground' rocks to its own weird beat.

Super collectable GIORGIO MORODER album performing as EINZELGANGER (German for Individualist). This one-off project from 1975 provides a look into MORODER's experimental side of his disco synth. Luckily someone has provided us a chance to offer these limited promos thought long lost.

Meat Beat manifesto formed in Swindon in 1987 by Jack Dangers (MBM's only permanent member) and "Impossible Star" is the first full length album in over seven years from the seminal electronic band.

Minimal, textural and cinematic in scope, Impossible Star follows the music innovators deeper into more experimental territory. From the thick and discordant soundscape of "One" to the cut-and-paste pastiche of "Bass Playa" to the downtempo of "T.M.I.", Impossible Star is a layered exploration of sounds and rhythms.

MBM's consistent musical invention has led to all forms of electronic musical experimentation over its 30 year history, from jungle to techno to industrial to dubstep to jazz fusion. Its long string of influential futuristic classics includes such groundbreaking tracks as "God O.D.", "Strap Down", "Psyche Out", "Helter Skelter", "Radio Babylon", "Edge of No Control" to "It's The Music"

All tracks written and recorded by Bruce Gilbert, mastered by Russell Haswell

Design: David Coppenhall, front image/ concept: Bruce Gilbert
Cut by Rashad Becker @ Dubplates and Mastering, Berlin

Editions Mego's 250th release continues its ongoing legacy of cross-pollinating and perverting various threads of radical 20th Century music whilst concocting and properling further ideas into the nebulous region where we currently reside.

With Ex Nilhio, Editions Mego resumes it's enduring relationship with long term collaborator and stalwart representative of the labels aesthetic with a new release from London's most charming deviant occupant, Mr Bruce Gilbert (formerly of Wire, Dome etc..).

Gilbert's peculiar approach to sound over four decades has seen him engage with a wide variety of practice and performance always hovering amongst the grey area between his mind and the surrounding architecture. Ex Nilhio is another significant entry into Gilbert's outre sound-book.

Inhabiting a murky zone between interference and trauma, Ex Nilhio is a daring and dark audio ride through a contemporary ketamine haze, one which haunts identifiable parameters whilst remaining too oblique to be truly quantified. Change and Not teases discomfort, Black Mirrors embraces disorder, Nomad skirts the unsettling.

Whilst never quite resolving its own logic Ex Nilhio invites the casual listener to privy a devastating peculiar and somewhat paranoid fantasy (reality).

Another effortless Gilbert classic.

Originally released on Prestige in 1957, this is the third LP from NYC street performer and avant garde/minimalist composer Moondog. Perhaps the least accessible of his early releases, this album is made up of percussive jams, usually on instruments of his own creation, street sounds, poetry, and Far East melodies, despite opening with a swinging number that is, oddly, the most bizarre thing on the album. Another classic from Moondog reissued with its original Andy Warhol artwork. Limited edition of 1,000 on purple and green starburst vinyl.

S>>D aka Sean Dorris from Belfast delivers his debut album 'Co Intel Pro' on CPU. Refined sampling alongside hip hop influenced breaks sees S>>D operating in a similar dimension to VHS Head. Reminiscent of 1980s sci-fi soundtracks interwoven with IDM-tinged electro, haunting atmospheres prevail throughout with hints of a genre that has yet to emerge. Presented over 2x12" vinyl at 45rpm for superior sound quality.

Fans of Pye Corner Audio, Gescom or indeed anything on Skam will certainly dig this.

The third and final release from Halocline Trance for the calendar year is Perfect Lung, a collaborative album from Istanbul-based composer Ipek Gorgun and Ceramic TL aka David Psutka (Egyptrixx, Anamai, Limit). A decadent yet durable offering of material sound, recorded remotely during 2016 + 2017 in Toronto, Ankara and Istanbul. Seven songs of original, accidental music that span colour and feeling; the petroleum psychedelia of Ceramic TL framed by Gorgun's precise and emotional landscapes. Inhaling/exhaling full register slabs hint at the multi-dimensionality of optimism and voicelessness...multiple things in multiple ways. Chill melodies plod then dissolve entirely like a casual toil. Whatever you like. All creative output is eco-political in nature but this record avoids directive and cliche. Moments of clarity glint through piles of junk; total quantity mimics eruptions of precious material - an unrealistic examination of the concept of material value as defined by its relative scarcity...this album is a lot. A fixation with excess contrasts the corporeal impermanence of humans with the material half-life of their consumer existence. Our legacy is trash - stray objects inside the perfect lung.

3rd vinyl cut from "Decomposition" by Japanese Dub producer Mantis including A remix by Pole. Mastered by Stefan Betke aka Pole from scape mastering.

Lullabies for Insomniacs brings you the debut release from the intoxicating Garland. A project which emerged years ago and subsequently developed and transformed through overseas exchanges. Influenced by popular media and musical practices the duo channels a resonating wonderland that echoes, calling for magic to ignite.

The first full length LP on KSE comes from the Belgium electronica mastermind Luc van Acker. Taking Snapshots is his first full-length album recorded in the early 80's in his own home. Witness Luc van Ackers enlightened musical spirit at the start of his career with this far-out experimental electronic release.

A few years ago, American composer and trombonist PETER ZUMMO discovered a 1984 recording of unreleased material from his Six Songs suite in his archive. Six Songs was the basis for LATERAL PASS (Foom 2014), his award winning score for modern-dance choreographer Trisha Brown's work of the same name. Material taken from Six Songs can also be heard on his seminal ZUMMO WITH AN X (Loris Bend, 1985/Optimo 2012).

The work is now being released as a new LP, FRAME LOOP. Recorded live and in single takes, it features a stellar line-up of longtime ZUMMO collaborators: ARTHUR RUSSELL on amplified cello, BILL RUYLE on marimba, and MUSTAFA AHMED on congas. ZUMMO plays trombone and euphonium.

ZUMMO describes the recording as 'an exercise in spontaneous arrangement'. He mainly hews close to the score, while from time to time introducing canonic lines and variations. ARTHUR RUSSELL, using his signature amplified cello sound, alternates between solos and rhythm playing. BILL RUYLE vamps on the notation, while MUSTAFA AHMED's improvised percussion drives the forward momentum. Sometimes the music takes its time traversing a sonic landscape, at other points, it jumps from one section to another. Players' decisions push and pull the downbeat, rounds emerge, then disappear.

PITCHFORK have previously called ZUMMO's trombone work peerless' and have described his music as the sound of sublimity...that sends shivers down the nervous system.' In an interview with THE QUIETUS, OPTIMO's JD TWITCH characterised ZUMMO's playing as sheer bliss.' In addition to performing his own compositions and leading his own ensembles, ZUMMO has worked with myriad bands, orchestras, composers and musicians. His celebrated trombone style is recognized as one of the most beloved features of ARTHUR RUSSELL's sound, for whom he played and collaborated with in the recording studio. Among many others are PETER GORDON and his LOVE OF LIFE ORCHESTRA, drummerproducer TOM SKINNER (Hello Skinny), cellist-composer/producer OLIVER COATES, the LOUNGE LIZARDS, including the recording of TEO MACERO's Fusion, which also featured the London Philharmonic Orchestra, and the Downtown Ensemble. He lives in New York City.