Beats News

Siegmar Fricke describes his music as 'dynamic dancable collage-pop with a 90s technoid tendency'. The music on this release is made by Yamaha sampling- keyboards, Yamaha multieffects, synthesizers and 60s magnetic tape recorder, recorded on a four-track Tascam tape-machine. From 1987 - 1993 he produced twenty four cassette releases, some on his former label 'Bestattungsinstitut' and some on other tape-labels all around the globe. This vinyl is a fine selection of various tapes from 1988 - 1993 slightly edited for club use and remastered by Berlin's masterchef Kitaro from Schnittstelle. Heavy underground dancematerial for the first time on vinyl!!! Comes with a strong extended dancefloor remix by Manfredas.

Boris Bunnik is no stranger in the worl d of electronic music. He released several albums and ep's under a variety of monikers since 2007 on labels like Delsin, Shipwrec, Frustrated Funk and his own Transcendent imprint. Fauxpas Musik welcomes him for a new project called Severnaya. Originally hailing from the Island of Terschelling, the most Northern and remote part of the Netherlands he now made a piece of music dedicated to this special place. Severnaya means north in Russian and refers to the bright frozen landscapes of the northern archipels. Boris often plays with the influences and elements of ambient in his music. If we have to believe the man himself, Polar Skies is his most personal sound trajectory to come from his mind. Drum programming is scarce and what remains is a lush and profound listening experience floating on scapes and melodies. We clearly hear his roots and intentions represented in the airy, tranquil sound design of this new album project. Things sound spacious, and life is at ease in these melancholic compositions. Crispy crackling percussions and icey pads place you in the midst of a resonant arctic landscape. You can hear influences drawn from producers like Biosphere, Pub, Brian Eno but we also hear more contemporary influences from modern day film composition but most of all we here Boris his own signature. The tracks were composed over a couple of years (2015-2017) in a more contemplative mindset. At some point this selection formed a consistent piece of music and as a result you hear his most personal and fragile works to date. Fauxpas Musik is proud to release this new project in 2018. written and produced by Boris Bunnik aka Conforce at the PasadenaOceanlab Studios Special thanks to family, friends and Fauxpas

90s material from the man also responsible for the Rex Illusivii material we've been adoring here. Stunning again. Download Code Included. Artwork by Emilija Radojicic. TIP!
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'Otherworldly, poetic, imaginative and full of exploratory spirit: the music of Mitar Subotic aka Rex Illusivii aka Suba is somewhere out there. Pure spheres of sound, ruled by absolute expression and a sounding language beyond our notion of a language.

Now Offen Music reveals another unknown chapter of his large archive. This time it's a Suba record, an alias Subotic started to use already in the late 1980s in Yugoslavia. It became prominent after his relocation in São Paulo in the late 1990s, where he became one of Brazil's most demanded producers of the time. Wayang' was conducted in 1995, just shortly after Suba produced an album together with his old Yugoslavian friend Milan Mladenovic under the project name Angel's Breath. Their record unites ambient, world grooves, polyrhythms, haunting synth lines, post-punk, funk, reggae, dub, Asian melodies and vocal experiments all turned into a demanding, yet slightly pop story arc for open minded searchers. Somehow the Angel's Breath is discreet mirrored in Wayang', that was recorded in Suba's Wah Wah Studio in São Paulo, Brazil. The album features eleven tunes of whom each single one dances in its very own pipe dream. You hear particles of classic, tripping trip hop, minimal music madness, drone psychology, African percussions, the sound of a jungle, all-consuming Wagnerism, tragically moving psychedelic, tribal neo wave, Balearic desire, ethnic pureness, industrial rudeness, traces of Alan Lomax and the Smithsonian Folkways world as well as syncopated polyrhythmic adventures, religious chants, sample experiments, mumbling synthesizers and even techno. It's all there and as if time hasn't moved on, its sounds fresher than fresh. Music that has been produced with no specific audience in mind, only guided by sound and the dimensions it is able to create. Consequentially it seeks for a listener that is willing to surrender, to feel the many particles of Suba's divine musical imagination beyond the common grounds. You don't love someone for their looks, or their clothes, or for their fancy car, but because they sing a song only you can hear.' Oscar Wilde once said. Suba is singing these songs without using his own voice. He chants with sounds, found voices and unheard rhythms. If Wayang' would have been released during the times of its origin, Mo Wax music would have sounded frumpy and Warp would have loved to drop it for its fierce musical attitude.

If someone now says, it is easy to judge backwards, we recommend to listen and jump irrevocably forwards. It will be a sublime, sparkling, spiritual, impressive, thrilling journey that elevates its listeners to a place of inspiration and enlightenment.' Michael Leuffen, November 2017

barking /ba:kin/ adjective BRITISH informal completely mad or demented. "we are all a bit barking" barking /ba:kin/ Noun BRITISH suburban town in the London Borough of Barking and Dagenham. bark /ba:k/ verb 2. utter (a command or question) abruptly or aggressively.

Björk has released two remixes of the track 'Blissing Me', from the current album 'Utopia', one which strips back the existing layers of song to purely her voice and a harp arrangement by herself, and another by the enigmatic artist serpentwithfeet who has gifted his heavenly gospel tones to the track.

New project and new label from the creators of the fantastic 808 Box, Fundamental Records.There are many details that make this project something really unique. These records will become classics if they are not already!. The music of every record is very special, also the artwork and the technic use to print each sleeve, but the concept behind this project something you need to understand, as you can read in the website everything is based in two factors:First, to provide the artist with complete anonymity in order to create in absolute freedom.Second, to offer the listener the work of the artist without any external distortions.The use of words to describe or define music is a senseless task. Most of the time the intention of descriptive text is not to shed light on the work of the artist, but rather to serve as a promotional tool to drive sales and increase recognition. This often has the unfortunate result of limiting the creator and his work. Music is all we need, any other additives are completely dispensable.- This project is an experiment.- Only six artists are part of this project.- The identity of the artists involved in the project will remain private but they are free to reveal their identity after some time, even if we would prefer they didn't (that is the reason we provide a special code in the back of each record)- The artists involved in the project are not aware of the identity of the other artists.- During the following 12 months we will periodically release 12 records: 11 x 12 and the last one, a special 7- Each record is a full album, a trip into the mind of the artist. There is no need for 'perfected' tracks as this is not a collection of hits compiled on a 12' for massive sales. We asked each artist to work without any limitations or expectations that their previous 'sound' might impose. In this way the artist may expose ones true self in the music or choose to demonstrate another side of their creative self.We strongly recommend to take some time and read about this project at their site:

William Gibson's prophetic sci-fi novel Neuromancer inspires Mumdance, Logos and Shapednoise to sensational new heights on their 2nd EP in The Sprawl trilogy for The Death of Rave. The trio's EP2 is all about 'Data Flow', or the relay of information between software, hardware and its human agents, triangulating The Sprawl as biologic semiconductors in a quantum network of emerging AI consciousness, parsing their corrupted memory flashbacks of physical ecstasy, excess and synaptic muscle memory into premonitory visions of future hardcore rave.
Arriving at the project's midway point, equidistant to futures past and the singularity, the trio's 2nd cybernetic merger generates pivotal plot twists and an expanded palette of styles in flux between virulent mutations of noise torque, hardcore techno and sci-fi cinematic memes.
Across its four tracks, each producer's recognisable characteristics are strategically subsumed, consolidated to an inseparable, if fractious, energy that describes and manifests the themes and energies of William Gibson's prescient cyberpunk fiction in hyperstitious form.
The A-side picks up directly from EP1 with the synaesthetically-enhanced sensations of Burning Chrome, titled in reference to one of Gibson's first short stories set in the fictional dimension of The Sprawl - the first to coin the word 'cyberspace' - with a turbulent roil of bruxist shockwaves unpredictably punctuated by lush pads, before the cyberpunk terror of Black I.C.E. hacks into the nervous system with visceral, arrhythmic dynamic.
On the B-side, the story really shifts up a gear or five with X System, a breathlessly brutal 150bpm techno assault that sounds like late '90s Dutch rave or NYC bunker techno dialled in via faulty ISDN connection, which makes for a steep contrast with the shocking emotive pathos of the EP closer Online Seance, where the trio fulminate a transcendent vision of cinematic synth noise redolent of Leyland Kirby's Intrigue & Stuff series, but with a vicious digital edge and serontonin-frying euphoria of their own imagineering.
This is the sound of The Sprawl really coming into their own as a thrilling, innovative, and boundary-probing prospect within the noise techno nexus.

Based on a small inspiration by Kudo Tori, with additional material added from the voicemail recordings made by Hashizaka Ai (and her family) and from a Maher Shalal Hash Baz 30th anniversary show in Shinjuku, to make up three levels of sound.

Hashizaka's sounds are full of the highly entropic sadness of northern Wakayama and Maher at Shinjuku sounds like they were a little angry.

Kudo-san says that he picked up a sense of blankness and kindness from these fragments. Something like the feeling you get at an out of the way bookstore that has a nice collection of books, or at a small cheap bar that features fried organ meat, or a bakery, or taking a long trip, or when you're extremely busy with cooking, cleaning, housework and child care, or other real experiences that make life worth living.

- Notes by Geshi Nodoka translated by Kato David Hopkins

- CD Mixture Of All Tracks

Belgian musician Dijf Sanders pens and produces soundtracks for distant, far-flung places that brood with exotica, psychedelia, jazz and electronica. His new album 'JAVA', is a psychedelic and modern search for the sounds of the homonymous Indonesian island. Armed with a set of field recorders, Dijf traveled to every urban and rural corner of Indonesia in the spring of this year. As a contemporary incarnation of ethnomusicologist Alan Lomax, he collected an impressive repertory of recordings, commissioned by the Europalia Arts Festival and KAAP Creative Compass. 'Kacapi', 'Kendang', 'Angklung', 'Calung' or 'Gamelan' are not the names of indigenous tropical diseases by the way, but those of local instruments that Dijf encountered on his adventurous musical quest. For two weeks the American expert ethnographer Palmer Keen stood by Dijf through his total immersion into the island's colourful culture and rich, ceremonial traditions. On his return to Belgium, Dijf headed straight back into the studio with the gathered material and invited some of his musical soulmates to put the icing on the cake. It is no coincidence that the three guests - Nathan Daems, Filip Vandebril and Simon Segers - are all part of Black Flower, a band that famously flirts with Oriental sounds. From hours and hours of field recordings, Dijf distilled ten psychedelic pieces which ride on waves of ecstasy and trance, and bridge the gap between two worlds. Tribal rhythms and warm melodies are fused to a seamless and beautiful musical work in utopia. The Brugge-born, Gentbrugge-based musician is one of those great Flemish talents. In the past, he earned his stripes with Teddiedrum and The Violent Husbands and has produced bands like Kenji Minogue and Blackie & The Oohoos. He has also released music under his own name including the critically acclaimed album 'Moonlit Planetarium'. Welcome to Dijf Sanders' wonderful journey into future exotica.

Greenock's Polonis makes his debut on Astral Black under his Rebore Kid alias. The 'Rebore Kid' EP follows up the release of 'Campaign' on Boxed004 with 4 DJ friendly club-tools made entirely of gun shots, proxy mines and homing missile sound effects - with the odd kick to remind you what traditional club trax should sound like - early support comes from the likes of Grandmixxer, Logos, Spooky & Oil Gang.

Across the 4-tracks Rebore Kid reimagines grime classics 'Straight', 'Lucky 7' as well as liberating the legendary OG 'Rebore Riddim'. The EP is available on 200 x hand-stamped white labels, each individually numbered by the man himself (so it's a bit like an autograph).

In der Pause' (During the Pause) was the title of the last track on the b-side of , the first album by Die Tödliche Doris. In der Pause' was pause music, as well as the announcement of the interval between their debut album, released in 1982, and the box format project 'Chöre und Soli' that followed in 1983. The original sounds of In der Pause' survived on a single audio tape dating from 1981.Now, about 35 years later, Chris Dreier and Wolfgang Müller have used the material recorded on the audio tape as the source for five new tracks of pause music. The material on the original audio tape has was reworked using Moog analogue effect modules and Ableton Live. It has been supplemented with archived announcement interludes from radio and television stations, including German stations WDR, NDR and HR, Radio Italy IBF and Radio Kamerun.Sprechpause' was recorded in 1981 — 1982 by Chris Dreier, Nikolaus Utermöhlen and Wolfgang Müller and reworked by Wolfgang Müller and Chris Dreier in 2017.

The Fossil Aerosol Mining Project continues their post-industrial dialectics through their "songs of enhanced decay and faked resurrection." This cryptic ensemble from the American Midwest has been quietly producing such works since the '80s, with a deep catalogue highlighting a uniform brilliance in the exquisite reconstruction of exhumed cassette tapes and moldering 35mm film stock.

On August 53rd, Fossil Aerosol has collaged their reclamations of found sounds into an inquisitive, dynamic cinema of the ear. The tape loops and recombinant samples create elliptical orbits and vertiginous spirals. Down-pitched, disquieting rumbles form the foundations for much of Fossil Aerosol's compositions, which mutate the fractured, crumbled, and mildewed artifacts into patterned yet shifting phrases. The result seems like hybrid, time-compressed mimicry of the evolution of our media-driven language.

The official statement from the ensemble reads as such:
"This album, arranged specifically for Helen Scarsdale, might be considered a prequel to The Day 1982 Contaminated 1971, featuring the damaged remains of certain pop culture pleasantries in a less decomposed state than found on the previous vinyl release. August 53rd, a month extended to accommodate a changing climate, predates the day 1982 contaminated 1971."

Such inquiries characterize the many non/fictions that contextualize the work of Fossil Aerosol. Through the process of decoding lost melodies and dialog of the 1960s, '70s, and '80s, Fossil Aerosol intentionally or unintentionally deflates the vanity of consumerism while at the same time providing an archaeological view of contemporary culture.

These conceptual frameworks would be meaningless if Fossil Aerosol did not deliver on the aesthetics. And deliver the Project most certainly does. August 53rd harbors the rich enigmas of distressed sound collages found in the work of likeminded artists such as Philip Jeck, Felicia Atkinson, and of course Fossil Aerosol's occasional collaborators :zoviet*france:.

Noted photographer Michael Eastman (Vanishing America, Havana) contributed the artwork used for the cover of the album, specifically selecting imagery from decaying landscapes of the American Midwest.

Braindance Records, Giving the Morning calm a Second Chance.

After spending years venturing between ocean and land, I.M.J.U.S has found solitude back in his hometown, Seoul. Upon returning he has dedicated himself to delivering the Paganist Delusion E.P. Five recordings of melting rythmics derived from hypnotic Minimal to pace driving tracks.
I.M.J.U.S break codes up and this output shows his unique and unconventional sound interpretation. With inspiration peculiarly drawn from Industrial sounds through his experiences, we are left with a convergence of experimental and uniquely imaginative techno.

Ltd. to 500 copies, 180 gram vinyl, letterpress on Foldkraft paper sleeve, incl. 12-page full-size booklet

Empty Editions presents Jean-Luc Guionnet and Daichi Yoshikawa's collaborative debut, Intervivos. Recorded during a week-long residency at Hong Kong's Empty Gallery, Intervivos (Latin for between the living'), refers to the vital and unexpected acoustic synergy that developed between Guionnet's extended alto saxophone techniques and Yoshikawa's feedback systems during these sessions.

Although Guionnet and Yoshikawa both come from prolific backgrounds in free jazz and electroacoustic improvisation - Guionnet plays in The Ames Room with Will Guthrie and Clayton Thomas and Yoshikawa studied with AMM's Eddie Prevost - Intervivos sees them developing an approach to improvising which seeks to escape the increasingly narrow stylistic confines of these musical provinces. The album is characterized by a brutal foregrounding of process and material lacking from the experimental music of so many of their contemporaries. Rather than seeking refinement or resolution through existing structures, Guionnet and Yoshikawa prioritize a sort of collaborative musical searching in which the aural entanglement, layering and folding of their scorched intonations creates an emergent musical form - a non-linear music which sounds both ancient and futuristic.

Corruscating alto saxophone riffs appear suddenly, before disintegrating amidst slabs of feedback and flurries of metallic percussion. Other times, Yoshikawa and Guionnet conjure shifting clouds of sustained tones from the timbral meshing of their instruments - yielding a sound somewhere between the dense textures of Iancu Dumitrescu and the floating harmonics of Gagaku. Far from improvisation as we know it, this album instead gestures towards a speculative electronic' music created through the ritualistic misuse of acoustic instruments. Intervivos is a fierce, undecorated triumph in the ruinous expression of instruments - exalted in both its turbulence, and in its extreme testing of improvisational reality. Put summarily by Seymour Wright in the album's liner notes: You don't need me to tell you how it sounds, or how to listen (...) this record begins when you play it.'

The release is mastered by Rashad Becker at D&M, featuring artwork by Jean-Luc Guionnet and 12- page liner notes by saxophonist Seymour Wright. The LP is produced in an edition of 500 on 180 gram vinyl in a letterpress on Foldkraft paper sleeve.

Jean-Luc Guionnet is a Parisian artist whose practice encompasses composition, improvisation, filmmaking, and philosophy. He has toured extensively as a solo saxophonist, and has spent the past 15 years performing on on historic church organs around the world. For him, music is one of many methods by which to test reality. Having studied musique concrète under Iannis Xenakis, his acousmatic sensitivities reveal themselves through the reverence that guides these interrogations. Approaching his instruments as imperfect vehicles of artificial intelligence, his attentive engagement applies speculative pressure to the expressive limits of their material properties. In his hands, design flaws and repressed qualities transform into catalysts for novel sonic emanations, and the simplest of processes are mobilized to extract infinitesimal acoustic detail. Although a formidable solo performer, Guionnet is no stranger to collaboration. In addition to his ongoing relationship to the seminal French improvisation group Hubbub, he has worked extensively with artists such as Taku Unami, Eric La Casa, Toshimaru Nakamura, Will Guthrie, and Mattin.

Daichi Yoshikawa is a Japanese sound artist based in London and Berlin. A former student of AMM co-founder Eddie Prevost and sound artist David Toop, Yoshikawa's distinct sound comes from feedback systems generated between homemade assemblages of speakers, contact microphones, and various found objects. Developing his ability as an improviser through years of attendance at Prevost's weekly workshops, Yoshikawa is singularly unique in his facility to wield electronic feedback as an instrument capable of both dialogic potential and genuine musicality in a group setting. Combining the collaborative sensitivity of a player like Toshimaru Nakamura with a techno and noise-derived penchant for enamel-peeling feedback tones and lurching metallic rhythms, Yoshikawa's electroacoustic practice creates brutalist landscapes of sound from the space between noise and silence. Yoshikawa is also part of the ensemble llln, a London-based group with Seymour Wright and Paul Abbott, and has collaborated with Joel Grip, Antonin Gerbal, Samo Kutin, Lee Patterson and Rie Nakajima.

Exceptional recordings by this New age maestro. Only recently re-discovered by his friend JD emmanuel & the band Sun Araw. Originally released on cassette in 1983 and now for the first time available on 180gr. Vinyl. For fans of joanna brouk, JD Emmanuel and Iasos

Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance.

These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City's Alternative Museum in October, 1983.

The Music of Rana' Enviromental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning Sunbreath', has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music's original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition.

This album is the second volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall's book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. EQ settings of treble and bass levels determine the music's effect upon you. Please explore until the most comfortable settings are found.

Ricochet Screen is the first proper LP from New York based TINT (aka Zane Morris). Encompassed as an overview of his solo recordings dating as far back as 2007, Ricochet Screen unfolds as a storied arc on the obsessiveness of composition, conception and mechanism. Culled from ad hoc recordings in vacant industrial buildings, lunchroom cafeterias and bedroom studios, the record functions as a meditative associative collage regarding a rebounding from omnipresent glass monitors, intrusive security measures and indeterminate barriers.

After his well acclaimed soundtrack lp on Hivern Discs,Brussels based producer Lawrence Le Doux is returning to homebase Vlek for his next offering. And what a project it has become: Le Doux, heads first, dived deep into the Belgian national history of electronic music, and came up with a   sampler covering the various fields the Belgians have explored over the last 30 years.  
From digi dub over simple drum computer house to one­man industrial cassettes: 'Host' has it all." 
Lawrence Le Doux opened for   Matias Aguayo in one of Brussels' major venues: Ancienne Belgique earlier this year.   
Lawrence Le Doux' latest album was released on Hivern Discs (Music For Documentaries' -  3,8/5 on RA)
VLEK designer Dimitri Runkkarri's take on the analog type press / glass printing process: With Lawrence Le Doux, from the beginning (with "Terrestre", 2014) we used different materials to print out the sleeves. We used cork, overlapping letters, plastic cross for wall carving.
This time, I had some glass left at the workshop. We wanted to try. We broke it on the press then printed it with all the texture, scratch, accidents caused by the pressure of the press..."

Karl Lukas Pettersson has searched through his vaults of DAT tapes to create a personal album of lost projects, ideas and forgotten gems. The album includes a remastered version of Professor Laphroaigh originally included on his Dr Lindh - Sounds Interesting EP for SCSI-AV
Limited to 300 copies

Bonsai Superstar is the second album from the band Brainiac, released in 1994. It is the first album on which guitarist John Schmersal appears. Originally released through Grass Records, and long out-of-print, the album was recorded in Brooklyn, New York with engineering and production done by Girls Against Boys bassist Eli Janney. While the album received little critical attention upon its initial release in 1994, today it is considered one of the best recordings by the band.

After a slew of acclaimed releases by Equiknoxx, Robert Aiki Aubrey Lowe, Shinichi Atobe and Mica Levi in 2017, Demdike Stare's DDS start 2018 in typically unexpected style with a remastered reissue of David Moufang (Move D), Karl Berger, Jamie Hodge, Gunter Kraus and Jonas Grossmann's gorgeous sophomore Conjoint album, Earprints (2000).
Conjoint was the little-known but hugely regarded ensemble founded by David Moufang two decades ago, featuring techno pioneer Jamie Hodge, Deep Space Network's Jonas Grossmann, acclaimed jazz guitarist Gunter Ruit Kraus and, most intriguingly - Karl Berger (Jazz Pianist and Vibraphone player for Ornette Coleman, Don Cherry and George Clinton to name but three).
The ensemble are accompanied on Earprints by Andrew Pekler, Anna-Lena Fiedler, Burkhard Höfler, and Kai Kroker, among many others, and flesh out a full frequency spectrum of instrumental and electronic timbres, precisely yet louchely coalescing a timeless and cool blue sound that is entirely respectful to its roots, yet dares to imagine them in an altered context. In that respect it's an influential, memorable precursor to Jan Jelinek's acclaimed Loop-FInding Jazz Records that was eleased the following year.
Democratic in its construction and flush with pregnant contemplative space between and around the notes, the lasting impression made by Earprints is indelibly classic, quietly awaiting immersion by a new wave of listeners who will no doubt marvel at its many charms.
If you're into late night listening and have followed the work of Move D, Miles Davis, Tortoise or Jan Jelinek's frayed, late night Jazz minimalism - this one's for you.

The music of Hawthonn is dense and atmospheric, but not inaccessible. Experimental electronic techniques fuse with doom-laden organ riffs, crystalline piano, elemental drones and haunting vocals. Largely guided by their own unconscious muse, the band's chief inspirations lie outside of music, in Romantic poetry, dreams and reveries, esoteric symbolism, the history of magic and witchcraft, folklore and the English landscape. Hawthonn is Leeds-based duo Layla Legard and Phil Legard. Having previously collaborated in music, as well as text and photography, they officially formed in 2014 to deepen their uniquely imaginative approach to musicmaking. Often developing from obsessive explorations of a particular theme, their work precipitates dreams and imaginative journeys, which inform the direction of their music. Their earliest music explored the afterlife mythos of Coil's Jhonn Balance through the image of the Hawthorn tree and Cumbrian landscape where his ashes were scattered. Their approach draws lyricism from the psychoacoustic phenomena of phantom words'—sonic textures translated from geographical space into droning sound spectra, and verbalized dream imagery. The prime symbol of Red Goddess (Of This Men Shall Know Nothing), is mugwort. An herb associated with dreaming, travel and menstruation, mugwort particularly favors edgelands: those abandoned, untended places, part man-made, part rural, where nature begins to reclaim what humanity has left behind. The music here unfolds a mandala of symbolism from these liminal spaces, drawn from a web of fascinations which unfolded during the recording process.

"Mystiphonic" is the third release from Roland P. Young on EM Records, following "Isophonic Boogie Woogie" which was originally released in 1980 and re-issued by EM in 2005, and the 2009 "Istet Serenade."
"Mystiphonic" is the fruit of two years of recordings at Young's Isophonic Sound Laboratory in Brooklyn, "comprovisations" which are more electronic than the previous EM releases, and yet this new CD retains Young's emotional life-long horn playing, a romance which began in his youth in Kansas City. Also carrying on from previous releases is the all-encompassing warmth and organic/oceanic feeling of Young's music, a rootedness that has been present since his early exposure to Charlie Parker, on through his San Francisco years and ever forward, linking past, present and future through deep American soil to his world-embracing current music, all united through his "Isophonic" philosophy.
The "Mystiphonic" blend of electronics, percussion and horns is one of subtle beauty, sure to please Young's fans while attracting new admirers.

Die Orakel presents three spaced out excursions by Edward.

Distant Early Warning is the debut solo album by Australian drummer, percussionist and composer Laurence Pike.

For the best part of two decades Pike has operated at the cutting edge of the electronic and jazz music worlds, releasing albums to critical acclaim and touring the world with his bands PVT (formerly Pivot), Triosk and Szun Waves, and featuring on numerous albums, tours and soundtracks as a collaborator. On Distant Early Warning he carves himself a moment of reflection. The calm in the eye of the storm. An ominous portent as the rocks appear on the horizon.

Originally conceived as a technological and spiritual jazz suite for drums, Distant Early Warning is a series of solo performances for kit and sampler recorded live in a single day. For a long time I've been feeling there's a central part of my musical voice that didn't have an outlet,' Pike says. So this album is definitely a product of inner necessity.'

Masaya Nakahara aka Violent Onsen Geisha has been a leading figure in the Japanenoise scene since the 90s. Here he dives in to lo-fi beats using analog synths & drum machines recorded live to cassette as demonstrated at 2012 Low End Theory Japan Beat Invi

This project imagines a futuristic scenario - of a post-human society in the Athenian basin and of its music. Robots are reminded of the fundamental joys of playing, singing and dancing with these eight channel cassette recordings, inspired by Greece's complex cultural traditions and associations with Asia and Africa.

Biography: Christos Chondropoulos (b.1984) is a percussionist and producer based in Athens, Greece. He made his debut as a member of the experimental band XYSM. In 2013 he released "Fingerpainting", a solo percussion LP. In 2015 his collaboration with Acid Baby Jesus resulted in two releases on Slovenly Recordings. Notable live performances include 2014's Borderline Festival at The Onassis Cultural Centre and 2017's MAWA Festival. In 2016 he participated in "634 Minutes Inside A Volcano", which brought the Greek improv scene to the cover of New York Times. In 2017 he was invited by Documenta 14 to join the Listening Room programme - his mixtape "Athenian Primitivism" was also transmitted by Documenta 14's "Every Time A Ear di Soun".

After "La Légende d'Eer" in 2016, the PERIHEL series presents one of the milestones of electroacoustic music: IANNIS XENAKIS' mindblowing 54-minutes oeuvre "Persepolis", mixed from the original 8 track tapes by MARTIN WURMNEST and mastered / cut by RASHAD BECKER.

"Persepolis" is the longest electroacoustic composition by IANNIS XENAKIS (1922-2001) who ranks among the most influential 20th century avantgarde composers. Commissioned by the Persian Shah, the piece was part of a multimedia performance - XENAKIS' so-called "polytopes" - which premiered in 1971 in Shiraz-Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation. XENAKIS had realized "Persepolis" on 8-track analogue tape in the Studio Acusti in Paris and released a stereo reduction on vinyl in the famous Philips series "Prospective 21e Siècle" in 1972, adding the new subtitle "We bear the light of the earth", his most hymnal title ever.
Out of print for decades now, the LP became - especially the Japanese edition from 1974 - one of the most expensive collector's item of electroacoustic music. There were some later CD versions with different durations - too long due to a wrong sample rate, others shortened by 3 minutes due to other reasons. The PERIHEL series now presents a new version: mixed from the original (!) master 8 track tapes by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER at D&M, Berlin - the same experts who had already taken care of the 2016 KARLRECORDS release of "La Légende d'Eer", another milestone composition among the works of the Greek-French avant-garde composer.

Written and produced by David Burraston. Recorded at Noyzelab, 2014-2017. Random artwork, generated using seed number 0xAF30F0843192FC4, by Matthew Petty.

After a happy chance meeting at an event in the National Portrait Gallery in London, NYZ was invited to make a tape for The Tapeworm. On returning to Australia he went into the studio, digging up some recent-ish pieces from the last few years, and also making a handful of new ones. The music on this tape is a mix of Cellular Automata sequencing hooked up to various synthesis/FX methodologies including: Frequency Modulation, Phase Modulation, Sampling, old school hardware DSP and ROMplers. Musically this tape covers a range of different tunings and intervals, designed to take you on journey through the obscurities of NYZ's approach to experimental sound and music making.

Helios - Killing Sound 2015 Redux
Stand - LTO Redux
Siren - DB1 Redux
In The Sun - Silo Redux

Mastered at Photon Mastering by Dim.

All reductions recorded in 2015.

Original material lifted from the album Aeonflower, available via Night School & Finders Keepers.

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The Sky Looks Different Here

Perc returns with 'Bitter Music', his third album on his own Perc Trax imprint
- Features full printed, shrinkwrapped jacket designed by resident Perc designer Jonny Costello of Adult Art Club

- Great DJ feedback below - more to follow


Perc (aka London based Ali Wells) returns with 'Bitter Music', his third album following 'Wicker & Steel' (2011) and 'The Power And The Glory' (2014). As before the album will see a release on his own Perc Trax imprint, giving Perc the complete creative control needed to realise his vision of what should be a milestone release for both himself and Perc Trax.

Originally a very inward looking album when work started on it in March 2016 the extensive political change happening in both the UK and around the world forced the album to widen its perspective. By the time the album was finished in December, it was clear that the sentiment of tracks such as 'Look What Your Love Has Done To Me' was as equally applicable to the micro-politics of person relationships as it was to concerns for the future of a country in a state of flux.

Pre-production for the album begun at Eve Studios, a residential studio just outside of Manchester, UK which specialises in collecting and restoring equipment salvaged from the sadly defunct BBC Radiophonic Workshop. The palette of sounds created during these sessions lends the album the sound of early electro-acoustic experimentation, especially evident on tracks such as 'Wax Apple'. Live instrumentation also plays a larger role on this album than on any previous Perc releases with Wells playing piano on many tracks and Ian East's flute playing featuring on 'Chatter'. The album also features a number of vocal collaborations including one with Gazelle Twin. Post-production, mixing and arranging was done at Perc's North London studio before the album was mastered by Perc Trax's regular mastering engineer Matt Colton.

Sonically the album takes in everything from strung out vocal treatments to the type of warehouse rabble rousers Perc has made his own since his very first releases. More dance floor focussed than his previous albums yet pulling from a wider range of sounds 'Bitter Music' shows a development and maturing of Wells' music that could not have been foreseen just a few years ago.

Delicately balancing the personal and the political, 'Bitter Music' stands apart from most recent techno albums as it continually pushes outwards rather than concerning itself with the microscopic refinement of already established sounds. It is an album unafraid to take chances from an artist continually looking for his next step forwards.

DJ feedback so far::

Ben Klock (Klockworks) - "The thought that counts for me 4/5"
Tommy Four Seven (47) - "I'm loving those fucked up soundscape moments. Classy album. Big up Ali!"
Dax J (EDLX) - "Whole album is fantastic!"
Logos (Different Circles) - "Raw!"
Paula Temple (R&S) - "Looking forward to playing a few of these this weekend."
Clouds (EDLX) - "Nice work Ali"
Ivan Smagghe (Blackstrobe) - "Absolutely love the more experimental tracks."
Xhin (Stroboscopic Artefacts) - "Nice one, thanks!"
2000 And One (100% Pure) - "Oh yes, superb sounds in here, thank you!"
Bas Mooy (Mord) - "Wicked! Great stuff Ali, really like it!"
Kwartz (Pole Group) - "Heavy stuff as always, love it. Thanks."
Exium (Pole Group) - "Good stuff, thanks"
Ansome (Mord /Perc Trax) - "Amazing work Ali'
Gary Beck (Bek Audio) - "Some outstanding tracks here, After Ball and Unelected in particular. Will give a good thorough listen over the weekend, thanks Ali!!"
Kriz (Token) - "Will give this some decent listening time thanks will def play 'The Thought'"
Lag (Mord) - "Loving this, especially Spit!
VSK (Power Vacumm / Planet Rhythm) - "It is just amazing, Spit and Unelected are dance floor killer, and love After Ball and Wax Apple also... Thank You very much for the Great Music!!!"
Thomas Heckmann (AFU) - "This time more into the experimental realm, but interesting and I like it"
Alex Bau (Credo) - "Strong album. Has got a clear focus but is still versatile. Really good!"
Mondkopf (In Paradisum) - "Ali's music is always a step ahead."
Kyle Geiger (Cubera / Drumcode) - " Great stuff! A true album that plays like an album instead of a collection of tracks! Gonna listen to this full through numerous times!"
Joe Farr (UX) - "Very engaging, but also banging. Lovely."
Mr Jones (Unsubscribe) - "I Have the honor the play this one for a while now, And "Look What Your Love Has Done To Me" just killed the floor every time ;-)"

Blink and you'll miss it, limited tae fuck tape from Ratkiller on Jon Rust's Levels imprint. Essential.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- PRINTED INNERSLEEVES
- REMASTERED
- 4 PAGE BOOKLET
- EXPANDED EDITION
- 1500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT BLUE VINYL

The album was the first (and only) The Art of Noise album to spawn two UK top 20 hit singles, Peter Gunn' and Paranoimia'.

The original album is remastered and this reissue features 17 extra tracks above the very original vinyl LP edition of In Visible Silence. The second LP features some previously unreleased tracks.

All tracks are taken from the original master tapes and the remastering sessions were overseen by Anne Dudley, JJ Jeczalik and Gary Langan.

It's beautiful packed and we went full out for this one: gatefold, coloured, numbered, 4 page insert, printed inners.

Check the iconic video in the link below.

Clocking in at 11 minutes, this is a radical deconstruction of the track 'Bint El Khandaq' that appears on the Mashrou' Leila album 'Ibn El Leil'. Lost Souls Of Saturn tease out the underlying emotion and yearning present in the original and take the listener on a beguiling, symphonic ambient journey that calls to mind Wolfgang Voigt's much loved Gas project, or the shimmering imaginary landscapes of Brian Eno. Renowned for their rousing, sensual electro-pop Mashrou' Leila's songs touch on political freedom, LGBT rights, race, religion and modern Arabic identity.
Lost Souls Of Saturn were approached by the band to reinterpret the original track and the stunning results fit perfectly as their debut release on R&S. This is the next step in the evolution of Seth Troxler and Phil Moffa's Lost Souls Of Saturn project. Look out for an album on R&S in 2018.

Like Gerardo Iacoucci (already celebrated twice by Intervallo with Simbolismo Psichedelico and the new Industria N.1), Narassa - real name Sandro Brugnolini - is back in our catalogue with another gem: his second release on the legendary Rome-based label Rotary, which came out after the amazing Tensione dinamica. Guerra e angoscia was born as the fifth installment of seven and, like the previous album (which was recorded with the collaboration of label boss Amedeo Tommasi, the mind behind every release on Rotary), moves away from the experimental and mechanical drift of the first chapter, to dive headfirst in a dark and heavy mood - as the title suggests ( War And Distress'). Guerra e angoscia is truly faithful to the topic of its title - with tracks like Rommel, Minaccia di guerra, Campo di sterminio, Commandos, Battaglia tragica, Beat bellico, Eruzione, and Linea calda there's little room for misunderstanding - and it does a brilliant job offering library music to evoke tragedies, dark times and the madness of human kind. This is done with wonderful beats, sharp and powerful percussions, grievous rhythms and dramatic string sections. No more dynamism, to quote Narassa's other release on Rotary: here the tension is just the effect of explosions and wrecked nerves.