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Frío y Vacío is a band based in México City, formed in 2015 by the prolific Angel Kauff (vocals, guitar, synths, drum machine) and Jon Gil (bass, drum machine). Angel also created his more synth orientated Stockhaussen and Isotropía projects, Jon is also half of the Identik Fact project, the other half being his twin brother Jeremy Key who in turn is the guest vocalist in Frío y Vacío's song 'Autodestrucción'.What Frío y Vacío do is a reflection of their name, meaning 'Cold and Void'. They have been influenced by different music genres, from post-punk and goth rock to cold wave and synth punk, all with a classic 80s sound. The lyrics are a consequence of Kauff's personal experiences and feelings. The music, a maelstrom of fast rhythms, sharp guitars, thumping baselines, everything to create an oppressive atmosphere, charged with a high load of electrostatic power that is released in almost every song. Pure, dark energy.The first published material by Frío y Vacío was a 6-song digital only ep available from their Bandcamp site. The release was named 'Nueva Era De Comunicación'. Another song was added and the title was eventually changed to 'No Somos Máquinas'. At this point the first physical release saw the light in form of a 7-song cassette. More songs were added to the artist's Bandcamp, including two collaborations with other bands. 'Autodestrucción' was recorded with fellow Identik Fact vocalist Jeremy Key and 'Ansia' was co-written and sung by Makaria from the city of Rosario, Argentina.So 12 songs now complete the first album by Frío y Vacío, an album that we have remastered entirely from the original mixes, exclusively for our vinyl release and are glad to present on a limited, hand numbered edition of 265 copies including download code, housed in a matt finish sleeve with insert (lyrics and credits).

"After a concert of Kenyan singer Ogoya Nengo in Berlin in 2015 in a pleasant conversation Guillermo Lares told me about his father, Oswaldo Lares, a studied architect who, parallel with his professional activity, began to make field recordings of the traditional and indigenous Venezuelan music from the early 1960s onwards up until today.

His search and fascination for finding the musical roots of his country led Oswaldo Lares to visit the rural villages outside Caracas, investigating the many and varied musical cultures of the region and the complex relationship between Venezuelan folk music and its various origins, including the African (mu´sica afrodescendiente).

The vast amount of music documents in the form of sound recordings, photographs and videos accompanied by notes and studies reflect the scope of this entirely self- taught sound engineer's work and represent a passionate documentary, making his work today one of the most comprehensive and systematic that has ever been assembled by a single person in Venezuela. Oswaldo Lares as an ethnomusicologist remained an amateur in the most direct meaning of the word: amare. Whereas most studied ethnomusicologists travel around the world to explore far away continents and foreign cultures, Oswaldo began to devote much of his spare time to the generally overlooked folk traditions that existed right in his very neighbourhood.

Currently Guillermo Lares has started to promote his father's work through the Achivolares Foundation, turning it into a living archive that preserves an essential part of Venezuelan musical memory. It is a pleasure and honor of our label TAL to support the invaluable work of Oswaldo and Guillermo Lares with this album."

We've encountered during one sunny Belgrade afternoon while he was chasing what he was calling fish (actually Slavic seniors transformed into dolphins and dolphin is not a fish). He might or might not told us the fore-coming story:
A man complains of being hungry. All the time. Dogs, it seems, are never hungry. So the man decides to become a dog. To be a dog, one must walk on all fours. The hero decides to wear shoes on his hands, only to discover that there is no hand left to tie the laces on the fourth shoe. What does a shoe-shod dog tie laces with Its mouth. Organ by organ, the man becomes a dog.'
One lace at a time, his record transformed us into a new type of misunderstood creatures. Most of the tracks are surprisingly fast and playable yet broken while others are groovy, however noisy. I'm pretty sure you haven't heard anything like it before. But what do I know, I'm a fish.

AJC DOR is an alias of 33.10.3402

Cover by Martyna Bolanowska / Kaja Kukula
Mastered by Tim Xavier at Manmade Mastering

This Franco-Swiss trio is a three-headed beast, discharging a singular energy in which one may detect echoes of traditional music, saturated repetition, ethereal harmonics or imaginary choreographies.There are no starting points, no ending points, no standard form structures - these all disappear as the senses encounter the first shock waves. The music employs a rich timbral palette, combining long heavy descending harmonium sweeps, relentless percussion, and the ever more precise patterns and drones of the hurdy-gurdy.

iDEAL follow up aces by Jasss and Vanligt Folk with a side of hand-cranked, lo-fi anti-music in Gabi Losoncy and Allen Mozek's (Twin Stumps, No Intention) Good Area, coming off the curled back of their sides for Kye, Recital, and Hanson Records. They sound like a sedated Yeah You or Smegma jamming with anguished alley cats on a battery of garbage cans.
As the label explain:
'Once upon a time, there were two very difficult people who loved music very much. They loved music so much that they stayed together despite having clear signs that it was not necessarily the right thing to do. They made music together, or next to each other, and everything that happened, happened in the music. It was all whatever, but they still like it.
iDEAL presents Macbeth, Good Area's second LP (first one was on Graham Lambkins great KYE label). It's the best material they ever did, and their last one ever. Lo fi beauty for anyone into the calmer parts of BRAINBOMBS, maybe The DEAD C, or for you worshipping the Siltbreeze catalog OR just anyone insane enough to get into deep, weird stuff.'

Sue Zuki's inaugural recorded document the ''WE ARE ALL VERY ANXIOUS'' tape is in our opinion one of the most innovative audio expeditions that has resonated with us. Boldly defying and deconstructing conventional genre tropes we aren't being bias by saying that either. This is a genuinely sincere perspective. The key to Sue Zuki's music is her vocals where she misanthropically preaches the records themes of psychological alienation and despair, trapped within an augmented virtual reality. Whilst trapped and unable to properly function inside this distorted simulation there are the bewildering sounds of a thousand voices and 'every conversation' unhealthily looping inside you're mind, through the echo chamber. Manifesting into a bleak neurotic obsession and feelings of inadequacy, a desperate plea, blinded and fatigued by the unnerving glare of the computer screen, processing too much information and not knowing if the human 'interactions' you're experiencing are genuine or artificial.
The trauma of this hollow existence is further emphasised with the combination of fragmented and jarring rhythmic grime percussive kick drums that is boosted by the metallic coiling density of detached, propulsive industrial structures. Synthetic frequencies writhe, becoming more lysergic as they progress. DnB tempos accelerate and shift in pitch as if in an erratic state of panic, dissonant foreboding drones absorb you as if drowning under the hypothermic pressure of the deepest, coldest and darkest frozen oceans. Throbbing sub bass fuelled with dread and agonising noise grips you into a suffocating claustrophobia, compressing further and further.
Rather than suppressing these feelings of insecurity and affliction there is a degree of exaggerated, self-deprecating sardonic humour that gradually unravels helping to confront the despondent nature of the record. Accompanied also by subdued, fragile and sunken RnB / Rhythm and Gloom vocals with desolate acoustic guitar fusions which overall provides an empathetic tone. Sue Zuki's music is a profound and startling glimpse into the growing cultural discomfort and paranoia of the conscious state of the human condition in the 21st Century.
Pro dubbed c60 cassette with digitally printed artwork. Lucky dip transparent blue & red glitter cassettes.

Following the intense sonic exploration of his work with Christopher Jarman as Dot Product,
Adam Winchester steps out on his own with a bold new body of work, his first under his own name, that further expands on his ideas about non-conformist sound generation.

Winchester had previously been immersed in the early days of the Bristol dubstep scene as Wedge, but in more recent times has applied his knowledge of sound processing and technology to more scientific means, using an array of tools to harness resonant frequencies and interference generated in the space around him.

The image that adorns the cover of this release was taken by Winchester and used in
Daniela de Pauli's Optiks installation, which is based around the work of a globally connected group of amateur astronomers who collaborated to beam images into space and bounce them off the moon. Only a small fraction of the radio signals carrying the images are reflected back onto Earth, where they are picked up by radio telescopes before being converted back into the original image.

The interference picked up in the process is the result of the vast distances the information travels, and the poor reflective qualities of the moon's surface.

In the grainy textures, crunching rhythms and steely tones that inhabit this EP, Winchester captures the same spirit of invisible interference by eschewing traditional production methods, drawing his sounds solely from a range of noise, feedback and resonance found in objects and physical spaces.

Next to being one of the core members of the acoustic deep listening ensemble Razen, Ameel Brecht is a trained guitar player who has a life-long involvement with the instrument's repertoire under his belt. On his debut album Polygraph Heartbeat', he puts his guitar-heart on the line by means of 9 compositions for steel resonator and resonator mandolin.

Vision Songs Vol. 1 (1984) is the LARAAJI album like no other, located at the intersection of new age and gospel. It is both his outlier and magnum opus, the feel-good DIY tape of the century.

Discovered busking in Washington Square Park by Brian Eno in the late 70s, engagement with the eternal flow has led Laraaji to, seemingly by magic, emerge as the most beloved avatar of the unstoppable new age music revival of recent years. Now Vision Songs rewrites Laraaji's musical history. Unlike the many instrumental, free form albums upon which his reputation was built, this is an album of songs, with lyrics, verses, choruses. Vision Songs is literally a revelation -- of a master songwriter whose unbelievably catchy best compositions such as We Shall Be Lifted', All Of A Sudden', and Is This Clear' belong in any great American songbook. Casio synth jams recorded at spiritual retreat guest rooms and a tiny bedroom on the Upper West Side, lysergically-spectacular anthems for a continually arriving new moment, channeled,' as Laraaji states in the album's eloquent liner notes, from the sky,' previously available in an edition of 100 cassettes sold at yoga retreats and on the streets of New York City, Vision Songs is humbly offered on vinyl, CD, and streaming for the very first time. This is where this is going on, this is where this is taking place, this is how this is going on. Is this very clear

Vision Songs Vol. 1 (1984) is the LARAAJI album like no other, located at the intersection of new age and gospel. It is both his outlier and magnum opus, the feel-good DIY tape of the century. Discovered busking in Washington Square Park by Brian Eno in the late 70s, engagement with the eternal flow has led Laraaji to, seemingly by magic, emerge as the most beloved avatar of the unstoppable new age music revival of recent years. Now Vision Songs rewrites Laraaji's musical history. Unlike the many instrumental, free form albums upon which his reputation was built, this is an album of songs, with lyrics, verses, choruses. Vision Songs is literally a revelation -- of a master songwriter whose unbelievably catchy best compositions such as "We Shall Be Lifted", "All Of A Sudden", and "Is This Clear?" belong in any great American songbook. Casio synth jams recorded at spiritual retreat guest rooms and a tiny bedroom on the Upper West Side, lysergicallyspectacular anthems for a continually arriving new moment, "channeled," as Laraaji states in the album's eloquent liner notes, "from the sky," previously available in an edition of 100 cassettes sold at yoga retreats and on the streets of New York City, Vision Songs is humbly offered on vinyl, CD, and streaming for the very first time. This is where this is going on, this is where this is taking place, this is how this is going on. Is this very clear?

Phonica Records is extremely proud to unveil the next release on its Special Editions imprint; the stunning debut album 'Vuduwave' by Niños Indigo.Niños Indigo is the alias of audiovisual artist Valeria Hernandez. Developed over the course of a month, the album was recorded in Hernandez's home country of Chile and recorded in a single week, resulting in a flowing, organic yet otherwordly listening experience. Valeria explains; 'This record is a compilation of influences that have been inside me a long time... they keep coming back; Afro drums, Hindu instruments, Candombe, Psychedelia in South America. The rhythm of what surrounds me; the lake, the forest near where I live, the calm that surrounds it, the love of my friends and daughter. All of these feelings are what I like to put in my songs, a reminder to value the simple, to seize the resources that I have and to try and free myself of what's on my mind.'Originally released on digital and cassette label Discos Cetaceos in 2014, it's a recording that truly deserves to be given a new lease of life on vinyl.

The visionary Turkish percussionist and the great South African bassist were introduced by Don Cherry in 1969, when Dyani moved to Sweden after the break-up of The Blue Notes. They worked together regularly over the next decade, starting out with Cherry in the Eternal Ethnic Music trio.'Another world,' recalls Temiz. 'At that time I was trying to learn as a big band jazz drummer, and when I met Don Cherry, I said, forget it. We played another kind of music. Indian music, Turkish music, Bulgarian, Chinese, you know... All kinds of music.' 'Every musician,' Dyani said later, 'should realize and acknowledge that folk music is the backbone of every music.'Recorded in Istanbul in 1976; originally released in an edition of one thousand copies only, on the Turkish label Yonca. The first side features Turkish material arranged by Temiz; the second, SA-oriented music put together by Dyani, opening with a stunning interpretation of Cherry's Marimba (Goddess Of Music).In a handsome gatefold sleeve, with excellent notes and previously unpublished photos.

On its return to the Kerridge's Contort label, Emanuele Porcinai's WSR project renders a dense, gut-wrenching session combining self-built string instruments and field recordings in a sort of shoegazing noise-techno stress test.
Chambers was written over the course of the last three years between Manchester, Florence and Berlin, and pursues the themes of structural decay and melancholic ambience from his Stainless debut into a more coruscating, haunting zone of hypnagogic sound design and textural expression.
Porcinai's self-built string instruments, guitar and field recordings are processed and layered with additional cello and double bass by Thomas Griffiths in a seamless movement of eight parts cleft
over two sides, giving ample room for the sometime techno artist to thoroughly, systematically draw out and exasperate his instrument's character in a way that recalls Colin Stetson beasting his sax as much as some sore as f*ck JK Flesh recording or his label mates, SØS Gunver Ryberg or Sam Kerridge, for that matter.
It feels like music purpose built for the transition of seasons and darker, longer nights where there's nowt to do but get your head stuck right in the jaws of a slab like this.

For her third outing on the German label Jahmoni, Marcelle is as inventive and unpredictable as ever. The four tracks on the wittily titled 'PSALM TREE' EP go from wild techno to abstract dub, and all bear that undefinable 'Marcelle' touch of freedom and imagination, which sets the DJ/producer so apart from almost all of her younger peers. The ever-travelling Dutch lady, who was one of the highlights of this year's 'Nyege Nyege Music Festival' in Uganda, toys with musical styles and expectations, both live and in the studio, she has always deejayed more or less like a musician. This was amongst others recognised by Faust founder member Hans-Joachim Irmler, who between 2008 and 2014 released 4 Marcelle albums on his Klangbad label.

Opener 'TO EVACUATE IS DIFFICULT AND INFREQUENT' is a deranged techno stomper, bristling with crazy, desperate sounds. Only halfway during the track these voices make 'sense': the track deals with the problem of constipation, and offers near the end a possible solution. As a dubplate this track is heavily tested on the dancefloor and, eh, 'dropped' very well.

'TO REVEAL THE SECRET', an abstract dub work-out with an eerie feeling, samples the voice of one of her favourite actors, the late Philip Seymour Hoffman.

'WALKING AROUND AIMLESSLY', the longest track on the EP, is just as swinging as it is weird. The relaxed whistling over the treated sounds that drop in and out, make for a both happy and strange stroll into unknown territory.

'TO SING ALONG' combines heavy bass with an addictive synth melody and is a short, energetic closer of the EP, which once again shows Marcelle's instinct for both the dancefloor and the avant garde.

The record's curious title 'PSALM TREE' hints at Marcelle's love for palm trees, hot weather and reading books (although not necessarily religious texts, contradictions and odd combinations are never far away in Marcelle's work!) The artwork of the record is as colourful as on all her releases. On stage and on her records Marcelle transcends a sense of openness and a feeling of freedom, which has her described as 'totally enriching', 'a true ear opener', a real 'pioneer'.

collecting orders for repress ... !

First official vinyl reissue of original cassette 'Fondation - Le Vaisseau Blanc'.

Fantastic cosmic, space, ambient and experimental music from mysterious French duo Annanka Raghel and Ivan Coaquette (formerly of Spacecraft and Musica Elettronica Viva). Originally released in 1983 as a limited edition cassette of only 500 copies on Camouflage label; this ranks up there with anything by Ash Ra Tempel, Agitation Free, Heldon or Richard Pinhas. Incredibly evocative and highly recommended.
Historic moment - a lost piece of the puzzle of the wondrous french avant-garde. This official reissue comes in a double album gatefold sleeve with archives from Ivan Coaquette collages. Limited to 500 copies.

Bonus : comes also with an insert with trippy photo by France Annanka Raghel herself and brief description of Fondation band.

"EOD/CN forwarded this super fresh release to WeMe records in 2016 from meggablockx, a long-time friend of his based in miami. A side fresh timeless "IDM", B side electro synth jams" Limited Supplies!!

Alec Storey aka Second Storey präsentiert mit seinem zweiten Houndstooth-Album "Lucid Locations" eine erhabene Kollektion 10 bassgetriebener und akribischer Tracks, perfekt ausbalanciert zwischen Filigranität und Wildheit, irgendwo zwischen Bass, Electro, Techno, Ambient, D&B und psychedelischer IDM. CD und farbiges 180g Doppelvinyl (einmal gelbes, einmal schwarzes Vinyl).

Lyrics and vocals by artist and poet Leslie Winer, production by Bokeh Versions staple Jay Glass Dubs.

The industrial project of Oliver Ho and Tommy Gillard at its most subversive and evocative, with two preoccupations threaded throughout: Middle-Eastern percussion, most vivid in the chimes of Casting and the driving doumbek rhythms of Burning and The Sands; and the structural iteration of chaos, underlying a collage of wild left-turns, scornful of repetitive hooks and other musical routines. Early birds bag a 7' by Ho's Desert Burials, evoking classic punk/funk hybrids like Cabaret Voltaire.

The seventh EP on FireScope Records, the new sub label of the legendary B12 Records, welcomes Bauri (Martin Abrahamsson) a producer based in Malmö, Sweden. Bauri has been releasing tracks on labels such as Drumcode, Neo Ouija, Sloboda, Random Island and is known to cross various styles of electronic music. The EP entitled Vinkelvolten showcases Bauri's form of techno on a platform that; as promised; will diversify and show consistency. This EP takes us on a journey built around gorgeous sounds and crisp abstract beats to a place calmness and peace. Originally part of Bauri's 2nd album that never got released due to the slow down in the IDM scene; these tracks have matured like a fine wine for 12 years; and now are on a 12' released by B12.
'Warm Fuzzy Feeling' A stunning baseline wraps the listener up into a hypnotic loving hug while strings and beats take us on a journey of peace and calm.'Kirmumxyl' Abstract beats and voice like accompaniments conjure up images of a place of loneliness but calm; inspired by Swedish ambient artist Tupilaq.
'Vinkelvolten I' The title track - its again built around abstract sounding beats with a wonderful every present top line; disjointed in nature but creates a sense of calm that is ever present in this EP.'Amethyst' filled with shimmering melodies, again a soothing track that that creates a sense of green to this dynamic producer.
Finished in glorious green and grey marble vinyl with exclusive full colour artwork by the wonderful Catherine Prendergast AKA Cellar Door,

I received a phone call from BP Fallon the day before Henry McCullough's funeral. He was heart broken having lost his dear friend and asked if he could stay at mine after returning from the funeral.
When I picked him up from the train station he asked me if he returned early enough to record
something. I started working on the music that day, then I had an idea which was to record something
about Henry and their relationship. When BP returned that evening I sat him down in front of the microphone and this happened in one take! We both knew we captured a very special moment that couldn't have been created at any other moment -
magic. David Holmes 2016 To celebrate the 10th anniversary of Record Store Day we've created something very special. We have two fantastic remixes of 'Henry McCullough' by Andrew Weatherall packaged in our prettiest sleeve yet. The white vinyl has a unique gold and black colour splatter along with a Gold screen printed
reflective 'mirrorball' sleev

Two spontaneous recordings made by Mystic Jungle and Rico Milord during an hot midsummer night at West Hill Studio (Camaldoli, Naples). Lo-fi reverbered analog cheap drums, fm synthesizer, electric bass and lazy guitar movements amplified in a vintage space echo.

Dys Functional Electronic Music is a compilation release from Repitch Recordings, celebrating the label's first five years. Its ambivalent title aims to represent the sonic behaviour of its content, often deviating from norms or distancing itself from common club functionalism. For this release, the 3 REPITCH masterminds Ascion, D. Carbone and Shapednoise are joined by a selection of the artists who contributed shaping the Repitch sound throughout the years, along with guests that inspired them in this adventure. During the past 5 years the main focus of the label was to set up a platform for experimentations across the dancefloor canon, establishing a standout musical identity. A spirit that resonates within each artist's personal approach: from Ascion's dark breakbeats to The Exaltics and AnD's acid frontalism, Shapednoise's brooding noise, Sote's fractured rave, D. Carbone and Gaja's intrusions into melody, Pinch and the Zenker Brothers' dub-infused atmospherics, Skudge's love of gloom and Nuel's IDM-ish minimalism.

Conceived as a kind of sequel to 2012's Sleep Games, there's an epic sensibility to Stasis. The haunted concrete caverns of the earlier album give way here, to vast, awe inspiring spaces. The album has a strong narrative flow that can be read either as the soundtrack for an interplanetary voyage under suspended animation, or the exploration of vast inner realms under some other form of technologically enhanced sleep.

Martin Jenkins' unique production sound is unmistakable: Carpenter-esque slow kosmiche disco and ambience, woozy synth melodies and somnambulistic grooves with soft, rich textures.

Leeds-based post-metal six-piece Hundred Year Old Man follow up their stunning debut single Black Fire with Rei, a three track EP, released via Gizeh Records and Wolves & Vibrancy on January 26th.

Pushing even further into the abyss, this new work opens with Sun & Moon and a monstrous slab of heaving guitars fall out of the atmospheric beginnings. Paul Broughton's vocal erupts and the track explodes into life, destroying everything in its path until the shadows return to close, leading the way into an interlude that corrodes and drifts before joining these two monolithic pieces together. The title track demonstrates the staggering ambition that Hundred Year Old Man posses. Ripping into a cathartic sludge reminiscent of Neurosis at their best, it's a towering, immersive, nine minute journey that refuses to loosen its grip until the dying moments.
Rei is released as a limited 12' vinyl with an etched b-side in an edition of 300. With a debut album due for release in 2018, this EP is the perfect offering to stoke the fires for a full-length whilst comfortably holding its own as a stand-alone piece of work.

Sam de la Rosa, best known under the alias Samuel Kklovenhoof of the band Led Er Est and with Karen Sharkey of The Coombe, is back on Mannequin Records for a stunning 4-tracks electro-wave-experimental release.Texas born but strongly connected with the New York cold wave and disco scene from mid 2000, and the Wierd Records family, Sam's music is a clever mix of post punk, electronic hybrids, experimental pop and catchy melodies.Additional mix by Michael Stein from S U R V I V E, already debuting on Mannequin Records back in 2011, before to get worldwide known for the Netflix's 'Stranger Things' soundtrack.

2 tracks from the post-MA sessions. More music for blind observers.. Limited stamped 10"

Growing up in the bustling port city of Busan and running his own record shop there from the late '70s, Kim Byoung Duk had a front-row seat to the finest in foreign record imports and a taste for the psychedelic that naturally evolved into spiritual, ambient and avant-garde sounds. His growing interest in Tao philosophy and the meditative music that accompanied it provided a fertile environment for his audio imagination. Unhampered by limited access to musical gear, he made use of a wide assortment of self-
sourced pots of various sizes and curvature, cymbals, wooden sculpted flutes and percussion tools—each chosen for its unique harmonic vibration—to create an entirely new and unique body of work.

Experiment No. X retraces the oeuvre of Kim Byoung Duk, assembling tracks from Experiment No. 2, Pot Concerto and New Trilogy, illustrating a meditative journey from the freeness of the Tao sound, in the borders of ambient music and the avant-garde, to later groove-oriented jams which introduce rhythmic elements to the palate.

This fully licensed release is the first collection of Kim Byoung Duk',s music, remastered from the original tapes and including for the first time on vinyl songs from the very scarce CD New Morning. Includes four-page booklet with photographs and an interview from Kim',s personal archives.

All Music by Kim Byoung Duk.
A Meditative Morning, brought by Another Planet Publishing.
Daehan Electronics, 2017

(en) The record will be released in a limited edition of 500 numbered copies. For each 100 copies the silk-screen printed cover will change its colour.
F.S.K. (Freiwillige Selbstkontrolle) is an art school band from Munich that formed in 1980 in the editorial office of the underground magazine Mode & Verzweiflung and issued disturbing slogans of a new dissidence like: Wir sagen Ja zur modernen Welt (we say yes to the modern world) and Heute Disco, morgen Umsturz, u¨bermorgen Landpartie (disco today, coup tomorrow, a country outing the day after). The Italian Futurists' idea to flood Venice was joyfully appealing to them so they made the serious demand to convert theaters into parking garages (Theater zu Parkha¨usern). The futuristic development of so- called noisemakers (a productive modification of the sounds of industrialized cities as well as the completely new war machines of World War I) carried a key moment of deviant pop music into its emerging discourse: clipping, distortion, Bring the Noise.
The hedonistic partisanship of the band F.S.K. particularly affected its eclectic zigzags (from post punk to rhythm & blues, country & western to techno soul) and morphed into yet another new, postmodern shape in the 1980s in England (where John Peel was a prominent promoter of F.S.K.) and in the 1990s in the US, where their music faced the transatlantic feedback of the songs of American occupying forces. Back in Germany their music took on more abstract forms that were described as Cubist with the last album Akt, eine Treppe hinabsteigend (nude descending a staircase): aesthetic lines that move from Luigi Russolo and Iannis Xenakis, Sun Ra and Larry Heard to the glitches of the latest bass music. In the traditional lineup of a rock and roll band, today F.S.K. musically executes all of these threads.
Their piece Ein Haufen Scheiß und ein zertru¨mmertes Klavier (a pile of crap and a shattered piano) developed for Berlin's Haus der Kulturen der Welt (HKW) explores productive axes between destruction and deconstruction (paying tribute to Luigi Russolo).
(de) Die Schallplatte wird in einer limitierten Auflage von 500 nummerierten Exemplaren veröffentlicht. Die Farben des im Siebdruckverfahren hergestellten Covers wechseln alle 100 Exemplare ihre Farbe.
F.S.K. (Freiwillige Selbstkontrolle) ist eine Art School Band aus München, die 1980 in der Redaktion des Underground Magazins Mode & Verzweiflung zusammenkam und verstörende Losungen einer neuen Dissidenz ausgab wie: Wir sagen Ja zur modernen Welt, oder: Heute Disco, morgen Umsturz, übermorgen Landpartie. Die Idee der italienischen Futuristen, Venedig zu fluten, fand bei ihnen fröhlichen Anklang. Und also erhoben sie die seriöse Forderung, Theater zu Parkhäusern umzuwandeln. Die futuristische Entwicklung sogenannter Lärmtöner (in produktiver Abwandlung der Geräusche der industrialisierten Großstädte, aber auch der völlig neuartigen Kriegsmaschinen des Ersten Weltkriegs) trug ein zentrales Moment der abweichenden Popmusik in deren aufkommenden Diskurs: die Übersteuerung, die Verzerrung, Bring the Noise.
Das hedonistische Partisanentum der Band F.S.K. wirkte sich besonders in ihrem eklektischen Hakenschlagen aus (Postpunk to Rhythm & Blues, Country & Western to Techno Soul) und fand in den 1980er Jahren in England ... sowie in den 1990ern in den USA, wo ihre Musik im transatlantischen Feedback der G.I. Songs US-amerikanischer Besatzungssoldaten stand, zu einer abermals neuen, postmodernen Fasson.
Zurück in Deutschland, nahm ihre Musik abstraktere Formen an, die sich mit dem aktuellen Album Akt, eine Treppe hinabsteigend, als kubistisch bezeichnen ließen: Ästhetische Linien, die über Luigi Russolo und Iannis Xenakis, Sun Ra und Larry Heard zu den Glitches aktueller Bass Music führen. In der klassischen Besetzung einer Rock and Roll Band setzen F.S.K. heute all diese Threads musikalisch um.
Die Band besteht nach wie vor aus den vier Gründungsmitgliedern Justin Hoffmann, Thomas Meinecke, Michaela Melián und Wilfried Petzi, Carl Oesterhelt kam 1991 dazu.
Ihr für das Haus der Kulturen der Welt entwickeltes Stück Ein Haufen Scheiß und ein zertrümmertes Klavier lotet dabei (in einer Hommage an Luigi Russolo) produktive Scharniere zwischen Destruktion und Dekonstruktion aus.

Noplace is an improvised collaboration between Aidan Baker (Nadja / Caudal / B/B/S/), Simon Goff (Molecular, Bee & Flower) and Thor Harris (Swans, Shearwater, Thor & Friends).
Having known each other for a number of years and previously contributed to one another's recordings this trio finally came together as a whole on May 7th 2017 at Redrum Studios in Berlin. In a short, improvised session of just a few hours they set about laying down as much material as possible which was then subsequently edited and re-worked (without overdubs) to form this album.
The same evening the trio played together as part of a 9-piece Thor & Friends ensemble which also included Christopher Hefner (on musical saw) whose artwork graces the cover of the record and gave it its name.
Noplace is a hypnotic and deep listen. Kinetic rhythms pulsate throughout whilst the guitar and violin jostle and weave around the metronomic beats, creating a cathartic and all-encompassing experience. The very nature of the instrumental repetitions give it an immediate avant/krautrock feel but the whole record is coated in a wonderful psychedelic atmosphere that's both melodic, textured and innovative.
Without doubt a perfect marriage and the sum of its parts. You would be forgiven for thinking Noplace took years to craft but that's testament to three excellent musicians who have produced a real treat of a record. Broken down into seven pieces but very much best enjoyed as a thrilling whole, Noplace is a powerful and highly addictive album.

Brexit Jazz (the never ending story). A full spectrum Compost release from House to Hooligan-Jazz, Downbeat, Disco to Freestyle. Brexit Jazz are Roberto Di Gioia (Marsmobil / Web Web), Jan Krause (Beanfield) and Michael Reinboth (head of Compost).

Tadd Mullinix's Charles Manier project returns with a third double-LP, Luxus Steroid Abamita, an edict of nine new amorphous transmissions and clustered, clangorous, hemi-synthetic funk. This is experimental machine music: it's inspired by the fringes of dance, but skirts petrified arpeggios and other stock Wave and Technopop emblems. Its spirit elicits Sheffield Post-Punk and Düsseldorfer NDW desiderata, but exploits are crisp, psychedelic, and expansive. Lyrics come as laconic Dada, sociopolitical impressions—in counterpoint to concrète tape smears, echoing guitar deluges, and entrenched in ever-shifting grime. A wide spectrum of density is proffered. Atmospheric zones are submerged, modulating knells. When tempos increase, sample & hold mutations make synthesizers sputter and writhe. The title track and opus, Yopo (Calcium Tree)' carry this with heavy pulses—storming like locomotives.

One of the pioneers of musique concrète and electronic tape manipulation, 'Prélude Au Sommeil' is Perrey's debut recording but shows a composer already at maturity. Originally released at the end of the fifties, as a private press under the fake institutional name "Institut Dormiphone", it consisted of 2 side-long tracks played on the Ondioline (a vacuum-tube based, spring-loaded electronic instrument). The music contained in this mysterious vinyl is like something between dreamy church organ hymns and the keyboard-based minimalism that Philip Glass and Terry Riley developed a decade later. It was intended as sleep-inducing and tranquilizing for use in mental hospitals. It is unclear if the copies pressed actually had been distributed to mental hospitals or if the whole story was just a fantastical joke on the part of Mr. Perrey. Essential.

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Entr'acte play host to the return of Michael Anacker's semi-mythical industrial unit Kallabris with this collection of pop' songs riffing on the decadent 19th century poetry of Swinburne, but adapted to avant electronic backdrops and beats.

Comparable in Entr'acte aesthetic to Dale Cornish's warped vocal processing and kerned rhythms, or the fusion of spoken word with jagged electronics in Transistor's The Horde, the results found on Plays and Sings For Money plumb most curious niches of expression, finding a place for Swinburne's transgressive themes in the modern day.

It ultimately sounds like Jhonn Balance and Sleazy in a proper, slippery afterhours Coil session.

Special Hors Série Ep made by the young talented producer Oldtoy. Ambiant/Downtempo/Electronic release for music lovers. All instruments & voices made by Oldtoy.

Advancing the unfolding legacy of instrumental hip-hop at Stones Throw is Samiyam's Pizza Party: 24 minutes of off-kilter mobster music mixed with a warm soul sound that is unmistakably L.A. producer and beatmaker Samiyam. Praised by his collaborators Action Bronson, Earl Sweatshirt, The Alchemist, and Flying Lotus, Sam's independent beat tape ventures and instrumental albums are revered by rappers, respected by producers. Pizza Party is free of samples from the characteristically dusty vinyl grooves and warped tapes of past recordings. Instead, we have originally-played synthesizer and FX in unison with the off-the-grid drum patterns and aesthetic sonic swagger that Samiyam owns. The last track, What Can I Do,' features co-production with Jonwayne.Samiyam grew up Sam Baker in Michigan. He was among a network of post-Donuts producers focusing on instrumental hip-hop beat as the finished work, who found themselves migrating west and huddling in the scene around Low End Theory in east Los Angeles. That's where Flying Lotus met Sam and released Rap Beats Vol. 1 as the debut on Brainfeeder in 2008.Three other albums followed - Sam Baker's Album (Brainfeeder, 2011), Wish You Were Here (Leaving, 2013), and Animals Have Feelings (Stones Throw, 2016) - along with production work for Earl Sweatshirt, Captain Murphy, and Pharoahe Monch.

New 7' from Miles Newbold aka The Natural Yogurt Band, UK based dingo multi-instrumentalist. Here we can find 2 cosmic tracks in a pure music library style. Authentic, psychedelic library vibes from the golden era meticulously recreated in the new millennium.