Beats News

Alésia Cosmos was a collective of musicians led by Bruno de Chénerilles formed in the early 1980s in Strasbourg, France. The group consisted of Pascal Holtzer (guitar, synthesizer, tapes, drum machine, vocals), Pierre Clavreux (vocals, gong), Marie-Berthe Servier (vocals), Bruno (guitar, tapes, synthesizer, drum machine, vocals) and Tunisian percussionist Lotfi Ben Ayed (darbukas, bendir). In 1981 Bruno composed and wrote some sci-fi radio plays for French state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, he developed tape music studio work. By 1982 he appeared for the first time under the name Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. This experimental show lead to a music project based on Bruno and Pascal's compositions to be performed and recorded with other musicians in the beginning of 1983.

Exclusivo! was the group's debut album recorded and self-released in 1983 on Planetarium. Pascal and Bruno would compose tunes in their personal home studios. Then they would bring the tapes, electronics, guitar lines and lyrics to experiment and rehearse with the other members of the group. Improvisations and adaptations brought more ideas and the album was recorded in a few days. The result was a musical mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians take turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese. All songs have been remastered cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica of the 1983 cover and includes a 6-page insert with photos, lyrics, reviews and liner notes by Bruno de Chénerilles.

Produced by Ivan Pavlov/COH

Digital assistance: lit-e, g-race, tin-y, a-lisa

Revised and re-mastered 2017

Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2017

Cover photo & graphic design by Victor Robyn

The ongoing relationship between Editions Mego and COH continues with this special collection of works made by COH over a number of years released on a variety of labels. What brings these works together is the incorporation of vocalists and lyrics. Neatly compiled here, a diverse pool of vocalists elevate the otherwise instrumental works of COH ( Ivan Pavlov) into worlds of narrative, the human and the haunted.

Little Annie brings her sly subversive cabaret style to one of the works whilst delivering an intense lkist of daily activities on another whereas Peter ,Sleazy' Christopherson conjures a world beyond our own with his cracked spectral delivery interpreting Pavlov's disembodied electronics. "I wrap my last kiss in a bandage... I send you this message".

Frankie Gothard provides classic distorted industrial swagger to the proto-disco FFFETISH where LOVE'S SEPTIC DOMAIN (feat. John Balance & Louise Weasel) screams from the abyss of "dirty hospitals", As starlit and damaged as any of the classic Balance deliveries. A previously unreleased work featuring the renowned fashion designer Ann Demeulemeester skips along a metronomic beat whilst the voice lays out dry settings and instruction. Elsewhere Noriko Taguchi embeds a fragile sensibility to a music box melody whilst Anna Yamada's collaboration results in an exquisite blend of disorientating pop.

The versatility of Pavlov's practice is on display as proto disco, industrial simulation and pop all come together with the vocalists presenting a wide range of human function, from the absurd to the mundane to world's unknown.

From the sounds of Dominowe in Newlands East in Durban, South Africa, we are now going to the opposite side of the hill in Newlands West with TLC Fam! For those who are not familiar to the crew, TLC Fam are a crew from the township of Newlands West formed by 23 members. All the members have different roles in the crew and showcase different talents such as DJ'ing, Producing, Dancing, MCing, Promoting and taxi businesses. TLC fam was established in 2011 as a dance group until 2014 where they met distribution boys " they helps us with gqom tracks production since we were dancing with their gqom music." Dj Magic and Resto tried to learn to make their own TLC gqom in 2014 until now as TLC gqom hosts. Their sounds represents a strong, powerful Zulu culture from the sounds, lyrics of the songs to the song titles as well. The main producers Resto and Dj Magic created a very unique and original style of gqom, the strength of TLC is being as a real family where everybody help each others. TLC fam gqom is loud and powerful it can break your speakers which is why they play this out to packed dance floors till the early morning. TLC fam are the originator/creator of the Taxi Kick' style of Gqom which has a very particular distorted multi layered hard kick made with some specific techniques on fruity loops. The kick is made specifically for taxis in the townships and quickly became viral with the new generation of gqom and core tribe producers in Durban. "Our Gqom is so different from others cause we got our personal style where we put more vocals in our tracks and we got our own kicks (Taxi kick) and our own type of gqom where we came with hard kicks which you can play them in taxis and big speakers ". "We were just making music just for fun and fan cause here in Durban they didn't take gqom music as real music but now we saw lot of changes in the local scene" " What we need now is too see gqom music pay world wide and we need to be well known in other countries as we are the one of the gqom kings in South Africa" As usual here at Gqom Oh! we're super proud to put out this psychedelic hardcore gqom LP called Isbethelo seGqom which in Zulu means 'The Gqom hit'. It will be released a in a very special limited edition 12' in collaboration with HB production with special 3D graphic designs on the cover which you can check out with the glasses we have provided in each vinyl.

Giant Claw is the sound project of visual artist and Orange Milk Records co-founder Keith Rankin. His new album Soft Channel builds on the intricate MIDI notation and sampling of previous works while blending dense high fidelity sound design with rich harmonic material to create an immersive composition.

Hidden Orchestra's 'Dawn Chorus Remixes' follows the illuminating 'Dawn Chorus' album, reworking producer and composer Joe Acheson's latest album of immersive field recordings and expansive soundscapes into an journey through electronica, deep house and ambient psychedelia. Fronted by Wingbeats (Max Cooper Remix)', 'Dawn Chorus Remixes' features reworkings from Max Cooper, Matthew Herbert, Throwing Snow, The Physics House Band, Nuage, Floex, Nostalgia 77, Wrongtom and Skalpel.

Built around a collection of birdsong and other field recordings captured over many years across diverse locations around the UK and abroad, the snapshots within 'Dawn Chorus' intertwine for a transporting listen. The 'Dawn Chorus Remixes' album revisits this vast source material, reinterpreting the structure of the tracks and uncovering new layers of hidden sounds and instruments for the listeners, sometimes unearthing entire musical progressions that bring the tracks into clearer focus.

Max Cooper provides his take on Wingbeats, focussing on the synchronised recordings of birds beating their wings, to reveal a beautiful chord structure hidden amongst the rhythms. Matthew Herbert applies intricate electronic components with a purist house beat on Stone' which follows into The Lizard', remixed by Polish duo Skalpel who were an early influence of Acheson's. Electronic producer Floex transforms 'Still' with layers of oscillating synths, while Wrongtom provides a dub remix and The Physics House Band deliver ambient and progressive sounds for their rework of Long Orchard'.

Key Marketing Points:
- Remixes from high profile acts such as Max Cooper, Matthew Herbert, Floex, Throwing Snow, The Physics House Band, Skalpel and more.
- Available on 2x LP, housed in reverse board sleeve with silver embossed foil title and printed inner-sleeves. Cover art comes from acclaimed artist and printmaker, Norman Ackroyd.
- European AV 'Dawn Chorus' Tour starts November 20th 2017.
- Radio support for 'Dawn Chorus' from Lauren Laverne (BBC 6Music), Nemone (6Music), Huey Morgan (BBC 6Music), Gideon Coe (BBC 6Music), Jamie Cullum (BBC R2) + more
- Previous press support from The Arts Desk, Clash, The Independent, The Guardian, Line Of Best Fit, Blues & Soul, Record Collector, DJ Mag

Praise for the original Dawn Chorus album
You could just listen to that forevermore, couldn't you' MARY ANNE HOBBS (BBC 6MUSIC)
Such a beautiful project' - LAUREN LAVERNE
Out of this world' - THE LINE OF BEST FIT
Gorgeous' - NEMONE (BBC 6MUSIC)

The latest offering in the ever so refined Gost Zvuk series is a full length album (2x12) by Russian master of all otherworldly sounds ''Nocow''.

''Ledyanoy Album'' is an ethereal feast containing orchastrated textures and thumping cuts alike. The winter theme of the album is easily recognized through the icey synth sounds and the beautifuly array of bells and fx which blend this LP to a cohesive collection of heart wrenching ambiances.

Ledyanoy Album will be available through all specialized retailers from mid April.

Pressing of 300 on vinyl only

Next up and equally fabulous is the great, and hotly anticipated, new album from Polypores. The artist's third full length for the label following a private press style, mailorder release earlier the year and first album proper The Fialka Transmissions' in 2016.

Polypores aka Stephen James Buckley makes haunted space music using an ever-expanding mound of synthesizers, samplers, and old tape recorders. Bleak, icy drones give way to 1970's Sci-Fi synth lines, throbbing bass rumbles ominously beneath a psychedelic haze of wistful melody and disembodied voices.

The Impossibility' was inspired by the destruction of the planet Earth by the human race, the early works of JG Ballard, Tarkovsky's Stalker', conspiracy theories, and places where the rules of time and space are brought into question. It was written and recorded in January 2017.

A wonderful album, which comes dressed in a Nick Taylor designed sleeve looks certain to follow the trend set by all previous releases for both artist and label, and sell out instantly.

Bubbling up from his post-everything cesspit, $hit & $hine cups another killer album boff to the grill of Diagonal with Total $hit!, his second LP and 3rd full release for Powell and Jaime Williams' indomitable imprint.
A rancid ruck of rock 'n roll and industrial entrails squeezed for sustenance and sploshed with classic '80s disco, Total $hit! is nothing if not a definitive Craig Clouse record, insistently playful, scatty and demented in equal measures, but with a couldn't care less attitude that's always refreshing and welcome around these parts.
Following his grindcore lash Teardrops for Riot Season, this one is a return to the heavy truckin' styles last heard on Everybody's A Fuckin Expert with Mego and Good White Good Green for Glasgow's Heated Heads, depositing nine examples of his nonchalant style at its most distended, unsettling and, funnily enough, its most funked-up and effective.
He makes a big entrance with the blind-drunk swagger of Hot Shovel trammelling rabid tribal drums, grunts and pitched voices in a febrile hot mess, before Chklt Shk possibly betrays his no f**ks attitude with some of his canniest, adroit tweaks applied to what sounds like Anthony Shakir and MMM fighting over the last cubicle after a plate of bad seafood, then it's back to twisted smiles and buckie-sloshing skank with the acrid disco nip of Long Island City.
The record's longest, murkiest section follows with the Jacko-shampling Dodge Pot dispensing a slimy hot streak of flatulent mongrel boogie that perhaps outstays its welcome, hence the entrance of two squabbling lasses who tell it where to go, which leaves us with a version of the recumbent coke standard White Horse ready for the knacker's yard, plus a trio of saltier, off-the-wrist jags that only serve to agitate and infect the sore he's been prodding at 'til this point.
Let's be fair: Total $hit! is not big or clever but, it is messy and fun, like the soundtrack to a lock-in at a boozer exclusively full of mad c*nts who were chucked out of every other place.

Having carefully honed an inimitable sound that caresses the left-facing corners of techno
and house, this release marks a special milestone for a true music lover and producer
wizard from Austria, who is in the game for more than a decade. After release
contributions to Various Artists EP's on comfortzone, One step back ahead and sama
recordings (sama001, samadigi001) Laminat aka Kobermann steps up with his first ever
solo EP showcasing his unique desire to fuse body and soul into its preternatural
harmony, layer after layer after layer.
A1 Grand Central
The opener of Laminat's first ever artist EP seduces with delicate athmospheres, etheral
pad sounds and crispy drums, which were recorded seperatly on a 4 track Tascam
tapedeck. All field recordings for this track were done in New York - at Grand Central
Station, on the way to Conny Island and directly at the seashore at Conny Island.
A2 Windy Backyard
As the horizon darkens, human souls realize that they are not only dominated by
machines, but also by nature. In this tape-saturated, organic live jam every element is
carefully mixed and harmonically balanced: MFB 522 Drums, Microkorg XL and selected
samples are accompanied by field-recordings of hurricane sirens in Chicago.
A3 Eaves Gutter Drip
This moody little ambient piece with beautiful string sounds is based on vocals which
were recorded by the artist itself on a drive from Brooklyn to the airport. It marks the
transition to the B side by Laminat's second alter ego 'Kobermann'.
B1 Emphasis Chorus
With slighly distorted kick drums and gently arranged claps laid down on a mysterious
synth tapestry, Korg's ER 1 Drummachine is dominating this edgy track. A palette of
strange NASA sounds is giving this track its special deep space vibe. Surely you have
recognized the heavily treated voice samples of somebody speaking about her TV set.
B2 Blood Red Sunrise Behind My Back
Once again the ER-1 drum machine is in the focus of this laid back afterhours jam
session recorded directly on tape. The deconstructed vocal samples, where a well
respected american composer and theorist talks about his personal approach to sound
and space, award this track a certain psychedelic feeling. One for the deep moments.
B3 Cubbyhole
A table lamp was connected to the same circuit as the audio equipment. Consequenting
background noises enrich this outro piece with a dark and haunting atmosphere.
Feedback:
Dynamodyse (One step back ahead, GER)
'Drowning! Very grown up and adult tracks. Timeless classics from now on.
Windy Backyard + Grand Central are my faves. Respect. 5/5'
Oliver Haferbauer (Live At Robert Johnson, GER)
'Platte ist top. Finde Grand Central und Emphasis Chorus sind super.'
Lt.Dan (freaktion, Tel Aviv)
'wow - very experimental shit. the spirit of helena hauff is all around the record. very
good stuff man. my favorites are grand central, windy backyard & emphasis chorus.
love the drums, the drama & the claps. so uplifting, will play for sure all three!
grand central is like the viennese willie burns made it - love it! machines with emotions -
so good.'
Dan Lodig (Pomelo, Vienna)
'Ich mag Windy Backyard und Blood Red Sunrise Behind My Back sehr.'

Improv hypnotist Aaron Dilloway induces a mind-bending session for Copenhagen's Cejero label with a steeply mesmerising suite of mechanical loops unspooling from an elusive axis. Where 'The Gag File', issued earlier this year on NYC's Dais, incorporated sickly pop elements, there's less of that frivolity here as he grinds down to a seasick and interminably funky sort of rhythmic noise.
In case you're new to Dilloway's oeuvre, he's essentially one of the North American noise scene's most distinguished operators. His track record of over 100 releases for almost as many labels connects everyone from his old band, Wolf Eyes, to Kevin Drumm and Robert Turman, defiantly going with and against the grain of American counterculture with a stomach for the most nauseating yet compelling sounds.
Switches is a strong demonstration of Dilloway at his most uncompromising and discomfiting.
Like a swim thru the bubbling belly acid of American culture, he pursues the original extremities of NON and Turman along his own parallel narrative, using subtly morphing repetition and abrasive attrition as tactics to seduce and beguile even the most hard-headed listeners.
The A-side yields a full spectrum of his style ranging from palpitating, palsied loops and tonal abrasion in Switch 2, to something like an American take on The Caretaker's current descent into oblivion with the wilting, elusive phrases buried in Switch 17, while Switch 15 resembles some kind of burnt-out doom dub.
Meanwhile the B-side catches Dilloway at his most obtuse/playful with the snagged loops of Switch 11/12, which, once you get over the urge to nudge the needle out of its rut, seeps in with a viscerally psychedelic effect for its cranky, lurching duration, before Switch 1 locks off something like DJ Screw or Indignant Senility, with half a bar of f*ck-knows-what loping into a brambly haze around its progressively melting axis...'

Always a firm favourite round these parts. COULDWORK is semi-compilation album, featuring some old and some new sounds that summarize Foodman's path leading into 2015. It straddles the lines between experimental footwork, vapor-collage music, and modern minimal electronics.

Giant Claw is the sound project of visual artist and Orange Milk Records co-founder Keith Rankin. His new album Soft Channel builds on the intricate MIDI notation and sampling of previous works while blending dense high fidelity sound design with rich harmonic material to create an immersive composition.

Third tape run of Kate Shilonosova's highly popular meeting of electronic music and J-pop, recently released on wax by Mind Records
(also available from T.A.D.)

Garbage Boy - Tenchun, is amalgamated sound slop representing a conscious blob who is painfully trickling down the stairs as it oozes to its death. As the blob shrieks its final words and accepts death a beautiful computerized ominous soundtrack emerges.

qwizzzz - suuuun Four - The aliens show up to pick up the dead oozing blob that just died. A discussion occurs, and they celebrate the death of the ooze with a rave on the alien ship, the rave ceremony concludes with a song from their leader.

Mellow Waves, Cornelius' first album in over 11 years will be available in a limited deluxe edition pop-up gatefold vinyl (including phenakistoscope animation insert), standard package on 180g, CD and cassette format on January 26, 2018. The album, released July 21, 2017, was previously a digital only release. Pre-orders for these formats are available now.

Cornelius announced eight North American tour dates for March 2018, including shows in Mexico City for the NRMAL Festival, New York's Irving Plaza, the Carnegie Music Hall at Pittsburgh's Andy Warhol Museum, and LA's Fonda Theater.

Filmed live at his record release shows at Tokyo's Liquid Room, Helix / Spiral' captures the Cornelius live experience, with its Kraftwerk-esque roboticism and immersive visuals meticulously synchronized with the performance from The Cornelius Group.

For the uninitiated, Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada. A performing musician since his teens, Oyamada created his creative alter-ego (the name is an homage to the Planet of the Apes), in the early 1990s from the ashes of his previous project, Flipper's Guitar.

With the 1997 release of Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records. Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown.

With 2002's Point, Cornelius' music took a quantum shift, going from sampling found sounds' to looping organic elements and creating lush soundscapes. Using water drops as the rhythmic backbone of Drop' on his vocoder-infused cover of Brazil', the album dazed and amazed fans and set the path for the next phase of his career.

2007 brought this philosophy to an even higher level with the release of Sensuous. Cornelius' live shows are known around the world for spectacular visuals (all perfectly synchronized to the performance), custom lighting that doesn't simply augment the performance, but becomes another instrument within it, and a full band of equally talented and diverse players.

The companion piece to the album Sensurround + B Sides, earned the nomination for Best Surround Sound Album' at the 2009 GRAMMY Awards.

The summer of 2016 saw the release of Fantasma Remastered, on Lefse Records. The package, a 2LP reissue of his classic album, also included 4 additional outtakes and earned Pitchfork's Best New Reissue'.

Cornelius has recorded music for Edgar Wright's Scott Pilgrim vs. the World, scored the anime mega-film Ghost in the Shell Arise, performed as the backbone of Yoko Ono's reformed Plastic Ono Band, played the Hollywood Bowl with Yellow Magic Orchestra, and co-wrote and produced the Japanese artist salyu x salyu.

Mellow Waves, Cornelius' first album in over 11 years will be available in a limited deluxe edition pop-up gatefold vinyl (including phenakistoscope animation insert), standard package on 180g, CD and cassette format on January 26, 2018. The album, released July 21, 2017, was previously a digital only release. Pre-orders for these formats are available now.

Cornelius announced eight North American tour dates for March 2018, including shows in Mexico City for the NRMAL Festival, New York's Irving Plaza, the Carnegie Music Hall at Pittsburgh's Andy Warhol Museum, and LA's Fonda Theater.

Filmed live at his record release shows at Tokyo's Liquid Room, Helix / Spiral' captures the Cornelius live experience, with its Kraftwerk-esque roboticism and immersive visuals meticulously synchronized with the performance from The Cornelius Group.

For the uninitiated, Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada. A performing musician since his teens, Oyamada created his creative alter-ego (the name is an homage to the Planet of the Apes), in the early 1990s from the ashes of his previous project, Flipper's Guitar.

With the 1997 release of Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records. Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown.

With 2002's Point, Cornelius' music took a quantum shift, going from sampling found sounds' to looping organic elements and creating lush soundscapes. Using water drops as the rhythmic backbone of Drop' on his vocoder-infused cover of Brazil', the album dazed and amazed fans and set the path for the next phase of his career.

2007 brought this philosophy to an even higher level with the release of Sensuous. Cornelius' live shows are known around the world for spectacular visuals (all perfectly synchronized to the performance), custom lighting that doesn't simply augment the performance, but becomes another instrument within it, and a full band of equally talented and diverse players.

The companion piece to the album Sensurround + B Sides, earned the nomination for Best Surround Sound Album' at the 2009 GRAMMY Awards.

The summer of 2016 saw the release of Fantasma Remastered, on Lefse Records. The package, a 2LP reissue of his classic album, also included 4 additional outtakes and earned Pitchfork's Best New Reissue'.

Cornelius has recorded music for Edgar Wright's Scott Pilgrim vs. the World, scored the anime mega-film Ghost in the Shell Arise, performed as the backbone of Yoko Ono's reformed Plastic Ono Band, played the Hollywood Bowl with Yellow Magic Orchestra, and co-wrote and produced the Japanese artist salyu x salyu.

First ever reissue and first time on vinyl for this unique Flying Saucer Attack live album, expanded with additional material and a new side four mix from Jim O'Rourke. Produced in collaboration with Dave Pearce / FSA and Bruce Russell (compiler of the original CD release for his Corpus Hermeticum label), featuring new artwork by Bruce Russell as well.

While rightly known for the folk-influenced songs and spacey instrumentals of their proper albums, the briefly active live version of FSA unexpectedly delivered a blistering wave of electric sound. Recorded at various shows in 1994, In Search Of Spaces heaves with long passages of feedback guitar racket, broken up by sections of surging rock music. The live band focused almost exclusively on visceral, trebly guitar noise—which, while always a key element in their sound, was greeted by audiences with total mystification (and often disapproval). Following a few brief attempts to settle a lineup and play songs from their records, Dave Pearce / FSA abandoned live performance altogether, leaving behind this album (and the barely available P. A. Blues CDR) as the sole document of his in-person delivery.

Originally compiled and released in 1996, this reissue adds several minutes of music back to the original program that had been edited out by FSA for being too rock.' For side four, Jim O'Rourke revisited the original 1994 live tapes and has made a spooky and brooding new mix of music exclusive to this release.

Konstruktivists is nevertheless than Codex Empire ... this Industrial band is his originas...and the one from a bunch of other surprising things... like mebers of Whitehouse, Founders of Third Eye Foundation or publishers of Impulse... 80's Indsutrial mafia baby ! But still active. Record comes in a printed sleeve and poster and inserts etc... BIG UP !

Olfactory Nerve is a recent moniker of Thessaloniki-based artist Photis Houliaras, who's been actively conducting experiments and releasing albums on tape under his mysterious guise Le Fonte Son. Influenced primarily by synth electronic music and psychedelic mysticism, the Greek electronic composer is injecting new ideas into something in the ballpark of the unknown rarities from the underground cassette scene.
'Orfeo', his first album for Details Sound, offers a diverse range of original and magnetic output with a naive experimental heart.

The debut release by The Slowest Lift (Sophie Cooper and Julian Bradley) presents a new chapter in the long-running tradition of radical English music duos. Originally formed via a commission from the Supernormal Festival, Cooper (an accomplished solo performer and collaborator) and Bradley (from frequent VHF delinquents Vibracathedral Orchestra) play a kind of gentle post-industrial psychedelia, with Cooper's lovely vocals floating over a collage of live and electronic performances. The songs are a blend of straightforward performance and eccentric bricolage, with rude electronic interjections sitting comfortably alongside delicate guitar and keyboard melodies. Zoviet France-like low-fi atmospherics compete with Cooper's voice for air on tracks like Crystal Fracture' and Hi From The Skyline Swim,' while the duo's surprising cover of Duran Duran's The Chauffeur' deep on side two sneaks in perfectly, a mini-pop music drama reimagined as pure hallucination.

Amir Abbey follows up Secret Pyramid's last album, Movements of Night (Students of Decay), with Two Shadows Collide, an ever deeper exploration of the sounds between consciousness and transcendence. Carefully built and fluidly performed, the record deepens Abbey's relationship with modern composition and abstract songcraft. Songs have an exploratory immensity fueled by cosmic awe, basking in a dreamlike presence. Abbey's works move slow, building substantive monolithic odes of awe which shift and morph into fully fleshed paeans of possibility.

"Possession" yields inspiration from György Ligeti's string works combined with field recordings, while the Badalamenti-esque "In Wind" provides a cinematic aural homage to the Pacific Northwest. You can hear the singular Ondes Martenot float and glide through several tracks, including the hazy and beautiful title track. Each song's main inspiration comes from the notion behind the album title, the intersection and attraction of forces and worlds, clashing of sounds, and the dualities within our lives. That such a meditative release is built upon conflict is ironic, but therein lies the perfect way to listen.

Manchmal gibt es sie ja doch, frische Acts, die das gesamte Spektrum zeitgenössischen Pops mit ganz neuer Spielfreude und der nötigen Portion Eigenwilligkeit auf den Punkt bringen. 2017 dürften das Superorganism sein. In ihrer Musik reichen sich Zukunft und Vergangenheit eines ganzes Lebensgefühls intuitiv die Hände und lassen neue ansteckende, ja, berauschende Sound-Bündnisse entstehen.

Die Geburtsstunde dieses 8-köpfigen Newcomer-Kollektivs mit Mitgliedern aus Großbritannien, Japan, Australien und Neuseeland lag im Januar 2017. Aus dem gemeinsamen Hausprojekt im Osten Londons heraus schickte die Gruppe ihrer 17-jährigen, japanischen Freundin Orono eine Audiospur nach Maine, New England, zu der sie die Vocals aufnahm und zurückschickte. Was dabei zusammenkam, war der aufregende Track - Something For Your M.I.N.D. . Im klassischen DIY-Verfahren fertiggestellt, ließ man ihn kurzerhand auf die Außenwelt los. Es folgte die Doppel-AA Single - It's All Good und - Nobody Cares . Und schon bald spielten ihre frisch getauften Fans Frank Ocean und Vampire Weekends Ezra Koenig Superorganism Songs in ihren Radio Sendungen und der Deal mit Domino Records war unterschrieben.

Keyfacts: Limitierte schwarze 7' Vinyl mit Etching auf B-Seite inklusive MP3-Downloadkarte

1x white + 1x black vinyl !
Ligovksoi's new EP with remixes by Peder Mannerfelt, Abdulla Rashim, Polar Inertia and HBT. The duo Ligovskoi, between Bruxelles and Paris, has come up with five new pieces, bringing their craft to a whole new level. Their condensed and moving soundscapes are now heightened by narrative compositions and constructions. (Cross and Lethe for instance, will drag you down several routes...) Their hybrid sound-design and detuned, infra-thin arpeggios now also integrate free improvisations and breathtaking, melodramatic moments. (take a shot at Aures for example) Enjoy

Superb, expert neo-minimalism from the retiring Berliner — veteran of collaborations like Vilod (with Ricardo Villalobos), the Moritz Von Oswald Trio, NSI and Sun Electric — making a rare, treasurable solo foray. Six tracks ranging from oscillatory steppers to eerie hauntings. Beautifully sleeved, too.

At the third New Interplanetary Melodies' astral journey stopover, it was mandatory to catch an Italian project deeply inspired by the Sun Ra visionary realm, expressing contemporary trials of hybridising jazz with artful electronica. So Ra Toth and The Brigantes' Orchestra landed on vinyl grooves for the label, after having previously appeared on the likes of Mathematics and Berceuse Heroique. Behind the sound, we find the elusive and unpredictable genius of the well-respected producer Marcello Napoletano. NIM received the distorted sound signal from Napoletano taken over by the Egyptian deity born from the lips of Ra. Who knows if those noises were coming from a parallel dimension, outer space, or some otherworldly sphere... Submerged in dark bottom waters, the stormy waves of the 'Acid Sea' are made of convulsive afro-flavoured percussion with sharp synths looming out like the ivories of some freakish abyssal creatures.

The second vinyl only release from this impeccable label presents textures of true deep house with 'Vapour Rises' and the mysterious 'Beings Beyond Comprehension', a spoken word 'Dedication to The Light' from a leading authority in the Sound Healing Field, a call for us to find the higher purpose, particularly relevant in these changing times and finally 'Chant of Antara (meaning 'Within' in Sanskrit) a blissful ambient piece created by layers of throat singing and ethereal effects.
Vapour Rises is beautiful, melancholy, meditative, deep house following on from the classics like Fingers Inc who created the genre so many moons ago. The Celestial Vocoder vocal version notes our 'Searching for meaning, Looking into little light boxes (our phones, computer screens and TVs)'
Celestial Being talking about Vapour Rises:
Vapour Rises was composed in Chicago. I was looking out of a hotel window on the fourth floor, looking out over the roof tops. It was very cold outside and as I remember almost in Black and White, probably twilight time. I saw people as dark shapes against the snow, and the odd car..but that just kind of went on and I was transfixed watching the smoke above the buildings going up into the sky. I felt in a very deep medative state making the track, as I considered Frankie Knuckles recent passing, in this city where the Underground Culture of Unity and House was his legacy. I had met him and spent time with him. He was a sweet, sincere and very positive human being. I considered my own death, of our short time here on this earth, how necessary it is for us to be genuine, honest, authentic, true. Watching the vapours rising from the buildings was like watch seeing souls rising up to divinity.
'So many lonely souls in the city as the snow settles, everybody looking into little light boxes, as the system powers down, So many golden souls in the city as the snow settles..looking into little light boxes trying to find their way back home...'

Finally a sign of life and a new full length by the German trio after five years of silence. Already formed in the late nineties in Berlin, Dictaphone was born by Brussels-bred multi-instrumentalist Oliver Doerell. In 2000 Oliver Doerell found a partner in Berlin's Roger Döring, who shares Doerell's love for the Brussels-based music of the eighties. In the following years the duo and several guest musicians (e.g. Stephan Wöhrmann (SWOD) , Malka Spigel (Minimal Compact) & more) released the critically highly acclaimed "m.= addiction" (2002), the "Nacht" EP (2004) and "Vertigo II" (2006) via the City Centres Offices label of Thaddeus Herrmann and Shlom Sviri (Boomkat, Modern Love). In 2009 the violin player Alex Stolze joined the band. During their two decades of existence Dictaphone played shows in more than 20 countries with festival appearances at Mutek, Transmediale, Unsound, Benicassim & more. Their latest release "Poems from a rooftop" from 2012 came as a very limited edition through the Berlin-based boutique label Sonic Pieces. The new album "APR 70" is the first Denovali release of Dictaphone. The label will also reissue the past repertoire of the trio.

The new album features the three Dictaphone core members Oliver Doerell (electronics, bass, guitar), Roger Döring (saxophone, clarinet) and Alex Stolze (violins) and has been composed and produced over the course of three years. While the vibraphone and the more easily distinguishable guitar among other things gave a certain presence to the tracks on the previous album "Poems from a rooftop", "APR 70" leaves the listener with a much more muffled impression. It feels as if each of the uncountable layers of which the intricate arrangements are made has just the right amount of contrast to be visible, but there are only very few moments where one of the elements noticeably dominates the others. The cool jazz bits, analogue flourishes, hypnotic rhythms and refined electronics feed a dark serpent-like creature meandering in ever-changing morphologies through shapeless landscapes. "APR 70" is the perfect cocoon for the hazy days and the serene nights. A new incarnation, maybe even definition, of purity. Dictaphone never make music for the sake of it, they always want to create something which was missing before. And they did.

Urpa i musell (Snout and claw in Catalan) is a record label that was conceived almost unconsciously throughout years of long lunchtime conversations at Discos Paradiso, a record store in Barcelona.The label begins their journey with the reissue of El Sueño de Hyparco's Ambientes Hormonales, originally released in 1990 on the Spanish label Hyades Arts.Drawing on the Berlin School, particularly Klaus Schulze and Tangerine Dream, as a main musical reference, and having emerged from the cassette movement, Ambientes Hormonales represents the missing link between the 80s New Music movement in Madrid and the beginnings in the 90s of contemporary electronic music in Spain.
First edition of 500, in original artwork, with new insert with liner notes by Antonio Dyaz aka Klaus Böhlmann

A quick split between H.J. and A.N. One freaky-deaky drum tool that operates on it own wave in space and time on the A, and the other side - a snappy, hazy ode(s) to the Rhodes.

Descending is a composition consisting of two movements for room resonance, triangles, shakers and horns. The recording was made in August 2015, performed by the Aarhus Jazz Orchestra. Descending is Løkkegaard's and Kirkegaard's first collaboration.

The sound artists and composers Jacob Kirkegaard and Niels Lyhne Løkkegaard are both renowned for their ability to convert sound into a form with the character of an artwork and a bodily dimension that can be experienced by more than the ears alone. In his art, Jacob Kirkegaard uses acoustic phenomena that are usually either overheard or inaudible to the human ear. Using a range of sensors and recording methods, the material unfolds in compositions and spatial, visual and sound works. Niels Lyhne Løkkegaard's art focuses on the multiplication of sound, extending it beyond its usual boundaries to re-emerge in new forms, as well as on the creation of imaginary musical works that the listener has to envisage before their inner ear.

Jacob Kirkegaard (b. 1975) graduated from the Academy of Media Arts in Cologne in 2006. His sound works are published by Touch (UK), Posh Isolation (DK), Von Archives (F) and Important Records (USA). Kirkegaard's works have been presented at a wide range of renowned exhibition platforms, festivals and conferences worldwide, including MoMA and Issue Project Room & The Stone in NYC, KW & Transmediale in Berlin, Mori Art Museum and Aichi Triennale in Japan, as well as Louisiana Museum of Modern Art and ARoS Aarhus Art Museum in Denmark.

Niels Lyhne Løkkegaard (b. 1979) studied at Denmark's Rhythmic Music Conservatory and the Royal Danish Academy of Fine Arts' School of Architecture. He has created a wide range of works operating at the intersection of experimental music and sound art, including the soundtrack for MoMA's René Magritte exhibition The Mystery of the Ordinary in 2013. More recently he has created the critically acclaimed series SOUND X SOUND. Lyhne Løkkegaard is also the founder of the curatorial non-event Curatorium - a sound festival that never takes place.

From 1974, the legendary debut album by Canterbury Scene pivotal figure, performance poet, painter and experimental musician June Campbell Cramer, better known as LADY JUNE. Produced by KEVIN AYERS, who also plays on the album along with BRIAN ENO, PIP PYLE (Gong, Hatfield and the North) and DAVID VORHAUS (White Noise).

Originally released by Virgin's budget imprint Caroline (home also of artist like Faust & Tony Conrad, Gong, Lol Coxhill, etc), Lady June's Linguistic Leprosy' is a surreal, eccentric, psychedelic oddity of interest to fans of the Soft Machine-Gong-Canterbury family as well to experimental / sound poetry / art-rock explorers.


*First vinyl reissue of this cult album, included on the legendary Nurse With Wound list.

*Remastered sound.

Sublabel of Vienna based Leap Records.

The first set of new Moon Zero cuts in two years, 'Relationships Between Inner & Outer Space' is a product of fevered displacement that nonetheless achieves a temple-like sense of calm, proportion and permanence. Scheduled for release in October 2017 on Denovali, the record is carpeted in traces of the settings that producer and composer Tim Garratt has found himself since we last heard from him, from Reykjavík to Leipzig with anything from a Dictaphone up to a studio to hand - it bears sounds from a vast number of different spaces, instruments and machines across its four colossal tracks. Paying attention to these rich patterns, they move and wind you in, producing a deep and rewarding catatonia.

While touring the first LP 'Moon Zero' (2015) Garratt lost his studio and flat, a relationship came to an end and he briefly moved back to his parents' in the Midlands. An emotional parabola familiar to anyone experiencing an economically-adrift, prolonged adolescence, it was heavy fuel for the melancholic sound world of Moon Zero. You can make out the origins of the record at the bottom of its multi-story wedges of sound, through dancing, duelling blocks of frequencies. And you can follow (somewhat obliquely, filling in the gaps) the inflections of different processes that these textures and melodic ideas have undergone, as Garratt moves them from machine to machine, speed to speed, room to room, through different combinations of effects. This churning celestial chaos, built painstakingly from detuned instruments, mono synths, field recordings and tape loops, is then meticulously ordered in the editing room.

The first side is in two tracks, each divided into two sweeping musical gestures, ordered by tone into a sequence of light-dark-dark-light and ending in a crescendo pulse with a 'Loveless'-like shimmer. The flip is also in two long tracks, each one a continuously-building, monolithic tranche. The change at the opening of the third number, 'Erwood Araf' is signalled with the entry of an unthreaded melody that repeats and gradually distorts while other caverns of sound open underneath and around it. Then, again on the halfway point, the idea dissolves and a minor key swell aches into frame before breeze block low end is deployed. One of Moon Zero's go-to sounds, an alloy of bowed cymbal, tape delay and who-knows, invokes the sound and disembodying feel of a train pulling into a station, if that moment could be elasticated and dragged far out. Emitting a chrome-sheen continental modernity, it's probably the emotional centre of the record and calls to mind Kraftwerk's 'Trans-Europe Express' and 'Radio-Activity' albums. Towards its end, on the nine-minute mark, in rides a soaring melody that surely has its roots in Garratt's Eastern European travels.

Each expansion of the Moon Zero universe has felt like a logical progression along lines set before, becoming ever more inventively structured and ambitious with its sonic palette but never straying from its nucleus of menacing, meditative drone. Fresh from playing Ruhrtriennale Festival alongside Actress, Demdike Stare and Ricardo Donoso amongst others, 'Relationships between Inner and Outer Space' is due to be released in October and Moon Zero will be announcing further shows in due course. This latest installation is the most profoundly affecting Moon Zero work to date, an unparalleled piece of infrasonic, atmospheric manipulation.

finally repressed !

Clattering percussion, raw energy... all the things that make an O'Flynn release but now with a slightly more mature palette driving this hotly tipped producer forward. The term 'mature' is used lightly, it's still completely mad with a load of sub!!