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Limited Edition Colored Vinyl. Original Controversial Artwork. New 24 bit/ 96 kHz taken from the original master tapes. Rare Master Tape Box photos included. The 1969 follow up to Silver Apple's debut found the duo digging into the far reaches of their songwriting psyches for a darker and more emotionally charged set of songs. While the debut set the stage for a sound the world had never heard before, Contact is where the Silver Apples began inhabiting that sound with more urgency and experimentation. Sourced from the original master tapes plus inner sleeve with unseen master tape box photos. Featuring the original controversial artwork with the Silver Apples in the cockpit of a Pan Am jet on the front, and a plane crash with the duo superimposed over it, on the back. The airline sued

both Kapp Records & the band, forcing the band to break up. Their highly influential sound has influenced countless bands from Stereolab, Beastie Boys, Blur and more.

Stelzer/Murray is the duo of Brendan Murray and Howard Stelzer, two stalwarts of the Boston noise / experimental scene over the past two decades. Both artists have long been friends and both artists have never shied away from collaborating with avant-garde musicians hither and yon. Yet, this marks their first collaborative work together. Better late than never, we say.

Stelzer brings to the table an array of mangled and partially demagnetized tape, and Murray brings his knack for compacted harmonics, obfuscated field recordings, and long-view compositional strategies. An irradiated, almost Kirlian glow permeates Connector through the duo's slow accretions and erosions amidst the soaring crescendos of compacted tone and vacant shadows of mechanical thrum. On occasion, rasping saw tooth frequencies and oblique synth-noise phrases stridently pop in a clinical opposition against the field of hiss. Screaming cascades from ice storms. Tape symphonies from urban blight. Life-support machines at the point of obsolescence.

In describing the process of building this album, Stelzer reflected, "When you've known someone for this long, the act of collaboration is like conversation over dinner, you don't fuss over it or worry about it, it's stress free, even instinctual like exhaling."

Good things come to those who wait.

Debut vinyl release for this curious Japanese producer combining electronics with subtle field recordings across a gorgeous set of arrangements. A maiden voyage too for the Lullabies For Insomniacs label. Blissful TIP on this one!
SUGAI KEN is an electronic musician based in Kanagawa, Japan. Using synthesis and recordings of his daily surroundings, he conjures the subtle and profound ambience of the Japanese nightscape. His music evokes a nocturnal peace that reflects the intangible qualities of his memory and dreams.

- On The Quakefish is an immersive exploration displaying a rugged invention, compressed into short bursts of electrifying genius. The release represents a romantic desire for dispersion into nature. Earthy as well as ethereal in his appreciation for figurative beauty, SUGAI KEN summons the Zen tradition of Satori. He invites one to listen with a sense of intimacy and introspection, reflecting on the extremes of subtlety.

40 years of the Voyager Golden Record

In 1977 two gilded records were send on a journey to interstellar space on board of the twin-spacecrafts Voyager 1 and Voyager 2. Stored on the discs are nearly two hours of audio material (music, sounds, words) and also 120 audio encoded images (photography, graphic, text) in order to describe culture and living space of mankind to a possible finder in a distant future and space. Today Voyager 1 is the furthest artefact and, since 2012, also the first one in interstellar space.

John Harten's art book project reflects in 120 artist contributions and four essays the compelling multi-layered idea and approach of this iconic data disk between album, atlas and archive and deals specifically with the images stored on the Golden Record.Public Folder is a serial book project by John Harten (co-founder and art director of MAGAZINE, Cologne).


The Book (Public Folder #3):

Ed. John HartenPublic Folder & Revolver Publishing ISBN 978-3-95763-395-8
24 x 20cm, 344 pages, german/english Elaborate bookdesign with two thread-stitched book parts, removable text book, different papers, 8 paged cover with goldfoil embossing and silver print and folded poster wrapper.

With contributions by 120 artists like:Albert Oehlen, David Ostrowski, Gregor Hildebrandt, Ingo Niermann, Johannes Wohnseifer, John Bock, Jörg Sasse, Justus Köhncke, Lothar Hempel, Marc Brandenburg, Matthias Schaufler, Michail Pirgelis, Mischa Kuball, Oda Jaune, Owen Gump, Peter Miller, Rafael Horzon, Rainald Goetz, Roman Schramm, Walter Dahn, Wolfgang Tillmans, Wolfgang Voigt ...


Record 1 (PF3 / GR 1)

A: Justus Köhncke - System als SchönheitThe audio part of Köhncke's contribution for the book: a conceptual composition, transforming the Unix software development timeline to sound. Played from a metal dubplate in an installation 2012.

B1: Jörg Sasse - Voyager (1980)Tape recorded soundcollage Jörg Sasse did in 1980, using radio reports about the Voyager mission (see also track A2 on record 2).

B2: Jens-Uwe Beyer - Black Ocean - Blue SeaThe composition of nearly 18 minutes is a hommage to a piece on the actual Golden Record where the history of earth and mankind is explained in a soundcollage. Among other sources, Beyer uses science data from the Voyager mission.


Record 2 (PF 3 / GR 2)

A1: A.W. - Per Monstra Ad AstraMorse code of Aby Warburgs - per monstra ad astra , as a citation of Kepler's (and Sagan's) motto - per aspera ad astra , which is stored as morse code on the actual Golden Record.

A2: Voyager 1 Plasma Wave System (Nasa) - 12.-13. November 1980 (Saturn)The Plasma Wave Subsystem is one of the science experiments of the Voyager probes. It detects plasma waves between 10 Hz and 56 kHz, which makes it possible to just represent the data as sound waves. The data used here represent the Saturn fly-by of Voyager 1 (see also track B1 on record 1).

A3: F. D. - Arecibo MessageThis is an early SETI message in form of a binary pixel image, initiated in 1974 by Frank Drake who is one of the main founders of the Golden Record.

B: Public Folder - Golden Record / ImagesSimilar to the images on the Golden Record, all 120 artist contributions for the book were encoded and stored as audio sound. Each image takes 10sec and can be read-out (made visible) by a spectrum analyzer.

From dive bar to record label, Paradise Palms' fifth release is a follow up instalment to its debut compilation LP, 'Bonnie Tropical'. Featuring music primarily made in Edinburgh and Glasgow, the collection shines a light on some of the most exciting music being in Scotland today. With contributions from 10 acts, this compilation is a charismatic journey into a new generation of modern electronic and experimental dance music.

After the long overdue release of Drew McDowall's debut solo album Collapse' in 2015, the experimental music underground saw McDowall as an arrival of an artist that was always here, hiding in plain sight. He was quietly in the background, pulling the levers on some of the most influential recordings in electronic music and with shifting his focus from the role as band member of such legendary acts as Coil & Psychic TV along with his recent collaborative efforts alongside Tres Warren (of Psychic Ills) in Compound Eye, McDowall came to finally identity as a singular artist and figurehead to a movement that has vitally required his presence.

His second full length endeavor for Dais Records is aptly titled Unnatural Channel,' allowing McDowall to allocate offerings to the ghosts of his past using methods not fully understood. Moving forward from the impact left with his first album, Unnatural Channel' moves McDowall into more uncharted territory. From the opening mark, Drew's distinct fingerprint is evident on the track Tell Me the Name', his signature ambient ebb and flow to pulsing electronics painted over reverberated percussions that have been pulled apart and spun around the spectrum.

Once the introduction has been made, the album moves forward into more rhythmic territory using classic industrial structures found on his previous work but fused with tumbling aural friction complimented by more techno-based cadence. Views into McDowall's unconscious are ever- present in This Is What It's Like', a reflective decent into madness brought on by the anxiety of sleep deprivation. Looping the title mantra, the listener gets caught into the author's own delusion and lost within the auditory hallucination.

The two part suite of Unnatural Channel' subjects us to a torrent of fluttering and panic-stricken electronics, subtle in its dispatch but powerful in its impact. Field recordings of the most personal, hypnogogic dream-state, lost within itself until McDowall unveils his unbalanced, sequential patterns of fibrous, metallic waveforms and subsonic bass kicks that hit the air with such strength and coercive force that it is impossible not to be converted.

Ending with the statement of Unshielded', the album ties off with the primal voice talents of artist Roxy Farman of the Brooklyn avant-techno duo Wetware. Roxy's confused phrasing seemingly crashes head-on with McDowall's cathartic finale, using every method of sonic hypnosis at his disposal to finish with a bold yet disconcerting assurance.

Franco Battiato is often heralded as Italy's answer to Brian Eno. A quizzical composer/lyricist, Battiato turned pop music upside down in the early '70s with three classic LPs - Fetus, Pollution and Sulle Corde Di Aries - that formed a confluence of avant-folk sensibilities and analog electronics.

Originally released in 1971 on Bla Bla, Fetus predated the prodigious Cramps and Multhipla catalogues to become one of the first electronic records produced in Italy. With his trusted VCS3 synthesizer, Battiato created primordial soundscapes that shift between dreamy and delirious. His unsentimental, yet evocative voice - combined with a sublimely detached approach to lyrics - spawned a new breed of divergent songwriting.

Fetus, a concept album exploring themes of genetic engineering, is enigmatically sub-titled "Ritorno al Mondo Nuovo" (Return to the New World) and dedicated to Aldous Huxley. While the sleeve design may have raised a few eyebrows upon its initial release, the back cover photograph of Battiato (standing defiant in dark glasses) makes the real iconoclastic statement.

Battiato's infectious melodies and innovative sound-collage techniques remain uniquely spry given that each track averages less than four minutes in length. Pink Floyd's Meddle, Os Mutantes' eponymous recordings and Jim O'Rourke's experimental-pop idiosyncrasies all find parallels to the curious beauty of Fetus.

Superior Viaduct is honored to present the first-time domestic release of Fetus on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.

Franco Battiato is often heralded as Italy's answer to Brian Eno. A quizzical composer/lyricist, Battiato turned pop music upside down in the early '70s with three classic LPs - Fetus, Pollution and Sulle Corde Di Aries - that formed a confluence of avant-folk sensibilities and analog electronics.

Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it "genius."

While Battiato's core group of collaborators remains largely the same as on his debut, this phenomenal band (joined by an eighteen-year-old Roberto Cacciapaglia on keys) appears even more in the foreground on Pollution. Out of the Ash Ra Tempel-like riffs and urgent guitar strumming emerge hypnotic grooves and cinematic flourishes, suggesting a futuristic meeting point between Stereolab and Ennio Morricone.

Dedicated to the Centro Internazionale Studi Magnetici, Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll.

Superior Viaduct is honored to present the first-time domestic release of Pollution on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.

Grandbrothers are the sum of unique parts: Progressive Swiss engineer/mechanic/software designer Lukas Vogel and German-Turkish pianist Erol Sarp. Their second album 'Open' twins Sarp's piano skills with Vogel's talent for both building the formidably intricate mechanics with which he exploits his partner's instrument and also designing its software. Sarp works at his ivory keyboard while, from behind his own computer keys, Vogel live-samples his partner's notes, triggering further effects with the aid of a homemade apparatus that physically manipulate the piano's strings and body. They have essentially built an analogue drum machine out of a grand piano. Nerd out! Creating a new shade, a new dimension, a new generation of atmospheric krautrock with the piano at its core.

Their ambitious second album 'Open' explores dimensions at which their debut 'Dilation' only hinted. The greatest revelation for anyone hearing them the first time remains the element constant to everything they've recorded: every individual sound that Grandbrothers make stems from one single instrument, a piano. No wonder their music was once memorably described as open heart surgery on a grand.'

What makes things work,' Vogel concludes, is that we are such different personalities, with different skills, which fit together so well.' Sarp concurs: Our music comes from a mixture of really intense analysis and simply doing things. I can calm him down, and he can incite me. He's not just a colleague, but one of my closest friends.' Such synergy - born of an innate understanding and intuition, personally and musically - can be heard throughout Grandbrothers' technically innovative, thrillingly distinctive work: two ingenious minds, perfectly in tune, relentlessly exploring new ideas. Keep your mind Open.

Masaki messaged Blueberry Records Soundcloud and signed an EP within a week. I guess sending demos is still a thing.

The concept of the EP is to demonstrate all the colors in Masaki's rainbow. A truly gifted studio engineer, there are many styles in which he moves across the mixing board.

Ark and Blessing are pure sound design ticklers. As if he decided to make an updated Blue-Ray instructional soundtrack. Soaring melodies and sub bass anchors the listener is literally pinned done by the pressure and beaten with an ugly beauty unique to Masakis style.

Dolci and Ilah both radiate on the dance floor like lost dark rollers from an updated mid 90's

Estelia and Fraewnuil demonstrate the beautiful thoughtfulness Masaki also possesses. Like a hidden runout groove, Masaki leaves the listener pensive and wrapped in a warm embrace.

D x

IG Culture and Alex Phountzi are NameBrandSound and are back with their third EP on their own Arena Yard imprint. Known for their roles in the broken beat movement, NameBrandSound puts a nowadays take on a lifetime of different influences.

Their most comprehensive body of work today the seven track Spell T.H.I.S.O.N.E EP joins the dots between broken beat, juke, jazz, jungle and dancehall, from the grime jazz of Harvest Your Manor to the new school bruk style of Patience which features West London r'n'n sensation, Abel Miller, to the straight up juked style of the title track. Supporters include Toddla T, Josey Rebelle, Zed Bias, Om Unit and Alexander Nut.

MAT's S.K. collaborates with D.K. (Antinote / Lies) on a 6 mini LP , recorded in Paris during early 2017.

Just as you begin to get comfortable with something, the rug is pulled from under you. A week last Friday, John Dwyer and his band Oh Sees released their newest record, the monolithic psych opus Orc. This release represents the 19th album under some amalgam of the name Oh Sees/Thee Oh Sees/The Oh Sees, OCS, etc. Wasting no time, John Dwyer presents the 20th album (in the 20th year of the band's existence), 'Memory of a Cut Off Head' (out 17/11 on Castle Face), returning to his roots as OCS.

It is easy to forget (especially amidst the ringing of ears and aching of muscles after your typical Oh Sees show) that initially, OCS was a rather hushed affair. After the minimalistic brutality of Coachwhips, OCS was a diametric opposite corner of John's musical world, quiet to the point of whispered in the wind, buffeted by the airy whirr of singing saw, soft and strange. Those early records especially had a rather contraband hush about them, as if the party has gone on all night and continues into the morning but everyone's raspy from talking too much and gradually agrees to whisper and pantomime as they watch the sun come up over the hills. Since then of course, things got gradually louder, faster, crazier...the band evolved since then into the Oh Sees everyone knows. For the 20th Oh Sees release, 100th Castle Face title, and 20th year doing it, John re-examines the quieter roots of it all in particularly baroque and homesteadly fashion. Memory of a Cut Off Head was co-written with longtime collaborator and vocal counterpoint Brigid Dawson, recorded in total in John's own Stu Stu Studio, and it's lush, sumptuous in texture, but satisfyingly retains the gentle grace of the early stuff. There's beautifully executed strings throughout, courtesy of Heather Lockie's fine arrangements, horn arrangements courtesy of Mikal Cronin, and they even brought back the old saw - Patrick Mullins, that is - on saw and electronics. A return and a refinement of old forms, a few solemn meditations on life lived at high velocity, perhaps a respite from it...a softer side of JPD and distinguished company.

Just as you begin to get comfortable with something, the rug is pulled from under you. A week last Friday, John Dwyer and his band Oh Sees released their newest record, the monolithic psych opus Orc. This release represents the 19th album under some amalgam of the name Oh Sees/Thee Oh Sees/The Oh Sees, OCS, etc. Wasting no time, John Dwyer presents the 20th album (in the 20th year of the band's existence), 'Memory of a Cut Off Head' (out 17/11 on Castle Face), returning to his roots as OCS.

It is easy to forget (especially amidst the ringing of ears and aching of muscles after your typical Oh Sees show) that initially, OCS was a rather hushed affair. After the minimalistic brutality of Coachwhips, OCS was a diametric opposite corner of John's musical world, quiet to the point of whispered in the wind, buffeted by the airy whirr of singing saw, soft and strange. Those early records especially had a rather contraband hush about them, as if the party has gone on all night and continues into the morning but everyone's raspy from talking too much and gradually agrees to whisper and pantomime as they watch the sun come up over the hills. Since then of course, things got gradually louder, faster, crazier...the band evolved since then into the Oh Sees everyone knows. For the 20th Oh Sees release, 100th Castle Face title, and 20th year doing it, John re-examines the quieter roots of it all in particularly baroque and homesteadly fashion. Memory of a Cut Off Head was co-written with longtime collaborator and vocal counterpoint Brigid Dawson, recorded in total in John's own Stu Stu Studio, and it's lush, sumptuous in texture, but satisfyingly retains the gentle grace of the early stuff. There's beautifully executed strings throughout, courtesy of Heather Lockie's fine arrangements, horn arrangements courtesy of Mikal Cronin, and they even brought back the old saw - Patrick Mullins, that is - on saw and electronics. A return and a refinement of old forms, a few solemn meditations on life lived at high velocity, perhaps a respite from it...a softer side of JPD and distinguished company.

Music for post-apocalyptic deserts. Experimental synth-sounds with hypnotic percussions - imagine Moondog performing with John Carpenter and Cabaret Voltaire.

Relating to their live appearances, Phantom Horse might be named a lazy combo since they are not to be found on stage all too often. Yet their withdrawn approach fits this album very well - Als Ob' is once more a journey through inwardness, a contemplative excursion to the electronic outback, still friendly asking for your attention. There's plenty of things to discover if you listen mindfully, the Phantom Horse rides out where you as a listener like to be lonely. Those ancient synths are still around, playing their melodies as if* there were no time thieves waiting around the corner (*That is what Als ob' means).

Altogether, the sound has become more electric yet not eclectic, the duo has dekrauted, describing their sound as more ritual but of course avoiding any kind of mysticism and fairy-tale dullness.

Since 2015's Different Forces' (also on Umor Rex), Phantom Horse have fleshed out their friendly stoicism that hauls their experimental synth sounds into the area of songs - maybe even pop songs that aren't tangible at least. Welcome to the insular state of Phantom Horse.

Sam Kerridge launches a major rethink of his style with the high-velocity tempos and razor-toothed bite of The Silence Between Us.
Toiling somewhere between Ueno Masaaki's Vortices for Raster-Noton, the pitching pelt of La Peste for Hangars Liquides, and the machine convulsions of Somatic Responses, he goes balls-to-the-wall with the breakneck momentum of Possession/Control, harnessing reverse-edited kicks, helter-skelter EBM bass and spectrographic noise ghouls in a surge of searing rave energy.
Flipside, those knotty, strobing pulses keen thru empty stomach inversions and bursts of tangled EBM synths on Ascension, which is effectively a snappier edit of the A-side, whilst Radical Possibilities of Pleasure sounds like a field recording from a french hardtek invaded by dildo dibble in choppers and riot gear railing lasers against any unlucky dancers.

Japan has a long tradition of annual pre-harvest summer dance festivals, known as Bon-Odori, which continues to this day. One of the longest-running of these festivals is the Sakai Ishinage Odori festival, which takes place in Sakai town, Saitama, north of Tokyo. Unlike some festivals which function as tourist attractions for domestic and international visitors, this festival is resolutely local, with no professional performers, the music being passed down from generation to generation, played by local men and woman ranging in age from elementary school students to senior citizens.

With percussion, massed flutes and vocals, this is a vital, living music, a tribal sound born in the rice fields, agricultural industrial' music, low-tech hard techno. This release features 1982 recordings, from a non-commercial release for educational use, plus 2017 versions of the same pieces, recorded and mixed by Sugai Ken.

Researched and assembled by minyo DJ masters Riyo Mountains, who have been mining recordings of minyo (Japanese folkloric music) for many years. Their club nights draw a fresh crowd, eager to tap into the lost groove of minyo rhythms

All hail the debut release from The Stallion! The Stallion is Ben Wallers and Alastair Mackinven of the Country Teasers. For two years they labored at the legendary Hit Factory recording studios in London as their schedule allowed. The project at hand was their long-planned / often-threatened The Dark Side Of The Wall — a song for song interpretation of Pink Floyd's 1979 album The Wall. At long last In The Red is proud to unveil the results. It should surprise no one familiar with Ben Wallers's work or re-cord collection that he would choose this particular album to honor.
The Wall's influence has been noticeable in his music before (see Spiderman In The Flesh' from the Country Teasers' Empire Strikes Back album). The man likes his Floyd—he even rates The Final Cut as brilliant'.
It should also surprise no one that Roger Waters's compositions from The Wall take a morbid and twisted turn in the hands of Wallers and Mackinven.
What was already a fairly dark and bleak piece of work becomes much darker and bleaker here. It's also longer. Pink Floyd's original contained 26 songs spread across four sides of long playing vinyl which, by comparison, was the same number of tracks as Pink Floyd's four previous studio albums combined. The Stallion's take on these same 26 selections spans six sides of vinyl. Mackinven says, it's longer so it's better, right'

This is a beautiful piece of work both aurally and aesthetically.
Packaged in a gorgeous heavy duty double gatefold, this limited edition triple-vinyl package won't be around long.

The Subversive Nature of Kindness is the sophomore effort from Thor & Friends, the avant-chamber ensemble formed by its namesake, polymath percussionist Thor Harris. The album was recorded in Albuquerque, New Mexico, produced by Jeremy Barnes from A Hawk & A Hacksaw and engineered by Barnes and Deerhoof's John Dietrich. It is hoped that the melodic meditations offered up will ease some of the terror of living in these uncertain times. The three primary members of the band are Peggy Ghorbani on marimba, Sarah Goat' Gautier on marimba, vibraphone, xylophone, organ, voice, mellotron and piano, and Harris on sundry percussion and wind instruments, including some of his own devising. The band has toured extensively over the past year and have performed live with many guest musicians. All these players have influenced the way the group hears its music and this had a significant impact on this new album. On this recording voice plays a more prominent role with the core trio being joined by several guest singers who provide wordless vocals: Stine Janvin Motland, an opera singer from Oslo, Norway, Michael Gira from Swans, Enrique Soriah, a throat singer from Oregon. It features more fully developed string arrangements by Barnes and Heather Trost. There are also contributions from similarly adventurous musicians including Jhno Delicateer on Armenian Duduk, violin improvisationist Aisha Burn, and Adam Torres, who provides finger-picked guitar. The band draws on classic Minimalist composers including Terry Riley and Steve Reich, but also amalgamateS such diverse influences as Brian Eno, Aphex Twin, Moondog and The Necks. They embody utopian optimism by rooting their art and operation in both improvisation and the involvement of neighbors and friends in their process, making use of what and who is around at any given moment.

For the second release in collaboration with ZCKR Records, Research and Waves present Artist Hannes Middelberg¥s installation-based sound piece Displacement. The translation of Middelberg¥s seemingly improvised, constantly rotating drawing machine onto the one-sided vinyl record makes the complexity of every automated circulation acoustically accessible.

The Intergalactic Research Institute for Sound presents DE, a compilation of various artists representing Georgian electronic and ambient music.
/ DE is a compilation of music from artists of different backgrounds getting together in order to showcase the dynamic influences within the Georgian scene.
Tbilisi is getting worldwide recognition at the moment for its booming club scene, but what this project aims to illustrate is what is happening outside of the club context.
Natalie Beridze who has been performing worldwide since 2004 is known as the first female electronic music artist in Georgia, Rezo Glonti has built his studio inside the hull of his boat, and Zesknel is a resident of the renowned Bassiani club, while MYI and Severiane were discovered thanks to Myspace, Soundcloud, and word-of-mouth. All these talents manage in their own ways to present / DE, with murky and melancholic cuts.
Melancholia is at the core of beauty in Georgia. That is not the case in Germany and many other cultures, where melancholia is often charged and bound to a negative feeling, which some might perceive as weakness. Consequently, one could be tempted to say that even if it's electronic music, DE has a traditional Georgian quality. But that would be putting art in boxes or cases — because what is Georgian art nowadays, when so many artists from this origin are scattered around As Giorgi Maisuradze states in his mission statement for DE, 'the world is their home'.
TRACK LISTING

Today Danish/Finnish band Liima (featuring all three members of Efterklang) have announced details of their second album, '1982', to be released on November 3rd 2017 via City Slang. They have shared the album's title track and have also confirmed Autumn European tour dates with Grizzly Bear, whose bassist Chris Taylor co-produced this new record.

In the year 1982, Time Magazine chose the first ever non-human person of the year', the Personal Computer. It's also the year that Liima's Casper Clausen was born, with the other three band members born in the surrounding years. Though '1982' is not an album that tries to mimic the sounds of that year, it is an album borne of influences and circumstances that stem back to that point in time. It's an album that sees the band questioning the concept of identity and our place in time - as much an album of existential questioning and of looking forward as it is of nostalgia and reflection.

I think our collective memory and consciousness as a band is shaped from being born in the beginning of the 80's' explains Clausen. It's a time and place that I keep returning to, to understand and make sense of. It has a lot of personal relevance and so little at the same time, because in time and space it is far away... Everything is changing all the time, nostalgia is looking back, but I'm on the run, even when I stand still.'

The video for the album's title track, shared online today, was created by director and visual artist Baby Duka: "Liima reached out to me while I was in the middle of developing a computer game - the melancholy world of synths and wet drums fit perfectly with an idea I've been toying with for a while: to mix the pixel graphics of the Atari and C64 with a 3D camera. I saw it as a cool opportunity to visualize an Orwellian dystopia where the dream of being in another place is always present in the human individual.

Liima was born as much of breaking old habits as building new habits, and their second album, '1982', provides a masterclass in pushing beyond one's established comfort zones.

Like its predecessor, '1982' was written during four residencies, beginning in January, 2016 - before Liima's debut 'ii' was even released - at The London Edition, where Casper Clausen, Rasmus Stolberg, Mads Brauer and Tatu Rönkkö worked in a club in the hotel's basement, sometimes watched by small crowds, much as PJ Harvey was during the making of The Hope Six Demolition Project at London's Somerset House.

They reassembled at another hotel in Copenhagen before embarking upon tours of North America, South America, and Europe. Even then, they'd reconvene between trips to continue work, first in the less glamorous surroundings of a music conservatory in Viseu, Portugal, in July 2016, then, finally, in August, at Berlin's Michelberger Hotel. By the time they gathered in Mankku Studios in Porvoo - again in the Finnish countryside - Liima were more than ready to begin recording with Grizzly Bear's Chris Taylor as co-producer.

'1982' finds Liima - musically and lyrically - exploring themes that shaped their youth while looking forward to a future in times that feel as uncertain as they ever might have been, and in which we all struggle to find our identity. Finding values of life, giving up on values of life... Our civilisation, our way of life and our liberal thinking is threatened and challenged...' Clausen muses. I say our time, but could it be MY time, MY age. Was it like that for my father when he was 35 years old I'm wondering, I guess the album is wondering.'

Here, amidst the contemplation and questioning, the musicians stake their claim firmly to both their new band and their new sound. For a band originally founded upon enthusiastic acts of spontaneity, '1982' represents a huge, sophisticated leap forward. The decision to form Liima may have been as bold and radical as their new sound, but the consequences speak for themselves.

The latest outing on Will & Ink is a remix EP that finds Parisian producers Bambounou and Simo Cell team up for four reworked versions of Yaleesa Halls Woodall LP. Both artists are known for their releases on 50 Weapons, Livity Sound and Wisdom Teeth. Right here, on Will & Ink, two solo outings with another two collaborated remixes on the b-side showcase their dubbed out, stripped back and paranoid dark Parisian trademark sound. Their very specific sound sounds like little else and is a solid match with Yaleesa Hall and the Amsterdam imprint as this EP proves.

One off German studio project with spoken word and electronics. More info to follow!

PTP is proud to present the debut album by Celestial Trax (real name Joni Judén) entitled Nothing Is Real, which he describes as a departure not only in sound but also geographically and spiritually from his previous output, having found an increased interest in mysticism and the esoteric. Taking inspiration from a quote by Anton Chekov, "if you want to work on your art, work on your life," Judén aimed for the album to be a true representation of his voice at this time. He felt a need to distance himself from the distractions a creative hub like NYC can often provide, not wanting to become too influenced by the city's current trends, and instead shifted his focus inward to cultivate a more meaningful self-connection: this journey and struggle thus serving as the main inspiration to the writing. In beginning Nothing Is Real, Judén had reached the point of creative purge, deleting almost all samples, sample packs, and software synths. Fueled by ideas of rebirth and true self-projection, he amassed a library of field recordings from New York City, plus samples from his own cassettes, vinyl, and Youtube search history - utilizing every sound source he could come across in his studio whilst trying to spend as little time as possible on the computer screen. The result being an album less concerned with achieving a masterful polish and sonic bombast, instead aiming for more organic textures where noise and imperfection reflects the human experience, with recurring themes of existentialism, surrealism and nature permeating throughout.

Six track EP of berzerk, often downright scary new music from Chafik Chennouf (Leyla Records) with the Ferrorequinologie" track absorbed and remixed by Lucy (Stroboscopic Artefacts) Mondkopf and aKatsunori Sawa respectively.

Home Age is the first proper Eleh full length since 2012's Homage To The Pointed Waveforms. Packaged in a deluxe gold on black heavy duty letterpress jacket made by Studio On Fire in Minneapolis. Edition of 500. Also available simultaneously is a new split LP between Eleh & Christina Kubisch.

These three new pieces seek to expose the inherent musicality of pure electrical currents via high resolution Serge STS synthesizers. Like early Eleh work, Home Age is inward looking, domestic and deliberate but also slowly emotional and revealing as if peering blurry eyed through a window. Melody, harmony and counterpoint are suggested but not revealed.

This split LP release is packaged in a letterpress printed jacket in an edition of 500 copies. This record is being released at the same time as a new full length from Eleh titled Home Age.

Christina Kubisch contemplates Nicolai Tesla and his concept of electrical remoteness as it applies to the modern world. In this piece Kubisch considers whether this is the future Tesla envisioned and what remoteness means in an age where remoteness hardly exists at all. Tesla's Dream includes electromagnetic field recordings from tramways, analog machines, light systems, power stations, airports, banks, secrity systems, advertising and the sounds of discharges and activities of Tesla's own devices. Recorded all over the world.

Eleh's composition Ohmage/Resistor utilizes a new kind of spaciousness and was composed for piano & Serge STS modular synthesizers. Though Tesla was not a consideration when the piece was recorded it takes on a new meaning and is well paired with Kubisch's.

Recorded with a modest hardware setup in Geneva - one drum machine, a few synths, a sampler, plus effects - the ten miniatures on LEVELS' debut S/T are nonetheless dense in atmosphere and mood, often immensely beautiful beyond their means. As suggested by the project's name, each track has the feel of a new level on a video game, a new environment to explore, to feel around for new clues, and ultimately to conquer. Referencing classic anime, movie, and videogame scores, LEVELS' willfully minimal sound palette is designed to give the listener a cinematic sensation. The sparser and more lo-fi sounds on side A have the listener tentatively exploring futuristic new spaces, wandering hallways of ambient beds and kick drum heartbeats. However, the busier rhythms and crisper melodies of the second side tell of the action that happens next, picking up the pace for keyboard-heavy chases, drum machine action sequences, and some gorgeously redemptive emotional peaks.

Recorded and produced at Village Suisse Studio in Geneva, Switzerland. Mastered by Felix-Florian Tödtloff at Ætherweight in Berlin. Artwork by Daniel Castrejon.

By restricting myself, I feel like I'm connecting with a larger arc of producers throughout time,' explains Leo Maymind. People who were crammed into a corner of their bedroom with headphones on while the rest of the world was out gallivanting.'

Following nearly a decade entrenched into the Brooklyn DIY scene, a move to Los Angeles signalled a change in approach for Maymind, limiting his gear to a small tabletop hardware setup, sometimes as little as a single drum machine and a rackmount effects unit. Illumina is Maymind's first full length release since this change of location and approach, focusing in on the liminal and transitional moments within the musical spectrum. The limited timbres across Illumina shift and evolve before your ears, each track unfolding at its own pace. Sometimes they reach a resolution, other times simply fading off into the ether.

I think the commodification of music and having streaming available at all times has made listeners very impatient,' says Maymind, even when it comes to ambient or drone music.' Illumina battles against this, the deep buried rhythms consistently getting disrupted by stray new percussive notes, or the gently sketched melodies getting spliced overhead, mutating into new textures. Inspired in part by his own stuttering problem, this element of aleatory interruption informs Maymind's adroitly crafted minimalism on Illumina. I wanted to make music that mirrored life more closely,' says Maymind. Things cutting off sharply—life is full of twists and turns.'

All tracks written and performed by Leo Maymind in Los Angeles. Mastered by Felix-Florian Tödtloff at Ætherweight in Berlin. Artwork by Daniel Castrejon.

Born in a cave in Bordeaux, Radiante Pourpre is one of the many children of Simple Music Experience, a collective and label floating somewherebetween Marseille, Paris and Bordeaux and which inexorably attracted to itself many outsider experimentalists from the French electronic scene for the past few years. Antinote is now reissuing a long out-of-print tape that the duo recorded in 2014 in Brussels' art space Komplot.
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Alex & Léopold, the two halves of Radiante Pourpre, learned in some smoky basement how to give life to their own desolated mental landscapes - only populated by the ghostly figures of the likes of Muslimgauze and Genesis P-Orridge - and to merrily loose themselves into them during long sessions surrounded by Korg synths and cassette players. Ghostly, their music is indeed: by suffering the many manipulations that the two are applying to their huge collection of samples, these fragments of sonic material, little by little, loose their consistency to become nothing more than a faint reminder of their previous life, a dilapidated version of their past-self.


Manipulating the very essence of the sounds sampled, the duo is lurking on dub as well as industrial or musique concrète. By their multiple tape manipulations the two musicians reshape our world's map, as the whim takes them, fostering the most improbable meetings: faint synths crash themselves against a solid wall of Irakian percussions while Brazilian voices melt into field recordings of fearsome machineries.
payback 6 euros - limited hand print silk + insert

"The Body return with 3 brand new tracks pushing their experimental doomed and blackend heavy sound ever forward! Since the release of 2010's critically lauded "All The Waters Of The Earth Turns To Blood", The Body have toured as the stripped down duo and the added ensemble, and collaborators on various releases, of the ethereal voices of the Assembly Of Light Choir (S/T - 2012) and the orchestral drone of Braveyoung (Nothing Passes - 2011).

The blackened punk / hardcore burst of "The Ebb And Flow Of Tides In A Sea Of Ash" w/ the contrast of Chip King's screeches and Leslie Weitz (Otesanek) growls cumlminating in noise and feedback. Beautful yet erie sound of Chrissy Wolpert (Assembly Of Light Choir) & Reba Mitchell's (Whore Paint) vocals contrast w/ a women's saddened confession of mental anguish. A pump of a shotgun, a sludgy foreshadow moves to a explosion of sound and tortured screams. Hypnotic tribal rythms, feedback and noise erupts into the slow crush of low end and the bellowing of "an end to beliefs and an end to these truths"!" - At A Loss

Damon Carruesco departed his decade on bass with Chicago's minimalist fringe rockers Disappears in 2015, deciding experimental music more his thing and opting to pursue the bold sound of TüTH. Aiming to search out his own limits, potential, and abilities as an artist, the atmospheric sounds on Transgression are Carruesco's attempt to make atmospheric electronic music that exists outside of "the grid". Transgression draws from field recordings and hand-made sounds, taking key inspiration from brutalist architecture, the acousmatic music of Romanian composer Iancu Dumitrescu, and the passing of somebody very close to the artist. Throughout Transgression throbbing tones play out into cavernous otherworldly atmospheres, while bass demons collide with far icier synthesizers issuing moody melodic patterns. The references for this deeply abstract music are few and far between - the most fractured and sparse dub, Tangerine Dream's earliest primordial trips, György Ligeti's creaking galactic symphonies - so with Transgression, TüTH has appeared as his very own, unique, and fully fledged new voice.

All tracks written and performed by Damon Julian Carruesco in Chicago, IL. Mastered by Felix-Florian Tödtloff at Ætherweight in Berlin. Artwork by Daniel Castrejon.

Vakula has been a Dekmantel label member ever since the very early days. The Ukraine based producer now drops his album Cyclicality Between Procyon And Gomeisa on the label.
'This album is about cycles, repetition and interaction', says Vakula, whose Cyclicality between Procyon and Gomeisa is the third of a series of albums and reflects a dashing experimental record that evokes the endless and captivating potential of electronic music. It creates a mesmerizing journey through various music genres, exhibiting a singular sonic experience, whilst he works through a process of improvisation and refinement.
Once again the mastermind proves to be capable of creating complex, yet diverse musical pieces beyond genres and trends. The result: an audio adaptation of his fascinating mind. 'There are two parallel processes that come together in my work: me writing music and working on the sound I want to achieve, and the energy from outside that flows and transforms into thoughts, correlations, and actions.'

The track titles relate to the source of Vakula's inspiration and connect the dots between his obsession for the vastness of our universe and electronic music. ''To wonder about the universe and to dig into mythology and scientific research discovering at least some of its secrets is what keeps me endlessly motivated as a producer.''

With hard-to-define instruments Varkenshond creates ritual and tribal madness in the vein of early Silvester Anfang and Zero Kama. Varkenshond was founded in 2006 in Antwerp, Belgium while the to-be members were studying Maggergergorian spiritual philosophy with Wim Vanaeghe, Thomas Gergeti' Kreuzfeld and Koera Mönggüm Sorgan.

They released a cd in 2007, the result of a series of therapeutic music sessions led by G. Karkaronga, and a cassette in 2013, a selection of songs and meditations recorded with local musicians in Brasil, Belarus, China, India, Indonesia, Mongolia and Russia.

Their new album Hargawaan Por Shail is a collaboration with animal communicator, flute player and percussionist Yori Yoki. It consist of Támoldut and Maggergorian vocal and instrumental traditional music from Asia, Africa, South America and Europe. The album includes the first recording ever of the instrument "Life Hooter" and an atmospheric electric version of Qéfelni."

ltd. to 200 copies on dark green vinyl

Apart is a mini-album containing a set of cello improvisations, concieved during days of solemn recording in the basement of an unused industrial space outside of Bern, Switzerland.

- In autumn 2015 I was invited to perform and stay for a week - residency at the - as it turned out one off - Rebirth Festival in Bern, Switzerland. I was staying at an abandoned farm in the hills, half an hour outside the city with the group of young people responsible for the festival. My room was equipped with a mattress on the floor, some strange paintings, and a lot of spider webs. The view outside was straight into an open field with mostly hills, a forest, and some tents, all of which would be covered in fog every morning. By night I was driven to the venue - an unused industrial building slightly outside of central Bern. Three of the nights there I was given a cello, a sleeping bag, full access to the building, and especially its big open basement space for recording. Something that ended up as both a fruitful and an uneasy experience. The walls were spray prainted and the space was scattered with bizarre, elaborate tree / steel sculptures. Most of the rooms was made into some kind of surreal art object, often recalling a sort of Mad Max post-apocalyptic feel.

I realised that getting a clean recording here would be nearly impossible, as the building had a tendency for strange noises, clicks and sounds, seemingly turning itself on and off at random. It was also located right next to the train tracks, which meant I had about 10 minutes of quiet in which to record in between the thunder of passing trains - a lot of recordings were ruined. However, all these off elements somehow had their charm. Having such a big empty space for myself, filled with strange installations and sculptures set up for the festival, was both inspiring and eerie. When not playing and just sitting still, it was unnerving. The lights were on motion detectors and would automatically turn off after 5 minutes without movement, leaving me alone with nothing but a small lamp and my thoughts. Sometimes I wished my imagination would be less vivid, as I´d have an easier time not imagining all kinds of obscure happenings in the shadows. Then again, this is also something that intruiged me so much that I felt no choice but to investigate closer. Spurred by this intrigue/paranoia, I would often walk around the empty building to soak up the atmosphere and check if someone was there. - Svarte Greiner

Scarlatti played cheap tune 8bit sounds ^^ Weird Experimental stuff !

Directed and produced by David Toop, DIRTY SONGS PLAY DIRTY SONGS reacts against our poisonous present, inspired anti-nostalgically by similarly reactive records and live performances from the 20th century: Soft Machine and Pink Floyd 1967-68, The MC5's Kick Out the Jams, The Stooges, Sun Ra's Cosmic Tones For Mental Therapy and The Heat Is On by The Isley Brothers.

DIRTY SONGS PLAY DIRTY SONGS is the musical offshoot of a project conceived by artist Maxime Rossi, originating in (among other things) speculations on the (then unreleased) legendary Pink Floyd John Latham' recordings (1967) and FBI investigations (1964) into subversive and obscene messages supposedly buried within the recorded lyrics of The Kingsmen's Louie Louie'. Developed through conversations between Maxime Rossi and David Toop and through support from Fondation Fiminco & MRAC, these ideas metamorphosed into the band and recordings known as DIRTY SONGS, existing both as audio recordings and audio-visual elements of Maxime Rossi's installation Christmas On Earth Continued, exhibited at MRAC in November 2017.

DIRTY SONGS is David Toop (bass, guitar, digital electronics, VCS3 synth), Phil Minton (voices), Evan Parker (soprano and tenor saxophones), Steve Beresford (Farfisa organ, VCS3 synth), Mark Sanders (drums).

Super electro experimental techno music. Japan oldschool rare weird thing.