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Researched and executed by 31x artists - Twelve-inch vinyl and download code - Fourty page A5 pamphlet includes plantlore and illustrations from artists and herbal medicine section by herbalist Zoe Naylor. - Twenty eight page pocket A6 booklet Oak, Fern and Daisy: 'The Folklore, Culture and Magic of the Plant Kingdom' By Jez Winshi

I shall go to bed now - one day we shall all be shades. I adore you, I adore you, I adore you, but I'm fixated on making myself sick. Welcome to the centre part.

John T. Gast's 'Inna Babalon' was originally published as a cassette on Gast's 5 Gate Temple in 2016. An important offering int he British producer's output. Revitalizing Anglo-Saxon folklore through bassy dub magic.
Haunter Records is now remedying the physical unavailability of the album by giving it renewed life as a Limited double LP.

Green Vinyl

This is the second in a reissue series of Dominick Fernow's early work as Rainforest Spiritual Enslavement, casting spells from the 'Green Amulet Crafts Supernatural Qualities' (2011) tape onto vinyl for the first time and steadily closing the gap in your RSE collection.
Something like the soundtrack to one of Ballard's prophetic visions of sunken cities, this second RSE incursion was initially released in an edition of 63 tapes in 2011 and found Fernow dwelling in a dread-fuelled, paranoid headspace.
In aesthetic, it forms an oblique inversion of Prurient's saturated noise assaults or a sort of chopped and screwed adjunct to Vatican Shadow, perhaps best located closest to his Force Publique Congo output, but with fathoms more negative space and those full sunken subbass charges.
A Slave Boy That Died An Awful Death For Not Keepng His Owner's Horses. He Helps People Who Are Looking For Lost Things fills the A-side, pinpointing a location that could easily be an overgrown traffic island as some Nigerian mangroves in oil country, overrun by local scallies or machete wielding pirates, both scared witless, who could well be the B-side's An Old Hag That Wears Shoes And Stomps Over People's Stomachs At Night Making Them Breathless, as is common to local
legends of Manchester's southern edgelands and the Niger Delta.
Thanks to Paul Corley's sensitive remaster and CGB's lacquer cut, the subbass has been perfectly translated to the vinyl for total immersion, sounding stronger, wider than the tape or digital versions ever did, and in the process rendering RSE's magick at its most tangible.
Ask many Fernow/Prurient/Vatican Shadow fiends and they'll likely cosign - this is some of the dankest, most precious work in Fernow's sprawling catalogue..

Mark Templeton returns with the third instalment in his Heart trilogy. Following on the heels of Scotch Heart (2011) and Jealous Heart (2013), Gentle Heart is a fitting closure to this story, an album filled with bending, yearning phrases - sounds that feel like they are actually speaking to you from another time, as if they're being piped into the room where you're listening today.

There is a continued use of elements that hearken to tape machines and older technology combined with acoustic instruments and modern studio techniques and sensibilities, squarely centered in the contemporary moment. Loops stumble and fall off their track, then regain their footing, breaking the concentration enough to remind you that someone is here and paying attention. In both structure and emotion, Templeton captures time in a novel way - connecting points that don't immediately lend themselves to such a connection, deftly balancing qualities that are both haunting and inviting. This music is one of imagined memory, capturing moments that never happened, but could have.

An example of this can be seen in how the track titles suggest a sense of Western tropes, but the music is anything but, not intentionally misleading the would-be listener but rather nodding to a set of ideas and images that drive the artist's intentions in this album, and through his interpretations the tracks become far removed from any assumption of what these words or images may mean. It speaks to what is happening in the background and lets the listener think about how one point moves to another. It is not a strict form. It is a flexible guide that allows the music to touch things that it doesn't hold on to tightly - playing with mood and tone while veering into its own direction.

Much in this vein Gentle Heart closes with two pieces that make one think of a vast prairie, one that has been rearranged in a computer and put back together - not to make it more digital but to make it new through the perspective of today. Twangy guitar strums filled with hisses and fuzz roll into clipped phrases that are nostalgic in their specific way, a modern imagining of a past time that may hold a sense of simple peacefulness, of space, of a long view that goes forever. * Ezekiel Honig

clear vinyl in printe PVC sleeve, ltd. to 350 copies, incl. mp3

For The Modern Institute's self-titled first vinyl document, the practices of audio technicians Richard McMaster, Laurie Pitt and James Stephen Wright are brought into sharp focus, the initial analyses of a project which examines the rituals of performance, the signifiers of bourgeois culture and the absurdities inherent in the middle class art gaze. While undoubtedly disturbing in execution, it's a succinct reminder of the tension between lazy, electronic music tropes and the essential, quizzical attitude frequently lacking in the technoid culture, yet abundant in Glasgow's agent provocateurs.
Seen through the frame of primary music generators McMaster and Pitt's previous music projects - Golden Teacher, General Ludd - The Modern Institute's recorded output is an oblique, strategic examination of rhythm and the spaces between.

Rhythm is often re-defined and re-formed through out The Modern Institute, with the easy 4/4, communally cohesive beats of the Teacher and the Ludd some way off. Opener Black Blood is a case in point, with a elusive pattern providing a warped, skeletal framework for Wright to smother. The atmosphere is austere, aggressive, clinical as a gallery wall after the exhibition has failed. The yawning, sub-bass of False Beards and Diamond Hooves hacks at the exhibition floor opening up punishingly alien chasms. The narrator's deadpan poesy, battling against the brutalist backdrop, reminds the listener of early industrial pioneers Cabaret Voltaire, not least in the unmistakably northern accent. Side A closes out on the first attempt by The Modern Institute to break into a recognizable pattern, though rendered on Destroy Logic as a dry destruction of a Bashment rhythm. Arabic Eight is nightmarish, a Normal deconstruction of art music. A nonsensical, Dadaist mutation of electronic dance music, Intelligent Dance Music with no intelligence, dance or Music. Wright intones when I was younger you used to say you weren't in it for the money,' taking down conceptions of artistic integrity, inspiration and muse. On Springloaded, we're still deep in an alien lifeform's insides, viewing the tropes the art industry uses to sell itself, splashes of digital distortion and burps crossfiring across the stereo field. Shiver And Quiver ends The Modern Institute, sounding like all the cities' alarms simultaneously set off to the beat of the LPs only 4/4 beat, here juddering and unnaturally fast. Ask questions, just don't ask for answers.

Black Truffle is honored to present a new issue of Annea Lockwood's classic 1970 tape piece Tiger Balm, unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice.
Created while Lockwood was living in the UK, the side-long Tiger Balm is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman's breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern.
The B-side presents two pieces for percussion recorded here for the first time. Amazonia Dreaming (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures.
Immersion (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood's belief in the complexity that deep listening can reveal within seemingly simple sounds.
Francis Plagne
Presented in a stunning deluxe gatefold sleeve with archival pics and liner notes by Annea Lockwood including the score to Amazonia Dreaming.
LP design via Stephen O'Malley
Mastered and cut by Rashad Becker at D&M, Berlin February 2017

The result of a febrile fantasy cooked up after 2015's Moss Side Carnival, Prosthetics is the grim af first release nested by Croww, a bold new outlier from the edgelands of south Manchester.
Croww's debut for The Death of Rave features a pack of obscure, pre-Roadrunner Slipknot samples which have been painstakingly gerned beyond recognition, concatenated and uchronically folded into a fxcked-up session owing heavily to grindcore and '90s D&B and flashcore as much as modern, vantablack stripes of club music or rap instrumentals. It sounds like nothing out there right now, and, 20 years since Slipknot's emergence, can be heard as an unimaginably distant echo of what became a proper subcultural phenomena.
Harnessing detailed, flash-it blast beats and psychoacoustic shockwaves punctuated by samples from Iowa public access TV and visceral wretches nodding to Slipknot's dead crow-sniffing rituals, the uniquely brittle but mercurial Prosthetics (MechaMIx) and its four constituent digital Prosthetic parts, form a sort of stubborn study on the stifling nature of nostalgia.
Through a stoic process of parsing his sincere, formative obsession with Slipknot along with contemporaneous samples and other extreme forms of music which never entered the band's original equation, and then scrying the whole thing thru a hypermodern, street or bedroom level prism, Croww soberly inverts their source codes to extract a mutable expression of individuality from collective delirium in an era saturated by mimetic, populist clones trapped in an ever decreasing feedback noose of influence and reference.
It blurs distinctions between mixtape, imagined soundtrack and demonstrative showreel with an unflinching guile deliberately blinkered to melodic or percussive convention owing as much to the weightless inference of Total Freedom as the disciplined, shattering rage of Black Mecha, or the devilish metrics of La Peste's flashcore hyperstructures.
It's club music if you want it to be, or a portal for total, detached immersion and transcendence,
if that's your thing. Either way, it's a brutally uncompromising and compelling expression of cybernetic body horror and private ecstasy, nailing unique ground in the shifting sands of modern culture's temporal flux - ultimately as a record which could only really emerge in 2017.

You can't make sense of this, clicking through mp3s, on tin-pan computer speakers. Put the record on, though, and set the controls for the heart of the bloke next door, and it's terrific. The drum-less, throbbing, droning, wailing, sawing, twinkling reconnaissance of Nothing, with massive, unnerving swoops, throttling and surges.

The new Jerusalem-based label Raash Records opens its doors to spread the city's heavy mind-bending sound.

The label kicks off with a debut 7inch by producer/musician Ilia Gorovitz. It's an explosive mixture of raw drums, gut-shaking riffs and head-swirling synths, influenced by the 1970's horror film soundtracks and today's bass-heavy electronica - a combination that makes it appeal equally to psych and beat heads alike.

Side A's "Turmoil" is a dirty and aggressive mid-tempo slasher, backed with a krauty crawling horror downbeat of "Simmering with No End" on the flipside.

Recommended for fans of Mophono, The Gaslamp Killer, Drumetrics and Goblin.

World-renowned as one of experimental music's most vital and impressionistic composers of the past few decades, William Basinski's tape loop works have been especially influential, particularly on the historic series, The Disintegration Loops, where distorted, orchestral tape samples burrow deep into the listener's psyche through meditative repetition. On his new album, A Shadow In Time, Basinski plunges deeper than ever for the plaintive, solitary eulogy to David Bowie, aptly titled For David Robert Jones.' Conversely, the title track, A Shadow In Time,' is a subtle, celestial escalation of melody and drone. The result is one of the most truly transcendent pieces of music he has ever committed to - or wrung from - tape.

The long-awaited debut album by Noer the Boy is released on DJ Shadow's imprint Liquid Amber in late August.

The Wisconsin-born, Portland-based artist continues his experimental excursions with new album 'Mechanism', following his critically acclaimed 'SPILLEDNOISE' EP in 2016 also released on Shadows' label, and his previous releases on Noh Life and Courteous Family.

'Mechanism' shows the unleashed talent of a musician influenced but unrestrained by IDM, jazz, and classical compositions. Across the 10 tracks Noer explores the futuristic realms of bass music, skillfully mining fragments of drum and bass, hip hop, and dubstep to weave into his sound excursions. The result is modernistic, high energy, and full of unique character.

Caroline and Eduardo scoured the scenes of Europe and Latin America for over 12 years with their post punk band PANICO. Ten albums later, Caro and Edu launch a new project: NOVA MATERIA. NOVA MATERIA was born from the willingness to consider music as a direct derivative of the natural and industrial elements that surround us. More electronic and experimental than PANICO, the duo uses raw material to transform and recycle: scrap metal tubes, stones rubbed on metal, drum, beat boxes, bass, electric guitars used as percussions....To rene their sound Caro and Edu fetched parisian DJ and producer CHLOE, a real expert in turning raw elements into gold nuggets. Their rst EP "APARECE EN SUENOS" released on Paris based label Kill The Dj is a concentrate of wild energy, live act ferocity and sound experiments magnied by CHLOE. Their second EP "ALL THE WAY" will be released through chilean label BYM and will feature remixes from Alejandro Paz, Föllakzoid and Paul Thomson from Franz Ferdinand.

After 2 successful, reputation forming EP's (The Descent Chapter I & II), enigmatic musical entity Pact Infernal re emerge with their debut LP 'Infernality' for Horo. Equal parts horror and simmering mysticism, the Pact Infernal sound has collected a base of devoted listeners including musical contemporaries like Lucy, Samuel Kerridge, Trepaneringsritualen, & Oake.

'Infernality' is an accomplished coming of age for Pact Infernal, a conceptual LP that brings together the elements that worked so well on both their EP's into a robust, coherent statement. Beckoning, sinuous rhythms combine with smoky ambience and subtly anthemic riffs. The haunting percussion that has been a highlight of their past work often takes the lead, and in 'Death & Rebirth', Pact Infernal have come up with their most infectious music so far. Album closer 'Rites Of Passage' is a time capsule Pact Infernal track, perfectly combining their stylistic signatures into an essential bookend.

'Infernality' marks the beginning of another chapter in the Pact Infernal tale as they undertake their very first live and DJ performances, as well as firmly establishing they have carved out their own singular stylistic patch within electronic music, tenuously tied to many strains, but ultimately incomparable.

Cvlt Nation Interview - https://www.cvltnation.com/rare-cvlt-nation-interviews-mysterious-dark-entity-pact-infernal/

Ex Thaum Promo Mix - https://soundcloud.com/horolabel/pact-infernal-ex-thaum

Mix support so far from Samuel Kerridge, Ancestral Voices, Killawatt.

"Fantastic album. as per usual I love the eastern vibes, skilful production. love it from the start to the end." Ancient Methods

"Production quality and ideas are insanely good. Will play parts at very special events." Paula Temple

"One of the best albums we heard this year just got released on Horo and is by Pact Infernal. We highly recommend you check this one out and play it on repeat since we are truly in love with every single track on that LP." Oake.

"Amazing LP from beginning to end, impressive stuff." Kwartz

"Sounds like a nice collection of waves from hell - thanks!!" UVB>

"Super nice LP." Svrec

Prolific and understated musician Shane English delivers a follow up 12 inch for L.I.E.S. after his powerful "General Dimensions" lp from 2016. Once again the Austin based artist taps into the outer edges of the electronic world falling in a grey area somewhere between Muslimgauze, creeped tribal electronics or the tense beat experiments on Seico Corp Recordings. This is downed tree split open wire music, live to the touch.. free form open ended recorded music from one of the most interesting and best kept secrets in American electronics these days. Unending tension with every turn, this is not a record to miss.

Post-minimalist American composer Rafael Anton Irisarri makes his Umor Rex debut with his new album, The Shameless Years. Inspired by a troubled socio-political climate, buried melodies punch their way through a bleak cover of noisy drones, periodically veering into some of Irisarri's most eerily pertinent music to date.

One of Rafael Anton Irisarri's most thematically and sonically cohesive records to date The Shameless Years came together in a relatively short burst of creativity starting at the end of 2016. Rediscovering some relatively older tools - namely Native Instruments' Reaktor, Absynth, and Kontakt software - Irisarri combined them with his collection of guitars, pedals, amps, and analogue processing gear, turning his Black Knoll Studio north of NYC into a powerful writing tool. Completed quickly by Irisarri's standards, let alone during a period of social upheaval in American society, the record faces down several key personal themes. The title, suggests Irisarri, could in fact be seen as a reflection of the era of shamelessness we're currently living in, a time of fake news and alternative facts.

Two tracks were completely remotely between Irisarri in New York and Umor Rex veteran Siavash Amini from his home in Tehran, Iran. This music came together at the peak of all the anti-Muslim and anti-immigrant rhetoric happening in the USA, not to mention the banning of Iranians from entering the country, explains Irisarri. The diptych with Amini, 'Karma Krama' and 'The Faithless', seems bathed in additional waves of sorrow and dread. The wash of symphonic stormclouds of synth drones and processed notes on the latter gradually appears and disappears over the course of thirteen mournful minutes.

'Rh Negative' marches gigantic guitars through towering valleys of scarred ambient noise dealing with Irisarri's own heritage, many of his ancestors having come to America to escape poverty and oppression. The refusal of modern America to extend similar sanctuary to refugees escaping turmoil weighs heavily on the composer. Elsewhere an emotional onslaught of notes buried in mounds of greyscale noise on 'Sky Burial' aims to deal with Irisarri's very own mortality - something he was recently confronted with following health scares, an accident, and a near-death experience in 2016. Pushing 40 as this album was being made, the composer is constantly aware that he's already outlived his own father, who died at the age of 32. Facing down both intolerance and the void, the epic soundscapes of The Shameless Years are a vast cry of emotion from Irisarri. The clock is ticking - gotta make the most out of it while you still can.

All songs written and performed by Rafael Anton Irisarri, except #5 & #6 written and performed with Siavash Amini. Design by Daniel Castrejón, photos by Camilo Christen. Mastered by James Plotkin.

The briefest encounter with Sandro Mussida's latest release - Ventuno Costellazioni Invisibili, leaves the ear wondering why its creator is not more well known. It is a stunningly beautiful work. Mussida is an Italian born, London-based composer and cellist, who also works within the filed of electronics. Over the years he has performed and written extensively within orchestra, chamber, and solo instrumental contexts, as well as working with Oren Ambarchi and Mark Fell. His composition In Memoria, also notably graced the first side of Alessandra Novaga's brilliant Movimenti Lunari, released by Blume last year. Mussida's work centres around the consequences of compositional choices on musical matter, and questions surrounding the identity of musical languages and traditions. A bubbling conceptualism in sound, which has brought Ventuno Costellazioni Invisibili into the world.

Ventuno Costellazioni Invisibili, a composition for violin, flute, clarinet, electric guitar, piano, percussion, and computers, was realized by an ensemble made up of Enrico Gabrielli, Yoko Morimyo, Susanne Satz, Alessandra Novaga, Giulio Patara, Sebastiano De Gennaro, Giovanni Isgrò and Mussida, during the Spring of 2015. Presented in two distinct realisations on each side of the LP, it is a work defined meditative depth and space, built from a focus on transfiguration of perceptual time - pitches played at different speeds, musical cells generated by the rotation of triangular figures distributed in time and space. The result is a sonic world of startling intricacy and beauty - one marked by the same openness, experimentation, and elegant restraint, which has long been the hallmark of the Italian sonic avant-garde. It is a near perfect image of minimalist Classical music blowing off the dust, shedding the past, diving toward countless optimistic possibilities of what it may become. It's rippling sonorities, the inheritors of the ground once sketched by Franco Battiato and Giusto Pio, taking a radical step into the unknown.

One of the most elegant and beautiful albums we've heard all hear, made all that much more thrilling by the diversity and possibility, presented by the differences between its two sides.

Ventuno Costellazioni Invisibili is presented in a limited and numbered edition of 300, with artwork by Mark Fell, a digital binaural download which slowly rotates through the piece, two visual works by visual artist Rebecca Salvadori, and an original print of the score on transparent sheets of acetate paper.

Double LP of new material from New Jersey musician, Unearth Noise. The album compiles selected compositions made over the last three years.
As a kid Roger Berkowitz was inspired by the celestial sounds of Ravi Shankar's strings, an album that was introduced to him by his father who was an engineer for RCA. In his youth he played in various punk bands and dabbled in experimental music after being exposed to the likes of John Cage, Harry Partch, Brian Eno and Mahavishnu.

Around 25 years ago while experimenting in his basement with tapes loops, his 1/4" reel to reel and a 4-track, the name Unearth Noise was born albeit shortly lived as over the next decade his focused turned to songwriting and playing the guitar and drums in various ensembles. He wrote and recorded songs that mixed rock and folk influences in an experimental manner. These were made available online under various monikers Sugar Skulls, Ancient Aliens and Shadowface.

A few years ago Roger began exploring the forms of the instrumental pieces he had created, mixing these with elements of eastern music and rock aesthetics, which had influenced and inspired so much of his sonic journey.

"I remembered my tape loops and the unearth noise episode. Recalling this, I changed my project name to Unearth Noise and set about trying to create something which I considered totally unheard in music. I delved back into the world of pure sound attempting to create a sonic experience that could challenge or subvert reality. I am a firm believer in the idea that what we take for reality on a day to day basis is a facade. Having experimented a bit with hallucinogens, I could see clearly that there is far more here than meets the eye. Listening to people like Alan Watts, it is gratifying to know that I am not alone in this belief. So, what I'm attempting to do with music, hopefully not in a forced or pretentious way, is open the mind to an alternate or deeper reality beyond this world. To this end, my compositional techniques and forms are non­traditional and often non­linear. I use instruments of my own design and construction, and blend them with source tapes, electronics, and sometimes conventional instruments'.

Remastered vinyl with colour innersleeve + download code card.

Originally issued by Crammed in 1987, this is one of the most sought-after releases in their legendary 'Made to Measure' series.

Known for his numerous albums, soundtracks, and collaborations with the likes of Ryuichi Sakamoto, Van Dyke Parks, Pierre Barouh, Bjork and Elvin Jones, composer and saxophonist Yasuaki Shimizu wrote and recorded this brilliant and inventive collection of short pieces, initially conceived for Japanese TV commercials (and bearing sweet titles such as "Seiko", "Sharp", "Honda" etc).

This album has achieved near-mythical status in the last few years, which have seen artists such as Oneohtrix Point Never sing its praise.

Another utterly brilliant salvo from Friedman — after the Future-classic Masque, and the Pestle EP for Latency.Six kinds of musical occultism — transcendent and nocturnal, geometric but intuitive, like a djinn testing a logic map — nodding to Solomon and West's compendious book about near-death experiences.

Lag Records are delighted to announce our first official release, a reissue of the 1986 single Neo-plant by Koharu Kisaragi and Ryuichi Sakamoto, licensed by King Records Ltd co,. Japan. The first and only single taken from Koharu Kisaragi's Tokai No Seikatsu LP, was cowritten and produced by the Academy Award winning musician, composer and producer Ryuichi Sakamoto, best known for his contribution in the pioneering electronic group Yellow Magic Orchestra and has musical scores for Merry Christmas Mr. Lawrence, The Last Emperor and The Revenant.
Singer, songwriter, dramatist and theater director Koharu Kisaragi sadly passed away 14 years after her very short musical career, single Neo-plant and her LP Tokai No Seikatsu her musical legacy. Ryuichi Sakamoto after featuring on over two hundred different releases over four decades is still creating music in varying capacities. His most recent 16th solo effort async has been met with fantastic reviews.A-side Neo-Plant is a sample heavy, avant-garde, synth pop piece driven by early hip hop and dancehall rhythms. The B-side is a completely different affair, Traumerei a minimalist piece takes more from Japanese folk with Koharu's voice swooning over bassoon melodies, finally Tail is a new age gone in a flash instrumental.Neo-plant has been cut using the original master tapes by King Records engineers in Japan. The record comes with all its original artwork including the obi and insert with English and Japanese lyrics on standard black 12' vinyl.

Next up on Polytechnic Youth, is the ace new album (a first on vinyl following online only releases previously) from the fabulous MORPHOEX.

Based in Rouen, France, and started in 2000, Morphoex is the project of Isthmael Baudry- a musician and photographer (his sleeve artwork adorns the jacket here, adapted by PY chum Nick Taylor) who presents the mighty Soviet System' for Polytechnic Youth this August.

Beautiful synth soundscapes that fluctuate between -on one hand- the icy synthpop edge of early Mute, yet build into ominously darker, beat driven, industrial rhythms that recall Throbbing Gristle and early Cabs, though with a succinct French flavour that tips it's hat towards some of the work of Heldon / Richard Pinhas via the revered sounds emanating from the Berlin School.

Describing his music, Isthmael says 'Soviet System' incorporates compositions that arose from the combination of analogue, organic and composite sounds, without any intervention of computer, sampler or sequencer in it's creation. It's goal: bruitist and melodious, atmospheric yet dancey, ice-cold yet mesmerizing. It is a concept album, each individual is prisoner by a system: a bureaucracy, the family, the technology....We are not free....The freedom has a cost...But the dream is non paid...'

The album is released on vinyl by Polytechnic Youth, this August in a pressing of 300, (sure to go quick) and digitally via the Morphoex bandcamp page.

Dark Fat is a celebration and documentation of 10 years of NWW shows but to call Dark Fat a live album is far too simplistic. It is an entirely new recording constructed by combining the most interesting moments of the past decade into unique tracks. We have M.S. Waldron to thank as he is archival commandant of the NWW oeuvre and since 2006 has recorded everything and we mean EVERYTHING. He has recorded all the live shows, sound-checks, rehearsals, off-stage events and even covertly recorded the private conversations of the band. These recordings have been studiously and lovingly crafted into a unique sonic tapestry by Waldron and Stapleton with delicate embroidery and filigree added by Liles and Potter. This is now spread over six sides of luxurious vinyl and encased in a box with a gatefold insert, all featuring the art of Steven Stapleton aka Babs Santini. Listen in the Dark and soak up the Fat.

Over the last twenty give years Robin Rimbaud - Scanner has traversedthe experimental terrain between sound, space and image, connecting a bewilderingly diverse array of genres - a partial list would include sound design, film scores, computer music, avant garde, contemporary composition, large-scale multimedia performances, product design, architecture, fashion design, rock music and jazz.With a catalogue busy with commissions, soundtracks and studio releases it's extremely rare to find a new studio recording, so The Great Crater stands out by measure of this. Invited by the label Glacial Movements to create a new album he focused on the tale of strange circles appearing in Antarctica. Flying overhead in 2014 a group of scientists spotted a circular formation of 2km diameter. For a time it was thought that it could be the scar left by a crashing meteorite but in fact it was quite another story. Investigating the circle on foot in January 2016 scientists found a 3metre deep depression, with vertical well-like shafts in the middle. Drilling into the ice they found multiple lakes beneath the surface, as part of a 'hot spot' or melting ice sheet. There is growing concern that it could lead to further disintegration. The album explores an immersive, fragile and moving exploration of themes inspired by this simple tale. At moments the ice moves and a sonic scar if formed, at others the chill wind blows across the exposed water. The Great Crater offers up the voice of a unique composer in an ever unsettled global landscape.

Robin Rimbaud, alias Scanner (1964, London, UK) is a composer whose work traverses the experimental terrain between sound, space and image, creating absorbing, multilayered sound pieces that twist technology in unconventional ways, connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music.Committed to working with cutting edge practitioners he has collaborated on projects with Bryan Ferry, Wayne MacGregor, Merce Cunningham, Mike Kelley, Miroslaw Balka, Torres, Michael Nyman, Carsten Nicolai, Steve McQueen, Stella McCartney, Laurie Anderson and Hussein Chalayan, amongst others.He scored the hit musical comedy Kirikou & Karaba (2007), designed the sound for the Philips Wake-Up Light (2009), and campaigns for Nike Hyperfuse (2011), Chanel (2012), Sprint Telephones (2012) and Stella McCartney (2016). For the UK Olympics Scanner scored The Big Dance in Trafalgar Square for 1000 dancers and the re-opening of the Stedelijk Museum, Amsterdam, in the company of Queen Beatrix. He continues to tour his show Live_Transmission: Joy Division Reworked, a striking audiovisual show with Heritage Orchestra. In 2014 he was Visiting Artist at MIT in Cambridge USA. In 2015 he premiered his score to Dutch National Ballet's and ISH's new production Narnia: The Lion, The Witch and the Wardrobe, and in 2016 installed his Water Drops sound work in Rijeka Airport in Croatia, Ghosts at Cliveden National Trust UK, and scored the world's first ever Virtual Reality ballet with Dutch National Ballet in summer 2016. His work can be heard on permanent display in the Science Museum London (Sound Curtains), the Raymond Poincaré hospital in Garches, France as part of the bereavement suite (Channel of Flight), The Darwin Centre at the Natural History Museum London and the Northern Neuro Disability Services Centre in Newcastle UK (Turning Light). Sedition Artworks distribute his digital film works online. He has presented projects throughout the United States, South America, Asia, Australia and Europe, and performed and created works in many of the world's most prestigious spaces including SFMOMA USA, Hayward Gallery London, Pompidou Centre Paris, Tate Modern & Tate Britain London, Palais des Beaux-Arts Lille, Kunsthalle Vienna, Bolshoi Theatre Moscow, Hanoi Opera House Vietnam and the Royal Opera House London.

DJ Krush commemorates his 25th anniversary with Kiseki, a brand new collaborative album which reaffirms his status as Japan's original beat master. There's every-thing we've come to expect from the man, heavy breaks with fierce raps, serene soundscapes and seamless pro-duction. All tracks produced by DJ Krush. Disc One

1x per Customer !

Cosmic, artful dancefloor devastation, hard on the heels of one of the most interesting albums of 2016. Deep, dark psychedelia (Vision Animal), tribal murder (Proto World), blissful gamelan-style ambience (Spirit House), and a perfect Sunday-morning come-down, in the widescreen beauty of Hope, to close.

REPRESSED !!
Jerking programmed instruments on F.T. with classical undertones... Lifted as you like...TIP

Performed at IKLECTIK, London SE1 on 11th May 2017
Concert curated by Eduard Solaz and supported by Morley College & The Engine Room 2017
Recorded and mixed by Jeff Ardron of St. Austral Sound

Philip Jeck studied visual arts at Dartington College of Arts in the 1970's and has been creating sound with record-players since the early 80's. He has worked with many dance and theatre companies and played with muscians/composers such as Jah Wobble, Steve Lacy, Gavin Bryars, Jaki Liebezeit, David Sylvian, Sidsel Endresen and Bernhard Lang.

He has released 11 solo albums, the most recent "Cardinal", a double vinyl release on Touch. "Suite", another vinyl -only release, won a Distinction at The Prix Ars Electronica, and a cassette release on The Tapeworm, "Spool", playing only bass guitar. His CD "Sand" (2008) was 2nd in The Wire's top 50 of the year. His largest work made with Lol Sargent, "Vinyl Requiem" was for 180 record-players, 9 slide-projectors and 2 16mm movie-projectors. It received a Time Out Performance Award. Vinyl Coda I-III, a commission from Bavarian Radio in 1999 won the Karl Sczuka Foderpreis for Radio Art.

Philip also still works as a visual artist, usually incorporating sound and has shown installations at The Bluecoat, Liverpool, Hayward Gallery, London, The Hamburger Bahnhof Gallery, Berlin, ZKM in Karlsruhe and The Shanghai and Liverpool Bienalles.

Philip Jeck has won the Paul Hamlyn Foundation Award for Composers 2009. A presentation ceremony took place at The Royal Institute of British Architects, London, on 9th November 2009.

He has toured in an Opera North production playing live to the silent movie Pandora's Box (composed by Hildur Gudnadottir and Johann Johannson).He has also worked again with Gavin Bryars on a composition "Pneuma" for a ballet choreographed by Carolyn Carlson for The Opera de Bordeaux and has recently made and performed the sound for "The Ballad of Ray & Julie" at the Everyman Theatre, Liverpool.

In the words of Mojo magazine "this is music that continually slips away from you even as you chase down its essence" and due to the highly limited nature of this re-issue we'd have to agree! Do not sleep!

The visionary talents of multi-instrumentalist Zach Witness have sprouted full life in this world, lending his sonic touch to the bulk of Erykah Badu's latest album, But You Caint Use My Phone (Motown Records). This project was brought to life with Erykah Badu at the Badudio and World Witness Studios in Zach Witness' hometown, Dallas, Texas. This project put him on a unique trajectory, harnessing his intricately designed fusion
productions into the periphery of an entirely new audience around the world. His forthcoming debut EP, Electric Revival: Rise of an Outkast Nation, is the first project to find the light of day after this expansion phase, initially created as a birthday gift to Zach Witness' friend and collaborator, André 3000.
The catalyst behind the creation of Electric Revival has a very specific initiation point. During the recordings for But You Caint Use My Phone, Erykah Badu called on André 3000 for collaborative assistance. This would result in the album's last track, Hello,' created at the home studio Zach Witness has lived in his whole life. This moment in time compelled Zach Witness to create an offering for André 3000, and this was in the
form of an entire body of music.
Electric Revival takes on the stories of the lives entangled around
society's most crippling and hopeless of situations. The social and
political intentions of the EP paints a very defined purpose in this context.
Experience the transformative sounds of Zach Witness and his debut manifesto.

The third album by San francisco psychedelic synth wave trio BRONZE.

Bronze is Brian D. Hock, Rob Spector and Miles Friction. This trio coalesced in 2006 when Hock returned to San Francisco from Berlin after splitting with his former band The Vanishing and moved into a warehouse with Spector, who was a long time collaborator in the S.F. musik scene. Friction was enlisted shortly thereafter and the three began experimenting with synthesizers, samplers, vocals and heavy repetitive rhythm via live drums. After a european tour opening for Erase Errata and grip of singles they recorded their first album 'Copper' released on New York's 'RVNG Intl' in 2011. Numerous U.S. and European tours followed and in 2014 they released their 2nd full length 'World Arena' on Los Angeles label 'Not Not Fun' The sound of 'Bronze' is influenced by psychedelic synth musik, punk, wave, industrial and jazz, blended into a heavy cocktail of sonic witchery. 2015 will see also the release of a live album on John Dwyer's (Thee Oh Sees) Castleface Records.

Edition: Mastered by Rude 66 / Tape edition through Not Not Fun records

'Few bands perplex like San Fran riddler trio Bronze but ever fewer have managed to hatch and hone such an obliquely singular sound. The group's third long-player, In Stone, twists and burns through eight new iterations of their classic oscillator-fusion psychedelia, inflected with shades of post-punk raga, skronk lurch, modal incantantion, deep space narcosis, lizard kingmanship, and home-wired industrial dementia. As an album, these recordings skew tenser, twitchier, a touch paranoiac, bloodshot tweakers stalking steep foggy streets. The alchemy of drummer Brian Hock, vocalist Rob Spector, and electronicist Miles Friction is always riveting in the live sphere but In Stone feels like more of a studio document, exploratory and expressionistic, full of ideas and psychic interplay. Bay Area burnout rendered as psychotropic sculptural waveforms. Confusion isn't sex, it's something stranger. Black tapes mastered by Ruud 66 with J-cards designed by the band.'

Minimal Man was founded in 1979, in San Francisco by avant-garde painter and filmmaker Patrick Miller, and the band included a revolving cast of musicians from fellow SF art punks Tuxedomoon and future members of Factrix. Minimal Man have been historically marginalized in a fertile underground music scene that included many other influential artists (including Z'ev, Flipper and Nervous Gender), and they are no doubt unfavorably compared to stylistically similar artists such as Suicide, Chrome or even NON.
In truth, the Minimal Man sound was somewhat derivative, but Patrick Miller's intensity and willfully anti-musical aesthetic provide a fascinating footnote to the history of post-punk and industrial music.
The debut album, The Shroud Of was released on Subterranean
Records in 1981... The Minimal Man sound is relentlessly dark and
aggressive, with cheap synthesizers and drum machines, jagged guitar and occasional shrieks of saxophone all purposely pushed into the red, creating a dissonant blanket of treble-heavy distortion. Patrick Miller's vocals are unmodulated and flat, his lyrics nihilistic, each line echoplexed, doubled or otherwise mutated into a synthetic oblivion.
Chugging sequencers spit out fuzzy non-melodies as Miller cultivates his Kafkaesque persona, full of anxiety, angst and existential dread.
With lyrics that indicate an adolescent fascination with Philip K. Dick, William S. Burroughs and J.G. Ballard, Miller creates a cinematic ambience of high-contrast black and white, like a German expressionist filmmaker let loose in a recording studio. Just listen to the hypnotic, swirling maelstrom of noise and dark, grainy atmospherics on Blue Step.' Perhaps because of its relative obscurity, Minimal Man's debut album has weathered the sands of time gracefully, and with legendary acts Suicide and Tuxedomoon currently attempting to destroy their legacies with mediocre reunion albums, The Shroud Of sounds
positively refreshing in comparison...' Brainwashed
It includes a text from the drummer Lliam Hart telling memories from these years / Remastered

Neues Soloalbum des Animal Collective-Mitglieds! Avey Tare, bürgerlich David Portner, ist den meisten bekannt als Mitglied der amerikanischen Eletro- und Psychedelic-Experimentalisten Animal Collective. Seinem letzten Solo-Album "Enter The Slasher House" von 2014 folgte 2016 das Animal Collective Album "Painting With". Tares neues Solo-Album "Eucalyptus" wurde von seinem Animal Collective Bandkollegen Josh Dibb alias Deakin aufgenommen. Empfohlen wird an dieser Stelle sich das Album bei Sonnenauf- oder Sonnenuntergang anzuhören. "Eucalyptus" vollzieht in elektro-akustischer Weise eine Bewegung durch Blätter, Felsen und Staub. Erdacht wurde es während der hawaiianischen Morgenröte, geschrieben in einem sonnendurchfluteten Schlafzimmer in Los Angeles und geprobt in den dunklen Stunden der kalifornischen Dämmerung.

Ende der 70er Jahre waren Boffomundo Live Talk Shows in L.A. (produziert von Ron Curtiss und Aaron Weiner) eine wichtige Adresse für viele namhafte Progressive Rock Musiker. In dieser TV Show sind z.B. Robert Fripp von King Crimson, Bernardo Lanzetti von der legendären italinienischen Prog-Rockband PFM, sowie Brand X & Phil Collins (noch bevor er ein Weltstar wurde!) aufgetreten. Auch der legendäre Synthesizer Master und Gründer von The Far East Family Brand ("eine japanische Antwort auf Pink Floyd") Fumio Miyashita ist im Oktober 1979 und im März 1980 in dieser Show aufgetreten. Die Aufnahmen aus diesen Shows erscheinen nun als limitierte Vinyl Only Edition bei Drag City Records.

Ein Muß für alle Fans von The Far East Family, Pink Floyd, Tangerine Dream, Ash Ra Temple, Kraftwerk, Klaus Schulze.

With an iridescent shower of auto-tuned vocals and encrypted synthetic forms, Khalil presents a luminous route into a future of cadences pitched to a crushing intensit

Parallels is the fourth full album released under Jason Chung's distinctive moniker, Nosaj Thing. Masterfully dimensional, Parallels represents the acclaimed Los Angeles-based electronic producer/composer/performer's most diverse, vital work yet. As such, Chung sees Parallels represents a kind of redemptive rebirth. The album's compellingly elusive, uncategorizable sonics developed out of what he terms a personal & musical identity crisis.' According to Chung, working with a group of collaborators on Parallels that combined both longtime friends and new creative partners added new energy which pushed me not to limit
myself. Everything felt fresh and alive.'
Chung is known specifically for his innovative, unexpected musical pairings: Kid Cudi hit up on Nosaj Thing via his MySpace page in 2006, resulting in Chung producing Cudi's autobiographical classic The Man on the Moon.' Kendrick Lamar flowed over Nosaj's ethereal boom bap to create the YouTube gem Cloud 10', Chance the Rapper, meanwhile, freaked a Nosaj beat for his 2013 breakout masterpiece Paranoia' and appeared on Nosaj Thing's previous LP, 2015's Fated. Chung and Blonde Redhead vocalist Kazu Makino are also longtime creative partners on each other's work, her voice appears on Parallels as an otherworldly spirit animating the icily '80s-synthetic How We Do.'

Shit&ShineGODREC18Shit&ShineGODREC18Shit&Shine
is the polymorphous project lead by the Texan-born Craig Close.With more than a decade of activity between the USA and the UK, it has spawned one of the most fascinating and promiscuous saga of the latest years.Within its huge discography, definitely noteworthy is the 2014 "Powder Horn" released on Diagonal Records, which was considered by many to be one of the best electronic albums of that year.Lately Shit&Shine has released the great "Everybody's a Fucking Expert" LP on Editions Mego in 2015 and "Total Shit!", again on Powell's Diagonal on March 2017.
Shit&Shine and Gang of Ducks share an arguable good taste for naming and, most of all, a wide-range approach to the sonic palette, always exploring different sounds.Hamburger Ep brings the work Craig has developed so far to the next level, keeping his unique mix of sluggish EBM beat, drugged funk and futuristic proto-techno.RIYL G.O.D's previous releases like Traag, Sudden Infant, Datashock...
***300 copies, silk screen printed on special chrome bag***