Beats News

This is a collection of works from British musician GP Hall, recorded between 1994 and 1999.
For over four decades, guitar in hand Hall encountered many styles; jazz, blues, flamenco, rock, folk, and classical improvisation. All contributed to the creation of his unique style. Emerging from the British blues boom of the 1960's, he then followed a long and winding path through various scenes and cultures. In Spain, he was Influenced by flamenco master Manitas Del Plata before touring Europe with Liverpool band Casey Jones & the Governors. He was commissioned three times (twice by The Arts Council of Great Britain) for original music and was immersed in the avant-garde scene of the 1970's as an improviser, a pioneer of electric flamenco and a composer of large-scale ensemble pieces. During the 1980's Hall turned his focus to soundtrack music before reinventing himself as the solo performer he is today. With this strong foundation he branched into a tactile expression of his craft, discovering a new style which he called industrial sound sculptures. These sonic compositions are performed on electric and acoustic guitars as well as the six-string bass and are played with various techniques and implements including slides, battery fans, the psaltery bow, razors, toys, Velcro and crocodile clips which are fed through sound processors to create a rich sonic environment.

Eldritch electro-acoustic explorer and uncompromising sound artist Luke Younger aka
Helm presents his first new material since casting the subterranean concrète psychedelia
of his 'Impossible Symmetry' album for PAN across end-of-year lists in 2012 and
petrifying numerable witnesses to his granite-hewn live set.
Issued as a split release between PAN and his own Alter label, 'Silencer' documents
four studio actions conducted in the wake of his renowned LP, charting the alchemical
relationships between base, stripped down rhythms, cruddy electronics and acousmatic
source material manipulated on cassette tapes. The magic of these four tracks lies in the
curious sense of detachment and friction between those fractured, awkwardly reactive
elements, klanging flinty drums against detuned, cryptic synth scrabble and buckled tape
FX to create charged and metaphysically affective atmospheres intended to corrode and
infect your listening space.
The title track follows a tumbling line of inquiry between primal percussive clatter and
salted, scratching synth drones into the boggy, noxious ambience and quaking bass slap
of 'Mirrored Palms', which features a desolate, sustained peal of foghorn brass from John
Hannon of Liberez. In the tunnel of 'Bergamo', effluent rhythms and vapourous brown
gases deliver a cold, claggy soundsphere, with Barrow-based multi-instrumentalist Tom
James Scott contributing metallic scrape to the para-dimensional murk and insectoid
shivers of 'The Haze'.

This is the first volume in a series of release showcasing the analog hardware experiments of Michigan-raised,
New Jersey raised Michael Alan Rogers aka Personator.


Running the gamut from raw, springy machine rhythms propelling the snarls of modular synths to softly pulsating
white noise adorned with lullaby-like melodies, two of the tracks were recordded straight to DAT in the artists studio,
while a third was recorded live at a late night loft party in Chinatown.


Perfect for fans of Hieroglyphic Being, Jahiliyya Fields, Nation, Trilogy Tapes, etc

ussell Haswell strikes bone on this 2-track, 20 minute follow-up to the napalm massage of 'Conceptual nO!se' for Poland's Bocian label, and his fearsome split with Pain Jerk for Editions
Mego. It also marks his return to the catalytic Diagonal imprint after the deviant blatz of his '37 Minute Workout' LP in early 2014, which was hailed at No.11 in The Quietus albums of the year so far. 'Double A' renders Russell at his slyest and most honest, presenting spasmodic, un-edited improvisations belying influence from the pivotal epoch of diamond-cut '80s freestyle, industrial and Detroit techno. Depending on your perspective, they're either splintered, tetchy DJ tools or skeletal nO!se inversions. Either way, they bristle and spark with a compulsive nervous energy and disciplined impulse control that's Haswell to the core: challenging, uncompromising and bloody crucial. On the A-side, 'Foxy' sparks manic hi-hat chatter and bruxist squall masticated with unpredictable intensity, angled and affective like a box of knock-off fireworks hoyed at the 'floor. Stand back and watch 'em scatter. On the flip, the mercurial sleight-of-hand at play in 'One Take Dub No Edit' gestures the hard-ass chops of 12' bonus beats and the show-off breakdown edits of Carlos Berrio or The Latin Rascals. A non-stop, one-shot flashback to a vital time when futurist Latin freestyle and industrial funk were the dancer's choice. The 12' vinyl is due to arrive on Diagonal around the same time as Russell's incredible collaboration with Philip Best's consumer Electronics for Dirter, all surely cementing his position as one of the world's most valued and necessary techno mutants.

12' EP wrapped in a poster by designer Giorgio Di Salvo *
* Two years have passed since 'Tregua', Petit Singe's debut on Haunter Records. A key moment for both the label and the artist, it represented Hazina Francia's move out of the shadows, introducing her unconventional taste for hybridization.
* Innumerable gigs and experiences later, Francia's vision and artistic capability have grown richer and broader, leading her to new path. The 5 tracks that compose 'Akash Ganga' are here to testify an unresting spiritual investigation. They construct a sonic scenario that brings her mix of post-club sensibilities, and reminiscences of her native India directly into space, injecting her tabla-led polyrhythms with cinematic sound design.
* Francia's talent for gracious meditative moments is here constantly mutating into unprecedented heavier tones, letting the moments of melodic reverie and those of sheer percussive intensity strengthen each other. All this elements fuel the impressionistic narrative Francia has decided to arrange: mixing elements of her personal biography (like naming one of the tracks after the date her foster parents brought her to Italy from Bengala) with fragments from the history of digital experiences and elements of her eastern heritage.

Amazing debut album by Copenhagen based Delayscape.

Roots In Heaven is a Berlin-based act that could very easily capitalize on his past accomplishments within the world of intrepid electronic music. As a label owner, resident DJ at cutting-edge clubs, and accomplished solo artist behind a number of conceptually unique full-length albums, the conceiver of this project won't likely need any introduction to the intrepid fans of electronic music. As an extension of this artist's already solid commitment to deep sound, Roots in Heaven represents a new voyage without the help of biographical cues to his listeners: hidden behind an evocative mesh mask lined with obsidian feathers, Roots in Heaven ignores the need to provide 'social proof' or self-justification. He communicates purely through the language of concentrated sensory impression, for which reason he has titled his debut, 'Petites Madeleines,' after one of the most memorable descriptive sequences in literary history (the famous meditation on the madeleine from Proust's À la recherche du temps perdu). Built on a chassis of pure analog electronics, unaided by computers, 'Petites Madeleines' presents a single sprawling track whose immersive, meditative quality initiates participants into a realm of reversed energy currents. Using a sonic technique which, for example, drapes the listener in darkness until it becomes light (and vice versa), this piece provides a pervasive feeling of other realities opening up that complement the already familiar. The looped pulses and frequency sweeps hover and expand with all the assuredness of, say, early-'70s Cluster, but without anything consciously 'retro' or overtly referential in their presentation.

Bold, exuberant, expansive re-charting of the same neck of the sleng-teng invasion as vintage Jahtari and Tapes.
The Upsetter meets Raymond Scott meets Horsepower Productions... on a writhing, pinging bed of Spaghetti Western... at the synthy grassroots of Library.
Tremendously enjoyable, next-level stuff from Seekers.
Blood-red vinyl.

Leftism 22 arrives 22 years on from the release of the acclaimed original, in a remastered version overseen by Neil Barnes and Paul Daley. It will be available in a 2CD 22 track special edition featuring a bonus disc of the 11 album tracks remixed by a host of top house/electronica/techno artists (full tracklisting to follow).
Also available in limited edition gatefold 3xLP heavyweight vinyl, mirroring the original vinyl release, with download codes for the new mixes plus digital configurations.

After releasing two 12's for Lee Gamble's fledging UIQ label, Latvian artist N1L flits to Where To Now to present four new compositions of smudged, innovative, and completely otherworldly bass mutation.

'Mud Diver' begins with the aptly titled 'Chasing the Sun', at first holding all the intentions of aiming for a big room anthem - introducing itself with familiar melodic pads and focused, drop friendly peaks. Anyone who knows N1L's work though will understand that this settling for a straight forward approach is not his vibe... at drop point the anthemic nature absolutely plummets face first into the grit and accelerates away into layer upon layer of revving synth mayhem, transforming with grace into the complete polar opposite of its initial gambit.

Title track 'Mud Diver' takes us further down into the realms of machine trouble and its mechanised cyclical movements. Held together by the deepest of off beat kicks, we wade through this horrorscape of construction and collapse in search for light. This light comes in the form of 'Jaget Och Maskerna' where swathes of rapid-fire signals weave through the darkness and speed away towards the hopeful bloom, holding an escapist and otherworldly aura, a hallmark of much of N1L's work.

Submerged for 9 minutes 'Clockroach' takes us deeper and deeper down into the basin, where dubwise flutters of percussion and sparks from the breaks of rolling dread bubble around the vessel. Recalling the deepest moments of Raime, the tensest moments of Kode 9, and the most desolate moments of Demdike Stare, 'Clockroach' best embodies N1L's ability to respectfully reference a rich history of bass music, whilst injecting his own deeply experimental learnings and leanings at every turn.

'Listening to the music of N1L is at times like staring into a vast, bleak expanse where time moves at a different rate to the rest of the world...N1L's music feels stretched and compressed in equal measure, combining a nostalgic traces of 90s techno, jungle and rave into something that sounds like it's been torn from another era and warped in the process.' - Scott Wilson (FACT)

The LP "The World is Shit" is a radical and depressing statement by Sebastian Reuschel looking at the world, the society and the people living in those.
A-side track "Exav 2B" is a warm and deep industrial ambient track which starts rough and noisy but culminates in a rolling and dark atmosphere.
"Dying Alone" - the b-side track - is a sample based rolling noise dream of suicide and total apocalypse.

"The freewheeling collective have been busy on their own terms since their last group efforts, but they reconvene for The Rise And Fall Of The Eurojesters at a time when the external pressures of global politics, economics and environmental concerns point to an uncertain future. In the face of such ambiguity, the dogged experimentation of Tru West feels like a logical response, manifested here in two original pieces and some equally daring remixes and edits. Tru Children' is a bubbling stew of sounds flowing into each other, unbound to the dogmatic structure of a timeline. A basic rhythm tick emerges from the music, of course, but this is really an exercise in letting go, as the rippling percussion and field recordings intertwine into a dualistic whole - chaotic yet strangely calming. Herva takes this meditation as a starting point and crafts his sharply focused Cobra 90' revision with brittle drum machines and post punk bass as the main ingredients. The bass in particular stands out, not least because Herva recorded it through the titular Carlsboro Cobra 90 amplifier. While the groove may be more discernible, the slippery qualities of the original version linger in the background to keep this far from the conventional dancefloor. Captured in 2013 during Tru West's first live improvisation at the Meinblau Gallery in Berlin, Chasing The Loophole in a Relentless Spiral of Human Self-indulgence' was performed alongside the Standpunkt exhibition by Alessandro Lupi. In the spirit of the environment, this piece heads even further out, on a surge of haunting piano, tonal interference and verbal reflections on telekinesis. Where Tru Children' was an organic, fluid mixture of many sounds, this is an uncomfortable claustrophobia triggered by clamouring machines. Marcello Napoletano takes this maelstrom of sonic activity and creates his own brand of intensity with a two-part edit. Rather than paring down the extravagant original, in Part 1 he instead pushes the material further, layering up even more wild sounds from percussion to heavily processed jazz instrumentation. In Part 2, the veteran Italian producer makes the concession to bring a rugged drum machine beat into the mix, but uses it merely as a structure around which to wield vast slabs of sonic matter. It's an apocalyptic finishing move to a record that, as ever, feels like a shriek in response to an ever-more-unhinged world."

No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences, whilst retaining the subby funk-and-hot-breath pressure of Shackleton's soundboy, club roots.The result is an evolutionary, truly alchemical music — great shifting tides of dub, minimalist composition and choral song (Five Demiurgic Options), ritual spells to ward off the darkness (Before The Dam Broke, The Prophet Sequence), radiophonia and zoned-out guitar improv (Seven Virgins), even the febrile, freeform psychedelia of eighties noise rock (Sferic Ghost Transmits / Fear The Crown). Over the five years since Music For The Quiet Hour, Vengeance's vocal and lyrical range has rolled out across this new terrain. Throughout these six transmissions he's hoarse preacher, sage scholar and ravaged bluesman, blind man marching off to war, and exhausted time-traveller warning of impending socio-ecological catastrophe. Six dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo's early collaborative work into something subtler and more emotionally shattering — its shades of brightness more dazzling, and its darkness even murkier. "We almost didn't hear it when the foundations went."

Maiden union between two of Hospital Production's longest
standing collaborators
Full textural spectrum of oiled subbass, abrasive noise and
charged electronics
Edition of 500 copies
RIYL Prurient, Rainfoest Spiritual Enslavement, Kevin Drumm

Following on from that hugely sought-after Green Graves issue by Rainforest Spiritual Enslavement, Hospital Productions re-examine a longstanding tradition of industrial ambient music on this exceptional collaboration between two of the label's most consistently innovative, highly absorbing producers.
Originally released in a private press run of handmade tapes, the collaboration was made in person with both Alberich and Lussuria making use of Digital synths in homage to that distinctly
European scene of the mid 90's that combined hardcore Industrial textures with Ambient pulses.
It's a sound you'll be familiar with if you've immersed yourself in the most unnervingly quiet sections of the last few Prurient albums, building a kind of futuristic soundscape situated
somewhere between David Lynch, Kevin Drumm and a more dystopian variant of Brad Fiedel's distinctive soundtrack to The Terminator.
Alberich's instinct for harsh propulsive rhythms is here tempered by Lussuria's weird topography, the digital rendering adding a kind of artificial foundation quite removed from the throbbing
earthiness you'd find on a hardware session. Instead, the more linear trajectory of so many dark
Ambient excursions is replaced with a constantly shifting landscape, veering from an oddly displaced vocal narrative into pounded, crumbling rhythms at some points, while those sinking
subbass sands keep things resolutely atmospheric for the duration.
There are no concessions to that blackened aesthetic here, if you were into Green Graves or want to immerse yourself in one of the most brutally atmospheric albums you'll hear this year, we urge
you to check it out.

After a flurry of releases over the past 4 years for the likes of Deep Medi, Zam Zam Sounds, Danse Noir, and most recently for Discrepant with his acclaimed long-form abstraction "Ghost Tapes," El Mahdy Jr. returns to Boomarm Nation for an anticipated follow up to his internationally praised and sought-after 2013 debut LP "The Spirit of Fucked Up Places'.With "Time to Sell the Golden Teeth," El Mahdy Jr. continues where he left off with an evolving palette of rough hewn-beats unburdened by genre constraints, thick atmospherics, and a very deep and dubwise center of gravity. Drawing from the sounds of his cultural background, and the daily grind of living in an increasingly loud and hostile capitalist world, the sounds presented here display the deft evolution of an ambitious young beat maker and experimentalist into a poised, focused, and selfless artist who places his emphasis on the emotion and energy of sound and place over the wild self importance of being an "artist".

DOUBLE BIRTHDAY RELEASE !! KARLRECORDS celebrates its 10th birthday, ZEITKRATZER even its 20th! And the party starts with the necessary re-interpretations of early compositions by electronic pioneers KRAFTWERK. CD on ZEITKRATZER PRODUCTIONS, 180gr LP on KARLRECORDS.

Founded in 1997 by REINHOLD FRIEDL, ZEITKRATZER have since been creating an impressive catalogue of recordings that embraces 20thcentury avant-garde composers (CAGE, STOCKHAUSEN, LUCIER) as well as electronic artists (CARSTEN NICOLAI, TERRE THAEMLITZ) or underground experimentalists like THROBBING GRISTLE or COLUMN ONE. In their 20thanniversary year, the critically acclaimed ensemble will release a series of diverse albums that will explore new grounds in the typical, adventurous zeitkratzer way - the first of these albums is dedicated to KRAFTWERK and their early, kraut-esque albums "Kraftwerk" and "Kraftwerk 2". As KRAFTWERK never re-released these albums, ZEITKRATZER gave its best to cover the first tranche of the songs (second tranche to come...,).

Recorded in Marseille / France in May 2016, the six tracks reveal a bucolic and even psychedelic aspect of the ensemble that's mostly known (or feared) for its interpretatory and aesthetic acerbity. And yet there's no doubt that "Songs From The Albums "Kraftwerk" And "Kraftwerk 2" turned out a true ZEITKRATZER recording in the best and full meaning!

zeitkratzer directed by Reinhold Friedl

Having established himself through a consistent stream of quality releases for Uncanny Valley and the immaculate collection of Rat Life, Credit 00 - real name Alexander Dorn - bring sthe heat on NYH81. These are recordings taken from his old apartment, and feature a heavy dose of reference to classic Gertronica. From Can to Kraftwerk to Neu! to (now) Munich's Dopplereffect, this is some really nifty classic electro.

After his acclaimed Heatwave and Shadows mixtapes, Leonce releases Insurgency on Fade to Mind, the first official EP from the young Atlanta-based producer. Insurgency was born from demos and sketches first recorded in 2014-2015, inspired by Leonce's favorite elements of house music and his desire to recraft these influences into his own club microverse.

In Leonce's words: 'If house is a feeling, then Insurgency is me subverting that feeling across different tempo ranges and going into weirder and darker territory, like the classic raw house tracks that inspired me.'

Created as both a tribute to classical house and a critique of contemporary assembly-line dance music, the 9-track LP lovingly defies convention at every turn. Opting for deep shuffles and hypnotic progressions, his drumwork is allowed to breathe in this deeply personal spectrum, with carefully sequenced percussion and haunting melodic work. The digital version includes a bonus beats club mix of Snakes, with two additional tracks from Shadows included in the LP.

Like many of his peers working in and amongst QPOC club architecture, Leonce takes personal and direct inspiration from resistance movements in contemporary America. His tracks reflect his own resistance, first weaponized for his own DJ use. There is a natural darkness to them, speaking to struggles in his own life and the constant violence against POC and queer americans. Insurgency is an artifact of symbolic black rebellion, and a sign of what's still to come for Leonce's productions.

undreds of releases and countless live performances littered the path that lead to 2012's Modern Jester, artist Aaron Dilloway's last major artistic statement as a solo artist and one his most well received documents since leaving Wolf Eyes, the prolific noise troupe that Dilloway co-founded in the late 90's with musician Nate Young. Within these pieces, we find a surreal treasure hunt that helps guide us through Dilloway's obsessions, neurosis and influences while also developing a splintered maturity of someone with great complexity stumbling through a well thought out, yet totally unplanned 'long game' of an artistic career. Since then, Dilloway has been busy collaborating with the likes of Genesis Breyer P-Orridge and Jason Lescalleet, releasing various short form sketches and running his retail outpost, Hanson Records, while slowly working on his next major album, The Gag File.

Introducing itself with the cover image of a posed dummy ready for his yearbook portraiture, The Gag File pick up right where Modern Jester left off; its identity is directly tied to an absurdly uncomfortable head shot that stays permanently fixed in the listener's mind whenever the album is summoned. The opening track, 'Ghost', sets the heartbeat for the record. A rogue pulse that becomes lost in a disjointed, trapdoor loop but becomes even more unorthodox as Dilloway introduces himself through parable of jumbled, confused vocals and phrasing. Past this point, nothing in this record is typical or expected.

Sudden, crude cuts from one piece to another and psychotic jumps in fidelity make one rethink the ideas of confusion and desperation as something more abstract rather than visceral. 'Karaoke with Cal' and 'It's Not Alright' have an intoxicated sense of depression, taking in the world's problems and regurgitating them back in hopes of finding some enjoyment. That enjoyment seems to be found in the non-music aspect of side B's long form party field recording, that loops in on itself making sure you never really know when the party begins or ends, regardless of one partygoers claim.

Nods to Dilloway's recent live performances have been unusually captured as the song 'Inhuman Form Reflected' doubles as a sound portrait of the artist's internal struggle with hysteria, but suddenly breaks away from a recorded song into an accidental segue way of someone on the edge. Most hallmarks of Dilloway's signature are seemingly here but not firmly imprinted into the recording. Instead, Dilloway used his methods of vocal manipulation and frenzied reference to tell a completely foreign narrative, one that subjects himself to naked uncertainty, audible anxiety and discourse.

For Fans Of...Wolf Eyes, Nurse With Wound, The Residents, Pete Swanson, Ghédalia Tazartès, Bruce Haack

* For the first release on the Wysing Polyphonic label three-piece Ectopia have created a suite of seven new works in which intricate cello and screeching and spoken word vocals are carried along on a wave of dark electronica, taking the listener on a journey into sad acid house, scratched DVDs, lipstick clogged with rolling tobacco and hangovers with absent lovers.

* Ectopia are Adam Christensen, Jack Brennan and Viki Steiri. Previous works have included sound-tracking Jack Smith's experimental film Normal Love (1963) and Carl Theodor Dreyer's The Passion of Joan of Arc (1928). They recently played a sell-out show at London's ICA in a Wysing Polyphonic showcase that also featured xname, SIREN and N-Prolenta who made their UK live debut.

* Wysing Polyphonic has emerged from the Wysing Polyphonic music festival, now in its 8th year, which has programmed the likes of Beatric Dillon, Elaine Mitchener, Hannah Sawtell, Helena Hauff, Holly Herndon, James Holden, Karen Gwyer, Klara Lewis, Nik Colk Void and Russell Haswell, amongst many others, play at the Cambridgeshire centre.

We Release Whatever The Fuck We Want Records is delighted to announce the release of Nino Nardini's experimental/musique concrète/sci-fi masterpiece MUSIQUE POUR LE FUTUR, available for the first time since 1970 and housed in a phosphorescent glow-in-the-dark heavy cardboard sleeve from...the future!



Originally recorded for Crea Sound Ltd, a sub-label of Louis Delacour's Neuilly imprint, MUSIQUE POUR LE FUTUR finds French composer, arranger, producer, possible time traveler, and all around music library legend Nino Nardini experimenting with synthesizers, percussions, prepared piano, echo, and special effects. Fans of electronic oddities, eerie cinematic audio-landscapes, Piero Umiliani or Bernard Parmegiani will rejoice at this full-length musical adventure that could very well be the soundtrack for a film in which characters from a 70s Italian horror movie visit a distant (forbidden) planet from a 50s sci-movie. It's bizarre, hypnotizing, slightly spooky, always out-of-this-world and goddamn BRILLIANT!



Nino Nardini, also known as Georges Teperino, had a very fruitful career in library music, much like longtime collaborator Roger Roger. He composed a very large amount of works for French and British libraries which continues to be featured in numerous programs (radio, tv, films) all around the world. His passion for electronic music experimentations began in the late 60s and kept going till the 80s.



Points of interests



- For fans of musique concrète, library music, early electronic, cosmic oddities, movie soundtracks, forbidden planets, synthesizers, Bernard Parmegiani, and Bruno Spoerri.



- Nino Nardini's masterpiece MUSIQUE POUR LE FUTUR LP available for the first time on vinyl since 1970 - housed in phosphorescent glow-in-the-dark heavy cardboard sleeve.



- 13th release from We Release Whatever The Fuck We Want Records (John Carpenter's Dark Star Soundtrack, Midori Takada's Through The Looking Glass, Piero Umiliani's Tra Scienza e Fantascienza and Il Mondo Dei Romani...), label founded and curated by Olivier Ducret of Mental Groove (Miss Kittin, Brodinski, Kadebostany, Donato Dozzy...) and Stephan Armleder of Villa Magica Records (Genesis Breyer P-Orridge, Christian Marclay, Stephan Eicher, John Armleder, Sylvie Fleury...)

Apollo are proud to present a stunning new project from NYC / Berlin based artists Soundwalk Collective AKA the trio of Stephan Crasneanscki, Simone Merli and Kamran Sadeghi.
Formed in Manhattan to produce concept albums, sound installations and live performances, they create immersive audio excursions from field recordings which they gather from all over the globe - previous works have seen them collaborate with Berghain, Nan Goldin, the films of Jean-Luc Godard and Patti Smith.

For 'Before Music There Is Blood' they have collaborated with the world's most prestigious music conservatories (the Shanghai Conservatory of Music (China), The N. A. Rimsky-Korsakov Saint Petersburg State Conservatory (Russia) and the Conservatorio di Musica S. Pietro A Majella in Napoli (Italy),
They entered the hallowed courtyards, corridors and classrooms of these three academies, recorded hundreds of hours of these elite students practicing and rehearsing to the highest standards of virtuosity.
'The piece questions what is music, composition, and ultimately what is harmony,' they explain. 'It is an attempt to capture notes out of their context - bleeding into each other through the walls, windows, courtyards and alleyway of the conservatory.'
These unexpected melodies are the result of an impromptu, anarchic musical composition of all instruments, where composers, centuries and civilisations are echoing each other in one acoustic space - ghostly fragments of conversation, skittering percussive stabs, burbling synthesis, oscillating swathes of droning strings and hushed, gauzy ambiance. Max Loderbauer supplies a stunning rework that lets the sunshine into the hallowed academic halls a percolating iridescent odyssey - A fitting return to Apollo Records for Max Loderbauer who produced a series of classics for the label in the nineties as half of Sun Electric.
To give Soundwalk Collective the last word on the topic 'Our microphones wondering through the architecture were the silent spectators of the music left behind.'

"1979 follow-up to his Eclipse debut, Voyage Cerebral was the second effort by french synthetist Didier Bocquet. Like the first album, it was recorded on his own private studio and self-released, this time via legendary french custom label FVLM ("Faites Le Vous-Même", meaning "Do It Yourself"). Inspired by the first wave of german kosmische sound-travellers (Klaus Schulze and Tangerine Dream and the whole Berlin School spring inmediately to mind) but retaining that typical french urgency that places it close to Heldon / Pinhas, Lard Free or even Besombes / Rizet territory. In-your-face sequenced electronic music that sounds both spacy and violent at the same time whilst keeping a certain lo-fi, self produced vibe. Recommended to fans of all things kosmische' and synth music in general."

Forrest James Ackerman was THE ultimate American science fiction expert. He was a magazine editor (the man behind Famous Monsters Of Filmland), a science fiction writer, a literary agent (he represented authors such as Isaac Asimov, Ray Bradbury or L. Ron Hubbard, a.o.) and an avid collector of genre books and movie memorabilia.

Frank Allison Coe was a famed sound effects editor in Hollywood. Films having benefited of his experience include Monsters Crash The Pajama Party, The Girl With The Hungry Eyes, The Agony Of Love, Barn Of The Dead, a.o. In addition, he also acted as a sound editor for many movies and even composed the soundtrack on some (Blood Shack, Lila, The Wizard Of Mars).

Joining forces together, Ackerman and Coe recorded Music For Robots in 1961. One side offers the electronic sound effects by Coe, on the other Ackerman narrates the stories getting into the spoken word genre, for the joy of fans of stuff like Andromeda Strain's soundtrack or Raymond Scott, Tom Dissevelt works.

Comes in ultra cool silver foil flipback sleeve in a limited edition of 300 copies only.

Pioneers of electronic experimentation in Venezuela, Musikautomatika is one of the best kept secrets in Latin America's experimental sound scene. They were formed in the late 70s by Luis Levin, Alvise Sacchi and Stefano Gramitto, and counted on the complicity of Mirella López and Gabriela Gamboa. They issued four albums (Musikautomatika -1983, Boston Tape - 1987, Kuba - 1987 y Frecuencias en peligro de extinción - 1993), which are nowadays highly sought after pieces among collectors from all over the world. Free improvisation and cosmic electronic music defines the path this collective of sonic travellers took.'

For fans of 60s-era INA-GRM concrète, electro-acoustic free-improv ensembles, Jean-Claude Eloy, Maurizio Bianchi and even the kind of melodies Tom Dissevelt and Kid Baltan explored on Song of the Second Moon.

1983s Musikautomatika is at last available again on a gorgeous limited edition that features a booklet with plenty of photos and text written by Luis Levin plus an interview with the band made by Luis Alvarado (Cazar Truenos blogzine / BUH Records).

"Inhabiting this grey area between late psych efforts and early PINA (private issue new age), 1977's Pythagoron TM is an electronic oddity originally marketed as some sort of musical narcotic ( a new invention that gets you high with sound' original ads read) sold via magazines like High Times.

Shrouded by it's corporate-like design are two enigmatic side long suites of droning electronics which evoke similar autistic synth experiences like early Conrad Schnitzler, Lorq Damon, Udder Milk Decay or the whole Pascal / Narco Records output whilst recalling also more articulate efforts such as Steve Reich's early opus, Charlemagne Palestine's sinewave experiments or Eliane Radigue's synthetic bliss.

A truly bizarre artifact which was apparently the brainchild of NYC's early media art collective USCO (The Company Of Us) which already pionered inmersive sound/light environments fusing mysticism and state-of-the-art technology back in the 60's. Intriguing period piece."

Raül G. Pratginestós (Fauni Gena)

Comes in original artwork printed on silver cover in a limited edition of 500 copies only.

ZOS KIA was formed by John Gosling (MEKON), John Balance (COIL) and Min - with guest Peter 'Sleazy' Christopherson (THROBBING GRISTLE). Their one and only album, Transparent, was released August 23rd 1983 in a cassette only edition on the now defunct Nekrophile label, Austria. They were the first released recordings of both COIL and ZOS KIA. It was reissued years later by COIL (Threshold House / Eskaton) in an edited edition. The entire recordings are now released on CD/vinyl for the first time and are completely remastered from the unedited tapes. Includes two previously unreleased bonus tracks by AKE (pre-ZOS KIA).
The music on Transparent is genuinely unsettling and disturbing, with a more primal Industrial feel than the Coil album which followed, 'Scatology'. An essential insight into the very early work of these extraordinary artists and an undeniable link between Coil and Throbbing Gristle.

ZOS KIA was formed by John Gosling (MEKON), John Balance (COIL) and Min - with guest Peter 'Sleazy' Christopherson (THROBBING GRISTLE). Their one and only album, Transparent, was released August 23rd 1983 in a cassette only edition on the now defunct Nekrophile label, Austria. They were the first released recordings of both COIL and ZOS KIA. It was reissued years later by COIL (Threshold House / Eskaton) in an edited edition. The entire recordings are now released on CD/vinyl for the first time and are completely remastered from the unedited tapes. Includes two previously unreleased bonus tracks by AKE (pre-ZOS KIA).
The music on Transparent is genuinely unsettling and disturbing, with a more primal Industrial feel than the Coil album which followed, 'Scatology'. An essential insight into the very early work of these extraordinary artists and an undeniable link between Coil and Throbbing Gristle.

2015 liquid. Real music for real spaces.
Shouts 2 P. Santo

DJ Bone is Differ-Ent.

But then again, he always has been. A pioneer DJ and producer hailing from Detroit, whose technical skills are perhaps only equalled by the upper echelons of the city's most advanced techno trailblazers, he's nonetheless forged a path only of his own. Eschewing commercial expectations, scene pressures and anything other than his own exquisite taste, Bone has earned a vital, dedicated audience while remaining comfortably and individually underground.

Despite his stellar reputation, Bone's recent studio activities have steered him towards a new, altogether more personal direction. In late 2015, Differ-Ent's arrival on Don't Be Afraid with the 'Differ-Ent(Hrall)' EP paved the way for its follow-up, 'M.O.M.:' both were forceful slabs of psychedelic outsider techno, with the latter taking on a tangible emotional resonance as it honoured the memory of Bone's late mother. 'M.O.M.' quickly became one of the label's best celebrated and widely played releases. Bone, typically self-sufficient and known to turn down remixes for huge clubbing brands, was impressed by the Bristol label's honesty and persistence. As he continued to rock parties internationally, Bone set to work on an LP embracing his deeper, darker and more cerebral side.

Not that 'It's Good To Be Differ-Ent has found Bone veering away from the dancefloor. "It's like, the natural vibe for me is always going to be funky", admits Bone. "It's going to swing, it's going to have that element of soul. But the Differ-Ent vibe is almost angrier. Determined, perhaps is a better word. I would typically just go to the studio when I had an idea. To the point where I say, 'OK, I'm going to do something, I'm going to make it happen.' But the process for Differ-Ent...it's kinda methodical. It's borderline predictable. But the thing that makes it Different is that it could go any which way at any given time. And it can be harder edged usually, or it can go in a soundtrack direction."

Film plays a significant influence on the landscape of Differ-Ent, with the record's more melodic flourishes sometimes designed to evoke the doubtlessly imaginative chase sequences swimming around Bone's mind. If Bone's usual movements are 'Do The Right Thing', his Spike Lee joint, then in his own words, 'It's Good To Be Differ-Ent' is his tribute to Paul Verhoven's 'RoboCop'.

"The only way I think the album evolved differently was the electro stuff", recalls Bone. "I was excited about that. Because that was a different type of electro as well. It wasn't a normal, 80s funk kinda electro. It completely separates you. It's still for the dancefloor, but it's almost as if it shakes you to dance, rather than coaxes you."

'It's Good To Be Differ-Ent' certainly feels powerful, mastering a mix of Drexicyan tones and drums that align more with a newer wave of house and techno experimentalists. Many of these, from Hodge to Ø/Phase, have been an influence on Differ-Ent, all sharing what Bone describes as a unique affinity with "creepy shit." It's his thunderous, occasionally paranoid but overwhelmingly positive contribution to a forward thinking European scene he has come to relate to on a par with his native Detroit.

Much of ''It's Good To Be Differ-Ent' has been inspired by Bone's frustration. Frustration with the modern political system as well as the creative conservatism of his own scene. In the studio, he has created a unique riposte. But the commercial pressure Bone has always avoided is only growing stronger. Is it harder than ever to be truly different

"It's harder for the majority of people", observes Bone. "For me, it's really easy. I've been preparing myself for this for years."

Antimatter's third release is a new project by F-on & Bule, dedicated to slow drone techno with field recordings and other 4x4 experiments.

* Haunter Records' 2017 kicks off with two new displays of aural expansion by longtime members of the Milan-based crew. Twin singles from Weightausend and Petit Singe that also mark the label's first ventures into 7" format. Through heavy use of darkened breakbeats and angular dynamics, each of the two producers sets out to have their unique sonic approach ring on throughout the sprawl.

Hazina Francia AKA Petit Singe returns to give a sign of what's to come in the very near future. Her transdimentional approach is always prone to punctuate the spiritually intense quality of her taste for melody with heavy barrages of drums organized into hard-hitting grooves. Each of the two tracks manages to balance in her world of feral beauty, pummeling the dancefloor while also dragging into psychedelic stupor.

* Comprised of Australian artists Mark Groves and David Coen, 'Go To Hell, You Bastards !' is Seeping's debut release on Resistance / Restraint. Sparse and crawling vocals layered against serrated rhythmic noise.
* Mastered by James Plotkin (KK Null/Khanate)

* Haunter Records' 2017 kicks off with two new displays of aural expansion by longtime members of the Milan-based crew. Twin singles from Weightausend and Petit Singe that also mark the label's first ventures into 7" format. Through heavy use of darkened breakbeats and angular dynamics, each of the two producers sets out to have their unique sonic approach ring on throughout the sprawl.

Matthias Girardi AKA Weightausend keeps on compiling his private neuroses in a process that seems to achieve catharsis through gloomy analysis and maniacal surgical dissection. Hammering down on his dubwise tendencies and his love for the dark side of jungle, he gives out his most club-oriented work to date, channeling two new bassy rollercoasters, including a new version of "Green Death".

STREAMING INTERNAL DIALOGUE BETWEEN COALESCING IDENTITIES, RENDERED AS AN ACIDULATED AFTERIMAGE.

WRITTEN AND PRODUCED BY JOHN ROBERTS FOR CELLO, SEQUENCER & TWO VOICES.

FULL COLOR OUTERSLEEVE WITH PRINTED INNERSLEEVE

Two tracks from a forthcoming 3CD box set entirely devoted to Luc Ferrari's film music - a landmark release for many reasons. Not only does it reveal a little-known chunk of his oeuvre as a composer for the screen (replete with several previously unavailable tracks), but it also sheds light on the ties between cinema and musique concrète, especially during the fruitful period that stretched from the 1960s to the 1980s

Following up from the stunning 'You Will Soon Find That Life Is Wonderful' 12' on Phonica's Special Edi- tions imprint, Sad City returns to the label with his new EP 'Introduction To Lisboa/ Sloe'.

Glasgow-based producer Gary Caruth has evolved a highly original sound; deep, lush and widescreen electronics, from melancholic to ecstatic. Sonically, he continues where his last record left off and feels like the perfect companion to that well-received debut for Phonica. The record as a whole is composed of field recordings, with the basis for the first half of the EP, 'Introduction to Lisboa,' utilising sound recorded in and around Lisbon. He explains, 'I wanted the music and field recordings to meld at times, to obscure what was conventionally the musical element and what were field recordings, blurring the line between found sound and composition in the creation of a whole other.'

Opening track 'Introduction To Lisboa' builds and builds from near silence to a cacophony of field record- ings and looped horns. It melds into 'Baixa Saxaphone', where carefully paced percussion patiently enters over a wash of synth. From then on a delicate balance of restrained percussion and spine-tingling atmos- pherics interplay before descending into a blissful outro.

As with the previous EP, the 12' is packaged in technicolour artwork by acclaimed London designer Jack Featherstone.

"Coil descended into the bowels of the Sun Dial studios, surrounded by manacles and chains under the level of the River Thames in the Ancient Borough of Southwark, to commit what would become one of their most possessing sides. Astral Disaster was the result: two correlating hemispheres channelling, meditative, eastern raga drone with sage-like poetry and electro-acoustic phantasmagorias, projecting a plasmic miasma of pharmaceutical shimmer and surreality that's pretty much arch Coil. If there's any one big reason you need it, though, that would be the amazing B-side, The Mothership and The Fatherland, framing creaking wooden drums and the gibber-chin shivers of swarming, translucent studio duppies in a diaphanous soundfield of freefall ambient atmospheres—basically the sound of ketamine in the '90s. Makes us want to melt. Massive recommendation!" —Boomkat

In 1998, Coil were invited to record at Sun Dial's studios beneath the London Bridge Hop Exchange—a studio originally know as Samurai Studios, originally built and owned by Iron Maiden. The premises in Victorian times was an old debtors prison which had three underground levels, and still had the original chains, manacles and wrought iron doors from the old prison. This caught the attention of John Balance, who was very keen to record there. Coil spent a number of days recording at the studio during Halloween 1998. With Gary Ramon's help, they developed a number of tracks, some of which resulted in this LP. Ramon produced and mixed the "Astral Disaster" recordings, as well as playing guitar and sitar on these sessions. A version of the album was later remixed by the band and released on their own label—but the Prescription mixes as released in 1999 are unique.



This is the first time the album is being released in any digital format. These rare recordings were part of the legendary subscription-only Prescription label album series in the late 1990's, issued in an edition of 99 signed and numbered vinyl copies, long since sold out. (If you are wondering, originals fetch £700+). Taken from the original masters, this digipack reissue includes original sleeve artwork, eight page art booklet, and the facsimile signatures of John Balance and Peter Christopherson that came with the LP release.

- First time CD and digital reissue of possibly the rarest of all Coil recordings

- Recorded in 1998 at Sun Dial studios, in the bowels of a Victorian era debtor's prison

'Fear Eats The Soul' is the third release from Sordid Sound System on Invisible Inc. His previous two records 'In A Year Of 13 Moons' and 'Lux Exterior' have been getting plays from the likes of Andrew Weatherall, Manfredas, John Talabot, Idjut Boys and Thomas Von Party.

Describing 'Fear Eats The Soul' as a concept EP made by four imaginary bands from Detroit, New York, Paris and Munich, Sordid Sound System says:

'I'm pissed off with passive aggressive shabby chic artisan boutiques besieging my studio and complaining about the noise, I'm pissed off with coked up yuppy hipsters in land rovers taking over my neighbourhood with fancy restaurants with names that sound like fucking law firms, I'm pissed off at the resurgence of the far right and creeping fascism, I'm pissed off with self sabotaging English and American voters and the neo liberal corporate elites that have pissed away opportunities and alienated them, I'm pissed off with modern recording technology creating a sea of homogenous unimaginative beige bullshit, and I'm really pissed off that my favourite drummer Jaki Leibezeit is dead, but apart from that it's all good, enjoy the new record.'