Beats News

group A started in Japan in 2012 by Tommi Tokyo (synthesizers, electronic rhythms, vocals) and Sayaka Botanic (violin, tapes, voice). Since the beginning this project has been developing a very unique sound and image blending performance art and DIY post-punk. Their music could be described as a clash between UK industrial and Japanese underground from early 80s. Their shows are very conceptual and stagey with the use of looped projections and original outfits. Group A have been playing their mix of spiky noise, no wave minimalism and sinister cabaret on the road for the last four years. It's taken them from Tokyo to London and their present home in Berlin.'Wire Magazine, July 2016. After some releases on digital format, cassettes and self produced CDs, including a 2-track collaboration with Tom Furse (The Horrors), their last album '70 + a =' is finally pressed on vinyl with a brand new extra track ('Deadly 16'). Deluxe edition with fine black paper silk-screened jacket and an exclusive insert with some graphics and notes.

The word innovative and groundbreaking is dished out a lot these days but in this project the facts speak for themselves. Mn'JAM experiment have turntables doing it all from atonal sounds to melodies, rhythms or even harmonies, visuals synchronized in real time with the music, electronics in conjunction with electric and acoustic instruments, live looping and even quirkiness, just to name a few. It's like being immersed in a live art experiment where conceptual laws give way to superb executions.

If you zoom in on the music, the multi-medium integration also occurs. You'll find a mix between empirical and rationally constructed elements, between acoustic, electric and electronic instruments, urban rhythms and traditional melodies, vocal loops and guitar solos, turntables and acoustic drums.

This experiment breaks away from just being another project that uses poetic and metaphorical delights to describe what they do and is literally a new platform in jazz.

Melissa Oliveira - voice JAM - visuals/turntables Virxilio da Silva - el. guitar Matt Adomeit - Bass Tuur Moens - Drums

On his project HUE, British multi-instrumentalist Simon Goff explores the musical space between minimal music and drones, music performance and installation.

After being a member of Leeds (UK) based cult-pop band Hope and Social for 6 years, known for their inclusive brand of music making, Goff is now further exploring how to involve spectators and other performers in his creative process. Relocating to Berlin in 2015, the home of experimental electronic music, Goff is a regular collaborator with the likes of Andrea Belfi (Constellation, Miasmah), Aidan Baker (Alien8, Brokenspine) and Pete Simonelli (Enablers). His interest lies in challenging his up-bringing as a classical violinist and deepening his understanding of the sounds that have surrounded him for over 20 years, engaging with electronics to enhance his ability to include other people in the music creation process, for him the most important and enjoyable part of being a musician.

Created with visual artist Sebastian Kite (Royal British Society of Sculptors) and choreographer Lisanne Goodhue (Sebastian Matthias, Tanz platform 2012, 2014), HUE is a work that challenges the traditional notions of dance performance, concert music and visual art exhibition. Using colour as a bridge between their practices, the artists designed an experience that allows people to choose their own method, pace and duration of reception. HUE focuses on the spaces between mediums, encouraging sensitive observation through repetition and change. The sound is created through a series of motion sensors positioned throughout the space that trigger samples and musical devices engaging participants in the sonic creation. Taking inspiration from Terry Riley and his contemporaries, the musical performance follows a modular score allowing an improvisatory approach to interacting with the musical proposition created by participants movement. The result is a soundscape, shifting through ambiences that engulf the listener, propelling them on a journey through colour.

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Simon Goff is a British multi-instrumentalist, improvisor, producer and composer currently based between Berlin, DE and Yorkshire, UK. He is a classically trained violinist who also spent his formative years studying bass guitar with Herbie Flowers (David Bowie, Lou Reed). A regular touring musician he has collaborated and performed with the likes of Aidan Baker (Alien8, Brokenspine), Bee and Flower (Neurot), Andrea Belfi (Constellation, Miasmah, Nils Frahm) and more. His own music focused mainly on string instruments and electronic processing and in recent years he has written music for dance, film and sound installation. He has performed and shown work in Europe, America and the Middle East and since mid 2016 he has been part of the team at Vox-Ton studios in Berlin working on records for the labels such as Erased Tapes and Naxos as well as film soundtracks with composers Hauschka and Dustin O'Halloran.

The recording debut of a collaboration between Jordan 'Jordache' Czamanski and Ilya Ziblat Shay. Three freestyling chunks of hallucinatory electronica and freaking jazz, plus a sublime remix by Parisian maestro I:Cube, with MT's wild keyboard lines, distant bells and general insobriety threading a tactile, sunrise-friendly house groove. Tropical jazz-funk for the synthesizer generation. Call it Balearic and die.

New 12 by highly regarded DJ Nervoso. From Principe -

"We can't stress enough the importance of finally releasing an EP by scene originator DJ Nervoso. This release features newer tracks alongside unreleased older (we should really say Classic) ones, demonstrating the level of perfection he attained early on. Nervoso is the main reason why DJ Marfox, DJ Firmeza and many others started deejaying and producing, hooked on his fiery DJ sets since they were barely in their teens, around 2001-2002.

He is well known for a bare bones approach to rhythm, working the basic hypnotic feel of pounding drums to mesmerizing effect, in his permanent quest to make people move. His sound is meant to unite, not divide, the dance floor. Even before he started producing, Nervoso was quick to perceive that some people were alienated in parties where Angolan kuduro got played, for the simple reason they didn't command the specific moves associated with the style or its variations. So his production focused on adapting the beats of this much-loved dance music, changing the codes for a more inclusive experience. Some call it techno"

Gentlemen, this is a leap year, therefore it is a year and a day since our last annual meeting.' - The Hell Club, Glasgow.

Helena Hauff - Lovely stuff! Really like the first song, beautiful!

On his riveting debut for Rabit's Halcyon Veil, Jesse Osborne-Lanthier hacks club, classical and
avant-garde music in a visceral, time-warping car crash of styles perceived from a multitude of
angles with unflinchingly candid, cinematic sound design under the urgency of accelerationist
tendencies.
Wrenched into being just ahead of his rumoured Raster-Noton release and some months after
the obsolete technology salvage of C L S M with Grischa Lichtenberger, Osborne-Lanthier's latest
work is p'raps best described as a sui-generis, intemporal laceration of contemporary electronic
music, consolidating the memes of noise, grime, avant-classical, computer music in a scrolling,
vertiginous simulation of video game sound design violence, racial and cultural tensions, political instability, and the virality of social networks.
It's sensational stuff in the most bruising, breathlessly beat-em-up 1st player style, but executed with a clinical approach that practically sutures as quick as it cuts, as though operated by a
squadron of invasive nanobot drones programmed by Burroughs and Shane Carruth to decimate the present and let encrypted future codes bleed thru in the milliseconds of strobing space
between.
Unfortunately we're not up to AI speed yet, but, like Autechre, Osborne-Lanthier appears to be attuned to their level of cybernetic computation and emotion, conducting a symphony of pure physics encrypted in cultural and esoteric references between the mechanized slaughter of North Face Killah and the TCF-alike proprioceptive headf**k of Velocity, Bilocation, Pyrokinesis feat. Bataille Solaire, taking in the fragmented data bursts of Mi©rochipped and the strangely ancient-futurism of Weed Kit's hydraulic chronics, which feels to theoretically emulate the effect of THC on a cybernetic mind.
Seriously, if Elon Musk needs an artist in residence for his mission to Mars, send for Osborne-Lanthier.

We're extremely pleased here at Invisble Inc HQ to be releasing this amazing new album by veteran multi-instrumentalist and ethno-musicologist Jon Keliehor.
Originally from Seattle and musically active since the 1960s Jon started out playing drums and percussion in bands like The Daily Flash and Bodine all the while becoming known as a venerable session and touring musician in his own right. Not many people can claim to have played alongside Jim Morrison AND James Brown....but Jon certainly has.
Moving to London in the '70s where he lived until the mid '80s, Jon started composing music for theatre, drama and dance. During this time his own work veered toward the more experimental and it was during this period that two of his 'cult' library music albums saw the light of day (East Meets West on Bruton and Avantgarde on Studio G).
Returning to Seattle in the early '90s Jon joined Gamelan Pacifica where he developed his knowledge of Javanese and Balinese gamelan and for whom he became a primary composer of non-traditional pieces. In the late '90s Jon moved to Glasgow with world renowned percussionist (and his then partner) Signy Jacobsdottir and they both became staple members of Gamelan Naga Mas with whom they are still active today.

Here's a new remix record from Aaron Spectre, an American producer known for building bridges. Nearly a decade after his first "Amen, Punk" vinyl was released in Japan and became a worldwide underground staple, he's back refining the energetic hybrid sound further. Jungle Boots is four tracks of genre-unifying white label goodness, flawlessly cut to vinyl and ready to rock.

Mysterious, super-advanced, future classic white label that has been causing a bit of stir amongst the heads.... very limited, get it while you can !

Now for some Japanese psyche and experimental music of the mid 1970s. Do not expect any lush pop harmonies from this music collective formed in 1974 which was at least active up to the early 90s. GEINOH YAMASHIROGUMI approach psychedelic music with from a rather krautish point of view and their first album from 1976 about which I write this review is rather a collage of strange noises, screams, a few rhythms patterns and wide open structures that seem to be borrowed from late 1960s psyched out free jazz. And you can bet, this is an ever flowing freak out but definitely an intense and mind bending experience. I recall German oddities like ORGANISATION (pre KRAFTWERK), FAUST and others but there is another aspect in the music that is more difficult to trace down. Funk and jazz rock with a breathtakingly smouldering atmosphere you would rather expect from English groups emerging from the Canterbury scene like SOFT MACHINE or some of the rather jazz oriented Italian progressive acts. But all in all GEINOH YAMASHIROGUMI find an even more radical way to express their feelings and make their inner visions manifest in sound despite a sweet smoothness coming with these rocking jazz elements. Oh dear, this is definitely far from being ordinary. Choirs with typical Japanese chants add some wicked exotic tinges to the whole musical picture. If you dig progressive, krautish psychedelic jazz rock, this is exactly what you are looking for. The whole album is divided into two parts of which - Osorazan' comes closest to rock music while - Doh no kembai' seems to be a live performance of a stage play by this music and theatre collective based nearly entirely on vocals. Open minded lovers of truly progressive music from the 1970s will go nuts.

as a central point of reference of grischa lichtenberger's »la demeure/il y a pe´ril en la demeure« complex, raster-noton releases a limited edition of three 12' vinyl EPs that are accompanied by a handmade, signed and individualized screen print.
the three EPs were set up as an experiment. each of the records is guided by a word that could be described as a phantasmagoria, a delusion of the 20th century - like a metaphor that is concerned not only with its immediate meaning, but with an implication more emotional, more irrational, telling something about the mindset of the not so distant past.
these keywords already existed before the production on the tracks began and thus played the role of an indirect orientation or playground for association. nevertheless, the EPs are not conceptualized, but rather a collection of habits and strategies in relation to the titles.
common to all EPs of the triptych is the question of a connection between intimacy and the public sphere. aesthetically, the music presented on the EPs ranges from distressing and unaligned dancefloor-oriented tracks to tribal and politically charged drones to unsettling noise ballads. on »spielraum«, for example, hypnotizing music box melodies are combined with claustrophobic breakbeats. »allgegenwart«, on the other hand, presents mechanical rhythms and sawing pads, topped with high-pitched warning sounds. last but not least, the final EP »strahlung« features self-forgetful, gloomy and melancholy tracks backed by melodies that remind of a barrel organ turned upside down.

The original Environments album was conceived and written back in 1993. It became one of the great lost albums by The Future Sound Of London before the guys took in back to the studio to complete and issue in 2008. Since then has come the success of further instalments and following additional studio work during a period of extreme creativity comes two further volumes. Released separately but simultaneously, Environment 6 and accompanying Environment 6.5, when combined, create a two CDs of 46 tracks. Sweeping between luscious dreamscapes to delicately melodically compositions to intensely highly programmed electronics sculptures Environment 6 and Environment 6.5 continue the journey towards the boundaries of the future of sound.

The original Environments album was conceived and written back in 1993. It became one of the great lost albums by The Future Sound Of London before the guys took in back to the studio to complete and issue in 2008. Since then has come the success of further instalments and following additional studio work during a period of extreme creativity comes two further volumes. Released separately but simultaneously, Environment 6 and accompanying Environment 6.5, when combined, create two CDs of 46 tracks. Sweeping between luscious dreamscapes to delicately melodically compositions to intensely highly programmed electronics sculptures Environment 6 and Environment 6.5 continue the journey towards the boundaries of the future of sound.

In 1979 the Fairlight CMI (Computer Musical Instrument) was launched, the year that the BBC Radiophonic Workshop celebrated its 21st birthday. At the price of a house (approx. £30,000) this state of the art piece of equipment was embedded with an 8 bit digital sampling synthesizer capable of emulating acoustic instruments and orchestras alongside the manipulation of sound effects.

For the BRW this was a major game changer, where previously, composers would spend weeks editing small pieces of tape together to create sounds. Ingenuity and creativity in music and sound was still at the forefront for Workshop members but suddenly made a whole lot easier. This 1983 collection (a first time re-release here of the complete album) celebrated these new found freedoms most notably on the opening track where five Radiophonic composers combined to add their own musical identity to a rhythmic percussive sequence from the Fairlight.

Highlights include music from the radio production of The Hitchhiker's Guide To The Galaxy and Fancy Fish based on Saint-Saen's Carnival Of The Animals which was the first BRW project to utilise the Fairlight.

Bristol-based illustrator and musician Adam Higton welcomes you back into the mossy realm of the Cosmic Neighbourhood. With each song acting as a response to a series of paper-and-scissors compositions, 'Collages II' documents the daily goings-on of an imagined world.

Sonically, this record straddles new and old, taking modular electronics, flutes, bells and softly pattering drum machines, before colouring them all with the amber glow of some forgotten, psychedelic kids' TV programme. Higton's benign toots and echoing jingles bring to mind Daphne Oram's early delay experiments or the meandering playfulness of Tom Cameron. Radiophonic and time-worn, it still somehow sounds like the future.

Way ahead of their time, Gruppo di Improvvisazione Nuova Consonanza were an experimental collective fully based on improvised music. It was the only European group exclusively made of composers, instead of simple performers. The Group tried to break the schemes by making use of new instruments and electronic effects, reinventing new timbres, using the voice in an unconventional way. They were also known for the presence of Ennio Morricone on trumpet who, at the same time (1966), was also working as a soundtrack composer for Sergio Leone's western movies!

One of Prurient's most captivating raids on the borderlands of power noise and symphonic doom rears its furious head once again for this epic gatefold reissue on Hospital Productions, 10 years on from its original release on double tape and then as a single vinyl pressing for the legendary Load Records in 2007.
Pleasure Ground stands as a key part of Prurient's golden quadrant alongside The History Of Aids (2002), Black Vase (2005) and Cocaine Death (2008), its immolating rage renders Fernow at an early crest of his energies, consolidating the hi-pitch intensity and bile of his idols, Whitehouse,
with the majestic, meditative inspirations of Black Metal and a more personalised bloodlust for unheimlich synth tones and pulsating electronic undercurrents.
Its four long tracks are riven with the paradoxes that make Prurient's music so compelling and practically a genre unto itself, meting out a sound in Earthworks / Buried in Secret that's
simultaneously nerve-gnawing yet bleakly tender, or weighing up caustic harshness with a melodic vulnerability in Apple Tree Victim that appeals far beyond the bombed-out no mans land of pure noise to intersect with the entrails of EBM in the raging but poised thunder of Military Road - one of his finest moments, bar none - and coldwave pop and fetishistic synth themes in Outdoorsman/Indestructible.
If you're willing to bite down you will find a depth of bittersweet flavour submerged beneath the tidal waves of white noise filled with nuance and vulnerability, slowly dragging you into the abyss.
Ultimately though, there's no mistaking that in the end this album is just unflinchingly fucking heavy...

'Gatefold cover with full art, booklet and sticker'

'Soil' is the first release on ( NILØS ), a music label from Third Stone, the organisation behind the fashion brand ( JULIUS ). Julius' collections and work exist in the heart of the fashion industry, showing during the Paris Men's Collection, and attracting a following from many international artists including: Nine Inch Nails / Marilyn Manson /Richie Hawtin / Ben Klock / Marcel Dettmann.

Julius has always been a crossover of music, art, and other vectors, and not simply just a fashion brand. ( NILØS ) now incorporates this and transmits the industrial ethos of the brand within a new sound-approach.

For the first release, ( ENA ) has created 'Soil', a piece incorporating the world of (NILØS ) through sound. This concept album is one track, extending over 40mins. Rather than structuring small details, the album is an atmospheric, mono tone space, created through a mixing and layering of sound. On the top of this industrial sound, (ENA ) has inserted elements of colour, creating a piece with a dramatic variation of sounds.

For the vinyl version of the 'Soil' project, the creators of the label have put together a deluxe package. A black 180g pressing housed in a beautiful gatefold cover with artwork from the ( NILØS ) collection, with a newsprint booklet and transparent sticker. The full 'Soil' piece has been edited to fit the LP format. Mastered by Lewis at Star Delta and pressed at MPO, a very limited amount of these LP's are being made available in Europe through selected retailers.

Nadja return on November 4th with

The Stone Is Not Hit By The Sun, Nor Carved With a Knife - their first release for Gizeh Records. The Canadian/Berlin-based ambient doom duo of Aidan Baker and Leah Buckareff continue their ultra-prolific output with a monolithic record which explores the depths of heavy noisescape-related music. Encompassing distorted riffs and hypnotic rhythms the album sonically attempts to continue on from the more structured elements

of the duo's recent

Queller album, coupling that approach with Nadja's more traditional sprawling, dense and challenging sounds.
The relentless fuzzed-out textures repeat and build into a blissful and cathartic whole - a place to be completely immersed. In the deep, glacial and all-consuming world that Baker and Buckareff provide us with here, there is a will to dissolve, to let the record wash right over you or perhaps even through you. At times crushingly beautiful,

Stone, Sun, Knife is brought to life by its clever restraints with quieter interludes serving a perfect purpose against it's more intense, heavier moments.
The album's intriguing title comes from a runic inscription on an Icelandic burial stone but the phrase also appears on the Eggja Stone which provided some of the lyrical content on the record.
Nadja have a habit of transcending genres and indeed throughout their career they have been incredibly difficult to pin down.

The Stone Is Not Hit By The Sun, Nor Carved With A Knife is a welcome addition to that hefty catalogue and stands up tall against their most impressive work.

Interstate 87 presents an experimental trilogy of swirling textures, crunchy glitches, and mysterious synth lines. From the introspective, wandering melodies of the title track, to the cold, expansive chords in Islay, and finally, the uplifting drone of Truckers, Interstate 87 is a meditative journey through a dynamic and nuanced sonic palette.

Yann Novak is a multidisciplinary artist based in Los Angeles. Ornamentation is Novak's first physical release on Touch and continues his investigations of presence, stillness and mindfulness through the construction of immersive spaces, both literal and figurative. On Ornamentation Novak resists modernism's problematic relationship to race, class and labour, and attempts to decouple contemporary minimalist sound work from this historical precedent. The title refers to Adolf Loos's notorious 1913 manifesto, 'Ornament and Crime,' in which the author argues that the desire to adorn architecture, the body, objects, etc., is a primitive impulse, and the proper and moral evolution of Western culture depends in part upon the removal of ornamentation from daily life. Loos devalued the labor traditionally associated with aesthetics and beauty, and equated ornamentation with the degenerate. In this context, one could consider ornamentation as a way of viewing decay. His examples as such (tattoos, fashion, style, painting, et al.) predictably fell along divisions of race and class, coding modernity as the next outward manifestation of white, capitalist patriarchy. Throughout the process of creating Ornamentation, Novak attempts to sidestep some of Loos's modernist intolerances by focusing on the labor of composition itself, rather than particular processes or structures. Novak began by incorporating specific field recordings from his archive, deliberately selected for their poor quality, awkward interruptions, low fidelity smartphone recordings, problematic frequencies. The selection of these difficult sounds, processed alongside recordings of his modular synthesizer, created a unique set of challenges for Novak where the familiar, reductive approaches would fail to be useful and ultimately abandoned in favor of more dynamic, additive, and laborious process. Unlike minimalism with its roots in modernism, or "sound art" with its conceptual biases, Novak creates a work that acknowledges these conventions, yet stands apart as a meditation on beauty, labour, and aesthetics, Ornamentation as an adornment of time itself.

Outstanding EP by Finest Ego Beat Championship Winner
Promotional support through Project: Mooncircle and Finest Ego
Limited Edition - 300 copies!
Video for "Maria Parhuzan" (End of December)
Berlin's producer wonderkid and Finest Ego Beat Championship winner Playpad Circus is finally ready to drop his debut solo EP "Phantasma" on Equinox Records - an experimental, but yet utterly banging adventure in electronic music! Exteme edits are combined with a flipped vocals, impeccable drumbeats and multiple layers of sounds and melodies. With the EP Playpad Circus enters the beatmaker scene with a completely inimitable style. Through the additional support from Project: Mooncircle and Finest Ego the EP should be another big step forward in Playpad's uprising career.

After 14 releases spanning early gospel, blues, folk and field recordings, Death Is Not The End reveal their first ever release of "new" music. A reissue of a tour tape made earlier this year by East of the Valley Blues, aka brotherly acoustic guitar duo Kevin & Patrick Cahill out of Toronto, Canada.

Recommended for fans of sprawling Bashovian raga & Fahey-esque american primitive. LP limited to 300 copies only, cassette contains unreleased live recordings.

After 14 releases spanning early gospel, blues, folk and field recordings, Death Is Not The End reveal their first ever release of "new" music. A reissue of a tour tape made earlier this year by East of the Valley Blues, aka brotherly acoustic guitar duo Kevin & Patrick Cahill out of Toronto, Canada.

Recommended for fans of sprawling Bashovian raga & Fahey-esque american primitive. LP limited to 300 copies only, cassette contains unreleased live recordings.

The next Alien Jams 12" is from rkss, entitled Cutoff EP. These four tracks were recorded in 2014 within a period of two weeks, using a Juno-60 and Vermona Retroverb Lancet. Perhaps their most dance-able release to date, Cutoff interweaves aquarian dream-like electronics throughout soggy percussion and glistening chimes. Propelling the listener forward, rkss churns through water-logged signals, while synths cut through in gusts of euphoria.

Dubbed-out cosmic pastorals and politically exasperated techno-exotica from Blackest Ever Black's most secretive and shape-shifting project. Guest contributors include Conrad and Jonnine Standish of HTRK, Genevieve McGuckin (These Immortal Souls), and Lucas Santanna. The ghosts of Les Baxter, Rowland S. Howard and Nina Simone are also in attendance. But whoever is pulling the strings remains hidden...possibly in plain view. Structurally Wreck His Days recalls the grand collective statements of This Mortal Coil or Massive Attack, but musically its dreamlike overtures have more in common with Deux Filles, Global Communication, Arthur Russell, Penguin Cafe Orchestra, Anthony Moore, even Robert Wyatt circa Old Rottenhat/Nothing Can Stop Us. It roams far and wide: from the lambent, near-Balearic piano loops of the title track, to the Audrey Horne-worthy death-jazz of 'Ghost From The Coast', and hulking, bass-heavy soundsystem weapon 'Reverberasia'. Side Two opens with the swelling, uplifting astral psychedelia of '...And I Tried So Hard', while 'I Beat As I Sleep As I Dream' reprises the bleak existential synth drift of T.T.W.F.U.'s extraordinary 2014 10', How Great A Fame Has Departed. A deep-seated socialist impulse drives the whole thing: with a dedication to women who have fought oppression throughout history, references to the Spanish Civil War and the UK Miners' Strike, and an overarching belief in the international ideal (in fact the closing 'Rosa / Kollontai' explicitly invokes the Internationale). Written and recorded over the course of 2014-15, Wreck His Days is a plea, or perhaps a requiem, for a world that embraces difference and upholds equality. Its contemporary relevance hardly needs emphasising.

"Rundgång"(Feedback in Swedish) is a track made with feedback and i would call it A.O.T's very own and personal interpretation of Dubstep with "lyrics"that reflects his wicked sense of humor.
"Woot!"on the other hand is an evil excursion in filtered frequency noises and a distorted start/stop rhythm and this is nothing for the faint hearted so brace yourself you are in for a crazy trip verging on Techno.
The " (Go Koyashiki Remix)"takes remixing to another level because Go has stripped "Rundgång"to it's bare essentials and produced a very minimal and slow pulsating track that ends with sublime pianoplaying.

British composer and experimental music artist Christopher James Chaplin studied the piano with Irene Denereaz in Vevey/Switzerland before moving to London in the early 80ies. In 2009 he was invited by Viennese label Fabrique to collaborate with electronic musician KAVA on Seven Echoes', an album released in 2010 and presented live at the Art Brut Museum Gugging in Austria. There he met electronic music pioneer Hans-Joachim Roedelius (Cluster, Harmonia) who later invited Christopher to take part in a Late Junction session for BBC Radio 3. The result of this second collaboration eventually led to the album King of Hearts', released in 2012.

In the following years Christopher Chaplin and Hans-Joachim Roedelius performed around the world, these were largely improvised performances with Roedelius on piano and electronics, and Chaplin on synthesizers and orchestral samples. Amongst others they captivated audiences in Paris (Silencio), Sao Paulo (Sesc Belenzinho), Barcelona (Primavera Festival), Iceland (Extreme Chill Festival), Vienna (Casino Baumgarten, Thyssen-Bornemisza Art Contemporary, Volkstheater), Linz (Lentos Kunstmuseum), Lunz am See (More Ohr Less Festival), Tiradendes (Mimo Festival), Madeira (MMiFF Festival) or Berlin (Akademie der Kunste and Haus der Kulturen der Welt).

October 2016 will see the release of Christopher Chaplin's first solo album "Je suis le Ténébreux , which has been partly recorded at AIR's Atlas Studio in Paris and various studios in the UK. It combines experimental musical influences around a sixteenth century text, an epitaph known as the Enigma of Bologna'. The album will also feature the voices of Hans-Joachim Roedelius and Christine Roedelius, French actress and soprano Judith Chemla and Italian tenor Pino Costalunga, as well as the text and voice of poet Claudia Schumann.

- The album is based on the Enigma of Bologna, a text in Latin from the XVI century inscribed on a tombstone near Bologna, Italy. The text describes a man named Lucius Agatho Priscius and a mysterious woman named Aelia Laelia Crispis. Not much can be said about the enigma, other than it holds a certain fascination. As André Pieyre de Mandiargues once put it: beware of resolving the enigma of the stone, lest it loses its power. Christopher Chaplin, 2016.

Hermann Nitsch Orgien Mysterien Theater - 25. Aktion
Re-Performance of the 25. Action , march 1982 in the gallery Pakesch, Vienna (Premiere was in New York 1968).
The music was released on a small gallery tape edition in 1982 - remastering for vinyl by Martin Siewert 2016

Hermann Nitsch, Austria, painter, performance-artist and composer, was a crucial founding artist of - Viennese Actionism . Exhibitions and Performances all over the world since the 60s.

The idea of the very sensual and archaic - Orgien Mysterien Theater was developed in the late 50s and is performed in variations untill today.
Nitsch works out all settings of the rituals, the feast in great detail, precisely composes days of art, performance, food, wine and music - to celebrate the existence of mankind

Vinyl with screenprinted covers, limited edition of 300

Christof Kurzmann - electronics (ppooll), voice, live processing
Mats Gustafsson - slide, tenor, baritone, bass saxophones
Recorded ,mixed & mastered at Garnison 7, Vienna by Martin Siewert Artwork by Jimmy Draht Linernotes by Ken Vandermark

Kurzmann, one of the central figures of Vienna's avantgarde scene teams up in the studio with Gustafsson, Swedish sax player extraordinaire of THE THING and FIRE fame!

Christof Kurzmann - electronics (ppooll), voice, live processing
Mats Gustafsson - slide, tenor, baritone, bass saxophones
Recorded ,mixed & mastered at Garnison 7, Vienna by Martin Siewert Artwork by Jimmy Draht Linernotes by Ken Vandermark

Kurzmann, one of the central figures of Vienna's avantgarde scene teams up in the studio with Gustafsson, Swedish sax player extraordinaire of THE THING and FIRE fame!

* Though Berlin is not the most ancient of cities, its streets hold sounds as old as the gods. Imagine a venue not as a concert space, a dance hall-but as a druidic circle, a pagan place where each beat forms the ritual of audio worship.

* The ritual of Gainstage is a contemporary solution to the need of most lifeforms: a connection to the natural orders, given over to the uniquely human need to sweat heavily in concrete boxes. The trance-inducing structure of their compositions allows the mind to surrender itself into an alternate version of our world, given birth by their hands and wills.

* Evoking the old spirits of the Earth using modern technology, Pierce Warnecke and Arik Hayut embody the truly terrible and awe-inspiring aspect of Gaia in their tribalistic doom-tech rhythms.

—The flesh- an arcing wash of searing electronics rhythmic and ethereal—
—covers the bone—a precision of crushed drums—and reveals the raw, moraless face of savage nature—

* The devouring and the devoured, black soil that birthed us churned with vivid red. Looming, as always, the death-spectre of the even more savage Man: metallic crashes of industry, the warning wail of sirens, the chug of steel engines grinding and pounding the landscape into waste and ash.

* On this post-necropolictic plane, the ritual fires of Gainstage still burn. This great and terrible work, this landscape of shattered Earth, is the stage where they conjure yet more shapes from goddess flesh. Bend your will to theirs, and let it too be shaped.

* Featuring a murky remix from Cut Hands; reshaping 'Obsidian Organ' in to a clattering, serpentine slice of militaristic jungle-techno. A different perspective on 'Sun Burnt Cloud' is offered by Orphan Swords, weighty and slow-burning sci-fi-laden dance music for the grimmest of futures.

Soccer96 is made up of two thirds of The Comet Is Coming, currently whipping up a cosmic storm on their Mercury Prize nominated album Channel The Spirits.


Their bold approach to improvised composition, recording processes and experimentation is reminiscent of Flying Lotus, Can, Thundercat and Gaslamp Killer.

If you want a concise insight into what drives the mind of the fanatic and the dynamics of a mass movement at their most primal level, may I suggest an evening with Contrastate.Active from the late 1980s through to the present day Contrastate follow up their studio album A breeding ground for flies' for Dirter with two brand new tracks. A sonic soundtrack to an apocalyptic world that is hypnotic, yet still full of dynamic sounds and shifts. Their sound insinuates itself somewhere inside the dark ritual ambiance of the electronic avant-garde shot through with a vein of experimental noise and sarcophetic vocals strewn amongst industrial surrealism. The single is limited to 500 copies and the first 300 copies arrive in a special mirror' sleeve. Contrastate achieve an amazing equilibrium between organic sound and brooding electronics' - Heathen Harvest.

ECM-era Don Cherry global jazz meets contemporary electronic avant-garde, true world dance music for the next millennium.
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With guest turns on every track, Georgia explore a new approach to studio production, incorporating the sounds of world and jazz music into their digital funk and combining and processing improvisation and composed elements to create a unified, distinct voice. This approach can be heard on Ama Yes Uzume,' as a primally incandescent vocal from Caroline Polachek (Chairlift) blends with glistening waves of piano and synth to form a euphoric rhythm that materializes out of curved air. Blending live performance with sampling and editing, Georgia constantly revise and revisit their work, breaking down, collaging, and
refracting sounds.

On lead track Slow Dance,' vocals by performance artist India Menuez waft over a loping bass line
(sampled from a performance by Matt Werth of RVNG) while digital flutes cluster in the background. The outcome is a kind of new age mutant funk, not unlike the sound of Annette Peacock or 23 Skidoo jamming in the studio with Jon Hassell. Additional collaborators include avant-garde harpist Mary Lattimore, saxophonist Wednesday Knudsen, and Gabonese vocalist Abang Essone Sarah Maya. As the title suggests, this is music of many multitudes.

IRAH makes a particular brand of alternative pop inspired by everything from traditional ceremonial music to modern melodic songwriting. The three members find creative power in their spiritual awareness and their music have a truly unique ability to both create feelings of unity with the audience as well as a sense of being part of something bigger.
In the past year IRAH have performed select shows in Denmark, always to full houses and critical acclaim. Media has highlighted their unique and intense presence in the music on stage. Earlier this spring their first single also entitled Into Dimensions' was released and was described by The Line of Best Fit as "An incredible, epic debut single" and soon followed the song Mirroring' which has enjoyed airplay on several key stations around Europe.

The label's first reference, HOODED001, is a two tracks EP called "Los Dinosaurios" by Personal Mythologies. The two cuts have been recorded from live improvs by the artist. The A Side, homonym to the title of the EP is a slow, rugged and abrasive techno jam that passes the 11 minutes mark. The second extract, "Cuando Los Dinosaurios Dominan La Tierra" is an ambient odissey of fourteen minutes that features a static melody around which different melodic and rhythmic elements are developed.