Beats News

Infiné präsentiert einen bezaubernden Release zwischen moderner Klassik und spooky Electronica. Der mexikanische Produzent Murcof (alias Fernando Corona) und die klassische Pianisten Vanessa Wagner (Frankreich) interpretieren gemeinsam zwei Stücke der Minimal-Ikone Erik Satie und des talentierten David Moore (Bing & Ruth/Langhorne Slim). Für Freunde von Nils Frahm, Jon Hopkins, Max Richter und Boards Of Canada.

Something fresh for 2016 as the SpectraSoul duo of Jack Stevens and David Kennettprepare to launch their very own label, Ish Chat. Musically rich and diverse as ever, the'Only You EP' offers an array of beautifully crafted drum & bass on a stage that will see them spread their sound even further in the future.

"Ish Chat Music is the brand new platform for SpectraSoul music, and we're very excited about it.

As artists, we have always written lots of different types of music and we wanted to create a vehicle to present some of those varied styles in a shorter format as opposed to an LP. With Ish Chat, we can now release music at a higher frequency and with greater variation than ever before. With this first release we have compiled 4 very different tracks that reflect just a few of the styles that we have worked with over the years.

We never imagined that we would run our own label, but when it came to it we realised that it was the best way for us to steer the direction of both our music and the accompanying visuals, aspects which we have always been very passionate about.

We can't wait to get things up and running, and plans are already afoot for ISHCHAT002!"

Noisy & drone-ish debut 12" by Bremen based artist Breaklab. Electronic organ dkb-44 sound studies.

The album is inspired by the music of Eric Dolphy and John Coltrane, Indian Raga and African Polyritmic structures and evolves around the story of Paddy Roy Bates, a british major and pirate radio broadcaster, who founded the micro nation 'Principality of Sealand' two months after the death of Coltrane.

'Late Style' is a collection of live takes recorded directly from a Hohner church organ at the point of collapse. This circuitry of this hulking synth, long-installed at Kit HQ, has inexplicably decayed over time, rendering drum loops and melodies as raptures of white noise, squelches and bizarrely spiralling clangs. These weirdly moving digital swan-songs are clearly labelled after the presets that were triggered during recording - 'waltz', 'flutes', etc.

On the B-side, pianist Devon Loch and experimental producer Antidröm join forces, arranging recordings from the organ together with contact mic and field recordings, to create four new pieces. In music and art, late style often means an unfettered outpouring in later life. Perhaps these recordings show that circuitry and software have lives too, too. Like creatures and plants, they change over time, they decay, confront mortality, and their functions adapt.

* Matt Preston aka Phaeleh reprises the sounds of his 2014 album 'Somnus' with a second long playing ambient deviation. Intended as a soundtrack to explore the perception of self-importance, 'Illusion Of The Tale' operates with a reduced sonic palette of effected live synthesiser workouts and experimental recording techniques infused with worldwide field recordings.

* The majority of 'Illusion Of The Tale' is based heavily on live synth recordings, recorded live with inherent human mistakes and imperfections kept in to avoid the heavily repetitive process of working 'in the box'. A selection of tracks are recordings using Phaeleh's live show setup, which resamples and manipulates existing material. Some are constructed using more traditional composition - 'In the Emerald' is a live piano recording and live doubling of that part with classical guitar - whereas others are strongly experimental - 'Origins' is made from his thumb holding the end of a cable running through a pedal board, then looped and pitched down.

* Layers of field recordings were added to the tracks to create a sense of noise or the real world. Recorded over a few years, collecting these sounds took Phaeleh from Bristol cemeteries, libraries in Wiltshire and Welsh rock pools to getting lost in the Costa Rican rainforest, riding the Hong Kong MTR underground, walking through cicadas in Colorado and watching Melbourne skateboarders. Ideas for the album's cartographic artwork, evocative of the minimalism movement, started flowing after the music was mostly finished, informed from the idea of recordings from around the world and the travels that accompanied them.

* Since his debut release in 2008, Phaeleh has developed an inimitable style of electronic music, cementing his position as one of the most consistently exciting producers to emerge from his hometown of Bristol. He returned from a hiatus this spring with the 'All That Remains' EP, five tracks ranging from icy house dystopia, heartbreaking solo piano, garage roots explorations, classical themes and guitar driven melancholia - supported by DJ shows at Motion, Bristol and Fabric, London. 'Illusion of the Tale' satisfies the demand for new music from his incredibly dedicated fan base and cleans the palate for a new full artist album currently in development.

* "The album title is my polite way of saying we live in a world of bullshit and bullshitters. Essentially I feel we all live in a constant lie, whether it be our Facebook profile pictures, the need to present our lives as perfect, with good looking partners, intelligent children, the perfect job etc. People feel the need to present their situations as being something they're not. We all suffer. We all have setbacks and difficulties, but we live in a world where people always want to pretend everything is fine. I feel that the music provides a chance to pause and escape the illusion of the everyday lie we present not only to the world but also ourselves. One of the most important things I did was embrace the ultimate pointlessness of all our existences in the grand scheme of the universe. I still believe that we should make the most of our time here and lead positive lives and be nice human beings, but I do find it funny that we as a species think we matter, when really we don't. So I guess it's my way of saying nothing really matters, stop pretending everything is perfect, and let go of this collective lie and just take some time to chill the fuck out. I want the album to be an escape from everyday lives. I want it to be a soundtrack for people to let go."

- Phaeleh

1x per customer
Beau Wanzer returns with another LP of archival material plucked from the mutant mounds of shitty coughs and smelly feet. Wanzer digs deep and delivers twelve tracks in his inimitable style, with some dating as far back as 1999.
The brutal electronic punk productions like 'Something Stinks' are balanced with moldy movements such as 'Staring at at Fish'. This LP takes a more vocal heavy and menacing approach, but it's not without moments of respite. Undoubtedly another oozing outing from the Chicago deviant.

Adventures in all a capella songs of Soul, Blues, Pop and Experimental. Edwin Mathis White (from the band Tonstartssbandht) creates the a capella gospel that is Eola.

Plain Speaking is the lucid new release by Scallops Hotel, the candid alter ego of Chicago poet and producer Milo. A robust introduction for his new label imprint Ruby Yacht, the album blends experimental production and endearing beats with open, honest rhymes. Plain Speaking is profound yet accessible, a solid handhold to grasp onto amidst the chaos of the modern world. Easy yet serious, lighthearted and sincere, Plain Speaking immediately draws the listener inward. The album's first single Lavender Chunk' -- featuring Hemlock Ernst a.k.a. Samuel T. Herring of Future Islands -- leans back into a simpler time, remembered like a hazy dream. Slanting darker and submerged inside echoes, Tense Present' flips from contemplative flow into a stream of comforting clarity. True Nen' is a thoughtful track that breathes deeply, an offering of assurance over discord. Plain Speaking is a remedy, the cure for the common conversation. The familial tones and straightforward flow of Scallops Hotel function like an outstretched hand. Plain Speaking never pushes, rather it invites you to sit and listen. To have hope, and to heal through art.

Total Freedom has produced the new vinyl series 'ANTHEM' in collaboration with; The Vinyl Factory, DIS Magazine and the 9th Berlin Biennale for Contemporary Art. The series contains sets of very unlikely collaborations between artists and musicians. Welcome the first; 'Nothing Forever' by Fatima Al Qadiri, Hito Steyerl and Juliana Huxtable.
The first of the three creatives brought together by Total Freedom is musician and visual artist FATIMA AL QADIRI. Al Qadiri is a Kuwaiti music producer and artist. She has released music as a solo artist on Tri Angle, UNO, Fade to Mind, Hyperdub and as a member of Future Brown on Warp. Al Qadiri is also a member of the Gulf-based collective GCC, whose work has been exhibited at MoMA PS1 and others.
Joining Fatima on the project is award-winning, Berlin-based artist and writer, HITO STEYERL whom is one of the most critically acclaimed artists working in the field of video today. Steyerl's work focuses on contemporary issues such as feminism and militarisation, as well as the mass proliferation and dissemination of images and knowledge brought on by digital technologies.
JULIANA HUXTABLE, the third creative involved in 'Nothing Forever', is an American poet, artist, and DJ living in New York. Huxtable is co-founder of the queer party in New York City called #ShockvalueNYC and is a member of the House of Ladosha.
'Nothing Forever' is now available to pre-order now and will be released here and on site at the 9th Berlin Biennale for Contemporary Art and The Store, Berlin at the end of the month.

PSI", geschrieben als griechischer Grossbuchstabe, ist das dritte Album des enigmatischen und zukunftsgewandten Duos patten, und ihr zweites auf Warp. Auf "PSI" dekonstruieren patten moderne Clubmusik, indem sie verschiedenste Strukturen des Pop mit Industrial der Post-Punk-Ära und Hi-Tech-Elektronik wie Grime, Foodwork und Techno vereinen. In der Vergangenheit verschwammen die öffentlichen Personen hinter dem Projekt, mit dem neuen Album kommen erstmals nun A und D zum Vorschein, auch wenn sie nicht mehr von sich preisgeben, als ihre Gesichter und diese beiden Buchstaben.

It's been five years since his acclaimed debut 'Severant' and time has proved it prescient, its futuristic trap influence is now ubiquitous. 'Slow Knife' seems to return to where 'Severant' left off, but with the intricate sound design of last year's haunting EP 'Assertion Of A Surrounding Presence' subsumed into the compositions, making them more exacting and beautifully crafted. Between albums Kuedo has been working as a sound designer and composer for hire and the application of intent and widescreen rigour that commercial work requires has definitely found its way into the new album. 'Slow Knife' has the subtlety, ambition and pacing of a brilliant soundtrack - a sense of an album of scenes, that easily lends itself to an impressionistic narrative. But, as with 'Severant', the title suggests relationship unease, with the slow knife being a metaphor for the building resentment in any close relationship. 'Slow Knife' is almost two albums, the first half, according to Kuedo, invokes the seduction of the city, taking the music of Michael Mann's 'Manhunter' as a cue, with the latter half being inspired by the bloody starscapes and voodoo wilderness of films such as 'Angel Heart', 'Night Of The Hunter' and more recently the 'True Detective' series. Both halves of the album are also in thrall to Mica Levi's inspiring 'Under The Skin' soundtrack, especially in the turbulence of the mid-section. The songs of the albums first half are synthetic and seductive, a gelatinous veil with shades of the pseudo-sophisticated trance of Enigma, of all things, underpinned with dusky unsettling shadows and atmosphere. 'In Your Sleep', perhaps surprisingly, features the vocals of Hayden Thorpe from Wild Beasts, who settles his dark, whispered vocals into the moonlit shadowy atmosphere. 'Floating Forest' is the first track to allow back some of Kuedo's experimentation with the Southern rap template, which he explored before it became commonplace, with echoed drum splashes and a sinister repetitive motif, ending with a haunting growl. The second half of the album enters wilderness territory with 'Approaching's slow descending notes, before 'Broken Fox - Black Hole' throws the record into the cathartic darkness, as undulating chords play hide and seek with riotous reeds and scratchy strings grown from challenging collaborations with cello player Koenraad Ecker (from Lumisokea). 'Breaking The Surface' shivers and coils, before metal and strings dominate while 'In Your Skin' feels like being lost in a vast hinterland before 'Warmer Light' introduces some memories of sunshine, with its plucked bassline and spiralling dub. 'Halogen Light' opens with the sound of crickets and a clear piano, cleansing the soul before 'Lathe' brings things down to earth with a short, yet powerful coda.

Following instinct & synthesizing earthly pulses into universal offerings. A close listener illuminating the invisible stratum in audible form, channelling inspirations into rhythmic mysticism. AKA Dakim, the Detroit native attuned to the progressive continuum honoring those who laid the path: Ellington, Dilla, Scientist, Monk, and Rza are amongst his sages. He gives forth his own voice to merge with their resonance. Illumination bringing forth evolution through sound. Always onward, giving us glimpses into a radiant wellspring. There is deep soulfulness in his shattered sounds. Amplifying intuitive consciousness and bounces it back in layered brilliance. An intimate reflection of the universe within. Life vibrations fuel exploration. Receiving Detroit techno transmissions while his mom cooked dinner. Slum Village shaman Baatin imparted wisdom. New worlds unfolded in LA with Project Blowed's infinite hip hop possibilities. Dub opened ears through boundless echoes. Pauses to click with crickets for their cadence. Filters his influences into wholly original forms: a dusty mist flowing through the air, a swing that won't stop, a breath of acknowledgment to the WOW of the world. He is forging paths between now and forever. Music is the language of life that Dakim is living. Synchronize with him and elevate your own existence.

Love Means Taking Action' is the new album from the multifaceted Copenhagen-based artist Loke Rahbek under his alias Croatian Amor. It is the first full-length Croatian Amor recording since 2014's 'The Wild Palms,' a release that was made available on cassette for a single month, and only in exchange for a nude self-portrait. 'Love Means Taking Action' will receive a wider, conventional release on vinyl through Posh Isolation, on CD through Alter, and across digital platforms. The artist will also be giving away stems of the entire record. A free download will be made available on from September 30th, the album's release date. With the stems comes an open invitation for anyone to use them as they see fit, making them public commons. Since the inception of the project, Croatian Amor has dealt with a mixture of fiction and reality, often using real events and places as a platform for a largely fictional play. Where there is playfulness, there is revelation. On 'Love Means Taking Action'—without a doubt the project's strongest work to date—the effect of the perpetual collaging of information is keenly felt. Short, unnerving moments appear with slick familiarity. Voices repeat and quietly glitch through tonal shifts. We are ushered along by the shuddering effect of the samples and field recordings on the pristine synthesis, with motifs and plot lines presented as quickly as they disintegrate. We are enticed to find comfort here but we are not guided through a space as with much ambient music. The textures and terrains that 'Love Means Taking Action' present form an array of scenarios with what at times feels like a punishing degree of indifference to the listener. We are bluntly shown snippets of impassioned architectures. It is a process that draws the listener in through alienation. There is something in the way that the music and track titles progress which is not unlike the experience of submitting to social media news feeds, where love stories become the neighbours of civil wars and selfies, and reports from refugee camps are presented next to advertisements for lifestyle magazines. 'Love Means Taking Action' lets the fragmented motifs of fictions tenderly tug at reality's patchwork veil. In the artist's own words, 'Love Means Taking Action' is "twelve tracks of very human electronic music."

Experimental synth quartet S U R V I V E's sophomore full-length and Relapse debut is a dark, sweeping exercise in analog synth mastery. "The pulsating, 9-song instrumental release showcases immense diversity between tracks - RR7349's compositions range from grim tom-tom thunder to space-age epics, pairing tense plodding grooves with meditative ambience and driving, rhythmic beats. Inspired by IDM and horror scores alike, RR7349 is simultaneously ominous and hopeful, tense and relaxed, percussive and melodic. Additionally, two of the group's members also recently scored the soundtrack for Stranger Things"

"Sabina" is a suite of improvised music about nature and magic. About the kind of traces we leave or want to leave on Earth. All music on this tape (except A4) was improvised and recorded in one take in Corbeil-Essonnes, France, during the last week of October 2015. Recorded, mixed and mastered by Richard Frances.

Frances is a French composer/musician born in Alicante in 1981 and now based in Paris. His project Acid Fountain seeks to bring together abstract and representational art, improvisation and composition, experimental and dance musics.

Other projects by Frances include Juju, his "electronique libre" duo with Adrien Kanter. He also composes, arranges and tours with French pop artists such as Owlle and Adrien Soleiman, to name but two..., As a live performer, he has worked on Julien Lheuillier's kosmische musik project Pointe du Lac and in 2015 has collaborated with the French art/dance collective (LA)HORDE. Previously, Richard played drums and synthesisers with French underground psych/kraut/drone band The New Reformed Church of Napalm Katia.

In January 2015 Richard founded the label Hyle Tapes: an experimental electronic music label releasing limited edition cassettes by international artists like Takahiro Mukai, Raphael Leray, D. Burke Mahoney, Jay Glass Dubs and Mortuus Auris & The Black Hand.

Marta De Pascalis (b. 1987) is a musician from Rome, currently based in Berlin who works primarily with synthesizers and tape loops. "Anzar" and "Emerso" are two works composed using improvisation on a tape-loop system, in which patterns of repetition create a sense of a dense, dynamic and cathartic distance. Anzar's cover art is from a series of black ink paintings made by Marta's father in the 1970s.

"I see these pieces as tied in a cyclical motion with their sounds moving in different directions. In "Anzar", sounds are constantly "falling" from the source, landing gently and staying on the tape's surface until they fade out to be replaced by other sounds, finally reaching an austere resolution. In "Emerso", there's a different scenario: a persistent theme in the background with sounds that slowly emerge, interact and then dissolve, ending with an abrupt change of tone. Where is the centre of this cycle Where is the centre of this tape The centre is moving constantly, the centre is missing. Switch sides. Repeat." - Marta De Pascalis, Berlin, 19th August 2016.

Players:
Oren Ambarchi, Crys Cole, Mark Fell, Will Guthrie, Arto Lindsay, Jim O'Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman

Mastered & cut by Rashad Becker at D&M, Berlin, April 2016

Photography by Estelle Hanania

Sculptures by Daniel Druet

Design by Stephen O'Malley

Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi's Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi's love of Wang Chung's soundtrack to William Friedkin's To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O'Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell's electronic percussion in its final section.

After a short second part, in which Ambarchi, O'Rourke and Crys Cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered bass guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronic rhythms from Ricardo Villalobos and the twin drums of Joe Talia and Will Guthrie, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi's own fuzzed-out guitar harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.

Francis Plagne

Players:
Oren Ambarchi, Crys Cole, Mark Fell, Will Guthrie, Arto Lindsay, Jim O'Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman

Mastered & cut by Rashad Becker at D&M, Berlin, April 2016

Photography by Estelle Hanania

Sculptures by Daniel Druet

Design by Stephen O'Malley

Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi's Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi's love of Wang Chung's soundtrack to William Friedkin's To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O'Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell's electronic percussion in its final section.

After a short second part, in which Ambarchi, O'Rourke and Crys Cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered bass guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronic rhythms from Ricardo Villalobos and the twin drums of Joe Talia and Will Guthrie, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi's own fuzzed-out guitar harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.

Francis Plagne

Deko Deko are Lena Seik and Tristan Schulze, based in Leipzig, Germany. The duo creates their music by computer, synthesizer and vocals. Conventional song structures are fractured and deconstructed to be reconstructed and defragmented in the end. That might sound experimental but Deko Deko write hymns with orchestral parts and mad choirs, but always electronical too.
NEUSTADT is the first album of the band, to be released on O*RS in September 2016

Wingbeats is the eagerly awaited new release from Hidden Orchestra on Tru Thoughts. On the 7-track EP, which illuminates the fascinating intricacy of Joe Acheson's work, the immersive lead track is accompanied by several of the original source compositions which fed into its creation. Rich in detail and character, field recordings intertwine with drums, percussion and eclectic instruments including piano, electro-harp, glockenspiel, Turkish mey and cello. I have found that what draws me to a piece can often be one small detail - a single characteristic or maybe a fleeting moment of beautiful sound or compelling rhythm', says Acheson. So, for a Hidden Orchestra composition I often create lots of individual source pieces and pick out bits to reinterpret as samples'. Although they were written to be source material for sampling, the source pieces included on the Wingbeats' EP stand on their own as individual compositions, with striking elements which can easily get lost in the full texture of the main track.Each source track tells a story: of birds fluttering in to feed on toast and cheese crumbs in a rural British garden, or flocking in a hedge in the snow in the French Alps, of an imaginary string orchestra, of an early-hours improvised piano jam, of a spot of instrument shopping while on tour in Istanbul, or an early-morning dawn chorus in a sleepy village, rounded off with church bells.His recordings, and the hundreds of live gigs that Hidden Orchestra have played across great swathes of the world, have earned praise from the likes of The Independent to XLR8R to BBC 6Music, this adds to Acheson's parallel career as an award-winning producer of radio programmes and soundtracks.

The 3rd full length from French composer utilizes synthetic sounds interacting w/ acoustic recordings driving classical playing techniques towards unexpected mechano-acoustic reactions.

Camila created this EP whilst involving herself in circuit bending for the first time. The songs developed and grew over small, raw, noises or bizarre melodies from her self-built sequencers.

Submerged in building DIY circuitry, she was hypnotized by its relations to nature. Chemical elements, multi-coloured stones, material states rapidly changing into others. Each track on this EP presents her connections to these encounters, showing rough, odd, movements, sudden jumps of colour, and bizarre, deliberate rhythms.

It's noisy. It makes use of bright analogue melodies, and it contains vocals. It's exciting that it's brought together three labels, Lumen Lake, Schamoni Musik, and SVS Records, which will be collaborating for the first time to release a limited edition of 300 copies.

On her main project, Camila Fuchs, Camila has made appearances at Mutek Mexico, Ars Electronica, ATP Festival, MexFest London, Gottwood, and Dalston Music Festival. This is the first time she introduces us to her solo project.

A collaboration between Aphex Twin (Richard D. James) and µ-Ziq (Mike Paradinas), Mike & Rich - 'Expert Knob Twiddlers' was made back in 1994. Richard edited the tracks into shape later in 1996 with his new Apple Mac computer and it was released later that year on Rephlex, the label he co-owned and which released the first two albums by µ-Ziq. This new reissued version has been carefully cleaned up, re-edited and remastered from the original DAT tapes, put into a more fitting order and, more excitingly, seven new bonus tracks and alternative versions have also been added. The album was recorded over a few days during the 1994 World Cup, back when Richard lived in a big shared flat in Stoke Newington. Richard had tried to collaborate with a few other likeminded artists but something clicked when Mike and Rich worked together and the sessions have a unique feel, playful and at times actually drunk. These are fun experiments in the spirit of lighthearted moog pop and ripe 70s British TV themes, standing out from the po-faced electronica of the time with a garish glee. The record was made on what is now seen as pretty primitive gear - an Atari, Roland MKS-80, Memorymoog, Roland R8 and a handful of samples on a Casio FZ-10M - but it's to their credit that it resonates well with the hardware workouts coming out today. There's a broadminded but sloppy funk to the record, even whistling, singing and harpsichord in 'Reg' and wonky beat pile-ons in 'Jelly Fish'. There's latin piano and wheezy drunken techno in 'Vodka', or the sleepy spaced out ambience of 'Bu Bu Bu Ba' with its barely contained laughter which seems to reflect the absurdity. The new versions and bonus tracks are an absolute delight - from a trancier version of 'Vodka' to the wonky bounce of 'Portamento Gosh', The 3/4 dub of 'Waltz,' the banging door bass of' Brivert and Muonds', the creepy seasick atmosphere of 'Clissold Bathroom' and finishing with the strangely graceful and serious 'Organ Plodder'. A generous and welcome return to the racks.

REPRESSED !!
Almost two years have passed since Repetition/Distract kicked off The Weevil Neighbourhood label project with his eponymous collage/composition "Old Weevil Neighbourhood". With "salles des perdus", we are happy to announce the second outing of Felix Hoeck's musique concrète project, an album in six parts, recorded between 2010 and 2012.
Utilizing found sound and field recordings, some severely treated and processed, others left unedited as they were recorded, "salles des perdus" investigates the ambivalence of places of transition, waiting rooms and similar settings: sounds of something that is about to happen - an exploration of negative spaces, the situations between actions, undefined states that are both calm and emotionally charged at the same time.

Black vinyl in brown cardboard discobag. Hand-stamped and -numbered. Comes with artwork- and info-card tied to the sleeve.

'Which way to leave' is the latest record by Stockholm based musician John Chantler. The self-reflexive sequencing that tracks the sub-harmonic series in the opening blast of 'Falling Forward' positions the record as Chantler's most explicitly melodic. These melodies however do not exist in a mono-dimensional vacuum, rather they co-exist in a meshed framework of dynamic timbral layers.
The record's abrupt cuts, deft variations of density and unexpected diversions are happily explored with headlong dives into ravishing texture and extended stretches of surface stasis. The music draws on a domestic reimagining of the traditions of studio based electronic music/musique concrete and 20th century minimalism and delivers this with brash revitalized energy. Born out of his relocation to Stockholm, following an extended period in London, 'Which way to leave' bares the marks of senses attuned to new environments and spaces.
Recorded for the most part at Chantler's home studio, additional material was recorded at elektronmusikstudion EMS. It also features guest appearances by Carina Thorén (For Barry Ray) and cellist Okkyung Lee.
About John Chantler:
John Chantler is a musician and organiser living in Stockholm, Sweden. 'Still Light, Outside' his fourth LP released in 2015 was an extended suite that combines passages of stark minimalism centred at the bodily invasive extremes of the pipe organ's register with striking explosions of colour, massed chords shot through with heavy distortion and electronics that operate according to their own dream logic. It was described as 'strikingly beautiful' by The Guardian.
Chantler's three previous LPs were all released on ROOM40. Even Clean Hands Damage the Work
(2014) included the first output from his time at EMS. It followed The Luminous Ground - released in 2011 and included in The WIRE magazine's top releases of that year. The Luminous Ground was his first LP release focusing on the modular synthesizer system he first explored as part of the trio LP with Lawrence English and Tujiko Noriko - 2009's U.

Pattern Damage is the 2nd flash of idiosyncratic footwork and garage hybrids from South Yorkshire's Rian Treanor, landing on The Death of Rave nine months after his coiled, nerve-sparking debut 12".
The EP's four tracks take the unmistakable influence of Mark Fell's angular, academic 2-step designs into faster BPMs and colourfully chromatic, sidewinding arrangements, all driven with a
breathlessly forward, quicksilver style that's entirely Rian's own and with few comparisons in the current field.
By splicing the syncopated swing 'n parry of Sheffield's speed garage sound at +8 with the whirlwind flux of Chicago footwork, Detroit jit and the dizzying dynamics of Max/MSP software,
his sound dances in a double refraction of ideas and influence between US, Afro-Caribbean and UK dancefloors in various stages of integration and mutation, following a line along Black-rooted dance music and the sharpest edge of experimental electronics in a way that's informed the best, open-minded UK music since the '60s.
Operating exclusively at a signature 150bpm tempo, the Pattern Damage EP finds Rian both opening out and refining his sound, greeting you with the brutalist, grimy n0!se torque of Pattern_A1, which sounds closest to SND or Errorsmith's most oblique twisters, before the dub chords and skittish rhythms of Pattern_A2 recall Autechre getting off at Niche Club (R.I.P.) and Damage_B1 comes off like a giddier, footworking answer to Hyph Mngo and Damage_B2 unfolds a super cute and tricky sort of syncopated rhythm origami.

Black Truffle is extremely proud to present the first-ever vinyl issue of Alvin Curran's Natural History, originally released on cassette by Edition Giannozzo Berlin in 1983. A founding member of the radical electronic improvising group Musica Elettronica Viva, since the early 1970s Curran has developed an idiosyncratic body of solo work that occupies a unique position in the post-Cageian experimental tradition.
Singularly undogmatic, Curran's work takes the Cageian experience as the starting point for a radical openness to all forms of music and sound. Refusing to abstract music from its human functions, his work draws on existing musical genres, cutting-edge electronics, and environmental recordings to craft compositions that mimic the hazy texture of everyday life, moving from the abstract to the referential, from the observational to the emotive, from the structured to the random. As he reflects in the liner notes written especially for this edition: 'This infinite stream of sound became my life and my music all at once'.
Curran's other classic solo works of the 1970s and 1980s (such as Songs and Views of the Magnetic Garden and Canti Illuminati) are elaborate collages that combine keyboard and voice improvisation and composition with field-recorded environments. Natural History consists entirely of field recordings from Curran's archive, arranged as a series of 'still lifes', sometimes layered, but without any additional processing. Sounds recorded over the course of nearly twenty years, at Curran's home in Rome or while traveling: constructions sites, insects, children's toys, a piano being tuned, foghorns (familiar to admirers of Curran masterful Maritime Rites), lovemaking, a singing neighbour. It is, as Curran says, an attempt to 'put the sound of the entire world on a cassette tape'. Heard against the backdrop of the increasing prevalence of field recordings in contemporary music over the last few years, Natural History is like a refreshing breeze, suffused with the joy of discovery.

AS is a group of Xperienz Designers based in Berlin. TIPPED...

Zwischen Noise, Ambient und Minimal: Elektronische Musik, die in keine Schublade passt. Für die Werke des Kanadiers Tim Hecker, der als einer der wichtigsten Musiker in der E-Musik-Szene gilt, eine Schublade zu finden, gleicht einer Herausforderung. Er selbst nennt seine Ergebnisse "fake church music" oder "neo metal drone". Tatsächlich verbinden seine Sounds an der Schnittstelle von Melodie, Dissonanz und Lärm so ziemlich alles, was - vielleicht - nicht zusammengehört, aber dennoch gut klingt. Mal sind das Kirchenorgeln, mal Samples von Streichern, Pianos oder elektroakustischen Komponenten, die in eine rauschend-ozeanische Klangwelt ausufern: tiefgründig, majestätisch und eine Brücke zwischen Noise, Ambient und Minimal schlagend. "Love Streams" entstand Ende 2015, nachdem sich Hecker für längere Zeit nach Los Angeles bzw. zusammen mit Johan Johanssen und Ben Frost ins isländische Greenhouse Studio zurückgezogen hatte. Das Album ist das vielleicht ambitionierteste Werk in der mittlerweile fünfzehnjährigen Schaffenszeit Heckers sowie ein konsequente Weiterentwicklung seiner Schlüsselwerke "Radio Amor", "Harmony In Ultraviolet" und "Virgins", die in den Jahren ihrer Veröffentlichung sowohl von Kritikern wie auch Fans jeweils in allerlei Bestenlisten gewählt wurden.

Denovali present the QUINTESENCE soundtrack composed & produced by Ricardo Donoso in May 2015. QUINTESENCE was created by installation artist Florence To (uk) and composer Ricardo Donoso (bra) after a series of conversations and collaborations in 2014. They shared a mutual interest in the psychological research in their work and wanted to further develop this as a thematic process in a live audio visual performance. QUINTESENCE was commissioned & premiered at the Satosphere dome, Society for Arts and Technology in Montreal in May 2015. The dome, 18 meters in diameter and 11.5 to 13m high, forms a 360-degree spherical projection and is made up of 157 speakers in clusters of four around the perimeter of the dome, giving a surround sound of 39.4 channels. QUINTESENCE examines a system of elements that represent the development of the psychic process; symbols represent parts of the subconscious, telling a story of how memory may be disorientated, distorted, and dysfunctional yet acting as a linear process to individuation.

Through Ricardo Donoso's score we see trace elements of these processes and symbols within the sounds themselves - within each musical decision. Donoso's score continues to advance his foray into electro-acoustic hybrids, explicitly here with the use of Spectralism. Washes of lush string trio including contrabass, cello and viola are dismembered and placed through the wringer of Donoso's custom signal processing chains. QUINTESENCE also emphasizes Donoso's skills as a sound designer, where alien textures, Xenakian computer music and massive tone clusters collide and shatter against each other for moments of either breathtaking beauty or stretches of repulsiveness. Serene piano and vocal elements are pinned against oppressive drones and digital clatter, each voice fighting for its space in the vacuum of the dome.

Although an entirely high level digital production, the duality of QUINTESENCE that is played out is that the subject matter is really about the natural world and our relationship to it. It is about existing on a plane void of technology while discovering your identity within the context of a purely natural world, uninterrupted by contemporary hurdles.

If previous releases for Nihilist, Arbor and his own Catholic Tapes established Chicago's Brett Naucke as one of the more accomplished practitioners in the American synth underground, "Seed", his debut LP for Spectrum Spools, is a veritable career apex, brimming with sonic ingenuity, detail, and mastery over both instrument and musical form. It is hard to fathom due to the sheer diversity of sound and affectations of the eight individual pieces on the album, but "Seed" was recorded - almost impossibly - with the same synth patch, slightly modified for the unveiling of each track

**Killer vinyl edition from Ideal. White wax. Edition of 300. Features Peder Mannerfelt and Puce Mary, among others** iDEAL boss, Joachim Nordwall presents the superb 1st edition in a new series of label compilations "showcasing artists with a clear and strong vision." Volume 1 is a closely-themed collection of creaky concrète drone, techno primitivism and modular extraction from the fringes of European experimental music. The Swedish king of filthy tape music, Altar Of Flies, opens the account with an abyss of aleatoric creaks, scrapes and bestial drones beside the cranky synth roil and techno undertow of 'Regret of Grey Politics' by Ricardo Mazza a.k.a. RM (Lettera 22). B-side follows thru with the browned modular extractions of studio boffin Peder Mannerfelt (Roll The Dice), extruding two tracts of laquer-bubbling electronics and boiling drones, leaving Posh Isolation associate Frederikke Hoffmeier (a.k.a. Puce Mary) to slowly detach from reality with the mottled voices and noxious industrial ambience of '3rd Monologue' coming off like an Else Marie Pade piece for an unmade Italian video nasty. Great, great stuff from this brilliant label.

Composed and performed by top pop duo Dale Cornish and Phil Julian. Dale Cornish: vocals, words, electronics (B1 and B2). Phil Julian: electronics. Mastered by that Phil Julian. Cut by Jason Goz, London, February 2016. Screenprint of a legendary double-act by Lukas Julius Keijser.

Three tracks which emerged from a rehearsal session in an oddly decorated room in South Croydon.

"Laughing Out" is the duo's sing-along summer anthem and shares some DNA with "Love Can't Turn Around" as re-imagined/destroyed by a middle-aged balding chap with a deep distrust of the dancefloor.

"For Vocal" appears to be a recording of people moving pallets of ride cymbals wrapped in tin-foil around a warehouse but it's hard to say, really. Almost certainly important.

"Palazzo" = a computer minding its own academic business + some curmudgeonly American test equipment + some honeypot crooning = not a dry seat in the house.

THE SOUND OF YOUNG CROYDON

Dale Cornish: born, raised and current of London (south). Previously in No Bra (2004-6): co-wrote unexpected hit "Munchausen". Terse humour and observations/worldly interests further evident with work of ecstatic noise trio Baraclough (2006-2012). Current focus is on solo recordings for labels including Entr'acte, The Tapeworm and Beartown Records, and collaborations with artists including Adam Asnan, Andie Brown, Powell and Phil Julian.

Phil Julian is a UK based composer and improviser active since the late 90s principally working with modular electronic devices and computers. Releases have appeared on labels including Entr'acte, Harbinger Sound, The Tapeworm and Beartown Records. Recent collaborations on recordings and performances with Dale Cornish, John Macedo, Kostis Kilymis, Jason Kahn and Angharad Davies. Regular live performances since 2004 in the UK, Europe and North America.

"Don't you worry about your hearing" - Bergen, 2005 "Was great, like being eaten by a tiny insect...;" - Berlin, 2008 "We need you to play some music...;" - London, 2010

REPRESSED !!

The Contort Yourself tradition of electronics pioneers, modern masters and new names continues into CY003. Enrique comes under that latter banner. The Hot Releases alumnus introduces the EP with the piston pounded belligerence of Dissociate. L.I.E.S. and Nation veteran Beau Wanzer continues this stroll into aggression. Weasels is an upturned work of techno. Nuts, bolts and the grisly inner workings are on show for this fast paced floor mangler. Spain's industrial stalwarts Esplendor Geometrico open the flip. From 1988 the grit of the factory floor is carried into Rotor. A touch of the mystical is injected, chants looped through the hypnotic rhythms in this simmering classic. Broken English Club is on hand to rework Rotor into a guttering piece of Electro tainted machine music. If you're hoping for some respite, think again. Prostitutes (Diagonal) closes with the cruel pummelling percussion of Cuyahoga Frankenstein. A brutal, beefy and brilliant 12.

All tracks composed, recorded and mixed in the VIV

"Lässt Los, Jeder Immer" is the remix of the Jung An Tagen soundtrack for "Embargo" a video by Johann Lurf

Artwork & layout by Milica Balubdzic & J. Fröhnel Mastering by Brian Pyle Bust by Hanno Schnegg

Please direct all inquiries to S. Juster, Sekretariat Berggasse, Virtual Institute Vienna

Jung An Tagen is the primary music act operating inside the Virtual Institute Vienna. 'By using substractive synthesis and sampling techniques Jung An Tagen builds aleatoric arrays, repetitive figures & polyrhythmic moires circulating around distinctive timbres and haptic fragments, resulting in a vision of morphing movements between high energy and zero gravity states. 'Due to the synaesthesian nature of the VIV, Jung An Tagen is bound very closely to a specific visual grammar and is intertwined with video art, even though the performative settings are usually reduced to music only. Previously, Stefan Juster was mainly present with different bands & monikers on labels like NotNotFun, Blackest Rainbow, 100% Silk or his own imprint SF Broadcasts.

"All I need is a million monikers to cover myself from the world. ...glad he's back to flush out my woes, making music as Jung An Tagen ...ready to become one with your psyche." TinyMixTapes

"Jung An Tagen sees energetic looped illusions play with an overwhelming array of fantastical beats and manic patterns. It all cultivates into an extraordinary color wheel of acid drenched avan­kraut­pop brilliance. A minimal electronic rabbit hole that dabbles in clap­track danceable workouts. This is something to get excited about"' AdHoc

Exklusiver Track aus den gemeinsamen Sessions des japanischen Kult-Trios Nisennenmondai mit Dub-Legende Adrian Sherwood, aus denen das hochgelobte Album "#N/A" entstand, das Anfang des Jahres erschien. Subtiler Dub-Techno im Post-Punk-Style. Mit einem zusätzlichen Remix von Chris Carter (Throbbing Gristle), der eine gehörige Portion Machine-Funk beisteuert.
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