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..worth it's wait.

Dominos Produzentengenie Jon Hopkins veröffentlicht mit "Asleep Versions" eine 4-Song EP auf CD & 12 Inch mit Bearbeitungen von Songs aus seinem aktuellen Album "Immunity" inklusive Vocal-Features von King Creosote und Raphaelle Standell.

Aïsha Devi's 'Of Matter And Spirit' LP encapsulated the spiritual metamorphosis and transcendental journeys of this other-worldly figure. 'Of Matter And Spirit Remixes' offers a series of new perspectives on the sonic wonders hidden within. Irish duo Lakker's take on 'Anatomy Of Light' adds a heavy dose of syncopated percussion. Recent Ninja Tune signing Throwing Shade transforms 'Kim & The Wheel of Life' into an introspective session. The remix EP boasts two reworks of 'Mazdâ'. Berlin's Mind:Body:Fitness interprets the track as a whirlpool of trance, and the spooky Killing Sound version features MC/vocalists Rafael Shafique and Bogues. The collection enhances and twists the ethereal beauty within 'Of Matter And Spirit' and leads this singular, meditative artist straight into the ritualism of the dancefloor.

Now Wait For Last Year has been unavailable on vinyl since its original '85 pressing on Earthly Delights

Blackest Ever Black and Klanggalerie present the first ever vinyl reissue of Caroline K's outstanding 1985 album, Now Wait For Last Year. This haunting, wistful work of post-industrial synthesizer music - the late Nocturnal Emissions co-founder's only solo record - has accrued a fervent cult following over the past 30 years, and copies of the original pressing are today extremely rare and sought-after. Appropriately enough for an album concerned with the disruption of linear time - it takes its title from a Philip K. Dick novel concerning a highly addictive hallucinogenic drug, JJ-180, that induces time travel for its users - the music on Now Wait seems to exist firmly outside of it. Tags like industrial, minimal synth or proto-techno can't really do justice to the richly cinematic sound-world that Walters describes: from the sustained ambient tension of sidelong opener 'The Happening World' to the future-primitive rhythms and stately piano flourishes of 'Animal Lattice', and the melancholic, deep-frozen synth sequences of 'Chearth'. Fans of Wendy Carlos's A Clockwork Orange, Chris Carter's The Space Between, and early Detroit techno should pay special attention, but this searching, future-proof masterpiece demands to be heard by all.

Support from:K1971! Berlin promotion from 28th of August 2015 www.k1971.com

* Tabvla Rasa is the second vinyl release for the new London based label Kapvt Mvndi Records, a Blackwater Label project about Techno.

* This Ep comes in a single sided vinyl on a 12', 45 r.p.m. with black labels, no inner sleeves, and a book with credits and artwork inside.

* Tabvla Rasa is a an experimental and post techno Ep based on the historical events of the Second World War. The first track CXIX is about the days of Bombs in London during the War. The second track CMXI is about the connection between the indian Swastica and the esoteric symbolism used by the Nazists in the same period.

* A1 track is a pure experimental dark track leading at 99 b.p.m. using a raw lead and synths in a repetitive and psychedelic loop . A2 track is a post techno track, more suitable for the dance floor. The Artist used the same musical and machines structure for both tracks, 99 b.p.m., same delay and reverb effects preset and same instruments.

Coming from the home of Future Sound of London and credited to their 'producer' Yage, Ignition Of The Sun is a deep and evolving journey through liquid spewing analogue sequences, warm saturated swampy sine waves.
It calls back to a time from the early 70s with bands such as Tangerine Dream and Klaus Schulze. All sounds were created and sequenced entirely on the Legendary EMS Synthi AKS, multitracked and mixed to 15ips 1/4 Revox tape. The EMS Synthi AKS was first introduced in 1971, one of the earliest Synthesisers available and as used by Radiophonic Workshop, Pink Floyd, Brian Eno.

This post-revolution Iranian album from 1985 is so ahead of its time, so completely off on its own sonically and stylistically - that you'd be forgiven for thinking it were a hoax. In reality it's one of the most sought-after and exceptional records from the Smithsonian Folkways catalogue, here brought back to life in this facsimile edition put together by the Dead Cert imprint. Until now, it's been the preserve of a small handful of collectors who rightly hold it in huge regard and close to their chests. A syncretic traversal of Iranian folk music and modular synth strafing radio-phonic, musique concrète, neo-tanktrik and sound design disciplines, it simply sounds quite unlike anything out there (if you know better, please, please share!) and has had us, and everyone who's heard it, utterly enraptured. OK, there may be some precedents in the work of electronic music pioneer Ilhan Mimaroglu, and it has undoubtedly directly or indirectly inspired music that has come since (Keith Fullerton Whitman's 'Variations For Oud & Synthesizer', for instance), but we're sure you'll agree that the elements have rarely gelled so fluidly, phantastically psychedelic as this, before or since. It's possible to trace that combination of traditional and contemporary styles, mixed with a liberating sense of freedom and abstract expression, to the composer's history; from early enrolment in Shah-sponsored music schools and conservatories he was awarded scholarship for further studies in Holland, and when the revolution arrived in Iran he would permanently leave for the world famous Columbia-Princeton Electronic Music Center in the late '70s, all priming Dariush's tastes and skills for these recordings made during the mid '80s, late at night in the university studios with the permission of Professor Ussachevsky. It's testament to its enduring magic that listening back now for the umpteenth time we're still bewildered and vividly transported as we were the first time, lost to its roil of tangled timbres and etheric dynamism, keeling to the metallic lushness of the strings and rendered mindblown at the synchronised sweeps of modular synth and simulated environs. It's a genuine wonder of the electronic music world, and an utterly essential listen, by anyones standards.

Recorded live at Cafe Oto as part of Touch presents... on 31st January 2016

Simon Scott is a sound ecologist and multi-instrumentalist from Cambridge, England. His albums 'Insomni' (Ash International) and 'Below Sea Level' (Kesh/TouchLine) are out now (see above). His work explores the creative process of actively listening, the implications of recording the natural world using technology and the manipulation of natural sounds used for musical composition. He plays the drums in Slowdive and has recently collaborated with artists James Blackshaw, Spire, Taylor Deupree (Between), Isan + many more.

M83, aka Anthony Gonzalez, announces the highly anticipated details of his forthcoming full-length album, JUNK, out 8th April on Naive. Following the critically acclaimed silver album Hurry Up, We're Dreaming, featuring Grammy nominated single Midnight City,' and two triumphant years of world touring, Gonzalez - who serves as M83's musical architect, songwriter, front man and primary vocalist - returns with an artistic evolution, explaining, I want to show different sides of me on this album. I want to come back with something more intimate, yet somehow with...less me!'

Feeling a renewed kinship with Gonzalez's early musical inspirations like Tangerine Dream, Aphex Twin, and genre-expanding visionaries like Brian Wilson and Kevin Shields, Gonzalez both returns to his roots with this album, yet makes a logical leap forward. And while M83 albums has always combined genres in a nostalgic and provocative way - from shoegaze and ambient to synth-pop and '90s alt-rock - for JUNK, Gonzalez experiments adventurously with sounds and styles he's never previously attempted in his music. All my albums have layers of eclecticism to them, but with this album I wanted to take that even further,' he says.

On the album title 'JUNK,' Gonzalez divulges, "Anything we create today is going to end up being space junk at one point anyway, and I find it really fascinating and scary at the same time - beautiful too in a way. I have this image of pieces of humanity floating in space, lost forever. It also means that nowadays everything goes so fast and everybody is kind of throwing away art in a certain manner. People will listen to an album for instance and just pick a track they like to put on a playlist. They're not going to take the time to listen to an album anymore because they have to jump on the next thing.'

This is a psychedelic masterpiece, a stunning piece of work made mainly by synths from various kinds (VCS, Farfisas, Mellotron etc), backed up occasionally with drums and other sounds. The tracks are mainly instrumental and takes the listener through a trip, like the gods of psychedelic music intended. Think the Germans had the market cornered on dark-edged electronics in the 70s Guess again, because this mid 70s gem from Frenchman Philippe Besombes easily rivals the most progressive work of the Kraut scene of the time! The album's a collaboration with Jean-Louis Rizet - and features both artists duetting on a variety of analogue electronics - sometimes in a melodic way, but often in more experimental modes that are quite textural at times - and which stand as a key link between initial German electronics in the 70s, and some of the murkier British uses of the instrument a few years later.

sculptress of sound. radical illusion. the mathematics of emotions. rooster personality. greim love. ernst. network-mycelium. exec friendship crews. sonic wilderness. club aesthetics without club. 544 reasons to live. adult-hollow-hood. transformation capacities. the radical self. the internet and our potential to become cyborgs. pitch, shape, colour & tone. snowden revelations and the crew. public reverberation. non-human spaces. wild code. thoughts on capitalism within the human agency. sonic editing. between radigue - xenakis - influences of grime. the end of the CD object. wither-beauty. ink leftovers. silly poetess extravanganza. this is my process. thankfulness.

Kon:3p>UTION to: e[VOL]ution is the 9th solo album of the artist and producer AGF (Antye Greie, also Anye Greie-Ripatti or formerly Antye Greie-Fuchs, Laub). It is the 30th studio album as executive producer in collabarations with Vladislav Delay, Gudrun Gut, The

Braids are a three-piece experimental pop band from Montreal. In the spring of 2015 they released Deep In The Iris, their standout third record. Companion is the band's latest 4 track EP, written during the Deep In The Iris sessions, and completed during a burst of creative energy in August 2015. Here Braids use the palette of Deep In The Iris to paint decidedly different vistas - joy, disaffection, thunderous explosion to delicate introspection, the minimalistic power of "Companion" to the patient blossoming of "Sweet World". Distinct in their own right, these 4 songs are not to be dismissed as B-sides, outtakes, or the lesser of a group of songs. Though it uses Deep In The Iris as a compositional guidepost, Companion is a breath-taking journey all of its own.

Braids are a three-piece experimental pop band from Montreal. In the spring of 2015 they released Deep In The Iris, their standout third record. Companion is the band's latest 4 track EP, written during the Deep In The Iris sessions, and completed during a burst of creative energy in August 2015. Here Braids use the palette of Deep In The Iris to paint decidedly different vistas - joy, disaffection, thunderous explosion to delicate introspection, the minimalistic power of "Companion" to the patient blossoming of "Sweet World". Distinct in their own right, these 4 songs are not to be dismissed as B-sides, outtakes, or the lesser of a group of songs. Though it uses Deep In The Iris as a compositional guidepost, Companion is a breath-taking journey all of its own.

Following on from the underground success of Florist's debut EP, All Caps first release of the year sees the label pluck from the ether 6 transmissions by debut artisté - Neuroshima.

Cavernous Breaks. Fluid Subs. 1992. 2016.

My friend & i used to listen to this during the summer of 94, gazing out his bedroom window at sunset, watching the birds fly past the water tower on the horizon. One of the rare times when both of us would shut up for a few minutes and get lost for a bit...'

*Each record comes packaged in a mirrored silver-board sleeve + custom insert designed by Florist.*

PaperSkies is the latest release from French producer Somepling. It consists of eight, chilled, jazzy tracks. LP comes in a limited deluxe edition of 275 copies, printed on quality paper by engraver Jérôme Bouchard from original engraving. All copies are hand-numbered, and pressed on 180gr vinyl. 12''x12'' silk-screened insert included.

* Mareggiata aSan Vito is the third vinyl release for the new London based label Kapvt Mvndi Records, from Blackwater.
The Ep comes in a single sided vinyl on a 12', 45 r.p.m. with black labels and artwork with credits.

* Mareggiata a San Vito is an EP from Vesàlio a.k.a. Livio Improta. A mature and balanced two tracks Ep, explicit homage to the sea and to the roots of the purest Italian electronic music culture.

* The EP opens with 'Vient', an hypnotic and dark piece that perfectly mix the British influences of downtempo and break core with dark ambient and Italian acid house influences.

* 'Terr_one" closes the Ep, a never ending magnetic tribal loop piece of twelve minutes.
This Ep is dedicated to those who lived through the dance floor,

Recorded in Kobe, Kyoto, Tokyo, September 2015 Photos by Jim O'Rourke. Layout by Shunichiro Okada Despite decades of activity and having crossed paths in various collaborations Editions Mego is honoured to release the first ever duo recording from two of the most highly regarded citizens of planet experimental electronic. Individually, Jim O'Rourke and Christian Fennesz have been responsible for numerous legendary works which merge the traditional avant-garde with contemporary sensibilities. On It's Hard For Me To Say I'm Sorry these giants of experimental electronic practice come together for an immensely powerful sonic experience. The signature of both O'Rourke and Fennesz cohabit this new release with O'Rourke's gurgling harmonies swimming amongst the shimmering frequencies and strummed melodies produced by Fennesz. Two side long tracks situate themselves as a warm electronic adventure. Simultaneously radical and comforting these works shift from gentle sonorities to fully distorted explosions all of which reside within a template of tension between musical and non-music matter. Timeless in execution and presentation It's Hard For Me To Say I'm Sorry is a deeply rewarding sonic experience from two of the most romantic gentlemen active in experimental music today.

Recorded in Kobe, Kyoto, Tokyo, September 2015 Photos by Jim O'Rourke. Layout by Shunichiro Okada Despite decades of activity and having crossed paths in various collaborations Editions Mego is honoured to release the first ever duo recording from two of the most highly regarded citizens of planet experimental electronic. Individually, Jim O'Rourke and Christian Fennesz have been responsible for numerous legendary works which merge the traditional avant-garde with contemporary sensibilities. On It's Hard For Me To Say I'm Sorry these giants of experimental electronic practice come together for an immensely powerful sonic experience. The signature of both O'Rourke and Fennesz cohabit this new release with O'Rourke's gurgling harmonies swimming amongst the shimmering frequencies and strummed melodies produced by Fennesz. Two side long tracks situate themselves as a warm electronic adventure. Simultaneously radical and comforting these works shift from gentle sonorities to fully distorted explosions all of which reside within a template of tension between musical and non-music matter. Timeless in execution and presentation It's Hard For Me To Say I'm Sorry is a deeply rewarding sonic experience from two of the most romantic gentlemen active in experimental music today.

Solas ('Light' in Gaelic) is Claire M Singer's debut album spanning 14 years of her work in acoustic and electronic composition.In recent years she has focused on writing and performing a mix of organ, cello and electronics with regular performances at Union Chapel where she is Music Director, running a diverse programme of concerts and educational workshops around the Chapel's Henry Willis 1877 organ.

Other performances include the Roundhouse London by The LCO Soloists, a' fàs soilleir, an audio-visual work, exhibited at Tate Modern London, XMV New York City and Ceremony Hall Austin TX and she has performed as part of Spire at Muziekgebouw, Amsterdam, Kunst-Station Sankt Peter Cologne and many more.

The Molendinar, which was co-commissioned in 2015 by Civic Room, Glasgow and Union Chapel, London to celebrate Glasgow's Molendinar Burn Project wiil be performed on the 14th June 2016 at Glasgow Cathedral to conclude the weekend festival.

Expanded RSD gatefold reissue 2LP on 130701. Includes 6 previously unreleased exclusive tracks (LP1306X)

Record Store Day 2016 exclusive - significantly expanded double-vinyl reissue of Hauschka's debut album for 130701, 'Room To Expand'. The album has been repackaged and extended with the addition of six previously-unreleased exclusive tracks, and has been made available on vinyl for the first time ever - arriving with new artwork, liner notes, full digital download coupon and gatefold packaging.
Upon its original release nine years ago, Hauschka was the little-known alias of Dusseldorf-based pianist / composer Volker Bertelmann. 'Room To Expand' was the album that in many ways laid the groundwork for Hauschka's future success. Its very title suggested a frankly-articulated portent of future growth for the artist - both creatively, technically and in popularity.
Gathered to fit a single, final vinyl side, the six new tracks were all recorded contemporaneously with the original album and breathe new life into it. They offer a wider lens onto into this period Hauschka's creativity, perfectly complementing and extending the original set. Aside from the heavily delay-processing 'Vakuum One', all six tracks are solo prepared piano works, moving from the playful 'Zooviertel' to the more strident, pounding, swelling 'Run Run' and the fidgety, skittling 'Fragments' and ending on the impressionistic, rippling, fizzy-textured 'Vakuum One'.Expanded RSD gatefold reissue 2LP on 130701. Includes 6 previously unreleased exclusive tracks (LP1306X)

Record Store Day 2016 exclusive - significantly expanded double-vinyl reissue of Hauschka's debut album for 130701, 'Room To Expand'. The album has been repackaged and extended with the addition of six previously-unreleased exclusive tracks, and has been made available on vinyl for the first time ever - arriving with new artwork, liner notes, full digital download coupon and gatefold packaging.
Upon its original release nine years ago, Hauschka was the little-known alias of Dusseldorf-based pianist / composer Volker Bertelmann. 'Room To Expand' was the album that in many ways laid the groundwork for Hauschka's future success. Its very title suggested a frankly-articulated portent of future growth for the artist - both creatively, technically and in popularity.
Gathered to fit a single, final vinyl side, the six new tracks were all recorded contemporaneously with the original album and breathe new life into it. They offer a wider lens onto into this period Hauschka's creativity, perfectly complementing and extending the original set. Aside from the heavily delay-processing 'Vakuum One', all six tracks are solo prepared piano works, moving from the playful 'Zooviertel' to the more strident, pounding, swelling 'Run Run' and the fidgety, skittling 'Fragments' and ending on the impressionistic, rippling, fizzy-textured 'Vakuum One'.

Tenant is rumored to be the head honcho of Blueberry Mr FaltyDL himself. Although it is neither confirmed nor denied.

Inspired by the AFX Hangable Auto Bulb series.

Pure braindance fun no zeitgeist bologna here.

In 1958 the BBC Radiophonic Workshop opened with the aim to enhance the main drama output on the Third Programme (now Radio 3) following the development of new electronic music techniques emanating from Europe. Their work expanded across the BBC to take in TV drama (especially sci-fi), schools programmes and themes. The latter being their most celebrated and well known work: Delia Derbyshire's treatment of Ron Grainer's theme for Doctor Who.

This collection was originally released on vinyl by BBC Records in 1979 to celebrate 21 years of the workshop's creative output. From The Goons (Bloodnock's Stomach), to the Interval Signal, to Doctor Who and Great Zoos of the World, this is a fascinating chronicle of some of the most innovative music ever made. These ground-breaking compositions have provided a major influence on music from The Beatles and Pink Floyd and onwards into the contemporary world of Aphex Twin, Orbital and The Chemical Brothers.

* Tracks from ALE005 featured on BBC Radio 3, NTS and Resonance FM
* Arc Light Editions named in The Guardian's Best New Labels for 2014

Voice Is The Original Instrument is the first of two crucial Joan La Barbara reissues incoming this spring on Jennifer Lucy Allan and James Ginzburg's Arc Light Editions.

* Voice Is The Original Instrument was the first record released by Joan La Barbara in 1976. It has since become iconic as one of the initial examples of extended vocal techniques in experimental music. The human voice is the only instrument on the recordings. The works on Voice is the Original Instrument were some of Joan's earliest compositions, researching the possibilities of the voice, in two rigorous études, "Circular Song" and "Voice Piece: One-Note Internal Resonance Investigation", and the more free-form "Vocal Extensions", which uses live electronic processing. 'My reason for producing the LP was to get my music out to the world beyond NYC and the major cities in which I was playing concerts,' she says. 'At that time, Carla Bley and Michael Mantler had started JCOA/New Music Distribution Service which handled small independent labels, so there were quite a few artists in the NYC area who were producing their own albums and distributing them through that service.'

* Just out of college and living in a Soho loft in New York, Joan began playing shows in New York with jazz and rock musicians, and with those in the new music scene. 'I did commercials, which, strangely enough, led me to Steve Reich,' she says. 'A composer I was working with, Michael Sahl (who was also Judy Collins music director and pianist) hired me to do some radio commercials and suggested me to Reich who was looking for singers who could imitate instruments, which was something I had been working on for some time and was part of my exploration of the voice. I worked with Reich on the development of "Drumming", imitating the marimba.

* Voice Is The Original Instrument was originally released in 1976 on Wizard Records. It was later issued by Lovely Music as an extended double CD edition. This is the first time the original LP, with artwork, has been made available again. It will be followed by a reissue of Tapesongs in late May.

Conceived as a studio project and conceptually inspired by the world of sci-fi novelist Aldous Huxley, Brave New World was created by Reinhart Firchow (recorders, flutes, ocarina, Stylophone, percussion, vocals), John O'Brien-Docker (guitars, organ, percussion, vocals, wind chimes) and Herb Geller (flutes, cor anglais, saxophones, organ). They where aided by Dicky Tarrach (drums, percussion), Lucas Lindholm (bass, bass fiddle, organ, piano) and Esther Daniels (voice). Irishman John O'Brien-Docker had previously played on Die City Preachers and Marcel, and also recorded as Inga & John - Inga was, of course, Inga Rumpf of Frumpy fame. He also played with Dagmar Krause and Anthony Moore, who would later be known as Slap Happy. Reinhart Firchow had also been around for a while and would later form Kaarst. Herb Geller was an accomplished jazz musician who had been playing and recording in several jazz outfits since 1954. Their album, originally released on Vertigo in 1972, featured an eclectic mixture of styles, blending medieval music, folk, electronics, jazz and rock in pure krautrock eclectic lore in the line of Annexus Quam, Achim Reichel or Tomorrow's Gift.


First ever reissue, housed in a glossy laminated gatefold cover reproducing the phenomenal original artwork and an insert with notes, and it's limited to only 500 copies!

From his seemingly bottomless well of unreleased conceptual pop, jazz and pioneering electronic experiments, Swiss composer Bruno Spoerri, in conjunction with long term collaborators Finders Keepers, finally unleashes the master tapes to an obscure 1972 feature length documentary called Langstrasse Zwischen 12 und 12 (Long Street Between Midday And Midnight). Directed by Gianni Paggi (who had also worked on Swiss pop music weekly Hits A Gogo) and radio host and author Max Rüeger this seldom seen film studied the stark counter balance between the lifestyles of the inhabitants of Zurich's famous Langstrasse - a varied and vibrant stretch of road in centre of the city which played host to a unique mix of contrasting cultural and social groups, working class families and energetic creatives. Langstrasse Zwischen 12 und 12 explored real-life stories of family run businesses, schools, nine to five commuters and the contrasting nightlife scene including the city's liberal after hours red light district. To accentuate the ironic and slightly schizophrenic nature of the production Paggi and Rüeger called upon Spoerri as one of the country's most versatile instrumental composers to share a first-hand impression of the area as a local himself. Exploring a wide range of musical disciplines from early modified synthesisers to rock rhythms via found sounds, jazz, folk and traditional Greek music, Spoerri successfully infused vibrant bursts of sonic colour into the monochrome imagery of the programme, creating a floating narrative undercurrent quite unlike anything heard on regular Swiss TV during the era.

In scoring such a project to a precise deadline Spoerri would require a trusted group of regular musicians, many of whom would appear on collectable records by Swiss groups such as The Metronome Quintet, The Rainbow Orchestra and Emphasis. As a leader of The Metronome Quintet himself Bruno was comfortable working alongside reliable members Fernando Vicencio (sax and flute), Ueli Staub (vibes, keys and percussion) and drummer Rolf Bänninger - who's prominent playing is best exemplified on the previous Finders Keepers/Spoerri LP Hommage Au Fromage. Other players on this session include Latin multi-instrumentalist Antonio Conde who had simultaneously bonded with Vincencio in the jazz rock super group The Rainbow Orchestra under famous guitarist/soundtrack composer Pierre Cavali (see record FKR008). Another Cavali/Vincencio collaborator to appear on this album is pianist Renato Anselmi who would later join both musicians in the band Emphasis - vital to this session Renato Anselmi would provide extra keyboards to Bruno's experimental and textural synthesiser tones. Later in the 1970s Spoerri would also enlist Anselmi to play on the soundtrack to art house film Lilith (recently sampled by US rapper Jay Z. For hardcore collectors of European jazz the appearance of trumpeter Franco Ambrosetti might warrant some deserved attention. A firm fixture on the Swiss jazz scene alongside Spoerri and regularly playing with George Gruntz, Ambrosetti's earlier work on records alongside players like American sax man Shahib Shihab or French saxophonist Barney Wilen remain some of the most expensive original items on the collectors market. The final icing on the cake for this session would be the inclusion of Switzerland's leading harmonica player Heinz Pfenninger, a welcome addition to the group having played with Ueli Staub in the award-winning Roby Weber Quartet (Pfenninger can also be heard playing bass alongside Rolf Bänninger on Spoerri's aforementioned Hommage Au Fromage LP).

Like most of Bruno's releases on Finders Keepers Langstrasse Zwischen 12 und 12 sees the artist explore unique new territories, combining the skill of incredibly talented musicians and combining his own discoveries in the realms of electronic music and his own brand of post- concrète found sound application which would appear on his rare postcard records made for industrial companies utilising wristwatches, pneumatic drills and forklift trucks as essential parts of his orchestral palette. This early 70's glimpse into Spoerri's narrative composition for the small screen captures an important European artist-cum-scientist treading a seldom trodden path between experimental pop, jazz and music technology in its infancy.

Miami ex-patriate Alexander Suàrez debuts on Unknown Precept with A Los Mártires. Conceived as an ode to those who spilt their blood in vane for political ideologies that failed them and countries that were never their homes, the five tracks that make up the release show the Brooklyn-based producer sinking into odd techno hybrids manipulation; shooting down unrestrained grooves and rusty samples while excavating lush sound exploration tinged by local folklore and grievous metallic tones. In his own words, Suárez discloses that the embodiment of this strange intermingling sound like an organic and humming invitation to an uninhibited meditation on our inevitable assimilation into modern industrial society; an overarching rhythmic theme built on the idea that the resistance to and the seduction of these systems might trap us in a push and pull limbo from which the only escape is rage or submission.

A truly bold sound explorer, Lucy has always added a skewed, angular version of modern techno. The outer edge of his experiments bare particular mind food, and his release for Horo adds a new slant to his sonic identity.

Those intrigued by Lucy's live performance at Mutek 2015 or his monthly sound bath meditation sessions in Berlin, will find 'Eat, Drink, Shop, Relax' represents a combination of both these events. Recorded live to tape in Lucy's Berlin studio, the 4 tracks work together in a perfect continuum. The mood achieved is a warm, comforting bubble of hypnosis that feels at times like the machines have developed their own language and Lucy is their chosen conductor.

The EP title finds its meaning in a critical perspective on consumerism, but while the world continues to move at a breakneck pace driven by people's acquisition of 'things',Lucy's experiments exude a notion of peace and contentment. Perhaps the underlying theme of 'Eat, Drink, Shop, Relax is a time and place where freedom from the clutches of consumerism can, and will be the norm. If this is the soundtrack to an idealistic future, it's an attractive place.

Continuing the sporadic reissue programme of Colin Potter's legendary, home recorded cassette releases from 1980-1982, Deep Distance reissues the seminal 'Scythe' set, expanded from it's initial 1981 ICR cassette releases, to a double LP with all manner of out-takes, alternate and demo versions, creating a killer set for all enthusiasts of Colin's work as a member of NWW and collaborator with the likes of Organum, Current 93 and Ora and so on...

Here are some notes from Colin himself:
'The tracks on this album were recorded in the late seventies and early eighties. Side 1, Trk.1 to Side 3, Trk.2 were originally released as 'The Scythe' on cassette, the second release by ICR. 'Nightshift' is taken from the ICR/Aeroplane cassette 'Chainsaw'. The rest of the tracks are early or alternate versions and remixes. Most of the damage was done by myself using guitars, synths, sequencers, drum machines, percussion and modified toy keyboards with fairly primitive 4-track recording equipment. I was assisted on some of the tracks by Jon Caffery, Mel Jefferson and Trevor Wishart, all of whom are still speaking to me. Jonathan Coleclough did the design of the original tape and here we are, 35 years later, and he's designed this release too.

An Overview of Experimental and Electronic Music in Turkey: this anthology features 29 turkish artists: from the electronic music of the '60s to all forms of experimental music of the '10s. This is the second volume of an exploration by zone or sphere of influence.

The constellation built between 2000 and 2012 with the seven-part series An Anthology of Noise and Electronic Music continues to expand through the Early Electronic collection (consisting mostly of tracks composed between the 50's and the 80's) and these 'area anthologies' (we prefer the phrase 'area of influence' to 'country'), this one having been preceded by An Anthology of Chinese Experimental Music 1992-2008. You probably noticed how larger is the time frame for this collection. The reason is that, in Turkey, two exceptional composers emerged very early on to show the way to future generations that followed in a piecemeal fashion. Indeed, Arel and Mimaroglu did not have immediate followers. The explosion happened later, through the 'serious music' of conservatories and universities (Cenk Ergün, Koray Tahirolu, Mehmet Can Özer) and the electronic/noise music avant-garde ((Mete Sezgin, Nilüfer Ormanli, Utku Tavil) - the great wave of the 2000s and 2010s. The beauty of this album is found in its multifaceted nature; it features purely formal music, hijacked electronica, remnants of Turkish harmonies, and pieces that are more conceptual or even political (vaguely or strongly) in design. Batur Sönmez and Erdem Helvacžoglu have managed to capture this diversity and energy. And it so happens that this profusion of music related to an urgency to live and think freely is blooming within an increasingly-stifling space. Call it the spectacular beauty of an explosion.

FEATURING: Bülent Arel, Ilhan Mimaroglu, Erdem Helvacžoglu, Batuhan Bozkurt, Alper Maral, Batur Sönmez ,Cenk Ergün, Korhan Erel, Sair Sinan Kestelli, Koray Tahiroglu, Mehmet Can Özer, Tolga Tüzün, Basar Ünder, Nilüfer Ormanlž, Utku Tavil, Asaf Zeki Yüksel, Osman Kaytazoglu, SIFIR (Z.Aracagök), Cem Güney, Volkan Ergen, Mete Sezgin, Mors, Tuna Pase, D2GG, 2/5BZ, Cevdet Erek, Reverie Falls On All, Burçin Elmas, Meczup

Extraordinary new LP from a group comprising Carla dal Forno (Tarcar), Samuel Karmel and Tarquin Manek (Tarcar, LST). Deeply drugged, synth-daubed death-folk and DIY electronics: acutely psychedelic, inscrutable but emotional, sunken but prone to soaring, with flashes of horror too. Beautifully conjures the mirth and murk of childhood summers...a relatable surburban gothic...grazed knees, hide-and-seek, nettle-stings. Trampled flowerbeds and failing light. Ghouls in your neighbour's garden. Think Nico meets Dome or Alison Statton wandering The Pickle Factory after dark...If you dream you die, you die.

Lubomyr Melnyk returns with his new album 'Rivers and Streams', the embodiment of his signature style

Ukrainian pianist Lubomyr Melnyk has often felt that his unique Continuous Music playing is akin to water - flowing and ever connected. As he further developed his technique, and the more the notes flowed, the closer to water he felt. 'I found my hands and arms and everything inside them changing from normal muscle and flesh to well... water.'

With his latest album, 'Rivers and Streams', Lubomyr focuses deeply on this connection to water, to the point where the music itself begins to embody its liquid form. Produced by Robert Raths and Jamie Perera, the album flows seamlessly from the live recordings of 'The Pool of Memories', captured in a church, to pieces entirely born in the studio, such as 'Sunshimmers' and 'Ripples in a Water Scene', which feature Perera on acoustic and electric guitar.

Amorphous, ever-changing, Lubomyr as performer becomes subsumed into the natural ebb and flow of the keys as the album drifts between nascent upstream trickles and deeply reflective passages through winding river valleys. The album reaches its climax in 'The Amazon', a 20-minute piece dedicated to the world's largest river. Raths invited Korean flautist Hyelim Kim to guest on the first part, before Lubomyr closes the album with cascades of arpeggio figures, stretching across the breadth of the keyboard with rapid virtuosity.

Following on from 2013's 'Corollaries' album and last year's 'Evertina' EP, Lubomyr's latest offering compounds upon his existing fluid signature style, and breathes an organic vitality, both nuanced and thoughtful.

"In the body of the Continuous Piano Master, the fingers and the hands turn into Water, Air and Stone. These are the three manifestations of the Continuous Technique. And for the Continuous Pianist, the fingers physically transform the music into one of these three elements.

The greatest of all miracles in the universe is Water. It is also, I believe, the rarest of all physical things in the universe. Water is the most magical and the most mysterious of all things we know! And so I dedicate this album to the Rivers and Streams of this world - in gratitude for their Beauty!' - Lubomyr Melnyk

The cover artwork shows the surface of vines captured with macro photography by French artist Marion Benoit, which Lubomyr discovered in early 2015 as the perfect visual counterpart.

'Rivers and Streams' will be released by Erased Tapes in LP/CD/DL format on November 27th, 2015.

Previous press: 'Modern classical raptures' 8/10 - Uncut
'Superb' - Mojo 'Captivating as ever' - The Wire #

Hungarian imprint Farbwechsel has built up a varied and interesting discography over its 4 years of existence. This limited edition cassette from 'Bouchons D'orelles' deviates slightly from the label's normal aesthetic, taking a more industrial/drone route with the original tracks. The remixes are also a fantastic and well thought-out edition to the release, with the S.Olbricht remix standing out

52 minutes and 39 seconds to listen this tape before it explodes!

Arthur's epic minimalist orchestral composition, conducted by the late Julius Eastman, originally out on Chatham Square in 1983 in an edition of only 320 copies is available again on vinyl through Audika records with replicated artwork and remastered audio!

150g transparent clear vinyl enclosed in silkscreened PVC cover. Mastered and cut by Rashad Becker at D&M, Berlin. Contains two locked grooves. "Brandon Nickell hardly makes room for spaces between the threads, for lines trickling downwards towards gaps and fissures, for non-hierarchical entry and exit. The economy of hacking demands a certain selectivity. Years before relocating to San Francisco from neighboring Oakland, Brandon grew interest in computational models and in engineering simulations with algorithmic overlays. In 2003, he began his Isounderscore label releasing titles for Concern, Rale and Nicholas Szczepanik, to name several, in addition to his now defunct noise project Aemae. Titles on Isounderscore often emphasize mathematical rigor and structure, with foil-embossed covers of theoretical graphs. Starting in 2010, Brandon began releasing titles under his own name with tracks inflected by speeds and haecceities, containing hyper-concatenated, generative rhythms. He released his first full-length album on CD, And If You Set This Mind Of Mine Afire Then On My Bloodstream I Yet Will Carry You, in 2010, on his Isounderscore label, followed by The Art of Memory, a 12"" for the Tundra label, in 2013. Brandon has performed live with the likes of Clipping., Holly Herndon, Rene Hell, Daniel Menche and Pedestrian Deposit. Somewhere to the side, Brandon Nickell's productions root up as continuous functions of open source programming. His Ge-stell debut situates the scrambled bustle of angular, ambient-tipped beats against a pointillist attack of deft drum programming. Passages, both near and far, branch backwards and re-enter narrative borders where events do not link conclusively, but in momentary and inexplicable ways. The result is a meticulous mesh of acid-tinged, obtuse dance beats of industrial-grade arranged in a disjointed, hip-hop indebted framework. Irreconcilable parts of systems should not be viewed as permanently given or beyond question." Click here to listen

Marvelous split mini LP from the Rathmines nook..mastered at New Atlantis by Sonic Boom, TIP!
Licked a drop from the silver tether, The vein that held the grit together, Ridges scored when grunt met bone, When shtones were shplit when shplittin' stone.
He rose from the roots in fine spirits did Lankin, And magicked up money from none. With no cause to work I'm
bone-idle and bored! And I miss the days, days shplittin'
the shtones.by Lee Eel.

Rare outtakes from early pioneering and controversial electronic jazz experiments presented on vinyl for the first time !!
This previously unpressed music provides and absolutely essential insight into Zen master experimental jazz outrider Don Cherry on the eve of his fertile Holy Mountain period which saw the composer combine all his well-travelled influences - such as the free music incubation of France and Germany with the traditional instrumentation of India, north and west Africa - then return to New York with a technicolor dream team and a healthy appetite for emerging synthesisers and electronic music. This project between electro-acoustic pioneer and Synclavier developer Jon Appleton coincided with his own history defining years at Dartmouth College where he played an integral part in the formation of one of Americas first electronic music institutions. Recording benchmark LPs for Folkways Records and Flying Dutchman Jon collaborated with Cherry to create the album Human Music which tested the boundaries of electronic sound, jazz and ethnological disciplines in a series of melodic and rhythmical interfaces that would polarise both musical tastes, pop politics and potential spiritual beliefs in the process.

Recorded in the exact same sessions at Bregman Electronic Music Studio, Dartmouth College, New Hampshire the two tracks Don and Jon did not appear on the Human Music LP and now show a glimpse of what future unisons might have bequeathed before both artists coincidentally re-located to Sweden to pursue their individual and very specific journeys into contemporary music. Released with the blessing and encouragement of Appleton himself this record is quite simply a treasure of a dream-combination from the early doors of genuine alternative popular music. These rare sides combine the creative technology that directly coincided with the dawn of Bob Moog's and Don Buchla's synthesiser revolution with the homecoming of outernational free jazz which, in tandem, spearheaded America's most radical music developments in the subsequent two decades and beyond. Don/Jon and The Human Music sessions also prelude Cherry's further imminent electronic positioning alongside Carla Bley and Don Preston (on Escalator Over The Hill) and in film soundtracks for Jean Rollin collaborator Jean-Noël Delamare and Jodorowsky's The Holy Mountain (with Walter Sear) before a hiatus from the for almost a decade. This extra glimpse of that important era, at the hands of these two pioneers, is now available in this very special package.