Beats Novedades

Alan Palomo, der Mann hinter Neon Indian, schafft auf seinem neuen Werk den perfekten Brückenschlag zwischen dem Sound seiner Anfangstage, als er noch als VEGA mehr tanzorientierte Musik aufgenommen hat, und dem LoFi und der Leichtigkeit heutiger Neon Indian Songs. Entstanden ist "VEGA INTL. Night School" zu großen Teilen auf einem Kreuzfahrtschiff, auf dem Alans Bruder Jorge als Bassist in der Hausband spielte. Zusammen richteten sie sich dort ein kleines Studio in einer der Kabinen ein, während das Schiff auf die Bahamas zu steuerte und die Cocktailgläser geleert wurden. Eine wunderbare Atmosphäre, die deutlich auf dem neuen Werk zu spüren ist. Inklusive der Singles "Annie" und "Slumlord".

Exklusiv für den GTG Pool! Neues Weird World Signing Slime präsentiert seine Debütsingle My Company! Hinter Slime verbirgt sich Will Archer aus dem nordenglischen Newcastle. Archer begann seinen musikalischen Werdegang als Drummer und begeisterte sich dann für Genres wie Dubstep und Gabba, was sein Interesse an elektronischer Produktion weckte. Seine erste Single für WeirdWorld, My Company, ist eine wundervolle, facettenreiche Melange aus synkopischen Trip Hop Beats, sanften Synths und warmen Vocals. Slime's Debütalbum folgt noch in diesem Jahr bei Weird World!

Cellophanierte Whitelabel 12' Vinyl in weißem Kartonsleeve mit Aufschrift und Labeldruck.

Tehbis, a producer from the depths of North London, first gained the public's attention from having his beats played by djs Kutmah (Izwid) and Gilles Peterson (Brownswood). Check!
The eight songs on his debut EP "Tales of Genji" represent a journey of self-expression and adventure. The tracks were produced over the past two years representing an eclectic journey of moods and discovery. Standout tunes 'Windward Stomp' and 'Stay' were created while in the inspirational surroundings of Holy Mount Washington in Northeast Los Angeles, near ground zero of the forever-growing 'LA beat scene'. Featuring the funky likes of Seven Davis Jr. on the track 'Stay', as well as new beatsmiths like Trampoline Tax on "Skittlebullet Holes", you'll notice a true blend of colors that appear before your ears, hinting at a greater understanding of this release. Limited-edition cassette for TEHBIS "Tales Of Genji" (HNR47) containing all of the 8 songs pressed on a black tape shell and housed in a shrink wrapped plastic case (with full color artwork & album credits). Only 150qty made!

Mats Gustafsson - saxophone, electronics
Brian Chippendale - drums, electronics, vocals
Massimo Pupillo - bass

Started as a temporary project in 2014 by Mats Gustafsson (FIRE!, THE THING), Brian Chippendale (LIGHTNING BOLT) and Massimo Pupillo (ZU). but then continued as a band project. The trio now is releasing their first album on Trost records.
Brutal and noisy!

Mats Gustafsson - saxophone, electronics
Brian Chippendale - drums, electronics, vocals
Massimo Pupillo - bass

Started as a temporary project in 2014 by Mats Gustafsson (FIRE!, THE THING), Brian Chippendale (LIGHTNING BOLT) and Massimo Pupillo (ZU). but then continued as a band project. The trio now is releasing their first album on Trost records.
Brutal and noisy!

'Foxconn / Trios' is a previously unreleased record originally recorded by d'Eon in 2012 during their involvement with the Hippos In Tanks label. Over the course of the first eight (out of nine) tracks, d'Eon's arsenal of sounds are rolled, stabbed and skipped through, presenting a more singular vision than d'Eon's previous releases. Their nearest contemporaries can be found in the audio-materialist studies of Mark Fell, post 'Oversteps' Autechre, late period 0pn, or Lorenzo Senni.d'Eon explains the material and the compositional process as follows: 'The tracks comprising the record freely and irregularly travel both forward and backward in MIDI-time. By putting together small arrangements using low sample-rate soundfonts in a tracker, and by writing short loops that are legible both forwards and backwards, the MIDI information can be traversed in any arbitrary direction at any arbitrary intervals and still be harmonically and contrapuntally sound. Ordinary rhythmic patterns are inherently legible regardless of the firing order of events because of a snare's inherent role as the up beat and a kick's as the down beat. If all notes in a phrase and all chords in a progression work equally well with their neighbours before them and their neighbour after, the direction of the clock is irrelevant. If those conditions are met, a 32-bar, two- three- or four-chord pattern with a single melody is easily made into a fully through-composed piece of music that could continue for hours without any pattern repetition at all.'The many facets of the new sound begin to unfold at the end, when the ninth and closing track 'Foxconn II' leaves the release's dominating technique behind and rewrites the material into an instrumental R&B track. Though the same method is utilized throughout the first eight tracks it becomes striking that equally complex harmonic progressions are happening simultaneously producing a large plethora of moods, and revealing d'Eon's ability to combine the radically novel and original with the familiar and more tangible. d'Eon cinematically takes elements from the past and with an elegant violence rapidly animates them into the future, shaping the path towards what's to come. - Text by Nicolai Krog

'Nothing' is Kode9's first solo album, and is about nothing. The album throws horror soundtracks, sampled library and j-pop records into a no man's land between grime, early dubstep and Chicago footwork. Mostly instrumental, it zigzags between hypnotic, downcast loops, growling drones, and jagged cut-ups of androids gone haywire, threaded through twitchy, transatlantic rhythms and sub-bass inaudible through your laptop speakers. Building slowly, but more upbeat than previous albums, many of these tracks have more in common with Kode9's recent singles from the last few years than they do with his two previous albums with collaborator The Spaceape, 'Memories of the Future' (2006) and 'Black Sun' (2012). Yet 'Nothing' is haunted both by The Spaceape's presence (he died in 2014 after a prolonged battle with cancer), on 'Third Ear Transmission', a communiqué from a zone of digital immortality, and his absence, on 'Void', whose spaces were originally intended for the vocalist, and 'Nothing Lasts Forever', which closes the album with a 9 minute silence

Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the
label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels.First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth
it, as Diego takes the crazy afro-stylings of Afrobotics and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians,
Cole M.G.N. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on Shockers is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind.
Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of Underdogs, Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in
modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr
Ruscha.

Wanda Group is the Brighton-based Louis Johnstone whose prolific output for labels like Astro:Dynamics, NNA Tapes and Leaving makes him one of the most intriguing voices in contemporary electronic music. Johnstone's discography over the past two years is best understood as a process of refinement: the more overt sampledelia of 2010's Caveman Smack under the Dem Hunger alias has been gradually distilled until only the barely-there remnants of damage and decay remain. With that arc in mind, the excellently titled Piss Fell Out Like Sunlight for Opal Tapes is perhaps the producer's subtlest, gauziest work yet. Johnstone assembles these two side-length tracks out of large building blocks: 30 seconds or a minute of a single idea, each cross-faded into the next, moments recurring multiple times or bookending others to form oblique poetic sentences. The results function like a particularly cryptic, labyrinthine mini-mixtape. Within that, dance forms occasionally come under scrutiny: early in Her Stomach On Terror we're treated to a baleful techno throb over which reedy synths chirrup restlessly; later on, a hard-edged, Andy Stott-esque thump holds sway for a minute or so. The latter half of Pans Out In The Afterlife is dominated by a desiccated hulk of a kick drum, dreamy Detroit pads wheeling overhead. But Johnstone's relationship to the current crop of noise-techno fusionists is only passing; mostly this is an album of weightless moments: delicate washes of electrical hum, amplified grit in the wires, burbling synth clusters and stringently buried melodies. What's remarkable is the pathos that Johnstone wrings from these most microscopic of sonic phenomena.

France seems to be the secret kingdom of electronic music, experimental music and movie soundtrack music also known as library music. Roger Roger (1911 - 1995), one of the most prolific composers and bandleaders in this field, took a turn on the progressive side of the rather fresh electronic sounds back in 1969 under the pseudonym Cecil Leuter. His real name actually sounds even more like a malapropism but never mind this little strange aspect; let us go for the music. The album starts quite harmless with instrumental tunes that could be performed by a typical dancehall band of the day just with creepy electronic noises added to the entire picture. The further you get through the whole record the more crazy the performances get. Except for a few percussions more and more bits and pieces of the songs get created on electronic instruments and sound sources. And by the end of the album your mind will be shackled by minimalistic melodies embedded in arrangements of hissing, chirping and bubbling sounds. There still is a steady groove and a sense for accessibility with the final tune but all in all this album in all its groundbreaking width should rather please folks into the more twisted and obscure late 60s experimental music and early electronics than pop fanatics. Acidheads are also welcome to let their minds move on this fantastic little oddity. This is all in all still music in the true sense of the word unlike some works by Roger's younger compatriot Pierre Henry from the 'musique concrete' and experimental electronics field around the same time. Take a listen and trip through these strange lands of sound if you dare. The tracks are well performed and for this beautiful reissue everything has been well restored. Worth to be worshipped by 1960s underground freaks.

Mannequin Records escavation into the archives of the Italian minimal synth of the early 80's continues. This time we are deeply honored to present the 1982-1983 demos tapes of Turin's Monuments, who released in 1984 their only official mini-LP 'Age', comprising six incredibly fantastic electro-pop tracks, which was already reissued by Mannequin back in 2013.
The Monuments came into being in January 1981 in Turin when Mauro Tavella (keyboards, programming) and Andrea Costa (keyboards, voice) pooled their artistic experiences. From the outset, they produced exclusively synthesized music, following the natural evolution in electronic music from the early days with monophonic synthesizers to the latest virtual sounds generated with the aid of computers.

Most of the tracks have been composed between the summer and autumn of 1982 in their own private recording studio TKS in Turin. Some they were made at the beginning of 1983 but only a song, 'Clock's room', was later arranged and entered fully into the mini-lp 'Age'.

2nd EDITION on WHITE-GREEN SPLATTER VINYL! This man is well known as one of the pioneers of electronic music in the late 60s and some may have heard of his contributions to quite a few pop hits back in the day when he wrote and conducted orchestral arrangements for the one or another really popular artist. During the second half of the 1960s Mort Garson and his sidekicks Paul Beaver and Jacques Wilson among others discovered the newly invented synthesizer courtesy of Robert Moog and made it an integral part of the future pop music even before Walter (now Wendy) Carlos released his famous and fabulous 'Switched on Bach' album in 1968. All this is for sure another story, so we concentrate on an album by Mort Garson recorded and released a few years past his monumental works 'The Zodiac - Cosmic Sounds' (1967), 'The Wozard Of Iz' (1968) and 'Lucifer - Black Mass' (1971). Every fan of unique psychedelic (The Zodiac) and mind-bending electronic music (the two others) should certainly lend an ear to these three masterpieces but there was more to come. 'Plantasia', originally released in 1976, has been labeled 'warm earth music for plants and the people who love them'. So you as the listener can imagine that what you get to listen to here is rather a bright affair far from the dark and seething atmosphere of the earlier electronic pieces. A shining diversity of stylistic devices have been used as fundament for the dreamy and colorful compositions that work like a soundtrack for a non existing movie actually. The warm yet haunting moog melodies can still create a rather sinister vibe in their most playful and surreal moments you would expect to experience while watching some early to mid seventies horror flicks from Italy. It is a feeling that despite everything seems peaceful and relaxed on the surface something utterly dire is about to rise up. These are certainly just a few passages and when Mort Garson and his mates move on from lush orchestral soul arrangements to something white men always consider to be tribal music of the North American natives, you will drift with them from one scene of your inner mind movie to the next. At this point in the seventies the technical requirements have already been a bit better with new inventions such as electronic percussion which gets used here and there conjuring memories of records by German electronic pioneers from the same era such as Cluster, Kraftwerk and Tangerine Dream. And despite the twinkle-toed harmonies and big arrangements which point at the big band music and orchestral pop Mort Garson originated from, the whole work is futuristic and intriguing. So it rather feels like an old science fiction movie and not a horror film, but we leave the interpretation to you alone. The best way to enjoy this masterpiece of synthesizer music is to lay back and close your eyes while drifting away into a territory still unknown to man.

Human culture has reached its terminus. The corporate and political machinery that seeks to subjugate our bodies and control our minds has utterly defeated us, and we didn't put up a fight. We willingly participate in the constant surveillance that has stripped us of any semblance of privacy. It is this world that Pop.1280 inhabits, and unto this world that they offer Paradise, their third full-length album. Paradise is an act of defiance against the engineers of these end times, yes — but it's also an unforgiving look.

Human culture has reached its terminus. The corporate and political machinery that seeks to subjugate our bodies and control our minds has utterly defeated us, and we didn't put up a fight. We willingly participate in the constant surveillance that has stripped us of any semblance of privacy. It is this world that Pop.1280 inhabits, and unto this world that they offer Paradise, their third full-length album. Paradise is an act of defiance against the engineers of these end times, yes — but it's also an unforgiving look into the mirror; it's the paradise we created for ourselves.

While Paradise is indeed concerned about the ills that technology has wrought in the modern world, it's also a record fraught with existential ennui. A fear permeates the record that the world will never get any better; that we as humans have made our bed and now must lie in it. The combined weight of those external and internal forces lay the foundation for the album, and they give it its power. Paradise builds on 2013's Imps of Perversion LP and 2015's Penetrate 7" by venturing further outside of traditional notions of punk, and diving even deeper into outer sounds. Synthesizers, mechanized drum machines, and samplers play as critical a role on the record as the more familiar squall of Ivan Drip's buzzsaw guitar and Chris Bug's vocals. Any noise a band member could make that helped contribute to the record's atmosphere of unease was welcome; synth player Allegra Sauvage adds cello to two songs, and drummer/producer Andy Chugg plays trumpet on the title track.

The sessions for Paradise were held at the Population Control Center, and the result is the most collaborative Pop. 1280 release to date. Despite its misgivings about technology, Paradise was made possible by the confluence of humans and their machines, at times struggling for control, but ultimately working together to create this vital, vicious piece of art. If the bitter irony makes you smile, hold that pose — the camera lens is watching.

Roland Bocquet who created this album has been the keyboard player for the French rock band CATHARSIS from the late 1960s to 1977. "Paradia" is his first solo album and there were more to come. 'Paradia' is a mostly instrumental record with a very lightweight expression. Melodies and rhythms are quite gentle but sometimes take the one or another dramatic twist and turn. Bocquet mixes samba, flamenco, European folk and classics, chanson and dreamy space pop to achieve a music actually easy to access but with a long - lasting effect on the listener. I recall US composer and synthesizer pioneer Mort Garson whose 70s albums also had this light footed approach and caused a feeling of relief with the listener. Bocquet has a good hand in writing harmonies that feel familiar albeit fresh and exciting. One of his greatest talents. The movie playing in my head while listening to 'Paradia' is a sheer explosion of light colors. I suppose Latin music fans and lovers of rather fluffy electronics from the late 1970s will be the main target group for this album but also friends of obscure movie soundtracks from bands like GOBLIN shall lend an ear or two to 'Paradia', for there are a few tunes with a rather mysterious atmosphere. You can only sit and listen and make your mind wander through the beautiful landscapes of sound and return to your reality enriched and enlightened. Grab your copy before it's too late.

9 tunes from Hakim's li ve PA guise, a set of sonic feelings that have been crafted for maximum jack. The kicks pulse, the strings radiate warms, there's chunky, woofy, sounds galore, poetically modulated.

Raze de Soare bears all the signifiers of Future Nuggets' trademark "maneletronics" - taking cues from the bustling but traditional Romanian lutreasc - the Oriental motifs, the nostalgia and longing, mixed with 20th century electronics, a sort of psychedelic 70ties or 80ties chilled sound, starting off with dope bass and squeaky synth sounds. It could be made in the retromania of present day, as well as dug out from the vaults of Romanian synth pop. - Easterndaze

'Suite for a Young Girl' is a mini-album by CTM (Cæcilie Trier Musik) by the critcally-acclaimed cellist, singer and songwriter Cæcilie Trier. Two years ago she released her debut EP Variatons (sold-out), this is the follow-up.
CTM is Cæcilie Trier's main musical project, but she is also a member of Marching Church (Sacred Bones) alongside Iceage frontman Elias Bender Rønnenfelt and has for years played live with Choir of Young Believers (Ghostly Internatonal). Before that she was signed to Bella Union with her now disbanded Chimes & Bells.
The vinyl version of Suite for a Young Girl comes in 500 copies and will feature a front cover and a poster by the renowned painter Alexander Tovborg who has been featured in The New York Times, Hufngton Post, Artreview and many more.
'Fusing together Trier's natural love of experimental and free-fowing music whilst harnessing a true and very real pop structure' - THE LINE OF BEST FIT
'Reminiscences the sof, diamond-tngled pop made famous by stars like Sade and more recently Nite Jewel and Jessie Ware' - DISCO NAÏVETÉ
'We've been enamoured with Copenhagen artst Cæcilie Trier — aka CTM — since the hypnotc video for her lovely song 'Jewel' surfaced late last year' - GORILLA VS. BEAR

Forever Pavot's 'Rhapsode' was widely considered one the best debut albums of 2014 in French 60's-Pop-Psych-Library-Soundtrack-Prog circles. Emile Sornin of Forever Pavot took tme out of his busy schedule (gigs, gigs and more gigs) to join another cool french band, Calypso. They formed a lovely side project called Forever Calypso and recorded two marvellous pop songs that we are proud to release on
this beautfully designed 7' on Croque Macadam.
This is a perfect blend of both bands aesthetcs: a delicate songwritng twisted by surf guitars, primitve and cosmic synths and smooth exotca xylophones. This musical friendship is a silky dream into the music of Stereolab, Broadcast and other explorers of whimsical pop.
'Guaranteed sunshine' - Shindig (Forever Pavot)
'Psychédélique et cinématque, le nouvel album de Forever Pavot est une géniale machine à rêver' - Les Inrocks (Forever Pavot)
'À l'image de sa musique alanguie et à la coule, le groupe sait prendre le temps' - Magic (Calypso)

Helge Tømmervåg aka Mind over MIDI (Silent Season / Beatservice) presents his third album for diametric. and it is a beautiful return. With over 30 years of experience the Norwegian ambient music composer is on top of his game. Deep Map is a wonderful album that is immersed in majestic melodies and atmospheres. Where his last album for diametric. 'Monolog' fascinated by a high degree of darker moods and a more minimal and drone inspired approach, this new masterpiece shines a lighter and more melancholic light. Epic pads are forged together with field recordings and unusual found sounds to create a beautiful deep ambient album.
150 manufactured limited CD's in recycled cardboard packaging. Digital release to follow 5-6 weeks after initial release.

finally repressed!
In the dead of winter, I visited Nico in his apartment in Providence, Rhode Island.

Tomaga's debut Futura Grotesk was released in November 2015 and the album and subsequent lives shows drew plaudits from musical luminaries as diverse as Tony Conrad, Nicholas Jaar, Silver Apples, and the post-punk band Wire, who invited the duo to do a European tour together.
If Futura Grotesk was the wakeful thought form, then Familiar Obstacles is the unconscious interzone, evoking numerous shades of the musical hinterlands of Tomaga, fusing studio experiment, field recording, and tonal spectrum into something that by turns resembles musique concrete, imaginary soundtrack and library music.

This was originally released as a limited edition cassette by the Blank Editions label in Spring 2015 and appears here re-edited and re-mastered for vinyl. Tomaga are a London based duo who have played over 50 live shows in 2015 in venues and festival across Europe to widespread critical acclaim.

Do you ever listen to a record and worry about its creator's sanity Granted, it rarely happens, but in the case of Innercity-Antwerp producer Hans Dens-it's a legitimate concern. Thankfully, Dens' seeming madness manifests itself in music so uncompromising and off the charts of classification, it convinces you that any kind of sonic innovation at this late date demands a bit of mental instability. By way of explanation, Dens says, 'People forget that there is only magic in this world, mostly black, nothing more.' In other news: You will never confuse this Innercity with Kevin Saunderson's Inner City. ABABABABABABAS (Blue Lion Child) makes Dens' rather strange first album on Further, 2012's A Lion's Baptism, seem like radio-friendly fodder by comparison. The producer admits, 'This release is surely one of my harsher, bleak ones... I tried to keep it pure, and again bleak. Also put the keyboards in the shelf for this one; it's all guitar and violin through an array of effects...' 'BAAL'S (KITTEN TRUMPETEER CHOIR)' fades in with what sounds like waves of harsh, scalding feedback-let's call it 'the black metal of ambient.' Dens conjures pitiless, post-apocalyptic atmospheres, but imbues them with a residual glow of dignity. The tidal 'MASKS AND MOLD MATTER' could be a noir soundtrack that's too weird and nightmarish even for David Lynch. Its main sound source sounds like the irradiated molecules of a psych-rock guitar riff by Chrome's Helios Creed. What passes for a respite in Innercity's harsh sonic universe comes from 'RARAGRAMS,' whose ill oscillations seemingl

Original released on 2013, this a MC reissue on Opal Tapes.
Distorted Techno excursions. Opal Tapes figurehead Stephen Bishop has pushed a lot of boundaries with his label and his own music under the Basic House moniker since bursting onto the scene a few years back. The label in particular carved out a deep niche early and his momentum seemingly can't be stopped. "Caim in Bird Form" originally appeared as a very limited cassette on Digitalis earlier in 2013 and now finds its proper home on wax. This is Bishop in top form.
Basic House is never static, always burrowing toward the center of the Earth but missing by a few degrees. "Caim in Bird Form" is gritty, like the teeth of an ancient creature chewing its way through the rocks. Stilted beats crawl ahead on "I Found You," leaving tonal wreckage behind to be gobbled up by anyone watching, anyone who can hear. Each crack is another bone breaking, each stutter another crack in the ice.
Bishop ups the ante with the bleak futurism of "64 Bummer." Synths float skyward blacking out the sun underneath a veil of heavy bass. It's one of the album's masterstrokes, along with the caustic sonics of the title track. And then, just when the darkness gets out of hand, the circus comes to town in the form of "Ultra-Misted" to massage your ears, offering a hand in the night. "Caim in Bird Form" is undeniable proof that Basic House is one to watch.

Neuauflage des 2010er-Erfolgsalbums, das lange vergriffen war! Die LP erscheint mitsamt CD!

An introspective & intimate collection of melodies, lullabies, and interludes. Exquisite & idiosyncratic. 200 copies.

New London-based label, Utter, present some of the earliest recordings by Jack Latham a.k.a. Jam City in a remastered edition of his icy soundtrack to a sci-fi short film originally self-released by the director/producer, Daniel Swan on VHS and corresponding cassette in 2010. The OST would have emerged just prior to Jam City's 'Classical Curves' and we can pretty much hear the hyaline dimensions that would be explored in 'Classical Curves' come into being across its five tracks (including a bonus 'lost' track not found on the original), as Latham constructs dreamy, floating worlds embedded in vast reverb structures and blooming bass radiation. It's easy to hear the tensions and economy of production palette that would come to define his later work, where he would consolidate a canny, mid-fi emulation of hi-end, cinematic sound design with eviscerated club dynamics. Yet there's something deeply elusive, gossamer fine about these recordings that hold up on their own terms.

Imagine a coven of Jodorowsky, Daevid Allen, Mr. Crowley, Rameses and Arthur Brownthen combine them into a one-man mutant magician and add the finest Australian synth duo since Cybotron. BEHOLD Geoff Krozier & The Generator.

This faithful reproduction of one of Australias rarest synthy post-prog vinyl artefacts bequeths the only recorded fruits of the precious magick months before Geoff Krozier's untimely death in 1981. Combining shamanic spoken word with nodding kosmische instrumentation this album is fuelled by ARP/Roland/ETI (Aussie synth) technology and leaves fans of synthetic soundtracks, electronic experimentalism and stubborn synth pop salivating for more (and more there is).

Meet this Ex Kongress (NY punk band) collaborator, Sydney's official 1980 Magician Of The Year and 'the high priest of exorcism-rock' and watch him, and his trusty studio wizards, provide fans of Bruce Haack and Doris White with one of the most absurd electronic private press LPs to come from either end of the pointed planet. Welcome to the house of the sun.

"Finders Keepers really hit the crackpot,erm I mean jackpot this time!this is most excellent and a must have gem - I promise you won't regret owning this glimps of Krozier's weird and wonderful world... It took me two seconds to love this record" - Anton Newcombe (Brain Jonestown Massacre)

Formed in mid-1990's and late 1990's respectively, KRIEG and THE BODY met in the mid 2000's, being different sonically but sharing a bleak world view and inspirations musically far outside of the genre of metal. When NEILL JAMESON (sole constant member of KRIEG) showed up to MACHINES WITH MAGNETS with only a acoustic guitar and a few pedals, members of THE BODY knew the collaboration would be something really different. Written and recorded during the long sessions of both Christs, Redeemers (THRILL JOCKEY) & I Shall Die Here (RVNG), the end result is a blackened industrial crush of noise and anguish.

Noise, dirge, triggered percussion w/ Kings screeches and Jameson's growls take the audience to the BOTTOM OF THE BOTTLE, BOTTOM OF THE RIVER. Crawling booms, chimes, roars, and moans to static plodding low-end and hopelessness moves to industrial tones, accusing roars. Erie keys, wails of misery lead to brief period of sonic chaos and pure madness. Madness leads the listener lumbering down the final path, complete with discordant percussion, electronic beeps, forlorn screams, cavernous blows, and ending in the sounds of the otherworldliness!

The whole package is completed by the amazingly realistic charcoal drawings and design of Jason Bartell (also of FANG ISLAND fame).

LACK is the solo project of Philip Maier of Carrboro, North Carolina. Maier has had previous releases on Morphine, Break World Records, Tone Log and his own labels, both solo and with Sagan Youth. He is currently the proprietor of GROVL, a small-press cassette label.

Tone Log is operated by the same crew that runs All Day Records and Nightlight.

'Each song in this suite was constructed from one drum loop, four attempts to collapse time & remove death-fear, to embrace each moment & expand consciousness, to deepen roots & widen branches. Not an isolating atemporality, but an expansive one. At this point, I would question many of composition techniques & research that went into its production - which owed much to bridging modern physics to emotional/bodily/universal connection. But here it is...' - LACK

'The name refers to a scarcity that is not only time, but earthly, vivid, a kind of primordial fog in which molecules ambient, dub, techno polymerize and then combined with each other indefinitely. The sounds are pulverized and scattered until it is recoagulated in atemporal entities, precisely, which are the four tracks that make up the EP.' — Vice Italia.

Brainfeeder's de facto New Age guru and all-around production wizard Matthewdavid returns with a sophomore full length for the label, an all-inclusive mindflight entitled 'In My World'.
Unlike prior album 'Outmind', a largely ambient and inward journey, 'In My World' expands exponentially to a multitude of lavish sound worlds liberally punctuated with 'Low End Theory'- approved doses of speaker-rattling sub-bass.
Whether rapping or singing, the producer's vocals are pushed forward as the centrepiece of this album. Rightly so - with a freshly minted marriage and the recent birth of his first child, the Los Angeles-based Dublab resident and head of Leaving Records has an abundance of wonders to vocalise.
- Fans of Matthewdavid include Flying Lotus, Nosaj Thing, Jonwayne, Gaslamp Killer, Thundercat, Peanut Butter Wolf, Dam-Funk, Machinedrum, Baths, Knxwledge, Onra, Benji B, Gilles Peterson, Mary Anne Hobbs, Stones Throw, Alpha Pup, Low End Theory, Anticon, Teebs, Ras G, Sun Araw and many more.

Darkjazz/ Experimental/ Electro. This split consitutes an exciting collaboration of these two French experimental/avant-garde/dark jazz acts. In mutual respect and appreciation, both DALE COOPER QUARTET and WITXES selected a track of their split companion and created a fundamental and independent rework of around 20 minutes length. Based upon parts of Witxes' ""The Apparel"" -- from the last album ""A Fabric of Beliefs"" -- and afternoon summer recording sessions, the DALE COOPER QUARTET's ""Le Strategie Saint-Frusquin"" contains the classic sounds of the Quartet: ambient soundscapes, lazy jazzy rhythms, drone and distorsion guitar and a deep saxophone breath. Being mostly instrumental, the deep tone of Ronan Mac Erlaine's voice comes to ease the stormy start of the music piece. A grainy and blissful track that resembles music coming through of a 50s radio speaker, letting dark jazz flooding the room. ""Pisces Analogue"" is a new WITXES piece based on ""Nourrain Quinquet"", a track from ""Quatorze pieces de menaces"" by Dale Cooper Quartet & the Dictaphones. In five movements, the track explores the interstices and cracks of the dark, minimalist, lurking, cycle-evolving original piece. It offers to take a look at some of its nooks, focus on a few of its endless micro-universes and jump from one to another in a flash. Just like swimming in a puzzling dream. If there is anything in common with previous Witxes output, it is a strong sense of motion as well as narration to be seized by the listener. Though this piece uses heavily processed instruments takes from ""Nourrain Quinquet"" as well as a few typical Witxes field recordings, it is Witxes most synthetic work to date. It was written, recorded and mixed in 3 weeks during summer of 2014 in Lyon and co-produced by Michael Mysak. CD: digipak, Vinyl: thick gatefold sleeves, 180g vinyl, different colors, free download code.

The Soft Pink Truth is the solo alter ego of Drew Daniel, one half of Matmos. Why Do the Heathen Rage whose subtitle 'Electronic Profanations of Black Metal Classics' reveals its agenda as an unrequited love letter to a justly divisive genre. A gleeful queer travesty of black metal's undying obsession with kvlt authenticity, Why Do the Heathen Rage is also a formally precise homage executed with a scholar's obsession

Soaring melodies, marching synthesiser-sequences and lush phasing drones wander through the still void. Attempting to find ground, floating through an infinite myst. A faint memory of a forgotten past shines through. Extinct existence, brought back to life. With meandering repetition we are brought closer. So too the aberrant melodies of Circular Ruins as they wander atop a returning rhythm. Each cycle brings an echo from a future utopia or the ruins of civilisation...

From Jonas R

The origin to the name Oakeater is instructive to the underlying framework for this Chicago outfit. Loosely influenced by Norse Mythology and an industrial shredder' cites Oakeater's Alex Barnett, locating the band as a chimera of loaded allegorical components. Barnett, alongside Seth Sher and Jeremiah Fisher, formed Oakeater in the mid-aughts, recording and performing in fits and starts. The division of labor is rather fluid in the use of re-purposed electronics bolstered by guitars, synths, drum machine, and voice. The compositions evolve out of their greater collectivity and an atmospheric tension made manifest through Oakeater's channelling of dark energy. That metaphysical, nihilistic energy is cathartic in nature, as Fisher explains I induce an anxiety attack within myself and then navigate through it.