Beats Novedades

BEIRUT, Lebanon — a haunted city. The dead look out from the bullet holes which scar the public squares and back streets, presided over by the monumental ruin of the Holiday Inn, overlooking the city from its seafront cathedra.

Broken Britain Cassettes advances its World Service campaign eastward with an anatopic release from Frenchman Couronne de Merde, who became preoccupied by the Lebanese Civil War after repeated visits to Beirut. Recorded over a week in Paris, these tracks are an exorcism of the ghosts who followed him back.

Spectral voices lurk behind the shell-shocked synths and an urgent battery of percussion. Proceedings move forward and backwards in time - at once observing the event and recalling it afterward. Disparate scenes and incidents are conflated in a trans-historical bloodbath, underscored by a sorrowful ambience which longs for meaning in Sacrifice.

اتمنى لو ان الریاح .Couronne de Merde casts an unflinching gaze at theocratic and political contradictions is a poetic documentation and dramatisation of a modern conflict, this late iteration of ancient تجلي الرماد struggles between Religion and Secularity, Christianity and Islam, Dominance and Freedom.

Florian Meyer back on BH, with ten minutes of gamelan psychedelia, subtly and tensely minimalist as Terrence Dixon at his best. On the flip, Dresvn takes more of a beeline to Detroit, fuelled by submerged classics like UR's Coinochime — cosmic, but deadly and unsettling. ('Gammel' means 'junk', in German. Maybe Magellan the explorer permeates that title, too, going round in circles in the East Indies, giddy and gammy below decks, amidst his trophy exotica.) Warmly recommended.

New Norwegian label Oblivion Dip outs two dense 15 min long tracks, both mixing field recording and sonic processing as if it would be captured live by an objective microphone from an underworld. A clattering & seemless soundscape of fridges, motors, birds from the Philipines and soft hissing atmospheres all the way through.

Pressed to 180g heavyweight vinyl. First 100 copies come on transparent vinyl. Artwork by Jazz Syu-Ying Chen, original drawing commissioned for the album. 'Compelling stuff' - FACT Magazine
Eomac is back in 2018 with a brand new album. After an intentionally quiet release schedule in 2017 to focus on developing a new label and presenting a monthly show on Radar Radio, he returns to the album format with the 11-track 'Reconnect'.

Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper and hectic leftfield club music. 'Goofballs' places its emphasis on playful melodies, ear worm hooks and vocals mixed with trademark machine funk rhythms that hit hard and land off balance. Any other way would be too obvious for an artist like Eric.

Eric explained the creation of this new album via email from his home on an island in lovely Balearic Palma Spain: i made it here in Palma at my studio, this is the first full record i've made entirely here since moving. some of this material was road tested September 2016 on tour supporting Animal Collective. This album was the result of real isolation here, countless hours, focused only on this. The whole recording & writing was a fast process. I focused most on the bass groove. I had a very minimal gear setup: 90's drum machine, cheap bass machine and a sampler. But most important was a homemade 'drum brain' that Barry's London custom made for me. Barry was in the Van Pelt Soldiers of Fortune & Oneida. That piece of gear was a big part of this record and informed the direction it took the most.'

Eric Copeland is a founding member of Black Dice as well as a prolific solo artist. Besides DFA, he has released albums on L.I.E.S., Post Present Medium and Paw Tracks.

Eric Frye is a Minneapolis, Minnesota, USA, based artist, curator, and composer carefully balancing the boundaries between sound, philosophy, and mathematics and tirelessly exploring the most remote possibilities of electronic composition.

Producing On Small Differences In Sensation' Eric dived into the mathematical concept of sheafification and came out with some of his most dynamic and generous works. The album includes a booklet with texts by French mathematician Andrée Ehresmann, Colombian philosopher Fernando Zalamea, and researcher Inigo Wilkins. It will speak directly to your ice-cold intellect and melt your mind all at once!

Coming from Italy by way of Berlin, Giorgio Dursi has fashioned an artistic practice where the familiarity of commonplace objects and voices fuse and contort into completely unexpected avenues of sound experience. In Intestinocephalo, his first release on Kraak, monologues languish into states of dormancy like an episode of intentional catathrenia and then expand, evolve and, finally, disengage. In order to project this tension within the amorphous, Dursi deploys electronics, horns, small instruments, vocals and, crucially, silence, constructing layers of free-flowing soundscapes and uncanny drones imbued with a growing sentience of their own.

“At the end of 2018 I entered a period of deep introspection due to several factors. On my desk there were texts on neuroscience, linguistics and music related to brain studies, evolutionary biology. I was also working with the manipulation of mental images translated into images of words which were subsequently manipulated and emitted through voice. It is a very simple process. Through exercising this process I was physically feeling the brain in movement, the chemical process of the creation and transformation of the mental images and the connection with the voice and the external environment. So I had this fixed idea of this organ that absorbs material from the outside environment, metabolizes it and then throws it out modified, through a hole. There’s where I had the feeling of a brain that is also an intestine and vice versa. A dualism of the rational high mind and the scatologic amorphous secretion. These are intuitions that I had for a long time, and are as old as human beings, but at that point it was something I was physically feeling

The Earth and the sky are the only entities that unite past, present and future. The man has always scrutinized the immensity of the space above him. Night after night, linking the bright stars together, the ancient populations of our planet imagined they could translate their myths and religious beliefs into the constellations, ordering today's eighty-eight and calculating with incredible precision, despite the meager tools available, both time and cosmic cycles. From the proliferation of superstitions to the establish of the sciences, the journey has been long and sometimes problematic.

The space only still 'imagined' with naked eyes, or observed with rudimentary telescopes, has slowly become 'conquerable' and, since the Sixties of the last century, at the center of an international competition between the two superpowers, the United States and the Soviet Union. From the first satellite launched into orbit at the man's landing on the Moon, successful facts have multiplied. The general attention was high, the stars were getting closer and closer, the media coverage was huge, the ideas became unlimited.

Many artists, at any latitude or longitude, tried to 'confront' themselves with spatial themes. The composer Giuliano Sorgini is among them. Some tracks of this unreleased album composed in 1973 represent, in fact, an attempt to fill with notes the distances that separate man from infinity, through 'itineraries' that do not indicate a precise destination such as, for example, Upwards, Outer and Thought. Others, instead, describe events that are impossible to be seized, such as Death Of A Comet, breathtaking landscapes to observe as you float in the air like astronauts tied to the 'umbilical cord' of their own spaceship, just think of Into The Space Immensity and Sweet Trance, even human and non-human presences, with the opener Man In The Space and the romantic Ufo as further demonstrations of the artist's genius. Each track tells what is possible, although invisible to many. Creativity compensates for reality.

The sounds of Giuliano Sorgini delicately invest the listener, favoring his immersion in a third dimension, in which elements of classical and electronic music, both with a strong communicative character, are merged and continually mixed up, between echoes and reverberations in the background. The prolonged repetition of tones and the almost imperceptible timbral variations don't hinder the harmonic weaving, explained by piano and flute, or obscure the psychedelic solutions adopted by the composer resulting from an appropriate use of the first synthesizers.

Going's third effort is a joint release by Silent Water and meakusma. Recorded in the span of one year in monthly recording sessions, it sees them venture off into an at times melismatic and contrasting contemplation on forward musical propulsion, 70s crossover jazz and minimalistic and at times downright futuristic electronic music. Over the course of two spun out yet concentrated pieces, light and dark are built into a mesmerizing musical reverie that is equally as contemplative as it is explicitly emotional and confrontational. Melodic as well as rhythmic accents diverge and coalesce with ease and poise, a subtle yet incessant throb defining everything throughout.

Hanno Leichtmann writes: "SY-4 was a four-channel sound installation I presented at the SYN/CUSSION festival in May 2017. It is a homage to my most beloved of electronic instruments: the SY-1 Syncussion Drum Synth by Pearl.

The installation, an 18 min loop, was made exclusively with recordings of the SY-1, with only a touch of reverb added here and there. SY-4 Berlin Mix is more-or-less one loop of the installation, in a stereo mix.

SY-4 Budapest Mix was recorded at 4D Sound, Budapest, during a residency in August 2017. For this mix I mostly worked with unused prerecorded sounds and samples of the SY-1, run through a ER-301 Sound Computer." - Hanno Leichtmann, Berlin, 15.ii.2018

Pinhas with Patrick Gauthier, François Auger and Didier Batard, from 1979; whilst Klaus Blasquiz' vocal spot adumbrates the links between Heldon and Magma, and runs back to his time with Pinhas in Blues Convention. The knockout here is Boléro, twenty minutes of sound and fury, lit up by the sequencers of engineer Didier Badez.

Previously unreleased, the three tracks on Pays Noir come from recording sessions held at the same time as those for the cult No Man's Land.Brimming with the same fervour as that LP, mainly on guitar and drums (but once again, not only...), Jean-Franc¸ois Pauvros and Gaby Bizien invent an amazing unbridled chaos of instinctive combinations. A kind of French no wave ahead of its time!

Holed away in Cosmic Resonance's basement studio/headquarters in Toronto, Jess (KTA) improvised freely over 8 straight early January days in 2018. The result was a free jazz, techno-addled synth orchestra too rich to know its own wealth of nuance. Slowly the layers began to be peeled away at KTA's home studio in Parkdale, Ontario, Canada. Glimmers of diamond-encrusted synth rays started to peak out from behind massive bass line clouds. Mountains, valleys, rivers, trees and a full landscape appeared. A world was discovered and it is MAHOGANI FOREST.Jessica Cho (KTA) has been creating buzz in Toronto's downtown dance music community with her live, improvised electronic music performances and multi medium DJ sets for nine years. A classically trained pianist with an intuition for improvisation and the sonic universe, KTA transcends the dancefloor into the astral floor. Her sound palette is vivid and technicolor, a timeless fusion of raw, fearless creativity and focus. Cho has proven her versatility in dozens of Toronto venues performing solo, and with former live house duo CHOBO. She has released a variety of tracks on labels such as Arachnidiscs, Architextures, Toy Tonics from Berlin, Secret Jams from Bulgaria, and her solo EP on Toronto's Mikita Skyy.

KRAMP is the solo project of Stijn Wybouw, a young artist involved in numerous visual and musical projects that often overlap and which share an unflinchingly honest approach, as well as penchant for crimson hues. As KRAMP, Wybouw assumes a red-faced identity to unleash raw machinations that take on ceremonial underpinnings through coarse compositions, murky drones, and warped vocalizations, all churned through the marshy fuzz of various tape recorders. After a slew of self-releases, KRAMP’s first wax outing
remains bound to a DIY ethos reminiscent of early 2000s noise and freakfolk undercurrents. On Nervous Rattles, the core is shaped by the original tapes themselves, their materiality evident through the process of flipping, tampering, layering and collaging, resulting in muddled interweaving textures that form a deranged tapestry of a near-ritualistic order. Chanting, breathing, moaning, howling and other bodily elements enter into a free-form dialogue with an indiscriminate array of instruments to create an open-ended, hypnotically shifting structure. A return to primordial zones, hearkening to the ungraspable eeriness of something both
familiar and mystifying.

'Serendipity' - defined as making discoveries or happy accidents - is the debut EP by Liam van Ryn. It's a fitting description for the richly textured and cinematic four track collection that was the result of intensive and prolonged sessions 'goofing around' on analogue gear. Strictly limited 12' pressing - this is a hell of a debut - one to watch for the future! 'The title track is the most immediately wonderful cut here, with choked arpeggios, clouds of caustic static and found scrapes as percussion.'
DJ Mag (8/10 EP Review)
Early support from:
Nathan Fake - 'Interesting lush sounds'
Lanark Artefax - 'Sounds great and is really coherent for a debut EP'
Tessela - 'This is wicked man, really like that Pitch1!'

Based in Hull, van Ryn makes richly textured and layered, cinematic music that is both experimental and (mostly) electronic.

'I was interested in the way I could make the music sound slightly unnatural, or like it couldn't be played by a real musician, even though that was often the starting point,' he explains.
An alumnus of Gilles Peterson's Future Bubblers project (a grassroots talent discovery and development programme), he was commissioned in 2017 by Hull City of Culture to write and perform a tribute to the pioneering work of local hero Basil Kirchin - an outsider musician, free-thinker and pioneer of sound manipulation.

Glasgow-based musician and producer Lo Kindre is at the heart of his local electronic music scene. He has previously released on Optimo Music and is a serial collaborator with MR TC, most recently launching the Phase Group label together. He’s played on Red Light Radio, LYL Radio, supported the legendary Adrian Sherwood, and put out records with the widely lauded Austrian label Neubau as well as Glasgow's 12th Isle.

Private Worlds is Lo Kindre’s most thoughtful and introspective release yet, seeing him reach once again for the spaced out dubby recesses of electronic music, adding-in a ladleful of drone and some choice samples to create something that sounds fresh and new.

Already a renowned live band on the London gig circuit, Lunch Money Life make apocalypse music, impossible to categorise, rich in texture, immersing the listener in a world of disgust and yearning. Their debut album 'Immersion Chamber' is the perfect embodiment of that. Full of foreboding energy, restless beats and agitated noise: it's mardy electronics married with tense jazz-tinged and combative drumming.

Lunch Money Life are Stewart Hughes (drums) Sean Keating (guitar) Luke Mills-Pettigrew (bass) Jack Martin (electronics/trombone) Spencer Martin (electronics/saxophone). A few years ago, Spencer wrote to 50 churches in East London looking for a job as an organist - one responded, All Saints Haggerston, where he still plays every Sunday. In a city where traditional rehearsal is near unaffordable, this was a lifeline for the band during its early, experimental period. It is the results of this period that make up 'Immersion Chamber'.

The band initially featured 10 members, a loose collective now (somewhat) sharpened ahead of album release, as documented in an electric Boiler Room set at the end of 2019.

Bubbling on the fringes of the London music scene for years, between them creating & sculpting Church of Sound, Total Refreshment Centre, Touching Bass & Tiff’s Joints. In the wake of 2018’s sold-out collaboration with Jamaican outfit Equiknoxx - Living3000 EP - the group has released lunchmoneylife STYLES™, a label compilation in the form of a cereal box, and Unlimited Ice Cream Palace EP on Kaya Kaya Records, featuring remixes by King Knut and Captain Terence McDonagh.

The album is coming out via Scenic Route. A label that started in October 2019 after beginning life as a regular south London party. Previous releases include Desert Sound Colony: expect more releases, parties and, in their own words, "there'll be a melancholic and introspective thread running through everything we release".

Stewart Hughes - drums
Sean Keating - guitar
Luke Mills-Pettigrew - bass
Jack Martin - electronics / trombone
Spencer Martin - electronics / saxophone

Mixed by Danalogue the Conqueror
Mastered by Frank Merritt
Artwork by Aurelie Michaud

Rutger Zuydervelt aka Machinefabriek needs no introduction - a hugely prolific electronic experimenter who has recorded for labels such as Type, Digitalis, Dekorder, Western Vinyl, and many many more, Where To Now Records are truly humbled to handle his latest collaborative work ‘Oehoe’. Produced in collaboration with viola / violinist Anne Bakker, a classically trained solo artist in her own right, and currently performing strings as part of Agnes Obel’s band, Machinefabriek here has sown a landscape of Anne’s raw violin, viola, and vocal improvisations into a stirring body of work which merges tradition, experimentation, and whimsical curiosity to create a distinctively unique album which is both deeply moving and playfully dissonant in equal measure.

Given that Anne’s improvised vocals are wordless throughout, it is to Rutger’s absolute credit that he has assembled and transcended these intonations to often devastating emotional effect. Anne’s vocal experiments exude a classical polyphonic antiquity, they lushly hover above her own Reichian minimalist string arrangements, and Machinefabriek’s deeply brooding, cacophonic synthesized soundscapes. Across these 10 pieces we delve into a world which seamlessly moves between a state of harmonious contentment; or a very murky calm, to moments of lively ecstasy, and deep deep down to a vast and brooding melancholy.

Anthems for misty trottoirs and empty clubs.

Milan W's new lp is here and it sounds like a comedown-classic which is way too funky to be an ambient record and has the power to cut as deep as any decent delta blues album.

His early nineties exotica creeps up on you in a good way. These sounds let your melted brain walk towards every light you can find in that dark tunnel. Every jam on this lp is well constructed and a bit more complex then usual. No worries, tracks are moving with their own elegant logic. Excess is trimmed away and the crispy rhythm programming is pulling you deeper and deeper into the melodic fog of heavenly layered synths. A certain songlike chemistry is never far away in these jams.

Sweet memories of early Warp-classics and Rephlex good old freshness come to mind (think early Autechre, Bochum Welt,...). The feel is less krauty and much more UK but definitely Milan’s. Digesting the old into something completely fresh. Ghosts of new beat are lingering on. Slowly but clearly Milan W slips away from the bar towards the floor. The groove is more uptempo and these tracks are built to make you move in both ways. You can definitely start smelling the club in here. Smooth but raw and pretty far from any big room stylistics. Ocean-dwelling atmosphere included.

RYSUNKU is proud to present it's newest signing, esteemed producer Noble Drew Ali aka Morell Maison. The artist will be launching the new signing with his debut EP 'Natasha'.
Though the artists own music production has hardly yet revealed itself, his presence within the industry has been far from unnoticeable. NTS Radio monthly resident and renowned as a substantial contributor to the artistic development of contemporary electronic music.With his debut EP, 'Natasha' , audiences will finally be able to experience the more personal outcomes of Noble's musical approach so far. Here we hear Noble Drew Ali exploring a sonic architecture of sweeping yet poignant baselines and fragmented percussion. The first listening experience to have evolved from Noble's cultivating musical journey. Lovingly pressed on an extremely limited run of 300. Five stunning tracks on 180g black vinyl featuring artwork by Gareth Horner. Rysunku is truly honoured to be releasing this music.

For Our first DEXT EP of 2019 we welcome Otik to step up for his follow up release to “Deep Red EP” that dropped on DEXT early 2017 , since then Otik has had solid release’s on labels such as Keysound recordings & Midlands Intergraded.

This EP see’s the London based Bristolian on the usual rugged form we have come to expect, with grimey broken beats lots off bottom end sub action and cascading synths. On The B – Side we welcome Bruce who reworks the lead track “Dioxide” into a wonky bassline roller guaranteed to cause maximum damage on the dancefloors in the early hours.

“Berceuse Heroique is very proud to announce that one of our biggest heroes is going to be our next release for this year. Pinch, one of the seminal members of the Bristol scene, is kickstarting a trilogy of 12"s that we call "an ode to sound system culture", trying to invoke the long lost spirits of pure, heavyweight, hardcore hedonism that stems from a lot of sub genres of British dance music culture. Border Control fuses the industrial aesthetics of Birmingham techno and the jungle techno pressure of the early 90's and in the end it sounds like a fight anthem against Brexit. Fortune Teller will test any soundsystem with that Dillinja-esque bassline and Loose Cables could easily be the younger brother of one of Pinch's most underrated tunes, The Attack Of The Killer Robot Spiders. Pinch runs the voodoo down one more time and he sounds pissed off and more fresh than ever.”

British producer Portrait next on Aura LTD! The label head returns to Aura Dinamica for Environments One. The project pairs paintings produced by the artist, with music inspired by the creative overlap between the two processes. Working back and forth between the two mediums, the artist builds up a conversation that looks at depth, texture and dynamism in both spaces.

ptwiggs brings the surrealist violence for brand spanking Sydney imprint Deep Seeded. Taking an erratic hairpin turn after DSR001's off-piste techno, PURGE comes off like a tragicomic thriller, swerving between saccharine sensitivity and brutal ultra-violence in the blink of an eye.

Shit is rough in ptwiggs towers, dishing out relentless Tyson jabs to the head on 'Day Of Wrath' with Holly Herndon's inverted poltergeist drifting about between the blows, while 'Lara Dies' seems to execute your favourite video game character a trillion times per second just for laffs. But it's not all blood and guts rendered in vivid HD. Coil-axis twinning of demonic and angelic energies course through 'YYYY' and drift below the surface of the more berserk pieces. Not for the faint of heart but life's probs beaten the feeling out of you at this point anyway.

Crystalline, surging IDM with a modern UK techno sensibility', upcoming Brighton-based producer qgb presents his debut LP 'Hornets' via his own Present Tense imprint.Produced over a two-year period, the album glides with lucidity between eight tracks of shimmering ambience and crisp polyrhythmic glitches. The title itself referring to poetic connections between the micro-world of insects and the intricate sound design/aesthetic of qgb's music. Throughout the record a crossbreed of UK techno influences emerge, blending approaches from 90's stalwarts (Autechre, Cristian Vogel and Mosquito Records) with the stylistic-leanings of more contemporary labels (e.g. Hessle Audio and Livity Sound). Aoki Takamasa, Alva Noto and Team Doyobi are also cited as inspirations. In adherence with the album concept, it takes form in a limited run of 100 custom-built USB sticks frozen in synthetic amber designed by designer Samuel Illife.

For the second installation of the limited catalogue GODCUTS, we are happy to present 5 original Quicksails' tracks with 3 remixes by Brett Naucke, Khaki Blazer and Austin favourite Shit&Shine.

Ben Billington aka Quicksails is a polyedric musician very active in the Chicago scene, with a stringful of releases on different labels, among them the mighty "Mayville Dream" on Spectrum Spools.

On side A he explores the world existing between electronic and acoustic, with very unique and interesting results, not actually comparable to other stuff we've already heard. Check the clips to listen to what we're talking about.

On side B his Spectrum Spools colleague Brett Naucke transforms "My Moon" in a cybernetic dream, while Khaki Blazer goes on a different direction, moving toward a 4-legs transgenic footwork.

Closing the ep is the remix version of Craig Clouse, who puts the original version in his special washing machine for a heavy laundry that gives you back everything way more dirty.

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Available in a non-specified number of copies, these releases are hand-cut on vinyl by the label itself.

Vinyls are all transparent, without the paper center label but with a white silk screen design + hand stamped cat. number.

They will also come with a brand new series of cover artworks designed by Airbag studio, realised with white silk-screen print on black paperboard.

On the inside, an internal sleeve with another artwork + all the info about the release.

Due to this, the final price will be higher than the standard GOD catalogue and every shop is asked to take no more than 5 copies, in order to let everyone have them.

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RITES OF PASSAGE is an obscure artist from Moscow delivering the first release on new imprint BORE HOLE with some very personal lo-fi recordings showcasing his raw minimalistic style with trippy tribal sound excursions!

Another brilliant set of pop-meets-pop rodgerings by De Murcia of no mercy, this time riding East for inspiration, following his notable Wasted House EP from last year. Five sharp and discombobulating detournements: funny, flatulent, sexual, knockabout, unpretentious and danceable. Ace.

A composition of treatments for adapted piano harp and electric guitar.

In 2016, I managed to salvage a piano that belonged to my brother and had spent four years sitting in a garage. Getting it home nearly killed my van. The first objective was to strip the harp and mount surface transducers to it with the hope of being able to excite the strings and ultimately explore a tuneable sympathetic reverb. After a lot of trial and error, workable results were produced which became the foundations for Relief Tours.

The album was recorded over six months or so with tracks typically centering around one or two objects - some kind of treatment for the piano and improvisations on electric guitar. Experimenting with the objects is never something I've been particularly scientific about by any means, nothing more than the basic sequence of continuing to develop the best results that had emerged from the previous experiment. Concepts were typically very simple e.g. getting percussive overtones from the piano strings. My usual approach is to sketch some possible methods then just begin, so in this case it was tugging winds of horse hair and then settling on an angle of about 30°. This produced the deep bell like sound that can be heard on Benthic Salvage.

Certain sounds would often dictate the course of things. For example, the juddering of a rubber ball being dragged down a smooth surface would, in turn, result in trying to recreate the same percussive movement on the piano harp with a car spring and some big magnets, which then went on to provoke something else and so on. The results would influence the next decision and eventually a track would begin to take shape. Each track hosts a small group of related ideas like this with the tonal work often being the last stage - improvised reactions to the textural parts.

The physicality and movement of the sounds, and the instrument-like properties that came from experimenting with objects, both sonically and tangibly, were really the driving force behind the record.

‘A Quiet Corner In Time’ began life as a sound work created by composer Simon Fisher Turner for renowned ceramicist Edmund de Waal’s installation at the Schindler house in Los Angeles. Fisher Turner and de Waal’s collaboration is a metamorphosis of that work into a standalone album release. The album represents the first time de Waal has collaborated so closely with a musician and draws Simon Fisher Turner’s past into the present as it references his early sound work for Derek Jarman’s films (he worked with Jarman from Caravaggio up to his final work, Blue). ‘A Quiet Corner In Time’ brings together Fisher Turner’s field recordings collected with de Waal in
Vienna and LA alongside placed materials and architectural interventions: porcelain vessels, furniture and vitrines. This huge soundworld combines elements of de Waal’s own history, detailed in his 2010 memoir The Hare With Amber Eyes; the Schindler House itself; its former resident John Cage, along with sounds swapped with Ryuichi Sakamoto into a meditative drama, poised between action and stasis, mischief and grace.

Soviet Space Research Institute (SSRI) is a musical scheme led by Vladimiros Peilivanidis under the moniker Heinz Kammler. Similar to other HK by-products such as ITPDWIP (Instant Teleportation Process Detected While In Progress), SSRI is influenced by early Soviet and Western electronix of the likes of Detroit, Bristol, Munich, and St. Petersburg.

ARPA Spatial Industries is a fictional exotic tech R&D firm operating from 2036. The SSR Institute is exploring the cosmic endeavours of ARPA S.I. as presented through a series of public commercials.

In this episode, we cover three particular commercials released between April and September 2036.

“ Xerum 525 “
A marvelous piece of exotic chemistry, Xerum 525 is an artificial compound developed by ARPA Industries in association with Bend Systems, the only company run entirely by Homos and not Digital Twins, or Self-Centered Intelligence.
While its source genetic code is blurry, speculations suggest that Xerum 525 originates from a combination of research conducted between the Hermetic and the Nazi eras.

In addition, it is yet unknown how this compound is being utilized by the tech giant, although most schematics, algorithms and patent filings subjecting Xerum 525 involve some sort of timestamp mutation protocols, hence Bend Systems is involved, a legal entity known to be tackling with molecular dispatch technology distributed through time “checkpoints”.

“ ARPA Interceptor ”
One of the most controversial spacecraft developments of this year was the proposed ARPA Interceptor blueprint, designed by the award- winning space- dynamics engineer Alexei Cherepanov.

Dubbed as the first commercial one-seater spacecraft, the ARPA interceptor is capable of performing a full cycle around our solar system in less than 11 earth- days and with only a single charge of its graphene- powered cells.
While the Interceptor is designed for those willing to pay the extra mile in order to enjoy private space rides, it is said that the autonomous aircraft will be able to intercommunicate with various ARPA stations all over the solar system, essentially providing metrics every time an Interceptor is at use by its owner.

“ A black cat’s journey to the other side ”
The initial propagation material is showcasing the first successful instant teleportation process as detected by the SSRI observatory. In this case, ARPA managed to transfer the physical representation of a black lab cat called “Pierrot” to one of ARPA’s MAS1-mission stations on Mars.

The technique used in the successful operation involved photonic technology, quantum entanglement principles and molecular-scale 3D printers.

Furthermore, the operation was a joint effort between ARPA, the space logistics giant Hermes 3 (H3 Interstellar), and Harvester Inc., a leading mining venture operating independently from Mars and the first legal entity run entirely by machines.

Additional telecommunications infrastructure was provided by Orion Industries, the company behind the popular TAF-1S smart hand-held device.

While critics suggested that the incident cannot be confirmed as “teleportation” since in essence the original subject was scanned, erased from existence, and reprinted on ‘the other side of the line’, adding that such a scenario holds bioethical concerns about whether we’re really transferring the real thing, or we create an identical replica, ARPA cits that this is the first step towards near- instant physical, digital, and biological data transfer over extraterrestrial distances.

“ Cold Summer ”
This is not an ode to the Aussies enjoying sunny beaches during December, but an audible set of frequencies tailored to transmit a Cold Summer Vibe on Mars’ capital Cydonia.

During the six-month long summer on the red planet, Synths enjoy the hills of the Southern hemisphere where temperatures can remind somewhat of planet Gaia (former Earth). The Sun is on a heating spree, cleaving the planet with gold-red rays of thermal radiation.

At that period of the year, the hills are a popular destination for romantic engagements, and hard-resets. Additionally, the hills are considered a must experience while on Mars for all interstellar intelligence.

Queen Sound' is an album inspired by a visual world governed by whetted femininity, populated by impish silhouettes, twisted bucolic landscapes and wide-windowed interiors.

Sunatirene is the solo project of New York via Baltimore musician and sound artist, Sydney Spann. She uses archival samples, strings, field recordings, chance operations, and lyric poetry to fashion melodies within soundscapes. Spann's live performances often incorporate a rotating theatrical iconography to match sonic motifs. She released her debut full-length ‘Trepanning’ via Ehse Records in 2015. ‘Queen Sound’ is her second full-length, and her first release on She Rocks!

Remastered Reissue des zweiten On-U Sound Katalogalbums, des Post-Punk-Klassikers "Pay Attention!" der Mothmen von 1980. Exklusive CD-Erstveröffentlichung mit 6 Bonustracks, davon 3 bislang unveröffentlicht, die alle als mp3-Code auch auf der LP enthalten sind. The Mothmen bestanden aus Mitgliedern der beiden Manchester-Bands Alberto Y Lost Trios Paranoias und Durutti Column und mischten Gitarrenriffs mit Ohrwurmmelodien in einer Dub-Produktionsästhetik. Für Fans von Wire, Gang Of Four und Public Image Limited.

The Sound Wizard behind the name The Small Crowd is Martin H. His influences are all over the map and he's been remixing, producing, arranging for other artists in Sweden for some time now.This is his solo project where he blends his heavenly, mostly instrumental, mix of electronic music with a classical string quartet (Rosa Kvartetten).Adventurous and beautiful.

Words that capture this resultant outcome. A spectral haze of subconscious, living rhythms. A meeting of mind-tribes. Close; Kudo; Ruscha; Tripp. Hear, the discovery of Tkil.
Such collaboration can bring powerful interests, mixing diversity with vivid psychedelic motions. Soundscapes of improvised beats, jamming intersections float and pierce the sonic sphere. Aural poetics illuminated across satellite optics, NYC-LA-NYC-LA.
The quartet creates in a non-linear, multiple level, liquid sequence. Four individuals, their subtle personality's reiterating sonic textures to form cascading minimalist atmospheres, chimes and percussion - diffused harmonics of ethnic vortices descending endlessly. Acting as coordinates that search for their source, a purity of multiplicity is presented.
Together these are focused experiments, raga-like meditations of precious expression from artistic connotation. Visionary; subtle; mysterious. Their essence an eclectic blend of composition, a natural but technical expression of cosmic minimalism and world music influence. The outcome is a magical encounter of artists finding a creative affinity, sweeping downstream on a rolling rhythmic magic muse, beyond a bizarre excursion to capture the thrill of modernism, moments that reach the soul of alienation and togetherness in equal, savant, infinity.

Juddering bangers and hypnotic body-rockers, dazed spells and rootical wig-outs spun from early Detroit, West African field recordings, dub and beatbox hip hop; rough as fuck and clatteringly percussive, but shot through with a gritty numinousness. Soundboy techno; Stokey worries.
Gorgeously sleeved in midnight-black art-paper, intricately printed in silver with the visionary photography of Katrin Koenning, folded by hand and packed into Japanese cellophane envelopes.

2021 repress of Tupperwear’s 2017’s sophomore album, Mokele Mbembe.

Rising from the ashes of legendary underground Tenerife outfit Colectivo Drone are Tupperwear - an organic electronic duo formed by Daniel García (Salétile) and Mladen Kurajica (Gaf) in 1999, Tenerife. Since then, and for the most of 20+ years they have been unleashing electronic waves of sound from the Atlantic island by way of intense live and a series of uncompromising and unclassifiable albums and EPs.

Taking cues from a wide spectrum of electronic music classics, mostly the more pastoral and frantic electronica of Aphex Twin et all circa the late 90’s, whilst at the same time adding their own mischievous and tongue in cheek approach to composition and performance, Tupperwear have for the last 20 years been responsible for some of the most intense live performances the island has seen whilst also taking their anything goes, improvisation first approach all over the world, tis includes virtually all of Europe (east or west), Japan, China, Peru, Colombia, Equador or Mexico, you name it!

In 2017 the local festival and label Keroxen published ‘Mokele Mbembe’, their 2nd LP of twisted electronica which is here repressed to a wider public after the success of their collaboration with São Paulo Underground and Chicago legend Rob Mazurek. (Saturno Mágico, 2021, Keroxen).

Croydon's Yearning Kru uses digital technology and specifically sampling to make a unique lo-fi psychedelic environment. There is a large visual element with all his artwork self-made and live performances accompanied by his own distinctive visual montages. His work is inspired by the world-building aspect of various literary fantasy environments, especially Gormenghast and Dune, and the music is a psychedelic representation of landscapes rather than narratives of characters (as more song-based music might represent). The tracks function as viewpoints into a world for a brief period of time, and the world represented is one of small workshops toiling and churning in the shadow of great hives of technology. The title "Copper Vale" is meant to hint at something both pastoral and bucolic, a valley or secluded glade, but also recognising the industry and electricity that drives our world, something that is often set at odds against nature; also the genres of fantasy and sci-fi, that show ideas of past and future through these archetypal cultural ideas. His previous albums were the two-part cassette "Cracked Lacquer/Vanadium" on Patten's Kaleidoscope records (and it's remixes), his own self-released "Red Ice" and "Forways" on Quantum Natives as well as various self-released EPs. Much of "Copper Vale" was created in South Korea and Taiwan where he is now based.

After more than a decade of deep, expansive productions on labels such as Detroit Underground and CPU, Annie Hall arrives on MUSAR for a record typically rich in texture and understated grooves.

Opening track 'Linium' immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly twisting and turning its way around Hall's analogue world. Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of 'Lavandula'. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline. The EP continues to hit a more urgent note with the tense machinations of 'Silene', where dense layers of stuttering, frenetic drums interweave with Hall's trademark, melancholy keys. The record concludes on a weightless, transcendent note with 'Santolina', taking each visceral element featured thus far and slowing each down, with affecting results.

Indebted to vintage electro and IDM, Hall's music is no throwback, always looking forward and moving dancefloors in the most unexpected ways.



DJ FEEDBACK

Early support from



Michael Mayer (Kompakt) : Nice vibes from Mattheis... will play for sure!

James Zabiela (Born Electric) : Linium is a nice one, thanks.

Arnaud Le Texier (Cocoon / Chronicle) : Nice music. Thx!

Marcel Dettmann (Ostgut Ton/MDR) : Thx!

Carl Craig (Planet E) : Thx!

Gonno (Beats In Space Records / Endless Flight) : I like Mattheis' :)

Thomas Hessler (Index Marcel Fengler) : Nice one! Thank you!

Slam (Soma) : Thanx

Âme (Innervisions) : Thanks

Blasha & Allatt (Meat Free / Manchester) : Amazing!

EREZ / John Byrun : A superb EP

Tom Lye (Melodic Distraction - Liverpool) : Big fan of the whole EP. Strong, building electro with different moods. Essential!

Afrodeutsche (NTS / LuckyMe / Skam) : Glitchy melodica... Right up my Strasse...

DJ Shiva / Noncompliant (Valence / Detroit Underground) : Stellar music here. Moving beyond "DJ music", this is just really fantastic to listen to in headphones. Gorgeous stuff.

Lonya (Asymmetric Recordings) : Great stuff here!

Nori (Posivision) : Cool work.

Cinnaman (Rush Hour / Naked Naked) : Lavandula and Santolina are my favorites! thanks

Dj Windows XP (E-Beamz) : Dope E.P. Will play Lavandula.

Ambivalent/LA-4A (Delft/Cocoon/Ovum) I'm a huge fan of Annie Hall and Mattheis!!! This is a FANTASTIC release!! One of my favorites of recent months just on first listen!!

Benoit C (Tsugi) : Linium for me

Ian Blevins (ESP Institute / Sulk Magic) : Linium and another bit of top work from Mattheis. Santolina is pushing my buttons too. Aphexy vibes.

Joe Europe (Ransom Note) : Very nice!

Azterisco: Very interesting record. Nice remix!

Oded Peled : What a fantastic release! Was hard to choose a favourite between Linium and the Mattheis Remix of Lavandula. Both will come in handy in my sets. ....Thanx a lot and keep em coming.

Naduve (Cocktail d'Amore / Disco Halal) : Both A1 and A2 are great!..Thanks.

Anastasia Kristensen (Nous) : I dig this a lot, it's a crazy well produced record.

Demia E.Clash (Darknet) : Such a good ep-.i love them all,quality production yess.

Pedro Martins (Karakter Records) : Nice EP overall. Linium, Silene, and Santolina are my favorites. Thank you so much!

Xinobi (Discotexas) : Great record. I'm specially enchanted by the original version o Lavandula. Congratulations.

Scan Mode (DJ Mag Spain) : Lavandula in both mixes for me

John Osborn (TANSTAAFL) : Can't pick a fav. it is all Devine. thank you.

Madloch (Sound Avenue) : Nice EP, Linium & Lavandula original are my favs, thanks.

DVS NME (Transient Force) : The standout track is Lavandula.