Beats News

Originally issued by Ascetic House as a small limited-run cassette release in early 2018, PLYXY's debut EP Gloryland will now be available on vinyl and digital formats by Hallow Ground.

Haunted by the pressing question, "What if", the five compositions on Gloryland aim to create, in the words of the artist, Ros Knopov, himself, "a hyper-visual audio landscape of a world somebody listening can fall into and drown in."

The term "nostalgia" originally referred to the longing for a place. The nostalgia that informs Gloryland is PLYXY's longing for his cultural-geographic roots while feeling adrift in an alien environment. Born in Dnepropetrovsk, then the rocket-making capital of the USSR, Knopov immigrated to New York City as a child in 1989. In Gloryland, he dives deep into his uneasy childhood memories and their warped reflections. PLYXY marks the unreliability of his recollections by making it heard - the anthemic qualities of the five pieces are coated in an opaque layer of dream-like textures. From the elegiac opener, It Will Be Beautiful, to the blaring rhythmic noise of March Of Youth, the greyscale picture painted by Gloryland becomes more and more refined below the surface.

Released In September 1978, A Mere Two Months Before Ymo's Debut, Cochin Moon Is A Clear Precursor To The Groundbreaking Synth And Sequencer-dominated Sounds That Would Come To Define The Iconic Trio. Credited To Hosono And Pop Art Legend Tadanori Yokoo (who Created The Cover Art), Cochin Moon Is A Fictional Soundtrack To A Journey Into Unknown Worlds, Inspired By Hosono And Yokoo's Trip To India.
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The Unbelievably Prolific Haruomi Hosono Is One Of The Major Architects Of Modern Japanese Pop Music. With His Encyclopedic Knowledge Of Music And Boundless Curiosity For New Sounds, Hosono Is The Auteur Of His Own Idiosyncratic Musical World, Putting His Unmistakable Stamp On Hundreds Of Recordings As An Artist, Session Player, Songwriter And Producer. Born And Raised In Central Tokyo, His Adolescent Obsession With American Pop Culture Informed His Early Forays Into Country Music, Which He Would Revisit Later In His Career. Hosono Made His Professional Debut In 1969 As A Member Of Apryl Fool, Whose Heavy Psychedelia Was Somewhat At Odds With His Influences, Which Leaned Towards The Rootsy Sounds Of Moby Grape And Buffalo Springfield. The Latter Was One Of The Main Inspirations For His Next Group, Happy End, Whose Unique Blend Of West Coast Sounds With Japanese Lyrics Proved To Be Highly Influential Over The Course Of Three Albums. After The Band's Amicable Break Up In 1973, Hosono Began His Solo Career With Hosono House, An Intimate Slice Of Japanese Americana Recorded Inside A Rented House With Recording Gear Squeezed Into Its Tiny Bedroom. Hosono's Solo Career Would Take Many Twists And Turns From This Point Forward, With Forays Into Exotica, Electronic, Ambient, And Techno, Culminating In The Massive Success Of Techno Pop Group Yellow Magic Orchestra (ymo).

Released In September 1978, A Mere Two Months Before Ymo's Debut, Cochin Moon Is A Clear Precursor To The Groundbreaking Synth And Sequencer-dominated Sounds That Would Come To Define The Iconic Trio. Credited To Hosono And Pop Art Legend Tadanori Yokoo (who Created The Cover Art), Cochin Moon Is A Fictional Soundtrack To A Journey Into Unknown Worlds, Inspired By Hosono And Yokoo's Trip To India. Initially The Album Was To Be A Kind Of Ethnographic Musical Document, Using Found Sounds And Field Recordings Made By Hosono Himself. Instead, After Yokoo Introduced Hosono To The Sounds Of Kraftwerk And Krautrock During The Trip, Cochin Moon Became Something Much Stranger. Created Almost Entirely On Synthesizers And Sequencers With The Help Of Future Ymo Collaborators Ryuichi Sakamoto And Hideki Matsutake, The Music On The Album Is The Perfect Encapsulation Of Hosono's Concept Of sightseeing Music,' Transporting The Listener To An Exotic Place That May Or May Not Exist. This Highly Sought-after Album Sees Its First-ever Official Release Outside Of Japan

The Eggplant gets mature

5 years of audible meals - 5 years of diverse electronic music and Eggplant-based recipes.
We're celebrating MONIKER EGGPLANT's anniversary by releasing the RECIPE DECALOGUE - a VA compilation containing 10 tracks by 11 artists on two sides of one 12" record:
The EGG side is representing the feisty and straight forward tastes eggplants might have.

The PLANT side is representing the rich and complex tastes eggplants might have.
The RECIPE DECALOGUE represents everything MONIKER EGGPLANT stands for: Tasty and diverse audible meals seasoned with dance floor attitude, experimentation, and spiciness.

The record comes in a beautiful and unique silkscreen printed cover.

Athens, Greece resident and Vanila records owner ANFS lands on Horo for an EP of jagged, industrial tinged Techno. Breakbeats are hacked and repurposed into brutal shards, with 'Kounoupi's amen march adding a slowed down, vicious take on the infamous roll. 'Salepsa' is a propulsive call to the floor, robust and emphatic, with 'Dervisis' and 'Komena' bookending the EP with rattling menace.

This album is a collaboration between labels Kontra-Musik and Kess Kill. What would have become of D.A.F. if they had been signed to Trojan instead of Mute back in the day Add a good pinch of absurdism and social realism in the vein of prized film director Roy Andersson and Vanligt Folk might just be the answer. The Gothenburg group's name can be translated to 'common people' and they make use of primitive electronics, drums and skewed vocals - ranging from harsh social commentary to the purely nonsensical - to create their own take on body music. 'Hambo' is the name of a traditional Swedish folk dance that was highly popular among the common people at the turn of the last century. With this album, Vanligt Folk juxtaposes the working class dance phenomena of Hambo with modern day rave culture. This is done in the most blasphemous manner thinkable, as is the way of Vanligt Folk. Concepts like nationalism, race and tradition are all treated with the same merry lack of reverence. The only thing that needs to be respected is The Dance and those who take part in it, whether accompanied by accordions or drum machines. Or both.

Second Release of Childhood Electronix. A collaborational label between Furthur Electronix & Childhood Intelligence feat. Station Rose & Erell Ranson.

Southend-on-Sea experimental outfit Liberez deliver the end result of a year and a half long recording process, an amorphous new line up and advanced studies in sound collage.
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On 'Way Through Vulnerability' new members Reay, Saunders and Ugarteburu channel the projects previous outings on Alter and Night School by conveying the same firm grounding in rhythm, though this time via Flamenco time signatures and eerie, repetitive clapping. At times sounding indebted to the 'tribal ambient' of decades gone by, at times sounding fresh in their approach ('Here is the Proof' is of note) the trio manage to export motifs from Italian avant-garde circles, UK industrial and dare we say post-rock all at the same time. The sound design on 'Derelict Intentions' makes heavy use of background ambience and bleak, world-weary minimalism to lull us into a false sense of calm before harsh and unexpected blurts of noise break the equilibrium. In doing so they swiftly side-step any preconceptions of 'easy listening' and opt instead to drag us deeper down into their own dark waters. At times we almost seem to delve into lost theatre soundtrack territory; fragmented neo-classical elements dance with punchy drum machines ('Cara En La Foto Pt II') and things draw to a close with the end credit worthy swansong of the album's title track. The group repeatedly utilise Basque country language, Hungarian dialect and ancient Russian to lend their compositions a cross-cultural underpinning and eschew any clear geographic origin, a decision which all but adds to the perplexities of their unique brand of electro-acoustic purgatory.

Exzellente Remix-ep Von Lorenzo Senni, Bekannt Für Seine Dekonstruktionen Von 1990er Trance-archetypen. Hier Legen Gleich Drei Renommierte Künstler Eigenwillige Reinterpretationen Seines Klassikers "xallegrox" Aus 2017 Vor: Der Mega Angesagte Detroiter Dj Stingray (tresor, Clone, Diagonal), Der Gebürtige Augsburger Florian Hecker (editions Mego, Pan, Rephlex) Und Das Italienische Vorzeige-duo Tale Of Us, Dessen Remix Dem 12" Vinyl Als Download-code Beiliegt.

An artist whose sound is so distinct it couldn't be replicated by anyone else, PRAYER's productions are unmistakable creations influenced by ambient to breaks and jungle to classical. Returning to his family label GRADE 10, Prayer will release 'GOODBYE,' a moving three track EP out on vinyl and digital November 2nd 2018. A cinematic, moody and stripped-back offering, 'GOODBYE' is reminiscent of Prayer's earlier work, and finds an ideal home on his collective GRADE 10 imprint.

The third of three samplers, comprised of selected tracks taken from Spencer Parker's new album, Dance Music

A fantastic voyage, from earth to space, through time or simply as the most beautiful and peaceful dive into the ocean. Old music transformed into something new, unique. That's special.

The second of three samplers, comprised of selected tracks taken from Spencer Parker's new album, Dance Music

Patricia Kokett's sound is shrouded in a veil of mysticism. The brainchild of Lithuanian Gediminas Jakubka, Diabel's metallic heartbeat underlies a magical superstructure that evokes some kind of DMT infused trip. Or possibly even some kind of ancient ritual, where one is intoxicated by serpents blood. Guided by repetitive drum patterns, it creates a slow joint dance that opens the path towards transcendence.

Almost in time for the third anniversary of Japan Blues' show on NTS radio - a monthly Japanese musical nabemono, occasionally straying into other Asian territories.

The self-released album's six tracks form an atmospheric Nipponese travelogue, with some underbelly tourist spots taken in on the way. The track-listing is printed on a lovely hand-made paper insert, to confound the download card fetishists.

Orders may be rationed, as stocks are limited.

Osaka based producer 7FO. Having previously released a cassette on RVNG International, and a 7'' single on Bokeh Versions in 2017, this is the Japanese producer's debut full length vinyl release. The tracks, recorded between 2012 and 2017, have been tweaked, remastered and recorded to vinyl for the first time.
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The mysterious figure recorded the tracks at home, processing guitar sounds, using a sampler, synthesizer and junk equipment. Following in the footsteps of the ambient giants of his native lands, 7FO's music continues this illustrious heritage whilst offering something fresh, modern and beautifully rendered. He describes his own sound as 'gorgeous sustained tones and dreamlike oscillations that drift through the inorganic/electronic world reverberating through our subconscious creating sonic fables in our minds'.

The 12'' comes with artwork designed by label head & visual artist Jack Hardwicke. To accompany the release Greek filmmaker George Kountouras, who also collaborated on the artwork, has directed a gorgeous video for the title track 'Moment'.

Hosono's solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
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The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.

Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom.

Unperson Comes Along With This Fourtracker, full of Massive Soundscapes and Futuristic Rhythms!

Zwerm has never strived for a one-sided artistic profile. During the past ten years the quartet dallied between pure noise-impro, English renaissance music and contemporary composed music. The common denominator being not so much a particular stylistic view but rather a shared curiosity, Zwerms projects typically start with the question: 'what would happen if ...'
Badminton in Tehran started with the question: 'what would happen if we would worked with grooves for a few months' After that, anything was allowed. We created an online space where each one of us could drop our personal demos, which could then be used freely by the others. Within a few months a primordial soup of beats and grooves and little snippets of text was created. And once we started the recording sessions with producer Rudy Trouvé this served as the raw material out of which 10 new songs were crafted. Badminton in Tehran is Zwerm's first record in which all tracks are composed by Zwerm and it grooves like a Rube Goldberg-machine - DIY and slightly irregular.

Endlessness is the long-awaited and last instalment of a trilogy of pieces for electric organ by artist Alfredo Costa Monteiro. A follow-up to Umbralia (Triple Bath, 2011) and Insula (Entr'acte, 2014), this third piece is composed by two parts, essentially austere in approach but extremely rich in tonal range, with a strong mesmerizing atmosphere. Through the circularity of their forms, it explores the idea that persistence of time is our measure of infinitude. Ultra-Limited Edition of 250 copies, of which we have only 150 for distribution - order now before it's too late!



Play loud.

Mana is pleased to finally present Pomegranates by Nicolas Jaar as a double LP, with new mastering by D&M. The sleeve is designed by David Rudnick, with labels by Ste´phane Jourdan and a new insert created by Jaar collaborator and friend Maziyar Pahlevan.

Longer and slower-releasing than his other albums, Pomegranates often parallels the cinematic epic on which it's based with ideas pursued over long timelines and across dark landscapes, assembling elements and moods from the aesthetic and folkloric landscapes of Armenia. Jaar's identity is perceived within this, folding in his heritage as Palestinian and Chilean as he attempts to build a musical architecture outwards that frames as much of the mess and sprawl of life as possible; using a language that investigates the movement and fluctuation of his own artistic career and character similarly to the film's tracing of the coming of age of the young poet, Sayat-Nova.

At times, Pomegranates feels profoundly intimate, as though looking through the archive of a friend's music and discovering the accent and common currency that lives within each of these tracks. Much of Jaar's most elegant and touching melodic work is nestled here, its power residing in its simplicity and willingness to speak to the heart and not the mind of the listener.

In the text document included in the first freely distributed version of the album in 2015, Jaar writes that the album was conceived during a moment of change, and that the pomegranate became an icon that heralded that passage of time. The physical publication
of Pomegranates closes one door whilst opening another, keeping promises and marking a significant point in the career of an artist who restlessly reinvents himself, with a document that illustrates a common language of lyricism, freedom, and emotional resonance that links his many paths and projects.

Multi-instrumentalist, musician, photographer and co-founder of groups such as Oiseaux-Tempe^te, Le Re´veil des Tropiques, FOUDRE!, The Rustle Of The Stars and FareWell Poetry, Fre´de´ric D. Oberland takes, as the starting point for his sophomore solo album, a vertiginous dive into George Bataille's 'Inner Experience' and the cave of Dante's 'Inferno'.
A condensed version of a sound and visual installation created in the basement of the contemporary art space Labanque in Be´thune1, 'Labyrinth' invites us to bare witness to the loss of landmarks and to feel an immersive sense of trance. The point of departure, the opening note, is the A, the lowest of the piano, from which we slide, almost imperceptibly, snapped up by a wave of sounds, rich in their instrumentation, sometimes rough (electric guitars, console feedbacks, bursts of transformed drums and saxophone screams crackling in their dissonance) and at other moments delicate (hushed and scattered chords of piano, mellotron and distant synths in whispering voices). Accompanied by the drumming and spatial mixing by Jules Wysocki, the six connected stages/chapters of this immersive journey embrace expanse. In a continuous game of call and response between the intimate and the vast, 'Labyrinth' plays with the dynamics, the silence and the musical genres (ambient, free- jazz, electronics, acousmatic), kneading and pulling the form and structure of the tracks in ever changing attempts towards transfiguring the chaos.
More radical in continuity and more outlandish than his first album 'Peregrinus Ubique' - 'stranger / traveller everywhere' - (VoxxoV, 2015), the 'Labyrinth' of Fre´de´ric D. Oberland recalls in these almost orgiastic collages, the work of "editing" provided for his nomadic Oiseaux-Tempe^te albums (Sub Rosa, 2012-2017), yet here in a more introverted territory, weaving a cocoon whose ascending and cyclical pulsations intoxicate us, as if under hypnosis.

Unfolding the darkest of dubwise techniques sprawled across shards of post-punk, drone, doom metal and techno, Spiritflesh go six feet deep across a short-run of promo cassettes, a 12 single and now the full-length album.

The latest project to rise out of Bristol, Spiritflesh is the brainchild of Julian 'Dj October' Raymond-Smith and Boris 'Borai' English...
The culmination of countless hours spent in an infamous basement studio full of old machines, BBC-grade reverbs, delays, phasers and little known mixing technique, Spiritflesh are now presenting their eponymous piece.

Taking in a host of sounds, the pair have truly blurred the conventions of influences and spawned a sonic that is all theirs... Phased, delayed and crashed through red-hot electronics, their sonic is at a constant boiling point, doubled in menace via evocation, constantly spewing and spitting like a skeletal, fog-riddled construct of otherwordly ambience, guttural bassline and rhythm.

Dream-like, yet crushingly physical, their sound is a cerebral kind of music that touches, with great conviction, on ideas of life, death and the in-between...

Their self-titled debut LP expands across eight crushing, drone-heavy juju meets techno meditations, exploring the darkest themes of the spiritual world and the open spaces in between.

Served on 180gsm vinyl, mixed at BB studios, mastered and cut by Lewis at Stardelta. Studio Tape-Echo design, served with two colour screenprint, handprinted in Bristol. Edition of 300, housed in anti-static bag, with insert sticker.

Great Edits By A Great Artist ! Must Have !

"It´s More Like Jazz For DJ´s"

2lp In Gatefold Sleeve With Liner Notes. 180gr Vinyl. Including Download Card. An Outstanding Collection Of Musical Gems From Belgium's Thriving Jazz Scene. Compiled By Belgian Dj And Eclectic Connoisseur Lefto.

Max Graef and Julius Conrad are Ratgrave. Electronic P-Fusion from earth. Recorded over a period of 3 years in different locations.
Stop Wars and investors.'

All tracks written, produced, mixed and performed by Julius Conrad and Max Graef

Additional EFX by Ludwig L.
Made on earth, recorded over a period of 3 years in different locations.
Stop wars and investors.

Jay Glass Dubs sublimates Athenian distress and ennui into plasmic dub ether on 'Plegnic', his lushly evolved 1st collection of new material for Ecstatic, following from their acclaimed, 2LP 'Dubs' (2017) set of his earliest, hard-to-find tape releases Deconstructing and rebuilding Jamaican dub with musique concrete production methods and a lingering air of inspiration from classic 4AD, new age and Laïko, or Greek popular music, on 'Plegnic' Jay Glass Dubs fascinatingly evolves his sound with richer melodic and harmonic arrangements in a concerted effort to bridge and expand the nostalgic, esoteric and dancefloor dimensions of his unique sound world.
The key to the record lies in its title, 'Plegnic', an extinct word meaning to strike like a hammer', as well as its palpable sense of nostalgia. In this archaic context, JGD uses vintage machines and obsolete samples into junction with vocals from Yorgia Karydi - former beau of his childhood neighbour, and Andreas Kassapis one of his oldest friends, who provides the cover art - to conjure a strikingly new, mutated take on classic and well-trodden styles, metaphorically and anachronistically renewing their purpose while connoting his newfound dancefloor drive in the process. Recording took place at his mother's house in the Athens suburbs, with Fugazi's 'Steady Diet of Nothing' on repeat. It was here that he dug out an old Juno, a Yamaha RX5 drum computer, and some ...crappier equipment' that provides the structural scaffold to his array of nostalgic, melancholic Laïka samples, which could be considered the ghost in the shell or the diffused soul of this superb five part crop.
On the A-side he sets out to spook with the desiccated, teetering steppers motion of 'Temple Dub' featuring heavily processed vox by Georgia Karidi, but the heady nostalgia takes over with a sublime tactility in the vaulted chorales and endless reverb tails of 'Umbro Dub', and again in the aching sehnsucht of 'Mouthless Dub', where traces of Laïka's bouzouki melodies most beautifully glimmer thru.
However, the B-side is far more upfront and up-for-it, firstly putting his weight behind the cranky skank of 'Dry Dub' with its hexagonal drums and acidic bass squirm, then in the super squashed swagger of 'Fearless Dub', a near 10 minute long pinnacle of his dancefloor output to date.
Ultimately Jay Glass Dubs' music is riddled with the kind of nostalgia that can make an unfamiliar piece of music feel like an intense déjà entendu, like you've heard it before in a dream or some altered state. That's a rare and precious thing






y

Just the Right Height is the solo music project of New York-based artist Keke Hunt. Hunt's stop and go, deconstructed songwriting is emotional and bare. Her undressing of the radio hit is so lyrically labrinthine, the urge to dance might escape you — and dance with me.

I Want to breathe

that old song

we danced to

Just the right height is an investigation of pop lyricism and a satire of feminine objecthood; The perfect size, The perfect longing shape to fit inside, the perfect fit. Just the right height is a rubber mouth. Formless liquid silicone poured into a mold that mimes agency, vocalization, but says nothing; careless. An empty silhouette, inciting arousal and movement. Mouthy, Vapid, Stupid, Hot; Vain and thoughtless song.

Tonight let's get drunk, tomorrow hold my hand.

In her album Let Forever Be Only You Tonight, Hunt writes lyrics by compiling text from an online lyric generator which outputs jumbled lines sourced from the lyrics of existing popular songs. Hunt exhales composited speech, a synonym of the virtual pop star whose personality program is compiled from the thoughts and feelings on her fans blog posts and online output; Her face surgically modified to reflect the image of her fans.

Heat rises from the spreadsheet city —
who knows if I was asylum bound

Rhythm stripped of melody is the dominant form in Hunt's musical work. Nevertheless, Hunt intersperses her catalogue with heartfelt, melodic tracks as if to tie a polite bow on a rude package.

For you and I,
So so thoughtless so,
thoughtless so,
thoughtless so careless.

Hunt's earliest released music was written in collaboration with Los angeles based painter Marisa Takal. The tracks released on their 2014 split with Odwalla88 are the product of a 3 year collaboration. Hunt has also collaborated with Multimedia Bryan Edward Collins on a project called Hard World Fashion. This album features a song co-written by Collins and Hunt. Since 2015 Hunt has released music under with tape labels such as Primitive Languages and ALL GONE tapes, under various titles, culminating in her current moniker, Just The Right Height. Let Forever Be Only You Tonight is her first full-length LP and release through She Rocks!

Koova Returns To Brokntoys For A Second Ep After His Empty Spaces .
Conducere Presents The Producer Showcasing His Personal Take On The Genre, With 4 Tracks Of Tense, Melodic Electro . One Of The Founders Behind The London Modular Alliance, He Has Released Sought After Eps On Cpu, Ac And Abstract Forms. The Ep Is Backed Up By A Remix By Max Ravitz Aka Patricia Who Takes The Originals Into Eerie, Ghostly Territory.

Two-sided, two colour screenprint sleeve, designed by Patch D Keyes. Mastered and cut by Lewis at Stardelta. Edition of 500.
Following the dubwise dancehall versions in Muslimgauze style & fashion from E3 & Alter Echo, off-centre dancehall with pop sensibilities from Young Echo's O$VMV$M & Rider Shafique and Firehouse-era digital dancehall killers from London's Mosca, LavaLava now returns with a record of ruffneck acid-tinged dancehall punk.

Naples very own NPLGNN is at the controls this time along, following his appearances on Boomkat's Reel Torque, 'Where To Now' and of course the newly minted Forever Now imprint with partner in crime Dave Saved.

Hardcore dancehall at it's best, NPLGNN calls for soundsystem frenzy straight from the start with Weaponized Riddim, ringing off de-tuned tones that swerve and duck around aggro hi-hats, devastating kick drums and of course the acid line that works it's way in during play.
Things get a little more heads down with 'Dancing Under CS' although that is not to say there is a dip in energy... This one still thumps in a very tough way, it's just a more guttural affair, mainly made up of chunks of bass and kick drum, with bursts of high frequency disrupting the whirlwind like lightning to a dark sky, not far off from the mechanised bogle we love about Tiger's infamous 'Rap Pon Rydim'.
Last but not least, Sonic Guerilla, the all out, gunshot acid splurge that licks the final nail in the coffin for all soundbwoy who try test.
Ring the alarm!

An Island In The Moon is the perfectly conceived minimal ambient project from Italian composers Pier Luigi Andreoni (Doubling Riders, ATROX) and Silvio Linardi. Andreolina being a mix of the names of the two musicians who were both deeply involved with the label Auf Dem Nil on which the album was originally released in 1990.

The duo stick to a disciplined and simple palette using only two synthesizers and a Roland S50 sampler. They are joined by fellow electronic journeyman Riccardo Sinigaglia who contributes piano and samples on two tracks. Taking influences from Italian minimalism while adding some jazz hints Andreolina sprawls, weightless instrumentals that never stay soporific for too long on this singular rare album.

Auf Dem Nil or ADN was one of the most adventurous Italian record labels of the 80's and early 90's with releases by De Fabriek, Riccardo Sinigaglia and Pierre Bastien. Leaving their mark on the experimental music scene back than and influencing musicians worldwide up until today.

Right on the heels of their Ahead Of Two Thoughts LP released earlier this year, A Casual Assembly is the latest offering from Melbourne's EXEK. The EP coalesces around a stirring theme for synthesizer, trumpet and bass, bringing together reference points to Laurie Spiegel, Jah Wobble and The Velvet Underground's "The Gift."

Frontman Albert Wolski's disembodied narration - at times reminiscent of Samuel Beckett or Robert Ashley - unfolds over a series of dark vignettes set in a dystopian near-future. Autotune has been banned, secret police patrol the redoubts of the wealthy, and world beaches have been cleared of their sand for the construction of enormous urban prisons. As these events turn more fraught and absurd, Wolski reveals just how much is gained through EXEK's stripped-down arrangements and dreamlike tones.

A Casual Assembly echoes like the lost soundtrack to a Kubrick or Jarman film. Recommended for fans of Normil Hawaiians, Jenny Hval and Harmonia.

Black Box is a series of releases by Mads Emil Nielsen with music & audio originally made for theatre pieces / performances, installations and more. The first release,Black Box 1, is based on music/audio made for MHPH, a dance/theatre performance in DK, 2017.

The series shows the more melodic work of Mads Emil Nielsen who, during recent years, has been focusing on more abstract electronic/acoustic material - such as his collaboration with Andrea Neumann and Framework series (graphic scores). Future releases in the series will include tracks made specifically for radio soundtracks and compilations.

Mads Emil Nielsen (b. 1989) is a musician/composer based in Copenhagen. He works with basic sound sources, often combined with short percussive and orchestral samples, real sounds and an amplification of machine produced errors. In 2014 he founded arbitrary, the label and artistic platform on which he released a series of graphic scores and recordings and various solo works & collaborations including Neumann (2018).

Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early '80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound.

The second album and perhaps the most rare in Niblock's vast catalogue, 1984's Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli's oboe and English horn to create seamless, enchanting drones.

Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing.

This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.

Max Graef and Julius Conrad are Ratgrave. Electronic P-Fusion from earth. Recorded over a period of 3 years in different locations.
Stop Wars and investors.'

All tracks written, produced, mixed and performed by Julius Conrad and Max Graef

Additional EFX by Ludwig L.
Made on earth, recorded over a period of 3 years in different locations.
Stop wars and investors.

Max Graef and Julius Conrad are Ratgrave. Electronic P-Fusion from earth. Recorded over a period of 3 years in different locations.
Stop Wars and investors.'

All tracks written, produced, mixed and performed by Julius Conrad and Max Graef

Additional EFX by Ludwig L.
Made on earth, recorded over a period of 3 years in different locations.
Stop wars and investors.

"Radiophonic minutes of the search for a probably lost tape piece, and a reconstruction thereof with real instruments." Produced by Hessischer Rundfunk (Hessian Broadcasting Corporation), Germany, in 2015.

Hans W. Koch (b. 1962) is a Cologne-based composer, performer, and sound artist. His work encompasses pieces for chamber and large orchestra, experimental scores for instruments, computers and everyday objects, sound installations, electronic music, etc. He summarizes his art as being about sculpting thoughts in diverse material and prefers conceptual approaches: "more thought, less material". Koch studied composition with Johannes Fritsch and currently is professor for sound at the Academy of Media Arts Cologne

San Francisco Bay Area-based black metal weirdos Mamaleek are set to release Out Of Time, their fifth full-length album and second for The Flenser. Musically, Mamaleek stands apart from the Bay Area's most well-known black metal exports (Weakling, Leviathan, et al), and their connection to the genre grows more abstract with each release. This is especially evident on this album, where the band has intensified their unique approach to heavy music with a variety of unusual samples, such as crooning from Turkish concerts, advertisements for items that long exist, and fragments of old pop songs.

The band consists of two mysterious brothers who, until now, have kept entirely to themselves about the project. Just recently the duo made their first live appearance, and this release can be considered the final chapter of this era of anonymity. Out Of Time was recorded by Jack Shirley at The Atomic Garden (Deafheaven, Bosse-de-Nage, Botanist, etc.). This is Mamaleek's first double album and it is their most ambitious work to date.

Cat.no.: FR79LP
Format: 2LP

Tracklisting

















Release Dates:
Aug 31, 2018 (Worldwide)