House News

Many hours were spent surfing the airwaves, with often surprising results... No synths were used during the making of this album. The mysteries of the ether continue to enthral and provide.

venoztks is one of the original founders of The Tapeworm

Kiev based label Muscut opens 2018 with an LP from St. Petersburg musician Eugenii Fadeev (Flaty). Raising the attention of the musical community with his work for the 12th Isle and GOST ZVUK labels as AEM Rhythm Cascade, he's also recently released on Udacha and his own label ANWO as Dada Ques. In addition to the aforementioned, Flaty also adopts such aliases as Ocurob and Wrong Water. Under that last name he presents this current release of a dozen tracks, most of which were recorded purely using analog instruments. Drawing inspiration from the music of such electronic pioneers as Delia Derbyshire, Bruce Haack, Mort Garson and others, Wrong Water is an attempt to qualitatively re-think the heritage of the 70's and 80's. Thus, through tireless experimentation, Fadeev manages to create his own inimitable neo-library parable. Full of graceful flickering stars and midnight tropical breathing, Dozen is a welcome addition to the endlessly fascinating world of Muscut.

Recollection of Everything Beautiful - Sydney duo, Thomas Gray & Liam Ebbs bring us six gracefully composed pieces that wind through synthesis, acoustic instrumentation, and vocal harmony in a beautifully pensive and emotional narrative.

'Recollection of Everything Beautiful' was written over the space of 18 months between 2019 and 2020.
The protracted time frame for the creation of the record corresponded with a period of vast personal change for both Thomas and Liam.
Contrary to their debut record, '3 Days, 2 Nights', this work is less bound to place, rather being a reflection on the joy of transformation.

erlin-based producer Adam Longman Parker announces Colored, his first full-length LP as Afriqua for R&S Records.
The album is a celebration of the unifying power of Black culture through the prism of electronic music.
After releasing successful singles "Soul Correction," and "Chronic Cool," and the back-to-back Aleph and Vice/Principle EPs, a full-length album was the ideal format for Parker to expand on the sounds typified in his dancefloor productions. Colored is a natural culmination of Parker's stylistic spectrum, spanning from house and techno to experimental and abstract electronica.

The MINDFULNESS HIPERNORMALISATION album itself marks a new turn in Eduardo's work, breaking away from any musical style or stereotype and always trying to seeking freedom of expression,marked also by a strong connotation of voluntary ostracism.A new stage in which Eduardo uses this double vinyl like a tool to mark a distance with the current international scene and also support the Adam Curtis theories shown on his acclamed documentary "The HiperNormalisation" 2016 . The album show influences that goes from romantic ambient melodies to the most complex and experimental electronica,also including easy listening techno where it is difficult to differentiate the line between techno and ambient.

Francois Kervorkian,DJ and official engineer of albums belonging to Depeche Mode or Kraftwerk, gives support to this great work of Eduardo which will remain in the near future and without any doubt as a cult album.

Having Ballet Mechanique as the first artist in our new series 'The Secret Sun' is kind of a dreamlike reality for us.

With this new series we want to bring forward a legacy of electronic music that is channelling higher positive forces and transcending space and time.
For us, Ballet Mechanique's music has always done just that.

Digging into his archives, Jeroen brought to light a treasure trove of unreleased music that probably would have been left unheard forever...

The tracks on this first 'Collection 1' were written and produced between the years1992 and 1999.

Born as the score's main theme of a contemporary dance piece, premiered in 2017 in Torino by the joint collaboration between C2C and Torinodanza Festival, Bienoise's 'To Be Banned From Rome' finally sees the light of the day marking the first release of C2C Festival brand new music label. Recurring soundtrack of the Turinese festival's main events as changeovers' music, 'To Be Banned From Rome' is an instant classic: a vivid dive into the live experience under the roof of Lingotto.
Teacher, co-founder of the radical improvisation label Floating Forest Records and music producer, Bienoise (real name: Alberto Ricca) mixes contemplative atmospheres and futuristic club sounds in his sonics, forged by his deep fetishism for instruments pushed to their limits and his interest in new internet genres, including memetic anthems and invisible niches.
The release is part of Stone Island Sound project.
Created in collaboration with Gang Of Ducks, artistic platform focused on record releases and editorial projects based in Turin.

Slick jungle, low-slung broken beat and even a deep house banger, 'Interlocked' assembles 8 tracks of some of the purest old-school vibes by a veteran of the scene under a brand new alias for a frustrated and precarious (post)-lockdown summer. Tapping the drama and energy of the largely pre-generic party days of '91-94 - a halcyon time of transition in which Drumskull himself, as a life-long skater otherwise stoked on the the raw energy of 80s skate video soundtracks - to Black Flag, JFA, Minor Threat, Stupids et al, to Primus, Gang Starr and Meat Beat Manifesto, made the passage into syncopated machine funk, to sub bass, time-stretched breaks and automated beat production.

Physically drumming in a couple of skate punk bands in the early 90s, exposure to hardcore and early jungle tapes in '93 by DJ Dimension and DJ Rob (Leeds Orbit, UK), amongst countless others, inspired an archetypal move to sell his drum kit so as to land a set of Technics 1210s. Spinning techno and jungle on the local free party scene and clubs as part of a DJ collective from '94-96, crafting early tunes on Amiga ProTracker software, and shortly after running club nights in mid-90s London with Mo' Wax and Ninja Tune artists, Drumskull expresses the eclecticism of the era across 8 big tracks of previously unreleased material. Evoking all the energy and excitement of being involved in those early years of dance culture, 'Interlocked' powerfully yet playfully connects then to now, reveling in a sense of timelessness, mutation and hybridity.

Album photography by Amir Zaki from his book with legendary Skateboarder Tony Hawk and author Peter Zellner 'California Concrete: A Landscape of Skateparks (2019). Graffiti lettering by original UK stylemaster and beatmaker REQ TDK.

Apollo is proud to welcome Paul Frick to the fold. Frick is a Berlin-born music composer primarily known as one part of the group Brandt Brauer Frick. Stunningly despite a 20+ year history of making music 'Second Yard Botanicals' is his debut album.  With BBF keeping Frick inspired and busy since 2009, other ideas had piled up until a temporary break allowed him to fully dive into them - "While it took so long until I made my first album, it took about two months once I started.Exploring a vast number of instruments, field recording and deconstructed breakbeats woven with undulating filters and gossamer melodies, the album sees Frick drawing on the world around him in a free associative style ; "A word I sometimes had in mind was - Alltagspoesie', the poetry of everyday life," he explains. "The thought that however small and unimportant things and people are, they - or we - all hint towards each other, if not to say towards the whole. The fact that half of the pieces on the record are short miniatures has to do with that. Throwing something in and hearing what it tells.

180gr! This 12" features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.
London based jazz appassionato Sean Khan, will release his second album 'Muriel' later in 2015. Dedicated to the driving force behind his musical career, his mother Muriel McGinley, the album is virtuosic free, Latin and nu-jazz experimentation, drenched in soul with the help of the vocal talents of Omar, Sabrina Malheiros and Heidi Vogel (Cinematic Orchestra).

This 12' features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.

On the A side, Henry Wu, a key member of the tight-knit label/ loose collective 22a Records (also home to the likes of Mo Kolours and Al Dobson Jr.), imbues the original track with a distinctly organic and off-kilter groove: a loose and earthy quality which is hallmark of the Wu sound and makes for a perfect complement to Khan's delicious melting pot of jazz, soul and broken beat flavours. Sturdy yet swinging with strong jazzy synth stabs and topped with a child-like, wordless, sing-along vocal, it's sure to be an underground summer club hit.

The B Side sees the mysterious Ben Hauke, whose previous releases have been courtesy of Melodica Recordings, steep Khan's 'Things to Say' in his own murky yet soul-drenched sound, one that falls somewhere between hip-hop and broken house. Not much is known about this young producer, but what we can glean from his work on this remix is a sound drenched in syrupy, slightly sinister keys and a plodding, unpredictable thump not entirely dissimilar from previous Far Out remix contributor Theo Parrish. Like the work of that Detroit innovation, these two young Londoner's contributions both look set to lend a funkily idiosyncratic and offbeat edge to all the right dance floors.

Incredibly, the five year anniversary of Invisible, Inc. is upon us. Five whole years of bringing you music from the outer reaches and the fringes of obscurity, to the inner workings of your psyche

It seems strange to celebrate this landmark in arguably even stranger times, but perhaps this sort of music is precisely what we need right now. A balm against the stress.

Let's rewind five years to the very beginning. Invisible Inc was started with the aim of releasing music to a wider audience that deserved wider attention. Amongst the new music there was also vast amounts of music previously only available digitally that seemed to vanish as quickly as it appeared...or music that came out on self-released CDrs or cassettes in incredibly small runs; music that deserved being brought out on vinyl to actual record stores worldwide and thus helping those artists widen their fanbase. Thus, connections were made that wouldn't have been made otherwise. It's undeniable that now more than ever, a physical release stands out from the billions of digital-only releases that we can all so easily drown in.

In the five years of its existence the label has certainly grown. I would never have thought that I would release music by such luminaries as Tonto's Expanding Head Band, Laraaji and K. Leimer - all 'veteran' artists with a legacy that I have been in awe of for years.

But as much as there are a few 'established' names appearing on the catalogue now, the ethos of unearthing unheard-of musical gems and getting them out there remains.

V is for Vision is no different. 'Kailash' by Sigward & Oliver Sudden, for instance. Originally relased digitally-only in 2018, it's a stunning piece of dark, downtempo electro with a distinct nod to minimal wave and synth goth that I very proudly present here on vinyl for the first time.

Don’t let that fool you that the label could ever be described as a 'reissue' label. The aim was always to find music that had gone so far under the radar that it would be widely considered as sounding as fresh as the day it was made. And in that respect much of the compilation features artists that are extremely ‘fresh’ at the moment...and this is deliberate. I specifically approached artists who had released some of my favourite music of 2019: Anatolian Weapons, Youkounkoun, Puma & The Dolphin, Golden Bug & In Fields and TCB. These five artists released some seriously amazing music in 2019 that you should hunt down at all costs.

Add to this artists already released on Invisible Inc: Secret Circuit, Sordid Sound System and Double Discone (the former two on board since the very beginning, the latter appearing for the first time just earlier this year) and we have a selection of artists both old and new that I feel widen the span of the five years of the label as much as possible.

Whether any of the background info and the label's ethos makes any difference whatsoever is of course debatable ....the long and short of it is the music is absolutely wonderful and that's what matters. So I'm honoured to be able to share it with you.

“Lucky Veil” is Al Pagoda’s first mini album to be released via Bigamo Musik, October 30th. Seven songs built out of layering luminous synth melodies that sound strong, iconic, like a childhood memory that’s long been dormant.

Al Pagoda, originally from Valencia, Spain, settled in Berlin in 2015, where he started working as a composer for movie soundtracks. During these years he experimented with new sounds and recording techniques. In 2018 a colleague of his, who had witnessed some of his free-form experimentation sessions, asked him to play at Loophole, a small club in Neukölln, Berlin. He accepted and came up with a few songs for the show. After this, the album would crystallise in no time.

Al Pagoda's cinematic approach can be felt throughout his music; his songs unfold like stories that take us to the crux of an inescapable revelation. Built from short snippets recorded in his phone over the years, Lucky Veil was put together during a winter in Berlin, in a room with no windows.

Machinedrum (aka Travis Stewart) wird sein neues Album „A View Of U“ am 9. Oktober 2020 bei Ninja Tune veröffentlichen. Es ist das neunte Soloalbum des in L.A. ansässigen Produzenten in einer glanzvollen Karriere, die seinen Ruf als „einer der größten und hellsten Sterne der elektronischen Musik“ (DJ Mag) gefestigt hat. Es zeigt eine unglaubliche Besetzung von Gästen wie Drum’n’Bass-Legende Sub Focus, Counter Records-Produzent Chrome Sparks, Father (Awful Records), Mono/Poly von Brainfeeder, Tigran Hamasyan, Jesse Boykins III, Rochelle Jordan, Tanerélle und, last but not least, der derzeit wohl heißeste Rapper da draußen, Freddie Gibbs.

„A View Of U“ ist ein wahrhaft karrierebestimmendes Album für den in North Carolina geborenen Produzenten, das seine charakteristische Fusion aus IDM, britischem Rave, Jungle und Bass-Music mit unzähligen regionalen US-Hiphop- und Club-Musikstilen verbindet - diese kraftvolle und meisterhaft ausgeführte Verschmelzung erinnert an das Tempo, die Wärme und den Groove, den man auf seinem vorletzten Album, „Vapor City“ zu hören bekam. Vom klappernden „Kane Train“ mit Freddie Gibbs über „Spin Blocks“ mit Awful Records-Gründer Father bis hin zu den tiefen und tödlichen Subbässen von „1000 Miles“, einer futuristischen Liquid-D’n’B-Hymne in Zusammenarbeit mit Sub Focus, und „Sleepy Pietro“, das zusammen mit dem gefeierten armenischen Jazzpianisten Tigran Hamasyan entstand: die Tiefe und Qualität dieses Albums ist schlicht erstaunlich.

In 2012 Paul Kalkbrenner released the very succesful single - Das Gezabel' from his current album - Guten Tag'. For the inclusion within the brandnew remix album which is ready for summer 2014 the by choice Berliners Pan-Pot picked this track for their remix. After joining Paul Kalkbrenner for his 2013 world tour they deliver a classic piece of Pan-Pot prodcuction which means elegant high-end techno, straight and direct to your head and for the dancefloor. The characteristic melodic lines from the original show up every now and then making a nice counterpart to the heavy bass & beat orgy created by Pan-Pot for this futuristic approach towards techno.

Back in 2005 Paul Kalkbrenner released his Rave Anthem - Gebrünn Gebrünn' fort he very first. Since then the track has graced the soundtrack of the - Berlin Calling' film and is now ready for a - Maertini Broes' Remix for the upcoming Paul Kalkbrenner Remix Album. This gem from Paul Kalkbrenner's catalogue gets the 2014 Remixtreatment by the Berlin Techno/House Legends DJ Clé and Mike Vamp. In an excellent way they use an epic stringarrangement and complete restructured arrangement of the original elements based on the well known Hookline for this great remix.

Apollo is a new concept project from me, spread across 3 EPs which throw back to the 90s melodic Techno and Progressive Trance sound. Although my roots are firmly in Breakbeat-Rave, I was also captivated by the big room sound of labels like R&S, Guerilla, Hard Hands and Sven Väth’s Harthouse from that same period of time. My studio is full of old equipment that fuelled that original European sound so I quickly found myself focussing on a bunch of tracks that are heavily influenced by some really special music that often gets forgotten." SC

Andy Jaggers (aka ADJ) is a name that has been synonymous with the underground electro scene since the mid-nineties.

Andy is one of the understated contributors to the sound; in one dimension pushing the music of others in running one of the best record shops London has had to offer (IQ) as well as forming his sonic niche across his labels and own productions.

Andy released his early works as 3 Elements on his own label Analogique, delivering 4 now very hard to find records in between '95 and '96. Unfortunately for us here at knoe towers the source DATs have been lost to the perils of studio moves. Later he would set up Pyramid Transmissions with Pathic to release their own productions and those of likeminded individuals pushing the envelope of the electro sound outside the normally accepted boundaries. Electro as a genre has always sounded like the future however Andy manages to take it into the fifth dimension and beyond, overlaying IDM techniques and soundscapes onto the solid backbone of Detroit electro.

For Those That Knoe has worked extensively with Andy to put together a deliciously cohesive eight-track compilation of his works spanning the more recent period of his production career. The LP includes Pyramid Transmission vinyl favorites, cuts only previously available on his digital albums and some pieces released for the very first time.

Nick Araguay is born in Paris and lives in London. Not much is known about him.

Okei aka Kalifornia Keke, is also known as half of Helsinki's Jesse band and several Finnish Hip-Hop productions throughout the last decade-and-a-half. On his solo LP the mood is like fog in a tunnel with occasional elements of shimmering light. The rhythms stretch from almost tapping leftfield structures to the more thunderous, also african styled percussions resembling some of the Jesse output shine through. A sturdy mix of Electronica and a settled soundtrack.

"Emotional Rescue begins the first in a series of reissues looking at the music of guitarist Carl Weingarten and his Multiphase Records label, starting at his highly sought after collaborate album with Walter Whitney, Dreaming In Colors. With an early interest in photography and Super 8 film leading to a degree in cinema production, Weingarten's other, self-taught, love was the slide guitar. Taking its blues roots and merging them with his visual arts background created a unique "painting in sound" style of playing. While looking to break into the film industry he began writing and recording his own film scores and other music for modern dance companies. From this, he founded Multiphase Records in St Louis in 1980. By the time of Dreaming In Colors, the label had released a series of cassettes and vinyl albums offering abstract, experimental, jazz-fusion, new wave and increasingly, new age compositions. Throughout this period the work of engineer, keyboardist and programmer, Walter Whitney was often present and by the 1985 release of Dreaming In Colors the duo had collaborated for a number of years and released several projects together, most notably as members of the Delay Tactics band. Recorded during off days from the Delay Tactics sessions, the album came together at Whitney's Subterranean Sound studio with a focus away from the bands guitar driven instrumentals to explore a multilayered approach to synthesis, blending textures with Whitney's original samples and sound design, while Weingarten's guitar moved from shining solo moments to complimenting the overall oeuvre, all with heavy washes of delay. This ecumenical approach led to the creation of this compelling album. A masterful conceptual whole that is linked by rich melodies and a concise playing style, heavy on substance while never forgoing the uplifting vibrations. "

Factory Benelux and New Order present Of Factory New York, a unique benefit album released to assist Michael Shamberg, who ran the NYC office of Factory Records during the celebrated label's Eighties heyday.

Detroit masterpiece, originally released on D-Bass Records back in 1997. Now fully re-mastered by Analogcut and distributed by Subwax.

Limited 12" single featuring remixes of a Moby & The Void Pacific's track 'Are You Lost In The World Like Me', from the album These Systems Are Failing Us.

Blanck Mass adds his own twist to 'The Light is Clear in my Eyes' whilst Nava Ryan, Zarva and Moby (the man himself) remix stand out track 'Are You Lost In The World Like Me'

The project began as an experiment. Haley switched digital audio workstations, rebuilt his palette of sounds, and tasked himself with simply trying it out. The exercise freed him of expectations and permitted a process that echoed the tones of more immediate external environments. A gravity had seeped in; resulting material shifts between bleakness and sublime suspense, awe at the expanse of existing, in looking back and letting go. “It’s a sort of sad smile and a wave goodbye but at the same time hello, a 'welcome to your life’ moment,” Haley says. Take the storm pattern sequence from “Gaussian” to “Ultrafiche of You”: a queasy, contemplative vignette rests on a single soft-synth cloud before the latter’s percussion ripples across the sky. With trademark stutters and swells, the composition conjures the sensation of searching in the afterglow. “It’s a love song, and I don’t write many of those.”

Vinyl will feature Individual, hand illustrated sleeves.
Distraction combines thundering bass elements from darker techno with deeper, emotive pads and flourishes to create a meditative yet driving late night groove. Best used to hush dance floor chatter in favour of getting heads down and putting a shift in.
Static and Choke also play with juxtapositions of light and dark elements, with Choke being the firmer of the two. Both offer sounds ideal for creating trippy and introspective dance floor moments, while not allowing those hard fought for energy levels to drop.

Cape Cira is the lush, hypnotic debut album by acclaimed British producer K-LONE.

In contrast to his clubbier productions, Cape Cira sees the producer explore the full melodic and textural potentials of his sound, drawing influence from ambient, fourth world, and modern classical music to create a work more closely related to the outputs of SND, Jon Hassell, Burnt Friedman, or - more recently - Don’t DJ and Visible Cloaks.

The result of a short creative burst during a grim British winter, the record explores music as escapism, comprising a series of lush, warm vignettes that demonstrate music’s unique transportive power. Cape Cira takes place in a sensuous sonic world between the natural and digital realms: FM synthesisers mimic acoustic instruments, tuned percussion and bird song; and found sounds and field recordings are processed with a hyperreal sheen.

The gift for composition only hinted at in K-LONE’s work to date is on full display here. The artful and intuitive simplicity of the record’s melodies belies the complexity of their composition, where looping polyrhythms create shifting, unresolved patterns and ever-changing counterpoints.

Cape Cira marks the first full length release on Wisdom Teeth - the label he runs with friend and collaborator, Facta. The album stands as an exciting next step for both the producer and the label itself, furthering their reputation as key young voices in contemporary electronic music.

Not even an ocean could stop Christina Wood and Cicely Goulder from coming together once again as Kaleida; crafters of elegant, intricate electronica and masters of mood.

After the release of 2017’s acclaimed, icy debut Tear The Roots - which Clash branded “fascinating” - as well as support slots with everyone from Alt-J to Roisin Murphy, the duo’s German/American vocalist Christina returned to the US after 13 years in the UK, while her musical partner and producer Cicely remained in London. Most acts might not have been able to stand such a separation and called it quits then and there. But Kaleida aren’t most acts. Across the
Atlantic the pair pulled together the triumphant, hopeful Odyssey.
Despite the distance between them, Odyssey is a far more human and connected album than its predecessor. “The first album was us trying to make sense of stuff and I don’t think either of us were in a very good place. It was hard,” explains Cicely. “But not living in the same country made us think we had nothing to lose.”

A graceful display of collaboration against the odds, the fact that its creators were separated by thousands of miles meant in many ways the pressure to complete their difficult second album was off.

Originally released via Terraform Records in 1995, ‘Systems E.P. 1’ was certainly too ahead of its time to meet with success back in the day. That said, as years went by, so swelled the reputation of this sextet of visionary, alien-engineered jams, soon turning the once $1 bin find into a highly sought-after item on the second-hand market. Much to the displeasure of hardline speculators but for the greatest joy of skint ’90s sound lovers, KOC reissues the Systems experience in full force and effect.

Harbouring a trio of submersible ambient-tech and 303-driven breaksy weapons, Red Shift’s own dedicated A-side has lost nothing of it's soul-fulfilling appeal. Getting the ball rolling, ‘3rd Moon’ skippers us to brightly hued sound niches, where trancey acid motifs merge with slo-moving ambient pads and uptempo breakbeat on a frenzy. Laced with a hint of bleepy abstraction, the more lascivious, piano-laden ‘Audity’ then shifts the scope to further introspective depths before ‘Himalayas’ takes us on a mind-expanding ride across imaginary snow-capped summits and lushly forested slopes.

Flip it over and here comes Ether and their mightily explosive ‘Detonator’ – a wild and woolly acid number that shall not go without conjuring up memories of the early Prodigy’s mid-nineties rave exploits. Not to be confused with that of his contemporary Australian counterpart, Escape Artist’s ‘Rain Eternal’ evokes the soulful RnB suavity of Sade’s classics, adorned with otherworldly organic warbles and addictive piano stabs. Constants of Nature vibey closer ‘Slow Symmetry Breaking’ rounds off the journey on a further distinctively atmospheric note, perfect to muster up the energy and drive to take it on the lam from our crazy world.

For our third release on The Secret Sun series, we compiled a second volume of previously unreleased material from the DATs archive of Ballet Mechanique. Produced between 1992 and 1999 and spanning thru different styles all the tracks have Ballet Mechanique’s distinctive and very unique sound: emotive, epic, ravey, funky, uplifting, romantic… some of our favourite adjectives to describe Jeroen Borrenbergs’ music.

At the heart of Christian Stadsgaard's solo project Vanity Productions is a voracious emotive charge that's forever tempered by an austere and self-disciplined approach to composition. His new album for Posh Isolation, the label and project that he authors with Loke Rahbek, is the most thoroughgoing realisation of the tendencies and processes captured in the guise of Vanity Productions to date. Entitled 'But All Spiked,' the album presents a suite of five pieces that veer surely yet subtly through a complimentary range of acousmatic environments. Of his recent works its perhaps 'Only The Stars Come Out At Night' that most resembles a preliminary route in to the arena of his new album. Sometimes overtly, though often with a cryptic veneer, he modulates a central refrain across each piece that comes to engulf the stereo field with different intentions. Citing the influence of American minimalist composers, Stadsgaard has refigured some of the compositional practices towards his particular context and oeuvre. A medley of strings and electronics waver in and out of place on the opening piece, 'White Ribbons On The Ceiling,' introducing the careful preparation and treatment of sound as a means of articulating a profound though compassionate melancholy. The album is drenched in sorrow and seeks its expression with great economy. And it's around this detail that there's perhaps some slight indication of the album's turbulent personal context and the major life changes that underpin it. Stadsgaard's restraint proposes a wealth of wistful invocations. This control, once combined with the subdued presence of his penchant for glaring noise, is what organises 'But All Spiked' into the meditative and dynamic work that it is.

'dogs of chernobyl' is the debut album by unknwn.source who
captures the anxiety over the 1986 Chernobyl incident across
a range of different genres. The tracks were conceived
between 2014-2018, and while creating a sense of unease
through the gloomy sound design, there's shimmers of hope in
between suggesting a life after this cataclysmic event. Five
tracks of the album will be released as limited vinyl EP via
Freakadelle records, whilst the full version of the long player
will be available digitally

"Spoki (Ghosts) is the sound of an artist putting their private world to tape. Of exploring and pushing the limits of themselves and technology to realise the music in their head. Recorded in Riga between 1988-2011.
.
As Ingus Bauškenieks himself explains: My own world differs a little from my friends' tastes. And - as my father said - the collective art is not art at all.

The music of Ingus Bauškenieks is both deeply private and completely alien. Experimental yet happy to celebrate pop influences such as Engelbert Humperdinck, Simon & Garfunkel or Fleetwood Mac. It is shaped by the artist's engagement with technology and his strive to put to record his 'own world'.
As Ingus explains, it is the sound of him: doing what I like to do.'

Following the success of 2019’s The Ghost EP, which garnered praise from the likes of Bradley Zero, Resident Advisor and DJ Python, Pub Talk arrives November 20th, as the debut LP from London bred and Queens based Joey G ii. Written over the course of five years, Pub Talk centers on Joe reliving the genuinely enlightening nights of his youth in late noughties South London, peppered with the pseudo-philosophical banter typical of a dwindling night out. Over the course of nine tracks, Joe attempts to unlearn all the ways in which those nights taught him to be a man.

Twelve years into his career as a musician, Joey G ii counts Tim Goldsworthy, Dave Okumu, & Mick Jones among his supporters and collaborators. Combining all his honed skills as a guitarist, producer, singer, engineer & composer, Pub Talk relishes in housey bass riffs, modulating chord progressions, anthemic vocals and Prince-inspired guitar. Conjuring moments of upbeat DFA-esque house, melodic UKG, and introspective experimental pop, the album features Orphan. co-founder Klein Zage as well as extra production credits from London based Reckonwrong.

Subverting patriarchal trends, spoonfed to his generation by their fathers, and their fathers before them, Joey G ii grapples with what it means to be a modern man. Searching for a new way to express his masculinity, he ruminates on the Pub Talk of his youth.

In 2006 the musical landscape was a very different place. Social media, as we know it, was in it's infancy. The constant stream of likes, notifications and digital interruptions of today didn't fully exist yet. Those of us 'in the know' and with a thirst for the overlooked regions of the record store had to quench ourselves in the finely curated and generous climes of the online world's myriad music sites, but LA's Lovefingers site was something different, a watering hole in the burgeoning digital desert, a zone where Wally Badarou rubbed shoulders with the likes of Holger Czukay, Sylvester, Mr. Fingers and many others with ease and nobody had an issue with it. A space where a $1 thrift store score b-side could breathe the same dusty air as a $300 private press Folk rarity in comfort. Through an ongoing 'single track per day' posting Andrew 'Lovefingers' Hogge created a truly open-minded, democratic and educated selection of music for our secret, late-night right click and 'save link as' pleasure.

Did we mention that this was before almost everything that we now take for granted? That's right, you see all those Euro Pop dubs, or the 'classics' that we play at the wrong speed, or those private gems that have been reissued to the moon and back? Well, they very probably popped up on our collective record radars via the medium of first. Rightfully so, the site became an instant 'go to' and mark of quality among diggers, DJ's, voyeurs and lurkers around the globe and undoubtedly lead Andrew to instigate his much loved ESP Institute imprint, that is now almost a decade old. The Lovefingers site certainly contributed hugely to the wondrous, many faceted and open minded galaxy of records that is now the language we all speak fluently, inspiring a generation of curious diggers to delve even further into the racks.

This compilation you have within your grasp is merely a snapshot of the aural delights that were on offer to those of a 'leftfield' persuasion who found the site and dutifully tuned in for the daily shot of sonics proper. A finely and carefully crafted, lovingly curated handful of records that Andrew has revisited in order to tell the story of his most influential and essential modern musical resource. The tracklist is classic Lovefingers, an insight into the free-flowing nature of the daily posts, context free but somehow all connected via the same creative threads and energies - lo-fi loner jams brush up alongside sleazed-out Italo powerhouses, Greek new age obscurities tussle against overlooked Hawkwind related cuts, and much much more. Rumour has it that this is merely the first volume of this tale. Isn't that exciting? In the words of the man himself - 'That's not all folks' ...

The totality of the many in one: Cologne Tape, an on and off gathering band from all over the world, did not call their second album "Welt" without reason. The collective incorporates the nucleus of the label Magazine and consists of the artists Ada, Barnt, Jens-Uwe Beyer, Jörg Burger, John Harten, Philipp Janzen, Mario Katz, John Stanier and Axel Willner. All members live scattered between Berlin, Cologne and Hamburg. They meet rarely and abruptly, but each of them always has the feeling that something relevant needs to be done. The ensemble's name represents a city and the musical recordings that are made in it.
Their "rst release, "Render", marked the start of the label Magazine in 2010 and found the way into DJ sets by famed artists like Dixon with music, which does not necessarily have the dance#oor in mind. Subsequently, little, absolutely sublime pieces of Cologne Tape appeared in the public.
Sometimes in the middle of a Magazine mix for London's online magazine Dummy, or on compilations like "My Heart's In My Hand, And My Hand Is Pierced And My Hand's In The Bag, And My Heart Is Caught" a double-vinyl sampler for an exhibition by British video artist Phil Collins.
And now, after six years of more or less overwhelming silence, "Welt" arrives and brings the world eight musical arrangements, all of which answer to the same name and only differ numerically in their title. They were performed and recorded at the Dumbo Studios in Cologne as part of a happening, during which the nine Cologne Tape members gathered in a room to play a solemn concert for themselves without a given frame.
Un"ltered emotions, which were later, re"ned with drums and synth sounds by John Stanier and Axel Willner and then arranged into a dramatic story arc under the direction of Jens-Uwe Beyer. Furthermore some of the recordings feature friends of the collective such as Mexican artist Rebolledo, the guitarist Burkhard Mönnich and the singer Isis Lace, who all happened to be close by and joined the band spontaneously during in their musical ritual. Now the recordings of their time without time will see the light of the day.
They all tell - together and alone - stories of deeply felt musical
experiences, which quickly become profound experiences too for those who listen to Cologne Tape, when they play the grand piano, synthesizer,vibraphone, organ, drums, guitar and more while celebrating afreewheeling ceremony. Panoramic music that enables the listener to enter a world of sounds and rhythms, which all re#ect in depth what Cologne Tape is as a band and a piece of art.