House News

A year in the making, this album has been lovingly compiled by Castles in Space with the full co-operation Gary's brother, Steve Cook. All possible attention to detail has been taken in order to make this record a suitable and fitting tribute to Gary.

A limited and numbered edition on red, black and white splatter vinyl. The LP includes a beautiful fine art print featuring an oil portrait of Gary which has been signed and numbered by the artist, John Duffin for the first 150 copies. There is also an insert which replicates some of Gary's gig posters, rare photos and sleeve notes by Steve Cook, Martin Brocklebank and Colin Morrison.

Concretism, a musical project started by Chris Sharp in 2010. Concretism is a world of dusty archival sounds and grim Cold War Britain, conjured up using a combination of analogue synthesizers and tape bouncing. Artwork by Richard Littler (Scarfolk)

Soundtracks and dark, sinister disco. He has amassed a massive fanbase and has a fantastic discography stretching all the way back to his first releases in 2008. Currently residing in The Hague, Bristolian Anton Maiof makes music that is beautifully dark, yet wonderfully uplifting. His “British Interrail” EP is his first release for Castles in Space since the long sold out “British Summer/Russian Winter” double 7”.Anton delivers a beautiful sequence of frosty electronic disco tracks on the 30+ minute E.P. release, “British InterRail”. Written and produced in The Hague between 2017 and 2019, these tracks bring together some of Anton’s most stirring work executed with his usual affecting and direct production. Fantastic stuff.

Nour Mobarak: voice and FX. Bana Haffar: modular synthesizer. Mastered by Juliette Amoroso. Illustration: Nour Mobarak.

This cassette tape is a document of two live performances by the Haffar/Mobarak duo. Their mutual pleasure in variable tunings, granular synthesis, and structured improvisations shaped their collaboration.

A lifelong expatriate, Bana Haffar was born in Saudi Arabia in 1987 and spent much of her childhood in the GCC. Through her switch from 10 years of electric bass to modular synthesizers in 2014, Bana is attempting to dismantle years of institutional "conditioning" in traditional systems of music theory and performance. She is interested in exploring sonic disintegration and coalescence into new forms and synthesized experiences.

Nour Mobarak (Lebanese-American, born 1985 in Cairo, Egypt) is an artist working with writing, music, performance, sculpture, and film making. Performances include the Hammer Museum, Los Angeles; Miguel Abreu Gallery, New York; Museum of Contemporary Art, San Diego; Stadslimeit, Antwerp; Cafe OTO, London, and Cambridge University, Cambridge; among others. Mobarak has participated in exhibitions at Miguel Abreu Gallery, Cubitt Gallery, Rodeo, Taaffe Place, LAXART. Her writings have been published by De Appel/F.R. David, The Claudius App, and The Salzburg Review among others. Her music has been released by Ultra Eczema (Antwerp) and Recital (Los Angeles).

Seit einiger Zeit arbeitet die deutsch-brasilianische Künstlerin Gloria Endres de Oliveira, die auch als Filmemacherin (Musikvideos, Kurzfilme) und Schauspielerin (u.a."Babylon Berlin", "Die Pfeiler Der Macht", "Counterpart" und aktuell in Christian Petzolds "Undine" (Berlinale 2020)) aktiv ist, an der Verwirklichung ihrer musikalischen Vision. Zuerst gemeinsam mit spampoets im Duo Lovespells, seit letztem Jahr als Solo-Artist GLORIA DE OLIVEIRA. Nach Auftritten beim Further Festival und der c/o pop veröffentlichte sie in der zweiten Jahreshälfte 2019 die beiden EPs "La Rose De Fer" und "Lèvres De Sang" auf ihrem eigenen Label La Double Vie. Abgemischt im Hamburger Studio Cloud Hills Recordings, definieren sie Gloria de Oliveiras betörendes Soundspektrum zwischen Dreamwave, Ethereal und Goth Pop. Nun veröffentlicht das Kölner Label REPTILE MUSIC die Compilation der beiden EPs als "Fascination" (sprich Französich fa·si·na·syon) erstmals auf Vinyl und CD. Die LP beinhaltet die 10 original Songs der beiden EPs remastered und in neuer Reihenfolge, die 17-Track-CD-Version sowie das Digitale Album kommen mit zusätzlichen sieben Remixen von u.a.Gudrun Gut (u.a. Malaria, Monika Enterprises, Greie Gut Fraktion) Box And The Twins, Fragrance., Tellavision und The Wide Eye. Unterstützt wird die intime Atmosphäre ihrer Songs dabei durch eine entsprechende Visualisierung in bisher größtenteils selbstproduzierten Videos. Zur Vorabsingle "The Only Witness" erlaubt ab Anfang März der von der Hamburger Regisseurin Julia Ritschel aufwändig produzierte Videoclip einen weiteren faszinierenden Einblick in Gloria de Oliveiras universelles Kunst- und Klanguniversum. Parallel dazu wird GLORIA DE OLIVEIRA Ende März das US-Duo TEMPERS (DAIS/Secretly) bei fünf Konzerten ihrer anstehenden Deutschlandtour begleiten. Für Liebhaber von Cocteau Twins, Lebanon Hanover, Stina Nordenstam, Hilary Woods, introvertierter Marie Davidson Genres: Independent | Dreamwave | Synthwave | Ethereal | Electronica

Roisin Murphy’s disco-hued ‘Incapable’, created in partnership with long-time collaborator DJ parrot, was met with universal acclaim when it was released in early June. A masterclass in effortless cool, shuffling house beats meets Murphy’s pirouetting vocal which moulds and morphs across 8 perfect minutes, whilst lyrically it brilliantly subverts the tropes of the traditional heartbreak lament. Alongside the original, the B side also offers his darker, deeper ‘PRT 3’ remix that puts a heady spin on the track, heavy on a shape-shifting, reverberating bassline in constant flux.

Recorded by The Pathfinders – Roger Cleghorn and Malcolm Garrett – "Imagine Something Yesterday" is a compendium of playful explorations with analogue synthesisers and distorted found sounds, made without an actual release in mind.

Former art and design students at Manchester Polytechnic, The Pathfinders were sharing a flat together in London when Malcolm was establishing his graphic design studio, Assorted iMaGes, on Tottenham Court Road and Roger was studying for a Fine Art MA at Chelsea.

These experiments from the 15th floor of a tower block in the Isle of Dogs, London were captured directly on a reel-to-reel tape recorder over a period of a few months at the tail end of 1980 and the beginning of 1981. Further embellishments were made at Chelsea School of Art. The equipment used included Yamaha CS-10, ARP Axxe, EMS VCS3, TEAC A-3340, Bang & Olufsen Beogram 1202 and Beolab 1700.

Listeners may identify the aural influence of electronic pioneers such as Cluster, Tangerine Dream, Brian Eno, Cabaret Voltaire or Throbbing Gristle and they would not be wrong as these were indeed some of the musicians whose records were frequently played at home by The Pathfinders around that time.

With almost 40 years having elapsed since recording, memories are sketchy with regard to who made what noise where – The Pathfinders could hardly be described as being musicians who jammed together – but everything ended up compiled onto a couple of cassette tapes, where they have languished ever since – the 'master' reel-to-reel tapes seemingly lost forever. Only one track from these sessions, "Long Shadows", was previously published, on Touch's 1983 "Meridians 1" compilation. "Imagine Something Yesterday" features almost all of the other surviving recordings. A tantalising additional 14 minutes of sound remains unreleased, the full running time being just too long for comfortable release on one cassette.

The Pathfinders remain Roger Cleghorn and Malcolm Garrett.

Roger Cleghorn bought his first synthesiser in 1978 after having seen The Human League at the Russell Club in Manchester. He moved to London to study for his Master's degree in 1979 and began experimenting with sound painting – using synthesisers to generate wave forms that were then combined, colourised and edited together. This work naturally led to the creation of The Pathfinders and the subsequent recordings which became "Imagine Something Yesterday". An award-winning designer and account director, Roger continues to work in the design industry having been taught his trade by Malcolm while working at the nascent Assorted iMaGes.

By 1980 Malcolm Garrett was already making a mark in a rapidly evolving music industry. He was one of a number of innovative new graphic designers coming to prominence, having designed ground-breaking record sleeves for Buzzcocks, Magazine, The Members, John Foxx and many others. In the following year he was commissioned by Kasper de Graaf (later to become his creative partner at Assorted iMaGes) to be the Art Director of youth culture magazine New Sounds New Styles. 1981 would prove to be a pivotal year for Malcolm as his Assorted iMaGes design studio expanded to accommodate working with an increasing number of emerging bands such as Duran Duran, Simple Minds and The Human League.

Malcolm has since enjoyed a successful career at the cutting-edge of communication design, delivering pioneering work for digital and interactive platforms. In 2000 he was honoured to become the first Royal Designer (RDI) in multimedia design. Working to this day as Images&Co with partner Kasper, and with a small Manchester-based team, he is founder and Artistic Director of the annual Design Manchester festival.

The Brussellians of Commander Spoon interlace their eclectic wealth of influences into an energetic jazz sound, respectfully demolishing walls between jazz, hip hop, rock and electronica.

Austra aka Katie Austra Stelmanis announces her
fourth album, ‘HiRUDiN’, via Domino.
 Alongside making changes in her personal life,
‘HiRUDiN’ saw Austra taking an entirely different, freespirited approach to making a record. Seeking out all
new collaborators (including c_RL, Kamancello,
Pantayo and a children’s choir), Katie accumulated a
vast and vibrant mass of source material, which she
then took to a studio in the Spanish countryside.
 ‘HiRUDiN’ additionally saw her work alongside coproducers for the first time, Rodaidh McDonald (The
xx, David Byrne) and Joseph Shabason (The War On
Drugs) and she brought in David Wrench (FKA Twigs,
Caribou) and Heba Kadry (Björk, Beach House) to mix
and master the record respectively.
 While Austra’s third album, ‘Future Politics’, was
concerned with the external power structures that
shape society, ‘HiRUDiN’ points inward. It traces a
deeply personal journey towards regeneration, dealing
with the fallout of toxic relationships, queer shame
and insecurity along the way.
 CD in jewelcase with 8-page booklet.
 LP with printed inner sleeve with digital download
card.

First released as a limited cassette and now
available on vinyl in uncoated matte jacket
designed by Michael Flanagan.
 For fans of Japanese ambient, environmental and
new age, privately-pressed American new age
from the 1980s, Brian Eno’s Ambient works.
 This release was written with the intention of
transforming the listening environment and
augmenting domestic space. The music is
designed as a communication with both plants and
the people who care for them.

Music by dBridge & Radioactive Man. Drawings by Craig Richards

Golden Days is the late completion of Ethimm’s EP trilogy on Light of Other Days and it continues exactly where the group left off 4 years ago. What started as the groups signature „tension music“, oscillating between dark repetition and moody improvisations is slowly morphing into a production style that features a heavy pop sensibility infused with conciliatory optimism.

The opener and title track of the EP recounts the meeting of a new lover in an autumn sunset. Starting with dreamy piano chords, a rhythmic bass and handclaps, it provides a beautiful musical backdrop for Tizi’s longing voice. During the course of the track, modulating synths and plucked guitars join her vocals as she sings about the „Golden Days“ spent with her lover.

Over & Out starts off in typical Ethimm fashion. Dubbed guitars, minimal beats and a sparse piano melody sets the tone for Elisabeth Thimm’s fragile vocal. In Over & Out Elisabeth negotiates her wish for freedom and how she breaks with her daily constraints. Albeit initially being drained in melancholy, the track ends on a musically hopeful note when a beautiful chord progression suddenly appears, colliding with an extended synth solo from outer space.
On Echoes in the Distance, glorious arpeggios accompany a sophisticated 303-style bass line and haunting vocals. The track follows one of Elisabeth’s dreams into a frantic, nondescript, deserted backdrop and slowly morphes into the most ecstatic piece of the EP. The multi-layered arrangement combined with Ethimm’s yearning voice on top, sound like about 3 tracks seamlessly sticked together. The track ends in pure ecstasy and the listener is left with the exciting feeling of wanting more.

The EPs finale is made up of the hopeful and minimalistic Day by Day, a track reminiscent of the balearic pop from the 1980ies. Gracefully and drained in beachside sunshine, Ethimm reminds us not to waste our days with unnecessary actions and focus on the beautiful small things in life.

Next up is Josh Brent - revered throughout the globe for releases on his own Schatrax label, Josh has been releasing records since 1994 and has built a back catalogue of exceptional consistency.
Stepping aside from his habitual sound Josh turns in 'Then Again', a 4-track collection of tumbling Breaks and Garage shuffles that have been tried and tested on Fabric's system.
As usual, the artwork is by Craig Richards.'

DJ Feedback & Plays include.

Ricardo Viallobos for years!

James Zabiela 'MASSIVE!!!! So glad I listened to this before playing at Space tonight. Weapon(s). Not what I was expecting at all after the last release, but then that's the beauty of Mr Richards diverse taste :) A fan x'

Joszif Holy Moses!! Dicargo is absolutely killer!!! havent heard a record like that in years!! 10/10

Doc Martin Another great signing!!! Keep it surreal boys!!!

T++ Ah, always loved these tunes, nice you're putting these out again properly.

Alan Fitzpatrick 'wicked label with wicked creations! love it!'

Tensnake 'great breakz stuff,

Gavin hardkiss 'this is what i'm talking about +++ african flavours in discargo are rad

laura jones Loving this. Bit different to the other releases so far but equally good nonetheless. Loving all 4 tracks but Dicargo the fave and can't wait to play that out.

Rhadoo superb re release of tracks .. thanks

With the 3-track EP Mantra JOIX opens a new dimension in his electronic music. For the first time he uses his own voice on a larger scale, giving it a machine-like sound that transforms and heightens the meaning of his German words.

The lead track "Mantra" refers to the techno movement in Germany in the 90s, which JOIX lived and breathed as a teenager. Those mystical experiences †staying awake all night in rooms full of light and sound †came close to the trance states attained by chanting Mantras. This is the main idea and the emotional inspiration behind this pulsating A-side track.

A touch of nostalgia also comes through "Wächter der Nacht". This tune channels the mysterious night, the search for ecstasy and self-dissolution in music clubs protected by the "guards of night".


Finally, "Klimax" is a dance-floor-banger that distinguishes itself by whipping up immense energy, and its space-filling melody and enormous hall cascades.

Soulful dance music on top quality vinyl for DJ's who know the deal.
Limited to 200 copies. Vinyl only. No mp3. No promo. No marketing. All vibe.

It's always unwise to judge a label that's still taking its' first steps, but Banoffee Pies has barely put a foot wrong since launching a couple of years back. Here, the Bristol-based imprint continues with its' successful split release formula, gathering together a quartet of tracks from up-and-coming producers. Beaner kicks things off with the bumpin', low-slung deep house grooves and delay-laden guitar samples of "It Takes Two", before Philou Louzolo raises the temperature with the looped horn samples and thumping beats of "Alter Ego". Flip for the dreamy Balearic house goodness of Ron Wilson's "Albino Turtle", and the bongo-laden, after-party deep house shuffle of Mome's "Assatta".

Casa Voyager is back with a diverse EP from Driss Bennis as OCB. This ep ends a remarkable first year for the moroccan imprintand gathers a large range of influences.UK flavours on a breaks centered A-side. Neat electro made from jamming on B-side.Mind the gap ! VINYL ONLY !

Wicked 4 tracker of
.
Old Shady Grady & The Neighbourhood Character (OSGATNC for short) is the result of a chance meeting in Berlin the fall of 2013 between Eric Douglas Porter a.k.a. Afrikan Sciences, one of the most expansive and intensive musical torch bearers of modern experimental electronics and jazz, and Ari Robey-Lawrence, producer, vocalist, and DJ a.k.a. The Neighborhood Character, who began as a jazz guitarist and drummer. They quickly found a mutual bond and a musical partnership emerged soon thereafter, and debuted on Uzuri's The Wilderness Sessions with their EP, Tales from Caturday'.

Via their collaboration, Porter and Robey-Lawrence explore the intersections of diverse musical and emotional territories through improvisational, long format jam sessions-- experimenting both with a wide range of sampled sounds and expressive original vocals, sustained by pronounced, yet fluid rhythmic backbones.

Jordan GCZ says: I walked into their sound check at freerotation festival last year and was blown away. I feel privileged to be a part of putting this music out there'

Brand new Transatlantyk release contains elusive synth works of Sasha Zakrevska aka Poly Chain.
She likes to call herself a 'Ukrainian ambient chavette' and the title of her debut album is a tongue-in-cheek spin on Eno's classic. 'Music For Candy Shops' is much more sticky and syrupy than its famous predecessor though. In every track on this record Poly Chain's rich and warm synth textures are glazed with another layer of radioactive sweeting.
From atonal melodies on top to occasional spicing in form of odd reverbs, delays and drum sounds - it's all there.
Let me tell you straight up: this candy shop serves some weird sort of sweets, inducing hallucinations, anxious feelings of omniscience and transcendency. Use with caution!
Available as a 200 copies only vinyl LP

Hamburg's Achim Maerz arrives on DBA with an expansive twelve track package. Split across a 12" ep and a cassette, 'Experiments' is a collection of live, improvised house jams recorded in the summer of 2015 in the artist's home studio. The title refers to the fast and rough recording of the material, with the aim of catching a mood before process and self-awareness take over. Fans of Maerz' previous releases on the essential Wake Up! label amongst others will immediately recognise his trademark, ethereal house sound.
The 12" is available from the usual retailers, whilst the limited edition cassette is available from select stores and the DBA bandamp. The tracks on the cassette can also be downloaded for free from the DBA bandcamp, offering listeners a range of formats to combine both elements and complete the package.

Emotional Response steps to summer '17 by welcoming with accompanying releases from Out 2. Evolved out of the Brooklyn based Lectric Sands studio / label and featuring members of their own Zoovox and Mazing Vids, this 'super-alumni' is a perfect meeting for the label and US brotherhood.

Based around a longtime friendship, this slow-burner project is centered around the NYC life of one-time roommates, DJ sparrers and just possibly the latter day duo behind the Locks & DDM project that was released (semi-) anonymously in 2016, step out in to the (fluorescent) light.

With just one Out 2 track given to the world back in 2012 on Lectric Sounds 1, these recordings have morphed for a near decade to reach fruition in long-form EP and soon to come 'Showcase' vocals and dubs album.

While some is known of Mr Jeremy Campbell forum/blog educator, DJ Tropical Jeremy monikererer, half-a-Zoovox and studio (dub)don - his cohort, the little known R. Zanzibar remains a man of mystery.

Zanzibar's free-flowing lyrics, shredded guitar and bass grooves come together before plunging into Campbell's wall-of-dub mixing matrix. With fellow Lectric-head, Ben Gebhardt contributing sometimes-synths and general mixpertise, Out 2 offer a timely reminder of the best of their hometowns post-punk / new wave history, but with a laid back irreverence and killer, leg shaking, live-dubbed grooves that are very much for today.

In opener, Zanzibar lays it out. Contrary to song matter, this is impossible to not to be a Downtown-showdown-hoedown. Impro' lyrical flow keeps your head listening before the off-kilter dub-funk groove keeps you feet Moving.

Following in Fire, your mind is soon tripping to sonic content and vocal swirls, before it gets all Compass Point, with an discomix inspired, cod-desk-dub.

On the flip Rubber Hour lays a drum-work out that just sits and waits, pulling you further in the midi-groove, before Zanzibar's floating voice leads to digi-synth bass interplay. Who is top and who is bottom doesn't matter, let it ride.

Closer has you listening closely, with sharp, chopped No NY guitar-like-synth, contorting with distorted echo-vox, down to the bottom...but you're not at the bottom. In fact, this could just be the beginning. Listen Closely.

Welcoming, 'Come Together' - a five track various artists EP drawn from our network of associates locally and internationally. With artists hailing from Japan, Italy, the USA and Australia the 12" features the sounds that bring our families together on dance floors around the globe.Italy's Matisa opens the record with a designer italo-house trip "Garbadine", armed with punchy drums, a warped guitar loop and hypnotic bass line. Melbourne group Polito's "Wallis Axiom" juxtaposes this with a guttural, gurgling outsider-techno piece. Frenetic percs and crunchy distortion collide with alien FX and bleepy modular synthesis for a dark journey.On the flip, New York City master producer Physical Therapy jumps into the deep end with "10000% Pure Love", a raw, hard hitting club weapon. The Allergy Season boss distils the pure, unbridled energy of a sweaty dance floor through a woozy bassline and manic cowbell action. Slowing the pace slightly, Berlin via Japan producer Yuzo Iwata delivers "Acid House" a rugged, growling beast which trips and chugs along as a monstrous 303 weaves in an out of the penetrating vocals "ACID HOUSE". The mysterious Serpent finishes you off with "In The Garden" a syncopated drum workout imbued with a ritualist, primitive energy by the heavily layered percussion and flickering synths.

Longtime fans of Sheffield's Central Processing Unit may well remember Annie Hall. When CPU dropped her 2016 EP Tenured Positions it felt like a perfect union of label and artist - the atmospheric take on classic electro that Annie Hall had presented in her previous releases for labels such as Semantica and Detroit Underground was very much in sync with the CPU sound. Sure enough, Tenured Positions was an instant hit with CPU heads old and new, and the record remains highly sought-after to this day.

Now, four years on from Tenured Positions, the Barcelona-based Annie Hall returns to CPSmith's imprint with new EP Fum. Fum picks up where Tenured Positions left off. Snapping broken-beat electro grooves anchor Fum's midsection of 'D'un Altre Planeta' and its title-track. 'D'un Altre Planeta' is the most lively cut on the EP - there is real bite to the drums here which recalls everything from B12 to Star Eyes to early-90s hardcore - while 'Fum's beats are more low-slung and come bolstered by an electro-funk-flavoured bassline. These two tracks are bookended by 'Verd Mar' and 'Promeses De Fusta', joints which straighten out their rhythms into more linear IDM-techno beats.

As she exhibited on Tenured Positions, one of the main strengths of Annie Hall's style is the manner in which she layers up harmony, tone and texture. Reverb- and delay-drenched synths cascade across Annie Hall's tracks and serve to render her music in vivid colour. The combination of evocative atmospherics and grounded, stable beatwork is a technique which Annie Hall has inherited from experimental techno luminaries of the past - Autechre, Mark Bell, The Orb - and also something that she shares with other CPU artists like Tryphème and Nadia Struiwigh.

Annie Hall takes this approach once again on Fum. A fair bit of the record's soundworld tends towards science-fiction - from the whooshing pads of 'Verd Mar' through the zipping synths of 'D'un Altre Planeta' and on to the B-movie keys of 'Promeses De Fusta' there is certainly an alien quality to much of this EP. However, Annie Hall is also sure to ground her astral musings by introducing softer synth sounds like the twinkling chimes in the background of 'Fum' and the gently lilting lead-line of 'Verd Mar'.

For fans of Central Processing Unit, Annie Hall's Fum is the best of both worlds. Here we have a record which brings together the roughneck electro snap of CPU's club weapons with the melodic and textural deftness of its IDM-oriented releases.

RIYL: LFO, Tryphème, André Bratten, Biosphere, Autechre, Nadia Struiwigh

Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield's relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani's house, so she grew up listening to the radio and was hypnotized after hearing 'Remember Love', by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, If you're into bands like Cabaret Voltaire or Flying Lizards, call me'.

The duo recorded their debut album Stadia' in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the 'cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier's processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we've added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.

All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. Powerful and evocative, soundtrack music for a rising storm or revolt.' Sound of Pig magazine 1985

The album »Pillars of Salt« creates a space of freedom and activity in which Ozan Tekin shows his various skills as a keyboard player and producer, but also turns his innermost to the outside: Nothing sweet or narcissistic here. Three of the seven tracks were produced for the independent Turkish film »Tuzdan Kaide«, which had its premiere at Berlinale 2018. The surreal epos is transformed into a seductive hypnosis, not least thanks to Tekin’s music. Although just a few people have heard about Ozan Tekin before, the artist from Istanbul has already shown up in prestigious scenes: as the keyboarder of the Libyan disco star Ahmed Fakroun, as a part of Cologne’s nextbigthing Boddy and also under his singer-songwriter alias Seyrek Rifat.

Influenced by the social and political climate of the modern
world, MOTSA’s debut album, ‘Perspectives’, is inspired by his
acute awareness of modern society’s dependence on
technology and the social media bubble also responsible for
the civic polarisation seen globally. The 11 track album takes
the listener on an emotional journey with dark, yet hopeful,
detailed compositions, each representing their own personal
story. The title “Perspectives” refers to a problem we all face:
differing perspectives of the same situation, which in turn
leads to conflict, be it in personal relationships, families and
even political discussions globally. With individuals and
groups often losing perspective in disagreements, MOTSA’s
debut LP calls for more empathy, highlighting our current
trajectory of an ego-driven society. Encouraging listeners to
spend less time behind computer screens and more time
outside in nature to broaden our horizons and reflect on
human decisions, many of the album’s samples were recorded
from MOTSA’s own environment. Using the sounds of children playing in the sand on a Balearic beach, crickets in the grass,
or the ambient soundscapes of bells recorded from his
father’s apartment in Moscow, the producer also recorded and
sampled his own voice to create distant, choir-like melodies in
many of the tracks. The artist’s signature sound – a soulful yet
driven harmonic blend – continues to propel the multi-talented
artist to the highest acclaim into 2019 and beyond.

- Collab between Dais records co-founder Ryan Martin and polymath Joachim Nordwall - Dark post-industrial tape-works - Edition of 300 copies

Recorded in a Brooklyn basement during a couple of cold December days in 2014, the collaboration between Ryan Martin (DAIS Records, modular synth wizard) and Joachim Nordwall (iDEAL, analogue synth lover) became something very special, raw, intense and powerful.
For all the clamminess and cold, ceramic finish, there's soemthing hypnotically magnetic about the way in which the duo musically converse, neither trying to outdo the other, rather allowing the other room to manoeuvre within the frequency spectrum, from the sludgy gathering of energies in Exposing the Absurdity of Superstition to the ecstatic vocal charge which soon calves away to an oppressive, greying battery in of Retrace/ Reverse, before the elegant, sashaying repetitions of Ricochet Around The Triptych lure us into a deeply somnambulant headspace with only the slight hint of violence lurking bedside.
Thanks to engineering by Kyle Keays Hagerman and cold mastering job from Kris Lapke (Alberich), Martin & Nordwall's music is subtly petrified, pensile, frozen in place as a special document of that night in the basement..

Sonnenstadt - We've Been Hiding To Long - Album »in The Depth
Of A Undiscovered Tonal Cosmos, Hidden Beyond The Obstacle
Of Lunar Dust: We've Been Hiding To Long.« Leipzigs Downbeat
Gem »sonnenstadt« Sprinkles Nine Tracks Of Its ¡rst Full Length
Album On A Lovely Tape. Good To Have In A Cozy Mood. First
Release On Newly Founded Label »unforced«.

The All Star team at Acid Camp has been touring around the world in search for inspiration. They've created new and engaging tracks for you to share with your favorite dance floor or your private listening environment of choice. Find part one and two of our new series at your favorite record shops. A limited run of colored vinyl will be available at Acid Camp's Bandcamp.

Created at the footstep of Mount Victoria, Groeni wanted to challenge themselves compositionally and sonically with Nihx. Nihx explores the characteristics of points of conflict between opposing forces. As in the past, and as with many electronic outfits, the music had been written 'in the box', so to speak. To counter this technique the three members of Groeni (Al, Mike, and James) each wrote numerous compositional sketches that were more or less complete as frameworks before entering them into the digital realm. With similar inspiration the band wanted to create unique and personalised sounds away from the computer to sample and use with most of the sonic treatment happening also away from the computer. The vast majority of the drum sounds are made from samples of Mike's ever expanding synth collection, numerous sounds are manipulated feedback from guitars or vocals among other things. The entire record was written and recorded across three home studios in Wellington, NZ and has been almost 2 years in the making.

'Nihx' comes out worldwide on limited black, white marbled vinyl (including download code) & digital.

Kohib is an important member of the Tromsø electronic music scene, equally as a club organizer, DJ, and producer. His debut was on the Prima Norsk 3 compilation in 2005, followed by an album, a remix-album, and a string of highly regarded EPs and singles. Kohib has had success both with his electronica-style releases (the track "Hear This" from his debut album was licensed to the Buddha Bar XIV compilation) as well as his dance floor releases for Beatservice, Sprechen, Cibicaldi, and SpinSpin NYC.

In Mountains is a desire to seek horizon. The album was written and recorded in November, December and January. A time when the sun is absent in Tromsø. However, the origin of lots of the rhythms in the music, are harvested during summer, from the same area. Sound samples are taken from Kohib's surroundings, from creaking in worn-out doors, to ambient silence along the coast. An electronic album, yes. But all the rhythms and instrumentation are analog. The goal has been to give leeway to all elements, by limiting the amount of information. So, if it follows a dogma with this album, it has been to limit the number of tracks to each song to the bare minimum. A sound weighs the most when alone.

The album will be promoted in UK / worldwide by Shine PR (UK) + social media marketing by Beatservice Records.

"NOON" One of the most prominent and widely acclaimed polish producers, returns after a two-year break with the new album called "Nobody Nothing Nowhere".

The fifth solo work of NOON was released by his own label called "Nowe Nagrania". The idea of "Nobody Nothing Nowhere" is connected to the various places in Poland and Europe: from the first sketches recorded in Gdynia, through Warsaw and London, to the final recordings in Łódź. Alan Kamiński is responsible for the graphic design of the album, based on NOON's own photos.

The atmosphere of working on "Nobody Nothing Nowhere" is similar to the aura of "Gry Studyjne" LP - NOON's sophomore album. However, this time NOON puts emphasis on much greater advancement, devoting himself to work alone with one analog beat making machine called Elektron Rytm Mk2.

Mikołaj Bugajak on "Nobody Nothing Nowhere" is accompanied by excellent musicians and also his regular concert partners - drummer Marcin Awierianow, bassist Piotr Połoz (both from polish post-punk band Psychocukier) and violinist Tomasz Mreńca. It is worth mentioning that NOON's part's contained on "Nobody Nothing Nowhere" were programmed on the machine in the shape of live performances, which gave the LP additional element of dynamism and life.

"Album called "Nobody Nothing Nowhere" is an album about escape, which turns out to be impossible. All these struggles and attempts to change destiny resemble a spiral journey. The albums consists of three parts, and is summarized by the song called "Spektrum".

My fifth album is released less than two years after "Algorytm" premiere in terms of experiences that I wanted to share with the audience." (NOON)

Back in 2018, Lumière Noire celebrated its first anniversary with a compilation featuring thirteen exclusive tracks by an eclectic group of electronic musicians – a family portrait of sorts. A few months later, a second volume of From Above, compiled by the label's artistic director (and DJ) Chloé, once more brings thirteen established acts together with promising upstarts. The first compilation was the embodiment of the label policy advocating for both artistic excellence and a widening of electronic aesthetics – bopping from deviant house music to adventurous IDM and to the rigor of dancefloor techno, among other electronic explorations. Some of the artists featured are now closely associated with Lumière Noire, while others were more established performers such as Benedikt Frey, Lauer, Jonathan Fitoussi, Il Est Vilaine, Dave e Brun (half of Swayzak) and Frank Agrario, as well as upcoming artists such as C O N T R A (a side project by none other than Iñigo Vontier), Sutja Gutierrez, Théo Muller, Markus Gibb, Bajram Bili, and a sprinkling of UFOs circling the genre (Suuns' Ben Shemie, Drvg Cvltvre, and electro-acoustic combo Lumi). This group photo laid down a number of paths for a label in perpetual evolution.

Since then, the Parisian entity has continued to grow within the international electronic scene, releasing Local Suicide's Leopard Gum EP, Iñigo Vontier's first LP, and planning another slew of releases for 2020. The lineup for this second volume of From Above is once again equally intriguing, offering a crescendo-like track listing over a double LP format, which is a feat of sorts for a "Various Artists" compilation.

Marc Mélias' fascinating, unsettling Permanent Waves gets the proceedings going with a contemplative track that provides a serene opening to the odyssey on which From Above will be taking the listener. Pletnev continues on with the playful, hooky Marco O’Polo, a fundamentally techno track built over a seductive 90s-inspired breakbeat. Douglas Greed (whom Chloé remixed on BPitch a few years back, and had himself remixed track from her album Endless Revisions featuring Ben Shemie’s vocals), supplies Vancouver, a slice of ambiance à la Boards of Canada, supported by a gripping breakbeat. The rhythmic arpeggio of Israeli producer's Middle Sky Bloom makes his contribution a hypnotic, disconcerting slice of dark disco. Thomass Jackson, a safe bet in the new wave of the Latin-American electronic music blowing its sometimes hot, sometimes cold wind, proposes Mithra, a dancefloor incantation to the Antiquity's bull god. With Bells, Goldmoon delivers a track that is both melodic and nostalgic, tinged with rhythmic samples, Moog basses and solar backgrounds. Longtime friend of Chloé, Krikor, who has released two albums on L.I.E.S. Records (Pacific Alley and Saudi), offers a moment of respite with Sally Hardesty (a nod to fans of horror movies), a heavenly and bewitching track that, paradoxically, hints at the highly energetic second half of the compilation. Discovered with Confidences EP released on Lumière Noire, the young French producer Morgan Blanc asserts himself here with Werde Der Du Bist ("Become who you are"), a song with luminous chords and midtempo rhythms to start the second half of the compilation by raising the tension. Galician producer, DJ and designer Cora Novoa continues the rollercoaster's ascent with her Virtual Aesthetics, which once again brings those acid tones – this time without the vertigo. Equally corrosive, but tenser and more percussive, the uncategorizable NSDOS' AL-G attempts to give order to a chaotic electronic world full of violence and danger. Rebeka Warrior (half of the duo Kompromat alongside compatriot Vitalic), takes on a more nostalgic vibe with Ich Komme Zurück, a French/German techno chant evoking a secret dream of a track from a bygone era. Three years after the release by Lumière Noire of Moderna and Theus Mago's stroboscopic Dog Is Calling You, Theus Mago makes a solo comeback with Idealistic Stone, a most acid of club tracks, rattled by the modulations of the inevitable TB 303. French electro-rock saltwarth Yan Wagner's dancefloor alter ego The Populists' Prehistoric Lemurs gives an almost Orientalizing twist to Kraftwerk's techno-pop. To close things off, the collection's last track, the appropriately-named Instant Track by impromptu encounter between Hervé Carvalho (Acid Arab), Jacques Bon (Smallville) and Demian (Kompakt) Acid Love Triangle, releases the pressure with a long, bittersweet reverie that leaves the listener, at the end of these thirteen musical adventures, to rest languorously on an artificial and welcoming shore.

Ultimate Care II is the new album from renowned conceptual electronics duo Matmos (Drew Daniel and M.C. Schmidt). Recorded in the basement studio of their home in Baltimore, the album is constructed entirely out of the sounds generated by a Whirlpool Ultimate Care II model washing machine. Like its namesake, the album runs across its variations as a single, continuous thirty eight minute experience that starts with the grinding turn of the wash size selection wheel, and ends with the alert noise that signals that the wash is done. Between these audio-verité book-ends, we experience an exploded view of the machine, hearing it in normal operation, but also as an object being rubbed and stroked and drummed upon and prodded and sampled and sequenced and processed by the duo, with some occasional extra help from an ultra-local crew of guest stars (some of whom regularly do laundry chez Matmos). Dan Deacon, Max Eilbacher (Horse Lords), Sam Haberman (Horse Lords), Jason Willett (Half Japanese), and Duncan Moore (Needle Gun) all took part, either playing the machine like a drum, processing its audio, or sending MIDI data to the duo's samplers. The vocabulary of the Ultimate Care II, its rhythmic chugs, spin cycle drones, rinse cycle splashes, metallic clanks and electronic beeps are parsed into an eclectic syntax of diverse musical genres. The result is a suite of rhythmic, melodic and drone-based compositions that morph dramatically, but remain fanatically centered upon their single, original sound source.
Like their promiscuous DJ sets, the palette of genres in play reveals Matmos' hybrid musical DNA: Industrial music, vogue beats, gabber, Miami bass, free jazz, house, krautrock, drone, musique-concrete, and new age music all churn up to the surface and are sucked back into the depths. In this moiré pattern of textures, the listener encounters elements that sound like horns, kick drums, xylophones or sine waves, but in fact each component is meticulously crafted out of a manipulated sample of the machine. In other hands, such relentless conceptual tightness would court claustrophobia. Happily, Matmos' willingness to transform audio and engage pop structure bypasses arid, arty thought exercises and produces instead their signature effect: abject and unusual noises yielding weirdly listenable music.

In addition to releasing a string of acclaimed albums over the past 20 years, Matmos have played the uterus and reproductive tract of a cow at the San Francisco Art Institute, canisters of helium at Radio City Music Hall while opening for Bjork, and John Cage's personal collection of conch shells at Carnegie Hall
Matmos have also collaborated and performed with Terry Riley, The Kronos Quartet, Antony Hegarty, William Basinski, and Horse Lords
Ultimate Care II features guest appearances from fellow Baltimore musicians Dan Deacon and members of Horse Lords, Half Japanese, and Needle Gun
Matmos will tour throughout the world in 2016
The album announcement was met with unimanimous excitement and covered by People, TIME, NBC News, Pitchfork, SPIN, Flavorwire, and more
Full press campaign being worked by New York PR firm Blake Zidell & Associates
Three videos will be serviced: one made by Baltimore musician Max Eilbacher (Horse Lords, Needle Gun), one by infamous collage artist/plunderphonic cut-up wizard Vicki Bennett (aka People Like Us), and one by Ed Apodaca of San Francisco motion graphics firm L-inc, who created the 'Very Large Green Triangles' video for Matmos' last album
LP pressed on virgin vinyl and packaged in a heavy stock jacket with full color inner sleeve and free download card. A limited supply of the LP will be pressed on 'clean laundry' (blue with white swirl) color vinyl. CD version in digipack with 8 page booklet
The artwork for the album is constructed entirely out of photographs of the Whirlpool Ultimate Care II machine shot in its natural habitat and then digitally manipulated by New York artist Ted Mineo. Both members of Matmos are active solo musicians, Schmidt under his own name, Daniel under his Soft Pink Truth moniker 'The ability to draw a sharp outline around the unfamiliar, to draw definition from abstraction, is something Matmos excel at' - Pitchfork 'Matmos doing what they do best, pulling together theory, humor, and killer compositional chops into music at once intense, playful, and uncannily coherent' - SPIN

The story of TodoTodo is one of the most incomprehensible and surprising in the history of Spanish electronic music. Without doubt it is, sadly, also one of the most ephemeral. The curse that has haunted them since their forming in 1980 and during their short year and half of life is already legendary. Domestica Records did justice to the group in 2012 with a comprehensive compilation and this EP joins this initial tribute as it reimagines some of these trailblazers most representative productions: Digital Dancer and Autoga´s.
Almost forty years later, Frigio is bringing some of their music to a fresh audience. Juanpablo with his extended edit of 'Digital Dancer.' A steady kick tethers a tripping mechanical melody, a melody that bubbles and simmers as toms, horns and daring funk collide for this seven minute odyssey into the world of Iberian underground synth. The original version from 81 closes the A, a brief and brilliant piece of proto-techno. The flip is introduced by Catalan Dj, journalist and author of ¡Bacalao! Historia Oral de la Mu´sica de Baile en Valencia, Luis Costa. Costa re-imagines 'Autogas' with his Tool Edit, reshaping the off-kilter keys and future highways and byways of the original. The finale is a true treasure from the annals of time. A live version of 'Autogas' from the legendary Rock'Ola club in Madrid, an unreleased work that is as audacious and bold as it was when it was first performed in 1981.

Second volume from the mysterious Go Music collective. Wicked evocative melodies and weird electronics.

The veil falls, as the transmitter that is Clear Memory commences to send for a second time. Light is being shed on the works of Milium, Westlake & Hayter, Robyrt Hecht and Varum. Four tracks of scientifically crafted tunes, full of rugged drums, menacing basslines, mesmerizing keys and voices that narrate both hard to swallow truths and declare their attachment. 140 g of Clear Memory Sound at various speeds and styles.