House News

Following January’s acclaimed vinyl debut from Exterior and summer’s much-loved Kota Motomura EP, Edinburgh’s Hobbes Music label ends 2019 with its first album release, also a debut, from GAMING, a fresh new braindance electronica project straight outta Glasgow.

GAMING is a new solo outing that brings together a lifelong love of music and technology and creating left field, rhythmic electronica. It’s the sound of IDM, nineties techno and mensch maschine computer music that is as spontaneous as it is programmed. It's a bit of a grower and may take time to get under your skin....

“Scenes From A Deserted City is a collection of tracks that started as a set of riffs, loops, rhythms and grooves and unfurled around a sense of growing unease about the future of the urban environment around me.

It’s an album that started out as sound…and ended up as a way of telling stories about the age of anxiety we live in, how our world is changing, and how we find a way through that.

This is DIY electronica from Glasgow – it was made on a growing collection of digital and analogue synths and FX units, including a bunch of modular racks, each with its own idiosyncrasies and character that belies the assumption of the binary.

The studio where it was recorded – an abandoned, and often very cold, school building reclaimed by the community some twenty years ago – offered up stories of resilience, even when all seems lost. (I’m not sure what the mice contributed but they definitely climbed in and out of some synths).

This album is ultimately about my changing relationship with Glasgow, a city I’ve lived in for more than 25 years. It’s about how I feel now about the increasing sense of urban decay and how the city can be a very isolating place. It’s about how I reflect on my younger creative self trying to find a direction but mainly feeling a sense of dislocation and not fitting in. And it’s about the questions I have about how that relationship is changing, how it will be forced to move forward.
The result is a soundtrack for walking home on your own, in that headphone bubble when it’s just you focusing on that music that makes sense to you alone. It’s for early in the morning, after the night before, or going to work with the memories of that slipping and sliding inside your head. It’s about how it feels to be both elated and lonely, to be lost in the familiar, despairingly hopeful.”

Redsonja Records brings to light reference number 16, held back until now, as to date 18 of our catalog has already been released. Visionary 01 is an EP by VVAA released on vinyl and digital format which showcase new a graphic identity of Redsonja Records: the warrior. In addition, RS16 also includes a future reference: Visionary 02. The four producers that participate coincide in several aspects related to the concept we believe in as a label. They all possess a kind of "divine touch" when producing their tracks, you can tell they all work from their soul. Jose Rico presents a track title ‘Discotime’, deep rhythmic cadences in the purest Detroit style; clean, bright, and delightfully mischievous sounding. Analogies intentionally created, synths that cross each other with elegance and leave space for all the necessaries. The result is an essential track in any relevant music collection. It takes us to other worlds that are more relaxed, more divinized, more colorful, more leisurely ...

After stand out releases this year on Version and Wisdom Teeth Piezo returns to Ansia with a new 2 track EP Art Attack Gone Wrong / perccssszzzz. As has been evident with past records Piezo has always had a strong ear for using interesting sounds which have been expertly sculpted to create a unique sound universe.While releasing on other labels has allowed him to work closely with his peers the freedom of having his own label allows for him to explore his influences from the Italian rave scenes in a more direct manner. For ANSIA004 these influences are streamlined into a techno orientated sound palette with traditional four-on-the-floor beat patterns but with an approach more related to the sounds of Diagonal than Berghain.With 'Art Attack Gone Wrong' the milanese producer merges dancefloor efficiency with a playful approach to distortion, melody and sound design, while on the flip you will find 'perccssszzz', a no-frills heavy-swinged drum workout which, as the names suggests, refuses to include pretty much anything else than percussive elements. This time Ansia goes dark for the vinyl edition with white-ink stamped Tweetie on black label - and last but not least, 180gr vinyl cut deep and loud!

Vinyl only imprint DMK (sub-label of Dogmatik Records) returns this November with the ‘Future Funk’ EP from Alex Jann.

Alex Jann’s material has amassed a wide array of supporters over the years, from Solid Blake and Alienata to Dave Clarke, Afrodeutsche and Posthuman his strictly hardware and modular synth workouts perfectly weave emotional synthesis with raw, gritty aesthetics. He’s released several EP’s over the years on labels such as his own Censor imprint with remixes of his work by such artists as Marco Bernardi & Animistic Beliefs, multiple EP’s with Clive Henry and shared label space on Rhythm Cult alongside Deadbeat, Barem, & Aquarius Heaven.

Title-cut ‘Future Funk’ leads with crunchy 808 style bumpy drums, tension building strings and squelchy acid licks at its core, while ethereal pad swells and wandering sub bass tones wander within the groove. ‘Robotic Prayer’ follows next, with shuffled percussion, soft atmospherics and a choppy bass line smoothly carried across five and a half minutes all subtly nuanced throughout.

Opening the flip side is ‘The Return’ which employs robust drums and murky synth flutters alongside cinematic string melodies before ‘Liberation Of Mass’ rounds out the release, fusing a broken rhythm and intricately programmed oscillating synth effects to create a hypnotic end to the EP.

The prodigious 20-year old South East Londoner Tom Misch releases Beat Tape 2 through his own label Beyond The Groove. The project is a soulful extension of the themes explored on Beat Tape 1, this time featuring a host of collaborations including Carmody, the beautifully delicate soulful singer who just happens to be one of his friends older sister; fast-rising wordsmith, Loyle Carner and Melbourne native Jordan Rakei, who since striking a friendship up with Tom online, has taken the plunge and moved from Oz to East Dulwich himself.

Beat Tape 2 follows a string of well-received releases since its predecessor Beat Tape 1, including his Out To Sea E.P with Carmody, a white label release on hip-hop label Soulection, collaborations with the likes of Bearcubs and reworks of Mos Def and Busta Rhymes.

On Beat Tape 2, Tom has evolved his sound from its origins in Boom Bap hip-hop stylings of producers like J Dilla to encompass his diverse range of influences. Tom's music finds the sweet spot between electronica, hip-hop and acoustic, predominantly linked by a single quality: soul.

"It's about the feeling you get from the music that makes it soulful, and for me that comes down to the chords. If it's a nice, soulful chord progression that's what makes it soulful and gives you that warm feeling. A lot of Gospel music, J Dilla, Erykah Badu and Jazz - I find that very soulful. That's what I listen to, so I guess that comes out in my music."

Tom's success thus far can be partly attributed to the dedicated fan-base he has built single-handedly, evidenced by his +75k following on SoundCloud and the frequency with which he reaches the Hype Machine top five. His most recent, Hype Machine topping singles Sunshine found him an eclectic array of supporters - from one of YouTube's biggest dance music channels, Majestic Casual, to the likes of Zane Lowe, Annie Mac, Huw Stephens and Clara Amfo on BBC Radio 1.

Tom finds himself at the centre of a cluster of new London artists who share his sensitive, soulful, deeply melodic and emotive approach to music. With plans afoot to put a full live band together and the first tentative footsteps being taken towards recording a debut album proper, expect to be hearing loads more of Tom from now on.

A new exciting release on Ausland Records! The New Dimension goes into the darker corners of Electronic Jazz and beyond. A limited run of 300 records that are hand printed, hand numbered by artist. Roberto Auser and his collaborators deliver a cinematic, breathtaking atmosphere and ambiance!

Furthur Electronix and Libertine Records join forces...

Wild Oats is happy to present this debut release entitled Pure Amethyst' from Caron Miller aka Q'uran D'Mar aka Q'D' who is another gifted young brother from Detroit. Our hope is this record adds some thoughtfulness, love and intentionality to your inner world at the beginning of this Lunar new year.

February's birthstone is the Amethyst so we found it very synchronistic that this debut is released in February.
The Amethyst crystal guards against psychic attack and transmutes that energy into love. From The Crystal Bible by Judy Hall, she also states this valuable piece, This stone facilitates the decision-making process,bringing in common sense and spiritual insights,and putting decisions and insights into practice. Mentally it calms and synthesizes, and aids the transmission of neural signals through the brain.'

Pure Amethyst Sonically personifies this internal shadow dance that one must participate in in order to get to a grounded and positively intentioned state of being. Questioning ones motives, accepting and releasing the blame of past traumatic experiences as the reasons for deficiencies inspires you to find a new way forward from where you are. Ultimately realizing it is you today who is going to inspire the goodness in your life. As the great Arthur Ashe states, "To achieve greatness, start where you are, use what you have, do what you can."

Sincerely, Kyle J Hall

Meda Fury are buzzing to welcome Silvestre to the fold for a 6 track EP of low-slung party starters. This Lisbon native and London resident has been on several tastemakers lips for the last year now, serving up no-nonsense but seriously fun dance music, comparable to the spirit of mighty Portuguese scene labels Principe and Naive. Joao’s tracks are mind bending hybrids of breakbeat, reggaeton, R&B, rave and house. His recent artilary coming via Seceretsundaze, Diskotopia and his own Padre Himalaya, he now adds the Yeah EP to his weaponry.

The EP's title track has been the soundbed for the recent Boiler Room Festival 2019 promotional videos, sparking a huge amount of interest and ID requests, its remained secret until now. Add to this another 5 tracks of slow rave-tinted kuduro and faster baile funk blends for a truly monsterous set of club heaters!

Laura Agnusdei is an electroacoustic composer and saxophone player from Bologna. Classically trained, she also holds a Master in electronic music composition by The Institute of Sonology of The Hague. She is also the saxophonist of Italian cult psych-rock band Julie's Haircut.

"Laurisilva" is the scientific name for a kind of subtropical forest, charactarised by the presence of laurophyll, broadleaf tree species and high humidity. Laura Agnusdei borrowed this scientific term, which contains also the same Latin roots of her first name, to describe the personal musical ecosystem of her debut album. Its six tracks invite the listener to explore an imaginary landscape made from sounds growing and layering like biological organisms within a forest.

"Laurisilva" is a hybrid habitat, where the acoustic dimension of wind instruments – explored both in their melodic and timbral possibilities – meshes with polymorphic electronic sounds. The high biodiversity of the record takes inspirations from Jon Hassell, Charles Mingus, Björk and Terry Riley as well as the "Fifth World Music" of Italian label Artetetra. It also reflects Laura's eclectic experience as a saxophone player and composer, ranging from psych rock to marching bands, from acousmatic composition to free improvisation.

While her saxophone is often the leading voice of the work, it occasionally shares the stage with the trumpet of contemporary music player Elisabeth Lusche, the swinging reeds of Italian jazz musician Giacomo Bertocchi and the ancient flutes of early music expert Thomas Reyna.

The cover of the album features an illustration by Agnusdei herself, taken from her ongoing series of drawings "Organic Life Patterns".

C.Y.M. is the collaboration between British producer and DJ Mike Greene (otherwise known as Fort Romeau) and LA-based American musician Chris Baio, who releases music as Baio in addition to playing bass in the acclaimed band Vampire Weekend. Their debut, self-titled EP arrives on Phantasy as an elegant pean to the infinite possibilities of kosmische music, driven by a motorik strain of psychedelia. The foundations of a wider project, C.Y.M. speaks not for analogue nostalgia, but a subtle and modern update on imagined futures that are still open to interpretation.
‘Capra’ immediately establishes the duo’s masterful if unsurprising grip on rhythm, a man-machine stomp that persists as the track takes myriad turns, from post-punk guitar licks and processed vocals, through bubbling modular synthesis and culminating in a soaring, cathartic melody. On ‘Far Gone’ C.Y.M. turn their studio inward for a more brooding and intimate interpretation of their sound, a balearic amalgam of intriguing vocals, feedback soaked riffs and no-wave inspired movement. The bliss beneath the waves of noise that crash across C.Y.M’s music emerges fully on the driving conclusion, ‘Super-Cannes’. A hypnotic tempo and blistering drums intertwine with whirling organs, and shimmering keys, providing a wistful and warm finale.

"Luis Marte", Is A Renowned Argentine Sound Artist.since The Beginning Of The 90's, He Is One Of The Fundamental Actors Of The Argentinean Independent Electronic Scene.he Is Founder Of The Label Fuga Discos. He Has Earned A Space As A Renowned Artist In The Ibero-american Experimental Electronic Scene. His Work Has Extended Beyond Musical Production. Luis Marte Has Called Electronic Artists Of All Styles And Countries To Perform At The "festivales Fuga". His Works Go From Experimental Noise ToThe Purest Techno.
He Has Presented Live And Made Conferences / Workshops In Argentina, Chile, Spain, Italy, Peru And Portugal.

Nick Warren, eine Institution des Progressive House, betreibt seit einigen Jahren zusammen mit seiner Partnerin Petra mit "The Soundgarden" ein Konzept, das Label, Compilations, Clubnächte und eine globale Radioshow beinhaltet. Nun veröffentlicht er für Balance einen DJ-Mix mit komplett exklusivem Material, das den Spirit dieses Konzepts aus Progressive House und Leftfield-Electronica, Deepness und Eklektizismus, perfekt einfängt. Zuerst erscheint die Doppel-CD mit 2 Mixsets aus 27 Tracks, ca. einen Monat später folgt die Doppel-LP mit 8 ausgespielten Highlights (samt Download-Code zu den CD-Mixsets).

This autumn, The Chemical Brothers will release a new, fully expanded version of their classic third album Surrender. The 20th anniversary deluxe reissue will feature the original 1999 album with previously unreleased ‘Secret Psychedelic Mixes’ of Surrender album tracks as well as a selection of the remixes from the time and a DVD of restored promo videos and film of their legendary Glastonbury 2000 performance (still reckoned to have drawn the biggest ever crowd to the Pyramid Stage). Surrender will be released as 4 12” vinyl and DVD sets.

After a one year sabbatical on the label imprint Amond enters a new path to the peak of Mind Everest and delivers an outstanding five track EP called Fluent State. The release is another debut of one of the crews members and filled with playful synthesizer melodies, emotive arpeggio loops and stumbling, tape distorted low fidelity tunes. Each release comes in a black screenprinted sleeve with an embossed photographic fine art print by Katrin Koenning.

repressed !

Techno's inimitable duo Super Flu unleash a massive remix package from last year's critically acclaimed album Halle Saale. Featuring a wealth of like-minded creative souls, each reversion adds a whole new narrative to Felix Thielemann and Mathias Schwarz's distinctive tales. Formatik founders Format:B take the lead with a genuine anthem-in-the-making. Taking the chugging smoky soul of "Me Roar" and injecting it with a blistering synth sound that pays homage to the mid noughties, their riff-heavy remix surges with emphatic electric command. Next up are two wonderfully contrasting remixes of "Jo Gurt" from DJ Koze and Stephan Bodzin. The former applies an off-beat wasp- like bassline that revs like a super-charged motorbike and hums with harmonic vocal prowess. The latter, meanwhile, strips the vibe back to a starker, star-gazing experience that gradually rebuilds in an epic way that only Bodzin can nail. Martin Waslewski follows with a stately take on "Fibi Maybe". ..

Plaid, Peel Session 2, 08/05/99: Eine der vielen Peel Sessions, die Plaid aufgenommen haben. Diese aus der Zeit ihres "Rest Proof Clockwork" Albums (1999) enthält einzigartiges Material inklusive dem Livefavoriten "Elide".

Zur Sommersonnenwende 2019 nahm Warp den Onlineradiosender NTS für ein ganzes Wochenende in Beschlag, um die Feiern zu seinem 30-jährigen Jubiläum zu eröffnen. Über 100 Stunden Programm mit Mixsets, Dokus, Live-Performances und Sessions des gesamten Warp-Artistrosters von Aphex Twin über Brian Eno bis Kelela samt Gästen wie Ryuichi Sakamoto wurden von hunderttausenden Fans weltweit live verfolgt. Jetzt knüpft Warp mit der Veröffentlichung der "WXAXRXP Sessions" an diesen Event an, einer Serie aus zehn 12" Vinylen mit Radiosessions aus 30 Jahren Labelgeschichte, von frühen Peel Sessions bis zum diesjährigen WXAXRXP x NTS Wochenende, allesamt in höchster Audio- und Design-Qualität. Feat. Boards Of Canada, Aphex Twin, Flying Lotus, Bibio, Oneohtrix Point Never, Mount Kimbie, u.v.a.

Joy Orbison & Overmono team up a massive new 12" for XL.

"Two of theUK’s most respected and exciting prospects in electronic music, Overmono and Joy Orbison have joined forces to release a12” single that’s already been making the rounds on the DJ circuit to rapturous reception. But one of the decade’s final club bangers comes from an unlikely place-the rural London borough of Bromley. Overmono’s studio, based in a former magazine printers, already had a rich history in UK dance music before brothers Tom and Ed Russell arrived, having been in use by various prominent artists and DJs since the 90s. Leaving the city daily to commute to the studio in the suburb of Bromley-the opposite direction to the usual daily grind-helped back up the duo’s creative ethos and push them to make music further outside of the known and well-trodden paths. Sharing the same sentiments as the Russell brothers, Joy Orbison has been a staple of the U.K scene for over ten years and excitement still bubbles over whenever he releases a new record.This collaboration could hardly feel more natural; two intricate and detailed tracks holding a distinctly U.K feel.Bromley / Still Moving are an ode to the place where they were made, a moment in time tied and influenced inextricably by that particular geo-location, something once so familiar in dance music that’s now all but lost."

Overmono return to their own Poly Kicks label with their first release of 2019

A contemporary blend of lush dreamy synth washes, occasional acidic 303 meows & heavy hitting syncopated beats. Skilfully crafted playful arrangements work equally well both on peak time dance floors and on concentrated headphone listening. Australian DJ Life brings his esoteric ambiance on Finnish label, Echocentric Records after impressive string of releases on Gnork’s Blorp Label and Gestalt Records. This 4-track ep is sure to cement his place as a young producer to watch.

Rooted in the São Paulo contemporary art scene, Laima Leyton’s credentials in the world of music are firmly established as one-half of Mixhell alongside her husband Iggor Cavalera (Sepultura, Cavalera Conspiracy) and for her work with Soulwax.
Now the producer, musician, activist, artist, mother and teacher unites her multifaceted talents with her ambitious double-vinyl debut album ‘Home’. It will be pressed and distributed by The Vinyl Factory and released by Deewee on November 8th. Featuring two records that are designed to be played simultaneously: Laima’s vocal and synth tracks on the ‘TONAL’ disc alongside Iggor’s beats on the ‘RHYTHMICAL’ record. Syncing two records offers an unconventional way to experience the music.
Rather than passively hearing the music, the listener’s need to ritualistically sync both records makes for an immersive experience. There are two key elements that make ‘Home’ such a distinctive project. Thematically it explores how the two core contrasts that inform Laima’s life can coexist. On one hand it’s about domesticity – her love for her family and her frustration with domestic routine. Yet on the other, it’s about her creativity – her desire to express herself artistically while still tending to her role as a mother and a housewife. “It’s almost like a family photo album in another format,” says Laima. “I needed to find the balance in this dichotomy, to feel good with myself in both roles, and be aware of things that really mattered to me. To be a woman, a mum and a female producer: all of these feelings were in the music.”

Safer At Night returns late January 2017 with the vinyl only release of 'The Deep End', featuring two original Curses cuts and remixes from Ian Blevins and Holy Ghost! Safer At Night founder Curses launched the label back in 2014 and it has since gone to play host to material from Eli Esobar, Walker & Royce, Jagerverb and of course the label founder himself. Here we see Curses re-release his composition 'The Deep End' marking the ten-year anniversary of its former releases on Institutes in 2007, while enlisting Ian Blevins and Holy Ghost! on remix duties and stirring in a new original of his own as well.The original mix of 'The Deep End' takes the lead and offers a chance to revisit the decade old Curses cut fuelled by wandering bass and lead guitar licks, dropped-tempo crunchy rhythms and murky piano chords all instilled with a gritty New York Electro feel.
Holy Ghost! then rework the original with the funk-laden feel via bright chord sequences, elongated delay swells and an amalgamation of 80's synth leads, hooky bass lines and sporadic vocal lines.On the flip Ian Blevins offers up his interpretation of 'In Shadows' employing stuttering vocal hits, choppy arpeggios and droning bass leads to create an emotive and hypnotic number before Curses' original mix of 'In Shadows' closes on a cinematic vibe with an 80's sci-fi soundtrack feel to perfectly conclude this vinyl only 10 year celebration.

Sent from a nearby star system, from one world to ours. Wondering the streets with misguided importance. How du is new to our planet, but does not yet know why he is here, only that he must heal himself and all those he meets in order to find his home. An inherent feeling that he has arrived to protect and serve others from the deepest patterns of evil overwhelms him. Evil that spreads through the mind in conscious frequencies of the brain. Areas we call the Shadow Realms of oneself. Unable to communicate in the correct language his correspondence with Earth people can only be transmitted through sound and melody. Music is his language and his tool. This is the Landing.
Deep Garage with a minimal spin and a broken beat format. A story in sounds. Best served on the rocks. Shouts to the bristol crew. Banoffee x

Surplus Ships is sort of an odd - beat based - vinyl version of Pomassl's Spare Parts album (Raster Noton 2009). With hints from his excellent Skeleton material released by Sabotage/Laton/Sex Tags Mania (1996-2007) his new mini-LP takes fragments of dubstep, techno, skwee, even oriental atonal melodies and merges it with Pomassl's signature industrial attitude and avant sense of compositions. Enter the quality sonic world of Pomassl!

A leading figure and respected elder in the Teklife family, Traxman has waited patientlywhile releases from young upstarts like Taso and Dj Earl have been enjoyed by footwork lovers all over the world. Now the time has come for Traxman to take centre stage, presenting a collection of new material that demonstrates his mastery of the footwork sound. Tekvision arrives hot on the heels of Teklife 005: Greenlight by DJ Manny, bringing an interesting contrast of production methods and styles. A prodigious crate digger, Traxman has provided the sample sources for many of Footwork's classic tracks over the years. So while DJ Manny recorded the majority of the vocals on Greenlight himself, Traxman uses his expert sample flipping techniques to add the human element to his productions. Traxman is a mainstay of the Chicago underground, with a discography stretching back to the golden era of Dance Mania Records in the 1990s. Ghetto House was an important precursor to Footwork, and Traxman was a key figure during this transition.

Echoes of the Ghetto House sound resonate through Tekvision, with tracks like Drop It Down and Twist The Party Out paying homage to the origins of Juke and Footwork music. Be Gagen feat DJ Earl is a beautiful opening track, with a soulful, melancholic synth unfolding patiently over a half-speed beat. When the bass kicks in after 1 minute 10 seconds it has a profoundly uplifting effect, and the late arriving vocal rounds off the composition perfectly.

Many of the tracks demonstrate brilliant and playful manipulation of vocal snippets, with Let Me Get Up and Control Ya Bitchezzz among the finest examples of this art. Finally,Tone Deaf and Whop Line show yet another side to Traxman's sound with an intoxicating and angular mix of bass and bleeps.

Banoffee Pies Records step into the realms of Contemporary Music with Ishmael Ensemble opening their release schedule for 2017 as the label drops their second LP and continues to investigate more musical landscapes. This time saxophonist and producer Ishmael leads the six piece electronic jazz ensemble on their debut release and thought provoking journey. A tribute piece - with love from Banoffee Pies x
Artwork and Text compiled by Ellen Pearson Watercolours by Chris Cunningham
Artist: Ishmael Ensemble
Written & Produced by Pete Cunningham Additional writing on Bembe by Holly Wellington Additional writing on Solace by Chris Hillier Engineered by Jake Spurgeon
Mixed by Caradog Jones & Pete Cunningham @ Secret Sundaze Studios Mastered @ Alchemy
Copyright Control 2017
In loving memory of Josh Edward Pearce x

DJ Support
Syz - "Careful this one's a twangy little boinker"
Troy Gunner - "Tip! P.S R.I.P headphone users"
Father Of Two - "Beamed in from every single point on the timeline"
Giant Swan - "Sacred Dance Ointment"
Joefarr - "Highly danceable, deep, nostalgic vibesy bangers"
Metrist - "I thought I had heard all rhythms but how wrong I was"

4 sublime electronic cuts from Bokhari mainstay Stephen Lopkin and label newcomer Donnara spanning Techno, Electro and Ambient.
As always Lopkin is 100% on point with his opener, the Detroit influenced, tom driven, driving techno banger 'McStay The Maestro'.
Minimal piece 'Ignorance and Want' follows...a dark swirling adventure through the sonic spectrum with a heavy a rolling bassline at the foundation, plus rolling sub, and white noise blips.

On the flip, we are honoured to welcome Donarra to the Bokhari stable with two beautifully crafted cuts.
'Frequences Test' is a is a low flying electro outing a la vintage Drexciya with a dark cinematic feel, conjuring up visions of gliding through an empty dystopian future city landscape on a planet far from home.
Donnara closes the EP with his beautiful and delicate ambient composition Юлия. A light rain falls as the arpeggiated marimbas creep in and the subtle strings float above caressing the ears, relaxing the mind.

I felt totally unrestrained making this album” says Lindstrøm about his 6th solo album On A Clear Day I Can See You Forever (a title inspired by the 1970’s musical On A Clear Day You Can See Forever starring Barbra Streisand). “I’ve listened to Robert Wyatt’s solo albums and his Matching Mole’s debutalbum a lot lately. It so effortless, fearless and free. And not insisting. I was very inspired by this” In the autumn of 2018, Lindstrøm composed a commissioned piece for Norway’s premiere art centre Henie Onstad Kunstsenter. Sketches from the three sold-out performances became the foundation for the new tracks. “I decided to keep some of the initial ideas and develop them further. All the songs are based on long one-take recordings”, says Lindstrøm “Also I’ve been very conscious about the music on the album not exceeding the length of the physical limitations of the vinyl-format, finding that 2 long tracks on each side were the perfect balance for this album” This is also the first time ever Lindstrøm has made an album entirely with hardware instead of computer-plugins. He utilised thirty plus synthesizers and drum-machines during his performance at Henie Onstad Kunstsenter. The experience inspired him to embrace a similar set-up when making the album. “The joy of making music on actual physical objects and devices makes a lot of sense to me now. After working on a computer for over 15 years, I don’t think I’ll ever look back” he says with an almost childlike excitement. It was the accessibility to his enviable collection of music gear – largely consisting of sought after synthesizers – that allowed Lindstrøm to experiment so freely with ideas and soundscapes. “The title track is a 10-minutes improvisation on the Moog Memorymoog. I liked the loose feel so I decided to keep everything unedited. The other tracks were written and arranged prior to the recordings. I then set up the instruments needed for my sessions, then recorded more or less everything in a single take. I’m really happy with the way this album came together.” Lindstrøm has cited classical music as an inspiration the last couple of years “I used to study classical music at school. Back then I was listening to a lot of Opera, orchestral music and solo music on the piano. Listening to classical music again has been a revisit to my childhood days, just like I did when I embraced the 80s in the early 2000s”
Once embracing the freedom and the joy of making music without inhibitions, immersing himself in to the physical realm of making music with hardware, Lindstrøm learned something new not only about music – but about himself.
“I guess I've been trying to re-educate myself”

As the title suggests 'On Flute' shows us how diverse Tenderlonious's musicianship is as he embellishes each song with his signature flute sound. 'Ghana' sets the pace of the record with up-tempo afro beats, complimented by keys, strings, a distinctive lead synth and of course a soaring flute solo. 'Autumn Leaves' follows with a more UK broken-beat flavour, revealing a darker sense of atmosphere. Side A closes with 'Oedo Bushi,' a comparatively stripped back tune, a simple conga rhythm with flute and xylophone solos weaving in and out as if in conversation with each other.

Side B starts strong and steady with 'Song For My Father', an upbeat number fusing funk and disco to create the perfect dance floor filler that builds to a climax with one of Tenderlonious's wild flute solos (one of my personal favourites!). 'In A Sentimental Mood' follows and, as the title suggests, shows the listener how this producer came by his name. Tender flute inflections and sensitive lead synths, backed by quiet whispers make this the perfect accompaniment to an intimate candle lit dinner. The EP finishes with 'Dale's Corner,' another broken feel on this one with delayed Rhodes supported by tasteful flute lines throughout - it leaves the listener feeling uplifted and wanting more.

Blue curacao transparent vinyl repress!

As the title suggests 'On Flute' shows us how diverse Tenderlonious's musicianship is as he embellishes each song with his signature flute sound. 'Ghana' sets the pace of the record with up-tempo afro beats, complimented by keys, strings, a distinctive lead synth and of course a soaring flute solo. 'Autumn Leaves' follows with a more UK broken-beat flavour, revealing a darker sense of atmosphere. Side A closes with 'Oedo Bushi,' a comparatively stripped back tune, a simple conga rhythm with flute and xylophone solos weaving in and out as if in conversation with each other.

Side B starts strong and steady with 'Song For My Father', an upbeat number fusing funk and disco to create the perfect dance floor filler that builds to a climax with one of Tenderlonious's wild flute solos (one of my personal favourites!). 'In A Sentimental Mood' follows and, as the title suggests, shows the listener how this producer came by his name. Tender flute inflections and sensitive lead synths, backed by quiet whispers make this the perfect accompaniment to an intimate candle lit dinner. The EP finishes with 'Dale's Corner,' another broken feel on this one with delayed Rhodes supported by tasteful flute lines throughout - it leaves the listener feeling uplifted and wanting more.

A Fresh transmission from Perth producer Guy Contact has arrived! After his debut outing on Bitterfeld in 2017 we were hooked and chasing more. His follow up 'Liminal Space' satisfies cravings and exceeds expectations.

The crisp five-tracker is rich with plasmic deep house, pounding bass and brain-tingling electronics. The title track is a writhing techno-house mutant, brimming with warped, space age textures and a striking beat. On "Holding Bay" and "Kawai K4 " Guy puts the brakes on and enters a deeper terrain. Extraterrestrial acid licks and murky drums a-plenty with the latter giving a proper nod to new-age music. On the flip, "Phase Value" dumps the clutch and gets things going again with it's spiralling synths, synthesised kicks and classy chords paying tribute to 90's trance moods. Hypno-house bomb "Void If Removed" rounds out the EP with euphoric pads and a solid, crunchy groove underwritten by a stomping kick drum.

A mind melting EP from the Perth young gun that'll satisfy your inner raver and tickle the cerebrum. Limited to 300 copies.

Klein's offbeat singular vision continues to defy classification. Her acclaimed, self-released records – Lagata, Only and CC – along with Tommy for Hyperdub and her theatre musical Care, have allowed glimpses into Klein's uniquely spirally perspective on vocal abstraction, disarming experimentalism and pop culture wonderment. Yet these chapters have also served as masks to conceal the artist's own personal crises of self-belief, misrepresentation and belonging.

An 18-month writing process led to her new album Lifetime. It's an unexpectedly literal body of work which Klein compares to "giving someone your diary." Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Every sound in Lifetime is intentional, every influence—from 'King of Gospel Music' composer James Cleveland, to early 18th century tonalities in the b side, the work of 'race film' pioneer Spencer Williams, the residue of the religious experience is deeply personal. The 12 songs of the album are pieced together like a puzzle; seamless transitions connect each of its compositions in a reverse chronology, while every chord from every song is echoed someplace else.

What's been hinted at in Klein's live performances is now realised in full for Lifetime. Less vocal work allows her to be even more expressive, and in eschewing a tendency towards brief, truncated sketches, each song serves as its own long conversational piece, committed to realities of a lived experience. The artist who once grappled with self-doubt has set about breaking the cycle of insecurity for others like her, while mindfully chipping away at the conventions of classical music.

Like its artwork, Lifetime addresses intersecting life cycles: the inner and outer selves, hypermodernity versus history, living nightmares and dream states, while seeking the light and darkness in both. Part 1 opens with unmistakable Klein flourishes on the title track. Gusty pads, anxious, frayed-edge static arcs, and craters of deep negative space, all of which melt down to the clean slate of "Claim It," which is a tribute to embracing one's own blessings. "Listen And See As They Take" and "Silent" form their own microcosm, as the sound of crackling kindling burns backwards into imposing structures of distorted strings and disembodied marching drums, before returning to heat and ash again. "For What Worth", in collaboration with sound artist and saxophonist Matana Roberts, explores the kinship between two artists whose shared exploration of lineage leads them both toward uncharacteristically sweet clarity.

Part 2 is further steeped in black expressive styles of the past. "Enough is enough" links the Lifetime narrative to the broader diasporic black experience, inhabiting every chamber of a harmonica with ghostly notes of the present and past, as fragmented gospel chords reflect spiritual bonds between self and the divine. "We Are Almost There" begins the journey with nothing but the looped structures of multitude of voices. The drums and dischord of "Never Will I Disobey" wordlessly create the conditions for "Honour," a near 10-minute composition where crossed boundaries and crossed wires are exposed in real time, and sharp expressions of hurtfulness, accountability and corrupted expectations are rendered beautiful in representational form, via sustained synth tones which hum, jab and flit in natural disharmony. The interlude "Camelot Is Coming" draws on the choir tradition to prelude the spoken word recounts the cycles of trauma and death that form "99." Lifetime closes with the dystopian swirl of "Protect My Blood" a composition which details an excruciating rift, before blooming into serenity as it draws to a close.

Klein's Lifetime is laid bare, from the end to the beginning, and cycled over again. From her place within her family, to their place within her, to viewing the fragility of culture through the lens of memory. It's a lifetime, an embodiment of young livelihood, and an end as much it is a beginning.

Next up from Palms & Charms, a sublime collection of sun-tinged instrumentals straight out of Vilnius, Lithuania. Miskotom have been releasing some beautiful deep house and downtempo gems in recent years on the likes of Pleasure Unit and Dreamtime. We are very pleased to have the duo here on P&C.

Opening track Huacachina is reminiscent of 90's jazzy house, but with a mellow and distinctly organic palette. Next up, Berenice's Hair catches the wind and features a downtempo chugging groove with swirling organ, cowbell and deep synth pads.

Nazska brings a slice of mystery to a mid-tempo breakdown. Horizontal atmospherics hold sway, as picked guitar and choral synths summon visions of a tropical sun risingover the bay. Finally, title track Aegean Cruise 1955 features swirling guitar trading with ethereal synths evoking nostalgic voyages around the Anatolian Peninsula.

Getting support from Phil Mison (Cantoma), David Pickering (One Million Sunsets), Mike Salta (MFD Radio), and Raphael Massin (Les Yeux Orange).

Legend has it that Brian Eno's concept of ambient music came to him while laid up in a hospital bed after an automobile accident in the '70s. A friend brought him some records, playing them too low to be properly heard, and Eno couldn't get out of bed to adjust the volume. While the record spun softly, Eno's idea for music you could ignore as easily as you could give it your full attention, like a sort of sonic wallpaper, was born. It's in that spirit of quiet isolation that Ghostly International, in association with Adult Swim, shares Ghostly Swim 2, our way of giving listeners a space to get away from the manic holiday bustle.

For those keeping track at home, Ghostly is wrapping up its 15th anniversary as an Ann Arbor/Brooklyn-based indie. 2014 has seen the company soundtracking video games (Playstation's Hohokum), collaborating with awesome companies like Warby Parker and VOID watches, and clearing 300 releases of forward-thinking music with records from Tycho, Com Truise, and HTRK. What better way to end this banner year than to revisit one of our favorite partnerships from the past decade and a half Released in 2008, Ghostly Swim was praised for its adventurous survey of exploratory dance and pop music. Our curatorial focus has shifted this time around, moving further inward (spiritually) and outward (as far as our roster goes) to reflect the electronic underground in all of its hazy and vibrant experimentalism. Ghostly Swim 2 is a document of textured ambient zone-outs and woozy, granular house and techno that will help you find some downtime away from The Most Wonderful Time of the Year. So sit back, lower the volume, and enjoy our selections.

finally repressed !

Feliks peels off the skintight dolphin costume, looks deep into Mathias' eyes and says: "Halle Saale." The birth of the second album of these two guys from Halle is just as beautiful as the tracks themselves.

After "Heimatmelodien", intended almost exclusively for the dance floors of this and other parallel worlds, accelerated the pulses of the 4/4 Electronic Music fans, the pair are now venturing on deeper and more picturesque paths with their new album - and sometimes even disappear into the forest to pick some Pop. The needle captures the first mountains and valleys and can hardly wait to pass them on. A soundscape of unknown proportions begins to emerge. Opa Herbert breathes the first vocals into the vastness of space; we embark on an endless journey, accompanied by bells and fresh whole milk. What do we learn from this trip Cryptic titles which, after a while, become crystal clear to us and a cover that could not be more disturbing. A setting in which there are no rules. Neither time nor space is respected here and viewing habits are trampled on. If we follow the path that leads inside this setting, we will find the two at their favorite pastime and will never be able to tear our eyes away from them again. The laboratory, full of boiling and bubbling vials: Such was the nursery of the two astronauts Feliks and Mathias before they quit their jobs as air traffic controllers in order to amaze us time and again with their skills as a DJ act. For almost 30 years they have been one of the top acts on the electronic club scene and never grow tired of reinventing themselves and trying new things. Halle, also known as the diva in gray, was the model for the second album and reveals herself in all her facets. We are enchanted by her siren-like voice, carried by Lilou and Ponybande. She shows us her dirty thoughts and sends us back to the department of dairy products with a headbutt...