House News

Pleamar(Spanish for high tide) is the first collaborative release between Chancha Vía Circuito and El Búho for Wonderwheel Recordings, and stands as one of the most refreshing EP's within the Latin American downtempo electronic genre.

On this release the vision of both artists is united as one. This unity is reflected through "Real Fun, Wow!"'s artwork, presenting an image of a centered eye, reminiscent of historic drawings from tide studies. The representation of Earth, with a central circle surrounded by two ellipsoids that rotate and align in perfect harmony, mirrors the meeting of the two producers, the moment when the seawater reaches its apex andPleamaroccurs.

Like a metamorphosis that - without knowing it - we had been waiting a long time for, the EP reconstructs Pedro and Robin's encounters over the years. It transports us into the history of migrant sounds, the salvaged sound of floral jungles, high mountain forests and the ocean deep. We hear a sonic beauty filled out by deep personal stories - four humble and honest tracks that demonstrate the fusion of these artists and both them and the genre into new territory.

Starting with "Oruga"'s deep ambience, dub atmospheres and space echo reverberations, the album follows this line of reverberated rhythms and relaxed percussion lines throughout, carrying us along with a pulsating, deep, natural tempo. "El Mago Georges", perhaps the Pleamar'sjewel, is bursting with life - impactful depth and perfectly tuned melodies yet tribal and delicate at the same time. "Murga del Viento'' recalls another meeting of these two minds: El Búho's much-loved remix of "Sueño en Paraguay" a beautiful track from Chancha Vía Circuito ("Amansará" 2014). Here the whistle meets the owl from the previous track and the two birds take us a step forward in this collaboration with chords superimposed on a haunting bass. The release ends with "Una Pulgada de Silencio", a track of cosmic synthesizers, trickling water samples and the voice of argentine folk singer Gus Goncalves. Through Pleamar we come to find a much needed peace and clarity hidden beneath the rolling waves, a deep-sound escape to get lost in.

Nous'klaer & RE:VIVE present two scores by Thessa Torsing (upsammy) and Tammo Hesselink. Torsing's is a 27-minute piece, composed for a collage of archival footage of the Dutch ship MS Oranje. The short film explores the lifecycle of the ship, from production to usage and to the fire that ultimately destroyed it. Hesselink's is a 17-minute piece for the pioneering short film, Ballet Mecanique (1924), a rigid composition of sharp notes and twisted drum patterns that hypnotically evolve accompanying the film's staccato rhythm.

Life is full of wonder and excitement. Now it is also filled with the 14th release on Fasaan Recordings, produced by one of its founding fathers: part-time fruit picker Prins Emanuel. Gli Ornamenti comes in three different versions, which is nice. The U20 Mix is all about that sweet Roland U20 and offers us many of its decorative sounds. The Maximal Minimal Mix is the one to go to when you don’t want a lot of different stuff, but what you want you really want a lot of. The Ambient Mix is perfect to play while inspecting the grass growing under your apple tree. This is a good 12-inch single for the industrial balearic summers ahead.

Long-time friends and collaborators A.M.S & Dogworld! release their debut EP on their own imprint: Club In Theory. Four glassy cuts that orbit around cold digital deep house, big bottom end, lush pads and twisted new jack swing.

Sangam comes to Forgot Imprint with a double cassette release.

The first release 'We Surrender in Grey' on the A side is all new material of dark, ambient dance music featuring Sangam's trademark synths recalling a lost void mixed with hard hitting kicks.

The second release 'Facing Reality, (You're not Here)' on the B side was released on Lost In The Rain of Our Tears and will now be available on cassette 9/19 in Edition of 25.

The prolific artist has released on labels such as Dream Catalogue, Lobster Theremin, Pure Life, and Doomtrip Records.

Das Debütalbum des Briten Jake Storm Glover aka Stametshroom, der von Alex Paterson (The Orb) gebeten wurde, einige Ambient/Downbeat-Tracks für dessen Resident-DJ-Sets bei WNBC Radio zu erstellen. Das Ergebnis sind diese fünf entspannten Tunes zwischen Balearica, Space-Electronica und Ambient/New Age in Längen zwischen drei bis acht Minuten.

The story of how Transatlantyk came to be is, in many ways, one typical of our times. We've grown accustomed to being isolated, even stranded, in recent months, and Technology has become our means of overcoming these aspects of quarantine.

For Lübeck-based producer David Hanke, a.k.a. Keno, and Los Angeles-based musician Tristan de Liège, their intercontinental relationship began long before the days of lockdowns and social distancing. The pair 'met' on-line through mutual friends back in 2018 and quickly realised they were, in a musical sense, kindred spirits. Their shared tastes meant that what started out as a single track quickly morphed into an EP, and finally the full length album that you're enjoying right now.

Tristan's experience as a neo-classical musician was the ideal foil for Hanke's skills with a sample and production expertise. Both shared a love of the more lush and cinematic end of instrumental Hip-Hop and Downtempo music. This sound partnership is evident throughout the album, but particularly on tracks like Nkosi, and the title track, where luscious string sections dance playfully with fractured, programmed beats; or the melancholic opener, Kouyou, where more laid back drums underpin muted horns and joyous harps.

The pair's perfectly formed fusion isn't the end of the story though, as French chanteuse Elodie Rama is on hand to provide not only some impeccable vocals, but also irresistible melodies to this already mellifluous long-player. Speak The Language sees this brilliant vocalist drift seamlessly between euphonious song and spoken word whilst delivering one of the ariose moments of the whole album. Elsewhere, on Dancing In The Dark, Elodie gives a slightly more sombre performance, combining with lavish strings and driving rhythms to a tee; and on To Find A Way offers up an even more emotional and almost heart-breaking performance, aided by wistful and forlorn instrumentation.

Transatlantyk is a body of work from an amalgamation of rare talents who combine beautifully to take us through myriad emotions; from the urgent and compelling Off The Mark via the pensive Forever We Were, and finally find their Way Across thanks to a shared love of graceful and refined musicality and a good song.

To this day the three have never actually met in person, but here's a last hopeful thought that one day soon, as we emerge out of the darkness, they can finally join together in a physical, as well as a musical, embrace.

Inspired by far-fetched fairy folklore, The Gone Away is the new album by Belbury Poly, the recording name of Ghost Box Records co-founder Jim Jupp. Vintage electronics, music room instrumentation and polyrhythmic sequences conjure up folk-ish, kosmiche melodies.

Evocative and unsettlingly familiar, it sets a darker and more serene tone than the last full-length Poly album, New Ways Out. Belbury Poly’s sound palette is still in evidence however; mellow analogue synths, rustic pipes and rusty strings. Gone are the usual supporting session musicians, with Jupp performing all parts himself. The album came together slowly over the course of three years while Jupp collaborated on various side projects and was finally completed a few days before the global lockdown commenced.

The Gone Away’s 11 tracks are inspired by British fairy folklore, especially its recurrent themes of things that always seem on the point of leaving or vanishing. Also there’s the notion of things that can’t be seen head on but are only glimpsed from the corner of the eye. A scorned and neglected corner of folklore, beguiling and bonkers in equal measure. Of course, this being a Ghost Box record, these themes are received through the prism of old TV soundtracks, and the credulous beliefs and childhood obsessions of a pre-digital age.

“I’ve always had this subject matter in the back of my mind for Belbury Poly, but I wanted to focus in on it more this time round. When I say I’ve been recording music about fairies, after the inevitable silence, there’s usually an awkward response somewhere between ridicule and revulsion. I guess that’s because the tiny winged fairies from 19th century children’s stories have won out over the weirder and wilder versions from folklore. There’s a wealth of folk tales and even contemporary accounts of the subject, but unlike ghosts, aliens and half-baked new age spirituality it’s usually only spoken of in the context of childhood or of mental health issues. Look at it directly and it’s not there at all, but the stories persist.”

Jim Jupp has released EPs, singles and six albums on Ghost Box as Belbury Poly. He is also a member of The Belbury Circle along with Jon Brooks (of The Advisory Circle) and occasional collaborator, John Foxx. He has recorded library tracks for KPM, BMG and Lo-Editions. He’s remixed tracks for several artists including John Foxx and Bill Ryder-Jones (The Coral) and has co-written a song with Paul Weller for his 2020 album On Sunset.

Vinyan (Thai for soul) is used to describe the intangible essence of something. The esoteric part that draws the line of one’s character, mystery, and spirit.

This cassette is a curated compilation of Vinyans bound in time and place and selected to form a continuity into a coherent whole. Re-contextualizing contemporary parallels between tribal elements, live instruments, drones and house themes; the ebb and flow between cosmic rhythms and eccentric landscapes drowning into a hypnotic blend. Psychonauts are invited into this warm and organic palette of sound textures from the East.

We are extremely happy to introduce you to Møzaika's first full-length record titled "Silver Tide". Its healing music has been a constant companion to us over the past two years. 2020 finally seems to be the right time to share it with the world. It is a wonderful album to be listened to as a whole - a continuous piece of music with many exciting turns showing the artist's close connection to nature as well as a deep knowledge of his musical ancestry.

Second time around for label boss Tooli on Omena.
This time it's a remix package with an all-star line up !

The original track was recorded in NYC a few years ago and this release contains the remixes of that very track.
Mark Hand, FYI Chris and Saine all put their mark on the original.

UK's unsung hero Mark Hand infuses the original with some UR vibes, the dynamic duo FYI Chris twist and turns the track into something truly original and finally Saine finish the whole thing off with a beautiful version you never want to end.

As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to Minecraft, the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the "8-bit" pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). In 2015, after quietly self-releasing Minecraft Volume Alpha and Minecraft Volume Beta, Rosenfeld partnered with Ghostly International to reissue Minecraft Volume Alpha on vinyl and CD. The release garnered attention from proper music critics and the gaming community alike, becoming one of the most sought after records in the Ghostly catalog. Now, following several restocks of Alpha to fervent fan response, it is time for the soundtrack's second installment to shine. For the legion of listeners and players to, at long last, have Minecraft Volume Beta in tangible formats. Originally self-released in 2013, Minecraft Volume Beta was C418's longest batch of music to date at nearly 140 minutes. The collection features tracks that were "silently" added to Minecraft during its music updates and a few that never officially entered the game. The run time is now adapted to fit the double LP format, while digital downloads include the full set. Rosenfeld's unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. Ghostly International is thrilled to give this unique collaboration its due treatment and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of this unexpectedly universal music.

Banco de Gaia has been performing and releasing for over 25 years now, along the way becoming one of the music industry's most maverick innovators. His legacy is as glittering as it is diverse, ranging from Hollywood film sound credits to the critically acclaimed 'Last Train to Lhasa', first released in 1995 to a rapturous reception. His live act still packs out venues and festivals all over the world, with audio visual performances renowned for their explosive, cutting edge quality: from sampling wizardry fused with haunting vocals and poignant acoustics to genre-hopping musical instrumentals, all accompanied by socially engaged visuals.

This was Banco de Gaia's ninth studio album, released to critical acclaim in 2016.

Zweites Album des irischen Produzenten Daithí aka Pual Noonan mit zehn kleinen Vocal-Pop-Hits auf House- und ambienten Electro-Rhythmen.

LTD SPLATTER COLOUR VINYL

Dissident , the debut album from RIDE's Andy Bell, recording as his electronic alter ego GLOK, was released last year to widespread acclaim. On Dissident Remixed , album no 7 on Bytes, lil' sister of Ransom Note Records, members of the extended Ransom Note family and fans of GLOK and RIDE have come together to reimagine the source material in a rich smorgasbord of styles. Andrew Weatherall (RIP), Richard Sen, Maps, Jay Glass Dubs, C.A.R., Timothy Clerkin, Franz Kirmann, Minotaur Shock and the man himself all step up to lend their talents to the project and the results are stunning.

The album Komorebi appears on vinyl in two color versions: classic black and a two-color version (splatter) limited to 100 pieces. OBI, a special element of printing, is a nod to the Japanese title of the album. Analog discs were pressed on thicker, 180 gram vinyl.

Following his electronic club aesthetic in Untold Stories (UKM036), Daniel Drumz takes a departure into the ambient synth wilds with Komorebi. This latest album represents a greatly matured perspective in the artist's discography, debuting this time under his real name, Daniel Szlajnda.
The album's name comes from the Japanese word 'komorebi' (木漏れ日), which refers to sunlight beaming through forest trees—often misunderstood for only representing the gentle, nostalgic side of nature. Komorebi polyphonically explores the dichotomy between the delicate and beautiful forms of nature, as well as the brutal and ruthless pulse of instinctual survival.
Komorebi presents pulsating, organic synthscapes that are nearly devoid of drum layers, jokingly referred to as "acid ambient" by Daniel.


The instrumental arrangements in Komorebi come from a modular synthesizer, built by Daniel during the work on the album. Harnessing imperfections and controlled unpredictability of this instrument fit perfectly into the themes of raw nature that the album is built upon. Sequences obtained by the synthesizer are in constant motion, never stopping in one place, and the album's electronic pulse is often complemented by acoustic instruments: celesta, marimbas and pianos.
The single track "Rebirth" was recorded together with Resina—a composer and cellist currently signed to Fat Cat Records in the UK.

Vinyl: heavy sleeves + heavy printed inner sleeves, 180g vinyl, free download code. ""There is harmony, geometry, metaphysics everywhere and, in a way, morale as well"" Gottfried Wilhelm Leibniz // Everyone knows these moments, hours or days, where one is feeling cornered, it is like running in circles or one is just trying to see something from a different angle. The new album by Sankt Otten - ""Lieder für geometrische Stunden"" (""Songs for geometrical hours"") - offers tracks for these kind of scenes. It's the soundtrack of the ups and downs of life and everyone's entirely personal geometrical hours.A very gentle and meditativ sequence introduces us to this new creation. Is it a synthesizer or a guitar? Whatever! A floating pad passes and returns, layers and shapes are rising. At the end the interaction of man and technology merges into perfect harmony. We are heading monumentally towards a futuristic world, which is frigid and surreal with a monotonous, sometimes gloomy and dark mood. Also beautiful. ""Du hast dem Schicksal die Show gestohlen"" (""You upstaged fate"") by contrast comes along with a minimalistic attitude. To some extent, sounding like rock music without being rock music. It's the perfect intersection of Minimoog sequences, acoustic drum sounds, ebow guitars and synthetic strings. Conny Plank would approve. ""Wer trifft schon immer den Ton"" (""Who always hits the mark""): A rhythm of nested patterns, a subtle arrangement, gentle choirs, pauses, compaction and thinning. Is this already jazz? Greetings from the echo chamber. The machines are trying hard. They deform the beat into geometrical forms, the bass jumps in circles, covering the tracks with ghostly choirs, creating an illusive, cuddly dreamworld. By the way, it's a long time ago, that rototoms have been heard in electronic music. Great! ""Dann doch lieber weisse Wände"" (""I'd rather have white walls""), the secret hit on the album? ""Die Blumen darfst Du behalten"" (""You can keep the flowers""): The pause is breathing, constantly wrapped in the elapsing tone of the night. A guitar in a slow-motion dialog with a synthesizer. Finally both burned up within the interstellar space. That shoud be a title for the next Blade Runner movie.This exactly 45 minute-long album fits on a C90 cassette side and thus closes properly with warm, analog 80's electronica. Man and machine are going hand in hand, infused by a hypnotic, motor function 808 beat, encouraging everyone to head-nodding by being almost danceable. Again, the central theme of this release is definitely the minimal, repetitiv drum play of Stephan Otten, whereas Oliver Klemm's ebow guitar drones hovers the tracks through this album. Sankt Otten do not disappoint. Founded in 1999, the duo from Osnabrück releases since 2009 on Denovali. With their 11th release, they give us a gem of timeless instrumental music. The holy trinity of krautrock, ambient and contemporary electronica, but always sophisticated and unique Sankt Otten. The mastering of the album was made by New York-based Rafael Anton Irisarri. Also the cover layout shows their great taste once again. This outstanding punch artwork was created by graphic designer Daniel Castrejón. Sankt Otten: Stephan Otten: Drums, Programming, Synthesizers / Oliver Klemm: Guitars, Synthesizers, Bass

We are extremely excited to bring you this first album from French composer/pianist, Julien Boulier, entitled, "A Film Not Yet Made". Just as the title suggests, the nine cinematically indicative and modern classically influenced tracks on this record will indeed transport you into a mysterious celluloid fantasy of sorts...of places and people not yet filmed, of emotions not yet brought to the inner screens of your mind. At times ethereal, and at others dramatic...the piano and other instrumentations ebb and flow in a filmic stream of beautiful dreams and imagery...fairytale like...windswept...romantic...and ultimately grandiose and life affirming. Put this music on and begin filming...!

'Melatonia' is the seventh album from drone duo Pausal, known for their releases on labels such as Barge Recordings, Students of Decay, Own Records, Dronarivm and Infraction. Individually, Alex has released numerous works under his Olan Mill alias and Simon has released on Hibernate Records.

The record is a flashback that’s never been. Again, it focuses on the static nature of certain beautiful, unresolved club moments. The dancefloor was mostly fractured and hardly ever uniting. But still, it was a promise. “Denouement” is for those who are seeking to come out of isolation on their own terms, sharing a set of possible gestures and moves, not guided by feral policies and opportunist cackle. The “exit strategy” lives among us. We believe that this is what this record is about, too. Time to take matters into our own hands, even if that means leaving for good.

Grammy-nominated artist and musician Stuart Hyatt returns with another sonic wonder in the Field Works series, bringing the listener into truly uncharted acoustic territory. Ultrasonic is perhaps the first-ever album to use the echolocations of bats as compositional source material. For this special album, Hyatt has assembled an extraordinary group of contributors: Eluvium, Christina Vantzou, Sarah Davachi, Ben Lukas Boysen, Machinefabriek, Mary Lattimore, Felicia Atkinson, Noveller, Chihei Hatakeyama, John Also Bennett, Kelly Moran, Taylor Deupree, Jefre Cantu-Ledesma, Julien Marchal, and Player Piano. Ultrasonic is part of a broader storytelling project about the federally endangered Indiana bat. Generously funded by the IUPUI Arts & Humanities Institute and the National Geographic Society, each album contains an official printed booklet of The Endangered Species Act of 1973.

Fred und Luna machen Spacemusik der besonderen Art: Wie sollte es auch anders sein, wenn zwei Schaufensterpuppen sich gedanklich auf den Weg machen, ihr Modehaus in Karlsruhe/Deutschland hinter sich zu lassen, um neue Welten und Räume zu entdecken.

„Im Weltenraum“, so der dementsprechende Name ihres neuen Albums, ist „Fred und Lunas“ nächstes Abenteuer in ihrer sich stets erneuernden „Elektrokraut/Krautelektro“-Serie. Eine, laut Google-Translator, „charmante und faszinierende Reise durch ein endloses Universum phantasmagorieller Klanglandschaften, sich wiederholender Rhythmen, eingängiger Melodien und sogar einem Abstecher ins Acid-House-Land.“

Nach ihrem motorisch repetitiven Erstling „Glück auf“ (EP auf Optimo Music), dem zugleich rhythmischen und atmosphärisch-melodiösen Debütalbum „Im Klanggarten“ (Bigamo Musik), einem narkotischen Trip in tiefblaue Gefilde auf „Im Tiefenrausch“ (Compost Records) und tiefgelbe hypnotisierende Dancefloor-Regionen auf „Im Tanzrausch“ (Compost), sind „Fred und Luna“ nun auf den Spuren von Strukturen und Klangdimensionen. Begleitet werden sie dabei von Patrick Pulsinger, einem Virtuosen am Mischpult und Meister des Masterings.

Wer sind Fred und Luna?
Fred und Luna wohnen in einem Modehaus in Karlsruhe. Die beiden Mannequins sind die Musen des
Musikers, Lektors, Poeten und Foto- und Filmemachers Rainer Buchmüller.

Von seinen Mannequinfreunden und der Liebe zu deutscher elektronischer Musik der letzten Jahrzehnte inspiriert, produziert Rainer Buchmüller unter dem Pseudonym „Fred und Luna“ eine zeitgemäße Kombination aus repetitiven Rhythmen, bezaubernden Melodien, elektronischen Klanglandschaften und Elementen der Krautrock-Ära. Oder wie er es nennt: Elektrokraut beziehungsweise Krautelektro.

Unter dem Namen „Ariston Baton“ schreibt Rainer Buchmüller konkrete Poesie und Klanggedichte. Bei Liveauftritten und Ausstellungen wird er musikalisch von „Fred und Luna“ und von Rainer Buchmüllers drittem Pseudonym „Vizudaru Nono“ mit Foto- und Videoprojektionen und seinem vierten Pseudonym Nikto Nietschinski mit Gemälden begleitet. Alle zusammen bilden die „Equipe Nadaphysique“. Eine aktuelle Ausstellung ihres Schaffens fand Ende Oktober 2018 im Rahmen des „Festival Rockomotives“ in Vendôme (Frankreich) statt.

„Fred und Luna is a miraculous treasure chest with seemingly unlimited realms of Krautelektro and Elektrokraut music.“ FRANK WIEDEMANN (ÂME/INNERVISIONS)
„Fred und Luna’s universe is full of wonderful possibilities and greets you like an old friend whistling a long forgotten melody.“ PATRICK PULSINGER
„Wunderbar!“ JD TWITCH (OPTIMO)

hree years on from their debut collaborative album “Passive Aggressive“, Jonny Nash and Suzanne Kraft return with "Knife", the lead single from their forthcoming album, “A Heart So White”.

The single comes with an exclusive bonus digital track, "Processing The Negative", which will not appear on the full album.

“A Heart So White” represents a continuation of the working philosophy adopted during the recording of their debut; immersion in an unfamiliar recording environment with a limited set of tools and the goal of exploring the possibilities that lie within these limitations.

The album was written and recorded in the Willem Twee Concertzaal, a converted synagogue in Den Bosch, Holland. Whilst “Passive Agressive” explored virtual instruments and environments, “A Heart So White” shifts the focus to acoustic instrumentation, breath, air and physical space. Using the hall’s mechanical drawer organ and Steinway piano, the pair craft a delicately balanced suite of compositions, stripping things back to reveal the bare essence of their shared musical language.

LTD. COLOURED VINYL

Vinyl: heavy sleeves + heavy printed inner sleeves, 180g vinyl, free download code. ""There is harmony, geometry, metaphysics everywhere and, in a way, morale as well"" Gottfried Wilhelm Leibniz // Everyone knows these moments, hours or days, where one is feeling cornered, it is like running in circles or one is just trying to see something from a different angle. The new album by Sankt Otten - ""Lieder für geometrische Stunden"" (""Songs for geometrical hours"") - offers tracks for these kind of scenes. It's the soundtrack of the ups and downs of life and everyone's entirely personal geometrical hours.A very gentle and meditativ sequence introduces us to this new creation. Is it a synthesizer or a guitar? Whatever! A floating pad passes and returns, layers and shapes are rising. At the end the interaction of man and technology merges into perfect harmony. We are heading monumentally towards a futuristic world, which is frigid and surreal with a monotonous, sometimes gloomy and dark mood. Also beautiful. ""Du hast dem Schicksal die Show gestohlen"" (""You upstaged fate"") by contrast comes along with a minimalistic attitude. To some extent, sounding like rock music without being rock music. It's the perfect intersection of Minimoog sequences, acoustic drum sounds, ebow guitars and synthetic strings. Conny Plank would approve. ""Wer trifft schon immer den Ton"" (""Who always hits the mark""): A rhythm of nested patterns, a subtle arrangement, gentle choirs, pauses, compaction and thinning. Is this already jazz? Greetings from the echo chamber. The machines are trying hard. They deform the beat into geometrical forms, the bass jumps in circles, covering the tracks with ghostly choirs, creating an illusive, cuddly dreamworld. By the way, it's a long time ago, that rototoms have been heard in electronic music. Great! ""Dann doch lieber weisse Wände"" (""I'd rather have white walls""), the secret hit on the album? ""Die Blumen darfst Du behalten"" (""You can keep the flowers""): The pause is breathing, constantly wrapped in the elapsing tone of the night. A guitar in a slow-motion dialog with a synthesizer. Finally both burned up within the interstellar space. That shoud be a title for the next Blade Runner movie.This exactly 45 minute-long album fits on a C90 cassette side and thus closes properly with warm, analog 80's electronica. Man and machine are going hand in hand, infused by a hypnotic, motor function 808 beat, encouraging everyone to head-nodding by being almost danceable. Again, the central theme of this release is definitely the minimal, repetitiv drum play of Stephan Otten, whereas Oliver Klemm's ebow guitar drones hovers the tracks through this album. Sankt Otten do not disappoint. Founded in 1999, the duo from Osnabrück releases since 2009 on Denovali. With their 11th release, they give us a gem of timeless instrumental music. The holy trinity of krautrock, ambient and contemporary electronica, but always sophisticated and unique Sankt Otten. The mastering of the album was made by New York-based Rafael Anton Irisarri. Also the cover layout shows their great taste once again. This outstanding punch artwork was created by graphic designer Daniel Castrejón. Sankt Otten: Stephan Otten: Drums, Programming, Synthesizers / Oliver Klemm: Guitars, Synthesizers, Bass

LTD. COLOURED VINYL

Vinyl: heavy sleeves + heavy printed inner sleeves, 180g vinyl, free download code. ""There is harmony, geometry, metaphysics everywhere and, in a way, morale as well"" Gottfried Wilhelm Leibniz // Everyone knows these moments, hours or days, where one is feeling cornered, it is like running in circles or one is just trying to see something from a different angle. The new album by Sankt Otten - ""Lieder für geometrische Stunden"" (""Songs for geometrical hours"") - offers tracks for these kind of scenes. It's the soundtrack of the ups and downs of life and everyone's entirely personal geometrical hours.A very gentle and meditativ sequence introduces us to this new creation. Is it a synthesizer or a guitar? Whatever! A floating pad passes and returns, layers and shapes are rising. At the end the interaction of man and technology merges into perfect harmony. We are heading monumentally towards a futuristic world, which is frigid and surreal with a monotonous, sometimes gloomy and dark mood. Also beautiful. ""Du hast dem Schicksal die Show gestohlen"" (""You upstaged fate"") by contrast comes along with a minimalistic attitude. To some extent, sounding like rock music without being rock music. It's the perfect intersection of Minimoog sequences, acoustic drum sounds, ebow guitars and synthetic strings. Conny Plank would approve. ""Wer trifft schon immer den Ton"" (""Who always hits the mark""): A rhythm of nested patterns, a subtle arrangement, gentle choirs, pauses, compaction and thinning. Is this already jazz? Greetings from the echo chamber. The machines are trying hard. They deform the beat into geometrical forms, the bass jumps in circles, covering the tracks with ghostly choirs, creating an illusive, cuddly dreamworld. By the way, it's a long time ago, that rototoms have been heard in electronic music. Great! ""Dann doch lieber weisse Wände"" (""I'd rather have white walls""), the secret hit on the album? ""Die Blumen darfst Du behalten"" (""You can keep the flowers""): The pause is breathing, constantly wrapped in the elapsing tone of the night. A guitar in a slow-motion dialog with a synthesizer. Finally both burned up within the interstellar space. That shoud be a title for the next Blade Runner movie.This exactly 45 minute-long album fits on a C90 cassette side and thus closes properly with warm, analog 80's electronica. Man and machine are going hand in hand, infused by a hypnotic, motor function 808 beat, encouraging everyone to head-nodding by being almost danceable. Again, the central theme of this release is definitely the minimal, repetitiv drum play of Stephan Otten, whereas Oliver Klemm's ebow guitar drones hovers the tracks through this album. Sankt Otten do not disappoint. Founded in 1999, the duo from Osnabrück releases since 2009 on Denovali. With their 11th release, they give us a gem of timeless instrumental music. The holy trinity of krautrock, ambient and contemporary electronica, but always sophisticated and unique Sankt Otten. The mastering of the album was made by New York-based Rafael Anton Irisarri. Also the cover layout shows their great taste once again. This outstanding punch artwork was created by graphic designer Daniel Castrejón. Sankt Otten: Stephan Otten: Drums, Programming, Synthesizers / Oliver Klemm: Guitars, Synthesizers, Bass

The album Komorebi appears on vinyl in two color versions: classic black and a two-color version (splatter) limited to 100 pieces. OBI, a special element of printing, is a nod to the Japanese title of the album. Analog discs were pressed on thicker, 180 gram vinyl.

Following his electronic club aesthetic in Untold Stories (UKM036), Daniel Drumz takes a departure into the ambient synth wilds with Komorebi. This latest album represents a greatly matured perspective in the artist's discography, debuting this time under his real name, Daniel Szlajnda.
The album's name comes from the Japanese word 'komorebi' (木漏れ日), which refers to sunlight beaming through forest trees—often misunderstood for only representing the gentle, nostalgic side of nature. Komorebi polyphonically explores the dichotomy between the delicate and beautiful forms of nature, as well as the brutal and ruthless pulse of instinctual survival.
Komorebi presents pulsating, organic synthscapes that are nearly devoid of drum layers, jokingly referred to as "acid ambient" by Daniel.


The instrumental arrangements in Komorebi come from a modular synthesizer, built by Daniel during the work on the album. Harnessing imperfections and controlled unpredictability of this instrument fit perfectly into the themes of raw nature that the album is built upon. Sequences obtained by the synthesizer are in constant motion, never stopping in one place, and the album's electronic pulse is often complemented by acoustic instruments: celesta, marimbas and pianos.
The single track "Rebirth" was recorded together with Resina—a composer and cellist currently signed to Fat Cat Records in the UK.

LTD LP+MP3+Signed Art Print

Ju/Na is a collaborative project between Juri Corrado and Nathan Dawidowicz and was borne in Berlin where both of them live. It's a conjunction of free verse and analog soundscapes - which could be described as 'analog poetry'

This debut album 'Haiku' is an exploration of contemporary narcisism which unfolds against a backdrop of different facets of contemporary life in imaginary/imagined or concrete urban spaces. Each side of the record contains three tracks - reflecting the three phrases of Japanese Haiku poetry. With a surreal language and quotes from mythology, the opus potrays the dreamy delirium of the Ego, from Love to disenchantment.

The things we love will one day disappear - first slow and then so quick. Born from the slow burning affirmation of the things we hold and they're dissolving nature as every day gets shorter. We are the collective.

All music written, produced, recorded & mixed by Drew Sullivan.

The year is 3030. Cruising from galaxy 2 galaxy with Artificial Intelligence @ the helm, intergalactic cruise liners have become so advanced that they have developed the ability 2 create their own personalities, feel emotions and ultimately fall in luv.

Gaston Arevalo debuts on A Strangely Isolated Place with an exploratory themed album told through the lens of an expedition diary - a rich soundtrack set amongst nature. Gaston aimed to depict an adventurous journey, where each track captured a specific moment over an imaginary, daring ascension. An intimate meeting with nature, the album rises from the ground to our highest peaks - with the two extremes captured in the album's artwork. Field recordings from Patagonia enhance the feeling of freedom, one can only find from the great outdoors. Adorned with drifting harmonies; shimmering guitars; dense pads of cloud; gentle rising mists; the sound of shallow rivers and morning bird-calls, it all comes together to create a vivid and intrepid scene told across a variety of full-length tracks and short interludes - breathers and moments to reflect amongst mother-natures finest grandeur.

On His Second Full-length 'degenerate', Turkish Producer, Artist And Designer Berk Çakmakçi Uses A Plethora Of Found And Recorded Sound To Create Shape-shifting Compositions Where Noise, Drone And Post-club Sounds Are Filtered Through Industrial Textures. 'degenerate's Brooding Sound Design And Disregard For Textural Uniformity —lo-fi Soundbites From Youtube Vids Merge With Sharp Blasts Of Digital Noise On Short But Intense 'spit'— Is Informed By The Trans-international Chaos Of The Political Zeitgeist. The Closer 'nothing To Break' Searches For A Throughline In The Current Wave Of Destruction And Death, And Plays Out Like Several Movie Trailers Going Simultaneously. Often Making Sharp Turns Within A Single Song, 'degenerate' Is Ostensibly Aggressive And Fragmented. At The Same Time, It Reconfigures The Residue Left By Contemporary Paranoias And Obsessions.

The Album Is Mixed By Ahmet Türk And Berk Çakmakçi, Mastered By Beau Thomas And Features Art By Bora Akincitürk And Type Design By Amir Jamshidi.

Lixo - The Production Alias Of Alex Hislop, Founder Of Influential London Party Collective, Getme! - Returns To The Crew's Label Arm With New Ep 'cicada'.

The Follow-up To 2016's 'writer's Block'single Feat Trim And 2017's "ida" Ep In Collaboration With Quays.the "cicada" Ep Sees Lixo Explore The Gamut Of Electronic Music With Washed Out Vocal Sampling, Warm, Tribal Bass Sounds And Fluttery, Dreamscape Melodies That Tug At The More Experimental, Exploratory Corners Of London's Club Music Landscape.

With A Back Catalogue Already Spanning 19 Records - Including Key Releases From The Likes Of Lil Jabba , Slime, Trim And Dam Mantle - The London Party-come-label Getme! Have Established Themselves As One Of The City's Key Electronic Hubs Over The Last 10 Years. Formed By Alex Hislop (lixo) In 2006, The Brand Now Spans Events, Radio And Their Aforementioned Label Arm.