House News

The fallen angel. The rebellious soul expelled from the pearly gates and forced to live in hell among mere mortals for eternity. Here they endeavour to condition and corrupt everything around them, a bold middle finger aimed in the direction of its former home in the promised land. Now imagine a soundtrack to this tragic tale. FunkinEven—also known as Steven Julien— has made just that with his debut album Fallen.

Split into two contrasting chapters, Fallen follows the trail of our main character. The first six songs introduce us to utopia, a collection which is matched by the light and airy tones of this initial set. The twist comes right down the middle, where we descend into the project's darker, hellish bogs. Both episodes intertwine seamlessly, and all composed, written and produced by Steven himself.

Julien plays the majority of the instruments you hear on the record, using session musicians — including three appearances from Hercules on bass — sparingly to plug any gaps. All the above choices combine to emit a contagious warmth that blankets the whole record. Within the dozen tracks, he jumps between everything from jazz fusion to techno. It's easily his best work to date.

Steven Julien first surfaced in 2009 with a refreshing sound unlike many of his contemporaries. While his peers flirted with R&B, abstract grime and whatever else, Julien forged his own path, one which partnered an organic, analogue sensibility with the sounds of electro, '80s funk, and acid. Initially affiliated with the Eglo camp, he eventually formed his own label, Apron Records, which has become a reliable outlet in its own right, not only for his own workings, but also as a home base for talents like Seven Davis Jr and Greg Beato. He's also proven to be an avid collaborator over the years, having worked with Fatima, Delroy Edwards, and, most notably, Kyle Hall, with whom he creates the unapologetically raw sounds of FunkinEvil.

We are excited to finally announce and share 'Presentiment', the second Long Player from The Connection Machine.
This release is particularly special for us as it will be the first time in over 20 years that Jeroen and Natasja have put an album out on vinyl. Despite having a string of aliased releases in the '90s on the mighty U-Trax, a 12" during the early days of Carl Craig's Planet E, a remarkable album 'Painless' on Down Low Music, and most recently a series of in demand E.P.s with Lost Trax on Tabernacle, their output has remained tantalisingly infrequent.
With 12 tracks that capture their unique and awe-inspiring sound, 'Presentiment' opens you up to a world that only The Connection Machine have access to.

German industrial radicals MDS51 grace us with a new release for Strange Therapy. The 10-track cassette Sickness and Ruins consists 3 new cuts, 3 tracks previously released only on CD, and some live-tracks recorded on Wroclaw Industrial Festival in November 2018.

DNA is a death-factory made music, an industrial inferno with distorted rhythms and sharp lines, conjuring a thundering crescendo of obsessive nature. The majestic atmosphere is enriched by well-placed samples and screams, recalling a tension akin to a real horrific experience. Tunnel is a static attack with subtle distorted motifs with a hidden melody, endorsed by a mechanical rhythm upon which female shouted vocals are layered. The track grows into a hypnotizing movement with seductive passages, while keeping its menacing soul. Torn showcases grinding lines and orchestral dark ambiances, reaching a film-score structured with sudden stark percussions and mesmerizing motifs. A dystopian sci-fi atmosphere dominates the number, while sparse vocal samples enrich the track with an almost narrative quality. Death-industrial moments surprise us with distorted vocals and steady paths. LCF is a noisescape made of hellish distortions and a stomping drum, interrupted by alarming screams. An old-school industrial atmosphere permeates the episode, conjuring a new steel-like obsession, and during the second half hateful vocals complete the climax. Fear Reactor is a destructive affair made of abrasive distortions and the usual well-placed samples, soon reached by strong rhythmic patterns and declaiming shouted vocal deliveries. Grinding moments with a crawling movement characterized by a broken structure. Pendu employs minimal elements and suspended atmospheres upon which a crooning voice layers its dark secrets. A sharp affair with an eerie sense of danger, a well-crafted industrial-pastiche ends the A side.

Propagation is the first of the 4 live tracks and welcomes us to the B-side. This track is a raw rendition with an almost punk feeling, a compulsive motion with steady cymbals and imperative vocal samples. The industrial march knows no pause, delivering some furious crescendos. Monochrom showcases minimal droning structures and rhythmic mantras with a serpentine nature. Then, shouted vocals enrich the track with a soulful performance. WHM is a percussive affair with sudden burst of noise and stomping beats, a menacing soundscape which grows with the continuous adding of elements. During the second half it sees riffing sounds and a starker drumming. Enfer ends the cassette with cinematic undertones with ritualistic rhythms and seductive female vocals in French. A dark crescendo shows itself among the crawling movement, keeping a restrained tension never really climaxing.

Brooklyn's Color Station label debuts their first vinyl pressing with this album from su na. Gorgeous, and spacious new LP from su na the recording alias of Minneapolis-based musician and DJ Alec Ness.

We are pleased to announce the upcoming reissue of the critically acclaimed fifth album by the iconic French duo AIR, titled Pocket Symphony.

Originally released in 2007 and produced by long-time collaborator Nigel Godrich, this album represents a refined and introspective milestone in Air's career.

The record masterfully blends delicate electronics with traditional Japanese instrumentation, creating a soundscape that is both intimate and cinematic.

This mini-LP from Amon Tobin is a beautiful artefact commissioned by the mind-blowing art installation Omega Mart by Meow Wolf in Las Vegas.

Night shifting patiently, slowly drifting in constant flux. Where Ancient Plastix’ debut used rhythm to create geometrical sound architectures and craft elaborate mazes, his new offering ‘II’ glides effortlessly, combining incredibly rich textures with soft swan-like strokes, oscillating gently, an unhurried pace that combines the depth of Japanese ambient maestros and the choppy British mist.

Liverpool producer Paul Rafferty aka Ancient Plastix, recorded ‘II’ straight to cassette with a number of different synths (Yamaha Reface, Korg MS20) and keyboards (90s casio and 70s Gem organ) via a collection of guitar pedals, outboard (Roland Space Echo, Melos delay, spring reverb). His tape machine this time was a Japanese Sansui from the 90s, a strange 6 track machine with a pleasing fidelity bought off from an old rave dad who was finally giving up the ghost.

“Musically, this album is more patient in its approach to the predecessor. Recorded towards the end of lockdown in my highstreet basement below a used record shop, the arrangements reflect the personal era. No responsibility, no reasons to adhere to the previous patterns in my music making. As a result the album is a patient trawl through new discoveries and possibilities presented by improvising with old technology.”

There is a widescreen grandeur that permeates Ancient Plastix’ production, a cinematic instinct that steers clear of crescendos by creating paths that revel in warmth and emotion. Flotsam & jetsam, instinct, burnout, heartbreak.

A special ‘Submerge” 12” EP featuring a bunch of reworks of this pivotal track from Apta's forthcoming ‘The Pool’ album on Castles in Space.

Kicking things off, Apta's own rework of the original sees the shadowy textures and droning wall-of-sound backdrop turned into a static-strewn dreamland of a piece, underpinned by a flickering guitar riff, cracked snare drums and fuzzed-out Odyssey strokes before launching into the euphoric half-time vocal refrain.

The follow-up sees Clay Pipe boss, illustrator and musician step into her Hardy Tree guise for a beautifully hypnotic waft of wistful folk-tinged electronics and shimmering ambient textures. It's warmly nostalgic, and packed full of all the feel of a lovely Clay Pipe release.

Following on from that, modular wizard Polypores takes pieces of the original and stretches them into an organic swell of texture and movement, warping the low basses and flickering modular plinks (and / or plonks) into a beautiful, undulating wall.

Flip over and It's none other than the brilliant Pye Corner Audio, providing an organically blooming suite of saturated percussion and woozy drifting oscillators, in peak PCA fashion. There are few artists that can do as much as with little as Martin Jenkins can, and hearing his audio sunshine underpinning the vocal line is breathtaking.

It's good to get the ears nice and soothed too before the aural assault and hypnotic spirit-cleansing heft of the legendary Gnod. Dubby throbbing bass and cavernous reverb tear the original into shards and piece it together as a churning, industrial powerhouse before shooting the rest into the endless reaches of space.

Closing things out on a space theme is the ideal way to do things too, with Field Lines Cartographer's remix taking things waaay into the outer reaches. Grounding bass churns and stellar synth sweeps float below the modulated vocal line, resulting in a perfectly crafted drone, rich in melody but untethered to the earth.

Time and duration are core themes in the work of both William Basinski and Janek Schaefer, and this long-distance collaboration took a suitably long gestation of eight years from start to finish. In that time, our collective perception of time has at times become disorienting. " . . . on reflection " remodels that instability as an exquisite work of art - one that is unmoored by time or space. Limitation breeds creativity, revealed as an expression of minimalism and close focus. Deploying a delicate piano passage from their collective archive, Basinski and Schaefer weave and reweave in numerous ways, forging an iridescent flurry of flickering melodies. The sounds of various birds heard from late night windows on tour can occasionally be heard throughout, ricocheting off mirrored facades, reflecting on themselves as they continually reshape their own environments with song. " . . . on reflection " looks backwards, a bustling revelry of positive emotions heard through the aging mirrors of memory. It is a celebratory meditation where sound shimmers through time like the light of the sea's waves glistening as it folds and unfolds upon itself. Created 2014-2022 between L.A. & London. Mixed at Narnia, Walton-on-Thames. For Harold Budd.

Becoming Real ist ein britischer Elektronikproduzent aus Kopenhagen. Seine neue EP ist beeinflusst von Grime, Cyberpunk und Ambient Dream Music, kombiniert mit einem detaillierten und fesselnden Sounddesign, das fragmentierte Geisterbilder leere Städte der Zukunft heraufbeschwört. Für Fans con Arca, Burial, Four Tet, Varg, HKE und Murlo. Seit seiner ersten Veröffentlichung 2010 hat er mehrerer EPs und Alben auf Transgressive Records herausgebracht, was ihm Aufmerksamkeit von u.a. The Guardian - ‘New Band Of The Week’ und NME - ‘Radar’ einbrachte. Zudem hatter er Auftritte beim Great Escape, Leeds Festival und in der Royal Albert Hall und tourte in Europa/ UK mit SBTRKT, Salem, Grimes und Mount Kimbie.

Soliton maximizes the compact format by further illuminating lesser-traveled paths. Contemplation and exploration weave harmoniously through five mysterious tracks. Influenced by a wide range of styles and sounds, such as Japanese ambient, the muted dissonance of Pharoah Sanders, and the chilly dub of the Scape catalog, Soliton evokes visions of lonely night drives punctuated by bright moments of bliss. The Calque EP from January 2023 saw them pursuing the minimal electronic side of their work even further. The opening track, "Kottbusser Tor,” showcases a conspicuous absence of the processed guitars that characterize most of their work, and instead explores sequenced filters, tape delays and analog synth patterns for eight minutes. On "Ammosel", they dive directly into dubby soundscapes, with crackling electronics and deep basslines, while "Kiyosumi" and "Fade Into Air" pay a visit to more familiar ambient territory. A darker undercurrent pervades on this EP, but one that goes particularly well with the coldest of seasons and its frosty air. The duo, consisting of Jason Kolb (Michigan, US) and Jonas Munk (Denmark) started working together in 2006, sending each other tracks across the Atlantic, eventually resulting in a full-length release on Felte in 2012. What started out as a side project to their respective main projects (Auburn Lull and Manual) have slowly become the main activity for both artists, now with a total of four full-lengths under their belt. Their music has also evolved and matured over the years, reaching a level of perfection that’s only granted producers who've been in the game for decades. Billow Observatory have by now established themselves as purveyors of highly refined ambient music and the Soliton EP sees them elegantly blend new and old, electronic and organic, into a gently drifting, enveloping whole. “.. mind drenching sunrises, glittering constellations, and sailing clouds, richly furnishing the familiar sense of hovering over vast natural orders that you're also inside. – Pitchfork // “So the world it inhabits is essentially that one between states, simulating a quietly vibrant ecology of sub-aquatic bass rumbles, washed out expanses of mid-range swirl and keening top end whose elusive colours seem to fade and coruscate in the low light. Lovely

WRWTFWW Records is thrilled to announce the release of the long anticipated, always delayed, 30-years-in-the-making PSYCHOS IN LOVE Original Soundtrack, available at last and for the first time ever in a super deluxe low fidelity _7" grape-colored vinyl edition, housed in a DIY no-budget sleeve, and loaded with extras, including words from film director Gorman Bechard, lyrics of the theme song, a promotional postcard with a picture of the cast, a poster of a woman attacked in a bathroom, and the infamous as-seen-in-the-movie "I LOVE MY VCR" bumper sticker!

Filled with sleazy funk, macabre synths, homemade electronic kitsch, anti-grape propaganda, and rewind-worthy dialogue excerpts, Psychos In Love is the ultimate lo-fi horror-romcom soundtrack adventure with a theme song so memorable you'll find yourself humming it every morning. In Gorman Bechard's words, "For the Psychos In Love theme I purposefully wrote what I hoped were the worst lyrics of all time, giving them to Carmine Capobianco with one note, 'use them to write the worst song of all time.'"

The movie Psychos In Love (1986) is a trenchant, laugh-out-loud indictment of slasher films, romantic comedies, and grapes (that's right, pal, grapes), a true genre-defying post-modern cult classic that will wind its way into your heart as its characters work _their way through vats of gore. Packed tight with sly homages to - and parodies of the work of such cinema legends as Alfred Hitchcock, Woody Allen, Roger Corman, Groucho Marx, and Gerard Damiano, Psychos In Love foreshadows the grand guignol culinary delights of Silence of the Lambs, served up with a healthy portion of wry wit and all-American t&a.

Sidekick is the evocative, uplifting and adventurous debut from London based producer and composer Chris Hyson. Chris's work as duo Snowpoet with vocalist Lauren Kinsella has earned him a formidable reputation as a producer with refreshing perspective and spot-on taste; his blending of sweet hook-laden vocal lines with warm and lush arrangements has sparked serious interest from many artists, most notably Jordan Rakei (Ninja Tune). Citing influences ranging from James Blake to Bjork and Radiohead, Chris' music is soaked with sun-drenched harmonies yet underwritten with darker sub-tones and a sense of melancholy that deeply enriches the music and emotional narrative. Powerful and compelling, Sidekick is a major new album with collaboration at its core, featuring incredible singers Frida Touray, Alison Sudol and Soren Bryce as well as instrumentalists Josh Arcoleo and Joe Webb.

Haze - released via Ki Records - is Greek producer and composer, Hior Chronik's latest creation. Aligning with his previous critically acclaimed album, Descent, Haze creates an electro-ambient world which accentuates modern classical minimalism. It is an album which deeply embodies tranquility, fulfilment and meaningful connection, aspirations born out of Hior Chronik's past in Athens, and realised by his relocation near to a forest in Berlin, where he can truly feel at-home, surrounded by the awe-inspiring beauty of nature. Through 15 tracks, Hior Chronik guides his listeners in an immersive journey which features magical soundscapes built using DX7 and Roland synthesizers, beats from the Lofi drum machine and Volca samples. Inspired by the best of his previous work in moody electro soundscapes, alongside his own history as a listener and lover of early 90's electronic music, artists like, Lali Puna, Solvent and Remote Viewer, this album demonstrates a new dimension to Hior Chronik's artistry which exudes light optimism.

There’s a dualism that runs throughout the lifeblood of Bristol-based Corre. It’s a duo of sorts, but not a traditional one: Henry Green is a cult electronicproducer, while Hattie Ellis crafts dreamy photography. It’s this sense of opposites attracting, poles magnetising, that the project is built on. “We’re really intrigued by the shared qualities within two completely different elements,” the pair say, “but also how their differences can complement each other". Their name comes from “correlate”, a term they kept “circling” back to. In terms of sound, there are clear correlations with similarly hypnotic, ephemeral ambient producers: think Aphex Twin, Nils Frahm and Jon Hopkins. But there’s something new, raw and innocent in the music’s lapping waves. The visuals are realised in a short film, set amidst the mistiness of the Gothenburg Archipelago. There’s a vitality to both the sound and the vision, in terms of necessity but also how the rich piano lines and deep imagery seem to quiver with life. “We think that maybe the vitality in the sound stems from that idea of escapism, the idea that art can transport you to a different space,” the pair say. Although so full of life already, it’s still in its early stages, its possibilities “endless”. Whether you are drawn to the spacious visuals, the dreamy sound, or how the two correlate: you shouldn’t be late to Corre. Project ID:

A meditative mood meld of contemporary classical and minimal electronics; and no less lovely for it" - MOJO Corre, the side project of Henry Green, aims to redress the balance between electronic and contemporary classical music through a union of sound and visuals, inspired by the likes of Nils Frahm&ÓlafurArnalds. The album has already been confirmed to have reviews in Uncut, MOJO & Electronic Sound. Along with the new album the collective will be releasing a short film, which has already been shortlisted in many film festivals, including the 'Los Angeles Film Awards' and 'European Cinematography Awards'.

Das Dreampop-Trio Dallas Acid aus Austin, Texas ist das seit Jahren erste neue Singning auf Brian Enos All Saints-Label. 2018 arbeiteten sie zusammen mit Laraaji auf dessen vielbeachtetem Album "Arrive Without Leaving". Dallas Acid verbinden minimalistisch-simfonische Elektronik aus den Tiefen klassischer Cosmic Music mit der balladesken Sensibilität und atemraubenden Intimität von Mazzy Star und erschaffen so grandios-überwältigende Klangwelten. An anderer Stelle erinnern sie an Soundexperimente von Jon Hassell oder Soundtracks von Vangelis und anderer mysteriös-elektronischer Arthaus-Filmscores. Für Freunde von Peaking Lights, Mercury Rev, Cocteau Twins, Laraaji, Kaitlyn Aurelia Smith, Spiritualized, Moon Duo, Laurel Halo oder Panda Bear.

"Majestically immersive sound spaces in which to float, wonder, move and trance." - Laraaji

In April of 2018, Drowse’s Kyle Bates left his home in Portland, OR, for an artist residency in barren northern Iceland. Much of Bates’ time there was spent in self-imposed isolation, giving him ample space to ponder the nature of solitude, and what it means to be “closed” or “open” to the world. Upon returning home, Bates worked obsessively. Maya Stoner, his longtime creative partner, sometimes came to sing, but recordings were mostly done alone. The dichotomy of his Icelandic musings materialized in a very real way as he neglected his personal relationships in favor of his art. While he was confronting his life-long fear of intimacy, and reconciling himself to a diagnosis of Bipolar 1, Bates found that the means he employed to conquer these obstacles—self reflection through art—carried with them an equal measure of misery. Light Mirror, Drowse’s second album for The Flenser, is a subtle exploration of these contradictory attitudes and their consequences that can be heard as an artifact of sonic self-sabotage.

Light Mirror falls within a lineage of overcast Pacific Northwest albums (think Grouper’s Dragging A Dead Deer Up A Hill), but finds Drowse pushing past its slowcore roots. The album’s prismatic sound reflects experimental electronic, noise pop, black metal, krautrock, and more through Kyle’s distinct song-worlds. The lyrics are ruminations on the idea of multiple-selves, identity, paranoia, fear of the body, alcohol abuse, social media, the power of memory, the truths that are revealed when one is alone, and the significance of human contact. They were influenced by filmmaker Andrei Tarkovsky and poet Louise Glück, who both address self-contradiction. Mastered by Nicholas Wilbur (Mount Eerie, Planning for Burial) at the Unknown, the album showcases a striking maturation in sound. Light Mirror is Drowse’s most intimate and desolate work to date.

The first stand-alone vinyl single to be released by The Durutti Column this century will be released on Vini Reilly’s Birthday early August 2020. ‘Free From All The Chaos’, was originally on the CD release ‘Chronicle’ presented with the unreleased track ‘Number Three’, from the same sessions, also includes the voice of singer/songwriter Caoilfhionn Rose a collaborator with the band over the past five years.A series of releases originally on the KOOKY imprint will be re-issued for the first time on vinyl, including the very limited CHRONICLE album. ‘Chronicle’ is a body of work commissioned from Vini Reilly as an autobiographical project concluding with a series of live shows. It will be released for the first time in VINYL format later this year.A limited run of 750 copies c/w a Trevor Johnson designed sleeve on crystal clear vinyl.

This is Ecovillage's debut PITP release titled, 'Clouds and Waves' featuring two PITP artists, Gallery Six and Ludvig Cimbrelius. "Clouds And Waves was inspired by nature and the inner journey." White shell cassette tape with black imprinting, housed in a clear norelco box and shrink wrapped. Loaded with FerroMaster C456 super ferric, ultra-high performance type-1 music grade analog tape

Ambient Maximalism in Synths, Strings, Harps, and Horns. A sonic excursion, taking inspiration from public parks across the globe, Big Majestic features Kronos Quartet soaring above desert vistas on West Coast Sky Forever, Shabaka Hutchings' kaleidoscopic shakuhachi and tenor saxophone meditations on Spiritual Sun and Primrose Hill, James McVinnie performing an electrifying synth organ epic on Blue Sky | Mirrored Glass, and the otherworldly voice of Lisel beckoning the listener into the unknown.

American Pulitzer Prize winning composer and sound artist Ellen Reid is set to release ‘Big Majestic,’ an album of music written for her acclaimed GPS-enabled work of public art, Ellen Reid SOUNDWALK, that reimagines urban parks as interactive soundscapes. The album features performances by the Kronos Quartet and Shabaka Hutchings. SOUNDWALK premiered in New York's Central Park, and continues to expand to urban parkland around the world, including Los Angeles' Griffith Park, London's Regent's Park & Primrose Hill, and Tokyo's Ueno Park. The project has already been featured on NPR, the New York Times, the Washington Post, and the LA Times.

“Everything we know, from the stars and planets through to the fundamental, sub-atomic particles that make up all matter, is vibrating - oscillating at its own frequency. The known universe is a symphony. Ancient scientists and cosmologists such as Pythagoras, and later Kepler, postulated 'the music of the spheres' and they were right.

“It is theorised that at some point in the far, far distant future, we may reach a state of maximum entropy - the 'heat death' of the universe. All this movement, all this vibration, will finally stop and a great silence will descend, the song of aeons finally ended. We are cosmically fortunate to have experienced this time of the great symphony, along with all the incredible plants and animals, the very fabric of nature, that constitutes this wonderful, vibrating Earth. Cherish it. Revel in it.”
- Mark Burford, Field Lines Cartographer.

Using analogue synths & field recordings, Field Lines Cartographer creates often dark, occasionally bucolic soundscapes, described in The Wire magazine as “shimmering and unsettling” and “The sound of big, strange worlds” by Electronic Sound magazine.

Wildly acclaimed, Grammy-winning artist Flume is releasing his surprise album; a surprise package of unheard music from the last decade ‘Arrived Anxious, Left Bored’ on vinyl on November 17th via Transgressive Records.

Arrived Anxious, Left Bored, released via Transgressive Records, is work reflective of the eclectic nature of Flume’s output over the past ten years since his 2012 self-titled debut album, which launched the iconic producer''s career. Spanning from underground house to atmospheric ambient tracks, Arrived Anxious, Left Bored features collaborations with celebrated producer Emile Haynie (Dua Lipa, Lana Del Rey, A$AP Rocky) and Jim-E Stack (Bon Iver, HAIM, Sudan Archives), as well as his first foray into using his own vocals with “All There 1.9 2019 Export Wav.”

a A1."SKY SKY 1.3 [2016 Export Wav]"
[b] A2."Chalk 1.3.3 [2017 Export Wav]"
[c] A3."All There 1.9 [2019 Export Wav]"
[d] A4."Road To Japan [2017 Export Wav]"
[e] A5."Jerry 1.6 [2017 Export Wav]"
[f] B1."N1cevib3 1.3 [2015 Export Wav]"
[g] B2."Arrived Anxious, Left Bored 1.4 [2020 Export Wav]"
[h] B3."Habibi [2019 Export Wav]" (feat Emile Haynie)
[i] B4."Miss U [2020 Export Wav]"
[j] B5."No Other 1.2.2 [2021 Export Wav]"

Wildly acclaimed, Grammy-winning artist Flume is releasing his surprise album; a surprise package of unheard music from the last decade ‘Things Don’t Always Go the Way You Plan’ on vinyl on November 17th via Transgressive Records.

‘Things Don’t Always Go The Way You Plan’, released via Transgressive Records, features tracks with Injury Reserve, Panda Bear and Isabella Manfredi - with whom Flume previously collaborated on “The Greatest View” and “TRUST.” The collection is an immersive dive into the various eras of Flume with a combination of experimental and vocal material. There’s uplifting cinematic moments, “Close 1.2 2016 Export Wav,” wonky mixtape era beats, “Nice 2 Know U 1.5.3 2020 Export Wav,” a return to hip hop, “Counting Sheep (V2) [2018 Export Wav],” and classic song driven material, “Rhinestone 1.7.2 [2018 Export Wav].” It’s all very Flume and consistent with the eclecticism that has earned him his unique lane in electronic music and popular culture.

[a] 1."Counting Sheep (V2) [2018 Export Wav]" (feat Injury Reserve)
[b] 2."Nice 2 Know U 1.5.3 [2020 Export Wav]"
[c] 3."Why 1.3 [2012 Export Wav]"
[d] 4."Rhinestone 1.7.2 [2018 Export Wav]" (feat Isabella Manfredi)
[e] 1."Dream 1.2.2 [2016 Export Wav]"
[f] 2."Beat 58.1.1 [2020 Export Wav]"
[g] 3."Close 1.2 [2016 Export Wav]"
[h] 4."One Step Closer 1.4 [2021 Export Wav]" (feat Panda Bear)
[i] 5."SPOKE 2 ALIENS FINALLY 1.3 [2020 Export Wav]"
[j] 6."Things Don't Always Go The Way You Plan 1.2 [2020 Export Wav]"

"Chewing The Fat" marks a new chapter for Franc Moody.

This album delves into the duo's creative depths, breaking away from traditional norms and

showcasing a more refined sound than their earlier work.

Partially recorded at LA 64 Sounds Studio and Damon Albarn’s Studio 13 in West London,

the album’s sonic landscape is significantly shaped by Albarn’s collection of synthesizers,

especially some Russian models.

Drawing inspiration from live performances by Massive Attack and LCD Soundsystem,

the result is a sound that leans less toward disco,

embracing a grungier, more gritty attitude.

Minimal Electronica Ambientish. Mental flavour. Brain First aid style.

First vinyl edition of the album »Rhetorical Islands«, originally released in 2012 as a limited-edition CD on Ielasi's Senufo Editions label. The album’s ten tracks have neither titles nor accompanying text, standing for themselves as what Ielasi himself has called ›isolated sound worlds.‹ They are nonetheless unparalleled in their plasticity, acoustic events with a rare degree of tangibility. Ielasi evokes physical objects, some of which seem to have been constructed out of paper and cardboard, others based on a mechanics of elastic materials. Of course these objects are hallucinations, and precisely because Ielasi constructs them so masterfully there’s no need for any further information. read on / listen

GLOK is the electronic solo project from Andy Bell of shoegaze legends RIDE (formerly of Oasis/ Beady Eye/Hurricane #1). His debut album under the moniker, Dissident, was originally released last year on a limited edition cassette by Bytes, an offshoot of Ransom Note Records. That sold out in 24 hours, and was followed by a vinyl pressing of 500 copies, on transparent green vinyl, sold via Bandcamp and two online shops.

However, with that edition now sold out pretty much on word of mouth, due to popular demand, Dissident is being repressed and is this time being made available to a wider audience via a partnership between Bytes and Republic of Music/K7.

The name GLOK is a misspelling of the German word for Bell. The German connection fits well as there is a strong Krautrock influence in the music, especially on the title track, ‘Dissident’, an epic clocking in just shy of the 20-minute mark, which blends synthwave, minimalism, trance, Detroit techno and John Carpenter soundtracks, with Andy even dropping in some killer John Squire-esque guitar licks.

The album was supported by Andrew Weatherall, Justin Robertson, Tom Ravenscroft at BBC 6 Music, The Times, Electronic Sound, Clash, DJ Mag, ChainDLK, Stamp the Wax and Groove.

Dissident Remixed will follow on June 26, 2020, featuring reworkings from Andrew Weatherall, Jay Glass Dubs, Maps, Richard Sen, Minotaur Shock, C.A.R., Timothy Clerkin and Andy himself.

Imagine if Eno, after collaborating with Harmonia and Cluster in the forest of Forst, had stopped over in Dunedin to jam with the Clean, or hung out in Hoboken with the Feelies. Drifting ambience, gentle jangle, motorik pulses and glimmering tones: all combine to create a striking mood of stretched out calm on The Green Ray, the new project from singer-songwriter Ed Wallis.

Rooted in the strong sense of melodic melancholy that shaped his previous band My Sad Captains (Bella Union), these 8 songs mark a new beginning. For Wallis this has been a time of seismic life events - the birth of his first son, the loss of his second, and a move from London to the country. The songs take in the slow skies of Lincolnshire where he grew up, the parakeets of south-east London where he made his life, and the chalk hills where he now resides.

The record is bookended by two songs which unfurl over 8 or 9 minutes, each finding its own weightless zone and staying there, before wending its way to a dreamy crescendo. Elsewhere, “Only One Way to Go” cruises on a New Order-ish bassline before finding the saddest of pop melodies; “Run” melds ambient atmospheres and songwriting chops.

To make the record, Wallis was rejoined by former Captains colleagues from different eras of the band’s four album career: his brother Jim Wallis on drums, who also mixed the album; chief sonic architect Leon Dufficy on guitar; Steve Blackwell on bass and Henry Thomas on keys.

The friendship and encouragement of trusted collaborators were crucial to shaping these songs during a time of flux for Wallis:

“My Sad Captains was becoming a bit of a Sugababes situation, where I was the only original member left in the band. When another drummer announced he was leaving, I decided it was time for something new.

“It felt freeing to be thinking about a fresh start. I’d poured my life into the band, made records people liked on labels I loved. But, man, I’d be lying if the positive reviews which called us “England’s best kept secret” didn’t get wearing after 15 years.

“So, time for a change and my life was changing too. We’d just had our first son and the songs I was writing reflected that. Partly practical: a lot of quiet ambient tunes composed on keys with headphones on. But it also brought an open heartedness I’d never really countenanced before, playing songs on an acoustic guitar while my foot tapping kept a baby bouncer going. We’d also decided to leave London, where we’d lived for 20 years.

“Life changed even more profoundly when our second son died. I’d just handed over the finished recordings to my brother Jim to mix before it happened. And in the weeks and months after, I have to say I didn’t want anything to do with these songs.

“But after some time had passed, Jim sent me a couple of mixes he’d been working on. I listened to “Getting Back Again”, the first song you hear on the album. The love and care in his mix picked me up off the floor. He’d used our Grandma’s old cello to create a beautiful coda, without discussion but with perfect execution, intertwining with Leon’s Fripp-esque lead lines. And it really did make me believe in the whole thing again.

“I’d always felt I didn’t want this to be a strictly solo project. It’s broadly speaking my thing with good collaboration and input from people who are up for it. But that became so much more important to me as we completed the record, having old friends on hand to help me through difficult times, finish what we started, and decide with determination to embark on something new.”

The band takes its name from the solar phenomenon, the green ray. As artist Tacita Dean describes in her film of the same name: “The last ray of the dying sun to refract and bend beneath the horizon is the green ray, which is just slower than the red or the yellow ray. Sailors see them more than the rest of us and they have come to signify a harbinger of great change or fortune in their lives.”

Ambient Library Music for Woodwind and Synthesiser. A 9 track album inspired by a birthday card Greg's 4 year old son Leo drew for his mum earlier this year. This album is an aural delight of unusual sounds. Kind of like a mix of Satoshi & Makoto, Hiroshi Yoshimura, Hiroki Kikuta and the Karl Jenkins and Mike Ratledge soundtrack to 80's children's Television show 'Button Moon'.

Sun Reflector is the debut LP collaboration by Heffernan (Ivan The tolerable, All Structures Align, King Champion Sounds, University Challenged) and Pärk (Black Tempel Pyramid, Teeth Of Glass, Kosmonaut). Sun Reflector is steeped in a haze of primitive drum machines, fanned phase and sustained scuzz-rippled guitar chimes, an ambient electronic creation with emphasis on repetitive trance-inducing rhythmic pulsations of electronic sound and subtle counterpoints that slowly unfold as the rhythmic drive marches forth utilizing the Motorik 4/4 beat with the lysergic kosmische sonic textures of Cluster. With Heffernan (bass, guitars and drones) based in the Northeast of England and Pärk (synths, drones and loops) based in Colorado USA on the border with New Mexico - the portal they opened up between these environments creates a travelogue that unites physical and inner space, a series of trance induced states rendered in vivid colour, a delirious portal into the ether. ‘Harmonic Coast’ opens and is a heady downtempo affair, an earthly vibration that slips effortlessly between peyote peaking trekking trips & Balearic sunset vibes. The somnambulistic drift of 'The Sun' sets the stage with a series of shimmering, circular synth pulses where hidden details slowly emerge over multiple listens. Album closer ‘Fever Mirage’ creates a clear-eyed appreciation of the pastoral beauty that surrounds us, it’s a journey that summons up an occult-like dream of glacial arpeggios and whispering synths that pull your attention in to this hypnotizing listening experience. Sun Reflector is a collective sound in which a lot is allowed, and a lot is done. That combined with the compositional ingenuity where the heterogeneous timbres create a time travelled cosmic mysticism that summons up the spirits and visions of Harmonia, Cluster, Eno and Phillip Glass. Shimmering and transcendent we present to you for your listening experience ‘Sun Reflector’

Seductive drone and post cinematic soundscapes between ambient, indie-neoclassical music. These are the best words to describe the vibes of the new album by the Greek/Berliner composer Hior Chronik, entitled "Blind Heaven".
Created between the autumn and winter of 2019 in Berlin, mixed and mastered in Athens by John Valasis (already at the mix for the previous ("Out Of The Dust"), "Blind Heaven" confirms Hior Chronik as one of the main names of the scene poised between the electronic-ambient world and that of modern classic minimalism.
Proof of this are the prestigious feature of the album: from the Japanese by Erased Tapes, Masayoshi Fujita (vibraphone in "Blanket"), to the Polish pianist Hania Rani, who for a long time accompanied Hior Chronik on tour and whom we see here on the piano in "Words Are Gone", the producer and sound engineer Francesco Donadello, to the modular synths in "One Eternity At The Time", up to the New York artist Amber Ortolano, voice in "Beneath".