Pop & Rock Novedades

Available as 3LP set for the first time, incl. 6 pages poster featuring extensive critical and biographical notes!

This 3rd volume continues to show all the aspects of electronic music from the early beginning until now - including 2 pieces of historical concrete music (of the 70's), several piece of American tape music (Columbia University) with a special focus on all the electronic music from Germany - WDR early works - krautrock - electronic from 90's... Also featuring some recent work of the greatest noise artists + several unsung electronic pioneers ...

Datashock from Saarlouis, a collective of multi-instrumentalists. Founded in 2003, they've been losing themselves in the wardrobes of their subconcious ever since and have never been frightened to play around with whatever they can find in there, trying out colourful sound-costumes and sending out psychedelic-experimental sounds, with a huge discography counting more than 30 between albums, eps and miscellaneous.
Their latest work "Keine Oase in Sicht" released on Dekorder in May2014 has collected some great feedbacks from the like of The Wire, Pitchfork and more.With "HD Trailer EP" they find in Gang of Ducks a new sympathetic home where going ahead with their unique psychedelic sound.The cosmic caravan takes its journey in 4 different original tracks, exploring the psycho acoustic sound with echoes of far and never existed worlds together with an irreverent vision of our world today, with its new mania and obsessions.Printed in 180gr vinyl, matt laminated cover plus free digital download

One of New York-based experimental artist Fred Welton Warmsley III's (FKA Lee Bannon) many monikers, Dedekind Cut (pronounced "Ded-da-kend Cut") has set up the release of his debut LP titled $uccessor (DED004). Sharing his lead single "46:50" featuring Active Child in the guise of a modern approach to Noise, New Age, and Ambient music.
$uccessor will be released digitally on November 11th along with NON Worldwide limited vinyl and limited cassette via Dominick Fernow's Hospital Productions label

Written and recorded by Cindytalk between 2013-2015 at Roi Vert, Okamoto, Japan and Thirteenth Floor, London, UK

Film clips on Sea Of Lost Hopes, Lost Unfound and Filthy Sun: Ghost Dance (UK 1983), directed by Ken McMullen

Design/images: David Coppenhall

In praise of The Invisible College

'The Labyrinth of the Straight Line' is a compilation of chimerical poetry. Ambiguous haikus of agony, melancholy, obscurity and dissensus are unfolding over time. Walking on the shapeshifting paths of transgression, on the search for new realities since the early 1980's, Cindytalk's latest release pays hommage to their industrial roots, comprising brutalist outbursts in abstract sceneries of beauty and abysmality.

As surreal and introspective as a film by Jean Cocteau, as labyrinthic and enigmatic as a story of Borges, Cindytalk succeeds in spatializing subjectivity. These introverted detournements follow the logic of dreams and form the unsettling soundtrack of an unresting mind. The outcome can be abrasive and balearic at times, but also delicate and melancholic. 'The Labyrinth Of The Straight Line' forms an alphabet of dark and obscure detachment. Acid shivers of a body without organs and convulsive pumps of arteries alternate with poignant murmurs of the past that dissolve in tender shades of hushed despair and graceful debris.

We find ourselves in spaces with walls crumbling down or concaved by glazed mirrors terrorizing the claustrophobic body. From time to time we can hear a disembodied voice, speaking soft and clear like a narrator from a different reality.

Sonic psychogeography between somnambul dark ambient, claustrophobic post-industrial and nightmarish techno. Delightful sketches of escatology.

We're particularly proud to bring you this 2xLP based on unreleased tapes recorded in 1975, way before Marianni's first LP back in 1980! After 2 years remodeling the archives at Jeangérard's studio, they now deliver a brand new 75 minute album. Not only does the music remind such bands like Popol Vuh or any GRM act (where Marianni taught himself), but also modern artists like Massive Attack or Boards of Canada!

Formed from places, plastics, and particulars 2014-2016

Mastered at D&M, Berlin, September 2016

Design by Richard Chartier

The ongoing project by Los Angeles-based sound artist Richard Chartier (b.1971) sends you a new coded message of sumptuous distant drones and glacial orchestral heartrendings. Poised and polished slow motion pulsations tug at your emotions (but only a portion of them).

For those listeners desirous of the output of The Caretaker, Angelo Badalamenti, William Basinski, and other such dark wistful wonderment.

Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Amorphous, changing, and slipping in and out of consciousness, operating like a syrup-y dream and strives to be both elegant and detached.

Please don't hang up. This call is important. You're coming with Pinkcourtesyphone..., leave everything..., it's getting late.

Cryptic signals bounce between the munros and the Pyrenees as Glasgow crews Strobe Pie and Cru Servers turn out a duo of warped bangers for the third EIS HAUS release. On remix duties, YTAC inject some alcoholic disco bounce.

NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS...

"homemade jams from jules & jessicaís kitchen" is the follow-up vinyl release after SELA.'s critically acclaimed debut from 2015, "first". The Californian producer refined his take on leftfield R&B and footwork, trailing even deeper into ultra-minimal loops and found sound. There is an un-good atmosphere to most of his tracks, mostly due to the haunting chords and syrupy, loose programing. At the same time, the warm sound and hefty low-end clearly set apart SELA.sí production from lo-fi gimmickery. Fans of Angelo Badalamenti, Shlohmo, or BONES should give this one a try.

The sound to be found in nature can have a very slow groove. A groove embedded by silence, so slow it can almost only be felt while spending a few hours in the nature at sea, during a forest trip, in open fields, etc. It is this groove and the 'silence' of nature that was an inspiration for the Fieldtone compositions. The music is performed by an ensemble of string instruments (Kankles, Acoustic guitar, Electric Guitar, Double Bass) supplemented with drums

On two 12"s and over the course of a staggering 78 minutes, big things are happening on "Jams", Urban Homes' monumental sophomore album. The highly ambititous attempt at a certain history of dance music, a sweaty night on the dancefloor, an excursion into the fog...But one thing at a time: The 13 Jams go back to recordings of years of communal, midi- and hardware-based jam sessions which, over three years, were painstakingly discarded, refined, condensed, reconstructed and provided with occasional guest vocals by Hanitra Wagner (Oracles, Die Heiterkeit). The album was mixed by Jan Philipp Janzen (Von Spar) at Dumbo Studios, mastered by Cem Oral at Jammin' Masters. Sonja Deffner (Die Heiterkeit, Jason & Theodor) is responsible for the stunning gatefold artwork.On "Jams", Benjamin Riedl, Stephan Weinand and Oliver Bersin explore a history of dance music that is retraced in the 13 tracks: The seemingly clear cut references in titles such as "Verdub Lang Her (Stripped Down Killer Dub Jam)", "Blue Note Jam" or "As High Acid Can Get (:-)Jam)", however, are not to be taken as letters of intent, but—despite the playful handling of genre conventions and clichés—as hommages to the immaterial architecture of the club: the atmosphere, the vibe, the jam. In its rich texture, the dramatic composition of "Jams" reconstructs the resonance space of an excessive, foggy, and steamy night at the club, thereby approaching its point of interest. Despite the clear club compatibility (each of the 13 tracks will work on a dancefloor worth its salt), Urban Homes do not shy away from sticky harmonic arrangements and melodies that are bound to be called "pop". They do however, and this is one of the points of this great album, avoid any overarching narrative of organicity or authenticity which might refer the record to a context of "indie" music. Unlike the acclaimed and award-winning debut "Centres", which wore the socialization of the (previously four) Urban Homes on its sleeve, this is rootless, nomadic music that is in the most beautiful sense out there. So far out there, in fact, that we seem to make out figures such as Pharaoh Sanders or Sun Ra through the ever-present (see titles such as "4/20 Jam" or "Summer Rolls (Midnight Munchies Jam)" for reference) fog.What seems so effortless, casual and relaxed over the entire run time, finally, is in fact merely evidence of the band's musical mastery and precision: The staging of gaps, the fraying, dripping track ends and its general weirdness is part of the modeling of the history of a music that formed without a "quantise" command.

* Basmala is the debut album by the American World Music and Ambient Soul production Basmala, released in 2016 on Preservation Electronic Recordings. The album maintains a hip-hop base and ambient or minimal atmospheric sound, which is the unique signature of Basmala.

* Basmala is the debut album by the American World Music and Ambient Soul production Basmala, released in 2016 on Preservation Electronic Recordings. The album maintains a hip-hop base and ambient or minimal atmospheric sound, which is the unique signature of Basmala.

Bokeh Versions presents more outernational transmissions from the fringes of dub music.

Moving from light to dark across 45 minutes of dub electronics, New Teeth for an Old Country references Jay's native Greece - steeped in glacial classicism it's refined and dark as hell. This is dub strictly in the abstract - snatches of horns, a distant scream of organ - Jay Glass Dubs comes across like some bedroom-producer Bauhaus sacrificed to the On U Sound mixing desk.

BKV 007 follows an under-the-radar run of 'Compound Dub' dubplates and the hottest dancehall mixtape of the year (Glacial Dancehall) on Bokeh. Jay recently completed a trilogy of tapes on Hyle Tapes, THRHNDRDSVNTNN and Seagrave. Forthcoming releases on The Tapeworm and anòmia foreshadow his debut 12" on Bokeh Versions next year (featuring a very special guest on vocal duties).

Jay Glass Dubs is an exercise of style by artist Dimitris Papadatos focusing on a counter-factual historical approach of dub music, stripped down to its basic drum/bass/vox/effects form.

"Jay Glass Dubs dives into the methodology of dub more deeply than anything since Creation Rebel's epochal Starship Africa"

Tristan Bath, the Quietus

100 copies, strictly limited c45 and digital.

Via App is an alias of Dylan Scheer, Queens based electronic producer and performer. She started hosting and playing shows, as well as releasing tapes under the moniker in Boston. From there, she moved to New York in 2014 and quickly became part of the city's experimental electronic scene. Her early live hardware sets got her recognition for their often stark mode of sample manipulation and collage, their dynamic narrative compositions, and their refusal to adhere to any one genre. More recently her live sets have maintained a similar sense of precariousness. She works samples and her synthesized sounds into polyrhythmic infectious grooves which threaten to break at any moment, unpredictably giving way to manic frenzy, or complete pause. Her studio recordings exist, in part, as documentation of her performances and are all recorded live.



In 2015 she released "7 Headed," a heavily sample-based techno 12" that received critical acclaim, landing her a spot on the top 10 electronic releases of the year in the Wire, and an artist feature on Resident Advisor. She has toured Europe and played esteemed festivals such as Moogfest, Sustain-Release, and Rewire, and will play Unsound Festival in October. A Via App track is featured in an Objekt mix and its accompanying 12" of rarities on Tresor which was released

Inversions is a new imprint, spawned by parent label Power Vacuum.
The overall brief is broadly the same: driving, kinetic music of an exploratory and divergent bent, but employing more of a live/traditional instrumental approach. The first release encompasses electro-kraut, psych-punk, lo-fi pop-folk, prog-fusion and drone doom-metal, still with one eye on some sort of dancefloor, but equally at home on the turntables of bedrooms and after-parties.
With an insert and download code.

Alpha Pup Records presents Mù Chè Shan Chu by Howie Lee: an innovative producer, master sound curator, and ambassador from the Chinese musical underground. Born in Beijing where he lives now, Lee has lived in London, recorded in Taipei, and is now releasing his debut album on a Los Angeles label - truly a global phenomenon. After being hit up by Snoop Lion for a remix in 2012, Lee's future music from Downtown Beijing' busted out of China to captivate crowds with its thoroughly unique style. His distinct approach blends local samples, traditional Chinese sounds, and inventive modern rhythms. Tracks are drenched thickly in bass and imbued with the fresh feel of youth - and often, are right at home on the dance floor. Gripping from the very beginning, intro track The Gate' invites you into the artist's underground world and sets the tone for an expansive, epic journey. Syncopated beats strut through Cloud Lamps,' and Sinka (feat. Zhang Yang)' steps right into a thundercloud. Bei Hai' is a riveting experiment with an alluring rhythm, a warm wash of sounds that pulls in unexpected directions. Mù Chè Shan Chu is always in motion. Impossibly dense and lush, yet also incredibly spacious and vast - a juxtaposition that reflects China itself. From the plucked strings of the guhzeng to the butterrich bass of the 808, Lee brings an unmistakable Far East flavor to the leading edge of modern electronic music.

The 10th Anniversary edition of this classic album from the master of drone and Kosmiche Musik was originally released on CDr by Kill Shaman in 2006. Sonic Meditations presents a first time vinyl and cassette edition, newly mastered after being out of print since 2009.

"Gorgeous drifting ethereal krautrocky ambience is what Expo '70 is all about, and eyes closed, you'd be hard pressed to not think this was some Ash Ra Tempel disc or some long lost A.R. and The Machines lp. Crafted entirely from guitars, sitar and Moog, each track here is some sort of lengthy, mesmerizingingly blissed out minimal drone jam. Guitar figures are looped into hypnotic cycles, over shimmery whirls of fuzzy sound and distant drones, the looped riffs slowly shifting and gently changing shape. It's almost like some sort of new age space rock Steve Reich." - Aquarius Records couldn't have summed up the etherial mystique around Wright's developing project better.

For the fifth installment in the Common Thread series we're launching our series of Various Artists EP's called ''Knives Replace Air''. For the first effort in this series we have the likes of Chinaski, MangulicaFM, 33.10.3402 and Gitchell Moore cooking up stuff.

Expect an odd mixture of genres all sharing a common thread in terms of feel. Maybe not the most dancefloor friendly record but definitely some kind of miniature soundtrack in it's own right.

The fi rst Ever public available Vinyl edition of Pip Paine, the fi rst album by Metronomy. Initially released in 2006, this fi rst album was a collector edition limited to 2500 units and thereafter released only once for RSD 2013. This Album initiated the Metronomy Buzz thanks to the tracks « You could easily have me » and « Tricks or Treats ». This new version includes 4 Bonus tracks : « Are Mums Mates », « Hear to Wear », « Another Me to Mother You » and the un released track « In the D.O.D. ». Original Packaging, Gatefold, Double Vinyl + CD Inside. It's a very deluxe and unique edition.

After crafting Kykeon, the most detailed and finely intermeshed recording of their output, the cosmic compatriots Rhyton decided to get back to basics and kick out the jams with both ferocity and stateliness. Their newest slab entitled Navigating by Starlight features two sidelong improvised slices of molten music recorded by the redoubtable Jason Meagher at apex temperatures at his upstate New York Black Dirt Studio. The first side "Lovejoy Vapor Trail" comprises a journey from an initial solemn invocation, rushing through areas of blinding scree toward a summit of relaxed but rough and tough guitar elevation. The second side with its natural bifurcation was an instant composition of two halves that balance perfectly and exhibit a subdued menace. Rhyton is very pleased to be joining the stellar MIE family, just in time for the rebirth of the sun!

"Navigating by Starlight is the elegantly distended fourth LP by a New York band known for its fine taste in bourbon as well as its ability to explore strangely forested nooks of space. Composed of two side-long excursions of heavily-bearded improv, this is what Bruce Dern should have been listening to throughout Douglas Trumbull's Silent Running.

The first side is called 'Lovejoy Vapor Trail,' after the recently discovered comet said to be releasing enough alcohol to fill 500 bottles of George T. Stagg every second. Who could fail to be staggered by such a suggestion Not these guys. Dave Shuford's guitar vomits stars in all known directions, Jimy Seitang's bass and synth cover the proceedings with a blanket of darkness and Rob Smith's drums drive things along like a pulsar.

The flip, 'Scylla and Charybdis,' continues Rhyton's linguistic love affair with Ancient Greece. But with Shuford on electric mandolin, and the rhythm section picking their way between the twin threats more carefully than usual, the band creates a vibe that is more space-swamp than whirlpool (at least in this writer's opinion). By which I mean its method of sucking you into its vortex is staggered rather than continuous. Of course, once you've stuck your head into Rhtyon's sound-barrel, the specifics of destruction don't matter much do they

500 bottles of Stagg a second...that would sure take care of the world shortage, wouldn't it" - Byron Coley

Featuring remixes by artist across the ambient, experimental and EDM spectrum. John Tejada, The Sight Below, Arovane, Tonik Ensemble, bvdub, Ocoeur, Ambidextrous, Northcape, To Destroy A City, Nseven and Attilio Novellino as well as two remix contest winners HatGuy and Gustaf Fjelstrom.

Nearly 80 minutes of re-imagined versions of songs culled from one of port-royal's most heralded releases.

Youth isn't usually associated with wisdom, or depth or complexity for that matter. Most 22 year-olds are still figuring out how a washing machine works but in the case of Howes (the solo project of Manchester-based John Howes) he's making electronic music that is operating on innovative and experimental levels one might expect from a hardened career musician hitting their stride. Having released a more House-oriented 12' on Melodic a couple of years ago, his debut album proper is a record that is as expressive as it is cohesive. It's a release that floats between nocturnal stillness and insomniac driven intensity. The shift, Howes Says, 'Comes from the forced and narrow nature of a lot of electronic music. Most modern electronic music to me is too safe in terms of ambition, sound design and intention.'

The aforementioned middle of the night quality is hardly surprising, given the creative process behind making the record as he points out, 'Most of these tracks come from finishing work on Friday, going home and starting a patch, working on it till the sun rises, sleeping a couple of hours, waking up and working on it all day and through the night until Sunday night. By this point you've honed down all the madness into something you understand and control in real time. Then I record live to a cassette machine I've had since I was a kid. There's only two tracks on the record that have any editing and overdubbing, the rest are just recordings of the cassettes.'

The referred to patches come from Howes' experiments with modular synths, 'I used to struggle making stuff on a computer, you can do anything, sound like anyone, but there's nothing the computer gives back. To get around it I started making my own software to make tracks on, then I got into modular stuff and building my own bits of proper kit. I wanted to have a setup that works like my head and the only way to do it was to start making these bits myself, I'm not into the fetish of modular stuff and analogue this, vintage that, I just like the way I approach these things I've put together myself.'

Howes' work method has resulted in a record that feels at times personal and melancholic, charged with emotion and humming with a warmth that comes from such a labour intensive and solitary work routine. By not doing any editing or overdubbing Howes admits that 'Its pretty hard to listen to because I can hear the shortcomings' however, it's a process he's overall very pleased with, 'There's other bits that make me really proud. I like the fact there's nothing to hide behind, you can hear mistakes, you can hear me tweaking notes till I find the few that emotionally resonate with me, its like trying to put people in the room with you.'

Trying to place a label or genre association on this record is like trying to keep hold of an oiled snake, the second you think you have it, it wriggles away from you. Which, as it turns out, is exactly what Howes intended, 'I don't really think in terms of genre, most of the tracks are from self generating patches which sometimes come out with elements of house/techno but are mainly stripped back to the point where they can't resemble any established music form, maybe ambient but that's a cop out. I'm more into getting lost in something and not knowing what it is I'm making, getting stuck in a trance all weekend and then recording the last 5 minutes.'

Youth isn't usually associated with wisdom, or depth or complexity for that matter. Most 22 year-olds are still figuring out how a washing machine works but in the case of Howes (the solo project of Manchester-based John Howes) he's making electronic music that is operating on innovative and experimental levels one might expect from a hardened career musician hitting their stride. Having released a more House-oriented 12' on Melodic a couple of years ago, his debut album proper is a record that is as expressive as it is cohesive. It's a release that floats between nocturnal stillness and insomniac driven intensity. The shift, Howes Says, 'Comes from the forced and narrow nature of a lot of electronic music. Most modern electronic music to me is too safe in terms of ambition, sound design and intention.'

The aforementioned middle of the night quality is hardly surprising, given the creative process behind making the record as he points out, 'Most of these tracks come from finishing work on Friday, going home and starting a patch, working on it till the sun rises, sleeping a couple of hours, waking up and working on it all day and through the night until Sunday night. By this point you've honed down all the madness into something you understand and control in real time. Then I record live to a cassette machine I've had since I was a kid. There's only two tracks on the record that have any editing and overdubbing, the rest are just recordings of the cassettes.'

The referred to patches come from Howes' experiments with modular synths, 'I used to struggle making stuff on a computer, you can do anything, sound like anyone, but there's nothing the computer gives back. To get around it I started making my own software to make tracks on, then I got into modular stuff and building my own bits of proper kit. I wanted to have a setup that works like my head and the only way to do it was to start making these bits myself, I'm not into the fetish of modular stuff and analogue this, vintage that, I just like the way I approach these things I've put together myself.'

Howes' work method has resulted in a record that feels at times personal and melancholic, charged with emotion and humming with a warmth that comes from such a labour intensive and solitary work routine. By not doing any editing or overdubbing Howes admits that 'Its pretty hard to listen to because I can hear the shortcomings' however, it's a process he's overall very pleased with, 'There's other bits that make me really proud. I like the fact there's nothing to hide behind, you can hear mistakes, you can hear me tweaking notes till I find the few that emotionally resonate with me, its like trying to put people in the room with you.'

Trying to place a label or genre association on this record is like trying to keep hold of an oiled snake, the second you think you have it, it wriggles away from you. Which, as it turns out, is exactly what Howes intended, 'I don't really think in terms of genre, most of the tracks are from self generating patches which sometimes come out with elements of house/techno but are mainly stripped back to the point where they can't resemble any established music form, maybe ambient but that's a cop out. I'm more into getting lost in something and not knowing what it is I'm making, getting stuck in a trance all weekend and then recording the last 5 minutes.'

The Voice Calling is the first Mind Over Mirrors album to feature the addition of Circuit des Yeux's Haley Fohr (Thrill Jockey) on vocals

The LP is pressed on virgin vinyl and packaged in a full color jacket with free download card

Mind Over Mirrors will tour extenisvely in the US and Europe Fennelly has recently collaborated with Jon Mueller's Death Blues, Chris Forsyth and The Solar Motel Band, Zelienople, Scott Tuma, Koen Holtkamp (Mountains) and Wrekmeister Harmonies

Mind Over Mirrors has also collaborated extensively since 2001 with dancer-choreographer Miguel Gutierrez. The duo have performed at the Centre Pompidou in Paris and have
been covered in the New York Times

Fennelly is a veteran of the NYC early 00's experimental/noise scene with his previous projects Peeesseye (with Chris Forsyth), Acid Birds, and Manpack Variant*

North Lake is a fairly established name in the leftfield techno scene and each release he puts out leaves his listeners constantly looking forward to much more. The prolific and elusive Michigan-based artist has a rich repertoire of previous releases and contributions on exemplary record labels such as Permanent Vacation, Life and Death, Ellum or Phonica.

The four tracks on his seventh EP stand out as masterful, immersive, very intense and at times eerie pieces of lower-bpm dance music. Opener "Sun Gun" and title-track "Two Headed Beast" follow up on the trails of "Journey To The Center Of The Sun" or "Marlborol Noir", adding further proof of his ability to constantly deliver memorable synth jams. The B-sides "Caverns" and "White Lodge" allow him to explore his darker side, adding even more melodic intricacy and dramatic moments to his deep, eerie trademark sound.

"Two Headed Beast" is our collective's sixth physical release to date and the first in a longer string scheduled in 2015. "White Lodge" will be available exclusively on wax.

There are synthesizers, there are guitars, bass guitars, real drums and vocals in the first song. Components of rock and pop unite here in this lone 1977 effort and make way for elements of dark slow funk and soul that take you a couple of years back to the early seventies. The garment of swirling synthesizers keep it all together. The atmosphere can be soft and gentle like the touch of a lover's hand but it can also become more and more mysterious and gloomy generating a feeling of paranoia as if you're on the run and have no idea what are you running from. Some passages have these big and catchy melodies you would have loved to find with many of the later synthie pop acts. There must not necessarily be vocals on this album but they do a fine job of churning up your emotions in the opening song, just wanted to add this. Despite the lightweight groove in some compositions there is always a thought provoking melancholy present. From many of the synthesizer albums I have been listening to lately on my trip to discover a musical world still strange to me this is one of the most catchy but still rather wicked ones. It takes a turn from the pop and rock elements in the beginning and chooses a more epic direction with each song. The great late Edgar Froese (TANGERINE DREAM) or Klaus Schulze would certainly raise their hats to this project in deep respect. A beautiful little obscurity from a scene that seems so utterly strange and magical to me, the rock and acoustic music fan. This album gives you more than just a pleasant time listening. This is an experience!

There are synthesizers, there are guitars, bass guitars, real drums and vocals in the first song. Components of rock and pop unite here in this lone 1977 effort and make way for elements of dark slow funk and soul that take you a couple of years back to the early seventies. The garment of swirling synthesizers keep it all together. The atmosphere can be soft and gentle like the touch of a lover's hand but it can also become more and more mysterious and gloomy generating a feeling of paranoia as if you're on the run and have no idea what are you running from. Some passages have these big and catchy melodies you would have loved to find with many of the later synthie pop acts. There must not necessarily be vocals on this album but they do a fine job of churning up your emotions in the opening song, just wanted to add this. Despite the lightweight groove in some compositions there is always a thought provoking melancholy present. From many of the synthesizer albums I have been listening to lately on my trip to discover a musical world still strange to me this is one of the most catchy but still rather wicked ones. It takes a turn from the pop and rock elements in the beginning and chooses a more epic direction with each song. The great late Edgar Froese (TANGERINE DREAM) or Klaus Schulze would certainly raise their hats to this project in deep respect. A beautiful little obscurity from a scene that seems so utterly strange and magical to me, the rock and acoustic music fan. This album gives you more than just a pleasant time listening. This is an experience!

Another great but late (1928 - 2003) synthesizer artist and pioneer, this time from Italy. His works date back to the early 60s and maybe even beyond considering his age. In the mid to late 60s he became quite active in the field of western movie soundtracks for example. This album I have the honor to review is a concept album on the zodiac signs and the music it contains could not be more diverse. The elements that unite all the tunes are the entirely synthetic, yet warm analogue sound and the surreal, spaced out atmosphere. Several different basic genres deliver the inspiration from which Marcello Giombini forms his melodies, harmony patterns and rhythm structures. There are tunes you will easily recognize as pop songs with a typical 60s approach concerning the melody writing, there are baroque elements and even pure soundscapes that make you feel like being trapped in the interior of a thinking machine. The synthetic sound adds a futuristic shine to each composition. The mood changes are dramatic. You can float down a peaceful river of dreams at one point and then become swallowed by a vortex of musical fury that projects a galactic battle before your third eye. Indeed the whole album could work as a soundtrack for an epic science fiction movie whose story drags you far out into space. In case you love movies such as 'The black hole' and enjoy the compositions of other synthesizer heroes such as Mort Garson you will certainly hold one of the most precious musical treasures ever in your hands. Every fan of 70s synthesizer music should at least give this a listen and decide whether it has the power to lift him off the ground.

Another great but late (1928 - 2003) synthesizer artist and pioneer, this time from Italy. His works date back to the early 60s and maybe even beyond considering his age. In the mid to late 60s he became quite active in the field of western movie soundtracks for example. This album I have the honor to review is a concept album on the zodiac signs and the music it contains could not be more diverse. The elements that unite all the tunes are the entirely synthetic, yet warm analogue sound and the surreal, spaced out atmosphere. Several different basic genres deliver the inspiration from which Marcello Giombini forms his melodies, harmony patterns and rhythm structures. There are tunes you will easily recognize as pop songs with a typical 60s approach concerning the melody writing, there are baroque elements and even pure soundscapes that make you feel like being trapped in the interior of a thinking machine. The synthetic sound adds a futuristic shine to each composition. The mood changes are dramatic. You can float down a peaceful river of dreams at one point and then become swallowed by a vortex of musical fury that projects a galactic battle before your third eye. Indeed the whole album could work as a soundtrack for an epic science fiction movie whose story drags you far out into space. In case you love movies such as 'The black hole' and enjoy the compositions of other synthesizer heroes such as Mort Garson you will certainly hold one of the most precious musical treasures ever in your hands. Every fan of 70s synthesizer music should at least give this a listen and decide whether it has the power to lift him off the ground.

Inspired by a long lost tale from dark and cold northern lands, written many ages ago, 'Neida' is the story of a young boy who one day noticed an eerie call, so peculiar and odd that he could not resist but to follow it. While it resonated through remnants of ancient settlings, the boy had to overcome many obstacles and solve numerous quests, journey through mystical forests, foggy mountains and ghostly villages, battle the forces of nature and lose himself in this adventure. Finally reaching the ocean after an exhausting voyage, a mysterious invisible force drew him closer and closer to it, suddenly entranced in a state between consciousness, floating underwater, lured by the siren of the sea.

'Neida' comes out worldwide on limited vinyl (including download code).

- Brainfeeder's sole British representative Lapalux follows up on 2013's 'Nostalchic' with his second longplayer 'Lustmore', an album loosely based on the experience of hypnogogia (a transitional state of consciousness between wakefulness and sleep). His infectious rhythms, enveloping textures and unfamiliarly familiar melodies conjure that territory perfectly.

- Featured artists include Andreya Triana and Szjerdene.

- Recommended if you like Flying Lotus, Bonobo, Shlohmo, Shigeto.

- The vinyl format is a deluxe 2LP with black / orange splatter vinyl housed in a 5mm spined sleeve with gold foil and velveteen.

- Artwork by Marielle Tepper.

- 'Make Money' was featured in Flying Lotus' FLYLOFM radio show for Rockstar Games' 'Grand Theft Auto V'.

Internationally renowned DJ and radio personality Gilles Peterson has called upon some of the most exciting names across the jazz, electronic and indie worlds to rework Melanie De Biasio's acclaimed album No Deal, including EELS, The Cinematic Orchestra, Hex, and Seven Davis Junior.

EELS haunting, orchestral reworking of opening track I Feel You is the first ever remix by Mark Oliver Everett (AKA E), who fell in love with De Biasio's music when she supported EELS at the Royal Albert Hall in June. The Cinemantic Orchestra give I'm Gonna Leave You an intense reworking, while beat maker C. Crisci, a.k.a Clap! Clap! gives the same track an afro-beat slant. Seven Davis Jr gives title-track No Deal an old school house flavour, while LA's Jonwayne coats With All My Love a lush balm of hip-hop. Japan's Toshio Matsuura (AKA Hex) adds an impressive urgency to The Flow, whilst France's modern classical composer Chassol provides a downtempo and discordant take on Sweet Darling Pain.

2014 has been a breakthrough year for Brussels-based De Biasio, who was recently announced the winner for Belgium of the 2015 European Border Breakers Awards (EBBA), which celebrate the best new pop, rock and dance acts in Europe which have achieved cross-border chart success. Other winners include Hosier (Ireland), MO (Denmark), Milky Chance (Germany), and Todd Terje (Norway).

No Deal received 4 star reviews from The Guardian, Mojo, and Record Collector, with Hi-Fi Plus awarding it 10 out of 10, saying "I think we have the album of the year on our hands." Her most recent single I'm Gonna Leave You was playlisted at BBC 6 Music, and last month De Biasio performed on Later...With Jools Holland, BBC2's flagship music show, becoming the first Belgian artist to be invited on the show since 1995.

Recorded in Antwerp and on location, 2010 - 2014. 'Songs Of Gold' are nine small portraits. Five tracks that where featured on the cassette versions PLUS four extra tracks for this vinyl version. Culled from compilations, limited run cassette releases, choreographies, and 7" singles. Some pieces were worked on for a length of time, others materialized in just about one take. All the songs are derived by an encounter with an object, a place or a person. Or by a combination of these. The events are translated into the work through the intermediary of symbolic sounds and notes. There is no thematic link between the compositions.

Super-limited reissue! Tappa Zukie's super rare reggae dub-disco cut 'Freak' is now repackaged and repressed in an authentically designed sleeve - complete with throwback type and touches - the original sounds as relevant as ever.