Techno News

"Anthemusa EP", made in collaboration with another "nobody" who has been enchanting me with his xtraordinary music since many years; with him I shared technical and musical growth. Gianluca Meloni was born and is actually living in Rome; with him I was forming the duo Modern Heads and considering it's 15 years we are working together I can with no doubt assert that together we have been creating the style that today is what I call mine, what I call the "Outis" style. 4 years ago I have been moving to Berlin and the thing I miss the most is playing music with him. Into "Anthemusa ep" we merged once again our musical ideas, but this time with two soloist proposal, leaving space to our emotions and our own way to make Techno. I hope you'll enjoy.

Part 2 of Rommek's 'Set in Stone Trilogy' for Blueprint which takes things deeper than the previous 'Igneous', although still offering plenty of atmosphere and intensity. Industrial soundscapes, evolving menacing bass tones while the tension of strings captures and keeps a grip on the listeners attention throughout this 2nd series of the trilogy.

Moscow Is The City Full Of Posh Decorations. Like A Black Hole, It's Gorging Clouds Of Chaotic Ideas. Madly Fast, It's Flooded With Shallow Hippies, Jealous Dealers And Susceptible Artists. Everyone Desires To Have Its Own Piece Of Luck, Looking For The Shortest Way To Some Easy Life. Most Of The Nomads Arrive From The Capital Suburbs And Other Big Cities Of Immensely Corrupted Russia. Everyone Can Tell A Tale From Outskirt. Senseless Rivalry And Art Falsity Together Make The Special Demands: Your Tale Has To Amaze, To Inculcate, You Must Do Something Notable, Freaky One And Truthful. To Dare To Let It. There Are No Any Rules. Your Voice Has No Matter, The Only Important Is A Sales Skill. The Local Scene Is Tired Of Identical Copying Outside World's Standards. Thereby The More Your Approach Is Unacceptable, The More Valued Is It. But The More It's Valued, The Faster It Will Depreciate. The Glossy Shell With Cheap Content Is The Way To Survive In Such A Tight Plexus Of Cruel Love, Substance Abuse And Electronic Music.

Split Ep from Svarog and Nørbak. Deep and atmospheric techno.

* Kontrapoetik is a very personal and simultaneously historical investigation, tackling the deceivingly serene, yet turmoiled past of composer Maria W Horn's home region Ångermanland in the North of Sweden, and her own counter-exorcism project thereof. Drawing from archival material in the region she taps directly into the conflict of this bastion for the worker's movement with the Swedish military in the 1930's that left 5 dead and nearly triggered a revolution. Even before that it was the site of Sweden's largest documented execution of women accused of witchcraft in 1674 in the form of burnings and decapitations. Constituting two thirds of Sweden's total area, Norrland is sometimes referred to as "the colonies" because of the uneven distribution of the wealth generated by the natural resources of northern Sweden, a small portion of which is reinvested in the area. Since the 1970's it has seen increasing depopulation and disintegration of the welfare state. The piece 'Ångermanländska Bilder' is based on material from a collection of Super-8 films that depicts the environment of Ångermanland from 1930-1940; the manor houses of the rural community, the steamboats transporting timber along the river that runs through the landscape, the power plants and sawmills.

* Concurrent with Horn's Ångermanland research, she was part of an artistic research project in the form of a satanic feminist sect. The goal of the work within the sect was to develop a practice consisting of ceremonies and rituals based on counter readings of the Christian genesis narratives, dismantling its misogynist traditions. In these counter-myths, Lucifer is re-conceptualized as a feminist liberator of womankind, and is seen as an ally in the struggle against a patriarchy supported by God the father and the male priesthood. The ingestion of the forbidden fruit by Eve becomes a heroic act of rebellion against the tyranny of God and Adam. Several of the pieces on Kontrapoetik were composed specifically for ceremonial practices, as in the case of 'Ave', which is a composition built from a text by Michelle Jangmyr, one of the sect members.

* Field recordings sourced from the archives of The Härnösand Art Museum thread through magnetic tape, formatting stark portraits of Horn's attested narrative. Harmonically inspiration is drawn from ancient Swedish pastoral music, minor scales and free contrapuntal progressions. A vinyl LP 'Locklåtar Och Musik På Horn Och Pipa' with a collection of recordings released by the Swedish radio in 1966 was uncovered from the archive and sampled, re-synthesized, and reinterpreted. The fusion of these sonic documents with the mellotron, church organ and Buchla 200 synthesizer creates an immersive music that welcomes other forms of listening, unhinged from the cerebral and guided by intuition.

* The musical territories explored by Horn on Kontrapoetik are vast, but at the heart of each piece is a strong fundament of reductionist technique no matter how maximal the results may sound. Deceptively simple harmonic progressions are refractured through the means of inversion and repetition, presented either in a pure state or being crushed and deformed by layers of distortion. Coupled with this is an almost tactile relationship to texture as well as an immaculate sense of the physicality of sound. This work, while saturated by an almost overbearing sense of longing and loss, never gives in, but stands steadfastly defiant.

* Press / Promotion: Modern Matters PR. Editorial and reviews sought in all UK and US music and dance titles (FACT,

* E Marketing - Dedicated UnReaL / Portals mailing list reaching 1000+ subscribers and 200+ press / DJ contacts ; YouTube channel; Social Networking - Facebook: UnReaL = 3000+ likes Portals Editions = 1900+ likes

The music presented in this compilation is probably the closest distillation of what has inspired A Strangely Isolated Place over the past ten years. The ASIP website and its many versions; blog posts; guest mixes; even some of the older archived (now hidden) posts, were revisited to find the perfect tracks to put forward. There were, however, a few limitations in mind: (1) It had to be a track previously written about or featured in some capacity on ASIP from 2008-2018. (2) The track has previously not been released on vinyl. (3) The artist isn't currently a part of the ASIP label family. The end result isn't a compilation of rarities, b-sides or label exclusives that you may have expected at a typical ten-year milestone. Instead, it's a compilation of music that has helped define ASIP as many people know it today. From drone and space ambient; to shoegaze-inspired guitars; nostalgic electronica and melodic synthesizer music, Full Circle presents many of the elements that have been captured over the past ten years on A Strangely Isolated Place. To help celebrate the occasion, all profits from this compilation will go to a charity called The Harmony Project. We felt that investing in and helping the next generation of potential musicians would be a fitting tribute to the overall concept of the release. Pressed into the grooves of this record is some of the finest music to grace my ears that I felt passionate enough to feature on ASIP in the past, and now once more on vinyl - Ryan Griffin. In more ways than one, we've come full circle.

The music presented in this compilation is probably the closest distillation of what has inspired A Strangely Isolated Place over the past ten years. The ASIP website and its many versions; blog posts; guest mixes; even some of the older archived (now hidden) posts, were revisited to find the perfect tracks to put forward. There were, however, a few limitations in mind: (1) It had to be a track previously written about or featured in some capacity on ASIP from 2008-2018. (2) The track has previously not been released on vinyl. (3) The artist isn't currently a part of the ASIP label family. The end result isn't a compilation of rarities, b-sides or label exclusives that you may have expected at a typical ten-year milestone. Instead, it's a compilation of music that has helped define ASIP as many people know it today. From drone and space ambient; to shoegaze-inspired guitars; nostalgic electronica and melodic synthesizer music, Full Circle presents many of the elements that have been captured over the past ten years on A Strangely Isolated Place. To help celebrate the occasion, all profits from this compilation will go to a charity called The Harmony Project. We felt that investing in and helping the next generation of potential musicians would be a fitting tribute to the overall concept of the release. Pressed into the grooves of this record is some of the finest music to grace my ears that I felt passionate enough to feature on ASIP in the past, and now once more on vinyl - Ryan Griffin. In more ways than one, we've come full circle.

Flowing energies and social pressure, high expectations and pathetic fails, driving rhythms and cheerless inertia, so-called integration but effective exclusion; these are some of the opposite poles reeled out of the debut full-length delivery of Glass Knot (Lasse Bjørck Volkmann aka Metalized Man, and Nicolai Vesterkær Krog aka Misantrop) on Foul-Up. 'Present Tense', is a multi-level sonic object whose large-scale reach only equals the profoundness of the tale of love and hate it discreetly tells - in between the lines. Laying down a hot-blooded mixture of warped industrial rhythms, chopped-up breaks, off-kilter drones and hi-NRG anti- techno with a strong punk attitude, the seven tracks blaze their trail away from expectations and norms.

A1. Present Tense 1
A2. Present Tense 2
A3. Present Tense 3
A4. Present Tense 4
B1. Present Tense 5
B2. Present Tense 6
B3. Present Tense 7

After 5 years of silence, Dadub are summoning their magic spell on BAS006. - Rituals of Resistance" makes use of tribal drums, ghostly echoing samples taken from the collective consciousness. Emotive techno in it's dubbiest prime evokes scenes of territories uncharted by global repression. Dadub present their very own vision of techno politics. Not shy to tap into a glitch, familiar sounds emerge from a well orchestrated chaos. An acutely bass driven sense for rhythm combines with the inevitable esoteric beauty of hand-crafted Italian techno. This is the sound track for all those who yearn for an inner revolution.

Bunker The Hague and Panzerkreuz offshoot Space Trac opens with the dystopian waves of Inga Mauer and Hellboi.

The second release of Guy Tavares' bunker offshoot Space Trac. Inga Mauer and Hellboi.

One of the most incisive comments on how best to appreciate art came from the Indian musician Gita Sarabhai. In a recorded conversation with John Cage, Sarabhai described art's effect as serving 'to sober and quiet the mind, thus rendering it susceptible to divine influences.' Some of the best exploratory music incorporates this approach, and Jon Porras adopted it as a conceptual foundation for his new album, Voices Of The Air. The sounds Porras creates intend to provoke contemplativeness beyond expressing a concrete idea. As half of the duo Barn Owl, Porras composed intricate dual guitar improvisations that would shift and shimmer through multiple mutations within any singular piece. At the same time, his voyages into minimalism were served by Elm, his solo act. His focus has now shifted from guitar to synthesizer, narrowing in on the intersections between sound and neurology. Taking the Yamaha DX7 as his main instrument for this solo work, Porras read and incorporated John Chowning's frequency modulation synthesis, the result being a nuanced and multidimensional sound with endless possibilties. Porras stacked, arranged and adjusted these sounds through digital synthesis and effects. 'The process felt like mixing paint to get the right color and texture, then laying down a brushstroke, each day returning to the canvas to build on something I left there from the day before,' says Porras. Voices Of The Air broadcasts these intricate balances of sounds that slowly set together, creating an album of delicacy and power.

eelen is a brand new project forged in the heart of a forgotten past. Joe Drive, of Lux Rec fame, and Maurizio Martinucci aka TeZ aka Pragma have joined forces to sculpt, in their own words, "sonic constructions that transcend the canons of electronic music." A bold statement, but then again this is a pretty bold EP. "Techno tribalism and ritualistic soundscapes" are the bedrock from which this partnership cultivate their sound. Figures and forms of a bygone time are conjured through intoxicating drum patterns, lost lands of dense jungle and windswept hills summoned through loops and samples to ensnare and entrance. Polytheism explored through the prism of a polyphonic synth, mysticism born from machine drums; "Ethnosonology of the future."

Auf ihrem zweiten gemeinsamen Album "Imagori II" zeigen Hans-Joachim Roedelius (Harmonia, Cluster) und Christoph H. Müller (Gotan Project) neue Facetten ihrer Zusammenarbeit. Die zwölf Stücke pendeln zwischen Zartheit und scharfen Kanten, zwischen Science Fiction und Garten Eden, lassen organische Klangkörper aufkommen, die sich wieder fragmentieren, erschaffen Stimmungen zwischen Melancholie und Euphorie, stets begleitet von jenem filmischen Pathos Roedelius', der ohne große Gesten auskommt und vielmehr die Grenzen des Minimalismus auslotet. Auffällig oft kommt dabei auch Sprache zum Einsatz, so zum Beispiel in der ersten Single "Fractured Being", der Miss Kenichi alias Katrin Hahner ihre Stimme leiht.

Fabian Kempe's productions under the name of Korridor have consistently presented a foreboding and striking assembly. Previous appearances on Northern Electronics have taken in stuttering percussive works as well as tense minimalist designs. His debut album 'End of Cycle' applies a breadth of expression to a wide palette of mesmerizing and intense fit-outs that corrode and fortify in equal measure. 'End of Cycle' is born of a deeply personal set of experiences to have marked Kempe's life. Shortcomings and tribulations that have prompted spirals back to starting places and beginnings have informed the mood and missive that his debut album seeks to portray. Taking in themes that stretch from despondency to paranoid elation, Kempe has developed an architecture that lets austerity scream. Stark and synthetic ambient plains lead us out of conditions for communal experience, yet it's these passages that enable the sharp and brooding dancefloor works to deliver the barbed disturbances that they transport.

Enigmatic Austin based producer/starlet Samantha Glass untangles their serpentine mind on the ambitious new full length Nine Memories Between Impression & Imprint out October 12, 2018. Since 2010, Beau Devereaux has chronicled their romantic and turbulent process of self-identification as Samantha Glass through the use of electronics, field recordings and a seductive, baritone voice. Abstract soundscapes rise and fall around addictively brooding ballads and introspective monologues as Glass deconstructs themself beneath the weight of their poetry and lyrics. Nine Memories Between Impression & Imprint unveils an allure through vulnerability, elegantly depicting the endless audition of becoming Samantha Glass.

Devereaux came from rural beginnings in the countryside of Wisconsin before spending most of their adult life engrossed in Madison's noise, power violence and punk DIY scenes. They sought to create a balanced form of art representative of their ever fluid sexuality and gender identity while incorporating elements of dark wave, musique concrète and New Age music. Samantha Glass evolved into an outlet for drag-based performance art coupled with drum machines, cassette loops and down-tempo crooning. Through years of touring and a prolific discography, Glass came to be known beyond the Midwest as one of the most dense and multi-layered projects amongst experimental music spheres. This exploratory essence gives Glass a broad crossover appeal as they dive into new territory with each successive release. Narrating a uniquely nuanced perspective on life and art, Glass richly crafts each composition around deeply rooted biographical and contemporary themes, encapsulating a haunting and captivating portrayal of an elaborately creative mind.

Nine Memories Between Impression & Imprint is Devereaux's culminating effort to define Samantha Glass thus far. At times delicately wistful and intensely personal, Glass' emotional tenor is matched by the ingenuity and creativity given to the recording process. Self produced at home, this album embraces experimentation as an elemental part of the writing process. Underwater contact mic recordings share a place alongside warm analog synthesizers as Glass consistently finds ways to incorporate fresh sounds with unorthodox methods of composition. 'Putting the Male to Rest (Pt. 2)' and 'From Behind Our Wings' construct lucid ambient collages out of a vague mixture of samples and live electronics, featuring an illusory feminine voice speaking on behalf of Glass. The songs 'Cruel Anxiety' and 'The Carpenter in Us All' are catchy, beat-driven highlights of cathartic energy that propel the album forward with hypnotic vocals and crushing lyrics. The duality of male to female, spoken to sung and atonal to melodic echoes throughout the albums eight tracks, allowing for satisfying repeat listens and personal connections that go beyond the obvious aesthetics.

Samantha Glass reaches deep within themself to manifest a truly inspiring work of permanence. Nine Memories Between Impression & Imprint surpasses the expectations of long-time fans and recruits the faith of new audiences as Glass reverently embodies an enticing blend of outsider art.

The second release on Oktave Records is produced by Tokyo's Iori. The multi-talented Japanese producer and DJ has had his music released on some of the best labels in the business, including Prologue, Field Records, and Semantica. Iori's inimitable and distinctive sound has put his productions on turntables and headsets all over the world, while the man himself continues to extend his touring radius, hitting clubs and venues all over Europe and into the Americas. Oktave Records is proud to present his 'Circulate' EP.

The A side gives us 'Satellite,' a relentless floor-focused track, bursting with Iori's signature, looping sound he draws us into a hypnotic void and allows the listener to get completely lost in the polyrhythms so deftly layered on top of each other. 'Satellite' will mesmerize your dance floor.

The B side opens with 'Vortex,' which gives us more of that special Iori hypnosis, but this time we're carried along by a broken beat. Complex, understated and rhythmic, 'Vortex' is another stunner. The EP closes with 'Inversion,' an ambient track, which is an area of strength for Iori. He has long been producing compelling, cinematic soundscapes with his unique sound signature, and 'Inversion' continues in this tradition.

Iori has created a knock-out EP with 'Circulate,' and sets the bar quite high for the label.

For those who shine darkly......

During the transitional period in which Coil's primary leadership, Peter 'Sleazy' Christopherson and John Balance, reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown.Employing the subtle handiwork of Coil's'real life'members, as well as the cleverlyguised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District,setting the precedent of Coil's future exploration of other worldy influence.

Recorded during the Winter of 1995/96, Black Light District reflects more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory 'Unprepared Piano', the tone is prepared in exactly the same way... unpredictable. Conceptually abstract, Black Light District shows Coil's old guard disregarding the pop rhythms found on previous albums, such as Love Secret Domain,and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.

Dais Records announces the official reissue of "Coil presents Black Light District -A Thousand Lights in a Darkened Room". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the double LP vinyl release is packaged in a beautiful matte 24pt stock gatefold jacket Also available on digipack CD with booklet and digital.

A-TON is proud to announce Panama / Suez, the first EP by trio Oren Ambarchi, Konrad Sprenger and Phillip Sollmann (aka Efdemin). The three multi-instrumentalists collaborated with the goal of creating subtly shifting musical passageways: sonic routes that run between continents of musical category. The results are two variations of kraut-y, groove-based post-techno that unfurl through mutating polyrhythms and chiming, ethereal guitar play - a rare moment of guitar and techno in deep embrace. With a potential to sustain energy on experimental dancefloors, Panama / Suez lives from Ambarchi, Sprenger and Sollmann's diverse input while reflecting a common penchant for both pop and the hypnotic.

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting and the physicality of rock music. Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Charlemagne Palestine, Sunn O))), Thomas Brinkmann, Alvin Lucier, John Zorn, Manuel Go¨ttsching, Merzbow and Phill Niblock (amongst others). His trio with Keiji Haino and Jim O'Rourke performs in Tokyo annually with many of their concerts documented on Ambarchi's Black Truffle label. Ambarchi has released numerous recordings for labels such as Touch, Drag City, PAN, Editions Mego, Southern Lord, Kranky and Tzadik. His latest LP, 2016's Hubris, was released on Editions Mego.

Konrad Sprenger is an artist, composer, producer and owner of the Stack Music imprint. His 2017 album for PAN, also titled Stack Music, features his signature use of guitar as a frequency generator, tuned and set into motion by electronically controlled mechanical devices. The music relates to the insistent rhythms of minimalism, krautrock and techno, and their shared focus on transcendence through propulsive, full-spectrum sound. Next to his previous collaborations with Phillip Sollmann he has also worked together with composer Arnold Dreyblatt and composer / instrument builder Ellen Fullman.

Phillip Sollmann aka Efdemin is a German DJ, producer and musician based in Berlin. Known for his dubby, psychedelic take on both house and techno, he has released numerous 12's on various labels, including three albums on Dial Records. His most recent release, a co-production for both his own Nai¨f imprint and Curle, is a hybrid mix CD / seven-EP colossus. A longtime resident at Berghain and Panorama Bar, he has also recently turned his attention toward experimental and microtonal composition, including 2017's Harry Partch-inspired Monophonie concert series and the collaborative LP Gegen die Zeit, released on Dial sublabel Sky Walking.

A-TON freut sich, Panama / Suez anzuku¨ndigen, die erste EP des Trios Oren Ambarchi, Konrad Sprenger und Phillip Sollmann (alias Efdemin). Die drei Multiinstrumentalisten kollaborierten mit dem Ziel, sich subtil verschiebende, musikalische Verbindungswege zu erschaffen: klangliche Routen, die zwischen Kontinenten musikalischer Kategorien verlaufen. Das Resultat sind zwei Variationen krautigen, Groove-basierten Post-Technos, die sich mittels mutierter Polyrhythmik und la¨utendem, a¨therischen Gitarrespiel entfalten - ein seltener Moment von Gitarre und Techno in enger Umschlingung. Mit dem Potenzial die Energie experimenteller Dancefloors aufrecht zu erhalten, lebt Panama / Suez von Ambarchis, Sprengers and Sollmanns respektivem Input bei gleichzeitiger Reflektion eines gemeinsamen Faibles fu¨r Pop und das Hypnotische.

Oren Ambarchis Arbeiten sind zo¨gerlich und spannungsvoll verla¨ngerte Songformen in den Rissen zwischen verschiedenen Schulen: moderne Electronics und Bearbeitungen; laminale Improvisation und Minimalismus; geda¨mpftes, nachdenkliches Songwriting mit der Ko¨rperlichkeit von Rock Music. Ambarchi trat und nahm auf mit einer breiten Aufsstellung an Ku¨nstlern wie Fennesz, Charlemagne Palestine, Sunn O))), Thomas Brinkmann, Alvin Lucier, John Zorn, Manuel Go¨ttsching, Merzbow, Phill Niblock und anderen. Sein Trio mit Keiji Haino und Jim O'Rourke tritt ja¨hrlich in Tokyo auf, viele ihrer Konzerte wurden auf Ambarchis Black Truffle-Label dokumentiert. Ambarchi hat auf zahlreichen Labels wie Touch, Drag City, PAN, Editions Mego, Southern Lord, Kranky und Tzadik vero¨ffentlicht. Sein ju¨ngstes Album erschien auf Editions Mego (Hubris, 2016).

Konrad Sprenger ist Ku¨nstler, Komponist, Producer und Eigentu¨mer des Stack Music-Labels. Sein ebenfalls Stack Music betiteltes Album (PAN, 2017) war gekennzeichnet durch sein charakteristisches Gittarespiel als Frequenzgenerator, gestimmt und in Bewegung gesetzt durch elektronisch kontrollierte mechanische Apparate. Die Musik verha¨lt sich zu den eindringlichen Rhythmen von Minimalismus, Krautwock und Techno, ihrem gemeinsamen Fokus auf Transzendenz durch einen vorwa¨rtstreibenden, das gesamte Klangspektrum abdeckenden Sound. Neben seinen fru¨heren Kollaborationen mit Phillip Sollmann arbeitete er mit Komponist Arnold Dreyblatt und dem Instrumentenbauer und Komponisten Ellen Fullman.

Phillip Sollmann alias Efdemin lebt als DJ, Producer und Musiker in Berlin. Bekannt fu¨r seine dubbige, psychedelische Interpretation von sowohl House als auch Techno hat er einige 12'es auf unterschiedlichen Labels vero¨ffentlicht, inklusive dreier Alben auf Dial Records. Sein ju¨ngstes Release, eine Koproduktion seines eigenen Nai¨f-Labels und Curle, ist Hybrid- Mix-CD als auch sieben-EP-Release-Koloss. Er ist langja¨hriger Resident in Berghain und Panorama Bar, zuletzt wandte er sich mehr experimentellen und mikrotonalen Kompositionen zu, wie die 2017er, von Harry Partch inspirierte Konzertreihe Monophonie als auch die Kollaborativ-LP Gegen die Zeit, erschienen auf dem Dial-Sublabel Sky Walking.

After the first release, "Narwal-Nirvana", Ongehoord comes with a 2nd release. Featuring more material from the Dutch cassette culture! Big tip.. The band Deadline Paranoia has been active in Amsterdam from 86 till 88. They have released 4 albums in small quantities. Their music was made and recorded at home with a great variety of instruments. This release is the first of a series of 3 records that will feature the essence of this band. The mastering is done by Brandenburg Mastering to ensure a high quality listening. Niels van Tomme (director of arts institute De Appel) has written the liner notes. The music has been carefully curated by Jeroen Vermandere while being in touch with the artists who worked on the project. Anton Westbom Weflo makes the graphic design for the Deadline Paranoia Releases, tracks compiled by label curator Jeroen Vermandere.

From UVB-76 Music's fractal personnel rises Karim Maas. A familiar face behind a new mask, Maas, one of the sonic panjandrums at the core of the labels sound submits an aural experience that bleeds between genre and tone with striking ease, negotiating a through line that is hard to pin down in any moment before it shifts again. A stunning EP that remains true to UVB-76 Music's core tenants. Four absolute steamers and a Huren remix for good measure.

Very first 12' from Prague - based collective Harmony Rec. by
Jamida including a remix by Ness. (Coloured sleeve)

UVB-76 Music's latest offering ushers in new blood to the camp in the form of Stave. The Chicago resident's 'ATK' EP sees the tempo submerge to lower depths and the pressure intensify amidst the harsh dynamics and sonic battery that the label is now synonymous for. A four track rhythmic cavort that plays the urge to dance and the allure of subversive nature. plays on*

On Respective Edges Of America — Oregon And Maine — Keith Kenniff Records Quiet Music At Night. 'when Things Are Calmer,' He Says. 'my Mind Is Less Distracted When I Know That Everything Is Dark Outside.' For Over A Decade, Such Has Been The Mode — Nocturnal, Unrushed, Using The Same Mini-cassette Recorder, "a Lovely Little Imperfect Way To Treat Sounds" — For One Of The Country's Most Understated Composers. Kenniff Has Housed Dozens Of Ambient Releases Under The Name Helios Since 2004, Alongside Post-classical Output As Goldmund, Shoegaze Pop With His Wife Hollie As Mint Julep, And Commissions For lm And Television. It Is A Reliably Transportive Body Of Work That's Earned Kenniff A Cult Following, And A Genuine Modesty That's Kept Him On The Fringes, Right Where He Prefers, In The Dark.

Kenniff Mostly Lets His Music Breathe Free Of Explanation, Open To Interpretation. As Listeners, We Follow Subtle Suggestions — The ery Sky On The Cover Of 2012's Moiety, The Countryside Daydream Of 2015's Yume — Extracting Meanings From Imagery And Inscriptions. Veriditas, The Sixth Helios Full-length, Shares Its Name With Twelfth-century Philosopher Hildegard Von Bingen's Notion Of "the Greening Power Of The Divine," The Term Derived From The Union Of Two Latin Words: Green And Truth. Bingen Saw The Abundance Of The Earth As Vitality To Be Cultivated, Interconnected With The Body And Spirit. Take The Concept In Concert With Veriditas' Vistas Of Sound, Gazing Beyond The Tree-lined Wonder On Its Artwork, And We Undoubtedly Recognize The Album's Rooting. Kenniff Elaborates, "while I'm Not A Very Spiritual Person As It Relates To A Religious Belief, I Do Feel An Overwhelming Connection Between The Aesthetics I nd Pleasing In My Experience Of Nature And My Experience Of Writing Music."

Dais Records Is Proud To Announce The Official Reissue Of "elph Vs Coil - Worship The Glitch". Remastered By Engineer Josh Bonati And Supervised By Coil's Drew Mcdowall, The Vinyl Release Is Pressed Onto Double 12" Lp Vinyl (from The Original 10" Release), And Is Packaged In A Gorgeous 24pt Stock Matte Gatefold Lp With Sticker And Vellum Track Listing Insert. . Also Available On Digipack Cd And Digital.

"unexplainable" May Well Be The Best Explanation For The Members Of The Uk Based Electronic Outfit Coil. Making A Radical Shift From Intentional Accessibility, By Means Of Traditional Pop Songwriting, To Abstract Happenstance, Coil Had Entered Into A New Phase In Their Career...uncharted Waters Utilizing What Was Then The Newest Computer Technology, Digital And Analog Synthesis And The Newly Formed Ideas That Something Outside Of Themselves Was Steering The Ship.

During The Studio Sessions That Developed Into What Would Become 'worship The Glitch'. Coil Became Aware Of Random Compositions Emitting From Their Gear, And Were At Odds With Constant 'accidents' That Were Perpetually Plaguing The Recordings. The Band Called These Unintentional Emissions "elph": A Conceptual Being That Is One Part Physical Equipment, One Part Celestial Being...constantly Playing The Role Of Trickster, Throwing A Wrench Into Coil's Methodology. Eventually, These Accidents And Mistakes Were Embraced By The Band, And The Process Of Misusing Audio Software To Create Intentional "errors" Was Adopted As A Musical Technique. The Acceptance Of The "mistake", And The Use Of Discovered Mistakes As Intentional Elements Slowly Became The Drive And Concept Behind The Album, Thus Birthing The Title 'worship The Glitch'.

Originally Released In 1995 On Coil's In-house Imprint Eskaton, Worship The Glitch Was Coil's First Proper Album-length Attempt At Conceptual Ambient Composition, With A Radical Focus On Chance. Seamless Vignettes Of Shattered Electronics (though Ebbing Softly And In Delicate Balance With Each Other) Provide An Underlying Uncertainty And Discomfort To The Listener.

Bloody good mental acid techno, texturized sounds and grinding beat bumbers... Traveling sounds for intelligent acid.

- Latest ambient work from Fred Welton Warmsley III, formely known as Lee Bannon (hip hop producer and collaborator with Joey Bada$$, Souls Of Mischief, Hieroglyphics, and others)
- Former albums on labels such as Hospital Productions, Ninja Tune, NON
- Has received praise from Pitchfork, NPR, Boomkat

- Northern California electronic producer Fred Welton Warmsley III's solo work as Dedekind Cut
(pronounced dead-da-ken cut') has evolved from fractured industrial design into increasingly subdued and sublime ambient meditations across two years of dedicated activity. His second full-length collection, Tahoe—so named after the mountain lake town he now calls home—swells with widescreen grandeur, evoking vistas both inner and outer. There are echoes of his earlier, more tempestuous mode in tracks like MMXIX' and Spiral' but overall the album skews panoramic and pensive, muted synthetic mists contoured with choral melody, field recordings, and radiant drone. His compositional instincts feel alternately classical, contemporary, and conflicted, befitting an artist whose discography spans labels as divergent as Hospital Productions, Ninja Tune, and NON.

- Warmsley characterizes Tahoe as a time peace,' sifting through the past, the present, future, and fantasy.' Recorded primarily in New York, with additional sessions sourced from Berlin, Cambridge, and Placer County, California.

The third solo record by Skymn further articulates the width of his artistry by taking us on a melancholic night ride across retro-futuristic skylines and dimly lit neon roads.

The record has received early support from artists such as Claudio PRC, Deepbass, Ness, Svreca, Artefakt, Etapp Kyle, I/Y, Iori, Jonas Kopp, Kwartz, Rasmus Hedlund, Samuli Kemppi, Takaaki Itoh, Eric Cloutier, Conrad van Orton and S100 to name a few.

Dais Records is proud to announce the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. . Also available on digipack CD and Digital.

"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.

During the studio sessions that developed into what would become 'Worship the Glitch'. Coil became aware of random compositions emitting from their gear, and were at odds with constant 'accidents' that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil's methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title 'Worship the Glitch'.

Originally released in 1995 on Coil's in-house imprint Eskaton, Worship the Glitch was Coil's first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

Brachial Dronetechno and Highspeed Acid! Bomb!!!

Our Loyal Companion "steve Parker" Continues To Raise Awareness Off What He Can Do In The Scene. This "interplanetary Dust Lp" Is Another Example Of What He Is Capable Of. A 2x12" Containing 8 Powerful Tracks That Fits Right Into The Resume Of Our Widely Ranged Techno Collection.

here is an intricate sorrow to Isorinne's new album, 'Speechless Malison.' Though broadly melodic, it feels exhausted rather than restrained; though rippling with a pulse, the rhythmic passages are sparse, their measured source a great distance away. Building on last year's cassette, 'Echoic Memoir,' 'Speechless Malison' takes greater and emotive strides, however brittle the path.

"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.

During the studio sessions that developed into what would become 'Worship the Glitch'. Coil became aware of random compositions emitting from their gear, and were at odds with constant 'accidents' that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil's methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title 'Worship the Glitch'.

Originally released in 1995 on Coil's in-house imprint Eskaton, Worship the Glitch was Coil's first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

Dais Records presents the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. Comes on black vinyl and a limited edition on translucent yellow vinyl.

"For the final part of SchleiBen 5 - 8, Emotional Response welcomes two Scottish based artists to close out the series. In Jon Keliehor you have a world and music traveler with history from psychedelic rock to fourth world exposure, alongside one of the best electronic producers of the last decade, Lord Of The Isles. As the drummer of West Coast folk rock / psychedelic band The Daily Flash, Keleihor spent much of the mid-60 based in and out of Seattle and Los Angles, playing alongside the likes of Jefferson Airplane, Cream and The Doors, before an increasing interest in meditation and philosophies outside of the 'rock' realm led him to England in the early 70s where he become involved in dance theatre. Teaching Advanced Rhythmic Music Studies at the London Contemporary Dance School, his music composition style became influenced by his studies of world music. Finally settling in Glasgow for over 20 years, while running the Luminous Music label and Gamelan Naga Mas, his earlier recordings for labels like Indipop, Touch and Bruton have seen a recent revival, with music appearing recently on contemporaries Optimo Music and Invisible Inc. The wonderful recordings included here span over 3 decades, from sessions at the Luminous Studio at The Diorama Theatre, London in the early 80s, through to recent field-work based recordings in the Cairngorms. Reconfigured and updated, a common thread appears through the pieces - a sense of longing and appreciation - as Jon's knowledge of outer-national instrumentation alongside equally extensive travels around the globe gives the recordings a seamless blend of organic craft. The tonal consonances within unlikely combinations of instruments, with tuned glasses (tarang), tabla, jaw harps, clay flutes and ocarinas, Chinese instruments that include Xiao-Bo and Xiao-Ping, large Noah bells, small and larges gongs all employed, the recordings have been reconstructed, edited and updated via sampling and digital processing. Featuring the playing of John "Jhalib" Millar - the extraordinarily gifted musician and tabla player - who has appeared with an EP on sister label, Emotional Rescue (ERC029), sadly recently deceased, the contribution acts as a tribute and more. To close, the music of Lord Of The Isles is an excellent companion to Jon's work. Neil McDonald's list of club-based releases on labels CockTail D'Amor, Ene, Firecracker, Permanent Vacation, ESP Institute and Phonica is comprehensive and exemplary, however within his productions has often been an other-worldly element, a space between the beats and occasional fully ambient pieces. Approached originally for series one of SchleiBen, the 7 pieces included were worth the wait, a journey in themselves and the perfect completion. Spanning almost 5 years, the majority were written during an extended exile in the Cairngorms. The lifting, ethereal, but melodic nature of the music fits that aesthetic. Blue skies, snow, long walks, space to think, but with a longing and appreciation of family and friends. The solitary nature found in SchleiBen 8 and the geographical incidence of both artist's recordings including sessions in the Scottish Highlands fits the series ideals and is a nice closure. Enjoy and listen. "

Semantica 101. A special triple album packed with talented techno producersdropping some deep trippy techno knowledge right here! Limited supplies.

Warehouse find! Produced by Monte Cazazza in 1996.

year after their debut on the label, Crossing Avenue return with five more sublime techno tracks on Spazio Disponibile. That first EP remains the only outing for the pair of Andrea La Bombarda and Andrea Montrone, and this new one is another experimental trip into mind melting grooves. Opener 'Laguna' is a loopy, liquid track of fluttering drums and rubbery kicks that never lets up. 'Ortica' is more gloopy and wonky, with firmer kicks and aqueous sounds dripping off the groove, while 'Lyra' is beautifully delicate and intricate, with underwater life forms drifting by as gentle xylophones sounds dance around. The masterful minimalism continues on the dark, undulating and alien 'Vilipendio,' and things round out with the paranoid voices and panning synths of 'Mekong', an unsettling track that has you looking over your shoulder.

Shunter, the new album by the Berlin-based duo Driftmachine, is their most ambitious work to date. Although instantly recognizable, featuring their trademark Kosmische and Avant-garde sounds, it also presents a new journey into abstract and hallucinatory worlds. Filled with eerie textures, their electronic visions are darker and more vaporous than ever.

Driftmachine's fourth album (also the fourth one for Umor Rex) offers a new perspective on their ample sound spectrum and systemic narratives. Shunter overlaps and mutates their post-industrial-dub motives. It was conceived and produced in search of a very different kind of imagery, with sections of noise and field recordings intersecting with analogue sounds, a mixture of contrasted fragments, where the usual creative process of modular-synthesis leads Gerth and Zimmer to the discovery of a dark, hazy and diffused experience. There is a protean quality to the rhythmic elements, with tempos constantly contracting and expanding, a departure from the mono-beat-rhythms of "Nocturnes" and "Colliding Contours". The first half of Shunter is made of four pieces named "Shift", although individually separated, they are conceptually linked and can be understood as a sort of score. Imagine a late stage of the industrial revolution, with the interaction between heavy machinery and human beings. The second half of the album is not completely separated, but it has three other substantial melodic moments. Somewhere between the hauntological and the realms of archive-music, a huge range of subterranean beats and distinct patterns dotting the landscape of early electronic and post dub music.

All songs written & produced by Driftmachine (Andreas Gerth & Florian Zimmer), Berlin.
Mastered by Rafael Anton Irisarri. Design by Daniel Castrejón.