Techno News

Hello World, Wheel of fate forced me to lose a tiny life before I understood its meanings. Thus I needed to be a chaos swallower for the unnamed. Damn it, demon. Y.

Great release by Chris Davis who is one of the founding members of 80s cold wave legends Shoc Corridor, famous for their epic album "Experiments in Incest". On Travelling Light, his first solo release on vinyl, Chris Davis moves within the space between minimal wave and dark ambient. The three original tracks on side A are emotionally rich, melodically strong and leave you with a sense of nostalgia. On side B, the tracks are remixed by Electronic Emergencies' finest in various styles: dark electro by Rude 66, disco noir by Machinegewehr and industrial ambient by Yabibo Hazurfa. The beautiful cover art was painted by Silas Schletterer, inspired by the six tracks on Travelling Light.

Experimental Italian techno duo Crossing Avenue return to Spazio Disponibile for their third EP on the label. Once again their four track effort explores new tempos, rhythms and moods in stylish fashion. The Carmaleonte EP counts four multi layered trips into mind melting half time jams that pairs rubbery, rolling drums with hypnotic lead synths. After the gurlgin deepness and sparsity of 'Monoica', 'Carmaleonte' is high pressure and unrelenting, 'Santica' got the razor sharp and unresolved rhythms where 'Decimo Piano' is a flurry of high speed drums and sci fi signifiers that plays out like an intergalactic space war. Techno never sounded as adventurous as this.

'Deutsche Krimi passionnel' oder 'Ostalgie fuer begeisterte Kranken'? Well, this album may very well have been the perfect soundtrack of some very obscured 5-year-planned and very mentally disturbing, for truly some very fucked-up alienating D.D.R. / East German Democratic People's Republic remake of Tarkovski's old sci-fi classic 'Stalker' and that somehow, thank God, never made it to the Elevated Socialist Working Masses, for otherwise that 'Berliner Mauer' would have collapsed much earlier and certainly with a hell lot of more drastic damage! I mean, ''Mein Selbstmord! Im Monschein hinter dem Baum!'', now, what psychotic poetry of Goethean-Nietzschean 'Faustian' 'Sturm und Drang Tragoedie' and Romantic Mass-Industrial 'Todestrieb' Mantra is that? 'Das Ewig Weibliche (oder gibt's vielleicht auch Das Ewig Maennliche?) des alten Werthers Leiden in Teutobuerger Schwarz-und-buchenwaldklinik?' For this dark synth-guided croonin' could have turned into the ultimate 'Alan Vega Suicide' Project of the Soviet Bloc, its bloody very last Collective Act! Mastered by Guy Tavares.

Spazio Disponibile hits release number 13 in style with a collaborative effort between label co-founder Donato Dozzy and longtime friends Retina.it. It is a typically experimental release that features five weird and wonderful tracks, seeing the label taking yet another dip into the more leftfield areas of electronic music.

Marco Shuttle is back on his own label with unreleased material for the first time since 2017. The EP features 4 carefully designed and colourful Techno tracks with a strong electronic flavour, diverse in their elements but still very cohesive as a whole with the signature Shuttle spacey reverbs and organic textures. Dance music for body and for the brain.

Impulsive yet gloriously catchy techno arrangements combining deconstructed IDM and minimalistic ambient sounds. This debut album is an inclusive conceptual artistic work and collaboration between Nikita Zabelin, the Berlin based designer Ksti Hu's bold and experimental artworks and the moscow sculpurist Helen Fabulousbeasts?s handcrafted works. Nikita shows to be one of the most exciting electronic artist from the east! Limited edition of 200 copies!

'Other Dimensions Lp', Terrence Dixon's latest work and the new adventure in 30D's ExoPlanets sublabel, comes for the very first time released in full length format, split in two sides, showing Terrence's two faces. As everyone knows, words can not describe the music of this Detroit visionary, but we'll try. Futuristic, avant-garde-esque, mesmerizing, trippy and minimalistic / reduced techno funk as expected in A side, but highly emotional and evocative, as only he can do. On the flip side, Terrence redefines and takes to another level the concept of dark, experimental, abstract, atmospheric, alienated and dystopian music, a true musical trip (perhaps a nightmare???) to dive into. An extremely personal and intimate album.

Repress

Kalahari is the first EP from producer Sindh, who, like many of the artists on Valentino Mora's IDO, expresses a wistful fondness for nature in its myriad forms. The project Sindh was named as such after the musician had an affecting encounter with the magnificent Indus River in Ladakh, the lush vegetation and landscapes in this region clearly inspiring Sindh's sound. Sindh's regard for the natural world as well as science fiction is reflected in the instruments employed in Kalahari ranging from flute, bongo, percussions and modular and Ciat Lonbarde synthesisers. Over the four tracks, Sindh leads us through four distinct landscapes, the narrative unfolding track by track. In Saptura, ethereal atmospheres guide us through a ruin-strewn terrain where vegetation has virtually obscured all traces of human life. The resoundingly tranquil mood maintaining faith in the arch of the universe. Sidam opens with a more mysterious tone, inviting curiosity into the next environment as a gentle rhythm guides, allowing space for strange, other-worldly surprises. As winds whisper and synthetic rain responds, the pared back percussions that prevail in Nun-kun introduce a human touch. The warm grooves and atmospheres hint at a more temperate (future?) climate than the tracks namesake currently suggests. Arriving at the closing track of the EP, Kalahari delivers deep grooves and spirited high-hats that will ignite the weariest of travellers. The bizarrely brilliant inflections will remain in your ears long after the track is finished. A stunning sixth release for IDO, Kalahari demonstrates the evolution of the label's sound, offering the opportunity to include traces of minimal and glitch sound palettes whilst maintaining IDO's luscious, spiritual qualities.

Delft-based label Omen Wapta's second release is An, an EP by Japanese producer Yuki Matsumura. Born and raised in Kochi, Yuki has previously released two albums of avant-glitch techno through Moph Records and Artificial Domain. On his new EP, the artist continues to pursue a sparse and introspective sound, defined by his heavy processing and editing techniques, labyrinthine sound design, and distinctive rhythmic patterns.

Following on from his heavy-hitting "Hymn to Lust", Cressida returns to VOITAX with "Borneo Function". Four heavily-swung, tectonic plates of dub-meets-techno reveal a deeper side to this talented producer's palette. Rummaging through his collection of old albums and pirate radio mix tapes, Cressida was taken back to the grime and dub soundtrack of his formative years in London. The EP's dusty breaks, 8-bit bleeps and murky sublines hark back to those good old days, while tense drones and clanging percussion echo the impact relocating to Berlin had on the producer; the allure of the city's techno pulse has clearly left an indelible mark. The resulting sound is a playful blend of bass-heavy, half-step rhythms and broken techno, brimming with that cheeky attitude Cressida is known and loved for.

Cressida has carved a space in the hollows between UK bass culture and Berlin's techno heritage, skilfully siphoning the finer side of breakbeat, garage, grime without ever falling into lanes of predictability. This sonic identity he's built has firmly levelled up with "Can You Sleep Like This" - his most personal record to date. This is Cressida not just paying an ode to UK electronic music lineage, but cementing a place within it.

For Delft-based label Omen Wapta's first release, Japanese musician/sound designer/coder/producer JEMAPUR explores the far reaches of abstract experimental techno on his album Mode Cleaner. Pulling from music made between 2016 and 2020, JEMAPUR demonstrates his distinctive use of glitch, microsampling, live coding, and granular synthesis techniques. The album was made when the producer was drawn to subjects like physics, geometry, murals, ancient civilisations, the logic of nature, and the observation of the universe.

dutch sound artist albert van abbe now joins the raster family, with an unexpected collaboration with founder olaf bender aka byetone titled DUAL. having spent time working side by side in ’s-hertogenbosch at the willem twee studio, the result of their collaboration is both smooth and haptic, rounding out as an expressive camaraderie between the two veteran producers. jovial and innocent, DUAL alludes to the experimental research process of finding common ground. fully embracing the haphazard richness of live recordings, the result is a remarkable fusion of contrasting outputs; intricate collaborative efforts and byproducts woven together with an eager indifference towards expectation. the artists embrace a skewed navigation through pronounced highlights, intricate lulls and moments of temporal stasis, intermittently punctuated as a means of intentionally avoiding notions of rigid perfection. with ‘real-time’ approach directing DUAL’s creation, the pair effectively shies away from any meticulous planning, and the music runs free and negates any rigid parameters one might have expected. quirky titles exude the collaged form of the release, and underline its innocent charm. as a whole, DUAL focuses on the creative process and fully engages listeners with its own dialogue, though it is very outspoken, at times even abrasive.

BLNDR's debut album L'Observatoire is a nostalgic overview of his past few years. The following pair of twelve-inch records attempts to capture meaningful memories from travelling around the world. Embodied with a marking touch of melancholia laced through most of the tracks; it is a contemplative ambient journey recorded in a period where fantasy and memory met.

This is Hypnus Records' third double LP and the first in a line of albums that will be released in 2018 and well into the following year.

"Wow - this music has so much freedom and harmony! Totally beautiful" - Cio D'Or
"Beautiful album, each track is a great journey with great atmospheres and sound design as I like" - Claudio PRC
"Beauty!" - Francois X
"beautiful work" - Oscar Mulero
"It makes the imagination fly wild! Breathtaking atmospheres with a cinematic touch and retrowave synths... Pure magic!" - Primal Code
"Beautiful." - Svreca
"Amazing to discover a soothing and emotional masterpiece from this talented producer. Pure food for the soul." - Toffes Varld

Further early support from Etapp Kyle, Eric Cloutier, Nihad Tule, Exium, Tensal, Deepbass, Samuli Kemppi, Takaaki Itoh, Synthek and AWB to name a few.

Released under the June full moon.

Love and light.

Marbled Grey vinyl - Vinyl Only

With the next 7” we keep on traveling and connecting dots between Latin and African culture, fusing electronic elements.
Nuri’s debut album “Drup” is a tribute to Tunisian’s African heritage, and a bridge to other traditions, replete with percussions and vocals from all over the mother continent, combined
with electronic work to constitute an amalgam of then and now.
We chose two representative songs of this masterpiece, and cut them on a 7” vinyl to provide you with fresh beats for your vinyl bag!

Alexander Pletnev started an entirely new journey under his own name two years ago. Release after release on forward thinking and respected labels like Media Fury, KUMP, Fleeting Wax, SZE and Hard Fist, he has built a solid discography of incredible diversity - from percussive DJ tools to viscous synthetic EBM to dreamy weirdness.

His latest EP titled Voranto Bros is a long awaited return to Le Temps Perdu and the prime example of refined musical storytelling. Title track is a cinematic tale, a sound novel about two migrant brothers hitting the shores of USA in the dawn of XXth century to became vicious gangsters, broken souls ruling the night of NYC. Dusty tape hiss, off kilter percussions and melodies all alternate to later sink under the weight of heavy drums. While Hope They Wont Come Back is a severe instrumental ballad with low drums, talking bass lines and noisy guitar riffs - five minutes inside confused man's mind.

On a remix front, Cocktail D'Amore's head honchos Discodromo strip Voranto Bros down to bear bones to deliver EBM style dance floor burner. And Harold Boué aka Abstraxion aka Lion's Drums of Biologic Records fame delivers menacing remix for Hope They Won't Come Back, a dark & mystic journey, which unwinds slowly and builds up to unexpected climax.

"Beat scientist Soreab signs our second release at the peak of his rhythmic experimentation. Four swirling, hyperactive, sketchy tracks dedicated to overturning the classic hierarchies of beats.

Folding the solidity of grooves and sound palettes coming from dance floor music to the hypnotism of techno scenarios and seasoning everything with an exquisite sense of sound design- capable of opening up into melodies without losing his ruthless intensity."

EVEN THE CHIMERA is the debut album by Wild Terrier Orchestra, a new project by Dimitris Papadatos, aka Jay Glass Dubs, based on interchangeability and open improvisation. A newer, freer incarnation of Papadatos’ creative intent, the project acts more like an open container of disparate and idiosyncratic contributions from a mutable cast of musicians and artists. Often times not provided according to a pre-planned structure, these contributions are actually more likely to arrive in the form of free improvisations, unconnected musical segments and fragmented splinters of sound. This allows Papadatos to aggregate all the constituent parts according to an intuitive process that bridges between the detailed craft of electronic music production and surrealist techniques such as the Cadavre Exquis and the Cut-Up. It’s both a harmonization of contrasting tones and a research for commonality within difference, although none of the wild terriers are ever nearly tamed. Unsurprisingly, the main inspiration for this new chapter came from a a pinnacle of avantgarde literature: poet Andreas Embirikos’, considered Greece’s first surrealist and all-out paradoxical figure. Specifically, this release is guided and instigated by his poem OKTANA, in which Embirikos inscribes a manifesto for a hedonistic utopia years ahead of any accelerationist theories, bursting with contradicting presences and mutating identities. Written in the aftermath of the Greek civil war, the poem calls for a time of eternal poetry and spiritual intoxication that can only be reached through a painful process of violent deconstruction. Thus, EVEN THE CHIMERA was born: a culmination of Papadatos’ decades long research on traditional Greek and Byzantine music, free jazz and free improvisation. Firmly spread between two side-long tracks, the contributions of American singer and musician Cruel Diagonals on vocal duties as well as Greek artist and musician Fotini Korre on ney suggest the existence of a filament that connects the west and the east through the creation of ‘’possible musics’’. This happens in accordance to Papadatos’ practice of a counterfactual approach to the process of what music history dictates. It is also directly shaped by the musician’s frequent dwellings in the isle of Cyprus, a land in which the clash of worlds and culture has often taken both violent and beautiful shapes. The long drones, acoustic ghosts and unbalanced choirs that form the album seem to call from the Mediterranean itself, not only from its history but also from its possible futures and unreal narrations, invoking it as a nexus of diversity and possibility.

Oblivion Dip, a deep-side of the Norwegian techno & experimental corner, outs two versions of dark but fresh tribal-acid-techno cuts on the A-side. The B-side generously presents a very intriguing industrialized metal-saw beauty of an ambient-noise track. Absolutely not obsolete!

Sigha returns to his OCS imprint for his first solo ep in over two years. 'Move To Speed' leans on the heady electronics and stylistic freedom of his Faugust project, pushing the approach into more club ready territory. Wrapping shifting sound design around frame works of thrumming rhythm and bass heft, the result is a set of tracks that nod explicitly towards the hardcore continuum as much as they take in the artists' exploration of contemporary Techno.

TEN WALLS RELEASING A LIVE ALBUM 'SYMPHONY' PERFORMED WITH FULL ORCHESTRA

A celebrated Lithuanian producer and performer Ten Walls (Marijus Adomaitis) is about to put the first live album to his discography. Featuring the Lithuanian State Symphony Orchestra and a handful of distinguished collaborators, the album 'Symphony' comes in double vinyl.

The wildly successful live performance recorded and pressed on the vinyl took place in the summer of 2019. Almost a hundred musicians participated in the event, including piano virtuoso Petras Geniušas, hugely popular Lithuanian singer Daddy Was A Milkman, Swedish singer and producer Jonatan Bäckelie and the Lithuanian State Symphony Orchestra, conducted by its founder and multi-award winner maestro Gintaras Rinkevičius.

'Symphony' is a unique opportunity to experience the signature Ten Walls sound with that extra dimension that only full symphonic orchestra is able to create. It adds a certain depth to the tracks that are on the lyrical side of the emotional spectrum, while dance bangers become even more powerful with string and brass sections giving it an additional punch.

Being a classically trained musician himself, Marijus has long dreamed of performing his music with the orchestra. It took several years for the idea to mature, during which his work received global recognition, his work being covered by world-class musicians.

Credits:

Written and produced by: Marijus 'Ten Walls' Adomaitis
Arrangement by: Jievaras Jasinskis, Marijus Adomaitis
Mixing and mastering by: Marijus Adomaitis
Performers:
Conductor: Gintaras Rinkevičius
The Lithuanian State Symphony Orchestra
Vocalists: Daddy Was A Milkman ( C5, C6 ), Jonatan Bäckelie ( A4, B4 )
Bass guitar: Domas Aleksa ( A3 )
Synthesizer / drum machine: Ten Walls
Piano: Petras Geniušas
Bass guitar and synthesizer: Julius Valančauskas
Electric drums: Jonas Gliaudelis

Since launching a decade ago, the label has increasingly focused
it's attention away from generic club sounds and last year's releases include Sigha's IDM-tinged alias Faugust, as well as left-of-centre
EP's from Portrait and AVL.

Joining them for the label's first release of 2020 is innovative Japanese producer 'Masaki Uchida' who displays his prowess as a sound designer and multi-instrumentalist across six tracks. Uchida rips apart a variety of contemporary and classic electronic styles, reassembling them into a uniquely beautiful new whole.

Often walking the line between extremes, the release features both moments of chaos and times of complete silence, exemplary of not only Uchida's bold approach to the song writing process but also
his unquestionable talent as a sound designer and engineer.

Early support by Alienata, Cyan85, Laurent Garnier, Marcel Dettmann, Swarm Intelligence, SLAM, OM Unit and many more!

As VOITAX enters its eighth year as a label, co-founder Christoph Siegert aka Masha Motive steps up to the plate with his first solo material - "The Imponderable Bloom". Having played a highly in uential role in whittling the label's established signature sound, the German producer chose to take his time to hone in on his craft, before dropping any production of his own. The result - a studiously crafted expedition filled with dominant breaks, dense bass and swelling ambience, flirting between the realms of jungle, dubstep and down tempo.

Tape

Lucia H. Chung is a Taiwanese experimental artist based in London. She performs and releases music under the alias 'en creux'.

Under this alias, Lucia is interested in the underlying structures of what we call noise and is examining the effects of human interventions into its complex web of tones. Repetition and chance operations are fundamental to Lucia‘s music. It is not built on the dionysian maximalism and symbolic harshness of lots of noise artists; catharsis is not reached via an explosion of sound, but via concentration on sound phenomena and small changes, which, not unlike some minimal disco night your usual mind-altering drone ritual, sucks you in more with every tiny alteration. This music is as intense as it is sensitive.

„The Liberated Mind“, in Lucia‘s own words, „is a sort of split release between two no-input configurations“. For „Wyldside“, she tuned two different feedback mixers with identical routings as close possible, as much as tuning is possible at all on these highly volatile instruments. „The two channels naturally phased in and out from each other. I guess the process was actually akin to Steve Reich's tape techniques on Come Out and It's Gonna Rain. The whole release extrapolated from that point onwards...“ Finding and replicating similar routings/settings on no input mixing desks is the nightmare of every control freak and a task doomed to failure, but in letting go and embracing these failures, patterns emerge. And thanks to Lucia‘s careful work, these patterns become hypnotic as she carves out the essence of each feedback loop, or, as she puts it: „Actually, I did remember the setting for the final track „Earthrise“, but for whatever reasons, I just cannot reproduce the sounds and it's forever lost (at least for this point in time, maybe when the conditions are primed again for the machine, the same sounds will emerge again...). I guess that's really the essences of improvised NIMB setup. Every single sound was the effect of the previous iteration and the cause of the next iteration... (Wait... isn't it just like a Blockchain? Ha!)“

A collection of no-input studio sessions improvised with Mackie 1202-VLZ Pro, TAPCO MIX260FX, MXR Phase 90 and Electro-Harmonix Bad Stone Phase Shifter. All tracks recorded live, no overdubs. Recorded in London in February 2020. Mastered by causeandcondition

Lucia also works as independent curator, producer and broadcaster at Happened. Check out Lucia‘s other albums on Hard Return, Falt and SM-LL.

General Ludd sculpt bizarre auditory mazes built within the fracturing constraints of western dance musics. These tremors ripple from the dear green place of Glasgow, Scotland; beguiling a physical cathartic experience for the dancer disillusioned with the horror and folly of our times.

Artist-turned-writer-turned-DJ-turned-producer-turned-chef Kiki Kudo, following up releases on Good Morning Tapes, Workshop and Incienso with two kitchen wave rollers for TTT.

Die in Warschau lebende Cellistin und Komponistin Resina (Karolina Rec) kehrt mit ihrem ersten Album seit drei Jahren zurück, einem kühnen und brillant expansiven Album, das sich mit Themen wie Sprache, Stimme und der Unberechenbarkeit der Natur auseinandersetzt.

Aufgenommen von Resina und Michal Kupicz, mit zusätzlicher Mix- und Produktionsarbeit von Daniel Rejmer (Ben Frost, Björk, Foals, Girls Names), ist 'Speechless' flüssig und muskulös, mit breiter Dynamik und einem dunklen und beeindruckend dramatischen Gewicht.

Inaugurating the “Albe” series— a collection of LP’s to be released on Le Cabanon Records— Fantômes is the first album by Horla.


Fantômes is a musical isthmus, a frontier seldom travelled, a sonic corridor wherein animated bodies, sounds and dreams, instrumental and woody murmurs roam. Composed over the course of two years spent in Madagascar, the writing of this record bore witness to the insolent profusion and phantasmagorical incarnations of tropical wildlife, to strange rituals, animism and other mysterious relationships to the vegetal and its sensitive phenomena. Horla breathed in the various poetics of these space-times, circumscribed them into an empty shell, to then bring them into music as one brings a subject into painting in order to reveal its drama and imperishable nature, unburdened by anecdotes and the inertia of daily life. Thus, of these worlds of passage, of cycle and permeability, the ambiguities of rhythm and time, of harmony and tone reveal themselves. Permeated by vast geographical wanderings, the sonic colours evoked in this album never truly take root in one particular place, except perhaps in the ever subtle evocation of a nature of sounds, not without links to the sounds of Nature. These colours arise from the fusion of synthetic and instrumental timbres, with physically modelled synthesis sometimes growing indistinguishable from microphonic recordings of acoustic instruments, who in their turn resemble certain sounds of more traditional forms of synthesis (FM, granular). These resonant bodies interact and entwine, dwindle and steal away amidst relative temporalities, wherein the rhythmic grids, akin to plants, grow entangled. Of these sonic idealities there remains an anchor in concreteness that awakens the mnemonic power of hearing, materialised by outdoor sound recordings: spaces where bamboos creak in the wind, where wet stones swept up by the sea and the arid echo of the ryad appear on the horizon. It is by searching for templates amidst the jungle’s polymorphous and yet unified spectacle that the composer makes use of stochastic strategies in order to characterise, direct, variate and develop his materials (rhythms, scales, envelopes) in the pre-compositional phase. These musical objects are then refined by means of a meticulous process of editing and writing, creating a tension between determinism and chance akin to the complex order incomprehensible to mankind, who when faced with the immense heterogeneity of a tropical jungle, calls it chaos. With Fantômes, Horla reveals a poetic of spaces moved by their dependence upon a multiplicity of folds and entanglements, inviting the listener to endlessly renew their way of listening; from the minute to the global, from noise to sound, from the separation of timbres to their fusion. Within this space and it’s temporal flow, we bear witness to the birth of a mythifying music from an unseizable and yet familiar elsewhere.

Ten years after the transcendent syncopated debut ‘Progress Chance’, Ricardo Donoso returns with a pulsing retrospect of rhythmic determination and wide-eyed wonder with ‘Progress Trap’, his new album for Denovali. As is customary with Donoso, the moods on these electronic miniatures vary from piece to piece; some somber, brooding, and laden with mystery, others starry-eyed, tinged with sci-fi, and hungry for adventure.

Connections are finally forged between Donoso’s early hardware synthesizer arpeggiation experiments, his darker and more abstract work with an emphasis on synthetic textures, pulsation, and sound design and the more recent extreme full throttle electronic mayhem and prog inspired technical opuses found in the Calibrate/Re_Calibrate/Content era.

Progress Trap is as harmonious as its predecessor allowing dissonance to subtly seep in, providing mere hints at the undercurrent of threat hidden beneath the music's smooth surface. If ‘Progress Chance’ was naive and innocent, ‘Progress Trap’ is mature and calculated. Perhaps some of the optimism has extinguished, but there is a stalking exhilaration which threads through the entire album, taking on merely different shades between sides – as with most of Donoso’s work something verging on a deep longing always lingers heavily as an aftertaste. There's a lot to digest on Progress Trap, as with Donoso’s entire canon, but as always, the effort is repaid.

"exquisitely produced and expertly rendered"." Pitchfork "startlingly accomplished and nuanced performance" The Quietus "the delicious irony of her lyrics remains intact, as does the freshness of the music" The North Devon Gazette "She's often described as a storyteller, and in interviews, she's spoken about wanting to win a Grammy or an Oscar," Resident Advisor VINYL COLOUR IS TRANSPARENT. For the first time ever, Frozen, by the Clovelly spawned artist Klein, will be available on real vinyl. 'Frozen' was previously released in two different versions: a two-cassette edition entitled Frozen: The Motion Picture Music Soundtrack that featured all the tracks from the film, and Frozen: Music from the Motion Picture, a bandcamp edition contained a selection of highlights from the soundtrack. The album was an international top 10 success, reaching #2 in the US and #1 in the UK, and contains three hit singles; "U got this" (#18 in the US and #10 in the UK), "grit" (#8 in the US, #3 in the UK, and #1 in France) and "tribute" (#7 in the UK). "mark", specially composed for the film Frozen, won both the Oscar and the Golden Globe for Best Original Song. Klein, herself, took home the Golden Globe for Best Actress in a Comedy or Musical, and the film won the award for Best Motion Picture - Comedy or Musical in 2022.

Shadow Work is Alex Cargill's (The Central Office Of Information) debut solo album on Subexotic Records (although he is no stranger to the label, having previously released the co-written TV1 as Transient Visitor, as well as the split release Passing cars In The Rain with hyacinth). With previous titles on such highly prized cult labels as Castles In Space, Woodford Halse & Colander, Subexotic are delighted to get in on some COI action with this intriguing new chapter in Alex's musical journey. Describing his current influences, Alex sites genres including synthwave, vaporwave, early 90s hardcore and techno, as well as recent work from the likes of Dalham, Plone, Moon Wiring Club, Polypores, Field Lines Cartographer, The Night Monitor and the Clay Pipe Music label.

Engyn returns with a very short longplayer: "Soundtrack For A Long Drive Home".


In the words of the artist:

“I had given up on releasing this music, thinking that the album was meant to stay unfinished. It was written during a brief respite from tragedy when I was learning to let go of pain in a positive way and reminding myself of the possibility of hope. It was a very special emotion, full of sadness, but a hopeful sadness. As it turned out the tragedy wasn't over I was only in the eye if the storm however, and this feeling that had inspired me to compose was soon ripped away. I gave up the hope that I would ever feel that same emotion again.
And so the music slept on my hard drive for over two years until the gentle push of a friend who simply stated that sometimes it is necessary to find completion in the incomplete. Then I began to see that without realizing it, I had written five songs that perfectly follow the five act structure of Aristotle. It’s the drama that repeats itself over and over in our lives. Recursively nested in each other, the small dramas within the large dramas within the ultimate drama, - that is ones life.”

‘A celebration of the ever-expanding and evolving label family, LLI008 comprises an LP, a fifty-odd-page booklet (and eight page photobook and insert), further digital tracks and some web-based stuff contributed by friends new and old from far and wide.’

Some sonic communities grow even in isolation, in the lonely obsessive moments in the studio as time melts away. Deep inside the Detroit Underground nests a Berlin underground, chasing those resonant shared sounds. DU Berlin draws together some of that love felt through music in the German capital. It’s not the wild city of reunification or *Berlin Calling* or tourist-style movies or the easyJet set. This is the side of the city that endlessly romances machines for the sheer joy of it, as The Allegorist titles her track, “until dawn.” And with some big names and emerging, ranging from mainstays to veteran agitators, the Berlin DU crew have telegraphed each other through productions and mutual inspiration. The results vibrate and rumble with sympathetic frequencies, but never limited to grayscale or dithered palettes.

DESIGN: Neubau Berlin.

« The´ore`me » is french experimental electronic figure Franck Vigroux's new EP. Vigroux's music describe a dystopian reality where humans and nature fights the material world. Hard-kicking loops, drone doom and industrial sounds, the EP is full of tension that coursed through the veins of is last solo releases and collaboration with Mika Vainio.
Artist Biography: Franck Vigroux's music is made of tectonic tensions, beats, electronic textures and a very personal approach to sonic exploration. He has performed and recorded with musicians such as Mika Vainio, Reinhold Friedl, Elliott Sharp, Zeena Parkins, or Ars nova ensemble instrumental. Vigroux's uniqueness comes from his artistic approach that integrates new media and performing arts. He designs transdisciplinary shows and audiovisual concerts, collaborating with visual artists such as Antoine Schmitt and Kurt d'Haeseleer. Vigroux's records have been published on many labels