Techno News

Nightmarish R'n'B, Bassrock and arcade inspired action by Abdul. Very low business risk. Brought to you by Funkycan & Max Gee

Universalist is the first album by ACT! Baroque, kaleidoscope electronics; material sound for a disembodied world. The energy is optimistic and posi - even naive - a statement of unity in the age of psychic dislocation.

10 Tracks of phosphorus midi and brittle digi textures feel indebted in spirit to the masters of psychic jazz as much as the physical euphoria of the club. Above all, this album belongs to the catalogue of Halocline Trance, yet subtle references connect it to a larger lineage of free sound. The empty, divine heaviness of songs like Ecstatica / On Patrol invokes Yusef Lateef's Little Symphony, while the computerized spontaneity of Lava Valley feels somehow connected to Yasuaki Shimizu's Music for Commercials. Non-musical sounds and evocative melodies sit side-by-side - new psychedelia for love and life in the digital jetstream.

ACT! is a project from Toronto-based musician David Psutka. Building on a diverse body of releases as Egyptrixx, Ceramic TL, Anamai and various other collaborations, ACT! denotes a new chapter of creative output from Psutka and the Halocline Trance label. Universalist follows a prolific string of releases in 2017 with Anamai - What Mountain; Ceramic TL + Ipek Gorgun - Perfect Lung; and Egyptrixx - Pure, Beyond Reproach, and synthesizes recurring themes of materiality and the unifying potential of sound.

This is the second Super Hexagon release. It's got three tracks from Alma at a total running time of 15 minutes and 32 seconds.

New from the ever discerning Nous camp comes AYLN's RehtomEP, a 25 minute exploration of the kind of unrelenting machine music for which both artist and label have come to prominenc
.
Side A is a journey through sparse syncopated rhythms, industrial noise motifs and the kind of buzz and hum that the heroes of the second wave of techno music championed, culminating in the EP's title track 'Rehtom' which is an exercise in analogue techno mastery.

Side B's delivery is subtly more dulcet, kicking off with Digital Memories, which has a more classical techno structure than anything that came before, building intricate melodies into an otherwise taut and tightly woven electronic landscape while the closing Impulsive Sheit is a gentle downbeat number, exploring the space within the music and creating an atmospheric ambient discourse to outro the heady charge of the EP as a whole.

Movente Is A Debut Lp From A Vital And Long Standing Figure Of Italy's Clubbing Scene Under A Brand New Alias. That Alias Is Cleptophonic, And The Album, Due In 2019, Is An Autobiographical Collage Of Experimental Trip Hop Sounds That Is Truly Immersive.

Under A Former Alias, Cleptophonic Has Spent Years Djing And Experimenting In The Studio And Has Made A Real Impact On His Native Scene As A Result. He Is A Very Delicate Person With Serious Attention To Detail That He Puts To Best Use By Delving Deep Into What He Loves: Playing On Turntables And Immersing Himself In A Sonic Realm Cuts Him Off From The Real World And Acts As Therapy For This Meticulous And Selective Person And Artist.

He Is A Master Of A Stylish Musical Collage Technique - Both In Sound And Images. As Such Movente Is A Collage Of Different Sounds, Sampled With The Turntables And Put Together With Logic, While His Passion For Collage Also Spills Over Onto The Album Cover, Which Is Made By Pieces Of Paper From Magazines, Newspapers And Comic Strips. The Result Is An Experimental Trip-hop Album With A Singular Sound That Puts Together Pieces Of Life, Sounds And Images That Are Meaningful For Him, Especially The Last Song, Which Is Dedicated To His Mother Who Sadly Committed Suicide A Few Years Ago.

There Is A Beauty And Delicacy To The Music Throughout This Most Excellently Escapist Album That Is Utterly Absorbing. Pads Swirl Round Louche Beats, Crisp Hits Ring Out Into The Night And You're Left In A Deep State Of Contemplation Throughout. There Are Warped And Shimmering Cuts, Dub Tracks Drenched In Reverb And Melodically Rich Broken Beats. The Whole Thing Is So Spacious You Get Sucked Right Into The Centre Of It All And The Thoughtful Moods And Deft Sonic Details All Making A Truly Lasting Impact. This Is An Exquisite Album That Encourages You To Really Get Lost In A Unique Musical World.

John Cohen aka Dead Fader first arrived on the label in 2016, with It Works 1 - a brace of warping, high energy electronic music compositions that while largely unclassifiable in genre, maintain a gloriously vibrant, emotive sensibility that owes much to early IDM excursions, and the more abstract tenets of the Krautrock genre. That said - the artist cites anything from Kanye West to Bach and back again as informing the decidedly experimental and potentially confounding work - and his latest offering for the Milan based label continues to riff on this open ended mesh of influence to great effect. The new LP, Jenny 153, runs out across nine tracks and operates at the fertile juncture between Classical and Club Music compositional structures, and examines the crossover points between the two disciplines. According to the artist, the work deals with themes of acceptance and an 'opening up' emotionally - and a palpable sense of catharsis runs deep through the recordings. Colourful and undeniably cohesive, in spite of it's rhythmic complexity - the recordings present a vital snapshot of the potential space that exists on the periphery of the dance music genre.

Only three months after the release of the solo debut Primaer, Oslo based producer Espen T. Hangard presents his second LP Elementaer. Bristling with funky, playful and braindance influenced electro, Elementaer is a companion release to the 2018 debut. While Primaer leans towards tougher and more stringent stylings, Elementaer takes on a melodic and layered approach, with lush pads, acidic bass lines and trippy beats flowing through the album. The short and effective tracks on Elementaer all display a punchy, melodic nature, and the expressive programming gives them each a life of their own. Hangard's pure approach results in bouncy, fun music with a timeless and personal edge.

Like its predecessor, Elementaer was recorded between 2009 and 2012 in Hangard's Dogskool studio, mainly as studio live performances on hardware setups. The album was mastered by Robin Harwood (Rolando Simmons, Beatwife) at the Engine Installation in Essex, UK. Canadian artist Tag Andersson made the collage for the cover artwork, and StudioGeist designed the cover.

180 gram vinyl in white poly lined inner sleeve, full color sleeve printed on matte paper, shrink wrapped.

At night, things get a lot more unpredictable. A stranger can become a friend, you suddenly become intimate with a woman or a man who's name you will never find out, while darkness also allows you to conceal your true identity - even become someone else. Inspiration for this album emanates from the fascination towards the intensity of what nightlife has to offer ; euphoria and melancholy, spotlights or incognito, sexual contact or lonely voyeurism... Francois X entertains the listener with playful ambiguity and unsettling, yet sensual atmospheres.

Stephen O'Malley & Peter Rehberg's KTL find the darkest space between black metal and computer music - or presence and absence - with 'The Pyre: versions distilled to stereo'; a score for french choreographer Gisèle Vienne.

Continuing Shelter Press's on-going documentation of Gisèle Vienne's work after Stephen O'Malley's 2015 score for her 'Éternelle Idole' piece, 'The Pyre' also sees Gisèle paired with Peter Rehberg for first time since his 'Work For GV 2004-2008' album, serving to tie up their many, long-running and overlapping strands of practice into a mighty new KTL opus.

As almost anyone who's heard O'Malley & Rehberg scores for Gisele's work will surely attest, the french choreographer always brings the best out of her sonic familiars, and their work on 'The Pyre' is no exception. Some 6 years in the works, it has undergone multiple stages of processing since the initial seed recording made at IRCAM, Paris, 2012, with subsequent live stems overdubbed at Fennesz's studio, and further mixing by Randall Dunn all aiding to bring the score to life as it's own, standalone work of art.

At the service of Gisèle's choreography - a play on the existential tension between presence and absence - KTL render some of the most pellucid and unfathomable sound designs in their considerable arsenal, layering up from near infrasonic-levels of subharmonics to filigree timbral thizz and sferic reflection, in the process creating an illusion of spatial depth and dizzy scale that beautifully spins our gauges...

Duality Research presents it's first release with the sounds of the lost african Rahsaan Nova. Taking a peek into the mind of this mysterious producer, Rahsaan explores the world of afrofuturism and delivers a fresh and diverse release on this new imprint. check!

Realistic Monk is the new performance project from Carl Stone in collaboration with artist and composer Miki Yui. Carl Stone is one of the pioneers of live computer music and has been composing electro-acoustic music almost exclusively since 1972. The Village Voice has famously hailed him as 'the king of sampling'. Miki Yui is an artist and composer who develops pieces of music, drawings and sound installations that start from a perception of the faintest sounds and noises and subtly reference existents. Realistic Monk has previously released the recording of their 2017 live performance at Caf Oto, making Realm their de facto debut album. Over the course of five pieces, they focus on small sounds, often at the edge of perception, aiming at a deeper listening and perception of their musical stance and technique. Soundscapes that play with enchantment and disenchantment, emerging out of voices, noises and field recordings and acoustic feedback, their work is as subtle as it is fearless. Realm's play with musical and other signifiers make the album into a highly relevant and even outspoken take on electronic music today.

Sam McQueen's 2004 EP Sephoria is next up to get the Delsin remaster, recut and reissue treatment. The Chicago native has released music as Indio with the likes of John Beltran and also appeared on the Indigo Area label. Across six cuts here -two of which have new titles- the little known producer mixes up. There is serene ambient landscaping on the 'Inception' and the beatless 'Graduated Frequencies', which resonates with exquisitely melancholic synths, then 'Simple Pleasure' is a celestial world of wiry synths and warm solar winds and 14 days has pillow drum programming and soft focus chords that sooth the soul. 'Yemia' is another symphony of chattery drum hits, meaningful chords and real astral techno beauty and 'Outer Drive' closes down the epic space voyage with delicate melodies and melancholic synths that encourage you to lay back and gaze into a starry night sky.

Scott Moore debuted a live set in early 2016 and quickly took to the studio to capture five of his compositions on analogue tape. The medium complements the sound, with its rich palette of strident rhythms, rubbery synths, and Pro One squelch snaking through a murky textured haze. The choices of gear, sonic approach and composition reflect the clear connection of elemental breakdown paralleled in punk rock, industrial music, and disco. There's a thick layer of crud on the lens these cuts are viewed through, making mystery and discomfort equal in their influence. In fact, the direction of this record was crystallized in the post-traumatic medication of a severely broken leg, as suggested by some of the titles. In that regard, Slow Motion Pictures was both therapeutic and ritualistic in execution.

Recorded on 24-track tape by Jack Shirley at The Atomic Garden Studio in San Jose, the 5 tracks were performed live, with a multi-track approach allowing for refinement of sound. Moore's live to board mixing and minimal post-production soundtreatment have produced an artifact that conjures the feel of his live PA performances.

Scott Moore is based in San Francisco, and is the guitarist in long-running influential hardcore band Limp Wrist , and in thedreamy dark unsettled punk and angular pop group Flesh World - both of whom are also about to release new albums. As anelectronic artist, he is one half of electro-collagist duo Concrete Island , and half of the oscillator-and-drum-machine trippingimprov duo Election Day .

The album features art by San Francisco artist and musician Marc Manning.

Scott Moore: Slow Motion Picture Jacktone Records:

SPACE TRAC (sublabel of Bunker Records Den Haag): Where Futurism meets Atavism! The third release presents material from Louis Marlon van den Brink and Radboud Mens (Staalplaat). Heavy industrial soundscapes made with a no-input mixer. 'Just purely 'auto-generated', though never 'ex nihilo', by allowing Providence Herself to reveil the 'Vera Ikon', i.e. 'True Image', the 'Shape', raw form of 'things','de rerum naturae', 'Idea', during the 'random' man made manipulation, thus 'manumission' of the no-input-mixer's own electronic circuit feedback, deep, hard, dark cosmic, intense, and it really does not 'matter' whether this regards Nature's pulsar star destruction or Her deepest heart beat creation inside Her womb, Matrix, of the 'Teknon', i.e. 'Child, the very Miracle of Creation itself' for the ancient Greeks, nt 'techno', or God knows, perchance this may just as well be His Real and most atavistic, primordial Tekno still-going on ever since the very Dawn of the Universe

'strange Rabbits' Is A Bittersweet Kiss To Chill-out Room Jungle And Ambient Techno By Jimmy Donadio, Using An Early Alias, Stabudown Productions, To Mark His Return To Personalised, Esoteric Electronics After Years Of Raw Bangers Under The Prostitutes Guise.
Pushed To Write Some Melodic Tracks For The Crack Of It By Powell, Jimmy Drew From His Current Record Buying Habit For Early Jungle And Ambient Techno To Produce An Unusually Affected Batch Primed For The Kind Of Back Room/chillout Room Sessions Which Used To Be Common In Clubs, And
Have Essentially Morphed Into Afterparty/domestic Rave Soundtracks Nowadays. Reacquainting Himself With The The Shine-eyed Wonder And Sensuality Of Dance Music's Beta
Stream, 'strange Rabbits' Refracts Nyc Deep House And Neuropean Electronics Via The Prism Of Early Jungle And Jimmy's Fuzzy Memory. Its Ten Trax Reveal His Tender Underbelly Like Just The Right Amount Of Mandy, Resulting A Psychedelically Sensuous And Driving Album Characteristic Of The Sincerity And Allusive Impressionism That's Long Been Key To His Work, But Rarely So Thizzingly Effusive.
Hypnotic Highlights Such As 'wizard Upholster' And 'teenage Scream Dreamer' Recall Stakker's Early Techno Prototypes, While 'new Ogre' And The Cubist-electro Of 'warm Woods' Shimmy Like Richard H. Kirk In Nyc. Yoghurt Weaving Proto-goa Trance Shares Dancing Room With The Gnostic Bleeps Of
'wizard Upholstery', And The Slow Burn Swing Of 'totally Coral Reef' And 'koln Alone' Properly Nail A Hair-kissing, Head Massage-worthy Technohippy Vibe That's Been Conspicuous By Its Absence From Contemporary Floors - Especially For Anyone Old To Remember How It Used To Be. The Deeply Charming Results Amount To The Most Diverse, Techno-spirited And Pop-friendly Work In Stabudown's Singular Catalogue, Serving To Lend A Lush New Horizon To Jimmy Donadio's Previously Furrowed Rave Outlook, And In A Way Comparable With Everyone From Nwaq And Dj Sprinkles And Not Waving.

Pivot. Run by Rotterdam rooted / Berlin based artist Versho. Aimed to release music by Versho and other like-minded artists. Techno with a street mentality!!

"Very Urgent" is the second EP for the label is coming in March 2018. It features one original track and remixes from M.E.S.H., Peder Mannerfelt, and Kangding Ray. The label Refined Productions was launched by Aleksandra Grünholz, graphic designer and producer as We Will Fail, and Jakub Mikolajczyk, head of MonotypeRec label and MonotypePressing.

2018 repress! Hard and dark robot music on dirty speed, black vinyl.

Ruben Üvez aka Konduku (a former resident of sadly closed De School in Amsterdam) delivered this extended play: a Şeker-meditation resting in itself: You always know where you are while having no clue where it’s coming from!
Rooted in steppy beats, these 5 variations of the same insult towards your having-something-better-to-do-state-of-mind will convince you that there is more out there! Something deep, something to be explored, maybe it’s dark, but it’s definitely something connecting you to the interdimensional sphere of progression within the human-designed world-consciousness-interface of communication through music!!
Not any music but the intricate kind of one you want to experience through a club sound-system (in case you do have neighbours and spent less than 3000,- on your home-system (…or really good headphones for that matter))!

For the cover we owe eternal gratitude to Sophie Schmidt, an artist from Munich, who apart from amazing paintings sometimes delivers breathtaking performances - and we can not recommend highly enough experiencing one of those!!! Honestly: Watch them if you get the chance: You’re unlikely to experience that kind of intensity anywhere else!

The second outing in the CiM re-issue program is his debut Delsin EP dating from 1999. With 'Service Pack' Simon Walley subtly moved away from the dancefloor, creating a pack full with ear tickling and mind twisting electronica. Pure bliss.

1997. 'Drexciya don't have no phone. They're too busy to do your remix'. Mad Mike's response was short and to the point, enough to put off some; but not Vincent Koreman. Addicted from an early age, the dutch producer dug deeper and deeper into the mythology and mystery of James Stinson and Gerald Donald. The sounds, images and ideas conjured up by the Detroit electro duo pulled Koreman in, his "fascination" growing ever more "intense" as the underwater dwellers sonically prospered. Fast forward twenty years and that fascination has not diluted one drop, in fact the aquatic dream of the wavejumpers is the inspiration for "Recolonization". These tracks "would have never had existed," says Koreman, "if it wasn't for Stinson and Donald creating that great, energetic, abstract electronic music and coupled it with an original vision on the African diaspora, art and culture." This music is an homage to the enigma of Drexciya, a tribute to the machine marine men who pioneered electro and a vision. Drvg Cvltvre continues that vision, one of "an underwater race" that has reconquered Earth, overcoming "big business, corporate greed and water pollution" to reclaim the surface from man. Forget mankind. Our time is over, 'Recolonization' is here.

Emma DJ delivers a class palette of sounds on his 13 track debut for the Brothers From Different Mothers catalog, ever blurring the lines between club music and lush / torturous psychedelic explorations with his trademark offbeat distortion and cavernous rave stabs, giving body and minds more than they can chew on whilst lacing together some of his most innovative material to date.

Operating as a new series to his longstanding dement3d imprint, founded back in 2011 alongside co-founder hbt, the project will serve as a cultural platform for artists to share visions and expansive productions not confined within the worlds of house and techno, enabling the freedom to explore genres across the electronic sphere. This approach stems from Francois X' own personal approach to music production and djing, with a key emphasis on warm, emotive and sensual cuts at its core. The inaugural ep comes from Francois X with the four tracks featured on '001' bridging the gap between his earlier and forthcoming work as well as his future vision for the imprint, incorporating broken arrangements, captivating soundscapes, and immersive textures to reveal a warmer, more house-focused side to x's sound across slower, entrancing tempos. Whilst zoumenou's productions remain centred around his own personal vision of the night, highlighted by the track titles across the package, the cuts explore and delve deep into the idea of open expression within landscapes heightened through the sense of both obscurity and mystery, returning back to ideas explored within his IRREGULAR PASSION LP released in 2018.

Suzanne Ciani is a true electronic music pioneer. The five Grammy nominated Italian-American neoclassical composer is unquestionably one of the greatest minds that contemporary music has ever witnessed. After an incredible career spanning forty years, Ciani’s accomplishments have become a benchmark when discussing the origins of musical synthesis. For more than four decades she developed a body of work that transcends the music industry, composing for film, video games and famous advertising campaigns that have impacted popular culture. On December 14, 2019, after six years of sound experimentation, Lapsus Festival bid farewell to Barcelona’s Centre for Contemporary Culture. Its final event was entitled 'A Sonic Womb' and was dedicated to the musical roots of the synthesizer, with Suzanne Ciani headlining on the night. Ciani performed an exclusive show accompanied by her modular Buchla 200e synthesizer and enveloped in a specially designed multi-channel sound environment by Intorno Labs. It was a sonic voyage to the very heart of her beloved machine and a tribute to improvisation through an instrument that is said to possess its own soul. Suzanne described the night as ”an improvisation that I began using in the ’70s and continue to use now as raw material. Each performance based on this material has its own expression and one could liken it to jazz." Lapsus Records is therefore extremely honoured to present 'A Sonic Womb: Live Buchla Performance at Lapsus', a unique live recording of this extra special concert.

Reissue of this mesmerizing record including an unreleased alternate mix of "Subterranean Zappa Blues". Hypnotic rhythms made of slow minimal beats, industrial textures, intoxicating drones and repetitive voices that seem to merge from dreams. Everything built by two of the most brilliant industrial music minds: Steven Stapleton and Colin Potter.

"This album arrived somewhere after a dream meeting of several individuals, Graham Bond, Joe Meek, Jacques Berrocal and myself. After a few beers and a heated disscussion of puncture repair we all lay down in a circle and point our penises at Venus, telepathic messages are sent out to Colin saying he can use the two golden microphones. He did, and here we are." Steven Stapleton, 17.1.94.

Rock 'n Roll Station began life with Steven Stapleton asking engineer Colin Potter to remix some of the more rhythmic elements of 'Colder Still' from 1992's Thunder Perfect Mind. As Potter gradually warped these sections into weirder and weirder pieces, a new album began to emerge. Potter himself explained it to David Keenan in England’s Hidden Reverse: “What I sometimes did in the studio was to ‘over-use’ effects and processors to totally mutate a piece into something completely different” while Stapleton observed how “it was almost as though telepathic messages were sent over to Colin. We’d started an album together at IC Studio that was never finished. He then sent me some vague mixes, which were just what I had in mind. So, from that basis, I started putting the album together.”

Potter would quickly become a key player in Nurse With Wound’s productions, a position he continues to fulfil to this day. He was first credited as a member on 1992’s Thunder Perfect Mind, a tour-de-force of cold, at times hostile, machined atmospheres, but considers Rock ‘N Roll Station from the following year to still be his favourite.

Building on percussion and drone elements, Stapleton and Potter throw in a huge range of bizarre and atmospheric elements: didgeridoos, chanting voices, and their usual selection of unidentifiable sounds.

Its strong focus on rhythm was erroneously surmised by some as an attempt to join the then rising electronic dance music scene. But it was Stapleton’s recent obsession with the music of ‘King of the Mambo’ Pérez Prado that was beating at the heart of Rock N’ Roll Station’s heady rhythms.

The album’s title alluded to two specifically rock-related stations of influence: the song of the same name by Jac Berrocal, of which a surprisingly straight cover opens the album in homage; and the tragic life of the Sixties British R&B organist Graham Bond who influenced bands such as Deep Purple and Cream. Beset by mental health problems (at one point believing he was the son of Aleister Crowley), Bond died under a train at a Tube station in 1989 and it is this tragic scene that Rock ‘n Roll Station’s closing track, ‘Finsbury Park, May 8th, 1:35 PM (I'll See You In Another World)’, sets in sound.

All music composed, produced and recorded by The Jaffa Kid
Mastered by Andrea Merlini
Artwork by Conor Walker
Printed at Good Press

Peckham basement trax. Our friends heard the call and delivered. Simply the West vol 1.2

Copenhagen’s Percy Records affiliate and nom de plum factory DJ Pollen comes with a p-bar certified slammer (look out for more from him this year elsewhere wink wink)

Medlar teams up with Tom Unlikely with the electro anthem (made entirely from the show) about nothing.

Also 4 u, blissed out breaks from The Soft, some 150 biz from the AKA Boys (Fyi...) And two delicate soundscapes from Sierra to end. Play at unnecessary volumes.

The Matter Of Time’ is a pure dedication to Richard Serra - an artist that inspires me with his challenging and innovative work.

For this release, I wanted to focus exclusively on Serra’s installation, commissioned by the Guggenheim Museum in Bilbao, comprising eight pieces of torqued ellipses made of weathering steel.

Repress

Supported by Claudio PRC, Ness, Svreca, TM404, A Sacred Geometry, Amandra and Etapp Kyle to name a few.

Hypnus is pleased to present the first solo EP by the talented Primal Code. Following their much appreciated debut album "La Via della Seta"; "Caimano Tribe" takes their sound and the label's visual expression to a new level as we dive deep into quirky terrains.

The record is divided into four cuts with beats broken and speed altered in varying degree. From the suggestively alluring dance floor entrancer "Caimano Tribe" to the sparse, jungle prowling "Mutara Speech" and onward to the B-side which guides the listener deeper into the caiman swamps.

It comes sheathed inside one of Hypnus' signature custom cut sleeves, adorned by an evocative illustration by Reza Afshar. Released under the September full moon, 2019.

White Vinyl

Bezonked, high/low-grade crud from Aaron Dilloway, Nate Young, Joachim Nordwall, and partyrock hero Andrew W.K. as The Gagmen - recorded in a tiny NYC basement in 2012 and now finally seeing light of day on Nordwall’s unstoppable iDEAL Recordings Put three of experimental music’s gnarliest dudes, and their pals, in a room and this is what you get; 40 minutes of charred and gungy electronics with tormented vocals that sound like they just crawled out of a Brooklyn sewer. If you’re remotely familiar with anyone on board, or their various actions between the charts and the gutter, your expectations will be met side-on with engrossing levels of raw tape manipulation and throttled analog synths masticated and spat out in four parts
that hark back to their respective pinnacles of this era;- from Nate Young’s now classic ‘Regression’ seshes, to the body gurns of Dilloway’s ‘Modern Jester’, and Nordwall’s crushing ‘Monstrance’
collaboration with Mika Vainio.
A Swedish newspaper wrote “What the hell is this?”, in a review of The Gagmen’s debut gig in a posh Stockholm hotel, but keener ears will surely recognise the calibre of grot on offer from these dons of the trip metal underground. The mode is slanted and pharmaceutically enchanted, with Andrew W.K. sounding like he’s partied too hard on his pair of severely blunted vocal contributions,
while Dilloway, Young, and Nordwall’s noise supergroup vent crankiest spleen in tortuous tangles of ferric buzz and machine howl, all grungily gelling into anxious, burned-out industrial dub rhythms.
A total headwreck.

Ike Yard remain a legendary band of early '80s New York City – at once immensely influential, yet obscured by a far-too-brief initial phase. Their debut EP, the dark and absorbing Night After Night, sounds almost like a different group, so rapidly would Ike Yard evolve towards the calmly menacing electro throb of their self-titled LP.

Originally released on Factory in 1982, the album put Ike Yard's indelible mark on the synth-driven experimental rock scene then emerging all over the planet. While historical analogues would be Cabaret Voltaire's Red Mecca or Front 242's Geography, opening track "M. Kurtz" makes starkly clear that Ike Yard is a far heavier proposition.

With a thick porridge of bass, ringing guitar and strangled/stunted layers of voice, these six pieces are densely packed and perversely danceable. "Loss" sounds like a minimal techno track that could have been made last week, while "Kino" combines Soviet-era imagery with sparse soundscapes à la African Head Charge's Environmental Studies.

Ike Yard somehow pull off the toughest trick in modern music: making repetition hypnotically compelling through subtle variation. The effect of Ike Yard's first LP can be heard in many genres – from industrial dance labels like Wax Trax to electro-punk bands and innumerable European groups (Lucrate Milk, Red Lorry Yellow Lorry, etc.).

The fact that the cover artwork does not include any photos of the band, but rather features the original catalogue number (FACT A SECOND) only further illustrates the release's importance and Ike Yard's timeless mystique.

'Fuck Varg' is Varg2TM--the artist formerly known as Varg--at his most chaotic and ornate. Streamlining a plethora of techniques and motifs into his inimitable and fearless style, there's reckless charm and misanthropy turbulently sequenced to perfection. Charting a route through the cybergothic psychedelia of the opening track, to the wistful anthemic charge of 'Thirst (Dressed in Nothing But UV Paint and Biodegradable Glitter)', and finally landing on the peak dead-eyed sermon of 'Parasites (Honest Music for Dishonest People) ft. G19', the digital EP's presentation rounds off on a lean and severe remix from VTSS. It's an EP of restlessness, ruins, and ecstatic keyboard mashing because there's not an emoji that's demonic enough.

An intricate lattice of runaway storms are tailored into E-Saggila's latest EP, 'Anima Bulldozer.' Careering off the edge from its own furious torque at some intersections, E-Saggila resolves the heady gains of the commotion with some of her most soothing composition to date by the EP's close.

We met Franck Vigroux for the first time years ago at Berlin's Berghain during a soundcheck. At that time he performed with Mika Vainio, with whom Vigroux often worked together.

The first track on »Ballades sur lac gelé« dates back to that time. It was created under the impression of this collaboration and friendship with Mika Vainio. This album is dedicated to him.

Vainio's oeuvre is also significant in connection with the history of raster, so it was only logical and our wish to release this album by Franck Vigroux.

With the beginning of the corona pandemic, Franck Vigroux took up this early material again, he continued to formulate it and completed the present album »Ballades sur lac gelé«. The title already defines the theme of the ballad, a "song/poem with very minimal structures" (quote Vigroux).

"Ballade" is also a play on words with the French word "balade", in this sense a ramble, a ramble over a frozen lake. The reduced, cool structures reflect this. But at the same time, under the surface, the (often distorted) sound carpets steadily increase to immense power. Like ice that grows and tectonic forces that have to erupt, glacier-like.

Vigroux is very skilled at creating music in this minimalist setting. The intertwining of very few musical elements creates a kind of soundtrack that is multi-layered and at the same time universally intelligible.

»Ballades sur lac gelé« will be released on June 26th, 2020 as a digital pre-release exclusively on our sites. The physical formats, i.e. CD and vinyl, can be pre-ordered. The official worldwide release date will be announced at a later point in time.

debut release of one of our most fav producer tornado wallace on mule musiq. this music was released on only cd in japan by clothing shop vender in 2018. we really loved this hypnotic and psychedelic beautiful balearic track and hoping to release on vinyl. now we are very happy to release this fantastic music on vinyl.

Sotto Voce is a new project from duo Luke Fowler & Vikki Morton, commissioned by Glasgow gallery The Modern Institute in collaboration with record label Redstone Press.

The EP considers the relationship between the natural world and technology and references the pedagogical work of artist Paul Klee, who taught a holistic course on drawing at the Bauhaus in the 20's. Klee drew greatly on shapes, forms and cyclical patterns, studied and observed from nature.

The minimalism of Sotto Voce's "Klee" shares these pre-occupations, but applies them to synthetic rhythms and timbres with the use of an EML 101 Analogue Modular Synthesizer, creating haunted dub mutations, foreboding ambience and melancholic meanderings in a piece of work that reflects the dark and barren Argyle landscape in which it was composed.

The EP also features a guest spoken word vocal by artist Charlotte Prodger who conjures a meditation on Neolithic archeological findings on the Western Isles of Scotland.

The MINDFULNESS HIPERNORMALISATION album itself marks a new turn in Eduardo's work, breaking away from any musical style or stereotype and always trying to seeking freedom of expression,marked also by a strong connotation of voluntary ostracism.A new stage in which Eduardo uses this double vinyl like a tool to mark a distance with the current international scene and also support the Adam Curtis theories shown on his acclamed documentary "The HiperNormalisation" 2016 . The album show influences that goes from romantic ambient melodies to the most complex and experimental electronica,also including easy listening techno where it is difficult to differentiate the line between techno and ambient.

Francois Kervorkian,DJ and official engineer of albums belonging to Depeche Mode or Kraftwerk, gives support to this great work of Eduardo which will remain in the near future and without any doubt as a cult album.

What were the skies like when you were young? These days, asking that question likely conjures disappointment in its answer. Dreams of possibility hardened by certainty. Hopes and prayers jet-cooled to brittle acquiescence. A lingering feeling that this is not what we asked for, not what we worked towards. Promises of the future replaced by sins of the father. It is in this particular light that the latest work, "Moscels," by Iranian artist and musician Ata Ebtekar, also known as Sote, arrives on Opal Tapes, British label for the sonically curious and aurally disaffected. Contrary to potential expectation, it features no rhythmic exhortations, no colloidal outbursts, and no acoustic instrumentation of any kind. Synthesized entirely from physical models and oscillators, whose union gives the record its name, "Moscels" is a haunting, beautiful, and auspicious listen. None of Ebtekar's work comes necessarily easy to the listener, but "Moscels" is suffused with a sense of wonder almost childlike in quality, and so it beckons kindly. In acertain sense, electronic music is a kind of magic, isn't it? And this is the sound of a magician at work. Dive into the sound of an otherworld, so close yet so far, where dreaming is less sweet than being, and where all that is possible remains still at hand.

a t (Lena Platonos) is a Greek musician, pianist and music composer. Her third solo album, 'Lepidoptera' was produced in 1986 and reissued by Dark Entries in 2018. Inspired by a scientific book on butterflies she found in a trashcan one day, the compositions follow minimalistic motifs and carefully-staged soundscapes. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry.

We've recruited 4 contemporary Greek producers to remix their favorite tracks from 'Lepidoptera'. First up is 'Cyaniris' remixed by Anatolian Weapons who delivers an enchanted late-night journey through the New Wave forest. Next is 'Araschnia Levana' remixed by Pasiphae who speeds up the pace with machine driven melodic electro pulses. On the B-side we have June remixing 'Cyaniris' twirling the track into a complex deep sea dive with lush drum kicks and pads. Closing out the EP is a remix of 'a Gee´a ´ Aporia Maturna' by Morah who leads us to the underworld of Hades via sinister squelches and full-on apocalyptic rave breakdown. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is a reinterpretation of the original 'Lepidoptera' cover, isolating the illustration of the butterfly/woman designed by Eloise Leigh.

We're proud to announce Intrusion (cv313/echospace) reworks of Phase90's, "Infinitati" an album Boomkat hailed as, "a place to dip your toes in Deepchord/Echospace's oceans of sound, this is it." A night time walk on the wrong side of the street, creepy and ominous in nature as a result of the possessive quality of supernatural textures, field recordings and found sounds conducted at the Calvary Cemetery. Utilizing the original 1/4" tape recordings and individual sounds, Intrusion builds on the foundation steps further, using the mixing board as the primary instrument as well as, tape splicing, 12 bit loop stations and other audio wizardry. The material on this 12" ep can be interpreted as sinistral--dark,, heavy due to the hardware and its currencies emitted by its source--the phase 90. An acidic dream residing somewhere in the ether. Absolutely essential listening and horizontal grooving for the ages!